Page 53 - (DK) The Classical Music Book - Big Ideas Simply Explained

RENAISSANCE 1400–1600 51

Palestrina’s work fulfils much of Palestrina was even more daring. The German states were greatly
what was expected of polyphony While he referred to it as a sacred split in their religious allegiance;
in the era after the Council of Trent, piece, he unashamedly embraced the Southern principalities still
with his targeted approach to a more passionate style, explaining adhered to Rome. Duke Albrecht V
dissonance, clarity of declamation, in his dedication to Pope Gregory of Bavaria, a leading figure of the
and refined command of polyphonic XIII that this was in keeping with German Counter-Reformation, for
writing. Yet Palestrina did not shy its subject matter. example, employed many musicians
away from taking the new precepts including Orlande de Lassus, a
to their limits: his Missa repleatur Elsewhere in Europe Flemish composer renowned as
os meum in five voices, published Palestrina was one bright star in a a child for the beauty of his singing
in 1570, shows complete control constellation of great polyphonists voice. Under generous ducal
of the virtuoso “canonic” style of the Counter-Reformation. In patronage, Lassus directed the
favored by the Franco-Flemish Spain, the orthodox zeal of Philip II Hofkapelle, combining voices,
composers but with such clear encouraged a strong school of violins, viols, lute, a variety of
handling of the text that even polyphonic composition in its brass and woodwind instruments,
Cirillo might have approved. cathedrals. Tomás Luis de Victoria, and even a rackett (a newly
In his Canticum Canticorum, a prolific composer of sacred works, invented, gently buzzing bass
composed in 1584, an acclaimed was renowned for the intense reed instrument). Such a large
cycle of 29 motets based on the drama of his music. He had been ensemble of almost orchestral
Old Testament’s “Song of Solomon,” a choirboy and organist in Ávila, ambition would have been highly
before going to Rome, where he unusual for the time. If the Catholic
may have studied with Palestrina. Church looked askance at such
Palestrina spent five years as
maestro di cappella (music director) Later returning to Spain, he spent instrumentation, its guidelines
at St. John Lateran in Rome, depicted most of his working life at Madrid’s were obviously open to a degree
in this 17th-century Dutch print. convent of the Descalzas Reales. of local interpretation. ■

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