|
|
Italian, early Baroque, opera.
“Tu Se Morta from Orfeo” |
|
|
|
English, middle Baroque, Opera
“Dido’s Lament” |
|
|
|
| Italian, middle Baroque, sonatas |
|
|
|
Italian, middle Baroque, “the red priest”, taught in an orphanage, concerto gross and solo concerto
“La Primavera” Spring -Four seasons |
|
|
|
German, late Baroque, every form except opera, master of improvisation, keyboardist.
“Suite no. 3 in D major”
“Cantata no. 140” chorale
“Brandenburg Concerto no. 5 1st movement”
“Organ Fugue in G Minor (Little Fugue)” |
|
|
|
German then Italy and England, late Baroque, opera then oratorio
“Messiah, Every Vally Shall be Exalted”
“Messiah, Hallelujah Chorus” |
|
|
|
| Instrumental. Small group of soloists and orchestra. 3 movements: fast, slow, fast. Ritornello form: melody played by orchestra in first and last movements. |
|
|
|
| Instrumental. Similar to concerto grosso but only one soloist. |
|
|
|
| Polyphonic. Subject: main theme with imitation. Answer: melody on top of subject. |
|
|
|
| Started in Italy. Drama sung to orchestral accompaniment. Aria: more drawn out, expresses emotion. De Capo Aria: ABA improvisation and show off in second A. Recitative: Resembles speech, presents plot. Accompanied Recitative: more instruments. |
|
|
|
| Instrumental. 1 to 8 instruments. Trio Sonata: Basso Continuo and two other instruments. Sonata de chiesa: dignified church sonata. Sonata de camera: dance-like chamber sonata. |
|
|
|
| Instrumental. Multi movement based on dance. |
|
|
|
| Hymn tune with German text |
|
|
|
| Multi movement church work. German religious text. Uses chorale tune. |
|
|
|
| Like opera, but no costumes or scenery. Sacred, based on Biblical stories. |
|
|
|
| 1600-1750. Early baroque: homophony. Late: polyphony. More instrumental. Rhythmic patterns. |
|
|
|
| Harmony in bass. Cello and keyboard. |
|
|
|
| Bassline with numbers indicating chords |
|
|
|
| Mostly strings, limited percussion, basso continuo |
|
|
|
| Music written to order. For courts and churches. |
|
|
|
| Musical melody played by the orchestra in first and last movements of concertos |
|
|
|
| Chord inversions indicated by the numbers in figured bass |
|
|
|
| When the music is played end to beginning |
|
| Opera in the Baroque period |
|
| Started from musical discussions of the Camerata in Florence, Italy. Composed for court ceremonies. First known opera: Euridice (Peri). First large-scale opera: Orfeo (Monteverdi). |
|
|
|
| Text of an opera or oratorio |
|
| Ground bass/basso ostinato |
|
| Lament. Repeated musical idea in bass. |
|
|
|
| Bach. Concerto grosso. String orchestra and group of soloists. Ritornello form. |
|
| Organ Fugue in G Minor (Little Fugue) |
|
| Bach. Fourth voice on pedals. |
|
|
|
| Monteverdi. Opera aria. Voice and basso continuo. |
|
| Dido’s Lament, from Dido and Aeneas |
|
| Purcell. Opera aria. Ground bass..falling tears. |
|
| La Primavera (Spring), Concerto for Violin and String Orchestra, from The Four Seasons |
|
| Vivaldi. Solo concerto for violin. Polyphonic. Ritornello form. |
|
|
|
| Bach. Suite. Strings and trumpets. |
|
| Cantata No. 140: Wachet auf, ruft uns die Stimme (Awake, a Voice is Calling Us) |
|
| Bach. Church cantata. Chorale tune. |
|
| Ev’ry Valley Shall Be Exalted, from Messiah |
|
| Handel. Oratorio. Orchestra ritornello. Virtuoso singer. |
|
|
|
| Handel. Homophonic, polyphonic, and monophonic. |
|