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... d the Pange Lingua (Tell Tongue).</p>]]></content:encoded>
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<?xml version="1.0" encoding="UTF-8"?><rss version="2.0" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:sy="http://purl.org/rss/1.0/modules/syndication/" > <channel> <title>RSS Baroque Music</title> <link>http://www.newportbaroque.org/</link> <description>Baroque Music</description> <lastBuildDate>Fri, 20 Nov 2020 14:42:48 -0600</lastBuildDate> <language>en</language> <sy:updatePeriod>daily</sy:updatePeriod> <sy:updateFrequency>1</sy:updateFrequency> <item> <title>baroque history timeline</title> <description>Like other human pursuits the creation of music has evolved over time. Music History Scholars look back over time, and attempt to break that evolution up into stages, in the same way Paleontologists and Historians classify other ...</description> <content:encoded><![CDATA[<img src="/img/france_16001800_ad_chronology_heilbrunn_timeline.jpg" alt="France, 1600–1800 A.D. | Chronology | Heilbrunn Timeline of Art" align="left" /><p>Like other human pursuits the creation of music has evolved over time. Music History Scholars look back over time, and attempt to break that evolution up into stages, in the same way Paleontologists and Historians classify other types of change. Such a classification system is always going to be a simplification. In reality music has evolved in a more gradual manner with a number of smaller revolutionary steps along the way. Still a broad classification is helpful to make sense of the complexity and give labels to different styles and techniques of music. Although there are some differences of opinion about the dates for different transitions (there is always a degree of overlap), most musicologists are agreed on the overall shape of musical development. Below is a quick summary of the key periods of musical development, but we also recommend that you take a look at the Classical Composers Poster from Carissimi which lists more than 900 composers mapping them out across a timeline. The breakdown into music periods concentrates on Western Classical Music not because there wasn't music elsewhere in the world, but simply because that is the type of musical tradition which we focus on at mfiles. In our summary of that classification, we have used the following names and dates for the different musical eras: Our Composer Timelines page has composer timeline digrams for the Medieval, Renaissance, Baroque, Classical, Romantic and Modern Periods, plus a full listing (with links and references) of all the 600+ composers included on the diagrams. Early Music (before 9th Century): Although music has undoubtedly been a feature of human society for many thousands of years, not very much is known about its early history. It is not until the time of some the ancient civilisations that writings and sometimes pictures and artifacts have recorded the use of musical instruments. It is assumed that some music may have been improvisatory and that any technical aspects of music will have been passed via oral traditions, experienced musicians passing their skills by example to students. In this respect the learning of musical techniques is no different from other skills. In the later centuries of this period, formal musical traditions were being incubated in the catholic monasteries of the time, and the church was to play a major role in the subsequent development of music. A formal approach to the unaccompanied singing of religious texts in Latin was developed, called Gregorian Chant named after Pope Gregory I of the 6th Century AD. This singing or "plainsong" often centred around a single note with a few notes either side of it. The equivalent of keys used at this time were called Modes which roughly corresponds to scales starting on different white notes on a piano. Medieval or Gothic (9th to 14th centuries): Over the years many human endeavours have had the benefit of language. In particular a written language can convey a lot of information about past events, places, people and things. But it is difficult to describe music in words, and even more difficult to specify a tune. It was the development of a standard musical notation in the 11th century that allowed music to be documented in a physical form. Now music could be communicated efficiently, and succeeding generations would know something about the music of their ancestors. It was the demands of the church that required a musical notation, and so the earliest written music was largely Church Music. The plainchant of this time was still unaccompanied, but new developments were starting to appear. The singing might alternate between two parts for solo singers or choirs, or two parts might be sung together in a style called Organum. In early Organum a second part simply followed the main part at a fixed interval so that the two parts moved in parallel. Later the supporting parts became more independent of the main one and this freedom led to early forms of harmony. Outside of the church's influence, Minstrels and Troubadours were entertaining in the castles of Europe, with music and song a key part of their unwritten repertoire. Composers from this period were usually monks, and mostly their names were not written down. Among the few names we do know about today are Hildegard von Bingen (a nun and Abbess) and Guillaume de Machaut. Two examples of Gregorian Chant originating from this period are the Dies Irae (Day of Wrath) and the Pange Lingua (Tell Tongue).</p>]]></content:encoded> <category><![CDATA[Baroque Music Elements]]></category> <link>http://www.newportbaroque.org/baroque-history-timeline</link> <guid isPermaLink="true">http://www.newportbaroque.org/baroque-history-timeline</guid> <pubDate>Sat, 21 Nov 2020 02:42:00 +0000</pubDate> </item> <item> <title>Portland Orchestra</title> <description>Conductors from Boston, North Carolina, Washington state and Winnipeg, Manitoba, will compete to replace Robert Moody, who completes his 10th and final season as music director of the Portland Symphony Orchestra in May 2018. The ...</description> <content:encoded><![CDATA[<img src="/img/mozart_and_strauss_portland_symphony.jpg" alt="Mozart and Strauss - Portland Symphony Orchestra | That Oregon Life" align="left" /><p>Conductors from Boston, North Carolina, Washington state and Winnipeg, Manitoba, will compete to replace Robert Moody, who completes his 10th and final season as music director of the Portland Symphony Orchestra in May 2018. The symphony’s executive director, Carolyn Nishon, announced the finalists Tuesday morning at Merrill Auditorium. The four finalists are Ken-David Masur, assistant conductor of the Boston Symphony; Daniel Meyer, music director of the Asheville Symphony; Alexander Mickelthwate, music director of the Winnipeg Symphony Orchestra; and Eckart Preu, music director of the Spokane Symphony. Each candidate will conduct in Portland during the orchestra’s 2017-18 concert season. Each will conduct one classical concert and two pops concerts during his audition. Moody will conduct five concerts during the season, leaving the others to guests and his assistant, Andrew Crust. Moody’s final concert will be May 11, 2018, when he conducts Mahler’s Symphony No. 2, also known as “Resurrection.” Each finalist has conducted in Portland before, and two – Meyer and Mickelthwate – were candidates in the orchestra’s previous search for a music director a decade ago, which resulted in Moody’s hiring. Nishon said the orchestra received 240 applications. Of those, 25 were women, or just over 10 percent. She wishes more women had applied and said the preponderance of male candidates is a question “for the field to grapple with, ” she said. The PSO search committee includes musicians representing every section of the orchestra, staff, trustees and the community. It began its work in the fall of 2015. It will meet throughout the upcoming concert season and make a decision “when we feel we’ve found the right fit for the PSO, ” Nishon said. The four finalists will audition through the spring of 2018. Moody’s successor likely will be hired for the 2019-20 season, Nishon said. As assistant conductor of the Boston Symphony, Masur has the highest profile of the four finalists. He will conduct Brahm’s Symphony No. 1 on Nov. 15 and a pops program of songs from Oscar-winning movies in January 2018. He formerly conducted the San Diego Symphony, and in the 2016-17 season has conducted or will conduct in France, Germany and Russia. He also leads the New England Conservatory and the Boston University Symphony, and serves as artistic director of the Chelsea (N.Y.) Music Festival. Meyer will lead a classical program highlighted by Tchaikovsky’s “Swan Lake” on May 13, 2018, preceded by a Rodgers and Hammerstein tribute the month before. In addition to his work in Asheville, Meyer is music director of the Erie (Pa.) Philharmonic. He’s conducted in Germany and Vienna, and across the United States. Mickelthwate will conduct Beethoven’s piano concerto No. 5, “Emperor, ” on March 20, 2018, and a dance-oriented pops program this fall, on Nov. 11-12. Born in Germany, Mickelthwate has led the orchestra in Winnipeg since 2006, when he was a candidate in Portland. He began his U.S. career as assistant conductor with the Atlanta Symphony. Preu comes to Portland a year from now to conduct Johann Strauss’ “The Blue Danube, ” on March 4, 2018. His pops program celebrates Gershwin this fall, on Sept. 30 and Oct. 1. In addition to his work on the West Coast, Preu is music director of the Stamford Symphony in Connecticut and was newly appointed as music director of the Cincinnati Chamber Orchestra. All concerts are at Merrill Auditorium. It’s common for a music director to hold multiple positions at the same time. When Moody finishes in Portland, he also will give up directorship of the Winston-Salem Symphony, a position he has held since 2005, and focus on the Memphis Symphony Orchestra, where he serves as principal conductor. It’s his first job with an orchestra that has 50-plus full-time core members, and he’s looking forward to it, he said. Nishon thanked Moody for his work in Portland, and said the 2017-18 season will provide many opportunities for send-offs. “It’s been 10 wonderful years, ” she said. “Robert has stayed true with what he hoped to do for the orchestra, which was providing programming for anyone age 4 to 104.” Among his accomplishments during his tenure in Portland, Moody launched a low-cost concert series for families, hired an assistant conductor to do community education and develop audiences among younger fans, and introduced contemporary composers and new music to music fans in Maine.</p>]]></content:encoded> <category><![CDATA[Orchestra Music]]></category> <link>http://www.newportbaroque.org/portland-orchestra</link> <guid isPermaLink="true">http://www.newportbaroque.org/portland-orchestra</guid> <pubDate>Sun, 01 Nov 2020 01:40:00 +0000</pubDate> </item> <item> <title>bourque music</title> <description>A passionate teacher is an individual who is committed and dedicated to student learning. As I walked into Bourque Music that dedication and commitment was evident in owner Michelle’s voice and enthusiasm. As she explained her ...</description> <content:encoded><![CDATA[<img src="/img/documentary_shows_how_music_influenced_mandelas.jpg" alt="Documentary shows how music influenced Mandela's beat" align="left" /><p>A passionate teacher is an individual who is committed and dedicated to student learning. As I walked into Bourque Music that dedication and commitment was evident in owner Michelle’s voice and enthusiasm. As she explained her vast array of experiences, I learned Michelle’s background is diverse. As a graduate of USC’s Thornton School of Music, Michelle has toured the United States as Cassandra with True Colors Entertainment and performed at the Ford Amphitheater’s “Living Legends of Latin Music.” As an educator for 15 years, Michelle hope position of general/vocal music instructor, choir director, and program coordinator with LAUSD. Bourque Music opened in 2013 with classes in piano, voice, guitar, sax, and choir. “The goals of our students range from those crossing an item off their bucket list, adults who have always wanted to take lessons, young students learning their first instruments, young and wise who love to sing and play, to aspiring professional performers.</p>]]></content:encoded> <category><![CDATA[Baroque Music Elements]]></category> <link>http://www.newportbaroque.org/bourque-music</link> <guid isPermaLink="true">http://www.newportbaroque.org/bourque-music</guid> <pubDate>Mon, 12 Oct 2020 01:33:00 +0000</pubDate> </item> <item> <title>Avro Baroque radio</title> <description>Born in Palermo (Italy) in 1980. He studied piano, organ, harpsichord and composition at Palermo’s “V. Bellini” Conservatory, where he took the piano diploma in 2001 and the organ diploma in 2002 with full ...</description> <content:encoded><![CDATA[<img src="/img/archief_kunst_cultuur_avrotros.jpg" alt="Archief - Kunst & Cultuur - AVROTROS" align="left" /><p>Born in Palermo (Italy) in 1980. He studied piano, organ, harpsichord and composition at Palermo’s “V. Bellini” Conservatory, where he took the piano diploma in 2001 and the organ diploma in 2002 with full marks and “Cum Laude”. He took part in many international master-classes where he developed his skills and taste for baroque music. His concert life began at age of 15, with performances as a soloist and chamber musician. In 2002 he moved to The Netherlands where he studied at the Royal Conservatoire in The Hague. He took a Bachelor’s degree in organ with Jos van der Kooy and a Master in Early Music (harpsichord) with Ton Koopman. His musical activity brought him to play in the most prestigious venues and festivals in Europe and Middle East: The Netherlands (Concertgebouw Amsterdam, De Doelen Rotterdam, Philipszaal Eindhoven, Utrecht Oude Muziek Festival), Italy (Teatro Massimo and Teatro Politeama of Palermo, Rome, Milano, Teatro Nuovo in Udine), Austria (Styriarte Festival in Graz), France (Salle Pleyel in Paris, Opera of Versailles, Arsenal Metz), Luxembourg (Philarmonie), Spain (Fundación Juan March in Madrid, L’Auditori in Barcelona), Germany (Festival Mitte-Europa), Poland, Czech Republic (Festival Mitte-Europa), Hungary (Budapest), Syria (Damascus Opera House and High Institute of Music), as a soloist/continuo player or director of his Contrasto Armonico. Marco Vitale is the co-founder and musical director of “Contrasto Armonico”, baroque orchestra specialized in the performance of music in Italian style and baroque operas, using original instruments and historical performance practices. He is currently involved in the recordings of the Complete Italian Cantatas by Handel (Brilliant Classics), a thrilling project that will bring light on many undiscovered jewels of Handel which are neither edited nor recorded. He appeared in radio and TV broadcasts (often invited to speak about his Handel project) in Netherlands (AVRO), Germany, Austria (ORF), Spain, Poland (Polskie Radio), Italy (RAI), UK (BBC) and Syria (Syrian National Television). In addition to performing with Contrasto Armonico he also gives master-classes about baroque music in France, Germany, Czech Republic and Syria. He is the musical director of the Damascus Baroque Soloists (Syria) and he is regularly invited to perform with “Le Concert des Nations” with Jordi Savall.Nato a Palermo (Italia) nel 1980. Ha studiato pianoforte, organo, clavicembalo e composizione al Conservatorio di Musica “V. Bellini” di Palermo, dove ha conseguito il diploma in pianoforte nel 2001 e il diploma d’organo nel 2002 con il massimo dei voti e la lode. Ha partecipato a numerose master-classes internazionali dove ha sviluppato le sue abilità e il gusto per la musica barocca. Si esibisce come solista di clavicembalo, organo, continuista e direttore. Nel 2002 si trasferisce in Olanda per studiare presso il Conservatorio Reale dell’Aia. Nel 2007 ha conseguito il diploma di organo con Jos van der Kooy e l’anno seguente un Master in Musica Antica (clavicembalo) con Ton Koopman. La sua attività musicale lo ha portato a suonare nei festival e nelle sale da concerto più prestigiose di Europa e Medio Oriente: Paesi Bassi (Concertgebouw di Amsterdam, De Doelen Rotterdam, Philipszaal Eindhoven, Utrecht Oude Muziek Festival), Italia (Roma, Milano, Teatro Nuovo di Udine), Austria (Festival Styriarte di Graz), Francia (Salle Pleyel di Parigi e Opera di Versailles), Spagna (Fundación Juan March di Madrid, L’Auditori di Barcellona), Germania (Festival Mitte-Europa), Polonia, Repubblica Ceca (Festival Mitte-Europa), Ungheria, Siria (Damasco Opera House e Istituto Superiore di Musica), come solista/continuista o direttore del suo Contrasto Armonico. Marco Vitale è il co-fondatore e direttore musicale di “Contrasto Armonico”, ensemble specializzato nell’esecuzione di musica barocca, utilizzando strumenti originali e prassi esecutive storiche. E ‘attualmente impegnato nell’incisione dell’Integrale delle Cantate italiane di Händel per l'etichetta ayros (precedentemente su Brilliant Classics) un progetto ambizioso ed emozionante che ridarà luce e splendore a tanti tesori musicali (molti dei quali ancora inediti) di Handel mai prima d’ora incisi su CD. E ‘apparso in trasmissioni radio e TV (spesso invitato a parlare del suo progetto Handel) in Olanda (AVRO), Germania, Austria (ORF), Spagna, Polonia (Polskie Radio), Italia (RAI Radio 3), UK (BBC) e alla Televisione di Stato Siriana. Oltre a svolgere regolarmente attività con il suo Contrasto Armonico Marco Vitale è anche impegnato nell’attività didattica: tiene seminari e master-classes sulla musica barocca e la prassi esecutiva in Francia, Germania, Repubblica Ceca e Siria. Dal 2009 È il direttore musicale dell’ensemble “Damascus Baroque Soloists” (Siria) ed è regolarmente invitato ad esibirsi con “Le Concert des Nations” di Jordi Savall. Nel 2012 ha fondato la propria etichetta discografica ayros Urodził się w Palermo (Włochy) w 1980 roku. Studiował fortepian, organy, klawesyn i kompozycjȩ w Konserwatorium „V.Bellini” w Palermo, które ukończył w 2001 roku uzyskując dyplom w grze na fortepianie, a w 2002 roku na organach z wyróżnieniem „Cum Laude”. Brał udział w wielu międzynarodowych kursach mistrzowskich, gdzie rozwijał swoje umiejętności i zamiłowania do muzyki barokowej. Zaczął koncertować w wieku 15 lat, występując jako solista i kameralista. W 2002 roku przeniósł się do Holandii, gdzie studiował w Królewskim Konserwatorium w Hadze. Zdobył licencjat w grze na organach w klasie Jos van der Kooy i tytuł magistra (Muzyka Dawna) w grze na klawesynie u Tona Koopmana. Jego muzyczna działalność zawiodła go do najbardziej prestiżowych salach koncertowych i festiwali muzycznych w Europie i na Bliskim Wschodzie: w Holandii (Concertgebouw w Amsterdamie, De Doelen Rotterdam, Eindhoven Philipszaal, Utrecht Festival Oude Muziek), Włochy (Teatro Massimo i Teatro Politeama w Palermo, Rzym, Milano, Teatro Nuovo w Udine), Austria (Styriarte Festiwal w Graz), Francji, Hiszpanii (Fundación Juan March w Madrycie), Niemcy (Berlin Festival-Europa), Polska, Republika Czeska (Europa Mitte-Festival), Węgry (Budapeszt), Syria (Damaszek Opera i High Institute of Music), jako solistȩ bądź continuistȩ lub jako szefa jego zespołu Contrasto Armonico.</p>]]></content:encoded> <category><![CDATA[Baroque Music Elements]]></category> <link>http://www.newportbaroque.org/avro-baroque-radio</link> <guid isPermaLink="true">http://www.newportbaroque.org/avro-baroque-radio</guid> <pubDate>Tue, 22 Sep 2020 01:33:00 +0000</pubDate> </item> <item> <title>Musica angelica Baroque Orchestra</title> <description>Musica Angelica Baroque Orchestra (= MABO) is led by Music Director Martin Haselböck, the internationally renowned organist, conductor, and composer. Regarded as Southern California's premier Baroque ensemble, Musica Angelica ...</description> <content:encoded><![CDATA[<img src="/img/musica_angelica_baroque_orchestra_california_artists.jpg" alt="Musica Angelica Baroque Orchestra — California Artists Management" align="left" /><p>Musica Angelica Baroque Orchestra (= MABO) is led by Music Director Martin Haselböck, the internationally renowned organist, conductor, and composer. Regarded as Southern California's premier Baroque ensemble, Musica Angelica presents wide-ranging programs encompassing music from the early Baroque through the early Classical era. MABO was co-founded in 1993 by Michael Eagan (passed away in 2004), widely considered one of the foremost lute players in the country, and gambist Mark Chatfield (passed away in 1998). The group performs regularly at. Since its inception in 1993, MABO has produced an annual subscription season of orchestral and chamber concerts in venues throughout Los Angeles County (Zipper Hall at Colburn School, as well as the Broad Stage at the Performing Arts Center at Santa Monica College), programming a mixture of known masterworks along with rarely heard gems the Baroque and Classical eras, and featuring many of the best Baroque musicians from across the country and Europe. Guest conductors have included Rinaldo Alessandrini, Giovanni Antonini, Harry Bicket, Paul Goodwin, and Jory Vinikour, among others. n addition to established repertory, MABO has premiered over ten works in the new-music genre. The group's 2004 premiere of a 1737 oratorio by Nicola Porpora, Il Gedeone, received positive reviews. Most recently, in March 2009, Musica Angelica performed the North American premiere of Antonio Vivaldi's opera, Motezuma. Notable performances have included a collaboration with actor John Malkovich, in a one man show portraying Austrian serial killer Jack Unterweger. MABO's first international tour, distinguished by sold-out performances and wide critical acclaim, took place in March 2007 in a joint venture with Martin Haselböck's acclaimed European orchestra, the Wiener Akademie of Vienna. The ensemble presented 13 performances of J.S. Bach's St. Matthew Passion (BWV 244) in Los Angeles, New York, Savannah (Savannah Music Festival), Mexico, Hungary, Austria, Spain, Italy and Germany. Among critical acclaim from the media for MABO is a Los Angeles Times review which said, "Musica Angelica soars in a Baroque gem… a triumph… Haselböck’s leadership was nuanced and inspiring." Musica Angelica was described as a "world class Baroque orchestra" by KUSC FM Classical Music Radio, as "L.A.'s premiere Baroque music ensemble" by Angeleno Magazine, and as "a serious and important early-music ensemble, the best of its kind in these parts" by esteemed music critic Alan Rich. In 1998, MABO issued a well-received recording, Antonio Vivaldi's Concertos for Lute, Oboe, Violin and Strings. In 2007, MABO raised its profile with...</p>]]></content:encoded> <category><![CDATA[Orchestra Music]]></category> <link>http://www.newportbaroque.org/musica-angelica-baroque-orchestra</link> <guid isPermaLink="true">http://www.newportbaroque.org/musica-angelica-baroque-orchestra</guid> <pubDate>Wed, 02 Sep 2020 01:31:00 +0000</pubDate> </item> <item> <title>Irish Baroque Orchestra</title> <description>Irish Baroque Orchestra – excellence in authentic period performance The Irish Baroque Orchestra is like no other group performing in Ireland today. Driven by the belief that the best things in life stand the test of time, the ...</description> <content:encoded><![CDATA[<img src="/img/behind_the_scenes_irish_baroque_orchestra.jpg" alt="Behind the Scenes: Irish Baroque Orchestra — Final Note Magazine" align="left" /><p>Irish Baroque Orchestra – excellence in authentic period performance The Irish Baroque Orchestra is like no other group performing in Ireland today. Driven by the belief that the best things in life stand the test of time, the orchestra allows Irish audiences to experience the beauty of baroque music as it was intended to be heard. Under the inspirational artistic direction of Monica Huggett, each member of the orchestra continuously seeks to explore the playing techniques and performance styles of the seventeenth and eighteenth centuries, and performs only on baroque instruments or modern replicas. The result is as vivid as a freshly restored oil painting: the colour, simmering tension, and highly charged emotion of this incredible music bursts to the surface, carrying the listener back 300 years to the fascinating sights and sounds of 18th Century Europe. Although the IBO has its roots in the past, it is a dynamic and constantly evolving organisation with its sights firmly set on the future. Today, its exceptional musicians perform regularly throughout Ireland and abroad, and continue to receive widespread critical acclaim. The IBO Chamber Soloists (IBOCS) is a formidable smaller ensemble comprising core players, and this permits further possibilities for vibrant and memorable performances of smaller projects. The IBO seeks to keep the tradition of baroque music alive for future generations, and so education and recording initiatives are a vital aspect of its work. From 2008 – 2013 the orchestra was ensemble in residence at the DIT Conservatory of Music and Drama. In March 2013 the IBO became resident at the National Concert Hall Dublin where it works regularly with national and international students on baroque repertoire and playing techniques. ‘Flights of Fantasy’, a recording of early Italian chamber music was released in 2010 on the Avie label, and received a glowing international response. The disk was subsequently listed in the NEW YORKER’S most memorable moments in music for 2010: top recording of the year. The Irish Baroque Orchestra is generously funded by the Arts Council / An Chomhairle Ealaíon. It also receives financial support from Dublin City Council. The orchestra has its own collection of period instruments, purchased some years back with the assistance of an Arts Council capital grant and the Department of Arts, Heritage and the Gaeltacht.</p>]]></content:encoded> <category><![CDATA[Orchestra Music]]></category> <link>http://www.newportbaroque.org/irish-baroque-orchestra</link> <guid isPermaLink="true">http://www.newportbaroque.org/irish-baroque-orchestra</guid> <pubDate>Thu, 13 Aug 2020 01:06:00 +0000</pubDate> </item> <item> <title>North carolina Orchestra</title> <description>North Carolina Baroque Orchestra goes to Berkeley 3-4:00 PM Wednesday, June 8 Trinity Chapel – 2320 Dana Street (at Durant) Berkeley, CA 94704 Tickets available at the door. Price: $15/general, $10 students &amp; seniors, kids ...</description> <content:encoded><![CDATA[<img src="/img/uncsa_symphony_orchestra_to_perform_on.jpg" alt="UNCSA Symphony Orchestra to perform on North Carolina tour - UNCSA" align="left" /><p>North Carolina Baroque Orchestra goes to Berkeley 3-4:00 PM Wednesday, June 8 Trinity Chapel – 2320 Dana Street (at Durant) Berkeley, CA 94704 Tickets available at the door. Price: $15/general, $10 students & seniors, kids under 12 free. The North Carolina Baroque Orchestra, a period instrument baroque orchestra based in Davidson, NC and led by conductor and world reknowned recorder virtuoso Frances Blaker, will perform selections from Handel’s “Water Music”, Bach’s “Brandenburg Concerto 1” and Rebel’s “Les Elements”. This concert will feature early horns, in addition to strings, flutes, bassoon, oboe, theorbo, percussion and harpsichord. Come hear the NCBO in its west coast premiere performance! : Frances Blaker, Conductor and Co-founder. Barbara Blaker Krumdieck, Personnel Director and Co-founder. 25 piece baroque orchestra including strings, oboes, flutes, horns, bassoon, theorbo, keyboard and percussion.</p>]]></content:encoded> <category><![CDATA[Orchestra Music]]></category> <link>http://www.newportbaroque.org/north-carolina-orchestra</link> <guid isPermaLink="true">http://www.newportbaroque.org/north-carolina-orchestra</guid> <pubDate>Fri, 24 Jul 2020 01:01:00 +0000</pubDate> </item> <item> <title>about Baroque music</title> <description>About Baroque Music The Baroque Era began at the end of the 16th century and lasted to about 1750. This era reflects a period of time when great changes occurred in music and culture. The Baroque era artistically bridged the gap ...</description> <content:encoded><![CDATA[<img src="/img/boosting_brain_power_with_classical_and.jpg" alt="Boosting Brain Power With Classical and Baroque Music" align="left" /><p>About Baroque Music The Baroque Era began at the end of the 16th century and lasted to about 1750. This era reflects a period of time when great changes occurred in music and culture. The Baroque era artistically bridged the gap between the spiritually pure music of the renaissance era and the formalized music of the classical era. The music of the early baroque was composed in a style that was very similar the music of the renaissance era. The baroque era culminated with the exalted music of J.S. Bach, whose three sons were among the first exponents of the new music of the classical era: the era that followed the baroque. The Bach sons greatly influenced classical-era composers Haydn and Mozart. The baroque style of music represented a complete departure from that of the renaissance era. Sacred music during the renaissance period was sung in the a cappella choral style that was its trademark. If instruments were used at all, they simply copied the parts sung by the choirs instead of introducing separate melodies. In the baroque era, however, instruments gained a place of their own in sacred as well as secular music. Another innovation of the baroque era was the introduction of a solo style. In the renaissance period, all sacred music was performed by choirs; in the baroque, individual parts were assigned to soloists. To backup the singing by these soloists, the concept of the thoroughbass (baso continuo or figured bass) was introduced. This technique allowed a bass part to be assigned to the music, and chords were designated for improvisation above the bass part. Opera first appeared in the early baroque era. The introduction of opera with its solo singing helped form the baroque style, and this style was introduced into the sacred music. Thus the sacred music of the baroque era was composed in a more secular style than was the lofty, celestial choir music of the renaissance. Among the early composers of the baroque era were two outstanding figures: Giovanni Gabrieli (c1557-1612) and Claudio Monteverdi (1567-1643). Gabrieli was an organist at Saint Mark's Cathedral in Venice, Italy. There he wrote compositions for two or more choirs. A number of these are masterpieces of great music, for example his O Magnum mysterium, the Plaudite Psalite, and the beautiful In Ecclesiis. Gabrieli composed a number of masses, but only sections of these works have survived. These mass movements, however, are profound, moving compositions that must have transformed listeners experiencing the music sung by three distinct choirs from the lofts of Saint Mark's in Venice. It was a very great composer, Claudio Monteverdi (1567-1643), who really ushered in the baroque era. Monteverdi wrote the first operas of the baroque period, but he was a master of many forms of music. A great number of his compositions rank as masterpieces. Monteverdi was the concert master and conductor at Saint Mark's Cathedral in Venice. There, he wrote a number of fine sacred works in a style so refreshing, so new, that he literally breathed new life into the times. He excelled in the composition of both secular and sacred music. His operas rank as some of the finest every written. Listen to what Musicologist Paul Henry Lang has to say about Monteverdi's operas in his book Music in Western Civilization : He then wrote his last great operas, which, judging from the two that were preserved, Il Ritorno d'Ulisse and L'Incoronazione di Poppea, were veritable miracles of dramatic portrayal and artistic rendering of the most profound and moving human problems. Poppea has recently been restored to the repertory of some European theaters. With the passionate accents of its music and the wide arches of its freely flowing melodies, it stands alone in the operatic literature; only the falstaff of the seventy-nine-year-old Verdi is comparable, both in its tragic disillusionment and in its bewitching poetry, to Monteverdi's Poppea, composed at the age of seventy-five. Monteverdi also published a series of eight books of madrigals. The madrigals of the eighth book, Songs of Love and War, are the finest madrigals ever written. Another development of the baroque era was the string chamber orchestra that flourished during the time of the great violin maker, Stradivari. Violin playing had became an art, and the string orchestras of the Italian baroque reached a great height of skill in the early 1700s. The body of work written for string orchestra during this period contains a treasure trove of beautiful and magnificent music. Arcangelo Corelli (1653-1713) perfected the type of composition known as the concerto grosso, and many composers wrote stunningly beautiful compositions using this form. Other fine composers of the Italian string school were Giuseppe Torelli(1658-1709), Pietro Locatelli (1695-1764), Francesco Manfredini (1684-1762), Tomaso Albinoni (1671-1750), Francesco Geminiani (1687-1782) and Antonio Vivaldi (c.1676-1741).</p>]]></content:encoded> <category><![CDATA[Baroque Music Elements]]></category> <link>http://www.newportbaroque.org/about-baroque-music</link> <guid isPermaLink="true">http://www.newportbaroque.org/about-baroque-music</guid> <pubDate>Sat, 04 Jul 2020 00:26:00 +0000</pubDate> </item> <item> <title>Baroque music 1600 to 1750</title> <description>It was during the 17th Century that the system of modes finally crumbled away. By adding accidentals the Major/Minor key system developed. The 17th Century also saw the invention of several new forms and designs, such as: Opera ...</description> <content:encoded><![CDATA[<img src="/img/history_the_heart_of_music.jpg" alt="History | The Heart of Music" align="left" /><p>It was during the 17th Century that the system of modes finally crumbled away. By adding accidentals the Major/Minor key system developed. The 17th Century also saw the invention of several new forms and designs, such as: Opera Sonata Oratorio Suite Fugue Concerto The orchestra started to take shape, mainly in the strings, and the violins became the dominant instrument, and most important in orchestras. Composer Nationality Vivaldi Italian Handel German A. Scarlatti Couperin French D. Scarlatti Lully Corelli Rameau Monteverdi Purcell English Bach A monody is a single voice line supported by an instrumental bass line, upon which chords were constructed. The voice line followed the natural speech rhythms of the words. This style of writing for the voice (half singing and half reciting) became known as recitative. All the composer wrote down beneath the melody was a bass line to be played by a low stringed instrument, such as a cello. This was called the 'basso continuo', but the composer expected another continuo player on harpsichord, organ or lute, to build up chords upon the bass line. As these chords had to be improvised, the player had to be very skillful. Figures below the notes indicated which chords to play. This is called a figured bass. The first opera was written in 1597, called 'Dafne', and was composed by Peri. It had choruses, dances and instrumental pieces, all done by a small orchestra. It contained music and drama (i.e. Music-Drama). The first truly great opera was composed by Monteverdi in 1607, and was called 'Orfeo'. The music heightens the dramatic impact. The music and drama blend together well. There was a lot of instrumental ritomello (Italian for return, and means when a section returns). Before each verse of the aria (song), we hear an instrumental ritornello. Scarlatti's operas often began with an overture in three sections: quick, slow, quick. This was the Italian Overture. Scarlatti designed the arias in his operas in da capo form, i.e. ABA. Another name for this is ternary form. Lully's operas began with a French Overture.. slow, quick, slow. This is the other way round to an Italian Overture.</p>]]></content:encoded> <category><![CDATA[Baroque Music Elements]]></category> <link>http://www.newportbaroque.org/baroque-music-1600-to-1750</link> <guid isPermaLink="true">http://www.newportbaroque.org/baroque-music-1600-to-1750</guid> <pubDate>Sun, 14 Jun 2020 00:01:00 +0000</pubDate> </item> <item> <title>baroque orchestras</title> <description>There are few pieces of music as instantly recognizable as Antonio Vivaldi’s Four Seasons . And yet, as it is so often heard only in fragments, the complete piece still has the capacity to surprise and delight. The Venice ...</description> <content:encoded><![CDATA[<img src="/img/uc_davis_and_davis_high_school.jpg" alt="UC Davis and Davis High School Baroque Orchestras - UC Davis Arts" align="left" /><p>There are few pieces of music as instantly recognizable as Antonio Vivaldi’s Four Seasons . And yet, as it is so often heard only in fragments, the complete piece still has the capacity to surprise and delight. The Venice Baroque Orchestra performed the Venetian masterpiece alongside Philip Glass’ “American Four Seasons” in 2010. The group is joined by violin soloist Nicola Benedetti, whose highly personal interpretations of Vivaldi’s work have been called “teasingly wistful one minute, electrifying and explosive the next” ( The Scotsman ). The program is rounded out by a number of lesser-known, but no less engaging, Baroque masterworks from Italy and England. Galuppi: Concerto a Quattro No. 2 in G Major Avison: Concerto Grosso No. 8 in E Minor, after D. Scarlatti Geminiani: Concerto Grosso for strings in D Minor, “La Follia” Vivaldi: Concerto in D Major for violin, strings and basso continuo, RV 212a, “Per la solennità della S. lingua di S. Antonio in Padua”</p>]]></content:encoded> <category><![CDATA[Orchestra Music]]></category> <link>http://www.newportbaroque.org/baroque-orchestras</link> <guid isPermaLink="true">http://www.newportbaroque.org/baroque-orchestras</guid> <pubDate>Sun, 24 May 2020 23:59:00 +0000</pubDate> </item> </channel></rss>If you would like to create a banner that links to this page (i.e. this validation result), do the following:
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