#ClassicsaDay #AltBaroque Week 4
The Classics a Day team offers a unique challenge for September. Participants are to share music from the Baroque Era on their social media posts. What makes this a challenge is to avoid the big names. So no Bach, Handel, or Vivaldi. (And no Pachelbel's Canon).
The Baroque Era ushered a sea change in musical styles from the Renaissance. Church modes gave way to major and minor keys (still in use today). Linear polyphony was replaced by a melody with chordal harmony. Viols were traded in for violins. New forms of music were developed: operas, oratorios, cantatas, and sonatas.
Many composers contributed to that development -- many more than the Big Three. Here are my posts for this #AltClassical challenge. For the fourth and final week, I picked some unusual composers.
09/23/24 Maria Teresa Agnesi Pinottini (1720-1795): Concerto per il cembalo
Little is known of Agnesi's life. While her music is well documented in historical records, much is now lost. Only fragments of her 6 operas and 5 concertos survive.
09/24/24 Ivan Lukačić (1587=1648): Quam pulchra es
Croatian composer and monk Ivan Lukacic studied in Rome before returning to Croatia. He was music master at the cathedral in Split and published several collections of motets in the 1620s.
09/25/24 Caterina Assandra (ca.1590 - after 1618) O Dulcis Amor Jesu (Op. 2, No. 11)
Assanda was a Benedictine nun. She was also an organist and published two collections of music in the early 1600s. Her Opus 1 is lost, but Opus 2 survives.
09/26/24 John Baston (fl. 1708–1739): Recorder Concerto No. 2
Baston was an English recorder virtuoso. His concertos, performed during play intermissions, were so popular he published them in 1729.
09/27/24 Julie Pinel (fl. 1710–1737): Printems
Pinel was a French harpsichordist. Few details of her life are known, save for her collection of songs, published in 1737, Nouveau receuil d'airs sérioux et à boire.
