For me, I discovered Bach's fugues at an early age (on an Apple ][+ no less!), so I've practically an innate penchant for complex counterpoint. Plus much 'high Baroque' music (1675ish-1740ish) has an intense drive that I find lacking in most newer compositions; you get that of course in some Romantic works, but it impresses me as more bombastic and doesn't seem to hang together as well.
Plus, I do in fact enjoy period performance practice and chamber works -- there's a transparent intimacy both in early playing style and small ensembles I find attractive.
@Chiara: I adore Gesualdo! As well as Josquin and Ockeghem. Though my favorite composer of circa 1600 has to be Gibbons, hands-down. His viol consorts are so rich and lyrical. One example here (incidentally, that's me on treble viol, though I wanted the piece to go faster than it ended up). The 6-part consorts are absolutely mind-blowing, though. Toss me a friends-request if you'd like -- I don't blog much about music these days, but anyone with whom I can talk meaningfully about music of any genre has an instant 'in' with me :)
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Plus, I do in fact enjoy period performance practice and chamber works -- there's a transparent intimacy both in early playing style and small ensembles I find attractive.
@Chiara: I adore Gesualdo! As well as Josquin and Ockeghem. Though my favorite composer of circa 1600 has to be Gibbons, hands-down. His viol consorts are so rich and lyrical. One example here (incidentally, that's me on treble viol, though I wanted the piece to go faster than it ended up). The 6-part consorts are absolutely mind-blowing, though. Toss me a friends-request if you'd like -- I don't blog much about music these days, but anyone with whom I can talk meaningfully about music of any genre has an instant 'in' with me :)