The year 1629 in music involved some significant events.
1680 (MDCLXXX) was a leap year starting on Monday of the Gregorian calendar and a leap year starting on Thursday of the Julian calendar, the 1680th year of the Common Era (CE) and Anno Domini (AD) designations, the 680th year of the 2nd millennium, the 80th year of the 17th century, and the 1st year of the 1680s decade. As of the start of 1680, the Gregorian calendar was 10 days ahead of the Julian calendar, which remained in localized use until 1923.
Heinrich Schütz was a German composer and organist, generally regarded as the most important German composer before Johann Sebastian Bach, as well as one of the most important composers of the 17th century. He is credited with bringing the Italian style to Germany and continuing its evolution from the Renaissance into the Early Baroque. Most of his music we have today was written for the Lutheran church, primarily for the Electoral Chapel in Dresden. He wrote what is traditionally considered to be the first German opera, Dafne, performed at Torgau in 1627, the music of which has since been lost, along with nearly all of his ceremonial and theatrical scores.
Orlando Gibbons was an English Rennaissance composer, virginalist and organist of the Elizabethan and early Jacobean periods. Due to his sudden and early death, Gibbons' output was not as large as that of his older contemporary William Byrd, but he still managed to produce various secular and sacred polyphonic vocal works, including consort songs, services, motets, more than 40 full anthems and verse anthems, a set of 20 madrigals as well as at least 20 keyboard works and various instrumental ensemble pieces including nearly 30 fantasies for viols. He is well known for the 5-part verse anthem This Is the Record of John, the 8-part full anthem O Clap Your Hands Together, 2 settings of Evensong and what is often thought to be the best known English madrigal: The Silver Swan.
Matthias Weckmann (Weckman) was a German musician and composer of the Baroque period. He was born in Niederdorla (Thuringia) and died in Hamburg.
Heinrich Scheidemann was a German organist and composer. He was the best-known composer for the organ in north Germany in the early to mid-17th century, and was an important forerunner of Dieterich Buxtehude and J.S. Bach.
The Venetian polychoral style was a type of music of the late Renaissance and early Baroque eras which involved spatially separate choirs singing in alternation. It represented a major stylistic shift from the prevailing polyphonic writing of the middle Renaissance, and was one of the major stylistic developments which led directly to the formation of what is now known as the Baroque style. A commonly encountered term for the separated choirs is cori spezzati—literally, separated choirs.
Hermann Finck was a German composer.
The year 1699 in music involved some significant events.
Mukhtar Ashrafi was a Soviet Uzbek composer. He was named People's Artist of the USSR in 1951. He became a member of the Communist Party of the Soviet Union in 1941 was awarded the Stalin Prize in 1943 and 1952.
The year 1680 in music involved some significant events.
The year 1619 in music involved some significant events.
The year 1633 in music involved some significant events.
Lelio Colista was an Italian Baroque composer, lutenist, and guitarist.
Baroque music is a period or style of Western art music composed from approximately 1600 to 1750. This era followed the Renaissance music era, and was followed in turn by the Classical era, with the galant style marking the transition between Baroque and Classical eras. The Baroque period is divided into three major phases: early, middle, and late. Overlapping in time, they are conventionally dated from 1580 to 1650, from 1630 to 1700, and from 1680 to 1750. Baroque music forms a major portion of the "classical music" canon, and is now widely studied, performed, and listened to. The term "baroque" comes from the Portuguese word barroco, meaning "misshapen pearl". Key composers of the Baroque era include Johann Sebastian Bach, Antonio Vivaldi, George Frideric Handel, Claudio Monteverdi, Domenico Scarlatti, Alessandro Scarlatti, Henry Purcell, Georg Philipp Telemann, Jean-Baptiste Lully, Jean-Philippe Rameau, Marc-Antoine Charpentier, Arcangelo Corelli, François Couperin, Giuseppe Tartini, Heinrich Schütz, Dieterich Buxtehude, and others.
Fernando Germani was an organist of the Basilica of St. Peter in Rome during the reign of Pope Pius XII.
Christoph Kittel was a German organist, music publisher. He was son or brother of Caspar Kittel. Like Caspar Kittel he was a pupil of Heinrich Schütz and published Schütz' 1657 collection Zwölff Geistlichen Gesänge (SWV420-31). He may have been related to Johann Christian Kittel (1732-1809), one of the last pupils of J. S. Bach.
Johann Klemm or Klemme was a German Baroque organist and composer.
Cantiones sacrae, Op. 4, is a collection of forty different pieces of vocal sacred music on Latin texts, composed by Heinrich Schütz and first published in 1625. The pieces have individual numbers 53 to 93 in the Schütz-Werke-Verzeichnis (SWV), the catalogue of his works. The general title Cantiones sacrae was common at the time and was used by many composers, including Palestrina, Byrd and Tallis and Hans Leo Hassler (1591).
"An Wasserflüssen Babylon" is a Lutheran hymn by Wolfgang Dachstein, which was first published in Strasbourg in 1525. The text of the hymn is a paraphrase of Psalm 137. Its singing tune, which is the best known part of the hymn and Dachstein's best known melody, was popularised as chorale tune of Paul Gerhardt's 17th-century Passion hymn "Ein Lämmlein geht und trägt die Schuld". With this hymn text, Dachstein's tune is included in the Protestant hymnal Evangelisches Gesangbuch.
A reed trio, also known as a trio d’anches, is a mixed chamber ensemble consisting of three reed instruments: oboe, clarinet and bassoon. Either term can also refer to a musical composition for this ensemble. According to James Gillespie's seminal study of the genre, the reed trio ranks second only to the wind quintet among woodwind chamber ensembles in terms of popularity and quantity of original repertoire. Like the wind quintet, the reed trio employs instruments of different timbres, although the blend of instrumental colors in the reed trio is often more homogenous than in the wind quintet.