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Adrian Willaert.
Adrian Willaert.

Adrian Willaert (c. 1490 – December 7, 1562) was a Flemish composer of the Renaissance and founder of the Venetian School. Events 43 BC - Marcus Tullius Cicero assassinated 1696 - Connecticut Route 108, one of the oldest highways Flanders (Vlaanderen Flandre Flandern is a geographical region located in parts of present day Belgium, France, and the Netherlands. A composer (literally meaning 'one who puts together' is a person who creates Music, usually in the medium of notation, for Interpretation and Performance Renaissance music is European music written during the Renaissance, approximately 1400 - 1600 In music history the Venetian School is a term used to describe the Composers working in Venice from about 1550 to around 1610; it also describes [1] He was one of the most representative members of the generation of northern composers who moved to Italy and transplanted the polyphonic Franco-Flemish style there. Italy (Italia officially the Italian Republic, (Repubblica Italiana is located on the Italian Peninsula in Southern Europe, and on the two largest In Music, the Franco-Flemish School refers somewhat imprecisely to the style of polyphonic Vocal music composition in Europe in the 15th [2]

Contents

Life

He was probably born at Bruges, although a secondary source has suggested Roulaers. Bruges (Brugge is the capital and largest city of the province of West Flanders in the Flemish Region of Belgium. Roeselare ( Roulers in French is a Belgian City and municipality in the Flemish province of West Flanders According to his student, the renowned late 16th century music theorist Gioseffo Zarlino, Willaert went to Paris first to study law, but instead decided to study music. Music theory is the field of study that deals with the Mechanics of music and how Music works Gioseffo Zarlino ( January 31 or March 22, 1517 &ndash February 4, 1590) was an Italian music theorist and In Paris he met Jean Mouton, the principal composer of the French royal chapel and stylistic compatriot of Josquin des Prez, and studied with him. Jean Mouton (c 1459 &ndash October 30, 1522) was a French composer of the Renaissance. Josquin des Prez (c 1450 to 1455 &ndash August 27 1521 often referred to simply as Josquin, was a Franco-Flemish composer of the Renaissance.

Sometime around 1515 Willaert first went to Rome. An anecdote survives that indicates the musical ability of the young composer: Willaert was surprised to discover the choir of the papal chapel singing one of his own compositions, most likely the six-part motet Verbum bonum et suave, and even more surprised to learn that they thought it had been written by the much more famous composer Josquin. When he informed the singers of their error – that he was in fact the composer – they refused to sing it again. Indeed Willaert's early style is very similar to that of Josquin, with smooth polyphony, balanced voices and frequent use of imitation.

In July 1515, Willaert entered the service of Cardinal Ippolito I d'Este of Ferrara. Ippolito (I d'Este ( March 20, 1479 &ndash September 3, 1520) was a Roman Catholic cardinal. Ferrara is a city in Emilia-Romagna, northern Italy, capital city of the Province of Ferrara. Ippolito was a traveler, and Willaert likely accompanied him to various places, including Hungary, where he likely resided from 1517 to 1519. Hungary (Magyarország 'mɔɟɔrorsaːg) officially in English the Republic of Hungary ( Magyar Köztársaság, literally Magyar (Hungarian Republic When Ippolito died in 1520, Willaert entered the service of Duke Alfonso of Ferrara. Alfonso d'Este ( 21 July, 1476 &ndash 31 October, 1534) was Duke of Ferrara during the time of the War of the League of In 1522 Willaert had a post at the court chapel of Duke Alfonso; he remained there until 1525, at which time records show he was in the employ of Ippolito II d'Este in Milan. Ippolito (II d'Este ( 1509 - December 2, 1572) was an Italian cardinal. Milan (Milano Milan (listen) is one of the largest cities in Italy, located in the plains of Lombardy.

Willaert's most significant appointment, and one of the most significant in the musical history of the Renaissance, was his selection as maestro di cappella of St. Mark's at Venice. Saint Mark's Basilica ( Italian: Basilica di San Marco a Venezia) the Cathedral of Venice, is the most famous of Venice ( Italian: Venezia, Venetian: Venesia or Venexia) is a city in Northern Italy, the capital of the Music had languished there under his predecessor, Pietro de Fossis, but that was shortly to change. The Venetian Doge Andrea Gritti had a rather large hand in Willaert’s appointment to the position of maestro di cappella at St. The Doge ( Venetian language, also Doxe, derived from Latin Dux military leader duke cf Mark’s. [3]

From his appointment in 1527 until his death in 1562, he retained the post at St. Mark's. [4] Composers came from all over Europe to study with him, and his standards were high both for singing and composition. During his previous employment with the dukes of Ferrara, he had acquired numerous contacts and influential friends elsewhere in Europe, including the Sforza family in Milan; doubtless this assisted in the spread of his reputation, and the consequent importation of musicians from foreign countries into northern Italy. Sforza was a ruling family of Renaissance Italy, based in Milan. In Ferrarese court documents, Willaert is referred to as "Adriano Cantore". [5] In addition to his output of sacred music as the director of St. Mark's, he wrote numerous madrigals, a secular form; he is considered a Flemish madrigal composer of the first rank. A madrigal is a type of Secular vocal music composition written during the Renaissance and early Baroque eras [6]

Musical style and influence

Willaert was one of the most versatile composers of the Renaissance, writing music in almost every extant style and form. In force of personality, and with his central position as maestro di cappella at St. Mark's, he became the most influential musician in Europe between the death of Josquin and the time of Palestrina. Giovanni Pierluigi da Palestrina (between 3 February 1525 and 2 February 1526 - 2 February 1594 was an Italian Composer of the Renaissance. [7] Some of Willaert’s motets and [[chanzoni franciose a quarto sopra doi]] (double canonic chansons) had been published as early as 1520 in Venice. [8] Willaert owes much of his fame in sacred music to his motets. [9] According to Gioseffo Zarlino, writing later in the 16th century, Willaert was the inventor of the antiphonal style from which the polychoral style of the Venetian school evolved. Gioseffo Zarlino ( January 31 or March 22, 1517 &ndash February 4, 1590) was an Italian music theorist and The Venetian polychoral style was a type of music of the late Renaissance and early Baroque eras which involved spatially separate Choirs singing in alternation As there were two choir lofts, one of each side of the main altar of St. Mark's, both provided with an organ, Willaert divided the choral body into two sections, using them either antiphonally or simultaneously. This article is about the musical term See Antiphon (person the orator of ancient Greece Rore, Zarilino, Andrea Gabrieli, Donato, and Croce, Willaert’s successors, all cultivated this style. [10] The tradition of writing that Willaert established during his time at St. Mark’s was continued by other composers working there throughout the 1600s. [11] He then composed and performed psalms and other works for two alternating choirs. Psalms ( Hebrew: Tehilim, תהילים, or "praises" is a book of the Hebrew Bible (the Christian Old Testament) included This innovation met with instantaneous success and strongly influenced the development of the new method. [12] In Venice, a compositional style, established by Willaert, for multiple choirs dominated. [13] In 1550 he published Salmi spezzati, antiphonal settings of the psalms, the first polychoral work of the Venetian school. This article is about the musical term See Antiphon (person the orator of ancient Greece In music history the Venetian School is a term used to describe the Composers working in Venice from about 1550 to around 1610; it also describes Willaert’s work in the religious genre established Flemish techniques firmly as an important part of the Italian Style. [14] While more recent research has shown that Willaert was not the first to use this antiphonal, or polychoral method — Dominique Phinot had employed it before Willaert, and Johannes Martini even used it in the late 15th century — Willaert's polychoral settings were the first to become famous and widely imitated. Dominique Phinot (c 1510 – c 1556 was a Franco-Flemish composer of the Renaissance, active in Italy and southern France. Johannes Martini (c 1440 &ndash late 1497 or early 1498 was a Franco-Flemish Composer of the Renaissance. [15]

With his contemporaries, Willaert developed the canzone (a form of polyphonic secular song) and ricercare which were vital forerunners of modern instrumental forms. [16] Willaert also arranged 22 four-part madrigals for voice and lute written by Verdelot. [17] Willaert was the first to extensively use chromaticism in the madrigal. [18] Looking forward, we are given an image of early word-painting in his motet Mentre che’l cor. [19] Willaert, who was fond of the older compositional techniques such as the canon, often placed the melody in the tenor of his compositions, treating it as a cantus firmus. In Music, a cantus firmus ("fixed song" is a pre-existing Melody forming the basis of a polyphonic composition. [20] Willaert, with the help of de Rore, standardized a five-voice setting in madrigal composition. [21] Willaert also pioneered a style that continued until the end of the madrigal period of reflecting the emotional qualities of the text and the meanings of important words as sharply and clearly as possible. [22]

Willaert was no less distinguished as a teacher than as a composer. [23] Among his disciples are: Cipriano de Rore, his successor at St. Cypriano de Rore or Cipriano de Rore (1515 or 1516 – between September 11 and September 20 1565 was a Franco-Flemish composer of the Renaissance, active Mark's; Costanzo Porta; Francesco Dalla Viola; Gioseffo Zarlino; and Andrea Gabrieli. Costanzo Porta (1528 or 1529 &ndash May 19, 1601) was an Italian Composer of the Renaissance, and a representative of what is known Andrea Gabrieli (1532/1533? – August 30, 1585) was an Italian Composer and Organist of the late Renaissance. Another one influenced by Willaert was Lassus. Orlande de Lassus (also Orlandus Lassus, Orlando di Lasso, Roland de Lassus, or Roland Delattre) (1532 (possibly 1530 &ndash June [24] These composers, except for Lassus, formed the core of what came to be known as the Venetian school, which was decisively influential on the stylistic change that marked the beginning of the Baroque era. Baroque music describes an era and a set of styles of European classical music which were in widespread use between approximately 1600 and 1750. Among Willaert's pupils in Venice, one of the most prominent was Cipriano de Rore from the Low Countries (possibly Antwerp). Cypriano de Rore or Cipriano de Rore (1515 or 1516 – between September 11 and September 20 1565 was a Franco-Flemish composer of the Renaissance, active [25] The Venetian school flourished for 150 years in the hands of the Gabrielis and others. [26] Willaert also probably influenced a young Palestrina. [27] Willaert left a large number of compositions — 8 masses, over 50 hymns and psalms, over 150 motets, about 60 French chansons, over 70 Italian madrigals and several instrumental (ricercares). A hymn is a type of Song, usually religious specifically written for the purpose of praise adoration or Prayer, and typically addressed to a deity/deities In Western music, motet is a word that is applied to a number of highly varied choral musical compositions A chanson ( French for " Song " from Latin cantio) is in general any lyric -driven French songs usually Polyphonic A madrigal is a type of Secular vocal music composition written during the Renaissance and early Baroque eras A ricercar (or ricercare recercar; the terms are interchangeable is a type of late Renaissance and mostly early Baroque instrumental composition

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References and further reading

Notes

  1. ^ Miller, Hugh M. (1972). History of Music, 53.  
  2. ^ Reese, Gustave (1959). Music in the Renaissance, 370-371.  
  3. ^ (1989) The Renaissance From the 1470s to the end of the 16th century. Englewood Cliffs: Prentice Hall, 111-112.  
  4. ^ World of Music An Illustrated Encyclopedia 4. (1963). New York: Abradale Press.  
  5. ^ Lewis Lockwood, Giulio Lockwood. "Adrian Willaert 1. Early career and Ferrarese service. ", Grove Music Online, ed. The Grove Dictionary of Music and Musicians is an Encyclopedic dictionary of music and musicians L. Macy (accessed September 29, 2006), grovemusic.com (subscription access). Events 522 BC - Darius I of Persia kills the Magian usurper Gaumâta securing his hold as king of the Persian Empire. Year 2006 ( MMVI) was a Common year starting on Sunday of the Gregorian calendar.
  6. ^ Wooldridge, H. E. (1973). The Oxford History of Music 2, 197.  
  7. ^ Reese, Gustave (1959). Music in the Renaissance, 348.  
  8. ^ Abraham, Gerald (1917). The Concise Oxford History of Music, 230.  
  9. ^ Reese, Gustave (1959). Music in the Renaissance, 371.  
  10. ^ Einstein, Alfred (1965). A Short History of Music, 67.  
  11. ^ (1989) The Renaissance From the 1470s to the end of the 16th century. Englewood Cliffs: Prentice Hall, 111-112.  
  12. ^ World of Music An Illustrated Encyclopedia 4. (1963). New York: Abradale Press.  
  13. ^ Einstein, Alfred (1965). A Short History of Music, 67.  
  14. ^ (1965) A History of Music 2, 160.  
  15. ^ (1989) The Renaissance From the 1470s to the end of the 16th century. Englewood Cliffs: Prentice Hall, 114.  
  16. ^ World of Music An Illustrated Encyclopedia 4. (1963). New York: Abradale Press.  
  17. ^ Abraham, Gerald (1917). The Concise Oxford History of Music, 228-229.  
  18. ^ (1965) A History of Music 2, 149.  
  19. ^ Reese, Gustave (1959). Music in the Renaissance, 324.  
  20. ^ Ulrich, Homer (1963). A History of Music and Musical Style, 177.  
  21. ^ Ulrich, Homer (1963). A History of Music and Musical Style, 177.  
  22. ^ (1965) A History of Music 2, 149.  
  23. ^ Reese, Gustave (1959). Music in the Renaissance, 371.  
  24. ^ Wooldridge, H. E. (1973). The Oxford History of Music 2, 197.  
  25. ^ Reese, Gustave (1959). Music in the Renaissance, 310.  
  26. ^ World of Music An Illustrated Encyclopedia 4. (1963). New York: Abradale Press.  
  27. ^ Wooldridge, H. E. (1973). The Oxford History of Music 2, 197.  

External links

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