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Petrine Baroque


Дворцовая наб., 38

Дворцовая наб., 38 Дворцовая пл., 2

Ломоносов Верхний парк, 1 Дворцовый пр., 48

Большой Меншиковский дворец

Edit]Composers and examples

Music

Main article: Baroque music

Johann Sebastian Bach, 1748

The term Baroque is also used to designate the style of music composed during a period that overlaps with that of Baroque art, but usually encompasses a slightly later period.

It is a still-debated question as to what extent Baroque music shares aesthetic principles with the visual and literary arts of the Baroque period. A fairly clear, shared element is a love ofornamentation, and it is perhaps significant that the role of ornament was greatly diminished in both music and architecture as the Baroque gave way to the Classical period.

It should be noted that the application of the term "Baroque" to music is a relatively recent development. The first use of the word "Baroque" in music was only in 1919, by Curt Sachs,[12] and it was not until 1940 that it was first used in English (in an article published by Manfred Bukofzer).[13]

Many musical forms were born in that era, like the concerto and sinfonia. Forms such as thesonata, cantata and oratorio flourished. Also, opera was born out of the experimentation of theFlorentine Camerata, the creators of monody, who attempted to recreate the theatrical arts of the Ancient Greeks. An important technique used in baroque music was the use of ground bass, a repeated bass line. Dido's Lament by Henry Purcell is a famous example of this technique.

· Claudio Monteverdi (1567–1643), L'Orfeo, favola in musica (1610)

· Heinrich Schütz (1585–1672), Musikalische Exequien (1629, 1647, 1650)

· Jean-Baptiste Lully (1632–1687), Armide (1686)

· Heinrich Ignaz Franz Biber (1644–1704), Mystery Sonatas (1681)




· John Blow (1649–1708), Venus and Adonis (1680–1687)

· Johann Pachelbel (1653–1706), Canon in D (1680)

· Arcangelo Corelli (1653–1713), 12 concerti grossi

· Henry Purcell (1659–1695), Dido and Aeneas (1687)

· Tomaso Albinoni (1671–1751), Didone abbandonata (Albinoni)

· Antonio Vivaldi (1678–1741), The Four Seasons

· Johann David Heinichen (1683–1729)

· Jean-Philippe Rameau (1683–1764), Dardanus (1739)

· George Frideric Handel (1685–1759), Water Music Suite (1717)

· Domenico Scarlatti (1685–1757), Sonatas for Cembalo or Harpsichord

· Johann Sebastian Bach (1685–1750), Brandenburgische Konzerte (1721)

· Georg Philipp Telemann (1681–1767), Der Tag des Gerichts (1762)

· Giovanni Battista Pergolesi (1710–1736), Stabat Mater (1736)

Архитекторы: Фонтана Ф. Браунштейн И. Пино Н.
Год постройки: 1713-1727, 1750-1779
Стиль: Барокко

Зимний дворец - Эрмитаж (начало)

Архитекторы: Растрелли Ф.-Б. Кваренги Д. Фельтен Ю. М.
Год постройки: 1754-1762
Стиль: Барокко

Зимний дворец - Эрмитаж (продолжение)

Архитекторы: Растрелли Ф.-Б. Кваренги Д. Фельтен Ю. М.
Год постройки: 1754-1762
Стиль: Барокко

From Wikipedia, the free encyclopedia

Kikin Hall (1714), an example of private residence dating from Peter I's reign.

Petrine[1]Baroque (Rus. Петровское барокко) is a name applied by art historians to a style of Baroque architecture and decoration favoured by Peter the Great and employed to design buildings in the newly-founded Russian capital,Saint Petersburg, under this monarch and his immediate successors.

Unlike contemporaneous Naryshkin Baroque, favoured in Moscow, the Petrine Baroque represented a drastic rupture with Byzantine traditions that had dominatedRussian architecture for almost a millennium. Its chief practitioners - Domenico Trezzini, Andreas Schlüter, and Mikhail Zemtsov - drew inspiration from a rather modest Dutch, Danish, and Swedish architecture of the time.

Extant examples of the style in St Petersburg are the Peter and Paul Cathedral(Trezzini), the Twelve Colleges (Trezzini), the Kunstkamera (Zemtsov), Kikin Hall(Schlüter) and Menshikov Palace (Giovanni Fontana)

The Petrine Baroque structures outside St Petersburg are scarce; they include theMenshikov Tower in Moscow and the Kadriorg Palace in Tallinn.







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