Renaissance Sacred Music Part 1 Early & Middle Renaissance Church Music Early Renaissance There is not a considerable difference between late medieval & early renaissance sacred music. There are some technical differences – but this is a subject for a more advanced music class. This is sacred music primarily of the 15th century (1400’s). Renaissance Church Choir Fresco of Mary & Jesus Manuscript of ‘Kyrie’ Early Renaissance The sacred music of the middle ages ended with the music of Perotin & Machaut. Their polyphonic (multi-voice) music was some of the most complex and beautiful music written. This tradition continued with several other composers. In the northern France & Belgium area (Franco-Flemish), a group of composers took this style of polyphonic church music to greater levels of complexity. There are actually 10-12 composers that most books mention for this period. For this class, we’re going to briefly mention three. Guillaume Dufay (c.1397-1474) Johannes Ockeghem (c.1425-1497) Josquin des Prez (c.1450-1521) Johannes Ockeghem Josquin des Prez Guillaume Dufay (right) Guillaume Dufay Considered the most famous and influential sacred music composer of the mid 15th century (c.1450). Most famous for motets and masses. He traveled all over Europe and absorbed styles from Germany, Italy, Spain, etc. He did write some secular music – chansons, etc. Here is a performance of “Kyrie”–a prayer from mass ordinary. Johannes Ockeghem Considered to be the most influential composer between Dufay & Josquin des Prez. He was an honored singer, choirmaster & teacher. Wrote in the usual genres of his day, masses, motets, etc. 13 full mass settings survive in the Chigi Codex, a primary source music book from the ‘Franco-Flemish’ school of music. One setting of ‘Kyrie’ from the Chigi Codex Johannes Ockeghem Here’s one of his settings on the ‘Kyrie’ prayer. This one is from a Missa Prolationum where the melody is imitated at different speeds.. Josquin des Prez Usually referred to as ‘Josquin’ Considered the master of the high Renaissance style of polyphonic music – central composer of the Franco-Flemish school. Not much is known about his personal life and the only original work from his own hand is a small section on the wall of the Sistine Chapel. Due to his enormous reputation, cataloging his works is difficult, many works written at this time were falsely attributed to him. Wrote both sacred & secular music. Was particularly effective in the use of satire in his chansons & frotolas. Left 3 examples of the ‘motet-chanson’–a hybrid form combining the polyphony of a motet with the subject matter of a chanson. This is a foreshadow of the madrigal. Josquin left behind an enormous amount of music (over 370 works). His influence, especially his motets, was significant, making him one of the greatest composers for any time period. Josquin des Prez This is ‘Kyrie’ from the Missa Pange Lingua, considered one of Josquin’s finest masses. It’s based on a hymn by hymn by Saint Thomas Aquinas. Council of Trent Council of Trent The music of Josquin and his contemporaries, although beautiful, was quite complex and difficult to understand. There are examples of motets that had lines begin sung in different languages at the same time! Also, some composers were using inappropriate street tunes as the basis for their masses & motets. In 1545, Pope Paul III convened the Council of Trent, made up of the leading cardinals and bishops of the day. Their primary concern was the Protestant Reformation (again… a huge topic for another class). They were concerned with the direction of music in the church – more specifically Clarity of text. Subject of the source material. They were ready to do away with polyphony all together, going back to plainchant – until one composer, Palestrina, helped them accept polyphony. It should be noted that some historians claim that church music was not officially discussed, but only mentioned as a side topic and off the record. Palestrina Giovanni Pierluigi da Palestrina is often considered the finest composer of the Renaissance. Although he wrote in all genres of the day, he is best known for his mass settings, most specifically, Missa Papae Marcelli (Pope Marcellus Mass). He was a member of various church choirs as a boy, eventually ending up in Rome – the place to be for a church musician. He was effective in conforming to the various reforms in church music throughout the Renaissance while maintaining his own artistic integrity. His best know work, Pope Marcellus Mass, was written while he was working in Rome. The mass was written for Pope Marcellus II, who only lived for 15 days after becoming Pope. Palestrina left behind a LARGE amount of music. Mostly mass settings, but there are also motets, hymns and even secular madrigals. His music is studied today as some of the finest examples of Renaissance sacred music. Palestrina Here is the ‘Kyrie’ from the Pope Marcellus Mass by Palestrina. Palestrina The End Bouguereau – ‘Song of Angels’ Rafael – ‘Transfiguration Tomorrow – Part II – St. Marks Cathedral.