Baroque Month

October is Baroque Month here at Bachtrack as we explore Baroque repertoire and those who perform it. We turn the spotlight on countertenors, asking leading singers about their art.

First up, is Lawrence Zazzo, about to star in Welsh National Opera's Orlando, closely followed by British countertenor Tim Mead.

In August 2014, we got in touch with a number of leading Baroque orchestras and ensembles to grill about their genre; about the challenges of running a period instrument ensemble and how to build new audiences for their work. We also ask for some Baroque recommendations to introduce new listeners and which lesser-known composer they think deserves greater notice.

We assess the state of Baroque music in France and find the revival is still very much in progress.

Some of our writers have taken time to analyse a few Baroque warhorses – what is it about them that makes them so great? Jane Shuttleworth takes a look at Bach's Brandenburg Concertos – the greatest Baroque masterpieces? Why are the Goldberg Variations so magical?

If you think of British Baroque, Henry Purcell probably comes to mind, but who else? There's a fine introduction to Matthew Locke and his works here.

If you missed them last time round, we’ve some great articles on historically informed performance practices in Baroque, plus a debate on who is the greater – Bach or Handel? Perhaps I should throw in a good word for Vivaldi…

Make sure to check out our Baroque home page as well!

Baroque Inquisition: Xavier Sabata

Baroque Inquisition: James Laing

Baroque Inquisition: Jake Arditti

The Goldberg Variations: Bach’s magical inventiveness

Baroque Inquisition: Tim Mead

Baroque Inquisition: Lawrence Zazzo

Baroque Inquisition: Anthony Roth Costanzo

Baroque Inquisition: Christopher Ainslie

Baroque Inquisition: Freiburger Barockorchester

British Baroque: An introduction to Matthew Locke

Baroque Inquisition: Ex Cathedra