Baroque Music Section A

Front 1

Bach, St. Matthew Passion

Back 1

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

Front 2

Handel, Messiah

Back 2

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

Front 3

Lully, Armide

Back 3

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

Front 4

Monteverdi, L'Orfeo

Back 4

1607, 5 act drama using large orchestra playing introductory toccata and ritornellos, patterned after Florence Euridice operas

Front 5

Purcell, Dido and Aeneas

Back 5

1689, Opera in minature, Orchestra consists of strings continuo, Uses French overture, Homophonic choruses in dance rhythms

Front 6

Rameau, Traite de l'harmonie

Back 6

1722, Explication of triadic harmony, Triadic harmony redefines dissonance, Dissonant tones become non-triadic notes

Front 7

Vivaldi, Op. 3 Concerti (L'estro armonico)

Back 7

1711, Vivaldi's first publ. collection of concertos, Demonstrates new techniques, Distinct musical forms, Vigorous rhythm, Idiomatic solo writing

Front 8

Corelli, Concerti grossi, op. 6

Back 8

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,

Front 9

Carissimi, Jephte

Back 9

1650, Latin libretto/oratorio based on the book of Judges, Utilizes a testo (or narrator), Action in oratorio was narrated, not acted out

Front 10

Bach, Wachet auf, ruft uns die Stimme

Back 10

1718, chorale prelude in trio style

Front 11

Handel, Giulio Cesare

Back 11

1724, Italian opera written for Royal Academy of Music, intended to present opera to London public

Front 12

Artusi, L'Artusi, overo Delle imperfettioni della moderna musica

Back 12

1600, on the imperfections of modern music, attacked the "crudities" and "license" shown in the works of Monteverdi

Front 13

Caccini, L'Euridice

Back 13

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

Front 14

Schutz, Psalmen Davids

Back 14

1629, modern style compared to stile antico, Basso continuo, Concertato medium, Multiple choirs and groups of solo voices and instruments

Front 15

Bach, The Art of the Fugue

Back 15

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

Front 16

Schutz, Symphonae sacrae I

Back 16

1629, for small combinations of voices and instruments, strongly influenced by Monteverdi and Grandi

Front 17

Frescobaldi, Toccate, Book I

Back 17

1615, consists of twelve toccatas, Improvisatory Compositions, describes his intended manner of performance, virtuosic figurations

Front 18

Muffat, Florilegium

Back 18

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

Front 19

Handel, Rinaldo

Back 19

1711, was the first opera Handel produced for London and the first Italian opera composed specifically for the London stage.

Front 20

Schein, Banchetto musicale

Back 20

1617, Musical Banquet, Collection of suites, Varied melodic idea recurs in every dance, 20 suites in five parts (each followes the same pattern)

Front 21

Monteverdi, L'incoronazione di Poppea

Back 21

1642, Monteverdi's masterpiece, opera with Smaller orchestra and scenic apparatus than Orfeo, Most advanced depiction of emotion and characterization to date

Front 22

Schutz, Saul, Saul,wasverfolgst du mich?

Back 22

Symphonae Sacrae

Front 23

Caccini, Le nuove musiche

Back 23

1602, The New Music, Collection of Caccini's airs and madrigals, Musical style uses a strongly declamatory style

Front 24

Grandi, O quam tu pulchra es

Back 24

1625, Contemporary of Monteverdi's notable for his sacred compositions, based on psalm of songs, Italian motet

Front 25

Cavalli, Giasone

Back 25

1649, most famous work, Scenes with alternating recit. and arias, opera, pupil of Monteverdi