Baroque music (US: /bəˈroʊk/ or UK: /bəˈrɒk/) is a period or style of Western art music composed from approximately 1600 to 1750.[1] This era followed the Renaissance music era, and was followed in turn by the Classical era. Baroque music forms a major portion of the "classical music" canon, and is now widely studied, performed, and listened to. Key composers of the Baroque era include Johann Sebastian Bach, Antonio Vivaldi, George Frideric Handel, Claudio Monteverdi, Domenico Scarlatti, Alessandro Scarlatti, Henry Purcell, Georg Philipp Telemann, Jean-Baptiste Lully, Jean-Philippe Rameau, Marc-Antoine Charpentier, Arcangelo Corelli, Tomaso Albinoni, François Couperin, Giuseppe Tartini, Heinrich Schütz, Giovanni Battista Pergolesi, Dieterich Buxtehude, and Johann Pachelbel. The Baroque period saw the creation of common-practice tonality, an approach to writing music in which a song or piece is written in a particular key; this kind of arrangement has continued to be used in almost all Western popular music. During the Baroque era, professional musicians were expected to be accomplished improvisers of both solo melodic lines and accompaniment parts. Baroque concerts were typically accompanied by a basso continuo group (comprising chord-playing instrumentalists such as harpsichordists and lute players improvising chords from a figured bass part) while a group of bass instruments—viol, cello, double bass—played the bassline. A characteristic Baroque form was the dance suite. While the pieces in a dance suite were inspired by actual dance music, dance suites were designed purely for listening, not for accompanying dancers. During the period, composers and performers used more elaborate[clarification needed] musical ornamentation (typically improvised by performers), made changes in musical notation (the development of figured bass as a quick way to notate the chord progression of a song or piece), and developed new instrumental playing techniques. Baroque music expanded the size, range, and complexity of instrumental performance, and also established the mixed vocal/instrumental forms of opera, cantata and oratorio and the instrumental forms of the solo concerto and sonata as musical genres. Many musical terms and concepts from this era, such as toccata, fugue and concerto grosso are still in use in the 2010s. Dense, complex polyphonic music, in which multiple independent melody lines were performed simultaneously (a popular example of this is the fugue), was an important part of many Baroque choral and instrumental works. The term "baroque" comes from the Portuguese word barroco, meaning "misshapen pearl".[2] Negative connotations of the term first occurred in 1734, in a criticism of an opera by Jean-Philippe Rameau, and later (1750) in a description by Charles de Brosses of the ornate and heavily ornamented architecture of the Pamphili Palace in Rome; and from Jean Jacques Rousseau in 1768 in the Encyclopédie in his criticism of music that was overly complex and unnatural. Although the term continued to be applied to architecture and art criticism through the 19th century, it was not until the 20th century that the term "baroque" was adopted from Heinrich Wölfflin's art-history vocabulary to designate a historical period in music. Baroque Music Collection Hello! Welcome to Top Classical Music, the most comprehensive channel specializing in classical music. Here you will find musics for studying, concentration, relaxing and working. Explore our channel and listen to more works by Mozart, Chopin, Beethoven, Tchaikovsky, Bach, Haydn, Schumann, Schubert, Vivaldi, Dvorak, Debussy and more! I hope you enjoy it and don't forget to Subscribe. 🎧 🔴 Facebook: 🔴 WebSite:
Giovanni Battista Pergolesi Giovanni Battista Draghi (4 January 1710 – 16 or 17 March 1736), often referred to as Giovanni Battista Pergolesi (Italian: [perɡoˈleːzi; -eːsi]), was an Italian composer, violinist and organist. His best-known works include his Stabat Mater and the opera La serva padrona (The Maid Turned Mistress). His compositions include operas and sacred music. He died of tuberculosis at the age of 26. Born in Jesi in what is now the Province of Ancona (but was then part of the Papal States), he was commonly given the nickname "Pergolesi", a demonym indicating in Italian the residents of Pergola, Marche, the birthplace of his ancestors. He studied music in Jesi under a local musician, Francesco Santi, before going to Naples in 1725, where he studied under Gaetano Greco and Francesco Feo among others. On leaving the conservatory in 1731, he won some renown by performing the oratorio in two parts La fenice sul rogo, o vero La morte di San Giuseppe [it] ("The Phoenix on the Pyre, or The Death of Saint Joseph"), and the dramma sacro in three acts, Li prodigi della divina grazia nella conversione e morte di san Guglielmo duca d’Aquitania ("The Miracles of Divine Grace in the Conversion and Death of Saint William, Duke of Aquitaine"). He spent most of his brief life working for aristocratic patrons like Ferdinando Colonna, Prince of Stigliano, and Domenico Marzio Carafa, Duke of Maddaloni. Pergolesi was one of the most important early composers of opera buffa (comic opera). His opera seria, Il prigionier superbo, contained the two-act buffa intermezzo, La serva padrona (The Servant Mistress, 28 August 1733), which became a very popular work in its own right. When it was performed in Paris in 1752, it prompted the so-called Querelle des Bouffons ("quarrel of the comic actors") between supporters of serious French opera by the likes of Jean-Baptiste Lully and Jean-Philippe Rameau and supporters of new Italian comic opera. Pergolesi was held up as a model of the Italian style during this quarrel, which divided Paris's musical community for two years. Among Pergolesi's other operatic works are his first opera La Salustia (1732), Lo frate 'nnamorato (The brother in love, 1732, to a text in the Neapolitan language), L'Olimpiade (January 1735) and Il Flaminio (1735, to a text in the Neapolitan language). All his operas were premiered in Naples, apart from L'Olimpiade, which was first given in Rome. Pergolesi also wrote sacred music, including a Mass in F and three Salve Regina settings. The Lenten Hymn ‘God of Mercy and Compassion’ by Redemptorist priest Edmund Vaughan is most commonly set to a tune adapted by Pergolesi. It is his Stabat Mater (1736), however, for soprano, alto, string orchestra and basso continuo, which is his best-known sacred work. It was commissioned by the Confraternita dei Cavalieri di San Luigi di Palazzo, which presented an annual Good Friday meditation in honor of the Virgin Mary. Pergolesi's work replaced one composed by Alessandro Scarlatti only nine years before, but which was already perceived as "old-fashioned," so rapidly had public tastes changed. While classical in scope, the opening section of the setting demonstrates Pergolesi's mastery of the Italian baroque durezze e ligature style, characterized by numerous suspensions over a faster, conjunct bassline. The work remained popular, becoming the most frequently printed musical work of the 18th century, and being arranged by a number of other composers, including Johann Sebastian Bach, who reorchestrated and adapted it for a non-Marian text in his cantata Tilge, Höchster, meine Sünden (Root out my sins, Highest One), BWV 1083. Pergolesi wrote a number of secular instrumental works, including a violin sonata and a violin concerto. A considerable number of instrumental and sacred works once attributed to Pergolesi have since been shown to be misattributed. Much of Igor Stravinsky's ballet Pulcinella, which ostensibly reworks pieces by Pergolesi, is actually based on works by other composers, especially Domenico Gallo. The Concerti Armonici are now known to have been composed by Unico Wilhelm van Wassenaer. Many colorful anecdotes related by Pergolesi's 19th-century biographer, Francesco Florimo, were later revealed as hoaxes. Magnificat in C major 1. Magnificat 2:49 2. Et misericordia 1:44 3. Deposuit 1:47 4. Suscepit Israel 1:51 5. Sicut locutus est... Gloria 3:34 For more:
Giovanni Battista Pergolesi Stabat Mater is a musical setting of the Stabat Mater sequence, composed by Giovanni Battista Pergolesi in 1736. Composed in the final weeks of Pergolesi's life, it is scored for soprano and alto soloists, violin I and II, viola and basso continuo (cello and organ). Many pieces which were said to have been composed by Pergolesi have been misattributed; the Stabat Mater is definitely by Pergolesi, as a manuscript in his handwriting has been preserved. The work was composed for a Neapolitan confraternity, the Confraternita dei Cavalieri di San Luigi di Palazzo, which had also commissioned a Stabat Mater from Alessandro Scarlatti. Pergolesi composed it during his final illness from tuberculosis in a Franciscan monastery in Pozzuoli, along with a Salve Regina setting, and, as it is said, finished it right before he died. Stabat Mater 1. Stabat Mater dolorosa 4:42 2. Cujus animam gementem 2:56 3. O quam tristis et afflicta 2:23 4. Quae moerebat et dolebat 2:37 5. Quis est homo, qui non fleret 3:05 6. Vidit suum duleem natum 3:43 7. Eja Mater, fons amoris 2:39 8. Fac ut ardeat cor meum 2:20 9. Sancta Mater, istud agas 6:18 10. Fac ut portem Christi mortem 3:33 11. Inflammatus et accensus 2:23 12. Quando corpus morietur - Amen 4:49 For more: