The Baroque

04/18/23 1

The Baroque The Baroque Era

Listen to This By Mark Evan Bonds

3-2Listen to This By Mark Evan Bonds PRENTICE HALL

©2009 Pearson Education, Inc.Upper Saddle River, NJ 07458

The Baroque Era: OverviewTime Period (1600-1750)

The period between the Renaissance and the Classical Era

“Baroque” (irregular pearl)--extravagant and bizarre qualities of the music--harmonies, textures, and forms more free and unpredictable than those of either the Renaissance or Classical Eras

Music had energy and motion, ornamentation and extremes. Expression of feelings (affect) became important; one

feeling per movement = doctrine of affections Represented passions through music

Architecture--very ornate




The Baroque Era: Overview National pride was illustrated in cultural, political, and

economic terms. Finest music = highest power Rulers/aristocracy proved their value by elaborate

festivals, music, art, architecture. King George I of England Louis XIV of France

Churches also illustrated their importance with elaborate music and architecture. Many of the compositions of this period were written for

the churches--both Catholic and Protestant. Height of church music-80% is religious Music conveyed spiritual teachings, as did sacred

architecture.




Baroque Music: General

Whereas in the Renaissance, most church music was performed without accompaniment (i.e., a cappella), in the Baroque, many instruments were used to accompany liturgical music.

Gabrieli pioneered the use of different instruments in various parts of the church--called “antiphonal” style




Historical Events that Influenced Baroque Period

Gutenberg’s movable type (1453) led to printed music (1501) Ottaviano Petrucci Printed music allowed musical

compositions to be performed by many different individuals and ensembles in a variety of places.

Printed music allows us to know much more about music after this time.




Characteristics of Baroque Style Music

General: heavy, grand, expansive Performance Media: chamber orchestra,

chorus plus chamber orchestra, chamber ensembles (vocal and instrumental), organ, harpsichord

Rhythm: steady beats, running bass, regular meters of 2, 3, 4, and 6 beats, tempo of piece stays same throughout except for slowing near end




Characteristics of Baroque Style Music

Melody: using major and minor scales, ornamentation, sequences, and imitation, first real use of chromaticism, continuous, fortspinnung, repetition elaborate and ornamental, rapidious notes

Harmony: strong harmonic movement; sequences of harmony and recurring cadences; major and minor harmonies used

Dynamic Expression: contrasting (sudden drops and increases: called “terraced dynamics”); echo imitation used; no gradual increases or decreases in loudness (crescendo or diminuendo), lack of detail in scores-composers under pressure to produce a lot of music in a short amount of time




Characteristics of Baroque Style Music:

Overview Texture: mainly polyphonic; thick texture with 1 or more

melodies in high parts and contrapuntal melodies in lower parts; continuous bass line; occasional contrasting homophonic sections to add interest

Unity of mood: One piece captures one mood, only exception is vocal music, (changes of text change the mood of the music)

Primary Forms: concerto, concerto grosso, suite, oratorio, cantata, opera; trio sonata and other sonatas for instruments; keyboard prelude, fugue, and toccata




Louis XIV’s Palace at Versailles




The Baroque Era: Overview Operas were first performed in private theaters in the courts of the

nobility and royalty. Public opera houses started in Venice, Italy, in 1637; by 1700 the

public craved opera, and it was big business. Oratorios--operas without costumes and staging; created for

performance in church or in an opera house during LENT--a penitential season.

This was the beginning of the importance of virtuoso performers--singers and instrumentalists of extremely high technical and musical skill.

Castrati--men who were castrated as boys so that their voices would not change; they sounded like women with voices that had a great deal of power.




Example of Baroque Era Painting--A Musical Interlude

By the Dutch painter Jan Verkolje (~1674)

Depicts a passionate musician reaching for his female companion, who is holding a viol.




Instruments

Instruments of all types continue to improve

Amati-Guarneri Stradivarius-makes ultimate violin




New Musical Ideas

Stile antico First

Practice(Renaissance Ideal)

Music dominates text

Stile moderno Second practice Text dominates music Involves wider range

of emotion expressed and greater intensity

Style differ for specific occasions:

Church, chamber, theater




The Doctrine of Affections

Devised by the philosophies of several theorists A musical means to express generic states of the

soul Grief, rage, excitement, grandeur, etc. Vocabulary of motives devised which relate to

rhetorical speech To excite “the affections”




Characteristics of the Baroque Period

Main instrument-Harpsichord Tuning-based on the

Pythagorean comma Equal Temperament-on

keyboard instruments System of intervals tuned off-

key to keep distance between half-steps equal, still used today




The Basso Continuo Chords and the Basso Continuo

Chords became more important, by-products of the motion of melodic lines

Many composed melody to fit particular chord progression Gave more prominence to bass line-foundation of harmony Result-most characteristic feature-basso continuo Played usually by two instruments-harpsichord or organ and

low instrument like cello or bassoon Figured bass-bass part written with numbers indicated chord

structure, musical shorthand, saved time & paper Performers needed improvisational skills Continuo provided continual flow of notes




The Circle of Fifths




Characteristics of the Baroque Period

Words & Music Word painting still

used Emphasizing words

by writing rapid notes for one syllable, also to display singers’ virtuosity

Individual words and phrases repeated




Chapter 9: Claudio Monteverdi--Orpheus (Act II)

Opera--a drama sung from beginning to end Based on a mythological story (in this era) Costumes, staging, lighting--all the

dramatic aspects of theater combined with music

One character = one voice




Baroque Opera-Forerunners

Medieval liturgical dramas, Mystery & miracle plays

Renaissance Intermedi : of pastoral or mythological character, performed between acts of plays, consist of solo & ensemble madrigals

Dramatic madrigals & madrigal cycles-content of epic & pastoral poems with two types of text setting: narrative for plot development(recitative), reflective for emotional outpouring(aria)

The Pastoral-poems about shepherds and other rural subjects; amorous, light




The Florentine Camarata

A group of composers who met to share musical ideas and techniques

Wrote treatises on composing Jacopo Peri-L’Euridice, first opera(1600)

Written for wedding of King Henri IV & Marie de’Medici

First to use stile recitative(solo over simple chords or continuo) for clarity of text




Baroque Opera: General Information

One of most important musical innovations of this period

Monteverdi’s Orfeo made opera more popular with public, outside the courts.

First opera house, in Venice, opened in 1637.




Baroque Opera: Characteristics

Libretto--the story or play Usually based on Greek dramas. Started in Italy but moved to England and

France. Italian remained the popular language for

opera during this period. Currently, Baroque operas have been

translated to many languages.




Characteristics of Baroque Opera

One character = one voice Homophonic texture with accompaniment

Easier to understand the text Restores balance between text and music

Accompaniment consists an instrument that can play chords (such as a lute or harpsichord) and a low melodic instrument that can play long notes, such as the cello or bassoon.

Accompaniment plays continuously and is known as basso continuo.

Bel Canto Singing Style--”beautiful singing”--the lilting flow of melody Involves elaborate embellishments. Trained singers are taught this style of singing routinely.





Types of compositions: recitatives, arias, choruses, duets, trios, sextets, etc. Recitative--moved the action along--a style of singing

that lies somewhere between singing and speaking. Not very elaborate musically Simple accompaniment Less embellishment

Aria--character who sings this pauses to reflect on the story or an emotion.

Musically elaborate; this is where the singers get to display their virtuosity.

Accompaniment can also be more elaborate than the accompaniment for a recitative, but it does not overshadow the singer.





Types of compositions: recitatives, arias, choruses, duets, trios, sextets, etc. Chorus--polyphonic

texture--various members of the chorus comment on the action, reflect emotions, etc.

Duet--2 singers Trio--3 singers Quartet--4 singers Quintet--5 singers Sextet--6 singers Septet--7 singers Octet--8 singers Nonet--9 singers




Baroque Opera: Characteristics

Soloists--principal characters are trained singers Sopranos, altos, tenors, and basses all used to

give variety. Sometimes male voices used in female roles. Some male roles required high voices; a

castrated man would sing these roles (called castrati).

Boys were castrated before their voices changed; they were celebrities!

These roles are now usually sung by women (called “pants roles”).




Baroque Opera Rise of Virtuoso

singers Done with consent of

parents who hoped sons would become highly paid opera singers

Faranelli-most famous

Castrato-combined lung power of man with vocal range of woman; agility, breath control, and unique sound intriguing; received highest

pay of any musician; audiences more impressed with vocal virtuosity than realism




Baroque: Vocal Music

Concertato Style: Vocal music that also included instrumental ensembles “concert” and “concerto” come from the

word meaning “bring contrasting performing groups together”

Three musical genres (i.e., types of compositions): oratorio, cantata, and Mass

Composers: Monteverdi, Schütz, Telemann, Handel, and J. S. Bach




Monteverdi’s Orpheus Orpheus--the story

His beloved, Euridice, has been poisoned by a snake bite and gone to the Underworld. Orpheus uses singing to persuade the guardians of the Underworld to let him bring Euridice back. They agree with the stipulation that he not look back while leaving the Underworld. He cannot resist the urge to look back, and he loses Euridice forever.

Orpheus--this selection A recitative, a chorus--Orpheus is grieving the loss of

Euridice, and the Chorus is commenting on his grief and sadness. Both sections are accompanied by basso continuo, although it is harder to hear in the chorus.




Claudio Monteverdi(1567-1643)

Career straddled the Renaissance and Baroque eras--he was a bridge composer.

Born in Cremona, Italy (where famous violins were made); became a violinist.

He served at the court of Mantua where Orpheus was first performed--1607.

1613--He became music director at St. Mark’s Basilica in Venice.

1630’s--He composed works for the new public opera houses in Venice.

Other compositions by Monteverdi Coronation of Poppea

(opera) The Return of Ulysses

to His Homeland (opera)

“Zefiro torna”--a madrigal written in Italian

“Vespers in Honor of the Blessed Virgin Mary”--a sacred choral piece




Claudio Monteverdi(1567-1643)

A portrait of Monteverdi, circa 1613

Made when he was appointed music director at St. Mark’s in Venice, Italy; became a priest and composed sacred music.




Chapter 10: Henry Purcell--Dido and Aeneas

One of the first operas ever written in English First documented production--at a girls’ school in Chelsea

in 1689 Short, for strings & continuo; no elaborate staging; dances

& choruses Libretto-Nahum Tate, inspired by The Aenid(Virgil) Plot--foreign prince (Aeneas) promises to marry the Queen

of Carthage (Dido), but abandons her and drives her to suicide

Chief characters Dido--(soprano) Aeneas--(baritone) Belinda, Dido’s maidservant--(soprano)




The Form of This Selection

Song—an aria in which Dido laments her situation Melody sung over a repeated pattern in the bass--

ostinato Ostinato can also be called a ground bass--a short

sequence of low notes repeated over and over.




Henry Purcell (ca. 1659-1695)

Dido and Aeneas--his only opera Wrote many works that included song

and spoken dialogue (semi-operas). Was far ahead of his time in writing

opera in English. Opera wasn’t popular during his time, and even when it became popular, audiences wanted it sung in Italian.

Born into a musical family. Served as composer and organist in

the English court and later at Westminster Abbey (buried near the organ there--a BIG honor).




Other Baroque Composers of Opera

Italian George Frideric Handel

Rinaldo--includes da capo aria--an aria in ABA form. The first section is repeated (embellished) after the contrasting second section

French Lully--Armide Jean-Philippe Rameau--Hippolyte et Aricie




Aria Form: Called “Da Capo”

Three parts: called A B A (letters designate sections)

A section: highly melodic, B section: contrasts A section: repeat minimal ornamentation of mood, tonality, the 1st section

or change of tempo . Singer is free to improvise/ornament

embellish melody “da capo” means “go back and sing the beginning again” A = very melodic, but not ornamented B = contrasting mood, tonality,

tempo A = repeated, but this time embellished

A B A




Women Musicians in the Baroque Era

Trained primarily as performers/virtuosos, not as composers

Most women did not have access to training in musical composition--exceptions: Barbara Stozzi, Francesca Caccini, and Elisabeth

Jacquet de la Guerre No professional prospects for women composers Women weren’t really accepted as composers

(or conductors) until the 20th century.




Other Baroque Composers of Chamber Music

Arcangelo Corelli Many of both kinds of

trio sonatas Sonata--that which is

played vs. cantata--that which is sung

Sonata da camera--chamber music for entertainment

Sonata da chiesa--church sonata

Johann Pachelbel Canon and Gigue in D

major--3 violins and basso continuo--a very famous Baroque piece

Marin Marais Much virtuosic music

for viola da gamba (a precursor to the cello)




Johann Pachelbel Nuremburg, Germany Taught Bach’s teacher Canon in D

Composed 1689, rediscovered

Used quite often today Ground bass of 8 notes,

all equal length Melodic variation played

over bass 27 times 3 instrumental parts,

following each other after 8 beats in imitation

Originally for 3 violins & continuo




The Baroque Orchestra Chamber orchestra-small, 10 to 30-40

players, for use in smaller venues All had basso continuo, upper strings,

woodwinds/brass/percussion variable Instrumentation varied from piece to piece Baroque trumpet-no valves, difficult to play,

aristocratic role in orchestra Composers used great deal of doubling and

rearranging




Baroque Instrumental Music: General Characteristics

Several major genres developed: The Baroque Concerto--a soloist plus an

accompaniment consisting of harpsichord and small chamber orchestra (mostly strings)

The Concerto Grosso--several soloists plus an orchestra (called “tutti”)

The Fugue---a complex instrumental composition for 3 or 4 “voices”--different parts in the counterpoint, but played on instruments, not sung




Antonio Vivaldi The Four Seasons “Spring”

Concerto--an instrumental work for a soloist (or group of soloists) and a larger ensemble

“Spring”--for solo violin, an orchestra of string instruments, and basso continuo

“Spring”--the first of 4 concertos Consists of 3 movements--fast-slow-fast. This selection is the first movement.




Concerto

Sharp contrast between the timbre of the solo instrument (or the small group of soloists) and the larger ensemble/orchestra

An example of the Baroque love of extremes

Nearly every modern symphony concert includes at least one concerto--they were written in all periods after the Baroque era.




The Concerto Plan

Movements- piece that sounds complete & independent on its own but part of larger composition

Three movements--typical arrangement: fast movement, slow movement, fast movement

Middle movement often in contrasting key

1st MovementFast (allegro)

2nd MovementSlow (Adagio,

Andante)

3rd MovementFast (allegro)




The Concerto Grosso Typically a recurring theme (called the

“ritornello”) is played by the whole orchestra (the “tutti).

Soloists play more virtuostic transition passages in which the key of piece changes (called “modulation”).

Tutti returns to play the ritornello theme in the new key; this pattern of soloists and tutti repeats several times.

Last statement of ritornello theme is in the original key.




Form: The Ritornello Principle

A series of alternating sections--between the soloist(s) and the orchestra; orchestra is called the tutti.

The main theme of the movement is called the ritornello.

Piece starts out with the ritornello. The soloist(s) play a section (which modulates to a new key) and then the ritornello comes back again in that new key. This happens over and over (any number of times) until the soloist section returns to the original key and the orchestra plays the ritornello in that key one last time.




Ritornello Form

Ritornello Form

Ritornello 1 Solo 1 Ritornello 2 Solo 2 Ritornello 3 repeat pattern

Tonic key New keys-----------------> Tonic key at end




Program Music

An instrumental work that is in some way associated with a story, event, or idea

Can be indicated by Suggestive title A prose narrative A poem

Listener can listen with program in mind or without it--listener’s choice.




Antonio Vivaldi (1678-1741)

Born in Venice, a virtuoso violinist Most important accomplishments: innovations

in concerto form, orchestration, and violin technique

Prolific composer of concertos, sonatas, operas, cantatas, chamber pieces, and sacred vocal music

Most famous works: hundreds of concertos, including The Four Seasons--4 violin concertos (one depicting each season)




Antonio Vivaldi(1678 - 1741)

Called the “Red Priest” 1703-1740-Director of

music at Ospedale della Pieta-orphanage for young women

Moved to Vienna and worked in Charles VI’s court

Gave concerts in Europe, produced opera, lived w/French soprano

A master of melody and novelties in the basic forms of his day




Chapter 13--Johann Sebastian Bach Fugue in G minor

Fugue--a polyphonic work based on a central theme--very common type of composition in the Baroque Era One voice plays the theme alone Each voice comes in subsequently stating the

theme while the previous voices spin out a countermelody--called counterpoint--note against note

Similar to voices chasing one another in imitation This fugue composed for organ, probably at

Arnstadt, when Bach was about 20.




Organ = “King of Instruments”

Has size, power (volume), and a wide variety of sounds (different pipes create different sounds)

Consists of keyboards (called manuals), and pipes (through which wind/air is blown)

Keys control the flow of air through the pipes Stops control which pipes the keys open Longest pipes are 16 feet; shortest about 2 feet Longest pipes = lowest sounds; highest pipes =

highest sounds




The Baroque Fugue: General Information

Subject (main musical theme)--played in one “voice” and then imitated in others

Countersubject (counter theme played opposite the subject in other voices)

Episodes--parts of the fugue in which the subject is not heard--used for transition and musical interest




Organ Fugue in G Minor(Little Fugue)




Fugue: Compositional Techniques

stretto-subject imitated before it is completed pedal point(organ point)-a single tone, usually in

bass is held while other voices are still moving sequence-pattern of notes repeated several times in

succession but at different pitch levels suspension-holding notes from one chord to next to

create tension & release




Johann Sebastian Bach (1685-1750)

Most prominent composer of Baroque Period Born in Eisenach, Germany; family with many

musicians Composed music at three locations during

career (a few famous works composed at each) Weimar--music for church services Cöthen--The Well-Tempered Clavier and 6

Brandenburg Concertos Leipzig--Mass in b minor, the cantata, Wachet Auf (“A

Mighty Fortress is Our God”), St. Matthew Passion, 2 and 3-part Inventions for harpsichord




Johann Sebastian Bach

First wife, Maria Barbara, dies

Marries Anna Magdalena, for which he wrote book of keyboard music, still used today




Johann Sebastian Bach Other Important Works

St. Matthew Passion--for vocalists and orchestra The Well-Tempered Clavier--Books 1 and 2--two

sets of preludes and fugues in all 24 of the major and minor keys

Toccata and Fugue in D minor--for keyboard Chorale Prelude (Wachet Auf)--an organ version

of one movement of his Cantata #140 (a chorale prelude was played prior to singing the hymn on which it was based)




Chapter 15: Johann Sebastian Bach Brandenburg Concerto no.2 in F Major

Concerto grosso--Italian for “big concerto” Bach wrote 6 of these Brandenburg Concertos--dedicated

to the Margrave of Brandenburg. Actually composed for and performed by Bach employer

Prince of Cöthen Each has multiple soloists (concertina) and orchestra. Soloists in this piece--trumpet, oboe, violin, and recorder

(a kind of flute) All have contrasting sounds

Trumpet--a loud brass instrument Oboe--a rather shrill woodwind instrument Violin--a high register string instrument Recorder--a soft sounding woodwind instrument




Baroque Cantata: General Characteristics

Featured soloists, chorus, and orchestra Similar in style to an oratorio, but much

shorter Sacred cantatas

Usually glorified New Testament subjects Often based on a Lutheran Chorale (a 4-part

hymn sung by the congregation) Secular cantatas

Based popular stories and themes Otherwise, like sacred cantatas




The Church Cantata Performed in worship

service 1700-Influence of Erdmann

Neumister Theologian & poet who

introduced subjective, meditative texts not of Biblical liturgical origin

Designed for use in arias or duets, in addition to choruses based on the Chorale




Bach’s Cantatas at Leipzig

58 per year Small orchestra: 18-24 players Approx. 200 cantatas preserved (not

numbered by Bach, but by editors) All use chorale melody as basis for each

movement




Chapter 17: Johann Sebastian Bach Cantata 140

The piece highlighted here is Awake, a Voice Calls to Us

Two movements presented here--the first and the last First movement = polyphonic Last movement = homophonic

This entire piece is a cantata--a work sung during a service of worship Based on a hymn tune Hymn tune is known as a chorale when sung in

4-part harmony




Cantata No. 140Wachet Auf, ruft uns die Stimme

(Wake Up, Call the Voices)

Performed Sunday Before Advent Text: Matthew 25: 1-13, parable of 5 wise, 5

foolish virgins Message: Be prepared and vigilant, for you

don’t know when God will call Seven sections total




Johann Sebastian Bach Cantata 140--Movement 1

An opening chorus Dotted rhythms (long-short-long-short) make this sound

like a march (similar to a French Overture). Upper voice has the melody in very long notes. Elaborate lines of counterpoint are weaved with the lower

voices and the orchestra. Form: also in Bar Form, but long pauses between sung

sections are filled in by the orchestra. Form: uses the ritornello principle--each vocal chorale

section is followed by an orchestra ritornello section. Ritornello 1 -->Chorale A --> Ritornello 2 --> Chorale A

(again) --> Ritornello 3 --> Chorale B --> Ritornello 4




Johann Sebastian Bach Cantata 140--Movement 7

The Closing Chorale--this is sung in homophonic texture It is easy to recognize the tune here. The melody is in the top voice, set syllabically, in

4 part harmony. Instruments of the orchestra play the same parts

as the voices sing--called doubling High instruments double soprano line Lower instruments double other lines This combination of voices and orchestral doubling

creates a sense of unity and projects the text of the chorale clearly.




Chapter 16: George Frideric Handel Water Music

Written for a riverboat party given by English King George I--July 17, 1717

The entire piece is a suite--series of dance movements (about 2 dozen)

Movements presented here: Rigaudon--a fast dance in duple meter,

cheerful in tone Hornpipe--a lively dance in triple meter,

often associated with sailors




View of London and the Thames --similar to the Water Music procession




The Baroque Suite Dance Suites

“Stylized” collection of dances intended for listening rather than dancing

Derived from various types of dances that were in fashion Core Dances: Allemande(Ger), Courante(Fr), Sarabande(Sp),

Gigue(Irish) Other dances: Bourée, minuet, gavotte, loure, polonaise,

passepied Might include prelude or overture Customary for all to be written in the same key, faster dances

contrast with slower Binary form




Binary Form

Two sections, each repeated ||: A :||: B :||

Tonic key to related key New key ---> tonic

A section starts in tonic and modulates; B section starts in the new key and goes back to the tonic key.

Usually based on a single theme, manipulated in various ways; little actual contrasting material.




George Frideric Handel(1685 - 1759)

Born in Halle, Germany but moved to Italy in 1706--composed operas and oratorios there.

Worked as a violinist in opera house at Hamburg. Studied music in Rome with Corelli. Spent time in Venice where he composed the oratorio, The

Resurrection Moved back to Germany to be music director for the

Elector of Hanover in 1710, but then moved to England-composed operas and oratorios.

Director of London Royal Academy of Music Abandoned opera in 1741 and turned to oratorios. One of the first composers to become a cultural hero--

commemorated in 1784 by a series of large concerts in Westminster Abbey.




George Frideric Handel(1685 - 1759)

Here Handel is composing at the keyboard without his wig.

Notice that he is basically bald, keeping his head shaved so that the wig would fit more comfortably in public.




George Frideric Handel (1685-1759)

A few well known works: Operas: Rinaldo and Julius Caesar Oratorios: Israel in Egypt, Messiah, Saul,

Samson, and Judas Maccabaeus Instrumental Music: Water Music and Music

for Royal Fireworks Secular vocal music, keyboard pieces, and

chamber music




Baroque Oratorio: General Characteristics

Like operas--tell a story (libretto) Have soloists, duets, trios, choruses Accompanied by orchestra

Different from opera No costumes, staging, or acting Performed as a concert

Biggest composer: Handel, a German composer of Italian opera who wrote oratorios in England Probably his most famous--The Messiah




Chapter 18: George Frideric Handel Messiah

These selections are a recitative and aria followed by a large, grand chorus (known as the “Hallelujah Chorus.”)

The three work together to form one dramatic unit.

Each section has a different style of composing and singing the music.

Messiah is an oratorio--like an opera without staging, sets, or costumes.




The Messiah 2 ½ hours long 1st performance in Dublin(1742), benefit for

debtor’s prison 1st in London-religious opposition to Christian

text in theater Achieved unique status, performed yearly at

benefit for London orphanage “Fed the hungry, clothed the naked, fostered

the orphan.”




The Messiah

3 Main parts Prophecy of Messiah’s arrival Christmas Easter

53 sections-19 choruses, 16 aria/recitatives, 2 orchestral features

Contemplation on Christian belief-prophecy, birth, suffering & death, Resurrection & Redemption

Only oratorio to use Old & New Testament




The Messiah

At first performance- “Hallelujah Chorus”-King George II stood, started tradition that is still practiced




George Frideric Handel Messiah--Recitative and Aria

Recitative--“He That Dwelleth in Heaven” In a declamatory style to project the text

Aria—“Thou Shalt Break Them” More musically complex than the recitative with

more elaborate melody Text is quite brief, but Handel repeats the words

many times and includes long melismas on key phrases/words.

Built on the ritornello principle, alternating between the tenor soloist and the orchestra.

Several instances of word painting are used “broken,” “dashed,” “potter’s vessel.”




“Hallelujah” Chorus Characteristics

Lengthy with repetitive text Rhythm strictly adhered to Accompaniment-important role Music requires more than average singing skill,

challenging Chorus-two meanings

Group that sings choral music Choral section of musical work




George Frideric Handel Messiah--Chorus

Based on verses from the New Testament Book of Revelation

Form: sectional--each verse or half-verse receives its own melodic material, creating 4 large sections to the work (A, B, C, and D) There are five melodies in the work. When the same text reappears, so does its corresponding

melody. Texture: movement includes all 3 forms of texture--

monophonic, homophonic, and polyphonic. Beginning “Hallelujah”--homophonic “For the Lord God Omnipotent reigneth”--monophonic Polyphonic when texts are combined

The Baroque

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