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MUSIC IN THE RENAISSANCE

Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner

MUSIC IN THE RENAISSANCE

Richard Freedman Haverford College

n W. W. NORTON AND COMPANY Ƌ ƋĐƋ 

W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program—trade books and college texts— were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: Bonnie Blackburn Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics-Fairfield, PA

A catalogue record is available from the Library of Congress ISBN 978-0-393-92916-4

W. W. Norton & Company, Inc., 500 Fifth Avenue, New York, NY 10110-0017 wwnorton.com W. W. Norton & Company, Ltd., Castle House, 75/76 Wells Street, London W1T3QT 1234567890

In memory of my parents—my first teachers

CONTENTS IN BRIEF

Contents Anthology Repertoire Series Editor’s Preface Author’s Preface

ix xiii xv xvii

PART I

Beginnings

CHAPTER 1

Music and the Cultures of the Renaissance

4

CHAPTER 2

Learning to Be a Musician

17

PART II

Before 1500

CHAPTER 3

Music at Court and a Songbook for Beatrice

38

CHAPTER 4

Piety, Devotion, and Ceremony

58

CHAPTER 5

Structures and Symbols in Cantus Firmus and Canon

78

PART III

A round 1500

CHAPTER 6

Number, Medicine, and Magic

96

CHAPTER 7

Music and the Ideal Courtier

113

CHAPTER 8

Josquin des Prez and the “Perfect Art”

131

CHAPTER 9

Scribes, Printers, and Owners

150

vii

c on t e n t s i n b r i e f

viii PART IV

A fter 1500

CHAPTER 10 Music and the Literary Imagination

174

CHAPTER 11 Music and the Crisis of Belief

193

CHAPTER 12 The Arts of Improvisation, Embellishment, and Variation

216

CHAPTER 13 Empire, Exploration, and Encounter

232

CHAPTER 14 Tradition and Innovation around 1600

250

GLOSSARY

A1

ENDNOTES

A7

CREDITS

A15

INDEX

A17

CONTENTS

Anthology Repertoire Series Editor’s Preface Author’s Preface

xiii xv xvii

PART I Beginnings CHAPTER 1 Music and the Cultures of the Renaissance

4

The Craft of Composition: Two Views 4ƋĐƋChanging Styles and Contexts 8 ĐƋMusic and the Renaissance: Some Problems 10 Đ Humanism in Thought, Word, and Belief 12ƋĐƋMusic and the Spirit of Religious Reform 13ƋĐƋMusic and the Cultures of Print 13ƋĐƋMusic and the Renaissance Gentleman 14ƋĐƋA Dialogue with the Past 14ƋĐƋFor Further Reading 15 CHAPTER 2 Learning to Be a Musician

A Plain and Easy Introduction 18 ĐƋThe Duet as Testing Ground 23 ĐƋ Learning about the Modes 25 ĐƋThe Lost Art of Unwritten Counterpoint 28 ĐƋTeaching Methods 30 ĐƋSixteenth-Century Trends 32 ĐƋFor Further Reading 34

ix

17

x

c on t e n t s

PART II Before 1500 CHAPTER 3 Music at Court and a Songbook for Beatrice

38

The Chapelle, Chambre, and Ecurie 39 ĐƋA Wedding at Savoy 40ƋĐƋMusical Patronage as Aristotle’s “Magnificence” 43 ĐƋTinctoris’s “New Art” 45 ĐƋMusic in Motion 47 ĐƋA Songbook for a Princess 47ƋĐƋPerforming Chansons at Court 54ƋĐƋFor Further Reading 57 CHAPTER 4 Piety, Devotion, and Ceremony

58

Music in Church 59 ĐƋDu Fay and a New Marian Service for Cambrai 62 ĐƋPolyphony at the Margins of the Liturgy 64 ĐƋA Memorial Mass by Obrecht 66 ĐƋDunstable, the Song of Songs, and Musical Devotion 67ƋĐƋThe Sound of Sacred Processions 68ƋĐƋMusic for Corpus Christi Processions 71ƋĐƋA Ceremonial Carol 72ƋĐƋMusic for Ceremonies of State 73ƋĐƋDu Fay’s Motet for Pope and Emperor 74ƋĐƋFor Further Reading 77 CHAPTER 5 Structures and Symbols in Cantus Firmus and Canon

78

Cantus Firmus and the Ceremonial Motet 79 ĐƋThe Caput Masses 80 ĐƋ The L’homme armé Tradition 82 ĐƋOckeghem’s Musical Puzzles 88 ĐƋOld Structures, New Listeners 89ƋĐƋ For Further Reading 90 PART III Around 1500 CHAPTER 6 Number, Medicine, and Magic

96

Music, Number, Proportion 96 ĐƋTheory versus Practice 99 ĐƋMusic and Medicine 101 ĐƋDowland, Du Fay, and the Sounds of Melancholia 104ƋĐƋ Music and Neoplatonic Magic 106ƋĐƋFicino and the Cosmic Dimension 108 ĐƋ For Further Reading 112 CHAPTER 7 Music and the Ideal Courtier

113

Castiglione’s Book of the Courtier 113 ĐƋFederico da Montefeltro: The Ideal Prince 115 ĐƋThe Courtier and the Theater of Appearances 116 ĐƋSongs Fit for a Courtier 118 ĐƋSerafino Aquilano, Singer and Poet 119 ĐƋMarchetto Cara and the Frottola 120 ĐƋA Frottola in Detail: Tromboncino’s Ostinato vo’ seguire 122ƋĐƋMusic, the Court Lady, and the Courtesan 124ƋĐƋFortunes of the Courtier Aesthetic 127ƋĐƋ For Further Reading 129 CHAPTER 8 Josquin des Prez and the “Perfect Art”

Perfection in Practice: Josquin’s Ave Maria . . . virgo serena 132 ĐƋ Renaissance Images of Josquin des Prez 133 ĐƋIsaac’s Competing Claim 134 ĐƋThe Josquin “Brand” 136 ĐƋJosquin, Petrucci, and Music Printing 137

131

c on t e n t s

xi

ĐƋBy Josquin or Not? 139 ĐƋMille regrets and the Problem of Authorship 142 ĐƋJosquin des Prez or Not? 143ƋĐƋJosquin’s Pupils, Real or Imagined? 145 ĐƋReconsidering Josquin’s Genius 146ƋĐƋFor Further Reading 148 CHAPTER 9 Scribes, Printers, and Owners

150

Handmade Books 151 ĐƋMusic in Print 158 ĐƋOwners and Collectors: Princes, Priests, and Bankers 163 ĐƋComposers, Printers, and Publics: Who Owned Music? 167ƋĐƋFor Further Reading 169 PART IV After 1500 CHAPTER 10 Music and the Literary Imagination

174

Pierre Attaingnant’s Songbooks 174 ĐƋMadrigals and the Art of Pleasing Variety 179 ĐƋIn a Lighter Vein 183 ĐƋMadrigal Parodies 185 ĐƋLuca Marenzio and the Madrigal of the Late Sixteenth Century 189 ĐƋMarenzio and the Avant-Garde Poets 190ƋĐƋFor Further Reading 192 CHAPTER 11  Music and the Crisis of Belief

193

Sacred Sounds for a Nation of Divided Faiths 194 ĐƋFrom the Cantiones to Byrd’s Gradualia 195 ĐƋThe Reevaluation of Catholic Music 197 ĐƋ Palestrina’s Missa nigra sum 200 ĐƋLasso and Counter-Reformation Munich 201 ĐƋCrossing Confessional Boundaries 202 ĐƋProtestant versus Catholic in Music 205ƋĐƋCongregational Hymns among the Protestants 208ƋĐƋLuther and the “Wondrous Work of Music” 209ƋĐƋ Vautrollier and the Spiritual Correction of Secular Songs 213ƋĐƋFor Further Reading 215 CHAPTER 12 The Arts of Improvisation, Embellishment,

and Variation

216

The Singing Ladies of Ferrara 217 ĐƋCourtly Improvisers, Courtly Audiences 219 ĐƋMarenzio’s O verdi selve: A Madrigal for the Concerto delle Donne 220 ĐƋLearning the Arts of Embellishment from a Papal Singer 222 ĐƋEmbellishment for Everyone 223ƋĐƋBorrowed Melodies, “Italian Tenors,” and the Art of Instrumental Variation 225ƋĐƋFantasía: Playing from Imagination 228ƋĐƋFabrizio Dentice’s Solo Lute Fantasias 229ƋĐƋFor Further Reading 231 CHAPTER 13 Empire, Exploration, and Encounter

Venice and the World 233 ĐƋGreeks and Moors 233 ĐƋJews and Music, from Italy to England 237 ĐƋThe Bassano Family 238 ĐƋFrench and English Protestants Abroad 240 ĐƋThe Catholic Mission in New

232

xii

c on t e n t s

Spain 241 ĐƋSacred Music in the Americas 243ƋĐƋMatteo Ricci’s Musical Encounters in China 245ƋĐƋA Musical Parliament of Nations? 247ƋĐƋ For Further Reading 249 CHAPTER 14 Tradition and Innovation around 1600

250

A Madrigal by Claudio Monteverdi 250 ĐƋA Motet by Carlo Gesualdo 253 ĐƋClaude le Jeune’s Dodecacorde: The Modes of Social Harmony 254 ĐƋLast Words 256 ĐƋFor Further Reading 258

Glossary Endnotes Credits Index

A1 A7 A15 A17

ANTHOLOGY REPERTOIRE

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23.

Luca Marenzio: Liquide perle Johannes Ciconia: Doctorum principem Thomas Morley: Miraculous love’s wounding Guillaume Du Fay: Par le regart Antoine Busnoys: Ja que li ne s’i attende Jacob Obrecht: Missa de Sancto Donatiano, Kyrie John Dunstable: Quam pulchra es Anonymous: There is no rose Guillaume Du Fay: Supremum est mortalibus Guillaume Du Fay: Missa L’homme armé, Agnus Dei Josquin des Prez: Missa L’homme armé super voces musicales, Kyrie John Wilbye: Draw on, sweet Night Bartolomeo Tromboncino: Ostinato vo’ seguire Josquin des Prez: Ave Maria . . . virgo serena Josquin des Prez (?): Mille regrets Clément Janequin: Martin menoit Jacques Arcadelt: Il bianco e dolce cigno Adrian Willaert: Madonna mia famme bon’offerta William Byrd: Ave verum corpus Jean Lhéritier: Nigra sum Giovanni Pierluigi da Palestrina: Missa nigra sum, Credo Thomas Tallis: Why fumeth in sight Giovanni Bassano: Divisions on Orlando di Lasso, Susanne un jour

xiii

xiv 24. 25. 26. 27.

a n t holo gy r e p e rtoi r e Diego Ortiz: Recercada ottava Fabrizio Dentice: Fantasia Claudio Monteverdi: Sfogava con le stelle Carlo Gesualdo: O vos omnes, from Tenebrae for Holy Week

xiv

SERIES EDITOR’S PREFACE

Western Music in Context: A Norton History starts from the premise that music consists of far more than the notes on a page or the sound heard on a recording. Music is a product of its time and place, of the people and institutions that bring it into being. Many music history texts focus on musical style and on individual composers. These approaches have been a valuable part of writing about music since the beginnings of modern scholarship in the later nineteenth century. But in the past few decades, scholars have widened their scope in imaginative and illuminating ways to explore the cultural, social, intellectual, and historical contexts for music. This new perspective is reflected in the volumes of Western Music in Context. Among the themes treated across the series are: ˜ The ways in which music has been commissioned, created, and consumed in public and private spheres ˜ H\Y fc`Y cZ hYW\bc`c[m ]b h\Y WfYUh]cb UbX hfUbga]gg]cb cZ aig]W  Zfca h\Y advent of notation to the digital age ˜ H\Yfc`YcZkcaYbUgWcadcgYfg dYfZcfaYfg UbXdUhfcbg ˜ H\YfY`Uh]cbg\]dgVYhkYYbaig]WUbXbUh]cbU`cfYh\b]W]XYbh]hm ˜ H\YhfU]b]b[UbXYXiWUh]cbcZaig]W]Ubg]bVch\df]jUhYUbX]bgh]hih]cbU`gYhh]b[g All of these topics—and more—animate the pages of Western Music in Context. Written in an engaging style by recognized experts, the series paints vivid pictures of moments, activities, locales, works, and individuals: ˜ 5   Zcifh\!WYbhifm YmYk]hbYgg fYdcfh cb aig]WU` dfUWh]WYg ]b h\Y