Baroque music
Because baroque music was the basis for pedagogy, it retained a stylistic influence even after it had ceased to be the dominant style of composing or of music making. Even as Baroque practice fell out of use, it continued to be part of musical notation. In the early 19th century, scores by baroque masters were printed in complete edition, and this led to a renewed interest in the "strict style" of counterpoint, as it was then called. With Felix Mendelssohn's revival of Bach's choral music, the baroque style became an influence through the 19th century as a paragon of academic and formal purity. Throughout the 19th century, the fugue in the style of Bach held enormous influence for composers as a standard to aspire to and a form to include in serious instrumental works.
In the 20th century, Baroque was named as a period, and its music began to be studied. Baroque form and practice influenced composers as diverse as Arnold Schoenberg, Max Reger, Igor Stravinsky and Béla Bartók. There was also a revival of the middle baroque composers such as Purcell and Corelli.
There are several instances of contemporary pieces being published as "rediscovered" Baroque masterworks. Some examples of this include a viola concerto written by Henri Casadesus but attributed to Johann Christian Bach, as well as several pieces attributed by Fritz Kreisler to lesser-known figures of the Baroque such as Gaetano Pugnani and Padre Martini. Alessandro Parisotti attributed his aria for voice and piano, "Se tu m'ami", to Pergolesi. Today, there is a very active core of composers writing works exclusively in the Baroque style, an example being Giorgio Pacchioni.
Various works have been labeled "neo-baroque" for a focus on imitative polyphony, including the works of Giacinto Scelsi, Paul Hindemith, Paul Creston and Martinů, even though they are not in the baroque style proper. Musicologists attempted to complete various works from the Baroque, most notably Bach's The Art of Fugue. Because the baroque style is a recognized point of reference, implying not only music, but a particular period and social manner, Baroque styled pieces are sometimes created for media, such as film and television. Composer Peter Schickele parodies classical and baroque styles under the pen name PDQ Bach.
Baroque performance practice had a renewed influence with the rise of "Authentic" or Historically informed performance in the late 20th century. Texts by Quantz and Leopold Mozart among others, formed the basis for performances which attempted to recover some of the aspects of baroque sound world, including one on a part performance of works by Bach, use of gut strings rather than metal, reconstructed harpsichords, use of older playing techniques and styles. Several popular ensembles adopted some or all of these techniques, including the Anonymous 4, the Academy of Ancient Music, Boston's Handel and Haydn Society, the Academy of St. Martin in the Fields, William Christie's Les Arts Florissants and others. This movement then attempted to apply some of the same methods to classical and even early romantic era performance.
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See also
- Baroque composers
- Baroque instruments
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Notes
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References
- Palisca, Claude. "Baroque", Grove Music Online, ed. L. Macy (Accessed August 21, 2007), (subscription access)
- Sachs, Curt. 1919. "‘Barokmusik". Jahrbuch der Musikbibliothek Peters 1919, 7–15.
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Further reading
- Christensen, Thomas Street, and Peter Dejans. Towards Tonality Aspects of Baroque Music Theory. Leuven: Leuven University Press, 2007. ISBN 9789058675873
- Cyr, Mary. Essays on the Performance of Baroque Music Opera and Chamber Music in France and England. Variorum collected studies series, 899. Aldershot, Hants, England: Ashgate, 2008. ISBN 9780754659266
- Foreman, Edward. A Bel Canto Method, or, How to Sing Italian Baroque Music Correctly Based on the Primary Sources. Twentieth century masterworks on singing, v. 12. Minneapolis, Minn: Pro Musica Press, 2006. ISBN 1887117180
- Schubert, Peter, and Christoph Neidhöfer. Baroque Counterpoint. Upper Saddle River, NJ: Pearson Prentice Hall, 2006. ISBN 0131834428
- Schulenberg, David. Music of the Baroque. New York: Oxford UP, 2001. ISBN 0-19-512232-1
- Stauffer, George B. The World of Baroque Music New Perspectives. Bloomington: Indiana University Press, 2006. ISBN 025334798X Table of Contents
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External links
- Renaissance & Baroque Music Chronology: Composers
- Orpheon Foundation in Vienna, Austria
- Baroque Music, articles, composer biographies, portraits, music samples
- Guide to Baroque period musical instruments
- An easy-to-understand guide to Baroque music
- Vox Saeculorum, an international society of contemporary composers writing in the Baroque style
- Baroque Music Collection
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