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Unlike Arcadelt and Verdelot, Willaert preferred the complex textures of polyphonic language, thus his madrigals were like motets, although he varied the compositional textures, between homophonic and polyphonic passages, to highlight the text of the stanzas; for verse, Willaert preferred the sonnets of Petrarch.
Fair Phyllis (also Fair Phyllis I saw, Fair Phyllis I saw sitting all alone) is an English madrigal by John Farmer. The music is polyphonic and was published in 1599. The madrigal contains four voices and uses occasional imitation. It also alternates between triple and duple beat subdivisions of the beat in different parts of the work.
The Renaissance motet is polyphonic, sometimes with an imitative counterpoint, for a chorus singing a Latin and usually sacred text. It is not connected to a specific liturgy, making it suitable for any service. Motets were sacred madrigals and the language of the text was decisive: Latin for a motet and the vernacular for a madrigal. [16]
Madrigal – Polyphonic musical setting of poetry, usually sung without instrumental accompaniment. 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.
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 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.
He published his one collection of madrigals, for five voices, in 1547. Stylistically many of these madrigals are like the frottolas he had written forty years before; a few others use a polyphonic style akin to the motet. While most of his madrigals are for five voices, most published in his one book, he wrote several for three voices. [1]
A madrigale spirituale (Italian; pl. madrigali spirituali) is a madrigal, or madrigal-like piece of music, with a sacred rather than a secular text.Most examples of the form date from the late Renaissance and early Baroque eras, and principally come from Italy and Germany.