1. Giulio Caccini: “Filli, mirando il cielo” from Le nuove Musiche (1602) p.

328

 monody — composition for solo singer with basso continuo accompaniment

 from Le Nuove Musiche, an anthology of solo madrigals, strophic arias, and strophic variations.
 Caccini was known for writing embellishments and ornimentations into the score in order to “move
the affections of the soul"
 “Escl” = esclamazione measn "hit and back off"... it was a performance practice technique.
 Measure 34 also shows a sigh motive on the word "aih"

2. Claudio Monteverdi: Cruda Amarilli

3. Claudio Monteverdi: Selections from Orfeo (1607) p. 332

Tu se’ morta, mia vista (1607)

 arioso from Monteverdi’s Orfeo (an arioso has qualities of both and aria and recit)
 Seconda pratica: — breaking traditional theory rules to serve the text. i.e. The text is also mistress of
the music.
 Passion is the determiner of form.
 chromatic 7ths against the base on the words “Profundi abissi” communicate despair.
 The rests in the first two measures are rhetoric in action = grand pauses.
 Sprezzatura di canto: Solo virtuoso singing with natural ease.

Toccata (1607)

 Instrumental overture before the opera

 idiomatic instrumental writing

Possente spirto (1607)

 aria: strophic (the same melodic and harmonic plan reappears with slight variation in each successive
strophe)
 idiomatic writing: a specific line is written for the violin.
 Two vocal lines: one for ornamentation and without.
 aria story: Orpheus seeks to impress Cheron who operates the ferry that is the only way to cross
the river of death.

4. Giovanni Gabrielli: In ecclesiis (c. 1612) p. 351

 concerted motet (an accompanied motet)

 First composer to write idiomatically (instrument specific notation)
 Form: Sop+R/ Bass+R/ Sinfonia/ Alto,Ten+R/ T, Sop, Bass+R/ Tutti (R = re frain)
 Cori spezzati: "spaced choirs" – it was the style in which the work was composed where there were
multiple choirs position in different locations within the cathedral which, in St. Mark's case, was
shaped like a cross. This created a stereo effect.
 structure: setup with rhetoric in mind — the refrains are repeating statements
of “Allelujah” big contrasts between solo and choir, declamatory and recit like singing with text
declamation, idiomatic writing, basso continuo accomp, dissonances
 Performed in St. Marks Cathedral — composed with short phrases so text is not lost in the 10 second
ecco and spaced choirs position in the different locations of the cross shaped building.

5. Heinrich Schütz: Saul, was verfolgst du mich? From Symphoniae Sacrae p. 401

 Concerted Motet (an accompanied motet)/ Grand concerto

 from Symphoniae Sacrae III
 Form: ABABA
 scripture text
 Rhetoric: attention getter (exhortium) “saul, saul” — like an oration which lead to the building of the
case “es wird dir schwerdin” and the final appeal at the end which had lots of repetition which
was common in rhetoric.
 two four part choruses
 favoriti – choir of
 Used lots dynamics

6. Heinrich Schütz: “O süβer, o freundlicher” from Kleine geistliche Konzerte

 From Kleine geistliche Konzerte (Little Sacred Concertos)

 sacred monody
 Uses rhetorical devices: Accumulatio — accumulation of praise in the first couple bars. Exclamatio
from the text “ach”

7. Corelli: Trio Sonata, Op. 4, No. 1 (1694) p. 470

 sontata da camera – 4 movements: Preludio (slow) + 3 dances (allemande, courante, sarabande,

gigue) – dance titles instead of tempo markings (largo, moderato, etc)
 Dances are almost always in BINARY FORM
 all movements are in the same key
 Tempo markings instead of dance types (allegro, adagio, etc — same things just different word)

8. Vivaldi: Op. 3, L’estro armonico (1711), Concerto Grosso, NO. 8, Mvmt. I p. 484

 Concerto Grosso — Full orchestra (ripieno) contrasts with group of soloists (concertino)
 F–S–F

9. ***Couperin: L’Arlequine from Pièce de clavecin….quatrième livre (1730) p. 549

10. Barbara Strozzi: L’amante Segreto: Voglio morire (1651) p.395

 monody from her Chamber cantata, L’Amante Segreto

 Chamber Cantata: a piece of music sung by one to three voices encompassing diverse styles
with basso continuo accompaniment. It was something “sung” for a select group in a private
residance.
 Laent aria: descending tetrachord lament bass line (passacaglia)
 It alternates between triple meter aria with duple meter recitative — recitativo arioso

11. J.S. Bach: Wachet auf, ruft uns die Stimme (1731) p. 651

 7 movements: R1 A R2 A R3 B R4
 Chorale cantata
 chorale fantasy is the beginning movement
 Bach employs rhetorical devices through musical expressions of ascending lines to signify the
heavens (ms. 9) and other melismas for words of exclamation (ms. 136).
 Movement seven of the cantata was a four-part setting of the chorale tune which the full
congregation would join to sing. This showed The Lutheran belief of the Priesthood of the Saints
through congregational participation.
 It's about the parable of the 10 virgins. Main point was that the end of life (or running out of lamp
oil) could happen anytime and to have your shit in order.

12. Handel: Giulio Cesare: Act II, Scene 2, “V’adoro pupille,” (1724) p.581

 rom Act II, Scene 2 his opera Giulio Cesare

 AB da capo aria (cantabile aria) in F major, a pastoral key, in 3/4 which gives a slow lilting feel to
communicate the love in the text.
 2nd time is ornamented but not a lot because the mood of the text doesn’t call for a lot.

13. Handel: Messiah: Aria: “He shall feed his flock,” “Hallelujah” Chorus (1742) p. 587

 aria and chorus

 pastoral aria: parallel 3rds in stepwise motion, lilting compound meter rhythms,
 the aria depicts Christ, the gentle shepherd of his flock
 Oratorio — story of Christ’s Crucifixion

14. Sammartini: Symphony in D Major (1740), Mvt. I pg. 808

15. C.P.E. Bach: Fantasia in C Minor for clavichord (1753) pg. 828

16. Haydn: Symphony No. 99 in E-flat Major (1794): Mvmt. 1 pg. 873

17. Haydn: String Quartet, Op. 33, No.4, Mvmt. I (The Bird) (1781) pg. 849

18. Mozart: Le nozze di Figaro (1786) pg. 989

19. Mozart: Die Zauberflöte (1791) not in anthology

20. Mozart: Piano Concerto in A Major, K. 488, Mvmt I (1786). pg. 966