-
Nel Pur ardor
- Jocopo Peri
- Le musiche sopra l'Euridice
1600 - Opera/ Aria (strophic song)
-
Per quell vago boschetto
- Jacopo Peri
- Le musiche sopra l'Euridice
- 1600
- Opera/ Dialogue in recitative
(Recitar cantando)
-
Vi ricorda o boschi ombrosi
- Claudio Monteverdi
- L'Orfeo
- 1607
- Opera/ Aria
-
**Mira, deh mira Orfeo
- Claudio Monteverdi
- L'Orfeo
- 1607
- Opera/ song
even nature is celebrating--sung by shepherd, interrupted by messenger
-
**Ahi, caso acerbo
- Claudio Monteverdi
- L'Orfeo
- 1607
- Opera/ Dialogue in recitative
also used for a chorus, ritornello for the act overall - basso continuo accompaniment changes character through change in orchestration evoking somber mood
-
**Tu se' morta
- Claudio Monteverdi
- L'Orfeo
- 1607
- Opera/ Recitative
a lament-very lyrical setting - each phrase builds intesity through rising pitches
- repetition for emphasis
- chromaticism
-
**Ahi, caso acerbo-Chorus
- Claudio Monteverdi
- L'Orfeo
- 1607
- Opera/ Choral madrigal
text depiction-all voices sped up for flight imagery "che tosto fugge" or "soon fly away" - madrigal tradition
-
**L'incornazione di Poppea Act I, scene 3
- Claudio Monteverdi
- 1642
- Opera/ Aria-
clear meter (triple) with steady bassline- Arioso-
between aria and recitative- recitative-
speech like rhythm with more frequent movment in bass
-
**E che si fa?
- Antonio Cesti
- Orontea
- 1656
- Opera/ Recitative-
change in style for rapid dialogue - introduction of unyy aspects into opera (Genome)
- Egyptian queen in love with someone out of her social class
- repeated notes
- Venetian style: tunefull, stepwise melodies. Largely diatonic. Simple rhythms
-
In torno all' idol mio
- Antonio Cesti
- Orontea
- 1656
- Opera/ Aria
(strophic song)
-
Armide: Overture
- Jean-Baptiste Lully
- 1686
- Opera/ Overture
-
**Enfin il est en ma puissance
- Jean-Baptiste Lully- Armide
- 1686
- Opera/ recitative and air (aria)
air-minuet - designed to fit French text- wanted setting to sound natural, as a result, meters change frequently. Shifts between regular and flexible meter
- Air: meter, rhythm and tempo of a minuet accompnied by continuo alone (love)
- syllabic text setting
- less ornamental than alian arias
- Fewer text repetitions than Italian
-
**Thy hand, Belinda
- Henry Purcell
- Opera- Dido and Aeneas
- 1689
- Recitative
Dido is dying - English recit- expressive, rhythm to match text accents, florid passages
- Text/ Music relationships: Dissonance treatment, chromaticsm, expressive melismas (sighs), descending melodic lines.Text expression throughout scene
-
**Lament: When I am laid in earth
- Henry Purcell
- Opera-Dido and Aeneas 1689
- Ground bass aria
(melody over repeating pattern in the bass--11 appearances of ground bass) - Descending chromatic tetrachord
- Text/ Music Releationships: dissonance treatment
- Reiterated D on "remember me"
-
With Drooping Wings
- Henry Purcell
- Opera- Dido and Aeneas
- 1689
- Chorus
-
La Purpura de la rosa
- Thomas Velasco
- Opera
- 1701
- Strophic song and chorus
-
**La Griselda, Act I, scene 2
- Alessandro Scarlatti
- 1720-21
- Opera
- Da capo aria:
ABAprime (RA1RA2RB) - 4 part orchestra
- A section: Griselda as obedient wife- dignity, quiet strength. Melodic contrast for herself vs. Gualtiero
- B Section: Griselda as queen. Refuses to stop loving Gualtiero. Military figures, rising melody
-
**In ecclesiis
- Giovanni Gabrieli
- 1610
- Sacred concerto (motet)
- 5 sections with a refrain (alleluia)
- Cori spezzati: spacially separate choirs (3 groups: 4 solo voices, 4 part chorus, ensemble of 6 carefully specified instruments)
- Monody as a texture
- alternation of textures
- polychoral aspects
- wide variety of textures: soloists first 1 by 1 then in paris, then as a group for last sentence of text
- Sinfonia interlude
-
**O quam tu pulchra es
- Alessandro Grandi
- 1625
- Solo motet (sacred concerto)
- Form: alternation of sections in different styles (sectional) with 2 refrains
- draws on dramatic recitative, slow madrigal and aria
- hybrid recitative, more melodic and rhythmic than theatre style, viewed as more appropriate for church
- Concertato
-
Historia de Jephte: Plorate colles
- Giacomo Carissimi
- 1648
- Oratorio/ recitative
-
Historia de Jephte: Plorate filii Israel
- Giacomo Carissimi
- 1648
- Oratorio/ chorus
-
**O liebe Herre Gott
- Heinrich Schutz
- 1636
- Sacred Concerto
performing forces: 2 voices with continuo - recitative, arioso, aria styles
- imitative couterpoint
- use of melodic and harmonic dissonances for text reasons
-
**Saul, was verfolgst du mich
- Heinrich Schutz
- 1650
- Sacred concerto
- Performing forces:
2 choirs (6 soloists, 2 violins) - polychoral (Gabrieli influence)
- gave dynamic markings (rare!)
- recitative and chorus
- Musical Figure: pattern or contrapuntal effect used to show text meaning
- Text/ music relationship: dissonances ("why do you persecute me?"). Meteric shift. Melodic leaps and melismas
-
generas in Lutheran services
- chorales
- sacred concertos
- motets
- historia (setting of biblical narative, like an oratorio)
- Passion (setting of crucifiction story)
-
Te Deum: Conclusion
- Jean-Baptiste Lully
- 1677
- Grand motet
-
**Sonata IV per II violino per sonar con due corde
- Biagio Marini
- 1626
- Sonata for violin and continuo
Sectional form- contrasting - idiomatic for the instrument
- double stops
- recitative, aria, arioso, rhapsodic
- modal
- Historical Context: worked at St. Marks under Monteverdi
-
**Toccata No. 3
- Girolamo Frescobaldi
- 1637
- Toccata
Improvisatory style- ornamentation, frequent cadence allows piece to be shortened - wide range of harmonies and figurations
- sectional form with lots of variety and virtuosity. Sections close with cadence
- No harmonic progression expectations
- Style range from imitative texture to recit and arioso
-
Ricercare after the credo from Mass for the Madonna
- Girolamo Frescobaldi
- 1635
- Ricercare
-
**Trio Sonata Op. 3, No. 2
Grave
- Arcangelo Corelli
- 1680s
- Trio sonata
for 2 melody instruments with continuo - separate movements (opposed to Marini sonata in parts)
- slow-fast-slow-fast
- No shared thematic material between movements
- Grave-2nd movement
- tonal progression on I V V/V vi and I
- march in walking bass- sequences suspension chain
-
Trio Sonata Op. 3, No. 2
Allegro (second movment)
- Arcangelo Corelli
- 1680s
- Trio sonata
-
Trio Sonata Op. 3, No. 2
Adagio
- Arcangelo Corelli
- 1680s
- Trio sonata3rd movement
-
**Trio Sonata Op. 3, No. 2
Allegro
- Arcangelo Corelli
- 1680s
- Trio sonata
- for 2 melody instruments with continuoseparate movements (opposed to Marini sonata in parts)slow-fast-slow-fastNo shared thematic material between movements
- Allegro- 4th movement fugal imitation (gigue)
- binary form- 2nd half subject is an inversion of 1st section subject
- technique-inversion, stretto (m 32-35), pedal points (m. 15-18). Sequence (m 8-10)
-
**La Coquette Virtuose (Suite in A major)
- Denis Gaultier
- 1650
- Courante
12 suites named after Greek modes (works are essentially tonal though) - Simple triple meter
- Form-binary
- Performance aspects- ability of instrument: syle luthe or style brise- arpeggios, adding neighbor tones, syncopation, notes inegales (dotted notes), agrement (ornamentations)
- Compensate for lack of sustain in instrument
- Historical Context: music for solo performance and amateurs. To be performed at salon (gathering in home)
-
**Praeludium in E major, BUX WV 141
- Dieterich Buxtehude
- Late 17th C
- Organ Prelude
Form: 5 free sections (last a coda) around 4 fugal sections - Fugal- in 4 or 3 voices with or without pedal. Subject; answer; exposition vs. episode
- Harmony: all sections in E major
- avoids interior tonic cadences
- Toccata style: fugal imitation vs. free couterpoint
-
Clori vezzosa, e bella: Conclusion
Vivo Penando
- Alessandro Scarlatti
- Cantata/ Recitative
- 1690-1710
-
**Clori vezzosa, e bella: Conclusion
Si, si ben mio
- Alessandro Scarlatti
- 1690-1710
- Cantata/ Aria
- Da Capo aria
(ABA prime) RA1RA2B - A section-instrumental ritornello. Harmonic progression i to iv and iv to vi. 2 appearances of text
- B Section- contrasting
- Text/ Music relationships: chromaticism, gigue rhythm for irony. Melismas
-
**Lasciatemi Qui Solo
- Francesca Caccini
- 1618
- Aria
- Form
strophic song- 5 stanzas with 1 line refrain - a lament
- text references to text of Monteverdi's Lamento d'Arianna with strict monody and solo voice
- different ornaments in each stanza
-
Lagrime mie
- Barbara Strozzi
- 1659
- Cantata
aria, arioso, and recitative
-
**Suite in A minor from Pieces de Clavecin
Prelude
- Elisabeth-Claude Jacquet de la Guerre
- 1687
- Keyboard suite
- Form
binary - influecnes from lute style/ techniques.
- For amateurs
- Prelude: unmeasured prelude (improvisatory style).
- unmetered, slurs, sustains or phrases very free with tempo
-
**Suite in A minor from Pieces de Clavecin
Allemande
- Elisabeth-Claude Jacquet de la Guerre
- 1687
- Keyboard suite
- Form binary
- influecnes from lute style/ techniques.For amateurs
- Allemande "German"
- moderately fast tempo
- in 4/4 meter
- begins on upbeat
- near constant 8ths and 16ths
-
**Suite in A minor from Pieces de Clavecin
Courante I (and II)
- Elisabeth-Claude Jacquet de la Guerre
- 1687
- Keyboard suite
- Form binary
- influecnes from lute style/ techniques.For amateurs
- Courante "running: or "flowing"
- moderate triple meter or compound meter
- alternation between 3/2 or 6/4 time- very characteristic of courant
- implied or actual meter shifts
- begins with upbeat
-
**Suite in A minor from Pieces de Clavecin
Sarabande
- Elisabeth-Claude Jacquet de la Guerre
- 1687
- Keyboard suite
- Form binary
- influecnes from lute style/ techniques. For amateurs.
- Sarabande (from Central America)
- no pick up note
- originally fast dance, but in France, slow triple meter
- rhythm- dotted quarter/ eighth on beats 2-3
- 2nd half forms in this case shifts rhythm to beat 1-2
-
**Suite in A minor from Pieces de Clavecin
Gigue
- Elisabeth-Claude Jacquet de la Guerre
- 1687
- Keyboard suite
- Form binary
- influecnes from lute style/ techniques. For amateurs.
- Gigue from England "Jig"
- Fast compound meter
- Wide leaps, fugal imitation
- near consonant motion
- triplets
-
Suite in A minor from Pieces de Clavecin
Chaconne
- Elisabeth-Claude Jacquet de la Guerre
- 1687
- Keyboard suite
-
Suite in A minor from Pieces de Clavecin
Gavotte
- Elisabeth-Claude Jacquet de la Guerre
- 1687
- Keyboard suite
-
Suite in A minor from Pieces de Clavecin
Menuet
- Elisabeth-Claude Jacquet de la Guerre
- 1687
- Keyboard suite
-
**Concerto for Violin and Orchestra in A minor, Op. 3, no. 6
Allegro
- Antonio Vivaldi
- 1710
- Violin Concerto
- from L'estro armonico (The harmonic Inspiration)
published in Amsterdam (new center for printing)- Ritornello form:
6 ritornellos and 5 episodes RE1RE2RE3RE4RE5R - Harmony I-V-I with modulations in episodes and some in ritornellos
- First set of Vivaldi's concertos to be published; established the composers European reputation and became the most influential collection of music published during the early 18th C.
-
Concerto for Violin and Orchestra in A minor, Op. 3, no. 6
Largo
- Antonio Vivaldi
- 1710
- Violin Concerto
-
Concerto for Violin and Orchestra in A minor, Op. 3, no. 6
Presto
- Antonio Vivaldi
- 1710
- Violin Concerto
-
**La Visionaire
- Francois Couperin 1730s
- from Vingt-cinquieme ordre
- Keyboard suite
- French Overture style
(binary form with 2 contrasting sections). - 1st section: overdotting, stately rhythms, notes inegals
- 2nd section: meter change, imitative, more contropuntal,
- Allemand characteristics at end.
-
La muse victorieuse
- Francois couperin
- 1730s
- from Vingt-cinquieme ordre
- keyboard suite
-
**Hippolyte et Aricie: Conclusion of Act IV
- Jean-Philippe Rameau
- 1733
- Opera/ chorus, recitative, accompanied recitative (new)
- Orchestral effects:
thunder, earthquakes, lightning (one of Rameau's strengths) - Harmony for dramatic effect: use of dissonances
-
Prelude and Fugue in A Minor, BWV 543
- Johann Sebastian Bach
- 1715
- Organ prelude and fugue
-
**Chorale Prelude on Durch Adams Fall BWV 543
- Johann Sebastian Bach
- 1716
- Chorale Prelude
- Form:
Bar form (AAB) - Treatment of choral melody 1) in top voice; 2) in full cadence at the beginning
- Modal: Dorian on D-major cadences (cadences in chorale determine major cadences in prelude)
- Text/Music relationship: Adam's fall: dissonant leap, twisting chromatic line. Serpent struggle: downward slides in tenor
-
**No. 1 Nun komm, der Heiden Heiland
- Johann Sebastian Bach
- 1724
- Cantata/ chorus
- Form: Ritornello + chorale motet (Rit Phae 1 RP2RP3RP4RP5R)
- Characteristics: most complex parts of work instrumental ritornellos (Vivaldi-esque). Chorale melody throughout
- Incorporates: cantata, concerto, chorale motet, French dance, Italian opera, Lutheran chorale
- Historical background: for first Sunday of Advent (Dec 3).
-
No. 2 Bewundert, o Menschen
- Johann Sebastian Bach
- 1724
- from Nun Komm, der Heiden Heiland
- Cantata/ aria
(da capo)
-
No. 3 So geht aus Gottes JHerrlichkeit und Thron
- Johann Sebastian Bach
- 1724
- from Nun Komm, der Heiden HeilandCantata/ recitative
-
**No. 4 Streite, siege, starker Held!
- Johann Sebastian Bach
- 1724Cantata
- from Nun Komm, der Heiden Heiland
- Da Capo Aria
(ABAprime- RA1RA2RB) - Orchestra in octaves, virtuosic, elaborate. heroic style.
-
**No. 5 Wir ehren diese Herlichkeit
- Johann Sebastian Bach
- 1724
- Cantata
- from Nun Komm, der Heiden Heiland
- Accompanied Recitative
Soprano and Alto move in parallel 3rds and 6ths. Mysterious accompaniment
-
No.6 Lob sei Gott, dem Vater, ton
- Johann Sebastian Bach
- 1724
- Cantata
- from Nun Komm, der Heiden Heiland
-
Aus Liebe will mein Heiland sterben
- Johann Sebastian Bach
- 1727
From St. Matthew's Passion, No. 49 - Oratorio/ aria
-
Esequisti
- George Frideric Handel
- 1724
- from Giulio Cesare
- Opera/ simple recitative (similar to Italian)
- Dialogue between Cleopatra, Nireno, and Cesare
- Cesare high (heroic vioce-likely played by a castrato)
-
**V'adoro, Pupille
- George Frideric Handel
- 1724
- from Giulio Cesare
- Opera/ Da Capo Aria and recitative
- International aspects:
- Italian-form and concerto-like orchestra division
- French: dance aspects (sarabande-emphasis on beat 2)
- German: winds double voice
- Dramatic interruptions by Caesar (interrupts DC aria form). Typical form made more dramatic with recit interruptions from Caesar.
-
The Time at length is Come
- George Frideric Handel
- 1738
- Saul
- Oratorio/ accompanied recitative
-
Where is the son of Jesse?
- George Frideric Handel
- 1738
- Saul
- Oratorio/ recitative
-
O fatal consequence of Rage
- George Frideric Handel
- 1738
- Saul
- Oratorio/ chorus
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