What repertoire does MITA feature?

We have rigorously selected MITA’s repertoire to give students a complete, well-rounded musical perspective that includes a full range of time periods—and time zones—with both established staples of the Western art music canon and appealing gems you’ll find in no other course pack (as well as videos not listed below of performers from a variety of global music traditions). All works featured within MITA include a historical overview in the Eventful Story section and a Listening Guide accompanied by an outstanding recording; the vast majority also include an Interactive Score (noted in bold below).

Updated August 24, 2018. To see the most up-to-date repertoire, check out the list in the Listening Guides section within a version of MITA.

MITA Repertoire List


Invocation to Calliope and Apollo

THE MIDDLE AGES (500-1430)

Marian Antiphon: “Alma redemptoris mater”
Hildegard von Bingen: Ordo virtutum, Scene 4
Countess of Dia: trobairitz song, “A una amante infidele”
Walter von der Vogelweide: “Unter der linden an der heide”
Pérotin: Excerpt from the four-voiced organum, Viderunt omnes
Anonymous Motet: “O mitissima—Quant voi—Virgo virginum—Hec dies”
Guillaume de Machaut: Gloria to the Mass of Notre Dame
De Machaut: ballade, “Dame, comment qu’amez”
De Machaut: virelai, “Douce dame jolie”
De Machaut: rondeau, “Rose, lis, printemps, verdure”
Giovanni da Firenze: caccia, “Con bracchi assai”
Francesco Landini: ballata, “Cara mie donna”
John Dunstable: ballata, “O rosa bella”


Gilles Binchois or Guillaume Dufay: rondeau, “Je ne veis onques la pareille”
Heinrich Isaac: Lied, “Innsbruck, ich muss dich lassen”
Josquin des Prez: frottola, “El grillo”
Des Prez: canonic chanson, “Baisez moy”
Thomas Weelkes: English Madrigal, “Those sweet delightful Lilies”
Renaissance Dance Medley
Guillaume Dufay: motet, “Supremum est mortalibus bonum”
Des Prez: Credo from the Missa L’homme armé super voces musicales”
Giovanni Pierluigi da Palestrina: Credo from the Pope Marcellus Mass
Tomas Luis de Victoria: Ave maria for double SATB choir


Giovanni Gabrieli: Canzoni e Sonate, Sonata XIX
Girolamo Frescobaldi: Capriccio del Soggetto scritto sopra l’Aria di Ruggiero
Claudio Monteverdi: madrigal, “Zefiro torna”
Heinrich Schütz: “Freue dich”
Monteverdi: opera, Orfeo, Act IV, Orfeo’s ascent
Henry Purcell: opera, Dido and Aeneas, conclusion
Jean-Baptiste Lully: incidental music to The Bourgeois Gentleman, No. 1, Overture; No. 3, Canaries; No. 4, March for the Turkish Ceremony; No. 8, Chaconne des Scaramouches
Barbara Strozzi: Un amante segreto

THE LATE BAROQUE (1690-1750)

Arcangelo Corelli: Concerto Grosso in F Major, Op. 6, No. 2 (all four movements)
Johann Sebastian Bach: Brandenburg Concerto No. 2 in F Major (all three movements)
Antonio Vivaldi: “Autumn” from The Four Seasons (all three movements)
George Frederick Handel: Suite in D/G Major from Royal Water Music, movements 2, 4 & 5
Georg Philipp Telemann: Trio Sonata in A Minor from Essercisii musici, 4th movement
François Couperin: Les barricades mysterieuses
J.S. Bach: Toccata and Fugue in G Minor for organ, BWV 565
Handel: opera, Orlando, recitative and aria, “Fammi combattere”
Jean Philippe Rameau: Jupiter’s descent from Act IV of Castor et Pollux
Handel: from Part II of Messiah
J.S. Bach: Cantata No. 78, movements 1 & 2


Johann Christian Bach: Overture to Adriano in Siria, 1st movement
Carl Philip Emanuel Bach: Symphony in D Major, Wq. 183/1, 1st movement
Franz Joseph Haydn: Symphony No. 100 in G Major (“Military,” all four movements)
Wolfgang Amadeus Mozart: Symphony No. 41 in C Major, K. 551 (“Jupiter,” all four movements)
Mozart: Piano Concerto in C Major, K. 467 (all three movements)
Haydn: String Quartet in D Major, Op. 76 No. 5, 2nd & 4th movements
Mozart: The Marriage of Figaro – Act I, No. 6: “Non so piú cosa son;” Act I, No. 9: Recitative and Aria, “Non piú andrei…;” Act II finale, Stages 3-7
Ludwig van Beethoven: Symphony No. 5 in C Minor, Op. 67, movements 1 & 4
Beethoven: Piano Concerto No. 4 in G Major, Op. 58, 1st movement
Beethoven: Piano Sonata in C Minor, Op. 111 (both movements)
Beethoven: String Quartet in C-sharp Minor, Op. 131, movements 1, 4 & 7
Gioachino Rossini: The Barber of Seville – Overture; Act I: Figaro’s Cavatina, “Largo al factotum;” Act I: Rosina’s Cavatina, “Una voce poco fa”
Carl Maria von Weber: opera, Der Freischütz, Act II, “Wolf’s Glen Scene”
Franz Schubert: Lied, “An Silvia,” D. 891
Schubert: Lied, “Gretchen am Spinnrade,” D. 118
Schubert: Lied, “Rastlose Liebe,” D. 138

ROMANTICISM (ca. 1829-ca. 1875)

Hector Berlioz: Symphonie fantastique, movements 1, 2, 4 & 5
Niccolò Paganini: Caprice for Solo Violin, Op. 1, No. 9
Franz Liszt: Concert Étude after Paganini, “La Campanella”
Frédéric Chopin: Étude in G-sharp Minor, Op. 25, No. 6
Chopin: Mazurka in B-flat Minor, Op. 24, No. 4
Chopin: Nocturne in E Major, Op. 62, No. 2
Clara Wieck: Romance in G Minor, Op. 11, No. 2
Robert Schumann: Piano Concerto in A Minor, Op. 54, 1st movement
Felix Mendelssohn: Piano Trio in D Minor, movements 1 & 2
Johannes Brahms: Variations on a Theme by Haydn, Op. 56b
Johann Strauss, Jr.: Waltz, “Voices of Spring,” Op. 410
Vincenzo Bellini: opera, Norma, Act I, “Casta Diva”
Gaetano Donizetti: opera, Lucia di Lammermoor, Act III, Scene 2 (Mad Scene)
Giuseppe Verdi: opera, Rigoletto, Act III, beginning
Liszt: Concert Paraphrase from Verdi’s Rigoletto
Richard Wagner: opera, Tristan and Isolde, Act II, Love duet
Liszt/Wagner: Liebestod from Tristan and Isolde

POST-ROMANTICISM (ca. 1875-1909)

Bedřich Smetana: The Moldau from Ma Vlast
Edvard Grieg: Wedding Day at Troldhaugen
Modest Musorgsky: Pictures at an Exhibition, Various Promenades and No. 1, “Gnomus;” No. 3, “Tuileries;” No. 5, “Ballet of the Chicks in their Shells;” No. 9, “The Hut on Fowl’s Legs;” and No. 10, “The Great Gate of Kiev”
Peter Tchaikovsky: Fantasy Overture, Romeo and Juliet
Giacomo Puccini: opera, La bohéme, Act I, love duet
Antonín Dvorák: Symphony No. 9 in E Minor, Op. 95 (“From the New World”), 2nd movement
Richard Mahler: Symphony No. 6, 1st movement
Richard Strauss: opera, Der Rosenkavalier, Act III, conclusion

MODERNISM (ca. 1900-ca. 1960)

Claude Debussy: Prelude to the Afternoon of a Faun
Maurice Ravel: “Lever du jour” from Daphnis and Chloe, Suite No. 2
Igor Stravinsky: Part I from The Rite of Spring
Arnold Schoenberg: Vergangenes from Five Pieces for Orchestra, Op. 16
Schoenberg: No. 8, “Nacht,” from Pierrot lunaire, Op. 21
Anton Webern: Five Pieces for Orchestra, Op. 10, numbers 3 & 4
Alban Berg: opera, Wozzeck, Act III, Scenes 2 & 3
Webern: Symphony, Op. 21, 1st movement
John Philip Sousa: march, “The Stars and Stripes Forever”
Charles Ives: “Putnam’s Camp” from Three Places in New England
Aaron Copland: Suite from Appalachian Spring
Scott Joplin: “Gladiolus Rag”
Jelly Roll Morton: “Dead Man Blues”
Louis Armstrong: “West End Blues”
Duke Ellington: “Harlem Air Shaft”
Charlie Parker: “Bloomdido”
Stravinsky: “Three Dances” from A Soldier’s Tale
George Gershwin: from Act I, Scene 1 of Porgy and Bess
Leonard Bernstein: “America” and “Tonight” from West Side Story
Paul Hindemith: Kammermusik No. 1, Op. 24, movements 1 & 2
Stravinsky: Symphony of Psalms, 3rd movement
Edgard Varèse: Ionisation
Béla Bartók: Concerto for Orchestra, movements 1 & 4
Sergei Prokofiev: Piano Concerto No. 3, 1st movement
Sergei Rachmaninoff: Rhapsody on a Theme of Paganini
Benjamin Britten: opera, Act III, end Scene 1 to Scene 2 of Peter Grimes
Bernard Herrmann: Suite from the film Journey to the Centre of the Earth
Dmitri Shostakovich: Symphony No. 5, Op. 47, 2nd movement
Olivier Messiaen: Quartet for the End of Time, 1st movement, “Liturgie de cristal” & 6th movement, “Danse de la fureur, pour les sept trompettes”

THE DIGITAL AGE (ca. 1950 on)

Pierre Boulez: Le Marteau sans maître, 3rd movement, “The Furious Artisan”
Karlheinz Stockhausen: Song of the Youths
György Ligeti: Lux Aeterna for 16-voice a cappella mixed chorus
Ellen Taaffe Zwilich: “Eyesight” from Passages for Soprano and Instrumental Ensemble
John Adams: “News Has a Kind of Mystery” from Act I of Nixon in China

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