The early baroque produced an especially brilliant literature of keyboard music, both for the organ and for the harpsichord. Its colossal dynamic range and great variety of color combinations made the organ the baroque instrument par excellence—this in spite of the seemingly archaistic nature of the chief forms of its literature. For fugue and chorale variation were rooted deeply in the old traditions of polyphony. There were, however, the toccatas and fantasies with their excited and enharmonic durezze, and fascinating ornamental superstructure, all truly baroque to the core.
巴洛克早期产生一批特别光辉灿烂的键盘乐曲目，有管风琴的，也有羽管键琴的。巨大的力度变化范围以及各式各样的色彩组合，使管风琴成为至高无上的巴洛克乐器，尽管其作品的主要形式似显陈旧。赋格和众赞歌式变奏深深植根于古老的复调传统，但还有托卡塔和幻想曲，它们有激动狂想的气氛，有涟漪般的经过句，有大胆的转调，有durezze（四分音）的不协和，有迷人的装饰音的上层建筑，这一切都是十足地道的巴洛克。
方斯华·法兰柯（François Francoeur, 1698-1787）巴洛克晚期及华丽时期法国小提琴家及作曲家，与J-M.勒克莱尔同为法国小提琴乐派的开拓者，且同是著名的巴黎公共音乐组织——圣神音乐会（Concert Spirituel，1725年创立，1791年因大革命而解散）的成员。
Copyright © 2023 All Rights Reserved 版权所有 网络音乐文化组