Another major difference between sacred vocal works and Italian operas was the use of the chorus to heighten the drama and speak for the religious community" (Thornburgh 2). Bach did compose some secular works, such as his Brandenburg Concertos, which were also notable for their orchestration of individual instruments in a manner which many thought paved the way for the Classical and Romantic styles in their use of solo instrumentation (Schmidt-Jones 399)
Classical music, in contrast, tended to use a much wider array of musical formats. Classical forms included that of the symphony, sonata, concerto, and were characterized by far greater unity and cohesion of tone rather than simply 'painting' a picture of a single emotion (Swann 2)
Rather than naturalness, the Baroque stressed ornamentation, artificiality, and technique, including its use of the human voice. "Generally, the qualities most valued in the Baroque voice were agility, purity and clarity, even at the expense of the power which characterizes today's operatic voice" (Thornburgh 1)
Different ideological positions are rendered all the more stark when one realizes that they are traced in largely the same movements. Bernini's Ecstasy of Saint Teresa focuses on the image of Teresa as she writhes in pain and ecstasy, based on the story of her supposed experience with an angel (Berman 161)
To begin, one may note the similarities between both works that reveal the Rococo style's Baroque ancestry. Although Bernini's Ecstasy of Saint Teresa is a marble sculpture completed in 1652 and intended to adorn the tomb of a Cardinal, and Fragonard's Swing is a circa 1767 painting featuring a pair of adulterous lovers hiding their affair from a cuckolded husband, both works focus on the central image of a woman in a kind of ecstasy, and the ecstasy of the woman translates visually into the lines and curves of either work (Coonin 666, Schroder 150)
In both cases, the curves of the women's clothing is a not-very subtle use of line to imbue the movement of a woman with visual hints at her imagined anatomy, but the cultural context in which that appeal to sexuality is couched differs substantially. In the case of Bernini's Saint Teresa, Teresa's ecstatic experience is couched in religious imagery, and so the sexualizing which occurs as a result of Bernini's style is nevertheless acceptable within a culture whose primary economic, political, and social order was based on the support and consent of the Roman Catholic Church (McCormick 1926)
What also furthered Wren's design was that an initial repair authorized by the cathedral authorities partially failed in AD 1668, which allowed Wren to push for a completely new construction (Sutcliffe 34). The building was partially paid for through taxies levied on coal imports (Beard 25)
However, this financial backing did not last and subsequently the building project suffered various financial difficulties. (Blunt 53) The church itself is comparatively small in size, with the design as well as the proportions it is asserted being based on one of the piers supporting the dome of St
Gian Lorenzo Bernini was employed to design it from 1656 to 1667 to enhance maximal viewing sight of the church (Norwich 175). Miller describes its construction: "It is two great arcs, each made up of four rows of gigantic travertine columns, with 140 stone saints writhing above them, all knitted together by two vast sickle-shaped entablatures which spring from either side of the church's wide facade" (Miller 5)
The square is shaped as an oval joined onto a trapezium and is described as a portico of partly covered and partly open space. Gian Lorenzo Bernini was employed to design it from 1656 to 1667 to enhance maximal viewing sight of the church (Norwich 175)
The significance of the design controversy is summarized by Soo as follows: "…the sequence of schemes for St. Paul's demonstrates Wren's empirical, almost arbitrary approach to design" (Soo 462)
Wren was essentially the designer rather than the builder of the new cathedral. What also furthered Wren's design was that an initial repair authorized by the cathedral authorities partially failed in AD 1668, which allowed Wren to push for a completely new construction (Sutcliffe 34)
He designed the walls to weave in and out as if they were formed not of stone but of pliant substance set in motion by an energetic space, carrying with them the deep entablatures, the cornices, moldings and pediments."(Trachtenberg 346/7) Furthermore, the design aspects of this building were complicated by the limited space available
Born in 1685, Johann Sebastian Bach entered into an already musically inclined family. His father, Johann Ambrosius, was under the employment of the Duke of Eisnach as a court trumpeter, (Smith, 1996)
It spanned in its influence from countries as diverse as England and Spain. Its defining stylistic markers are the use of the basso continuo, or creating harmony from an "accompaniment from a composed bass part by playing the bass notes and improvising harmony" above those notes (Posner 1994)
In fact, Classical music was a distinct style and period in musical history, and is distinguishable both in its tone and ideological orientation from the period that existed before it, the Baroque. The Baroque period derives its unique name "from a Portuguese word meaning a pearl of irregular shape; initially it was used to imply strangeness, irregularity and extravagance" (Sadie 1996)
In fact, Classical music was a distinct style and period in musical history, and is distinguishable both in its tone and ideological orientation from the period that existed before it, the Baroque. The Baroque period derives its unique name "from a Portuguese word meaning a pearl of irregular shape; initially it was used to imply strangeness, irregularity and extravagance" (Sadie 1996)
The unusually austere, almost severe quality of the opening bars of the initial orchestral themes are contrasted with the soloists flexible, expressive melodies, which can be taken as nearly speech-like in nature. This is perhaps the most striking opera technique drawn on to enhance purely orchestral music" (Smith 2003)
He also wrote many great religious works, such as his famous masses. Mozart is often seen as a bridge between the Baroque and the Classical eras: "Examples of advanced and unusual writing is found both in the ensembles and instruments that Mozart was writing for, as well as the use of bolder harmonies, more modulations, enlarging of structures as well the use of complex rhythms" (Forss, 2007)
It ends as Elijah rises to heaven in a fiery chariot." (Asiado, p