Compare J.S. Bach’s influence on Baroque music to two other composers of your choice.

In Bach’s lifetime, he was able to exhibit most of the different musical structures in the period, except opera, this made his works into examples and references that influenced other composers. Few other composers have been to do what he did, encompassing such a wide range of musical genres, incorporating different foreign influences to create almost entirely new forms that are unique to the Baroque period. By composing such a large number of works, ranging from fugues for keyboards to concertos for orchestra, from oratorios for choirs and masses for the masses, he was able to bring the Baroque period to its greatest. The year of his death was considered by many musicologists to be the end of the Baroque period; this signifies how influential Bach has been on the musical style of that era.
The works of Vivaldi display much exuberance, contrasting directly with the dignified seriousness of Baroque music at that time. Vivaldi's music is innovative, breaking a consolidated tradition in schemes; he gave brightness to the formal and the rhythmic structure of the concerto, repeatedly looking for harmonic contrasts and invented innovative melodies and themes. He was also able to compose entertaining music, particularly meant to be appreciated by the wide public and not only by aristocrats and other professional musicians. In Vivaldi’s works, a transmissible joy of composing can be seen from the joyful appearance of his music. This was also a cause of the great popularity of his music, particularly in France, where musical taste was very independent at that time. Vivaldi is considered one of the composers who brought Baroque music (with its typical contrast among heavy sonorities) to evolve into a classical style through its typical contrast with the heavy contrast among heavy sonorities. Johann Sebastian Bach was deeply influenced by Vivaldi's concertos and arias (recalled in his Passions and cantatas). Bach transcribed a number of Vivaldi's concertos for solo keyboard, along with a number for orchestra, including the famous Concerto for Four Violins and Violoncello, Strings and Continuo.
Rameau wanted very much to be renowned as a theorist of music and his exceptional technical knowledge of a composer characterized his works. Nevertheless it is not solely addressed to the intelligence and Rameau himself claimed “I try to conceal art with art”. The problem was that the music was new, using techniques never known before, but it took place within the framework of old-fashioned forms; Rameau’s contemporaries classified him as revolutionary and reactionary, as they were disturbed by the complex harmony of his music, paid attention to its content and some even refused to listen to the sound it produced. This stopped Rameau repeating such daring experiments as the second Trio des Parques in Hippolyte et Aricie, which he was forced to remove after a handful of performances because the singers were unable to interpret it correctly. So the greatest harmonist of his era went unrecognized at the very time that harmony was taking precedence over counterpoint.