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Baroque music (UK: / b ə ˈ r ɒ k / or US: / b ə ˈ r oʊ k /) refers to the period or dominant style of Western classical music composed from about 1600 to 1750. [1] The Baroque style followed the Renaissance period , and was followed in turn by the Classical period after a short transition (the galant style ).
In the years centering on 1600 in Europe, several distinct shifts emerged in ways of thinking about the purposes, writing and performance of music.Partly these changes were revolutionary, deliberately instigated by a group of intellectuals in Florence known as the Florentine Camerata, and partly they were evolutionary, in that precursors of the new Baroque style can be found far back in the ...
The concerto grosso (pronounced [konˈtʃɛrto ˈɡrɔsso]; Italian for big concert(o), plural concerti grossi [konˈtʃɛrti ˈɡrɔssi]) is a form of baroque music in which the musical material is passed between a small group of soloists (the concertino) and full orchestra (the ripieno, tutti or concerto grosso).
A concerto (/ k ə n ˈ tʃ ɛər t oʊ /; plural concertos, or concerti from 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.
Baroque (c. 1600 – c. 1750) – Period characterized by the development of tonality and a greater emphasis on contrast and ornamentation in music. Genres like the opera, cantata, oratorio, and concerto were developed during this time. Galant music (c. 1720 – c. 1770) Empfindsamkeit (c. 1730 – c. 1750)
Arcangelo Corelli (/ k ə ˈ r ɛ l i /, [1] [2] also UK: / k ɒ ˈ-/, [3] US: / k ɔː ˈ-, k oʊ ˈ-/, [3] [4] Italian: [arˈkandʒelo koˈrɛlli]; 17 February 1653 – 8 January 1713) [5] was an Italian composer and violinist of the middle Baroque era. His music was key in the development of the modern genres of sonata and concerto, in ...
Many later Baroque composers such as Bach and Telemann followed Vivaldi's models in composing their own concertos. [ 8 ] Some scholars argue that "ritornello form quickly disappeared as a general constructive principle" in the early years of the nineteenth century, due to the structural innovations of Beethoven . [ 9 ]
The king's time on the continent, his (hidden) preference for Catholicism and explicit desire for entertainment led to the embracing of the Baroque and continental forms of music. [2] The court became something of a crossroads of European musicians and styles on a much grander scale than previously achieved.