Baroque part 2 - DANIEL NISTICO · Weiss was a personal friend of J.S. Bach and composed...

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History III. Baroque Variations

Transcript of Baroque part 2 - DANIEL NISTICO · Weiss was a personal friend of J.S. Bach and composed...

Page 1: Baroque part 2 - DANIEL NISTICO · Weiss was a personal friend of J.S. Bach and composed prolifically, writing over 1000 pieces for the lute. Weiss wrote dance suites that are quite

History

III. Baroque Variations

Page 2: Baroque part 2 - DANIEL NISTICO · Weiss was a personal friend of J.S. Bach and composed prolifically, writing over 1000 pieces for the lute. Weiss wrote dance suites that are quite

Baroque Period (Part 2: Variations) 1600-1750

Sylvius Leopold Weiss The Lute was very popular in the Baroque period and the name that is held in high esteem is that of Sylvius Leopold Weiss (1687-1750). Weiss was a personal friend of J.S. Bach and composed prolifically, writing over 1000 pieces for the lute.

Weiss wrote dance suites that are quite similar in form and structure to those of Bach. However, we will now focus on another important type of form - that of variations.

Two of the most important variation forms in the Baroque period were:

1) Chaconne 2) Passacaglia

Both forms are closely related, but do contain points of difference. The main difference is that the Chaconne is based on a harmonic progression and the Passacaglia is based on a descending bass line. But sometimes the two features can be combined, i.e. a piece might use a repeating harmonic progression and a descending bass line. The piece below by Weiss is an example of this.

Variety One of the biggest misconceptions about Baroque music is that composers of the period were striving to only capture one emotion over the course of a musical work. This is what was taught to me in high school! I was taught the wrong definition about the Doctrine of Affects, which was used to justify this one emotion only way of thinking.

Here is the proper definition of the Doctrine of Affects:

“Embraced the proposition that music is capable of arousing a variety of specific emotions with the listeners.” —— Encyclopedia Britannica

The keyword here is variety: composers were striving for variety and unity. Variation forms were a great way to achieve this magical blend.

Page 3: Baroque part 2 - DANIEL NISTICO · Weiss was a personal friend of J.S. Bach and composed prolifically, writing over 1000 pieces for the lute. Weiss wrote dance suites that are quite

Chaconne from Suite X in G Minor - The first point of action is to study the theme that the variations are based on.

V 43 œ œ œœ̇ œœ œœ ˙ œœ̇ œ œœ ˙ œœ̇ œ œœ ˙ œœ̇̇# œœœ œ ˙ œœ̇ œ œœ# œ œ œœœ œ œ#œ œ œ ˙œœ œ œ#œ œ œœ œ œ œ œ.˙

V9 œ œ œ œ

œ œ˙ œ œ œ œ

œ œ œ˙ œ œ# œ œ œ œ# œ˙ œœ œ œ œ œ œ˙ œ#

œ œ œ œœ‰ œ œ Jœ#œ œ œœ .œ jœœœ œ œ

œœ œœœ œœœ˙ œ

V16 ˙̇ œœ˙ œ ˙̇ œœ˙ œ ˙̇# œœœ œ œ ˙̇ œœœ œ œ# œœ

œœ œœ#œ œ œœœ .œ# jœœ œ œ

≈ œ œ œ œ œ œ œ ≈ œœ œ

˙ œ

V23 ≈ œ œ œ œ œ œ œ œ œ œ œ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ˙ œ œ# œ œ œ œ œ œ œ œ œ œ# œ˙ œ

V26 œ œ œ œ œ œ œ œ œ œ œ œ.˙

œ œ œ œ œ œ œ œ œ œ œ œ˙ œ œœ œ œ ˙œ œœ œ#œ

œ œ œ˙̇ œœ œ œ œ˙̇ œœ œ œ œ˙̇ œœ

V32 œ œ# œ˙̇̇# œœœ œ

œ œ˙̇ œœ# œ œ œœœ œ œ#œ œ œ œœ œ œ# œœœ œ œ

≈ œ œ œ œ œ œ œ œ œ œ œ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ˙ œ

V38 œ œ œ œ œ œ œ œ œ œ œ œ.˙ œ# œ œ œ œ œ œ œ œ œ œ œ˙ œ œ œ œ œb œ œ œ œ œ œ œ œ.˙

V41 œ œ œ œ œ œ œ œ œ œ œ# œœ œ œ œ œ œ .œ# jœœ œ œ

œœ œœ œœœ œ œ œœ œœœœœ œ œ ˙ œœœ œ œœ œ œœ# œœ œœœ œ œ œœ œœ œœ˙ œ#

V48 œœ œœ œœ#œ œ œ

œœ .œ# jœœ œ œ

≈ œ œ œ ≈ œ œ œ ≈ œ œ œœ œ œ ≈ œ œ œ ≈ œ œ œ ≈ œ œ œœ œ œ ≈ œ œ œ ≈ œ œ œ ≈ œ œ œœ œ œ

CiaconaSuite X in G Minor

Sylvius Leopold WeissTranscribed for guitar(1686-1750)by Richard Yates

The Heartbeat: The 3/4 pulse with crotchets on each beat can create a throbbing heart gesture. This can be achieved by giving lots of weight on the first beat and making the second and third beats light and lifted. Compare this to just playing all beats legato and even and you will see how crucial it is for bringing the theme to life!

The gorgeous suspension in bar 3 is the epitome of this gesture.

This gesture will be important for the remained of the piece.

There are some exceptions to this - look at the harmony closely and see where the dissonant chords are. Those should be brought out with weight and emphasis (chord rolls), which will provide relief from the monotony of the gesture indicated above.

Descent to the underworld: Overall, the theme is descending - both in its melody and bass line. This is a perfect opportunity for a beautiful decrescendo. But to paint a more vivid story, you could think of it as a descent to the underworld.

This gesture will also carry through for much of the piece.

Symmetry: The theme is 7 bars long (what an unusual number!) and each variation will be the same length. What implications does this have for your tempo, momentum and phrasing?

V 43 œ œ œœ̇ œœ œœ ˙ œœ̇ œ œœ ˙ œœ̇ œ œœ ˙ œœ̇̇# œœœ œ ˙ œœ̇ œ œœ# œ œ œœœ œ œ#œ œ œ ˙œœ œ œ#œ œ œœ œ œ œ œ.˙

V9 œ œ œ œ

œ œ˙ œ œ œ œ

œ œ œ˙ œ œ# œ œ œ œ# œ˙ œœ œ œ œ œ œ˙ œ#

œ œ œ œœ‰ œ œ Jœ#œ œ œœ .œ jœœœ œ œ

œœ œœœ œœœ˙ œ

V16 ˙̇ œœ˙ œ ˙̇ œœ˙ œ ˙̇# œœœ œ œ ˙̇ œœœ œ œ# œœ

œœ œœ#œ œ œœœ .œ# jœœ œ œ

≈ œ œ œ œ œ œ œ ≈ œœ œ

˙ œ

V23 ≈ œ œ œ œ œ œ œ œ œ œ œ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ˙ œ œ# œ œ œ œ œ œ œ œ œ œ# œ˙ œ

V26 œ œ œ œ œ œ œ œ œ œ œ œ.˙

œ œ œ œ œ œ œ œ œ œ œ œ˙ œ œœ œ œ ˙œ œœ œ#œ

œ œ œ˙̇ œœ œ œ œ˙̇ œœ œ œ œ˙̇ œœ

V32 œ œ# œ˙̇̇# œœœ œ

œ œ˙̇ œœ# œ œ œœœ œ œ#œ œ œ œœ œ œ# œœœ œ œ

≈ œ œ œ œ œ œ œ œ œ œ œ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ˙ œ

V38 œ œ œ œ œ œ œ œ œ œ œ œ.˙ œ# œ œ œ œ œ œ œ œ œ œ œ˙ œ œ œ œ œb œ œ œ œ œ œ œ œ.˙

V41 œ œ œ œ œ œ œ œ œ œ œ# œœ œ œ œ œ œ .œ# jœœ œ œ

œœ œœ œœœ œ œ œœ œœœœœ œ œ ˙ œœœ œ œœ œ œœ# œœ œœœ œ œ œœ œœ œœ˙ œ#

V48 œœ œœ œœ#œ œ œ

œœ .œ# jœœ œ œ

≈ œ œ œ ≈ œ œ œ ≈ œ œ œœ œ œ ≈ œ œ œ ≈ œ œ œ ≈ œ œ œœ œ œ ≈ œ œ œ ≈ œ œ œ ≈ œ œ œœ œ œ

CiaconaSuite X in G Minor

Sylvius Leopold WeissTranscribed for guitar(1686-1750)by Richard Yates

Chaconne and Passacaglia: This work combines both characteristics of the Chaconne and Passacaglia in that the theme is both a harmonic progression and descending bass line (by step). - What is the harmonic progression of the theme? - What harmonic procedure allows Weiss to combine a harmonic progression and descending bass line?

Harmonic tension in the theme

Descending bass line in the theme

Click here to listen to the Weiss Chaconne played on the Lute.

Write a reflection on what you notice about the performance, especially compared to what is notated.

7 -6 suspension

Page 4: Baroque part 2 - DANIEL NISTICO · Weiss was a personal friend of J.S. Bach and composed prolifically, writing over 1000 pieces for the lute. Weiss wrote dance suites that are quite

Task 1

- Play the theme with its appropriate accent. Be wary of the dissonant chords placed on weak beats - how does this give variety to the theme? Record and share your thoughts.

- Add a decrescendo by using the descending bass line to guide you.

- Analyze the harmonic progression of the theme. What harmonic procedure allows Weiss to combine a progression and descending bass line.

Page 5: Baroque part 2 - DANIEL NISTICO · Weiss was a personal friend of J.S. Bach and composed prolifically, writing over 1000 pieces for the lute. Weiss wrote dance suites that are quite

V 43 œ œ œœ̇ œœ œœ ˙ œœ̇ œ œœ ˙ œœ̇ œ œœ ˙ œœ̇̇# œœœ œ ˙ œœ̇ œ œœ# œ œ œœœ œ œ#œ œ œ ˙œœ œ œ#œ œ œœ œ œ œ œ.˙

V9 œ œ œ œ

œ œ˙ œ œ œ œ

œ œ œ˙ œ œ# œ œ œ œ# œ˙ œœ œ œ œ œ œ˙ œ#

œ œ œ œœ‰ œ œ Jœ#œ œ œœ .œ jœœœ œ œ

œœ œœœ œœœ˙ œ

V16 ˙̇ œœ˙ œ ˙̇ œœ˙ œ ˙̇# œœœ œ œ ˙̇ œœœ œ œ# œœ

œœ œœ#œ œ œœœ .œ# jœœ œ œ

≈ œ œ œ œ œ œ œ ≈ œœ œ

˙ œ

V23 ≈ œ œ œ œ œ œ œ œ œ œ œ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ˙ œ œ# œ œ œ œ œ œ œ œ œ œ# œ˙ œ

V26 œ œ œ œ œ œ œ œ œ œ œ œ.˙

œ œ œ œ œ œ œ œ œ œ œ œ˙ œ œœ œ œ ˙œ œœ œ#œ

œ œ œ˙̇ œœ œ œ œ˙̇ œœ œ œ œ˙̇ œœ

V32 œ œ# œ˙̇̇# œœœ œ

œ œ˙̇ œœ# œ œ œœœ œ œ#œ œ œ œœ œ œ# œœœ œ œ

≈ œ œ œ œ œ œ œ œ œ œ œ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ˙ œ

V38 œ œ œ œ œ œ œ œ œ œ œ œ.˙ œ# œ œ œ œ œ œ œ œ œ œ œ˙ œ œ œ œ œb œ œ œ œ œ œ œ œ.˙

V41 œ œ œ œ œ œ œ œ œ œ œ# œœ œ œ œ œ œ .œ# jœœ œ œ

œœ œœ œœœ œ œ œœ œœœœœ œ œ ˙ œœœ œ œœ œ œœ# œœ œœœ œ œ œœ œœ œœ˙ œ#

V48 œœ œœ œœ#œ œ œ

œœ .œ# jœœ œ œ

≈ œ œ œ ≈ œ œ œ ≈ œ œ œœ œ œ ≈ œ œ œ ≈ œ œ œ ≈ œ œ œœ œ œ ≈ œ œ œ ≈ œ œ œ ≈ œ œ œœ œ œ

CiaconaSuite X in G Minor

Sylvius Leopold WeissTranscribed for guitar(1686-1750)by Richard Yates

Here is the entire work: answer these questions - 1) Does the original theme return later on in the piece? How can you vary its interpretation? 2) How many variations are there in total? 3) Describe the character and mood of each variation. What musical features justify or reinforce your

descriptions?

Page 6: Baroque part 2 - DANIEL NISTICO · Weiss was a personal friend of J.S. Bach and composed prolifically, writing over 1000 pieces for the lute. Weiss wrote dance suites that are quite

V53 ≈ œ# œ œ ≈ œ œ œ ≈ œ œ œœ œ œ

≈ œ œ œ ≈ œ œ œ ≈ œ œ œœ œ œ#≈ œ œ œ ≈ œ œ œ ≈ œ œ œ#œ œ œ

V56 ≈ œ œ œ ≈ œ œ œ ‰

jœ#œ œ œ

œ œ œœ˙ œ œœ œ œ œ˙.˙ œ œ œ œŒ̇ œ œœ

œ# œ œ˙ .˙ œ ˙̇ œœ˙ œ# œœ œ œœ#œ œ œ

V63 œœœ .œ# jœœ œ œ

‰ jœ œ œ œ œ.˙‰ jœ œ œ œ

œ.˙

‰ jœ œ œ œ œ.˙‰ jœ œ# œ œ œ#˙ œ œ

œœ œ œ œ œ˙ œ œ#

V69 œ œ œœ‰ œ œ ‰ œ œ ‰ œ œ#œ œ œ œ œ œ .œ œ œœœ œ œ

œ ≈ œ œ œ œœœ .œ Jœ ‰jœ ≈ œ œ œ œœ .œ Jœ

‰ jœ ≈ œ œ œ œœ .œ Jœ

V74 ≈ œ œ œ œ ≈ œ œ œ.œ Jœ œ

œ œ œ œ œ œ œœ ˙œœ œœ œœ# œœœ œ œ œ

œœ# œœœ œœœ#œ# œ œ œœœœ œ œ œ œ œ.˙

‰ jœ œ œ œ œ œ œ.˙

V80 ‰ jœ œ œ œ œ œ œ˙ œ ‰ jœ# œ œ œ œ œ# œ˙ œ ‰ jœ œ œ œ œ œ œ.˙

‰ jœ œ œ œ œ œ œ.˙ ‰ jœ œ œ œ œ œ œ œ œ.˙

V85 Œ œœœ œœœ˙ œ œœ œœ œœœ œ œ

œœ œœ œœ˙ œ œœ œœœœœ#œ œ œœœ œœ œœœ œ œ

œœ œœ œœ œœ œ œœ œ œ .œ jœœ œ œ ≈ œ œ œ œ ≈ œ œ œ

˙ œ

V93 ≈ œ œ œ œ ≈ œ œ œ˙ œ ≈ œ œ œ œ ≈ œ œ œ˙ œ ≈ œ œ œ œ ≈ œ œ œ.œ Jœ œ

œ ≈ œ œ œ œ˙ œ œ œœ œœ œœ#œ œ œ

V98 œ œ œœœ œœœ#œœ œ œ

œœ œœœ œœœ.˙˙ œœ̇ œ œœ ˙ œœ̇ œ œœ ˙ œœ̇̇# œœœ œ ˙ œœ̇ œ œœ# œ œ œœœ œ œ#œ œ œ

œ .œ# jœœœ œ̇ œ

...˙̇̇ .˙ .˙

Page 7: Baroque part 2 - DANIEL NISTICO · Weiss was a personal friend of J.S. Bach and composed prolifically, writing over 1000 pieces for the lute. Weiss wrote dance suites that are quite

Task 2

- Play or listen to the entire piece.

- Does the original theme return in the piece? If so, how can you vary its return to provide contrast?

- How many variations are there in total?

- Describe the character and mood of each variation. What musical features justify or reinforce your description?

Page 8: Baroque part 2 - DANIEL NISTICO · Weiss was a personal friend of J.S. Bach and composed prolifically, writing over 1000 pieces for the lute. Weiss wrote dance suites that are quite

Extra Assignment:

One of the most popular Chaconne’s of all time is Bach’s D Minor one from BWV 1004. Play or listen through this Chaconne: identify and describe each variation. Click here to listen to a performance on harpsichord. Write a reflection on the performance. What is the performer doing rhythmically, melodically, etc. that isn’t notated in the score?

J.S.Bach arr. Vesa Kuokkanen

Chaconne BWV 1004

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Task 3

- Play or listen through this Chaconne: identify and describe each variation. Click here to listen to a performance on harpsichord.

- Write a reflection on the performance. What is the performer doing rhythmically, melodically, etc. that isn’t notated in the score? Share your thoughts.