Bach - WL

Question 1

Antonio Vivaldi - Gloria

Answer 1

A choral sacred work from the Baroque
period.
The string writing in the second movement is
characterised by leaps and repetition.
Orchestration includes trumpet, oboe, strings,
and continuo as well as a choir.
Melismas and suspensions frequent
throughout

Question 2

Dietrich Buxtehde - Gelobet Seist Du, Jesu Christ

Answer 2

Baroque composer who composed different types of
chorale settings. This is an example of a chorale fantasia.
This music for organ is based on the pre-existing hymn tune with the same name.
Melody is extended and elaborated in a polyphonic texture.
Each phrase of the chorale is treated differently to reflect the meaning of the text.

Question 3

Ethel Smyth - Mass in D: Gloria

Answer 3

Mass written in the Romantic period.
Contrasting textures: orchestra often doubles the
choir. Majestic orchestration in call and response
with choir.
Decorative passagework includes semiquavers,
dotted rhythms and syncopation.
SATB soloists interact in polyphonic texture.

Question 4

Handel - And The Glory Of The Lord

Answer 4

A Baroque sacred work (However, an oratorio, not cantata). Movement IV of ‘Messiah’.
Soloists and Chorus scored for SATB.
Diatonic chords. Mostly perfect cadences, with some plagal cadences.
Instruments often double the voices in different octaves.
Mostly syllabic singing.
Major keys all the way through.
Imitative entries and homophonic textures dominate.

Question 5

J.S. Bach - Ich Elender Mensch

Answer 5

A church cantata in Protestant Germany
Harmony is functional.
Perfect cadences anticipate modulations into new keys.
Contrapuntal textures predominate
Movement 1: imitative entries in SATB.
Suspensions commonly used (especially in the Chorale).
Seventh chords frequently appear. (especially diminished sevenths to intensify
the meaning of the text).