-
Alessandro Scarlatti
La Griselda Act I, Scene 2 1720-21
-
Arcangelo Corelli
- Trio Sonata, Op. 3, No. 2 1680s
- -Grave (1st movement)
- -Allegro (2nd movement)
- -Adagio (3rd movement)
- -Allegro (4th movement)
-
Dietrich Buxtehude
Praeludium in E Major, BUX WV 141 Late 17th C
-
Francois Couperin
- Vingt-Cinquieme ordre 1730s
- -La visionaire
- -La muse Victorieuse
-
Antonio Vivaldi
- Concerto for Violin and orchestra in A minor, Op. 3 No. 6 1710
- -Allegro (1st movement)
- -Largo (2nd movement)
- -Presto (3rd movement)
-
Concerto for Violin and Orchestra in A minor, Op 3, No. 6
-Allegro
- Antonio Vivaldi
- 1710
- 1st movement
- 6 ritornellos and 5 episodes RE1RE2RE3RE4RE5R
- Harmony I-V-I modulates in episodes, sometimes in ritornellos
-
Concerto for Violin and Orchestra in A minor, Op 3, No. 6
-Largo
- Antonio Vivaldi
- 1710
- 2nd movement
- slow movement
- typically expressive (compares to aria--solo/ virtuosity fucus)
- Unusual: no continuo or bass instruments
-
Concerto for Violin and Orchestra in A minor, Op 3, No. 6
-Presto
- Antonio Vivaldi
- 1710
- 3rd movement
- Ritornello form: 5 ritornellos, 5 episodes with closing cadence
- different approach to the form here than I
-
Vingt-Cinquieme ordre
-La visionaire
- Francois Couperin
- 1730s
- French overture style (binary form with 2 contrasting sections). Overdotting.
- First section: stately rhythms- notes inegals, homophonic
- second section: meter change- imitative, more contropuntal
- Allemand characteristics at the end of the 2nd section
-
Vingt-Cinquieme ordre
-la muse victorieuse
- Francois Couperin
- 1730s
- passepied (3/8 upbeat, 4 measure phrases)
- balanced binary form
- End of both sections is the same, but transposed (musical rhyme)
-
Praeludium in E Major, BUX WV 141
- Dietrich Buxtehude
- Late 17th C
- Form: 5 free sections (last a coda)- around 4 fugal sections
- Fugal: in 4 or 3 voices with or without pedal (subject, answer, expositions vs. episode)
- Harmony: all sections in E major, avoids interior tonic cadences
- Toccata style: fugal imitation vs. free counterpoint
-
Trio Sonata, Op. 3, No. 2
-Grave
- Arcangelo Corelli
- 1680s
- 1st movement
- tonal progression I-V-V/V-vi-I
- march in walking bass: sequences, suspension chain
-
Trio Sonata, Op. 3, No. 2
-Allegro
- Arcangelo Corelli
- 1680s
- 2nd movement
- fugal: subject sometimes inverted
- Basso continuo: included in imitative texture
-
Trio Sonata, Op. 3, No. 2
-Adagio
- Arcangelo Corelli
- 1680s
- 3rd movement
- compare to vocal duet- imitation or parallel 3rds.
- Saraband characteristics: triple time, emphasis on beat 2, hemiola at candence- organ continuo
-
Trio Sonata, Op. 3, No. 2
-Allegro
- Arcangelo Corelli
- 1680s
- 4th movement
- fugal imitation (gigue)
- binary form: 2nd half subject is an inversion of the 1st section subject
- Technique: inversion, stretto (ms. 32-35), pedal points (m 15-18), sequence (m 8-10)
-
La Griselda
Act 1, scene 2
- Allesandro Scarlatti
- 1720-21
- Da capo ario (ABA1)- RA1RA2RB
- 4 part orchestra
- A section: Griselda as obedient wife- dignity, quiet strength.
- melodic contrast for herself vs. Gualtiero
- B section: her as queen. Refuses to stop loving Gualtiero. Military figures, rising melody
|
|