Channel: Music
Uploaded: August 7, 2008 at 3:35 pm
Author: tHEnOOSEsWING
Length: 05:40
Rating: N/A
Views: 223
============================== =Armand-Louis Couperin Deuxieme Quatuor a Deux ClavecinsI.ModeratoII.Andantin III.Presto. Allegro assaiWilliam Christie, clavecin Ruckers-TaskinDavid Fuller, clavecin Goujon-Swanen Clavecin Ruckers-Taskin 1646Clavecin Goujon-Swanen 1749========================== =====Related information:Early baroque music (1600--1654) continued:Claudio Monteverdi became the most visible of a generation of composers who felt that there was a secular means to this "modern" approach to harmony and text, and in 1607 his opera L'Orfeo became the landmark which demonstrated the array of effects and techniques that were associated with this new school, called seconda pratica, to distinguish it from the older style or prima pratica. Monteverdi was a master of both, producing precisely styled madrigals that extended the forms of Luca Marenzio and Giaches de Wert. But it is his pieces in the new style which became the most influential. These included features which are recognizable even to the end of the baroque period, including use of idiomatic writing, virtuoso flourishes, and the use of new techniques.This musical language proved to be international, as Heinrich Schütz, a German composer who studied in Venice under both Gabrieli and later Monteverdi, used it to the liturgical needs of the Elector of Saxony and served as the choir master in Dresden.Middle baroque music (1654--1707)The rise of the centralized court is one of the economic and political features of what is often labelled the Age of Absolutism, personified by Louis XIV of France. The style of palace, and the court system of manners and arts which he fostered, became the model for the rest of Europe. The realities of rising church and state patronage created the demand for organized public music, as the increasing availability of instruments created the demand for chamber music. This included the availability of keyboard instruments.The middle Baroque is separated from the early Baroque by the coming of systematic thinking to the new style and a gradual institutionalization of the forms and norms, particularly in opera. As with literature, the printing press and trade created an expanded international audience for works and greater cross-pollination between national centres of musical activity.The middle Baroque, in music theory, is identified by the increasingly harmonic focus of musical practice and the creation of formal systems of teaching. Music was an art, and it came to be seen as one that should be taught in an orderly manner. This culminated in the later work of Johann Fux in systematizing counterpoint.One pre-eminent example of a court style composer is Jean-Baptiste Lully. His career rose dramatically when he collaborated with Molière on a series of comédie-ballets, that is, plays with dancing. He used this success to become the sole composer of operas for the king, using not just innovative musical ideas such as the tragédie lyrique, but patents from the king which prevented others from having operas staged. Lully's instinct for providing the material that his monarch desired has been pointed out by almost every biographer, including his rapid shift to church music when the mood at court became more devout. His 13 completed lyric tragedies are based on libretti that focus on the conflicts between the public and private life of the monarch. http://en.wikipedia.org/wiki/B... *Note:Support the artist, their families and their legacy by purchasing their music.