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the italian seicento 17th century
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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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Mar 10, 2006
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Other links at Composers and Arrangers > baroque
Baroque Composers:
Dictionary Entries Sorted by Death Dates.
List of names arranged by death date from Dr. Estrella's Incredibly Abridged Dictionary of Composers. Includes links to individual biographies and further resources.
Dictionary Entries Sorted by Death Dates.
List of names arranged by death date from Dr. Estrella's Incredibly Abridged Dictionary of Composers. Includes links to individual biographies and further resources.
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German Baroque Music 17th Century: Biographies of composers of Early Music complementing Here Of A Sunday Morning the radio program.
The rise of the Italians as the leading composers in Europe induced the more important German musicians to go to Italy for their training. Heinrich Schütz (died 1672) was the most accomplished German exponent of the new style, especially in the field of vocal church music. The organ variations of the last great Netherlander Jan Pieterszoon Sweelinck influenced the harpsichord and organ music of Samuel Scheidt (died1654), whilst Johann Jakob Froberger (died 1667) was more inclined towards the Italian Frescobaldi. A peculiarly German form of monody arose in secular and religious solo song: dance music was elaborated into "suites' of several movements, above all by Johann Hermann Schein ). The religious vocal concerto developed further into the church cantata, based on specially written texts as well as on Biblical excerpts and chorales.
Follows the development of the new music from Italy with emphasis on Schütz and Schein. From the Here of a Sunday Morning radio program.
The rise of the Italians as the leading composers in Europe induced the more important German musicians to go to Italy for their training. Heinrich Schütz (died 1672) was the most accomplished German exponent of the new style, especially in the field of vocal church music. The organ variations of the last great Netherlander Jan Pieterszoon Sweelinck influenced the harpsichord and organ music of Samuel Scheidt (died1654), whilst Johann Jakob Froberger (died 1667) was more inclined towards the Italian Frescobaldi. A peculiarly German form of monody arose in secular and religious solo song: dance music was elaborated into "suites' of several movements, above all by Johann Hermann Schein ). The religious vocal concerto developed further into the church cantata, based on specially written texts as well as on Biblical excerpts and chorales.
Follows the development of the new music from Italy with emphasis on Schütz and Schein. From the Here of a Sunday Morning radio program.
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Late Baroque 1680-1750:
The greatest legacy handed down by the Late Baroque period was its enormous wealth of operas (such as Handel's Serse) and oratorios, (two of the greatest being the St. Matthew Passion by J.S. Bach and Handel's magnificent Messiah). It is perhaps these two oratorios which most typify the sense of opulence and splendor associated with the period. Other major musical contributions of the Late Baroque era were various dance forms, such as the minuet, gigue, courante, allemande, and sarabande. These dances reflected movements that were ornamental, which was another key feature of this particular time in the history of music ...
Background information, resources, biographies, and key works of the composers from The Conservatory at Humanities Web.
The greatest legacy handed down by the Late Baroque period was its enormous wealth of operas (such as Handel's Serse) and oratorios, (two of the greatest being the St. Matthew Passion by J.S. Bach and Handel's magnificent Messiah). It is perhaps these two oratorios which most typify the sense of opulence and splendor associated with the period. Other major musical contributions of the Late Baroque era were various dance forms, such as the minuet, gigue, courante, allemande, and sarabande. These dances reflected movements that were ornamental, which was another key feature of this particular time in the history of music ...
Background information, resources, biographies, and key works of the composers from The Conservatory at Humanities Web.
Category:
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.
Category:
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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