Unit One

Unit One: Early Baroque

Important Composers of the era: (Follow the links for their biographies)

Claudio Monteverdi (1567-1643) Francois Couperin (1668-1733) Henry Purcell (1659-95) Jean-Baptiste LuIly (1632-1687) Arcangelo CORELLI (1653-1713) Alessandro Scarlatti (1660-1725) Georg Philipp Telemann (1681-1767) Elisabeth-Claude Jacquet de la Guerre (c.1666-1729)

1. Claudio Monteverdi: Madrigal: Cruda Amarilli

2. Claudio Monteverdi: L'Orfeo: Prologue: Dal mio Permesso; Act II: Vi ricorda; and in un florito proto (Note: two different examples)

3. Claudio Monteverdi: L'incoronazione di Poppea: Act I, Scene 3

4. Marc Antonio Cesti: Orontea: Act II, Scene 17: intorno all'idol mio

5. Alessandro Scarlatti: La Griselda: Act II, Scene I: Mi rivedi

6. Jean-Baptiste LuIly: Le bourgeois gentilhomme: Entrée and Chaconne

7. Jean-Baptiste Lully: Armide: Ouverture;Act II, Scene 5: Enfin il est en ma puissance (Note: two different examples)

8. Henry Purcell: Dido and Aeneas: Act Ill, Scene 2: Thy hand, Belinda/ When I am laid in earth; Chorus: With drooping wings (Note: two different examples)

9. Henry Purcell: The Fairy Queen: Hark! the ech'ing air a triumph sings

10. Dieterich Buxtehude: Praeludium in E Major (Note: two different examples)

11. Francois Couperin: Vingt-cinquieme ordre

12. Giovanni Legrenzi: Trio Sonata: La Raspona

13. Arcangelo Corelli: Trio Sonata, Op. 3, No. 2

14. Girolamo Frescobaldi: Toccata No.3

15. DietrIch Buxtehude 2 selections "Alles, was Ihr tut" Prel, Fugue & Chaconne in C

16. Pachelbel: Canon

17. Pergolesi: La Serva Padrona

18. Corelli: Christmas concerto

19. Couperin: Messe Ordinaire

20. Couperin: Prelude

RECORDER MUSIC: (of the Early Baroque)

1. FIVE VILLANCICOS - was a secular Spanish refrain form with a vernacular text set to relatively uncomplicated music. In performing these pieces instrumentally we follow a favorite Renaissance practice-Spanish 16^th Century. 5 Songs 3 by Juan del Enciňa and 2 Anon.

2. Antonio Vivaldi (c.1675-1741) - CONCERTO IN C MAJOR Sopranino recorder

Vivaldi wrote this concerto and two others for the "flautino" ("little flute"), but historians are not sure what "flautino" meant in Vivaldi's day. Among the possibilities are sopranino recorder, piccolo, flagealet and military fife.

3. John Bull (c.1562-1628) - "IN NOMINE" RECORDER QUINTET

The "In Nornine" is a peculiarly English species of instrumental composition (over 150 exist) based on the cantus firmus (pre-existent melody) from the "In Nomine" passage of Taverner's Mass, "Gloria tibi Trinitas." Since the cantus firmus is frequently quoted in long notes, some of the form's popularity might be due to the unique opportunity it affords the novice player to participate in music of the utmost seriousness and complexity.

4. Johann Rosenmuller (c.1620-84) -SONATA A 2 in D Minor (TRIO SONATA) Soprano recorder, bassoon, continuo (harpsichord, viola da gamba). The term "trio sonata" 'refers to a composition with two solo lines and a bass, and not necessarily to the number of instruments involved-which is usually greater. The performance is based on Dr. Hans T. David's manuscript copy of the original which specifies violin and either bassoon or viola da gamba as solo instruments. The original title is "Sonata a 2." The performer of old enjoyed unusual freedom, and in a general way we are beginning to know how this freedom was expressed. We can never, though, be sure of the myriad details, of the elusive and ephemeral qualities of performance that defy translation into notation. They must be supplied by intuition and experience. These qualities are shared in abundance by the members of the Baroque Ensemble. As knowledgeable and sensitive chamber players, their contribution to the performances on this record is invaluable.

5. Franz Biber (1644-1704) SONATA PRO TABULA A 10 Five recorders, strings, continuo. The pronounced Eastern European folk flavor of parts of this interesting work can be attributed to Biber's Bohemian birth. As "table" music, the sonata was designed to accompany a meal or banquet, probably at the palace of the Prince-Bishop of Olomouc who employed Biber during the years 1666-1670.

6. Orlando Gibbons (1583-1625) - FANTASIA A2 for Two alto recorders.

The late Renaissance instrumental duo seems expressly and almost diabolically designed to trip up an unwary player. The characteristically complex cross-rhythms of the genre are challenging; they add zest to the contest between composer and player.

Additional excerpts:

Johann PACHELBEL It is perhaps inevitable that many people should have come to Johann Pachelbel by way of the ubiquitous "Canon". The Pachelbel Canon is not a Canon, but a set of variations on a repeating bass line, a form highly popular among baroque composers and known variously as Chaconne or Passacaglia. Whatever it may be called, the celebrated "Canon" does provide a good introduction to Pachelbel who clearly had a preference for the Chaconne or Passacaglia, as can be heard on our recording. Toccata, organ Partie opening
Partita 6 end

Music for Strange & Diverse Instruments
Harmonica & Harpsichord: Marcello Sonata Hurdy-gurdy & Oboe
Accordion: Jan Zach Fuga Hasse: Bourree, two zithers Claviorganum - Bach BWV 904

Purcell: Odes, Anthems and Chamber Music
The Bell Anthem: Introduction The Bell Anthem: opening chorus Come Ye Sons of Art
Fantasia Upon a Ground, extract Ode for St Cecilia: Final Chorus Harpsichord Solo: Con Spirito
Fairest Isle Sonata # 7

VENETIA MUNDI SPLENDOR - Glory of Venice
Gabrieli Ricercare Perche se m' odiavi Monteverdi Gloria