Baroque Period

Couperin’s Trio Sonata, “La Superbe”: Florence Malgoire and Les Dominos

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The trio sonata, which consists typically of two violins (or flutes, recorders, or oboes) and basso continuo, originated in Italy in the late sixteenth century. At first an instrumental adaptation of three-part vocal music, the form was refined and developed by Arcangelo Corelli. It is François Couperin (1668-1733), harpsichordist and court composer for Louis XIV, who is credited with introducing the trio sonata to the insular music world of France in the …

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Vivaldi’s Concerto for Four Violins in B Minor, RV 580: Dramatic Innovations

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The world of Antonio Vivaldi (1678-1741) was marked by dramatic innovation. In the Italian city of Cremona, just over a hundred miles from Vivaldi’s native Venice, instrument builders such as Antonio Stradivari and Giuseppe Guarneri were elevating the violin, tonally, to previously unimaginable heights. At the same time, Vivaldi, perhaps the world’s first rock star, captivated listeners with such blazing violinistic virtuosity that one witness described his playing as “terrifying.” Through techniques …

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Bach’s Prelude and Fugue in B-flat Minor, BWV 891: Stratospheric Stretto

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Epic is a word that could describe Bach’s Prelude and Fugue No. 22 in B-flat Minor, BWV 891. The companion pieces come near the end of Book II of the Well-Tempered Clavier, the manuscript of which is dated between 1739 and 1742 in the final years of the composer’s life. From the Prelude’s opening bars, a dense contrapuntal conversation unfolds. At moments, the imitative voices resemble a fugue. The real fugue arrives with …

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Bach’s Prelude and Fugue in G Minor, BWV 885: Double Invertible Counterpoint

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Reflecting on the work of his father, Carl Philipp Emanuel Bach wrote, If ever a composer has shown polyphony in all its strength, it was surely Bach…. Nobody has shown as much as he, in works which normally seem so dry, as much imagination and originality of thought…. His melodies were indeed unusual, but they were always varied, rich in invention, and they are not at all like those of other composers. …

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Handel’s “Un ‘Alma Innamorata”: A Secular Cantata for the Wounded Lover

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Before television, internet, movies, and rock and roll, there was the secular cantata. During the late Baroque period in Italy, these dramatic vocal works were popular entertainment in wealthy, aristocratic circles. Made up of a brief sequence of recitatives and arias, the secular cantata amounted to a kind of highly condensed opera. Between 1706 and 1709, the young George Frideric Handel traveled throughout Italy and produced at least 40 solo cantatas, most …

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Purcell’s Three Fantasias in Four Parts (Nos. 10-12): Jordi Savall, Hespèrion XX

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In the summer of 1680, five years before the birth of J.S. Bach, the twenty-one year old Henry Purcell composed a collection of fifteen Fantasias for the Viols. At the time, viol consort music was falling out of fashion. The Fantasias received little attention and remained unpublished until 1927. Now, these brief and sublime studies in polyphony, scored for between three and seven voices, are considered to be precursors to Bach’s Musical …

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Bach’s “Wenn wir in höchsten Nöten sein,” BWV 641: Evolution of a Chorale

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The young J.S. Bach was employed as court organist in Weimar when he composed the tender and intimate chorale prelude, Wenn wir in höchsten Nöten sein, BWV 641 (“When we are in utmost need”). The brief liturgical interlude is part of Bach’s Orgelbüchlein (Little Organ Book) BWV 599−644, a compilation of 46 chorale preludes, written between 1712 and 1717. Albert Schweitzer commented that the soprano line, heard below as a pastorale reed voice, flows “like a …

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