Ch8

The Music of the Reformation: 

The Music of the Reformation Martin Luther nailed his ninety-five theses (complaints about the Catholic Church) to a church door in Wittenberg, Germany, in 1517 The result was the Lutheran Church, the first Protestant denomination

Martin Luther: 

Martin Luther singer and composer, and admired the music of Josquin des Prez believed in the ethical power of music and wanted the entire congregation to participate

The German Mass: 

The German Mass Luther first published his German Mass in 1526 Simplified Texts were in sometimes in German, and recitation formulas were adapted to the German language

The Lutheran Chorale: 

The Lutheran Chorale Strophic congregational hymn (chorale or Kirchenlied, church song) Originally monophonic, for unison congregational singing Often also arranged for four voice parts Luther himself wrote many texts and some melodies, for example, the text of Ein' feste Burg ist unser Gott, 1529 contrafacta of secular songs Luther's musical collaborator Johann Walter (1496–1570)

The Chorale Motet: 

The Chorale Motet Protestant Polyphonic German

Calvinist churches: 

Calvinist churches Founded by Jean Calvin (1509–1564) Prohibited the singing of texts not found in the Bible Translated psalms into the vernacular and set them to metrical rhymes Set the psalms to newly composed or borrowed melodies 4 parts

The French Psalter: 

The French Psalter Psalter was published in 1562 for Calvinist churches 4-part psalm settings

Bohemia: 

Bohemia Jan Hus (1373–1415) banishment of polyphony and instrumental music Czech Brethren were later called the Moravian Brethren Moravians emigrated to America, especially Pennsylvania, in the early eighteenth century

England in the Sixteenth Century : 

England in the Sixteenth Century John Taverner (ca. 1490–1545) greatest English musician of the early sixteenth century

Anglican Church Music: 

Anglican Church Music In 1534, the Church in England separated from the Roman Catholic Church Henry VIII broke with the church for political reasons At first there were no real changes to the liturgy English rite English instead of Latin The English Book of Common Prayer

Service: 

Service Replaced the Mass Anthem

Catholic Music at the End of the Sixteenth Century: 

Catholic Music at the End of the Sixteenth Century The Counter-Reformation The Council of Trent met from 1545 to 1563 Secular cantus firmi used as the basis for sacred works Complex polyphony made it impossible to understand the words Inappropriate behavior of church musicians Inappropriate use of instruments

Giovanni Pierluigi da Palestrina (1525 or 1526–1594): 

Giovanni Pierluigi da Palestrina (1525 or 1526–1594) Educated and was a choirboy in Rome Was choirmaster at the Cappella Giula at St. Peter's 1551–54 Sang in the pope's official chapel (Cappella Sistina) choirmaster and teacher at influential churches in Rome

Palestrina and the Counter-Reformation: 

Palestrina and the Counter-Reformation Supervised the revision of the official chantbooks to bring them in line with the Council of Trent's orders A legend from the 1590s credits him with saving polyphony by composing a polyphonic Mass that incorporated Council of Trent Reforms, the Missa Papae Marcelli, published in 1567 (NAWM 47)

Missa Papae Marcelli, 1567 (NAWM 47) : 

Missa Papae Marcelli, 1567 (NAWM 47) Credo No imitation, for the sake of brevity and clear diction Uses a six-voice choir broken up into smaller groups All six voices used together only at important words Fauxbourdon-like passages Rhythmic accents to help reduce monotony (e.g., in "Et unum Dominum")

Missa Papae Marcelli, 1567 (NAWM 47) : 

Missa Papae Marcelli, 1567 (NAWM 47) Agnus Dei Uses close imitation Each voice puts accents at different places

Palestrina’s music: 

Palestrina’s music mostly sacred 104 Masses 250 motets 100 secular madrigals

Palestrina's style: 

Palestrina's style usied all the techniques cantus firmus paraphrasing of a chant in all voice parts canon imitation

Palestrina's style : 

Palestrina's style melodies move stepwise in an arched line triadic harmony and very little chromaticism Counterpoint follows Zarlino's rules (Le istitutioni harmoniche) closely Dissonances introduced in suspensions and resolved on strong beats Dissonances between beats allowed if the moving voice is doing so in a stepwise fashion Downward leap of a third, from a dissonance to a consonance (later called cambiata), also allowable natural rhythms of all the voices Text is comprehensible

Spain: 

Spain Tomás Luis de Victoria (1548–1611)

Tomás Luis de Victoria (1548–1611): 

Tomás Luis de Victoria (1548–1611) Studied in Rome, possibly with Palestrina Worked at the Jesuit German College in Rome 1571–77 In 1587, returned to Spain to work in the chapel of the Empress Maria

NAWM 48a, motet: O magnum mysterium: 

NAWM 48a, motet: O magnum mysterium Text expresses the joy of the Christmas season Fugal opening is in Palestrina's style but with larger leaps

Example: NAWM 48b, Missa O magnum mysterium: 

Example: NAWM 48b, Missa O magnum mysterium Kyrie Imitation Mass, which preserves the opening characteristics of the motet To create a fugue with two subjects, Victoria creates a second theme based on the main theme Freely invented material used for the Christe (typical of imitation Masses) Triadic harmony, similar to Palestrina's style, but with more use of perfect consonances for cadences

Orlando di Lasso (1532–1594): 

Orlando di Lasso (1532–1594) One of the greatest composers of sacred music in the late sixteenth century Known for the high quality of his motets

NAWM 49, Tristis est anima mea: 

NAWM 49, Tristis est anima mea Published in the Magnus opus musicum (Great Work of Music), a collection of Orlando’s motets

NAWM 49, Tristis est anima mea: 

NAWM 49, Tristis est anima mea Pictorial representations of the text, similar to madrigalist word-painting: Phrases divided to reflect changes in meaning in the text Descending semitone representing sadness ("tristis") Circular melodic figure for the words "circumdabit me" (will encircle me) "vos fugam capietis" (you will take flight) represented with fugal subject that is repeated eleven times to represent the eleven disciples who ran away while Jesus was being beaten Note-against-note texture for important text, "et ego vadam immolari pro vobis" ("and I shall go to be sacrificed for you")

William Byrd (1543–1623): 

William Byrd (1543–1623) Byrd was the last of the great Catholic Church composers of the sixteenth century Catholic all his life but worked for the royal family during both Catholic and Protestant periods He composed a few very fine Masses and many motets His Gradualia, two books of motets (1605, 1607), were published for Catholics who worshiped secretly after the official break with the Catholic church