Baroque Period

Handel’s “I Was Born to Weep”: A Mournful Duet from “Giulio Cesare”

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Handel’s 1724 celebrated opera, Giulio Cesare in Egitto, HWV 17 (“Julius Caesar in Egypt”), explores themes of “power, ambition, love, and revenge.” Set during the Roman Civil War of 49-45 BC, it chronicles the love story between Caesar and the cunning seductress Cleopatra. Amid this political drama, Cornelia and her stepson Sesto are determined to avenge the beheading of Pompeo (Cordelia’s husband) by Tolomeo, who rules Egypt with his sister, Queen Cleopatra. …

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Bach’s Prelude and Fugue in E-flat Minor, BWV 853: Tragedy and Catharsis

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The Prelude and Fugue No. 8 in E-flat minor, BWV 853 comes from Book 1 of J.S. Bach’s The Well-Tempered Clavier. Beginning with the purity of C major, the two-volume collection is made up of preludes and fugues in all 24 major and minor keys. The key of E-flat (or enharmonic D-sharp) was rarely used during the Baroque period. For BWV 853, Bach transposed a previously written D minor fugue into D-sharp minor. …

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Nicola Matteis II’s Fantasia in A Minor: Inmo Yang

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Hailed as “a second to Corelli,” Nicola Matteis (c. 1650-1713) was the earliest Italian Baroque virtuoso violinist to settle in London. He is credited with introducing to England something closer to the modern bow hold. His son, Nicola Matteis II (1670-1737), a violinist and composer as well, left England in 1700 for Vienna, where he composed ballets for the imperial opera. His Fantasia in A minor for solo violin was written in …

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Bach’s St. Matthew Passion, “Komm, süsses Kreuz”: Music of Desolation

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The bass aria, Komm, süsses Kreuz (“Come, sweet Cross”), comes near the end of the second part of J.S. Bach’s St. Matthew Passion, BWV 244, first performed in 1727. Its text speaks of the suffering of Christ in his final days. Arriving in the story’s most desolate moments, the veiled accompaniment of the viola da gamba (often played by the cello in modern performances) hovers as a gloomy and inescapable presence. The …

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Antonio Bertali’s Chaconne: Fiddling Around in a Baroque Jam Session

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The Italian Baroque composer and violinist Antonio Bertali (1605-1669)  is now little more than a footnote in music history. But during his lifetime, Bertali was a celebrated virtuoso and composer of operas, oratorios, liturgical works, and chamber music. Half of his output has been lost. Born in Verona, Bertali migrated north to Vienna where he was employed by the court of Holy Roman Emperor Ferdinand II. He is credited with establishing the …

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Handel’s “Semele,” “Endless Pleasure”: The Music of Elation

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Handel’s Semele, first performed at Covent Garden Theater in 1744, falls somewhere between an opera and a three-part oratorio. It is based on a mythological story from Ovid’s Metamorphoses which centers around Semele, the mother of Bacchus. At the end of the first act, Semele expresses delight in her role as the new mistress of the god, Jupiter. Her elation is expressed in the aria, Endless pleasure, endless love. Dancing accompaniment lines swirl …

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Shunske Sato Plays Vivaldi: “Winter” from “The Four Seasons”

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Antonio Vivaldi’s The Four Seasons (Le quattro stagioni) is one of the earliest and most iconic examples of programmatic music. Vivaldi composed the collection of four violin concerti, each depicting a season of the year, during his tenure as music director at the court chapel of Mantua. Along with eight additional concerti, the works were published in Amsterdam in 1725 under the enticing title, Il cimento dell’armonia e dell’inventione (“The Contest Between Harmony and …

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