Baroque Period

Henry Purcell’s “Fantasia Upon One Note” and its Twentieth Century Aftertones

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How many ways can you harmonize three notes? You might find this question especially pertinent after listening to an extraordinary passage from the second movement of Sergei Rachmaninov’s Fourth Piano Concerto. Three descending notes (E, D, C) are repeated throughout this melody, filled with nostalgia and quiet lament, each time wrapped in new harmonic garb. Fantasia Upon One Note for 5 viols in F major, Z. 745, written around 1680 by the English baroque …

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A New Year’s Hymn: Music of Praetorius, Scheidt, and Bach

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Happy New Year! As we embark on another exciting year of music, keep your high quality headphones or stereo system handy. Reserve a few quiet moments each day for deep, attentive listening. Share your comments below, explore the archive, and share your favorite pieces with friends. The wonders of the internet and recording technology allow us to get together every Monday, Wednesday, and Friday. We have a vast amount of music at …

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Bach’s Chorale Prelude, “In dir ist Freude”: The Evolution of a Melody

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Short-short-short-long… This is the motif which famously launches Beethoven’s Fifth Symphony. This brief, tightly wound kernel pervades the first movement, and then returns throughout the Symphony. Although Beethoven’s use of this motive may be the most memorable and persistent example, the “short-short-short-long” rhythm is a common building block throughout music. It’s infused with a natural sense of forward motion, moving “from here to there.” For example, listen to the majestic and expansive …

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Bach’s Jubilant Christmas Cantata, “Unser Mund sei voll Lachens,” BWV 110

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Let’s travel back in time to Christmas Day, 1725. Entering St. Thomas Church in Leipzig, we would experience the first performance of J.S. Bach’s cantata, Unser Mund sei voll Lachens (“May our mouth be full of laughter”). We would witness Bach, three years into his tenure as the Lutheran church’s music director, leading the newly written work. By the end of his life, Bach produced five annual cycles of these dramatic religious …

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Bach’s Orchestral Suite No. 4 in D Major, The Netherlands Bach Society

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“This Suite laughs, dances, swings,” says Danish harpsichordist and conductor Lars Ulrik Mortensen in his brief but fascinating overview of J.S. Bach’s Orchestral Suite No. 4 in D Major, BWV 1069. Indeed, this infectious collection of contrasting baroque dances, composed sometime around 1730, is some of the most joyful and exhilarating music ever imagined. As Mortensen points out, Bach must have associated this music with “laughter, joy, and rapture,” because he used the opening …

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Bach’s Prelude and Fugue in E-flat Major, BWV 852, Pieter-Jan Belder

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The Dutch harpsichordist Pieter-Jan Belder considers Bach’s Prelude and Fugue in E-flat Major (No. 7 from Book 1 of The Well-Tempered Clavier) to be a significant emotional departure from the preceding pieces in the set. “When you get to this Prelude, you’re in another world,” he says. Indeed, from the opening bars a sublime, ever-rising conversation unfolds between two voices—one high, and the other low. This opens the door to an expansive chorale …

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Joyful Sounds of Praise: Five Musical Settings of Psalm 150

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Today marks the 1,000th post of The Listeners’ Club. In celebration of this milestone, I want to thank our growing community of readers and subscribers, and all who take time to comment and share this incredible music with friends. Praise God in His sanctuary; praise Him in the firmament of His power. Praise Him for His mighty acts; praise Him according to His abundant greatness. Praise Him with the blast of the …

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