Baroque instruments

Last updated

Musical instruments used in Baroque music were partly used already before, partly are still in use today, but with no technology. [1] The movement to perform music in a historically informed way, trying to recreate the sound of the period, led to the use of historic instruments of the period and to the reconstruction of instruments.

Contents

The following table lists instruments, classified as brass instruments, woodwinds, strings, and basso continuo. The continuous bass is played by a group of instruments, depending on the given situation. Many instruments have an Italian or French name which is used as a common name also in English. The use of instruments by composers is shown in examples mostly by Johann Sebastian Bach.

Table of instruments

Common name Baroque era nameTypePluralBaroque era pluralExample of use by BachNotes
trumpet trombaitbrass, trumpet trumpetstrombe Cantata No. 172 see also Baroque trumpet
tromba da tirarsi tromba da tirarsi itbrass, trumpet trombe da tirarsi
high trumpet clarion itbrass, trumpet clarini
Trombonetromboneitbrass, trombone trombonestromboni
horncornoitbrass, horn hornscorni
corno da caccia corno da caccia itbrass, horncorni da caccia
corno da tirarsi corno da tirarsi itbrass, horncorni da tirarsi
lituuslituoitbrass, lituus lituuseslitui
timpani timpani it percussion Christmas Oratorio used with trumpets
recorder flauto (dolce)itwoodwind, recorder recordersflauti (dolci) Cantata No. 39
descant recorder flauto piccolo itwoodwind, recorder flauti piccoli Cantatas No. 96 and No. 103
flute flauto traverso itwoodwind, Wooden, Single Key transverse flutesflauti traversi
oboeoboeitwoodwind, oboe oboesoboi
oboe d'amore oboe d'amore itwoodwind, oboe oboes d'amoreoboi d'amore
tenor oboe taille frwoodwind, oboe tailles
oboe da caccia oboe da caccia itwoodwind, oboe oboes da cacciaoboi da caccia
bassoonfagottoitwoodwind, bassoon bassoonsfagotti
violinviolinoitstring, Baroque violin violinsviolini
violin piccolo violino piccolo itstring, violin violini piccoli Brandenburg Concerto No. 1 main violin
violaviolaitstring, viola violasviole
cellovioloncelloitstring, cello cellivioloncelli
violoncello piccolo violoncello piccolo itstring, cello violoncelli piccoli
viola d'amore viola d'amore itstring, viola viole d'amore
viola da gamba viola da gamba itstring, viol viole da gamba St John Passion Aria "Es ist vollbracht!"Basso continuo, but sometimes solo
violetta violetta itstring, viola violette
violone violone itstring, viol violono
organorganoitkey, organ organsorgani
carillon carillonitkey, pitched percussion carillonscarillon
harpsichordcembaloitkey, harpsichord harpsichordscembali
luteliutoitstring, lute lutesliuti
continuo basso continuo itbass group

Baroque instrumentation

The typical orchestra of the Baroque period is based on string instruments (violin, viola) and continuo. [2] A continuous bass is the rule in Baroque music; its absence is worth mentioning and has a reason, such as describing fragility.

The specific character of a movement is often defined by wind instruments, such as oboe, oboe da caccia, oboe d'amore, flauto traverso, recorder, trumpet, horn, trombone, and timpani.

For Bach, some instruments carry symbolic meaning such as a trumpet, the royal instrument of the Baroque, for secular and divine majesty: three trumpets for the Trinity. In arias, Bach often uses obbligato instruments, which correspond with the singer as an equal partner. In his early compositions he used instruments that had become old-fashioned, such as viola da gamba and violone.

Continuo

The basso continuo, or short: continuo, the typical bass group of the period, consists of a group of instruments, depending upon the other instruments playing and the performance location. A group may consist of cello, double bass (an octave lower) and organ. A bassoon is typically playing when other wind instruments are called for. While an organ will be played in church, a harpsichord will be used in secular surroundings.

Trumpet

The trumpet is the royal instrument of the Baroque, representing secular and divine majesty. Three trumpets symbolize the Trinity in an aria of Bach's BWV 172, addressing the "Heiligste Dreifaltigkeit" (Most holy Trinity), where the bass voice is accompanied only by three trumpets and timpani.

Recorder

Recorders in different sizes, flauto piccolo (sopranino) on the left Different Sizes of Recorders.JPG
Recorders in different sizes, flauto piccolo (sopranino) on the left

Recorders (flauti dolci) are sometimes used to express humility or poverty, such as in Bach's cantata Brich dem Hungrigen dein Brot, BWV 39 .

Flauto piccolo

Bach used a flauto piccolo (what flauto?), a high recorder in F ("descant recorder" or "sopranino recorder"), to express for example the sparkling of the morning star in Herr Christ, der einge Gottessohn, BWV 96.

Related Research Articles

<i>Geist und Seele wird verwirret</i>, BWV 35 Church cantata by Johann Sebastian Bach

Geist und Seele wird verwirret, BWV 35, is a church cantata by Johann Sebastian Bach. He composed the solo cantata for alto voice in Leipzig for the twelfth Sunday after Trinity and first performed it on 8 September 1726.

<i>Brandenburg Concertos</i> Collection of six works by Johann Sebastian Bach

The Brandenburg Concertos by Johann Sebastian Bach, are a collection of six instrumental works presented by Bach to Christian Ludwig, Margrave of Brandenburg-Schwedt, in 1721. The original French title is Six Concerts à plusieurs instruments, meaning "Six Concertos for several instruments". Some of them feature several solo instruments in combination. They are widely regarded as some of the best orchestral compositions of the Baroque era.

<i>Wir danken dir, Gott, wir danken dir</i>, BWV 29 Church cantata by Johann Sebastian Bach

Wir danken dir, Gott, wir danken dir, BWV 29, is a sacred cantata by Johann Sebastian Bach. He composed it in Leipzig in 1731 for Ratswechsel, the annual inauguration of a new town council, and first performed it on 27 August of that year. The cantata was part of a festive service in the Nikolaikirche. The cantata text by an unknown author includes in movement 2 the beginning of Psalm 75, and as the closing chorale the fifth stanza of Johann Gramann's "Nun lob, mein Seel, den Herren". Bach scored the work in eight movements for four vocal parts and a festive Baroque orchestra of three trumpets, timpani, two oboes, strings, an obbligato organ and basso continuo. The organ dominates the first movement Sinfonia which Bach derived from a Partita for violin. The full orchestra accompanies the first choral movement and plays with the voices in the closing chorale, while a sequence of three arias alternating with two recitatives is scored intimately.

<i>Es ist das Heil uns kommen her</i>, BWV 9 Church cantata by Johann Sebastian Bach

Johann Sebastian Bach composed the church cantata Es ist das Heil uns kommen her, BWV 9 in Leipzig for the sixth Sunday after Trinity between 1732 and 1735. It is a chorale cantata, based on the hymn "Es ist das Heil uns kommen her" by Paul Speratus. Bach composed the cantata to fill a gap in his chorale cantata cycle written for performances in Leipzig from 1724.

<i>Tönet, ihr Pauken! Erschallet, Trompeten!</i> BWV 214 Cantata by J.S. Bach

Tönet, ihr Pauken! Erschallet, Trompeten!, BWV 214, is a secular cantata by Johann Sebastian Bach, composed in 1733 for the birthday of Maria Josepha, Queen of Poland and Electress of Saxony. Classified in published editions as a dramma per musica, it is based on a libretto by an unknown author. The piece has the dedicatee addressed by allegorical figures representing Roman and Greek goddesses of war and peace. It is structured as nine movements, and scored for four vocal parts and a festive Baroque orchestra with trumpets, timpani, flutes, oboes and strings. Choral movements frame a series of alternating recitatives and arias. Bach led the first performance with the Collegium Musicum at the Zimmermannsches Caffeehaus on 8 December 1733.

<span class="mw-page-title-main">Orchestral suites (Bach)</span>

The four orchestral suites BWV 1066–1069, are four suites by Johann Sebastian Bach from the years 1724-1731. The name ouverture refers only in part to the opening movement in the style of the French overture, in which a majestic opening section in relatively slow dotted-note rhythm in duple meter is followed by a fast fugal section, then rounded off with a short recapitulation of the opening music. More broadly, the term was used in Baroque Germany for a suite of dance-pieces in French Baroque style preceded by such an ouverture. This genre was extremely popular in Germany during Bach's day, and he showed far less interest in it than was usual: Robin Stowell writes that "Telemann's 135 surviving examples [represent] only a fraction of those he is known to have written"; Christoph Graupner left 85; and Johann Friedrich Fasch left almost 100. Bach did write several other ouverture (suites) for solo instruments, notably the Cello Suite no. 5, BWV 1011, which also exists in the autograph Lute Suite in G minor, BWV 995, the Keyboard Partita no. 4 in D, BWV 828, and the Overture in the French style, BWV 831 for keyboard. The two keyboard works are among the few Bach published, and he prepared the lute suite for a "Monsieur Schouster," presumably for a fee, so all three may attest to the form's popularity.

<span class="mw-page-title-main">Bach cantata</span> Cantatas by Johann Sebastian Bach

The cantatas composed by Johann Sebastian Bach, known as Bach cantatas, are a body of work consisting of over 200 surviving independent works, and at least several dozen that are considered lost. As far as known, Bach's earliest cantatas date from 1707, the year he moved to Mühlhausen, although he may have begun composing them at his previous post in Arnstadt. Most of Bach's church cantatas date from his first years as Thomaskantor and director of church music in Leipzig, a position which he took up in 1723.

<i>Herr, gehe nicht ins Gericht mit deinem Knecht</i>, BWV 105

Herr, gehe nicht ins Gericht mit deinem Knecht, BWV 105 is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the ninth Sunday after Trinity and first performed it on 25 July 1723. The musicologist Alfred Dürr has described the cantata as one of "the most sublime descriptions of the soul in baroque and Christian art".

<i>Unser Mund sei voll Lachens</i>, BWV 110 Church cantata by Johann Sebastian Bach

Unser Mund sei voll Lachens, BWV 110, is a church cantata by Johann Sebastian Bach. He composed the Christmas cantata in Leipzig for Christmas Day and first performed it on 25 December 1725.

<i>Herr Gott, Beherrscher aller Dinge</i>, BWV 120a

Herr Gott, Beherrscher aller Dinge, BWV 120.2, is a wedding cantata by Johann Sebastian Bach. He composed and first performed it in Leipzig, most likely in 1729.

<i>Gott, wie dein Name, so ist auch dein Ruhm</i>, BWV 171 Church cantata by Johann Sebastian Bach

Gott, wie dein Name, so ist auch dein Ruhm, BWV 171, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for New Year's Day and probably first performed it on 1 January 1729.

<i>Schauet doch und sehet, ob irgend ein Schmerz sei</i>, BWV 46 Church cantata by Johann Sebastian Bach

Schauet doch und sehet, ob irgend ein Schmerz sei, BWV 46, is a church cantata by Johann Sebastian Bach. He composed it for the tenth Sunday after Trinity and it was first performed on 1 August 1723 in Leipzig.

<i>Erschallet, ihr Lieder, erklinget, ihr Saiten!</i> BWV 172 Church cantata by Johann Sebastian Bach composed for Pentecost Sunday

Erschallet, ihr Lieder, erklinget, ihr Saiten!, BWV 172, is a church cantata by Johann Sebastian Bach, composed in Weimar for Pentecost Sunday in 1714. Bach led the first performance on 20 May 1714 in the Schlosskirche, the court chapel in the ducal Schloss. Erschallet, ihr Lieder is an early work in a genre to which he later contributed complete cantata cycles for all occasions of the liturgical year.

<i>Herr Christ, der einge Gottessohn</i>, BWV 96 Chorale cantata by Johann Sebastian Bach

Johann Sebastian Bach composed the church cantata Herr Christ, der einge Gottessohn, BWV 96, in Leipzig for the 18th Sunday after Trinity and first performed it on 8 October 1724. The chorale cantata, part of Bach's second annual cycle, is based on the hymn in five stanzas "Herr Christ, der einig Gotts Sohn" by Elisabeth Cruciger, published in Eyn geystlich Gesangk Buchleyn in 1524.

The Weimarer Passion, BWV deest, is a hypothetical Passion oratorio by Johann Sebastian Bach, thought to have possibly been performed on Good Friday 26 March 1717 at Gotha on the basis of a payment of 12 Thaler on 12 April 1717 to "Concert Meister Bachen". It is one of several such lost Passions. Both the text and music are lost, but individual movements from this work could have been reused in latter works such as the Johannes-Passion. At one time, it was thought that the work set chapters 26 and 27 of the Gospel of Matthew to music, with interspersed chorales and arias, but current consensus is that it is possible that the text reflected a synopsis of two or more Gospel texts, as well as the interspersed chorales and arias.

<i>Gelobet sei der Herr, mein Gott</i>, BWV 129

Gelobet sei der Herr, mein Gott, BWV 129, is a church cantata by Johann Sebastian Bach. It is a chorale cantata performed on Trinity Sunday 8 June 1727 in Leipzig. Rediscovery of the printed libretto of the cantata in the first decade of the 21st century led to a re-appraisal of prior assumptions regarding the early performance chronology of a few cantatas, including this one.

<i>Preise, Jerusalem, den Herrn</i>, BWV 119 Sacred cantata by Johann Sebastian Bach 1723

Preise, Jerusalem, den Herrn, BWV 119, is a sacred cantata by Johann Sebastian Bach. He composed it in Leipzig for Ratswechsel, the inauguration of a new town council, and first performed it on 30 August 1723.

<i>Ihr Tore zu Zion</i>, BWV 193 Cantata by Bach

Ihr Tore zu Zion also called Ihr Pforten zu Zion, BWV 193, is a sacred cantata by Johann Sebastian Bach. He composed it in Leipzig for Ratswechsel, the inauguration of a new town council, in 1727 and first performed it on 25 August 1727. The music survives in an incomplete state.

Auf, schmetternde Töne der muntern Trompeten, BWV 207.2, is a secular cantata composed by Johann Sebastian Bach and likely premiered in 1735. It utilizes the music from the third movement of the Brandenburg Concerto No. 1 in F major.

<span class="mw-page-title-main">Magnificat in E-flat major, BWV 243a</span> Magnificat by Johann Sebastian Bach

The Magnificat in E-flat major, BWV 243a, also BWV 243.1, by Johann Sebastian Bach is a musical setting of the Latin text of the Magnificat, Mary's canticle from the Gospel of Luke. It was composed in 1723 and is in twelve movements, scored for five vocal parts and a Baroque orchestra of trumpets, timpani, oboes, strings and basso continuo including bassoon. Bach revised the work some ten years later, transposing it from E-flat major to D major, and creating the version mostly performed today, BWV 243.

References

  1. From Renaissance to Baroque : change in instruments and instrumental music in the seventeenth century : proceedings of the National Early Music Association Conference held, in association with the Department of Music, University of York and the York Early Music Festival, at the University College of Ripon and York St. John, York, 2-4 July 1999. Jonathan P. Wainwright, Peter Holman, University of York. Department of Music, York Musical Festival. London: Routledge. 2016. ISBN   978-1-351-56626-1. OCLC   993761721.{{cite book}}: CS1 maint: others (link)
  2. Donington, Robert (1973). "The Choice of Instruments in Baroque Music". Early Music. 1 (3): 131–138. ISSN   0306-1078.