HILL, John Walter

Anthology of Baroque music. The Norton introduction to Music History. Music in Western Europe, 1580-1750.

Complementa la obra: Baroque Music: Music in Western Europe, 1580–1750 de John Walter Hill, Universidad de Illinois. ISBN 0-393-97801-X. Colección de partituras.

Encuadernación rústica• 600 pages • 2004

Contenido de la obra:

  • 1. Jacopo Peri, L’Euridice (1600), Prologue and messenger scene
  • 2. Emilio de’ Cavalieri, Rappresentatione di anima, et di corpo (1600), excerpt
  • 3. Giulio Caccini, Deh, dove son fuggiti (1602)
  • 4. Giulio Caccini, Udite, udite amanti (1602)
  • 5. Giulio Caccini, Torna, deh torna (1602)
  • 6. Giuseppino Cenci, Io che l’etý solea (ca. 1600)
  • 7. Sigismondo d’India, Riede la primavera (1609)
  • 8. Orazio Michi dell’Arpa, Su l’oriente (ca. 1630)
  • 9. Luigi Rossi, Hor che l’oscuro manto (ca. 1640)
  • 10. Claudio Monteverdi, Orfeo (1607), Prologue and Act II messenger scene
  • 11. Francesca Caccini, La liberazione di Ruggiero dall’isola d’Alcina (1625), excerpt
  • 12. Stefano Landi, Il S. Alesso (1632), Act I, scenes 2-4
  • 13. Claudio Monteverdi, Hor ch’el ciel e la terra (1638)
  • 14. Giovanni Girolamo Kapsberger, Toccata no. 5 (1604)
  • 15. Girolamo Frescobaldi, Toccata nona (1620)
  • 16. Alessandro Piccinini, Ciaconne in partite variate (1623)
  • 17. Girolamo Frescobaldi, Partite sopra passacagli (1627)
  • 18. Giovanni Salvatore, Kyrie versets (1641)
  • 19. Adriano Banchieri, Fantasia (1603)
  • 20. Girolamo Frescobaldi, Canzon quarti toni dopo il post comune (1635)
  • 21. Giovanni Paolo Cima, Sonata, violino e violone (1610)
  • 22. Giovanni Battista Fontana, Sonata 6 (before 1630)
  • 23. Biagio Marini, Sonata sopra la monica (1629)
  • 24. Giovanni Battista Buonamente, Sonata quarta (1626)
  • 25. Marco Uccellini, Sonata prima a violino solo detta la vittoria trionfante, Op. 4, no. 1 (1645)
  • 26. Marco da Gagliano, Vinea mea electa (ca. 1610)
  • 27. Lodovico Viadana, Duo seraphim clamabant (1602)
  • 28. Caterina Assandra, O salutaris hostia (1609)
  • 29. Claudio Monteverdi, Nigra sum (1610)
  • 30. Giacomo Carissimi, Historia di Jephte (before 1650)
  • 31. Giovanni Gabrieli, In ecclesiis (ca. 1605)
  • 32. Lambert de Beaulieu, Balet comique de la Royne (1581), dialogue from Intermedio I
  • 33. Pierre Francisque Caroubel, Passameze & Gaillarde (before 1611)
  • 34. Michel Mazuel, Dances from the Ballet du roy des festes de Baccus (1651)
  • 35. Anon., Ma belle si ton ame (1603)
  • 36. Pierre GuÈdron, Quel excËs de douleur (1620)
  • 37. Antoine Francisque, Prelude and Courante from Le Tresor d’Orphee (1600)
  • 38. RenÈ Mesangeau, Allemande for Lute (ca. 1630)
  • 39. Ennemond Gaultier, Tombeau de Mezangeau (ca. 1638)
  • 40. Denis Gaultier, Mode Ionien [suite for lute] (1648)
  • 41. RenÈ Mesangeau, Sarabande for Keyboard (ca. 1630)
  • 42. Jacques Champion de Chambonnieres, Dances (ca. 1648)
  • 43. Eustache Du Caurroy, Unziesme Fantasie (1610)
  • 44. Štienne MouliniÈ, Fantasie I (1639)
  • 45. Gehan Titelouze, Magnificat Primi Toni (1626)
  • 46. Charles Racquet, Fantasie (ca. 1636)
  • 47. Eustache Du Caurroy, Victimae paschali laudes (1609)
  • 48. Guillaume Bouzignac, Ecce homo (ca. 1640)
  • 49. Gregor Aichinger, Tres sunt qui testimonium dant (1607)
  • 50a. Chorale Erschienen ist der herrliche Tag (1560)
  • 50b. Johann Hermann Schein, Erschienen ist der herrliche Tag (1626)
  • 51. Heinrich Sch¸tz, O quam tu pulchra es (1629)
  • 52. Heinrich Sch¸tz, Was hast du verwirket (1639)
  • 53. Heinrich Sch¸tz, Saul, Saul, was verfolgst du mich? (1650)
  • 54. Jan Pieterszoon Sweelinck, Ricercar del nono duono (ca. 1610)
  • 55a. Chorale Ich ruf zu dir, Herr Jesu Christ
  • 55b. Samuel Scheidt, Fantasia super Ich ruf zu dir, Herr Jesu Christ (1624)
  • 56. Johann Froberger, Canzon (1649)
  • 57. Johann Froberger, Allemand, Courant, & Saraband (1649)
  • 58. Paul Peuerl, Suite (1611)
  • 59. Heinrich Albert, O der rauhen Grausamkeit! (1640)
  • 60. John Jenkins, Fantasia no. 7 (ca. 1640)
  • 61. John Coprario, Fantasia-suite no. 1 (ca. 1622)
  • 62. John Dowland, The Frog Galliard (ca. 1610)
  • 63. John Lawrence, Coranto (ca. 1625)
  • 64. Orlando Gibbons, See, See, the Word Is Incarnate (ca. 1620)
  • 65. John Dowland, Far from Triumphing Court (1610)
  • 66. Franceso Cavalli, Giasone (1649), excerpts
    • a. Act I, last scene
    • b. Act II, scene 11
    • c. Act III, scene 2
    • d. Quanti soldati, Ú quanti, from Act III, scene 10
    • e. Act III, scene 21 (conclusion)
  • 67. Antonio Cesti, Orontea (1656), Act II, scenes 17-18
  • 68. Alessandro Stradella, Dimmi Amor, in Moro per Amore (ca. 1680), Act II, scene 3
  • 69. Barbara Strozzi, L’Eraclito amoroso (1651)
  • 70. Antonio Cesti, Languia giý l’alba (ca. 1660)
  • 71. Marco Marazzoli, San Tomaso, end of Part 1 (ca. 1650)
  • 72. Alessandro Stradella, San Giovanni Battista (1675), Part 2, excerpt
  • 73. Giacomo Carissimi, Suscitavit Dominus (1665/66)
  • 74. Isabella Leonarda, Ave suavis dilectio (1676)
  • 75. Jean-Baptiste Lully, Carousel suite (1686)
  • 76. Louis Couperin, Tombeau de Mr. de Blancrocher (ca. 1652)
  • 77. Louis Couperin, Unmeasured prelude (ca. 1657)
  • 78. Jean de Sainte-Colombe, Concert ALe tendre (ca. 1670)
  • 79. Henry Du Mont, Tristitia vestra (1652)
  • 80. Jean-Baptiste Lully, Alceste, Act I (1673)
  • 81. Carlos PatiÒo, Maria, Mater Dei (ca. 1640)
  • 82. Juan GutiÈrrez de Padilla, (Ah, siolo Flasiquillo! (1653)
  • 83. Juan Blas de Castro, Est·vase el aldeana (ca. 1625)
  • 84. Francisco Correa de Arauxo, Quinto tiento de medio registro de baxones de primer tono (1626)
  • 85. Juan Bautista JosÈ Cabanilles, Tiento XXIV de falses 8. punt alt (ca. 1690)
  • 86. Manuel Rodrigues Coelho, Outra Ave Maris stella (1620)
  • 87. Gaspar Sanz, Jacaras (1675)
  • 88. Wolfgang Carl Briegel, Was frag ich nach der Welt! (1670)
  • 89a. Joseph, lieber Joseph mein, the traditional song reconstructed
  • 89b. Philipp Friedrich B–ddecker, Natus est Jesus (1651)
  • 90. Matthias Weckmann, Zion spricht: Der Herr hat mich verlassen (1663)
  • 91. Christoph Bernhard, Euch ist’s gegeben zu wissen das Geheimnis (1665)
  • 92a. Chorale Ein feste Burg ist unser Gott
  • 92b. Franz Tunder, Ein’ feste Burg ist unser Gott (ca. 1650)
  • 93a. Chorale Komm, Heiliger Geist, Herre Gott
  • 93b. Franz Tunder, Komm, Heiliger Geist, Herre Gott (ca. 1650)
  • 94. Dieterich Buxtehude, Passacaglio, BuxWV 161 (ca. 1680)
  • 95. Dieterich Buxtehude, Praeludium, BuxWV 137 (ca. 1680)
  • 96a. Chorale An Wasserfl¸ssen Babylon
  • 96b. Johann Pachelbel, An Wasserfl¸ssen Babylon (ca. 1680)
  • 97. Johann Heinrich Schmelzer, Courant for the Entrance of His Imperial Majesty and All the Knights, from La contesa dell’aria e dell acqua (1667)
  • 98. Johann Heinrich Schmelzer, Sonata Natalitia (1675)
  • 99. Johann Rosenm¸ller, Sonata II, from Sonate da camera (1667)
  • 100. Heinrich Ignaz Franz von Biber, Battalia (1673)
  • 101. Maurizio Cazzati, Sonata 7, La Rossella (Venice: Magni, 1656)
  • 102. Giovanni Battista Vitali, Balletto ottavo and Corrente ottava, Op. 8 (1683)
  • 103. Giovanni Maria Bononcini, Op. 6, no. 11 (1672)
  • 104. Arcangelo Corelli, Sonata Op. 4, no. 4 (1694)
  • 105. Arcangelo Corelli, Concerto Op. 6, no. 1 (1712)
  • 106. Giuseppe Torelli, Sinfonia con tromba e violini unissoni, G 9 (1693?)
  • 107. Antonio Vivaldi, Concerto for Violin, RV 310, Op. 3, no. 3 (1711)
  • 108. Pelham Humfrey, Hear, O Heav’ns (ca. 1670)
  • 109. Matthew Locke, O Be Joyful in the Lord, All Ye Lands (1664)
  • 110. Matthew Locke, The Delights of the Bottle (1675)
  • 111. John Blow, Lovely Selina (1683)
  • 112. Henry Purcell, In Guilty Night (ca. 1690)
  • 113. John Banister, The Musick att the Bath (1663)
  • 114. Henry Purcell, The Fairy Queen (1692), Act II, Masque of Sleep
  • 115. Henry Purcell, Dido and Aeneas (1689), excerptsC15
  • 116. Alessandro Scarlatti, Cain, ovvero Il primo omicidio (1707), Part II, excerpt
  • 117. Alessandro Scarlatti, Il genio di Mitilde (1711)
  • 118. Antonio Vivaldi, Gloria with introduction (ca. 1717)
  • 119. Francesco Antonio Bonporti, Ite molles ite flores (1701)
  • 120. George Frideric Handel, Tamerlano (1724)
    • a. Forte, e lieto a morte andrei
    • b. Act III, scenes 9-10
  • 121. Jean-Philippe Rameau, Hippolyte et Aricie (1733), Act IV, second half
  • 122. FranÁois Couperin, La TÈnÈbreuse, from his PiËces de clavecin, premier livre (1713)
  • 123. FranÁois Couperin, Le Petit-Rien, from his TroisiËme livre de piËces de clavecin (1722)
  • 124. Elisabeth Jacquet de La Guerre, Sonata no. 2 from Sonates pour le viollon et pour le clavecin (1707)
  • 125. George Frideric Handel, Saul (1738), excerpts
    • a. Act I, scene 1C
    • b. Act III, scene 1-3
    • c. Mourn Isreal
  • 126. Johann Sebastian Bach, St. Matthew Passion (1727), nos. 1-7
  • 127. Johann Sebastian Bach, Passacaglia in C Minor, BWV 582 (ca. 1707)
  • 128. Johann Sebastian Bach, Allein Gott in der H–h’ sei Ehr, BWV 663 (ca. 17108-17, rev, ca. 1749)
  • 129. Johann Sebastian Bach, Prelude and Fugue in B-flat Major from Das wohltemperirte Clavier, Book I (1722)
  • 130. Johann Sebastian Bach, Brandenburg Concerto no. 1