🎻Music of the Baroque Unit 8 – English Baroque: Purcell, Handel & Oratorios

Historical Context

• English Baroque music developed during the late 17th and early 18th centuries, coinciding with the reigns of Charles II, James II, William III, and Queen Anne
• Marked by a shift from the austere Puritan rule to a more extravagant and expressive artistic period
• Influenced by the French and Italian Baroque styles, particularly in the use of ornamentation and the development of new genres
• Saw the establishment of public concerts and the rise of professional musicians and composers
• Characterized by the patronage of the royal court and aristocracy, who supported the arts and encouraged the growth of music
• Witnessed the emergence of the English opera, which combined elements of French and Italian opera with English masques and theater traditions
• Coincided with advancements in instrument-making, such as the development of the English violin and the popularization of the harpsichord

Key Composers and Works

• Henry Purcell (1659-1695)
  • Considered the greatest English composer of the Baroque era
  • Known for his opera "Dido and Aeneas" (1689), one of the earliest English operas
  • Composed incidental music for plays, such as "The Fairy Queen" (1692) and "King Arthur" (1691)
  • Wrote numerous sacred works, including anthems, services, and odes
• George Frideric Handel (1685-1759)
  • German-born composer who spent most of his career in England
  • Renowned for his oratorios, such as "Messiah" (1741), "Samson" (1743), and "Judas Maccabaeus" (1747)
  • Composed operas, including "Rinaldo" (1711) and "Giulio Cesare" (1724)
  • Wrote instrumental works, such as the "Water Music" (1717) and "Music for the Royal Fireworks" (1749)
• John Blow (1649-1708)
  • Composer and organist, known for his influence on Purcell
  • Wrote the opera "Venus and Adonis" (1683), considered the earliest surviving English opera
• William Boyce (1711-1779)
  • Composer and organist, known for his symphonies, odes, and anthems
  • Edited and published the "Cathedral Music" collection (1760-1773), preserving the works of earlier English composers

Musical Characteristics

• Emphasis on melody and harmony, with a focus on expressive and ornamental vocal lines
• Use of ground bass (a repeated bass line pattern) and ostinato (a persistently repeated musical phrase or rhythm)
• Incorporation of dance rhythms and forms, such as the minuet, gavotte, and bourree
• Employment of word painting, where the music reflects the meaning of the lyrics
• Use of the da capo aria form (ABA), where the first section is repeated after the contrasting middle section
• Inclusion of recitatives, which are speech-like passages that advance the narrative in operas and oratorios
• Utilization of the basso continuo (a continuous bass line played by a keyboard instrument and a low melodic instrument)
• Incorporation of contrapuntal techniques, such as fugues and canons, particularly in sacred works

The Rise of Oratorios

• Oratorios gained popularity in England during the early 18th century, particularly through the works of Handel
• Developed as a form of musical storytelling, often based on biblical or mythological themes
• Performed in concert settings, without staging, costumes, or acting, unlike operas
• Consisted of a series of recitatives, arias, and choruses, which conveyed the narrative and expressed the emotions of the characters
• Appealed to the English public's taste for moral and religious themes, as well as their preference for English-language texts
• Became a popular alternative to Italian opera, which faced declining support in England during the 1730s and 1740s
• Exemplified by Handel's "Messiah," which premiered in Dublin in 1742 and became one of the most famous and frequently performed oratorios

Performance Practices

• Baroque music was performed in a variety of settings, including churches, royal courts, public concerts, and private homes
• Ensembles typically consisted of a mix of vocal and instrumental performers, with the size and composition varying depending on the occasion and available resources
• The basso continuo, played by a keyboard instrument (harpsichord or organ) and a low melodic instrument (cello or bassoon), provided the harmonic foundation and rhythmic support
• Singers were expected to embellish and ornament their parts, particularly in the repeated sections of da capo arias
• Improvisation was a common practice, with performers adding their own flourishes and variations to the written music
• The role of the conductor was not yet fully established, with the ensemble often led by the keyboard player or the first violinist
• Baroque pitch was generally lower than modern pitch, with A4 tuned to around 415 Hz, compared to the modern standard of 440 Hz

Cultural Impact

• English Baroque music reflected and shaped the cultural, social, and political landscape of the time
• Served as a means of expressing national identity and pride, particularly in the face of competition from French and Italian musical styles
• Played a significant role in the development of English theater, with composers like Purcell and Handel contributing to the growth of English opera and incidental music
• Reflected the religious and moral values of English society, with oratorios and sacred works promoting biblical themes and virtues
• Contributed to the establishment of music as a professional career, with composers and performers gaining recognition and financial support from patrons and the public
• Influenced the development of public concerts and the music publishing industry, making music more accessible to a wider audience
• Inspired and influenced later generations of English composers, such as Edward Elgar and Benjamin Britten, who drew upon the Baroque tradition in their own works

Notable Innovations

• The development of the English violin, which had a unique construction and sound compared to its Italian counterparts
• The popularization of the harpsichord as a solo and continuo instrument, with composers like Handel and Purcell writing pieces specifically for the instrument
• The use of the double-dotted rhythm, which became a characteristic feature of French-influenced English Baroque music
• The incorporation of French and Italian dance forms, such as the minuet and the passacaglia, into English instrumental and vocal music
• The development of the English cantata, which combined elements of the Italian cantata with English poetry and musical styles
• The experimentation with new harmonic progressions and modulations, particularly in the works of Purcell and Handel
• The use of large-scale choral forces in oratorios, which showcased the power and grandeur of the human voice

Legacy and Influence

• English Baroque music laid the foundation for the development of the English musical tradition, influencing composers and styles in the centuries that followed
• Purcell's works, particularly his opera "Dido and Aeneas" and his incidental music, continue to be performed and studied as masterpieces of the Baroque era
• Handel's oratorios, especially "Messiah," have become a staple of the choral repertoire and are regularly performed around the world
• The English Baroque style influenced the development of the Classical and Romantic eras, with composers like Mozart and Beethoven drawing inspiration from the works of Purcell and Handel
• The Baroque emphasis on melody, harmony, and expression continues to shape the way music is composed and performed today
• The legacy of English Baroque music can be seen in the works of modern British composers, such as Benjamin Britten and Michael Tippett, who have incorporated Baroque elements into their compositions
• The study and performance of English Baroque music have experienced a resurgence in recent decades, with early music ensembles and scholars bringing new insights and interpretations to the repertoire