1525 – 1560 Willaert and Gombert

1527 Willaert to Venice

1534 England broke with Rome

1545-63 Council of Trent—Counter Reformation

1553-58 Reign of Catholic Queen Mary, England

Vocal Music

Mass

This generation preferred the parody technique: there were no new developments. Composers were Nicolas Gombert (c. 1490-1556), Jacob Clement ("Clemens non Papa", c. 1510-c. 1556), and the Spaniard Cristóbal de Morales (c. 1500-53).

Motet

The style of pervading imitation introduced by Josquin was firmly established by Gombert. His motet was four or five equal voices in a uniform texture, careful dissonance and short imitative sections. Other composers were Clemens non Papa and Ludwig Senfl (c. 1490-1543) who completed the Choralis Constantinus of Isaac.



Adrian Willaert (c.1490-1562) used the two organs and various lofts in St. Marks, Venice, to develop an antiphonal motet using divided chorus, cori spezzati, in a simple chordal texture.

Madrigal

De Rore madrigal	|------------ Superius
	|------------------------ \
	|------------ Altus \
	------------------------- Quinta Vox (with superius or tenor)
	|-------------------------/
	|------------ Tenor
	|------------ Bassus

The madrigal was a through-composed Flemish interpretation of Italian poetry. The first collection was Madrigali de diversi musici (1530) by Philippe Verdelot (d.c. 1550) and the Italian Costanzo Festa (c.1490-1545) in a style reminiscent of the frottola. The Flemish influence with its refinement and counterpoint was especially strong in the madrigals of Jacob Arcadelt (c. 1505-c.1560) and Willaert.



Cipriano de Rore (1516-65) established the classic style from 1542 with his five-part contrapuntal texture with looser connections between phrases, careful declamation and expressive text painting in serious settings of Petrarch.

Villanella

The villanella, or villanesca, was a popular Neapolitan parody in the popular sense) of the madrigal; called "clownish music," it deliberately used parallel fifths.

Chanson

There were three styles:



(1) Netherlands chanson composed by Jean Richafort (c. 1480-1548), Thomas Crecquillon (d. 1557), Willaert and Gombert;



(2) Parisian chanson (published in Paris by Pierre Attaignant (1528-49) in quick dupl. meter ( opening) and homophonic texture, by Richafort, Claudin de Sermisy (c. 1490-1562), Clement Janequin (c.1485-c. 1560) and Pierre Certon (c. 1510-72); and



(3) Program chanson with much text painting by Janequin.

English church music

Catholic to 1534, protestant 1534-53, catholic again 1553-58, then finally protestant from 1558, English composers preferred the Latin motets masses and Magnificats of the Roman practice, but some English anthems were also composed. The leading composer was John Taverner (c. 1495-1545); others were Christopher Tye (c. 1500-73), Thomas Tallis (c. 1505-85) and Robert White (c. 1530-74).

Calvinist Psalters

A Calvinist psalter in Holland was Souterliedekins (1540); in France was Geneva Psalter (1562), tunes by Louis Bourgeois.

Lied

The finest Renaissance Lieder were found in the accompanied songs of Ludwig Senfl, written in motet style with the melody still in the tenor.

Meistersinger

Hans Sachs (1494-1576) was from this era .

Spanish lute song

More properly vihuela (a guitar tuned like a lute) songs, they were traditional transcriptions and new songs by Luis Milan (c. 1500-1561) and Luis de Narvaez.

Instrumental Music

Organ

The development of new forms for the organ centered in Venice.

(1) Canzona, Italian for "chanson," they were originally chanson transcriptions by Marco Antonio Cavazzoni (c. 1490-1570) in 1523. More contrapuntal examples by Girolamo Cavazzoni (b.c. 1525) in 1543 had a lively tempo and opening rhythm.

(2) Ricercar, early non-imitative examples were by M.A. Cavazzoni in 1523. It was established by G. Cavazzoni in 1543 as a serious composition in pervading imitation with a small number of themes. The first monothematic ricercar was by Jacques Buus (d. 1565). A related form was the tiento by the Spanish organist Antonio de Cabezon (1510-66).

(3) Verset, short pieces replaced alternate sung psalm verses, by G. Cavazzoni and Cabezon

(4) English organ hymns were by John Redford (c. 1485-1547).

Diferencias

Diferencias was a Spanish variation form with migrating c.f. for keyboard or lute by Cabezon.

Lute ricercar

Italian type ricercari were composed by Francesco Canova da Milano (1497-1543), called "Il divino." A German lute composer was Hans Neusidler (c. 1508-1563).

Ensemble ricercar

The ensemble ricercar was like a French motet, by Willaert, Buus and others.

Dance pairs

A slow duple and fast triple dance were commonly paired; as in the French pavane-galliard, German Tanz-Nachtanz and Italian basadanza-saltarello.

Theory

Henricus Glareanus (1488-1563) Dodecachordon (1547) added modes nine through twelve on A and C. Gioseffo Zarlino (1517-90) Le institutioni harmoniche (1558) discussed major and minor triads and renumbered Glareanus' modes.