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the german pre classics 1700-1760
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The German Pre-Classics 1700-1760: Biographies of composers of Early Music complementing Here Of A Sunday Morning the radio program.
German music, influenced by Neapolitan tunefulness and French elegance, began to develop "popular" aspects. The solo aria was simplified into the simple religious song, dance song and pastoral song. at the smae time the acme of aristocratic music-making, in both opera and chamber music, was attained at the courts, such as Dresden, and in particular at Potsdam, where the music loving King Frederick the Great (d. 1786) played the flute and wrote conceros and sonatas for the instrument. Outstanding composers and virtuosos such as Johann Joachim Quantz (d. 1773) played in the Royal Orchestra, which was direcetd by the operatic composer Karl Heinrich Graun (d. 1759). But by far the most versatile and prolific composer of the period was george Philipp Telemann (d. 1767), whose centre of activity in the City of Hamburg epitomizes bourgeois music-making of the royal courts.
German music, influenced by Neapolitan tunefulness and French elegance, began to develop "popular" aspects. The solo aria was simplified into the simple religious song, dance song and pastoral song. at the smae time the acme of aristocratic music-making, in both opera and chamber music, was attained at the courts, such as Dresden, and in particular at Potsdam, where the music loving King Frederick the Great (d. 1786) played the flute and wrote conceros and sonatas for the instrument. Outstanding composers and virtuosos such as Johann Joachim Quantz (d. 1773) played in the Royal Orchestra, which was direcetd by the operatic composer Karl Heinrich Graun (d. 1759). But by far the most versatile and prolific composer of the period was george Philipp Telemann (d. 1767), whose centre of activity in the City of Hamburg epitomizes bourgeois music-making of the royal courts.
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Mar 10, 2006
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The Italian Seicento 17th Century: Biographies of composers of Early Music complementing Here Of A Sunday Morning the radio program.
At the beginning of the seventeenth century opera was born in Florence,derived partly from the development of musical dialogs, and partly from the efforts of the Humanists to revive classical tragedy. Its essential means of exxpression was the solo song, which became a new vehicle for expressing human emotion. This solo song also revealed fresh aesthetic possibilities outisde the theatre in the new 'monody,' which later developed into the chamber cantata. From the combination of several solo voices with one another, or with instruments, or with chorus, there came the vocal concerto and the oratorio. Claudio Monteverdi (died 1643) in Venice, and Giacomo Carissimi (died 1674) in Rome, were the first great masters of this 'Baroque' music. As a counterpart to the sung 'cantata,' the 'toccata' for keyboard instruments found its first eminent exponent in Girolamo Frescobaldi (died 1643). at the some time the appliaction of the accompanied solo style to instrumental music led to the rise of the 'sonata' (solo or trio) which reached its first peak in the works of Giovanni Legrenzi (died 1690). The Italian preference for stringed instruments led to the classical age of violin making.
At the beginning of the seventeenth century opera was born in Florence,derived partly from the development of musical dialogs, and partly from the efforts of the Humanists to revive classical tragedy. Its essential means of exxpression was the solo song, which became a new vehicle for expressing human emotion. This solo song also revealed fresh aesthetic possibilities outisde the theatre in the new 'monody,' which later developed into the chamber cantata. From the combination of several solo voices with one another, or with instruments, or with chorus, there came the vocal concerto and the oratorio. Claudio Monteverdi (died 1643) in Venice, and Giacomo Carissimi (died 1674) in Rome, were the first great masters of this 'Baroque' music. As a counterpart to the sung 'cantata,' the 'toccata' for keyboard instruments found its first eminent exponent in Girolamo Frescobaldi (died 1643). at the some time the appliaction of the accompanied solo style to instrumental music led to the rise of the 'sonata' (solo or trio) which reached its first peak in the works of Giovanni Legrenzi (died 1690). The Italian preference for stringed instruments led to the classical age of violin making.
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The German Pre-Classics 1700-1760: Biographies of composers of Early Music complementing Here Of A Sunday Morning the radio program.
German music, influenced by Neapolitan tunefulness and French elegance, began to develop "popular" aspects. The solo aria was simplified into the simple religious song, dance song and pastoral song. at the smae time the acme of aristocratic music-making, in both opera and chamber music, was attained at the courts, such as Dresden, and in particular at Potsdam, where the music loving King Frederick the Great (d. 1786) played the flute and wrote conceros and sonatas for the instrument. Outstanding composers and virtuosos such as Johann Joachim Quantz (d. 1773) played in the Royal Orchestra, which was direcetd by the operatic composer Karl Heinrich Graun (d. 1759). But by far the most versatile and prolific composer of the period was george Philipp Telemann (d. 1767), whose centre of activity in the City of Hamburg epitomizes bourgeois music-making of the royal courts.
German music, influenced by Neapolitan tunefulness and French elegance, began to develop "popular" aspects. The solo aria was simplified into the simple religious song, dance song and pastoral song. at the smae time the acme of aristocratic music-making, in both opera and chamber music, was attained at the courts, such as Dresden, and in particular at Potsdam, where the music loving King Frederick the Great (d. 1786) played the flute and wrote conceros and sonatas for the instrument. Outstanding composers and virtuosos such as Johann Joachim Quantz (d. 1773) played in the Royal Orchestra, which was direcetd by the operatic composer Karl Heinrich Graun (d. 1759). But by far the most versatile and prolific composer of the period was george Philipp Telemann (d. 1767), whose centre of activity in the City of Hamburg epitomizes bourgeois music-making of the royal courts.
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The Complete Baroque Music Page: articles, composer biographies, portraits, music samples. All you need in 40plus well-documented sub-pages.
The English word baroque is derived from the Italian barocco, meaning bizarre, though probably exuberant would be a better translation more accurately reflecting the sense. The usage of this term originated in the 1860s to describe the highly decorated style of 17th and 18th century religious and public buildings in Italy, Germany and Austria, as typified by the very baroque angelic organist adorning the Gottfried Silbermann organ completed in 1714 for the Cathedral in Freiberg, Saxony (illustrated above). Later, during the early-to-mid 1900s, the term baroque was applied by association to music of the 17th and early 18th century, and today the term baroque has come to refer to a very clearly definable type or genre of music which originated, broadly speaking, around 1600 and came to fruition between 1700 and 1750.
Listen to music of the 1200s and 1300s. It's relatively primitive in terms of melody and harmony. If we move to the 1500s we find a great difference, as Italian music began to blossom and English composers like Dowland, Morley and Tomkins produced the wonderful melodies and surprisingly sensitive poetry which accompanied them - or vice versa. A major theme underlying music at that time however was the exploration of form. There was still so much new to discover: new melodic lines and harmonic progressions to be explored, new combinations of instruments, and new forms in music such as the fugue, canon, and variations on a bassline, a popular tune or a chorale. As the 1600s progressed, so these different musical forms took on definite shape, and the period from 1700 to 1750 can clearly be seen as the "high baroque" ...
The English word baroque is derived from the Italian barocco, meaning bizarre, though probably exuberant would be a better translation more accurately reflecting the sense. The usage of this term originated in the 1860s to describe the highly decorated style of 17th and 18th century religious and public buildings in Italy, Germany and Austria, as typified by the very baroque angelic organist adorning the Gottfried Silbermann organ completed in 1714 for the Cathedral in Freiberg, Saxony (illustrated above). Later, during the early-to-mid 1900s, the term baroque was applied by association to music of the 17th and early 18th century, and today the term baroque has come to refer to a very clearly definable type or genre of music which originated, broadly speaking, around 1600 and came to fruition between 1700 and 1750.
Listen to music of the 1200s and 1300s. It's relatively primitive in terms of melody and harmony. If we move to the 1500s we find a great difference, as Italian music began to blossom and English composers like Dowland, Morley and Tomkins produced the wonderful melodies and surprisingly sensitive poetry which accompanied them - or vice versa. A major theme underlying music at that time however was the exploration of form. There was still so much new to discover: new melodic lines and harmonic progressions to be explored, new combinations of instruments, and new forms in music such as the fugue, canon, and variations on a bassline, a popular tune or a chorale. As the 1600s progressed, so these different musical forms took on definite shape, and the period from 1700 to 1750 can clearly be seen as the "high baroque" ...
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Baroque Music Composers:
Albinoni | Bach | Biber | Blow | Buxtehude | Caccini
Carissimi | Chambonnières | Charpentier | Corelli | Couperin | Frescobaldi
Froberger | Geminiani | Gluck | Händel | Lully | Metastasio
Monteverdi | Pachelbel | Pepusch | Pergolesi | Peri | Purcell
Rameau | Sammartini | Scarlatti | Scheidt | Schein | Schütz
Stradella | Tartini | Telemann | Torelli | Vivaldi | Zachau.
Biographical sketches of thirty-six composers from the period.
Albinoni | Bach | Biber | Blow | Buxtehude | Caccini
Carissimi | Chambonnières | Charpentier | Corelli | Couperin | Frescobaldi
Froberger | Geminiani | Gluck | Händel | Lully | Metastasio
Monteverdi | Pachelbel | Pepusch | Pergolesi | Peri | Purcell
Rameau | Sammartini | Scarlatti | Scheidt | Schein | Schütz
Stradella | Tartini | Telemann | Torelli | Vivaldi | Zachau.
Biographical sketches of thirty-six composers from the period.
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Early Baroque 1600-1680:
The most important figure of the Early Baroque period was the Italian composer Claudio Monteverdi. He transformed music through his imaginative development of traditional forms. In particular, the dramatic styles of his madrigals (vocal compositions) anticipates the solo cantata and operatic recitative (a singing styles that resembles speech) of the Late Baroque period. Monteverdi was also the earliest significant composer of opera.
Other music that flourished during this period was church organ music. Dutch composer Jan Sweelinck pioneered a number of forms, including the fugue, which strongly influenced J.S. Bach. Another leading musician was Dietrich Buxtehude, whose fame inspired Bach to walk two hundred miles just to hear him play ...
Background information, resources, and biographies and keyworks of the composers from The Conservatory at Humanities Web.
The most important figure of the Early Baroque period was the Italian composer Claudio Monteverdi. He transformed music through his imaginative development of traditional forms. In particular, the dramatic styles of his madrigals (vocal compositions) anticipates the solo cantata and operatic recitative (a singing styles that resembles speech) of the Late Baroque period. Monteverdi was also the earliest significant composer of opera.
Other music that flourished during this period was church organ music. Dutch composer Jan Sweelinck pioneered a number of forms, including the fugue, which strongly influenced J.S. Bach. Another leading musician was Dietrich Buxtehude, whose fame inspired Bach to walk two hundred miles just to hear him play ...
Background information, resources, and biographies and keyworks of the composers from The Conservatory at Humanities Web.
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