Renaissance Madrigal
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This document provides an overview of secular music in the Middle Ages and Renaissance, including for entertainment in castles and courts. It discusses forms like the estampie, cantigas, and madrigals. The madrigal originated in Italian courts in the 1500s and spread to other countries, set to vernacular language with imitative entrances of new text in songs about love and nature. Examples included are works by John Farmer, Thomas Weelkes, and an instrumental piece "Ecco en la primavera". The document also outlines instruments of the periods like lutes, recorders, shawms and others.
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Renaissance Madrigal
- 1. THE ENJOYMENT OF MUSIC ESSENTIAL LISTENING EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis THIRD EDITION Lecture Slides
- 2. Chapter 13 Singing in Friendship: The Renaissance Madrigal
- 3. A Medieval Castle in Wales--13th Century
- 4. Middle Ages: Music for Entertainment • Castles = most important secular structures of the Middle Ages – Reflected importance of secular and worldly power for royalty/aristocracy – Created opportunities for musical performances • Demonstrated power to subjects and each other. • Rulers competed for services of best composers, artists, and musicians. – Songs for Medieval entertainment sung in language of people. – Music for dancing served an important social function. • Not much is known about this non-religious music because little of it was written down. • What was written was monophonic, but it is believed it was accompanied by instruments (homophonic). • We know it existed because of paintings and illustrated manuscripts from the period.
- 5. Estampie • 13th century dance in triple meter • Anonymous composer • Clear, fast tempo • No instrumentation specified • This recording – Rebec – Pipe
- 6. Instruments of the Middle Ages • Harps • Lutes (like a guitar) • Flutes (end blown, called recorders) • Shawns (like oboes) • Early violins • Trumpets and drums
- 7. Alfonso el Sabio • Ruled the Kingdom of Castile and León (in modern central and northwestern Spain) during the 13th century. • May not be the real composer; probably attributed to him, but really by an anonymous person. • Possibly a monk, priest, or nun • Could have been a court musician or a traveling musician (called a troubadour, trouvère, or minnesinger). • Cantigas de Santa Maria – A collection of more than 400 songs
- 8. “Aquel que de volontade” (He Who Gladly Serves) • He Who Gladly Serves
- 9. The Madrigal • Most popular form of secular music • Originating in the Italian courts and spreading to other countries • Similar to and different from motets • Many found in the Squarcialupi Codex, showing uses for voices singing same text • Written for small group of singers, imitative entrances of new text, singable vocal lines, more polyphonic • Songs about romantic love or nature, chivalry, spinning
- 10. The Madrigal • Not limited by religious traditions • More innovative musical ideas • English madrigals popular – Text in English – Composers make lines tuneful & singable – Not taken too seriously
- 11. Renaissance Social Singing: The Madrigal • Music: sets text expressively • Instruments double or substitute for the voices • Three phases of the madrigal – first phase (c. 1525– 1550) – second phase (c. 1550– 1580) – third phase (c. 1580– 1620)
- 12. Renaissance Social Singing: The Madrigal • English further developed the Italian madrigal – Musica transalpina, 1588 • Simpler and lighter in style • Refrain syllables (fa-la-la) “Since singing is so good a thing, I wish that all men would learne to sing.” —William Byrd
- 13. John Farmer (c. 1570–1603 John Farmer (c. 1570–1601) • Active in 1590s in Dublin • Organist and master of choirboys at Christ Church • Published one collection of 4-voice madrigals.
- 15. Fair Phyllis • Fair Phyllis
- 16. Important Differences between Motets & Madrigals • Vernacular languages • Deal with sentimental/erotic love • Have stronger & more regular rhythm, faster tempo • Sung at social gatherings of learned, artistic societies • Popular among higher classes • Written down & composed • Contain text or word painting-music depicts word being sung
- 17. Thomas Weelkes • ca. 1575-1623 • An English composer who lived during the age of Shakespeare • During reigns of Elizabeth I and James I • Fascinated with Italian poetry and music, including Italian madrigal • A professional musician with a degree in music from New College, Oxford • Organist at Chichester Cathedral-most musically productive years • Also wrote sacred music • Lost his job at the Cathedral in 1617 because of blasphemy and drunkenness
- 18. As Vesta Was From Latmos Hill Descending • The Triumphs of Oriana-anthology of madrigals composed in honor of Elizabeth I • Vesta-Roman goddess of hearth & home • Diana-goddess of the hunt, chastity, moon • Text-Vesta comes down hill with attendants(Diana’s darlings); Oriana, “maiden queen,” climbs hill with shepherds; Vesta’s attendants leave to join her
- 19. As Vesta Was From Latmos Hill Descending • Major use of word painting – – words like “ascending” & “descending” set with scales that move in said direction; – as Vesta’s attendants leave to run down hill, appropriate number of singers mirror text- 3, 2, then 1; – “Long” is longest note • Rhythmic setting effective, contributes to expressiveness
- 20. As Vesta Was From Latmos Hill Descending • As Vesta Was From Latmos Hill Descending • My Man John Bawdy Bonus Track!!!
- 21. Instrumental Music • Instruments often accompanied singing of secular music • Players simplified written parts using chords • Lute-Most popular instrument • Instruments used exclusively for dance music • Pavane, Galliard, ballade, rondeau
- 22. Instruments of the Renaissance • Dulcian • Viol de gamba • Harp/lyre • Hirten • Lizard
- 23. Instruments of the Renaissance • Lute • Organet • Psaltery • Sackbut • Serpent
- 24. Instruments of the Renaissance • Shawm • Shofar • Tenor viol • Flute • Tenor recorder
- 25. Ecco en la primavera • Ecco en la primavera
- 26. by Kristine Forney Andrew Dell’Antonio Joseph Machlis Lecture Slides SECOND EDITION THE ENJOYMENT OF MUSIC ESSENTIAL LISTENING EDITION http://wwnorton.com/web/enjoyess2
Notas do Editor
- ■ Social song is a common feature across cultures. Polyphonic social singing (with two or more simultaneous lines) developed more than a thousand years ago as a central activity of Western culture. ■ Amateur singing expanded in the Renaissance through the medium of print and the genre of the madrigal, a type of secular polyphonic part song. ■ Madrigals often feature expressive text setting, word painting, and multiple meanings.
- Love and unsatisfied desire were often the topics of the madrigal, though some had themes of humor, satire, politics, and scenes of city and country life, all set expressively to music. Instruments would often double voice parts. There were three phases of the Renaissance madrigal. In the first phase (1525–1550), they were composed with the amateur in mind—little thought was given to virtuosic display. The second phase was from 1550–1580, and the final phase was from 1580–1620, extending into the Baroque era. By the final phase, the madrigal had become a direct expression of the composer’s personality and feelings through the use of rich chromatic harmony, dramatic declamation, vocal virtuosity, and the vivid depiction of the words in the music. Musical example: Marenzio: “La bella ninfa mia”
- The English continued to develop the Italian madrigal. The first book of English madrigals was a translation of an Italian collection called: Musica transalpina (Music from beyond the Alps). English composers eventually wrote their own madrigals, some in the Italian style and some with a simpler text and lighter style. Humorous madrigals were often written with refrain syllables such as “fa-la-la.” Musical Examples: Weelkes: “Welcome Sweet Pleasure” [link to excerpt] Morley: “Those Dainty Daffadillies” [link to excerpt]
- John Farmer (c. 1570–1601) was active as an organist and master of choirboys at Christ Church in Dublin. He moved to London in 1599 where his only collection of 4-voice madrigals was published. Follow the Listening Guide to John Farmer’s famous madrigal Fair Phyllis.
- Listening Guide 4—Farmer: Fair Phyllis John Farmer’s Fair Phyllis has a pastoral text, lively rhythms, and good humor. The poem is about a shepherdess (Phyllis) who, while tending her sheep, is found by her lover Amyntas and a happy ending follows. There are a number of examples of word painting in this work, including some that are illustrated here: “Fair Phyllis sitting all alone” is sung by a solo soprano voice. “Up and down” features descending melodic lines imitatively in different voices. Listen for a dancelike, diatonic melody and lively rhythms. It is in duple meter, though it shifts for a time to triple meter then back. The texture is varied. The piece opens monophonically, then some imitation develops, and then a homorhythmic texture ends the last line. The form consists of short repeated sections, and there are some examples of word painting as previously mentioned. The music is set to a light-hearted pastoral English poem for four voices (SATB) a cappella.