Listening Test 3 Flashcards
Orfeo: Tu sei morta
Composer: Monteverdi
Early 17th century
Language: Italian
About: Orfeo is grieving over Euridice’s death
Number of Parts: 2 (voice and basso continuo)
Type: Recitative
Musical Techniques Used: Rising pitches, chromatic alterations and rhythmic changes to build intensity
L’incoronazione di Poppea Act 1, Scene 3
Composer: Monteverdi
1643
Language: Italian
About: Poppea is begging Nero not to leave
Number of Parts: 2 solo voices accompanied by basso continuo
Type: Changes between recitative, arioso and aria
Musical Techniques: Changing styles to heighten expression, some chromaticism
In ecclesiis
Composer: Gabrieli
Early 17th
Language: Latin
About: Praising the Lord
Number of Parts: 14- 4 solo voices, a 4 part chorus, three cornetts, alto violin, two sackbuts, organ (basso continuo)
Type: Sacred concerto
Musical techniques: Alternating between slow passages and aria-like style, polyphonic and homophonic styles
Historia di Jephte: Plorate colles
Composer: Carissimi
Mid 17th
Language: Latin About: Jeptha must sacrifice his only daughter to the Lord
Number of Parts: 3- solo voice, chorus, basso continuo
Type: Recitative
Musical techniques: Sequence, dissonances
Saul, was verfolgst du mich? (Saul, why do you persecute me?)
Composer: Schutz
Mid 17th
Language: German
About: Saul hearing the voice of Christ
Type: Sacred Concerto
of parts: 19 (six solo voices, 2 violins, organ, 2 choruses)
Musical techniques used: dissonant anticipations, suspensions, repetition
Ricercar after the Credo
Composer: Frescobaldi
Early 17th
Language: N/A
About: N/A
Type: Ricercarce
of parts: 4 (solo organ with 4 lines)
Musical techniques used:dotted rhythms, rising minor sixth rising chromatic line
Armide: Overture
Composer: Lully
Late 17th
Language: N/A
About: N/A
Type: Overture
of parts: 6
Musical techniques used: notes inegales, change from duple to triple meter
Suite No. 3 in A Minor: Allemande
Composer: Elisabeth-Claude Jacquet de La Guerre
Late 17th
Type: Keyboard Suite
of parts: 1
Musical techniques: Allemande- contrary motion, voices rising and falling together
Gigue- wide leaps, imitation
Dido and Aeneas: Dido’s Lament
Composer: Henry Purcell
Late 17th
About: Dido lamenting before death
of parts: 4 (2 violins, viola, solo voice, continuo)
Type: Aria
Musical techniques used: ground bass, five measure phrases
Trio Sonata, Opus 3 No. 2: Grave
Composer: Corelli
Late 17th century
About: N/A
Form: Trio Sonata
of parts: 2 violins, cello, organ
Grave: Serious, intense movement. Uses walking bass line and chains of suspensions
Allegro: Fugal. Basso continuo uses imitation, each voice answers in counterpoint
Concerto for Violin and Orchestra in A min.: Allegro
Composer: Vivaldi
Late 17th
Form: Ritornello form (Ritornellos played by orchestra alternate with episodes played by soloist)
About: N/A
Techniques Used: Motives are treated in sequence; Modulation by circle of 5ths
Prelude and Fugue in A minor
Composer: Bach
Late 17th
About: N/A
Form: Fugue (based on ritornello form)
Techniques used: Violonistic, modeled on Vivaldi’s violin concertos
Cantata 62: Nun Komm der Heiden Heiland
Composer: Bach
Late 17th
Form: Cantata
About: Adapts Lutheran chorales praising Christ
Mvmt I Chorus: Blends ritornello structure with concerto instrument writing and cantus-firmus
Tenor Aria, Bewundert O Menschen: Da capo aria form. Text is based on mystery of the Incarnation
Accompanied Recitative, Wir ehren diese Herlichkeit: About the Advent. Soprano and alto soloists sing parallel 3rds and 6ths
Giulio Cesare: V’adoro Pupile
Composer: Handel
Late 17th
Form: Aria
About: Cleopatra disguises herself as Virtue and sings her love to Caesar (Act 2, Scene 1)
Techniques: Small ensemble and orchestra accompany solo voice
Suite No. 3 in A Minor: Gigue
Composer: Elisabeth-Claude Jacquet de La Guerre
Late 17th
Type: Keyboard Suite
of parts: 1
Musical techniques: Allemande- contrary motion, voices rising and falling together
Gigue- wide leaps, imitation
