Unit IV: The Renaissance

Chapter 14: The Renaissance Spirit

Renaissance Spirit Renaissance

15th & 16th centuries in Europe worth of the individual insatiable searching for knowledge term borrowed from art history “rebirth” birth of modern Europe and Western

society as we know it today

Renaissance Spirit Major Developments

philosophical “humanism”

“rebirth” of classical learning emphasis on human life now

Church less powerful education considered status symbol from religious to secular society

Historical Columbus, Magellan….

Renaissance Spirit Inventions and Discoveries

inventions printing press gunpowder

Science universe revolves around the sun, not the

earth theology

Martin Luther and Reformation

Renaissance Spirit Painting

patrons include Church plus wealthy families (Medici)

secular subjects mixed with sacred

portrait painting depth perception

“School of Athens” by Raphael (1483-1520)

Renaissance Spirit Sculpture

“Renaissance” man emphasize physical details of human

figure expressed, but controlled emotion Donatello, Raphael, Leonardo da Vinci

and Michelangelo

“David” by Donatello (1386?-1466)

“Mona Lisa” by Leonardo da Vinci (1452-1519)

“The Last Supper” by Leonardo da Vinci

“David” by Michelangelo (1475-1564)

Sistine Chapel Ceiling by Michelangelo

“Creation of Adam”

Renaissance Spirit Renaissance Musical Style

musical training = part of general education

more secular music

Renaissance Spirit characteristics of music

still more vocal than instrumental “word painting”

polyphonic texture more “consonant” harmony gentle rhythms… conjunct melody “a cappella”

Renaissance Sacred Music

Early Renaissance Mass 5 parts of Ordinary (Text, pg. 102)

Kyrie from the Greek ABA form (Kyrie - Christe - Kyrie)

Gloria “Glory be to God on High”

Credo “I believe in one God…” longest text

Renaissance Sacred Music Sanctus

“Holy, Holy, Holy…”… “Hosanna” Agnus Dei

Lamb of God sung 3 times

Requiem Mass “Requiem aeternam dona eis, Domine”

(Grant them eternal rest, O Lord) Dies Irae

Renaissance Sacred Music Cantus Firmus Mass

“fixed melody” cantus firmus = foundation of work

unify initially, CF = from Gregorian Chant to … same Gregorian CF for each of 5 parts to … secular CF

Renaissance Sacred Music Guillaume Dufay (1400-

1474) “G. duFay” (du - “fa” - y)

L’homme armeé Mass: Kyrie Text, pg. 104

secular CF “L’homme armeé” (The Armed Man)

Renaissance Motet sacred form with a single, Latin text used in Mass, etc.

Renaissance Sacred Music 3-4 voices based on Chant or

other melodies Josquin des Prez

(c. 1440-1521) Franco-Flemish

(Netherlands) School Ave Maria…virgo serena

Text, pg. 106

Renaissance Sacred Music

High Renaissance Mass musical settings for the Ordinary

Kyrie, Gloria, Credo, Sanctus, Agnus Dei

Counter-Reformation recapture minds of the people Council of Trent

1545-1563

Renaissance Sacred Music Objections

“noisy” instrument in service secular popular songs in Mass singers embellishing the chant complex, polyphonic settings Solution: Monophonic chant only!!

Giovanni Pierluigi da Palestrina c. 1525-1594 100 + masses

Renaissance Sacred Music

“Pope Marcellus” Mass Pope Marcellus II 6 voices a cappella audible text Text, pg. 110

Renaissance Secular Music

Instrumental dance music last half of 16th century written by professional composers patterned after secular vocal works

Secular vocal music 2 types

Renaissance (15th century) Chanson 3 voices courtly love text “fixed form” of Middle Ages

Renaissance Secular Music

Renaissance Madrigal vocal work for several solo voices set

to short poem, usually about love “word painting” often include instruments 2 types: Italian and English

Renaissance Secular Music

16th C. Italian madrigal 3 composers

Luca Marenzio (1553-1599) over 400 excessive word painting and dissonance

Carlo Gesualdo (c.1560-1603) prince of Venosa had wife and her lover murdered

Claudio Monteverdi (1567-1643) 12 years for Duke of Mantua 30 yrs @ St. Mark’s in Venice

Renaissance Secular Music 8 books of Madrigals

Ecco mormorar l’onde (Hear, now, the waves murmur)

Text – nature “word painting” Criticized – use of

“unprepared” dissonance “high” voices vs. “low” voices Ferrara – professional women singers Text, pg. 118

Renaissance Secular Music

English Madrigal Musica Transalpina (1588)

Italian madrigals with texts translated into English

Elizabethan age Thomas Morley, John Wilbye, and

Thomas Weelkes English version lighter and more humor “ballett” (“fa-la-la” refrain)

Renaissance to Baroque “Fair Phyllis” (Text, pg. 121)

John Farmer

St. Mark’s more than one vocal ensemble “Cori spezzati” divide choir and instruments “Polychoral” music - antiphonal style

Giovanni Gabrielli “Sonata pian’ e forte” O quam suavis, Text, pg. 125