Composers of the Baroque Era

Research Point: Jean-Baptiste Lully (1632-87)

Burkholder et al. (2010:360) gives a detailed biography of the life of Jean-Baptiste Lully, describing him as: “the most powerful force in French music in the seventeenth century”.  The biography details how Lully was ironically born in Italy, and moved to France at 14, and studied music and dance.  He quickly fell into employment at the Court of Louis XIV where he held the position of court composer of instrumental music and director of the Petits Violins, later becoming Superintendent of the Music for the King’s chamber and director of the 24 Violons du Roi.

In addition, the article details how Lully was largely responsible for imposing a great sense of discipline to his producing and conducting.  He enforced uniform bows, coordinated use of ornaments and introduced the dictatorial leadership of the orchestra conductor.  The course material details how Lully composed music for Court, theatre, ballet and opera in addition to pioneering certain French musical forms such as the ‘French Overture’.  Some of his works include sacred music such as Miserere (1664), ballets like Ballet des Saisons (1661) and operas such as Armide (1686). 

Research Point: Johann Sebastian Bach (1685-1750)

Throughout my studies, the name Johann Sebastian Bach has appeared in every section of this, and my music composition, course.  Owen Lee (2005) writes that Bach established the ‘well-tempered’ scale, brought the art of counterpoint to its highest point and influenced most of the world’s most important composers since his death.

Forkel & Terry (1920) detail a full biography of Bach beginning with his birth in 1685 in Germany.  The authors describe how an orphaned Bach carried a very strong desire for musical learning, and very quickly learnt numerous instruments including the organ and clavier.  However,  it could be argued that it is perhaps Bach’s compositions that made him the prolific composer he is today. 

Forkel & Terry’s biography of Bach details his rise to instrumental acclaim, beginning at a very young age as his brother and father taught him the skills to master a number of instruments and styles of international composers such as Lully, Froberger and Frescobaldi .  Following the death of his father and brother, Bach joined the Choir of St. Michael’s Convent where his fine treble voice enabled him to make some money.  However, following puberty, his voice diminished and it was some years later that he was awarded a scholarship at the prestigious St. Michael’s school in Luneburg.  It is suggested that during this time, Bach was exposed to wider European Culture and in addition to singing in a choir, had the opportunity to play the school’s organ and harpsichord.  His passion for the clavichord saw him travelling to neighbouring countries to listen to, and study, reputable composers.

Burkholder et al. (2010) write that during his adult life, Bach held a great number of positions across Europe.  He was a court musician in Luneburg and Waimar, organist at churches such as St. Boniface Church in Arnstadt and Muhlhausen and began a period of intense composition for the keyboard, where he learnt and used techniques by composers such as Vivaldi and Corelli.   It was during this period that Bach began composing fugues and preludes which later made up parts of one of his most famous compositions The Well Tempered Clavier (1722 & 1744).   Bach also was employed by the Prince of Anhalt-Kothen as director of music from 1717-1723, during which time he composed many of his secular works including orchestral suites, sonatas and partitas.  This prestigious position would have undoubtedly allowed Bach to travel more, and gain a deeper insight into the compositional techniques of his contemporaries.  Bach’s final position was as Cantor of the Thomasschule and director music in the principal city churches.  During this period, Bach was expected to teach and produce a great number of pieces, mainly of a sacred nature including mass setting and motets.

O’Rourke-Jones & Summers (2013:102) write that Bach was:

“…for many, the greatest of all the Baroque composers.  A master of the formal intricacies of counterpoint, he created outstanding pieces in every musical genre except opera.  Although he never travelled outside German, he was responsive to wider musical developments in France and Germany. “

Some examples of the huge catalogue of Bach’s works include The Brandenburg Concertos (1721), Toccata and Fugue in D minor (c. 1708) and The Well Tempered Clavier (1722 & 1744), as well as huge range of other pieces spanning many different styles and compositional forms. 

In addition, given that the title The Well Tempered Clavier bears reference to the modern ‘well tempered’ methods of tuning twelve notes per octave in such as way that is able to play both major and minor scales, it could be argued that Bach may have also been a campaigner and pioneer of ‘tonal harmony’, keen to move away from the unstable baroque clashes with poorly tuned instrumentation. 

Research Point: George Frederic Handel (1685 – 1759)

Kennedy & Kennedy (2007) write that, due to his father's low opinion of music as a career, Handel only began working in music after his father's death.  At this time, Handel moved to Hamburg in 1603 to join the opera house playing the second violin in the orchestra.  The article continues to write that Handel’s first operatic composition was almost by accident because Reinhard Keiser, the lead composer, lost interest in writing the libretto for Almira (1705).

O’Rourke-Jones & Summers (2013:110-111) add that Handel, aware of his limitations as a composer, spent time travelling the world and meeting composers such as Corelli and the Scarletti’s in 1706.  During this time he found great fame in Rome and he was very quick to pick up on the Italian vocal and compositional styles.  Following this trip, Handel was appointed by the Elector of Hanover, who later became King George I of England.  Handel wrote many royal commissions whilst working at court, and had the opportunity to travel the world, finally settling in London.  His career continued to flourish from this point and by the end of his career he had held such positions as music director at the Royal Academy of Music. 

The OCA course material also details Handel’s passion for writing oratorios and operas, but also instrumental sonata and concerto that featured musical symbolism and descriptive melodic motifs. By the end of his career, Handel had written countless pieces, spanning a range of styles and genres.  O’Rourke-Jones & Summers conclude that Handel was responsible for turning the oratorio into an “English and distinctly protestant genre.”

Handel’s works include over 42 operas, 29 oratorios and 120 cantatas, duets and trios and other forms.  Perhaps some of his most famous works include the oratorio Messiah (1742), the suite Water Music (1717), concertos including Concerti Grossi Op 6 (1739) and his opera seria Giulio Cesare (1724). My reflections of pieces composed by Handel can be found in my listening log. 

Research Point: Antonio Vivaldi (1678 – 1741)

Antonio Vivaldi is considered to be one for the most important composers in history, held below only Bach as the finest Baroque composer.  He was largely famous for his instrumental works with an emphasis on strings, but also produced numerous sacred choral works and operas. 

Getzinger & Felsenfeld (2004:11) give a detailed biography of the life and career of Vivaldi, writing that: “During the arc of his career he gained tremendous wealth and fame, performing and composing music for every degree of royalty and noble personage.”

The text continues to provide a timeline of Vivaldi's life highlighting his time in the St. Mark’s Cathedral orchestra playing alongside his father, his journey to become an ordained priest and his philanthropic work for the Pio Ospedale della Pieta, an orphanage for girls. 

Burkholder et al. (2010) write that much like his contemporaries, Vivaldi composed works for occasions or specific performers.  This included a vast number of concertos, oratorios and sacred music for the Pieta, and operas for Venice, Florence, Vienna, Rome and elsewhere.  By the end of his career, Vivaldi’s popularity has diminished and he travelled much of Europe desperately seeking new commissions.

Probably Vivaldi’s most famous work is his suite The Four Seasons (1723), his Flute concerto No. 2 in G minor: RV 439 (1729) and his oratorio Gloria RV 589 (1716).  Reflections on pieces written by Vivaldi can be found in my listening log.