Music History - The Renaissance Part 2

The implicit in rules all Renaissance fine fine fine fine art was its artistic honestness to nature, as opposing to tradition, which had been the style of pre Renaissance art.

This rule was deduced from the survey of the new establish learning, being spreading throughout Italian Republic by Grecian refugees, and the ensuant awakened involvement with which people regarded the stays of ancient architecture, sculpture and other art forms, constantly being unearthed in their ain country.

With the acceptance of the classical rule of truth to nature, naturally came the acceptance of a second, that of the survey of the old-timer as the true way to excellence in art or letters. We cannot neglect to recognise these twin rules at work in the Hagiographa of the Masters of the musical Renaissance.

A analogue to that truth to nature, which the painters and sculpturers of the Renaissance proper acquired from the survey of Grecian art, may be traced in the attempts of the composers of the Renaissance, to do their music more than and more flexible and antiphonal to the varied drama of human sentiment.

Musicians as well as sculpturers and painters studied antique art. Although for instrumentalists not as profitable, the lessons to be learned from antiquity by instrumentalists were not for educational intents but more than for inspiration and creativity.

Palestrina have got already been mentioned as typifying the apogee of the musical development of the early ages, and now, in taking up the consideration of a new period, we have, in the first place, to concern ourselves with a adult male who was already 40 eight old age old when Giovanni Pierluigi Da Giovanni Pierluigi Da Palestrina was born. The Flemish composer Hadrian Willaert, chapel maestro of St. Mark's at Venice.

Willaert may be considered as belonging at the same clip to the old order and the new, for while, in common with his chap citizen, Orlando di Lasso, some may state he was one of the last and top of the Flemish masters. At the same time, he must be reckoned as a antecedent of the musical reformists of the Renaissance.

Willaert, although he did not arise any new word word forms in music, may put claim to have got been one of the first to give musical look to that love of colour, movement, and general spirit of adaptiveness, which are such as outstanding features of the Renaissance period.

The forms he employed were those used by his coevals and contiguous predecessors. The Mass, Psalm, Motet, and Madrigal. However, in them all his coloring material sense was very strong, comparatively speaking, that is, for that tonic splendour, which led the Venetians in their enthusiasm to term the plant of their precious "Messer Adriano" aurum fotabik or "drinkable gold" might not be so readily evident to a modern audience.

Although to a musician, instituting a comparing between the plant of Willaert and those of earlier writers, the personal effects gained through the usage of broadly contrasting harmoniousnesses by the Flemish maestro cannot neglect to look strikingly original.

While dealing with Venetian music reference must be made of Andrea and Giovanni Gabrielli, uncle and nephew, who stand for a future development of the style of Willaert. Giovanni Gabrielli (1557-1612) carried his experimentations in tone of voice coloring material into the part of pure instrumental music; and his "Symphonic Sacrse," the first volume of which was published at Venezia in 1597, entitles him to rank as one of the earlier of authors for the orchestra.

In the first volume of this work, there are 16 pieces for from eight to 16 instruments, and in the 2nd volume, there are canzonets for as many as twenty-two instruments. These compositions are written for violins, horns (not the horns of modern times, but wooden instruments), and trombones.

After the clip of Willaert and the Venetians, were the existent workers in the Renaissance of music, and the first of their achievements, the innovation of the Music Play or Opera.