Listening Quiz 4

Question 1

Monody: Dunque fra torbide

Answer 1

Giacopo Peri. Monody. “thus over troubled waters” From the song of Arion. Scored for 4 string instruments and 3 solo voices. Voices echo “part principle” The voices stand our for rhythmic and melodic virtuosity. Contrapuntal string parts.

Question 1

Madrigal: Cruda Amarilli

Answer 1

Claudio Monteverdi. Madrigal. 4 voices. Love song of unrequited love. Was criticized for errors and mistakes that violated the accepted rules of Renaissance counterpoint. Monophonic. Very occupied with text.

Question 2

Monody: Sfogava con le stelle

Answer 2

Giulio Caccini. From Le nouve muscische (collection of monodies and songs for solo voice and basso continuo) Tonality strongly in G, ambitious between major and minor. Keywords emphasized by long notes and passagework.

Question 3

Madrigal: T’amo mia vita

Answer 3

Claudio Monteverdi. Concerted madrigal. In book 5 of of madrigals. Six voices and basso continuo. Text by Guarini. Solo voice represents memory of the lovers words. Other voices represent narrator. Measure 40-end all six voices take up “T’amo Mia vita” in polyphonic setting. Very dramatic.

Question 4

Concerted madrigal: Zefiro toma e di soavi accenti

Answer 4

Claudio Monteverdi. Concerted madrigal. Published in book 8. Tells a story. Two tenors and basso continuo. Text by Rinuccini. Meter change at m. 114, example of recitative. Use of dynamic markings. Use of ground bass. (Use of short bass phrase repeated over and over) cliche pastoral cliches.

Question 5

Arietta: Tradimento!

Answer 5

Barbara Strozzi. 1659. Arietta. Use of ritornello. Agitated style of ritornello. Betrayed lover alternating between swearing revenge and thoughts of hope of love.

Question 6

Vespers of 1610

Answer 6

Claudio Monteverdi. Response

Question 7

Vespers of 1610. “Deus in auditorium”

Answer 7

Response. Monterverdi. Plea for God’s help and Doxology. Based of opening of Orfeo. Triple rhythm ritornellos separate each verse. Ends with plagal cadence.

Question 8

Motet: Saul, was verfolgst du mich?

Answer 8

Heinrich Schütz. For three choirs, 2 violins, and Basso continuo. 15 voice parts in all. Text is from Acts 26:14. Text repetiton of ABABA. Tonality revolves around d minor and excursions to G and D

Question 9

Vespers of 1610. “Dixit Dominum”

Answer 9

Psalm. Monteverdi

Question 10

Vespers of 1610 “Lauda Jerusalem”

Answer 10

Psalm. Monteverdi. Psalm 147 12-20. Two choirs of three voices (soprano, alto, bass) each. Tenors sing peal tone as cantos firms throughout

Question 11

Vespers of 1610 “Sonata Sopra Sancta Maria”

Answer 11

Sonata or sinfonia. Monteverdi. 2 violins, 2 cornetti, 2 trombones, 1 bass trombone, 1 vioula di brazzo, pluse soprano voice. Used instead of Magnificant. Alternates between common time and 3/2.

Question 12

Vespers of 1610. “Ave Maria Stella”

Answer 12

Hymn. Monteverdi. Seven verses each verse with different combination of voices. Instrumental ritornelli to separate verses and add structure.

Question 13

Vesper 1610. Audi coelom

Answer 13

Motet. Monteverdi. Anonymous 14th century text. For two tenors, chorus joins at “omens hanc”