Page:The American Cyclopædia (1879) Volume XII.djvu/97

MUSIC 89 IV., and in France, where he was composer and chief singer in the chapel of Louis XII. Among his celebrated pupils were Jannequin Arcadelt and Willaert. With the last named of these composers (died about 1563) the ascen- dancy of the Dutch in musical composition be- gan to decline. The application of movable metal types to the printing of notes in 1502 served to cheapen and diffuse published music. Willaert's greatest distinction rests on the fact that he was the first celebrated composer who gave his attention to the composition of mad- rigals, from which fact he was called "the father of the madrigal." While still a young man he went to Venice, and he became the head of the Venetian school. During the 16th century, and contemporary with Willaert, lived many notable composers: in Italy, Pa- lestrina, Constanzo Festa, Luca Marenzio (one of the greatest of madrigalists, surnamed the Sweet Swan), and Cypriano de Rore, called by the Italians il Divino ; in the Netherlands, Or- lando di Lasso, Clemens non Papa, and Chris- tian and Sebastian Hollander ; in Spain, Cris- tofano Morales; in England, Marbeck, Tallis, Bird, Morley, Weelkes, and Wilbye. Nearly all of these distinguished themselves as com- posers of madrigals; the English cultivated this form of composition with so much suc- cess that the practice of madrigals became du- ring that century the delight of refined society ; sight reading was at that time even more than in our own day a common accomplishment among the educated. The madrigals of Wil- bye, Weelkes, and Morley have never been surpassed in beauty of melody and form, or in the freedom with which the different parts move. In 1601 Thomas Morley published a collection of madrigals in fulsome praise of Queen Elizabeth, entitled " The Triumphs of Oriana," to which 20 English composers con- tributed. Of the composers of other nations whom we have named, the two most famous were Palestrina and Orlando di Lasso. The lat- ter was the last of the great Netherlands school, and after his death the ascendancy passed over to the Italians. As to Palestrina, it is difficult to overestimate the talent of the man or his influence over the art in his day. In his com- positions the solemn words of the mass found their highest and noblest musical expression. He was truly regarded as the great reformer of church music. So fully was his genius recognized by the composers of his own time, that 14 of the most celebrated combined to compose and dedicate to him a collection of psalms in five parts. He used only the eccle- siastical modes, and avoided all straining after effect by strange harmonies; but his knowl- edge of counterpoint, and the elevation and nobility of his style, made his masses and his other compositions, of which he wrote a vast number, examples for all time of what true church music should be. During this century the keyed instruments in use were the organ, the virginal, the spinet, the clavichord, and the harpischord. The viol, the guitar, and the flute were also used. Between 1550 and 1600 instruments were first introduced into churches for the purpose of accompanying voices. No such thing as independent accom- paniment was known at this time, the instru- ments being used only to reenforce the voice and playing from the vocal score. The vio- lin now began to assume new importance, and in the hands of the Amati family and their immediate successors it was brought with won- derful rapidity to a beauty of form and color and sweetness of tone that have not since been excelled. It is the only example in his- tory of an instrument which at once attained its perfection, and which the inventors of two centuries and a half have not been able to im- prove upon. (See AMATI.) The closing year of the 16th century witnessed the birth both of opera and of oratorio. In the year 1600 was performed at Florence a work entitled Euri- dice, una tragedia per musica. The words were by Rinuccini, the music by Peri. This work possessed after a rude fashion the charac- teristics of the modern opera. In the same year was performed at Rome Emilio del Cava- liere's religious drama L'Anima e corpo, which may be considered the forerunner of the ora- torio, as Peri's work was of the opera. The way had been long preparing for both opera and oratorio, through the miracle plays and the performances representing the passion of Christ. These sacred musical dramas were often performed in a hall, called by the Ital- ians oratorio, adjoining the church, and hence came to be called by that name. Cavaliere's work was first represented on the stage of the church of La Vallicella, with appropriate scenery and action. The personages were Time, Pleas- ure, the Body, the World, and Human Life. There was also a chorus that commented, after the manner of the Greek tragedies, upon the events narrated. The instruments of accom- paniment were placed behind the scenes, and were as follows : una lira doppia, a double lyre ; un clavicembalo, a harpsichord ; un chitarone, a large guitar ; due flauti, two flutes. Instead of overture, a madrigal with all the voice parts doubled was recommended by the composer. The example thus set by Cavaliere was speedily followed by other composers. Among the most distinguished of those who contributed to this form of composition during the 17th century were Carissimi, Stradella, Scarlatti, and Caldara. Another element combined with that of the miracle plays to give form to the opera ; this was Greek tragedy. With the revival of letters a new impetus had been given, especially in Italy, to the study of the Greek authors. At the house of Giovanni Bardi, count of Vernico, in Florence, a small musical and literary circle was accustomed to meet to discuss the probable forms of Greek music, and the method in which they could be made available. Vincenzo Galilei, father of the astronomer, was one of this num- ber. From theory they advanced to practice,