15th-18th C compositions

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15th-18th C compositions
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  1. Nel Pur ardor
    • Jocopo Peri
    • Le musiche sopra l'Euridice 1600
    • Opera/ Aria (strophic song)
  2. Per quell vago boschetto
    • Jacopo Peri
    • Le musiche sopra l'Euridice
    • 1600
    • Opera/ Dialogue in recitative (Recitar cantando)
  3. Vi ricorda o boschi ombrosi
    • Claudio Monteverdi
    • L'Orfeo
    • 1607
    • Opera/ Aria
  4. **Mira, deh mira Orfeo
    • Claudio Monteverdi
    • L'Orfeo
    • 1607
    • Opera/ song even nature is celebrating--sung by shepherd, interrupted by messenger
  5. **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
  6. **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
  7. **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
  8. **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
  9. **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
  10. In torno all' idol mio
    • Antonio Cesti
    • Orontea
    • 1656
    • Opera/ Aria (strophic song)
  11. Armide: Overture
    • Jean-Baptiste Lully
    • 1686
    • Opera/ Overture
  12. **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
  13. **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
  14. **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"
  15. With Drooping Wings
    • Henry Purcell
    • Opera- Dido and Aeneas
    • 1689
    • Chorus
  16. La Purpura de la rosa
    • Thomas Velasco
    • Opera
    • 1701
    • Strophic song and chorus
  17. **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
  18. **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
  19. **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
  20. Historia de Jephte: Plorate colles
    • Giacomo Carissimi
    • 1648
    • Oratorio/ recitative
  21. Historia de Jephte: Plorate filii Israel
    • Giacomo Carissimi
    • 1648
    • Oratorio/ chorus
  22. **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
  23. **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
  24. generas in Lutheran services
    • chorales
    • sacred concertos
    • motets
    • historia (setting of biblical narative, like an oratorio)
    • Passion (setting of crucifiction story)
  25. Te Deum: Conclusion
    • Jean-Baptiste Lully
    • 1677
    • Grand motet
  26. **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
  27. **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
  28. Ricercare after the credo from Mass for the Madonna
    • Girolamo Frescobaldi
    • 1635
    • Ricercare
  29. **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
  30. Trio Sonata Op. 3, No. 2
    Allegro (second movment)
    • Arcangelo Corelli
    • 1680s
    • Trio sonata
  31. Trio Sonata Op. 3, No. 2
    Adagio
    • Arcangelo Corelli
    • 1680s
    • Trio sonata
    • 3rd movement
  32. **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)
  33. **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)
  34. **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
  35. Clori vezzosa, e bella: Conclusion
    Vivo Penando
    • Alessandro Scarlatti
    • Cantata/ Recitative
    • 1690-1710
  36. **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
  37. **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
  38. Lagrime mie
    • Barbara Strozzi
    • 1659
    • Cantata
    • aria, arioso, and recitative
  39. **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
  40. **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
  41. **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
  42. **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
  43. **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
  44. Suite in A minor from Pieces de Clavecin
    Chaconne
    • Elisabeth-Claude Jacquet de la Guerre
    • 1687
    • Keyboard suite
  45. Suite in A minor from Pieces de Clavecin
    Gavotte
    • Elisabeth-Claude Jacquet de la Guerre
    • 1687
    • Keyboard suite
  46. Suite in A minor from Pieces de Clavecin
    Menuet
    • Elisabeth-Claude Jacquet de la Guerre
    • 1687
    • Keyboard suite
  47. **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.
  48. Concerto for Violin and Orchestra in A minor, Op. 3, no. 6
    Largo
    • Antonio Vivaldi
    • 1710
    • Violin Concerto
  49. Concerto for Violin and Orchestra in A minor, Op. 3, no. 6
    Presto
    • Antonio Vivaldi
    • 1710 
    • Violin Concerto
  50. **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.
  51. La muse victorieuse
    • Francois couperin
    • 1730s
    • from Vingt-cinquieme ordre
    • keyboard suite
  52. **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
  53. Prelude and Fugue in A Minor, BWV 543
    • Johann Sebastian Bach
    • 1715
    • Organ prelude and fugue
  54. **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
  55. **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).
  56. No. 2 Bewundert, o Menschen
    • Johann Sebastian Bach
    • 1724
    • from Nun Komm, der Heiden Heiland
    • Cantata/ aria (da capo)
  57. No. 3 So geht aus Gottes JHerrlichkeit und Thron
    • Johann Sebastian Bach
    • 1724
    • from Nun Komm, der Heiden Heiland
    • Cantata/ recitative
  58. **No. 4 Streite, siege, starker Held!
    • Johann Sebastian Bach
    • 1724
    • Cantata
    • from Nun Komm, der Heiden Heiland
    • Da Capo Aria (ABAprime- RA1RA2RB)
    • Orchestra in octaves, virtuosic, elaborate. heroic style.
  59. **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
  60. No.6 Lob sei Gott, dem Vater, ton
    • Johann Sebastian Bach
    • 1724
    • Cantata
    • from Nun Komm, der Heiden Heiland
  61. Aus Liebe will mein Heiland sterben
    • Johann Sebastian Bach
    • 1727
    • From St. Matthew's Passion, No. 49
    • Oratorio/ aria
  62. 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)
  63. **V'adoro, Pupille
    • George Frideric Handel
    • 1724
    • from Giulio Cesare
    • Opera/ Da Capo Aria and recitative
    • Form: ABAprime but A form lacks interior ritornello (Rit A1A2Rit)
    • 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.
  64. The Time at length is Come
    • George Frideric Handel
    • 1738
    • Saul
    • Oratorio/ accompanied recitative
  65. Where is the son of Jesse?
    • George Frideric Handel
    • 1738
    • Saul
    • Oratorio/ recitative
  66. O fatal consequence of Rage
    • George Frideric Handel
    • 1738
    • Saul
    • Oratorio/ chorus

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