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• 0
  • Baroque Musical Period Introduction
• 1
  • Baroque Musical Period Overview
• 2
  • Baroque Musical Style Characteristics
• 3
  • Piece: Rondeau
• 4
  • Piece: "Hornpipe" from Water Music
• 5
  • Piece: La Folia Medley
• 6
  • Piece: Double Violin Concerto in A Minor
• 7
  • Piece: "Prelude" from Cello Suite No. 1
• 8
  • Piece: Brandenburg Concerto No. 5
• 9
  • Piece: "Kyrie" from Messa a 4 con Violini
• 10
  • Piece: Messiah Medley
• 11
  • Piece: "Arioso" from Cantata No. 156
• 12
  • References
• MUSIC
  • Viola sheet music

REFERENCES

SECTION 2.12

[1] Peter and Thompson, Robert. "Henry Purcell II," Grove Music Online (Accessed 20 August 2007) <http://www.grovemusic.com>

[2] Cole, Malcolm S. "Rondeau," The New Grove Dictionary of Music and Musicians. ed. Stanley Sadie. London: Macmillan, 1980. 16:170.

[3] Dean-Smith, Margaret. "Hornpipe," The New Grove Dictionary of Music and Musicians. ed. Stanley Sadie. London: Macmillan, 1980. 8:721.

[4] Dean, Winton and Hicks, Anthony. "George Frideric Handel," The New Grove Dictionary of Music and Musicians. ed. Stanley Sadie. London: Macmillan, 1980. 8:83-140.

[5] Thompson, Clyde H. "Marin Marais," The New Grove Dictionary of Music and Musicians. ed. Stanley Sadie. London: Macmillan, 1980. 11:640-41.

[6] Talbot, Michael. "Arcangelo Corelli,"  The New Grove Dictionary of Music and Musicians. ed. Stanley Sadie. London: Macmillan, 1980. 4:768-774.

[7] Palisca, Claude V.  Baroque Music. Englewood Cliffs, New Jersey: Prentice Hall, 1991: 154-155.

[8] Mangsen, Sandra; Irvine, John; Rink, John; and Griffiths, Paul. "Sonata," Grove Music Online (Accessed 21 August 2007) <http://www.grovemusic.com>

[9] Talbot, Michael and Ryom, Peter. "Antonio Vivaldi,"  The New Grove Dictionary of Music and Musicians. ed. Stanley Sadie. London: Macmillan, 1980. 20:31-46.

[10] Hudson, Richard. "Folia,"  The New Grove Dictionary of Music and Musicians. ed. Stanley Sadie. London: Macmillan, 1980. 6:690-692.

[11] Walker, Thomas. "Variations," The New Grove Dictionary of Music and Musicians. ed. Stanley Sadie. London: Macmillan, 1980. 19:536-45.

[12]Talbot, Michael and Ryom, Peter. "Antonio Vivaldi," The New Grove Dictionary of Music and Musicians. ed. Stanley Sadie. London: Macmillan, 1980. 20:31-46.

[13] Michael Talbot. "Vivaldi's Op. 5 Sonatas," The Strad. Vol. 90, 1980: 678.

[14] Boyden, David D. The History of Violin Playing from its Origins to 1761. London: Oxford University Press Inc., 1965: 399.

[15] Wolf, Christoph and Jones, Richard. "Johann Sebastian Bach," The New Grove Dictionary of Music and Musicians. ed. Stanley Sadie. London: Macmillan, 1980. 1:785-840.

[16] Bonta, S.; Campbell, M.; Kernfeld, B.; and Barnett, A. "Violoncello," Grove Music Online. (Accessed 7 June 2008) <http://www.grovemusic.com>

[17] Wolf, Christoph and Jones, Richard. "Johann Sebastian Bach," The New Grove Dictionary of Music and Musicians. ed. Stanley Sadie. London: Macmillan, 1980. 1:785-840.

[18] Bach-Dokumente. Bach-Archiv Leipzig. Vol. 1, 1963-72: 206ff. quoted by Geck, Martin. Johann Sebastian Bach: Life and Work. translated by John Hargraves. New York: Harcourt, 2006: 106.

[19] Schnoebelen, Anne. "Maurizio Cazzati," The New Grove Dictionary of Music and Musicians. ed. Stanley Sadie. London: Macmillan, 1980. 4:40-42.

[20] Schnoebelen, Anne. "The Role of the Violin in the Resurgence of the Mass in the 17th Century," Early Music, Vol. 18, No. 4. Nov. 1990:541.

[21] Smither, Howard E. "Oratorio," Grove Music Online. (Accessed 21 August 2007) <http://www.grovemusiconline.com>

[22] Dean, Winton and Hicks, Anthony. "George Frideric Handel," The New Grove Dictionary of Music and Musicians. ed. Stanley Sadie. London: Macmillan, 1980. 8:83-140.

[23] Hicks, Anthony, "George Frideric [Georg Friederich] Handel [Händel, Hendel]," Grove Music Online. (Accessed 21 August 2008) <http://www.grovemusic.com>

[24] Timms, Colin; Fortune, Nigel and Boyd, Malcolm, et al. "Cantata," Grove Music Online. (Accessed 7 June 2008 <http://www.grovemusiconline.com>

[25] Zohn, Steven and Payne, Ian. "Bach, Telemann, and the Process of Transformative Imitation in BWV 1056/2 (156/1)," The Journal of Musicology, Vol. 17, No. 4. Autumn, 1999: 548.

Fig. 2.1 An unknown Venetian 18th century violinist and composer, often mistaken as Antonio Vivaldi.  Anonymous painter, Museum of Music, Bologna, Italy.

Fig. 2.2 Henry Purcell. Oil portrait by or after John Closterman, 1695. National Portrait Gallery, London.

Fig. 2.3 George Frideric Handel. Oil painting attributed to Balthasar Denner, 1726-1728.

Fig. 2.4 The Thames and the City. Oil by Giovanni Antonio Canal, known as Canaletto, 1746-47. National Gallery, Prague.

Fig. 2.5 Marin Marais. Oil portrait by André Bouys, 1704.

Fig. 2.6 Arcangelo Corelli. Oil portrait, anonymous, based on Hugh Howard’s 1698 painting.

Fig. 2.7 Antonio Vivaldi. Engraving by James Caldwall, c. 1725 (in imitation of François Morellon La Cave's 1725 engraving). This engraving was used by Sir John Hawkins as an illustration in his 1776 publication A General History of the Science and Practice of Music: 839.

Fig. 2.8 Johann Sebastian Bach at the age of 63. Portrait by Elias Gottlob Haussmann, 1748.

Fig. 2.9 Margrave of Brandenburg, Ludwig Christian Markgraf von Brandenburg. Portrait by Antoine Pesne, 1710.

Fig. 2.10 Church of Sant' Andrea, Mantua, Italy.

Fig. 2.11 Drawing of the Handel House, London, 1839. Handel lived in this residence from 1723 until his death in 1759. He composed works such as Messiah while residing here, and it has been preserved and opened to the public as the Handel House Museum.

Fig. 2.12 Georg Philipp Telemann. Mezzotint portrait by Valentin Daniel Preisler (Nuremberg, 1750), based on a lost painting by Ludwig Michael Schneider.