Program Notes
Sinfonia in D (G.8) Giuseppe Torelli (1658-1709)
Giuseppe Torelli, was an Italian violinist, teacher and composer, is considered one of the early developers of the Baroque concerto and concerto grosso. Torelli also composed a significant number of works for the trumpet during the Baroque period (1600-1750). Around 1690, one can begin to see the first works for the trumpet. He was familiar with the virtuoso trumpeter, Giovanni Pellegrino Brandi. Brandi would sometimes play with the San Petronio orchestra, of which Torelli was violin player. This acquaintance could explain Torelli’s awareness of the trumpet’s timbre, dynamic range, and expressive capabilities.
A sinfonia (Italian for symphony) broadly refers to a number of instrumental works from the Baroque period, including symphonies, sonatas, canzonas, concerti, and Italian opera overtures. Even J.S. Bach titles his “three-part” inventions for harpsichord “Sinfonia”. Torelli’s Sinfonia in D (G.8) is a four-movement “concerto” for trumpet, strings and harpsichord continuo. Unlike a concerto grosso, where a main theme is presented and then reappears in fragments, the main themes of Sinfonia in D are developed rather freely. The second movement (Adagio) is a very short, slow, interlude without trumpet that introduces the third movement (Allegro). Hence, the program shows these two movements as “adagio-allegro” joined together.
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This is a departure from the original baroque ensemble, tuning, and trumpet. Instead of a piano, a string ensemble would have accompanied the solo trumpet. The tuning used today is not what Torelli would have envisioned, as our modern tuning would have seemed quite sharp to him. The baroque trumpet originally had no valves and was (and is today) considered very demanding to play. Despite these differences, music played on a modern piccolo trumpet is as exciting to hear today as it was in the
Lastly is the Organ Fugue which is basically described as two or more voices that build upon a theme introduced in the beginning of the composition. Handel’s piece, “Water Music”, comprises of many orchestral musical forms that was made for small or large orchestras. It also involves many suites including those of dance. The basso continuo is a form of music that goes along with others. It the bottom line of what the original producer meant and is told through numerals and symbols which indicate intervals, chords, and non-chord tones. The Four Seasons First Movement: “Spring” by Vivaldi consists of four concerti grossi that was made for string orchestra and a solo
During the Baroque period, instrumental music was written for every conceivable size of ensemble. On the smaller side, the Baroque sonata offers one of the finest examples of chamber music. Two types of sonata are found during this period: the sonata da chiesa (church sonata), and the sonata da camera (chamber sonata). The sonata da chiesa was more somber, while the sonata da camera was, much like the suite, usually comprised of dance forms. The gigue from Corelli's Sonata for 2 violins and lute is a fine example of the sonata da camera
This is the second volume of Richard Taruskin's historical work, and it highlights composers of the seventeenth and eighteenth centuries. He examines the progression of different styles and eras of music.
The second symphony written by composer Jean Sibelius {1865-1957} is one of the best examples in classical music of advanced compositional techniques such as melodic variation, tonal transitions, imitation, and suspension. Written in basic four-movement form (Allegretto, Tempo Andante/ma rubato, Vivacissimo, and Finale), Symphony #2 provides the listener with a fluidity of motion, which constantly engages the ear. The first movement in Sibelius Symphony #2 is written in the key of D major, uses A-B-A form, sets the tonal foundation for the rest of the symphony by incorporating sub-dominant and dominant chord progressions, and demonstrates ingenious suspension and transition techniques. The most noticeable and repeated element of Allegretto is the dominant and sub-dominant chord progression of I (tonic), IV (sub-dominant), V (dominant). First used by all strings in the opening measures of the movement, this progression is continually being played by the low strings (Cellos and Basses). Sibelius writes this movement in A-B-A form so of course each section of this movement has certain characteristics. The first section of the movement (A) opens with the strings playing an expressive style known as Coll`e while stating I, IV, V, I. The oboe plays the melodic material throughout this section, with the flute playing a legato accompaniment line. Also characteristic of section A is the use of 4's to carry the melodic line (horns, oboe, flute, and clarinet). The transition from section A to section B, and the transition from Major to Minor, is made by the clarinet. In section B the melodic line is at first carried by the flute with the oboe and/or clarinet, then the strings take over until a dramatic pause at measure . After the 2 ½ beats of rest the strings come back once again with a dominant chord (V). The melody is then tossed around between the woodwinds and strings until after a brief cut-time section the strings first state the pitsicato ascending chromatic pattern, which is used throughout the piece in chord suspension and transition. My favorite part in movement one then comes next. Sibelius builds and prolongs resolution by continuing the ascending chromatic pattern underneath the horn repeatedly playing the leading tone to V, which seems to have some sort of resolution even though it isn't root. He then holds a German V chord and then resolves to root before going on. The rest of section B is a collage of imitation, Coll`e style i, iv, v (minor), chromatic patterns, chords I, IV, V, and prolonging resolution and "resolving" with dominant chords.
<td width="50%">Baroque OrchestrasClassical OrchestrasString section and basso continuo central to the orchestra. Other instruments are occasional additions.Standard group of four sections: strings, woodwinds, brass and percussion. Different instruments treated individually.Fairly small; generally 10- 40 players.Larger than baroque; great variation to the numbers of players.Flexible use of timbres, e.g. Timpani and trumpets used generally just for festive music.Standardised sections. Most sections used regularly.Tone colour is distinctly secondary to other musical elements.Greater variety of tone colour and more rapid changes of colour. Timbre is unimportant and therefore a piece written for harpsichord could easily be rearranged for a string section.Each section of the classical orchestra has a special role. And each instrument is used distinctively.Wind instruments mainly used as solo instruments or as part of the basso continuo.The wind section had become a separate unit capable of contrast and distinct colour.The harpsichord generally plays an ostinato under the orchestra. Piano not invented.The piano introduces a third colour-tone to be contrasted with the orchestra
Antonio Lucio Vivaldi is well-known as an Italian composer and violinist during the Baroque period. In fact he’s considered the greatest master of Italian baroque, especially in the concerto grosso and violin music. Vivaldi was born in Venice, Italy March of 1678, he lived to the age of 63 and died July of 1741 in Vienna, Austria. Vivaldi’s father, Giovanni Battista Vivaldi, was a barber and professional violinist, he began to teach Antonio at a very young age, he ultimately became a virtuoso violinist. Antonio and his father performed together often and during this time Antonio was exposed to many talented musicians and composers in Venice (Bio. A& E Television Networks, 2015). He tried to play wind instruments, however, he was plagued by a type of bronchial dilation which historians believe was asthma, this inhibited him to successfully learn to play the wind instruments. At age 15, Antonio began to study for the priesthood, yet after his ordination in 1703 into the priesthood, in which he was known as “the Red Priest” (Bio. A & E Television Networks, 2015), he put blame to the “asthma” that he could not give Mass due to his short wind therefore he withdrew himself. He returned to music and accepted “his first position as maestro di violin at the Pio Ospedale della Pieta’, one of four Venetian
In the Baroque era there are familiar names that made this era’s music possible including those of J.S. Bach, G.F. Handle, and A. Vivaldi. These names were involved in the sounds produced during this era which consisted of much of homophony rather than polyphony. When these composers
This paper will concentrate on the analysis and the review of three major performances, Missa Mirabilis, Rhapsody on a Theme of Paganini, Op.43 and Dona Nobis Pacem. These pieces are generally based on religious settings that are very detailed and are represented in a very organized way. This whole idea of this piece was associated with the Eucharist and focused mainly on the body of Christ. Prior to my attendance; I was able to access a recording of Missa Mirabilis, just to get a feel for what I was about to experience. Although the recording was not as good as what I heard first hand at the live performance it was still beautiful. I could only imagine how beautiful it was on the very first day of the performance at the Westminster Cathedral.
Paganini remains one of the most famous virtuosos in the history of music. His concerts were not only astonishing, but controversial. People could not believe what Paganini was able to do; consequently, they explained such virtuosity with diabolic myths, finding in the musician the protagonist of a bizarre tale. However, Paganini was far from being just a myth. He was one of the most famous virtuosos of the fist half of nineteenth century. His name appeared on the cover of several journals, and even books were written about him. His technique represented a “new approach” to the interpretation and exploration of the violin at the time. Moreover, Paganini was the first great virtuoso able to make his audience feel the music inside of them like a spark of emotions exploding from the inside. The intention of this paper is to get a closer look to the phenomenon called Paganini. I will analyze his image from a historical perspective, in order to get a better understanding of the socio-cultural factors that played an important role in the popularity of the musician.
Some of Mozart’s famous pieces were A Little Night Music (Eine kleine Nachtmusik), 1787, Don Juan (Don Giovanni), 1787, The Marriage of Figaro (Le nozze di Figaro), 1786, and The Magic Flute (Die Zauberflöte), 1791. A Little Night Music or Eine kleine Nachtmusik was admired for its lively, joyful quality, and its memorable melodies. In the 21st century, A Little Night Music remains the most frequently performed and iconic of all classical compositions. The second I heard this piece I knew exactly what it was, and loved the sound of the string instruments. Don Giovanni was one of the greatest operas of all that capture enormous power. It also portrayed the feat of the
Throughout the Baroque and Classical periods, one instrument can be regarded as the poster child of the percussion family. Due to its appropriation to the nobility, the timpani were not employed until Jean-Baptiste Lully first utilized the timpani for non-court associated activities. As aforementioned in Chapter I, Lully employed timpani in his operas and orchestral works roughly 50 years preceding its rise to popularization later in the Baroque; mainly by the likes of Bach and Handel. However, one of the biggest composers for timpani, as an instrument, was the composer who is considered to bridge the gap between the Classical and Romantic periods, Beethoven. Beethoven employed timpani to an extent that elevated the instrument above the hyper-rhythmical confines of Mozart and Haydn, to the level of an instrument that fully coalesced with an ensemble and his writing style. In fact, to the present Beethoven’s works
John Warrack, author of 6 Great Composers, stated, “Any study of a composer, however brief, must have as its only purpose encouragement of the reader to greater enjoyment of the music” (Warrack, p.2). The composers and musicians of the Renaissance period need to be discussed and studied so that listeners, performers, and readers can appreciate and understand the beginnings of music theory and form. The reader can also understand the driving force of the composer, whether sacred or secular, popularity or religious growth. To begin understanding music composition one must begin at the birth, or rebirth of music and the composers who created the great change.
The choral writing and texture as well as the lack of counterpoint or difficulty to distinguish it resemble hymn passages which were incorporated into the concerto – particularly in the opening fifteen measures of the second movement, played by the string
The Baroque Masters lecture performance by Dr. Yelena Grinberg showcased a selection of keyboard works composed during the Baroque Ear (1600-1750) by t Baroque Masters George Frederic Handel, Domenico Scarlatti, and Johann Sebastian Bach. The ideal of the Baroque period was that music should not only be pleasing, but it must also induce very strong, visceral emotions and stir the passions of the soul. Some important features of the Baroque ear are the precise and elevated rhythms, clear and defined meter, irregular or embellished melodies, and an enriched and unified texture which was he together by the ongoing ground bass known as basso continuo. Although each of these Baroque Masters composed music that was highly reflective of the Baroque
...chestral introduction with an imperfect cadence. A strong rhythmic ¾ allegro passage, with sequences and descending scales is played by the orchestra, with timpani and cymbals. The music modulates, and a short, quiet woodwind passage is then alternated with an orchestral passage with dotted rhythms, creating a `terraced dynamics' effect. Part B begins with a major clarinet melody accompanied by pizzicato strings. A minor flute sequence follows, and is followed by a repetition of the oboe melody. A string sequence is then played, imitated by the oboe. There is a crescendo, then the rhythmic orchestral melody returns, alternated with a short flute passage. There are suspensions, descending scales and a crescendo, followed by a strong rhythmic passage with the timpani playing on the beat. Imperfect cadences are played, before the piece finishes with a perfect cadence.