Myron (Marsyas): * see Endnote<A>

Marble group of 2 figures, attributed to Myron, 460 BC, the myth relates to how Athena, having invented the double flute, the aulòs, throws it to the ground in horror because in playing it her face became distorted.  Marsyas, attracted by the wonderful sound, tries to take the instrument.  Copies (coins of Athens, a vase, a relief) show Marsyas oscillating between curiosity & fear of Athena’s displeasure.  Contemporaries praised Myron for giving life & motion to his figures, but claimed he did not succeed in rendering the emotional side.  The bodies of his men are of far greater excellence than the heads; the face Marsyas is almost a mask; but from the physical attitude we gain a vivid impression of the passions which sway him.

And see page 225 above

 

Temple of Zeus, Olympia (Centaur group, west pediment): * see Endnote <B>

built in the second quarter of the fifth century BC, considered the model of the developed classical Doric temple.  It featured carved metopes and triglyph friezes, topped by pediments filled with sculptures in the Severe Style, now attributed to the "Olympia Master" and his studio.

 

Aegina temple (pediments): * see endnote <C>

The Temple of Aphaia, on the Greek island of Aigina (in the Saronic Gulf); a Doric temple dedicated to the mother-goddess Aphaia.  The extant temple built  500 BC was constructed over the remains of an earlier temple built  570 BC, destroyed by fire  510 BC.  This temple is of an unusual plan and is significant for its pedimental sculptures which illustrate the change from Archaic to Early Classical technique.

 

Polycletus:

See chapter I, page 27, Chapter III page 112, Chapter V, page 177

 

Lysippus:

See Chapter II page 90

 

Praxiteles:

of Athens, mid  4th century, most renowned of the Attic sculptors of this era; first to sculpt the nude female form in a life-size statue; numerous copies of his works have survived; he is referenced by several authors, including Pliny the Elder & coins engraved with silhouettes of his various famous statuary types from the period still exist.

 

lateral:

of or relating to the side; situated at, proceeding from, or directed to a side:

 

planar:

of or relating to a geometric plane

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polychroming: * see Endnote <D>

practice of decorating architectural elements, sculpture in a variety of colors

 

gold-and-ivory statuary: * see Endnote<E>

Chryselephantine sculpture are made with gold and ivory; such cult statues enjoyed high status in the Apollonian Culture.

 

tone-colours of the instruments:

see Chapter I page 35, Chapter II page 62

 

Titian:

See Chapter III page 108

 

Velasquez

See Chapter IV page 148 and above page 226

 

Rembrandt:

see Chapter I page 23, Chapter II page 81, chapter VI 183

 

sonata:

a piece played with instruments as opposed to a cantata, a piece sung.  The term evolved & by the early 19th century it represented the principle of composing large-scale works & was applied to most instrumental genres.  It was regarded (alongside the fugue) as 1 of 2 main methods of organizing, interpreting & analyzing concert music.  In the Baroque period, a sonata was for 1 or more instruments almost always with continuo.  After the Baroque period most works designated as sonatas are specifically performed by a solo instrument, usually a keyboard instrument, or by a solo instrument accompanied by a keyboard instrument.  In the works of Corelli & peers, 2 broad classes of sonata were established (as described by Brossard in 1710): the sonata da chiesa, suitable for use in church and the sonata da camera, proper for use at court; they consist of a prelude followed by a succession of dances, all in the same key. Although the four, five, or six movements of the sonata da chiesa are also most often in one key, one or two of the internal movements are sometimes in a contrasting tonality.

 

Gabrieli (sonata):

1554-1612 (Giovanni), Italian composer & organist, an influential musicians of his age & representing the culmination of the style of the Venetian School at the transition from Renaissance to Baroque idioms.  Among the innovations credited to him were the use of dynamics; the use of specifically notated instrumentation (as in the famous Sonata pian' e forte) & the use of massive forces arrayed in multiple, spatially separated groups, an idea which was to be the genesis of the Baroque concertato style, and which spread quickly to northern Europe, by the report of visitors to Venice & by his own students (which included Hans Leo Hassler and Heinrich Schütz).  His famous Sonata pian' e forte (1597) is the earliest known piece of music to call for specific brass instruments and established the Venetian polychoral style.  This style of the early Baroque employs spatially separate choirs singing in alternation & represents a stylistic shift from the prevailing polyphonic writing of the middle Renaissance.  It was a development which led directly to the formation of the Baroque style.

 

Corelli (sonata):

1653- 1713 (Arcangelo) Italian violinist and composer of the Baroque era; his music was key in the development of the modern genres of sonata and concerto, in establishing the pre-eminence of the violin, and in the first coalescing of modern tonality and functional harmony.  He composed 48 trio sonatas, 12 violin and continuo sonatas & 12 concerti grossi.

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basso continuo:

aka "continuo",  a form of musical accompaniment used in the Baroque period.  It means "continuous bass"; it was played by a keyboard instrument (a harpsichord or organ) & another bass instrument (cello or bassoon).  It was not usual to write out all the notes for the keyboard instead the composer wrote the bottom line which would be played by the left hand (usually with a lower 8th doubling), and by the cello or whatever instrument was used. The composer would indicate what the harmony should be (which chords should be played) by writing figures underneath the music. This is why it is called figured bass or sometimes thoroughbass. The continuo player will "realize" the figured bass, i.e. he will improvise the chords which are shown.

 

pastoral cantata: * see Endnote <F>

a music fashion in the early 18th century famously employed by JS Bach.  His work involved writing sacred music performed at specific points in the church year.  The theme of the shepherd and his sheep allowed for the writing of numerous pastoral cantatas celebrating events in both the sacred and profane worlds.  .  Bach was able to bridge the two spheres, and recycled half of his “wordly” serenades as sacred vocal works.

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Monteverde (melody of "Lament of Ariadne" 1608): * see Endnote <G>

1567-1643, Italian composer, string player and choirmaster, wrote both secular & sacred music, a pioneer in the development of opera, a crucial transitional figure between the Renaissance and the Baroque periods of music history.  The music for the opera L’Arianna is lost except for the Lamento d'Arianna (published in 1614 as a five-voice madrigal).  It depicts Arianna's various emotional reactions to her abandonment: sorrow, anger, fear, self-pity, desolation and a sense of futility. Throughout, indignation & anger are punctuated by tenderness, until a descending line brings the piece to a quiet conclusion.  Monteverdi is credited with creating the lament as a recognizable genre of vocal chamber music & as a standard scene in opera.  It was a defining element of the full-scale public operas of 17th-century Venice.

 

German masters:

The great German composers following the generation of Corelli, notably JS Bach, Handel, Mozart, Haydn and Beethoven, brought orchestral music to its conclusion & fulfilment.