| Disc: 1 |
|---|
| 1 |
Chapter 1: Enter the Players |
|
|
| 2 |
Individuality |
|
|
| 3 |
Italy: The Cradle of the Baroque |
|
|
| 4 |
Concerto Grosso in B minor, Op. 6, No. 12, HWV 330 |
|
|
| 5 |
Instrumental Development and Choral Virtuosity |
|
|
| 6 |
Violin Sonata No. 1 in G minor, BWV 1001: I. Adagi |
|
|
| 7 |
This change is especially dramatic… |
|
|
| 8 |
Keyboard Sonata in D minor, K. 120/L.215/P.146: Al |
|
|
| 9 |
Many regard the choral music of J.S. Bach… |
|
|
| 10 |
Jauchzet Gott in allen Landen, BWV 51: Aria: Jauch |
|
|
| 11 |
It's time now to go back to the early seventeenth |
|
|
| 12 |
Il salmo Miserere mei Deus |
|
|
| 13 |
Chapter 2: The Beginnings – Italy |
|
|
| 14 |
Sacrae symphoniae: Sonata pian' e forte, alla quar |
|
|
| 15 |
The contribution to music of the next great Italia |
|
|
| 16 |
Vespers of the Blessed Virgin: Domine ad adiuvandu |
|
|
| 17 |
When Monteverdi's patron died in 1612… |
|
|
| 18 |
Mein junges Leben hat ein End, SwWV 324 |
|
|
| 19 |
As well as being an outstanding composer… |
|
|
| 20 |
La, la, la, je ne l'ose dire |
|
|
| 21 |
Well now, from the engaging work of a minor compos |
|
|
| 22 |
Psalmen Davids sampt etlichen Moteten und Concerte |
|
|
| 23 |
In 1625 Schutz was stricken by the death of his wi |
|
|
| 24 |
England |
|
|
| 25 |
Royal Consort in D major for 2 theorbos: V. Ecco |
|
|
| 26 |
When civil war broke out in England… |
|
|
| Disc: 2 |
|---|
| 1 |
Chapter 3: The Fashion Spreads – Different Styles |
|
|
| 2 |
Development of Dance Suites |
|
|
| 3 |
Major, Minor and Modulation |
|
|
| 4 |
Italy: The Land of Song |
|
|
| 5 |
O di Betlemme, altera poverta: Aria: L'Autor d'ogn |
|
|
| 6 |
The Violin |
|
|
| 7 |
Sonata in D major a 8 viole con una tromba: I. All |
|
|
| 8 |
Stradella, incidentally, while not in the first di |
|
|
| 9 |
Germany |
|
|
| 10 |
Membra Jesu nostri, BuxWV 75: III. Ad manus: Quid |
|
|
| 11 |
Some years younger than Buxtehude was Johann Pache |
|
|
| 12 |
Toccata in C major |
|
|
| 13 |
France |
|
|
| 14 |
Benedictus: Benedictus |
|
|
| 15 |
Less formal in his approach to composition… |
|
|
| 16 |
Un flambeau, Janette, Isabelle!, H. 460c |
|
|
| 17 |
French Keyboard Music |
|
|
| 18 |
England |
|
|
| 19 |
Hear my prayer, O Lord, Z. 15 |
|
|
| 20 |
In 1683 came the first of Purcell's Odes for St Ce |
|
|
| 21 |
Dido and Aeneas, Z. 626, Act III: When I am laid i |
|
|
| 22 |
A few years later, at the end of the freezing wint |
|
|
| 23 |
Chapter 4: Full Flower – High Baroque |
|
|
| 24 |
Italy |
|
|
| 25 |
Concerto Grosso in G minor, Op. 6, No. 8, "Christm |
|
|
| 26 |
Born near Bologna, Corelli began to learn the viol |
|
|
| 27 |
Flute Concerto in D major, Op. 10, No. 3, RV 428, |
|
|
| 28 |
It must have been the public thirst for novelty… |
|
|
| 29 |
Beatus vir in C major, RV 597: Beatus vir qui time |
|
|
| 30 |
It seems as if Vivaldi became restless… |
|
|
| Disc: 3 |
|---|
| 1 |
Baroque Concertos Beyond Vivaldi |
|
|
| 2 |
Keyboard Sonata in E major, K.380/L.23/P.483: Anda |
|
|
| 3 |
By contrast, the Sonata in D major, K. 96 is much |
|
|
| 4 |
Keyboard Sonata in D major, K. 96/L.465/P.210: All |
|
|
| 5 |
Germany |
|
|
| 6 |
Prelude and Fugue in G major, BWV 550 |
|
|
| 7 |
Although he appeared to have been comfortable enou |
|
|
| 8 |
Brandenburg Concerto No. 2 in F major, BWV 1047: I |
|
|
| 9 |
At least two of Bach's four Orchestral Suites… |
|
|
| 10 |
The Well-Tempered Clavier, Book 1: Prelude and Fug |
|
|
| 11 |
One vocal work to emerge from Bach's secular years |
|
|
| 12 |
Weichet nur, betrubte Schatten, BWV 202, "Wedding |
|
|
| 13 |
It was on his return from a visit to Karlsbad… |
|
|
| 14 |
St. Matthew Passion, BWV 244, Part III: Chorus: Wi |
|
|
| 15 |
There were consolations in Bach's difficult time i |
|
|
| 16 |
Keyboard Concerto in F minor, BWV 1056: II. Largo |
|
|
| 17 |
Towards the end of the seventeenth century… |
|
|
| 18 |
German Opera |
|
|
| 19 |
Overture (Suite) in D major, TWV 55:D15: VIII. Rej |
|
|
| 20 |
Telemann has sometimes been accused of superficial |
|
|
| Disc: 4 |
|---|
| 1 |
France |
|
|
| 2 |
Pieces de clavecin, Book 1: 1st Ordre in G minor-m |
|
|
| 3 |
Further on in the same suite… |
|
|
| 4 |
Pieces de clavecin, Book 1: 1st Ordre in G minor-m |
|
|
| 5 |
In 1716, at the height of his fame and success… |
|
|
| 6 |
Abaris ou les Boreades: Gavotte pour les Fleures e |
|
|
| 7 |
Unfortunately, the opera was never produced… |
|
|
| 8 |
VII. Musette en rondeau |
|
|
| 9 |
VIII. Tambourin |
|
|
| 10 |
England |
|
|
| 11 |
Rinaldo, HWV 7, Act II: Aria: Lascia ch'io pianga |
|
|
| 12 |
Back in Hanover the following summer… |
|
|
| 13 |
Acis and Galatea, HWV 49, Act II: Aria: O ruddier |
|
|
| 14 |
Italian opera at this time was all the rage in Lon |
|
|
| 15 |
Keyboard Suite No. 7 in G minor, HWV 432: VI. Pass |
|
|
| 16 |
As the public wearied of temperamental divas and c |
|
|
| 17 |
Messiah, HWV 56, Part I: For unto a child is born |
|
|
| 18 |
Strange to say, Messiah was not so well received… |
|
|
| 19 |
Concerto Grosso in D minor, Op. 6, No. 10, HWV 328 |
|
|
| 20 |
Handel surely sensed that the musical world… |
|
|
| 21 |
Coda |
|
|