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Class and Classicism

in Music in the Seventeenth and Eighteenth Centuries

July 2009; p ublished online July 2010 .

Chapter. Subjects: Baroque Music. 13081 words.

Returning now to Italy after a chapter spent in France and England, it is worth a reminder that (with the exception of Portugal) France and England were the only countries in...

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Class of 1685 (I)

in Music in the Seventeenth and Eighteenth Centuries

July 2009; p ublished online July 2010 .

Chapter. Subjects: Baroque Music. 18648 words.

The year 1685 is luminous in the history of European music, because it witnessed the birth of three of the composers whose works long formed the bedrock of the standard performing...

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Class of 1685 (II)

in Music in the Seventeenth and Eighteenth Centuries

July 2009; p ublished online July 2010 .

Chapter. Subjects: Baroque Music. 28429 words.

The paradox is that Handel, the worldly spirit, is most characteristically represented in today’s repertory by his vocal music on sacred subjects, while Bach, the quintessential religious...

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C-Minor Moods

in Music in the Seventeenth and Eighteenth Centuries

July 2009; p ublished online July 2010 .

Chapter. Subjects: Baroque Music. 16062 words.

The New Grove Dictionary of Music and Musicians calls Beethoven “the most admired composer in the history of Western music,” and we have seen some of the reasons for that. Not only has...

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The Comic Style

in Music in the Seventeenth and Eighteenth Centuries

July 2009; p ublished online July 2010 .

Chapter. Subjects: Baroque Music. 15894 words.

“Bach is the father, we are the kids” (Bach ist der Vater, wir sind die Buben), Wolfgang Amadeus Mozart was once quoted, perhaps apocryphally, as saying.1 Only it was not J. S. Bach of whom...

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The Composer’s Voice

in Music in the Seventeenth and Eighteenth Centuries

July 2009; p ublished online July 2010 .

Chapter. Subjects: Baroque Music. 17846 words.

To cap the point on which the previous chapter came to rest, and appreciate the range and depth to which subjective emotional declaration could now be brought within the reach of late...

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Courts Resplendent, Overthrown, Restored

in Music in the Seventeenth and Eighteenth Centuries

July 2009; p ublished online July 2010 .

Chapter. Subjects: Baroque Music. 17906 words.

The story is told of King Louis XIV of France that once a courtier fond of the brilliance and grandeur of Italian music brought before the king a young violinist who had studied under the...

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Enlightenment and Reform

in Music in the Seventeenth and Eighteenth Centuries

July 2009; p ublished online July 2010 .

Chapter. Subjects: Baroque Music. 19914 words.

Throughout the eighteenth century, opera and its endless “reforms” continued to encode the social history of the age. That is why opera criticism so often makes good and exciting reading,...

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Fat Times and Lean

in Music in the Seventeenth and Eighteenth Centuries

July 2009; p ublished online July 2010 .

Chapter. Subjects: Baroque Music. 17431 words.

Whoever wrote it, and however it may have related to Monteverdi’s original design, the ending of L’incoronazione di Poppea was a harbinger. The seventeenth century was the great age of the...

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The First Romantics

in Music in the Seventeenth and Eighteenth Centuries

July 2009; p ublished online July 2010 .

Chapter. Subjects: Baroque Music. 18888 words.

The earliest public critics were motivated by a concept or ideal called romanticism—an easy thing to spot in a writer or an artist, but notoriously difficult to define. And that is because...

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