Musical Examples

Examples for Music of the Baroque
Music of the Baroque: An Anthology of Scores, third edition
David Schulenberg (Oxford University Press, 2013)

This page contains links to audio versions of all the music examples in the textbook, as well as for several examples that illustrate the commentaries in the anthology (for audio versions of the full scores, see the discography). Also included are the examples themselves, reformatted for the web but otherwise identical to those printed in the two volumes. Score and audio for each example can be accessed by clicking on each example number and title.

To avoid raising copyright issues, most of the audio files are electronically synthesized versions of the scores. These files do not sound like real acoustic instruments or voices, and they do not accurately reflect certain aspects of the examples. In particular, these synthesized examples do not incorporate the ornaments that are indicated by signs in many examples, nor do they reflect Baroque rhythmic conventions such as notes inégales.

Examples in the textbook

Example 2.1. Palestrina, Dum complerentur, mm. 1–3

Example 2.2. Palestrina, Dum complerentur, mm. 4–6

Example 2.3. Palestrina, Dum complerentur, mm. 4–9, illustrating antiphony

Example 2.4. Palestrina, Dum complerentur, mm. 18–24

Example 2.5. Monteverdi, Luci serene, mm. 8–10

Example 2.6. Monteverdi, Luci serene, mm. 52–55

Example 3.1. Luzzaschi, O Primavera, mm. 1–9

Example 3.2. Cavalieri, Godi turba mortal (complete)

Example 4.1. Monteverdi, Lamento della ninfa, mm. 1–12

Example 4.2. Monteverdi, Il combattimento di Tancredi e Clorinda, mm. 164–7

Example 4.3. Monteverdi, Il combattimento di Tancredi e Clorinda, mm. 302–8

Example 4.4. Monteverdi, Poppea, Act 1, scene 9 (mm. 10–38)

Example 4.5. Monteverdi, Poppea, Act 2, scene 3 (mm. 22–30)

Example 4.6. Monteverdi, Poppea, Act 2, scene 10 (mm. 46–60)

Example 4.7. Cavalli, Giasone, Act 3, scene 21 (mm. 71–80)

Example 5.1. Conventional alterations of pitches in Alessandro Scarlatti, Correa nel seno amato, no. 8, recitative, “Ma voi, occhi dolenti,” (a) mm. 2–3, (b) mm. 4–5

Example 5.2. Purcell, Dido and Aeneas, Act III, scene 2, Dido: “When I am laid in earth,” mm. 1–14

Example 6.1. Guédron,Vous que le bonheur rappelle

Example 6.2. Lully, Armide, Act 3, scene 4, prélude for La Haine (Hate)

Example 6.3. Lully, Armide, Act 2, scene 2, Sidonie’s air “Sur des bords séparés”

Example 6.4. Lully, Armide, overture, mm. 1–4

Example 6.5. Lully, Armide, act 3, scene 2, Armide’s air “Plus Renaud m’aimera”

Example 6.6. Lully, Armide, Act 3, scene 3, Armide’s air “Venez, Haine implacable,” vocal entry

Example 6.7. Lully, Armide, Act 3, scene 4, La Haine’s air “Plus on connait l’Amour,” vocal entry

Example 6.8. Lully, Armide, Act 5, scene 2, passacaille: (a) mm. 1–12; (b) mm. 25–8; (c) mm. 101–10; (d) mm. 97–101

Example 7.1. G. Gabrieli, Ego sum qui sum, mm. 1–6

Example 7.2. G. Gabrieli, Canzon septimi toni, mm. 1–7

Example 7.3. G. Gabrieli, Sonata con tre violini, mm. 19–28

Example 7.4. Schütz, Herr, neige deine Himmel, mm. 38–43

Example 7.5. Lalande, De profundis, chorus (no. 1) “De profundis,” mm. 18–25

Example 7.6. Lalande, De profundis, recit (no. 5) “Sustinuit anima mea,” mm. 1–19

Example 8.1. Rameau, motet Laboravi clamans, mm. 1–9

Example 8.2. Rameau, Les indes galantes, “Sur nos bords l’amour vole,” from Nouvelle (quatrième) entrée, scene 4, mm. 1–5

Example 8.3. Rameau, Hippolyte et Aricie, Act 2, mm. 712–22

Example 9.1. Some appearances of the first line of the chorale melody Herr Jesu Christ, wahr’r Mensch und Gott in Bach’s cantata of that title: (a) movement 1, soprano, mm. 18–21; (b) movement 1, oboes, mm. 1–2; (c) movement 1, tenor, mm. 17–18; (d) movement 2, basso continuo, mm. 13–14; (e) movement 4, bass voice, mm. 13–15; (f) movement 5, soprano, mm. 1–2

Example 9.2. The harmonic series: “natural” notes on a valveless trumpet in C; notes marked * are noticeably out of tune or for other reasons difficult to use

Example 9.3. Handel, Jephtha, Part 2, scene 3: recitative “Deeper, and deeper still,” concitato passage

Example 9.4. Handel, Jephtha, Part 3, scene 1: aria “Waft her, angels, through the skies,” mm. 9–12

Example 9.5. Handel, Jephtha, Part 2, scene 3: quartet “O spare your daughter,” mm. 23–25

Example 9.6. Handel, Lotario, Act 2: Matilde’s aria “Arma lo sguardo,” mm. 1–12

Example 9.7. Franz Wenzel Habermann, Missa III from Philomela pia

Example 10.1a. Anonymous variations on a ceccona (chaconne)

Example 10.1b. Passacalli passeggiati (harmonic pattern for a passacaglia) for guitar, from Giovanni Ambrosio Colonna, Intavolatura di chitarra alla spagnuola

Example 10.2a. Kapsperger, Passacaglia in D minor for theorbo, from Libro quarto d’intavolatura di chitar[r]one

Example 10.2b. Francesco Corbetta, Passachaglie in F for guitar, from Vari capricii

Example 10.3. Ennemond Gaultier, Courante “L’immortelle,” mm. 1–12 (upper system), with editorial melodic reduction (lower system)

Example 10.4. Giovanni Gabrieli, Intonazione del secondo tono (complete)

Example 10.5. Frescobaldi, Partite sopra l’Aria della Romanesca: (a) the underlying melody and ostinato bass; (b) sesta parte (variation 6), mm. 1–3; (c) nona parte (variation 9), mm. 1–5. Asterisks mark the notes of the ostinato bass

Example 10.6. D’Anglebert, Passacaille from Armide, mm. 1–9

Example 10.7. Froberger, Meditation sur ma mort future, from Suite 20 in D, mm. 1–5

Example 10.8. Jacquet de La Guerre, Suite in A minor, prélude, opening (possible performance)

Example 10.9. Jacquet de La Guerre, Suite in A minor, (a) chaconne, mm. 1–7 (rondeau and opening of first couplet); (b) gavotte, mm. 1–4; (c) minuet, mm. 1–8

Example 11.1a. Johann Hermann Schein, Nun bitten wir den heiligen Geist, four-part chorale setting from Cantional (1627), line 1

Example 11.1b. Buxtehude, Nun bitten wir den heiligen Geist, BuxWV 208, mm. 1–5. Asterisks mark notes of the original chorale melody

Example 11.2. Rameau, (a) Les trois mains, mm. 1–6; (b) L’Egyptienne, mm. 1–4 and 11–14. Asterisks indicate points where hands cross; “l.h.” = left hand

Example 11.3. Domenico Scarlatti, (a) hand crossings and leaps from Sonata in A, K. 182, mm. 35–41; (b) acciaccaturas from Sonata in A, K. 181, mm. 57–60 and 96–100. Double asterisks signify the presence of acciaccaturas.

Example 12.1. Dario Castello: (a) Sonata terza a 2, opening, from Sonate concertate, book 2 (Venice, 1629); (b) Sonata ottava a 2, opening, from Sonate concertate, book 1 (Venice, 1621)

Example 12.2. Salomone Rossi, Sonata in dialogo La Viena, mm. 22–36

Example 12.3. Castello, Sonata decima a 3, mm. 16–22, from Sonate concertate, book 2

Example 12.4. Michel de La Barre, Première Sonate, opening, from Troisième livre des trio

Example 12.5a. Quantz, Sonata in G minor for flute and keyboard, QV 2:35, second movement, mm. 13–20

Example 12.5b. Quantz, Quartet in E minor for flute, violin, viola, and continuo, QV 4:9, first movement, mm. 36–39

Example 12.6. J. S. Bach, Sonata in A for violin and harpsichord, BWV 1015, first movement, mm. 1–5

Example 12.7. (a) Marini, Sonata IV per sonar con due corde per violino solo, mm. 36b–41, from Sonate, op. 8 (Venice, 1629); (b) J. S. Bach, Sonata 2 in A minor for unaccompanied violin, BWV 1003, second movement, opening

Example 12.8. Marco Uccellini, Sonata 18 a doi violini, from Sonate (Modena, 1645), mm. 102–6, passage using bow vibrato or slurred tremolo (called tremolo in the original); note the 7–6 suspensions and the absence of a tuneful melody, signs of a harmonically inspired texture

Example 12.9. Biber, “Mystery” Sonata 10, first movement, mm. 1–5

Example 12.10. Biber, “Mystery” Sonata 11, mm. 127–33

Example 12.11. Corelli, Sonata in D, op. 2, no. 1, first movement (complete)

Example 12.12. Corelli, Sonata in D, op. 2, no. 1, fourth movement (complete)

Example 14.1. Pergolesi, duet “Per te ho nel core,” originally from the opera Flaminio (1735), used posthumously as a replacement for the final duet of La serva padrona

Example 14.2. Domenico Alberti, Sonata in E<flat>, second movement, mm. 1–4

Example 14.3. Johann Adolph Hasse, Cleofide (1731), Act 3, aria “Dov’è? si affretti,” mm. 1–3

Example 14.4. Telemann, Nouveaux quatuors, no. 6, first movement, mm. 1–12

Example 14.5. Telemann, Nouveaux quatuors, no. 6, (a) second movement, mm. 1–4; (b) fourth movement, mm. 1–5

Example 14.6. Telemann, Nouveaux quatuors, no. 6, fifth movement, mm. 1–7, 13–19

Example 14.7. C. P. E. Bach, “Württemberg” Sonata no. 1 in A minor, W. 49/1, (a) first mvt., mm. 1–4; (b) second mvt., mm. 1–6; (c) third mvt., mm. 1–8

Example 14.8. C. P. E. Bach, Concerto in D minor, W. 23, first mvt., mm. 1–10

Example 14.9. C. P. E. Bach, Concerto in D minor, W. 23, first mvt., mm. 48–53

Example 14.10. C. P. E. Bach, Concerto in D minor, W. 23, second mvt., mm. 1–8

Examples in the Anthology

Example for Selection 4 (Caccini, “Sfogava con le stelle”)

Example for Selection 9 (Purcell, From rosy bowers)

Examples for Selection 19 (Gaultier, Pieces for lute)