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Bach, St. Matthew Passion
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1727, Musical setting based on biblical narrative, For double chorus/orchestra, 'Passion chorale' appears five times, chorus sometimes participates in action, sometimes as Greek chorus commenting on the events
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Handel, Messiah
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1741, Oratorio with biblical topics, Uses English rather than Latin or Italian, alternates chorus, arias, and recitative, Alternates fugal sections with solid bocks of harmony
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Lully, Armide
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1687, established the form of the French overture, wrote recitatives well suited to the French language, and set the style for French opera, serious plots on mythological themes, tragédies lyriques
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Monteverdi, L'Orfeo
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1607, 5 act drama using large orchestra playing introductory toccata and ritornellos, patterned after Florence Euridice operas
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Purcell, Dido and Aeneas
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1689, Opera in minature, Orchestra consists of strings continuo, Uses French overture, Homophonic choruses in dance rhythms
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Rameau, Traite de l'harmonie
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1722, Explication of triadic harmony, Triadic harmony redefines dissonance, Dissonant tones become non-triadic notes
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Vivaldi, Op. 3 Concerti (L'estro armonico)
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1711, Vivaldi's first publ. collection of concertos, Demonstrates new techniques, Distinct musical forms, Vigorous rhythm, Idiomatic solo writing
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Corelli, Concerti grossi, op. 6
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1712-14, Earliest examples of the genre, exploits the solo/tutti contrast, Features contrasting sonorities, A small ensemble of solo instruments set against a large ensemble, Concertino: 'small' ensemble in the concerto grosso, Tutti, ripieno (full) the large ensemble,
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Carissimi, Jephte
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1650, Latin libretto/oratorio based on the book of Judges, Utilizes a testo (or narrator), Action in oratorio was narrated, not acted out
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Bach, Wachet auf, ruft uns die Stimme
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1718, chorale prelude in trio style
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Handel, Giulio Cesare
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1724, Italian opera written for Royal Academy of Music, intended to present opera to London public
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Artusi, L'Artusi, overo Delle imperfettioni della moderna musica
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1600, on the imperfections of modern music, attacked the "crudities" and "license" shown in the works of Monteverdi
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Caccini, L'Euridice
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1600, initial experiment with modern opera, Greek idea of power of music on affect, style based on the old improvised air for singing poetry and on the madrigal
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Schutz, Psalmen Davids
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1629, modern style compared to stile antico, Basso continuo, Concertato medium, Multiple choirs and groups of solo voices and instruments
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Bach, The Art of the Fugue
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1748, systematic demonstration and summary of all types of fugal writing, All based on the same subject or one of its transformations, Arranged in a general order of increasingly complexity and abstraction
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Schutz, Symphonae sacrae I
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1629, for small combinations of voices and instruments, strongly influenced by Monteverdi and Grandi
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Frescobaldi, Toccate, Book I
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1615, consists of twelve toccatas, Improvisatory Compositions, describes his intended manner of performance, virtuosic figurations
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Muffat, Florilegium
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1695, Early collections of orchestral suites, The second part includes an essay with much information illustrated by musical examples of bowing and playing of agrements
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Handel, Rinaldo
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1711, was the first opera Handel produced for London and the first Italian opera composed specifically for the London stage.
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Schein, Banchetto musicale
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1617, Musical Banquet, Collection of suites, Varied melodic idea recurs in every dance, 20 suites in five parts (each followes the same pattern)
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Monteverdi, L'incoronazione di Poppea
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1642, Monteverdi's masterpiece, opera with Smaller orchestra and scenic apparatus than Orfeo, Most advanced depiction of emotion and characterization to date
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Schutz, Saul, Saul,wasverfolgst du mich?
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Symphonae Sacrae
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Caccini, Le nuove musiche
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1602, The New Music, Collection of Caccini's airs and madrigals, Musical style uses a strongly declamatory style
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Grandi, O quam tu pulchra es
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1625, Contemporary of Monteverdi's notable for his sacred compositions, based on psalm of songs, Italian motet
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Cavalli, Giasone
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1649, most famous work, Scenes with alternating recit. and arias, opera, pupil of Monteverdi
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