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Sacred Music of the Renaissance

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Sacred Music of the Renaissance 1000 YEARS OF CLASSICAL MUSIC SACRED MUSIC OF THE RENAISSANCE VOLUME 3 | BAROQUE & BEFORE SACRED MUSIC OF THE RENAISSANCE FAST FACTS GREGORIO ALLEGRI 1582–1652 1 Miserere 12’22 • The Renaissance in music stretches from about 1430 to the early 1600s. Solo quartet: Jane Sheldon (solo treble), Belinda Montgomery, Jenny Duck-Chong, Richard Anderson • The most important musical development in this period was polyphony. This means music made up of several independent melodic lines that are played or sung simultaneously. Although each musical line has JOSQUIN DES PREZ c.1440–1521 a different rhythm, they all fit together to make up one harmonious whole. 2 Ave Maria ... virgo serena 5’25 • All of the lines in polyphony are equally important: there’s not one that’s the tune, with the rest just WILLIAM BYRD 1543–1623 background. Different lines might be more prominent at different moments in the music, but the overall 3 Ave verum corpus 4’34 effect is of a smooth, seamless interweaving of musical parts. Belinda Montgomery soprano, Jenny Duck-Chong alto, Paul McMahon tenor, Richard Anderson bass • Most Renaissance polyphony has four or five lines of music. Some of the more complicated pieces have up to eight or even twelve vocal parts, but few have equalled the achievements of Jean de Ockeghem, ROBERT PARSONS c.1530–1570 with his 36-voice canon Deo gratias, and Thomas Tallis, with his 40-part motet Spem in alium. 4 Ave Maria 4’39 • The most famous piece of Renaissance sacred music is the Miserere by Gregorio Allegri. It’s called GUILLAUME DU FAY c.1397–1474 ‘Miserere’ because that’s the first word of the Latin text: ‘Miserere mei, Deus’ (Have mercy on me, 5 Nuper rosarum flores 5’53 O God). Many composers set these words to music, but Allegri’s version is the one that was sung Belinda Montgomery soprano, Paul McMahon tenor regularly in the Sistine Chapel. They thought so highly of it there, that they wanted to keep it for their Richard Black, John Pitman, Richard Anderson cantus firmus own exclusive use, so the church authorities prohibited anyone from making any copies of the music. TOMÁS LUIS DE VICTORIA 1548–1611 It wasn’t until 1770 that Allegri’s Miserere ‘escaped’: the 14-year-old Mozart, on a visit to Rome, heard 6 O magnum mysterium 3’54 a performance and then went away and wrote the music down from memory. JEAN DE OCKEGHEM c.1410–1497 7 Deo gratias for 36 voices 4’29 GIOVANNI PIERLUIGI DA PALESTRINA c.1525–1594 8 Stabat Mater for eight voices 11’20 • Galileo has been under house arrest for five years, for saying that the sun, ANTONIO LOTTI c.1667–1740 not the earth, was the centre of the universe. 9 Crucifixus for eight voices 3’32 • The world’s first public opera house, the Teatro San Cassiano in Venice, is one year old. MICHAEL PRAETORIUS 1571–1621 0 In dulci jubilo for four voices 2’22 • Birth of Louis XIV, the ‘Sun King’; he will become King of France just four years later, reigning for 72 years. PIERRE DE LA RUE c.1460–1518 • Death of John Harvard, a 31-year-old English clergyman who had settled in ! O salutaris hostia 2’32 1638 Massachusetts barely a year earlier. He leaves his library and half his estate to THOMAS TALLIS c.1505–1585 the local college – the future Harvard University. @ Spem in alium for 40 voices 9’35 • Sweden, a major European power at this time, extends its empire to the New World, establishing a settlement in the Delaware Valley. Total Playing Time 72’09 • And in Rome, Gregorio Allegri’s new setting of the Miserere is heard in the Cantillation Sistine Chapel. Antony Walker conductor Brett Weymark conductor 2, 3, 5 — 2 — Sacred music of the Renaissance Pierre de la Rue and Josquin appear side by side in Molinet’s list of master composers in his poem Nimphes des bois, a déploration or lamentation on the death of Jean de Ockeghem (which was in turn set to music by From the first was seen a great host of trumpeters, of players on the lyre and the flute. Each one of them... Josquin). More forward-looking than Du Fay, Ockeghem was the true father of Renaissance music, a technical had adorned himself in raiment sparkling with light...in a perfect fusion of this venerable gathering together of genius whose mastery of counterpoint, sensitive handling of four-part vocal texture, and expressive bass lines such beautiful music and harmonious chords... Yea, in such a wise that the melodies of the angels and of divine – he was famous for his own fine bass voice – provided a model for an entire generation of composers across paradise, and the songs descending from heaven unto us here below, by means of so incredible a sweetness, Europe. Among his most intricate creations are the Missa Cuiusvis toni, designed to be performable in any of rightly seemed to murmur in our ears something of the ineffable and of the divine... the available modes, and the Missa Prolationum, constructed entirely in canon with each part in a different time Thus wrote Giannozzo Manetti of the events of 25 March 1436: the consecration of the dome of Florence signature, and with the canon in each section built on a different interval – the different voices starting on the Cathedral amid immense pomp and splendour. The dome itself was a miracle of engineering. Brunelleschi, same pitch in the first section, then a tone apart, then a third apart, all the way through to canon at the octave. inspired by the construction feats of the ancient Romans, had found a way to support the massive weight Regardless of the level of complexity, Ockeghem’s writing remains seamless, a gradually evolving soundscape of the structure, 40 metres in diameter and a remarkable 56 metres high: an octagonal ribbed dome with a articulated by familiar melodic shapes. reinforced double shell. Central to the ceremony was a miracle of musical composition: the motet Nuper Even for Ockeghem, the 36-part canon Deo gratias represents an extraordinary achievement: four choirs of rosarum flores by French composer Guillaume Du Fay. nine voices, each choir singing its own line in a nine-fold canon. The Superius and Altus choirs (here sung by The work is an isorhythmic motet, a musical style grounded in the medieval aesthetic which saw music and the sopranos and tenors respectively) come to rest one after another on a single, swelling C, under which the geometry as equal branches of knowledge. Such motets are constructed on a rhythmic pattern which is Tenor and Bassus choirs continue to weave their own canonic lines until the piece finally settles on a glorious repeated, often independently of the melody to which it is sung. In Nuper rosarum flores, there is a double F major chord. American music theorist Edward Lowinsky points to the medieval Christian mystical tradition of isorhythm (reflecting the double dome of the cathedral): two interlocking rhythmic patterns, in the two lowest liturgical music as the echo of angelic hymns, inspired by Old Testament accounts of angels unceasingly calling voices. The isorhythm is sung four times, each time taking a different note value as the basis of the pattern. out the praises of God to each other, as if with a single voice. Lowinsky suggests that this image may have So the shortest note in the pattern, a dotted semibreve the first time, is a semibreve the second time, then a been Ockeghem’s inspiration for his Deo gratias, a constant chain of canonic entries suggesting the angels’ minim, then a dotted minim: a ratio of 6 : 4 : 2 : 3. The temple of Solomon in Jerusalem, as described in the Old unending and overlapping repetition of the simple shout of praise, ‘Thanks be to God!’ This could also explain Testament, was built in the same proportions: 60 cubits long, with a main hall 40 cubits long in front of the inner Ockeghem’s decision to write nine voices in each choir, a symbolic representation of the nine orders of angels sanctum, 20 cubits wide and 30 cubits high. And the cathedral in Florence had been constructed to reflect those (Seraphim, Cherubim, Thrones, Dominions, Virtues, Powers, Principalities, Archangels and Angels). same proportions. Curiously, the score of Deo gratias was lost, and Ockeghem’s immense achievement became no more than The melody of the isorhythm phrase is based on the Gregorian chant Locus iste, the text of which is an scarcely believable rumour in the following centuries; Fétis, author of the seminal eight-volume Biographie affirmation of the overwhelming holiness of the house of God. Around this, two upper voices weave an universelle des musicians (1860–65), scoffed, ‘I will say it again, a composition like that was absolutely elaborate filigree singing a hymn in praise of the pope, Eugenius IV, who was dedicating the cathedral, and of impossible in Ockeghem’s day.’ It was not until 1877 that the work was rediscovered. the Virgin Mary, patron saint of the cathedral (Santa Maria del Fiore). When Englishman Thomas Tallis, a century after Ockeghem, was challenged by Thomas Howard, Duke of Du Fay stands at the gateway between Medieval and Renaissance music, able to incorporate the contemporary Norfolk, to equal the feat of an Italian composer who was reputed to have written ‘a songe ... in 30 parts developments in contrapuntal techniques into such traditional genres as the isorhythmic motet. By the time (whence the Italians obteyned the name to be called the Apices of the world) wch beeinge songe mad a of Josquin des Prez, however, the pace of stylistic change had picked up dramatically.
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