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Philippe de Monte (1521 – July 4, 1603), sometimes known as Philippus de Monte, was a Flemish composer of the late Renaissance. Events 836 - Pactum Sicardi, peace between the Principality of Benevento and the Duchy of Naples Flanders (Vlaanderen Flandre Flandern is a geographical region located in parts of present day Belgium, France, and the Netherlands. Renaissance music is European music written during the Renaissance, approximately 1400 - 1600 [1] He was a member of the 3rd generation madrigalists[2] and wrote more madrigals than any other composer of the time. A madrigal is a type of Secular vocal music composition written during the Renaissance and early Baroque eras [3] Sources cite him as being "the best composer in the entire country, particularly in the new manner and musica reservata. "[4] Others compare his collections of music with that of other influential composers, such as Lassus. [5]


Contents

Life

Philippe de Monte was born in Mechelen. Mechelen ( Mechlin in English is a Dutch-speaking city and municipality in the province of Antwerp, Flanders, Belgium. After boyhood musical training in St. Rumbolds Cathedral in Mechelen, where he was a choirboy, Monte went to Italy — a common destination for a young Flemish composer in the sixteenth century — where he made a name for himself as a composer, singer, and teacher. St Rumbolds Cathedral is the Archbishopric Cathedral of Mechelen in Belgium. Italy (Italia officially the Italian Republic, (Repubblica Italiana is located on the Italian Peninsula in Southern Europe, and on the two largest [6] He lived and worked in Naples for a while, and in Rome, in the employ of Cardinal Orsini, although he was in England for a brief period, 1554-1555, during the reign of Queen Mary I, while she was married to King Philip II of Spain. Naples ( Napoli, Neapolitan: Nàpule) is a historic City in southern Italy, the Capital of the Rome ( Roma ˈroma Roma is the capital city of Italy and Lazio, and is Italy's largest and most populous city with more than 2 England is a Country which is part of the United Kingdom. Its inhabitants account for more than 83% of the total UK population whilst its mainland Mary I (18 February 1516 &ndash 17 November 1558 was Queen of England and Queen of Ireland from 19 July 1553 until her death [7] Monte reported that he disliked working in Philips's choir since all the other members were Spaniards. [8]

"Though Monte was not likely to have been a supporter of the Reformation, he took part in a variety of intellectual exchanges on sensitive topics, some of which involved Italian academics. "[9]

Some of Monte's accomplishments include singing for the Grand Duke of Tuscany, Fernando de'Medici,[10] and in 1568 Monte was appointed as successor to Jacobus Vaet as Kapellmeister to the chapel of Maximilian II. Jacobus Vaet (c 1529 – January 8, 1567) was a Franco-Flemish composer of the Renaissance. Maximilian II ( July 31, 1527 &ndash October 12, 1576) was king of Bohemia from 1562 king of Hungary and Croatia ,[11] A majority of his music was published in Venice under the direction of Gardano, Monte's exclusive publisher in Italy. He wanted to utilize Italian publishers in order to stay close to the home of the madrigal. [12] He was successful at recruiting new musicians to the chapel, for Lassus himself noted the astonishing quality of music-making in Vienna just two years after Monte became leader there. Orlande de Lassus (also Orlandus Lassus, Orlando di Lasso, Roland de Lassus, or Roland Delattre) (1532 (possibly 1530 &ndash June Vienna ( in Wien; see also other names) is the Capital of Austria, and is also one of the nine States of Austria. [13] During his first ten years at the Imperial Court, Monte served as an active teacher. [14] Monte worked for the remainder of his long life in Habsburg courts both in Vienna and Prague. Vienna ( in Wien; see also other names) is the Capital of Austria, and is also one of the nine States of Austria. Prague (ˈprɑːg Praha (ˈpraɦa see also other names) is the Capital and Largest city of the Czech Republic. [15] Even though his accomplishments were many, he is not known to have held any positions as a church musician or in a noble household. [16] Philippe de Monte died in Prague in 1603. [17]

Music and Influence

Monte was a hugely prolific composer,[18] and wrote both sacred and secular music,[19] primarily printed in the German language. [20] He wrote about 40 masses and about 260 other sacred pieces, including motets and madrigali spirituali (works differing only from madrigals in that they have sacred texts). For other uses see Mass (disambiguation The Mass, a form of sacred musical composition, is a choral composition that In Western music, motet is a word that is applied to a number of highly varied choral musical compositions A madrigale spirituale (Italian pl madrigali spirituali) is a madrigal, or madrigal-like piece of music with a sacred rather than a secular text A madrigal is a type of Secular vocal music composition written during the Renaissance and early Baroque eras [21] He published over 1100 secular madrigals,[22] in 34 books, but not all of them survived over time. [23] His first publication was in 1554 when he was 33. [24] Most of his publications, from then on, included self written prefaces that were primarily utilized to express his gratitude to patrons of financial support. [25]

Monte's madrigals have been referred to as "the first and most mature fruits of the compositions for five voices. "[26] Stylistically, Monte's madrigals vary from an early, very progressive style with frequent use of chromaticism to express the text (though he not quite as experimental in this regard as Marenzio or Lassus), to a late style which was much simplified, featuring short motifs and frequent homophonic textures. In Music, chromaticism is a Compositional technique interspersing the primary Diatonic pitches and chords with other pitches of the Chromatic Luca Marenzio (also Marentio) ( October 18 ? 1553? &ndash August 22, 1599) was an Italian composer of the late Renaissance Orlande de Lassus (also Orlandus Lassus, Orlando di Lasso, Roland de Lassus, or Roland Delattre) (1532 (possibly 1530 &ndash June In Music, homophony (hoʊˈmɒfəni from Greek "homófonos" where ομοιο = the same and φωνή = a sound tone is a texture in which two or more [27] Some of his favorite poets of the time included Petrarch, Bemembo, and Sannazaro. [28] Unlike Monteverdi, who began in a conservative style and became experimental later in life, Monte's compositional career had an opposite curve, progressing from experimentation to unity and simplicity in his later works. [29] Some believe that this comes from his change in poetry selections,[30] whereas others believe it was a reflection from the imperial courts. [31]

Philippe de Monte was renowned all over Europe; editions of his music were printed, reprinted, and widely circulated. [32] He has been described as "a quiet, unassuming man, gentle as a girl. "[33] He had many students, including Gian Vincenzo Pinelli from Padua,[34] thereby passing on his compositional skills and experience to the generation who developed the early Baroque style. Baroque music describes an era and a set of styles of European classical music which were in widespread use between approximately 1600 and 1750. Believed to be one of the most prominent composers, Philippe de Monte's madrigals are still performed today. [35]


External links

References

Notes

  1. ^ Lindell 2001, p. 16.
  2. ^ Brown 1999, p. 205.
  3. ^ Lindell 2001, p. 18.
  4. ^ Reese 1954, p. 511.
  5. ^ Bergquist 2005, p. 108.
  6. ^ Lindell 2001, p. 16.
  7. ^ Lindell 2001, p. 16.
  8. ^ Reese 1954, p. 395.
  9. ^ Bergquist 2005, p. 108.
  10. ^ Mann 1983, p. 5.
  11. ^ Lindell 2001, p. 16.
  12. ^ Bergquist 2005, p. 107.
  13. ^ Lindell 2001, p. 17.
  14. ^ Mann 1983, p. 7.
  15. ^ Lindell 2001, p. 18.
  16. ^ Mann 1983, p. 5.
  17. ^ Reese 1954, p. 395.
  18. ^ Reese 1954, p. 406.
  19. ^ Philippe 2001, p. 17.
  20. ^ Reese 1954, p. 702.
  21. ^ Lindell 2001, p. 17,18.
  22. ^ Reese 1954, p. 406.
  23. ^ Lindell 2001, p. 18.
  24. ^ Lindell 2001, p. 19.
  25. ^ Bergquist 2005, p. 106.
  26. ^ Mann 1983, p. 3.
  27. ^ Lindell 2001, p. 18,19.
  28. ^ Reese 1954, p. 406.
  29. ^ Lindell 2001, p. 18.
  30. ^ Marshall 2006, p. 292.
  31. ^ Marshall 2006, p. 293.
  32. ^ Lindell 2001, p. 20.
  33. ^ Reese 1954, p. 395.
  34. ^ Bergquist 2005, p. 108.
  35. ^ Bergquist 2005, p. 106.

Recording

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