PART THREE LISTENING EXAMPLES WHAT TO LISTEN FOR

CHAPTER 16 BAROQUE OPERA

Claudio Monteverdi (1567-1643): The Coronation of Poppea
This very early Baroque opera sounds more like Renaissance that ornamented baroque. The orchestration is sparse with rarely
more than a few players playing at a time. Sung in Italian
Henry Purcell (1659-1695): Dido and Aeneas, Act III excerpts:
Act III. Opening Sounds like a lilting sea chantey. Sung in English
Recitative: Thy Hand Belinda Secco recitative with just continuo instruments
Aria: When I am laid in earth Didos Lament Descending ground bass line repeats. Climaxes on Remember me
Barbara Strozzi (1619 c. 1677): Amor dormiglione (Sleepyhead, Cupid!)
This da cappo aria is a standalone aria not from an opera. Sung in Italian with soprano accompanied by guitar.
CHAPTER 17 BAROQUE CANTATA AND ORATORIO
Johann Sebastian Bach (1685-1750): Cantata No. 140 Wacet auf (Sleepers, Awake)
I. Chorale fantasia
II. Tenor recitative
III. Aria: Sprano/Bass duet
IV. Unison chorale
VII. Chorale
th

All sung in German. Id listen to the 7 movement chorale first, as it gives you the melody in a simple hymn like setting. Then
go back and listen to the first movement. Its over ornamented and has contrapuntal vocal lines and instrumental lines. The
second movement tenor recitative has secco recitative and is the only example by a solo tenor singing in German. Third
movement aria features both soprano and bass with a sparse accompaniment with much solo violin. The fourth movement is
the unison chorale, very augmented in rhythm with a lilting orchestral accompaniment that really is a new melody weve not
heard before.
George Frideric Handel (1685-1750): Messiah
Part I: Christmas Section
1. Overture This is a French Overture with a slower stately introduction followed by a fast fugal section.
14-16. Recitatives Four short recitatives in English. Some are accompanied by continuo only (secco) some have light orchestral
accompaniment (accomagnato). I may have you just identify the style of recitative accompaniment.
17. Chorus Glory to God Its a chorus in English and its not the Hallelujah Chorus. Listen for the words.
18. Soprano aria Rejoice Soprano da cappo aria featuring the word Rejoice often. Many long embellished melismas.
Part II. Easter Section
44. Chorus Hallelujah You are an alien from another planet if you cant identify this one. Harmony is monophonic,
polyphonic and homophonic with many homorhythmic sections.
CHAPTER 18 BAROQUE INSTRUMENTS AND THE SUITE
George Frideric Handel (1685-1750): Water Music, Suite in D major
I. Allegro This still sounds like Handel, so you could confuse it with the Overture from Messiah, however this uses the brass to a
much greater degree and is imitative, not fugal in style. Designed for outdoor use it features more loud instruments
II. Alla Hornpipe This movement is in a moderate triple meter, and features trumpets and horns.
Jean-Joseph Mouret (1682-1738): Rondeau, from Suite de symphonies
This was the theme from the BBCs Masterpiece Theater. Stately with prominent trumpet and string melody.

CHAPTER 19 THE BAROQUE CONCERTO

Antonio Vivaldi (1678-1741): Spring from The Four Seasons (La primavera, from Le Quattro stagioni), Op. 8, No. 1
Our first piece of programmatic music. We think Vivaldi wrote the accompanying poems that are to be printed in the program.
This is for string orchestra, so there are no brass, woodwinds or percussion. Vivaldi likes to use scale passages in his music.
I. Allegro Listen for the imitative sounds of birds with violin trills and the thunderstorm with heavy unison passages. The
ritornello repeats often.
II. Largo Listen for the solo tempo and solo violin
III. Danza pastorale (Rustic Dance) This is the only movement in a compound meter where the beat is divided by three instead
of by two (12/8 time). This gives it a lilting dancelike feel.
Johann Sebastian Bach (1685-1750): Brandenburg Concerto No. 2 in F major, I. Allegro
While Vivaldis Four seasons is (primarily) a solo concerto, Bachs Brandenburg Concertos are Concerto Grosso, with a small
group of soloists accompanied by the orchestra. Its typical over ornamented Bach with great solo work in the violin, recorder,
oboe and natural trumpet.
CHAPTER 20 OTHER BAROQUE INSTRUMENTAL MUSIC
Arcangelo Corelli (1653-1713): Trio sonata, Op. 3, No. 2, in D Major
This is a church sonata (sonata da chiesa - fast, slow, fast, slow). Three musical parts played by four musicians (the continuo
line takes two.) You can identify it since it is NOT a full string orchestra. The third movement is a slow Adagio, the fourth a fast
Allegro in compound meter (6/8) and thus has a lilting or dancelike quality.
Domenico Scarlatti (1685-1757): Sonata in C major, K. 159 (The Hunt)
Its the only solo harpsichord piece in our listening examples. Dancelike in a compound 6/8 meter.
Johann Sebastian Bach (1685-1750): Contrapunctus 1, from The Art of Fugue
This is the only organ work in our listening examples. Listen for the four voice subject and answer in the exposition of the
fugue.