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Micheline's Blog

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Tag Archives: Franco-Flemish school

Guido Reni & Tomas Luis de Victoria

18 Saturday Oct 2014

Posted by michelinewalker in Art, Liturgy, Music

≈ Comments Off on Guido Reni & Tomas Luis de Victoria

Tags

Atalanta & Hippomenes, Denis Calvaert, Franco-Flemish school, Guido Reni, Hermann of Reichenau, High Baroque, Marian Antiphons, Tomas Luis de Victoria

640px-Guido_Reni_015

Guido Reni, Charity, 1604 – 1607 (Photo credit: WikiArt.org)

For Catholics, Charity is the most important of the three theological virtues: faith, hope, charity. The events of the past week brought the word charity to my mind. I faced several obstacles because I could not provide a credit card number.

But let us turn to Marian Hymnology, Guido Reni‘s art and Tomás Luis de Victoria‘s compositions. We will call it a pause.

Marian Hymnology: Four Antiphons

By clicking on the titles below, you will be at Notre-Dame de Paris. On the left side of the page are the titles of the four Marian Antiphons. Choose the antiphon you wish to listen to. You will also be provided with the words.

  • Alma Redemptoris Mater (Advent through February 2)
  • Ave Regina Cælorum (Presentation of the Lord through Good Friday)
  • Regina Cœli (Easter season)
  • Salve Regina (from first Vespers of Trinity Sunday until None of the Saturday before Advent)
Hermann der Lahme

Hermann der Lahme (Photo credit: Wikipedia)

The Extraordinary Hermann of Reichenau

The Salve Regina is one of the four Marian Antiphons. It was composed (Gregorian Chant) by Hermann of Reichenau (18 July 1013 – 24 September 1054) who was severely crippled and spent most of his brief life at the Benedictine Abbey of Reichenau. Hermann “the lame” became a monk. He was a scholar, a composer, a music theorist, a mathematician, an astronomer, and a linguist.

However, the composition, I have inserted at the foot of this post is not Gregorian chant, but a setting by prominent Spanish composer Tomás Luis de Victoria (c. 1548 – 27 August 1611) of the lyrics of the Salve Regina. It is a combination the French would call heureuse, happy.

Guido Reni

Guido Reni (4 November 1575 – 18 August 1642) was born in Bologna. He is a high Baroque artist remembered for his use of luminous colours. The painting shown above does not reveal this characteristic. It is somewhat and successfully monochromatic. His themes were biblical and mythological and therefore consistent with the subject-matter of painters of his era. The little children he depicted resemble putti, but putti (plural for putto) have wings.

Apprentice to Denis Calvaert: Franco-Flemish School

Reni was an apprentice to Flemish artist Denis Calvaert (1540 – 16 April 1619), often called Il Fiammingo due to his origins. In the very late Middle Ages, just prior to the Renaissance,[1] Flanders was the cultural hub of Europe. Adrian Willaert of the Franco-Flemish school taught music to students in Venice who were very gifted and whose love for music was exceptional. In turn, the Italians created the French Overture. It was introduced in France by composer Jean-Baptiste Lully, born Giovanni Battista Lulli. Lulli was also a dancer and choreographer who worked with French playwright Molière (1622 – 1673).

Early Recognition

Guido moved to Rome in 1601 and his first commission was an altarpiece of the Crucifixion of St. Peter. During this period of his life, Guido’s patron was Paolo Emilio Sfondrati (1560 – 14 February 1618). According to Britannica, Reni was later influenced by the novel naturalism of the Carracci, a family of artists: Annibale, Agostino and Ludovico.

Guido was soon recognized as a master. He was a painter to Pope Paul V (Borghese). We owe him many frescoes.­­

Guido’s Style: “serene”

According to Britannica,

The mood of his paintings is calm and serene, as are the studied softness of colour and form. [2]

Britannica also states that Guido’s compositional choices in 

Atalanta and Hippomenes” (1625) show his preference for gracefully posed figures that mirror antique ideals. [3] 

Hippomenes won the race dropping apples.

Atalanta and Hippomenes

Atalanta and Hippomenes, 1625 (Photo credit: WikiArt.org)

The Adoration of the Shepherds (Photo credit: WikiArt.org)

The Adoration of the Shepherds (Photo credit: WikiArt.org)

Guido went to Naples to complete a commission to paint a ceiling in a chapel of the San Gennaro, but it appears competitors attempted to poison him, which emphasizes his talent as an artist. In 1625, Polish Prince Władysław Sigismund Vasa visited Reni’s studio in Bologna, which led to the purchase by the Prince of several works by Guido Reno. Guido survived the plague of 1630 that claimed many lives in Bologna. He was then painting the Pallion del Voto “with images of St. Ignatius and Francis Xavier,” produced during the plague of 1630 that befell Bologna. (See Guido Reni, Wikipedia.)

Guido died in 1642 and is buried next to Elisabetta Sirani (1638 – 1665) in the Rosary Chapel of the Basilica of San Domenica. Elisabetta Sirani’s story is told by Germaine Greer, in chapter XI, entitled The Bolognese Phenomenon, of The Obstacle Race.[4]

RELATED ARTICLES

  • Posts on Marian Hymnology  (7 January 2013)
  • “And life sprouts up from root to branch?” (5 April 2012)

My kindest wishes to all of you.

____________________

[1] “Western music.” Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2014. Web. 18 Oct. 2014. <http://www.britannica.com/EBchecked/topic/398976/Western-music>.

[2] “Guido Reni”. Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2014. Web. 18 Oct. 2014. <http://www.britannica.com/EBchecked/topic/498122/Guido-Reni>.

[3] Ibid.

[4] Germaine Greer, The Obstacle Race (New York: Farrar Straus Giroux, 1979).

Salve Regina, Tomás Luis de Victoria (c. 1548 – 27 August 1611)
????????????

Beatrice Cenci, oil painting by Guido Reni; in the Galleria Nazionale, Rome Alinari/Art Resource, New York (Britannica)

© Micheline Walker
18 October 2014
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The Netherlandish Renaissance: a Glimpse

01 Sunday Dec 2013

Posted by michelinewalker in Art, Music

≈ 4 Comments

Tags

Adrian Willaert, Albrecht Dürer, Franco-Flemish school, Hare, Heinrich Isaac, mistakes, Netherlands, Renaissance

 hare-1528-1
Hare by Albrecht Dürer, 1528
 

Little Mistakes

Once my post on Uncle Tom’s Cabin was published, on 29 November 2013, I realized there were mistakes: typos and repetitions.  So I played editor and now fear that WordPress will fire me.  They should!

Typos and repetitions are the bane of people who suffer from Chronic Fatigue Syndrome /Myalgic Encephalomyelitis.  We repeat  sentences, misspell words and get lost in mid-sentence.  Fortunately, we are perfectly lucid.  CFS/ME is a neurological illness for which there is no known cure.

CFS/ME may be triggered by the H1N1 virus (1976 epidemic), which is my case.  It is a debilitating condition, but it can be managed.  One must organize one’s daily activities.  Never go beyond your limits and ignore the people who think you are an imaginary invalid and tell you to go to a gym every day.  If you do, you may not have sufficient energy to lead a ‘normal’ life, i.e. to earn a living. Exercise in moderation.

About Harriet Beecher Stowe’s Uncle Tom’s Cabin (1852)

In my post, I  stated that Harriet Beecher Stowe (14 June 1811 – 1 July 1896) was not an abolitionist, which seemed strange.  Sources differ.  According to Wikipedia, Stowe was an abolitionist, but not according to the Oxford Companion to American Literature.

I doubt that anyone made a mistake.  Beecher’s views may have changed.  For instance, she travelled to Kentucky to escape a cholera epidemic and was taken to a slave auction, which was a wake-up call.  Moreover, at some point in her life, she and her father, Lyman Beecher, an austere and controversial figure, parted ways.  Finally, she married Calvin Ellis Stowe (6 April 1802 – 22 August 1886), an active abolitionist and a member of the Underground Railroad.

My next post is almost ready, so this is an ‘in-between’ post.

imagesCARO0FZR

The Netherlandish & Northern Renaissance

The hare featured above is Albrecht Dürer‘s (21 May 1471 – 6 April 1528).  It must be one of Dürer’s last paintings.  It is a watercolour painting, but the white specks on the hare’s fur are little touches of gouache.  Gouache was also applied to the hare’s nose.

Dürer did not let his colours run.  He painted on dry paper (cotton), which has remained an acceptable practice.  He was a superb draftsman who often used ink and personalized his art using a logo (shown above).

Albrecht lived during the Northern Renaissance.  But, at that moment in history, the Netherlands was the cultural hub of Europe, especially in the area of music.  The Franco-Flemish style dominated Western music.  Adrian Willaert (ca 1490 – 7 December 1562) was asked to go to Venice, where he founded the Venetian School.  At that time, musicians were perfecting polyphony, combining voices.

Heinrich Isaac: Netherlandish Renaissance

The music is Heinrich Isaac‘s (c. 1450 – 26 March 1517) Innsbruck, ich muss dich lassen, Innsbruck, I must leave you.  Isaac is associated with the Netherlandish Renaissance. Innsbruck, ich must dich lassen is one of the most famous compositions in Western music.  It was made into a Lutheran chorale entitled O Welt, ich muss dich lassen (O World, I must leave you).  It was also used by Johann Sebastian Bach (31 March 1685 – 28 July 1750) in In allen meinen Taten, a Church cantata, BMW 97.

446px-Innsbruck_castle_courtyardcourtyard-of-the-former-castle-in-innsbruck-with-clouds-1494
Courtyard of the Former Castle in Innsbruck without Clouds, by A. Dürer, c 1494
Courtyard of the Former Castle in Innsbruck with Clouds, by A. Dürer, c 1494
 
Innsbruck, ich muss dich lassen (artwork by Pieter Bruegel the Elder)
 

Young Hare by Dürer, 1502

© Micheline Walker
30 November 2013
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The Italian Madrigal

02 Friday Dec 2011

Posted by michelinewalker in Music

≈ Comments Off on The Italian Madrigal

Tags

Carlo Gesualdo, Franco-Flemish school, frottola, Ghiberti, Landini, Luca Marenzio, Petrarchan Movement, Squarcialupi Codex

Lutenist performing music composed by Jacques Arcadelt by Caravaggio

Why have musicologists not come to a consensus on the subject of madrigals, or is it that there are too many types of madrigals? 

The Trecento: the Squarcialupi Codex

In a sense, we have covered the first step of our subject: the Trecento, or 1300s.  It was posted on 24 November 2011, in a post entitled Squarcialupi Codex & Francesco Landini.  The very first composers of madrigals would be Francesco Landini and Jacopo da Bologna and the Squarcialupi Codex is a repository of madrigals and other music of the Trecento.  The Squarcialupi Codex has therefore become more important than it was a few days ago.  Moreover, other musicians featured in the Codex wrote madrigals, but not exclusively.  In order to hear early madrigals, click on Squarcialupi Codex.

So here we go.  According to the Encyclopedia Britannica, madrigals are a form of “vocal chamber music.”[i]  I rather like this definition as it suggests a degree of  intimacy.  Madrigals (from the Latin matricale) were songs in the mother tongue, and the mother tongue was Italian.  In its earliest form, the madrigal consisted of two or three stanzas set to the same melody and a refrain or coda, set to another melody. 

Gates to Paradise, Florence, by Ghiberti

Florence: Francesco Landini and Jacopo da Bologna

The birthplace of the Italian madrigal would be Florence.  Landini was a Florentine composer and he knew Petrarch, which is not insignificant.  Indeed, the emergence of poetry in the Italian language motivated composers to use the madrigal to set poetry to music.  Cardinal Pietro Bembo (1470 – 1547) championed this particularly cause, called the Petrarchan movement. 

Williaert in Venice : polyphony

But matters started to change when Franco-Flemish composer Adriaan Willaert brought the polyphonic motet (from ‘mot’ [word] and earlier ‘motetus’) to Italy and founded the Venetian School of music.  In the vastly-extended Burgundian lands, suddenly the cultural hub of western Europe, there had already been a generation of musicians composing in a contrapuntal manner, i.e. combining voices.  The better-known among these composers are Guillaume Dufay, Gilles Binchois and Johannes Ockeghem. 

Guillaume Dufay and Gilles Binchois

The early fifteenth century

Given the presence of superior musicians in Flanders, Venetians hired the Franco-Flemish composer Adriaan Willaert (c. 1490 – 1562) who founded the Venetian School of Music.  The arrival, in Venice, of polyphonic music had repercussions on the madrigal.  The madrigal became increasingly polyphonic and was transformed into a through-composed (durchkomponiert) song.  As well, the Madrigal now consisted of one stanza to which a refrain or coda was added. 

—ooo—

The most famous composer of madrigals trained by Andriaan Willaert is probably Cipriano de Rore.  Composers associated with the Venetian School are:

  • Jacques Arcadelt – I Libro a 4,* 1543. Author of the most reprinted book of madrigals.  * = the number of voices
  • Francesco Corteccia – court composer to Cosimo I de’ Medici.
  • Costanzo Festa – I Libro a 3, 1541. The first native Italian composer of madrigals.
  • Bernardo Pisano
  • Cypriano de Rore – I Libro a 5, 1542
  • Philippe Verdelot – I Libro a 5, 1535. One of the first madrigalists, also associated with the Medici court.
  • Adrian Willaert – Franco-Flemish composer, founder of the Venetian School. (Wikipedia)

The late fifteenth century:  the frottola and the Carnival Song

But composers of madrigals also drew from a simpler and perhaps nearer source: the frottola (plural frottole).  Both polyphony and the frottola left their imprint the early fifteenth-century (the 1400s) Renaissance Italian madrigal.  The frottola is “a four-part strophic song set syllabically and homophonically, [ii] with the melody in the upper voice, marked rhythmic patterns, and simple diatonic[iii] harmonies.”

The Italian madrigal also incorporated elements of the Florentine Carnival Song. Heinrich Isaac (c. 1450 to 26 March 1517), the Franco-Flemish composer of the immensely successfull Innsbruck, ich muss dich lassen, a Lied, but also the theme of the Lutheran chorale: O Welt, ich muss dich lassen, wrote Carnival songs, most of which are lost.[iv]

Transparency in text-setting: Josquin des Prez; the Council of Trent

Isaac knew Josquin des Prez (1440 – 27 August 1521) whose skills at text-setting are legendary.  Moreover, the Council of Trent (13 December 1545 – 4 December 1563), which convened in the wake of increasing fragmentation in the western Church, dictated greater transparency in liturgical music.  One had to hear the  words. As a result, text-setting gained transparency.  The directives of the Council of Trent affected madrigal composers, but to a small rather than large extent.  The music of Palestrina epitomizes this clarity.

Fifhteenth-century composers of madrigals are:

  • Andrea Gabrieli – I Libro a 3, 1575
  • Orlando di Lasso  Ich liebe dich
  • Francisco Leontaritis
  • Philippe de Monte – author of the largest number of madrigal books.
  • Giovanni Pierluigi da Palestrina – famous mostly for his sacred music, he also wrote at least 140 secular madrigals.

The sixteenth-century madrigal

With respect to transparency, Luca Marenzio’s madrigals displayed the appropriate balance between music and text.  But sixteenth-century composers of madrigals equated transparency in text-setting not only with the importance to the text, but also with ornamentation.  Singers had to sing long melismas, decorating syllables and words.  Expressiveness was deemed of primary importance.

But no one wrote more expressively and in a more polyphonic manner than Don Carlo Gesualdo.  Gesualdo wrote a large number of madrigals, some of which were settings of Torquato Tasso‘s poems.  Gesualdo’s sixth and last book of madrigals contained madrigals that combined up to six and seven voices.

The term madrigalism, abundant to excessive expressivity and ornamentation, is best attributed to Gesualdo. Madrigalism also characterized madrigals composed by other composer, but it reached excesses in Gesualdo.

As for polyphony, we cannot associate Carlo Gesualdo with the Venetian School, at least not officially.  However, after the murders, which were committed in what is now southern Italy, Gesualdo spent several years in Ferrara, in what is now northern Italy. He may therefore have been exposed to the polyphonic madrigal.  According to the Encyclopædia Britannica, Gesualdo destroyed the Italian-language madrigal:

Later in the century, composers like Don Carlo Gesualdo, prince of Venosa, subjugated the music entirely to the text, leading to excess that eventually exhausted the genre.[v]

In the sixteenth century, madrigal composers were

  • Camillo Cortellini – I Libro a 5 e 6, 1583
  • Carlo Gesualdo – I Libro, 1594
  • Sigismondo d’India – I Libro a 5, 1606
  • Luzzasco Luzzaschi – I Libro a 5, 1571
  • Luca Marenzio – I Libro a 5, 1580
  • Claudio Monteverdi – I Libro a 5, 1587
  • Giaches de Wert – I Libro a 5, 1558

—ooo—

The English madrigal

The madrigal had not died.  It had simply migrated to a most fertile soil.

As we know, although John Dowland played Lute songs, one of his teachers had been Luca Marenzio.  In all likelihood, he was influenced to a certain extent by Luca Marenzio.  At any rate, the madrigal was taken to England by Luca Marenzio and Francesco Bossinensis.   Moreover, in 1588, Nicholas Yonge (c. 1560 – buried 23 October 1619) published Musica Transalpina, Italian madrigals in translation.  His collection was immensely successful.

—ooo—

 To hear madrigals, click on titles:

  • Jacques Arcadelt  (c. 1507 – 14 October 1568) – Il bianco e dolce cigno; Il bianco e dolce cigno
  • Cipriano de Rore (1515 or 1516 – between September 11 and September 20, 1565) – Beato mi direi
  • Luzzasco Luzzaschi  (c. 1545 – September 10, 1607) – Deh vieni ormai, Cor mio deh non languire, T’amo mia vita
  • Luca Marenzio (October 18? 1553? – August 22, 1599) – Solo e pensoso
  • Claudio Monteverdi (15 May 1567 (baptized) – 29 November 1643) – Amor, che deggio far,  SV 144

However, I must pause here as this blog will be too long.  Moreover, the English madrigal deserves a blog of its own.

(to be continued)

Ghiberti, 1401

 

© Micheline Walker
2 December 2011
WordPress


[i] “madrigal.”  Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2011. Web. 01 Dec. 2011.             <http://www.britannica.com/EBchecked/topic/356157/madrigal>.

[ii] “frottola.”  Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica, 2011. Web. 02 Dec. 2011.  <http://www.britannica.com/EBchecked/topic/220937/frottola>.

[iii] ii=Homophonic: four voices singing simultaneously.  iii=Diatonic: like the scale.

[iv] “carnival song.” Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2011. Web. 01 Dec. 2011. <http://www.britannica.com/EBchecked/topic/96378/carnival-song>.

[v] “madrigal.” Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2011. Web. 01 Dec. 2011. <http://www.britannica.com/EBchecked/topic/356157/madrigal>.

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From Bruges to the Venetian School of Music

21 Monday Nov 2011

Posted by michelinewalker in Music

≈ Comments Off on From Bruges to the Venetian School of Music

Tags

Franco-Flemish school, lute, madrigal, Renaissance music, Titian, Venetian school, Williaert

Titian (c. 1488/1490 – 27 August 1576)

(click on picture to enlarge)

The Franco-Flemish Schools: art and music

During the Hundred Year’s War (1337 to 1453), the Dukes of Burgundy added to their “original fiefs” (the duchy and county of Burgundy, in East-central France) most of what are today Holland, Belgium, northeast France, Luxembourg and Lorraine.  In fact, “the dukes of Burgundy ruled over the whole as virtually independent sovereigns until 1477.”[i]

So let us go from the original Burgundian lands to the larger Franco-Flemish territory, the birthplace of masterful enlumineurs, but also the birthplace of extremely influential musicians, such as Adriaan Willaert (c. 1490 – 7 December 1562).

As well, Bruges remains the foremost centre in the manufacture of rugs and tapestries, some containing motifs we have mentioned in earlier blogs, such as what I have called the grape and leaf motif, better described as the “vine motif.”

Adriaan Willaert: The Venetian School of Music

But music is our subject, albeit in a very introductory manner.

What I wish to point out is that the musicians whom the Italians hired were Franco-Flemish musicians and that among these musicians was Adriaan Willaert, the Flemish composer, born in Bruges, who founded the Venetian School (1550 to around 1610).

In other words,  Italy did not bring music to the north, the north went down to teach music to the Italians who then exported their own music to Vienna.  Such was the road travelled by Antonio Vivaldi (4 March 1678 – 28 July 1741).

Vienna would later become home to Haydn, Mozart and Beethoven, the three main composers of the classical era.

However, in the seventeenth-century, musicians trained in Italy also settled in France, Lully being the foremost representative among Italian-born French composers.  Ironically, France owes the French Overture to Italy, but not altogether, as it all began in the expanded Burdundian lands, not to mention that Franco-Flemish composers brought music to Italy.

Adriaan Willaert’s most influential appointment was as maestro di cappella of St. Mark‘s at Venice.  He occupied this post from 1527 until his death in 1562 and students came to him not only from Italy, but from all over Europe.

In other words, Reynard the Fox was born in Nivardus of Ghent’s Isengrimus (c. 1140), where he was called Reinardus.  The frères de Limbourg, who produced the richly-decorated Très Riches Heures du Duc de Berry were born in Nijmegen, in what is now the Low Countries.  Very fine rugs and tapestries are still made in Bruges.  And now, Adriaan Willaert, born in Bruges, has taken music to Italy.

The French Chanson and the Madrigal

To return to music, we could discuss polyphonic music, but it seems best to begin with the not-so-humble monophonic song.  I have written “not so humble” for those who love Schubert‘s (31 January 1797 – 19 November 1828) Lieder: songs.

Willaert wrote 60 French chansons and 70 Italian madrigals (songs in the mother [madre] tongue) and trained a flock of madrigalists whose ancestors were courtly singers, or trouvères, members of the upper bourgeoisie and aristocrats who worshipped women.  Madrigalists did not worship women, but they have left us beautiful songs, including love songs.

Madrigals can be written for several voices (polyphonic) or for one voice (monophonic).  The example I am using is a monophonic madrigal, composed by Willaert and entitled  O quando a quando havea.  I have not found the text, but I will look for it.

click to hear O quando a quando havea; click to hear Lully

Lute

* * *

November 21, 2011


[i] J. P. Burkholder, D. J. Grout and Claude V. Palisca, A History of Western Music (New York and London: W. W. Norton & Company, 2006 [1973]), p. 175.

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