The New Roman Style and Giovanni Maria Nanino

As a composer of secular music, Giovanni Maria Nanino seems to have published only three books of madrigals and one of canzonettas, yet he contributed numerous pieces to anthologies, and his madrigals were often reprinted. Scarcely an important anthology appeared in these years without a contribution by him. Indeed in the fifteen years before the death of Giovanni Pierluigi da Palestrina in 1594, Nanino rivaled him as the most esteemed of Roman composers; in the decade after Palestrina’s death, Nanino was the undisputed head of the large and important Roman school. By certain measures Nanino was the most often represented composer in anthologies printed between 1570 and 1620. In this area he surpasses not only Palestrina, but also Luca Marenzio, Philippe de Monte, and Alessandro Striggio. Despite Nanino’s immense prestige among his contemporaries, in modern histories his secular music is scarcely discussed, with just a passing mention in Alfred Einstein’s voluminous The Italian Madrigal. This article establishes Nanino’s leadership in defining the new Roman style of madrigal in the late sixteenth century, outlines its musical characteristics, and suggests paths for future research into this as yet little studied school.

MOTETTI, MADRIGALI ET CANZONE FRANCESE DE GIOVANNI BASSANO

Este artigo tem como objetivo contextualizar e comentar o livro Motetti, madrigali et canzone francese de Giovanni Bassano, publicado em Veneza em 1591. A edição original do livro foi perdida durante a Segunda Guerra Mundial e conhece-se apenas uma cópia manuscrita de 1890, feita pelo musicólogo alemão Friedrich Chrysander. A obra é o segundo livro publicado por G. Bassano e um dos maiores livros de diminuições da época, na qual, ele apresenta cerca de cinquenta diminuições sobre uma ou duas vozes de peças a quatro, cinco e seis vozes, a maioria motetos de Giovanni Pierluigi da Palestrina e madrigais de Cipriano de Rore. Giovanni Bassano era cantor, compositor e cornetista, membro de uma famosa família de construtores de instrumentos, compositores e instrumentistas estabelecida em Londres e em Veneza, teve como seu tutor Girolamo Dalla Casa, a quem sucedeu no posto de diretor de música instrumental na Basílica de São Marcos.

The Musical Topic of the Mass in B Minor

If there is a fundamental musical subject of Johann Sebastian Bach’s Mass in B Minor, a compositional problem the work explores, it is the tension between two styles cultivated in church music of Bach’s time. One style was modern and drew on up-to-date music such as the instrumental concerto and the opera aria. The other was old-fashioned and fundamentally vocal, borrowing and adapting the style of Giovanni Pierluigi da Palestrina, his sixteenth-century contemporaries, and his seventeenth-century imitators. The movements that make up Bach’s Mass can be read as exploring the entire spectrum of possibilities offered by these two styles (the modern and the antique), ranging from movements purely in one or the other to a dazzling variety of ways of combining the two. The work illustrates a fundamental opposition in early-eighteenth-century sacred music that Bach confronts and explores in the Mass.

Giovanni Pierluigi da Palestrina – Missa Papae Marcelli

The chapter begins with a biographical and compositional overview, including discussions of Palestrina’s various positions in and outside of Rome; his compositional output that numbered 104 Masses, approximately 500 motets, and approximately 140 madrigals; the nature of his Masses, many of which are based on previously composed models; the papacy and the Counter-Reformation; and mandates of the Council of Trent. Musical discussion in this chapter focuses on unique characteristics of the Missa Papae Marcelli and its legacy. Performance practices include: pitch and performing forces; meter and tactus, with considerable focus on syncopation; the importance of oratorical phrasing; tempo and its variability; and musica ficta.