-
Clori vezzossa, e bella, Conclusion
- A. Scarlatti
- 1690-1718
- CantataRecit and Aria
- Female voice with basso continuo, then strings and harpsichord
- Use of diminished 7 chords
- expressive use of harmony
- the gigue rhythm in the ritornello and vocal line contrast with text
- A+B sections offer differing feels
- Pastoral love poem
- word painting
- conflicted speaker
- Ritornello confirms tonal center
-
La Griselda, excepert from Act 1, scene 2
- A. Scarlatti
- 1720-21Operasteady fast 16ths show commitment
- wide leaps suggest strength and resolve
- TONAL, vocal statements are modulatory while rit establishes tonic
- strings accompany
- DA CAPO ARIA shows duality of character
-
Trio Sonata, Op. 3, No. 2
- Corelli
- 1680sTrio Sonataslow (grave) fast () slow (adagio) fast (allegro, could be gigue)
- each movement is thematically independent
- TONAL, SUSPENSIONS show character
- 2 vlns, bass, basso continuo
- 4 movements through composed
- gigue= binary
- fugal imitation in Allegro #1 (2nd mvmnt)
- Walking bass
-
Praeludium in E major, BUXWV 141
- Buxtehude
- Late 17th CenturyOrgan PreludeHighly ornamented
- E Major, I V I
- Organ
- fugal imitation, fugal sections
- toccata style
- free and fugal sections alternate
-
Violin Concerto in A minor, Op.3, No.6
- Vivaldi
- 1710Violin ConcertoSlow fast slow movement
- Episodes separated by ritornellos
-
Hippolyte et Aricie, Conclusion of Act IV
- Rameau
- 1733OperaSparked debate between Ramistes and Lullistes
- Recit and fast lines in orchestra
- dissonant apoggiaturas
- highly dissonant
- descriptive orchestral writing to portray waves and wind
- The chorus plays a bigger role and tells Phedre what has happened
-
Vinqt-cinquieme odre, excerpts
- Couperin
- 1730Keyboard SuiteAllemande (free), gigue (3/4)
- Hemiolas at cadences
- in RH, ornamented replacing notes with fast triplets
- balanced binary form
- intended amateurs
- Gave fanciful titles to his ordres
-
Prelude and Fugue in A minor, BVW 543
- J.S. Bach
- 1715Organ Prelude and FugueViolinistic with drone and playing different intervals above the one note
- tonic then it ranges through the harmonies
- toccata like and fugal sections
- adaptation of ritornello form
- composed at Weimar
-
Chorale Prelude on Durch Adams Fall
- J.S. Bach
- 1716Chorale Preludein bar form AAB
- modal
- top line, chorale tune without ornamentation
- dissonant
- chromatic leaps in pedals
- Little Organ book
-
Brandenburg Concerto No. 2, BWV 1047 1st Movement
- J.S. Bach
- Concerto grossoHighly complex structure
- varied musical terrain
- Trumpet in F, recorder, oboe, solo vln
- orchestra of 2 violins, viola, violone, and basso continuo
- some imitation
-
Sarabande from Partita No. 1 in M minor for Violin Solo
- J.S. Bach
- SuiteAllemande, courante, sarabande, Bouree
- Each movement followed by variations called double in French
- Each of these movements are polyphonic
- Triple meter, slow solemn, emphasis on 2nd beat
-
Nun komm, der Heiden Heiland
- Bach
- 1724CantataOpening chorus begins w/ ritornello w/ chorale tune in bass
- ABSORPTION OF MULTIPLE STYLES
- -rit, cantus firmus, lutheran hymn
- 2nd cycle at Leipzig, incorporates chorale tune of the same name
- opening chorus is based on chorale
- final chorus = simple 4 part arrangement of the tune
- in btwn chorale mvmnts, bach inserts recit + arias in operatic style
- goes from complex to simple
- max. variety
- chorale, aria, recit, aria, recit, chorale
-
Mass in B minor, "Credo in unum Deum"
- Mass
-
Far too big for practical use - only one of his settings
- most of it is music previously composed
- juxtaposes contrasting sacred styles
- stile antico: strict contrapuntal style
- stile moderno
- Close imitation, overlapping entries ->stretto
- -intensifies emotional impact throughout
-
Giulio Cesare, Act II, scene 1-2
- Handel
- 1724Operaafter the recit between the 2, cleopatra's aria has other elements mixed in
- cleo sings, cesar recit, cleo AB aria, cesar brief recit, Cleo A aria
- MIX- French sarabande rhythm, italian da capo form, germ. voice + inst. doubling, it. divided concerto grosso
-
Saul, Act II, scene 10
- Handel
- 1738OratorioSaul wants to get rid of David
- in English
- blending of styles
- recit, then chorus comments on morality of situation ( O fatal consequence of rage)
- -3 fugues end with homorhythmic passage
- -chorus filled with rhetorical things to reflect passage
- recit
- chorus (soloists talk to him)
- full chorus
- lots of dynamic and word painting
-
Music for the Royal Fireworks, Overture
- Handel
- 17491)sounds like Fr. overture, overdotting
- 2) quicker and lighter section
- 3) extreme slow overdotting (lament, death)
- 4) repeat of fast 3
- no tempo marking, so didn't want Fr. ov., more "speaking Lully style"
- FANFARE = English
- CAVALRY DOTTED = French
-
Music for the Royal Fireworks, La Paix
- Handel
- 1749in 3
- moderate tempo
- legato, smooth lines
- pastoral peace
- NOT military like at all
-
Music for the Royal Fireworks, La Rejouissance
- Handel
- 1749Joyous sounding, triumphant
- snare
- fanfare
-
Chaconne in G Major
- Handel
- Set of Variations
- extensive minor section
- W/ "lament bass"
- virtuosic arpeggiations and scale passages
- expressive chromatic harmonies
- Bass line or harmoinc progression are constant, with variations over it
- Continuous variation
- 1-8 M, 9-16 m, 17-21 M
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