The English word baroque is derived from 'the Italian barocco, meaning bizarre, although exuberant would better reflect the sense'. The usage of this term originated in the 1860s to describe the highly decorated style of 17th and 18th century religious and public buildings in Germany and Austria. Later the term baroque was applied to the association of music of the17th and early 18th century. Today the term baroque is referred to type of music which originated around 1600 and came to fruition between 1700 and 1750.

The baroque era began at the end of the 16th century and lasted till about 1750. This era reflects a period of time when great changes occurred in music and culture. The baroque era artistically bridged the gap between the spiritually pure music of the renaissance era and the formalized music of the classical era. The baroque era culminated with the exalted music of J.S. Bach, whose three sons were among the first exponents of the new music of the classical era: the era that followed the baroque.

The baroque style of music represented a complete departure from that of the renaissance era. Instruments gained a place of their own in sacred as well as secular music. Music was not only to be enjoyed but also respected as a spiritual gift.

Another innovation of this era was the introduction of the solo style. In the renaissance period, all sacred music was performed by choirs, but in the baroque individual parts were assigned to soloists. The introduction of opera with its solo singing helped the baroque styles, which was introduced onto the sacred music. Thus the sacred music of the baroque era was composed in a more secular style than was the lofty, celestial choir music of the renaissance.

Among the early composers of the baroque era were two outstanding figures Giovanni Gabrielli (1557-1612) and Claudio Monteverdi (1567-1643). Gabrielli was an organist at Saint Mark's Cathedral in Venice. A number of his masterpieces are great. But it was Moteverdi who really ushered in the baroque era. He wrote the first operas of the baroque period but he was also a master of many forms of music. He excelled in the composition of both secular and sacred music.

Another development of the baroque era was the string chamber opera that flourished during the time of the great violin maker, Stradivari. Violin playing became an art and the string orchestras of the Italian baroque reached a great height in the early 1700s. The two great figures of the late baroque were Johan Sebastian Bach (1685-1750) and George Frederic Handel (1685-1759).

Handel became deeply involved, both artistically and commercially, in the growing London opera scene. He became famous as a composer of Oratorios. The beautiful `messiah' was his most famous, belonging very much to the Anglican anthem tradition. When he died on 14 April 1759, he was buried in Westminster Abbey and recognized in England as the greatest composer of his day.

In the music of J. S. Bach, two different forms and styles of baroque came together and were brought to perfection. The Bach family members were church and court musicians, teachers, and one or two were instrument makers.

Bach was the greatest exponent of musical form and device that ever lived. Only Mozart comes close in skill. Bach was the perfect baroque composer, as far as technique goes. When Bach died in 1750, he left a legacy which summarised his art, his life's work in which he had brought baroque musical forms to the peak of their development.

After Bach, music took a different turn. Even the music of his sons was quite different in character, expressing the new `gallant' style which was higher, with less stress on pure form and giving its own set of `clichés'!

It was, however, in the baroque period that the essential language of music was defined, and it is stimulating to note how successive composers would often "return to base", studying and playing Bach's works, writing figures in the baroque style, or adapting the works of baroque composers.

Many instruments reached the peak of their development at the height of the baroque era: the organs of Arp Schnitger (North Germany) and Bach's close friend Gottfried Silverman (South Germany) were among the period's finest and are still valued. Likewise the violins and other stringed instruments of the baroque Italian masters are the prized possessions of today's professional string players. The domestic and later concert keyboard instrument is an example of disappearance, replacement, then rediscovery.

The baroque age favoured the harpsichord in which the strings are placed and the player cannot vary the tone through finger touch. After 1750, the piano took over, offering touch sensitivity and fulfilling the needs of concert-hall performances of the great concertos like Beethoven.

These days more and more people are seeking a return to music for the mind, music combining beauty with the order of an underlying architecture and structure. So we are witnessing a resurgence of interest in the baroque, and those who are unfortunate to be yet familiar with it have a wonderful experience awaiting them.

The attempts to rediscover baroque music and its spirit has been there since the mid-1800s. But if that is so, then how was it lost in the first place?

There is evidence enough that until Bach's death in 1750 the musical tradition was very continuous. After Bach's death however, music took on a different style, and, perhaps for the first time in musical development, the older style was considered 'unfashionable'. There was a major break with the past. The break was not 'complete' and baroque music was 'rediscovered' hundred years later as something of a new revelation. In 1829, Mendelssohn's promotion of the St. Matthews passion marked the first public 'revival' of Bach and his music.

In 1850, the Bach Gesellschaft (Society) began the task of publishing all of Bach's work, a project which they completed fifty years later in 1990. In the early 1900's, Wanda Landowska re-invented the harpsichord which had been almost completely supported by the piano for home and concert performance. Landowska's harpsichord was unlike anything built during the baroque period, but temporarily the prestigious Paris firm of Pleyel abandoned their piano manufacture in order to attempt a recreation of this peculiar antique instrument. This was a major pioneering achievement in the recovery of the baroque.

So the movement of rediscovery gradually progressed. In 1950, the advent of long playing record created a new vehicle and a new public for classical music, followed in 1960 by stereo with parallel improvement both in recording equipment, and in the standard of home sound reproduction.

During the 70s and 80s further valuable research was conducted into music. The performance of the baroque was applied in practical recording and concert performance. At the same time, the performance to a major degree reflected the spirit of the times. Some of today's "authentic" performance has less to do with historical accuracy but attempts to only "excite modern listeners". Thus it is that authentic performance, while aiming to please modern tastes, which lacks historical authenticity and fails to bring out the full potential inherent in the music.

Source: Internet