Channel: Music
Uploaded: August 7, 2008 at 5:08 pm
Author: tHEnOOSEsWING
Length: 04:25
Rating: 5.00
Views: 249
============================== =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:In contrast to these composers, Dieterich Buxtehude was not a creature of court but instead was an organist and entrepreneurial presenter of music. Rather than publishing, he relied on performance for his income, and rather than royal patronage, he shuttled between vocal settings for sacred music, and organ music that he performed. His output is not as fabulous or diverse, because he was not constantly being called upon for music to meet an occasion. Buxtehude's employment of contrast was between the free, often improvisatory sections, and more strict sections worked out contrapuntally. This procedure would be highly influential on later composers such as Bach, who took the contrast between free and strict to greater limits.Late baroque music (1680--1750)The dividing line between middle and late Baroque is a matter of some debate. Dates for the beginning of "late" baroque style range from 1680 to 1720. In no small part this is because there was not one synchronized transition; different national styles experienced changes at different rates and at different times. Italy is generally regarded as the first country to move to the late baroque style. The important dividing line in most histories of baroque music is the full absorption of tonality as a structuring principle of music. This was particularly evident in the wake of theoretical work by Jean-Philippe Rameau, who replaced Lully as the important French opera composer. At the same time, through the work of Johann Fux, the Renaissance style of polyphony was made the basis for the study of counterpoint. The combination of modal counterpoint with tonal logic of cadences created the sense that there were two styles of composition— the homophonic dominated by vertical considerations and the polyphonic dominated by imitation and contrapuntal considerations.The forms which had begun to be established in the previous era flourished and were given wider range of diversity; concerto, suite, sonata, concerto grosso, oratorio, opera and ballet all saw a proliferation of national styles and structures. The overall form of pieces was generally simple, with repeated binary forms (AABB), simple three part forms (ABC), and rondeau forms being common. These schematics in turn influenced later composers. http://en.wikipedia.org/wiki/B... *Note:Support the artist, their families and their legacy by purchasing their music.