Baroque (1600 - 1750)

The Baroque period in western classical music is named after Baroque architecture that was in fashion at the time. The Baroque period was all about pomp and pageantry as the different monarchies around Europe tried to outdo each other. Part of this trend included the hiring of a court composer, such as Salieri who was depicted in the movie Amadeus. Court composers were no higher ranked than other servants in the court, and they were often called upon to write music for any occasion, including birthdays and so forth.

The most important developments in this period are as follows:

Composers began rejecting the polyphonic madrigals of the Renaissance period in favor of new compositional devices.
Increased emphasis on the solo voice.
Increased emphasis on musical instruments and instrumental music.

The Development of Opera

Opera is an art form in which singers and musicians perform a dramatic work combining text (called a libretto that also contains the stage directions) and musical score, usually in a theatrical setting. It also makes use of soliloquy; that is, when actor-singers step to the front of the stage and comment on events unfolding during the opera.

During the Baroque in Florence, Italy, a group of composers worked together to create a type of stage music that was as powerful as ancient Greek tragedy. Out of this pursuit came opera and one of the more important composers of the period--Claudio Monteverdi (1567-1643). Monteverdi's composition called L'Orfeo is one of the first operas written and one which brought him to forefront. It is one of the first examples of a composer assigning specific instruments to parts in operas.

L'Orfeo was written in five acts. The synopsis of the plot is included below. Of course, different productions of the opera take liberties with the story line, which sometimes makes it hard to follow, especially when listening to an opera in a language other than one's own. Go to the link below, which is an excellent production of L'Orfeo.

https://www.youtube.com/watch?v=uJ_mjTTDM5A Links to an external site.

1:21 - 2:10. An instrumental toccata begins. Toccata refers to a flourish of trumpets.

2:11 - 6:34. La Musica is escorted onto the stage. She represents the spirit of music and sings a prologue that welcomes the audience, and she sings a hymn of praise to the power of music.

6:34 - 7:19. The scene shifts to a pastoral one. A shepherd announces the wedding of Orfeo and Euridice who are the main characters. Note here which instruments are playing or depicting a pastoral scene (this is also an example of programmatic music or music that is supposed to depict something, such as a pastoral setting) . These are strings, harpsichords, harp, organs, recorders and chitarroni. The brass and horn instruments are used in later scenes to depict Hades.

Watch as much of the production as you want, while trying to figure where you are at in terms of the synopsis below. On You Tube this production is divided into 12 parts, so you will have to find the other eleven parts as you go along, which is easy enough to do. After you have viewed all 12 parts, you can say you saw a complete opera, which can be checked off one's bucket list.

Act 1

After La musica's final request for silence, the curtain rises on Act 1 to reveal a pastoral scene. Orfeo Links to an external site. and Euridice Links to an external site. enter together with a chorus of nymphs and shepherds, who act in the manner of a Greek chorus Links to an external site., commenting on the action both as a group and as individuals. A shepherd announces that this is the couple's wedding day; the chorus responds, first in a stately invocation ("Come, Hymen Links to an external site., O come") and then in a joyful dance ("Leave the mountains, leave the fountains"). Orfeo and Euridice sing of their love for each other before leaving with most of the group for the wedding ceremony in the temple. Those left on stage sing a brief chorus, commenting on how Orfeo used to be one "for whom sighs were food and weeping was drink" before love brought him to a state of sublime happiness.

Act 2

Orfeo returns with the main chorus, and sings with them of the beauties of nature. Orfeo then muses on his former unhappiness, but proclaims: "After grief one is more content, after pain one is happier". The mood of contentment is abruptly ended when La messaggera enters, bringing the news that, while gathering flowers, Euridice has received a fatal snakebite. The chorus expresses its anguish: "Ah, bitter happening, ah, impious and cruel fate!", while the Messaggera castigates herself as the bearing of bad tidings ("For ever I will flee, and in a lonely cavern lead a life in keeping with my sorrow"). Orfeo, after venting his grief and incredulity ("Thou art dead, my life, and I am breathing?"), declares his intention to descend into the Underworld and persuade its ruler to allow Euridice to return to life. Otherwise, he says, "I shall remain with thee in the company of death". He departs, and the chorus resumes its lament.

Act 3

Orfeo is guided by Speranza to the gates of Hades. Having pointed out the words inscribed on the gate ("Abandon hope, all ye who enter here"),^{[n 4]
Links to an external site.} Speranza leaves. Orfeo is now confronted with the ferryman Caronte Links to an external site., who addresses Orfeo harshly and refuses to take him across the river Styx Links to an external site.. Orfeo attempts to persuade Caronte by singing a flattering song to him ("Mighty spirit and powerful divinity"), but the ferryman is unmoved. However, when Orfeo takes up his lyre and plays, Caronte is soothed into sleep. Seizing his chance, Orfeo steals the ferryman's boat and crosses the river, entering the Underworld while a chorus of spirits reflects that nature cannot defend herself against man: "He has tamed the sea with fragile wood, and disdained the rage of the winds."

Act 4

In the Underworld, Proserpina Links to an external site., Queen of Hades, who has been deeply affected by Orfeo's singing, petitions King Plutone Links to an external site., her husband, for Euridice's release. Moved by her pleas, Plutone agrees on the condition that, as he leads Euridice towards the world, Orfeo must not look back. If he does, "a single glance will condemn him to eternal loss". Orfeo enters, leading Euridice and singing confidently that on that day he will rest on his wife's white bosom. But as he sings a note of doubt creeps in: "Who will assure me that she is following?". Perhaps Plutone, driven by envy, has imposed the condition through spite? Suddenly distracted by an off-stage commotion, Orfeo looks round; immediately, the image of Euridice begins to fade. She sings, despairingly: "Losest thou me through too much love?" and disappears. Orfeo attempts to follow her but is drawn away by an unseen force. The chorus of spirits sings that Orfeo, having overcome Hades, was in turn overcome by his passions.

Act 5

Back in the fields of Thrace, Orfeo has a long soliloquy Links to an external site. in which he laments his loss, praises Euridice's beauty and resolves that his heart will never again be pierced by Cupid's arrow. An off-stage echo repeats his final phrases. Suddenly, in a cloud, Apollo descends from the heavens and chastises him: "Why dost thou give thyself up as prey to rage and grief?" He invites Orfeo to leave the world and join him in the heavens, where he will recognise Euridice's likeness in the stars. Orfeo replies that it would be unworthy not to follow the counsel of such a wise father, and together they ascend. A shepherds' chorus concludes that "he who sows in suffering shall reap the fruit of every grace", before the opera ends with a vigorous moresca Links to an external site..

(Wikipedia)

Instrumental Music and the Violin

As mentioned above, one development in the Baroque period was the emphasis on instrumental music and on particular instruments. Because of its expressive qualities, the violin was considered the most valued of these instruments. Violins were the featured instruments of the trio sonata (sonata means sounded). In the video below, you will note there are four instruments playing, which should make this a quartet sonata, right? There are two violins, a cello, harpsichord, and a long necked lute one does not normally see today. It is a theorbo, one of many varieties of theorboes that circulated back in the day.

Why is it still a trio sonata? The cello plays the same music as does the harpsichordist's left hand. Hence, there are only three independent parts to the music, which makes it a trio despite the number of instruments performing.

LISTENING EXAMPLE: Gallo, Trio Sonata #1, first movement Links to an external site. (early 18th century)

https://www.youtube.com/watch?v=rOpYEbA7su8 Links to an external site.

Taking it to the Extreme -- That's Gotta Hurt!

With the development of opera and instrumental music during the Baroque, singers had to have powerful voices, especially so they could be heard above a dense orchestral accompaniment. Remember, back then there was no such thing as amplification. Singers really did have talent and powerful voices. It helps to explain why female sopranos may grate on some listener's hearing. However, high pitched sopranos "cut through" the other dense layers of sound and thus can be heard.

Sometimes, egos got involved as in the case of poor Americo Sbigoli (died 1822), an Italian tenor. For a performance of Pacini's Cesare Egitto, Sbigoli had to sing alongside another famous tenor, Domenico Donzelli who had one of the most powerful voices of the time. Trying to match Donzelli's power, Sbigoli broke a blood vessel in his next and soon after died.

Another way male singers attain powerful voices was to undergo castration before puberty. The ensuing lack of testosterone in the system kept the larynx from developing. Also, the lungs over developed, giving these singers greater volume and breath. Though some were disparaged, others grew to prominence and fame. The practice was abandoned by the late 18th Century.

Castrati, as they were called, were also recruited to sing in Church choirs. The last Sistine castrato to survive was Alessandro Moreschi, who was the only castrato to have made solo recordings. The following link is an example of his voice. Note that the quality of his singing is questionable in this example. The intonation or pitch in some places strains the limits.

Link: Alessandro Moreschi singing Ave Maria Links to an external site.