This preview has been provided by Carolina Pro Musica.

The Baroque period’s music was full of dynamic tensions in contrast to the certainty of the Renaissance period. Prior to 1650 the music had traits of exuberance, and irregularity. By 1700 much had changed though the energy of the early times stayed on.

The philosophy of Baroque music was that music represents the emotions (called the “affections” in the Baroque period) of life and, thus excites the listener’s emotions (i.e. it must move the listener). The solo sonata, and trio sonata developed in this period as did the representation of extreme affections realized in vocal works. One of the most important creations of Baroque was the concept of contrast as in Baroque art (like loud and soft, solo and tutti, high and low, fast and slow).

Most of these musical concepts began in Italy. Composers such as Handel went to there to learn these styles. Other composers learned from works of other composers. Much of the music was published and made available outside Italy. As a result of this, composers could incorporate this new style in their compositions.  Composers also began to write specifically for a particular medium, such as an instrument or the solo voice.

Carolina Pro Musica opens the 36th season with Handel’s Salve Regina, an early work written while he was in Italy. It reflects his knowledge of the early baroque style and includes contrast and imitation. Two trios by Telemann will show his knowledge of both the Italian and French styles. One work has a movement with the musical directive ‘Soave” not one of the typical Italian words used in music. The aria “Ombre opache” by Alessandro Scarlatti demonstrates the emotions through tensions and dissonance.  The concert also includes a late Handel favorite written in 1747, “Oh,  had I Jubal’s lyre” from the oratorio Joshua.

Period instruments (flauto traverso, recorders, voice, viol and harpsichord) and the baroque vocal style of singing create the appropriate sounds for this exciting season opener.

Carolina Pro Musica
Karen Hite Jacob, founder, artistic director, harpsichord
Rebecca Miller Saunders, soprano
Holly Wright Maurer, recorder, viol
Edward Ferrell, flauto traverso, recorder