The idea of looking for those aspects I appreciate in other composers' works is an excellent idea. Exploring other forms of complex counterpoint is something I'm already doing - from Palestrina to Vivaldi to Gesualdo. I feel I ought to move beyond 1750 now.
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Originally Posted by Gardener
Complex counterpoint is rather untypical for baroque though. You'll see a lot more of it in the 19th century (or in the music before baroque) than in baroque.
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It took me a surprisingly long time to realise this. Telemann's music is actually mainly homophonic (or more accurately, is largely in counterpoint that has similar note durations). I think the reason Bach stands out from most of his contemporaries is his gift for, and remarkably relentless use of, complex counterpoint. I'm not sure I can force myself to move on. I'll try listening to lots of early Mozart and Haydn this week, and see what happens. At the moment it still sounds rather lightweight - which seems a ludicrous thing to say.
I confess to adoring late Mozart. I'll try working backwards on that front. . . . .
