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THE REFORMATION Beginnings of Modernity

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THE REFORMATION� Beginnings of Modernity� � � � � � � � � � ! ! ! ! ! THE REFORMATION! Beginnings of Modernity! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! THE REFORMATION! ! Religious rebellion against the authority of the Catholic Church ! ! Germany and Scandinavia: LUTHERAN! Switzerland, Low Countries: CALVINIST! England: CHURCH OF ENGLAND! ! ! ! ! ! ! ! ! ! ! ! MARTIN LUTHER (1483–1546)! ! ! ! ! ! ! ! THE REFORMATION! ! MARTIN LUTHER (1483–1546)! ! Trains as for Law profession! ! Thunderstorm in the summer of 1505. A lightning bolt struck near him as he was returning to school. Terrified, he cried out, “Help! Saint Anne, I will become a monk!” He left law school, sold his books, and entered the monastery.! ! ! ! ! ! ! ! THE REFORMATION! ! MARTIN LUTHER (1483–1546)! Professor of biblical theology at the University of Wittenberg in Germany! ! ! ! ! ! ! ! ! City of Wittenberg ! ! ! ! ! THE REFORMATION! ! MARTIN LUTHER (1483–1546)! ! Believes salvation comes through FAITH, ! not good works or penance! as taught by the Catholic Church! ! Rebelled against nonbiblical practices in the! Catholic Church! ! ! ! ! ! ! ! ! ! THE REFORMATION! ! Writes ninety-five theses (points or arguments)! A list of complaints against the Catholic practices, posted on a door of the Schlosskirche in Wittenberg on! October 31, 1517! ! ! ! ! ! ! ! Schlosskirche in Wittenberg The door that Martin Luther nailed the 95 Theses to ! ! ! ! ! THE REFORMATION! ! Sale of indulgences! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! THE REFORMATION! ! ! The theses are printed and widely disseminated— within two weeks it had spread throughout Germany, within two months throughout Europe ! making Martin Luther famous! ! ! ! ! ! ! ! Beginning of Martin Luther’s 95 theses ! ! ! ! ! ! ! THE REFORMATION! ! The theses are translated into German in 1518! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! THE REFORMATION! ! Pope Leo X writes a papal enclyclical in reply ! ! When Martin refused to recant his theses, he was excommunicated from the Catholic Church ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! THE REFORMATION! ! Martin Luther translates the Bible into German! ! Printed in 1522 and sells 2000 copies in 2 months. ! ! ! ! ! ! ! ! ! ! ! ! ! ! THE REFORMATION! ! Luther marries Katharina von Bora ! (a former nun) on June 13, 1535, ! and reintroduces the practice of clerical marriage to the Western Christian traditions! ! ! ! ! ! ! ! ! ! ! ! ! THE REFORMATION! ! New Evangelical, or “Lutheran” Church! ! German princes adopted Lutheranism, freeing them from Roman control.! ! The vernacular was used for the liturgy, but Luther considered Latin essential for education.! ! ! ! ! ! ! ! ! ! THE REFORMATION! ! Music important in Lutheran Church because of Luther’s belief in its ethical power and his! appreciation of composers such as Josquin! ! ! Thanks, ! Martin! ! ! ! ! ! ! ! ! ! ! THE REFORMATION! ! Did not do away with church music or even Latin church music! ! “Music is a gift from God”! ! ! ! ! ! ! ! ! ! ! ! ! THE REFORMATION! ! “It is not my view that the Gospel should cause all the arts to be struck down and disappear; on the contrary, I should like to see all the arts, and especially music, used in the service of God who gave and created them.”! ! ! ! ! ! ! ! ! ! ! ! THE REFORMATION! ! ! Texts were in the vernacular, ! but much of the! Latin Catholic liturgy was retained.! ! ! ! ! ! ! ! ! ! ! ! ! ! THE REFORMATION! ! Churches were! free to use music as they wished! ! Large churches with trained choirs kept much of the Latin liturgy and polyphony.! ! ! ! ! ! ! ! ! ! ! ! ! CHORALE! ! Most important form of Lutheran church music! ! Congregations sang several chorales at each service! ! Luther wrote many chorales himself.! ! Four collections were published in 1524.! ! ! ! “Ein neues Lied wir heben an” Geistliche gesang Büchlein, 1524 ! ! ! ! ! CHORALE! ! Metric, rhymed, strophic poetry! for unison, unaccompanied performance! by the congregation! ! ! ! ! ! ! ! ! ! ! ! ! ! CHORALE MELODIES! ! Adaptation of existing Gregorian chants! Existing devotional songs in German! Secular songs given new words ! Newly composed melodies! ! ! ! ! ! ! ! ! ! ! “Why should the Devil have! all the good tunes?”! ! ! Secular songs were given new words ! ! CONTRAFACTA! ! ! ! ! ! ! ! ! ! ! ! ! ! ! CHORALE MELODIES! ! Adaptation of existing Gregorian chants! ! ! Veni! redemptor gentium" =! ! Nun! komm, der Heiden Heiland ! ! ! ! ! ! ! ! ! ! CHORALE MELODIES! ! Newly composed melodies! ! Ein feste burg! ! ! ! ! ! ! ! ! ! ! ! ! ! CHORALE MELODIES! ! Newly composed melodies: Ein feste Burg! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! CHORALE MELODIES! ! Luther adapted Psalm 46 for the text! ! Ein feste Burg became an “anthem” of the! Reformation! ! The original rhythm suits the text, but! modern versions use a more regular rhythm.! ! ! ! ! ! ! ! ! ! Polyphonic Chorale Settings! ! Group singing in home settings! ! Performance in church by choirs,! alternating stanzas with the congregation in unison! ! Luther wanted “wholesome” music for young! people, to “rid them of their love ditties and! wanton song.”! ! ! ! ! ! ! ! ! Polyphonic Chorale Settings! ! Lied Style! ! “Lied” technique with melody in TENOR! ! Three or more free polyphonic parts! ! Johann Walter was Martin Luther’s chief! musical collaborator. ! ! ! ! ! ! ! ! ! Johann Walter! ! Ein feste Burg! ! ! ! ! ! ! ! ! ! ! Music Viva, “Ein feste Burg” ! ! ! ! ! Polyphonic Chorale Settings! ! Chorale Motets! ! Josquin-like motet style! ! Chorale appears as a cantus firmus in long! notes in some motets! ! Some chorale motets use the chorale imitatively in all voices! ! ! ! ! ! ! ! Polyphonic Chorale Settings! ! Cantional Style! ! Homophony (cantional style, from the Latin! cantionale, “songbook”)! ! Tune in the highest voice! ! Accompaniment in block chords! ! ! ! ! ! ! ! ! COUNTER REFORMATION! ! Catholic Response to the Reformation! (Counter-Reformation or Catholic Reformation)! ! Jesuits (Society of Jesus)! Founded St. Ignatius Loyola (1491–1556) in 1534! Founded schools to teach proper Catholicism! Proselytized, reconverting Poland, southern! Germany, and much of France! ! ! ! ! ! ! ! ! COUNTER REFORMATION! ! Council of Trent (1545–1563)! ! Series of meetings held in Trent (northern Italy)! Reaffirmed doctrines that Luther attacked! Purged the Church of abuses and laxities! ! ! ! ! ! ! ! ! ! ! COUNTER REFORMATION! ! Council of Trent (1545–1563)! ! Music was a subject for debate, especially the use of secular song in the composition of masses.! ! Eliminated tropes and all but four sequences! ! ! ! ! ! ! ! ! ! COUNTER REFORMATION! ! Council of Trent (1545–1563)! ! The use of secular music in sacred music! The density of polyphony! The different musical practices ! The use of instruments in sacred music! The irreverent attitude of church singers! ! ! ! ! ! ! ! ! COUNTER REFORMATION! ! Council of Trent (1545–1563)! ! The final statement was vague, leaving it to! bishops to regulate music.! ! ! ! ! ! ! ! ! ! ! ! COUNTER REFORMATION! ! Catholic Church Music: 1520–1550! ! Franco-Flemish composers dominated the! generation active! ! ! ! ! ! ! ! ! ! ! ! ! COUNTER REFORMATION! ! STYLE FEATURES! ! Clearly defined mode! Careful treatment of dissonance! Equality of voices! Five- or six-voice compositions, using! contrasting combinations of voices! Duple meter with brief passages in triple! ! ! ! ! ! ! ! ! COUNTER REFORMATION! ! STYLE FEATURES! ! Imitative polyphony! Imitation mass the most common type,! but composers still use ! paraphrase and cantus firmus! techniques! ! ! ! ! ! ! ! ! ! ! Giovanni Pierluigi da Palestrina (c1525–1594)! ! Born in Palestrina, near Rome! ! Educated in Rome, where he was a choirboy! ! 1544–1551: Organist and choirmaster in Palestrina! ! ! ! ! ! ! ! ! ! Giovanni Pierluigi da Palestrina ! ! 1551–55 : Choirmaster of Julian Chapel! 1555: Sang in Sistine Chapel briefly but could not continue because he was married! 1555––1566: Important posts in Rome! 1571–1594: Choirmaster of Julian Chapel ! ! ! ! ! ! ! ! ! ! ! ! Giovanni Pierluigi da Palestrina ! ! Spent his last forty years as choirmaster and! teacher at influential churches in Rome! ! Taught music at the new Jesuit seminary! ! ! ! ! ! ! ! ! ! ! ! Giovanni Pierluigi da Palestrina ! ! 104 masses, more than any other composer! Over 300 motets! Participated in the reformation of chant-books, which were published after his death! ! Madrigals, which he later regretted ! ! ! ! ! ! ! ! ! ! Giovanni Pierluigi da Palestrina ! ! Credited with saving polyphony from the! Council of Trent! ! According to legend, his Pope Marcellus Mass, dedicated to the pope, demonstrated that sacred words could be intelligible in polyphonic music.! ! ! ! ! ! ! ! ! ! Giovanni Pierluigi da Palestrina ! ! STYLE! ! Long-breathed melodies! Easily singable! Moves mostly by steps! Most leaps followed by stepwise motion in opposite direction! ! ! ! ! ! ! Counterpoint follows the rules! ! Dissonances introduced in suspensions and resolved on strong beats! ! Dissonances between beats are allowed if the moving voice is doing so in a stepwise fashion or as a suspension ! ! Downward leap of a third, from a dissonance to a consonance (later called cambiata), is also allowable.! ! ! ! ! ! ! Giovanni Pierluigi da Palestrina ! ! The resulting harmonic style comprises an! alternation between ! consonance and “allowable” dissonance! ! ! ! ! ! ! ! ! ! ! ! ! Giovanni Pierluigi da Palestrina ! ! Palestrina makes the text intelligible by using! syllabic text-setting and homophony in! movements with long texts! ! ! Palestrina’s style was a model for subsequent! generations and is still the ideal in! present-day textbooks on counterpoint! ! ! ! ! ! ! ! ! Giovanni Pierluigi da Palestrina ! ! Pope Marcellus Mass: Credo! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Giovanni Pierluigi da Palestrina ! ! Pope Marcellus Mass: Credo! ! Each new phrase uses a different! combination of voices.! ! All six voices come together for important words, cadences, and musical climaxes.! ! Voice combinations sometimes used for text- painting, e.g., three voices to symbolize the Trinity.! ! ! St. Peter’s Basilica, June 29 2012 St. Peter’s Basilica, June 12, 2012 Westminster Abbey Choir, Cappella Musicale Pontificia Sistina .
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