Transcript Music in the Renaissance (1450

The Renaissance (1450-1600)
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“Rebirth” of human creativity
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Famous people
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Christopher Columbus (1492)
Ferdinand Magellan (1519-1522)
Leonardo da Vinci (1452-1519)
dominant intellectual movement – humanism
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focus on human life and accomplishments
study of Greek and Latin
impact on art
The Renaissance (1450-1600)
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Education
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Catholic church far less powerful
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Protestant Reformation – Martin Luther (1483-1546)
church did not monopolize learning
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education viewed as status symbol
paid tutors for upper middle class and aristocracy
ca. 1450 – invention of printing with moveable type
Music and Renaissance Society
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Greater circulation of music
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Musical training expected in education
Growth of church choirs
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printing press
larger number of composers and performers
church remains an important patron of music
Shift to musical activities in royal courts
Composers seek recognition
Characteristics of Renaissance Music
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Predominance of vocal music
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Chiefly polyphonic in texture
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interest in lyrics
use of word painting
usually 4-6 vocal parts of equal interest
homophonic texture also used
fuller / larger pitch range used
more attention to harmonic effect
“golden age” of a cappella choral music
Gentle flowing rhythms / scalar melodic patterns
Sacred Music in the Renaissance
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Renaissance motet
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polyphonic choral work set to sacred Latin text
other than the mass ordinary
Josquin Desprez (1440-1521, Flemish)
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Background
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born in Hainaut (modern Belgium)
worked most of his life in Italy
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court composer
Papal choir in Rome
worked for Louis XII of France
Sacred Music in the Renaissance
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Listening example
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Ave Maria … virgo serena (1502) – Josquin
Desprez
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4-voice motet
Latin prayer to the Virgin Mary
points of imitation
polyphonic with texture changes
word painting – “new joy” w/ rhythmic animation
Renaissance mass
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polyphonic choral setting of the mass ordinary
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Kyrie, Gloria, Credo, Sanctus, Agnus Dei
Sacred Music in the Renaissance
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Giovanni Pierluigi da Palestrina (ca. 15251594, Italy)
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Background
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devoted himself to Catholic church music
career centered in Rome / held many important music
positions
became music director at St. Peter’s cathedral
wrote 104 masses / 450+ other sacred works
important figure in the Counter-Reformation, including
the Council of Trent (1545-1563)
Sacred Music in the Renaissance
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Pope Marcellus Mass (1562-63) - Palestrina
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reflects Council of Trent’s desire for clear text
projection, even as a polyphonic piece
dedicated to Pope Marcellus II
written for 6 voices (sop., alto, 2 ten., 2 bass)
Kyrie
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constant imitation
fuller sound due to more parts
continuous flowing rhythm / sustained chords at
cadences
Secular Music in the Renaissance
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Vocal Music
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increasingly popular / important leisure activity
written for groups of soloists or solo voice with one or more
accompanying instruments
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two types
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madrigal
ballett (fa-la)
Secular Music in the Renaissance
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Madrigal characteristics
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a piece for several solo voices set to a short poem - usually about
love
combines polyphonic and homophonic textures
strong use of word painting and unusual harmonies
History of the Madrigal
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originated in Italy ca. 1520
explosion of Italian poetry / thousands of madrigals
1588 - collection of Italian madrigals published in England
Secular Music in the Renaissance
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As Vesta Was Descending (1601)
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Thomas Weelkes (ca.1575-1623) - English organist
and church composer
in The Triumphes of Oriana - collection of madrigals
honoring Queen Elizabeth I (several composers)
word painting - “descending”, “ascending”, “two by
two”, etc.
Secular Music in the Renaissance
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Ballett (Fa-La)
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dance-like song for several solo voices
mostly homophonic with melody in top voice
same music for each stanza of poem / refrain of “fa, la, la …”
Now Is the Month of Maying (1595)
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Thomas Morley (1557-1603) - English composer
binary form: aa bb
Secular Music in the Renaissance
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Instrumental Music
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accompanied voices or played music intended to be sung
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harpsichord, organ, lute
music written for instruments more common
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mostly to accompany dancing
performed in pairs (i.e. pavane and galliard)
use of loud vs. soft instruments
families of instruments played together
numbers of players depend on circumstances
Secular Music in the Renaissance
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Ricercar in the Twelfth Mode
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Andrea Gabrieli (ca. 1520-1586)
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organist at St. Mark’s Cathedral in Venice (1564-1586)
written for 4 instruments (SATB)
polyphonic composition employing imitation
form: A B CC A
The Most Sacred Queene Elizabeth, Her Galliard
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John Dowland (1562-1626) - lutenist and composer
written for lute
lively court dance in triple meter / after pavane
binary form: A A’ B B’
The Venitian School
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16th century - Venice becomes center of vocal and
instrumental music
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focal point - St. Mark’s Cathedral
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employed 20 instrumentalists / 30 singers
Venitian School - organists/ music directors at St. Mark’s
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Adrian Willaert
Andrea Gabrieli
Giovanni Gabrieli (Andrea’s nephew)
two choir lofts with own organ
some music written for voices with separate instrument parts
tendency toward homophonic texture
The Venitian School
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Giovanni Gabrieli (ca.1555-1612)
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studied with uncle Andrea / organist at St. Mark’s
(1585-1612)
Plaudite (1597)
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polychoral motet
12 vocal parts divided into 3 choirs (low, middle, high)
instrument parts
stereophonic in nature