Part 20

The first Roman school owes its salient characteristics to the marked preference accorded Flemish singers in the choir of the Sistine Chapel, at Rome. The founder of the school was the Belgian, Constanzo Festa, who obtained a place in the choir, in 1516. His compositions and those of his pupils show distinct traces of the influence of the successors of Josquin des Près, but they possess sufficient individuality to prove the existence of innate genius of a very high order. Festa is believed to have been the first Italian composer who became a thorough master in counterpoint. But his Netherland tendencies did not prevent his foreshadowing that tenderness, purity and simplicity which distinguished the works of the great Italian masters who followed him.

The golden age of ecclesiastical music begins to dawn with the second Roman school and the appearance of Giovanni Pierluigi Sante Palestrina, one of the greatest and most original geniuses the world of art ever produced.

Numerous changes had taken place in musical style up to the time of Palestrina's appearance. When the rude forms of discant and organum, practiced by Hucbald and Guido of Arezzo, had been abandoned in consequence of the invention of counterpoint, the composers of the time, following the course of development already indicated, struck out in an entirely new art-form, called fugue. There were two kinds of fugue,--the free or unlimited, and the strict or limited. Both kinds still exist, but not under the same names. The former is now called real fugue, to distinguish it from modern deviations from the classical model. The latter kind we now call canon.

In earlier times the polyphonic styles, as well as the secular and ecclesiastic, had each enjoyed a separate existence and undergone a separate development; but the work of the Flemish masters did much to counteract these natural tendencies, and to bring, as it were, all musical grist to one mill. These writers not only made use of secular tunes, in order, as they thought, to give more variety to their music, but they often gave these tunes undue prominence, and thus rendered impossible a really artistic performance. We meet with innumerable masses based on secular themes, such as the first line of a well-known romance. "L'homme armé," for instance, a very popular song of the period, was thus used. It would be wrong, however, to attribute any irreverence to these composers. They were merely following the promptings of laudable and genuine artistic feelings, in employing that which should readily appeal to the musical sense of their listeners. Nor are we without examples of similar practices in other arts. In the works of the old Flemish painters, for instance, not only do we see anachronisms in their "Nativities," their "Marriages at Cana" or their "Festivals of Simon of Bethany," but the scene is laid in some well known inn; we find in the background a faithful copy of kitchen utensils of every description; and through an open door we descry the familiar face of a tradesman, or the portrait of the stout and coarse-looking innkeeper. It was a sign of the times, and no one dreamed of censuring the artist who thus worked. Those great painters threw on their canvas what they saw in every day life, never thinking that it should be otherwise; and the composers did likewise in their art. They used in an elaborate way the melodies most frequently heard; but in the course of time this manner of writing had disgraceful consequences. Musical degeneracy became so great and so general that it could only be termed musical debauchery. It was against absurdities such as these that the Council of Trent protested.

Pope Pius IV., having made thorough investigation, came to the conclusion that the style of music generally cultivated was open to serious objections. It was in 1564 that he convened a commission of cardinals to consider the evil and to prescribe a remedy. This commission was inclined to banish from the church all music except unisons and unaccompanied plain chant; but it was decided, before issuing such a far-reaching decree, to canvass the possibilities of introducing "modern" music which should be free from frivolity. After much deliberation, they commissioned Palestrina to write a mass in the purest attainable church style. The result of their bidding was the composition of the Missa Papæ Marcelli. The success of this remarkable work far exceeded the high expectations that it had aroused. The Pope himself was present at the first performance in the Sistine Chapel, June 19, 1565. So moved was he by the work that, on leaving the church, he exclaimed: "This certainly must have been the harmony of the New Song which the apostle John heard sung in the heavenly Jerusalem, and of which this other John (Palestrina) has given us a foretaste in the Jerusalem on earth." And so it was formally determined that this mass should stand as a model for all church music thereafter to be composed.

This composition by Palestrina, as well as very many others, not only displays a complete mastery of counterpoint and vocal style, but also deep religious feeling and a rare ability in writing for the human voice. The sterling value of his works cannot be overestimated. Their influence upon later periods has been immeasurable. Indeed, we may say without exaggeration, that never in art has such a mighty change taken place as that caused by the immortal Palestrina's reformatory efforts.

The earlier contrapuntists collected, stone by stone, the materials which served their successors as foundations for further work. Ockeghem was the first to use these fragments in a symmetrical way and to bequeath a systematic style of music-writing to his followers. Among these was Josquin des Près, who attempted to vivify and to infuse blood into the hitherto lifeless counterpoint. But although his success was considerable, it was reserved for Palestrina to free his art from fetters, and to bestow upon it, as far as was possible, individuality. The most noteworthy of Palestrina's Roman contemporaries were Vittoria, Giovanni Maria and Bernar Nannini, Felice and Francesco Anerio, and the famous composer of madrigals Luca Marenzio. But other cities of Italy had also their schools, all, however, more or less under the influence of Palestrina. The most prominent was the Venetian school, founded by Adrian Willaert.

Adrian Willaert, born at Bruges in Flanders, in the year 1490, is said to have been a pupil of Jean Mouton, possibly also of Josquin des Près himself. He first studied law at the university of Paris, which, however, he soon abandoned for music. As a young man of twenty-six he had already made a name in his own country with his compositions. It seems, however, that he was not successful in obtaining a position in Rome; he went, therefore, to try his fortune in Venice. He succeeded so well there that in 1527 he had already obtained the position of chapel-master in the church of St. Mark. Under Willaert's direction the music at St. Mark's became famous, and the office of chapel-master at that church reached a high point of eminence; and thence until the eighteenth century the place was occupied only by masters of the first rank. Willaert's influence as a composer and as a teacher of musical art and science was great and beneficial. He was the founder of the Venetian school of music from which sprang so many distinguished composers, theorists and singers. He was the first to introduce the double chorus in the antiphonal form. Up to his death (1562) he kept his position at St. Mark's. He was a pioneer in the broadest sense, for though his style was founded on that of Josquin and his disciples, he began almost where they left off. Willaert's introduction of double choruses in combination, at church service, led afterward to a style of music which his followers developed to its utmost limits, and which resulted in such monstrosities as masses for forty-eight voices. They, of course, were no more than cold, mathematical calculations, barren of intrinsic musical value.

Willaert, with his countrymen Arcadelt and Verdelot, was also the founder or promoter of the madrigal, as a highly refined style of music. Hitherto it had been a kind of wild-flower, a simple pastoral. But now it assumed more importance. The so-called "sacred madrigal" was an offshoot of this new style, and does not differ essentially from contemporary motets. At a later period the comic madrigal came into vogue, through Vecchi and others; and finally, the madrigal was introduced on the dramatic stage in the earliest beginnings of opera, and gave rise to the modern opera chorus. The most celebrated of Willaert's pupils were Cyprian de Rore, also Flemish by birth, Zarlino, the great theorist, Costanzo Porta, Nicolo Vincento (or Vincentino) and Delia Viola.

Cyprian de Rore was born at Mecheln. He was Willaert's successor at St. Mark's in 1563, and died at Parma two years later. His originality was manifested in his madrigals, which became so popular that the Italians called him "Il divino." De Rore did not hesitate to use chromatic intervals, and boldly entered upon the new path which his teacher had merely pointed out. Considerable opposition was made to this innovation at first; but soon other bold masters, such as Orlando Lasso and Luca Marenzio, adopted chromatic intervals in their writings. These masters deserve the honor of having prepared the way for the modern system of major and minor keys and the chromatic scale. They did more toward the attainment of a newer and higher type of music than all the speculations of learned theorists and scholars had been able to accomplish.

De Rore's successor at St. Mark's was Giuseppe Zarlino, the greatest musical theorist of the sixteenth century. Zarlino's specialty was the theory of music rather than composition; hence, it is rather difficult to form any idea of his talent as a composer, from the few compositions that are at hand. His great work on the principles of music entitled "Istituzioni harmoniche" holds a very high place in musical literature. Before his day, musicians avoided the third in the last chord of the final cadence of a composition; all pieces ending either with the simple octave, or the octave with the fifth. Orlando Lasso was the first to adopt this innovation in practical music, but he did not extend it to the minor third, which was not used at the close of a piece until far into the eighteenth century.

Zarlino justified the use of major and minor thirds and sixths as concords, by his so-called diatonic system of "tempered intervals," which was an improvement on the pure-fifth system of Pythagoras. This new system recognized large and small whole tones in the series of intervals comprising the diatonic scale.

The foundation of modern organ-playing was laid at Venice. The most celebrated organ-players of the sixteenth century were offshoots of the Venetian school. With regard to organ music of the Venetian masters, it consisted of short pieces, the form resembling that of the modern prelude. Free running passages and broken chords, with now and then some hints of stricter counterpoint, were the characteristics of this music. The titles indicated greater variety than the contents. Some of them were named: Ricercari, Symphonia, Praeambula, Toccata, Capriccio, Intermezzo, Canzone, and so on.

Von Winterfeld, a celebrated German author, gives, in his masterly work, "Giovanni Gabrieli and his Age," the following complete list of the organists of St. Mark's: De Berghem, Parrabosco, Claudio Merulo and Andrea and Giovanni Gabrieli. These two last, Andrea and his nephew Giovanni, were the two greatest masters of the Venetian school.

Andrea Gabrieli was born in 1510, at Venice. He was appointed organist of the second organ at St. Mark's and held this position till his death (1586). He was a productive composer, and enriched church music by the accompaniments of various instruments. He was a remarkable organist, and was the teacher of Merulo, who was very famous as a composer and player on the organ.

Giovanni Gabrieli was born in 1540 and was appointed, in 1584, first organist at St. Mark's in place of Merulo. His genius was manifested in all branches of musical composition. His church music is as solemn and as elevated as that of Palestrina. Although he employed the church modes, he seemed to mould their rigid forms into a more modern expression than had hitherto been imparted to them. Ambros, another great musical historian says: "He prays and we pray with him." If we compare the same text with Palestrina, whose style is not less glorious, nor less elevating to the soul, we feel an immense difference; for Palestrina is the last purest sound of the older direction in music, while Gabrieli announces, in a wonderful manner, the coming musical emancipation of the individual. In unaccompanied vocal music he has never been equalled in the production of rich effects of musical coloring; in separating and massing together "choral harmonies." His compositions for two, three and four choruses are wonderful exhibitions of skill and judgment.

Giovanni della Croce was the last representative of the Venetian school, which died with him in 1609.

Florence, Naples, Bologna and Milan had also distinct polyphonic schools, all of which exercised a decided influence upon foreign schools, not only in their beginning but in their later development. Thus, the Venetian school had a great influence upon the schools of Nuremberg and Munich, the former founded by Hans Leo Hassler, a German, and the latter by the famous Netherlander, Orlando di Lasso (Roland de Lattre.) The influence extended even to Spain.

But these great workers were not destined long to enjoy that public favor which they so richly merited. New forms of composition and new means of expression were being carefully considered.

The rise in popularity of the monodic, the "one melody" style, involved a sudden decline of interest in the polyphonic school. It is impossible to give with exactness the date of the total disappearance of this later style of writing in Italy. With the gradual introduction of madrigals and through the influence of dramatic music, the hitherto accepted rules of musical construction were subjected to a great change. In the compositions in the old church modes we note, as distinctive traits, an unrelaxing adherence to diatonic scale progressions and a strict preservation of half-tone interval (mi-fa) in all the modes. By this usage each key required, of course, its own special harmonic treatment, and each of the cadences, or endings, differed in character from all the others. The distinctions between the various mediæval keys were, indeed, far more strongly marked than are those which exist between the modern major and minor scales. These great differences led the older church composers to attribute to each of the modes distinct powers of expression; but just as no modern theorist has been able satisfactorily to explain the nature and character of the major and minor keys, so the mediæval composers had widely diverging ideas concerning the modes, and employed them variously, according to their personal preferences.

Toward the end of the sixteenth century less strict laws came to be applied to the use of the old church modes, and gradually their peculiar diatonic was wholly lost. Through the efforts of the madrigalists, and especially through the agency of the masters of the Venetian school, the chromatic element became established in music, and the severity and harshness of the church modes greatly lessened.

The most common forms of secular music in Italy during the fourteenth and fifteenth centuries were the Frottola, the Villotta or Villanella, and the Madrial or Madrigal. They were all part songs, more or less elaborate, according to the sentiment of the poetry. The Frottole were four-part songs, of a gay and trivial nature, generally popular street songs; but some of them were more earnest and sentimental, being set to good poetry (arcadica).

The Villotte or Villanelle were originally peasants' songs, as the name implies. They resembled the frottole, but were more extended and musicianly. The Villotte alla Napoletana were the most artistic songs of this class, but were often sung to frivolous words. The Madrigal was known as early as the fourteenth century, but it did not rise into universal prominence as the representative form of secular music before Willaert's day.

The word madrigal is derived from mandra, a flock, and denoted, originally, a shepherd's song (Pastorale). As formerly stated, early composers often selected for their masses Gregorian chants, or secular melodies. In the madrigal, however, the composition rested upon original invention, thus allowing more variety in form and contrapuntal treatment. In the madrigal, the composer's endeavor was to express through adequate music, the meaning of the poem: he followed closely, with appropriate motives, the sentiment of the different verses. Strict and elaborate canons and fugues were therefore out of place in the madrigal, in which, though seemingly simple in its construction, the composer found ample opportunity to display his mastery in contrapuntal writing. Great variety in rhythm, poetical expression, characteristic melodies, new and striking harmonies, were considered the necessary qualities of the madrigal. It was generally written in three, four, five, six and even more parts, though writing in five parts seems to have been most in favor and use.

The words of a madrigal generally consisted of twelve or fifteen lines, which had no fixed metre, so that the poem appeared more like a free, than a versified recitation. The closing lines often expressed some witty or happy thought like an epigram. The music was governed more strictly by the meaning of the words than it was in the mass, and the counterpoint was more simple and expressive. In some madrigals the voices were treated with exquisite refinement, in a delicate web of counterpoint. Others were composed in simple harmony, note against note. This latter style possessed a diatonic character, out of which the chromatic element of modern music could gradually be developed. The first hints of this new method we owe to Willaert.

Adrian Willaert is considered, if not as the inventor of the madrigal, at least as the composer by whom it was given its first artistic form. It may be regarded as the highest form of chamber-music of those days, written and composed for the refined and appreciative amateurs of the best social circles, principally in Venice and Rome. All composers of repute produced works in this favorite form; among others (beside the two most prominent, Willaert and Cyprian de Rore) Constanzo Porta, Constanzo Festa, Verdelot, Arcadelt, Orlandus Lassus, Orazio Vechi and Luca Marenzio, the last named being the best madrigalist of his time.

There were other favorite vocal forms of a more general character, which were composed according to a chosen metre, to which the poem was afterward set. The name given to this species of composition was _modus_ (still to be found in the Portuguese term for folk-song, _modinha_) or _aer_, and from this source was derived the modern name, air or aria, which signifies the manner of singing (as we say a person has a certain air or manner), and does not refer, as many suppose it does, to the medium of song; that is, the sound of vibrating air.

These forms of secular song were inspired, undoubtedly, by the beautiful poetry which enriched Italian literature at that period,--the age of Dante, Petrarch, Torquato Tasso and Bocaccio.

Petrucci published (1504-1508) as many as eight books of Frottole, some nine hundred numbers in all. These are characteristic, though primitive examples of Italian music, and mark the essential difference between that and Flemish music. The latter, like the Gothic architecture of the North, was developed organically from germs or motives, while the former corresponds to simpler forms, the grand curves and arches of Roman churches, within whose walls the pure and elevated harmonies of Palestrina have resounded through the centuries. The innovations which resulted from these new ideas rapidly became popular, and in the course of time, old church modes fell permanently into disuse.

The last noteworthy representatives of the polyphonic school of the sixteenth century were Orlando di Lasso (Munich), Giovanni della Croce (Venice) and, chiefly, Gregorio Allegri.

Allegri, a beneficed priest attached to the cathedral at Fermo, and a member of the same family which produced the painter Coreggio, was a composer of much distinction. He was born at Rome about 1580, and died in 1652. He was instructed in music by G. M. Nannini. During his residence at Fermo he acted as chorister and composer for the cathedral. Certain motetti and concerti, published at this time, attracted the notice of Pope Urban VIII., and Allegri received from him, in 1629, the appointment to a vacancy among the cantori of the Apostolic Chapel. Allegri's name is chiefly associated with a Miserere in nine parts for two choirs, which has been sung annually in the Pontifical Chapel, during Holy Week. This is held to be one of the most beautiful compositions ever dedicated to the service of the Roman church. There was a time when it was so much treasured that to copy it was a crime punished by excommunication. But in various ways it came to be known outside the Sistine Chapel. Dr. Burney (1726-1814), the famous English historian of music, obtained a copy of it. Mozart, when a boy of fifteen, took down the notes while the choir sang it. Choron, the well known French musician, managed to insert it in his collection of pieces used in Rome during the Holy Week.

In the Sistine Chapel this Miserere has always excited the enthusiasm of musicians owing to a certain indescribable intensity of sadness that characterizes it, and to its perfect rhythmical adaptation to the words to which it is wedded.

We have now to deal with an epoch in the history of music which saw the culminations of a great reform. New artistic ideas manifested themselves, and thrust into the background the achievements of polyphonic science. The movement had its beginnings in Florence. There, at the palace of the Count Bardi, was formed a society of art connoisseurs, composed principally of men of noble birth. The fundamental purpose of this coterie was to reëstablish the Greek drama on a basis at once artistic and modern; but the final result of their experiments and discussions was the invention of the opera and the oratorio. Curiously enough, through the fact that only few musicians belonged to the Bardi circle, their ideas were able to make greater progress than they would otherwise have done; for professional musicians in that age were not willing to grant, even for purposes of dramatic expression, the smallest freedom in harmonic or contrapuntal treatment. Here, for the first time in the history of music, we may justly pay high tribute to dilettantism, since it was owing to the efforts of these ardent Florentine amateurs that two of the noblest and most popular branches of musical art were originated.