William Hong wrote:

>Try some of the Heinichen Concerti, or the works of Jan Dismas Zelenka
>if you want to explore more.  However, I still contend that even greater
>rewards are to be found in going back to the 17th century, when the early
>Baroque masters of that time were more trailblazing in their levels of
>experimentation with form, color and effects.  Biber is one of the more
>obvious choices, along with his colleagues Schmelzer and Vejvanovsky for
>the central Europeans.  The early Italian school (of which Marini has
>recently been discussed here by Todd McComb) is another place to check
>into.

Totally agreed.  Zelenka's Lamentations of Jeremiah are a must, especially
the bass solo.  Bach was said to admire him and studied his compositions.
Zelenka is very delightfully quirky.  Biber's Mystery Sonatas are gorgeous.
And if you don't mind their somewhat exaggerated style, Musica Antiqua
Koln's Schmelzer is fantastic.

The 17th C is the century I favor (in my listening) to the 18th, because it
is so 'trailblazing' as you say.  My favorite description, read somewhere
in a textbook, was that this era's music was a "searching for tonality" -
and incredibly chromatic in that search.

If the Couperin Lecons were a plus for their wonderful suspensions, don't
miss Henry Purcells' [Choral] Funeral Sentences ('Man that is born of a
woman' -- 'In the Midst of Life'-- 'Thou knowest, Lord').  Unbelievably
gorgeous music.  Purcell's Fantasias for viols, written when he was 21,
sound like modern blues (I like Harnoncourt's for the warmth as opposed to
others that came out later).

Then for keyboard you have wildman Frescobaldi, whimsical Froberger...  For
trio sonatas or other combinations, Cima, Castello, Turini, Wm.  Lawes,
Henry Lawes, Legrenzi, really great stuff.

Also, I remember the orchestral 'Curtain Tune' or Air, from The Tempest,
because I was awestruck that it sounded so much like Wagner!

I later found a quote of that air in a textbook - C.  Hubert H.  Parry's
_The Music of the XVIIth Century_ from 'The Oxford History of Music Vol
III' written in 1902.

   "...an extraordinary and unique instrumental movement which attempts,
   without conventional forms or imitations or any of the familiar
   technical devices of the art, to express and illustrate a dramatic
   idea.  It is...evidently intended to have a close relation to the
   act which is to follow.  It begins slowly and softly, creeping about
   mysteriously with some very adventurous and curious progressions."

I first heard it in the Tempest Suite on LP recorded by Hogwood and forces.

I got a little carried away there.

Andrys in Berkeley
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