By George J. Buelow
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Additional resources for The Late Baroque Era: From the 1680s to 1740
Not the least among them was J. S. 7. The success of Vivaldi's concertos across most of Europe, and the imitation of their formal and stylistic characteristics by other composers up to the mid-eighteenth century, was the result of Vivaldi's perception of what his audiences demanded of this new experience with concert music. The early eighteenth-century repertory had been anchored in vocal music and vocal styles- and, in Italy especially, in opera. Many writers of the period expressed uncertainty about or even opposition to purely instrumental music, for they thought it must be meaningless, affection-less, if words were absent.
Most of these instrumental works originated in Italy, where the composers were most often violinists. Inseparable from their frequent preoccupation with string music of increasing technical demands was the remarkable flourishing of string instrument building that began around 1680. The distinctive and ultimately classic concept of the modern violin was developed especially in Cremona by the Amati, but of course it was Stradivari who after 1690 created the ideal string instruments, with a beauty of tone and perfect form.
The Three Choirs Festival in England imitated these gigantic distortions of Handel's music, a performance style that can also be traced in the USA until the middle of the present century. To maintain Handel's music as a living tradition it was reworked in numerous adaptations. 29 For performances in Vienna in the 1780s, Mozart also reorchestrated Handel's Messiah, as well as Acis and Galatea, the St Cecilia Ode and Alexander's Feast. Haydn's oratorio The Creation was strongly influenced by Handel, and Beethoven has been quoted as saying he believed Handel to be the greatest composer that ever lived.
The Late Baroque Era: From the 1680s to 1740 by George J. Buelow
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