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In the fifth book of madrigals, using the term seconda pratica (second practice) Monteverdi said that the lyrics must be "the mistress of the harmony" of a madrigal, which was his progressive response to Giovanni Artusi (1540–1613) who negatively defended the limitations of dissonance and equal voice parts of the old-style polyphonic madrigal ...
Giovanni Pierluigi da Palestrina, lithograph by Henri-Joseph Hesse. This is a list of compositions by Giovanni Pierluigi da Palestrina, sorted by genre.The volume (given in parentheses for motets) refers to the volume of the Breitkopf & Härtel complete edition in which the work can be found.
On occasion, existing madrigals were merely fitted with a religious text, usually in Latin, without any other change (such adaptations are called "contrafacta"). However, some of the madrigali spirituali reached heights of expressive and emotional intensity at least equal to that of the finest madrigalists in their secular compositions.
Madrigal comedy – Collection of madrigals arranged to tell a story, often comic or satirical. Madrigale spirituale – Type of Italian madrigal adapted for religious texts. Mass – Sacred musical composition of the Eucharistic liturgy. Cyclic mass – A mass where the various movements are united by a common musical theme.
[34] [121] The Selva morale volume opens with a series of madrigal settings on moral texts, dwelling on themes such as "the transitory nature of love, earthly rank and achievement, even existence itself". [122] They are followed by a Mass in conservative style (stile antico), the high point of which is an extended seven-voice "Gloria".
For his texts, Arcadelt chose poets ranging from Petrarch (and his setting of a complete canzone, as a set of five interrelated madrigals, was the predecessor of the vogue for madrigal cycles), Pietro Bembo, Sannazaro, to Florentines Lorenzino de'Medici, Benedetto Varchi, Filippo Strozzi, and Michelangelo himself, to others such as Luigi ...
It contains a number of polyphonic Italian Trecento madrigals, ballate, sacred mass movements, and motets, and 15 untexted monophonic instrumental dances, which are among the earliest purely instrumental pieces in the Western musical tradition.
It contains words and full music for some 60 of the madrigals and songs of the English Madrigal School. When selecting works for this book, Ledger decided to represent the major composers of 16th-century English music such as William Byrd and Thomas Morley with several madrigals, alongside individual works by lesser-known composers.