Baroque Music: Orchestra, Forms, Composers, and Consumption

The Orchestra Before 1700

The orchestra was not stable before 1700. During the early Baroque period (up to 1600), the composition and instrumentation of ensembles varied greatly.

Evolution of the Orchestra

The orchestras of Alessandro Scarlatti (1660-1725) and Antonio Vivaldi (1678-1741) began to resemble those of today. The mass of bowed string instruments characterizes the modern orchestra.

Six Musical Forms of the Baroque Period

The six forms of music from this period are:

• The Suite
• The Sonata
• The Concerto
• The Symphony
• Variations
• Fugue

Definitions of Baroque Musical Forms

Brief definitions of each form:

• Suite: A succession of dances for the harpsichord or small groups of instruments.
• Sonata: A resounding piece on instruments. A cantata, in contrast, is a piece that is sung.
• Concerto: Music for diverse voices and instruments. Solo instruments are often featured with one or more soloists.
• Symphony: Pieces for chorus and instruments, or intermediate pieces and overtures of operas. In the 17th century, it was a sonata for orchestra. The overture retains its place in operas and cantatas. In the 18th century with Vivaldi, it becomes an independent composition.
• Variations: Consists of a theme (which may have 8 bars) and interspersed repeats of notes. It is very free and exists in popular (folk) music. In Spain, variations were applied to the clavichord by the blind organist of Philip II, Antonio de Cabezon, and exported to British musicians.
• Fugue: A form derived from the canon, but is more free and learned.

Bach in 1700

In 1700, Bach was 15 years old and found a job as a chorister in Lunenburg.

Music Creation and Consumption

Composers made music, and music lovers consumed it, also at shows (theater). The roles of music creation and consumption changed compared to the previous century.

Social Status of Interpreters and Composers Around 1700

The great virtuosos were becoming more prestigious. People traveled long distances to hear them. Composers became suppliers, or often lackeys, forced to bring their genius to the taste of their patron. For example, Vivaldi became an entrepreneur of his own operas.

Centers of Music Around 1700

The best music could be heard in:

• France: Versailles and the Opera (Lully, André Campra, and Rameau)
• Italy:
  • Venice (Monteverdi and Vivaldi)
  • Rome (Frescobaldi)
  • Naples (Scarlatti)
• Germany: Buxtehude (Bach walked 350 km in 1705 to hear him)
• Austria: Vienna (Leopold I, The Habsburgs)
• Spain: Madrid (Victoria, Cabanilles, Correa de Araujo)