Música barroca.

Presentación del tema: "Música barroca."— Transcripción de la presentación:

1 Música barroca

2 Periodización Música Barroca
Barroco temprano Barroco tardío

3 Rasgos barrocos Similitudes entre música y arte
Grandiosidad y elaboración Grupos instrumentales grandes Obras corales para 24, 48 y hasta 53 voces Los afectos – el poder de la música para conmover al oyente emocionalmente Music was grandiose like art Large instrumental groups approaching the size of an orchestra Choral works for 24, 48,and 53 separate vocal parts written Elaborate and excessive in art and music Love of detail in music and art Power of music to move listener emotionally…called the “affections”. Instead of each word being reflected in music as in Renaissance, each large section of a piece of music carried a single mood or affection throughout.

4 Características Ritmo y melodías continuas Dinámicas en contraste
Texturas polifónicas y homofónicas Basso Continuo Música descriptiva

5 Basso continuo Un instrumento que hace acordes (órgano, clavicembalo, o a veces el laúd o el arpa) Otro instrumento toca una línea melódica grave (cello, viola de gamba, o fagot) El resto hacen la melodía (instrumentos agudos) Tres planos sonoros Many innovations in musical forms but one element remained constant throughout the Baroque–basso continuo “thorough bass” Small ensemble of at least two instrumentalists who provided a foundation for the melody above. One performer played an instrument that could produce chords (organ or harpsichord or sometimes lute). Chord progressions begin to emerge Other played a low-sounding instrument (cello or viola da gamba or bassoon) which played the bass line. Provided foundation Basso continuo holds the music together. Typical Baroque music has a tinkling harpsichord along with the bass sounds of a cello, viola da gamba, or bassoon.

6 La orquesta barroca Consiste en un grupo de violines, violas y bajo continuo (clavicembalo + instrumento grave) Viento y percusión son opcionales Las obras orquestales suelen ser arregladas para otros instrumentos y viceversa

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8 Clavicembalo Típico del Barroco
Servía como instrumento principal o como acompañante Familia de la cuerda pinzada No puede hacer sonidos fuertes y débiles o subidas graduales de volumen como un piano Se pasó de moda en la época de Mozart ( ) Fue eclipsado por la fuerza del piano

9 Voces En el Renacimiento, las voces contrapuntísticas tenían todas la misma importancia En el Barroco, las voces importantes son la aguda y la grave Las voces intermedias son de relleno armónico Soprano, alto, tenor, bajo Soprano: lleva la melodía Bajo: soporte armónico La música se escribe para instrumentos concretos In Renaissance contrapuntal voices were of equal importance. In Baroque, voices are no longer equal. Stronger at the top and bottom. (soprano, alto, tenor, bass) The soprano carries the melody The bass provided a strong harmonic support The middle voices fill out the texture In renaissance , lines could be sung or played by an instrument In Baroque, lines of music were written for voice or for specific instruments. Writing music for specific instruments

10 Dinámica Un rango dinámico (suave o fuerte) es reemplazado por otro de repente Eso crea contrastes y dramatismo Giovanni Gabrieli (ca. 1557–1611) fue el primer compositor en poner indicaciones dinámicas en las partituras (piano, forte, etc.) Trabajó en San Marcos de Venecia Terraced dynamics A single dynamic range (whether loud or soft) will hold fast until abruptly replaced by another. There is no subtle shifts, it is sudden and dramatic. First composer to place dynamic marks, such as piano or forte, in the score was Giovanni Gabrieli (ca ) who worked in Venice Main church in Venice was St. Mark’s Music was composed for the acoustics of St. Mark’s

11 San Marcos en Venecia

12 Giovanni Gabrieli ca. 1557–1612 Veneciano
Escribió muchos motetes ceremoniales para San Marcos El primero en indicar la dinámica en las partituras

13 Ópera Aparece en Italia en torno a 1600 Ópera significa “obra”
Viene de opera drammatica in musica (obra dramática con música) Basada en los dramas griegos El texto de los actores se canta La música se usa para intensificar las emociones Se opone el canto solista al coral Early Baroque Opera First appeared around 1600 in Italy Opera means “work” Originally in phrase opera drammatica in musica (a dramatic work set to music) Lines of the actors are sung. Music is used to heighten the emotional intensity of the actions on stage. Solo singing usually as opposed to several voices (choral singing) Allowed for more individual freedom to express emotions. From the Baroque emerged the first full-fledged opera, Claudio Monteverdi’s Orfeo. (20 on CD)

14 Ópera Recitativo (narrativo-sólo voz o voz acompañada por teclado y bajo) Arias (solo voz acompañada por toda la orquesta) Ritornello (pieza instrumental; estribillo) Solo vs. tutti (cambia la dinámica) Velocidades–largo, adagio, allegro, andante

15 Claudio Monteverdi (1567–1643)
Compositor de la primera ópera que hoy se conserva Orfeo (1607) Componía óperas para el duque de Mantua Trabajó en San Marcos tras la muerte de Gabrielli From the Baroque emerged the first full-fledged opera, Claudio Monteverdi’s Orfeo. (20 on CD) Claudio Monteverdi (1567–1643) Wrote madrigals, motets and operas. Born in northern Italy, Cremona Served the Duke of Mantua, Duke Gonzaga. Composed two operas for the court Orfeo (1607) and Arianna (1608). When the Duke wouldn’t pay him Monteverdi went to Venice to create music at St. Mark’s after Gabrieli died.

16 Orfeo Primera ópera de la historia, tras los intentos de Peri y Caccini Orpheus, mito griego Sobre el divino poder de la música libretto Orfeo is the first important opera in the history of Western music. Libretto—setting to music a dramatic text Early aim of opera was to reproduce the style of ancient Greek drama Monteverdi’s libretto was from Orpheus, the classical Greek figure Orpheus is the son of Apollo, the Greek god of the sun and of music. Orfeo falls in love with Euridice who is fatally bitten by a serpent and carried off to Hades. Orfeo mourns her death and vows to descent into the Underworld to rescue her.Orfeo can overcome the demonic forces of Hades with the beauty of his song. The theme is the divine power of music.

17 Cantata vs. Sonata Cantata--sagrada, cantada
Sonata (como obra)—tocada por instrumentos en tres o cuatro movimientos (allegro, adagio, allegro) Sonata (como forma)—movimiento en tres partes Exposición (tema o idea) Desarrollo (adorno o embellecedor del tema, puede ser una fuga, un canon, etc.) Reexposición (vuelta al tema principal)

18 Jean-Baptiste Lully 1632–1687 Trabaja en la corte de Luis XIV
Fundador de la ópera francesa Escribe óperas denominadas tragédie lyrique Alceste (ópera y ballet) Ballet des Muses Establece la obertura francesa (pieza de introducción orquestal) Comienzo lento, segunda parte rápida y final lento Grandiosa y pomposa The arias (solos) and recitatives (narrative sections) of Lully's operas have a rhythmic style suited to the rhythm of French language. Lully also composed music for many ballets. He established the French overture, with its slow beginning, faster second section, and often a final return to the slow tempo. Lyruical tragedies based on subjects drawn from mythology and legend.

19 Ballet des Muses Overture Aria Ritornello

20 Henry Purcell 1659–1695 Compositor inglés
Trabaja para el rey en la abadía de Westminster Escribe música para las obras de Dryden “Thy Hand, Belinda” recitativo/basso ostinato Ópera, Dido y Aeneas (1689) Una de las primeras óperas escritas en inglés Henry Purcell 1659–1695 English composer Incorporated Italian and French style to create a uniquely English sound. Worked for the king and held a post at Westminster Abbey Provided music for Dryden’s tragedy, Tyrannick Love Wrote music for Dryden’s version of Shakespeare’s The Tempest Influence on modern rock. Pete Townshend of The Who uses Purcell’s music ijn the opening bars of “Pinball Wizard.” “thy Hand, Belinda” is from an opera, Dido and Aeneas (1689) movement 37, aria

21 George Frideric Handel
1685–1759 Alemán de nacimiento, trabaja en Italia (1706–1710) Y luego en Inglaterra hasta su muerte (1712–1759) 1719—Royal Academy (London opera) Compone óperas y oratorios (Messiah) Música instrumental–clavicembalo, suites, conciertos de órgano, sonatas, y concerti grossi Between 1706 and 1710, Handel worked in Italy, becoming one of the most popular composers of Italian opera. He moved to England in 1712 and lived in London until his death. He is buried in Westminster Abbey. Handel wrote more than 150 instrumental compositions. The best known of these include two orchestra suites, Water Music (about 1717) and Royal Fireworks Music (1749). Handel composed many harpsichord suites, organ concertos, and sonatas for chamber groups. He also wrote a number of concerti grossi, compositions that feature a small group of soloists with a string orchestra.

22 Sonata Sonata might be written for solo keyboard instrument (harpsichord) Might be composed for violin (which is supported by two instruments playing the continuo) Arcangelo Corelli (1653–1713) Purcell (sonata in D major)

23 Concerto Grosso Concerto—el solista se opone a la orquesta (tutti)
Concerto grosso—un pequeño grupo de instrumentos (concertino) se opone a la orquesta (tutti) El concertino suele estar formado por dos o cuatro violines y continuo Corelli, Vivaldi, Bach, Handel Tienen tres movimientos: rápido, lento, rápido Orígen en Italia al final del siglo XVII

24 Antonio Vivaldi 1678–1741, Venecia “El cura rojo” era su mote
Conciertos para solista Las cuatro estaciones Música descriptiva Tres movimientos (rápido, lento, rápido) Antonio Vivaldi, 1678–1741 Nicknamed the Red Priest because he was an Italian priest with red hair. Played for the St. Mark’s choir as a violinist 1703 became a priest became a violin teacher at a girls’ orphanage. Wrote for them ost of his concertos, cantatas, and sacred music. Music was innovative. Gave a liveliness to the structured concerto. Made music for a wide public as opposed to elite few. Bach ws influencedc by Vivaldi’s concertos and arias Worked in Venice but ws popular in other countries, particularly France Moved to Vienna in hopes of working for the court. The king died soon after his arrival and he was left in povery. Buried in an unmarked papuer’s grave. Music fell into obscurity. Music was rvived in the 20th century Wrote over 500 concertos, 46 operas, 73 sonatas, chamber music, oratorios. Most famous work is his Four Seasons. Like a tone painting—trying to capture all the moods of the four seasons without the use of percussion.

25 Johann Sebastian Bach Compositor y organista alemán
J.S. Bach nació en Eisenach, Alemania, en 1685 y murió en 1750 Huérfano desde niño Se crió con sus tíos que eran músicos Escribe música sacra y profana Estilo barroco tardío Escribe toccatas, fugas, cantatas, conciertos Conciertos de Brandenburg

26 Brandenburg Concerto Obra profana para la corte del príncipe Leopoldo
6 conciertos para varias combinaciones instrumentales

27 Toccata—música escrita para instrumentos de teclado
Fuga—pieza contrapúntística para varias voces independientes (voz=línea melódica)

28 Bach y Handel Parecidos
Ambos nacen en 1685 Alemanes Murieron con avanzada edad Se quedaron ciegos de mayores

29 Bach y Handel Diferencias
Bach procede de una familia de músicos Handel de una familia de abogados Bach permaneció en Alemania Handel viajó a Italia y residió en Inglaterra Bach compuso muchas cantatas y tocatas para la liturgia protestante Handel compuso óperas al estilo italiano y oratorios ingleses para la corte Bach fue más conocido en vida como organista que como compositor y Handel como empresario teatral

30 Domenico Scarlatti Nacido en Nápoles en 1685 y muerto en Madrid en 1757 En 1701 gana la plaza de organista y compositor de la corte de Nápoles Se encuentra en Venecia con Handel Realiza gran parte de su carrera en Madrid