#early baroque music

[lesser-known-composers]

Francesco Lambardi (1587-1642) - Gagliarda su "O felice quel giorno" per voce, arpa e tiorba

Chiara Granata, arpa doppia

Gabriele Palomba, tiorba

Raffaele Pe, controtenore

[life-imitates-art-far-more]

Simon Vouet (1590-1649) "Woman Playing a Guitar" (c. 1618) Oil on canvas Baroque Located in the Metropolitan Museum of Art, New York City, New York, United States

[musicwithoutborders]

Chatham Baroque, Gagliarda prima I Alla Luce: Music of Giovanni Girolamo Kapsperger, 2010

[lutes-of-the-world]

[caviarsonoro]

Ferran Savall, Jordi Savall, Le Concert des Nations, Hèsperion XXI : Deploratio III (Improvisation) -  Lachrimæ Caravaggio 2007

The piece Deploratio III (Improvisation) is a work that blends the essence of early music with the expressive freedom of improvisation, a distinctive approach by Jordi Savall and his collaborators. In this case, the musical dialogue between Ferran Savall and the instrumental ensemble led by Jordi Savall achieves exceptional emotional depth. The piece traverses dark and melancholic soundscapes, evoking the shadows and light characteristic of Caravaggio's painting, to whom the album is dedicated. From the first chords, the improvisation feels like a poignant lament that transcends time, a timeless echo that connects with Baroque spirituality.

Ferran Savall delivers an ethereal and enveloping vocal performance that becomes the emotional core of the piece. His voice fluctuates between the earthly and the celestial, guiding the listener through an introspective journey filled with lyricism. The instrumental accompaniment, performed by Hèsperion XXI and Le Concert des Nations, stands out for its richness in timbral texture, with technical precision that never overshadows the spontaneity of the improvisation. The period instruments, such as the viola da gamba, converse with Ferran’s voice in an interplay that references both sacred music and ancient popular forms.

Jordi Savall’s direction shines in his ability to create a musical space where each performer finds their place, contributing to the emotional narrative of the piece. Rather than imposing a rigid structure, Savall allows the improvisation to flow organically, highlighting the interaction between musicians. The performance is both a homage to the Baroque musical tradition and a contemporary exploration of its possibilities, capturing the duality between structure and spontaneity.

[apis-vergilii]

idk Commedia Brainrot resulted in baroque/folk Virgilio mixtape, helppppp

[musicianrambles]

*about to walk out of the early music shop* oh god I hope I didn't accidentally put a harpsichord in my bag

[queerstudiesnatural]

new witcher cover!!

[official-lauchzwiebel]

there should be an early music renaissance. i'm sick and tired of noone talking about marco beasley's heavenly voice

[tfblovesmusic]

I’m a sucker for this excerpt from Vivaldi’s Psalm 126, sung here by countertenor Andreas Scholl. But I as an early music fangirl wonder why TH did the creatives use this song during the shopping scene from a particular 2020 French indie film on Netflix that caused controversy…

[iamthemaestro]

I’ve come to realize I have the opposite problem that most classically trained string instrumentalists have while playing baroque music, which is to say that I frequently forget I can incorporate vibrato for post-baroque pieces

[lesser-known-composers]

Heinrich Schütz (1585–1672) - Symphoniae Sacrae III, Op. 12: No. 16, Hütet euch, daß eure Herzen nicht beschwert werden; SWV 413 ·

Musica Fiata · Kammerchor Stuttgart · · Frieder Bernius

[life-imitates-art-far-more]

Jan Lievens (1607-1674) "Still Life with Books" (c. 1627-1628) Oil on panel Dutch Golden Age Located in the Rijksmuseum, Amsterdam, Netherlands

[countesspetofi]

The song that got me into Baroque music 🎶

One of my favorite English Baroque pieces. I used to sing it many years ago, but I think this is my new favorite performance. The lutenist weaves a while new realization of Purcell’s figured bass that’s super fresh, and the countertenot’s voice is smooth as glass, with ornamentation that kept me on my toes until the final resolution. And check out the text painting on “eas’d” and “drop;” cool stuff!! I think jazz fans would like this version as much as classical. 

Music for a while Shall all your cares beguile. Wond'ring how your pains were eas'd And disdaining to be pleas'd Till Alecto free the dead From their eternal bands, Till the snakes drop from her head, And the whip from out her hands. Music for a while Shall all your cares beguile.

--Music by Henry Purcell (1659-1695) text by John Dryden (1631-1700)

,countertenor,alecto,the furies,greek mythology

[lutes-of-the-world]

Don José Garcia Hidalgo 1691

[musicwithoutborders]

Giuseppe Antonio Brescianello / Cetra Baroque Orchestra Basel, 12 Concerti et sinphonie, Op. 1: Symphony No. 5 in F Major: II. Adagio, 2011