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dramatic resource. Breaking the
bounds of pure accompaniment,
the ever-more prominent orchestra
could play a far more varied and
expressive role, which helped to
fuel the popularity of Baroque
opera. This tended to flourish in
mercantile centers, where wealthy
individuals joined the nobility to
enjoy the spectacle, offering rich
opportunities for composers such
as George Frideric Handel. Most
citizens, however, experienced the
new musical developments during
church services.Dramatizing church music
Composers soon realized that the
operatic techniques and music
that infused classical myths with
contemporary relevance could
serve liturgical purposes equally,
bringing life to the biblical texts,
which many in the congregation
could not themselves read. Since
operas were not permitted to be
staged during the six weeks of
Lent, composers would present
performances of oratorios on
biblical themes instead.Many of the genres heard in choral
music of this time are the same as
those found in secular music. As
church composers were required
to write music for more than 60
services a year, it was not unusual
for them to remodel secular pieces,
as Johann Sebastian Bach did
(1685–1750) when writing his
Christmas Oratorio (173 4 –173 5).Evolving choral genres
During the High Baroque period,
the form of the Mass in north
Germany evolved from the
prima pratica (“first practice”),
characterized by a polyphonic
setting of the most important
parts of the church service (Kyrie,
Gloria, Credo, Sanctus, Agnus Dei)
with a choir and an instrumental
accompaniment, into a much
grander entity. This was due
partly to the influence of Italian
traditions, which, after 1712, Bach
encountered through the music of
Antonio Vivaldi. The orchestra
grew in size and, especially with
obbligato (essential, fully written)
accompaniments, made a much
greater musical contribution. Solo
voices were also more common.
Bach wrote five Masses, but
the B minor Mass (1749) stands
apart as one of the most important
works in the Western music canon.
It was written at the end of his life
and unperformed before his death.
Unusually for the Lutheran tradition,
it presents a complete setting of
the Latin Ordinary in 25 separate
movements over some two hours.
Although on the wane by this
period, the motet (sacred verses set
to music) was still an important
choral genre, particularly in France,
where two distinct styles had
been established. The petits ❯❯See also: Ein feste Burg ist unser Gott 78–79 ■ The Art of Fugue 10 8 –111 ■
Elijah 170 –173 ■ The Dream of Gerontius 218–219BAROQUE 1600 –1750
Johann Sebastian Bach
Born in Eisenach, Germany,
in 1685, Bach was the most
prominent of a long line of
musicians. Taught music first
by his father, then his brother,
Bach was appointed as a court
musician in Weimar on leaving
school in 1703. His reputation
as an outstanding keyboard
player quickly spread. He had
soon written the first of more
than 200 cantatas.
In 1717, Bach moved to
Köthen to take up a postion as
Kapellmeister and wrote many
instrumental works, including
the Brandenburg Concertos.
In 1723, he took up his last
post as cantor of St. Thomas
Church in Leipzig, where he
remained until his death in
1750 at the age of 65. During
this period, he became the
preeminent composer of High
Baroque music, with a skill
for counterpoint that has
arguably never been equalled.Other key works1723–1732 Six Motets,
BWV 225–231
1733 Magnificat, BWV 243
1749 Mass in B minor,
BWV 232Not “brook” [in German:
Bach], but “sea” should he
be called because of his
infinite, inexhaustible richness
in tone combinations
and harmonies.
Ludwig van BeethovenUS_098-105_JS_Bach_Passion.indd 101 26/03/18 1:00 PM