History Assignment Music
rbasnet1
Unit2.1Baroque120211.pptxUnit 2 – Baroque Era
MUSI 1307 – Music Literature
1600-1750
Lecture #1 – New Styles in the 17th century
In this Lecture, we will cover:
Historical Context
New Styles of the 17th Century
Invention of the Opera
Historical Events of 1600-1750
1567-1643 - Monteverdi
1632-1687 – Lully
1668-1733 –Couperin
1685-1759 - Handel
1685-1750 – JS Bach
1603 – Death of Elizabeth I
1620 – Arrival of Pilgrims
1626 – Settlement of New York
1610 – Louis XIII becomes King of France
1618-1648 – 30 years War
1667 – Completion of St. Peter’s Square
1692 – Salem Witch Trials
1616 – Shakespeare’s death
1600 – Began Baroque era – time of change, adventure and discovery
Absolute monarchy – King Louis XIV statement “I am the State”
Religious battles
Baroque architecture in palaces
Versailles & Hall of Mirrors (outside of Paris)
Art, literature & music focused on dramatic
Look at two sculptures of David
David by Michelangelo (1504-Renaissance)
David by Bernini (1624-Baroque)
David by Michelangelo (1504-Renaissance)
David by Bernini (1624-Baroque)
Doctrine of Affections
Joy, Anger, Love, Fear, Excitement & Wonder
Descartes
Greek’s Doctrine of Ethos
Concertato medium/concerted madrigal
Cadenza
Basso continuo – played by Harpsichord or lute
Figured Bass
This Photo by Unknown Author is licensed under CC BY-NC
Invention of Opera
Inspiration for Opera
Pastorale Dramas
Madrigal comedy or Madrigal cycles
Intermedio
Florentine Camerata
Guilio Caccini (1550-1618)
Arias
Giulio Caccini: Vedrò 'l mio sol – LISTEN
Jacopo Peri (1561-1633)
first opera “Euridice” based on poem, Dafne
Recitative Style
Peri: “Per quel vago boschettoin” from Euridice LISTENING #1
Claudio Monteverdi (1567-1643)
First to show full potential of opera
Became Maestro di cappella at St. Mark’s Cathedral
Concitato genre / Stile concitato
Monteverdi’s first opera “L’Orfea”
L'Orfeo, excerpt from Act II, Vi ricorda o boschi ombrosi - LISTEN
Teatro San Cassiano (1637)
St. Mark’s Cathedral – he wrote Poppea
L'incoronazione di Poppea Act I, Scene 3, «Signor, deh non partire» LISTENING #2
