Johann Sebastian Bach as a German composer and musician of the Baroque period PDF

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Johann Sebastian Bach as a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Art of Fugue, the Brandenburg Concertos, and the Goldberg Variations, and for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival he has been generally regarded as one of the greatest composers of the Western art musical canon. Bach's compositions include hundreds of cantatas, both sacred and secular.[4] He composed Latin church music, Passions, oratorios, and motets. He often adopted Lutheran hymns, not only in his larger vocal works, but for instance also in his four-part chorales and sacred songs. He wrote extensively for organ and for other keyboard instruments. He composed concertos, for instance for violin and for harpsichord, and suites, as chamber music as well as for orchestra. Many of his works employ contrapuntal genres such as fugue. Antonio Lucio Vivaldi was an Italian Baroque musical composer, virtuoso violinist, teacher, and priest. Born in Venice, the capital of the Venetian Republic, he is regarded as one of the greatest Baroque composers, and his influence during his lifetime was widespread across Europe. He composed many instrumental concertos, for the violin and a variety of other instruments, as well as sacred choral works and more than forty operas. His best-known work is a series of violin concertos known as the Four Seasons

Frideric (or Frederick) Handel was later British, Baroque composer who of his career in London, becoming his operas, oratorios, anthems, and concertos. Handel received training in Halle and worked as a Hamburg and Italy before settling in 1712; he became a naturalised in 1727. He was strongly influenced great composers of the Italian

George a German, spent the bulk well known for organ important composer in London in British subject both by the Baroque and

by the middle-German polyphonic choral tradition.

Georg Philipp Telemann was a German Baroque composer and multi-instrumentalist. Almost completely self-taught in music, he became a composer against his family's wishes. After studying in Magdeburg, Zellerfeld, and Hildesheim, Telemann entered the University of Leipzig to study law, but eventually settled on a career in music. He held important positions in Leipzig, Sorau, Eisenach, and Frankfurt before settling in Hamburg in 1721, where he became musical director of that city's five main churches. While Telemann's career prospered, his personal life was always troubled: his first wife died only a few months after their marriage, and his second wife had extramarital affairs and accumulated a large gambling debt before leaving him.

Arcangelo Corelli was an Italian violinist and composer of the Baroque era. His music was key in the development of the modern genres of sonata and concerto, in establishing the preeminence of the violin, and as the first coalescing of modern tonality and functional harmony. Corelli composed 48 trio sonatas, 12 violin and continuo sonatas,] and 12 concerti grossi.

Henry Purcell was an English composer. Although incorporating Italian and French stylistic

elements into his compositions, Purcell's legacy was a uniquely English form of Baroque music. He is generally considered to be one of the greatest English composers; no later native-born English composer approached his fame until Edward Elgar, Ralph Vaughan Williams, William Walton and Benjamin Britten in the 20th century. Purcell is said to have been composing at nine years old, but the earliest work that can be certainly identified as his is an ode for the King's birthday, written in 1670. Among Purcell's most notable works are his opera Dido and Aeneas (1688), his semi-operas Dioclesian (1690), King Arthur (1691), The Fairy-Queen (1692) and Timon of Athens (1695), as well as the compositions Hail! Bright Cecilia (1692), Come Ye Sons of Art (1694) and Funeral Sentences and Music for the Funeral of Queen Mary (1695). Jean-Philippe Rameau was one of the most important French composers and music theorists of the 18th century. He replaced Jean-Baptiste Lully as the dominant composer of French opera and is also considered the leading French composer for the harpsichord of his time, alongside François Couperin. Rameau's musical works may be divided into four distinct groups, which differ greatly in importance: a few cantatas; a few motets for large chorus; some pieces for solo harpsichord or harpsichord accompanied by other instruments; and, finally, his works for the stage, to which he dedicated the last thirty years of his career almost exclusively. Like most of his contemporaries, Rameau often reused melodies that had been particularly successful, but never without meticulously adapting them; they are not simple transcriptions.

Scarlatti was an Italian composer. primarily as a Baroque composer although his music was influential the Classical style and he was one composers to transition into the his renowned father Alessandro in a variety of musical forms, known mainly for his 555 keyboard much of his life in the service of the Spanish royal families. Scarlatti's are single movements, mostly in in early sonata form, and mostly harpsichord or the earliest

Giuseppe Domenico He is classified chronologically, in the development of of the few Baroque classical period. Like Scarlatti, he composed although today he is sonatas. He spent Portuguese and 555 keyboard sonatas binary form, and some written for the pianofortes.

Jean-Baptiste Lully was an Italian-born French composer, instrumentalist, and dancer who spent most of his life working in the court of Louis XIV of France. He is considered a master of the French Baroque style. Lully disavowed any Italian influence in French music of the period. He became a French subject in 1661. Lully's music was written during the Middle Baroque period, 1650 to 1700. Typical of Baroque music is the use of the basso continuo as the driving force behind the music. The pitch standard for French Baroque music was about 392 Hz for A above middle C, a whole tone lower than modern practice where A is usually 440 Hz....