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BAROQUE MUSIC
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Baroque
DATES:
BAROQUE:
The Baroque period stretches roughly
from 1600 to 1750 (coincides with the
death of J.S. Bach.)
From the Portuguese word barroco
meaning an ornamented piece of jewellery.First used to describe the highly decorative
style of architecture at the time.
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Fingerprints of musical style
Early Baroque composers favour a light, homophonicmusical texture melody plus simple chordalaccompaniment; but before long, there is a return topolyphonic (contrapuntal) textures.
The basso continuo, or figured bass, becomes the
musical foundation for most types of piece providing apurposeful bass-line (sometimes a walking bass)making the music move steadily onwards.
The same musical mood is usually kept throughout anentire piece.
The violin family takes over from the viols; the orchestrabegins to take shape, with the string section as a firmbasis always with keyboard continuo (harpsichord ororgan) filling out the harmonies above the figured bass
and decorating the musical texture.
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Fingerprints 2
The system of modes falls out of use by the end of the 17th century;music is now based on major and minor scales.
Typical forms used by Baroque composers: binary, ternary(including the da capoaria), rondeau, variations (including theground bass, chaconne, passacaglia), ritornello form, fugue.
Main types of Baroque music:vocal chorale, recitative and aria, opera, oratorio, cantata;instrumental Italian overture, French overture, toccata, prelude,chorale prelude, dance suite, trio sonatas (sonata da camera,sonata da chiesa), concerto grosso, solo concerto.
Often, energetic rhythms drive the music forward: melodies arefrequently long and flowing, and decorated with ornaments (egappoggiaturas, trills); contrasts (particularly in concertos), ofinstrumental timbres, of few instruments against many, of loudcontrasted against soft (terraced dynamics, sometimes echo
effects), and blocks of sound of different timbres (eg strings andwind alternately, then together).
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Instruments-Harpsichord
A harpsichord is the general term for a family of Europeankeyboardinstruments, including the large instrument nowadayscalled a harpsichord, but also the smaller virginals and the spinet.
All these instruments generate sound by plucking a string ratherthan striking one, as in a piano or clavichord. The harpsichord familyis thought to have originated when a keyboard was affixed to theend of a psaltery, providing a mechanical means to pluck the strings.
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Baroque Orchestra
Typical features include: Strings to which composers would add 1 or 2
flutes (or recorders), oboes, bassoons, perhapshorns, occasionally trumpets and kettle drums.
Organ or harpsichord continuo to build upchords on a bass line (figured bass),
Effects of contrast- dynamics and textures.
Ribbons of sound- oboes and trumpets against
strings, or Blocks of sound- contrasting groups- strings
then wind then tutti (all) resulting in terraceddynamics rather than crescendo or diminuendo.
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Baroque Orchestra
The Baroque Orchestra is the earliest exampleof a true orchestra which came into existence inthe mid-late 1600s. Its origins were in Francewhere Jean-Baptiste Lully added oboes
(hautboys) and transverse flutes to his vingt-quatre violons du Roy. As well as violins andwoodwind, the baroque orchestra would havestill contained continuo instruments such as theharpsichord or theorbo (lute). The new-fangled
instrumentation and orchestration soon spreadto the rest of Europe and soon became thestandard solo instrumental grouping.
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Typical forms used by Baroquecomposers
Binary (AB)
Ternary (including the da capoaria) (ABA)
Rondo (ABACADA)Variations (including the ground bass,
chaconne, passacaglia)
Ritornello form Fugue
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Main types of Baroque music
VOCAL OPERA, ORATORIO, chorale,recitative and aria, cantata;
INSTRUMENTAL CONCERTO GROSSO,SOLO CONCERTO, FUGUE, Italianoverture, French overture, toccata,prelude, chorale prelude, dance suite, trio
sonatas (sonata da camera, sonata dachiesa),
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OPERA
Opera refers to a dramaticart form, originating in Italy,in which the emotional content or primary entertainmentis conveyed to the audience as much through music,both vocal and instrumental, as it is through the lyrics.
From the beginning of the form (about 1600), there hasbeen contention whether the music is paramount, or thewords
The drama is presented using the primary elements oftheatre such as scenery, costumes, and acting. However,
the words of the opera, or libretto, are customarily sungrather than spoken. The singers are accompanied by amusical ensemble ranging from a small instrumentalensemble to a full symphonic orchestra.
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ORATORIO
An oratorio is a large musical composition fororchestra, vocal soloists and chorus. It differs from anopera in that it does not have scenery, costumes, oracting. Oratorio closely mirrored opera in all ages inmusical style and form, except that choruses were more
prominent in oratorio than in opera. The peak period forcomposition of oratorios was the 17th and 18thcenturies.
Most oratorios from the common practice period to thepresent day have biblical themes, but a number of
composers, notably George Frideric Handel, wrotesecularoratorios based on themes from GreekandRomanmythology. Whether religious or secular, thetheme of an oratorio is meant to be weighty, and caninclude such topics as the creation of the world, the lifeofJesus, or the career of a classical hero or biblicalprophet.
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CONCERTO GROSSO
The concerto grosso (pluralconcerti grossi) (Italian forbig concert) was a popular form ofbaroque music usingan ensemble and usually having four to six movementsin which the musical material is passed between a small
group of soloists (the concertino- little ensemble) andfull orchestra (the ripieno- filling).
Other major composers ofconcerti grossiwere GeorgFriedrich Hndel, who expanded the ripienoto includewind instruments. Several of the Brandenburg Concerti
ofJohann Sebastian Bach also loosely follow theconcerto grossoform, notably the 2nd Concerto, whichhas a concertinoof recorder, oboe, trumpet, and soloviolin.
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SOLO CONCERTO
In classical music, the word concerto (pl. concertiorconcertos; from the Italianconcerto, which meansconcert) is a label for a piece in which a small musicalgroup and a large musical group are given distinct roles,with the smaller group to the fore.
The most common kind of concerto pairs a soloinstrument with a full orchestra. The term also impliesthe musical form of a piece, as most pieces called"concerto" have three movements, of which the first istypically in sonata form and the last typically a rondo.
The term apparently arose in the beginning of the 17thcentury, and came to describe chiefly compositionswhich bring unequal instrumental or vocal forces intoopposition.
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Ritornello form
In both types of concerto, movementsare built up in ritornello form.
The music starts off with the ritornello
(little return) played by the ripieno group(tutti meaning all) with the soloist(s)
joining in. This is the main theme and itreturns at various points throughout themovement. It may reappear in full or inshortened form.
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Ritornello structure
Between appearances of the ritornello there arecontrasting sections of music called episodes.
Ritornello
Tutti
Episode1
Soloist(s)
Ritornello
Tutti
Episode2
Soloist(s)
Ritornello
Tutti
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FUGUE
In music, a fugue is a type ofcontrapuntal composition.It begins with a theme stated by one of the voicesplaying alone. A second voice then enters and plays thesame theme, while the first voice continues on with acontrapuntal accompaniment. The remaining voices
enter one by one, each beginning by stating the sametheme. The remainder of the fugue develops thematerial further using all of the voices and, usually,multiple statements of the theme.
Middle and late Baroque composers such as Dieterich
Buxtehude (16371707) and Johann Pachelbel (16531706) contributed greatly to the development of thefugue, and the form reached ultimate maturity in theworks ofJohann Sebastian Bach (16851750).
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IDENTIFY THE FORM
1)
2)
3)4)
5)
CONCERTO GROSSO
ORATORIO
FUGUE
OPERA
SOLO CONCERTO
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What is ornamentation?
In music, ornaments are musical flourishes thatare not necessary to the overall melodic (orharmonic) line, but serve to decorate or"ornament" that line. They are performed as"fast notes" around a central note. The amount
of ornamentation in a piece of music can varyfrom quite extensive to relatively little or evennone.
In the baroque period, it was common for
performers to improvise ornamentation on agiven melodic line. A singer performing a dacapo aria, for instance, would sing the melodyrelatively unornamented the first time, butdecorate it with additional flourishes the second
time.
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Trill
The trill is a musicalornament consisting of arapid alternation between two adjacent notes of ascale (compare tremolo).
In modern musical notation a trill is generallyindicated with the letters trabove the trilled note.This has sometimes been followed by a squigglyline, and sometimes in the past, the squiggly lineon its own was used. The following two notationsare equivalent:
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Trill
The usual way of executing a trill isto rapidly alternate between the noteindicated and the note directly above
it in the given scale
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Acciaccatura
From the Italian word acciaccare, "to crush";The acciaccatura, is perhaps bestthought of as a shorter, less melodically
significant type of ornament. It is writtenusing a grace note (often a quaver, oreighth note), with an oblique stroke
through the stem:
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The exact interpretation of this will vary according to
the tempo of the piece, but the following is possible:
Acciaccatura
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A short figure consisting of the note above the one indicated, the note
itself, the note below the one indicated, and the note itself again. It isindicated by a mirrored S-shape lying on its side above the staff. An
inverted turn(the note below the one indicated, the note itself, the
note above it, and the note itself again) is usually indicated by
putting a short vertical line through the normal turn sign, though
sometimes the sign itself is turned upside down.
If the turn symbol is placed directly above a note, it is performed
exactly as outlined above. If it is placed between two notes, however,
the note before the symbol is played, then the turn, and then the
following note. So the following turns:
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might be played like this:
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The mordentis thought of as a rapid single alternationbetween an indicated note, the note above (called the
upper mordent) or below (called the lower mordentor
mordent) the indicated note, and the indicated note
again.
The upper mordent is indicated by a short squiggle; the
lower mordent is the same with a short vertical line
through it:
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As with the trill, the exact speed with which themordent is performed will vary according to the
tempo of the piece, but at moderate tempi the above
might be executed as follows:
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From the Italian word appoggiare, "to lean upon"; The
appoggiatura is important melodically and often
suspend the principal note by taking away the time-
value of the appoggiaturaprefixed to it The added note
(the unessential note) is one degree higher or lower thanthe principal note. The appoggiatura is written as a
grace note prefixed to a principal note and printed in
small character, usually without the oblique stroke:
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This would be played as follows:
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Baroque composers
Corelli
A.Scarlatti
D. ScarlattiTelemann
Monteverdi
Vivaldi
Purcell
J.S. Bach
Handel
Couperin
Lully
Rameau
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J.S. Bach 1685-1750J.S. Bach was born in Eisenach, Germany. He
came from a long family history ofprofessional musicians including churchorganists and composers.
Johann Sebastian Bach was a prolific Germancomposer and organist whose sacred andsecular works for choir, orchestra and soloinstruments drew together the strands of thebaroque genre and brought it to its ultimate
maturity.Although he introduced no new forms, he
enriched the prevailing German style with arobust contrapuntal technique, a control ofharmonic and motivic organisation from thesmallest to the largest scales, and theadaptation of rhythms and textures from
abroad, particularly Italy and France.Many people consider him to be the greatest
Baroque composer, and one of the greatestcomposers of all time. He was one of theleading figures, along with the likes ofGeorge Frideric Handel, in the transition frombaroque to Classicalmusic
Mass in B minor
Brandenburg Concertos
St Matthew Passion
St John PassionSuites (English, French)
48 Preludes and Fugues
Christmas Oratorio
Solo Concertos
Organ Works
Cantatas
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G.F. Handel 1685-1759He was a German/British Baroque
composer who was a leading composerofconcerti grossi, operas and oratorios.
Born in Germany as Georg FriedrichHndel he lived most of his adult life inEngland, becoming a subject of the
British crown in 1727.His most famous piece is Messiah, anoratorio set to texts from the KingJames Bible; other well-known worksare WaterMusicand Music for the Royal
Fireworks. He deeply influenced manyof the composers who came after him,including Haydn, Mozart, andBeethoven, and his work helped leadthe transition from the Baroque to theClassical era.
Oratorios- Messiah
Acis and Galatea
14 Operas-incl.
LotarioAriodante, Alcina and
Rodelinda.
Water Music
Royal Fireworks
18 Organ Concertos
12 Concerto GrossiSonatas and Suites.
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Monteverdi 1567-1643
His work marks the transitionfrom Renaissance to Baroquemusic. During his long life heproduced work that can be
classified in both categories,and he was one of the mostsignificant revolutionaries thatbrought about the change instyle. Monteverdi wrote the
earliest dramatically viableopera, Orfeo, and wasfortunate enough to enjoyfame during his lifetime.
Operas- Orfeo,Arianna
Motets
Madrigals
Vespers
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Alessandro Scarlatti 1659-1725
Italian composer who had written hisfirst opera by the age of 12.
He was especially famous for his operasand chamber cantatas. He is consideredthe founder of the Neapolitan school of
opera. He was the father of two otherBaroque composers, Domenico Scarlattiand Pietro Filippo Scarlatti.
The first composer to stronglydifferentiate between the singing styles
of aria and recitative and usedadvanced harmonic procedures for thetime.
Credited with popularising the Da CapoAria form.
Opera- Pompeo
Cantatas- over 600
6 Concerto GrossiOratorios
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Domenico Scarlatti 1685-1757
He was an Italiancomposer andharpsichordist. He was extremelyinfluential in the development ofkeyboard music, especially in Spain,Portugal and England, through his
individual style. A harpsichord virtuoso from a young
age, he revolutionised keyboardtechnique. First to use rapidarpeggios, repetition of the same
note and the crossing of hands. He wrote a lot of works with a
Moorish/ Arabic flavour as the resultof living in Portugal and Spain forlong periods of his life.
Over 500 harpsichord
sonatas.
14 SinfoniasHarpsichord
Concerto
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Telemann 1681-1767 He was a Germancomposer, and organist.
Self-taught in music, he studied law at theUniversity of Leipzig. The most prolificcomposer of his era, he was a contemporaryofJohann Sebastian Bach and a friend ofGeorge Frideric Handel. While in the presentday Bach is generally thought of as thegreater composer, Telemann was widely
renowned for his musical abilities during hislifetime. Telemann traveled widely, absorbing various
musical styles and incorporating them intohis own compositions. He is known forwriting concertos for unusual combinations
of instruments, such as multiple violas ortrumpets. He held a series of important musical
positions, culminating in that of musicdirector of the five largest churches inHamburg, from 1720 until his death in 1767.He was succeeded by his godson Carl PhilippEmanuel Bach.
Opera- Pimpone(46)St Luke Passion
St Mark Passion
St Matthew Passion
1043 Cantatas
Over 25 Solo Concertos
Over 600 Suites
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Corelli 1653- 1713
Italian composer, teacher andviolinist.
His playing and composing werean influence on Bach and hetaught Vivaldi.
He is known as The father ofConcerto Grosso for his work indefining the style.
Despite being influential he wasnot a prolific composer.
12 Concerto Grossi
5 sets (of 12) Trio
Sonatas
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Purcell 1659-1695
English composer and organist. He is generally considered to be one
of England's greatest composersindeed, he has often been calledEngland's finest native composer.
Purcell incorporated Italian andFrench stylistic elements but deviseda peculiarly English style ofBaroquemusic
Composed an enormous amount of
theatrical music for plays includingThe Fairy Queen, a masque for AMidsummer's Night Dream, KingArthur and Indian Queen.
One of his favourite styles of writing
was the Ground Bass.
Opera- Dido and
Aeneas15 Fantasies
Trio Sonatas
Anthems- My heart is
inditing for James 2
Coronation
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Vivaldi 1678-1741
Italian priest, composer andviolinist.
He is one of the composers creditedwith helping the Baroque styleevolve into the Classical style by his
use of harmonic contrasts andinnovative melodies and themes. Bach was deeply influenced by his
concertos and arias and transcribedmany of Vivaldi's works for
harpsichord. He was an extremely prolific
composer.
Over 500 Concertos
46 Operas
73 Sonatas
Oratorios and sacred
music
The Four Seasons
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Lully 1632-1687
Italian born French composer,guitarist, violinist and dancer.
Spent most of his working life inthe service of Louis 14th where he
composed ballets and lateroperas. He transformed the oftenstately court dances into lively,rhythmic affairs and added manyinstruments to the orchestra of
the time. He favoured variation forms such
as Passacaglias and Chaconnes.
Opera- AtysBallets
Dance Suites
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Rameau 1683-1764
Composer, organist andharpsichordist
He was one of the mostimportant French
composers and musictheorists of the Baroqueera. He replaced Jean-Baptiste Lully as thedominant composer of
French opera, and wasattacked by those whopreferred Lully's style.
Operas
Ballet Music
Pieces de Clavecin
(for harpsichord)
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Francois Couperin Franois Couperin (born in Paris
November 10, 1668 died September12, 1733 in Paris) was an esteemedFrenchBaroque composer, organistand harpsichordist. Franois Couperinwas known as "Couperin le Grand"
(Couperin the Great) to distinguish himfrom the other members ofthemusically talented Couperin familybecause of his immense virtuosity onthe organ and the harpsichord.
He was indebted to Corelli whose TrioSonata form he introduced to France. J.S. Bach was an admirer of his
harpsichord technique andcompositions.
Harpsichord
and organ
works
Suites
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QUIZ
TRY YOUR NEW FOUND KNOWLEDGEWITH THIS INTERACTIVE QUIZ.
JUST CLICK ON THE ANSWER AND FINDOUT IF YOU ARE RIGHT.
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Italian composer, teacher andviolinist. 1653- 1713
He is known as The father ofConcerto Grosso for his work in
defining the style.12 Concerto Grossi
TELEMANN
HANDEL
COUPERINPURCELL
VIVALDI
LULLYJ.S.BACH
A.SCARLATTI
RAMEAU
MONTEVERDI
D.SCARLATTI
CORELLI
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TELEMANN
HANDEL
COUPERINPURCELL
VIVALDI
LULLYJ.S.BACH
A.SCARLATTI
RAMEAU
MONTEVERDI
D.SCARLATTI
CORELLI
1688- 1733
Baroque composer, organist andharpsichordist.
Harpsichord and organ works
Suites
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He was an Italian
composer and
harpsichordist.
1685- 1757
He wrote a lot of workswith a Moorish/ Arabicflavour as the result ofliving in Portugal and
Spain for long periods ofhis life.
Over 500 harpsichord
sonatas.
14 SinfoniasHarpsichord Concerto
TELEMANN
HANDEL
COUPERINPURCELL
VIVALDI
LULLYJ.S.BACH
A.SCARLATTI
RAMEAUMONTEVERDI
D.SCARLATTI
CORELLI
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Opera- Pimpone
(46)St Luke Passion
St Mark PassionSt Matthew Passion
1043 Cantatas
Over 25 Solo Concertos
Over 600 Suites
1681- 1767
TELEMANN
HANDEL
COUPERINPURCELL
VIVALDI
LULLYJ.S.BACH
A.SCARLATTI
RAMEAU
MONTEVERDI
D.SCARLATTI
CORELLI
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1659-1695
Composer andorganist.
One of his favouritestyles of writing was
the Ground Bass.Opera- Dido and Aeneas15 Fantasies
Trio Sonatas
Anthems- My heart is inditing
for James 2 Coronation
TELEMANN
HANDEL
COUPERINPURCELL
VIVALDI
LULLYJ.S.BACH
A.SCARLATTI
RAMEAU
MONTEVERDI
D.SCARLATTI
CORELLI
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1567-1643
Operas- Orfeo,
Motets
Madrigals
Vespers
His work marks the transition
from Renaissance to Baroque
music.
TELEMANN
HANDEL
COUPERINPURCELL
VIVALDI
LULLYJ.S.BACH
A.SCARLATTI
RAMEAU
MONTEVERDI
D.SCARLATTI
CORELLI
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1659-1725 Italian composerwho had written his
first opera by theage of 12.
Credited withpopularising the Da
Capo Aria form.
Opera- Pompeo
Cantatas- over 600
6 Concerto Grossi
Oratorios
TELEMANN
HANDEL
COUPERINPURCELL
VIVALDI
LULLYJ.S.BACH
A.SCARLATTI
RAMEAU
MONTEVERDI
D.SCARLATTI
CORELLI
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1632-1687 Spent most of his working life in the service of
Louis 14th where he composed ballets and lateroperas. He transformed the often stately courtdances into lively, rhythmic affairs and added
many instruments to the orchestra of the time. He favoured variation forms such as Passacaglias
and Chaconnes.
Opera- Atys
Ballets
Dance Suites
TELEMANN
HANDEL
COUPERINPURCELL
VIVALDI
LULLYJ.S.BACH
A.SCARLATTI
RAMEAU
MONTEVERDI
D.SCARLATTI
CORELLI
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1685-1750
Mass in B minor
Brandenburg Concertos
St Matthew Passion
St John PassionSuites (English, French)
48 Preludes and Fugues
Christmas Oratorio
Solo Concertos
Organ Works
Cantatas
TELEMANN
HANDEL
COUPERINPURCELL
VIVALDI
LULLYJ.S.BACH
A.SCARLATTI
RAMEAU
MONTEVERDI
D.SCARLATTI
CORELLI
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1683-1764
Composer, organist and
harpsichordist
Operas
Ballet Music
Pieces de Clavecin
(for harpsichord)
TELEMANN
HANDEL
COUPERINPURCELL
VIVALDI
LULLYJ.S.BACH
A.SCARLATTI
RAMEAU
MONTEVERDI
D.SCARLATTI
CORELLI
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1685-1759Oratorios- Messiah
Acis and Galatea
14 Operas-incl.
Lotario
Ariodante, Alcina and
Rodelinda.
Water Music
Royal Fireworks
18 Organ Concertos
12 Concerto Grossi
Sonatas and Suites.
TELEMANN
HANDEL
COUPERINPURCELL
VIVALDI
LULLYJ.S.BACH
A.SCARLATTI
RAMEAU
MONTEVERDI
D.SCARLATTI
CORELLI
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1678-1741
Over 500 Concertos
46 Operas
73 Sonatas
Oratorios and sacred
music
The Four Seasons
TELEMANN
HANDEL
COUPERINPURCELL
VIVALDI
LULLYJ.S.BACH
A.SCARLATTI
RAMEAU
MONTEVERDI
D.SCARLATTI
CORELLI
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Quiz
What is a concerto grosso?
What is a solo concerto?
What is an oratorio?
What is an opera?
What is a fugue?