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.
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.
Common name | Baroque era name | Type | Plural | Baroque era plural | Example of use by Bach | Notes | ||
---|---|---|---|---|---|---|---|---|
trumpet | tromba | it | brass, trumpet | trumpets | trombe | Cantata No. 172 | see also Baroque trumpet | |
tromba da tirarsi | tromba da tirarsi | it | brass, trumpet | trombe da tirarsi | ||||
high trumpet | clarion | it | brass, trumpet | clarini | ||||
Trombone | trombone | it | brass, trombone | trombones | tromboni | |||
horn | corno | it | brass, horn | horns | corni | |||
corno da caccia | corno da caccia | it | brass, horn | corni da caccia | ||||
corno da tirarsi | corno da tirarsi | it | brass, horn | corni da tirarsi | ||||
lituus | lituo | it | brass, lituus | lituuses | litui | |||
timpani | timpani | it | percussion | Christmas Oratorio | used with trumpets | |||
recorder | flauto (dolce) | it | woodwind, recorder | recorders | flauti (dolci) | Cantata No. 39 | ||
descant recorder | flauto piccolo | it | woodwind, recorder | flauti piccoli | Cantatas No. 96 and No. 103 | |||
flute | flauto traverso | it | woodwind, Wooden, Single Key | transverse flutes | flauti traversi | |||
oboe | oboe | it | woodwind, oboe | oboes | oboi | |||
oboe d'amore | oboe d'amore | it | woodwind, oboe | oboes d'amore | oboi d'amore | |||
tenor oboe | taille | fr | woodwind, oboe | tailles | ||||
oboe da caccia | oboe da caccia | it | woodwind, oboe | oboes da caccia | oboi da caccia | |||
bassoon | fagotto | it | woodwind, bassoon | bassoons | fagotti | |||
violin | violino | it | string, Baroque violin | violins | violini | |||
violin piccolo | violino piccolo | it | string, violin | violini piccoli | Brandenburg Concerto No. 1 | main violin | ||
viola | viola | it | string, viola | violas | viole | |||
cello | violoncello | it | string, cello | celli | violoncelli | |||
violoncello piccolo | violoncello piccolo | it | string, cello | violoncelli piccoli | ||||
viola d'amore | viola d'amore | it | string, viola | viole d'amore | ||||
viola da gamba | viola da gamba | it | string, viol | viole da gamba | St John Passion Aria "Es ist vollbracht!" | Basso continuo, but sometimes solo | ||
violetta | violetta | it | string, viola | violette | ||||
violone | violone | it | string, viol | violono | ||||
organ | organo | it | key, organ | organs | organi | |||
carillon | carillon | it | key, pitched percussion | carillons | carillon | |||
harpsichord | cembalo | it | key, harpsichord | harpsichords | cembali | |||
lute | liuto | it | string, lute | lutes | liuti | |||
continuo | basso continuo | it | bass group | |||||
The typical orchestra of the Baroque period was based on string instruments (violin, viola) and continuo. [2] A continuous bass was 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 carried 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 used 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.
The basso continuo, or short: continuo, the typical bass group of the period, consisted 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.
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.
Recorders (flauti dolci) are sometimes used to express humility or poverty, such as in Bach's cantata Brich dem Hungrigen dein Brot, BWV 39 .
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.
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.
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 Avec plusieurs instruments, meaning "Six Concertos for several instruments". Some of the pieces feature several solo instruments in combination. They are widely regarded as some of the greatest orchestral compositions of the Baroque era.
Johann Sebastian Bach composed the church cantata Es ist das Heil uns kommen her, BWV 9 in Leipzig for the sixth Sunday after Trinity and first performed it on 1 August 1734. 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.
Johann Sebastian Bach composed the church cantata Jauchzet Gott in allen LandenBWV 51, in Leipzig. The work is Bach's only church cantata scored for a solo soprano and trumpet. He composed it for general use, in other words not for a particular date in the church calendar, although he used it for the 15th Sunday after Trinity: the first known performance was on 17 September 1730 in Leipzig. The work may have been composed earlier, possibly for an occasion at the court of Christian, Duke of Saxe-Weissenfels, for whom Bach had composed the Hunting Cantata and the Shepherd Cantata.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Ihr Tore zu Zion also called Ihr Pforten zu Zion, BWVTooltip Bach-Werke-Verzeichnis 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.
Johann Sebastian Bach composed the church cantata Mache dich, mein Geist, bereit, BWV 115, in Leipzig for the 22nd Sunday after Trinity and first performed it on 5 November 1724. It is based on the hymn of the same name by Johann Burchard Freystein (1695).
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.
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.
{{cite book}}
: CS1 maint: others (link)