Tercentenary of Three Baroque Masters
Identifieur interne : 000230 ( Istex/Corpus ); précédent : 000229; suivant : 000231Tercentenary of Three Baroque Masters
Auteurs :Source :
- Music Educators Journal [ 0027-4321 ] ; 1985-01.
English descriptors
- Teeft :
Url:
DOI: 10.1177/002743218507100502
Links to Exploration step
ISTEX:26C4CAB1CA4C6332B3806D3A085330C22942212CLe document en format XML
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title xml:lang="en">Tercentenary of Three Baroque Masters</title></titleStmt><publicationStmt><idno type="wicri:source">ISTEX</idno><idno type="RBID">ISTEX:26C4CAB1CA4C6332B3806D3A085330C22942212C</idno><date when="1985" year="1985">1985</date><idno type="doi">10.1177/002743218507100502</idno><idno type="url">https://api.istex.fr/ark:/67375/M70-KMQGPMVD-M/fulltext.pdf</idno><idno type="wicri:Area/Istex/Corpus">000230</idno><idno type="wicri:explorRef" wicri:stream="Istex" wicri:step="Corpus" wicri:corpus="ISTEX">000230</idno></publicationStmt><sourceDesc><biblStruct><analytic><title level="a" type="main" xml:lang="en">Tercentenary of Three Baroque Masters</title></analytic><monogr></monogr><series><title level="j">Music Educators Journal</title><idno type="ISSN">0027-4321</idno><idno type="eISSN">1945-0087</idno><imprint><publisher>SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><date type="published" when="1985-01">1985-01</date><biblScope unit="volume">71</biblScope><biblScope unit="issue">5</biblScope><biblScope unit="page" from="38">38</biblScope><biblScope unit="page" to="41">41</biblScope></imprint><idno type="ISSN">0027-4321</idno></series></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0027-4321</idno></seriesStmt></fileDesc><profileDesc><textClass><keywords scheme="Teeft" xml:lang="en"><term>Bach</term><term>Baroque music</term><term>Domenico</term><term>Handel</term><term>Harpsichord</term><term>Italian operas</term><term>Johann</term><term>Johann sebastian bach</term><term>Organist</term><term>Quieter sound</term><term>Scarlatti</term><term>Thorough bass</term></keywords></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader></TEI><istex><corpusName>sage</corpusName><keywords><teeft><json:string>handel</json:string><json:string>domenico</json:string><json:string>scarlatti</json:string><json:string>organist</json:string><json:string>italian operas</json:string><json:string>johann</json:string><json:string>harpsichord</json:string><json:string>johann sebastian bach</json:string><json:string>baroque music</json:string><json:string>quieter sound</json:string><json:string>thorough bass</json:string><json:string>bach</json:string></teeft></keywords><articleId><json:string>10.1177_002743218507100502</json:string></articleId><arkIstex>ark:/67375/M70-KMQGPMVD-M</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>other</json:string></originalGenre><qualityIndicators><score>3.516</score><pdfWordCount>1504</pdfWordCount><pdfCharCount>9218</pdfCharCount><pdfVersion>1.4</pdfVersion><pdfPageCount>4</pdfPageCount><pdfPageSize>594 x 828 pts</pdfPageSize><refBibsNative>false</refBibsNative><abstractWordCount>1</abstractWordCount><abstractCharCount>0</abstractCharCount><keywordCount>0</keywordCount></qualityIndicators><title>Tercentenary of Three Baroque Masters</title><genre><json:string>other</json:string></genre><host><title>Music Educators Journal</title><language><json:string>unknown</json:string></language><issn><json:string>0027-4321</json:string></issn><eissn><json:string>1945-0087</json:string></eissn><publisherId><json:string>MEJ</json:string></publisherId><volume>71</volume><issue>5</issue><pages><first>38</first><last>41</last></pages><genre><json:string>journal</json:string></genre></host><namedEntities><unitex><date><json:string>1708</json:string><json:string>1710</json:string><json:string>1737</json:string><json:string>the seventeenth century</json:string><json:string>1709</json:string><json:string>1700</json:string><json:string>1740</json:string><json:string>seventeenth century</json:string><json:string>1723</json:string><json:string>1706</json:string><json:string>1707</json:string><json:string>1714</json:string><json:string>1703</json:string><json:string>1985</json:string></date><geogName></geogName><orgName><json:string>Spain and England</json:string><json:string>In France, Jean-Baptiste Lully</json:string><json:string>Royal Academy of Music</json:string></orgName><orgName_funder></orgName_funder><orgName_provider></orgName_provider><persName><json:string>Schiitz</json:string><json:string>Philipp Telemann</json:string><json:string>Heinrich Schiitz</json:string><json:string>Christian Bach</json:string><json:string>Correlli</json:string><json:string>Arcangelo</json:string><json:string>Monteverdi</json:string><json:string>Handel</json:string><json:string>Leopold</json:string><json:string>Jean Philip</json:string><json:string>Scarlatti</json:string><json:string>Antonio Vivaldi</json:string><json:string>Philipp Emanuel</json:string><json:string>Wilhelm Friedemann</json:string><json:string>Sebastian Bach</json:string><json:string>Johann Cristoph</json:string><json:string>Domenico Scarlatti</json:string><json:string>Maria Barbara</json:string><json:string>Anna Magdalena</json:string></persName><placeName><json:string>Naples</json:string><json:string>Leipzig</json:string><json:string>Germany</json:string><json:string>Halle</json:string><json:string>Hanover</json:string><json:string>Eisenach</json:string><json:string>St. Matthew</json:string><json:string>Poland</json:string><json:string>London</json:string><json:string>St. Thomas</json:string><json:string>Madrid</json:string><json:string>St. Michael</json:string><json:string>Rome</json:string><json:string>Vatican</json:string><json:string>Weimar</json:string><json:string>Italy</json:string><json:string>Arnstadt</json:string><json:string>Spain</json:string><json:string>Goldberg</json:string></placeName><ref_url></ref_url><ref_bibl><json:string>Almira and Nero (1705)</json:string></ref_bibl><bibl></bibl></unitex></namedEntities><ark><json:string>ark:/67375/M70-KMQGPMVD-M</json:string></ark><publicationDate>1985</publicationDate><copyrightDate>1985</copyrightDate><doi><json:string>10.1177/002743218507100502</json:string></doi><id>26C4CAB1CA4C6332B3806D3A085330C22942212C</id><score>1</score><fulltext><json:item><extension>pdf</extension><original>true</original><mimetype>application/pdf</mimetype><uri>https://api.istex.fr/ark:/67375/M70-KMQGPMVD-M/fulltext.pdf</uri></json:item><json:item><extension>zip</extension><original>false</original><mimetype>application/zip</mimetype><uri>https://api.istex.fr/ark:/67375/M70-KMQGPMVD-M/bundle.zip</uri></json:item><istex:fulltextTEI uri="https://api.istex.fr/ark:/67375/M70-KMQGPMVD-M/fulltext.tei"><teiHeader><fileDesc><titleStmt><title level="a" type="main" xml:lang="en">Tercentenary of Three Baroque Masters</title></titleStmt><publicationStmt><authority>ISTEX</authority><publisher scheme="https://scientific-publisher.data.istex.fr">SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><availability><licence><p>sage</p></licence></availability><p scheme="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B"></p><date>1985</date></publicationStmt><notesStmt><note type="other" scheme="https://content-type.data.istex.fr/ark:/67375/XTP-7474895G-0">other</note><note type="journal" scheme="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</note></notesStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a" type="main" xml:lang="en">Tercentenary of Three Baroque Masters</title><idno type="istex">26C4CAB1CA4C6332B3806D3A085330C22942212C</idno><idno type="ark">ark:/67375/M70-KMQGPMVD-M</idno><idno type="DOI">10.1177/002743218507100502</idno><idno type="article-id">10.1177_002743218507100502</idno></analytic><monogr><title level="j">Music Educators Journal</title><idno type="pISSN">0027-4321</idno><idno type="eISSN">1945-0087</idno><idno type="publisher-id">MEJ</idno><idno type="PublisherID-hwp">spmej</idno><imprint><publisher>SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><date type="published" when="1985-01"></date><biblScope unit="volume">71</biblScope><biblScope unit="issue">5</biblScope><biblScope unit="page" from="38">38</biblScope><biblScope unit="page" to="41">41</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>1985</date></creation><langUsage><language ident="en">en</language></langUsage></profileDesc><revisionDesc><change when="1985-01">Published</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/ark:/67375/M70-KMQGPMVD-M/fulltext.txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="corpus sage not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="UTF-8"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.3 20070202//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="other" dtd-version="2.3" xml:lang="EN"><front><journal-meta><journal-id journal-id-type="hwp">spmej</journal-id><journal-id journal-id-type="publisher-id">MEJ</journal-id><journal-title>Music Educators Journal</journal-title><issn pub-type="ppub">0027-4321</issn><publisher>
<publisher-name>SAGE Publications</publisher-name>
<publisher-loc>Sage CA: Los Angeles, CA</publisher-loc>
</publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1177/002743218507100502</article-id><article-id pub-id-type="publisher-id">10.1177_002743218507100502</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>Tercentenary of Three Baroque Masters</article-title></title-group><pub-date pub-type="ppub"><month>01</month><year>1985</year></pub-date><volume>71</volume><issue>5</issue><fpage>38</fpage><lpage>41</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Other</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> Tercentenary of Three Baroque Masters Photograph courtesy of Barak Norman. Smithsonian Institution uee, fcrd&ric /7*Vl_ JOHANN SEBASTIAN BACH Composed works for orchestra, chamber ensembles, keyboard, lute, organ, and chorus; religious cantatas, oratorios, songs, and arias. Major works: Si Matthew Passion, two- and three-part inventions, Well-Tempered Clavier, and Brandenburg Concertos. GEORGE FRIDERIC HANDEL Composed operas, dramatic oratorios, cantatas and chamber duets, church music, vocal music, instrumental and chamber music, and major works for orchestra. Best known works: Messiah, Si John Passion, Water Music, and Music for Royal Fireworks. (GIUSEPPE) DOMENICO SCARLATTI Known primarily for his more than five hundred keyboard sonatas, Domenico Scarlatti also wrote masses, cantatas, concerti grossi, and organ fugues. Photograph by Burkat Shudi, Smithsonian Institution fl?/&MttZ4VU& i wm If tdfei i 1 The New Music Baroque composers introduced a shorthand for writing music known as “thorough bass” or “figured bass.” (“Thorough” is an old form of “through.”) The keyboard or lute player would not find all of the notes he was to play written out on his part. Instead, he would have bass notes and numbers below them that indicated what the entire chord should be, and he would make up a part based on this. (The system worked very much the way jazz does today). Thorough bass was useful for composers who were expected to come up with a new piece of music each week for the duke or king who employed them. To us, most Baroque music may seem to have a lot going on at once-many voices or instrumental parts interweaving. Although the Baroque made the first steps away from a style of music in which each part or voice seemed to have a life of its own, it does sound complicated if what we're used to is guitars playing chords to accompany a solo voice. Listen to a piece of Baroque music and you can hear how individual instruments or voices seem to trade the melody back and forth. In hard rock, country, disco, or most any other popular music, the same basic sets of notes-scales- are used, and even many of the same chord progressions. The major and minor scales we take for granted were developed during the Baroque era, replacing scales called “modes.” (Modes didn't disappear entirely, however; they are still in use, especially in jazz and some folk music). Even more basic than deciding the sets of notes we will use is deciding exactly what pitch each note in the scale will have. In the beginning of the Baroque era, a BE, for instance, was not always a Bk Different systems of tuning instruments were used that sounded good (as long as all of the musicians at a given performance agreed on the tuning) but didn't allow composers much flexibility, especially in moving from one key to another. A system called “even-tempered tuning” came into use that evened-out the intervals and allowed any scale to be used. This is the system we still use today. Instruments Some instruments we commonly think of as instruments for classical music either didn't exist during the Baroque era or existed in a different form. The piano had not been invented, and keyboard players used its predecessors, the harpsichord and clavichord. Both have a much lighter, quieter sound then the piano. The pipe organ was a popular instrument, and also had a quieter sound than large organs built later. Violins began to replace the softer viols. Oboes, bassoons, flutes, trombones, and trumpets (without valves) were used extensively. Players of all instruments were expected to be able to make up slightly altered versions of what was written, so that no two performances were ever quite the same. Technical improvements helped bring players to new levels of expertise. Composers In Italy, Claudio Monteverdi wrote the first operas, in a style that demonstrates the importance Baroque composers placed on emotional expression. Several composers took advantage of the new virtuosity of musicians by writing concertos. A concerto is a work in which one instrument is featured against the background of several instruments playing an accompaniment. A similar form, the concerto grosso, contrasted two groups of instruments. Antonio Vivaldi and Arcangelo Co-relli excelled at this style. A well-known example is Vivaldi's concerto Four Seasons. Correlli also wrote many sonatas, works of several movements for one or two instruments. Domenico Scarlatti developed this form for harpsichord. Heinrich Schiitz, for whom 1985 marks the 400th anniversary of his birth, was the leading German composer of the seventeenth century. He took musical styles that had been developed in Italy and gave them a German feeling. Schiitz primarily wrote vocal church music. Georg Philipp Telemann was another prominent German composer, his reputation during his lifetime far exceeding that of his countryman Johann Sebastian Bach. His tremendous output included several operas, 120 concertos, and about 1,000 suites (a suite is a series of several short pieces styled after various dances). In France, Jean-Baptiste Lully dominated the musical scene in the mid-seventeenth century, perhaps through ambition as much as talent. Jean Philip Rameau is remembered mainly for his operas, although he didn't begin working in this form until he was in his fifties. JOHANN SEBASTIAN BACH The finest and best-known of the Bach family dynasty, Johann Sebastian Bach was born March 21,1685, in Eisenach, Germany. Orphaned at age ten, he went to live with his brother Johann Cristoph, who taught him keyboard music. Extraordinarily gifted, he worked around the clock, and his technical virtuosity outshined other organists. In 1700 Bach was chorister at St. Michael's Church, Liineburg. Bach taught himself composition and at eighteen began his career as a Lutheran musician, serving various courts and towns: six months in Weimar as an orchestral musician, in 1703 as church organist in Arn-stadt, in 1707 as organist in Muhl-hausen, and in 1708 as court organist in Weimar, where he remained for nine years at the Kapelle of the Duke of Saxe-Weimar. By then Bach was well known as a virtuoso 40 MEJ January 85 vv on the keyboard and had composed some of his finest organ works and cantatas. He then left for Kothen. Remaining until 1723 under the patronage of Prince Leopold, there he composed violin concertos, sonatas, and suites, as well as the Brandenburg Concertos. It is thought that some of Bach's works were composed for his twenty children. He had seven by his first wife, his cousin Maria Barbara. After she died, he married Anna Magdalena and had thirteen children. Three of his sons, Wilhelm Friedemann, Carl Philipp Emanuel, and Johann Christian Bach, became famous composers. He was selected as cantor at St. Thomas, Leipzig, in 1723, where he spent his remaining years in the highest musical post of the Lutheran church in Germany. In a productive blitz, he composed a new religious work for services each week, resulting in more than 250 church cantatas. He also taught students and performed with them. While there, he composed his St. Matthew Passion, Christmas Oratorio, Goldberg Variations, and the unfinished Kunst der Fuge (Art of Fugue). In 1740 he began to suffer from poor eyesight, and he spent the last years of his life in blindness. Bach died July 28, 1750, in Leipzig. A master of counterpoint-weaving independent melodies in numerous simultaneous parts-and rich harmonies, his music is also known for deep rhythms, technical virtuosity, and intensity. Bach composed the first keyboard concertos, and unified Italian opera and concerto styles, French harpsichord and dance styles, and German organ and church music. Famous mainly as an organ virtuoso during his lifetime, with fewer than a dozen compositions published before his death, his outstanding ability as a composer was not acknowledged until many years later. With the sole exception of opera, Bach composed all types of music: cantatas, concertos, sonatas, mass- es, and passions. It is for the fugue, a form that presents a theme with repetitions that seem to chase or move away from each other, that he is most well known. Among his greatest achievements are major works of polyphonic music and notable refinement of skill and technique. GEORGE FRIDERIC HANDEL Born February 23, 1685 in Halle, Germany, to a barber-surgeon who opposed music as a career for his son, by the age of eight Handel was already an accomplished musician. At twelve, Handel assumed the position of assistant organist at the Halle cathedral, learning from the organist. He moved to Hamburg in 1703, where he played violin in the opera orchestra and composed two operas, Almira and Nero (1705). He was unable to leave his law studies until his father died, but at that time he set off for Italy, where he was retained by a prince in 1706. He was acclaimed as a genius, rival of contemporary Italian composers, and there he composed his first two oratorios. With this success, in 1710 he moved back to Germany for a brief period in Hanover as court conductor. He then settled in London where he was popular with royalty during the next thirty-five years. In 1714 his former boss, the elector of Hanover, became the King of England, and Handel gained his favor by dedicating Water Music to him. He continued to compose Italian operas in England, while picking up some aspects of English musical style. As musical director of the Royal Academy of Music, Handel became London's leading director of Italian operas and one of the period's most important opera composers. Following a stroke in 1737, Handel wrote numerous oratorios over the next few years, including his most famous, Messiah, which he completed in about three weeks. Although not known primarily as a religious composer, Handel shows his genius in this work, one of his many that fuse drama and music. He is now best known for his seventeen English oratorios-which are unusual for the period due to the prominence of the chorus-rather than for his Italian operas. Blind for his last seven years, Handel continued to conduct many performances. He died April 14, 1759, in London, but his music remained popular for more than a century. Handel was a prolific composer in many genres, and he contributed much to English church music, secular vocal music, and instrumental music of various types, particularly the concerto. (GIUSEPPE) DOMENICO SCARLATTI Domenico Scarlatti was born October 26, 1685 in Naples, Italy. Pupil of his father, Allessandro, the young Scarlatti was organist in Naples's royal chapel, and by 1703 was writing operas. Domenico participated in a harpsichord playing contest with Handel in 1709, resulting in a tie. From 1709 to 1714 he continued to write operas in Rome for the queen of Poland. An appointment to director of music to the Portuguese Embassy and to a chapel at the Vatican boosted his career. He traveled to Spain and England, settling in his later years in Madrid, where he worked for Maria Barbara, a former student who had become queen of Spain. His original and brilliant sonatas, 555 in number, were written mostly for harpsichord, but Scarlatti also wrote for stage and for church. He died July 23, 1757, in Madrid, Spain. What his father achieved for opera, Domenico did for keyboard playing. Known for his freedom of keyboard style, he introduced rapid repetitions, crossed hands, and double-note passages. </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Tercentenary of Three Baroque Masters</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Tercentenary of Three Baroque Masters</title></titleInfo><typeOfResource>text</typeOfResource><genre type="other" displayLabel="other" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-7474895G-0">other</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1985-01</dateIssued><copyrightDate encoding="w3cdtf">1985</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><relatedItem type="host"><titleInfo><title>Music Educators Journal</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0027-4321</identifier><identifier type="eISSN">1945-0087</identifier><identifier type="PublisherID">MEJ</identifier><identifier type="PublisherID-hwp">spmej</identifier><part><date>1985</date><detail type="volume"><caption>vol.</caption><number>71</number></detail><detail type="issue"><caption>no.</caption><number>5</number></detail><extent unit="pages"><start>38</start><end>41</end></extent></part></relatedItem><identifier type="istex">26C4CAB1CA4C6332B3806D3A085330C22942212C</identifier><identifier type="ark">ark:/67375/M70-KMQGPMVD-M</identifier><identifier type="DOI">10.1177/002743218507100502</identifier><identifier type="ArticleID">10.1177_002743218507100502</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/ark:/67375/M70-KMQGPMVD-M/record.json</uri></json:item></metadata><author></author><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/BourgeoisGentilV1/Data/Istex/Corpus
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000230 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Istex/Corpus/biblio.hfd -nk 000230 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/Musique
|area= BourgeoisGentilV1
|flux= Istex
|étape= Corpus
|type= RBID
|clé= ISTEX:26C4CAB1CA4C6332B3806D3A085330C22942212C
|texte= Tercentenary of Three Baroque Masters
}}
| This area was generated with Dilib version V0.6.33. |  |