The Expression of Baroque-ness in Music and Beyond
On January 31, 2018, ten-year-old Matthew Villagomez performed a couple of Baroque pieces on the piano for Sir Jonathan Coo’s class on music research and criticism. These pieces were J.S. Bach’s Invention No. 10 in G Major and C. Seixas’s Sonata No. 11 in A Major, both for harpsichord. The performance was held in the music room of the Rizal Library. Matthew did not just entertain, but also allowed a glimpse of what makes music of the Baroque era distinct from that other periods. After playing the first piece, Matthew, together with Sir Coo, demonstrated a technique unique to Baroque pieces—the subject is played with the right hand, while its transformations are played with the left.
Matthew performed the pieces impressively, being able to follow the unusual 9/8 time signature of the invention and executing ornamentation (namely, trills) with precision. The complexity of the trill was modified to suit Matthew’s experience, but this did not diminish the quality of his playing technique. He first played the treble parts of both pieces, then the bass parts. Both parts in Bach’s Invention were able to stand on their own, but Seixas’ sonata revealed a complementarity of both parts. The complexity and abnormality of Baroque music could be characterized by this use of two independent melodic lines played simultaneously.
The term “Baroque” comes from the Portuguese word “barroco,” a word referring to an irregularly shaped pearl, one that can also be synonymous with “peculiar.” Baroque art was peculiar indeed; in architecture, unusually shaped ground plans and grand decorations are hallmark elements of this particular era. For example, Francesco Borromini’s Sant'Ivo alla Sapienza has a ground plan imitating the shape of a flower, deviating from simple geometric
shapes. Another example is Juan Macias’ San Agustin Church in Manila, heavily ornamented with its vaulted ceiling, stucco decorations, massive archways, stained-glass windows, and pilasters. In the art of sculpting, complexity arises from the intricate details used. Gian Lorenzo Bernini’s David depicts its subject in great detail, making use of concave and convex surfaces to depth to the piece and allow for greater interaction with light.
Matthew’s performance also involved the use of movement. In both pieces, a motif was established in the first few measures. The motif is then developed, using wider intervals as it progresses. Similarly, Borromini’s Sant'Ivo alla Sapienza, with its curved interior and exterior walls, also depicts movement in the static art of architecture. In Bernini’s David, movement is seen in the biblical figure of David as he throws a rock. Likewise, it depicts movement in the overlapping of diagonal lines. David’s arms overlap with the diagonals of his body, thereby adding energy and motion to the sculpture.
Matthew executed Bach’s arpeggiated piece admirably for a child of his age. He played it like an exercise, as it was intended to be played. However, the performance may have benefited from more emotion, as the piece is usually performed in a playful manner. The same can be said of Matthew’s performance of Seixas.
Baroque music tends to be improvisational. The performer utilizes ornamentation based on the emotion of the piece and on his or her own emotions. This emotional intensity in Baroque music is comparable to the architecture produced in the same era. In the San Agustin Church of Manila, chandeliers provide lighting that enhances the church’s ambience and gives the interior an elegant, solemn feel. The same emotional intensity can be seen in Bernini’s David, displaying great details of facial expression such as curling of the eyebrows and biting of the lips. The aforementioned use of varying surfaces contrasted highlights against shadows, giving the sculpture more dramatic impact in the portrayed emotion.
As poet Johann Wolfgang von Goethe puts it, music is liquid architecture. In the same vein, it is fair to say that Matthew can be considered an architect—one who designs in the liquid form of music. His rendition of Bach’s Invention No. 10 can be compared to a sculpture by Bernini titled The Ecstasy of Saint Teresa, now resting in the Cornaro Chapel in Rome. The sculpture depicts Saint Teresa moaning as an angel pierces a spear through her heart. Saint Teresa claimed this event filled her with God’s love. Bernini created not only the sculpture but an entire environment surrounding it. He wanted the viewer to appreciate the sculpture as if it were an opera in a theater. The Ecstasy of Saint Teresa is similar to Invention No. 10 due to its intense and detailed chiseling matching the intense and detailed execution of notes in the piece. Baroque characteristics are apparent in both of these works through their depiction of emotion and life. The power and triumph of the Catholic Church played an important role in influencing the disciplines of the Baroque period. What characterizes the Baroque era is the splendid and rich texture seen in its art, architecture, and music.
The Baroque period was a time of cultural awakening. Baroque art, beyond being a manner of expressing emotions and creativity, became a lifestyle. The distinct features of the Baroque era can always serve as inspiration to draw from when producing art in present times.
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Photo credits:
https://en.m.wikipedia.org/wiki/Carlos_Seixas
https://arthistoryoftheday.wordpress.com/2011/08/13/gianlorenzo-bernini-david-1623/
https://www.tes.com/lessons/Q_FHTWb62XWZoA/johann-sebastian-bach
https://www.khanacademy.org/humanities/monarchy-enlightenment/baroque-art1/baroque-ita ly/a/bernini-ecstasy-of-saint-teresa