Baroque Music Section A
Terms
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- Bach, St. Matthew Passion
- 1727, Musical setting based on biblical narrative, For double chorus/orchestra, 'Passion chorale' appears five times, chorus sometimes participates in action, sometimes as Greek chorus commenting on the events
- Handel, Messiah
- 1741, Oratorio with biblical topics, Uses English rather than Latin or Italian, alternates chorus, arias, and recitative, Alternates fugal sections with solid bocks of harmony
- Lully, Armide
- 1687, established the form of the French overture, wrote recitatives well suited to the French language, and set the style for French opera, serious plots on mythological themes, tragédies lyriques
- Monteverdi, L'Orfeo
- 1607, 5 act drama using large orchestra playing introductory toccata and ritornellos, patterned after Florence Euridice operas
- Purcell, Dido and Aeneas
- 1689, Opera in minature, Orchestra consists of strings continuo, Uses French overture, Homophonic choruses in dance rhythms
- Rameau, Traite de l'harmonie
- 1722, Explication of triadic harmony, Triadic harmony redefines dissonance, Dissonant tones become non-triadic notes
- Vivaldi, Op. 3 Concerti (L'estro armonico)
- 1711, Vivaldi's first publ. collection of concertos, Demonstrates new techniques, Distinct musical forms, Vigorous rhythm, Idiomatic solo writing
- Corelli, Concerti grossi, op. 6
- 1712-14, Earliest examples of the genre, exploits the solo/tutti contrast, Features contrasting sonorities, A small ensemble of solo instruments set against a large ensemble, Concertino: 'small' ensemble in the concerto grosso, Tutti, ripieno (full) the large ensemble,
- Carissimi, Jephte
- 1650, Latin libretto/oratorio based on the book of Judges, Utilizes a testo (or narrator), Action in oratorio was narrated, not acted out
- Bach, Wachet auf, ruft uns die Stimme
- 1718, chorale prelude in trio style
- Handel, Giulio Cesare
- 1724, Italian opera written for Royal Academy of Music, intended to present opera to London public
- Artusi, L'Artusi, overo Delle imperfettioni della moderna musica
- 1600, on the imperfections of modern music, attacked the "crudities" and "license" shown in the works of Monteverdi
- Caccini, L'Euridice
- 1600, initial experiment with modern opera, Greek idea of power of music on affect, style based on the old improvised air for singing poetry and on the madrigal
- Schutz, Psalmen Davids
- 1629, modern style compared to stile antico, Basso continuo, Concertato medium, Multiple choirs and groups of solo voices and instruments
- Bach, The Art of the Fugue
- 1748, systematic demonstration and summary of all types of fugal writing, All based on the same subject or one of its transformations, Arranged in a general order of increasingly complexity and abstraction
- Schutz, Symphonae sacrae I
- 1629, for small combinations of voices and instruments, strongly influenced by Monteverdi and Grandi
- Frescobaldi, Toccate, Book I
- 1615, consists of twelve toccatas, Improvisatory Compositions, describes his intended manner of performance, virtuosic figurations
- Muffat, Florilegium
- 1695, Early collections of orchestral suites, The second part includes an essay with much information illustrated by musical examples of bowing and playing of agrements
- Handel, Rinaldo
- 1711, was the first opera Handel produced for London and the first Italian opera composed specifically for the London stage.
- Schein, Banchetto musicale
- 1617, Musical Banquet, Collection of suites, Varied melodic idea recurs in every dance, 20 suites in five parts (each followes the same pattern)
- Monteverdi, L'incoronazione di Poppea
- 1642, Monteverdi's masterpiece, opera with Smaller orchestra and scenic apparatus than Orfeo, Most advanced depiction of emotion and characterization to date
- Schutz, Saul, Saul,wasverfolgst du mich?
- Symphonae Sacrae
- Caccini, Le nuove musiche
- 1602, The New Music, Collection of Caccini's airs and madrigals, Musical style uses a strongly declamatory style
- Grandi, O quam tu pulchra es
- 1625, Contemporary of Monteverdi's notable for his sacred compositions, based on psalm of songs, Italian motet
- Cavalli, Giasone
- 1649, most famous work, Scenes with alternating recit. and arias, opera, pupil of Monteverdi