Drop the Needle - Evolution of the Symphony: Baroque Roots
Couperin, Telemann, and Monteverdi, plus some lagniappe
The symphony, an embodiment of musical sophistication, has witnessed continuous evolution since its inception in the hands of Giovanni Battista Sammartini in the 1730s, and since its formalization in the hands of Franz Joseph Haydn, who wrote 104 symphonies, beginning in the 1750s.
In the world of music, a symphony is a specific form, or genre, that specifies the overall structure of the composition. It expects a sequence of movements, each having its own unique framework. Symphonies typically exhibit a set of contrasting melodies that interact and develop, among other distinguishing characteristics.
Symphonies, by tradition, were composed for the most grand orchestras of their time. They typically encompass four movements; however, this is not a rigid rule—symphonies could comprise as few as three or as many as six or more movements, especially in the case of more expansive compositions. The uniqueness of the symphony is in contrast to other musical forms such as concertos, sonatas, operas, tone poems, overtures, and more.
Before the symphony came to be, there were various instrumental forms that laid its groundwork. These forms include the Baroque suite, Baroque concerto, and most importantly, the Italian overture or sinfonia.
Over the next several issues of Drop, we'll explore the dynamic evolution of the symphony. We will delve into the reasons for its persistent endurance throughout the centuries. Lastly, armed with an understanding of its history and current trends, we'll venture some educated predictions about the future trajectory of this cornerstone musical form.
In this issue we explore the Baroque predecessors of the symphony.
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Here is all of the music in this issue (plus all of Monteverdi’s opera L’Orfeo) in one, grand, unified, Spotify playlist.
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The Baroque Suite
In the 17th and early 18th centuries, the suite was a popular form of instrumental music. A collection of dance-inspired movements, the Baroque suite is usually arranged in a particular order: typically an allemande, courante, sarabande, and gigue. The suite often began with a prelude, a free-form piece, setting the mood for the dances to follow. Composers like Johann Sebastian Bach and George Frideric Handel wrote numerous suites for various instrumentations.
François Couperin’s Première Ordre
François Couperin, often referred to as "Couperin le Grand" (Couperin the Great, to distinguish him from other composers in his family), was a central figure in French Baroque music. Among his most significant contributions to music was his collection of "ordres" for the harpsichord, a series of standalone pieces grouped into orders or suites. A notable example, the Première Ordre, provides an illuminating insight into the Baroque suite's impact on the evolution of the symphony.
Composed around 1713, the Première Ordre comes from the first of four books, all of which contain twenty-seven total orders in various keys, for the harpsichord. Like other orders, it features a range of character pieces, dances, and descriptive works, each with their unique charm and affect. The suite-like structure of these orders, with their contrasting movements, set a precedent for the multi-movement format that would become the backbone the symphony.
Key to the symphony's evolution was the concept of contrast, which is abundant in the Première Ordre. The suite begins with the grand Allemande - L'Auguste, a stately and regal piece. This is followed by a variety of contrasting pieces, each presenting its own unique emotional setting. As the suite progresses, these contrasts become even more apparent, the moods and styles shifting from one piece to the next.
Moreover, Couperin's works often exhibit a synthesis of the prevailing French and Italian styles of the period. The Italian style, with its emphasis on melody and virtuosity, and the French style, noted for its ornamental richness and emphasis on dance rhythms, are both present in his music. This fusion of styles played a crucial role in the development of the symphony, which similarly absorbed and integrated diverse musical influences.
Francois Couperin (1668 – 1733), French - Premiere Ordre
Allemande L'Auguste
Première courante
Seconde courante
Sarabande La majestueuse
Gavotte; La Milordine, gigue
Menuet (et double)
Les silvains
Les abeilles
La Nanète
Les sentimens, sarabande
La pastorelle
Les nonètes (Les blondes, Les brunes)
La bourbonnoise, gavotte
La Manon
L'enchanteresse
La fleurie, ou La tendre Nanette
Les plaisirs de St Germain en Laÿe
YouTube Performance: Magdalena Baczewska, March 5, 2018, Naples, Florida
Spotify Performance: Violaine Cochard
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The Baroque Concerto
Georg Philipp Telemann, a prolific exponent of the Baroque era, left an indelible mark on classical music—a mark that often goes underappreciated. One jewel in his extensive repertoire, the Concerto for Flute, Violin, and Cello in A Major, TWV 53:A2, not only dazzles listeners but also offers intriguing insights into the genesis of the symphonic form.
Scored for a chamber ensemble that features a flute, a violin, a cello, and a string ensemble, this concerto unfolds in four beautifully-constructed movements: an introspective Largo, a buoyant Allegro, an elegant Gratioso, and a concluding, vivacious Allegro.
One of the most direct lines from Telemann's concerto to the symphony lies in its multi-movement structure, which foreshadows the structural core of the symphony with its four-movement layout. Telemann's concerto serves almost as a prototype, emphasizing the importance of juxtaposing contrasting moods and tempi—the backbone of the symphonic form.
The symphony, too, would commonly adopt a four-movement format: a fast opening movement, a slow second movement, a dance-like third movement, and a fast, final movement.
The richness of Telemann's orchestration allows for a captivating interplay between soloists and orchestra. Each instrument—the flute, the violin, and the cello—has a moment to shine, adding unique colors and timbres to the tonal palette. This artistic arrangement of textures and dialogues among instruments previews what would become a cornerstone of the symphonic tradition: the art of interweaving multiple voices into a coherent, yet varied, tapestry of sound.
Telemann's stylistic eclecticism—a seamless fusion of French elegance, Italian verve, and Germanic structural depth—serves as a precursor to the stylistic amalgamation that would characterize the symphonic form. His concerto is like a musical crossroads where various traditions meet, interact, and evolve—much like the symphony, which would soon become a melting pot of global musical idioms, from the Italian flair for melody to the German emphasis on structural coherence.
Georg Philipp Telemann (1681-1767), German - Concerto for Flute, Violin and Cello, TWV 53:A2
Largo
Allegro
Gratioso
Allegro
YouTube Performance: New York Baroque Incorporated, Dec 23, 2014 (Note: John Scott at the harpsichord before his death in 2015.)
Spotify Performance: Freiburger Barockorchester
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The Italian overture
Claudio Monteverdi's opera L'Orfeo, first performed in 1607, stands as a seminal work in the history of opera. Its overture, while composed to set the stage for a drama, occupies a crucial role in the evolution of instrumental music, especially the symphony.
The overture to L'Orfeo is relatively brief, yet its compositional techniques are worth noting. Written in a stile concitato (agitated style), the overture starts with a fanfare-like motif followed by a faster section, characteristic of the sinfonia form of the time. This may seem a far cry from the expansive four-movement symphonies that would follow, but Monteverdi’s overture laid the groundwork in terms of exploring the orchestra's capabilities and introducing thematic material.
What makes the overture of L'Orfeo pivotal to the development of the symphony are a few key factors.
Even though it was meant to precede a stage work, the overture's musical integrity allows it to stand alone. This idea of instrumental music holding its own independent aesthetic value was vital for the evolution of the symphony.
The overture introduces multiple tempi and thematic materials within a compact form, indicating a rudimentary notion of contrast and development—concepts that would later be fully fleshed out in symphonic form.
Monteverdi used a relatively large ensemble, which includes strings, harpsichord, brass, and percussion instruments. This notion of a 'large ensemble' would be amplified in the symphonic works of composers like Haydn, Mozart, Beethoven, and especially Mahler.
Though not a multi-movement piece itself, the overture's contrasting sections suggest the possibility of further development into distinct movements—a characteristic integral to the later symphonic form.
The synthesis of styles is another essential feature. Monteverdi, stationed at the crossroads between the Renaissance and the Baroque periods, combined the polyphony of the former with the expressive individualism of the latter. This amalgamation of styles offers a glimpse into the stylistic diversity and emotional range that would become the hallmark of the symphony.
Claudio Monteverdi (1567 – 1643), Italian - L’Orfeo
YouTube Performance: (I have no idea who this is. The performance is amazing.)
Spotify Performance: Le Concert des Nations conducted by Jordi Savall
The Lagniappe
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As I squeak out an issue for August just under the wire, here, I need to clear out some items I’ve been saving up since the last issue came out 6 weeks ago.
For those who appreciate blogs about classical music, and might appreciate similar content in a video format, let me introduce you to the YouTube channel Inside the Score. While Drop focuses on repertoire, Inside focuses on ideas. Closing in on 16 million views, the content is insightful and compelling.
Relatedly, for instance:
Absolutely collaborate. I'm out of the loop for a bit while I'm in training for a new job. I'll reach out when I'm ready. In the meantime, it would be great if you wrote a guest issue.
Thanks.
Interesting piece, although classic music is hard to follow for people like me.
Anyway, I'm a music writer myself. Let's collaborate or subscribe to each other's newsletters.