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Instrumental Music
Most instrumental music was played in chamber settings during the Baroque period, given the patronage of the aristocracy and the lack of public performing spaces until the 18th century. Instruments were built to sound full and rich, but in small sized halls. A variety of instrumental forms emerged during this period that reflected the new instruments and their individual colors. Dances, variations, counterpoint (point to point or part to part), and alternation between solo and tutti passages became the predominant molds of musical expression.
The full development of instrumental music, that is, music without a text and with no purpose other than being listened to, was a particular achievement of the Baroque era. Generally speaking, Renaissance instrumental music did not stand alone, but rather provided a background for singing or dancing. Baroque dance forms which evolved from Renaissance music include the allemande, gavotte, and gigue, each with its own identifiable rhythmic individuality.
The rise of the virtuoso style, easily recognizable in the solo concerto, also served to enhance the importance of instrumental music. Bach and Handel were great virtuosi on the organ and harpsichord, Corelli on the violin. Audiences loved to applaud virtuosity and improvisation, when performers of the day, like today's jazz musicians, were expected to fill out the score, offering their own extemporaneous creation.
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Carol Barney, John Sherman - Ceol Anam
(CD126)
Carol Barney, John Sherman - Ceol Anam
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David Paton - Music From the Mountain
(CD120)
David Paton - Music From the Mountain
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Paul Van Arsdale - Dulcimer Heritage
(CD87)
Paul Van Arsdale - Dulcimer Heritage
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Seamus and Manus McGuire - Humours of Lissadell
(CD78)
Seamus and Manus McGuire - Humours of Lissadell
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Skip Gorman - New Englander's Choice
(CD95)
Skip Gorman - New Englander's Choice
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