Test 1 Listenings Flashcards
Funeste piagge
1600; Jacopo Peri. Stile rappresentativo = single melodic line to bass accompaniment. Pitches and rhythms match poetic text. Sprezzatura.
Filli, mirando il cielo
1602; Guilio caccini from “Le nuove musiche.” Solo madrigal, ornamentation written out, continuo = more deliberate counterpoint, still stile rappresentativo. Madrigalisms.
A l’amara novella
1607; Claudio Monteverdi, from “Orfeo.” Recitative = syllabic. Voice constantly descends, signalling grief.
Tu se morta, mia vita
From Orfeo 1607; Arioso, in rhythm, more tuneful but still syllabic. Madrigalisms, line follows affect.
Possente spirto
From Orfeo 1607; aria, melismatic, highly ornamented. Ritornello form.
Pur ti miro
L’incoronazione di Poppea 1642; Monteverdi; aria duet; madrigalisims
In ecclesiis
Giovanni Gabrieli, 1612; concerted, sectional motet; cori spezzatti; clear and short melodic lines, simple harmony.
Hor che ‘l ciel e la terra
Monteverdi, 1638; concerted madrigal, stark contrasts; homophonic and imitative sections. Uses stile concitato; musical style follows mood of words.
L’Amante Segreto
Barbara Strozzi, 1651; Volio morire. Cantata, alternates sections, ostinato, syllabic section and arioso/recit section.
Saul, Saul, was verfolgst du mich?
Heinrich Schutz (1650); concerted motet in German; polychoral; points of imitation, basso continuo; starkly contrasting sections.
Miserere mei, Deus
Gregorio Allegri, 1638; falsobordone; alternates between homophonic motet and monophonic plain chant.
Kyrie from Missa Salisburgensis
1682; colossal baroque: polychoral
Toccata, Kyrie, Ricercar
Girolamo Frescobaldi, 1635, from Fiori musicali
Wie shon leuchtet der Morgenstein
Dieterich Buxtehude/Johann Pachelbel, 1690.
Aria/Recit from La Guerre’s Jephte
1711, Elizabeth Jacquet de La Guerre
