Baroque Solo Concerto is a term in Western Classical Tradition.
Purcell's Trumpet in D is an example of Baroque Solo Concerto.
Vivaldi's Flute in D is an example of Baroque Solo Concerto.
Bach's Violin in Am is an example of Baroque Solo Concerto.
Classical Mozart's operas include The Marriage of Figaro, which is an example of Baroque Solo Concerto.
Romantic Piano Music includes Chopin's Ballade in F and Nocturne in Em, Brahms's Intermezzo in A and Ballade in Gm, Grieg's Gangar/Norwegian March and Notturno, which are examples of Baroque Solo Concerto.
Richard Rodgers's Sound of Music and Stephen Sondheim's Sweeney Todd are examples of Music for Theatre.
Claude-Michel Schönberg's Les Miserables and Miss Saigon are examples of Music for Theatre.
Jason Robert Brown's The Last 5 Years and Parade are examples of Music for Theatre.
AOS1 in the AOS curriculum includes Music for Theatre.
AOS4 in the AOS curriculum includes Music for Theatre.
Purcell's Sonata in D for Trumpet and Strings is an example of Baroque Solo Concerto.
Purcell's Pomposo section of the Sonata in D for Trumpet and Strings features a ternary bars, built completely on motif A with a fanfare-like mood, emphasis on tonic and dominant, and an upper auxiliary on second semiquaver.
The Baroque trumpet has a limited pitch range and is mostly played in the first two bars of Purcell's Sonata in D for Trumpet and Strings.
B101 vio2 begin imitation of motif b with vio1 falling in sequence Am - Dm - G - C, alt slightly (m3 not perf4), highest note jumps dom m9 b102 3.
Final spread dom7 chord closessection.
COF landing on widely spaced sus dom to prep for next rit.
4th rit (90 - 93) – brief false dom entry under sustained chord (b90 2) before full subject entry b91.
B105 bariolage string technique (open string and stopped note): brightly resonant open string in rapid succession for 12 bars where stopped notes rise in increasing interval (maj3 to maj7) whilst bass and upper strings in antiphony passing between motif Z and motif A in 3rds then from b110 imitation of ritornello melody.
Short 4th ep (94 - 116) – music rep 3rd time now in tonic for 8 bars.
Reversed roles: soloist harmony for orchestral unison melody.
Varied texture with vio2 free part above subject, vague countersubject below viola.
Lots of rests blend the texture together, contrasts dense contrapuntal in rit.
5th rit (117 - 141) – exact repeat of 1 - 25, rounding off in structural reprise.
B86 gigue momentum broken as solo inverts semiq from ep1 (b31) and then b89 motif X cross phrased around 7th (D) and further dislocated with ties across main beats.
Rit theme falls steadily in sequence with inner dom pedal (E) - > Am for final rit.
B73 F - Dm - G - Em - Am - F - G - Am (b82), key change reinforced every other bar by upper strings doubling motif in par3 and 6.
The second repetition of Purcell's Sonata in D for Trumpet and Strings features a variation at the end including an unprepared dominant 7th (semiquavers), typical of Purcell.
The final phrase of Purcell's Sonata in D for Trumpet and Strings returns to the opening mood (section A).
Section B of Purcell's Sonata in D for Trumpet and Strings features a falling contour, legato, no semiqs, conjunct motif, and Bm tonality (rel min), more imitative contrapuntal texture.
More antiphony between viola and bass
Trumpets descending triadic figure alternates in antiphonal dialogue
Binary structure with repeated patterns and rising chromatic harmony in Section A
Homophonic strings with lots of rests, slow tempo, B minor tonality, thoughtful and melancholy
Fugal texture with melody in viola 2 and viola now
Rising texture outlining tonic triad with greater rhythmic movement and more passing notes (excitement)
Falling melody and increasingly chromatic harmony exploring flat keys in Section B
Andante maestoso: gentle and expressive contrast to the first movement
Allegro ma non troppo: Gigue-like dance, fast, 3/8 metre, D major, conjunct, imitative texture, binary structure