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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 the early Baroque ...
His cantatas are usually written for a baroque orchestra consisting of a string section, an oboe section, and a continuo group, timpani and brass were sometimes added on festive occasions such as Christmas or Easter. The vocal forces consisted of a four-part choir and soloists. Bach also wrote some cantatas for only one solo singer (ex. BWV 51).
An alleged "Opus 13", Il pastor fido (The Faithful Shepherd) was published in 1737 by Jean-Noël Marchand through a secret agreement with Nicolas Chédeville to publish a collection of Chédeville's compositions under Vivaldi's name.
1 Transition from Renaissance to Baroque (born 1500–1549) 2 Early Baroque era composers (born 1550–1599) 3 Middle Baroque era composers (born 1600–1649)
Elisabetta's music is considered late Baroque and Classical music. She achieved distinction as an all-around musician, performing on, and composing for a variety of instruments as well as voice. [1] Her compositions were known to reflect that of vocal work instead of instrumental patterns.
Title – the title of the work; Incipit – the first line(s) of text, as pertaining to vocal works; Scoring – the instrumentation and/or vocal forces required for the work; Informal Title – any additional names by which the work is known, when applicable; Former Deutsch Number – information on Deutsch numbers that have been reassigned ...
Dieterich Buxtehude (German: [ˈdiːtəʁɪç bʊkstəˈhuːdə]; born Diderich Hansen Buxtehude, [1] Danish: [ˈtiðˀəʁek ˈhænˀsn̩ pukstəˈhuːðə]; c. 1637 – 9 May 1707) [2] was a Danish composer and organist of the Baroque period, whose works are typical of the North German organ school.
Vocal music of the classical tradition has included a variety of ornaments known as trills since the time of Giulio Caccini. In the preface to his Le nuove musiche , he describes both the "shake" (what is commonly known today as the trill) and the "trill" (now often called a Baroque or Monteverdi trill).