《西方文明中的音乐》第十章 巴洛克 摘抄10

One of the most pregnant lessons of history is that the kernel of the new ideas that seem to arise with each succeeding epoch may always be found in previous times. This is true also with regard to styles.
 
The last decades of the sixteenth century were filled with bewildering contradiction, Church and state had been shaken to their foundations and were in need of rebuilding. New forces that were making themselves felt in religion, politics, arts, and letters were facing equally powerful forces opposed to them. These were the times of the fully developed reform movements, the religious wars, the establishment of absolutist monarchies, the foundation of the modern science of physics, the appearance of the mystical-natural philosophy of such men as Agrippa of Nettesheim, Paracelsus, and BÖhme, and the flourishing of a new scholasticism. A changed Europe emerged from these tormented decades.
 

        最有意义的历史教训之一是，随着新时代而出现的新思想的种子一般总可以在前一时代中找到。风格也是如此。

        16世纪的最后几十年充满了令人困惑的矛盾。教会和国家已经连根摇动，需要重建。宗教、、文学艺术中的新型力量面临着同样强大的反对势力。有过充分展开的改革运动，有过，建立过极权的君主帝国，奠定了现代物理学的基础，出现过诸如帕·冯·内斯特海姆、帕拉切尔苏斯和伯麦等人的神秘自然论哲学，还繁荣过新的经院哲学。一个新的欧洲从这受尽苦难的几十年中脱颖而出。

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卡尔达拉（Antonio Caldara, c.1670-1736）巴洛克晚期意大利作曲家，威尼斯出身而划归拿波里乐派的作曲家，维瓦尔第的同门师兄弟，师从莱格伦齐（Giovanni Legrenzi, 1626-1690）。