November 2021 Update: Victoria Chamber Orchestra Prepares Baroque Concert
The Baroque period (1600-1750) was a fluid time in the development of musical styles and genres. Four fundamental practices emerged: the concertato principle, the texture of firm bass and florid treble line, musical organization based on the major-minor key system and the building of a long work out of separate, autonomous movements. We can look to Italy for the origins of both the sonata and concerto of this era. Arcangelo Corelli established the concerto form as a composition for multiple players in which a smaller group of instrumentalists (concertino) is set against the larger orchestra (ripieno), the two alternately presenting the theme and its development. This idea is the continuation of an older Italian church tradition, that of antiphonal singing of verse and response echoing each another.
Arcangelo Corelli (1653-1713) was born into a life of privilege. He studied music in Bologna and settled in a cardinal’s palace in Rome for much of his life. Along with his reputation as a teacher and mentor to violinists and composers, Corelli accumulated a large art collection. His manner was friendly and amiable despite his wealth and elevated position. His concerti emanated from church and trio sonatas that were in vogue in the late 17th century. His music was disseminated throughout Europe, and his works served as examples for many composers who followed. His set of 12 Concerti Grossi was published posthumously.
Tomaso Albinoni (1671-1751) was a member of a wealthy family in Venice. He received extensive training as a singer and violinist that well supported his interest in composing for both voice (operas, serenatas and cantatas) and instrumental ensembles (sonatas, sinfonias and concerti). He was a man of independent means and had the option to compose music as he wished. His operas received much acclaim in Italy. Albinoni’s instrumental music circulated in print and manuscript throughout northern Europe during his lifetime. These works were favourably compared with those of Corelli and Vivaldi. Unfortunately, a large portion of Albinoni’s musical output was lost when the Dresden State Library was destroyed in 1945.
Antonio Vivaldi (1678-1741) was employed for most of his career as the primary music teacher for young, orphaned girls at the Ospedale della Pietà in Venice. He was an ordained priest, but he chose to focus on teaching and composing. From 1717-1720 he was Capellmeister in an aristocratic court in Mantua where several of his operas and cantatas were well received. Vivaldi became highly respected, was commissioned by Louis XV to write a serenade for the French court and was successful in attracting the patronage of a cardinal in Rome. The energy and lyricism of Vivaldi’s many instrumental concerti were considered models of form by numerous late Baroque composers, including Johann Sebastian Bach.
At first glance string instruments from the Baroque era look almost identical to modern violins. In fact, most of the highly prized modern violins were built during the Baroque era by makers such as the Amati family, Antonio Stradivari, and Guarneri del Gesù. When these luthiers built their instruments, however, they made the necks shorter and protruding straighter from the end of the body.
Modifications to create the current violin design – affecting the volume of sound produced – were mostly made in the early 19th century. The neck is angled back on a modern instrument allowing higher tension of the strings. Steel strings replace those made of gut and a larger bass bar is present. Physical changes to the cello and bass paralleled those of the violin and viola.
One major aspect of string playing that evolved during the Baroque era involves the bow. Early Baroque bows were quite short and held with the player’s thumb on the bow hair, allowing the bow’s own weight to rest on the string. Thereby the bow’s natural proclivities shape the sound — a soft attack, a swell, and a diminuendo. A longer bow that still allows a soft attack and diminuendo effect (both visual and musical) appeared in the late 17th century.
Arcangelo Corelli (1653-1713) was born into a life of privilege. He studied music in Bologna and settled in a cardinal’s palace in Rome for much of his life. Along with his reputation as a teacher and mentor to violinists and composers, Corelli accumulated a large art collection. His manner was friendly and amiable despite his wealth and elevated position. His concerti emanated from church and trio sonatas that were in vogue in the late 17th century. His music was disseminated throughout Europe, and his works served as examples for many composers who followed. His set of 12 Concerti Grossi was published posthumously.
Tomaso Albinoni (1671-1751) was a member of a wealthy family in Venice. He received extensive training as a singer and violinist that well supported his interest in composing for both voice (operas, serenatas and cantatas) and instrumental ensembles (sonatas, sinfonias and concerti). He was a man of independent means and had the option to compose music as he wished. His operas received much acclaim in Italy. Albinoni’s instrumental music circulated in print and manuscript throughout northern Europe during his lifetime. These works were favourably compared with those of Corelli and Vivaldi. Unfortunately, a large portion of Albinoni’s musical output was lost when the Dresden State Library was destroyed in 1945.
Antonio Vivaldi (1678-1741) was employed for most of his career as the primary music teacher for young, orphaned girls at the Ospedale della Pietà in Venice. He was an ordained priest, but he chose to focus on teaching and composing. From 1717-1720 he was Capellmeister in an aristocratic court in Mantua where several of his operas and cantatas were well received. Vivaldi became highly respected, was commissioned by Louis XV to write a serenade for the French court and was successful in attracting the patronage of a cardinal in Rome. The energy and lyricism of Vivaldi’s many instrumental concerti were considered models of form by numerous late Baroque composers, including Johann Sebastian Bach.
At first glance string instruments from the Baroque era look almost identical to modern violins. In fact, most of the highly prized modern violins were built during the Baroque era by makers such as the Amati family, Antonio Stradivari, and Guarneri del Gesù. When these luthiers built their instruments, however, they made the necks shorter and protruding straighter from the end of the body.
Modifications to create the current violin design – affecting the volume of sound produced – were mostly made in the early 19th century. The neck is angled back on a modern instrument allowing higher tension of the strings. Steel strings replace those made of gut and a larger bass bar is present. Physical changes to the cello and bass paralleled those of the violin and viola.
One major aspect of string playing that evolved during the Baroque era involves the bow. Early Baroque bows were quite short and held with the player’s thumb on the bow hair, allowing the bow’s own weight to rest on the string. Thereby the bow’s natural proclivities shape the sound — a soft attack, a swell, and a diminuendo. A longer bow that still allows a soft attack and diminuendo effect (both visual and musical) appeared in the late 17th century.