Chapter 5 Renaissance Music 1450 1600 Renaissance c

Chapter 5 “Renaissance Music, 1450 -1600”

Renaissance (c. 1450 -1600) • “Rebirth” of Ancient Greek Culture (centered in Italy) • More emphasis on Secular World • Age of: Discovery Science Exploration • Knowledge applied to Arts

Renaissance Musical Ideal • • A cappella (no instruments) Polyphony (each line independent) Equal Voices (SATB or more) Imitation (same/similar melodies [or nearly so] in all parts) • Text Matters (audibility and meaning)

“Ave Maria” (LG, 71) • • • Josquin, c. 1485 “Hail Mary…” Motet – Latin sacred text polyphonic (4 equal vv) a cappella (voices only) Points of Imitation - variety of textures • Clarity of text setting • “Ave Maria” (Josquin) “Virgin and Child Enthroned” (1513) Quentin Matsys (1466 -1530)

Missa Papae Marcellus (LG, 76) • Five sections of the Mass Ordinary - Kyrie (“Lord have mercy…”) - Gloria (“Glory to God…”) - Credo (“I believe…”) - Sanctus & Benedictus (“Holy…”) & (“Blessed is He…”) -Agnus dei (“Lamb of God…”) • • • 6 voices (C, A, T 1, T 2, B 1, B 2) variety in #s Audible Texts = Minimal imitation Full triadic textures (thirds and fifths, etc. ) Consonances (dissonances controlled by rules) Slow, duple rhythm (timeless)

Secular Music in Renaissance • Tied to rise of Middle Class & Secular Princes • Heritage of unwritten (improvised) music • Music Printing helps to spread the styles • “popular” styles – more accessible - less complicated - homophonic textures - vernacular texts

Music Printing in the Renaissance Ottaviano Petrucci (1501)

Chant Manuscripts (hand-copied in Medieval era)

Secular (Popular) Music • Dance Music: Tielman Susato (c. 1550) • Vocal Music (for amateurs) - Frottola: Josquin “El Grillo” • Madrigal (c. 1520 s to ? ) - Jacques Arcadelt, “Il biano e dolce cigno” • • Text Painting Musica Transalpina (1588) – English trans. English Madrigals Thomas Weelkes, “As Vesta Was…” (LG, 79)

The Madrigal • • • Secular Music (wealthy amateurs) Begins in Italy (c. 1520 s-30 s) High quality of poetry (Petrucci, et al. ) “Word Painting” (“Madrigalisms”) Musica Transalpina (to England, 1588) English Madrigals w/ English texts (Morley, Weelkes, et al. , c. 1600)

Renaissance Music • Church continues as dominant patron • Secular princes and middle class patrons • Polyphony more common - ideal is 4 a cappella equal voices - imitation is frequently used - text matters (word painting used) • Madrigals are important secular form • Josquin, Palestrina, Weelkes

Part THREE “The Baroque Period, 1600 -1750”

Chapter 6 “Early Baroque Music: Opera”

The Baroque & the Arts • • • “Barroco” = misshapen pearl Negative connotation of “Baroque” Excessive Ornamentation Dynamic, active shapes Extreme contrasts Emotion favored over classical balance/control

Renaissance Masterpieces “David” by Michelangelo (1501 -1504) “Madonna of the Rocks” by Leonardo da Vinci (1483)

“Judith Beheading Holofernes” by Caravaggio (1598)

“The Lion Hunt” by Peter Paul Rubens (1621)

Baroque Architecture Bernini – St. Peter’s Altar (Vatican) Versailles – Grand Galerie

“The Baroque” – Music Traits • • c. 1600 -1750 Emphasis on expression New texture (soprano vs. bass) Basso continuo (instrumental foundation) Voices & Instruments mix Instrumental music now equal Old style (Palestrina style) still used

Sources of the Early Baroque Style • Florentine Camerata – sought to recapture the expressive power of Ancient music • Greek Drama – included sung text • “Monody” – solo voice w/ accompaniment - Giulio Caccini, Le nuove musiche (1601) • Stile rappresentativo – flexible style of solo singing used on the stage • Two vocal styles - Recitative (recitativo = “recited”) - Aria ( = “song” or “ayre”)

Claudio Monteverdi (1567 -1643) • 1 st great Baroque composer • Employed by: - Princes (secular music) - Church (sacred music) • 1 st important opera (Orfeo) • Two “Styles” - prima pratica (church) - seconda pratica (theater) • “music follows the words”

Orfeo (1607) • 1 st important opera to survive • Premiered at Court of Mantua (1607) • Libretto (text) – based on Greek legend of “Orpheus and Euridice” • Total theatrical experience – singing, orchestra, acting, costumes, dancing, stagecraft, etc. • LG, 91 – Orfeo, Toccata • LG, 91 -2 – Orfeo, “Del mio Permesso amato” • Orfeo (complete) [ex. 29: 00]