# Baroque Abundance



## Ingélou (Feb 10, 2013)

When I got interested in classical music, about two years ago now, all I knew about baroque music was that I liked those *really-nice-tunes* by *Bach, Handel & Vivaldi*; and one or two by *Purcell* too.

Since then, my universe has expanded. I found out about *Corelli, Barbara Strozzi, Lully, Rameau & Alessandro Scarlatti* on my own, and heard of the existence of *Rebel, Fontana, Muffat, Castello, Pandolfi *& more from my Baroque Performer fiddle teacher. And from TC members, I learned about *Telemann, Zelenka, Biber, Elisabeth Jacquet de la Guerre, Charpentier, Couperin, Luigi Rossi, Torelli & Geminiani*. There are also fabulous one-offs, like *Locatelli's Caprice* - thank you, *moody*! :cheers:

Found out about - listened to, a little - but unfamiliar with yet, and even if I live to be 100, I'll only have skimmed the surface! 

The trouble is, *Baroque Composers are just too good and too abundant*.

Can you advise? Beyond Bach & Handel, what *five (plus/minus) composers* would you recommend as a priority for getting to know *in depth*? Who is your *favourite*, beyond the obvious ones?

Where would you advise a Baroque Newbie *to start*, once s/he's out of the front gate?

And do you have any *one-off gems* to recommend?

I'd be so interested to hear any observations on composers or pieces outside the main Baroque Corral.









(Magnificent Mustangs might have been an alternative thread title.)

Thanks in advance for any replies! :tiphat:


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## Guest (May 24, 2014)

I know much less baroque music than you, but beyond Bach/Handel, a few others thus far leave me hungry for more. Ya know...Zelenka is great, but I've kinda just been content to listen to the trio sonatas once in a while. On the other hand:

Monteverdi
Rameau
D. Scarlatti
Corelli

Can't get enough! Though in the case of the last two, I'll probably run out of new material eventually..


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## GioCar (Oct 30, 2013)

If I have to choose five to know better beyond Bach, Handel & Vivaldi I would recommend 
Rameau
Corelli
Domenico Scarlatti
Pergolesi
François Couperin

Probably in that order.

I would not consider Monteverdi a baroque composer.


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## JCarmel (Feb 3, 2013)

I think you already have a very deep appreciation for the music of the period & I can tell that it brings you much joy but my initial reaction to your question is to say that I think you should acquaint yourself with more music away from the Baroque Period. That is my honest response to your question & I hope you'll forgive that honesty in relaying it to you rather than just put down some composers or works from the Baroque.....


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## StlukesguildOhio (Dec 25, 2006)

Beyond the obvious, I'd recommend delving into the vocal works of Vivaldi and Handel. Look especially into Handel's early cantatas. After the "Big Three"...? I am quite enthralled with Biber and Zelenka as well as Rameau. Check out Elizabeth Wallfisch' performances of Telemann, Biber, Locatelli, Tartini... Don't overlook Buxtehude. Check into Manze's performances of Pandolfi, Albinoni, Tartini, Rebel, Corelli, as well as Biber, Bach, Handel, etc... Look into William Christie's performances of Marc-Antoine Charpentier, André Campra, Jean-Joseph Cassanéa de Mondonville, Purcell, Rameau, Michel Richard DeLalande... Look into John Holloway's performances of Castello & Fontana, Biber, Buxtehude, Jean-Marie Leclair, Biber... Definitely give Sylvius Weiss a listen. I quite like the violin works by Johann Paul von Westhoff, Johann Jakob Walther, Johann Joseph Fux, Thomas Balthzar, and Johann Heinrich Schmelzer. Fux' motets are also quite fine. Certainly look into Jordi Savall's marvelous Baroque recordings including Handel, Bach, Marin Marais, Monsieur de Sainte-Colombe, Purcell, John Dowland, Francois Couperin, etc... Domenico Scarlatti, Pegolesi, J.C. Bach, and Monteverdi (of course) although categorizing any of them as "Baroque" is open to debate. 

My personal favorites:

1. Biber
2. Rameau
3. Monteverdi
4. Zelenka
5. Corelli
6. Domenico Scarlatti
7. Telemann
8. Buxtehude
9. Sylvius Weiss
10. Tartini

In no particular order...


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## Taggart (Feb 14, 2013)

Too much excellent music! Monteverdi is on the cusp of the Baroque - almost the father of the Baroque style. Apart from him

Buxtehude
Purcell 
Corelli
Couperin
D Scarlatti
Telemann

would cover much of the rest of the Baroque period. 

Buxtehude gives you much of the pre-Bach organ repertoire. Purcell has a wide range of music: both operatic and sacred, songs and dances; he is a useful counter-weight to Lully. Corelli is both seminal in violin playing and his concerti grossi were very influential. It is difficult to decide between Couperin and Scarlatti for keyboard works - both are brilliant in their own way - one French, the other Italian writing in the Spanish style. Just as Monteverdi introduced the Baroque, Telemann links through to the coming Classical movement yet was a Baroque composer much admired by Bach.


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## Ingélou (Feb 10, 2013)

JCarmel said:


> I think you already have a very deep appreciation for the music of the period & I can tell that it brings you much joy but my initial reaction to your question is to say that I think you should acquaint yourself with more music away from the Baroque Period. That is my honest response to your question & I hope you'll forgive that honesty in relaying it to you rather than just put down some composers or works from the Baroque.....


No problems! I do listen to other music too, often from TalkClassical recommendations, & go to see operas & ballets occasionally but as Baroque is my first classical love (along with early music), I just thought that I'd like to have a mental map of the terrain. 

Never worry about being honest. I'm a Northerner & you live in the North so you'll know that honesty is actually the *only *policy! Live long and prosper.


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## Blake (Nov 6, 2013)

I really enjoy the violin work of composers like Tartini and Leclair. So nice.


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## Svelte Silhouette (Nov 7, 2013)

Ingélou said:


> When I got interested in classical music, about two years ago now, all I knew about baroque music was that I liked those *really-nice-tunes* by *Bach, Handel & Vivaldi*; and one or two by *Purcell* too.
> 
> Since then, my universe has expanded. I found out about *Corelli, Barbara Strozzi, Lully, Rameau & Alessandro Scarlatti* on my own, and heard of the existence of *Rebel, Fontana, Muffat, Castello, Pandolfi *& more from my Baroque Performer fiddle teacher. And from TC members, I learned about *Telemann, Zelenka, Biber, Elisabeth Jacquet de la Guerre, Charpentier, Couperin, Luigi Rossi, Torelli & Geminiani*. There are also fabulous one-offs, like *Locatelli's Caprice* - thank you, *moody*! :cheers:
> 
> ...


Wow, I'm blinded by Technicolor and trampled by stallions.

I've not heard any Strozzi, de la Guerre, Rossi or Torelli so adding them to my wishlist now, thanks.


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## Svelte Silhouette (Nov 7, 2013)

StlukesguildOhio said:


> Beyond the obvious, I'd recommend delving into the vocal works of Vivaldi and Handel. Look especially into Handel's early cantatas. After the "Big Three"...? I am quite enthralled with Biber and Zelenka as well as Rameau. Check out Elizabeth Wallfisch' performances of Telemann, Biber, Locatelli, Tartini... Don't overlook Buxtehude. Check into Manze's performances of Pandolfi, Albinoni, Tartini, Rebel, Corelli, as well as Biber, Bach, Handel, etc... Look into William Christie's performances of Marc-Antoine Charpentier, André Campra, Jean-Joseph Cassanéa de Mondonville, Purcell, Rameau, Michel Richard DeLalande... Look into John Holloway's performances of Castello & Fontana, Biber, Buxtehude, Jean-Marie Leclair, Biber... Definitely give Sylvius Weiss a listen. I quite like the violin works by Johann Paul von Westhoff, Johann Jakob Walther, Johann Joseph Fux, Thomas Balthzar, and Johann Heinrich Schmelzer. Fux' motets are also quite fine. Certainly look into Jordi Savall's marvelous Baroque recordings including Handel, Bach, Marin Marais, Monsieur de Sainte-Colombe, Purcell, John Dowland, Francois Couperin, etc... Domenico Scarlatti, Pegolesi, J.C. Bach, and Monteverdi (of course) although categorizing any of them as "Baroque" is open to debate.
> 
> My personal favorites:
> 
> ...


Also adding Weiss I've none of to my list, thanks.

I love baroque as it tramples all over that limp-wristed romantic whimsy


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## Winterreisender (Jul 13, 2013)

I would recommend Heinrich Schütz who has some of the finest pre-Bach choral works, e.g. the Musikalische Exequien and also the Weihnachtshistorie.


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## GioCar (Oct 30, 2013)

Taggart said:


> ...Monteverdi is on the cusp of the Baroque - almost the father of the Baroque style. ....


Yes, he was the bridge between late renaissance and baroque, but aesthetically speaking his music is pre-baroque.


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## Couac Addict (Oct 16, 2013)

...considering composers you haven't listed.

Tartini's concertos, sonatas.
Corellis' Concerti Grossi, trio and solo sonatas
Albinoni's Adagio in Gm, 12 concertos
Weiss' Tombeau sur la mort de M. Comte de Logy, sonata in Dm
Lawes' setts for viols, Royall Consort suites
Stradella's San Giovanni Battista, cantatas
Buxtehude's Membra Jesu Nostri, La Capricciosa
Carissimi's Jepthe
Lully's Le bourgeois gentilhomme, Armide
Cavalli's La Calisto, Messa Concertata

That should keep you going for a while


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## shangoyal (Sep 22, 2013)

I love the baroque too... but I am awfully limited in my experience so far -- Bach is the only composer I have explored in any depth. I would say he has a huge output which can keep you busy for decades -- the cantatas, the organ music, the concertos and the keyboard music. Then there is solo music for violin, lute and cello. Honestly other baroque music sounds way less satisfying than his music, and I only turn to it for change.

So, my understanding of the Baroque abundance is a little different.


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## Bulldog (Nov 21, 2013)

Froberger
Weckmann
Scheidemann
Louis Couperin
Zelenka


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## brotagonist (Jul 11, 2013)

You all have listed everything I know, and more, but one:

Albinoni

Pardon me! I see that StlukesguildOhio and Couac Addict have beat me to it


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## tdc (Jan 17, 2011)

Not sure if you've listened to this but I'd highly recommend this recording, it is probably what I consider the best non-Bach Baroque recording I've picked up in the recent past. I know you are a fan of Lully and French Baroque, and one can hear the influence of Lully in these works.


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## PetrB (Feb 28, 2012)

GioCar said:


> Yes, he was the bridge between late renaissance and baroque, but aesthetically speaking his music is pre-baroque.


Monteverdi ~ "Late Renaissance." Also near the pivotal one guy whose music, and its popularity, hugely influenced the choice / music history changing path then taken to the preference and trend toward homophonic music vs. polyphonic music. (He was more than adept at both


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## Llyranor (Dec 20, 2010)

Others have mentioned him, but I want to bring more attention to Buxtehude. A wonderful composer! He is known for his organ works, but I have yet to delve into that seriously. His sonatas/chamber music are exquisite, however, and his cantatas are beautiful.

For example,

- This lovely sonata, BuxWV 272 



- Ciacona BuxWV 160 (originally for organ) 



- Sonata BuxWV 261 



- The cantata 'Herr, wenn Ich Nur Dich Hab' 



- Another beautiful one 'Quemadmodum desiderat cervus' 




Hopes this inspires you to dig into him further!


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## Varick (Apr 30, 2014)

These are my recommendations (Some of these have been mentioned):

*- Caccini:* Selections from _"Le Nuove Musiche"_
*- Monteverdi:* Selected _Madrigals_ from books 5-9, 
_Orfeo_, 
_L'Incoranazione di Poppea_
*- Schutz:* _Christmas Oratorio_
Selected _Motets_
*- Carissimi:* _Jepthe_
*- Froberger:* Selected _Harpsichord Suites_
*- Corelli:* _Concerto Grossi Op.6_
*- Torelli:* _Trumpet concerti_
*- A. Scarlatti:* _Il Giardino di Amore_
*- Buxtehude:* Selected organ works (esp. _Prelude, Fuge, & Chaconne in C_)
*- Lully:* Selected instrumental works from his ballets
*- Purcell:* _Dido & Aeneas_
*- D. Scarlatti:* Selected _harpsichord/keyboard works_
*- Telaman:* _Fantasies_
*- Krebs:* _German Baroque Organ music_

It's just a start on some of the main pieces in the Baroque canon. Go from there with what you like, then explore more into the composers you enjoy. Have fun!

V


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## SimonNZ (Jul 12, 2012)

No mention of Boyce yet?










edit: this might also be as good a place as any to alert anyone who may be interested that L'Oiseau-Lyre are releasing a 50cd set of replica albums from their Baroque catalogue (to be followed by two more 50cd boxes on the Classical era and the Medieval/Renaissance):










http://www.prestoclassical.co.uk/r/Decca/4786753


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## Alypius (Jan 23, 2013)

Two off-the-beaten path recommendations:

Johann Heinrich Schmelzer (c.1620-1680) -- His music sounds like a perfect mid-point between Renaissance and Baroque. Try this recent, superb release from the Freiburger BarockConsort, _Schmelzer: Barockes Welttheater_ (Harmonia mundi, 2012). Great fun, superbly played:










Some of the Latin American baroque composers, notably Antonio Zipoli (born in Italy, worked as a Jesuit missionary and composer in Paraguay):

Jeffrey Skidmore / Et Cathedra, _New World Symphonies: Baroque Music from Latin America_ (Hyperion, 2003)


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## Taggart (Feb 14, 2013)

SimonNZ said:


> No mention of Boyce yet?
> 
> edit: this might also be as good a place as any to alert anyone who may be interested that L'Oiseau-Lyre are releasing a 50cd set of replica albums from their Baroque catalogue (to be followed by two more 50cd boxes on the Classical era and the Medieval/Renaissance):


Nor Avison, Mudge or Eccles either. We get these at our local Baroque ensemble's concerts.

You're going to have to stop recommending these excellent box sets. It's making me drool!



Alypius said:


> Two off-the-beaten path recommendations:
> 
> Johann Heinrich Schmelzer (c.1620-1680) -- His music sounds like a perfect mid-point between Renaissance and Baroque. Try this recent, superb release from the Freiburger BarockConsort, _Schmelzer: Barockes Welttheater_ (Harmonia mundi, 2012). Great fun, superbly played:
> 
> ...


We've got the full set - New World, Sun and All Things and Fire Burning in Snow. Absolutely excellent music plus several versions of the Hanacpachap cussicuinin. Came from a listening on (shh!) Classic FM.


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## Winterreisender (Jul 13, 2013)

Llyranor said:


> Others have mentioned him, but I want to bring more attention to Buxtehude. A wonderful composer! He is known for his organ works, but I have yet to delve into that seriously. His sonatas/chamber music are exquisite, however, and his cantatas are beautiful.
> 
> For example,
> 
> ...


I share the enthusiasm for Buxtehude and especially his cantatas. This is another very abundant repertoire but sadly only a fraction of the cantatas have been recorded (as far as I know). If someone gave him the Bach-Cantata treatment, i.e. high quality recordings of the whole set in an attractive box set, I know I'd buy it . But for now, this is a favourite baroque CD:


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## Xaltotun (Sep 3, 2010)

Here's a one-off gem: Monsieur de Sainte-Colombe's concertos for two viola da gambas. Incredibly expressive music!


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## ArtMusic (Jan 5, 2013)

I came across the concerti of the English Baroque/Classical composer Charles Avison. Worth a listening.


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## Llyranor (Dec 20, 2010)

Winterreisender said:


> I share the enthusiasm for Buxtehude and especially his cantatas. This is another very abundant repertoire but sadly only a fraction of the cantatas have been recorded (as far as I know). If someone gave him the Bach-Cantata treatment, i.e. high quality recordings of the whole set in an attractive box set, I know I'd buy it . But for now, this is a favourite baroque CD:


Someone correct me if I'm wrong, but I was under the impression that Ton Koopman had recorded the complete works of Buxtehude.


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## Winterreisender (Jul 13, 2013)

Llyranor said:


> Someone correct me if I'm wrong, but I was under the impression that Ton Koopman had recorded the complete works of Buxtehude.


You're absolutely right! Thanks for correcting me. Can't believe I missed this one. http://en.wikipedia.org/wiki/Dieterich_Buxtehude_–_Opera_Omnia

It's an ongoing project but apparently 18 out of 20 volumes have been released. They're not cheap though. Perhaps if we wait for its completion, a budget box set will come out.


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## tdc (Jan 17, 2011)

For Buxtehude this is an incredible performance of his masterpiece - _Membra Jesu Nostri_


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## Guest (May 27, 2014)

Some might find this list of major Baroque composers and works interesting:

http://www.classical.net/music/rep/lists/baroque.php


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## Cantabile (May 24, 2014)

This is an overwhelming and most excellent abundance (drooling over the recordings, too). I'd forgotten about Boyce and want to explore the 'off the beaten path' recommendations! There is always so much more to learn!


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## Svelte Silhouette (Nov 7, 2013)

There can never be too much :tiphat:


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## Alypius (Jan 23, 2013)

While Vivaldi is a mainstay of the baroque, of course, there has emerged a major discovery of new manuscripts of Vivaldi's works. A little over a decade ago, Naive embarked on recording these under the title: "The Naive Vivaldi Edition." The series began in 2000 after the discovery of a huge collection of Vivaldi's autograph manuscripts, now held in the Biblioteca Nazionale in Turin. It was, I gather, Vivaldi's private library of scores that he had with him in Vienna at the time of his death. Many of these have never been recorded before. There have been about 50 releases in what will be a 100-some records total. Naive has commissioned all sorts of enormously talented early music ensembles.

Alongside this discovery of new manuscripts has been the emergence of this new style of performing Vivaldi. Over the last 15 years or so, original-instruments ensembles, especially from Italy, have embarked on an unusually thunderous and wonderfully vivacious performance style in the way they do Vivaldi. I first encountered it in the playing of Giuliano Carmignola, Andrea Marcon and the Venice Baroque Orchestra, most notably in their landmark performance of Vivaldi's Four Seasons. Well, one of the finest and most talented of these new emerging Italian ensembles is the Il Pomo d'Oro, led by the dazzling Russian violinist Dmitry Sinkovsky. I had posted some things about them earlier over on the "New Releases Only" Thread. Let me copy some of those posts here. Two recommendations:

*Dmitry Sinkovsky / Il Pomo d'Oro, 
Vivaldi: Concerti per violino V "Per Pisendel" (Naive, 2013)

Dmitry Sinkovsky / Riccardo Minasi /Il Pomo d'Oro, 
Vivaldi: Concerti per due violini e arch I (Naive, 2013)*

















I find Sinkovsky's playing a revelation. So too his backing group, Il Pomo d'Oro. They are part of a recent and extraordinary wave of inventive and thrilling recreations of baroque performance practice (other favorites: Arte dei Suonatori, Freiburger Barockorchester, Concerto Italiano, Accademia Bizantina, Akademie fur Alte Musik Berlin, Holland Baroque Society, Venice Baroque Orchestra). There is a level not only of instrumental mastery, but of commitment and fire (and, I should add, scholarship) that makes even fine period performances from a generation ago sound placid and clunky. There are runs and cadenzas throughout these records have to be heard to be believed, both for their speed and clarity. I've played Vivaldi over the years and am in awe of their interpretative and performance skills.

Someone has posted the entire record by Sinkovsky / Il Pomo d'Oro - _Vivaldi: Concerti per violini V_ on YouTube:





Here is a review:



> "Somehow my review assignment has become a never-ending stack of vigorously-played period-instrument albums of highly dramatic Vivaldi violin concertos ... I'm a happy Vivaldi fan trapped in paradise. Last year there was Rachel Podger's stunning two-CD set of the "La Cetra" concertos. Then came "Nuove Stagioni", from Amandine Beyer and Gli Incogniti. "Vivaldi Con Moto" from Giuliano Carmignola was recently my Recording of the Month. Now Naïve's edition of the composer's complete works has arrived at an album which begins so thunderously, so excitingly, that you'll swear there are percussion players in the band. It was only founded in 2012, but the Il Pomo d'Oro ensemble is clearly one to hear. They're joined by Dmitry Sinkovsky... Half the concertos here are dedicated to Johann Georg Pisendel, a stern German soloist who led the Dresden court orchestra and was close friends with J.S. Bach, Telemann and Zelenka, all of whose music he often performed or even premiered. Pisendel adopted the other Vivaldi concertos on this CD into his repertoire, too - copying them out in his own hand from the originals. This theme does not mean that Vivaldi writes in a Germanic way: he's still his usual fiercely lively self. Surprises and delights abound. Aside from that startling, percussive opening, there's the concerto RV 212a, which, unusually for Vivaldi, contains two long and highly virtuosic solo cadenzas. That said, the first movement's cadenza was apparently not written out: if Sinkovsky wrote or improvised it, I am very, very, very impressed with the result....Also notable are the very prominent allusions to the Four Seasons' "Spring" in RV 379's opening movement and the vigour of its finale.... Vibrant, very forward sound captures the ensemble well, though you needn't turn the volume up all the way. The booklet essay is as comprehensive as any other in this series, and includes notes on every single concerto. Truly, Naïve's complete Vivaldi series continues in great form - certainly in finer fashion than the album's cover model is wearing."-Brian Reinhart (MusicWeb International).


I should add that the Naive Vivaldi series has embraced a very distinctive and often very unusual cover design -- very mannered in conception, models wearing all sorts of strange headgear and clothing. Ignore the odd covers and enjoy the music.


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## Taggart (Feb 14, 2013)

Cantabile said:


> This is an overwhelming and most excellent abundance (drooling over the recordings, too). I'd forgotten about Boyce and want to explore the 'off the beaten path' recommendations! There is always so much more to learn!


Stick with the English - Arne, Banister, Blowe,Jeremiah Clarke, Lawes William and Thomas, Locke, Playford, John Ravenscroft. There's a surprising amount of excellent music there.


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## Ingélou (Feb 10, 2013)

Wow, am I glad I started this thread. It will keep me going for years. Thanks to all ye lovely posters :tiphat: and especial thanks to BPS for the List & to Alypius for the information on Vivaldi. :tiphat: :tiphat:

About Vivaldi's manuscripts, at a recent Norwich Baroque concert, we were told by a music scholar, Simon Heighes, who'd been to Italy to examine some of Vivaldi's original material, that the manuscripts didn't smell musty, as you'd expect, but had a faint tang of pasta, as they'd been bandied about so much in Vivaldi's home! Lovely detail.


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## Alypius (Jan 23, 2013)

Ingélou said:


> Wow, am I glad I started this thread. It will keep me going for years. Thanks to all ye lovely posters and especial thanks to BPS for the List & to Alypius for the information on Vivaldi.


Ingelou, Glad to hear that these are proving useful. I mentioned Il Pomo d'Oro in the Vivaldi post. Let me recommend another recent and lesser-known Baroque ensemble: the Arte dei Suonatori Baroque Orchestra. Despite the Italian name, they are based in Poland. They first drew attention of critics as the backing band of Rachel Podger's superb performance of Vivaldi's _La Stravaganza_ (Channel Classics, 2002), which Gramophone Magazine chose as one of its finalist for "Record of the Year". While the British critics rightly extolled Podger's performance, they didn't appreciate sufficiently how her performance was fueled by the thrilling performance of Arte dei Suonatori. I recommend starting with #3 - Violin Concerto in G (RV 301).










Review here:



> "In the disc's liner notes we're urged to judge Vivaldi's place "in the pantheon of great baroque composers" on the "stand-alone quality of his music" and not on errant or offhand claims of this or that musicologist. Well, owing to violinist Rachel Podger's stunning, fiercely energetic, ardently expressive, and technically assured performances and the ravishing orchestral support from the Polish period-instrument ensemble Arte Dei Suonatori, our task as listeners certainly is an easy and prodigiously enjoyable one. And that's not all the good news: this is truly one of those sonic "events" where the performers have an almost palpable presence, their sound is absolutely faithful and natural, and the balances are right on. Go ahead and turn this one up--you'll be immediately bathed in glorious, vibrant string sound, and be pleasantly surprised by the potential of Vivaldi's music to actually hold your undivided attention for an hour--maybe more.... There are countless moments and movements that stand out for their energy, excitement, catchiness of melody, or urgency of rhythmic flow, but ultimately the success of this outstanding recording owes to the facile, committed playing and the superior sound engineering, without which we might be inclined to pass over yet another among the hundreds of Vivaldi titles in the catalog. But we'd be missing something very special-a welcome remedy for a serious gap in the repertoire, and a likely addition to a number of "best discs of the year" lists."-David Vernier (_ClassicsToday.com_). Rating: 10 (of 10) (Artistic Quality) / 10 (of 10) (Sound Quality).


The Arte dei Suonatori later replicated that thrilling performance level with an equally thrilling release: Handel's magnificent _Concerti Grossi, op. 6 _, with Martin Gester as conductor (BIS, 2008).










Sorry to be doing damage to your budget.


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## Guest (May 27, 2014)

I don't have much of a Baroque collection. If you exclude the big three - maybe twenty or so albums. I think though that instead of targeting composers I'm just gonna look for good albums, if that makes sense.

Rachel Barton Pine's Trio Settecento has put out a "grand tour" collection of albums covering Baroque music in four countries:
- An Italian Sojourn 
- A French Soiree
- A German Bouquet
- An English Fancy
Many of the composers listed above are included. I have two already and will probably pick up the other two. Good stuff. Maybe they'll put out a "Bohemian Rhapsody" next?!

Jordi Savall's occasional dips into the baroque are also quite good.

I'll have to check out the "full set - New World, Sun and All Things and Fire Burning in Snow". Those sound right up my alley.


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## Ingélou (Feb 10, 2013)

There's quite a lot of repetition on them. We personally like no 3 best.


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## rrudolph (Sep 15, 2011)

So far I dont think anybody mentioned:

Keiser (considered one of the foremost composers of his day, Telemann played violin under him in some of his productions in Hamburg, now mostly forgotten)
Graupner (friend of Bach; huge amount of works of varying quality)
Fasch
Mancini (Francesco, not Henry)

about a thousand others...


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## Taggart (Feb 14, 2013)

One we've just met is J.D Heinichen. A definite find see here for some more thoughts.


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## Winterreisender (Jul 13, 2013)

rrudolph said:


> So far I dont think anybody mentioned:
> 
> Keiser (considered one of the foremost composers of his day, Telemann played violin under him in some of his productions in Hamburg, now mostly forgotten)
> 
> ...


Good call! I enjoy this opera CD immensely. Can't go wrong with Rene Jacobs's baroque recordings:


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## science (Oct 14, 2010)

Ingélou said:


> When I got interested in classical music, about two years ago now...


Wow! You're moving fast!


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## clavichorder (May 2, 2011)

I have just broken into a new batch of "Baroque excellence," and I'm only calling it a batch because I am discovering it all at the same time. 

-Georg Muffat
-Gottlieb Muffat
-Allesandro Scarlatti
-Franscesco Geminiani
-Johann Joseph Fux
-Giovanni Battista Sammartini

I already knew of all these composers and had heard them before, but their individual styles are finally standing out a lot to me and they are considerably more than just names now.


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## Ingélou (Feb 10, 2013)

I'm bumping this thread because one of my Friends has been asking on Baroque Exchange about the best boxed set of Scarlatti - http://www.talkclassical.com/groups/baroque-exchange-d327-scarlatti-sonatas-recommended-box.html

Just want to alert any baroque-lovers and Scarlatti connoisseurs who can help with this query.

Thanks. :tiphat:


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## Mandryka (Feb 22, 2013)

Ingélou said:


> I'm bumping this thread because one of my Friends has been asking on Baroque Exchange about the best boxed set of Scarlatti - http://www.talkclassical.com/groups/baroque-exchange-d327-scarlatti-sonatas-recommended-box.html
> 
> Just want to alert any baroque-lovers and Scarlatti connoisseurs who can help with this query.
> 
> Thanks. :tiphat:


Tell your friend not to buy a box at all. Just buy some good individual CDs.


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## Lord Lance (Nov 4, 2013)

Ingélou said:


> I'm bumping this thread because one of my Friends has been asking on Baroque Exchange about the best boxed set of Scarlatti - http://www.talkclassical.com/groups/baroque-exchange-d327-scarlatti-sonatas-recommended-box.html
> 
> Just want to alert any baroque-lovers and Scarlatti connoisseurs who can help with this query.
> 
> Thanks. :tiphat:


Thank you, Mrs. Mollie. That is very sweet of you. :=]



Mandryka said:


> Tell your friend not to buy a box at all. Just buy some good individual CDs.


I want to listen to the works in a chronological order with ease. I am thinking of sticking to Brilliant Classics' box set. Promising talent. But Scott Ross is revered too. He has excellent Bach recordings under his belt. And Lester's is multi-instrument. 

Quite the dilemma.


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## Mandryka (Feb 22, 2013)

Are you really gonna listen to them all in chronological order, that's crazier than listening to Morton Feldman's second string quartet!

Scott Ross is faster, virtuoso bravura performance style. Belder is more humane and more contemplative, profounder. I prefer Belder. Best of all IMO is Leonhardt.

If you want to start at the begining, then maybe start with Joseph Payne's recording of the 30 Essercizi.


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## Lord Lance (Nov 4, 2013)

Mandryka said:


> Are you really gonna listen to them all in chronological order, that's crazier than listening to Morton Feldman's second string quartet!
> 
> Scott Ross is faster, virtuoso bravura performance style. Belder is more humane and more contemplative, profounder. I prefer Belder. Best of all IMO is Leonhardt.
> 
> If you want to start at the begining, then maybe start with Joseph Payne's recording of the 30 Essercizi.


What's so crazy about it?


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## Mandryka (Feb 22, 2013)

I didn't say it was crazy, I said it was as crazy as listening to Feldman's second quartet. Actually I have done the latter (twice), but never the former.


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## Albert7 (Nov 16, 2014)

Ross and Belder are the best choices for the Scarlatti sonatas . I still want to finish all of the Ross set that I have .


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## Mandryka (Feb 22, 2013)

I didn't say it was crazy, I said it was _as_ crazy as listening to Feldman's second quartet. Actually I have done the latter (twice), but never the former.

I hope, when someone has listened to all 555 of them in order, they'll be able to tell me whether the later style is interestingly different from the former. Kirkpatrick says it is, but as a listener (rather than a performer) I haven't managed to hear the difference.


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## Lord Lance (Nov 4, 2013)

Mandryka said:


> I didn't say it was crazy, I said it was _as_ crazy as listening to Feldman's second quartet. Actually I have done the latter (twice), but never the former.
> 
> I hope, when someone has listened to all 555 of them in order, they'll be able to tell me whether the later style is interestingly different from the former. Kirkpatrick says it is, but as a listener (rather than a performer) I haven't managed to hear the difference.


Is listening to Feldman's four-hour Second String Quartet crazy?

The length of the 555 keyboard sonatas is [Scott Ross] 34:27:56. I could finish listening that much, once, in a week. But I would have to listen at least three times before making _any _conclusive remarks. But that is a dedicated project within itself. Baroque enthusiasts are better suited to the task. Being more of a romantic/classicist, I'd much rather take up the project of listening to all 104 [+2] of Haydn's symphonies. Harpsichord fatigue < Symphony fatigue.  Also, I suspect, it would become repetitive at a point if I listened to them all in multiple concentrated sittings.

The human ear is a bad thing.


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## helenora (Sep 13, 2015)

Baroque really is about abundance!

my recent adoration of Lully resulted in listening to something baroque everyday or not just something but mostly this era and a bit earlier. Coolest music ever! and made me to find this thread


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## Ingélou (Feb 10, 2013)

So glad to meet a kindred spirit! :tiphat:


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## helenora (Sep 13, 2015)

Ingélou said:


> So glad to meet a kindred spirit! :tiphat:


my first encounter with Baroque happened many years ago, but it was quite typical for a young age not to get it as something mm.....les temperamental , lack of spirit, emotion as compared to typical romantic 19th century music.

ha, funny - lack of emotion!!! then about 7 yrs ago I rediscovered it again and it was not at all lack of something, it was just " how marvelous and beautiful baroque music is, how contemporary it is."

and now again, new niveau in my understanding of it.


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## Sonata (Aug 7, 2010)

My chief baroque interest is the French Baroque (I like others too of course, but the French baroque elegance and threads of melody really move me)

Charpentier
Rameau
Lully


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## helenora (Sep 13, 2015)

French baroque is simply wonderful.

Watching baroque operas! 

ten years ago I would have said " how boring it might be! " :lol:


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## Heliogabo (Dec 29, 2014)

French baroque, German baroque, English baroque, Italian baroque but of course, Bohemian baroque, Spanish and latinoamerican baroque, I love them all!!


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## Mahlerite555 (Aug 27, 2016)

Nobody is worth exploring in depth but Bach.


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## Heliogabo (Dec 29, 2014)

Mahlerite555 said:


> Nobody is worth exploring in depth but Bach.


Nobody can say this if have not heard Zelenka.


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## Heliogabo (Dec 29, 2014)

Mahlerite555 said:


> Nobody is worth exploring in depth but Bach.


Nobody can say this if have not heard Zelenka.


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## Mahlerite555 (Aug 27, 2016)

Heliogabo said:


> Nobody can say this if have not heard Zelenka.


It was a typo, I actually meant Zelenka, true monarch of the Baroque era.


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## Heliogabo (Dec 29, 2014)

Mahlerite555 said:


> It was a typo, I actually meant Zelenka, true monarch of the Baroque era.


Welcome to the court :tiphat:


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## Heliogabo (Dec 29, 2014)

Mahlerite555 said:


> It was a typo, I actually meant Zelenka, true monarch of the Baroque era.


Welcome to the court :tiphat:


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## Chronochromie (May 17, 2014)

Mahlerite555 said:


> Nobody is worth exploring in depth but Bach.


Oh, sure.


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## Ariasexta (Jul 3, 2010)

Even though I am a chinese, and baroque music is a western heritage. I have come to admire this heritage as the invisible version Giza pyramids of human civilization, it is a common heritage of humanity, and should not be forgotten, it shall stand against the ravage of the sand of time for another tens of millenia just like all ancient marvel ruins worldwide. There is indeed a huge amount of music that survives, but to our knowledge that there was also a great amount that does not, mostly due to natural or human disasters like Lisbon earthquake in 1755, and the palace fire of spanish royal mansion in 1735, London fire in 1666, and more fires in later wars. Whatever is left to humanity today is of immense importance.

I am now listening to *Henry Lawes*(1595-1662), an English cavalier song writer, he has friendly connection to contemprary important English writers like John Milton the younger(1608-1674), and it is interesting that the father of John the writer of "Paradise Lost" John Milton the Elder was also a professional composer! There are a handful pieces by John Milton the composer survive too.

English baroque to me has special charms, far away from the innovation hub Italy, cheerishing domestic traditions handed down from Henry XVIII, which was also a composer with a few surviving music. And English baroque is simply beautiful without much mannerism of the mainland european styles, most of time, English baroque is full of levity and simple beauty, it would be quick for modern people to get in touch with the baroque mood through English baroque. There are no better or worse composers of Baroque age. Lesser known composers does not mean lesser quality of their works, their works can be very unique and reflecting the standard and taste of their own times. For you I recommend the following composers, and their recommended types of works:

1-Henry Lawes(1592-1668) Songs
2-Henry Purcell(1659-1695) Harpsichord suites, dramas, anthems, songs, chamber music.
3-John Blow(1649-1708) Harpsichord pieces, songs, stage works.
4-John Dowland(1562-1626) Lute pieces, songs.
5-Matthew Locke(1622-1677) Viol consort music.
6-John Jenkins(1592-1678) Viol consort music.

A few recommended recordings:
*John Blow*: Venus and Adonis







Harpsichord works







Songs








*Henry Lawes*(1592-1668) Songs and a few pieces of instrumental music by other contemprary composers








*Mathew Locke*: Consort music









*John Jenkins*: Consort music








Take them as starts, not even a panorama of the English Baroque, there are more Renaissance and late baroque English composers still awaiting. Recommendations above should be sufficient for you to cherish for one year at least. Not to mention many excellent composers on the continental Europe. For limited posting space I left out cd pictures of Henry Purcells music, he is more famous.


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## Ingélou (Feb 10, 2013)

^^^^^Great post! :tiphat:
I am a huge fan of William Lawes, Henry's younger brother, who tragically died young after a battle in the English Civil War.
But I must give Henry a whirl too.


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## Guest (Sep 22, 2016)

Henry Lawes "Sitting by the Streams"so beautiful.


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## Ariasexta (Jul 3, 2010)

Ingélou said:


> ^^^^^Great post! :tiphat:
> I am a huge fan of William Lawes, Henry's younger brother, who tragically died young after a battle in the English Civil War.
> But I must give Henry a whirl too.


Many composers and poets of the time have royal chivalry education and up-bringing, one part of their soul is samurai, another is a learned greek. William Lawes died as a knight, lived as a successful philosopher(music is a form of philosophy).


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## helenora (Sep 13, 2015)

Ariasexta said:


> Many composers and poets of the time have royal chivalry education and up-bringing, one part of their soul is samurai, another is a learned greek. William Lawes died as a knight, lived as a successful philosopher(music is a form of philosophy).


very true. and despite of the fact that some composers don't have chivalry education , still they remain philosophers - without even realizing they are  I talk generally, not of any epoch in particular


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