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The Colossal Baroque style is a name which has been coined to describe a number of compositions from the 17th and 18th centuries composed in an opulent, magnificent and large-scaled style. Such works frequently make use of polychoral techniques and often feature instrumental forces considerably larger than the norm for the Baroque period. The Colossal Baroque had its roots in Italy, in the resplendent multiple polychoral music of the Venetian School, in the sumptuous, extravagant productions of the Medici court, for example the 40- and 60-voice Missa sopra Ecco sì beato giorno by Alessandro Striggio, and in the large polychoral works of the Roman School, many of which were written long after the Venetian School had vanished. An impetus for this music was the Council of Trent, which marked

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  • Colossal Baroque (en)
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  • The Colossal Baroque style is a name which has been coined to describe a number of compositions from the 17th and 18th centuries composed in an opulent, magnificent and large-scaled style. Such works frequently make use of polychoral techniques and often feature instrumental forces considerably larger than the norm for the Baroque period. The Colossal Baroque had its roots in Italy, in the resplendent multiple polychoral music of the Venetian School, in the sumptuous, extravagant productions of the Medici court, for example the 40- and 60-voice Missa sopra Ecco sì beato giorno by Alessandro Striggio, and in the large polychoral works of the Roman School, many of which were written long after the Venetian School had vanished. An impetus for this music was the Council of Trent, which marked (en)
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  • The Colossal Baroque style is a name which has been coined to describe a number of compositions from the 17th and 18th centuries composed in an opulent, magnificent and large-scaled style. Such works frequently make use of polychoral techniques and often feature instrumental forces considerably larger than the norm for the Baroque period. The Colossal Baroque had its roots in Italy, in the resplendent multiple polychoral music of the Venetian School, in the sumptuous, extravagant productions of the Medici court, for example the 40- and 60-voice Missa sopra Ecco sì beato giorno by Alessandro Striggio, and in the large polychoral works of the Roman School, many of which were written long after the Venetian School had vanished. An impetus for this music was the Council of Trent, which marked the beginning of the Counter-Reformation. Some attendees of the Council held the unofficial point of view that music should be subservient to text, as idealized and exemplified in the choral music of Palestrina. Some critics held that this was not as achievable in larger choral textures. (en)
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