PERCUSSIONLESS MORBIDITY

1. Figure 1.1 (page 48) L’Orfeo, Act III, Caronte’s Entrance

2. Figure 1.2 (page 48) L’Orfeo, Act III, Posente Spirito

3. No figure (page 49) L’Orfeo (Final Moresca) by Claudio Monteverdi

4. Figure 1.3 (page 51)Il Sant’Alessio (Moresca, “sedgno horribile”) by Estefano Landi

5. Figure 1.5 (page 53) La Resurrezione (Aria “D’amor fu consiglio”) by George Frideric Handel

6. Figure 1.6 (page 54) La Resurrezione (Aria “O voi dell’Erebo”) by George Frideric Handel

7. Figure 1.7 (page 55) La Resurrezione (Duet “Impedirlo saprò!”) by George Frideric Handel

8. No figure (page 56) Motezuma by Antonio Vivaldi

THE COURTLY AND THE MILITARY

9. Figure 1.9-1.10 (page 60-61) Tönet, ihr Pauken! Erschallet, Trompeten! by J. S. Bach

10. Figure 1.11 (page 62) Die Entführung aus dem Serail by W. A. Mozart

11. Figure 1.12 (page 63) Divertimento No.5 by Wolfgang Amadeus Mozart

12. Figure 1.13 (page 64) Symphony with Eight Obbligato Timpani by Johann Karl Fischer

13. Figure 1.14 (page 65) La Guerre by Clément Janequin

14. Figure 1.16 (page 67) Alceste (Marche des Combattants) by Jean-Baptiste Lully’s

15. Figure 1.17 (page 68) Alceste (Act II, Scene 4) by Jean-Baptiste Lully’s

16. Figure 1.20 (page 70) Rinaldo (Battaglia) by George Frideric Handel

17. Figure 1.21-1.23 (page 73-75) Symphony No. 100 (Military) by Joseph Haydn

THE TURBULENT

18. Figure 1.25-1.27 (page 79-80) Thétis et Pelée (Tempesta) by Pascal Collasse

19. Figure 1.28 (page 82) Alcyone (Tempesta) by Marin Marais

20. Figure 1.38 (page 91-92) La Muse de l’Opéra by Louis-Nicolas Clérambault

21. Figure 1.39-1.43 (page 92-95) The Four Seasons, Concerto No.2 “Summer” (Tempesta) by Antonio Vivaldi

22. Figure 1.44 (page 97) Les Élémens (Le Cahos) by Jean-Fery Rebel’s

23. Figure 1.45-1.47 (page 98-100) Zaïs (Overture) by Jean-Philippe Rameau

24. Figure 1.48-1.49 (page 101-102) The Creation (Overture) by Joseph Haydn

25. Figure 1.50 (page 104) Le portrait musical de la nature (Movement 1) by Justin Heinrich Knecht

26. Figure 1.51 (page 105) Le portrait musical de la nature (Movement 3) by Justin Heinrich Knecht

27. Figure 1.52 (page 106) Pastoral Symphony No.6 (Movement 2) by Ludwig v. Beethoven

28. Figure 1.53 (page 107) Pastoral Symphony No.6 (Movement 4) by Ludwig v. Beethoven

29. Figure 1.55-1.56 (page 110-111) Die Walküre (Act I, Prelude), by Richard Wagner

30. Figure 1.57 (page 112) Siegfried (Act II, Scene 2), by Richard Wagner

31. Figure 1.58 (page 113-114) Siegfried (Act II, Scene 3), by Richard Wagner

THE INFERNAL

32. Figure 1.59-1.61 (page 117-119) Orfeo ed Euridice (Act II, Scene 1), by C. W. Gluck

33. Figure 1.62 (page 120) Orfeo ed Euridice (Act II, Scene 2, Dance of the Blessed Spirits), by C. W. Gluck

34. Figure 1.63-1.64 (page 123-125) Requiem Mass in D minor (Confutatis), by W. A. Mozart

35. Figure 1.65-1.70 (page 127-131) Requiem Mass in D minor (Dies Irae), by W. A. Mozart

36. Figure 1.71 (page 134) Symphonie Fantastique Idee Fixe

37. Figure 1.75 (page 136) Symphonie Fantastique Corrupted Idee Fixe

38. Figure 1.76-1.80 (page 138-142) Symphonie Fantastique III. In the countryside), by Hector Berlioz

39. Figure 1.81-1.85 (page 143-147) Symphonie Fantastique (March to the scaffold), by Hector Berlioz

40. Figure 1.86-1.90 (page 148-153) Symphonie Fantastique (Dream of a witches’ sabbath), by Hector Berlioz

41. Figure 1.91 (page 155) Das Rheingold Valhalla by Richard Wagner

42. Figure 1.92-1.98 (page 156-161) Das Rheingold (Descent into Nibelheim), by Richard Wagner

THE EXOTIC

43. Figure 1.99-1.100 (page 168-169) Les Sauvages (Harpsichord Version), by Jean-Philippe Rameau

44. Figure 1.110 (page 176) Les Sauvages (“Forêts paisibles” from Les Indes galantes), by Jean-Philippe Rameau

45. Figure 1.111-1.114 (page 179-180) Piano Sonata No. 11 in A major (Rondo alla turca), by W. A. Mozart

46. Figure 1.115-1.116 (page 181-182) Violin Concerto No. 5 in A major (Movement 3), by W. A. Mozart

47. Figure 1.117 (page 183) The Ruins of Athens (Marcia alla turca), by L. v. Beethoven

48. Figure 1.118 (page 184) Symphony No.9 (Movement 4, alla Marcia), by L. v. Beethoven

 49. Figure 1.120-1.121 (page 187-188) Symphony No.3 (Movement 1) by L. v. Beethoven

50. Figure 1.122 (page 189) Symphony No.5 (Movement 1) by L. v. Beethoven

51. Figure 1.123 (page 190-192) Symphony No.9 (Timpani excerpts) by L. v. Beethoven

52. Figure 1.124 (page 195) The Ruins of Athens (Chorus of Dervishes), by L. v. Beethoven

53. Figure 1.125 (page 197) The Ruins of Athens (Allegro con fuoco), by L. v. Beethoven

54. Figure1.126 (page 199) Symphony No.9 (Movement 4, Finale), by L. v. Beethoven

55. Figure 1.127 (page 202) Samson et Dalila (Act I, The Dance of the Priestesses of Dagon), by Camille Saint-Saëns

56. Figure 1.128 (page 203) Samson et Dalila (Act I, Printemps qui commence), by Camille Saint-Saëns

57. Figure1.129-1.131 (page 205-207) Samson et Dalila (Act III, Bacchanale), by Camille Saint-Saëns

58. Figure 1.132-1.135 (page 212-215) Salome (Dance of the Seven Veils), by Richard Strauss