Music History - The Renaissance Part 2

The underlying principles all Renaissance art wasthe musical reformers of the Renaissance.
its artistic honesty to nature, as opposed toWillaert, although he did not originate any new
tradition, which had been the style of preforms in music, may lay claim to have been one
Renaissance art.of the first to give musical expression to that
This principle was deduced from the study of thelove of colour, movement, and general spirit of
new found learning, being spread throughout Italyadaptiveness, which are such outstanding
by Greek refugees, and the consequentcharacteristics of the Renaissance period.
awakened interest with which people regardedThe forms he employed were those used by his
the remains of ancient architecture, sculpture andcontemporaries and immediate predecessors. The
other art forms, constantly being unearthed inMass, Psalm, Motet, and Madrigal. However, in
their own country.them all his colour sense was very strong,
With the adoption of the classical principle of truthcomparatively speaking, that is, for that tonal
to nature, naturally came the adoption of asplendour, which led the Venetians in their
second, that of the study of the antique as theenthusiasm to term the works of their cherished
true path to excellence in art or letters. We"Messer Adriano" aurum fotabik or "drinkable gold"
cannot fail to recognise these twin principles atmight not be so readily apparent to a modern
work in the writings of the masters of theaudience.
musical Renaissance.Although to a musician, instituting a comparison
A parallel to that truth to nature, which thebetween the works of Willaert and those of
painters and sculptors of the Renaissance properearlier writers, the effects gained through the use
acquired from the study of Greek art, may beof broadly contrasting harmonies by the Flemish
traced in the efforts of the composers of themaster cannot fail to appear strikingly original.
Renaissance, to make their music more and moreWhile dealing with Venetian music mention must
flexible and responsive to the varied play ofbe made of Andrea and Giovanni Gabrielli, uncle
human sentiment.and nephew, who represent a later development
Musicians as well as sculptors and painters studiedof the style of Willaert. Giovanni Gabrielli
antique art. Although for musicians not as(1557-1612) carried his experiments in tone colour
profitable, the lessons to be learned from antiquityinto the region of pure instrumental music; and his
by musicians were not for educational purposes"Symphonic Sacrse," the first volume of which
but more for inspiration and creativity.was published at Venice in 1597, entitles him to
Palestrina has already been mentioned as typifyingrank as one of the earliest of writers for the
the culmination of the musical development of theorchestra.
early ages, and now, in taking up the considerationIn the first volume of this work, there are sixteen
of a new period, we have, in the first place, topieces for from eight to sixteen instruments, and
concern ourselves with a man who was alreadyin the second volume, there are canzonets for as
forty eight years old when Palestrina was born.many as twenty-two instruments. These
The Flemish composer Adrian Willaert, chapelcompositions are written for violins, cornets (not
master of St. Mark's at Venice.the cornets of modern times, but wooden
Willaert may be considered as belonging at theinstruments), and trombones.
same time to the old order and the new, forAfter the time of Willaert and the Venetians,
while, in common with his fellow citizen, Orlando diwere the actual workers in the Renaissance of
Lasso, some may say he was one of the last andmusic, and the first of their achievements, the
greatest of the Flemish masters. At the sameinvention of the Music Drama or Opera.
time, he must be reckoned as a forerunner of