| Eine kleine Nachtmusik: Movement 1, 3 |
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| By; W. A. Mozart (1787)
Movement I: Allegro
For strings
Type: Sonata, first movement
Meter:
Key: G major
Duration: 05:43
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Mozart and his contemporaries often wrote serenades for gatherings in a noble person’s salon or gardens, lighter fare than the formal concert repertoire. We know little about the composition of Eine kleine Nachtmusik, except that there was once another minuet attached and that the concluding rondo is based on a Viennese song Mozart used again in the opera The Magic Flute. The first movement is a gallant, compact sonata form.
Movement III: Menuetto: Allegro
Type: Minuet-and-trio
Meter: 3/4
Key: G major
Duration: 02:03
Make certain you have grasped the organization of the Classical minuet-and-trio: 3/4 meter, the repeat scheme with da capo as outlined below, and often a return in the second phrase of material from the first (B = ba, for example), thus rounding the binary form. |
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| “EMPEROR” QUARTET, MOVT. II |
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By: Franz Joseph Haydn (1797)
From: String Quartet in C Major, op. 76, no. 3
For string quartet (2 violins, viola, cello)
Type: Theme and variations
Meter:
Key: G major
Duration: 07:06
The theme is stated homophonically, then recast in four variations that feature each member of the quartet. In the last variation note the remarkable synthesis of the elements: chromaticism, syncopation, mix of the minor and major modes, and a delicious meandering closure, with crescendo-decrescendo in the last two bars. |
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| Piano Sonata 59 in Eflat Major |
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By: Hayden (1790)
Type: Sonata
Meter: 2/2
Key: E Maj.
allegro, only piano, flashy and punchy in the beginning, almost like he wrote it to show off his playing skill |
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| PIANO CONCERTO NO. 25 IN C MAJOR, K. 503 |
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By: W. A. Mozart (1786)
From: Piano Concerto in C Major, K. 503
Movement I: Allegro maestoso
For piano solo; flute, 2 oboes, 2 bassoons; 2 horns, timpani; strings.
Type: Concerto first movement
Meter:
Key: C major
Duration: 15:17
A Classical concerto is easily distinguished from a symphony of the same period, owing not just to the soloist but also to the absence of a minuet, the lighter finale (often a sonata-rondo), and the concerto first movement, where instead of a repeated exposition, the orchestra presents the main thematic material in its own complete orchestral ritornello before the soloist first enters. |
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| Symphony No. 40 in G Minor |
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By: W. A. Mozart (1788)
From: Symphony No. 40 in G Minor, K. 550
Allegro: non troppo
For: flute, 2 oboes, 2 clarinets, 2 bassoons; 2 horns; strings.
Type: sonata
Meter:
Key: G minor
Duration: 08:12
The taut structure and strong reliance on the opening motive and its fragmentation make this, the most famous Mozart first movement, the obvious precursor of Beethoven’s Fifth. |
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| WHEN I AM LAID IN EARTH – “Dido’s Lament” |
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By: Henry Purcell (1689)
From: Dido and Aeneas
Type: recitative and aria |
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| Double Concerto in D Minor: Vivace |
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By: J.S. Bach (1720)
Type: Baroque concerto first movement
Meter: 2/2
Key: D minor |
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By: J. S. Bach (1722)
From: The well tempered cavalier
For harpsichord or other keyboard..
Type: Fugue
Meter:
Key: C minor
Duration: 01:34
A three-voice fugue: top, middle, bottom, remember harpiscord |
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“BADINERIE” FROM ORCHESTRAL SUITE NO. 2 IN B
MINOR |
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By: J. S. Bach (1735)
From: Orchestral Suite No. 2 in B Minor, BWV 1067
For flute, strings, continuo.
Type: Binary dance
Meter: 2/4
Key: B minor
Duration: 01:29
Bach’s suites begin with a fancy overture followed by a selection of two-part dances. The Second Orchestral Suite, in eight movements, features a solo flute and concludes with this delightful Badinerie (or “plaything”), a favorite of players and the public alike. |
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| Cantata 80: Ein’ feste Burg |
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By: J.S. Bach (1734)
From: Martin Luther text
Type: cantata excerpt; opening chorus
Meter: 4/2
Key: D major
starts out slow, but becomes quite regal
played by 2 oboes and strings in continuo and sung by a S,A,T,B chorus |
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“There were shepherds abiding in the field”
“Glory to God” |
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By: George Frideric Handel (1741)
From: Messiah, Text from the Bible (Luke 2:8-14), assembled by Charles Jennens
Type: Oratorio excerpt; recitative simple and accompagnato, chorus
Meter: (all movements)
Key: C major to D major (recitatives), D major (chorus)
Duration: 01:20, 01:42
Handel’s setting of the Biblical passage describing the angel’s announcement of Christ’s birth to shepherds in the field follows an orchestral interlude commonly called the “Pastoral Symphony.” The recitative is sung on the recording by a boy soprano. |
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By: Anonymous
Type: Tripartite Plainchant
Meter: Free
Key: Church Mode – D
monophonic and free meter, but following the pattern..
A – A – G – A |
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By: Hildegard von Bingen (1150)
From: Latin Lithargy
Type: Chant
Meter: Free
Key: Church mode – F
brighter and more stylized than the anonymous version |
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By: Anonymous (1264)
From: St. Thomas Aquinas
Type: Strophic plainchant
Meter: Free
Key: Church E
2 strophes, starts out sounding a lot like anon kyrie eleison |
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By: Anonymous (1240)
From: ?
Type: Double Canon
Meter: Triple
Key: F Major
English round, first/oldest piece of six-part polyphonic music
Burden: :00-:09..
Round: :09, :11, :13, :15.. |
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| Deploration sur la mort de Johnnes Ockghem |
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By: Josquin Desperez (1497)
From: Jean Molinet
Type: Chanson-motet
Meter: 2/2
Key: Church Mode – D |
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| Agnus Dei from Mass in 4 Parts |
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By: William Byrd (1592)
From: Latin Mass
Type: Polyphonic Mass
Meter: 4/2
Key: Church Mode G Major
*4 voices (SATB)
very ethereal, sounds like angels |
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| Agnus Dei from Zapotec Mass |
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By: Andrez Martinez (1636)
From: Latin Mass
Type: Polyphonic Mass
Meter: 4/2
4 voice parts (soprano, alto, tenor, bass)
mostly homophonic |
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By: Claudio Monteverdi (1603)
From: G.B. Guarini
Meter: 4/4
Key: G Minor
Starts out sounding almost christmasy
Lively though a bit confusing, 5 voices |
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By: John Dowland (1600)
From: ?
Type: Strophic lute song
Key: A minor
Meter: 4/2
1 – 2 – 3 – 4 – 5 – 5
A – A – B – B – C – C
^ ^ ^
Major Minor Major
Pretty gay sounding… |
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By: George Gershwin (1935)
From: Porgy and Bess – opera
Type: Strophic Opera Aria
Key: B Minor
Meter: 2/2 |
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