Music history exam prep

Concerto for Violin and Orchestra, movement I

Antonio Vivaldi
The Pieta, Venice, early 1700s
the soloist parts show off a player with well-developed skill and talent, and less experienced players can play in the orchestra
solidified the standard three movement structure
RITORNELLO FORM!! Know how to explain it
dramatic tension between tutti and soloist
emphasis on the soloist

What to listen for: sol - do on the solo violin (a minor) it will sound like G# due to the period instruments

Prelude and Fugue in A minor

JS Bach
Weimar, Germany, 1715
Violinistic passagework - similar to concerto solos
heavily influenced by vivaldi
circle of 5ths progressions
individual harmonic style
adaptation of italian ritornello form
development of standard fugue structure
"The fugue subject functions like a ritornello, returning in related keys as well as the tonic. Between these statements are episodes that have the character of solo sections in a concerto, often marked by lighter texture, sequences, or a change of key." from your textbook

what to listen for: awesome organ shredding in A minor (first note is A)

Prelude No. 1 in C Major

JS Bach
From the Well Tempered Klavier
Köthen, Germany, 1722
24 pairs of preludes and fugues in every key!
pedagogical goals

Ricercar a 6 from A Musical Offering

JS Bach
1747, Germany
Frederick the Great of Prussia was like "write me a three part ricercare" and Bach was like "Ok hold my beer" and he DID
and then Fred was like "muahah ok now write a six part ricercare" and he was like "ok wait lemme get back to you" and instead wrote a whole WORK based on the theme he cooked for Fred including the six part ricercare's
listen for: broken c minor chord

Brandenburg Concerto No. 1, movement I

JS Bach
Primarily written in Köthen, 1721
dedicated to Christian Ludwig, Margrave of Brandenburg-Schwedt
for most, he follows Vivaldi's 3 movement standard
He expands on Vivaldi's model
- More ritornello material incorporated into the episode-Dialogue between soloists/orchestra within episodes
- Generally enlarging the form
listen for: f major (sounds like e major because of period instruments i fink)

Nun komm, der Heiden Heiland, opening chorus

JS Bach
Leipzig, Germany, 1724
Words and music based on an Advent chorale by Martin Luther
Mixture of genres!
Opening chorus
- Mix of concerto & chorale motet
- Vivaldi-esque ritornellos
- Cantus-firmus style treatment of the chorale melody
- Motet-like vocal writing.
listen for: lilty orchestra in Bb

St. Matthew Passion, Part One, no. 2, Evangelist & Jesus recitative

JS Bach
727/1736, Leipzig, Germany
Widely regarded as one of the masterpieces of the Western classical canon
Text - Gospel text interspersed with free verse by Picander (Christian Friedrich Henrici)
Draws upon elements from opera, cantata, & oratorios
Vocal writing
- Tenor - Narrator
Solo roles - esp Jesus
Role of the chorus
listen for: recit, notice that Jesus is the only tenor, the orchestration is always special for him, almost like a halo

St. Matthew Passion, Part Two, no. 38, "Erbarme dich"

JS Bach
727/1736, Leipzig, Germany
same as other flashcard
listen for: solemn strings, listen for text

B Minor Mass, Sanctus

JS BACH
Leipzig, Saxony, Germany, 1747-1749
SSANNNNCTTUUSSS
his last work isnt that creepy?!??!
Music drawn from earlier works
Kyrie and Gloria presented to the elector of Saxony in 1733
Adaptations of earlier cantata movements
Some newly-composed pieces
Mix of styles from stile antico to modern styles
Considered a comprehensive work, a "Best of" album of his earlier sacred vocal music•

Giulio Cesare, "V'adoro, pupille"

GF Handel
London, 1724
Standard elements of Baroqueopera, re-ordered for drama
Flexibility of scene structure!
Echoes of Monteverdi, foreshadows Gluck
International elements
- French sarabande rhythm
- Italian da capo aria structure
- German - voice doubled by instruments
- Orchestra divided like an Italian concerto
know the plot
listen for: lyrics

Saul, Act II, scene 10

GF Handel
London, 1739
Saul: accompanied recitative in a martial style
- Saul and Jonathan: dialogue in secco recitativ
- "O fatal Consequence of Rage"
CHORUS instead of an aria to reflect on the situation
Three fugues, each ending with majestic homophony
Falling tritone = sorrow!
Rapid repeated notes = rage!