Baroque music, not long ago considered the province of the
specialist, now occupies a central place in the interests of any
music-lover. Not just Bach and Handel, but Vivaldi and Monteverdi,
Couperin and Rameau, Purcell and Schutz are familiar and loved
figures. There is place now for a survey that offers fresh
perspectives on these men and the times in which they lived. That
is what the Companion to Baroque Music is designed to offer, to all
those who are attracted by the music of that crucial century and a
half, 1600-1750, which we call 'the Baroque era'. Julie Anne Sadie,
herself scholar, performer, and critic, brings to this survey two
novel features. First, it is underpinned by a keen awareness of
music as sound, intended to be played, heard, and relished by the
listener-as witness the group of articles contributed by well-known
specialists, such as Nigel Rogers and David Fuller, on the central
issues of performance. Secondly it is concerned not only with what
the music is like but why it is as it is: and the series of essays,
again by specialists, such as Michael Talbot (on Italy) and Peter
Holman (on England) which places each region's music in its social
and cultural contexts helps to explain its character. The
lexicographical part of the book, in which the life of every
significant musician of the era is charted and his or her work
outlined, is subdivided geographically so as to convey with
particular sharpness the special character of music-making in each
part of Europe-and a system of cross-references defines the ebb and
flow of influences as composers travelled from city to city or
court to court, disseminating their tastes, their styles, their
ideas. A detailed chronology enables the reader to take in at a
glance the sequence of musical events across the entire period. The
Companion to Baroque Music, which contains a foreword by
Christopher Hogwood, offers both reliable reference material and
lively, enlightening reading to all those-amateur and professional,
from the skilled practical musician to the person who has never
played anything more demanding than a piece of stereo equipment-who
love the music of the era that culminated in the great masterworks
of Bach and Handel.
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