LATE BAROQUE MUSIC


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Late Baroque Music
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Late Baroque music (1707–1760)

The dividing line between middle and late Baroque is a matter of some debate. Dates for the beginning of "late" baroque style range from 1680 to 1720. In no small part this is because there was not one synchronized transition; different national styles experienced changes at different rates, and at different times. Italy is generally regarded as the first country to move to the late Baroque style. The important dividing line in most histories of Baroque music is the full absorption of tonality as a structuring principle of music. This was particularly evident in the wake of theoretical work by Rameau, who replaced Lully as the important French opera composer. At the same time, through the work of Fux, the Renaissance style of polyphony was made the basis for the study of counterpoint. The combination of modal counterpoint with tonal logic of cadences created the sense that there were two styles of composition - the homophonic dominated by vertical considerations, and the polyphonic dominated by imitation and contrapuntal considerations.




to be a matter of debate être sujet à débat
in no small part en grande partie
to range from to varier de ...à
at different rates à différents degrés
synchronized synchronisée
to experience changes vivre des changements
to move to évoluer vers
late finissant
absorption absorption
structuring principle principe structurant
the wake of l'éveil de
to be made  devenir
combination combinaison
tonal logic logique tonale
cadence (-s) cadence
The forms which had begun to be established in the previous era flourished and were given wider and wider range of diversity; concerto, suite, sonata, concerto grosso, oratorio, opera and ballet all saw a proliferation of national styles and structures. The overall form of pieces was generally simple, with repeated binary forms (AABB), simple three part forms (ABC), and rondeau forms being common. These schematics would in turn influence later composers.
to  flourish fleurir, prospérer
overall global
binary binaire
rondeau rondeau
schematics schémas
Antonio Vivaldi (1678–1741) is a figure who was, for much of the 19th century, forgotten in concert music making, only to be revived in the 20th century. Born in Venice in 1678, he began as an ordained priest of the Catholic church, but ceased to say mass by 1703. Around the same time he was appointed maestro di violino at a Venetian girls orphanage with which he would have a professional relationship until nearly the end of his life. Vivaldi's reputation came not from having an orchestra or court appointment, but from his published works, including trio sonatas, violin sonatas and concerti. They were published in Amsterdam and circulated widely through Europe. It is in these instrumental genres of Baroque sonata and Baroque concerto, which were still evolving, that Vivaldi's most important contributions were made. He settled on certain patterns, such as a fast-slow-fast three-movement plan for works, and the use of ritornello in the fast movements, and explored the possibilities in hundreds of works - 550 concerti alone. He also used programatic titles for works, such as his famous The Four Seasons. Vivaldi's career reflects a growing possibility for a composer to be able to support himself by his publications, tour to promote his own works, and have an independent existence.
figure personnalité
for much of pour l'essentiel de
music making composition de musique
to be revived remettre en avant
ordained ordonné
priest prêtre
to ceas cesser
to say mass dire la messe
to be appointed être nommé
an orphanage orphelinat
nearly pratiquement
cout appointment emploi à la cour
to evolve évoluer
genre (-s) genre
to settle établir, instaurer
pattern (-s) modèle
three movement plan plan en trois mouvements
ritornello ritournelle
to explore explorer
programatic titre titre
to reflect réflèter
to support oneself by vivre de
to tour tourner
to promote promouvoir

Domenico Scarlatti (1685–1757) was one of the leading keyboard virtuosi of his day, who took the road of being a royal court musician, first in Portugal, and then, starting in 1733 in [[Madrid], Spain, where he was to spend the rest of his life. His father, Alessandro Scarlatti, was a member of the Neapolitan School of opera, and has been credited with being among its most skilled members. Domenico was also to write operas and church music, but it is the publication of his keyboard works, which spread more widely after his death, which have secured him a lasting place of reputation. Many of these works were written for his own playing, but others for his royal patrons. As with his father, his fortunes were closely tied to his ability to secure, and keep, royal favour.

of his day de son temps
to take the road of prendre la voie de
to spend passer
the rest of one's life le reste de sa vie
to be credited être  reconnu
skilled talentueux
to be spread être diffusé
death mort
to secure assurer
lasting durable
place of reputation réputation
playing  jeu
to be closely tied to être étroitement lié à

But perhaps the most famous composer to be associated with royal patronage was George Frideric Handel (1685–1759), who was born in Germany, studied for three years in Italy, but would go to London in 1711, and use it as a base of operations for long and profitable career that included independently produced operas and commissions for nobility. He was constantly searching for successful commercial formulas, in opera, and then in oratorios in English. A continuous worker, Handel borrowed from others, and recycled his own material constantly. He was also known for reworking pieces such as the famous Messiah, which premiered in 1741, for available singers and musicians. Even as his economic circumstances rose and fell with his productions, his reputation, based on published keyboard works, ceremonial music, constant stagings of operas and oratorios and concerto grossi, grew exponentially. By the time of his death, he was regarded as the leading composer in Europe, and was studied by later classical-era musicians. Handel, because of his very public ambitions, rested a great deal of his output on melodic resource combined with a rich performance tradition of improvisation and counterpoint. The pratice of ornamentation(music) in the baroque style was at a very high level of development under his direction. He travelled all over Europe to engage singers and learn the music of other composers, and thus had among the widest acquaintance of other styles of any composer.

Other leading figures of the late Baroque, are J.S. Bach (1685–1750), Georg Philipp Telemann (1681–1767), and Jean-Philippe Rameau (1683–1764).


commission (-s) missions
nobility noblesse
continuous assidu
to borrow from emprunter auprès de
to recycle remanier
constantly constamment
to premiere faire une première
economic circumstances revenus, situation financière
to rise and fall monter et descendre (avoir des hauts et des bas)
ceremonial de cérémonie
staging (-so) mise en scène
to grow croître, grandir
exponentially de manière exponentielle
ambition ambition
to rest on asseoir sur
to engage engager
singer (-s) chanteur
acquaintance connaissance