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Baroque music of the British Isles
Baroque music of the British Isles bridged the gap between the early music of the Medieval and Renaissance periods and the development of fully fledged and formalised orchestral classical music in the second half of the eighteenth century. It was characterised by more elaborate musical ornamentation, changes in musical notation, new instrumental playing techniques and the rise of new genres such as opera. Although the term Baroque is conventionally used for European music from about 1600, its full effects were not felt in Britain until after 1660, delayed by native trends and developments in music, religious and cultural differences from many European countries and the disruption to court music caused by the Wars of the Three Kingdoms and Interregnum.〔J. P. Wainright, 'England ii, 1603–1642' in J. Haar, ed., ''European Music, 1520–1640'' (Woodbridge: Boydell, 2006), pp. 509–21.〕 Under the restored Stuart monarchy the court became once again a centre of musical patronage, but royal interest in music tended to be less significant as the seventeenth century progressed, to be revived again under the House of Hanover. The Baroque era in British music can be seen as one of an interaction of national and international trends, sometimes absorbing continental fashions and practices and sometimes attempting, as in the creation of ballad opera, to produce an indigenous tradition. However, arguably the most significant British composer of the era, George Frideric Handel, was a naturalised German, who helped integrate British and continental music and define the future of the classical music of the United Kingdom that would be officially formed in 1801.
==Charles II==
With the Restoration of the monarchy in 1660, Charles II made the court once more the centre of musical patronage in Britain, the theatres were reopened and, after the introduction of a new Book of Common Prayer in 1662, choral music began to be developed again.〔T. Carter and J. Butt, ''The Cambridge History of Seventeenth-Century Music'' (Cambridge: Cambridge University Press, 2005), pp. 280, 300, 433 and 541.〕 The king's time on the continent, his (hidden) preference for Catholicism and explicit desire for entertainment led to the embracing of the Baroque and continental forms of music.〔 The court became something of a crossroads of European musicians and styles on a much grander scale than previously achieved. It was probably in these circumstances that Welsh musicians at the court encountered the Italian triple harp, which they adopted and which by the end of the century had supplanted simpler harps to became a national Welsh symbol.〔E. J. Hobsbawm and T. O. Ranger, eds, ''The Invention of Tradition'' (Cambridge: Cambridge University Press, 1992), p. 77.〕 As well as encouraging many French musicians to join his court, the king dispatched the young Pelham Humfrey (1647–74) to study in Paris, probably in 1665. When he returned he became the Master of the Children of the Chapel Royal and composer to the Court.〔D. J. Grout and H. W. Williams, ''A Short History of Opera'' (Los Angeles CA: Columbia University Press, 2003), p. 150.〕 Although he died aged only 27 he was highly influential on other English composers like William Turner (1651–1740), John Blow (1649–1708) and Henry Purcell (1659–95).〔I. Spink, ''Restoration Cathedral Music, 1660–1714: 1660–1714'' (Oxford: Oxford University Press, 1995), pp. 104–5, 121, 137 and 148.〕 Early in his career Purcell wrote secular music, including for the theatre. Later, as organist of Westminster Abbey and the Chapel Royal, he devoted himself to sacred music. In both fields he emerged as the most influential British composer of the era.〔J. A. Sadie and C. Hogwood, ''Companion to Baroque Music'' (Oxford: Oxford University Press, 1998), p. 301.〕
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