WEEK 2:

The Baroque period is divided into three major phases: early, middle, and late.
Overlapping in time, they are conventionally dated from 1580 to 1650, from 1630 to 1700,
and from 1680 to 1750
Baroque Monody
Alessandro Grandi: O quam tu pulchra es pg452
Alessandro Grandi (1590[1] – after June 1630, but in that year) was a northern Italian composer
of the early Baroque era, writing in the new concertato style. He was one of the most inventive,
influential and popular composers of the time, probably second only to Monteverdi in northern
Italy.

- Composed by Alessandro Grandi in 1625.

- Early Baroque, Venetian(Grandi was working for monteverdi in St. MArks when he wrote
this piece.
- Solo motet(sacred concerto)
- Motet: sacred polyphonic song
- Monody: single melody accompanied by basso continuo.
- Clarity of text
- More melodic than previous compositions from this time
- Goes back and forth from recitative to aria sections.
- Recitative area is more melodic than recitative sections of operas
- Aria(ch) says “Veni Veni….”
- Triple meter aria on bar 22
- Dramatic effects by means of repeating text in a higher pitch
- Expressive writing

Caccini: Vedro ‘l mio sol pg380

Giulio Romolo Caccini (also Giulio Romano) (8 October 1551 – buried 10 December 1618) was
an Italian composer, teacher, singer, instrumentalist and writer of the late Renaissance and
early Baroque eras. He was one of the founders of the genre of opera, and one of the most
influential creators of the new Baroque style. He was also the father of the composer Francesca
Caccini and the singer Settimia Caccini.

- Giulio Caccini(1550-1618)
- Vedro ‘I mio sol is part of over 2 dozen of solo voices with basso written in or
before 1590.
- Nuove musique
- Early baroque, Florentine
- Solo Madrigal(Madrigal, secular polyphonic song)
- Monody
- 1590
- Basso can be played on any instrument available(Basso: lute, harpsichord, organ, lower
strings).
 - Melody line originally written in movable C clef.
- Through Composed, not strophic.
- Text Setting: Syllabic vs melismatic→ This particular piece is syllabic, one note per every
syllable.
- he wrote out embellishments - did not trust others to improvise
- Repats text in higher pitch to add dramatic effect. Heightened repetition.
- Caccini writes pit the embellishments
- He annotated ornaments because he did not trust others to improvise
appropriately.
- Melisma on word death(muoia) dramatic effect. Melisma on Aurora at the end
- Basso continuo player was allowed to take liberties with his part, some improvisation
was involved in the performance of this style of music
- Different types of ornaments. Baroque trills vs classical trills
- Anything in brackets was added by editor as well as dotted lines
- Time signature is 2/2
- Poem: Written by Allessandro Guarini
- Each poetic line is set as a separate phrase, ending with a cadence, sustained note, or
pair of notes.
- Meaning of poem: Unrequited love, someone whose feelings are not reciprocated.

WEEK 3:
Claudio Monteverdi: Madrigals and Vespers
Monteverdi(1567-1643) was born in Cremona, Italy. His father was a chemist, a practicing
barber surgeon (which was not completely legal at the time) and his mother passed away when
Claudio was rather young. Monteverdi was an extremely prolific composer even as an
adolescent. By 16, he had multiple publications from various printing houses around Italy. By
1600, Monteverdi was well established as a composer on the international stage. For the next
40 plus years he worked as an innovator and refiner of musical styles, including the first fully
realized opera “L’Orfeo”.

- Transitional composer from renaissance to baroque

- Born in Cremona, Baptized May 15, 1567 Died in Venice, Nov. 29, 1643
Monteverdi: Cruda Amarilli.
- Madrigal
- Early Baroque
- Late 1590,
- Transitional late renaissance-early baroque
- The text of ​Cruda Amarilli​ comes from one of the madrigalist's favorite poems: ​Il Pastor
fido​ [The Faithful Shepherd] (1589) of Giambattista Guarini, an extremely complicated
tragi-comic pastoral drama
- Cantus, Alto, Soprano, Quinto, Tenor, Bass, and optional basso cont.
- Is one of 11 madrigal’s in his 5th book of madrigal published 1605
 - Homophonic and polyphonic(ex: Ahilas bar12, ma dell’aspido sordo)
- Text painting on “e piu fugace” bar 43
- Breaks proper counterpoint rules by creating dissonance
- Improperly resolve harmonies, ex bar 13.
- Unresolved harmony, unrequited love.
- Passingtone are found in downbeats as opposed of upbeats only
- Use of harmony to express text rather than just melody
- Expressive music, borderline between love and hate

Monteverdi: Vespro Della Beata Vergine

- One of the masterworks
- Published 1610, in venice. Performed in 1613 in Venice
- Written overtime and dedicated to the virgin mary
- NO coherence between the 13 sections
- Sections use different instrumentation, very unpractical
- Begs to question if it was a collection of works rather than an entire piece.
- It contains both prima and seconda pratica
- There have been many versions after the piece was rediscovered in the early 20th
century
- 7. Duo Seraphin
- Early baroque, from Mantua
- 1610
- Aria duet in seconda pratica
- With basso
- motet
- Mainly a duet, by bar 46 a 2nd tenor is added.
- Suspensions
- Duet in monodic style, voices and continuo
- Use of ornamentation throughout, use of melismas
- 8. Nisi Dominus
- Much more classic venitian style
- Based on a psalm
- Bigger ensemble
- Instrumentation: 3 cornetto, 3 trombone, 2 violin, 2 viola, 2 cello, two choirs,
favorite and choir(5-SATTB), and basso

WEEK 4:
Origins of Opera:
Peri: Le musiche sopra l’Euridice
Jacopo Peri (20 August 1561 – 12 August 1633), known under the pseudonym Il Zazzerino,[1] I
was an Italian composer and singer of the transitional period between the Renaissance and
Baroque styles, and is often called the inventor of opera. He wrote the first work to be called an
opera today, Dafne (around 1597), and also the first opera to have survived to the present day,
Euridice (1600).

- The first opera that currently exists in its complete form.

- Opera
- 1600
- Early baroque
- Written for a wedding
- Divine intervention
- Aria: Nel Pur Ardor
- Instruments are not defined
- Instrumental introduction called sinfonia followed by voice with continuo
- Orchestra doesn’t play with voices, only continuo
- Sinfonia comes back at the end, this becomes ritornello
- Strong 5 1 cadences, something that was considered new for baroque.
- Could be found in the renaissance period but they were not thought as 5
1 cadence but just intervals that fit in the counterpoint.
- It is strophic, exact same music for new text
- The instrumental intro is imitating pam pipes. Pastoral sense
- In recording example from class, this is played by recorders
- In class example: Basso played with the harpsichord.
- Dialogue in recitative: Per quel vago boschetto
- Recitative style
- Recited in a speech manner like
- monody
- Change of mood on bar 22, new key.
- New key is used as musical tool to show new mood
- More chromaticism for dramatic effect happens after key change
- Speech pattern becomes more active
- Text painting descending, bar 33-40
- Text painting in word Ice(gielo)
- Text painting ascending, bar 49
- Long descending line representing her death
- Expressive Dissonance as dramatic effect, expressive harmony

Monteverdi: “L’Orfeo”: Vi Ricorda o Boschi Ombrosi; Ahi! Caso Acerbo

Written for the Carnival celebrations of 1607 in Mantua The ending stays with the original myth.
In Orfeo, Monteverdi realized more fully the expressive musical power of the recitative. Orfeo is
also more elaborately scored than its predecessors. It shows a much greater richness in the
variety and complexity of its musical forms, including: instrumental toccatas(instrumental piece
that shows off technique) and ritornellos, strophic and ternary (three part ABA) arias and
madrigal-like choruses. Monterverdi s Orfeo was produced for the Academy of the Invaghiti (est
1652 by Giulio Gonzaga).
 - Opera 1607
- Early baroque
- a. Aria/Canzonetta
- Strophic, with ritornello
- Use of hemiola as rhythmic device
- Unspecified instruments
- Because of Incipit clefs: 1st 2 parts would be played by violin
- 3rd would be played viol de braccio
- Bottom line played on viola gamba or baroque cello
- And basso continuo
- b. Song
- c. dialogue in recitative
- Instrumentation starts with Organo di legno(organ made of wood) and
large guitar/theorbo
- Change of instruments for basso on measure 20.
Clavicembalo(Harpsichord) and viola da braccio(violin)
- Depending on voices and effects instrumentation changes. Bar 20
- Use of chromaticism for dramatic effects
- More chromaticism as orpheo get more concerned
- d. Recitative
- Chromaticism
- e. End act
- Madrigal chorus, in the old renaissance style writing for the most part
- 5 parts
- Instruments doubling voices/chorus: Colla Parte
- Melody from messenger when it first appears, is now transposed a P5
down and played on the bass from this section(choro).
- Fairly homophony in the beginning but It gets more polyphonic towards
the end.
- More tone painting che tosto fugge, dramatic effect.
-

Monteverdi - L’incoronazione di Poppea Act 1 scene 3

- Monody
- Opera, 1642-1643
- Monteverdi is choirmaster at saint marks
- Opera was published in 1651
- Written to a libretto by Busenello (1598-1659) and produced through the Academia degli
Incogniti (1630-1661)
- More use of content than poetic form
- Produced in venice
- At least 10 opera houses in venice by late 17th century
- Produced for profit
 - One of the first operas to use actual historical events rather than mythology.
- Nerone would have been played by a castrato, nowadays played by mezzo soprano.
- Mixed between recitative and short arias where soloists get to show their dexterity with
their vocal technique.
- The dialogue goes back and forth between recitative and aria
- Some sections are divided by a Sinfonia
- Each aria gets a little more florid, more vocal technique shown.
- Nerone gets the most florid aria because that part was normally sung by a Castrati who
was normally the star.
- Different meters, 3-2
- Chromaticism for dramatic effect
- drama, love affairs,
- These are what determine his shifts back and forth from recitative to aria and from one
level of speech song to another.
- Could be considered a melodrama

Antonio Cesti(1623-1669): Orontea

Pietro Marc'Antonio Cesti (Italian pronunciation: [anˈtɔːnjo ˈtʃesti]) (baptism 5 August 1623 –
14 October 1669), known today primarily as an Italian composer of the Baroque era, was also a
singer (tenor), and organist. He was "the most celebrated Italian musician of his generation"

Orontea is an opera in a prologue and three acts by the Italian composer Antonio Cesti with a
libretto by Giacinto Andrea Cicognini (revised by Giovanni Filippo Apolloni). The first
performance took place in Innsbruck on 19 February 1656. Orontea was one of the most
popular Italian operas of the 17th century.

- Cesti was composer, tenor, organist

- Studied in Rome then Moved to Venice Wrote both sacred and secular music, but mostly
known for opera
- one of the most popular opera composers of the era
- Popular in Italy and Europe besides france.
- 1656, opera
- Libreto moves away from greek mythology to a more humanistic text that the audience
can relate to.
- More comic element, not as serious as previous operas.
- Recitative is now a vehicle for rapid dialogue without so much expression. Cesti allows
the violins to play with the voice, not just in the ritornellos as we saw in Orfeo. He blends
older style polyphony with the new basso continuo. The vocal style is representative of
the new Venetian style: mostly stepwise, diatonic, and rhythmically simple.
- Older style polyphony combined with new basso continuo.
- Orchestration
- 2 violins, Basso(Cello),
- This style will be copied by Purcell
 - Simple lines, not florid singing
- Strophic composition
- More restrained in comparison to Monteverdi
- Probably related to Cesti training from Rome

WEEK 5:
Italian Baroque (other than Monteverdi):

Giovanni Gabrieli: In ecclesiis

- Giovanni
- 1556?(Venice) - 1612(Venice) Along with Monteverdi, considered a ‘bridge’
from the Renaissance to Baroque Studied with his uncle, Andrea Gabrieli who
was a composer and organist at St. Mark’s (among other places) Giovanni
served under Orlando di Lasso in Munich for Duke Albrecht V from 1575-79 and
succeeded his uncle as organist at St. Marks’ in 1585. He remained there for the
rest of his life.
- Composed in the Venetian Polychoral Style originally brought from northern
Europe by Adrian Willaert. Gabrieli expanded the style to use larger forces of
both instruments and voices along with more specific instructions for
instrumentation and dynamics. His most prominent publications are the Sacrae
Symphoniae of 1597 and 1615
- In Ecclesiis
- Published posthumously in the 1615, Sacrae Symphoniae
- Non liturgical text…possibly for a mass celebrated the third week of July to
celebrate the end of a plague in 1570.
- Use of cori spezzati, split choirs
- Soloists, Choir, instrumental with specified parts, and continuo
- Instrumentation
- Soloists, Choir, instrumental with specified parts, and continuo
- 3 cornettos, 2 trombones, Viola.
- Score looked in class -->Odd markings of numbers and letters in incipit. These
marking indicate the book to which each part belongs to.
- 4 soloist(Favorite) on the top, next 4 are capella(choir).
- Top parts would be sung by boys, not women, specially in church
- Includes a choro section as well as a symphonia.
- Combines both renaissance and baroque styles
- 5 text section
- Each one follows by a allelujah, set in renaissance style
- Each one is set differently
- 1st: just solo and continuo, baroque style, monody
 - Allelujah choro in 3, call and response between orchestra and
soloist. In renaissance style
- 2nd: Bass soloists, in baroque style. Monody
- Allelujah: Renaissance
- Sinfonia: very venitan, in renaissance style
- 3th: duet, soprano and tenor. orchestra accompaniment,
renaissance style
- Much more florid by the end
- allelujah
- 4th: Soprano and continuo.
- Allelujah
- 5th: Everyone is in, notice third relationship in particula minor.
- Last aleluja starts in three but changes half way.

Barbara Strozzi: Lagrime mie

- 1619 (Venice) – 1677 (Padua) Daughter of Librettist, poet and dramatist Giulio Strozzi
- Perhaps the most famous female composer of the 17th century along with Francesca
Caccini Sang for gatherings of letterati that her father convened. Later, he created the
“Accademia degli Unisoni,” a musical academy where she also sang Beginning in 1644,
she published 8 books of madrigals, cantatas, arias.
- Texts were by Giulio and other Venetian poets.
- Lagrime Mie
- Cantata in recitative, aria, and arioso
- 1650s, late early baroque
- Starts with lament in recitative
- Explicit and romantic song about pain, broken heart.
- Lidia is the protagonist
- Lament mm 1-22
- First line has a harmonic minor scale, middle eastern flavor
- Very recitative
- Mm 23, arioso. In between recitative and aria
- Text painting of feelings
- Change of time signature changes goes along the change of tone of the
music
- Mm42, text painting on bass, chromatic descending bass line depicts lament.
- Suspensions/appoggiaturas are also text painting representing lament (ex:
mm49)
- Mm 58-59: instead of resolving suspension on E, there is a skip before landing
on D. adds dramatic effect
- Use of disonace from dramatic effect
- Mm63, refrain comes back(line from the beginning)
- Aria mm71
- More dramatic
 - Arias are strophic
- Not much melismatic ornaments
- When found, they are used as txt painting to bring emphasis on important
words from the text.
- Melisma is the singing of a single syllable of text while moving between several
different notes in succession.

Arcangelo Corelli: Trio Sonata in D-major, Op.3, No.2

- 1653 Fusignano – 1713 Rome. Born into a family of wealthy landowners. Named after
his father who died a month before his birth. Moved to Bologna in 1666 – S. Petronio
was the center of a burgeoning composition scene. Relocated to Rome in 1675 where
he worked for many wealthy patrons, and became one of its foremost violinists. He was
the most sought after violin teacher and is considered the ‘father’ of violin technique. As
a composer, Corelli excelled in the new popular forms of Trio Sonatas and Concerto
Grossos. His compositions would later influence other Baroque composers such as
Händel. He was so highly regarded in Rome that he is buried in the Pantheon.
- Italian trio sonatas
- Sonata da Camera – ‘Chamber Sonata’- Typically 3 movements (Fast-Slow-Fast)
but occasionally 4 or 5. - Mvts are typically named after dances - Fast mvts are
typically Binary
- Sonata da Chiesa – ‘Church Sonata’ – Four mvts(Slow-Fast-Slow-Fast) Mvts are
given ‘Mood names’ Can be broken up to play during a service
- Trio Sonata in D-major, Op.3, No.2, 1680s
- Trio Sonata,
- Sonata de Chiesa(Church Sonata): 4 movements
- Starts slow
- Movements are not name after dances
- Instrumentation: 2 violinos, Violone(Baroque double bass, 6 strings) or arcileuto,
and organo.
- Very little use of vibrato on the strings
- 1st movement(grave, slow)
- Srats in D, goes to a in mm5. 3 bars later goes to A, then E(V/V) followed
by Bm and back to D(typical progression from baroque)
- Bar 15 resolve suspension by leap
- Corelli is known for the use of suspensions
- 1st and 2nd violin are not much apart from each other
- Voice crossing
- Allegro: 2nd movement
- Compositional technique: Fugue
- Starts on 1st violin
- Second violin come with an inversion for the first bars
- Bar 5 bass come in with fugue
 - Starts in D major but modulates to A
- Cadence on A mm13
- Moves to Bm
- E on bar 23
- Back to A and back to D
- Little adagio at the end
- Adagio, 3rd movement.
- Sarabande: Slow triple meter
- It’s more a duet between the two violins with accompaniment in the
continuo
- In Bm, relative minor of D
- Goes to D, Bar 13, PAC in D.
- From D goes to f#(dominant of Bm)
- Hemiolas in the bass with cadence for f#
- Goes back to b in the penultimate bar
- A piccardi in third and goes to major 5 which rocket us to last movement
- 4th movement: Allegro
- Gigue
- Usually in 6/8 but can be in 12/8
- Composition of device: fugue
- In Dmajor, Modulates to Amajor
- Binary form
- A section starts in the tonic and ends the dominant
B section starts on dominant.
- Treats fugue subject with inversion
- B section starts on A, moves to f#(bar 28), then Bm and soon thereafter
goes to E. After goes to A and finally to D
Vivaldi: Violin Concerto in a-minor op.3, No.6, mvt. 1
- Antonio Vivaldi 1678-1741
- Known as the red priest
- Father was a barber and violin player, played violin at st marks.
- Probably learned to play violin from his father
- His first official post was at the Pio Ospedale della Pietá. One of 4 orphanages in
Venice where girls would be taught music.
- 1703 Became an ordained priest but quit a few years later after being censured
for bad conduct.
- Most of vivaldi’s sacred vocal and instrumental works were written while working
at the ospedale for the ospedlae’s concerts.
- Worked in Mantua and Rome, and travelled to many European cities with his
father to perform. Was known more for being a violinist than a composer by his
contemporaries. Wrote many operas that were performed all over Europe. Today
he is more known for his violin concerti. Wrote over 500 concerti, 230+ for Violin.
Others for just about every instrument imaginable.
 - Violin concerto in a minor mvt.1
- Violin Concerto
- 1710
- Ripieno concerto
- 3 movements, fast-slow-fast
- 1st movement
- Starts with a ritornello(A) followed by a solo(episode) ABAC…
- Ends on ritornello
- Ritornelli stay in 1 key, episodes are modulatory
- A(Am) B(to C on mm21) A(brief ritornelo) C(Am-Em) A(Em) D(Am) A(Am)
E(Emaj) A(Am)
- Opening statement, bar 12,

WEEK 6:
Oratorio and Sacred Concerto
- The word oratorio is taken from the same word which originally meant “prayer hall.”
Such buildings were brought into existence under the Congregation of the Oratory. This
was a religious reform movement in the Catholic church where several priests or lay
brothers lived together in mutual charity but without the formal vows of monastic life.
They met in these oratorio buildings, which were normally located adjacent to a church.
The oratorio building was carefully designed as a setting for community experiences that
are distinct from regular liturgy, yet conducive to the goals of religion. Oratorio buildings
were rectangular in shape, normally without transepts and usually seated 200-400
people. They were acoustically optimal not only for lectures but for music as well. The
16th century oratorio Santa Lucia del Gonfalone in Rome, (est. 1544-1547) now
regularly used as a concert hall, is a prime example of these exemplary acoustics. It was
also the birthplace of the oratorio as a musical genre.
- An extended musical drama using biblical text Why was oratorio created? Opera was
forbidden during lent, oratorios were not staged works like operas. But use the same
format as an opera. How is oratorio different from opera? No staging at all. Text is
biblical, opera is Greek tragedy. The oratorio as a musical genre reflected the
Counter-Reformation zeal to attract the broad populace to the church. Most oratorios
were written in the Italian language for this reason (oratorio volgare). A notable exception
was the situation at the important oratorio associated with church of San Marcello in
Rome. Here the aristocratic membership (Arch-Confraternity of the most Sacred Christ)
commissioned all oratorios to be written in Latin (oratorio latino).

Giacomo Carissimi: “Historia di Jepthe” Plorate Colles; Plorate Filii Israel

- He is one of the most celebrated masters of the early Baroque or, more accurately, the
Roman School of music. ​Served as director of music at the German College in Rome for
 a Jesuit institution of higher learning for 40+ years. Wrote masses, motets and over 150
secular cantatas. Best known for 14 surviving oratorios.
- Historia di Jepthe: Plorate Colles; Plorate Filii Israel
- Early Oratorio 1648, roman
- Mid baroque
- Carissimi recitative uses expressive dissonances similar to early florentine
operas.
- Story:of Jephte from from judges
- While fighting a war, he promised to god that if he is victorious he will
sacrifice the first person that comes out of his door when he returns.
Which ended up being his daughter.
- Plorate Colle: recitative
- Instrumentation: Voice and Continuo
- Devices used: composer repeats things/motives up to increase
dramatic effect.
- Neopolitan 6 chord on bar 296
- Text painting bar 302, dissonance on word death.
- Style of writing: monody
- Chorus: Plorate Filii Israel
- Chorus brings everything to a close
- Six voices and continuo
- 2 section, each one with 3 voices
- High choir, low choir. 3 higher voice and 3 lower voices
- Instruments double voices, colla parte
- More renaissance style
- Starts fairly homophonic
- By mm 367 imitative polyphony.
- Lots of suspensions for dramatic effect
- The oratorio closes with a magnificent six voice chorus of
lamentation.

LUtheran Historia
- In Protestant Germany, the idea of a sacred musical drama was rooted in the Lutheran
historia, a story of Christ It is often associated with Christmas or Easter, taken from the
Bible, set to music, and performed in a church. The musical format was austere,
involving an alternation of unaccompanied reciting tones sung by soloists and
unaccompanied choral polyphony.
- The German Sacred Concerto

Schütz:
- Schutz(1585-1672) German composer
- Unlike Scheidt and Schein, Schütz rarely used the chorale in his sacred
compositions. combined the Venetian polychoral style in his writing with the new
 cutting edge genre of monody, adding in solo numbers along with his antiphonal
choral works. His compositions were affected by the 30 Years War which cut
down his performing forces. Kleine Geistliche Konzerte are for only a few voices
and use the theatrical recitative style – O lieber Herr Gott. After the 30 Years
War, he was able to write for much larger forces
- The influence of Venice on the southern German courts caused several
prominent German musicians to study the style of the Venetian School. Johann
Hermann Schein, Hans Leo Hassler, Samuel Scheidt, and Heinrich Schütz went
to Venice to study this style of composition and copied Gabrieli’s combination of
instruments and voices. They often combined the tradition of Lutheran Chorales
with the Venetian Style in their sacred works.

- Schütz: O lieber Herre Gott

- Sacred concerto 1636
- Voices and continuo
- Text: it is a sacred text but not biblical
- Written for advent
- Mixes up arioso and recitative
- ex: lagrime mie(Strozzi), O quam tu pulchra es(Grandi)
- Use of italian traditional techniques
- Goes from recitative section in duple meter to a triple, which is very renaissance
- Voices are relatively equal, no hierarchy between soprano and alto.

- Schütz: Saul, was verfolgst du mich?

- Until recently, believed to have been written in 1650. After the 30 Years
War…WRONG!...published in 1650. Current scholarship suggests it was written
for the first anniversary of the Sept. 7, 1631 defeat of Catholic forces at the Battle
of Breitenfeld(near Leipzig) during the 30 Years War. The first major victory for
the Protestants who had suffered substantial losses before that.
Symbolism…Lutherans resisting Catholic oppression.
- Sacred Concerto
- Composed 1632, published 1650
- Mid baroque
- More on the Italian Style
- Set for 6 solo voices
- Instrumentation: 2 violins. Soloists: 2 cantus, Alto, tenor and 2 bass, known as di
favorite. 2 choirs(venetian style), cori spezzati(Cantus, alto, tenor, bass) and
organum and/or violon(Basso Continuo)
- History: Saul, jewish sent to get christian prisoners. Jesus appears to him in the
middle of the desert. Saul converts to christianity and changes his name to paul.
- Text: Saul, Saul….
- Symbolizing Lutherans resetting catholics.
- Dissonance for dramatic effect
 - Antiphonal choir by 17. Depicting echo in the desert
- Some of the early dynamic markings are found in this work
- Bar 24: tenor solo, monody.
- Duet by bar 39
- Bar 66: tenor remains fore while other parts are much softer. I could be thought
as the voice of Jesus
- In recording from class, brass instruments is used to double the voices
- Styles used: Antiphonal choir(Venetian), monody

WEEK 7:
Keyboard Suites in 17th Century France
The harpsichord is the preferred instrument. Figuration is borrowed from the style of lute playing
(style luthe) also known as ‘Broken Style’ (style brisé) Ornaments are used extensively – called
agréments. What are the reasons for using these ornaments? Suites begin with an unmeasured
prelude – explores the key and harmonic possibilities.
Suites are collections of dance movements:
- Most common
- Allemande
- The time signature is 4/4 or 2/2. Italian markings are often Allegretto, Moderato,
Allegro Moderato. It is characterized by a one note up-beat (usually a 16th note),
and often a flow of continuos running 16th notes throughout.
- Courante:
- The time signature is 3/4, 3/2, 3/8 or 6/4. Italian markings are often Allegro,
Vivace (for the Italian version of this dance) and Moderato (for the French
version). It is characterized by light texture and rapid figures. The name actually
means running. The French version often shifts from triple to simple meter.
- Sarabande(in 3, accent in 2)
- The time signature is 3/2 or 3/4. Italian markings are often Ag\dagio or Lento. It is
characterized as a Spanish dance, chordal in texture, usually without upbeat and
often a prolonged or accents note on the second beat.
- Gigue:
- The time signature is 6/8 or simple time in triplets. Italian markings are often
Allegro, Vivace, presto. This dance has British origins and is in compound time.
- frequently added:
- The Chaconne,
- Gavotte:
- The time signature is 4/4 or 2/2. Italian markings are often Allegro, Allegro
Moderato. It is characterized as a French dance, usually with two quarter note
upbeats, so the phrase begins and ends in the middle of a measure.
- Minuet(in 3):
 - The time signature is 3/4 or 3/8. Italian markings are often Moderato grazioso,
Andante. It is characterized as a French dance with an unhurried tempo and
graceful.

- Harpsichord cannot play dynamics.

- Use of ornaments to helped with the effect of dynamics

France:
Elisabeth-Claude Jacquet de la Guerre(522) – Suite #3 in A-minor.
- Elizabeth Jaquet
- Came from family of musicians
- Nickname was the small wonder, child prodigy
- She started performing from a very young age
- Accredited for being the first woman to write an opera in France
- Keyboard suite #3 in A minor
- 1687, keyboard suite
- During this time the keyboard suite was written for amateur musicians.
- prelude + 6(7?) dances
- Prelude is very improvised
- Prelude was also used to tune instruments that can be re-tuned easily
- 4 slurs on the second system is indicating that those notes need to be sustained.
- We can see some mordents.
- There are different tonal movements, starting with Am, moving to Em, to C, etc.
moving until it gets back to Am
- 1st dance: Allemand: german dance. moderate tempo, with pick up.
- In binary form
- Duple meter
- Use of ornaments
- Finish with a major 3rd?
- 2nd dance: Courante
- French dance
- Triple meter, moderate
- Always starts with up beat
- Tends to switch between 6/4 and 3/2
- Key movement: Am-Em-C-Am
- Binary
- 3rd dance: Sarabande
- Originated from central america
- It’s in triple meter
- Binary
- Introduced in france during 17th century
 - One of the most popular dances of the time
- 4th dance: Gigue
- Triple meter
- Chaconne
- French
- Rondo
- Short repeating bass line
- chaconne-couplet….
- Each couplet gets more active
- Gavotte
- Binary
- Menuet
- Rounded binary(ABA’)

Couperin: Vingt-cinquième ordre

- Francois Couperin’s 25th Ordre is a group of pieces which belong together as a unit.
They are collections of pieces which can be dance pieces but are not always. The term
ordre refers to the typical French way of putting short character pieces together Instead
of having a set number for each piece, we are given descriptive titles (La Visionaire, Les
ombres errantes) Couperin gives all the ornament signs as well as the written-out
ornaments in the introduction to the collection. Couperin is also known for his treatise on
French keyboard music (1716) called L’art de toucher le clavecin (The art of playing the
harpsichord/ keyboard). Couperin is writing not only about his music but about French
keyboard music in general and not including other types of keyboard music
- Vingt-cinquième ordre
- Keyboard suite
- 1730
- Late baroque
- Sort of binary
- Gravement et maruqe
- Slow opening
- Terades, represent supernatural
- Turns briefly into alamand in bar 29
- Les ombres errantes
- In 2/2 but 1st measure is three beats. He makes up for extra beat
at the end
- Movements in different keys

Ballet de Cour – French “pre-opera”

- Italians love opera, English love theater, French love dance. Ballet de cour (Court Ballet)
danced at the French Royal court. Court members mixed with professionals Combination
of dances, airs, instrumental interludes, pantomime creating a loosely assembled
dramatic theme. Large ‘production numbers’. Vocal music in the Ballet de cour was the
 air de court. Simple, strophic, syllabic song for solo voice or small group of soloists.
Court orchestra called the Vingt-quatre violons du roi. Five part music played by 6
violins, 12 violas, and six basse de violons. The three middle parts played by groups of
four violas on each part Trumpets, drums, harpsichords, oboes of the royal wind band
could be added King maintained up to 200 musicians at his court

French Baroque Opera

- In 1642 Cardinal Giulio Mazzarini (Mazarin) succeeded Richelieu as Chief Minister He
tried to import Italian Opera but it was a total failure in France. And for the next 20
years, Italian Opera is looked upon distainfully. Couldn’t deal with castrati as leading
lovers. (Querelle des Bouffons) Similar to the courts of Europe, the French want to
create their own style of opera that they believe to be superior.
- FRENCH OPERATIC ORIGINS IDEALS OF GREEK REVIVAL WERE HANDLED
DIFFERENTLY IN FRANCE THAN ITALY. SPOKEN PLAYS BASED ON GREEK
MYTH WERE REVIVED & TRANSLATED INTO FRENCH BY WRITERS SUCH AS
JEAN RACINE, PIERRE CORNEILLE.
- THE FRENCH BELIEVED THAT GREEK TRAGEDIES HAD BEEN SPOKEN AND NOT
SUNG, AS GABRIELI HAD THOUGHT. ENLIGHTENMENT PHILOSOPHY DICTATES
THAT ONE DOES THINGS IN A MANNER COMPATIBLE WITH REALITY (A WORK
FULL OF ONLY ARIAS DID NOT SEEM RATIONAL TO THE FRENCH).
FRENCH OPERATIC SOURCES (RESHAPED BY IMPACT OF ITALIAN OPERA):
1. TRAGEDIE: ANCIENT GREEK/ROMAN EPICS.
2. BALLET: IMPORTANT PART OF FRENCH OPERA UNTIL THE 19TH C.
3. BALLET DU COUR: COURTLY ENTERTAINMENT OF SONG, DANCE, PROSE,
RECITATION & COSTUME.
4. HEROIC PASTORALE: BASED ON CLASSICAL SUBJECT MATTER ASSOCIATED
WITH PASTORAL POETRY
- Creation & Standardization of French Opera Librettist Pierre Perrin receives permission
from Louis XIV for an Academie Royale de Musique, which eventually became L’Opera
de Paris. In 1672, however, hounded by debts and poor management, he had to turn
ownership over to the King’s new favorite, Jean-Baptiste Lully, (1632-1687) who became
the musical director. Italian Lully (Lulli) originaly came to France at age 14 to teach
Italian to Mademoiselle Montpensier, niece of Louis XIV. Louis XIV grants Lully and his
librettist, Philippe Quinault the monopoly on the production of Opera The French style of
opera that came about was called Tragedie en Musique. Later called Tragedie Lyrique.
Tragedie refers to a tragic play, so the spoken word has precedence over the music The
French are not interested in coloratura singing, ornamentation, long arias, but in the
quality of the verse and plot, and how well the recitatives express emotion

French Operatic Style Conventions: • Operas are normally in 5 acts (convention from theatre)
• Operas begin with an overture in two or more parts 1) stately dotted rhythms 2) short fugal
material • After the overture normally followed a Prologue with allegorical characters who make
references to the King & his court policies. • Arias/Recitatives flow more smoothly into one
another than in Italian opera and do not contrast as sharply (more like arioso)
• Instead, choruses, ballets and instrumental pieces grouped together were the main musical
interest.

Philippe Lully- Armide "Enfin, il est en ma puissance"

- Late mid baroque, 1686
- Overture
- Rounded binary: AA BA BA
- Dotted rhythms, french overture
- B section, fugal in nature​. ​Faster than A section and in 6
- C section, back to 4. Slower tempo
- Act II, scene 5: Enfin il est en ma pussance
- Rhyme scheme alternation between to lines

WEEK 8:
Spain and the New World
De Araujo: Los coflades de la estleya
- Juan de Araujo (1646–1712) was a musician and composer of the Early to Mid
Baroque.[1] Araujo was born in Villafranca, Spain. By 1670 he was nominated maestro
di cappella of Lima Cathedral, Peru. In the following years he travelled to Panama and
most probably to Guatemala. On his return to Peru, he was hired as maestro de capilla
of Cuzco Cathedral, and in 1680 of Sucre Cathedral (then the Cathedral of La Plata) in
Upper Peru (now in Bolivia), where he stayed until his death, and where he trained up to
four notable música criolla composers including Blas Tardío de Guzmán.
- Araujo tells us that his villancico Los coflades de la estleya is a “ negritos a la Navidad
del Señor ” (an African American piece for the birth of our Lord). There are hundreds and
hundreds of Christmas villancicos in this negrito style, as they were enormously popular
- Villancico
- Late 17th century

Tomas de Torrejón y Velasco: La purpura de la rosa

- Opera
- 1701
- First opera composed in the new world
- La púrpura de la rosa (The Blood of the Rose) is an opera in one act, composed by
Tomás de Torrejón y Velasco to a Spanish libretto by Pedro Calderón de la Barca, the
last great writer of the Spanish Golden Age. It is the first known opera to be composed
and performed in the Americas[2] and is Torrejón y Velasco's only surviving opera. La
púrpura de la rosa was first performed in Lima in 1701 to celebrate the 18th birthday of
Philip V and the first anniversary of his succession to the Spanish throne. The libretto, in
 polymeric verse and filled with lush mythological imagery, is a re-telling of the Ovidian
tale of the loves of Venus and Adonis.
- Intrumentation: Starts with single voice and basso.
- I. Choir of 4 and basso

Tomas Luis Da Victoria: O Magnum Mysterium

- Motet,
- 1570
- Missa O magnum mysterium
- Kyrie
- Imitation mass
- 1580
- Paired imitation
- Maximun variety of texture by the use of homophony and changing number of voices(bar
16-26)
- False relation: F natural followed immediately by F sharp in another voice. Bar 20-21.
Expressive vocabulary..
- most famous composer of the Spanish Renaissance, Tomás Luis de Victoria was born in
Ávila; his earliest musical training was as a boy chorister at Ávila Cathedral. In 1565
(after his voice had changed), Victoria received a grant from Philip II to attend the
German College in Rome to continue his studies.
-
de Padilla: Missa Ego Flos Campi -Kyrie
- juan gutierrez de Padilla: Missa Ego Flos Campi -Kyrie
- He was born in Málaga, Spain but moved to Puebla, Mexico, in 1620 to compose music
in the New World.
- Padilla, whose Mass "Ego flos campi" forms the centre-piece of this programme, was
born in the Andalucian city of Málaga, and was maestro de capilla in Jerez and Cádiz,
before travelling to Puebla to take up the post of cantor and assistant to Fernandes. He
taught singing and violón-playing, and also managed an instrument-making workshop,
selling bajónes (bass dulcians) and chirimías (shawms) across the whole country. The
conservative, formal style was regarded as a reflection of the ancient splendour and
solemnity of the holy Mass, but Padilla brings the old forms to life with driving rhythms
and sparkling syncopations. Just as the composer himself left Spain to make his home in
the New World, his musical style was grounded in the traditions of the siglo de oro and
then nurtured by the colours and rhythms of Central America.
- Ego flos campi is a so-called "parody mass" - the polyphony is created by myriad
re-workings of material from an extant motet. In this case, the original motet has not
survived, but Padilla's techniques can be observed in other parody masses he wrote,
based on his own motets. Certain memorable melodic phrases and harmonic sequences
recur as motives, especially at the beginning and end of each movement, but often with
the counterpoint inverted or subtly transformed. Sometimes the voices combine in
genuine eight-part writing; more often they are separated into two antiphonal choirs,
exchanging short phrases in catchy speech-rhythms. In Ego flos campi, Padilla takes
considerable liberties with the liturgical text