By Ed Shanapy
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Extra info for 500 Piano Intros for the Great Standards (The Steinway Library of Piano Music)
The late baroque style is distinguished by a fully established tonality which regulated chord progressions, dissonance treatment, and the formal The contrapuntal technique culminated in the full absorption of harmony. The forms grew to large dimensions. The concerto style structure. tonal Music in the Baroque Era 18 appeared and with of idioms reached it The exchange dominated was music by highest point. Vocal the emphasis on mechanical rhythm. its instrumental music. These phases of the baroque style must be kept in sight if the gap between Monteverdi and Bach is to be discussed.
Most of these composers published (1616), Giovanni Steffani, their 10 works in Florence, the center of the Examples in Kinkeldey SIMG IX; GMB early monodic style, or in Venice. no. 166; Wolf, Music of Earlier Times, no. 48. 11 The imprint gives the year 1601 according to the old calendar. For examples sec ICMI, 4 and HAM 12 no. 184. See the bibliographical list of monodic publications in Ambros-Leichtcntritt, Geschichte der Musi% IV, 777. For emendations and additions see Eugen Schmitz, Jahrbuch Peters, 1911, 35 f.
8), Monteverdi seized with marvellous assuredness on the possibilities and the contrast between delicate solos and full choral of the trio In his first sections. The setting soloistic nature of the few-voiced sections can be inferred and the written-out gorgia. The interpenemonodic and madrigalistic features came naturally to Monteverdi because he arrived at the continue through the madrigal. How close the seemingly unrelated fields were for him is demonstrated in his fasci- from the intricate part-writing tration of d'Arianna as a five-voice madrigal nating arrangement of the Lamento as to his own realization of the hints which revealing (sixth book) gives celebrated monody.