On 14.01.2007 Andrew Stiller wrote:
On Jan 13, 2007, at 4:54 AM, Johannes Gebauer wrote:
from Rennaissance to baroque (how radical was that?)
Immensely: polarization of the voices, especially. As late as ca. 1690 a
diarist (sorry, I forget who) complained that he couldn't make head or tail of
a new piece because it had no tenor.
Well, I must admit I see that as a rather minor change as far as
compositional principles are concerned.
Many people also complained about Bach's chorales being to adventurous,
yet they are by no means the result of radical changes.
The change from immitation to confrontation as a musical idea is in my
opinion much more radical than going from Rennaissance ideas to baroque
ideas. In fact I see the early baroque as a kind of result of the
Rennaissance idea - the search for the antique singing and drama was
answered by the recitative and the early opera.
Comparing a Telemann overture with an early Haydn string quartet I can
see a formal straight jacket and a form which potentially can do
anything. A Mozart Opera Finale using Baroque form? Completely impossible.
Johannes
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