Incomplete And Utter History Of Classical Music

BAROQUE STARS

ean-Philippe Rameau, for example, the man from Dijon. He was incredibly popular in his day, which was around now, to be fair. He knocked out some thirty or so operas and ballets, and generally helped to move things on a bit, particularly opera-wise. He'd had a big hit only last year - 1735 - with Les Indes Galantes, the hit ballet of the season. It wasn't just a crowd pleaser, either. It was pushing back the boundaries of what was then considered the done thing. He it was who was very big on putting musical descriptions into his works. Up to now, music was largely just… well, music - either for its own sake, or for the glory of God. Rameau decided that there should be the odd description of worldly things in there, too. So, in something like Les Indes Galantes, there are musical earthquakes, storms, volcanic eruptions, clay-pigeon shooting©, all depicted by Rameau in his music. Then there was Pergolesi. Again, forgive me this moment while I wax on about his name. Beautiful name, I've always thought -Giovanni Battista Pergolesi. From Jesi. Mmm. Lovely. Anyway, as I say, he was from Jesi, in Italy. He led a tragically short fife, dying at the age of twenty-six - but he filled those years with some fifteen operas and twelve cantatas. One of his operas, La Servo- Padrona - 'The Servant as Mistress' - was so important in its day, particularly around the time of its Paris performances, that it was said to have influenced the path of French music significantly. He also found time to come up with a bunch of pieces of sacred music, one of which has stayed in the repertoire for one simple reason - it's gorgeous. It's a setting of the Stabat Mater, the words from Passion Week which describe the mother of Jesus standing at the foot of the cross.

Now, if I were to tell you that 1736 was but a dim and distant memory, would you believe me? Well, obviously you would, because it was hundreds of years ago. What I mean is, let's move on from there, six years, to 1742. Things have changed. Music has changed. The world has changed. My underpants have changed.

Vivaldi, of the 400 Concertos and the Two Women, has died. So, probably, died happy, one might presume. But, as they say in show business, as one door closes, another swings back in your face. Or, if you prefer, opens. And in this case, it opened. The music world has gained the composer who is a good contender for the 'Best name not just in music but in all history'. He goes by the name of: Car! Pitters von jDittersdorf I mean, I don't know why his parents didn't save on valuable ink and call him: Qarl Snigger Now-' Please Actually, doesn't save them much ink, does it, but still, you get my drift. Carl was Viennese, a one-time fiddler who had toured all Italy captivating audiences, and who would go on to five to the grand old age of sixty. As such, he is what is now termed a lesser contemporary of Haydn and Mozart. Sad thing to declare at the Pearly Gates, I imagine. Name: Carl Ditters von Dittersdorf (cue hails of laughter). Occupation: Er, lesser contemporary of Haydn and Mozart. Favourite colour: Well, I'm not really sure, I mean, there's so many to choose from.

Other wins, as it were, in the musical world at the time? Well, baby Haydn is now young choirboy Haydn and he has just started at St Stephen's Cathedral in Vienna. He's a bit of a rising star, clearly, and he could do well if he can only shake off the cutsie reputation. What else? Well, there's the music from the Last Night of the Proms - that was written about now. 'Rule Britannia', the flag-wavers' favourite (although, whatever you think of it, it's at least a bit livelier than 'God Save the Queen').