al-brangi

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What are the differences between the Baroque styles? Posted: 21 May 2012 03:21 PM PDT In his book, The Baroque Concerto, A. J. B. Hutchings speaks of the Baroque styles of different countries in Europe. But he doesn't define those styles. He also tells us that Corelli and Vivaldi were the most popular concerto composers in Italy. In fact, they were so popular that other composers advertised that their concertos were in the style of one composer or the other. But he doesn't describe the styles of those two composers. Here is the piano reduction of a Baroque concerto which I have composed: http://www.pentatonika.net/flute-piano.p… Here is the full score: http://www.pentatonika.net/flute-score.p… I would like to make sure that I have not mixed German Baroque with Italian Baroque or--shudder! gasp!--mixed Corelli with Vivaldi. Answer on What are the differences between the Baroque styles? It's hard to get into much depth with limited time and space here. A History of Baroque Music By George J. Buelow offers a good explanation of the more dominant variations on the Baroque style. For North German style think Sweelink or Buxtehude. There is more emphasis on motivic development and counterpoint. For French Baroque think Couperin or Lully, there is lighter quality, also characterized by note-inegal which somewhat comparable swinging in which the rhythms are slightly adjusted to better mirror speech patterns. Francesco Saverio Geminian, Pergolesi and Scarlatti are exemplars of the Italian Baroque, there is more emphasis on virtuosity. As to your composition the octaves are very jarring to see in solo flute part. There are also a few places where I'm concerned about when the soloist gets to breath. About 1 minute for low quiet parts is the max, less if they're playing fast, high and loud. Stylistically it's hard to say, there elements of various different baroque styles and composers that I see. Ultimately I wouldn't worry about it too much. To write in old styles today is either out of homage or study and rarely fixated on the need to accurately imitate long dead composers.

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