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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.
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to |
be a matter of debate |
être sujet à débat |
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in no small part |
en grande partie |
to |
range from to |
varier de ...à |
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at different rates |
à différents degrés |
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synchronized |
synchronisée |
to |
experience changes |
vivre des changements |
to |
move to |
évoluer vers |
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late |
finissant |
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absorption |
absorption |
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structuring principle |
principe structurant |
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the wake of |
l'éveil de |
to |
be made |
devenir |
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combination |
combinaison |
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tonal logic |
logique tonale |
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cadence (-s) |
cadence |
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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 |
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overall |
global |
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binary |
binaire |
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rondeau |
rondeau |
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schematics |
schémas |
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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. |
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figure |
personnalité |
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for much of |
pour l'essentiel de |
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music making |
composition de musique |
to |
be revived |
remettre en avant |
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ordained |
ordonné |
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priest |
prêtre |
to |
ceas |
cesser |
to |
say mass |
dire la messe |
to |
be appointed |
être nommé |
an |
orphanage |
orphelinat |
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nearly |
pratiquement |
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cout appointment |
emploi à la cour |
to |
evolve |
évoluer |
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genre (-s) |
genre |
to |
settle |
établir, instaurer |
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pattern (-s) |
modèle |
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three movement plan |
plan en trois mouvements |
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ritornello |
ritournelle |
to |
explore |
explorer |
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programatic titre |
titre |
to |
reflect |
réflèter |
to |
support oneself by |
vivre de |
to |
tour |
tourner |
to |
promote |
promouvoir |
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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.
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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 |
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skilled |
talentueux |
to |
be spread |
être diffusé |
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death |
mort |
to |
secure |
assurer |
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lasting |
durable |
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place of reputation |
réputation |
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playing |
jeu |
to |
be closely tied to |
être étroitement lié à |
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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).
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commission (-s) |
missions |
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nobility |
noblesse |
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continuous |
assidu |
to |
borrow from |
emprunter auprès de |
to |
recycle |
remanier |
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constantly |
constamment |
to |
premiere |
faire une première |
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economic circumstances |
revenus, situation financière |
to |
rise and fall |
monter et descendre (avoir des hauts et des bas) |
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ceremonial |
de cérémonie |
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staging (-so) |
mise en scène |
to |
grow |
croître, grandir |
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exponentially |
de manière exponentielle |
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ambition |
ambition |
to |
rest on |
asseoir sur |
to |
engage |
engager |
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singer (-s) |
chanteur |
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acquaintance |
connaissance |
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