By Manfred F Bukofzer, Manfred F Bukhofzer
An research of the Baroque kind of track and its artistic varieties of expression, corresponding to the opera, from 1600 to 1750.
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Additional resources for Music in the baroque era : From Monteverdi to Bach.
It was the baroque composer who developed the idiomatic characteristics of voice and instrument, and it was he who deployed them first in the concertato style of the early baroque. With his flair for coloristic effects, he also discovered the sensuous appeal of the a-cappella chorus, which would be ruined if instruments doubled the voices. Since doubling the voices was a common practice among the renaissance composers, they obviously did not yet fully recognize this appeal of the medium. The a-cappdla ideal, which finds its most dignified expression in the stile antico, was a creation of the baroque.
The example of the Sistine Chapel, so often quoted by historians as a typical case, is actually exceptional. The utilization of the pure a-cappella effect represented only one extreme of the idiom-conscious baroque, complemented by the other extreme: the idiom. strictly instrumental Since stSe antico and a-cappella style were practically identical in the baroque, it is easily understandable why the model of stile antico, the Palestrina style, was also seen in the light of the a-cappella ideal. It is an ironic misunderstanding that the sensuous effect of the a-cappella style, for which the renaissance showed little interest, has contributed to the mythical glorification of renaissance music.
Music in the Baroque Era 22 a lifelong friendship that began during their years of study with Andrea Gabrieli, and who died in the same year. In his earlier works Gabrieli showed himself a consummate master of the many-voiced texture. With an uncanny sense for color he magical wrote for as many as seven or eight real voices, interwoven in infinite variety. effects of He combined choruses of different registers, thus heightening the element of space with that of color. Although instruments were not specified, the extreme range of the compositions from the low C to the high of' made them necessary, even Concerti of 1587.