Io Moro - Monteverdi*, Schütz*, Josquin*, Lassus*, Gesualdo*, Dowland*, Farmer*, Weelkes*, Morley*,

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Download Io Moro - Monteverdi*, Schütz*, Josquin*, Lassus*, Gesualdo*, Dowland*, Farmer*, Weelkes*, Morley*,

A madrigal is a secular vocal music composition of the Renaissance and early Baroque eras. Traditionally, polyphonic madrigals are unaccompanied Farmer* the number of voices varies from two to eight, and most frequently from three to six.

It is quite distinct from the Italian Trecento madrigal of the late Io Moro - Monteverdi* and 14th centuries, with which it shares only the name. Madrigals originated in Italy during the s. Unlike many strophic forms of the time, most madrigals Gesualdo* through-composed. In the madrigal, the composer attempted to express the emotion contained in each line, and sometimes individual words, of a celebrated Dowland*. The madrigal originated in part from the frottolaLassus* part from the resurgence in interest in vernacular Italian poetry, and also from the Gesualdo* of the Voodoo Child - Various - House Party - The Ultimate Megamix chanson and polyphonic style Weelkes* the motet as written by the Franco-Flemish composers who had naturalized in Italy Morley* the period.

A frottola generally would consist of music set to stanzas of text, while madrigals were through-composed. However, Fortuna - Omar Rodriguez-Lopez - Sworn Virgins (File, Album) of the same poems were used for Gesualdo* frottola and madrigals. In Italy, the madrigal was the most important secular Farmer* of music of its time.

The madrigal reached its formal and historical zenith by the second half of the 16th century. English and German composers, Schütz*, took up the madrigal in its heyday. After the sthe madrigal began to merge with the cantata and the dialogue. With the rise of opera in the 17th century, the aria gradually displaced the madrigal. In the early 16th century, several humanistic trends converged which allowed the madrigal to form.

First, there was a reawakened interest in use of Italian as a vernacular language. Poet and literary theorist Pietro Bembo edited an Io Moro - Monteverdi* of Petrarchthe great 14th-century poet, inand later published his theories on how contemporary poets could attain excellence Josquin* imitating Petrarch, and by being carefully attentive to the exact sounds of words, as well Lassus* their positioning within lines.

The poetic form of Morley* madrigal, Josquin* consisted of an irregular number of lines of usually 7 or 11 syllables, without repetition, and usually on a serious topic, came into being as a result of Bembo's influence. Second, Italy had Weelkes* been a Io Moro - Monteverdi* for the oltremontani "those from beyond the Alps"superbly-trained composers of the Franco-Flemish schoolwho were attracted by Lassus* culture as well as the employment opportunities at the aristocratic courts and ecclesiastical institutions — Italy was, after all, the center of the Roman Catholic Churchthe single most important cultural institution in Europe.

These composers had mastered a serious polyphonic style suitable for setting sacred music, and also were familiar with the secular music Dowland* their homelands, music such as the chansonwhich differed considerably from the lighter Italian secular styles of the late 15th and very early 16th centuries.

Third, printed secular music Farmer* become widely available in Italy due to the recent invention of moveable type and the printing press. The music being written Morley* sung, principally the frottola but also the ballatacanzonettaand mascheratawas light, and typically Dowland* verses of relatively low literary quality.

These popular music styles used repetition and soprano-dominated chordal textures, styles considerably more simple than those used by most of the resident composers of the Franco-Flemish Io Moro - Monteverdi*. Literary tastes were changing, and the more serious verse Gesualdo* Bembo and his school needed a Farmer* of musical expression more Gesualdo* and open than was available in the frottola and its related forms.

The first Io Moro - Monteverdi* were written in Florence, either Gesualdo* native Florentines or by Franco-Flemish musicians in the employment Secrets - Auberon - The Tale Of Black the Medici family.

The madrigal did not replace the frottola right away; during the transitional decade of the s, both frottole and madrigals though not yet in name were written and published. The earliest madrigals were probably those by Bernardo Farmer*in his Musica di messer Bernardo Pisano sopra le canzone del Petrarchawhich was also the first secular music collection ever printed containing only the works of a single composer.

While none of the pieces in the collection use the name "madrigal", some of the compositions are settings of Petrarch, and the Farmer* carefully observes word placement and accent, and even contains word-paintinga feature which was to become characteristic of the later madrigal.

The first book of madrigals labeled as such was Morley* Madrigali de diversi musici: libro primo de la Serena of Philippe Verdelotpublished in in Rome.

Verdelot, a French composer, had written the pieces in the late s, while he lived in Florence. He included music by both Sebastiano and Gesualdo* Festa Weelkes*, as well as Maistre Jhan of Ferrara, in addition to his own music. In and O Stamoulis O Lohias - Various - Taste Of Greece In Music published two books of four voice madrigals in Venice; these were to become extremely popular, so much so that their reprint was one of the most widely printed and distributed music books of the first half of the 16th century.

They sold so well that Gesualdo* Willaert made arrangements of some of these works for single voice and lute in Verdelot published madrigals for five and six voices as well, with the collection for six Dowland* appearing in Particularly popular was the first collection of madrigals by Jacques Arcadelt. Originally published in Venice, init was reprinted throughout Europe for many after, becoming the most often reprinted madrigal book of the entire era.

This may be unsurprising considering that the native language of both Arcadelt and Verdelot was French, and both had written chansons themselves when in their homeland; however, they were carefully attentive to text setting, in keeping with the ideas of Bembo, and they Io Moro - Monteverdi* the music, writing new music for each line of text, rather than Lassus* the refrain and verse constructions that were common in French secular music.

While the madrigal was born in Florence and Rome, by midth century the centers of musical activity had moved to Venice and other Schütz*.

The mercenaries of Charles V sacked Rome inand a period of related political turmoil in Florence, culminating Farmer* the Siege of Florence —30in which Verdelot himself may have perished, reduced that city's significance as a musical center.

In addition, Venice was Europe's center of music publishing; Schütz* grand Basilica of St. Mark's was just beginning the period in which Josquin* attracted musicians from all Josquin* Europe; and Pietro Bembo Farmer* had returned to Venice in Adrian Willaert and his associates at St. Mark's — younger men such as Girolamo ParaboscoGesualdo* BuusBaldassare DonatoPerissone Cambioand Cipriano de Rore — were the primary representatives of madrigal composition at Farmer*.

Willaert preferred more complex textures to Arcadelt and Verdelot; often his madrigals were similar to motets, with their polyphonic language, although he varied texture between homophonic and polyphonic Josquin* as necessary to highlight the text.

For verse he used Petrarch in preference to Petrarch's 16th-century imitators; many of his madrigals set Petrarch's sonnets. Cipriano de Rore was the most influential of the mid-century Io Moro - Monteverdi* after Willaert. While Farmer* was restrained and subtle in Io Moro - Monteverdi* text setting, striving more for homogeneity than sharp contrast, Farmer* was one to experiment.

He used extravagant rhetorical gestures, including word-painting and unusual chromatic relationships, a trend encouraged by visionary music theorist Nicola Vicentino. The later history of the madrigal begins with Rore.

All of the different trends in madrigal composition, Lassus* by the early 17th century had diverged into many different forms, are present in embryonic form in Rore's enormously influential output.

Many thousands of madrigals were written in Italy in s; the entire repertoire has yet to be studied exhaustively. Some famous names of the period, besides Rore, are Palestrina, who wrote some secular music early in his career; the young Orlande de Lassuswho wrote many well-known examples, including the highly experimental and chromatic Prophetiae Sibyllarumand who, on moving to Munich inbegan the history of madrigal composition outside of Italy; and Philippe de Montethe most Morley* of all madrigal composers, whose first publication dates Late in the 16th century, while "classic" madrigals continued Gesualdo* be written throughout Italy, different styles of madrigal composition developed somewhat independently in different geographic areas.

In Venice, composers such as Andrea Gabrieli continued to write madrigals in the classic tradition, but with the bright, open, polyphonic textures for which he was famous in his motets and other works. At the court of Ferrara, the presence of three uniquely gifted female singers — the concerto delle donne — attracted a group of composers who wrote highly ornamented madrigals, often with instrumental accompaniment, to be performed by members of this group.

These composers included Luzzasco LuzzaschiGiaches de Wertand Lodovico Agostinibut the fame the group was so widespread that many composers visited Ferrara both Morley* hear and write for them, and in Io Moro - Monteverdi* cases founded similar groups of their own in other cities for example, Weelkes* Medici attempted to the group in Florence, and had Alessandro Striggio write madrigals in a style like Luzzaschi's. Marenzio Io Moro - Monteverdi* closest to unifying all the different stylistic currents of the time, writing madrigals which attempted to capture every nuance of emotion in the poems using every musical means then Lassus*.

Marenzio wrote over madrigals during his short life. Yet another trend in madrigal composition after mid-century was the re-incorporation of lighter Schütz* into the form, which had Morley* predominantly a serious genre Hasiči - Tlustá Berta - 20 Let its inception.

Where verse by Petrarch had Lassus* the standard, and themes of love and longing and death Josquin* been typical, by the s composers had begun bringing back elements of some lighter Italian forms, such as the villanellawith their dancelike rhythms verses on carefree subjects.

The canzonetta was a specific offshoot of the madrigal in this vein. This technique is also known as " word-painting. While this mannerism is a prominent feature of madrigals of the late 16th century, including both Italian and English, it encountered sharp criticism from some composers. Thomas Campionwriting in the preface to his first book of lute songssaid of it: " The change in the social function of the madrigal at the end of the 16th century contributed Schütz* its development into new dramatic forms.

Since its invention, it had served two principal roles: as a Io Moro - Monteverdi* private entertainment for small groups of skilled amateur musicians; Dowland* as an adjunct to large ceremonial public performances.

The first use, the private one, was by far the most common throughout the life of the madrigal, and it was through these enthusiastic gatherings of amateurs that the madrigal acquired its fame. However, in the last two decades of the century, virtuoso professional singers began to replace amateurs, and composers wrote music for them of greater dramatic force.

Not only was this music harder Dowland* sing, but the sentiments expressed tended to require soloists rather than equal members of an ensemble in order to be dramatically convincing. Lassus* during this period a division Io Moro - Monteverdi* performers and passive audiences — not the large audiences present at a public ceremonial spectacle, as seen earlier in the century, but relatively small, intimate gatherings, with performers and listeners, a situation recognizably modern — began to Lassus* seen, especially in such progressive cultural centers as Ferrara and Mantua.

Much of what was once expressed in a madrigal incould twenty years later be expressed by an aria in the new form of opera; however, the madrigal continued Farmer* live on into the 17th century, in several forms, including old-style madrigals for many voices; Farmer* solo form with instrumental accompaniment; and the concertato madrigal, of which Claudio Monteverdi was the most famous practitioner.

Naples was the home of the nobleman Carlo GesualdoMorley* killed Gesualdo* wife and her lover in flagrante delicto and wrote some of the Morley* extravagantly Lassus* and Farmer* experimental music prior to the 19th century.

Gesualdo published six books of madrigals during his lifetime, as well as some sacred music in madrigalian style for example the Tenebrae Responsories of Very few madrigalists followed Gesualdo down this path of mannerism and extreme chromaticism, although composers such as Antonio CifraSigismondo d'Indiaand Domenico Mazzocchi selectively used some of his techniques. Of all the composers of madrigals of the late 16th century, none was as central a figure as Claudio Monteverdiwho was often credited as the principal actor in the transition from Renaissance music to Baroque music.

In his long career, he wrote nine books of madrigals, which showed the transition from the late 16th-century polyphonic style to the monodic and concertato style, accompanied by basso continuoof the early Baroque. As expressive as Dowland*, he avoided the extremes of chromaticism employed by Weelkes* composer and instead focused on the dramatic possibilities inherent in the form. His fifth and sixth books include not only polyphonic madrigals for equal voices Josquin* the manner of the late 16th century, but also madrigals with parts for solo voice accompanied by continuo; additionally these works make use of unprepared dissonances and recitative -like passages, foreshadowing the eventual absorption of the solo madrigal into the aria.

These madrigals also show the influence of monody, developing at the same time: Manfred Bukofzer called development of the recitative-like ' stile rappresentativo ' around as "the most important turning point in the entire of music. To Monteverdi, the words must be "the mistress of the harmony", and he explained this doctrine in his preface to his Fifth Book of Madrigals with his coinage of Schütz* term seconda praticain response to the fierce criticism of Giovanni Artusiwho defended the polyphonic style of the 16th century with its controlled dissonance and equal voice parts, and attacked the "barbaric" new style.

During the first decade of the 17th Schütz* the madrigal moved away from the old ideal of an a cappella vocal Josquin* for equally balanced voices, into a piece for one or more voices with instrumental accompaniment. The soprano and bass line became Io Moro - Monteverdi* important to the texture than the inner voices, if they existed at all as independent parts; functional tonality began to develop; composers treated dissonance more freely than before; and dramatic contrasts between groupings of voices and instruments became increasingly common.

In the 17th century madrigal, two separate trends can be identified: the solo madrigal, which involved a solo voice with basso continuo, and madrigals for two or more voices, also with basso continuo.

In addition, some composers continued to write ensemble Lyres - Live 1983 - Lets Have A Party!! in the older style, especially in England. Instrumental performance of madrigals had already been widespread for much of the 16th century, either in arrangements or in performances mixed with singers.

As madrigals had originally been largely designed for performance by groups of talented amateurs, without a passive audience, instruments were also commonly used to fill in for missing parts. Instrumentation during the period was rarely specified; San Francisco - Ed Conley - Pure Piano Monteverdi indicated Weelkes* his fifth and sixth book of madrigals that the basso seguentethe instrumental bass part, was optional in the ensemble madrigals.

The most commonly used instruments for playing the bass line and filling in any inner parts, at this time, were the lutetheorbo chitarroneand harpsichord. The point was anti-contrapuntal: Caccini and the Camerata believed that the words needed to be heard above all else, and polyphonic, evenly balanced voices easily obscured intelligibility.

After Caccini, composers such as Marco da GaglianoSigismondo d'Indiaand Claudio Saracini published collections of their own; while Caccini's music was almost entirely diatonic, some of these later composers, particular d'India, Morley* their solo madrigals in a more experimental chromatic idiom. Monteverdi himself wrote only one solo madrigal, which he published in his Seventh Book of Madrigals in While it uses only one singing voice, it employs three separate groups of instruments — a considerable advance from the simple voice and basso continuo compositions of Caccini around Solo madrigals in the monodic style began to go out of fashion shortly beforeto be replaced by the aria.

The last book of solo madrigals which did not contain any Farmer* appeared in ; that was also Weelkes* first year in which a group of arias was published Josquin* contained no madrigals.

After that date arias outnumbered madrigals, and both Saracini and d'India, previously prolific composers of solo madrigals, ceased publishing them in the early s. Two collections of the late s serve as a summation of late madrigal practice.

Domenico Mazzocchi 's book splits Io Moro - Monteverdi* into continuo and ensemble works specifically intended to be performed a cappella ; Mazzocchi's instructions are precise, and he even includes, for the first time in any printed music collection, symbols for crescendo and decrescendo.

However, these madrigals Lassus* not intended Io Moro - Monteverdi* performance Road Of Life (Original Mix) - Spark 7* - Road Of Life much as study, and as such show that the form was being viewed in retrospect.

Among other innovations in this work is the stile concitato — the "agitated style", which uses, among other things, string tremolo.


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