Music History NAWM

Oy Comamos y Bebamos

• Juan del Encina

• 1500 (16th Century)

• Spanish

• Villancico

• Flute, guitar, female voice

Il Bianco e dolce Cigno

• Jacques Arcadelt

• 1538 (16th c)

• Italian

• Early madrigal

• No instruments

• female and male voices, slow

De la belle Contrade

• Cipriano de Rore

• 1560-65 (16th c)

• Italian

• Middle madrigal

• no instruments

• female and male voices more homophonic singing

Solo e pensoso

• Luca Marenzio

• 1590s (16th c)

• Italian

• The late madrigal

• Soprano chromatic line ascends and descends

“Lo parto” e non piu dissi

• Carlo Gesualdo

• 1600 (17th c)

• Italian

• The late madrigal

• Dissonance and weirdness

• Buzzing background noise?

Tant que vivray

• Claudin de Sermisy

• 1527 (16th c)

• French

• Chanson

• Lighthearted

• String instruments

• male and female voices

As Vesta Was

• Thomas Weelkes

• 1601 (17th c)

• English

• Late Madrigal

• Running down- text painting

• Male and female

If Ye Love Me

• Thomas Tallis

• 1546-48 (16th c)

• English

• early anthem

Sing Joyfully Unto God

• William Byrd

• 1580s-90s (16th c)

• English

• Anthem for 6 voices

• points of imitation

• sounds like a fanfare

Pope Marcellus Mass

• Palestrina

• 1560 (16th c)

• Latin

• Credo and Agnus Dei

• 6 voice mass

O Magnum Mysterium

• Tomas Luis de Victoria

• 1570s (16th c)

• Latin

• Motet

  • Joy of the Christmas season

• Mass

  • Kyrie, Gloria, Sanctus

  • younger voices

Cum essem parvalus

• Orlando de Lassus

• 1579 (16th c)

• Latin

• 6 voice motet

• comparing childhood and adulthood

• switches between young and old voices

Pavane and Galliarde (“La Dona” and moresca and “La morisque”)

• Tielman Susato

• 1551 (16th c)

• Pavane

  • Flute, recorder

  • in 2

• Galliarde

  • Flute, recorder

  • in 3

• La morisque

  • trumpet, flute, drum

• Instrumental

• Dance music

Mille Regres and Guardame las vacas

• Luis de Narvaez

• 1538 (16th c)

• Instrumental

• vihuela

• listen for conversation b/t guitars

• arpeggios in beginning and fret changes

• running eighths and accompaniment

John come kiss me now

• William Byrd

• 1600 (17th c)

• Instrumental

• Harpsichord

• Variation and idomatic

Canzon septimi toni a 8

• Giovanni Gabrieli

• 1597 (16th c)

• Instumental

• 8 instruments

• string, trombone, cornetto

Cruda Amorilli

• Claudio Monteverdi

• 1590s (16th c)

• Italian

• late madrigal

• male and female voices

Vedro’l mio sol

• Giovanno Caccini

• 1590 (16th c)

• Italian

• solo madrigal

• voice and basso continuo

• viol de gamba and harp

L’Euridice; Nel Pur ardor + Per quel vago boschetto

• Jacapo Peri

• 1600 (17th c)

• Italian

• monody

• opera

• instrumental accompaniment

• grander

L’Orfeo

• Monteverdi

• 1607 (17th c)

• Italian

• for a wedding

• court competition

• Plot: Two lovers, Euridice dies, he goes to the underworld to save her, if he doesn’t look back when they leave they are safe, but he looks back, losing her.

• grander

L’ Incoronazione di Poppea

• Monteverdi

• 1642 (17th c)

• Italian

• Plot: Poppea and Nero are married to different people but they fall in love. Poppea manipulates Nero so she can become emperorness, ultimately resulting in lots of death.

• female voices

• smaller

Artemisia

• Francesco Cavalli

• 1657 (17th c)

• Italian

• Opera

• Plot: Queen Artemisia looses her husband, but she is in love with one of the servants but has to disguise her feelings due to societal pressures

• smaller

Lagrime Mie

• Barbara Strozzi

• 1650s (17th c)

• Italian

• solo cantata

• style changes throughout the cantata

• harpsichord

In Ecclesiis

• Gabrieli

• 1601 (17th c)

• Latin

• large scale sacred concerto

• written for annual celebration in Venice

O Quam Tu Pulchra Es

• Alessandro Grandi

• 1625 (17th c)

• Latin

• solo motet

• lute

Histora de Jepthe

• Giacomo Carissimi

• 1648 (17th c)

• Latin

• oratorio

Saul

• Heinrich Schutz

• 1632 (17th c)

• German

• large scale concerto

Tocatta No 3

• Frescobaldi

• 1615 (17th c)

• Instrumental

• harpsichord

Fiori Musicali: Ricercare after Creto

• Frescobaldi

• 1635 (17th c)

• Instrumental

• ricercare

• organ

Sonata IV per il violino

• Biagio Marini

• 1626 (17th c)

• Instrumental

• sonata

• violin

Armide

• Jean Baptiste Lully

• 1686 (17th c)

• French

• opera

• Plot: Armide was a powerful sorceress who wants to kill the knight Renard, but when she tries to kill him she falls in love for him

Le Renienment de Saint Pierre

• Marc Antoine Charpenteir

• 1670-80 (17th c)

• French

• oratorio

• harpsichord

La coquette virtiose

• Denis Gaulteir

• 1650 (17th c)

• Instrumental

• dance

• lute

Suite No 3 in A minor

• Elisabeth-Claude Jacquet

• 1687 (17th c)

• Instrumental

• Suite

  • prelude

  • allemande

  • courante

  • sarabande

  • gigue

  • chaconne

  • gavotte- optional

  • minuet- optional

Dido and Aeneas

• Henry Purcell

• 1687 (17th c)

• English

• opera

• Plot: Dido is a queen who falls in love with trojan hero Aeneas but Aeneas leaves and Dido commits suicide

La purpura de la rosa

Tomas de Torrejo y Velasco

• 1701 (18th c)

• Spanish

• opera

Giulo Casare iu Egitto

• Antonio Sartonio

• 1676 (17th c)

• Italian

• opera

Clori Vezzosa e bella: conclusion

• Alessandro Scarletti

• 1690-1710 (17th/18th)

• Italian

• solo cantata

Preludium in E minor

• Dieterich Buxtehude

• 17th c

• Instrumental

• toccata

• organ

Trio Sonata Op 3 no 2

• Corelli

• 1680 (17th c)

• Instrumental

• sonata