Musical Examples

Examples for Music of the Baroque
and
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.

In order to avoid raising copyright issues, 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.

This page also include links to a number of actual recordings, either of individual examples or of the complete works from which they are extracted.

Click on the links below to view each example in score (as in the printed textbook or anthology) or to hear an audio version. Depending on how your browser is set up, the audio version may play from this page or from a separate browser window. Some browsers (such as Chrome) cannot play audio files in the midi format used here. In that case, you must either download the files and play them with a separate audio player (such as Windows Media Player), or you can try using another browser (such as Windows Internet Explorer). The scores are in gif format and may not display in Windows Explorer. They are, of course, available in the printed book, or they can be downloaded and displayed with another browser or picture viewer.

Examples in the textbook

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

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

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

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

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

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

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

Example 3.2. Cavalieri, Godi turba mortal (complete)
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Audio
Online recording:
Capriccio Stravagante (“Godi” begins at 5:20)

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

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

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

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

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

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

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

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
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Audio

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

Example 6.1. Guédron, Vous que le bonheur rappelle
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Audio

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

Example 6.3. Lully, Armide, Act 2, scene 2, Sidonie’s air “Sur des bords séparés”
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Example 6.4. Lully, Armide, overture, mm. 1–4
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Example 6.5. Lully, Armide, act 3, scene 2, Armide’s air “Plus Renaud m’aimera”
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Example 6.6. Lully, Armide, Act 3, scene 3, Armide’s air “Venez, Haine implacable,” vocal entry
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Example 6.7. Lully, Armide, Act 3, scene 4, La Haine’s air “Plus on connait l’Amour,” vocal entry
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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
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Example 7.1. G. Gabrieli, Ego sum qui sum, mm. 1–6
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Example 7.2. G. Gabrieli, Canzon septimi toni, mm. 1–7
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Example 7.3. G. Gabrieli, Sonata con tre violini, mm. 19–28
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Example 7.4. Schütz, Herr, neige deine Himmel, mm. 38–43
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Example 7.5. Lalande, De profundis, chorus (no. 1) “De profundis,” mm. 18–25
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Example 7.6. Lalande, De profundis, recit (no. 5) “Sustinuit anima mea,” mm. 1–19
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Audio

Example 8.1. Rameau, motet Laboravi clamans, mm. 1–9
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Example 8.2. Rameau, Les indes galantes, “Sur nos bords l’amoure vole,” from Nouvelle (quatrième) entrée, scene 4, mm. 1–5
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Example 8.3. Rameau, Hippolyte et Aricie, Act 2, mm. 712–22
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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
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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
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Audio

Example 9.3. Handel, Jephtha, Part 2, scene 3: recitative “Deeper, and deeper still,” concitato passage
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Example 9.4. Handel, Jephtha, Part 3, scene 1: aria “Waft her, angels, through the skies,” mm. 9–12
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Example 9.5. Handel, Jephtha, Part 2, scene 3: quartet “O spare your daughter,” mm. 23–5
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Example 9.6. Handel, Lotario, Act 2: Matilde’s aria “Arma lo sguardo,” mm. 1–12
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Example 9.7. Franz Wenzel Habermann, Missa III from Philomela pia
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Example 10.1a. Anonymous variations on a ceccona (chaconne)
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Audio
For a performance by the author (on harpsichord), click here.

Example 10.1b. Passacalli passeggiati (harmonic pattern for a passacaglia) for guitar, from Giovanni Ambrosio Colonna, Intavolatura di chitarra alla spagnuola
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Audio
For a performance by the author (on harpsichord), click here.

Example 10.2a. Kapsperger, Passacaglia in D minor for theorbo, from Libro quarto d’intavolatura di chitar[r]one
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Audio
For a performance by the author (on harpsichord), click here.

Example 10.2b. Francesco Corbetta, Passachaglie in F for guitar, from Vari capricii
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Audio
For a performance by the author (on harpsichord), click here.

Example 10.3. Ennemond Gaultier, Courante “L’immortelle,” mm. 1–12 (upper system), with editorial melodic reduction (lower system)
Score
Audio (as written)
Audio (editorial reduction)
Performed by the author (on harpsichord):
upper system (as written)
lower system (editorial reduction)

Example 10.4. Giovanni Gabrieli, Intonazione del secondo tono (complete)
Score
Audio
For a performance by the author, click here.

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.
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Audio
Performed by the author:
Example 10.5a (the Romanesca melody and bass line)
Example 10.5b (Frescobaldi, sesta parte)
Example 10.5c (Frescobaldi, nona parte)

Example 10.6. D’Anglebert, Passacaille from Armide, mm. 1–9
Score|
Audio
To hear Example 10.6 performed by the author, click here.

Example 10.7. Froberger, Meditation sur ma mort future, from Suite 20 in D, mm. 1–5
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Audio
To hear Example 10.7 performed by the author, click here.

Example 10.8. Jacquet de La Guerre, Suite in A minor, prélude, opening (possible performance)
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Audio
For a performance by the author, click here.

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
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Audio
Performed by the author:
(a) chaconne, mm. 1–7
(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
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Example 11.1b. Buxtehude, Nun bitten wir den heiligen Geist, BuxWV 208, mm. 1–5. Asterisks mark notes of the original chorale melody.
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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.
Score (example 11.2a)
Audio (example 11.2a)
Score (example 11.2b)
Audio (example 11.2b)
Performed by the author
Example 11.2a
Example 11.2b

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.
Score (example 11.3a)
Audio (example 11.3a)
Score (example 11.3b)
Audio (example 11.3b)
Performed by the author:
Example 11.3a
Example 11.3b

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)
Score (example 12.1a)
Audio (example 12.1a)
Score (example 12.1b)
Audio (example 12.1b)

Example 12.2. Salomone Rossi, Sonata in dialogo La Viena, mm. 22–36
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Example 12.3. Castello, Sonata decima a 3, mm. 16–22, from Sonate concertate, book 2
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Example 12.4. Michel de La Barre, Première Sonate, opening, from Troisième livre des trio
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Example 12.5a. Quantz, Sonata in G minor for flute and keyboard, QV 2:35, second movement, mm. 13–20
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Audio
From a concert performance by Mary Oleskiewicz, flute, and David Schulenberg, fortepiano:
Example 12.5a only
the entire movement (2, Cantabile)

Example 12.5b. Quantz, Quartet in E minor for flute, violin, viola, and continuo, QV 4:9, first movement, mm. 36–39
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Audio
Performed by Mary Oleskiewicz, Elizabeth Field, Daniel Elyar, and Stephanie Vial, with the author:
Example 12.5b only
the entire movement (movement 1, Vivace)

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

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
Score (example 12.7a)
Audio (example 12.7a)
Score (example 12.7b)
Audio (example 12.7b)

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
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Example 12.9. Biber, “Mystery” Sonata 10, first movement, mm. 1–5
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Example 12.10. Biber, “Mystery” Sonata 11, mm. 127–33
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Example 12.11. Corelli, Sonata in D, op. 2, no. 1, first movement (complete)
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Example 12.12. Corelli, Sonata in D, op. 2, no. 1, fourth movement (complete)
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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
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Example 14.2. Domenico Alberti, Sonata in E<flat>, second movement, mm. 1–4
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Performed by the author

Example 14.3. Johann Adolph Hasse, Cleofide (1731), Act 3, aria “Dov’è? si affretti,” mm. 1–3
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Example 14.4. Telemann, Nouveaux quatuors, no. 6, first movement, mm. 1–12
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Example 14.5. Telemann, Nouveaux quatuors, no. 6, (a) second movement, mm. 1–4; (b) fourth movement, mm. 1–5
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Example 14.6. Telemann, Nouveaux quatuors, no. 6, fifth movement, mm. 1–7, 13–19
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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
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Example 14.8. C. P. E. Bach, Concerto in D minor, W. 23, first mvt., mm. 1–10
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Example 14.9. C. P. E. Bach, Concerto in D minor, W. 23, first mvt., mm. 48–53
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Example 14.10. C. P. E. Bach, Concerto in D minor, W. 23, second mvt., mm. 1–8
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Examples in the Anthology

Example for Selection 4 (Caccini, “Sfogava con le stelle”)
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Audio
Performed by the author on harpsichord

Example for Selection 9 (Purcell, From rosy bowers)
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Audio

Examples for Selection 19 (Gaultier, Pieces for lute)
Score (for the first example)
Audio (for the first example)
Example 1 performed by the author on harpsichord (Perrine’s transcription)
Score (for the second example)
Audio (for the second example)
Score (for the third example)
Audio (for the third example)