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Barocco. Da Wikipedia, l'enciclopedia libera. Deriva dalla figura più complessa del sillogismo aristotelico, il "baroco";Attraverso il francese baroque, attestato in Francia nel XVII secolo nel significato di "stravagante, bizzarro";Deriva dal portoghese barroco, con riferimento ad una perla irregolare. L'uso del termine, da parte di critici e storici dell'arte, risale alla seconda metà del Settecento, riferito in un primo tempo alle arti figurative e successivamente anche alla letteratura. Inizialmente il termine ha assunto un senso negativo e solo verso la fine dell'Ottocento è iniziata una rivalutazione del barocco grazie ad un contesto culturale europeo, dall'impressionismo al simbolismo, che evidenziava agganci con l'epoca barocca.[1] Inquadramento storico[modifica | modifica sorgente] Per Barocco si intende il periodo storico che inizia dopo la lunga fine del Rinascimento italiano, anche se la definizione "barocco" è cosa di due secoli fa.

La vita nel barocco[modifica | modifica sorgente] Category:Italian composers. From Wikipedia, the free encyclopedia Subcategories This category has the following 10 subcategories, out of 10 total. Pages in category "Italian composers" The following 200 pages are in this category, out of 1,281 total. This list may not reflect recent changes (learn more). (previous 200) (next 200)(previous 200) (next 200) Domenico Scarlatti. Life and career[edit] Domenico Scarlatti was born in Naples, Kingdom of Naples, in 1685, the same year as Johann Sebastian Bach and George Frideric Handel. He was the sixth of ten children of the composer and teacher Alessandro Scarlatti. Domenico's older brother Pietro Filippo was also a musician. According to Vicente Bicchi (Papal Nuncio at the time), Domenico Scarlatti arrived in Lisbon on 29 November 1719.

There he taught music to the Portuguese princess Maria Magdalena Barbara. He left Lisbon on 28 January 1727 for Rome, where he married Maria Caterina Gentili on 6 May 1728. Scarlatti befriended the castrato singer Farinelli, a fellow Neapolitan also enjoying royal patronage in Madrid. Music[edit] Only a small fraction of Scarlatti's compositions were published during his lifetime; Scarlatti himself seems to have overseen the publication in 1738 of the most famous collection, his 30 Essercizi ("Exercises").

Other distinctive attributes of Scarlatti's style are the following: K. Heller. Antonio Vivaldi: The Red Priest of Venice. 1997.


Home. GOOGLASOS. Bach and Baroque Music CDs Catalogue. 100+ titles. Classical Music - Streaming Classical Music. Domenico Scarlatti: a concise biography. Giuseppe Domenico Scarlatti was born in Naples on October 26th, 1685. The high rank of his godparents is proof of the esteem in which his father, Alessandro Scarlatti, was held as maestro di cappella. Domenico's musical gifts developed with an almost prodigious rapidity. At the age of sixteen he became a musician at the chapel royal, and two years later father and son left Naples and settled in Rome, where Domenico became the pupil of the most eminent musicians in Italy.

The originality of Bernardo Pasquini"s inventions and his skill in elaborating them, and Francesco Gasparini's solid science and intense vitality united to form the basis on which Domenico developed his own genius. His association with Corelli (Gasparini being a pupil of Corelli) also contributed to the evolution of his adolescent genius and soon Domenico Scarlatti became famous in his country principally as a harpsichordist.

Attracted by the unknown, Scarlatti abandoned the post of maestro di cappella at St. Visit. Il Capolavoro di Francesco Borromini: San Carlo alle quattro fontane. (SCORE) Allegri - Miserere Mei -ssatb,t,ssab- VG: Sacred Music in the Seicento. Although the Roman school kept up the old a capella tradition, Italy was also the country in which the new musical style, nuove musiche, emerged. One of the first important collection of church music at the turn of the 17th century was Viadana's Cento concerti ecclesiastici of 1602. Viadana was not the only composer to write both secular and sacred music: most opera composers of the time, such as Carissimi, Monteverdi, Cavalli, and Legrenzi, also wrote church music.

Others, however, such as Francesco Durante almost exclusively composed church music. A work by Orazio Benevoli, a 53 part mass from the year 1628 reflects another tradition as a continuation and expansion of the Venetian technique and represents the Baroque principle of the grandiose. The stylistic duality of the early 17th century found expression in the so-called prima prattica and seconda prattica. This contrast was, however, marked in church music than in secular vocal music or in motets and psalm chants. Italian art: The Baroque Period. Italian art, works of art produced in the geographic region that now constitutes the nation of Italy. Italian art has engendered great public interest and involvement, resulting in the consistent production of monumental and spectacular works. In addition, Italian art has nearly always been closely allied with the intellectual and/or religious currents of its day while retaining its own remarkable past as a continual source of inspiration.

For a discussion of early works in the area see Etruscan art and Roman art. See also Italian architecture. The Columbia Electronic Encyclopedia, 6th ed. See more Encyclopedia articles on: European Art to 1599.


Tomaso Antonio Vitali- Bio, Albums, Pictures – Naxos Classical Music. Carracci. Agostino Carracci An Italian painter, engraver, and etcher, b. at Bologna, 16 August, 1557; d. at Parma, 22 March, 1602. The son of Antonio Carracci, a tailor, he was nephew of Lodovico and brother of Annibale. He began his art life as a goldsmith; but, urged by his uncle, the youth abandoned plastic for graphic art, and studied painting, first with Fontana, who had been Lodovico's master, and later with Passerotti. The fame of Correggio's masterpieces drew Agostino to Parma, and afterwards, accompanied by Annibale, he made a long sojourn in Venice, where he became a distinguished engraver under the celebrated Cort. In 1589 he and his brother returned to Bologna and with Lodovico started the "School of the Carracci" (see below, LODOVICO), in which he taught while working devotedly at painting.

In his native town is his masterpiece, "The Last Communion of St. Jerome", a beautiful work, showing Correggio's influence. Annibale Carracci Antonio Marziale Carracci Francesco Carracci Sources. A Baroque Banquet. Baroque Composers – Overview, individual biographies. Arcangelo Corelli: a concise biography. The Italian composer and violinist Arcangelo Corelli exercised a wide influence on his contemporaries and on the succeeding generation of composers. Born in Fusignano, Italy, in 1653, a full generation before Bach or Handel, he studied in Bologna, a distinguished musical center, then established himself in Rome in the 1670s. By 1679 had entered the service of Queen Christina of Sweden, who had taken up residence in Rome in 1655, after her abdication the year before, and had established there an academy of literati that later became the Arcadian Academy.

Thanks to his musical achievements and growing international reputation he found no trouble in obtaining the support of a succession of influential patrons. History has remembered him with such titles as "Founder of Modern Violin Technique," the "World's First Great Violinist," and the "Father of the Concerto Grosso. " His contributions can be divided three ways, as violinist, composer, and teacher. Visit internet arton publications. Cultura Barocca ricerche e volumi rari. “The Rise of the North Italian Violin Concerto: 1690-1740, vol. 3”- Music of TARTINI, VIVALDI, LOCATELLI, SAMMARTINI – La Serenissima/ Adrian Chandler – Avie - Audiophile Audition. La Serenissima play these Italian violin concertos with unrestrained joy on a thoroughly enjoyable CD. Published on January 30, 2009 “The Rise of the North Italian Violin Concerto: 1690-1740, vol. 3”- Music of TARTINI, VIVALDI, LOCATELLI, SAMMARTINI – La Serenissima/ Adrian Chandler – Avie AV 2154, 79:35 ***** [Distr. by Forte]: This CD features several examples of the northern Italian violin concerto as composed during the years 1690-1740.

This was truly the violin’s golden age in Italy. With luthiers like Antonio Stradivari, the Guarneri family and Nicolo Amati manufacturing instruments whose perfection has never been equalled, a standard of excellence was established to which all violin makers could aspire. In a nation of opera singers where the human voice epitomized the highest levels of artistic aspiration, it is hardly surprising that the musical instrument most analogous to the human voice – the violin – was preeminent.

The sound of this CD is rich and full. . - – Mike Birman. Arcangelo Corelli. Italian composer and violinist. Corelli was the fifth child born to a prosperous family of landowners; his initial musical study was probably with the local clergy, then in nearby Lugo and Faenza, and finally in Bologna, where he went in 1666. His studies there were with Giovanni Benvenuti and Leonardo Brugnoli, the former representing the disciplined style of the Accademia filarmonica(to which Corelli was admitted in 1670), the latter a virtuoso violinist.

By 1675 (and perhaps as early as 1671) Corelli was in Rome; he may have studied composition under Matteo Simonelli, from whom he would have absorbed the styles of Roman polyphony inherited from Palestrina. A trip to France has been postulated during these years, as has a visit to Spain, but neither has been securely documented. Compared to other violinist-composers (Marini, Stradella), Corelli eschewed virtuosity. BAROQUE MUSIC DEFINED. Is derived from the Italian barocco, meaning bizarre, though probably exuberant would be a better translation more accurately reflecting the sense. The usage of this term originated in the 1860s to describe the highly decorated style of 17th and 18th century religious and public buildings in Italy, Germany and Austria, as typified by the very baroque angelic organist adorning the Gottfried Silbermann organ completed in 1714 for the Cathedral in Freiberg, Saxony (illustrated above).

Later, during the early-to-mid 1900s, the term baroque was applied by association to music of the 17th and early 18th century, and today the term baroque has come to refer to a very clearly definable type or genre of music which originated, broadly speaking, around 1600 and came to fruition between 1700 and 1750. Listen to music of the 1200s and 1300s. It’s relatively primitive in terms of melody and harmony.

Two geographical influences were at work here. After Bach music took a different turn. Django site Users.