Learning Objectives

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List the characteristics of the Baroque era (1600-1750) in context of social change including religious wars (Protestants vs. Catholics), the exploration and colonization of the New World, and the rise of middle-class culture.
Identify a new style—monody—that featured solo song with instrumental accompaniment in the Baroque period through listening examples.
Define figured bass, a shorthand that allowed the performer to supply chords through improvisation.
Compare and contrast the major-minor tonality system and the equal temperament tuning system.
Explain the significance of the union of text and music as expressed in the Baroque Doctrine of the Affections and reflected in genres such as opera, oratorio, and cantata.
Define and compare the genres of opera, oratorio, and cantata.
Compare and contrast the development of two types of concertos: the solo concerto and the concerto grosso.
Correctly identify visually and aurally the main keyboard instruments of the Baroque era: organ, harpsichord, and clavichord.
Describe the main characteristics of J. S. Bach's keyboard music, in particular his Well-Tempered Clavier.

Baroque Period (1600–1750)

Instrumental Forms

In addition to vocal forms such as the opera, cantata, and oratorio, several instrumental forms came into being during the Baroque period. In this section, we'll take a look at the sonata, suite, and concerto, as well as keyboard music from the period.

Sonata

During the Baroque period, instrumental music was written for every conceivable size of ensemble. On the smaller side, the Baroque sonata offered one of the finest examples of chamber music. Two types of sonata were written during this period: the sonata da chiesa (church sonata), and the sonata da camera (chamber sonata). The sonata da chiesa was more somber, while the sonata da camera, much like the suite, usually comprised dance forms. The giga (jig) from Corelli's Sonata for 2 violins and lute is a fine example of the sonata da camera.

Composer: Arcangelo Corelli

"Sonata da camera in D minor: Giga: Allegro"

The term sonata was used during the early Baroque to denote musical works that were played instead of sung. Sonatas were usually played by a small number of instruments, anywhere from three to a small group of maybe six or eight. These groups were called chamber groups because they usually performed in small spaces, typically rooms in aristocratic homes or palaces.

Suite

A popular form among composers was the suite, a series of movements based upon the rhythm and style of a particular dance. The suite could be written for a solo instrument such as the harpsichord or violoncello or for a small instrumental ensemble. Dances included the German Allemande, the French Courante, the Sarabande (originally from Spain), and the English or Irish Gigue (jig). Many suites also included the Gavotte: a French folk dance characterized by the raising rather than the sliding of the feet. At times, non-dance movements such as the prelude were also employed. These movements were designed to offer interesting contrasts in meter, tempo, and texture.

Composer: Johann Sebastian Bach

"Cello Suite No. 5 in C Minor, BWV 1011: IV. Sarabande"

Often written for a large orchestra, the suite gained popularity during the late Baroque. Examples include Handel's two most popular orchestral suites: Fireworks Music and Water Music. The Fireworks Music suite was, appropriately, first performed at a large fireworks display, while the Water Music was written for a party held on the Thames River. Legend has it that the partygoers rode on one barge floating down the Thames, while Handel and the musicians played on another barge immediately following. The most famous movement from these suites is entitled Alla Hornpipe from the Water Music suite.

Composer: George Frideric Handel

"Water Music: Suite No. 2 in D major, HWV 349: II: Alla Hornpipe"