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Definition
All were used in Mass
Toccata before the Mass
Kyrie versets
Other versets to be used in alternatim, became less common later (Gloria, Magnificat)
Canzonas (after epistle)
Ricercar at Offertory, sometimes preceded by a toccata
Toccata per l'Elevazione (slow and serious)
Canzona after communion
Free works: all those not based on chant
Fantasias also
Capriccios |
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Term
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Definition
Liturgical music:
Prelude on Kyrie
Preludes on chorales
Weekly cantata
Prelude on Credo (Wir glauben all' an einen Gott)
Postlude
Chorale Preludes
Sets of Variations on Chorale melodies
Chorale fantasias
Free works:
Praeludia, Praeambula, toccata, fantasia, ciaccona canzona, fugue
Stylus Fantasticus |
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Term
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Definition
Free work
normally loosely structured, virtuosic display piece (passaggio)
For Frescobaldi, a more serious, meditative form, employing chromaticism on strong beats, scalar ornaments without much counterpoint, and extensive suspensions (toccata duress e ligature) |
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Term
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Definition
Light and lively
Instrumental counterpart of French Chanson
Sectional, with theme varied in different meters and new counterpoint |
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Term
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Definition
Fugue-like piece
Fancy counterpoint, strict imitation
Your very best work :) |
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Term
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Definition
| Sectional, imitative composition, themes metamorphose between sections |
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Term
| Italian Baroque Capriccio |
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Definition
| A spirited contrapuntal work |
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Term
| Additional 18th c. Italian Baroque forms |
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Definition
Zipoli and Martini
Lighter, more homophonic textures
Pastoral (Christmas Eve Mass)
Sonata (Rounded binary form) |
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Term
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Definition
Started with Merulo and Frescobaldi
Characteristic of Buxtehude, N. German Baroque
Characterised by the use of short contrasting episodes and a free form
stylus fantasticus is all pointed at this heroic type of improvisation, dramatic, colorful, surprising, shocking, expressive
Emanated from Hamburg
Came from Italy, but was an essential part of the N. German school. Italian music was all the rage, a huge influence in 2nd and 3rd gen even through Bach
The performer is bound to nothing: free style, lots of surprises. No theme.
Very improvisatory pieces
Very similar to Toccata dureze e ligature
The whole purpose is to be expressive and dramatic
Sudden changes of tempo, rhythm, color, meter, registration--turn on a dime |
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Term
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Definition
Fashionable from 1720s to 1770s
Featured a return to simplicity and immediacy of appeal after the complexity of the late Baroque era.
Simpler, more song-like melodies
Decreased use of polyphony
Melody-driven
Short, periodic phrases,
Reduced harmonic vocabulary emphasizing tonic and dominant
A clear distinction between soloist and accompaniment
Rejection of accumulated learning and formula in music |
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Term
| Organ Chorales: 400 year history |
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Definition
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Term
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Definition
We always talk about primary and second themes
PTSK: primary, transition, secondary, and closing themes.
Transition can work with elements from primary theme, or not
Not uncommon to reiterate primary theme at the end of the exposition
Development modulates and uses fragments of first themes
Romantic period uses form in slightly distorted, even enlarged, ways |
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Term
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Definition
Long history
the term comes with baggage.
Sectional
Treat chorale melody differently in each section. Heyday was 2nd gen of German Baroque, Weckmann Tundor Reincken. 20 minutes, 35 minutes long. Mid-17th c. was the heyday. Phrase by phrase imitation (fore imitation). Buxtehude wrote one.
Baroque typically treated just one verse; spinning out each phrase is what makes it so long.
Bach: Komm Heiliger Geist and Nun Komm, der Heiden Heiland (Leipzig Chorale versions). What was different? Kept a Ritornello theme instead of changing it with each section, rather than using motivic material from each phrase. Ritornello theme has a life of its own.
At its most general, it just means a big piece based on a chorale.
first appeared in the 17th century in the works of North German composers such as Heinrich Scheidemann and Franz Tunder (who, however, rarely used the term). Their works would treat each phrase of a chorale differently, thus becoming large, sectional compositions with elaborate development of the chorale melody. By mid-18th century this type of organ composition was practically non-existent.
Johann Sebastian Bach used the term first to designate a whole variety of different organ chorale types (during his period in Weimar), and then limited its use to large compositions with the chorale melody presented in the bass.
In the 19th century the chorale fantasia was revived by Max Reger, who applied the term to monumental pieces based on chorale melodies.
Mendelssohn and Liszt used chorales, but didn’t write Chorale Fantasias
Reger resurrects this form
7 verses, like a theme and variation style
Each verse set according to its text
He included the text for each verse
Usually starts a fugue toward the end, builds to the end. |
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