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49-643: Prior to Maximillian I taking control of Tyrol, there was already a choir, with the organist Paul Hofhaimer and the composer and singer Pierre de la Rue at the Grande chapelle in Vienna, the musical establishment of the Burgundian-Habsburg court. Maximilian conquered the territory in 1490 and entered Vienna but he did not set up his court there until 1498. This was the year the Hofmusikkapelle

98-459: A basso continuo group (comprising chord-playing instrumentalists such as harpsichordists and lute players improvising chords from a figured bass part) while a group of bass instruments— viol , cello , double bass —played the bassline . A characteristic Baroque form was the dance suite . While the pieces in a dance suite were inspired by actual dance music, dance suites were designed purely for listening, not for accompanying dancers. During

147-437: A lute player who would play the bassline and improvise the chords and several bass instruments (e.g., bass viola , cello , double bass ) which would play the bassline. With the writing of the operas L'Orfeo and L'incoronazione di Poppea among others, Monteverdi brought considerable attention to this new genre. This Venetian style was taken handily to Germany by Heinrich Schütz , whose diverse style also evolved into

196-472: A court style composer is Jean-Baptiste Lully . He purchased patents from the monarchy to be the sole composer of operas for the French king and to prevent others from having operas staged. He completed 15 lyric tragedies and left unfinished Achille et Polyxène . Lully was an early example of a conductor ; he would beat the time with a large staff to keep his ensembles together. Musically, he did not establish

245-423: A gypsy.] Hofhaimer was a spectacularly gifted improviser, and witnesses attested to his unequaled gift; he could play for hours, never repeating himself: "one would wonder not so much how the ocean gets all the water with which to feed the rivers, but how this man gets the ideas for all his melodies." Not only was he a performing musician, though, he was the teacher of an entire generation of German organists: and

294-407: A solo singing accompanied by a kithara (an ancient strummed string instrument). The early realizations of these ideas, including Jacopo Peri 's Dafne and L'Euridice , marked the beginning of opera, which was a catalyst for Baroque music. Concerning music theory, the more widespread use of figured bass (also known as thorough bass ) represents the developing importance of harmony as

343-463: A technical term from scholastic logic. The term "baroque" is generally used by music historians to describe a broad range of styles from a wide geographic region, mostly in Europe, composed over a period of about 150 years. Though it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music, in an anonymous, satirical review of

392-566: A tool for expression and communication. The etymology of baroque is likely via the French baroque (which originally meant a pearl of irregular shape), and from the Portuguese barroco ("irregular pearl"); also related are the Spanish barrueco and the Italian barocco . The term is of uncertain ultimate origin, but possibly from Latin verrūca ("wart") or possibly from Baroco ,

441-620: A travelling musician at the peripatetic imperial court was harsh. Hofhaimer had to move frequently between Augsburg, Vienna, Innsbruck and other cities. The musicians even encountered mortal danger as they followed the Emperor during his military campaigns. Later, in 1524, when he had already joined the service of the Archbishop of Salzburg, Hofhaimer claimed in a letter to Vadian: Ich dannck got, das ich nymmer wye ayn zigeyner umraysen bedorff. [I thank God that I no longer have to travel like

490-530: Is Antonio Vivaldi , who later composed hundreds of works based on the principles in Corelli's trio sonatas and concerti. In contrast to these composers, Dieterich Buxtehude was not a creature of court but instead was church musician, holding the posts of organist and Werkmeister at the Marienkirche at Lübeck. His duties as Werkmeister involved acting as the secretary, treasurer, and business manager of

539-514: Is often labelled the Age of Absolutism , personified by Louis XIV of France. The style of palace, and the court system of manners and arts he fostered became the model for the rest of Europe. The realities of rising church and state patronage created the demand for organized public music, as the increasing availability of instruments created the demand for chamber music , which is music for a small ensemble of instrumentalists. One pre-eminent example of

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588-572: The Encyclopédie : "Baroque music is that in which the harmony is confused, and loaded with modulations and dissonances. The singing is harsh and unnatural, the intonation difficult, and the movement limited. It appears that term comes from the word 'baroco' used by logicians". Rousseau was referring to the philosophical term baroco , in use since the 13th century to describe a type of elaborate and, for some, unnecessarily complicated academic argument. The systematic application by historians of

637-585: The Renaissance period , and was followed in turn by the Classical period after a short transition (the galant style ). The Baroque period is divided into three major phases: early, middle, and late. Overlapping in time, they are conventionally dated from 1580 to 1650, from 1630 to 1700, and from 1680 to 1750. Baroque music forms a major portion of the " classical music " canon , and is widely studied, performed, and listened to. The term " baroque " comes from

686-498: The Western classical music practice. For instance, Italian composers switched to the galant style around 1730, while German composers such as Johann Sebastian Bach largely continued to write in the baroque style up to 1750. The Florentine Camerata was a group of humanists, musicians, poets and intellectuals in late Renaissance Florence who gathered under the patronage of Count Giovanni de' Bardi to discuss and guide trends in

735-468: The concerto grosso . Whereas Lully was ensconced at court, Corelli was one of the first composers to publish widely and have his music performed all over Europe. As with Lully's stylization and organization of the opera, the concerto grosso is built on strong contrasts—sections alternate between those played by the full orchestra, and those played by a smaller group. Fast sections and slow sections were juxtaposed against each other. Numbered among his students

784-523: The Baroque era to its climax, the High Baroque. Italy: France: Italy: Proliferation: France: Germany: Bohemia : Poland : Galant music : Bach's elder sons and pupils : Mannheim school : A characteristic of the Baroque form was the dance suite . Some dance suites by Bach are called partitas , although this term is also used for other collections of pieces. While

833-814: The Portuguese word barroco , meaning " misshapen pearl ". The works of Antonio Vivaldi , George Frideric Handel and Johann Sebastian Bach are considered the pinnacle of the Baroque period. Other key composers of the Baroque era include Claudio Monteverdi , Domenico Scarlatti , Alessandro Scarlatti , Alessandro Stradella , Tomaso Albinoni , Johann Pachelbel , Henry Purcell , Georg Philipp Telemann , Jean-Baptiste Lully , Jean-Philippe Rameau , Marc-Antoine Charpentier , Arcangelo Corelli , François Couperin , Johann Hermann Schein , Heinrich Schütz , Samuel Scheidt , Dieterich Buxtehude , Gaspar Sanz , José de Nebra , Antonio Soler , Carlos Seixas , Adam Jarzębski and others, with Giovanni Battista Pergolesi being

882-597: The Renaissance, notably Carlo Gesualdo ; However, the use of harmony directed towards tonality (a focus on a musical key that becomes the "home note" of a piece), rather than modality , marks the shift from the Renaissance into the Baroque period. This led to the idea that certain sequences of chords, rather than just notes, could provide a sense of closure at the end of a piece —one of the fundamental ideas that became known as tonality . By incorporating these new aspects of composition, Claudio Monteverdi furthered

931-503: The Saxon court of Elector Frederick the Wise , he moved to Passau, and in 1507 he moved to Augsburg, where he could be closer to Maximilian. Maximilian and the king of Poland made him a knight and nobleman in 1515, conferring on him the title of "First Organist to the Emperor". Hofhaimer's last move was to Salzburg, where he remained as organist at Salzburg Cathedral until his death. Life as

980-600: The Venetian Francesco Cavalli , who was principally an opera composer. Later important practitioners of this style include Antonio Cesti , Giovanni Legrenzi , and Alessandro Stradella , who additionally originated the concerto grosso style in his Sonate di viole. Arcangelo Corelli is remembered as influential for his achievements on the other side of musical technique—as a violinist who organized violin technique and pedagogy—and in purely instrumental music, particularly his advocacy and development of

1029-497: The adaptation of theories based on the plastic arts and literature to music. All of these efforts resulted in appreciable disagreement about time boundaries of the period, especially concerning when it began. In English the term acquired currency only in the 1940s, in the writings of Bukofzer and Paul Henry Lang . As late as 1960, there was still considerable dispute in academic circles, particularly in France and Britain, whether it

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1078-403: The arts, especially music and drama . In reference to music, they based their ideals on a perception of Classical (especially ancient Greek ) musical drama that valued discourse and oration. Accordingly, they rejected their contemporaries' use of polyphony (multiple, independent melodic lines) and instrumental music, and discussed such ancient Greek music devices as monody , which consisted of

1127-478: The bass by bassoons. Trumpets and kettledrums were frequently added for heroic scenes. The middle Baroque period in Italy is defined by the emergence of the vocal styles of cantata , oratorio , and opera during the 1630s, and a new concept of melody and harmony that elevated the status of the music to one of equality with the words, which formerly had been regarded as pre-eminent. The florid, coloratura monody of

1176-554: The choir was disbanded in 1922. However it was formed again in 1924 as the Vienna Boys' Choir , and this has since become a professional music group. A chapel was built in Vienna in around 1287 by Albert I in the late Romanesque style. It was expanded under Albert II between 1423 and 1426, and rebuilt in Gothic style by Frederick III from 1447 to 1449. Later Maria Theresa arranged for it to be rebuilt in late Baroque style. It

1225-713: The church, while his position as organist included playing for all the main services, sometimes in collaboration with other instrumentalists or vocalists, who were also paid by the church. Entirely outside of his official church duties, he organised and directed a concert series known as the Abendmusiken , which included performances of sacred dramatic works regarded by his contemporaries as the equivalent of operas. France: The work of George Frideric Handel, Johann Sebastian Bach and their contemporaries, including Domenico Scarlatti, Antonio Vivaldi , Tomaso Albinoni , Jean-Philippe Rameau, Georg Philipp Telemann, and others advanced

1274-518: The city of Innsbruck has awarded the Paul Hofhaimer Prize for interpretations of organ compositions by old masters. An international competition takes place every three years for the prize. Baroque music Baroque music ( UK : / b ə ˈ r ɒ k / or US : / b ə ˈ r oʊ k / ) refers to the period or dominant style of Western classical music composed from about 1600 to 1750. The Baroque style followed

1323-446: The early Baroque gave way to a simpler, more polished melodic style. These melodies were built from short, cadentially delimited ideas often based on stylized dance patterns drawn from the sarabande or the courante . The harmonies, too, might be simpler than in the early Baroque monody, to show expression in a lighter manner on the string and crescendos and diminuendos on longer notes. The accompanying bass lines were more integrated with

1372-582: The famous school of German organists of the Baroque era can trace much of its lineage to Hofhaimer. In addition, some of the organists he trained went on to Italy, for example Dionisio Memno, who became organist at St. Mark's in Venice, and there passed on technique learned from Hofhaimer to the organists who were part of the early Venetian school . While he was most prolific as a composer for organ, little of that music has survived in its original form. Most of

1421-450: The keyboard player what intervals are to be played above each bass note. The keyboard player would improvise a chord voicing for each bass note. Composers began concerning themselves with harmonic progressions , and also employed the tritone , perceived as an unstable interval, to create dissonance (it was used in the dominant seventh chord and the diminished chord ). An interest in harmony had also existed among certain composers in

1470-433: The linear underpinnings of polyphony. Harmony is the result of counterpoint , and figured bass is a visual representation of those harmonies commonly employed in musical performance. With figured bass, numbers, accidentals or symbols were placed above the bassline that was read by keyboard instrument players such as harpsichord players or pipe organists (or lutenists ). The numbers, accidentals or symbols indicated to

1519-568: The melody, producing a contrapuntal equivalence of the parts that later led to the device of an initial bass anticipation of the aria melody. This harmonic simplification also led to a new formal device of the differentiation of recitative (a more spoken part of opera) and aria (a part of opera that used sung melodies). The most important innovators of this style were the Romans Luigi Rossi and Giacomo Carissimi , who were primarily composers of cantatas and oratorios, respectively, and

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1568-401: The mixed vocal/instrumental forms of opera , cantata and oratorio and the instrumental forms of the solo concerto and sonata as musical genres. Dense, complex polyphonic music, in which multiple independent melody lines were performed simultaneously (a popular example of this is the fugue ), was an important part of many Baroque choral and instrumental works. Overall, Baroque music was

1617-561: The most prominent Baroque composer of sacred music. The Baroque saw the formalization of common-practice tonality , an approach to writing music in which a song or piece is written in a particular key ; this type of harmony has continued to be used extensively in Western classical and popular music . During the Baroque era, professional musicians were expected to be accomplished improvisers of both solo melodic lines and accompaniment parts. Baroque concerts were typically accompanied by

1666-412: The period composers experimented with finding a fuller sound for each instrumental part (thus creating the orchestra), made changes in musical notation (the development of figured bass as a quick way to notate the chord progression of a song or piece), and developed new instrumental playing techniques. Baroque music expanded the size, range, and complexity of instrumental performance, and also established

1715-428: The pieces in a dance suite were inspired by actual dance music, dance suites were intended for listening, not for accompanying dancers. Composers used a variety of different movements in their dance suites. A dance suite commonly has these movements : The four dance types (allemande, courante, sarabande, and gigue) make up the majority of 17th-century suites. Later suites interpolate one or more additional dances between

1764-618: The première in October 1733 of Rameau's Hippolyte et Aricie, printed in the Mercure de France in May 1734. The critic implied that the novelty in this opera was "du barocque", complaining that the music lacked coherent melody, was filled with unremitting dissonances, constantly changed key and meter, and speedily ran through every compositional device. Jean-Jacques Rousseau , who was a musician and composer as well as philosopher, wrote in 1768 in

1813-471: The string-dominated norm for orchestras, which was inherited from the Italian opera, and the characteristically French five-part disposition (violins, violas—in hautes-contre, tailles and quintes sizes—and bass violins ) had been used in the ballet from the time of Louis XIII. He did, however, introduce this ensemble to the lyric theatre, with the upper parts often doubled by recorders, flutes, and oboes, and

1862-534: The subsequent emperors until about 1740, after which Maria Theresa and Joseph II restricted its use to church music, and Antonio Salieri , who taught Beethoven, was the last Italian court conductor. After World War I and the fall of the monarchy, the court music band was placed under the Ministry of Education. Boys were no longer hired and ladies of the Vienna State Opera sang the upper parts, and

1911-480: The subsequent period. Idiomatic instrumental textures became increasingly prominent. In particular, the style luthé —the irregular and unpredictable breaking up of chordal progressions, in contrast to the regular patterning of broken chords—referred to since the early 20th century as style brisé , was established as a consistent texture in French music by Robert Ballard , in his lute books of 1611 and 1614, and by Ennemond Gaultier . This idiomatic lute figuration

1960-447: The surviving works are either lieder in three or four voices, or arrangements ( intabulations ) of them for either keyboard or lute . The large quantity of surviving copies of his songs from different locations in Europe, usually in arrangements, attests to their popularity. The handful of pieces for organ which have survived show Hofhaimer's gift for composing polyphonic lines around a cantus firmus . His German lieder are typical of

2009-774: The term "baroque" to music of this period is a relatively recent development. In 1919, Curt Sachs became the first to apply the five characteristics of Heinrich Wölfflin 's theory of the Baroque systematically to music. Critics were quick to question the attempt to transpose Wölfflin's categories to music, however, and in the second quarter of the 20th century independent attempts were made by Manfred Bukofzer (in Germany and, after his immigration, in America) and by Suzanne Clercx-Lejeune (in Belgium) to use autonomous, technical analysis rather than comparative abstractions, in order to avoid

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2058-632: The time, and usually in bar form , with one section being polyphonic and the other being more chordal . He rarely used the smooth polyphonic texture then being cultivated by the Franco-Flemish composers such as Josquin or Gombert , a style he probably first encountered in Innsbruck with the music of Isaac. Hofhaimer was also well known as an organ consultant, and frequently advised on the building and maintenance of organs. From 1969, (the 450th anniversary year of Emperor Maximilian I's death),

2107-476: The transition from the Renaissance style of music to that of the Baroque period. He developed two individual styles of composition—the heritage of Renaissance polyphony ( prima pratica ) and the new basso continuo technique of the Baroque ( seconda pratica ). With basso continuo, a small group of musicians would play the bassline and the chords which formed the accompaniment for a melody . The basso continuo group would typically use one or more keyboard players and

2156-625: Was founded; George Slatkonia was a chaplain and cantor at the court in Vienna and also the canon and provost of the Diocese of Ljubljana . In 1498, he was appointed the singing master of and two years later became the chapel master of the Vienna Court Chapel. Besides the singing master, two bass players and six boys were employed. Under Emperor Ferdinand I most of the musicians of the Hofmusikkapelle were Flemish and under Ferdinand II most came from Italy. The court band flourished under

2205-751: Was in this building that the Hofkapelle performed, a tradition that has been continued. Today's Wiener Hofmusikkapelle consists of the Vienna Boys' Choir, male singers from the choir of the Vienna State Opera, and members of the Vienna Philharmonic. They regularly perform in church services at the Hofburgkapelle. Paul Hofhaimer Paul Hofhaimer (25 January 1459 – 1537) was an Austrian organist and composer. He

2254-401: Was later transferred to the harpsichord, for example in the keyboard music of Louis Couperin and Jean-Henri D'Anglebert , and continued to be an important influence on keyboard music throughout the 18th and early 19th centuries (in, for example, the music of Johann Sebastian Bach and Frédéric Chopin ). The rise of the centralized court is one of the economic and political features of what

2303-535: Was meaningful to lump together music as diverse as that of Jacopo Peri , Domenico Scarlatti , and Johann Sebastian Bach under a single rubric. Nevertheless, the term has become widely used and accepted for this broad range of music. It may be helpful to distinguish the Baroque from both the preceding ( Renaissance ) and following ( Classical ) periods of musical history. Throughout the Baroque era, new developments in music originated in Italy, after which it took up to 20 years before they were broadly adopted in rest of

2352-622: Was particularly gifted at improvisation , and was regarded as the finest organist of his age by many writers, including Vadian and Paracelsus ; in addition he was one of only two German-speaking composers of the time ( Heinrich Isaac was the other) who had a reputation in Europe outside of German-speaking countries. He is grouped among the composers known as the Colorists . He was born in Radstadt , near Salzburg. Sources are somewhat contradictory on his early life, with Vadian asserting that he

2401-656: Was self-taught, and the Nuremberg humanist Conrad Celtes saying that he acquired his technique at the court of Emperor Frederick III . Hofhaimer went to Innsbruck in 1478, and so impressed Archduke Sigismund of Tyrol that he was given a lifetime appointment as court organist in 1480. He almost certainly knew Heinrich Isaac well while he was in Innsbruck, since Isaac became court composer there later that decade. In 1489 he began serving Maximilian I as organist, but he did this in addition to his Innsbruck service. In 1498, after several years of travel, during which time he visited

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