By George J. Buelow
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Additional info for The Late Baroque Era: From the 1680s to 1740
1 Heinichen worried as late as 1728 that composers were still poorly prepared to compose music of affective emphasis: What a bottomless ocean we still have before us merely in the expression of words and the affections. And how delighted is our ear, if we perceive in a well-written church composition or other music how a skilled composer has attempted here and there to move the emotions of an audience through his refined and textrelated musical expression, and in this way successfully finds the true purpose of music.
Talent, knowledge and experience, as well as the true fines musices as the centre: this word is in four letters, Gout. Through diligence, talent and experience, a composer must achieve above all else an exquisite sense of good taste in music ... The definition of Gout, Gusto or guter Geschmack is unnecessary for the experienced musician; and it is as difficult to describe in its essentials as is the true essence of the soul. One could say that good taste was in itself the soul of music, which so to speak it doubly enlivens and brings pleasure to the senses.
The wish to emulate the glories of French operatic practice not only brought foreign musicians to Paris to experience and learn about Lully's orchestra but also influenced countless royal households to have their own orchestras. This not only led to a marked increase in the number of positions made available to instrumentalists, but sig21 The Late Baroque Era ... : ~ ~ :::$ ii! ~ ~ 00 ....... s<:! ~ ·t: ~ ~- ~ ~ ~ <:! ; 22 Music and Society nificantly raised their technical and artistic standards.
The Late Baroque Era: From the 1680s to 1740 by George J. Buelow