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western europe from 1650 to 1750
Description
Western Europe from 1650 to 1750: Biographies of composers of Early Music complementing Here Of A Sunday Morning the radio program.
England had an outstanding genius in Henry Purcell (died 1695), the 'Orpheus Britannicus,' most celebrated for his compositions for the great English dramas, but also a composer of universal range. In France Jean Baptiste Lully (died 1687), an Italian who had migrated to Paris in Early youth, set the classical seal on French opera, and as chief 'conductor' to Louis XIV, provided ballet music and operatic suites for the festivities of 'Le Roi Soleil.' French composers for the harpsichord, and above all FranÁois Couperin 'the Great' (died 1733) adopted the principle of the suite to keyboard music, at the same time introducing elements of tonepainting and program music ...
England had an outstanding genius in Henry Purcell (died 1695), the 'Orpheus Britannicus,' most celebrated for his compositions for the great English dramas, but also a composer of universal range. In France Jean Baptiste Lully (died 1687), an Italian who had migrated to Paris in Early youth, set the classical seal on French opera, and as chief 'conductor' to Louis XIV, provided ballet music and operatic suites for the festivities of 'Le Roi Soleil.' French composers for the harpsichord, and above all FranÁois Couperin 'the Great' (died 1733) adopted the principle of the suite to keyboard music, at the same time introducing elements of tonepainting and program music ...
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Mar 10, 2006
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Other links at Composers and Arrangers > baroque
Western Europe from 1650 to 1750: Biographies of composers of Early Music complementing Here Of A Sunday Morning the radio program.
England had an outstanding genius in Henry Purcell (died 1695), the 'Orpheus Britannicus,' most celebrated for his compositions for the great English dramas, but also a composer of universal range. In France Jean Baptiste Lully (died 1687), an Italian who had migrated to Paris in Early youth, set the classical seal on French opera, and as chief 'conductor' to Louis XIV, provided ballet music and operatic suites for the festivities of 'Le Roi Soleil.' French composers for the harpsichord, and above all FranÁois Couperin 'the Great' (died 1733) adopted the principle of the suite to keyboard music, at the same time introducing elements of tonepainting and program music ...
England had an outstanding genius in Henry Purcell (died 1695), the 'Orpheus Britannicus,' most celebrated for his compositions for the great English dramas, but also a composer of universal range. In France Jean Baptiste Lully (died 1687), an Italian who had migrated to Paris in Early youth, set the classical seal on French opera, and as chief 'conductor' to Louis XIV, provided ballet music and operatic suites for the festivities of 'Le Roi Soleil.' French composers for the harpsichord, and above all FranÁois Couperin 'the Great' (died 1733) adopted the principle of the suite to keyboard music, at the same time introducing elements of tonepainting and program music ...
Category:
18th Century English Music:
Britain in the Eighteenth Century witnessed a period of unprecedented prosperity. This was chiefly the result of a comparatively stable democratic Government and a flourishing international trade with a growing number of colonies supported by trusted financial institutions.
Consequently, many industrious and successful merchants, traders, craftsmen and professionals (the new 'middle' class) found they had the time and money to visit opera houses, music clubs or, in London, one of the pleasure-gardens such as Vauxhall or Ranelagh to hear the latest concertos and songs. Thus England become the vibrant musical centre of Europe to which, not surprisingly, a great wave of continental musicians emigrated to seek fame and fortune. Amongst these of course was the great George Frederick Handel.
But although Handel dominated the opera house and the world of the oratorio, it fell to others to provide the majority of the music in the theatre, the church and chamber music in the home.
Many of these composers, although very popular in their lifetimes, have for 250 years been generally ignored. In all probability the main reason for this was that their music simply went out of fashion, with most baroque music concerts in the 19th and early 20th centuries consisting of oratorios i.e. music predominately by Handel and Bach ...
Biographies of several composers, portraits, and in-depth illustrated history of the period.
Britain in the Eighteenth Century witnessed a period of unprecedented prosperity. This was chiefly the result of a comparatively stable democratic Government and a flourishing international trade with a growing number of colonies supported by trusted financial institutions.
Consequently, many industrious and successful merchants, traders, craftsmen and professionals (the new 'middle' class) found they had the time and money to visit opera houses, music clubs or, in London, one of the pleasure-gardens such as Vauxhall or Ranelagh to hear the latest concertos and songs. Thus England become the vibrant musical centre of Europe to which, not surprisingly, a great wave of continental musicians emigrated to seek fame and fortune. Amongst these of course was the great George Frederick Handel.
But although Handel dominated the opera house and the world of the oratorio, it fell to others to provide the majority of the music in the theatre, the church and chamber music in the home.
Many of these composers, although very popular in their lifetimes, have for 250 years been generally ignored. In all probability the main reason for this was that their music simply went out of fashion, with most baroque music concerts in the 19th and early 20th centuries consisting of oratorios i.e. music predominately by Handel and Bach ...
Biographies of several composers, portraits, and in-depth illustrated history of the period.
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:
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 Settocento 18th Century: Biographies of composers of Early Music complementing Here Of A Sunday Morning the radio program.
In Italy the transition from the early to the late Baroque saw the division of solo song into declamatory recitative and cantabile aria, a procedure practised in Neapolitan opera, and particularly by its leading master Alessandro Scarlatti (died 1725). An unprecedented virtuosity in the art of "Bel canto' led to the flooding of Europe with Italian singers and opera companies. Even more productive than the serious opera was the "Buffa", in its development of the ensemble. In instrumental music the application of the concerto principle led to the development of the Concerto Grosso (Arcangelo Corelli, died 1713) and the solo concerto (Antonio Vivaldi, died 1741). Domenico Scarlatti (died 1757) represents a late blossoming of virtuoso music for the harpsichord, as does Giuseppe Tartini (died 1770) in the realm of the violin sonata.
In Italy the transition from the early to the late Baroque saw the division of solo song into declamatory recitative and cantabile aria, a procedure practised in Neapolitan opera, and particularly by its leading master Alessandro Scarlatti (died 1725). An unprecedented virtuosity in the art of "Bel canto' led to the flooding of Europe with Italian singers and opera companies. Even more productive than the serious opera was the "Buffa", in its development of the ensemble. In instrumental music the application of the concerto principle led to the development of the Concerto Grosso (Arcangelo Corelli, died 1713) and the solo concerto (Antonio Vivaldi, died 1741). Domenico Scarlatti (died 1757) represents a late blossoming of virtuoso music for the harpsichord, as does Giuseppe Tartini (died 1770) in the realm of the violin sonata.
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