M653: Baroque music, Spring 2002

Indiana University School of Music

M340, TTh 1-2.15

Daniel R. Melamed        dmelamed (AT) indiana.edu


Tue   8 Jan       [no class]
Thu 10 Jan       1. Introduction

Tue 15 Jan       2. First and second practices
Thu 17 Jan       3. Solo singing

Tue 22 Jan       4. Monteverdi's eighth book                  
Thu 24 Jan       5. Monteverdi's eighth book (cont.)

Tue 29 Jan       [No class]
Thu 31 Jan       6. Recitative style and opera                                   Paper stage 1 due

Tue  5 Feb       7. The legacy of the 16th century
Thu  7 Feb       8. Vocal concertos

Tue 12 Feb      9. Monteverdi's Vespers
Thu 14 Feb     10. Lute and keyboard music

Tue 19 Feb     HOUR EXAM
Thu 21 Feb     11. Sacred concerto in Germany I                            Paper stage 2 due

Tue 25 Feb     12. Sacred concerto in Germany II                              
Thu 27 Feb     13. Italian cantata and oratorio

Tue  5 Mar      14. Italian opera
Thu  7 Mar      15. Sonata I


Tue 19 Mar     16. Concerto I                                                          Paper stage 3 due
Thu 21 Mar     17. Concerto II

Tue  26 Mar    18. Concerto III
Thu  28 Mar    19. Sonata II

Tue   2 Apr     HOUR EXAM
Thu   4 Apr     20. Keyboard music in France and Germany              Paper stage 4 due

Tue   9 Apr     21. Opera in France and Italy
Thu 11 Apr     22. Church cantatas by Buxtehude and Bach

Tue 16 Apr     23. Church cantatas by Bach and Telemann                Paper stage 5 due
Thu 18 Apr     24. Bach's Mass in B minor

Tue 23 Apr     25. Rhetoric: Bach's Musical Offering
Thu 25 Apr     26. Performance practice: Overdotting                        Final paper due

Thu  2 May    FINAL HOUR EXAM (12.30-2.30 PM)


Prof. Daniel R. Melamed dmelamed (AT) indiana.edu
Office: MU011, (85)5-1738, hours by appointment; please identify yourself as an M653 student
Course web page: http://dmelamed.pages.iu.edu/M653.html

Aims and methods: We will examine European music from about 1600 to about 1750, spending a good deal of time at the beginning of the course on the music of Claudio Monteverdi and at the end on works by J.S. Bach. Along the way, we will try to become as conscious of style and genre as were musicians in the 17th and early 18th centuries. Throughout, the emphasis will be on pieces of music that we will discuss analytically and historically in class. 

Requirements: Reading and listening; class attendance and participation; 3 hour exams; paper. Scores are available in the Norton anthology, volume 1 [N] and in a packet available at Collegiate Copies on 3rd Street. Recordings are available online on Variations. The paper assignment is described here. The texts for the course are available at TIS. Additional readings will be on reserve at the Music Library.

Schulenberg. David Schulenberg, Music of the Baroque. New York: Oxford University Press, 2001.
Strunk/Murata. Margaret Murata, ed. Strunk's source readings in music history. Vol 4. The Baroque era. New York: W.W. Norton, 1998.
    Supplemental text:
Palisca. Claude Palisca. Baroque music. 3rd edn. Englewood Cliffs: Prentice Hall, 1991.


1. Introduction

                Josquin Desprez, Salve regina
                Franz Tunder, Salve coelestis pater


2. First and second practices

Schulenberg 15-39
[Palisca: 1-16]
Strunk/Murata: 2, 3

               Rore, O Sonno (Bk 2 a 4, 1557)
               Claudio Monteverdi, Ohimè, se tanto amate (Bk 4, 1603)
N41        Monteverdi, Cruda Amarilli (Bk 5, 1605)
N39        Cipriano de Rore, Datemi pace (Bk 2 a 4, 1557)


3. Solo singing

Schulenberg 40-58
[Palisca: 17-27, 48-56]
Strunk/Murata: 1, 4, 20

N53        Emilio de' Cavalieri, Dalle più alte sfere (1589)
               Luzzaschi, O primavera (Madrigali per cantare e sonare, 1601)
               Luzzaschi, O dolcezz' amarissime d'amore (Madrigali per cantare e sonare, 1601)
N54        Giulio Caccini, Perfidissimo volto (Le nuove musiche, 1602)
               Caccini, Amarilli mia bella (Le nuove musiche, 1602)
               Sigismondo D'India, Torna il sereno zefiro (Musiche Bk 5, 1623)
N59        Monteverdi, Ohimè, dov'è il mio ben (Bk 7, 1619)
               Monteverdi, Se i languidi miei sguardi (Bk 7, 1619)


4. Monteverdi's eighth book

Schulenberg 59-63, 73-9
Strunk/Murata: 29

               Monteverdi, Il combattimento di Tancredi e Clorinda (Bk 8, 1638)

Text (with an early 17th-century English translation)

5. Monteverdi's eighth book (cont.)

               Monteverdi, Hor che'l ciel e la terra (Bk 8, 1638)
               Monteverdi, Lamento della Ninfa (Bk 8, 1638)

Questions for study are here. Texts and translations are here.

Optional reading:

Ellen Rosand. "The descending tetrachord: an emblem of lament." Musical Quarterly 65 (1979): 346-59. [This article refers to Monteverdi, "Lamento d'Arianna," which you can listen to here.]

6. Recitative style and opera

Schulenberg 63-73
[Palisca: 30-48]
Strunk/Murata: 19, 27, 28

               Jacopo Peri, Le musiche sopra l'Euridice (1600): Prologue, Scenes I-III
                     [N55         Prologue, Nel pur ardor, and Per quel vago boschetto]
               Monteverdi, L'Orfeo favola in musica (1607): Toccata, Prologue, Acts I-II
                      [N56         Prologue, Vi ricorda, o boschi ombrosi, In un fiorito prato]

Questions for study are here. Texts are on personal reserve.

7. The legacy of the 16th century

[Palisca: 58-66]
Strunk/Murata: 6

               Nicolas Gombert, In illo tempore (Il primo libro di motetti a sei voce, 1549)
               Monteverdi, Missa da cappella fatta sopra il motetto In illo tempore dal Gomberto (1610)
                    Kyrie (Text: N 3)
               Giovanni Gabrieli, Hodie completi sunt (Sacrae symphoniae II, 1615)
               Schütz, Die mit Tränen säen SWV 378 (Geistliche Chormusik, 1648)
               Heinrich Schütz, Così morir debb'io SWV 5 (Il primo libro de madrigali, 1611)

Questions for study are here. Texts and translations are here.

8. Vocal concertos

Schulenberg 131-140
[Palisca: 66-80]
Strunk/Murata: 21, 22

N61        Gabrieli, In ecclesiis (Symphoniae Sacrae, 1615)
N62        Lodovico Viadana, O Domine, Jesu Christe (Cento concerti ecclesiastici, 1602)
N63        Alessandro Grandi O quam tu pulchra es (Ghirlandia sacra, 1625)
               Monteverdi, Nisi Dominus (Messa a quatro voci et salmi, 1650)
               Monteverdi, Laetatus sum (Messa a quatro voci et salmi, 1650)

Questions for study are here. Texts and translations are here [within the texts for Class 9]

9. Monteverdi's Vespers

               Monteverdi, Vespro della Beata Vergine da concerto, composto sopra canti fermi (1610)

Questions for study are here. Texts and translations are here.

10. Lute and keyboard music

Schulenberg 209-222
[Palisca: 82-98]

N45        John Dowland, Flow, my tears (Second booke of ayres, 1600)
N47        William Byrd, Pavana Lachrymae (Fitzwilliam virginal book)
               Girolamo Frescobaldi, Partite sopra l'aria della Romanesca (Toccate d'intavolatura, 1615/1637)
               Byrd, Variations on John, come kiss me now (Fitzwilliam virginal book)
               Jan P. Sweelinck, Fantasia chromatica
N68        Frescobaldi, Toccata No. 3 (Toccate d'intavolatura, 1637)
               Claudio Merulo, Toccata decima del 10. tono (Toccate d'intavolatura d'organo 2, 1604)
               Byrd, Passamezzo pavan, and Galliard (Fitzwilliam virginal book)
               Frescobaldi, Recercar no. 9 (Recercari et canzoni franzese, 1615)

Questions for study are here.

11. Sacred concerto in Germany I

Schulenberg 140-148
[Palisca: 100-12]

               Johann Hermann Schein, Nun komm, der Heiden Heiland (Opella nova, 1618) [Not in Library]
N65        Heinrich Schütz, Saul, was verfolgst du mich? SWV 415 (Symphoniae sacrae III, 1650)
               Schütz, O quam tu pulchra es SWV 265  (Symphoniae sacrae I, 1629)
                   Part 2: Veni de Libano SWV 266

Texts and translations are here.
12. Sacred concerto in Germany II

Schütz, Was hast du verwirket SWV 307 (Kleine geistliche Concerte II, 1639)
               Schütz, Psalm 121 SWV 31 (Psalmen Davids, 1619)
               Nicolaus Bruhns, Erstanden ist der heilige Christ

Texts and translations are here.

13. Italian cantata and oratorio

Schulenberg 110-126, 148-156
[Palisca: 114-128]

N60        Barbara Strozzi: Lagrime mie
       Giacomo Carissimi, Historia di Jephte
[N64           Plorate colles, Plorate filii Israel]

Texts and translations are here.

14. Italian opera

Schulenberg 79-87,
[Palisca: 128-142]
Strunk/Murata: 9, 23

               Claudio Monteverdi, L'incoronazione di Poppea
: Act I
[N57        Act I, Scene 3]
               Marc' Antonio Cesti, Orontea
: Act II
                [N58       Act II, Scene 17: Intorno all' idol mio]

15. Sonata I

Schulenberg 260-292
[Palisca: 145-63]

               Biagio Marini, La Cornera
(Affetti musicali, 1617)
N76        Giovanni Legrenzi, La Raspona (Sonate a due, a tre, libro primo, 1655)
N77        Corelli, Sonata Op. 3/2 (Sonate a tre, 1689)           alternative recording

Questions for study are here.

16. Concerto I

Schulenberg 292-301
[Palisca: 163-75]
Strunk/Murata: 7

               Georg Muffat, Sonata No. 5,
(Armonico tributo, 1682)
N78        Antonio Vivaldi, Concerto Op. 3/2 (L'estro armonico, 1711) alternative recording
N79        Vivaldi, Concerto Op. 9/2 (La cetra, 1727) alternative recording

Questions for study are here.

17. Concerto II

Schulenberg 301-306

               Bach, Brandenburg Concerto No. 5 BWV 1050

Questions for study are here.

18. Concerto III

              Bach, Ouverture in B minor BWV 1067

Questions for study are here.

19. Sonata II

Schulenberg 307-321
[Palisca: 157-63]

               Johann Sebastian Bach, Sonata in B minor BWV 1030
               Georg PhilippTelemann, Sonata no. 1 in A major
(Quadri, 1730)

Questions for study are here.

20. Keyboard music in France and Germany

Schulenberg 222-259
[Palisca: 177-219]

               Denis Gaultier, Suite II
(La rethorique des dieux, c1652)
N75        Couperin, Vingt-cinquième ordre
N67        Johann Jakob Froberger, Lamentation faite sur la mort  . . . de . . . Ferdinand le troisième
               Dieterich Buxtehude, Auf meinen lieben Gott BuxWV 179
N82        Bach, Durch Adams Fall BWV 543


21. Opera in France and Italy

Schulenberg 89-109, 157-180
[Palisca: 221-46]
Strunk/Murata: 5, 10, 26

               Jean-Baptiste Lully, Armide
: Act II
[N70          Ouverture and Act II, Scene 5: Enfin il est en ma puissance]
Jean-Philippe Rameau, Hippolyte et Aricie: Act IV, Scenes 1-2
[N80          Act IV, Scene 1: Ah! faut'il]
N69        Alessandro Scarlatti, Griselda: Act II, Scene 1: Mi rivedi, o selva ombrosa

Supplemental texts and translations are here.

22. Church cantatas by Buxtehude and Bach

[Palisca: 318-327]

               Dietrich Buxtehude, Singet dem Herrn BuxWV 98
               Bach, Gott ist mein König BWV 71

Texts and translations are here. Questions for study are here.

23. Church cantatas by Bach and Telemann

Schulenberg 181-199
[Palisca: 327-36]

Telemann, Weg mit Sodoms gift'gen Fruchten (Harmonischer Gottesdienst, 1725)
              Bach, Jesu, der du meine Seele BWV 78

Text and translation here.

24. J. S. Bach's Mass in B minor

               Bach, Mass in B Minor BWV 232
: Credo
                 [N84           Et in Spiritum sanctum, Confiteor, and Et expecto]

[There is good introductory material to the Mass in John Butt, Bach: Mass in B Minor (Cambridge, 1991) .]

25. Rhetoric: Bach's Musical Offering

Christoph Wolff. “New research on Bach’s Musical Offering.” In Bach: essays on his life and music, 239–58. Cambridge, Mass., 1991.

Ursula Kirkendale. “The source for Bach’s Musical Offering: the Institutio oratoria  of Quintilian.” Journal of the American Musicological Society 33 (1980): 88–141.

               Bach, Musical offering

26. Performance practice: Overdotting

Frederick Neumann. "The overdotting syndrome: anatomy of a delusion." In Essays in performance practice, 151-82. Ann Arbor, 1982.

Dirst, Matthew. "Bach's French overtures and the politics of overdotting." Early music 25, no. 1 (1997): 35-44. 

            Bach, Ouverture No. 1 BWV 1066: Ouverture

                    Collegium Aureum                    Musica Antiqua Köln

             Bach, Ouverture No. 3 BWV 1068: Ouverture

                    Collegium Aureum                    Musica Antiqua Köln