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As a composition, the madrigal of the Renaissance is unlike the two-to-three voice Italian Trecento madrigal (1300–1370) of the 14th century, having in common only the name madrigal, [6] which derives from the Latin matricalis (maternal) denoting musical work in service to the mother church [2] [need quotation to verify] or from the post ...
The relationship between the forms is clearest in composers of sacred music, such as Giovanni Pierluigi da Palestrina, whose "motets" setting texts from the Canticum Canticorum are among the most lush and madrigal-like, while his madrigals using Petrarch's poems could be performed in a church.
However, he was a skilled composer for voices as well, and composed more than 250 vocal works (chansons, madrigals, motets and Psalms). [ citation needed ] Some of Sweelinck's innovations were of profound musical importance, including the fugue —he was the first to write an organ fugue which began simply, with one subject, successively adding ...
The motet-chanson was a specialized musical form of the Renaissance, developed in Milan during the 1470s and 1480s, which combined aspects of the contemporary motet and chanson. Many consisted of three voice parts, with the lowest voice, a tenor or a contra , singing a sacred text in Latin, drawn from chant , while the two upper voices sang a ...
The madrigal, up until its development in the early Baroque into an instrumentally accompanied form, is also usually in a cappella form. The Psalms note that some early songs were accompanied by string instruments, though Jewish and Early Christian music was largely a cappella; [ 6 ] the use of instruments has subsequently increased within both ...
The term itself is a recent invention of scholars. No composer of the 17th century ever called a piece a monody. Compositions in monodic form might be called madrigals, motets, or even concertos (in the earlier sense of "concertato", meaning "with instruments").
Carlo Gesualdo da Venosa (between 8 March 1566 and 30 March 1566 – 8 September 1613) was an Italian nobleman and composer. Though both the Prince of Venosa and Count of Conza, he is better known for writing madrigals and pieces of sacred music that use a chromatic language not heard again until the late 19th century.
The Lagrime di San Pietro is probably the most famous set of madrigali spirituali ever written. Although sacred madrigals were a small subset of the total output of madrigals, this set by Lassus is often considered by scholars to be one of the highest achievements of Renaissance polyphony, and appeared at the end of an age: within 10 years of its composition, the traditional stile antico had ...