Recorder Baroque Adalah

Condemnation and academic rediscovery

The pioneer German art historian and archeologist Johann Joachim Winckelmann also condemned the baroque style, and praised the superior values of classical art and architecture. By the 19th century, Baroque was a target for ridicule and criticism. The neoclassical critic Francesco Milizia wrote: "Borrominini in architecture, Bernini in sculpture, Pietro da Cortona in painting...are a plague on good taste, which infected a large number of artists." In the 19th century, criticism went even further; the British critic John Ruskin declared that baroque sculpture was not only bad, but also morally corrupt.

The Swiss-born art historian Heinrich Wölfflin (1864–1945) started the rehabilitation of the word Baroque in his Renaissance und Barock (1888); Wölfflin identified the Baroque as "movement imported into mass", an art antithetic to Renaissance art. He did not make the distinctions between Mannerism and Baroque that modern writers do, and he ignored the later phase, the academic Baroque that lasted into the 18th century. Baroque art and architecture became fashionable in the interwar period, and has largely remained in critical favor. The term "Baroque" may still be used, often pejoratively, describing works of art, craft, or design that are thought to have excessive ornamentation or complexity of line.[169] At the same time "baroque" has become an accepted terms for various trends in Roman art and Roman architecture in the 2nd and 3rd centuries AD, which display some of the same characteristics as the later Baroque.[citation needed]

RECORDER BAROQUE VS RECORDER ĐỨC – ƯU & NHƯỢC ĐIỂM

KẾT LUẬN: Vậy giữa recorder Baroque và Đức. Cái nào tốt hơn? Có lẽ, recorder Baroque là lựa chọn tối ưu nhất nếu muốn học hỏi lâu dài. Còn trong trường hợp bạn muốn khởi đầu một cách dễ dàng. Hoặc chỉ sử dụng recorder ở mức cơ bản trong chương trình giáo dục phổ thông. Thì bạn nên cân nhắc recorder kiểu Đức. Nhìn chung, dù là Baroque hay kiểu Đức thì đây vẫn là một nhạc cụ thú vị để chơi và học cho mọi lứa tuổi. Vì vậy, còn chần chừ gì nữa mà không chọn một cây và thử!

Echoes in Wallachia and Moldavia

, Romania, unknown architect, 1650–1660

, Horezu, Romania, with a

, unknown architect, 17th–18th centuries

of the Saints Constantine and Helena Church, Horezu Monastery, unknown architect or sculptor, 1692–1694

Maximalist railing of the

, Potlogi, unknown architect, 1698

Twisting columns and railings of the

, Mogoșoaia, unknown architect, early 18th century

on a damaged stone in the courtyard of

, Bucharest, unknown sculptor, late 17th-early 18th century

As we saw, the Baroque is a Western style, born in Italy. Through the commercial and cultural relationships of Italians with countries of the Balkan Peninsula, including Moldavia and Wallachia, Baroque influences arrive to Eastern Europe. These influences were not very strong, since they usually take place in architecture and stone-sculpted ornaments, and are also mixed intensely with details taken from Byzantine and Islamic art.

Before and after the fall of the Byzantine Empire, all the art of Wallachia and Moldavia was primarily influenced by that of Constantinople. Until the end of the 16th century, with little modifications, the plans of churches and monasteries, the murals, and the ornaments carved in stone remain the same as before. From a period starting with the reigns of Matei Basarab (1632–1654) and Vasile Lupu (1634–1653), which coincided with the popularization of Italian Baroque, new ornaments were added, and the style of religious furniture changed. This was not random at all. Decorative elements and principles were brought from Italy, through Venice, or through the Dalmatian regions, and they were adopted by architects and craftsmen from the east. The window and door frames, the pisanie with dedication, the tombstones, the columns and railings, and a part of the bronze, silver or wooden furniture, received a more important role than the one they had before. They existed before too, inspired by the Byzantine tradition, but they gained a more realist look, showing delicate floral motifs. The relief that existed before too, became more accentuated, having volume and consistency. Before this period, reliefs from Wallachia and Moldavia, like the ones from the East, had only two levels, at a small distance one from the other, one at the surface and the other in depth. Big flowers, maybe roses, peonies or thistles, thick leaves, of acanthus or another similar plant, were twisting on columns, or surround door and windows. A place where the Baroque had a strong influence was columns and the railings. Capitals were more decorated than before with foliage. Columns have often twisting shafts, a local reinterpretation of the Solomonic column. Maximalist railings are placed between these columns, decorated with rinceaux. Some of the ones from the Mogoșoaia Palace are also decorated with dolphins. Cartouches are also used sometimes, mostly on tombstones, like on the one of Constantin Brâncoveanu. This movement, is known as the Brâncovenesc style, after Constantin Brâncoveanu, a ruler of Wallachia whose reign (1654–1714) is highly associated with this kind of architecture and design. The style is also present during the 18th century, and in a part of the 19th. Many of the churches and residences erected by boyards and voivodes of these periods are Brâncovenesc. Although Baroque influences can be clearly seen, the Brâncovenesc style takes much more inspiration from the local tradition.

As the 18th century passed, with the Phanariot (members of prominent Greek families in Phanar, Istanbul) reigns in Wallachia and Moldavia, Baroque influences come from Istanbul too. They came before too, during the 17th century, but with the Phanariots, more Western Baroque motifs that arrived to the Ottoman Empire had their final destination in present-day Romania. In Moldavia, Baroque elements come from Russia too, where the influence of Italian art was strong.[102]

1597–1600; fresco; length (gallery): 20.2 m;

; 1611–1612; oil on canvas; 163 x 126 cm;

1615; oil on canvas; 209 x 284 cm;

; 1642; oil on canvas; 3.63 × 4.37 m;

, Amsterdam, the Netherlands

; 1656; oil on canvas; 3.18 cm × 2.76 m;

; before 1659; oil on canvas; 270 x 354 cm; Kunsthistorisches Museum

; 1668; oil on canvas; 73 x 88.5 cm; Kunsthistorisches Museum

Baroque painters worked deliberately to set themselves apart from the painters of the Renaissance and the Mannerism period after it. In their palette, they used intense and warm colours, and particularly made use of the primary colours red, blue and yellow, frequently putting all three in close proximity.[112] They avoided the even lighting of Renaissance painting and used strong contrasts of light and darkness on certain parts of the picture to direct attention to the central actions or figures. In their composition, they avoided the tranquil scenes of Renaissance paintings, and chose the moments of the greatest movement and drama. Unlike the tranquil faces of Renaissance paintings, the faces in Baroque paintings clearly expressed their emotions. They often used asymmetry, with action occurring away from the centre of the picture, and created axes that were neither vertical nor horizontal, but slanting to the left or right, giving a sense of instability and movement. They enhanced this impression of movement by having the costumes of the personages blown by the wind, or moved by their own gestures. The overall impressions were movement, emotion and drama.[113] Another essential element of baroque painting was allegory; every painting told a story and had a message, often encrypted in symbols and allegorical characters, which an educated viewer was expected to know and read.[114]

Early evidence of Italian Baroque ideas in painting occurred in Bologna, where Annibale Carracci, Agostino Carracci and Ludovico Carracci sought to return the visual arts to the ordered Classicism of the Renaissance. Their art, however, also incorporated ideas central the Counter-Reformation; these included intense emotion and religious imagery that appealed more to the heart than to the intellect.[115]

Another influential painter of the Baroque era was Michelangelo Merisi da Caravaggio. His realistic approach to the human figure, painted directly from life and dramatically spotlit against a dark background, shocked his contemporaries and opened a new chapter in the history of painting. Other major painters associated closely with the Baroque style include Artemisia Gentileschi, Elisabetta Sirani, Giovanna Garzoni, Guido Reni, Domenichino, Andrea Pozzo, and Paolo de Matteis in Italy; Francisco de Zurbarán, Bartolomé Esteban Murillo and Diego Velázquez in Spain; Adam Elsheimer in Germany; and Nicolas Poussin and Georges de La Tour in France (though Poussin spent most of his working life in Italy). Poussin and de La Tour adopted a "classical" Baroque style with less focus on emotion and greater attention to the line of the figures in the painting than to colour.

Peter Paul Rubens was the most important painter of the Flemish Baroque style. Rubens' highly charged compositions reference erudite aspects of classical and Christian history. His unique and immensely popular Baroque style emphasised movement, colour, and sensuality, which followed the immediate, dramatic artistic style promoted in the Counter-Reformation. Rubens specialized in making altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.

One important domain of Baroque painting was Quadratura, or paintings in trompe-l'œil, which literally "fooled the eye". These were usually painted on the stucco of ceilings or upper walls and balustrades, and gave the impression to those on the ground looking up were that they were seeing the heavens populated with crowds of angels, saints and other heavenly figures, set against painted skies and imaginary architecture.

In Italy, artists often collaborated with architects on interior decoration; Pietro da Cortona was one of the painters of the 17th century who employed this illusionist way of painting. Among his most important commissions were the frescoes he painted for the Palazzo Barberini (1633–39), to glorify the reign of Pope Urban VIII. Pietro da Cortona's compositions were the largest decorative frescoes executed in Rome since the work of Michelangelo at the Sistine Chapel.[116]

François Boucher was an important figure in the more delicate French Rococo style, which appeared during the late Baroque period. He designed tapestries, carpets and theatre decoration as well as painting. His work was extremely popular with Madame de Pompadour, the Mistress of King Louis XV. His paintings featured mythological romantic, and mildly erotic themes.[117]

In the Hispanic Americas, the first influences were from Sevillan Tenebrism, mainly from Zurbarán—some of whose works are still preserved in Mexico and Peru—as can be seen in the work of the Mexicans José Juárez and Sebastián López de Arteaga, and the Bolivian Melchor Pérez de Holguín. The Cusco School of painting arose after the arrival of the Italian painter Bernardo Bitti in 1583, who introduced Mannerism in the Americas. It highlighted the work of Luis de Riaño, disciple of the Italian Angelino Medoro, author of the murals of the Church of San Pedro, Andahuaylillas. It also highlighted the Indian (Quechua) painters Diego Quispe Tito and Basilio Santa Cruz Pumacallao, as well as Marcos Zapata, author of the fifty large canvases that cover the high arches of Cusco Cathedral. In Ecuador, the Quito School was formed, mainly represented by the mestizo Miguel de Santiago and the criollo Nicolás Javier de Goríbar.

In the 18th century sculptural altarpieces began to be replaced by paintings, developing notably the Baroque painting in the Americas. Similarly, the demand for civil works, mainly portraits of the aristocratic classes and the ecclesiastical hierarchy, grew. The main influence was the Murillesque, and in some cases—as in the criollo Cristóbal de Villalpando–that of Juan de Valdés Leal. The painting of this era has a more sentimental tone, with sweet and softer shapes. Its proponents incluse Gregorio Vasquez de Arce y Ceballos in Colombia, and Juan Rodríguez Juárez and Miguel Cabrera in Mexico.

The dominant figure in baroque sculpture was Gian Lorenzo Bernini. Under the patronage of Pope Urban VIII, he made a remarkable series of monumental statues of saints and figures whose faces and gestures vividly expressed their emotions, as well as portrait busts of exceptional realism, and highly decorative works for the Vatican such as the imposing Chair of St. Peter beneath the dome in St. Peter's Basilica. In addition, he designed fountains with monumental groups of sculpture to decorate the major squares of Rome.

Baroque sculpture was inspired by ancient Roman statuary, particularly by the famous first century CE statue of Laocoön and His Sons, which was unearthed in 1506 and put on display in the gallery of the Vatican. When he visited Paris in 1665, Bernini addressed the students at the academy of painting and sculpture. He advised the students to work from classical models, rather than from nature. He told the students, "When I had trouble with my first statue, I consulted the Antinous like an oracle." That Antinous statue is known today as the Hermes of the Museo Pio-Clementino.

Notable late French baroque sculptors included Étienne Maurice Falconet and Jean Baptiste Pigalle. Pigalle was commissioned by Frederick the Great to make statues for Frederick's own version of Versailles at Sanssouci in Potsdam, Germany. Falconet also received an important foreign commission, creating the famous Bronze Horseman statue of Peter the Great found in St. Petersburg.

In Spain, the sculptor Francisco Salzillo worked exclusively on religious themes, using polychromed wood. Some of the finest baroque sculptural craftsmanship was found in the gilded stucco altars of churches of the Spanish colonies of the New World, made by local craftsmen; examples include the Chapel del Rosario, Puebla, (Mexico), 1724–1731.

Four-poster bed from the Château d'Effiat;

1650; natural walnut, chiselled Genoa silk velvet and embroidered silks; 295 cm;

Cabinet with caryatids;

1675; ebony, kingwood, marquetry of hard stones, gilt bronze, pewter, glass, tinted mirror and horn; unknown dimensions;

Pier table; 1685–1690; carved,

, and gilded wood, with a marble top; 83.6 × 128.6 × 71.6 cm;

1700; ebony and amaranth veneering, polychrome woods, brass, tin, shell, and horn

on an oak frame, gilt-bronze; 255.5 x 157.5 cm; Louvre

1700–1715; wood and upholstery; unknown dimsensions;

1700–1720; gilded wood and upholstery; unknown dimsensions; Ca' Rezzonico

1710–1732; walnut veneered with ebony and

of engraved brass and tortoiseshell, gilt-bronze mounts, antique marble top; 87.6 x 128.3 x 62.9 cm;

German slant-front desk; by

1715–1725; marquetry with maple, amaranth, mahogany, and walnut on spruce and oak; 90 × 84 × 44.5 cm;

The main motifs used are: horns of plenty, festoons, baby angels, lion heads holding a metal ring in their mouths, female faces surrounded by garlands, oval cartouches, acanthus leaves, classical columns, caryatids, pediments, and other elements of Classical architecture sculpted on some parts of pieces of furniture,[128] baskets with fruits or flowers, shells, armour and trophies, heads of Apollo or Bacchus, and C-shaped volutes.[129]

During the first period of the reign of Louis XIV, furniture followed the previous Louis XIII style, and was massive, and profusely decorated with sculpture and gilding. After 1680, thanks in large part to the furniture designer André-Charles Boulle, a more original and delicate style appeared, sometimes known as Boulle work. It was based on the inlay of ebony and other rare woods, a technique first used in Florence in the 15th century, which was refined and developed by Boulle and others working for Louis XIV. Furniture was inlaid with plaques of ebony, copper, and exotic woods of different colors.[130]

New and often enduring types of furniture appeared; the commode, with two to four drawers, replaced the old coffre, or chest. The canapé, or sofa, appeared, in the form of a combination of two or three armchairs. New kinds of armchairs appeared, including the fauteuil en confessionale or "Confessional armchair", which had padded cushions ions on either side of the back of the chair. The console table also made its first appearance; it was designed to be placed against a wall. Another new type of furniture was the table à gibier, a marble-topped table for holding dishes. Early varieties of the desk appeared; the Mazarin desk had a central section set back, placed between two columns of drawers, with four feet on each column.[130]

The term Baroque is also used to designate the style of music composed during a period that overlaps with that of Baroque art. The first uses of the term 'baroque' for music were criticisms. In an anonymous, satirical review of the première in October 1733 of Jean-Philippe Rameau's Hippolyte et Aricie, printed in the Mercure de France in May 1734, the critic implied that the novelty of this opera was "du barocque," complaining that the music lacked coherent melody, was filled with unremitting dissonances, constantly changed key and meter, and speedily ran through every compositional device. Jean-Jacques Rousseau, who was a musician and noted composer as well as philosopher, made a very similar observation in 1768 in the famous Encyclopédie of Denis Diderot: "Baroque music is that in which the harmony is confused, and loaded with modulations and dissonances. The singing is harsh and unnatural, the intonation difficult, and the movement limited. It appears that term comes from the word 'baroco' used by logicians."[15]

Common use of the term for the music of the period began only in 1919, by Curt Sachs,[132] and it was not until 1940 that it was first used in English in an article published by Manfred Bukofzer.

The baroque was a period of musical experimentation and innovation which explains the amount of ornaments and improvisation performed by the musicians. New forms were invented, including the concerto and sinfonia. Opera was born in Italy at the end of the 16th century (with Jacopo Peri's mostly lost Dafne, produced in Florence in 1598) and soon spread through the rest of Europe: Louis XIV created the first Royal Academy of Music. In 1669, the poet Pierre Perrin opened an academy of opera in Paris, the first opera theatre in France open to the public, and premiered Pomone, the first grand opera in French, with music by Robert Cambert, with five acts, elaborate stage machinery, and a ballet. Heinrich Schütz in Germany, Jean-Baptiste Lully in France, and Henry Purcell in England all helped to establish their national traditions in the 17th century.

Several new instruments, including the piano, were introduced during this period. The invention of the piano is credited to Bartolomeo Cristofori (1655–1731) of Padua, Italy, who was employed by Ferdinando de' Medici, Grand Prince of Tuscany, as the Keeper of the Instruments.[134][135] Cristofori named the instrument un cimbalo di cipresso di piano e forte ("a keyboard of cypress with soft and loud"), abbreviated over time as pianoforte, fortepiano, and later, simply, piano.

Spanish colonial Americas

Following the evolution marked from Spain, at the end of the 16th century, the companies of comedians, essentially transhumant, began to professionalize. With professionalization came regulation and censorship: as in Europe, the theatre oscillated between tolerance and even government protection and rejection (with exceptions) or persecution by the Church. The theatre was useful to the authorities as an instrument to disseminate the desired behavior and models, respect for the social order and the monarchy, school of religious dogma.[151]

The corrales were administered for the benefit of hospitals that shared the benefits of the representations. The itinerant companies (or "of the league"), who carried the theatre in improvised open-air stages by the regions that did not have fixed locals, required a viceregal license to work, whose price or pinción was destined to alms and works pious.[151] For companies that worked stably in the capitals and major cities, one of their main sources of income was participation in the festivities of the Corpus Christi, which provided them with not only economic benefits, but also recognition and social prestige. The representations in the viceregal palace and the mansions of the aristocracy, where they represented both the comedies of their repertoire and special productions with great lighting effects, scenery, and stage, were also an important source of well-paid and prestigious work.[151]

Born in the Viceroyalty of New Spain[152] but later settled in Spain, Juan Ruiz de Alarcón is the most prominent figure in the Baroque theatre of New Spain. Despite his accommodation to Lope de Vega's new comedy, his "marked secularism", his discretion and restraint, and a keen capacity for "psychological penetration" as distinctive features of Alarcón against his Spanish contemporaries have been noted. Noteworthy among his works La verdad sospechosa, a comedy of characters that reflected his constant moralizing purpose.[151] The dramatic production of Sor Juana Inés de la Cruz places her as the second figure of the Spanish-American Baroque theatre. It is worth mentioning among her works the auto sacramental El divino Narciso and the comedy Los empeños de una casa.

, by André Le Nôtre, begun in 1661

, Netherlands, unknown architect, 1689

, Stockholm, Sweden, by

, Schwerin, Germany, unknown architect, unknown date

The Baroque garden, also known as the jardin à la française or French formal garden, first appeared in Rome in the 16th century, and then most famously in France in the 17th century in the gardens of Vaux le Vicomte and the Palace of Versailles. Baroque gardens were built by Kings and princes in Germany, the Netherlands, Austria, Spain, Poland, Italy and Russia until the mid-18th century, when they began to be remade into by the more natural English landscape garden.

The purpose of the baroque garden was to illustrate the power of man over nature, and the glory of its builder, Baroque gardens were laid out in geometric patterns, like the rooms of a house. They were usually best seen from the outside and looking down, either from a château or terrace. The elements of a baroque garden included parterres of flower beds or low hedges trimmed into ornate Baroque designs, and straight lanes and alleys of gravel which divided and crisscrossed the garden. Terraces, ramps, staircases and cascades were placed where there were differences of elevation, and provided viewing points. Circular or rectangular ponds or basins of water were the settings for fountains and statues. Bosquets or carefully trimmed groves or lines of identical trees, gave the appearance of walls of greenery and were backdrops for statues. On the edges, the gardens usually had pavilions, orangeries and other structures where visitors could take shelter from the sun or rain.[157]

Baroque gardens required enormous numbers of gardeners, continual trimming, and abundant water. In the later part of the Baroque period, the formal elements began to be replaced with more natural features, including winding paths, groves of varied trees left to grow untrimmed; rustic architecture and picturesque structures, such as Roman temples or Chinese pagodas, as well as "secret gardens" on the edges of the main garden, filled with greenery, where visitors could read or have quiet conversations. By the mid-18th century most of the Baroque gardens were partially or entirely transformed into variations of the English landscape garden.[157]

Besides Versailles and Vaux-le-Vicomte, celebrated baroque gardens still retaining much of their original appearance include the Royal Palace of Caserta near Naples; Nymphenburg Palace and Augustusburg and Falkenlust Palaces, Brühl in Germany; Het Loo Palace, Netherlands; the Belvedere Palace in Vienna; Royal Palace of La Granja de San Ildefonso, Spain; and Peterhof Palace in St. Petersburg, Russia.[157]

RECORDER KIỂU ĐỨC LÀ GÌ?

Tất nhiên, đây là phong cách recorder hiện đại xuất phát từ nước Đức. Thiết kế lỗ thứ 4 & 5 của sáo Đức thì tuân theo thứ tự ngược lại: lớn – nhỏ. Nhờ thiết kế này, người mới học có thể sử dụng sáo recorder dễ dàng hơn. Đặc biệt, tất cả các nốt cơ bản từ Si (B) xuống Do (C) đều lần lượt được thêm/bớt 1 ngón bấm theo quy luật không đổi.

Thiết kế của sáo kiểu Đức giúp người chơi mới gần như không gặp khó khăn trong việc học cách bấm các nốt cơ bản. Việc chuyển đổi giữa các cao độ trở nên đơn giản và hợp lý hơn nhiều. Nhạc cụ Biên Hòa hiện đang cung cấp loại recorder kiểu Đức tone Sol (G) với chất liệu nhựa ABS cực kỳ an toàn, gọn đẹp mà giá cả lại hạt dẻ.

Revivals and influence through eclecticism

; unknown dimensions;

Large console with central projection; by

; 1850–1875; gilt wood and marble; 100 x 283 x 77 cm;

The Grand Salon of the apartments of the minister of state, currently known as the Napoleon III Apartments, designed by

and decorated with paintings by

1860; unknown materials; unknown dimensions;

Candelabrum with eleven lights; by

; 1861; gilt bronze; height: 83.7 cm, length: 49.4 cm; Napoleon III Apartments

, Paris, an example of

Grand foyer of the Palais Garnier, inspired by the

, but with some ornaments taken from other historical styles, like the

column lower parts, or the

lyres at the tops of windows, by

Table; 2nd half of the 19th century; Boulle marquetry; unknown dimensions; in a temporary exhibition called "Dress Code Parfum de Secol XIX" at the

, Paris, an example of Beaux Arts architecture, with Ionic columns very similar to those of the reign of

no. 2, Paris, with a facade made up from a mix of detailed stone elements and big simple brick surfaces like what is in

Door of Rue Guynemer no. 2, Paris, with

, garlands, proportions and other elements seen on wrought iron, furniture, textiles and ceramics from the reign of Louis XIV

Highly criticized, the Baroque would later be a source of inspiration for artists, architects and designers during the 19th century through Romanticism, a movement that developed in the 18th century and that reached its peak in the 19th. It was characterized by its emphasis on emotion and individualism, as well as glorification of the past and nature, preferring the medieval to the classical. A mix of literary, religious, and political factors prompted late-18th and 19th century British architects and designers to look back to the Middle Ages for inspiration. Romanticism is the reason the 19th century is best known as the century of revivals.[175] In France, Romanticism was not the key factor that led to the revival of Gothic architecture and design. Vandalism of monuments and buildings associated with the Ancien Régime (Old Regime) happened during the French Revolution. Because of this an archaeologist, Alexandre Lenoir, was appointed curator of the Petits-Augustins depot, where sculptures, statues and tombs removed from churches, abbeys and convents had been transported. He organized the Museum of French Monuments (1795–1816), and was the first to bring back the taste for the art of the Middle Ages, which progressed slowly to flourish a quarter of a century later.[176]

This taste and revival of medieval art led to the revival of other periods, including the Baroque and Rococo. Revivalism started with themes first from the Middle Ages, then, towards the end of the reign of Louis Philippe I (1830–1848), from the Renaissance. Baroque and Rococo inspiration was more popular during the reign of Napoleon III (1852–1870), and continued later, after the fall of the Second French Empire.[177]

Compared to how in England architects and designers saw the Gothic as a national style, Rococo was seen as one of the most representative movements for France. The French felt much more connected to the styles of the Ancien Régime and Napoleon's Empire, than to the medieval or Renaissance past, although Gothic architecture appeared in France, not in England.

The revivalism of the 19th century led in time to eclecticism (mix of elements of different styles). Because architects often revived Classical styles, most Eclectic buildings and designs have a distinctive look. Besides pure revivals, the Baroque was also one of the main sources of inspiration for eclecticism. The coupled column and the giant order, two elements widely used in Baroque, are often present in this kind of 19th and early 20th century buildings. Eclecticism was not limited only to architecture. Many designs from the Second Empire style (1848–1870) have elements taken from different styles. Little furniture from the period escaped its three most prevalent historicist influences, which are sometimes kept distinct and sometimes combined: the Renaissance, Louis XV (Rococo), and Louis XVI styles. Revivals and inspiration also came sometimes from Baroque, like in the case of remakes and arabesques that imitate Boulle marquetry, and from other styles, like Gothic, Renaissance, or English Regency.[178]

The Belle Époque was a period that begun around 1871–1880 and that ended with the outbreak of World War I in 1914. It was characterized by optimism, regional peace, economic prosperity, colonial expansion, and technological, scientific, and cultural innovations. Eclecticism reached its peak in this period, with Beaux Arts architecture. The style takes its name from the École des Beaux-Arts in Paris, where it developed and where many of the main exponents of the style studied. Buildings in this style often feature Ionic columns with their volues on the corner (like those found in French Baroque), a rusticated basement level, overall simplicity but with some really detailed parts, arched doors, and an arch above the entrance like the one of the Petit Palais in Paris. The style aimed for a Baroque opulence through lavishly decorated monumental structures that evoked Louis XIV's Versailles. When it comes to the design of the Belle Époque, all furniture from the past was admired, including, perhaps, contrary to expectations, the Second Empire style (the style of the proceeding period), which remained popular until 1900. In the years around 1900, there was a gigantic recapitulation of styles of all countries in all preceding periods. Everything from Chinese to Spanish models, from Boulle to Gothic, found its way into furniture production, but some styles were more appreciated than others. The High Middle Ages and the early Renaissance were especially prized. Exoticism of every stripe and exuberant Rococo designs were also favoured.[179]

Revivals and influence of the Baroque faded away and disappeared with Art Deco, a style created as a collective effort of multiple French designers to make a new modern style around 1910. It was obscure before WW1, but became very popular during the interwar period, being heavily associated with the 1920s and the 1930s. The movement was a blend of multiple characteristics taken from Modernist currents from the 1900s and the 1910s, like the Vienna Secession, Cubism, Fauvism, Primitivism, Suprematism, Constructivism, Futurism, De Stijl, and Expressionism. Besides Modernism, elements taken from styles popular during the Belle Époque, like Rococo Revival, Neoclassicism, or the neo-Louis XVI style, are also present in Art Deco. The proportions, volumes and structure of Beaux Arts architecture before WW1 is present in early Art Deco buildings of the 1910s and 1920s. Elements taken from Baroque are quite rare, architects and designers preferring the Louis XVI style.

At the end of the interwar period, with the rise in popularity of the International Style, characterized by the complete lack of any ornamentation led to the complete abandonment of influence and revivals of the Baroque. Multiple International Style architects and designers, but also Modernist artists criticized Baroque for its extravagance and what they saw as "excess". Ironically this was just at the same time as the critical appreciation of the original Baroque was reviving strongly.

Vận chuyển hàng nhanh

Ship toàn quốc. Freeship Cabinet Piano Sài Gòn & Cần Thơ *

The multiplicity of sizes found in recorders at the beginning of the baroque era gradually gave way to a focus on a smaller number and a parallel tendency towards solo and chamber music instead of consort music. In the early baroque, a soprano instrument in C or a treble instrument in G seem to have been favored in the solo repertoire. Late division pieces from Italy and the Netherlands fit well on one or the other of these sizes. The main acoustical difference of the baroque recorder is that the bore tapers virtually to the end of the instrument, rather than “choking” the bore near the last fingerhole and widening to the bottom as in the Renaissance recorder. The result is a clearer sound and an upward expansion of the range.

Soprano recorder player. The Music Party (detail, 1663) by Pieter de Hooch (1629-84). Cleveland Museum of Art 1951.355.

Soprano recorder. Portrait of a Young Girl with a Flute by Dirck van Santvoort (1610/11-80). Cleveland Museum of Art 1975.81.

Soprano recorder. Silvester inde Morgenstern (excerpt), by Jacob van Eyck, performed by Marion Verbruggen. Harmonia Mundi HMU 907170 (1996). Trk 6.

The outline of the instrument gradually changed also from the smooth and graceful curve of the Renaissance recorder to the turnery associated with other baroque woodwinds towards the end of the 17th century. At the same time, the alto in F emerged as the solo instrument of choice, although a few solo works were written for soprano and even sopranino, and bass recorders continued to be manufactured as soft and presumably rarely used continuo instruments. Some baroque recorders have double holes for the last two fingerholes. This facilitates the playing of some chromatics which otherwise must be played by partially covering the single holes.

Alto recorder made of ivory (Leipzig, 18th century). Brussels, Musée Instrumental 436.

Alto recorder in playing position. Engraving from Principes de la flute traversiere by Hotteterre-le-Romain (Paris, 1707).

Alto recorder. Couplets de folies (excerpt) by Marin Marais, performed by Marion Verbruggen. ASV Gaudeamus 113 (1989). Trk 4.

In France especially, besides the F alto, another size of recorder became popular as well _ a kind of tenor in D. This was known as the “voice flute” (probably from “voiced flute”) since it had the same bottom note as the transverse flute but the voicing (i.e., whistle-like sound producing mechanism) of a recorder. It functioned as an alternative to the transverse flute since it had the same range. Gradually, however, the recorder dropped out of use as less suited to both the volume of sound and nuances of dynamics required for repertoire towards the middle of the 18th century. Its sweet tone and potential for expressiveness through articulation in the hands of expert players have fueled its modern revival.

Voice flute. Fantasia in B minor (excerpt) by George Philipp Telemann, performed by Marion Verbruggen. Telemann: Solo Works. Harmonia Mundi HMU 907158 (1997). Trk 3.

Voice flute. Dutch recorder virtuoso Frans Br?üggen with his P.I. Bressan voice flute (London, ca.1720).

During the late seventeenth century, the recorder was completely redesigned for use as a solo instrument. Where previously it had been made in one or two pieces it was now made in three allowing for more accurate boring. It was given a more pronounced taper than ever before and had a fully chromatic range of two octaves and ultimately two octaves and a fifth. It was voiced to produce an intense, reedy, and penetrating tone of considerable carrying power and expressiveness. Many splendid original examples of such instruments survive today in playing condition.

These baroque recorders are admirably suited to the performance of chamber music and even concertos. In this form, the recorder survived as a professional instrument late into the eighteenth century and as an amateur instrument some way into the nineteenth century until it was temporarily and briefly eclipsed by the flute.

Soprano recorder by William Beukers Sr (1666–1750), Gementemuseum, The Hague

Martin (1989, 1994 & 1996) suggested that Bach’s Fiauti d’echo called for in Brandenburg Concerto 4, BWV 1049 may have comprised two instruments somehow joined together, each voiced differently. Subsequently, Rampe and Zapf (1997) noted that just such an instrument by an anonymous Saxon maker, in which two recorders are joined by a frame at head and foot, survives at the Grassi Museum für Musikinstrumente, Leipzig. However, this example comprises two soprano recorders in d’ and is thus unsuitable for Bach’s composition.

Two recent attempts to recreate the effect of echo flutes are worthy of mention here. The first, featuring Dutch recorder players Hanneke van Proosdij and Andrew Levy makes use of alto echo flutes constructed along the lines of the Grassi Museum instrument.

Following the research of Lorenzo Alpert (n.d.), the second recording is by Concerto Köln and features recorder players Cordula Breuer and Wolfgang Dey playing echo flutes constructed by contemporary Swiss wind-instrument maker Andreas Schöni which are ostensibly double recorders of the kind depicted prominently in Christoph Weigel’s engraving Der Pfeiffenmacher (Regensburg 1698).

However, Schöni’s reconstruction appears to have a number of novel features absent from Weigel’s engraving and from surviving historical originals, namely (1) both pipes of equal length, (2) a sort of mute on the left-hand window/labium, and (3) a raised hole for the little finger of the lowermost hand on one of the bores.

A number of flûtes d’accord (double duct-flutes) survive from the 17th and 18th centuries. They come in various forms and only some of them can be said to be double recorders. Of the latter, all have one pipe shorter than the other to facilitate playing in thirds and are thus not at all suitable for Bach’s Fourth Brandenburg Concerto. A few examples will suffice to illustrate the variation found among them:

Candidly, I am of the view that the reconstructed “echo flutes” featured in the above performances are as fanciful as the so-called “Bach” trumpet and the “Bach” bow. Whilst both of the performances on reconstructed echo flutes are splendid, the actual echoes provided by the novel instruments employed sound less than convincing to my ears, not that it matters. Surely, the echoes are quite obviously built into the music itself in that when they are required (notably in the second movement) the accompanying strings are tacit. Thus, it remains a possibility that Bach’s call for fiauti d’echo was gestural rather than prescriptive. Significantly, when he later recast this work as the Concerto for harpsichord in F major BWV 1057, Bach called simply for ‘due fiauti a bec‘ (two recorders). Furthermore, it seems unlikely that anyone would go to the bother of constructing let alone playing such cumbersome new instruments when superior echo effects could be achieved more simply and cheaply by employing off-stage players of conventional instruments for the echoes. To my mind, the employment of doubled instruments smacks strongly of the theatrical stage and, if they were ever employed by Bach at all, it was perhaps their appearance rather than their musical functionality that was important.

According to Robinson (2003), the sole preserved piece in which the basset recorder plays either a solo or a concertante part is Carl Phillip Emanuel Bach’s Trio in F major for basset recorder, viola or bassoon, and basso continuo H 588 (1755). That Bach did intend a basset recorder is proved by his own comment on a piece of paper pasted in the manuscript: “The basset recorder goes from f to c 2 ; F major, C major, and G major are the most comfortable keys for it” (Hofmann 1992). Robinson further notes that there is also a mention, in an auction catalogue 1789, of a similar, but lost trio by Carl Heinrich Graun for violin, cello or flauto basso, and bass. The latter work was the subject of a reconstruction by Hofmann (loc. cit.) It is, of course, possible that sonatas for alto recorder (or bassoon, or any other instrument) were played on the basset recorder, but there is no historical evidence for this practice.

A basset recorder made by I. T. Weigel of Wrocław in the 1730s can be found amongst the collection of musical instruments at the Pauline monastery of Jasna Góra, Poland. This recorder was listed in the Jasna Góra ensemble inventories until the 1860s and the long use of the instrument in the monastery ensemble has hitherto remained something of a mystery. Madry and Frankowski (2012) report the existence of a piece by composer Franciszek Perneckher (m. 1769) entitled:

The piece is an example of a Christmas composition of a three-movement structure and is the only documented and known vocal-instrumental composition with a concertante part for the basset recorder. In the outer sections of the compositions, the basset recorder is restricted to doubling the basso continuo with occasional variant changes. This is interesting for the apparent novelty of a basset recorder playing the part of the basso continuo in a piece without the recorder consort. The composition’s focal point is its middle movement which features an aria for bass voice, accompanied by a flute trio (two transverse flutes and basset recorder) acting as a concertino group.

Matt Kerns, đã tham gia vào nhiều hoạt động âm nhạc của trường trong khoảng thời gian mà anh ấy có thể nhớ lại. Từ những ngày đầu gắn bó với các cuộc thi của ban nhạc diễu hành của chị gái mình, anh ấy đã là một nghệ sĩ biểu diễn, một người hướng dẫn, một nhân viên bán hàng và bây giờ là một tiền bối đáng tự hào của ban nhạc. Matt đứng đầu bộ phận phụ kiện ban nhạc và dàn nhạc của chúng tôi - đúc kết từ hàng thập kỷ kiến thức và chuyên môn về mọi thứ từ lỗ mở đầu ống nghe đến độ nhớt của van dầu.

“I should know this but what is the difference between Baroque and German recorder fingerings?” I have heard that question many, many times over the years at conferences, workshops and on the phone. The difference between Baroque and German fingering seems to be one of those pieces of information that sometimes falls through the cracks- a piece of information that teachers sometimes think that everyone else knows. That being said, there are also many teachers who have strong opinions on which system should be used. Let’s start with a little history.

Architecture: origins and characteristics

The Baroque style of architecture was a result of doctrines adopted by the Catholic Church at the Council of Trent in 1545–1563, in response to the Protestant Reformation. The first phase of the Counter-Reformation had imposed a severe, academic style on religious architecture, which had appealed to intellectuals but not the mass of churchgoers. The Council of Trent decided instead to appeal to a more popular audience, and declared that the arts should communicate religious themes with direct and emotional involvement.[21][22] Similarly, Lutheran Baroque art developed as a confessional marker of identity, in response to the Great Iconoclasm of Calvinists.[23]

Baroque churches were designed with a large central space, where the worshippers could be close to the altar, with a dome or cupola high overhead, allowing light to illuminate the church below. The dome was one of the central symbolic features of Baroque architecture illustrating the union between the heavens and the earth. The inside of the cupola was lavishly decorated with paintings of angels and saints, and with stucco statuettes of angels, giving the impression to those below of looking up at heaven.[24] Another feature of Baroque churches are the quadratura; trompe-l'œil paintings on the ceiling in stucco frames, either real or painted, crowded with paintings of saints and angels and connected by architectural details with the balustrades and consoles. Quadratura paintings of Atlantes below the cornices appear to be supporting the ceiling of the church. Unlike the painted ceilings of Michelangelo in the Sistine Chapel, which combined different scenes, each with its own perspective, to be looked at one at a time, the Baroque ceiling paintings were carefully created so the viewer on the floor of the church would see the entire ceiling in correct perspective, as if the figures were real.

The interiors of Baroque churches became more and more ornate in the High Baroque, and focused around the altar, usually placed under the dome. The most celebrated baroque decorative works of the High Baroque are the Chair of Saint Peter (1647–1653) and St. Peter's Baldachin (1623–1634), both by Gian Lorenzo Bernini, in St. Peter's Basilica in Rome. The Baldequin of St. Peter is an example of the balance of opposites in Baroque art; the gigantic proportions of the piece, with the apparent lightness of the canopy; and the contrast between the solid twisted columns, bronze, gold and marble of the piece with the flowing draperies of the angels on the canopy.[25] The Dresden Frauenkirche serves as a prominent example of Lutheran Baroque art, which was completed in 1743 after being commissioned by the Lutheran city council of Dresden and was "compared by eighteenth-century observers to St Peter's in Rome".[2]

The twisted column in the interior of churches is one of the signature features of the Baroque. It gives both a sense of motion and also a dramatic new way of reflecting light.

The cartouche was another characteristic feature of Baroque decoration. These were large plaques carved of marble or stone, usually oval and with a rounded surface, which carried images or text in gilded letters, and were placed as interior decoration or above the doorways of buildings, delivering messages to those below. They showed a wide variety of invention, and were found in all types of buildings, from cathedrals and palaces to small chapels.[26]

Baroque architects sometimes used forced perspective to create illusions. For the Palazzo Spada in Rome, Francesco Borromini used columns of diminishing size, a narrowing floor and a miniature statue in the garden beyond to create the illusion that a passageway was thirty meters long, when it was actually only seven meters long. A statue at the end of the passage appears to be life-size, though it is only sixty centimeters high. Borromini designed the illusion with the assistance of a mathematician.

, Rome, by Gian Lorenzo Bernini, 1656–1667

Santa Maria della Pace, Rome, by

The first building in Rome to have a Baroque façade was the Church of the Gesù in 1584; it was plain by later Baroque standards, but marked a break with the traditional Renaissance façades that preceded it. The interior of this church remained very austere until the high Baroque, when it was lavishly ornamented.

In Rome in 1605, Paul V became the first of series of popes who commissioned basilicas and church buildings designed to inspire emotion and awe through a proliferation of forms, and a richness of colours and dramatic effects.[31] Among the most influential monuments of the Early Baroque were the façade of St. Peter's Basilica (1606–1619), and the new nave and loggia which connected the façade to Michelangelo's dome in the earlier church. The new design created a dramatic contrast between the soaring dome and the disproportionately wide façade, and the contrast on the façade itself between the Doric columns and the great mass of the portico.[32]

In the mid to late 17th century the style reached its peak, later termed the High Baroque. Many monumental works were commissioned by Popes Urban VIII and Alexander VII. The sculptor and architect Gian Lorenzo Bernini designed a new quadruple colonnade around St. Peter's Square (1656 to 1667). The three galleries of columns in a giant ellipse balance the oversize dome and give the Church and square a unity and the feeling of a giant theatre.[33]

Another major innovator of the Italian High Baroque was Francesco Borromini, whose major work was the Church of San Carlo alle Quattro Fontane or Saint Charles of the Four Fountains (1634–1646). The sense of movement is given not by the decoration, but by the walls themselves, which undulate and by concave and convex elements, including an oval tower and balcony inserted into a concave traverse. The interior was equally revolutionary; the main space of the church was oval, beneath an oval dome.[33]

Painted ceilings, crowded with angels and saints and trompe-l'œil architectural effects, were an important feature of the Italian High Baroque. Major works included The Entry of Saint Ignatius into Paradise by Andrea Pozzo (1685–1695) in the Sant'Ignazio Church, Rome, and The Triumph of the Name of Jesus by Giovanni Battista Gaulli in the Church of the Gesù in Rome (1669–1683), which featured figures spilling out of the picture frame and dramatic oblique lighting and light-dark contrasts.[34]

The style spread quickly from Rome to other regions of Italy: It appeared in Venice in the church of Santa Maria della Salute (1631–1687) by Baldassare Longhena, a highly original octagonal form crowned with an enormous cupola. It appeared also in Turin, notably in the Chapel of the Holy Shroud (1668–1694) by Guarino Guarini. The style also began to be used in palaces; Guarini designed the Palazzo Carignano in Turin, while Longhena designed the Ca' Rezzonico on the Grand Canal, (1657), finished by Giorgio Massari with decorated with paintings by Giovanni Battista Tiepolo.[35] A series of massive earthquakes in Sicily required the rebuilding of most of them and several were built in the exuberant late Baroque or Rococo style.

, Córdoba, Andalusia, 1245–1760

Façade of the Cathedral of

, Catalonia, built between 1772 and 1778 by Josep Ausich

, Catalonia, built between 1765 and 1775 by José Mas Dordal

, Castile and León, built between 1617 and 1754.

, Castile and León, built in the early 17th century

Casa consistorial de Cuenca, in

, Castile-La Mancha, built between 1760 and 1788 by Lorenzo de Santa María and Mateo López

The Catholic Church in Spain, and particularly the Jesuits, were the driving force of Spanish Baroque architecture. The first major work in this style was the San Isidro Chapel in Madrid, begun in 1643 by Pedro de la Torre. It contrasted an extreme richness of ornament on the exterior with simplicity in the interior, divided into multiple spaces and using effects of light to create a sense of mystery.[38] The Santiago de Compostela Cathedral was modernized with a series of Baroque additions beginning at the end of the 17th century, starting with a highly ornate bell tower (1680), then flanked by two even taller and more ornate towers, called the Obradorio, added between 1738 and 1750 by Fernando de Casas Novoa. Another landmark of the Spanish Baroque is the chapel tower of the Palace of San Telmo in Seville by Leonardo de Figueroa.[39]

Granada had only been conquered from the Moors in the 15th century, and had its own distinct variety of Baroque. The painter, sculptor and architect Alonso Cano designed the Baroque interior of Granada Cathedral between 1652 and his death in 1657. It features dramatic contrasts of the massive white columns and gold decor.

The most ornamental and lavishly decorated architecture of the Spanish Baroque is called Churrigueresque style, named after the brothers Churriguera, who worked primarily in Salamanca and Madrid. Their works include the buildings on Salamanca's main square, the Plaza Mayor (1729).[39] This highly ornamental Baroque style was influential in many churches and cathedrals built by the Spanish in the Americas.

Other notable Spanish baroque architects of the late Baroque include Pedro de Ribera, a pupil of Churriguera, who designed the Real Hospicio de San Fernando in Madrid, and Narciso Tomé, who designed the celebrated El Transparente altarpiece at Toledo Cathedral (1729–1732) which gives the illusion, in certain light, of floating upwards.[39]

The architects of the Spanish Baroque had an effect far beyond Spain; their work was highly influential in the churches built in the Spanish colonies in Latin America and the Philippines. The church built by the Jesuits for the College of San Francisco Javier in Tepotzotlán, with its ornate Baroque façade and tower, is a good example.[40]

From 1680 to 1750, many highly ornate cathedrals, abbeys, and pilgrimage churches were built in Central Europe, Austria, Bohemia and southwestern Poland. Some were in Rococo style, a distinct, more flamboyant and asymmetric style which emerged from the Baroque, then replaced it in Central Europe in the first half of the 18th century, until it was replaced in turn by classicism.

The princes of the multitude of states in that region also chose Baroque or Rococo for their palaces and residences, and often used Italian-trained architects to construct them.[48]

A notable example is the St. Nicholas Church (Malá Strana) in Prague (1704–1755), built by Christoph Dientzenhofer and his son Kilian Ignaz Dientzenhofer. Decoration covers all of walls of interior of the church. The altar is placed in the nave beneath the central dome, and surrounded by chapels, light comes down from the dome above and from the surrounding chapels. The altar is entirely surrounded by arches, columns, curved balustrades and pilasters of coloured stone, which are richly decorated with statuary, creating a deliberate confusion between the real architecture and the decoration. The architecture is transformed into a theatre of light, colour and movement.[25]

In Poland, the Italian-inspired Polish Baroque lasted from the early 17th to the mid-18th century and emphasised richness of detail and colour. The first Baroque building in present-day Poland and probably one of the most recognizable is the Saints Peter and Paul Church, Kraków, designed by Giovanni Battista Trevano. Sigismund's Column in Warsaw, erected in 1644, was the world's first secular Baroque monument built in the form of a column.[49] The palatial residence style was exemplified by the Wilanów Palace, constructed between 1677 and 1696.[50] The most renowned Baroque architect active in Poland was Dutchman Tylman van Gameren and his notable works include Warsaw's St. Kazimierz Church and Krasiński Palace, Church of St. Anne, Kraków and Branicki Palace, Białystok.[51] However, the most celebrated work of Polish Baroque is the Poznań Fara Church, with details by Pompeo Ferrari. After Thirty Years' War under the agreements of the Peace of Westphalia two unique baroque wattle and daub structures was built: Church of Peace in Jawor, Holy Trinity Church of Peace in Świdnica the largest wooden Baroque temple in Europe.

The many states within the Holy Roman Empire on the territory of today's Germany all looked to represent themselves with impressive Baroque buildings.[52] Notable architects included Johann Bernhard Fischer von Erlach, Lukas von Hildebrandt and Dominikus Zimmermann in Bavaria, Balthasar Neumann in Bruhl, and Matthäus Daniel Pöppelmann in Dresden. In Prussia, Frederick II of Prussia was inspired by the Grand Trianon of the Palace of Versailles, and used it as the model for his summer residence, Sanssouci, in Potsdam, designed for him by Georg Wenzeslaus von Knobelsdorff (1745–1747). Another work of Baroque palace architecture is the Zwinger (Dresden), the former orangerie of the palace of the electors of Saxony in the 18th century.

One of the best examples of a rococo church is the Basilika Vierzehnheiligen, or Basilica of the Fourteen Holy Helpers, a pilgrimage church located near the town of Bad Staffelstein near Bamberg, in Bavaria, southern Germany. The Basilica was designed by Balthasar Neumann and was constructed between 1743 and 1772, its plan a series of interlocking circles around a central oval with the altar placed in the exact centre of the church. The interior of this church illustrates the summit of Rococo decoration.[53] Another notable example of the style is the Pilgrimage Church of Wies (German: Wieskirche). It was designed by the brothers J. B. and Dominikus Zimmermann. It is located in the foothills of the Alps, in the municipality of Steingaden in the Weilheim-Schongau district, Bavaria, Germany. Construction took place between 1745 and 1754, and the interior was decorated with frescoes and with stuccowork in the tradition of the Wessobrunner School. It is now a UNESCO World Heritage Site.

of the Louvre Palace, Paris, by

and Louis Le Vau, 1665–1680

of the Palace of Versailles, 1678–1684

Garden façade of the Palace of Versailles, by Jules Hardouin-Mansart, 1678–1688

Marble Court of the Palace of Versailles, 1680

, Paris, by Jules Hardouin-Mansart, 1699–1706

Baroque in France developed quite differently from the ornate and dramatic local versions of Baroque from Italy, Spain and the rest of Europe. It appears severe, more detached and restrained by comparison, preempting Neoclassicism and the architecture of the Enlightenment. Unlike Italian buildings, French Baroque buildings have no broken pediments or curvilinear façades. Even religious buildings avoided the intense spatial drama one finds in the work of Borromini. The style is closely associated with the works built for Louis XIV (reign 1643–1715), and because of this, it is also known as the Louis XIV style. Louis XIV invited the master of Baroque, Bernini, to submit a design for the new east wing of the Louvre, but rejected it in favor of a more classical design by Claude Perrault and Louis Le Vau.[65]

The main architects of the style included François Mansart (1598–1666), Pierre Le Muet (Church of Val-de-Grâce, 1645–1665) and Louis Le Vau (Vaux-le-Vicomte, 1657–1661). Mansart was the first architect to introduce Baroque styling, principally the frequent use of an applied order and heavy rustication, into the French architectural vocabulary. The mansard roof was not invented by Mansart, but it has become associated with him, as he used it frequently.

The major royal project of the period was the expansion of Palace of Versailles, begun in 1661 by Le Vau with decoration by the painter Charles Le Brun. The gardens were designed by André Le Nôtre specifically to complement and amplify the architecture. The Galerie des Glaces (Hall of Mirrors), the centerpiece of the château, with paintings by Le Brun, was constructed between 1678 and 1686. Mansart completed the Grand Trianon in 1687. The chapel, designed by Robert de Cotte, was finished in 1710. Following the death of Louis XIV, Louis XV added the more intimate Petit Trianon and the highly ornate theatre. The fountains in the gardens were designed to be seen from the interior, and to add to the dramatic effect. The palace was admired and copied by other monarchs of Europe, particularly Peter the Great of Russia, who visited Versailles early in the reign of Louis XV, and built his own version at Peterhof Palace near Saint Petersburg, between 1705 and 1725.[68]

, University of Coimbra, Coimbra, Portugal, by

in the cloisters of the

, Lisbon, Portugal, with a scene based on a print by

, unknown architect or craftsman, 1730–1735

Grand Staircase of the

, Braga, Portugal, by

Baroque architecture in Portugal lasted about two centuries (the late seventeenth century and eighteenth century). The reigns of John V and Joseph I had increased imports of gold and diamonds, in a period called Royal Absolutism, which allowed the Portuguese Baroque to flourish.

Baroque architecture in Portugal enjoys a special situation and different timeline from the rest of Europe.

It is conditioned by several political, artistic, and economic factors, that originate several phases, and different kinds of outside influences, resulting in a unique blend,[73] often misunderstood by those looking for Italian art, find instead specific forms and character which give it a uniquely Portuguese variety. Another key factor is the existence of the Jesuitical architecture, also called "plain style" (Estilo Chão or Estilo Plano)[74] which like the name evokes, is plainer and appears somewhat austere.

The buildings are single-room basilicas, deep main chapel, lateral chapels (with small doors for communication), without interior and exterior decoration, simple portal and windows. It is a practical building, allowing it to be built throughout the empire with minor adjustments, and prepared to be decorated later or when economic resources are available.

In fact, the first Portuguese Baroque does not lack in building because "plain style" is easy to be transformed, by means of decoration (painting, tiling, etc.), turning empty areas into pompous, elaborate baroque scenarios. The same could be applied to the exterior. Subsequently, it is easy to adapt the building to the taste of the time and place, and add on new features and details. Practical and economical.

With more inhabitants and better economic resources, the north, particularly the areas of Porto and Braga,[75][76][77] witnessed an architectural renewal, visible in the large list of churches, convents and palaces built by the aristocracy.

Porto is the city of Baroque in Portugal. Its historical centre is part of UNESCO World Heritage List.[78]

Many of the Baroque works in the historical area of the city and beyond, belong to Nicolau Nasoni an Italian architect living in Portugal, drawing original buildings with scenographic emplacement such as the church and tower of Clérigos,[79] the logia of the Porto Cathedral, the church of Misericórdia, the Palace of São João Novo,[80] the Palace of Freixo,[81] the Episcopal Palace (Portuguese: Paço Episcopal do Porto)[82] along with many others.

, Russia, unknown architect, 1746–1758

, Pushkin, Russia, by Francesco Bartolomeo Rastrelli, 1749–1756

The debut of Russian Baroque, or Petrine Baroque, followed a long visit of Peter the Great to western Europe in 1697–1698, where he visited the Châteaux of Fontainebleau and Versailles as well as other architectural monuments. He decided, on his return to Russia, to construct similar monuments in St. Petersburg, which became the new capital of Russia in 1712. Early major monuments in the Petrine Baroque include the Peter and Paul Cathedral and Menshikov Palace.

During the reign of Anna and Elisabeth, Russian architecture was dominated by the luxurious Baroque style of Italian-born Francesco Bartolomeo Rastrelli, which developed into Elizabethan Baroque. Rastrelli's signature buildings include the Winter Palace, the Catherine Palace and the Smolny Cathedral. Other distinctive monuments of the Elizabethan Baroque are the bell tower of the Troitse-Sergiyeva Lavra and the Red Gate.[86]

In Moscow, Naryshkin Baroque became widespread, especially in the architecture of Eastern Orthodox churches in the late 17th century. It was a combination of western European Baroque with traditional Russian folk styles.

RECORDER BAROQUE LÀ GÌ?

Recorder Baroque là kiểu recorder truyền thống. Nó phổ biến hơn nhiều so với recorder của Đức. Sự khác biệt giữa hai loại này không nằm ở kích thước mà ở thiết kế. Thiết kế của recorder Baroque được hoàn thiện trong thời kỳ âm nhạc Baroque – giai đoạn hoàng kim của sáo recorder. Một trong những model phong cách Baroque tone Si (B) nổi bật nhất hiện nay chính là YRS-24B của Yamaha. Đây là model được rất nhiều thầy cô và các bạn học sinh tin tưởng lựa chọn.

Đặc điểm nổi bật của recorder Baroque nằm ở thiết kế lỗ thứ 4 và thứ 5. Cụ thể là lỗ thứ 4 nhỏ và lỗ thứ 5 lớn. Tất cả các nốt từ Si (B) xuống Do (C) đều lần lượt được thêm/bớt 1 ngón bấm – ngoại trừ nốt Fa (F). Thiết kế kiểu này đã làm cho sơ đồ ngón bấm liên tiếp từ Si (B) xuống Do (C) bị cắt ngang bởi nốt Fa (F).

Điều này được xem là một bất lợi khi đưa recorder phong cách Baroque vào giảng dạy, vui chơi. Đồng thời, đây cũng là lý do nhiều người ưu tiên sử dụng sáo phong cách Đức hơn.

Composers and examples

The classical ballet also originated in the Baroque era. The style of court dance was brought to France by Marie de' Medici, and in the beginning the members of the court themselves were the dancers. Louis XIV himself performed in public in several ballets. In March 1662, the Académie Royale de Danse, was founded by the King. It was the first professional dance school and company, and set the standards and vocabulary for ballet throughout Europe during the period.

Heinrich Wölfflin was the first to transfer the term Baroque to literature.[137] The key concepts of Baroque literary theory, such as "conceit" (concetto), "wit" (acutezza, ingegno), and "wonder" (meraviglia), were not fully developed in literary theory until the publication of Emanuele Tesauro's Il Cannocchiale aristotelico (The Aristotelian Telescope) in 1654. This seminal treatise - inspired by Giambattista Marino's epic Adone and the work of the Spanish Jesuit philosopher Baltasar Gracián - developed a theory of metaphor as a universal language of images and as a supreme intellectual act, at once an artifice and an epistemologically privileged mode of access to truth.[138]

The Baroque period was a golden age for theatre in France and Spain; playwrights included Corneille, Racine and Molière in France; and Lope de Vega and Pedro Calderón de la Barca in Spain.

During the Baroque period, the art and style of the theatre evolved rapidly, alongside the development of opera and of ballet. The design of newer and larger theatres, the invention the use of more elaborate machinery, the wider use of the proscenium arch, which framed the stage and hid the machinery from the audience, encouraged more scenic effects and spectacle.[139]

The Baroque had a Catholic and conservative character in Spain, following an Italian literary model during the Renaissance. The Hispanic Baroque theatre aimed for a public content with an ideal reality that manifested fundamental three sentiments: Catholic religion, monarchist and national pride and honour originating from the chivalric, knightly world.

Two periods are known in the Baroque Spanish theatre, with the division occurring in 1630. The first period is represented chiefly by Lope de Vega, but also by Tirso de Molina, Gaspar Aguilar, Guillén de Castro, Antonio Mira de Amescua, Luis Vélez de Guevara, Juan Ruiz de Alarcón, Diego Jiménez de Enciso, Luis Belmonte Bermúdez, Felipe Godínez, Luis Quiñones de Benavente or Juan Pérez de Montalbán. The second period is represented by Pedro Calderón de la Barca and fellow dramatists Antonio Hurtado de Mendoza, Álvaro Cubillo de Aragón, Jerónimo de Cáncer, Francisco de Rojas Zorrilla, Juan de Matos Fragoso, Antonio Coello y Ochoa, Agustín Moreto, and Francisco Bances Candamo. These classifications are loose because each author had his own way and could occasionally adhere himself to the formula established by Lope. It may even be that Lope's "manner" was more liberal and structured than Calderón's.

Lope de Vega introduced through his Arte nuevo de hacer comedias en este tiempo (1609) the new comedy. He established a new dramatic formula that broke the three Aristotle unities of the Italian school of poetry (action, time, and place) and a fourth unity of Aristotle which is about style, mixing of tragic and comic elements showing different types of verses and stanzas upon what is represented.[144] Although Lope has a great knowledge of the plastic arts, he did not use it during the major part of his career nor in theatre or scenography. The Lope's comedy granted a second role to the visual aspects of the theatrical representation.

Tirso de Molina, Lope de Vega, and Calderón were the most important play writers in Golden Era Spain. Their works, known for their subtle intelligence and profound comprehension of a person's humanity, could be considered a bridge between Lope's primitive comedy and the more elaborate comedy of Calderón. Tirso de Molina is best known for two works, The Convicted Suspicions and The Trickster of Seville, one of the first versions of the Don Juan myth.[146]

Upon his arrival to Madrid, Cosimo Lotti brought to the Spanish court the most advanced theatrical techniques of Europe. His techniques and mechanic knowledge were applied in palace exhibitions called "Fiestas" and in lavish exhibitions of rivers or artificial fountains called "Naumaquias". He was in charge of styling the Gardens of Buen Retiro, of Zarzuela, and of Aranjuez and the construction of the theatrical building of Coliseo del Buen Retiro. Lope's formulas begin with a verse that it unbefitting of the palace theatre foundation and the birth of new concepts that begun the careers of some play writers like Calderón de la Barca. Marking the principal innovations of the New Lopesian Comedy, Calderón's style marked many differences, with a great deal of constructive care and attention to his internal structure. Calderón's work is in formal perfection and a very lyric and symbolic language. Liberty, vitality and openness of Lope gave a step to Calderón's intellectual reflection and formal precision. In his comedy it reflected his ideological and doctrine intentions in above the passion and the action, the work of Autos sacramentales achieved high ranks.[148] The genre of Comedia is political, multi-artistic and in a sense hybrid. The poetic text interweaved with Medias and resources originating from architecture, music and painting freeing the deception that is in the Lopesian comedy was made up from the lack of scenery and engaging the dialogue of action.

The best known German playwright was Andreas Gryphius, who used the Jesuit model of the Dutch Joost van den Vondel and Pierre Corneille. There was also Johannes Velten who combined the traditions of the English comedians and the commedia dell'arte with the classic theatre of Corneille and Molière. His touring company was perhaps the most significant and important of the 17th century.

The foremost Italian baroque tragedian was Federico Della Valle. His literary activity is summed up by the four plays that he wrote for the courtly theater: the tragicomedy Adelonda di Frigia (1595) and especially his three tragedies, Judith (1627), Esther (1627) and La reina di Scotia (1628). Della Valle had many imitators and followers who combined in their works Baroque taste and the didactic aims of the Jesuits (Francesco Sforza Pallavicino, Girolamo Graziani, etc.)

In the Tsardom of Russia, the development of the Russian version of Baroque took shape only in the second half of the 17th century, primarily due to the initiative of tsar Alexis of Russia, who wanted to open a court theatre in 1672. Its director and dramatist was Johann Gottfried Gregorii, a German-Russian Lutheran pastor, who wrote, in particular, a 10-hour play The Action of Artaxerxes. The dramaturgy of Symeon of Polotsk and Demetrius of Rostov became key contribution to the Russian Baroque.[150]