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The designation Franco-Flemish School, also called Netherlandish School, Burgundian School, Low Countries School, Flemish School, Dutch School, or Northern School, refers, somewhat imprecisely, to the style of polyphonic vocal music composition originating from France and from the Burgundian Netherlands in the 15th and 16th centuries as well as to the composers who wrote it. The spread of their technique, especially after the revolutionary development of printing, produced the first true international style since the unification of Gregorian chant in the 9th century. Franco-Flemish composers mainly wrote sacred music, primarily masses, motets, and hymns.
Adrian Willaert was a Netherlandish composer of the Renaissance and founder of the Venetian School. 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.
Giaches de Wert was a Franco-Flemish composer of the late Renaissance, active in Italy. Intimately connected with the progressive musical center of Ferrara, he was one of the leaders in developing the style of the late Renaissance madrigal. He was one of the most influential of late sixteenth-century madrigal composers, particularly on Claudio Monteverdi, and his later music was formative on the development of music of the early Baroque era.
Cipriano de Rore was a Franco-Flemish composer of the Renaissance, active in Italy. Not only was he a central representative of the generation of Franco-Flemish composers after Josquin des Prez who went to live and work in Italy, but he was one of the most prominent composers of madrigals in the middle of the 16th century. His experimental, chromatic, and highly expressive style had a decisive influence on the subsequent development of that secular music form.
A madrigal is a secular vocal music composition of the Renaissance and early Baroque (1600–1750) eras. The polyphonic madrigal is unaccompanied, and the number of voices varies from two to eight, but usually features three to six voices, whilst the metre of the madrigal varies between two or three tercets, followed by one or two couplets. Unlike the verse-repeating strophic forms sung to the same music, most madrigals are through-composed, featuring different music for each stanza of lyrics, whereby the composer expresses the emotions contained in each line and in single words of the poem being sung.
Gioseffo Zarlino was an Italian music theorist and composer of the Renaissance. He made a large contribution to the theory of counterpoint as well as to musical tuning.
Luzzasco Luzzaschi was an Italian composer, organist, and teacher of the late Renaissance. He was born and died in Ferrara, and despite evidence of travels to Rome it is assumed that Luzzaschi spent the majority of his life in his native city. He was a skilled representative of the late Italian madrigal style, along with Palestrina, Wert, Monte, Lassus, Marenzio, Gesualdo and others.
In music history, the Venetian School was the body and work of composers working in Venice from about 1550 to around 1610, many working in the Venetian polychoral style. The Venetian polychoral compositions of the late sixteenth century were among the most famous musical works in Europe, and their influence on musical practice in other countries was enormous. The innovations introduced by the Venetian school, along with the contemporary development of monody and opera in Florence, together define the end of the musical Renaissance and the beginning of the musical Baroque.
Baldassare Donato was an Italian composer and singer of the Venetian school of the late Renaissance. He was maestro di cappella of the prestigious St. Mark's Basilica at the end of the 16th century, and was an important figure in the development of Italian light secular music, especially the villanella.
Gioseffo Guami was an Italian composer, organist, violinist and singer of the late Renaissance Venetian School. He was a prolific composer of madrigals and instrumental music, and was renowned as one of the finest organists in Italy in the late 16th century; he was also the principal teacher of Adriano Banchieri.
Timeline for Music of Italy
The modern state of Italy did not come into being until 1861, though the roots of music on the Italian Peninsula can be traced back to the music of ancient Rome. However, the underpinnings of much modern Italian music come from the Middle Ages.
1550 in music involved some significant events.
The decade of the 1520s in music involved some significant events, compositions, publications, births, and deaths.
The decade of the 1540s in music involved some significant events.
Jacquet de Berchem was a Franco-Flemish composer of the Renaissance, active in Italy. He was famous in mid-16th-century Italy for his madrigals, approximately 200 of which were printed in Venice, some in multiple printings due to their considerable popularity. As evidence of his widespread fame, he is listed by Rabelais in Gargantua and Pantagruel as one of the most famous musicians of the time, and the printed music for one of his madrigals appears in a painting by Caravaggio.
Perissone Cambio was a Franco-Flemish composer and singer of the Renaissance, active in Venice. He was one of the most prominent students and colleagues of Adrian Willaert during the formative years of the Venetian School, and published several books of madrigals in the 1540s.
Ippolito Chamaterò was an Italian composer of the late Renaissance, originally from Rome but active in northern Italy. He wrote both sacred and secular music, particularly madrigals; all of his surviving music is vocal. His sacred musical style was in conformance with the Counter-Reformation musical ideals following the Council of Trent, and his madrigals were related stylistically to those of Adrian Willaert and Cipriano de Rore.
The Cappella Marciana is the modern name for the choir and instrumentalists of St Mark's Basilica, Venice, Italy.
References
- ↑ Angelo Pompilio ed., Trasmissione e recezione delle forme di cultura musicale. International Musicological Society 1990 p256
- ↑ Glenn Watkins Gesualdo: the man and his music. p97
- ↑ Alfred Einstein The Italian madrigal, Princeton 1949
- ↑ Bossuyt, I. De Guillaume Dufay a Roland de Lassus: Les tres riches heures de la polyphonie franco-flamande (French Edition) (9782204055550)