Page 63 - (DK) The Classical Music Book - Big Ideas Simply Explained

BAROQUE 1600–1750 61

Antonio Vivaldi’s Georg Philipp In the last decade
Le quattro stagioni (The Telemann handles of his life, J.S. Bach
Four Seasons) is published a diverse range of writes The Art of
with accompanying musical genres in Fugue, comprising
program notes to his celebrated 14 fugues and
critical acclaim. Musique de table. four canons.

1725 1733 C.1742–1750

1717–1723 1727 1733

François Couperin, of J.S. Bach’s sacred The success of
the renowned Couperin oratorio St. Matthew Jean-Philippe
family of musicians, Passion sets Rameau’s Hippolyte
publishes four volumes of chapters 26 and 27 et Aricie challenges
harpsichord orders in the of the Gospel of the dominance of
Pièces de Clavecin. Matthew to music. Italian opera.

entertainment caught on elsewhere of the instrumental chorale prelude, itself had been hijacked, appearing
and influenced the development of a sometimes florid setting of a instead as unstaged choral works
the musical drama known as a chorale melody, usually for organ. such as the secular cantata and
“masque” in England. the sacred oratorio.
Since the Reformation, opera High and Late Baroque The Late Baroque period was
had been frowned upon by As time passed, many elements dominated by three composers
Protestants, and in the Germanic of the Early Baroque period born in Germany in 1685. The
countries, musical activity was disappeared. By about 1700, the first, Georg Philipp Telemann
largely restricted to the Church. period referred to as the “High is often overshadowed by his
Gradually, though, a distinctly Baroque” had begun. What had contemporaries but was by far
German Baroque style, very been a small accompanying group the most prolific. The second was
different from the Italian and for opera singers had taken on a George Frideric Handel, a populist
French, evolved from the chorale, life of its own as an orchestra of who made his name in England
the hymn tunes of the Lutheran stringed, woodwind, and brass with his oratorios and orchestral
Church, uniting the harmonic instruments, playing a new form of music. The third, regarded by
treatment of the new style of vocal music, the “concerto grosso,” made musicians as the greatest of the
music with some elements of the popular by Arcangelo Corelli and three, was Johann Sebastian Bach:
old Italian polyphony. Antonio Vivaldi. The continuo, a conservative composer but a
This hybrid style was more while still acting as the harmonic consummate craftsman. During a
suited to the northern European backbone of the orchestra, had also lifetime of employment by courts
temperament and soon became become an independent chamber and the Church, Bach’s sacred and
accepted into Protestant church ensemble, playing a form of music secular music represented the high
music. It inspired the development known as the “trio sonata.” Opera point of the Baroque period. ■

US_060-061_Chapter_Intro_Baroque.indd 61 27/03/18 4:49 PM