After Perfection Pressures for Change The Protestant Reformation

After Perfection Pressures for Change

The Protestant Reformation • Martin Luther (1483– 1546) – 95 Theses – Lutheranism – Symphoniae jucundae (Pleasant Polyphonic Pieces) • Tenorlied

The Protestant Reformation • Martin Luther (1483– 1546) • John Calvin (1504– 1564) – Calvinist (Huguenot) Church • Ulrich Zwingli (1484– 1531) – Swiss German Reformed Church

The Lutheran Chorale • Strophic unison German hymn • Translations of Latin hymns – Nun komm, der Heiden Heiland • From Veni redemptor genitum – Komm, Gott Schöpfer, Heiliger Geist • From Veni creator spiritus

The Lutheran Chorale • Adaptations – O Welt, ich muss dich lassen • From Heinrich Isaac’s Innsbruck, ich muss dich lassen • Newly Composed – Ein’ feste Burg ist unser Gott

The Lutheran Chorale • Polyphonic Settings • Johann Walther (1496– 1570) – Geystliches gesangk Buchleyn • Christ lag in Todesbanden [Anthology 1 -54]

The Catholic Response: The Counter-Reformation • Mystical, enthusiastic, antirationalist character • Cori spezzati – “augmentation of the sheer sound medium”

Polychoral and “Concerted” Music • Venice • St. Mark’s • Andrea Gabrieli (ca. 1532– 1585) – CONCERTI/continenti Musica DI CHIESA/per voci, & stromenti Musicali; à 6. 7. 8. 10. 12. & 16

Polychoral and “Concerted” Music • Venice • Lodovico Viadana (1560– 1627) – Cento concerti ecclesiastici, a una, a due, a tre & a quattro voci (1602) – Basso continuo

The Art of Orchestration Is Born • Giovanni Gabrieli (ca. 1553– 1612) – Sacrae Symphoniae (1597) – Sacrae Symphoniae (1615) • Exact specifications for instrumentation and dynamics • In ecclesiis benedicite Domino [Anthology 1 -55] – 15 parts, divided into 3 groups and an organ part

Music Printers and Their Audiences • Ottaviano Petrucci – Odhecaton A (1501) – Frottole libro primo (1504) • Andrea Antico – Canzoni nove (1510)

Vernacular Song in Italy • Fottola (pl. frottole) – Marco Cara, Mal un muta per effecto [Anthology 1 -56]

The “Parisian” Chanson and the Music of Description • Pierre Attaingnant • “Parisian” chanson • Claudin de Sermisy (ca. 1490– 1562) – Tant que vivray [Anthology 1 -57] – From Attaignant’s Chansons nouvelles en musique (1528)

The “Parisian” Chanson and the Music of Description • Clement Janequin (ca. 1485– 1558) • Chansons de maistre Clement Janequin (1528) – La guerre (The War) – La chasse (The Chase) – L’alouette (The Lark) – Le chant des oyseux (The Song of the Birds)

Lasso: The Cosmopolite Supreme • Orlando di Lasso (1532– 1594)

Lasso: The Cosmopolite Supreme • Orlando di Lasso (1532– 1594) • Je l’ayme bien [Anthology 1 -58 a] – 1555 – Parisian chanson style

Lasso: The Cosmopolite Supreme • Orlando di Lasso (1532– 1594) • Matona mia cara [Anthology 1 -58 b] – 1581 – villanelle, Low-style Italian song – todesca (villanella with a ridiculous German accent)

Lasso: The Cosmopolite Supreme • Orlando di Lasso (1532– 1594) • Audite nova [Anthology 1 -58 c] – Style of a Latin motet

Lasso: The Cosmopolite Supreme • Orlando di Lasso (1532– 1594) • Prophetiae Sibyllarum [Anthology 1 -58 d] – Published in 1600 – Serious Latin motet setting

The Literary Revolution and the Return of the Madrigal • “Petrarchan movement” – Francesco Petrarch (1304– 1374) • Revival of the word “madrigal” • Pietro Bembo (1470– 1547) – gravità – piacevolezza

The Literary Revolution and the Return of the Madrigal • “Madrigalisms” “Word Painting” • Jacques Arcadelt (d. 1568) – First Book of Madrigals (1539) • Il bianco e dolce cigno [Anthology 1 -59] • Cipriano de Rore (1516– 1565) – Da le belle contrade d’oriente [Anthology 1 -60]

Paradox and Contradiction: Late Italian Madrigalists • Luca Marenzio (1553/4– 1599) – Ninth book of Madrigals (1599) • Solo e pensoso [Anthology 1 -61] • Setting of a Petrarch poem

Paradox and Contradiction: Late Italian Madrigalists • Claudio Monteverdi (1567– 1643) – Fifth book of Madrigals • Cruda Amarilli [Anthology 1 -62] • Attacked by Giovanni Maria Artusi in L’Artusi, overo Delle imperfettioni della moderna musica (1600)

Paradox and Contradiction: Late Italian Madrigalists • Carlo Gesulado (1560– 1613) – Prince of Venosa – Sixth book of Madrigals (1611) • Moro, lasso [Anthology 1 -63]

Music for the Eyes • Augenmusik • Marenzio, Già torna a rallegrar l’aria e la terra

Back over the Mountains: The English Madrigal • Musica Transalpina (1588) – Italian madrigals translated into English by Nicholas Yonge • The first sett of Italian madrigalls Englished (1590) – Mainly works by Marenzio, translated by Thomas Watson

Back over the Mountains: The English Madrigal • John Dowland (1563– 1626) – Virtuosic lutenist – Pavans and galliards – “Flow My Tears” (1600) • Ayre set to a pavan

Back over the Mountains: The English Madrigal • Thomas Morley (1557– 1602) – Composer, translator, arranger, publisher, literary propagandist – The Triumphes of Oriana (1601) • As Vesta was from Latmos hill descending [Anthology 164] – Composed by Thomas Weelkes – madrigalisms