The cantata in XVIIV. it developed as a genre mainly secular, gradually coming nearer to opera composition in chamber scales. Crystallization of a genre is connected with J. Karissimi, A. Stradell's names. Gradually kinds of cantatas are defined: lyrical (chamber), festive (more large-scale).
The great role in Bach's creativity belongs to body. Organ style left a mark on all tool thinking of the composer. The body possesses the genre connecting instrumental music with spiritual cantatas and passion music - processings of chorals (more than 1 Organ compositions gravitated to the defended forms, traditional genres to which Bach gave qualitatively new interpretation: a prelude and the fugue (differentiated two composite spheres, improved them, having reunited in new synthesis.
Alessandro Magnasco's creativity, but in his works purely baroque lines belongs to Baroque style: dynamism, the effective image, received other coloring - all it seems dreamed about which tell with a shade of painful irony and demonstrative sarcasm. It is characteristic:
New playwrights stepped on the stage: Tirso de Malina ("Don Khil - green trousers" - the situation comedy; "The Seville barber or the stone guest") and Pedro Calderón ("Life is a dream" 1636, "Worship a cross" 1635, "The miracle magician" 1637, "The firm prince" 1628, "Great theater of the world" 16 Main lines:
Within thirty years Handel worked on the opera works written in style of the Italian opera (excepting the first three, written for Gamberg, but without being limited to an opera seria framework. He is interested in various plots: historical, mythological, epos, fairy tales. The ideal of heroic self-sacrifice becomes the main core. The conflict is traditional. 2 camps, 2 nations, the conflict in soul of the hero (fight between feeling and a debt). Vocal forms are close to a tool warehouse. Handel unites a recitative and the aria in a scene of through action. Often allocates tool numbers. Its orchestra is expressive, colourful, brilliant, dynamic. The overture of the French type is very imposing, majestic, full of power.
Antonio Vivaldi. Lines: absence in the majority of works of the program, but a bright tematizm, concreteness of musical language. Melodies are close to folklore song, dancing layer, opera intonations. A certain type of three-part composition is developed:
The majority of instrumental music - work purely secular (an exception - music for body. In instrumental music process of interaction and mutual enrichment of various areas, genres, statement types proceeds. The central place is taken by music for a clavier and body.
Instrumental music - indicative for style of the composer, is connected with vocal works, images, vivid graphic properties of music with the word influence a tematizm, the general shape of plays, separate parts. In general gloss, pathos, density of sounding, festive solemnity, orotundity, contrasts of a treatment of light and shade, temperament, improvisational floods are characteristic.
In musical art of XVIIV. begins as if with a resolute change, with uncompromising fight against polyphony of strict style. At this time the birth of new style - a monodiya with the maintenance which is flexibly following the poetic word was proclaimed. As a result, musical language becomes more dynamic, the musical art generating new creative search is updated.
Baroque style found the expression and in literature. And if the architecture, a sculpture and painting aspired to a unification, and in literature it is possible to observe the similar phenomena: the lyrics strives for monumentalism, grandeur. At the same time for it specification, a twiddle is characteristic (Dryden "Alexander's feast, or harmony force" 1697)
chaos - an order. From a motley variety of baroque genres the prelude genre (imaginations, toccatas) and fugues is considerably allocated. It did not go beyond an era while other genres lived and some more centuries changed. A cycle essence in opposition of two principles of thinking: improvisation, inconstancy of the world and the person in 1 parts and regularity, orderliness, a regularity, monotony in the second.