Page 68 - (DK) The Classical Music Book - Big Ideas Simply Explained
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66 BIRTH OF THE BAROQUE
onteverdi’s Vespers for known as seconda pratica (“second
IN CONTEXT the Blessed Virgin of practice”), with its emphasis on
M 1610 is one of the most solo voice. In the latter, harmonies
FOCUS influential collections of sacred became more adventurous, with
Birth of the Baroque
works for voices and instruments greater use of monody, in which
BEFORE of the 17th century. No larger choral a melody was underpinned by an
1587 Andrea Gabrieli work had been written before, and instrumental “continuo,” or bass
publishes Concerti, a collection none as long nor as innovative line, in the form of the organ,
of sacred ceremonial music appeared again until J.S. Bach’s harpsichord, or lute. The bass
for voices and instruments, Passions and Handel’s oratorios lines also became more melodic.
introducing the cori spezzati in the 18th century. Embellishments, which had
(“separated choirs”) style. previously been improvised by the
Choral leap performer, were more elaborate and
1602 Lodovico Viadana Written for vespers, the early often fully notated by the composer.
publishes Concerti evening service in the Catholic These developments led to the
ecclesiastici for one to Church, in particular vespers distinct musical characteristics
four voices, the earliest in honor of the Virgin Mary, of the Baroque period, in which
composition with a basso Monteverdi’s Vespers marks the irregularity and extreme expression
continuo—a chordal transition from the old polyphonic sometimes disturb the smooth
instrumental accompaniment. (“many voices”) style known as musical flow, compelling the
prima pratica (“first practice”) of the attention of listeners. Contrasts of
December, 1602 Giulio Renaissance, in which all voices melody, texture, timbre, tempo, and
Caccini premieres Euridice are equal, to the freer Baroque style rhythm abound in Baroque music.
based on the same libretto In addition, instruments assumed a
as Jacopo Peri’s Euridice, Cremona Cathedral, where the more important role and their music
introducing stile recitativo (a young Monteverdi is thought to was more idiomatic, reflecting
declamatory style between have studied composition under the greater technique and better-made,
speaking and singing), choirmaster Marc’Antonio Ingegneri. more reliable instruments.
inspired by the dramas
of the Ancient Greeks.
1607 Monteverdi composes
his groundbreaking first
opera, L’Orfeo, based on the
Greek legend of Orpheus.
AFTER
1619 Heinrich Schütz, a pupil
of Giovanni Gabrieli, publishes
Psalmen Davids, a collection
of psalm settings. He goes on,
in 1629, to produce three sets
of Symphoniae Sacrae, which
give equal importance to
voices and instruments.
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