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New York

PROFESSOR OF MUSIC, THE UNIVERSITY OF CAJJFORNIA

Хосе Рибера

«Святая Инесса»

W.W. NORTON and COMPANY • INC-

COPYRIGHT, I947.BY

W. W. NORTON & COlvEPANY, INC.

NEW YORK, N. Y.

PBINXED IN THE UNITED STATES OF AMERICA

FOR. THE PUBLISHERS BY THE VAIL-BALLOU PRESS

IN MEMORY OF

ANDRÉ PIRRO

(1869 - 1943)

A Pioneer of Baroque Music

CONTENTS

PREFACE xiii

Chapter One RENAISSANCE versus BAROQUE MUSIC 1

Disintegration of Stylistic Unity 1
Stylistic Comparison between Renaissance and Baroque Music 9

The Phases of Baroque Music 16

Chapter Two EARLY BAROQUE IN ITALY 20

The Beginnings of the Concertato Style: Gabrieli 20

The Monody: Peri and Caccini 25

Transformation of the Madrigal: Monteverdi 33

The Influence of the Dance on Vocal Music 38

Emancipation o£ Instrumental Music: Frescobaldi 43

The Rise of the Opera: Monteverdi 55

Tradition and Progress in Sacrtd Music 64

Chapter Three EARLY AND MIDDLE BAROQUE IN

THE NORTHERN COUNTRIES 71

The Netherlands School and Its English Background 71

English Antecedents: the Abstract Instrumental Style 72

The Netherlands: Sweelinck 74

Germany and Austria in the 17th Century 78

Chorale and Devotional Song 79

Chorale Motet and Chorale Concertato: Schein 83

The Dramatic Concertato: Schüitz 88

Continue Lied, Opera, and Oratorio 97

Instrumental Music: Scheidt, Froberger, and Biber 104

Chapter Four ITALIAN MUSIC OF THE MIDDLE

BAROQUE 118

The Bel-Canto Style 118

The Chamber Cantata: Luigi Rossi and Carissimi 120

The Oratorio: Carissimi and Stradclla 123

The Venetian Opera School 128

Instrumental Music: the Bologna School 136

Chapter Five FRENCH MUSIC UNDER THE

ABSOLUTISM 141

The Ballet de Cour 141

French Reactions to Italian Opera 147

Comédie-Ballet and Tragédie Lyrique: Lully 151

Cantata, Oratorio, and Church Music 161
Lute Miniatures and Keyboard Music: Gaultier and Chambon-

nières 164
Music in the Iberian Peninsula, New Spain, and Colonial

America 174

Chapter Six ENGLISH MUSIC DURING THE COM­-
MONWEALTH AND RESTORATION 180
The Masque and the English Opera: Lawes and Blow 180
Consort Music: Jenkins and Simpson 190
Anglican Church Music: Porter, Humfrey, and Blow 198
Henry Purcell, the Restoration Genius 203

Chapter Seven LATE BAROQUE: LUXURIANT COUN­-
TERPOINT AND CONCERTO STYLE 219

The Culmination of Late Baroque Music in Italy 219

The Rise of Tonality 219

Concerto Grosso and Solo Concerto 223

Ensemble Sonata and Solo Sonata 232

Opera Seria and Opera Buffa—Cantata and Sacred Music 239

Late Baroque and Rococo Style in France 247

Ensemble and Clavecin Music 247

Opera and Cantata in France 253

Chapter Eight FUSION OF NATIONAL STYLES: BACH 260

The State of Instrumental Music in Germany before Bach 260

The State of Protestant Church Music before Bach 268

Bach: The Early Period 270

Bach the Organist: Weimar 275

Bach the Mentor: Göthen 282

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