Page 50 - (DK) The Classical Music Book - Big Ideas Simply Explained
P. 50
48 SIMPLIFICATION OF POLYPHONY
he Protestant reformer instrumental brilliance of Roman
IN CONTEXT Martin Luther influenced Catholic music. Its simple appeal
T sacred music not only in spoke directly to many who felt
FOCUS the new Protestant churches, but alienated by the Church’s love
Simplification of polyphony
also, as a result of the Counter- of wealth and lavish ritual.
BEFORE Reformation, in Roman Catholic Popular, accessible music
c. 1540 In the motet Inviolata, rites. The Council of Trent, an became a potent vehicle for
integra et casta es Maria, the ecumenical meeting of senior spreading ideas and rallying
Italian composer Costanzo members of the Church in the support and was also the hallmark
Festa uses canonic Flemish northern Italian town of Trent of services in the new reformed
style to great effect. Festa was between 1545 and 1563, issued church. Luther and the French
much admired and imitated guidelines for sacred music that Protestant reformer John Calvin
by Palestrina. restrained dissonance, curbed encouraged the singing of hymns
excessive ornamentation, and to tunes that everyone knew.
1545 Franco-Flemish refined liturgical polyphony. The
composer Nicolas Gombert composer who responded most Old traditions
publishes Musae Jovis, a exquisitely to this new call for This emphasis on simplicity was in
deliberately archaic piece, as purity was Giovanni da Palestrina. sharp contrast to Roman Catholic
a tribute to Josquin Desprez. practice. The less educated would
New demands have had the greatest difficulty in
AFTER Luther was an accomplished singer following the Masses in a cathedral
1610 Claudio Monteverdi and loved music, which, together or ducal chapel of the time. This
returns to polyphony and with the power of the printing was a problem that the Roman
the stile antico (“old style”) press to disseminate his ideas, was Catholic churchman, humanist,
with Missa in illo tempore. key to the success of his reforms. and scholar Bernardino Cirillo
In 1524, his first published hymn, recognized. In 1549, he wrote:
c. 1742 J.S. Bach performs his “Ein newes Lied wir haeben an” “In our times musicians have put
arrangement of Palestrina’s (“We’re raising a new song”) was a all their work and effort into the
Missa sine nomine (1590). street ballad about the death at the composition of fugues (where the
stake in Brussels of two adherents voices make staggered entries), so
to Protestant reform. Set to a that while one voice sings ‘Sanctus’
familiar tune, it was far removed another has ‘Sabaoth,’ and yet one
from the rich polyphony and more sings ‘Gloria tua.’ Howling,
Giovanni da Palestrina Probably born in the Italian dedicated his Missa Ecce
town of Palestrina in 1525, sacerdos magnus to Julius in
Giovanni Pierluigi da Palestrina 1554. The next year he gained
had strong family connections to a place in the papal choir at the
nearby Rome. After his mother’s Sistine Chapel and went on to
death when he was about 11, he hold several top musical posts.
became a chorister at the city’s His music includes madrigals
Santa Maria Maggiore church. and more than 105 masses and
In his late teens, Palestrina 50 motets.
returned to his hometown to
become the organist at the Other key works
cathedral. When the Bishop of
Palestrina, Cardinal Giovanni 1562 Missa Papae Marcelli
Maria del Monte, was elected 1570 Missa brevis
Pope Julius III in 1550, the 1572 Missa Tu es Petrus
composer went back to Rome as 1584 Pulchra es (motet)
director of the Capella Giulia: he 1590 Stabat Mater (motet)
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