music history 1
Terms
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"Enfin il est en ma puissance" (Lully's Armide)
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- shows all styles of tragedie lyrique
- ouverture
- recitatif simple
- recitatif mesure
- air
- "O quam tu pulchra es" (Grandi)
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- small sacred concerto
- stile modern influenced by opera: contails recits, arioso, triple time aria
- "Ohime, se tanto amate" (Monteverdi's 4th book of Madrigals)
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- seconda prattica
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"Plorate Filii Israel" (Carissimi's Jephte)
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- oratorio
- descending tetrachord
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"Saul, was verfolgst du mich?" (Schutz's Symphoniae Sacrae)
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- post-war work; large ensemble
- mixes Gabrieli's polychoral style and Monteverdi's expressiveness
- musical realization of light, echoes
- repeated, developed figures ("Es wird dir schwer werden" motive
- Pavana Lachrymae (Byrd)
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- written for virginal
- main example of the "lachrymae pavane" sub-genre (variations)
- Ricercar dopo il credo (Frescobaldi)
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- fugal ricercare
- contains important fugal techniques: subject & countersubject, augmentation, unity between themes
- Act I, Scene 3 of L'incoronazione di Poppea (Monteverdi)
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- composer equal to librettist
- ignores separation between recit and aria
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Canzoni septimi toni a 8 (Gabrieli's Sacrae symphoniae)
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- cori spezzati (divided choirs)
- contrast and opposition of sonorities
- ensemble canzonas
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Lagrime mie (Strozzi)
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- cantata (solo w/ continuo; secular; has recits and arias)
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Overture to Armide (Lully)
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- French overture example
- first part slow, tirades, overdotting, notes inegales
- second part faster, fugal imitation
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Toccata no. 3 (Frescobaldi)
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- idiomatic for instrument; virtuosic
- alternating textures
- distinctive sections
- written to sound like it's improvised