v. 1. Ancient to Baroque. The ancient and medieval worlds. Music in antiquity. Epitaph of Seikilos ; Euripides: Orestes, excerpt : Stasimon chorus
Roman liturgy and chant. Mass for Christmas Day ; Chants for Vespers for Christmas Day ; Ascribed to Wipo of Burgundy: Victimae paschali laudes ; Tropes on Puer natus: Quem queritis in presepe ; Hildegard of Bingen: Ordo virtutum : closing chorus, In principe omnes
Song and dance music to 1300. Bernart de Ventadorn: Can vei la lauzeta mover ; Comtessa de Dia: A chantar ; Adam de la Halle: Jeu de Robin et de Marion : rondeau, Robins m'aime ; Walther von der Vogelweide: Palästinalied (Nū alrēst lebe ich mir werde) ; Cantiga 159: Non sofre Santa Maria, from Cantigas de Santa Maria ; La quarte estampie royale, from Le manuscrit du roi
Polyphony through the Thirteenth Century. Organa from Musica enchiriadis. Tu patris sempiternus es filius ; Sit gloria domini ; Rex caeli domine ; Alleluia Justus ut palma, from Ad organum faciendum ; Jubilemus, exultemus ; Leoninus and colleagues: Viderunt omnes ; Clausulae on Dominus, from Viderunt omnes. Dominus, clausula no. 26 ; Dominus, clausula no. 29.
Perotinus: Viderunt omnes ; Ave virgo virginum ; Motets on Tenor Dominus. Factum est salutare/Dominus ; Fole acostumance/Dominus ; Super te/Sed fulsit virginitas/Dominus ; Adam de la Halle: De ma dame vient/Dieus, comment porroie/Omnes ; Petrus de Cruce (Pierre de la Croix): Aucun ont trouvé/Lonc tans/Annuntiates ; Sumer is icumen in
New developments in the fourteenth century. Philippe de Vitry: Cum statua/Hugo, Hugo/Magister invidie ; Guillaume de Machaut: La messe de Notre Dame. Kyrie ; Gloria ; Douce dame jolie ; Rose, liz, printemps, verdure ; Philippus de Caserta: En remirant vo douce pourtraiture ; Jacopo da Bologna: Non al suo amante ; Francesco Landini: Così pensoso ; Non avrà ma' pietà
The Renaissance. England and Burgundy in the Fifteenth Century. Alleluia : a newë work ; John Dunstable: Quam pulchra es ; Binchois (Gilles de Bins): De plus en ; Guillaume Du Fay: Resvellies vous ; Christe, redemptor omnium ; Se la face ay pale. Se la face ay pale (ballade) ; Missa Se la face ay pale (cantus-firmus mass): Gloria
Franco-Flemish composers. Anotine Busnoys: Je ne puis vivre.
Jean de Ockeghem: Missa prolationum: Kyrie ; Henricus Isaac: Innsbruck, ich muss dich lassen ; Josquin Desprez: Faulte d'argent ; Mille regretz ; Ave Maria ... virgo serena ; Missa Pange lingua : Excerpts. Kyrie ; Credo, excerpt. Et incarnatus est, Crucifixus
Sacred music in the era of the Reformation. Attributed to St. Ambrose: Veni redemptor gentium ; Martin Luther: Nun komm, der Heiden Heiland ; Ein feste Burg ; Johann Walter: Ein feste Burg ; Loys Bourgeois: Psalm 134 (Or sus, serviteurs du Seigneur) ; William Kethe: Psalm 100, All people that on earth do dwell ; Thomas Tallis: If ye love me ; William Byrd: Sing joyfully unto God ; Nicholas Gombert: Ave regina caelorum ; Giovanni Pierluigi da Palestrina: Pope Marcellus mass : Excerpts. Credo ; Agnus Dei ; Tomás Luis de Victoria: O magnum mysterium ; Missa O magnum mysterium. Kyrie ; Orlande de Lassus: Cum essem parvulus
Madrigal and secular song in the Sixteenth Century. Juan del Elcina: Oy comamos y bebamos ; Marchetto Cara: Mal un muta per effecto ; Jacques Arcadelt: Il bianco e dolce cigno ; Cipriano de Rore: Da le belle contrade d'oriente ; Luca Marenzio: Solo e pensoso.
Carlo Gesualdo: Io parto e non più dissi ; Claudin de Sermisy: Tant que vivray ; Orlande de Lassus: La nuict froide et sombre ; Claude Le Jeune: Revecy venir de printans ; Thomas Morley: My bonny lass she smileth ; Thomas Weelkes: As Vesta was ; John Dowland: Flow, my tears
The rise of instrumental music. Tielman Susato: Dances from Danserye. No. 5: La morisque ; No. 38: La dona ; No. 50: La dona ; Anthony Holborne: The night watch ; The faerie round ; Louis de Narváez: From Los seys libros del Delphin. Cancion Mille regres ; Cuatro diferencias sobre Guárdame las vascas ; William Byrd: John come kiss me now ; Giovanni Gabrieli: Canzon septimi toni a 8, from Sacrae symphoniae
The Seventeenth Century. New styles in the Seventeenth Century. Claudio Monteverdi: Cruda Amarilli ; Giulio Caccini: Vedrò 'l mio sol
The invention of opera. Jacopo Peri: Le musiche sopra l'Euridice : Excerpts. Nel pur ador ; Per quel vago boschetto ; Claudio Monteverdi: L'Orfeo : Excerpt from Act II. Vi ricorda o boschi ombrosi ; Mira, deh mira Orfeo ; Ahi, caso acerbo ; Tu se' morta ; Ahi, caso acerbo ; L'incoronazione di Poppea : Act I, Scene 3.
Signor, deh non partire ; Adorati miei rai ; Antonio Cesti: Orontea : Excerpt from Act II. E che si fa? ; Intorno all' idol mio
Music for chamber and church in the early Seventeenth Century. Barbara Strozzi: Lagrime mie ; Giovanni Gabrieli: In ecclesiis ; Alessandro Grandi: O quam to pulchra es ; Giacomo Carissimi: Historia di Jephte : Conclusion. Plorate colles ; Plorate filii Israel ; Heinrich Schütz: Saul, was verfolgst du mich, SWV 415, from Symphoniae sacrae III ; Girolamo Frescobaldi: Toccata no. 3 ; Ricercare after the Credo, from Mass for the Madonna, in Fiori musicali ; Biagio Marini: Sonata IV per il violino per sonar con due corde
France, England, Spain, and the New World in the Seventeenth Century. Jean-Baptiste Lully: Armide : Excerpts. Overture ; from Act II, Scene 4: Laissons au tendre amour ; Act II, Scene 5: Enfin il est en ma puissance ; Te Deum : Conclusion ; Denis Gaultier : La coquette virtuose ; Elisabeth-Claude Jacquet de la Guerre: Suite no. 3 in A minor, from Pièces de clavecin ; Henry Purcell: Dido and Aeneas : Conclusion. Thy hand, Belinda ; When I am laid in earth ; With drooping wings ; Tomás de Torrejón y Velasco: La púrpura de la rosa.
Excerpt. Y bien, ¿qué es lo que adviertes? ; Corred, corred, cristales ; Juan de Araujo: Los coflades de la estleya
Italy and Germany in the late Seventeenth Century. Alessandro Scarlatti: Clori vezzosa, e bella : Conclusion. Vivo penando ; Sì, sì ben mio ; La Griselda : Excerpt from Act I, Scene 2 ; Arcangelo Corelli: Trio sonata in D major, op. 3, no. 2 ; Dietrich Buxtehude: Praeludium in E major, BuxWV 141
The Eighteenth Century. The early Eighteenth Century in Italy and France. Antonio Vivaldi: Concerto for violin and orchestra in A minor, op. 3, no. 6 ; François Couperin: Vingt-cinquième ordre : Excerpts. La visionaire ; La muse victorieuse ; Les ombres errantes ; Jean-Philippe Rameau: Hippolyte et Aricie : Act IV, conclusion. Conclusion of Scene 3 ; Scene 4
German composers of the Late Baroque. Georg Philipp Telemann: Paris quartet no. 1 in G major (Concerto primo), TWV 43:G1. Movements 3-5 ; Johann Sebastian Bach: Prelude and fugue in A minor, BWV 543 ; Chorale prelude on Durch Adams Fall, BWV 637 ; The well-tempered clavier, Book I: Prelude no. 8 in E♭ minor and Fugue no. 8 in D♯ minor, BWV 853.
Nun komm, der Heiden Heiland, BWV 62 ; St. Matthew Passion, BWV 244 : Excerpt. No. 36. Und der Hohepriester antworte ; No. 37. Wer hat dich so geschlagen ; No. 38. Petrus aber saß draußen im Palast ; No. 39. Erbarme dich ; No. 40. Bin ich gleich von dir gewichen ; George Frideric Handel: Giulio Cesare : Act II, Scenes 1-2. Eseguisti, oh Niren ; V'adoro pupille ; Saul : Act II, Scene 10. The time at length is come ; Where is the son of Jesse? ; O fatal consequence of rage.
v. 2. Classic to Romantic. The Eighteenth Century. Opera and vocal music in the early Classic Period. Giovanni Battista Pergolesi: La serva padrona : Excerpt. Ah, quanto mi sta male ; Son imbrogliato io ; Johann Adolf Hasse: Cleofide : Act II, Scene 9. Digli ch'io son fedele ; John Gay. The beggar's opera : Excerpt from Scene 13. My heart was so free ; Were I laid on Greenland's coast ; Christoph Willibald Gluck: Orfeo ed Eudridice : Excerpt from Act II, Scene 1 ; Giovanni Battista Pergolesi: Stabat Mater : Excerpts. Quae maerebat et dolebat ; Quis est homo ; William Billings: Creation, from The continental harmony
Instrumental music: sonata, symphony, and concerto. Domenico Scarlatti: Sonata in D major, K. 119 ; Carl Philipp Emanuel Bach: Sonata in A major, H. 186, Wq. 55/4 : Second movement, Poco adagio ; Giovanni Battista Sammartini: Symphony in F major, no. 32 : First movement, Presto ; Johann Stamitz: Sinfonia a 8 in E-flat major, op. 11, no. 3 : First movement, Allegro assai ; Johann Christian Bach: Concerto for harpsichord or piano and strings in E-flat major, op. 7, no. 5 : First movement, Allegro di molto.
Classic music in the late Eighteenth Century. Joseph Haydn. String quartet in E-flat major, op. 33, no. 2 (The joke), Hob. III:38 ; Symphony no. 88 in G major, Hob. I:88 ; The creation : No. 2. In the beginning God ; Wolfgang Amadeus Mozart: Piano sonata in F major, K. 332 (300k) : First movement, Allegro ; Piano concerto in A major, K. 488 : First movement, Allegro ; Symphony no. 41 in C major (Jupiter), K. 551 : Finale ; Don Giovanni : Act I. Scene 1 ; Scene 2
The Nineteenth Century. Ludwig van Beethoven: Piano sonata in C minor, op. 13 (Pathétique) : First movement ; Symphony no. 3 in E-flat major, op. 55 (Eroica) : First movement, Allegro con brio ; String quartet in C-sharp minor, op. 131 : Excerpts. First movement, Adagio ma non troppo e molto espressivo ; Second movement, Allegro molto vivace
The Romantic generation : song and piano music. Franz Schubert: Gretchen am Spinnrade, D. 118 ; Winterreise, D. 911. No. 5 : Der Lindenbaum ; Robert Schumann: Dichterliebe, op. 48. No. 1 : Im wunderschönen Monat Mai ; Stephen Foster: Jeanie with the light brown hair ; Robert Schumann: Carnaval, op. 9 : Excerpts.
No. 5 : Eusebius ; No. 6 : Florestan ; No. 7 : Coquette ; Fanny Mendelssohn Hensel: Das Jahr. No. 12 : December ; Fryderyk Chopin: Mazurka in B-flat major, op. 7, no. 1 ; Nocturne in D-flat major, op. 27, no. 2 ; Franz Liszt: Trois études de concert. No. 3 : Un sospiro ; Louis Moreau Gottschalk: Souvenir de Porto Rico (Marche des Gibaros), op. 31
Romanticism in Classical forms : orchestral, chamber, and choral music. Hector Berlioz: Symphonie fantastique : Fifth movement, Dream of a witches' sabbath ; Felix Mendelssohn: Violin concerto in E minor, op. 64. First movement, Allegro molto appassionato ; Robert Schumann: Symphony no. 4 in D minor, op. 120. First movement, Ziemlich langsam
Lebhaft ; Franz Schubert: String quartet in C major, D. 956. First movement, Allegro ma non troppo ; Clara Schumann: Piano trio in G minor, op. 17: Third movement, Andante ; Felix Mendelssohn: Elijah, op. 70 : And then shall your light break forth ; Franz Schubert: Die Nacht, op. 17, no. 4, D. 983c
Romantic opera and musical theater to midcentury. Gioachino Rossini: Il barbiere di Siviglia : Act I, no. 7, Una voce poco fa ; Vincenzo Bellini: Norma : Casta diva.
Giacomo Meyerbeer: Les Huguenots : Conclusion of Act II. Entrée de la cour, Oui, d'un heureux hymen ; Serment, Par d'honneur ; Scène, Et maintenant ; Strette, O transport! ; Carl Maria von Weber: Der Freischütz : Act II, Finale, Wolf's Glen scene. Milch des Mondes fiel aufs Kraut ; Trefflich bedient! ; Schütze, der im Dunkeln wacht
Opera and musical theater in the later Nineteenth Century. Richard Wagner: Tristan und Isolde : Prelude and conclusion of Act I ; Giuseppe Verdi: La traviata : Act III, Scena and duet. Signora ; Colpevol sono ; Parigi, o cara ; Ah non più ; Ah! Gran Dio! Morir si giovane ; Giacomo Puccini: Madama Butterfly : Excerpt from Act I ; Georges Bizet: Carmen : Act I, no. 10, Seguidilla and duet ; Modest Mussorgsky: Boris Godunov : Coronation scene ; Arthur Sullivan: The pirates of Penzance : Act II, no. 17, When the foeman bares his steel
Late Romanticism in Germany and Austria. Johannes Brahms: Symphony no. 4 in E minor, op. 98 : Fourth movement, Allegro energico e passionato ; Quintet for piano and strings in F minor, op. 34 : First movement, Allegro non troppo ; Anton Bruckner : Virga Jesse, WAB 52.
Richard Strauss : Don Quixote, op. 35 : Themes and variations 1-2
Diverging traditions in the later Nineteenth Century. Gabriel Fauré: La bonne chanson, op. 61, no. 6 : Avant que to ne t'en ailles ; Piotr Il'yich Tchaikovsky: Symphony no. 6 in B minor (Pathétique), op. 74 : Third movement, Allegro molto vivace ; Antonín Dvořák: Slavonic dances, op. 46, no. 1 : Presto ; Amy Beach: Piano quintet in F-sharp minor, op. 67 : Third movement, Allegro agitato ; John Philip Sousa: The stars and stripes forever.
v. 3. The Twentieth Century and after. The early Twentieth Century. Maple leaf rag / Scott Joplin ; Kindertotenlieder. Nun will die Sonn' so hell aufgeh'n / Gustav Mahler ; Salome. Ah! Ich habe deinen Mund gekusst / Richard Strauss ; Nocturnes. Nuages / Claude Debussy ; Le tombeau de Couperin. Menuet / Maurice Ravel ; Prelude in G minor, op. 23, no. 5 / Sergei Rachmaninov ; Vers la flamme, op. 72 / Alexander Scriabin ; Embryons desseches. De podophthalma / Erik Satie
Radical modernists. Pierrot lunaire. Nacht, Enthauptung / Arnold Schoenberg ; Piano suite, op. 25. Prelude, Minuet and trio / Arnold Schoenberg ; Wozzeck. Act III, scene 2-3 / Albal Berg ; Symphony, op. 21. Ruhig schreitend / Anton Webern ; The rite of spring. Dnase des adolescentes, Danse sacrale / Igor Stravinsky ; Symphony of psalms. First movement / Igor Stravinsky ; Mikrokosmos. No. 123, Staccato and legato / Béla Bartók ; Music for strings, percussion and celesta. Adagio / Béla Bartók ; General William Booth enters into heaven / Charles Ives
Between the World Wars. Girl crazy. I got rhythm / George Gershwin ; Back water blues / Bessie Smith ; West end blues / King Oliver ; Cotton tail / Duke Ellington ; La création du monde. First tableua / Darius Milhaud ; Die Dreigroschenoper. Die Moritat von Mackie Messer / Kurt Weill ; Symphony Mathis der Maler. Grablegung / Paul Hindemith ; Alexander Nevsky. Arise ye Russian people / Sergey Prokofiev ; Symphony no. 5, op. 47. Allegretto / Dmitri Shostakovich ; Bachianas Brasileiras no. 5. Aria / Heitor Villa-Lobos ; Homenaje a Federico Garcia Lorca. Baile / Silvestre Revueltas ; Hyperprism / Edgard Varèse ; The banshee / Henry Cowell ; String quartet 1931. Allegro possible / Ruth Crawford Seeger ; Appalachian spring. Variations on 'Tis a gift to be simple / Aaron Copland ; Afro-American symphony. Moderato assai / William Grant Still.
Postwar crosscurrents. Anthropology / Charlie Parker and Dizzy Gillespie ; West Side story. Cool / Leonard Bernstein ; Symphony for band. Adagio-Allegro / Vincent Persichetti
Postwar heirs to the classical tradition. Peter Grimes. To hell with all your mercy! / Benjamin Britten ; Quartet for the end of time. Liturgie de cristal / Olivier Messiaen ; Le marteau sans maitre. Bourreaux de solitude / Pierre Boulez ; Sonatas and interludes. Sonata V / John Cage ; Music of changes. Book I / John Cage ; Black angels. Devil music, Danse macabre / George Crumb ; Poème électronique / Edgard Varèse ; Philomel. Section I / Milton Babbitt ; Threnody : to the victims of Hiroshima / Krzystztof Penderecki
The late twentieth century. Seven tunes heard in China. No. 1 Seasons / Bright Sheng ; Tehillim. Part IV / Steve Reich ; Short ride in a fast machine / John Adams ; Vertige / György Ligeti ; Rejoice! Listen to the still small voice within / Sofia Gubaidulina ; Concerto grosso no. 1. Toccata / Alfred Schnittke ; Seven magnificat antiphons. O Weisheit, O König aller Völker / Arvo Pärt
The twenty-first century. L'amour de loin. Tempête / Kaija Saariaho ; La pasión según San Marcos. Escarnio y negación, Desgarro de la Túnica, Lúa descolorida / Osvaldo Golijov ; Caténaires / Elliott Carter ; Doctor Atomic. Batter my heart / John Adams ; Blue cathedral. Opening excerpt / Jennifer Higdon.
