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 Historical “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 Science 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