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Colossal Baroque
The Colossal Baroque style is a name which has been coined to describe a number of compositions from the 17th and 18th centuries composed in an opulent, magnificent and large-scaled style. Such works frequently make use of polychoral techniques and often feature instrumental forces considerably larger than the norm for the Baroque period. The Colossal Baroque had its roots in Italy, in the resplendent multiple polychoral music of the Venetian School, in the sumptuous, extravagant productions of the Medici court, for example the 40- and 60-voice ''Missa sopra Ecco sì beato giorno'' by Alessandro Striggio, and in the large polychoral works of the Roman School, many of which were written long after the Venetian School had vanished. An impetus for this music was the Council of Trent, which marked the beginning of the Counter-Reformation. Some attendees of the Council held the unofficial point of view that music should be subservient to text, as idealized and exemplified in the chora ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polychoral
An antiphon (Greek ἀντίφωνον, ἀντί "opposite" and φωνή "voice") is a short chant in Christian ritual, sung as a refrain. The texts of antiphons are the Psalms. Their form was favored by St Ambrose and they feature prominently in Ambrosian chant, but they are used widely in Gregorian chant as well. They may be used during Mass, for the Introit, the Offertory or the Communion. They may also be used in the Liturgy of the Hours, typically for Lauds or Vespers. They should not be confused with Marian antiphons or processional antiphons. When a chant consists of alternating verses (usually sung by a cantor) and responds (usually sung by the congregation), a refrain is needed. The looser term antiphony is generally used for any call and response style of singing, such as the kirtan or the sea shanty and other work songs, and songs and worship in African and African-American culture. Antiphonal music is that performed by two choirs in interaction, often singing a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Heinrich Biber
Heinrich Ignaz Franz Biber ( bapt. 12 August 1644, Stráž pod Ralskem – 3 May 1704, Salzburg) was a Bohemian-Austrian composer and violinist. Biber worked in Graz and Kroměříž before he illegally left his employer, Prince-Bishop Karl Liechtenstein-Kastelkorn, and settled in Salzburg. He remained there for the rest of his life, publishing much of his music but apparently seldom, if ever, giving concert tours. Biber was among the major composers for the violin in the history of the instrument. His own technique allowed him to easily reach the 6th and 7th positions, employ multiple stops in intricate polyphonic passages, and explore the various possibilities of scordatura tuning.A Survey of the Unaccompanied Violin Repertoire, Centering on Work ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vincenzo Ugolini
Vincenzo Ugolini (1 November 1578; 6 May 1638) was an Italian composer of the early Baroque era and of the Roman School. Life Born in Perugia, he was first a ''puer chori'' (boy soprano) at San Luigi dei Francesi in Rome under Giovanni Bernardino Nanino; then he was engaged as a contralto until July 1594 and as a bass from the beginning of May 1600 until the end of 1601. In 1603 he was ''mastro di capella'' of Santa Maria Maggiore, in Rome. After an illness in 1606, in 1609 he left this work and became ''maestro'' at the Duomo of Benevento until 1615 (but in 1614 he worked for Cardinal Arrigoni in Rome). From 2 July 1616 he turned to San Luigi dei Francesi holding the same positions, and in 1620 he succeeded Francesco Soriano as ''maestro'' of the Cappella Giulia at San Pietro. In 1629 he was deponent for the testament of the composer Domenico Allegri, brother of Gregorio Allegri. From May 1631 he was again maestro of San Luigi, and held the post until his death in 1638; his suc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jean-Baptiste Lully
Jean-Baptiste Lully ( , , ; born Giovanni Battista Lulli, ; – 22 March 1687) was an Italian-born French composer, guitarist, violinist, and dancer who is considered a master of the French Baroque music style. Best known for his operas, he spent most of his life working in the court of Louis XIV of France and became a French subject in 1661. He was a close friend of the playwright Molière, with whom he collaborated on numerous ''comédie-ballets'', including ''L'Amour médecin'', ''George Dandin ou le Mari confondu'', ''Monsieur de Pourceaugnac'', ''Psyché'' and his best known work, ''Le Bourgeois gentilhomme''. Biography Lully was born on November 28, 1632, in Florence, Grand Duchy of Tuscany, to Lorenzo Lulli and Caterina Del Sera, a Tuscan family of millers. His general education and his musical training during his youth in Florence remain uncertain, but his adult handwriting suggests that he manipulated a quill pen with ease. He used to say that a Franciscan friar ga ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Andreas Hofer (composer)
Andreas Hofer (ca. 1629 – 25 February 1684) was a German composer of the Baroque period. Hofer was born at Reichenhall. He was a contemporary of Heinrich Ignaz Franz von Biber, whose predecessor he was in Salzburg in his office of Inspector and ''Hofkapellmeister,'' i.e., director of the court orchestra. Like Biber, Hofer was noted for his large-scale polychoral sacred works. It has been suggested that Hofer was the composer of the famous Missa Salisburgensis à 53 voci, which earlier had been attributed to Orazio Benevoli, although it is now accepted that it was the work of Biber. Hofer died at Salzburg. His compositions contain significant roles for instruments like the cornetto, trombone or sackbut and trumpet. Little of his music has been performed or recorded in recent times; several scores, however, have been made available. Compositions *Missa Archi Episcopalis à 19: 8 Voci Concertati SSAA/TTBB, 2 Violini, 2 Viole, 2 Cornetti, 2 Trombettae ("Clarini"), 3 Tromboni, Org ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johann Joseph Fux
Johann Joseph Fux (; – 13 February 1741) was an Austrian composer, music theory, music theorist and pedagogy, pedagogue of the late Baroque music, Baroque era. His most enduring work is not a musical composition but his treatise on counterpoint, ''Gradus ad Parnassum#Music and art, Gradus ad Parnassum'', which has become the single most influential book on the Giovanni Pierluigi da Palestrina, Palestrinian style of Renaissance music, Renaissance polyphony. Life Fux's exact date of birth is unknown. He was born to a peasant family in Langegg bei Graz, Hirtenfeld, Styria, Austria. Relatively little is known about his early life, but likely he went to nearby Graz for music lessons. In 1680 he was accepted at the Jesuit Ferdinandeum University there, where his musical talent became apparent. From 1685 until 1688 he served as organist at St. Moritz in Ingolstadt. Sometime during this period he must have made a trip to Italy, as evidenced by the strong influence of Arcangelo Corelli, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Joannes Baptista Dolar
Joannes Baptista Dolar ( sl, Janez Krstnik Dolar or ''Janez Kersnik Dolar'', cz, Jan Křtitel Tolar, also ''Tollar'' or ''Thollary''; 1620, Kamnik – 1673, Vienna) was a composer and contemporary of Heinrich Ignaz Franz von Biber, Johann Heinrich Schmelzer, Andreas Hofer and Pavel Josef Vejvanovský. Dolar composed some large-scale instrumental and vocal works, notably: * ''Sonata à 13'': 2 Violini, 2 Viole, Fagotto, 2 Clarini, 2 Cornetti, 4 Tromboni, Violone & Organo. * ''Miserere mei Deus'': SATB SATB is an initialism that describes the scoring of compositions for choirs, and also choirs (or consorts) of instruments. The initials are for the voice types: S for soprano, A for alto, T for tenor and B for bass. Choral music Four-part harm ..., SATB ''in concerto'', SATB, SATB ''in cappella'', 2 Violini, 2 Viole, 2 Clarini, 2 Cornetti Muti, 3 Tromboni, Violone & Organo. * ''Missa Viennensis'': SSSSAAAATTTTBBBB ''in concerto'', SATB ''in cappella'', 2 Cornetti, 2 Clarini, 4 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Stefano Landi
Stefano Landi (baptized 26 February 1587 – 28 October 1639) was an Italian composer and teacher of the early Baroque Roman School. He was an influential early composer of opera, and wrote the earliest opera on a historical subject: ''Il Sant'Alessio'' (1632). Biography Landi was born in Rome, the capital of the Papal States. In 1595 he joined the Collegio Germanico in Rome as a boy soprano, and he may have studied with Asprilio Pacelli. Landi took minor orders in 1599 and began studying at the Seminario Romano in 1602. He is mentioned in the Seminary's records as being the composer and director of a Carnival pastoral in 1607; and in 1611 his name appears as an organist and a singer, though he was already ''maestro di cappella'' at S Maria della Consolazione in 1614. Agostino Agazzari was ''maestro di cappella'' at the Seminario Romano, and he may have been one of Landi's teachers as well. In 1618 he had moved to the north of Italy, and published a book of five-voice m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Marc-Antoine Charpentier
Marc-Antoine Charpentier (; 1643 – 24 February 1704) was a French Baroque composer during the reign of Louis XIV. One of his most famous works is the main theme from the prelude of his ''Te Deum'', ''Marche en rondeau''. This theme is still used today as a fanfare during television broadcasts of the Eurovision Network, the European Broadcasting Union. Marc-Antoine Charpentier dominated the Baroque musical scene in seventeenth century France because of the quality of his prolific output. He mastered all genres, and his skill in writing sacred vocal music was especially hailed by his contemporaries. He began his career by going to Italy, there he fell under the influence of Giacomo Carissimi as well as other Italian composers, perhaps Domenico Mazzocchi. He would remain marked by the Italian style and become the only one with Jean-Joseph Cassanéa de Mondonville in France to approach the oratorio. In 1670, he became a master of music (composer and singer) in the service of the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dietrich Buxtehude
Dieterich Buxtehude (; ; born Diderik Hansen Buxtehude; c. 1637 – 9 May 1707) was a Danish organist and composer of the Baroque period, whose works are typical of the North German organ school. As a composer who worked in various vocal and instrumental idioms, Buxtehude's style greatly influenced other composers, such as Johann Sebastian Bach. Buxtehude is considered one of the most important composers of the 17th century. Life Early years in Denmark He is thought to have been born with the name Diderich Buxtehude.Snyder, Kerala J. Dieterich Buxtehude: Organist in Lübeck. New York: Schirmer Books, 1987. His parents were Johannes (Hans Jensen) Buxtehude and Helle Jespersdatter. His father originated from Oldesloe in the Duchy of Holstein, which at that time was a part of the Danish realms in Northern Germany. Scholars dispute both the year and country of Dieterich's birth, although most now accept that he was born in 1637 in Helsingborg, Skåne at the time part of Den ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Heinrich Ignaz Franz Von Biber
Heinrich Ignaz Franz Biber (baptism, bapt. 12 August 1644, Stráž pod Ralskem – 3 May 1704, Salzburg) was a Bohemian-Austrian composer and violinist. Biber worked in Graz and Kroměříž before he illegally left his employer, Prince-Bishop Karl II von Liechtenstein-Kastelkorn, Karl Liechtenstein-Kastelkorn, and settled in Salzburg. He remained there for the rest of his life, publishing much of his music but apparently seldom, if ever, giving concert tours. Biber was among the major composers for the violin in the history of the instrument. His own technique allowed him to easily reach the 6th and 7th Violin#Positions, positions, employ Double stop, multiple stops in intricate polyphonic passages, and explore the various possibilities of scordatura tuning. [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Psalm 136
Psalm 136 is the 136th psalm of the Book of Psalms, beginning in English in the King James Version: "O give thanks unto the LORD; for he is good: for his mercy endureth for ever. ". The Book of Psalms is part of the third section of the Hebrew Bible, and a book of the Christian Old Testament. In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Bible, this psalm is Psalm 135. In Latin, it is known by the incipit, "". It is sometimes referred to as "The Great Hallel". The Jerusalem Bible calls it a "Litany of Thanksgiving". It is notable for the refrain which forms the second half of each verse,Kirkpatrick, A.Cambridge Bible for Schools and Collegeson Psalm 136, accessed 22 June 2022 translated as "For His mercy endures forever" in the New King James Version, or "for his steadfast love endures for ever" in the Revised Standard Version. Psalm 136 is used in both Jewish and Christian liturgies. It has been paraphrased in hymns ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
