Baroque Music: Forms, Composers, and Characteristics
Secular vs. Religious Cantata
The secular cantata is a non-religious musical form, shorter than an opera, composed for singing. It takes cues from the motet and opera structures.
The religious cantata features a lyrical, religious text with instrumental accompaniment (orchestra), performed by one or more soloists (with or without chorus) or just a chorus. It was commonly performed in Protestant masses.
Initially, the secular cantata was readily adopted by the church.
Passion vs. Mass
A Passion is an oratorio depicting the suffering and death of Christ, typically performed during Holy Week.
A Mass is a religious musical form. Most masses are composed in Latin, the traditional language of the Catholic Church. Masses can be a cappella (for voices alone) or accompanied by an orchestra.
Baroque Instrumental Forms
Fugue: An instrumental form characterized by polyphony, similar to the motet. Usually written for keyboard instruments, it features several interwoven melodic lines (3-4).
Suite: A musical piece composed of several short dances. Considered the first orchestral piece with distinct forms, it combines dances of varying character and rhythm. Suites can be written for a solo instrument, a small ensemble, or an orchestra.
Sonata: An instrumental composition for a solo instrument (e.g., flute, oboe, violin) often with basso continuo accompaniment. A more common arrangement features two treble instruments and basso continuo.
Unlike the cantata, which is sung, the sonata is played.
Concerto: An instrumental form that emerged in the late 17th century and became a prominent Baroque genre. Written for a solo instrument (or multiple solo instruments) and orchestra, it typically features three movements: fast-slow-fast. The violin was the favored solo instrument, resulting in numerous concertos written for it. Concertos contrast two groups of instruments: the tutti (full orchestra) and the soloist(s).
Baroque Vocal Forms (Religious & Secular)
Baroque vocal forms are categorized as secular or religious.
Secular Forms:
- Opera: A secular musical drama with instrumental accompaniment, intended for stage performance.
- Madrigal: A Renaissance form carried over into the Baroque period, typically composed for three to six voices. Influenced by the motet, it was a significant secular form of its time.
- Secular Cantata: A shorter musical form than opera, written for singing.
Religious Forms:
- Oratorio: A non-liturgical narrative piece for voices, without stage representation, but intended to convey a story through music.
- Religious Cantata: A composition with a religious text and instrumental accompaniment, performed by soloists and/or chorus.
- Passion: A type of cantata depicting Christ’s death, often performed during Easter.
- Mass: A religious musical form, mostly composed in Latin.
- Motet: A religious musical form with orchestral accompaniment and basso continuo.
Liturgical vs. Non-Liturgical Religious Texts
Liturgical texts are those used in religious services (e.g., Kyrie, Gloria, parts of the Mass). Non-liturgical religious texts address religious themes but are not part of the liturgy.
Opera: Origins, Characteristics, Structure, and Composers
The earliest surviving opera is Monteverdi’s L’Orfeo, which premiered in Mantua in 1607.
Opera is a genre combining voices and instruments, featuring text and music, theatrical staging, and basso continuo accompaniment.
Early composers believed they were recreating Greek tragedies and referred to their works as “dramma per musica.”
Early operas were divided into:
- Recitative: Lyrical sections that advance the plot.
- Aria: Lyrical pieces of a musical nature.
Opera emerged from a shift in Baroque texture, from accompanied melody (counterpoint) to a texture of melody and chordal instrumental accompaniment. This shift occurred when the madrigal, originally contrapuntal, adopted the new texture. This new style permeated music, continuing under Bach’s counterpoint.
General Characteristics of Baroque Music
Accompanied melody features a prominent melodic line supported by other voices or instruments. The bass line holds significant importance, forming the harmonic foundation of Baroque music. Key instruments include the organ, harpsichord, lute, theorbo, and viola da gamba. A hierarchy is established using the degrees of the scale.
Baroque Composers and Musical Periods
- Early Baroque (c. 1600-1640): Opera’s development – Monteverdi (Italy)
- Middle Baroque (c. 1640-1690): Cantata’s flourishing – Vivaldi, Francesca Caccini, Barbara Strozzi (Italy, France, England)
- Late Baroque (c. 1690-1750): Concerto’s prominence – Bach, Handel (Germany, England)
Creators of the Concerto Grosso
Vivaldi and Corelli
Concerto Grosso vs. Solo Concerto
Concerto Grosso: A purely Baroque instrumental form written for a group of soloists (concertino) and orchestra (ripieno).
Solo Concerto: Written for a single soloist and orchestra, emphasizing virtuosity and showcasing the contrasting sounds of Baroque counterpoint.
Toccata, Cantata, and Sonata
Toccata: A free-form, virtuosic keyboard piece.
Cantata: A secular musical form shorter than an opera, not staged, featuring a religious text with instrumental accompaniment. Performed in Protestant masses.
Sonata: A piece to be played (as opposed to sung). Two main types: sonata da camera (chamber sonata) and sonata da chiesa (church sonata).
Suite
A collection of dances with varying tempos, characters, and origins, performed by a solo instrument or instrumental group. Common dances include: Allemande, Courante, Sarabande, Gigue, Minuet, Rigaudon, Bourrée, Gavotte, Hornpipe, and Chaconne.