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Joseph Bodin de Boismortier (23 December 1689 – 28 October 1755) was a French baroque composer of instrumental music, cantatas, opéra-ballets, and vocal music. Boismortier was one of the first composers to have no patrons: having obtained a royal licence for engraving music in 1724, he made enormous sums of money by publishing his music for ...
French composers; Pages in category "French Baroque composers" The following 200 pages are in this category, out of approximately 233 total. This list ...
This article lists French composers who wrote for the harpsichord during the 17th and 18th centuries. This is a dynamic list and may never be able to satisfy particular standards for completeness. You can help by adding missing items with reliable sources .
After 1733 Rameau dedicated himself mostly to opera. On a strictly musical level, 18th-century French Baroque opera is richer and more varied than contemporary Italian opera, especially in the place given to choruses and dances but also in the musical continuity that arises from the respective relationships between the arias and the recitatives.
Lully's Armide at the Palais-Royal Opera House in 1761, watercolor by Gabriel de Saint-Aubin. Armide is an opera in five acts by Jean-Baptiste Lully.The libretto by Philippe Quinault is based on Torquato Tasso's poem La Gerusalemme liberata (Jerusalem Delivered).
The duet starts in the key of E-flat major and the time signature of common time (); after a general pause following the words "Elle fuit!", the score briefly omits all signature accidentals, and the time signature changes at "Non, que rien ne nous sépare" to 3 4 before returning to the starting configuration on "Oui, c'est elle" in the final ...
The French overture is a musical form widely used in the Baroque period. Its basic formal division is into two parts, which are usually enclosed by double bars and repeat signs. Its basic formal division is into two parts, which are usually enclosed by double bars and repeat signs.
Jacquet de La Guerre's early trio sonatas and violin/viola da gamba sonatas survive only in manuscript sources in Paris. The rest of her output is thought to have been published in her lifetime, although Titon du Tillet mentioned a lost Te Deum setting in his tribute to Jacquet de La Guerre.