Music History Listening Examples Quiz 3

Arcangelo Corelli, Trio Sonata in D Major, Op. 3, No. 2, NAWM 91, 1680s

Genre: Sonata da chiesa 4 movements: Slow, fast, slow, fast Strong sense of tonality Binary form (A is tonally open) Circle of 5ths progression Chain of suspensions Walking bass/bass line moves 2-notes/beat

Giovanni Gabrieli, In ecclesiis, sacred concerto (concerted motet), NAWM 74

Concertet motet: Scored for multiple choirs, Instruments and basso continuo Ritornello: Return (Verse /refrain) Example of Conspezzati

Henry Purcell, Dido and Aeneas, opera, NAWM 86a-b, 1689 A) Recitative: Thy hand, Belinda B) Lament (Ground Bass Aria): When I am laid in earth

First performed for a girls scool in Chelsea Based on Virgil's Aenead Dido, the queen, falls in love with Aeneas, who was tricked into founding rome. he leaves, and Dido commits suicide genre: Opera miniature, chamber opera Contains aria, recitative, and arioso A: A brief recit, chromaticism, descent B: Aria, lament bass Ground bass aria

Alessandro Scarlatti, La Griselda, opera, NAWM 90, 1720-21

Leading composer of operas in Rome/Naples Genre: Da capo Aria (Opera) Form: Ternary

Jean-Baptiste Lully, Armide, opera , NAWM 82a-b, 1686 A) French Overture B) CUT C) Recit and Aria: Act II Scene 5, Enfin il est en ma puissance (7-9 of the nine numbers in the Diveitissement. 7: Instrumental dance, 8: Shepherdess air, 9: chorus with basso continuo)

Librettist: Quinault Armide, a sorceress, captures knights, one knight (Renaud) frees them, so she vows to kill him, but falls in love with him, casting a spell so he loves her. She then destroys her palace when the spell ends 5 acts and prologue French Overture, rounded Binary A: Slow, duple, homophonic, dotted rhythms with notes inegales (Unequal notes) B: Faster, triple, imitative

Claudio Monteverdi, L'Incoronazione di Poppea Act 1, Scene 3, opera, NAWM 70, 1642

Longest Goodbye in Music History Aria style: Cear meter, moving bass ilne, tuneful melody Recitative style: slow, free moving bass, spech rhythms Arioso Style: Mixture of both, short passages of aria often in triple meter Naples or venice version

Luis de Narváez, Cancion Mille regres, intabulation (variation), NAWM 63, 1538

Luisde Narvaez was a composer, guitarist in Spain who worked for the Spanish Royal family. based on the Chanson Mille Regres by Josquin. Written for Vihuelea Added scales, turns, figurations while preserving the 4 voice structure in the original piece. From Los seys libros ad delphin

Girolamo Frescobaldi, Toccata No. 3, NAWM 79, (1637- Middle)

Organ Tocotta (Organ Mass) Published in a book of Toccotas Written for harpsichord or organ Improvisational style In preface, indicates performance practice (Can slow/speed, can end piece on any cadence)

Jacopo Peri, Le musiche sopra l'Euridice, opera, NAWM 68, 1600 A) Aria: Nel pur ardor B) Dialogue in recitative: Per quel vago boschetto

Performed for a wedding, Rinuccini changes the ending of the story to make it fitting for the wedding. 2 Examples of monody: Aria and Recitative (Stile Recitative) Symphonic, Instrumental ensemble piece/interlude.

John Dowland, Flow my tears, lute song (or air), 1600 NAWM 61

Published in Second Book of Songs Adapted from his most popular piece for lute, "Lachrimae" Pavane: Form AABBCC Used as abstract instrumental music for listening and playing enjoyment. "Flow my tears" with lament bass line...Baroque cliche John Dowland was a lutenist for Royal engish court Lute song or air: A song for solo voice and lute, written in tabulation -

Giulio Caccini, Vedrò 'l mio sol, solo madrigal, NAWM 67, 1602

Published in a collection "Le nuove musiche" in 1602, means "the new music" Full of madrigals (through-composed) and arias (strophic) all in monody (solo voice and basso continuo) Figured bass notation Written out embellishment m. 7 before the cadence

Claudio Monteverdi, L'Orfeo, opera, NAWM 69, 1607 A) Aria/canzonetta: Vi ricorda o boschi ombrosi B) Song: Mira, deh mira Orfeo C) Diaogue in Recitative: Ahi, caso acerbo D) Tu se' morta E) Choral Madriga: Ahi, caso acerbo

Starts with instrumental ritornello Expansive continuo Opening aria Recitative (expressive) for heightened plot, New Instrumentation *KNOW Track 4 (Tu Se morta)

Barbara Strozzi, Lagrime mie, cantata, NAWM 72, 1650s

Strozzi was a cantata composer Contains recitative, aria, and arioso Basso ostinato: Repeating bass line Lamet bass: Descending bass line outlines a 4th, esp in chromatic motion at "pained eyes do not weep" Order: Recit-Arioso-Aria (Strophic)-Arioso harpsichord or other string instrument

Heinrich Schütz, Saul, was verfolgst du mich, sacred concerto (Concerted motet), NAWM 78, 1650 (Middle)

Written after TYW, corri spezzati, stile concertato Text about Saul's conversion to Christianity on Damasus road Depiction of God's voice, echo Seconda Practica Dynamic indications Depicts God's voice with low bass/echo 2 choirs, basso continuo, solo, hufge scoring Text paintng "Why do you persecute me?" Ritornello form (Like concertet motet) Terraced dynamics (Abrupt changes at different levels)

Claudio Monteverdi, Cruda Amarilli, madrigal, NAWM 66, late 1590s

famous madrigal of Monteverdi Seconda pracctica style free treatment of dissonance attacked by Artusi in "Teachings on the mprefections of modern music," specifically the Ahi Lasso" passagee.