We spent a little more time on 12-tone music, pointing out different characteristics of the music including the multitude of ways to use a row. We also discussed how composers used this system and its contributions to contemporary music. Nice video about Schoenberg. But then we did an abrupt spin, went back a couple of hundred years and landed on the Baroque period!
We discussed the two types of Sonatas, the parts of a suite, the trio sonata, the passacaglia and chaconne, the toccata, the cantata, and of course opera. Composers mentioned were Corelli, Vivaldi, Rameau, Frescobaldi, Purcell, and J.S. Bach. Theoretical concepts include the anatomy of a fugue, da capo aria, non-harmonic tones, homophony, text painting, the doctrine of affections, and the establishment of major and minor keys.
Johann Fux's text on counterpoint and Rameau's text on harmony are both very important treatises as are the writings on music by Michael Praetorius.
The anatomy of a fugue includes the subject, countersubject, answers--both real and tonal, development, the use of stretto, contrary motion, sequence, augmentation, diminution, pedal point, and motivic application. We listened to several examples of fugues from the Well-tempered Clavier http://www2.nau.edu/tas3/wtc.html. As we listened, we pointed out the different kinds of answers and the various techniques used by Bach for his fugues.
Continuing study on the fugue and Baroque theory, we discussed counterpoint, harmony, and found ourselves in the land of the Doctrine of Affections. Connected to this was a brief listen to the music of Rameau and his influence on music history. His identification of the application of the harmonic series, his recognition of the sounds of nature, and his use of the the doctrine of affections for particular emotional response, were all established as significant.
Finally we get to the master himself, Johann Sebastian Bach whose music ranges from concertos to masses, cantatas, chorales, organ works, instrumental pieces, small forms, and large forms. His music is characterized by beauty of line, adherence to structure, complex counterpoint, harmonic invention, rhythmic drive, and richness of texture. All these things within the established Baroque harmonic framework! I encouraged everyone to study the Well-tempered Clavier as a way to understand the parts of a fugue as well as the harmony supporting the fugue.
How about that Crab Canon? Bach was a brilliant composer who melded mathematical purity and structure with great expression and powerful emotions.
Okay, were you moved, put off, confused or indifferent about the Vivaldi countertenor performance?
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It moved me to hear his voice, and it definitely brought Vivaldi to life in a different way. It was very enjoyable to listen to. The sound and timbre was somewhat of a glimpse of the male soprano sound during the Baroque Era.
ReplyDeleteI actually enjoyed listening to the countertenor. I was perplexed as to how a man could sing in the range of a woman and actually sound good. However, once I stopped focusing on his gender I was very pleased by the sound of his voice.
ReplyDeleteI loved hearing such a talented performer! I was in awe at how a man could have such a pure sound at such a high range. It was beautiful, and he was truly a great performer!
ReplyDeleteI personally enjoy listening to a good countertenor. Their sound, albeit in the range of a mezzo or contralto, is completely different. It feels brighter and has an effortless agility in the upper range. There is always a chance that the breath pressure can overwhelm the falsetto mechanism, but then again, that's why I said a good counter, just like any voice type.
ReplyDeleteI just get a kick out the fact that most counters are really baritones.