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73-579: The ABO usually performs four to six concerts per year, concentrating on orchestral works and concerti , but often featuring chamber pieces , vocal cantatas , and other works with vocal soloists. The range of works performed by the ABO stretches back to the beginnings of Baroque style around the year 1600, while their core repertoire is centered in music from many composers who worked in the Middle Baroque era of Pachelbel and Corelli (the late 1600s) and

146-415: A Concerto for Flute, Harp, and Orchestra , and Exsultate, jubilate , a de facto concerto for soprano voice. They all exploit and explore the characteristics of the solo instrument(s). Haydn wrote an important trumpet concerto and a Sinfonia Concertante for violin, cello, oboe and bassoon as well as two horn concertos. Haydn also wrote a concerto for double bass but has since been lost to history in

219-459: A basso continuo group (comprising chord-playing instrumentalists such as harpsichordists and lute players improvising chords from a figured bass part) while a group of bass instruments— viol , cello , double bass —played the bassline . A characteristic Baroque form was the dance suite . While the pieces in a dance suite were inspired by actual dance music, dance suites were designed purely for listening, not for accompanying dancers. During

292-581: A cello concerto , a piano concerto and a double concerto for violin and cello ), Karol Szymanowski (two violin concertos and a "Symphonie Concertante" for piano), and Richard Strauss (two horn concertos, a violin concerto, Don Quixote —a tone poem that features the cello as a soloist—and among later works, an oboe concerto ). However, in the first decades of the 20th century, several composers such as Debussy , Schoenberg , Berg , Hindemith , Stravinsky , Prokofiev and Bartók started experimenting with ideas that were to have far-reaching consequences for

365-437: A lute player who would play the bassline and improvise the chords and several bass instruments (e.g., bass viola , cello , double bass ) which would play the bassline. With the writing of the operas L'Orfeo and L'incoronazione di Poppea among others, Monteverdi brought considerable attention to this new genre. This Venetian style was taken handily to Germany by Heinrich Schütz , whose diverse style also evolved into

438-566: A woodwind instrument , and concerti grossi for a group of soloists. The first keyboard concertos , such as George Frideric Handel 's organ concertos and Johann Sebastian Bach 's harpsichord concertos , were written around the same time. In the second half of the 18th century, the piano became the most used keyboard instrument , and composers of the Classical Era such as Joseph Haydn , Wolfgang Amadeus Mozart and Ludwig van Beethoven each wrote several piano concertos , and, to

511-422: A child, made arrangements for keyboard and orchestra of four sonatas by now little-known composers. Then he arranged three sonata movements by Johann Christian Bach . By the time he was twenty, Mozart was able to write concerto ritornelli that gave the orchestra admirable opportunity for asserting its character in an exposition with some five or six sharply contrasted themes, before the soloist enters to elaborate on

584-447: A concerto for a rock band . Concertos from previous ages have remained a conspicuous part of the repertoire for concert performances and recordings. Less common has been the previously common practice of the composition of concertos by a performer to be performed personally, though the practice has continued via certain composer-performers such as Daniil Trifonov . The Italian word concerto , meaning accord or gathering, derives from

657-484: A concerto for wordless coloratura soprano by Reinhold Glière . As a result, almost all classical instruments now have a concertante repertoire. Among the works of the prolific composer Alan Hovhaness may be noted Prayer of St. Gregory for trumpet and strings, though it is not a concerto in the usual sense of the term. In the later 20th century the concerto tradition was continued by composers such as Maxwell Davies , whose series of Strathclyde Concertos exploit some of

730-472: A court style composer is Jean-Baptiste Lully . He purchased patents from the monarchy to be the sole composer of operas for the French king and to prevent others from having operas staged. He completed 15 lyric tragedies and left unfinished Achille et Polyxène . Lully was an early example of a conductor ; he would beat the time with a large staff to keep his ensembles together. Musically, he did not establish

803-509: A full concerto, though the distinction has never been formalised and many Concertinos are still longer than the original Baroque concertos. During the Romantic era the cello became increasingly used as a concerto instrument; though the violin and piano remained the most frequently used. Beethoven contributed to the repertoire of concertos for more than one soloist with a Triple Concerto for piano, violin, cello and orchestra while later in

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876-404: A genre of vocal music in the late 16th century: the instrumental variant appeared around a century later, when Italians such as Giuseppe Torelli and Arcangelo Corelli started to publish their concertos. A few decades later, Venetian composers, such as Antonio Vivaldi , had written hundreds of violin concertos , while also producing solo concertos for other instruments such as a cello or

949-482: A lesser extent, violin concertos, and concertos for other instruments. In the Romantic Era , many composers, including Niccolò Paganini , Felix Mendelssohn , Frédéric Chopin , Robert Schumann , Johannes Brahms , Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff , continued to write solo concertos, and, more exceptionally, concertos for more than one instrument; 19th century concertos for instruments other than

1022-1004: A major portion of the " classical music " canon , and is widely studied, performed, and listened to. The term " baroque " comes from the Portuguese word barroco , meaning " misshapen pearl ". The works of Antonio Vivaldi , George Frideric Handel and Johann Sebastian Bach are considered the pinnacle of the Baroque period. Other key composers of the Baroque era include Claudio Monteverdi , Domenico Scarlatti , Alessandro Scarlatti , Alessandro Stradella , Tomaso Albinoni , Johann Pachelbel , Henry Purcell , Georg Philipp Telemann , Jean-Baptiste Lully , Jean-Philippe Rameau , Marc-Antoine Charpentier , Arcangelo Corelli , François Couperin , Johann Hermann Schein , Heinrich Schütz , Samuel Scheidt , Dieterich Buxtehude , Gaspar Sanz , José de Nebra , Antonio Soler , Carlos Seixas , Adam Jarzębski and others, with Giovanni Battista Pergolesi being

1095-613: A neoclassical rejection of specific features which typically characterized the concerto form during the Baroque or Romantic periods. Several of them achieved this objective by incorporating various musical elements from the realm of jazz within the structure of the concerto. Included in this group were: Aaron Copland ( Concerto for Piano , 1926), Maurice Ravel ( Concerto for the Left Hand , 1929), Igor Stravinsky ( Ebony Concerto for clarinet and jazz band, 1945) and George Gershwin ( Concerto in F , 1925). Still others called upon

1168-407: A solo singing accompanied by a kithara (an ancient strummed string instrument). The early realizations of these ideas, including Jacopo Peri 's Dafne and L'Euridice , marked the beginning of opera, which was a catalyst for Baroque music. Concerning music theory, the more widespread use of figured bass (also known as thorough bass ) represents the developing importance of harmony as

1241-463: A technical term from scholastic logic. The term "baroque" is generally used by music historians to describe a broad range of styles from a wide geographic region, mostly in Europe, composed over a period of about 150 years. Though it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music, in an anonymous, satirical review of

1314-566: A tool for expression and communication. The etymology of baroque is likely via the French baroque (which originally meant a pearl of irregular shape), and from the Portuguese barroco ("irregular pearl"); also related are the Spanish barrueco and the Italian barocco . The term is of uncertain ultimate origin, but possibly from Latin verrūca ("wart") or possibly from Baroco ,

1387-530: Is Antonio Vivaldi , who later composed hundreds of works based on the principles in Corelli's trio sonatas and concerti. In contrast to these composers, Dieterich Buxtehude was not a creature of court but instead was church musician, holding the posts of organist and Werkmeister at the Marienkirche at Lübeck. His duties as Werkmeister involved acting as the secretary, treasurer, and business manager of

1460-509: Is linked by the twelve-tone serial method. In the 20th century, particularly after the Second World War, the cello enjoyed an unprecedented popularity. As a result, its concertante repertoire caught up with those of the piano and the violin both in terms of quantity and quality. The 20th century also witnessed a growth of the concertante repertoire of instruments, some of which had seldom or never been used in this capacity, and even

1533-514: 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 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 , which is music for a small ensemble of instrumentalists. One pre-eminent example of

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1606-572: The Encyclopédie : "Baroque music is that in which the harmony is confused, and loaded with modulations and dissonances. The singing is harsh and unnatural, the intonation difficult, and the movement limited. It appears that term comes from the word 'baroco' used by logicians". Rousseau was referring to the philosophical term baroco , in use since the 13th century to describe a type of elaborate and, for some, unnecessarily complicated academic argument. The systematic application by historians of

1679-514: The Sinfonia Concertante for violin, viola, and orchestra. Beethoven wrote only one violin concerto that remained obscure until revealed as a masterpiece in a performance by violin virtuoso Joseph Joachim on 27 May 1844. C.P.E. Bach's keyboard concertos contain some virtuosic solo writing. Some of them have movements that run into one another without a break, and there are frequent cross-movement thematic references. Mozart, as

1752-609: The University of Georgia , Florida State University , Kennesaw State University , Clayton College and State University , Oglethorpe University , and Valdosta State University . The ABO has performed in venues in Birmingham, Alabama , Pensacola, Florida , Rome, Georgia , and Conyers, Georgia . The orchestra has also partnered with choral organizations including the Emory Concert Choir, Atlanta Choral Artists,

1825-498: The Western classical music practice. For instance, Italian composers switched to the galant style around 1730, while German composers such as Johann Sebastian Bach largely continued to write in the baroque style up to 1750. The Florentine Camerata was a group of humanists, musicians, poets and intellectuals in late Renaissance Florence who gathered under the patronage of Count Giovanni de' Bardi to discuss and guide trends in

1898-468: The concerto grosso . Whereas Lully was ensconced at court, Corelli was one of the first composers to publish widely and have his music performed all over Europe. As with Lully's stylization and organization of the opera, the concerto grosso is built on strong contrasts—sections alternate between those played by the full orchestra, and those played by a smaller group. Fast sections and slow sections were juxtaposed against each other. Numbered among his students

1971-411: The double bass (by composers like Eduard Tubin or Peter Maxwell Davies ) and cor anglais (like those by MacMillan and Aaron Jay Kernis ), but also folk instruments (such as Tubin's concerto for Balalaika , Serry 's Concerto in C Major for Bassetti Accordion , or the concertos for Harmonica by Villa-Lobos and Malcolm Arnold ), and even Deep Purple 's Concerto for Group and Orchestra ,

2044-833: The ripieno , functioning as a continuo keyboard accompaniment. Later, the concerto approached its modern form, in which the concertino usually reduces to a single solo instrument playing with (or against) an orchestra. The main composers of concertos of the baroque were Tommaso Albinoni , Antonio Vivaldi (e.g., published in L'estro armonico , La stravaganza , Six Violin Concertos, Op. 6 , Twelve Concertos, Op. 7 , Il cimento dell'armonia e dell'inventione , Six Flute Concertos, Op. 10 , Six Concertos, Op. 11 and Six Violin Concertos, Op. 12 ), Georg Philipp Telemann , Johann Sebastian Bach , George Frideric Handel , Pietro Locatelli , Jean-Marie Leclair , Giuseppe Tartini , Francesco Geminiani and Johann Joachim Quantz . The concerto

2117-452: The 19th century such as the clarinet , viola and French horn . In the second half of the 20th century and onwards into the 21st a great many composers have continued to write concertos, including Alfred Schnittke , György Ligeti , Dimitri Shostakovich , Philip Glass and James MacMillan among many others. An interesting feature of this period is the proliferation of concerti for less usual instruments, including orchestral ones such as

2190-775: The ABO include first performances in Atlanta on period instruments: In addition to its own concerts, the orchestra has performed in collaboration with other organizations throughout the Southeast, including at conferences of the National Flute Convention, the American Musicological Society , and the Southeast Historical Keyboard Society. The ABO has performed on the campuses of Emory University ,

2263-593: The Atlanta area, supplemented by guest performers and featured soloists from throughout the US and overseas. Most performers with the ABO are university instructors and professors with advanced degrees; all are specialists in authentic performance practice, playing replicas of the actual instruments used in the Baroque era. Such an ensemble produces a sound that is quite different from ensembles which use modern orchestral instruments. Baroque violins , violas and cellos use strings of sheep gut and bows of an earlier design, rather than

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2336-468: The Baroque era to its climax, the High Baroque. Italy: France: Italy: Proliferation: France: Germany: Bohemia : Poland : Galant music : Bach's elder sons and pupils : Mannheim school : A characteristic of the Baroque form was the dance suite . Some dance suites by Bach are called partitas , although this term is also used for other collections of pieces. While

2409-460: The Baroque period, before the invention of the piano, keyboard concertos were comparatively rare, with the exception of the organ and some harpsichord concertos by Johann Sebastian Bach . The concertos of the sons of Johann Sebastian Bach , such as C. P. E. Bach , are perhaps the best links between those of the Baroque period and those of the Classical era. It is conventional to state that

2482-435: The High Baroque era of Vivaldi , Bach , Handel and Telemann (up through 1750). They have also performed the music of Mozart and Haydn , and the string symphonies of Mendelssohn from the 1820s. Several concerts have featured the orchestra accompanying Baroque dancers . Because a relatively small number of musicians specialize in playing Baroque-era instruments, the ABO consists of a small core of musicians who live in

2555-483: The Italian plural) is, from the late Baroque era , mostly understood as an instrumental composition, written for one or more soloists accompanied by an orchestra or other ensemble . The typical three(music)|movement]] structure, a slow movement (e.g., lento or adagio ) preceded and followed by fast movements (e.g., presto or allegro ), became a standard from the early 18th century. The concerto originated as

2628-512: The Latin verb concertare , which indicates a competition or battle. Compositions were for the first time indicated as concertos in the title of a music print when the Concerti by Andrea and Giovanni Gabrieli  [ scores ] were published in 1587. In the 17th century, sacred works for voices and orchestra were typically called concertos, as reflected by J. S. Bach 's usage of

2701-597: The Renaissance, notably Carlo Gesualdo ; However, the use of harmony directed towards tonality (a focus on a musical key that becomes the "home note" of a piece), rather than modality , marks the shift from the Renaissance into the Baroque period. This led to the idea that certain sequences of chords, rather than just notes, could provide a sense of closure at the end of a piece —one of the fundamental ideas that became known as tonality . By incorporating these new aspects of composition, Claudio Monteverdi furthered

2774-749: The Schola Cantorum of Atlanta, Clayton State Collegiate Chorale, Clayton Camerata, Dekalb Choral Guild, the Westminster Choir, Chandler Choraliers, and choirs from Peachtree Road United Methodist Church in Atlanta, Intown Community Church in Atlanta, and Independent Presbyterian Church, Birmingham, Alabama. Currently, the ABO is an artist-in-residence at the Cathedral of St. Philip in Atlanta which provides rehearsal and performance space. Concerto A concerto ( / k ə n ˈ tʃ ɛər t oʊ / ; plural concertos , or concerti from

2847-600: The Venetian Francesco Cavalli , who was principally an opera composer. Later important practitioners of this style include Antonio Cesti , Giovanni Legrenzi , and Alessandro Stradella , who additionally originated the concerto grosso style in his Sonate di viole. Arcangelo Corelli is remembered as influential for his achievements on the other side of musical technique—as a violinist who organized violin technique and pedagogy—and in purely instrumental music, particularly his advocacy and development of

2920-497: The adaptation of theories based on the plastic arts and literature to music. All of these efforts resulted in appreciable disagreement about time boundaries of the period, especially concerning when it began. In English the term acquired currency only in the 1940s, in the writings of Bukofzer and Paul Henry Lang . As late as 1960, there was still considerable dispute in academic circles, particularly in France and Britain, whether it

2993-403: The arts, especially music and drama . In reference to music, they based their ideals on a perception of Classical (especially ancient Greek ) musical drama that valued discourse and oration. Accordingly, they rejected their contemporaries' use of polyphony (multiple, independent melodic lines) and instrumental music, and discussed such ancient Greek music devices as monody , which consisted of

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3066-478: The bass by bassoons. Trumpets and kettledrums were frequently added for heroic scenes. The middle Baroque period in Italy is defined by the emergence of the vocal styles of cantata , oratorio , and opera during the 1630s, and a new concept of melody and harmony that elevated the status of the music to one of equality with the words, which formerly had been regarded as pre-eminent. The florid, coloratura monody of

3139-464: The century, Brahms wrote a Double Concerto for violin, cello and orchestra. Many of the concertos written in the early 20th century belong more to the late Romantic school, hence modernistic movement. Masterpieces were written by Edward Elgar (a violin concerto and a cello concerto), Sergei Rachmaninoff and Nikolai Medtner (four and three piano concertos, respectively), Jean Sibelius (a violin concerto), Frederick Delius (a violin concerto,

3212-713: The church, while his position as organist included playing for all the main services, sometimes in collaboration with other instrumentalists or vocalists, who were also paid by the church. Entirely outside of his official church duties, he organised and directed a concert series known as the Abendmusiken , which included performances of sacred dramatic works regarded by his contemporaries as the equivalent of operas. France: The work of George Frideric Handel, Johann Sebastian Bach and their contemporaries, including Domenico Scarlatti, Antonio Vivaldi , Tomaso Albinoni , Jean-Philippe Rameau, Georg Philipp Telemann, and others advanced

3285-692: The concerto as a musical form. Beside more or less radical effects on musical language, they led to a redefinition of the concept of virtuosity that included new and extended instrumental techniques and a focus on previously neglected aspects of sound such as pitch , timbre and dynamics . In some cases, they also brought about a new approach to the role of soloists and their relation to the orchestra. Two great innovators of early 20th-century music, Schoenberg and Stravinsky , both wrote violin concertos. The material in Schoenberg's concerto, like that in Berg's ,

3358-446: The early Baroque gave way to a simpler, more polished melodic style. These melodies were built from short, cadentially delimited ideas often based on stylized dance patterns drawn from the sarabande or the courante . The harmonies, too, might be simpler than in the early Baroque monody, to show expression in a lighter manner on the string and crescendos and diminuendos on longer notes. The accompanying bass lines were more integrated with

3431-536: The first movements of concertos from the Classical period onwards follow the structure of sonata form . Final movements are often in rondo form, as in J.S. Bach's E Major Violin Concerto . Mozart wrote five violin concertos, all in 1775. They show a number of influences, notably Italian and Austrian . Several passages have leanings towards folk music , as manifested in Austrian serenades . Mozart also wrote

3504-569: The great fire of Esterhaza in 1779. In the 19th century, the concerto as a vehicle for virtuosic display flourished, and concertos became increasingly complex and ambitious works. Whilst performances of typical concertos in the baroque era lasted about ten minutes, those by Beethoven could last half an hour or longer. The term concertino (composition) , or the German Konzertstuck ("Concert Piece") began to be used to designate smaller pieces not considered large enough to be considered

3577-846: The instruments less familiar as soloists. In addition, the 20th century gave rise to several composers who experimented further by showcasing a variety of nontraditional orchestral instruments within the center of the orthodox concerto form. Included within this group are: Paul Hindemith ( Concerto for Trautonium and String Orchestra in 1931), Andre Jolivet ( Concerto of Ondes Martenot in 1947), Heitor Villa-Lobos ( Concerto for Harmonica in 1956), John Serry Sr. ( Concerto in C Major for Bassetti Accordion in 1966), Astor Piazzolla ( Concerto for Bandoneon , String Orchestra and Percussion , "Aconcagua" in 1979), Peter Maxwell Davies ( Concerto for Piccolo and Orchestra, Op. 182 in 1996), and Tan Dun ( Concerto for Water Percussion and Orchestra in 1998) Other composers of this era adopted

3650-450: The keyboard player what intervals are to be played above each bass note. The keyboard player would improvise a chord voicing for each bass note. Composers began concerning themselves with harmonic progressions , and also employed the tritone , perceived as an unstable interval, to create dissonance (it was used in the dominant seventh chord and the diminished chord ). An interest in harmony had also existed among certain composers in

3723-433: The linear underpinnings of polyphony. Harmony is the result of counterpoint , and figured bass is a visual representation of those harmonies commonly employed in musical performance. With figured bass, numbers, accidentals or symbols were placed above the bassline that was read by keyboard instrument players such as harpsichord players or pipe organists (or lutenists ). The numbers, accidentals or symbols indicated to

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3796-851: The louder string instruments strung with steel strings played by conventional orchestras. Likewise, the Baroque flute is made of wood and does not have keys, while the Baroque horn (often called the natural horn ) has no valves. Other instruments featured in a Baroque orchestra include the harpsichord and lautenwerk , viola da gamba and bass viol, recorder , Baroque bassoon , lute and theorbo. Guest artists and directors have included leading Baroque and Classical-period performers: violinists Stanley Ritchie, Monica Huggett , Sergiu Luca , and Dana Maiben; lutist Paul O'Dette ; recorder player Aldo Abreu ; soprano Julianne Baird ; countertenor Reginald Mobley ; oboist Matthew Peaceman; and Baroque dancers Paige Whitley-Bauguess and Thomas Baird. Signatory concerts of

3869-430: The material. Of his 27 piano concertos , the last 22 are highly appreciated. A dozen cataloged keyboard concertos are attributed to Haydn, of which only three or four are considered genuine. C. P. E. Bach wrote five flute concertos and two oboe concertos. Mozart wrote five horn concertos, with two for flute, oboe (later rearranged for flute and known as Flute Concerto No. 2), clarinet , and bassoon , four for horn ,

3942-568: The melody, producing a contrapuntal equivalence of the parts that later led to the device of an initial bass anticipation of the aria melody. This harmonic simplification also led to a new formal device of the differentiation of recitative (a more spoken part of opera) and aria (a part of opera that used sung melodies). The most important innovators of this style were the Romans Luigi Rossi and Giacomo Carissimi , who were primarily composers of cantatas and oratorios, respectively, and

4015-401: The mixed vocal/instrumental forms of opera , cantata and oratorio and the instrumental forms of the solo concerto and sonata as musical genres. Dense, complex polyphonic music, in which multiple independent melody lines were performed simultaneously (a popular example of this is the fugue ), was an important part of many Baroque choral and instrumental works. Overall, Baroque music was

4088-561: The most prominent Baroque composer of sacred music. The Baroque saw the formalization of common-practice tonality , an approach to writing music in which a song or piece is written in a particular key ; this type of harmony has continued to be used extensively in Western classical and popular music . During the Baroque era, professional musicians were expected to be accomplished improvisers of both solo melodic lines and accompaniment parts. Baroque concerts were typically accompanied by

4161-511: The orchestra itself to function as the primary virtuosic force within the concerto form. This approach was adopted by Bela Bartok in his Concerto for Orchestra as well by other composers of the period including: Walter Piston (1933), Zoltan Kodaly (1939), Michael Tippet (1962) and Elliott Carter (1969). Concertos with concert band include: 20th century: Baroque era: 20th century: Baroque era: 20th century: Baroque era: Classical era: Early Romantic traits can be found in

4234-412: The period composers experimented with finding a fuller sound for each instrumental part (thus creating the orchestra), made changes in musical notation (the development of figured bass as a quick way to notate the chord progression of a song or piece), and developed new instrumental playing techniques. Baroque music expanded the size, range, and complexity of instrumental performance, and also established

4307-572: The period or dominant style of Western classical music composed from about 1600 to 1750. The Baroque style followed the Renaissance period , and was followed in turn by the Classical period after a short transition (the galant style ). The Baroque period is divided into three major phases: early, middle, and late. Overlapping in time, they are conventionally dated from 1580 to 1650, from 1630 to 1700, and from 1680 to 1750. Baroque music forms

4380-490: The piano, violin and cello remained comparatively rare however. In the first half of the 20th century, concertos were written by, among others, Maurice Ravel , Edward Elgar , Richard Strauss , Sergei Prokofiev , George Gershwin , Heitor Villa-Lobos , Joaquín Rodrigo and Béla Bartók , the latter also composing a concerto for orchestra , that is without soloist. During the 20th century concertos appeared by major composers for orchestral instruments which had been neglected in

4453-428: The pieces in a dance suite were inspired by actual dance music, dance suites were intended for listening, not for accompanying dancers. Composers used a variety of different movements in their dance suites. A dance suite commonly has these movements : The four dance types (allemande, courante, sarabande, and gigue) make up the majority of 17th-century suites. Later suites interpolate one or more additional dances between

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4526-618: The première in October 1733 of Rameau's Hippolyte et Aricie, printed in the Mercure de France in May 1734. The critic implied that the novelty in this opera was "du barocque", complaining that the music lacked coherent melody, was filled with unremitting dissonances, constantly changed key and meter, and speedily ran through every compositional device. Jean-Jacques Rousseau , who was a musician and composer as well as philosopher, wrote in 1768 in

4599-416: The string-dominated norm for orchestras, which was inherited from the Italian opera, and the characteristically French five-part disposition (violins, violas—in hautes-contre, tailles and quintes sizes—and bass violins ) had been used in the ballet from the time of Louis XIII. He did, however, introduce this ensemble to the lyric theatre, with the upper parts often doubled by recorders, flutes, and oboes, and

4672-480: The subsequent period. Idiomatic instrumental textures became increasingly prominent. In particular, the style luthé —the irregular and unpredictable breaking up of chordal progressions, in contrast to the regular patterning of broken chords—referred to since the early 20th century as style brisé , was established as a consistent texture in French music by Robert Ballard , in his lute books of 1611 and 1614, and by Ennemond Gaultier . This idiomatic lute figuration

4745-774: The term "baroque" to music of this period is a relatively recent development. In 1919, Curt Sachs became the first to apply the five characteristics of Heinrich Wölfflin 's theory of the Baroque systematically to music. Critics were quick to question the attempt to transpose Wölfflin's categories to music, however, and in the second quarter of the 20th century independent attempts were made by Manfred Bukofzer (in Germany and, after his immigration, in America) and by Suzanne Clercx-Lejeune (in Belgium) to use autonomous, technical analysis rather than comparative abstractions, in order to avoid

4818-456: The title "concerto" for many of the works that we know as cantatas . The term "concerto" was initially used to denote works that involved voices and instruments in which the instruments had independent parts—as opposed to the Renaissance common practice in which instruments that accompanied voices only doubled the voice parts. Examples of this earlier form of concerto include Giovanni Gabrieli 's "In Ecclesiis" or Heinrich Schütz 's "Saul, Saul,

4891-476: The transition from the Renaissance style of music to that of the Baroque period. He developed two individual styles of composition—the heritage of Renaissance polyphony ( prima pratica ) and the new basso continuo technique of the Baroque ( seconda pratica ). With basso continuo, a small group of musicians would play the bassline and the chords which formed the accompaniment for a melody . The basso continuo group would typically use one or more keyboard players and

4964-795: The violin concertos of Viotti , but it is Spohr 's twelve violin concertos, written between 1802 and 1827, that truly embrace the Romantic spirit with their melodic as well as their dramatic qualities. 20th century: 21st century: Baroque era: Classical era: 20th century: The 'core' repertoire—performed the most of any cello concertos—are by Elgar , Dvořák , Saint-Saëns, Haydn, Shostakovich and Schumann, but many more concertos are performed nearly as often. Baroque era: Classical era: Romantic era: 20th century: 20th century: 20th century: Baroque era: Classical era: Romantic era: 20th century: Baroque era: Late Baroque (music) Baroque music ( UK : / b ə ˈ r ɒ k / or US : / b ə ˈ r oʊ k / ) refers to

5037-404: The way music is written and, in some cases, performed. Some of these innovations include a more frequent use of modality , the exploration of non-western scales , the development of atonality and neotonality , the wider acceptance of dissonances , the invention of the twelve-tone technique of composition and the use of polyrhythms and complex time signatures . These changes also affected

5110-437: Was intended as a composition typical of the Italian style of the time, and all the composers were studying how to compose in the Italian fashion ( all'Italiana ). The Baroque concerto was mainly for a string instrument ( violin , viola , cello , seldom viola d'amore or harp ) or a wind instrument ( flute , recorder , oboe , bassoon , horn , or trumpet ,). Bach also wrote a concerto for two violins and orchestra. During

5183-401: Was later transferred to the harpsichord, for example in the keyboard music of Louis Couperin and Jean-Henri D'Anglebert , and continued to be an important influence on keyboard music throughout the 18th and early 19th centuries (in, for example, the music of Johann Sebastian Bach and Frédéric Chopin ). The rise of the centralized court is one of the economic and political features of what

5256-535: Was meaningful to lump together music as diverse as that of Jacopo Peri , Domenico Scarlatti , and Johann Sebastian Bach under a single rubric. Nevertheless, the term has become widely used and accepted for this broad range of music. It may be helpful to distinguish the Baroque from both the preceding ( Renaissance ) and following ( Classical ) periods of musical history. Throughout the Baroque era, new developments in music originated in Italy, after which it took up to 20 years before they were broadly adopted in rest of

5329-451: Was verfolgst du mich". The concerto began to take its modern shape in the late- Baroque period, beginning with the concerto grosso form developed by Arcangelo Corelli . Corelli's concertino group was two violins, a cello and basso continuo. In J. S. Bach's Fifth Brandenburg Concerto , for example, the concertino is a flute, a violin, and a harpsichord; although the harpsichord is a featured solo instrument, it also sometimes plays with

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