Music Background for the “Thirteen” – Baroque music, Part 1

Conrad Netscher "Musical Company" (1665) 

The Thirteen advertises itself as performing Renaissance and Baroque music. We have covered 4 articles of Renaissance music so we should touch on Baroque. Judging from the pieces online they probably perform more Renaissance than Baroque. 

Baroque music is closer to our modern conception music.  This is the period from approximately 1600-1750. We know it as the time of Bach and Handel

There is much more diversity of form as shown in the table below. These included the first operas,oratorios, cantatas and for instruments the solo sonata, trio sonata and chamber duet; and the prelude and fugue.  

There is much more variety of rhythm and with the much stronger bass there is a much closer feeling of beat. Among the general characteristics of Baroque art is a sense of movement, energy, and tension (whether real or implied). There is a repetition of a basic melody, creating a feeling of continuity. We hear Baroque music all the time from Vivaldi’s “Four Seasons” to Johann Bach “Jesu Joy of Man’s Desiring”. The term “baroque” is derived from the Portuguese barroco, or “oddly shaped pearl,”

This was the time where instrumental music grew more important than vocal in contrast to the Renaissance. Still there were new forms of vocal music, such as the opera, cantata and oratorio. (We studied Handel’s “Messiah” last Christmas which is of the latter form). 

The idea of a concert whether instrumental or vocal was changing in this period. In modern times, going to a concert is an event. We hear an ad on the radio or see a listing in the newspaper; we purchase tickets; we go to a concert hall and sit quietly until it is time to applaud. In the baroque era, this kind of public concert was rare. Many of the most famous baroque compositions were performed in churches for a service, or as part of a private concert or celebration in the home of a wealthy patron. During the course of the baroque, however, public performances became more common, particularly in the genres of opera and oratorio, and our modern concert tradition began to coalesce in many European cities. 

The advent of the public concert made the growing middle class an important source of income for musicians. By the end of the baroque, this social subset had become a musical patron almost as powerful as the church or court.

Here is an example – A J. S. Bach cantata – one of the new forms of the new forms of this period. "Ein feste Burg ist unser Got". It was first performed between 1727 and 1731

He composed the chorale cantata in Leipzig for Reformation Day, 31 October, first performed between 1727 and 1731. It is based on Martin Luther’s chorale "A Mighty Fortress is our God."

The cantata is scored for four vocal soloists (soprano, alto, tenor, and bass), a four-part choir, two oboes, two oboe d’amore, oboe da caccia, two violins, viola, violoncello and basso continuo. Note in this period how the vocalists are now backed by small orchestra. The piece expands upon the polyphany of the Renaissance. It adopts the motet technique of having the instrument and vocal lines follow each other closely.

Baroque Vocal Genres Listening Guide

The following table provides useful information about several important Baroque vocal genres (opera, continuo madrigal, sacred concerto, oratorio, cantata, etc.) and the style features that can help you distinguish them from each other. 

Opera

An extended secular work for solo voices, orchestra, & often a chorus. Includes recitatives & arias, and may also include choruses, duets, an orchestral overture, and orchestral interludes. Story often based on mythology or historical events & characters. Performed with action, costumes, and often extravagant sets & machinery.

Continuo Madrigal (Concerted Madrigal)

A short secular work for one or more solo voices with continuo accompaniment & sometimes one or two violins. An updated version of the Renaissance polyphonic madrigal, often alternating between imitative & homophonic textures. Often through-composed, but may use strophic form or ostinato bass. Often uses new vocal techniques such as recitative style or virtuoso solo song styles.

Small Sacred Concerto

A short sacred work for one or more solo voices with organ continuo accompaniment & often one or two violins. A modest, updated version of the Renaissance motet, often alternating between imitative & homophonic textures. Alternates between a more rhythmic aria style & a freer, melodic recitative style. Texts are frequently drawn from the Bible. Used in both Catholic & Protestant worship services.

Large-Scale Sacred Concerto (Grand Concerto)

A short sacred work for one or more solo voices, one or more choruses, an instrumental ensemble, & one or more organs playing continuo. Often written for cori spezzati (divided choirs), with soloists, choruses, & instruments divided into two or more choirs, often located in different parts of the church. A grand, updated version of the Renaissance motet, often alternating between imitative & homophonic textures. Alternates between a more rhythmic style & a freer recitative style. Texts are frequently drawn from the Bible. Used in both Catholic & Protestant worship services.

Oratorio

An extended sacred work for choir, solo voices, and orchestra. Includes the same types of numbers found in opera—recitatives, arias, choruses, & occasional duets (later Baroque oratorio often adds orchestral overture and interludes). Heavier emphasis on the chorus in oratorio than in opera Based on a dramatic story drawn from the Bible. Performed without action, costumes, or sets. Not part of a church service. Written for both Catholic & Protestant audiences.

Passion

A type of oratorio. Includes arias, recitative, choruses, occasional duets, and chorales. Based on one of the Gospel accounts (Matthew, Mark, Luke, or John) of Christ’s passion, that is, the events of the last few days leading up to and including Christ’s crucifixion. Part of worship services for Holy Week (the week before Easter—usually Good Friday). Written for both Catholic and Protestant (Lutheran) audiences.

Cantata

A secular work, similar to an opera but much shorter. Most often for one solo voice & continuo (sometimes for two or more solo voices, choir, and orchestra). Includes recitatives & arias (add choruses & occasional ensembles when larger performing forces are used). Performed without action, costumes, or sets.

Church Cantata

A sacred work, similar to an oratorio but much shorter. For one or more solo voices, choir, & orchestra. Includes recitatives, arias, choruses, occasional duets, & a chorale. Performed without action, costumes, or sets. Church cantatas were written for Protestant (Lutheran) audiences. Church cantatas were part of the Sunday worship service, based on that week’s Bible reading.