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Article Evaluation
I searched for Baroque instruments


 * Is everything in the article relevant to the article topic? Is there anything that distracted you? Everything is relevant to the article topic, however the incomplete information and zero citations made it very distracting.
 * Is the article neutral? Are there any claims, or frames, that appear heavily biased toward a particular position? The article is neutral, unfortunately with the article being so incomplete the only composer noted is Bach.
 * Are there viewpoints that are overrepresented or underrepresented? Bach is the only composer mentioned, it would be helpful to give musical examples from more in the Baroque era.
 * Check a few citations. Do the links work? Does the source support the claims in the article? There are zero citations in this article.
 * Is each fact referenced with an appropriate, reliable reference? Where does the information come from? Are these neutral sources? If biased, is that bias noted? There are no citations listed in the article.
 * Is any information out of date? Is anything missing that could be added? None of the information is out of date, however there are a lot of missing parts of this topic that could be expanded on.
 * Check out the Talk page. What kinds of conversations, if any, are going on behind the scenes about how to represent this topic? Someone has asked how the information will be expanded on, another commented about an instrument that wasn't originally listed.
 * How is the article rated? Is it a part of any WikiProjects? This article is part of the WikiProject Classical music "which aims to improve, expand, copy edit, and maintain articles related to classical music, that are not covered by other classical music projects."
 * How does the way Wikipedia discusses this topic differ from the way we’ve talked about it in class? It lists basso continuo as an instrument group, I would expand on that as a musical accompaniment used in Baroque music that provided a bass line and harmonies.

Potential Articles
Umberto Giordano


 * I was able to find a more complete listing of his works, so I can add to what is already published with some information about his more successful work.


 * Some more biography information: The son of a chemist who intended him for the career of a fencing master, he devoted himself to music against his parents’ will. In 1882 he was admitted to the Naples Conservatory, where his teachers included Paolo Serrao and Giuseppe Martucci.

Antonio Brioschi


 * This article is a stub of almost nothing, I was able to find a good bit of information to help fill it out.
 * Biography, list of works.
 * I was able to find a free public domain website that has actual sheet music available of some of his works. https://imslp.org/wiki/Category:Brioschi,_Antonio

Kuhn, Laura, and Dennis McIntire. "Brioschi, Antonio." Baker's Biographical Dictionary of Musicians, edited by Nicolas Slonimsky and Laura Kuhn, vol. 1, Schirmer, 2001, p. 454. Gale Virtual Reference Library, http://link.galegroup.com/apps/doc/CX3491801726/GVRL?u=milwaukee&sid=GVRL&xid=4637ee93

- Brioschi, Antonio, Italian composer who flourished in the first half of the 18th century. He was one of the earliest composers of Classical syms., some of which date from the early 1730s. A number of his syms. were publ. in his lifetime in Paris and London. He also wrote trio sonatas, some of which were publ, with G.B. Sammartini’s in the 1740s.

Churgin, B., & Mandel-Yehuda, S. (2001, January 01). Brioschi [Briochi, Briuschi, Prioschi], Antonio. Grove Music Online. Ed. Retrieved 2 May. 2019, from https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000004002.

- (fl c1725–1750). Italian composer. His name suggests that he may have come from Briosco, close to Milan. He probably worked near Milan, since some of his music was published with that of G.B. Sammartini in Paris and London, and six symphonies in Prague (CZ-Pnm) are in a Milanese hand. He is identified as a Milanese composer on some symphony manuscripts, and should be considered representative of the Milanese symphonic school. Ten symphonies are ascribed to both Brioschi and Sammartini, and Brioschi evidently knew Sammartini’s music, as he modelled the Andante of one of his symphonies (F-Pc Fonds Blancheton op.2 no.61 and US-BEm 103) on the Largo of a Sammartini symphony (Jenkins and Churgin, no.65), dated before January 1738.

He is identified as ‘the famous Brioschi’ in an Italian document probably written by Christoforo Signorelli, a performer on the viola d’amore from Lombardy; the document probably dates from the mid-1730s and is now preserved in Bologna (I-Bc, Ms.D.117.9). This only known 18th-century textual source to mention Brioschi not only praises his works, describing them as ‘angelic and of exquisite taste’ and ‘the most appreciated in the State of Milan’, and remarking that ‘his parts for the various violins, violas and violoncellos are marvelous’, but also refers to his connection to Sammartini. Signorelli points out that Brioschi studied Sammartini’s operas, symphonies, and concertos and that he ‘has the good taste of Martino’. He compares the styles of the two composers, praising Brioschi for the ‘more active and interesting parts for all the instruments’ while Sammartini ‘puts the most taste in the first violin part only’.

Brioschi was a popular and prolific early symphonist. Of the extant symphonies attributed to him, the authorship of at least 51 appears to be certain; 22 of these can be dated to about 1741 or earlier, and three are among the earliest of all known dated symphonies. These three works have connections with Casale Monferrato, south-west of Milan: one was incorporated as an overture into a Hebrew cantata for the holy day Hoshana Rabbah (ed. I. Adler, Jerusalem, 1992; overture ed. in The Symphony 1720–1840, ser. A, iii, New York, 1985), performed there in October 1733, and the other two are dated 1734 in manuscripts in Casale Monferrato (I-CMbc; ed. in RRMCE, li 1998). Prints and manuscripts of Brioschi’s symphonies exist in about 40 European and American libraries. His music was especially popular in Paris, Prague, Stockholm and Darmstadt. Twenty-nine works are listed in the Breitkopf catalogues of 1762, 1763 and 1766 (including works listed under other names).

Twenty-five authentic symphonies in the Fonds Blancheton of the Paris Conservatoire library, compiled c1740–1744, are among the most important in the earliest stage of the symphony, and exemplify the leading role played by Milan as the main centre of early symphonic writing. They bear such titles as ‘sinfonia’, ‘overtura’, ‘sonata’ and ‘trio’, and consist of three movements in the order fast–slow–fast. Scored for a string orchestra in three or four parts (8 and 17 works respectively), they feature a mixture of Baroque traits (a beat-marking bass, one- or two-bar modules, independent part-writing and sequential harmony) and Classical rhetoric, especially in structure and harmony. All works use major keys, favouring B♭, D, E♭ and G; slow movements are usually in relative or parallel minor keys, especially G minor, but subdominant or dominant major keys also occur. First movements, typically marked Allegro, employ common time or alla breve metres (though other metres, such as 3/4, 12/8 and 6/8, sometimes appear). Second movements are usually designated as Largo or Andante, seven of them being marked sempre piano. While Brioschi favoured 2/4 metre for these, he also exploited varied metres, such as common time and 3/4. The finale is most commonly a buffo Presto in 2/4 time; eight finales are dance types in 3/8.

The outer movements of Brioschi’s symphonies have two main parts, each repeated. All the first movements and several finales display sonata-form procedures. The primary theme, which may contain a mosaic-like succession of contrasting motifs, is usually the longest unit; the remaining thematic functions are less defined. Expositions may contain extensive derivations. Developments are long and complex, featuring thematic recombination, variant forms of themes and new material. Recapitulations tend to be condensed and reformulated after an exact (or almost exact) recall of the primary theme, ideas from the development sometimes being integrated. More heterogeneous forms characterize the second movements; among 13 in sonata form, six have no development section and eight employ a special, non-modulating layout. Brioschi’s music gains vitality from a highly active second violin part (a Milanese trait), wide melodic leaps, and frequent syncopations. Textures change frequently, alternating homophonic passages with independent part-writing and imitation, reduced texture, solo–tutti effects and unisons.

Thirteen of the Fonds Blancheton symphonies by Brioschi and four other symphonies by him are listed in the Strasbourg thematic catalogue dated c1742–83; the catalogue also lists several of the doubtful works.

Works
published ‘sonatas’ are symphonies (except op.1 no.4)

Editions