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Popular History of the Art of Music

<h2>CHAPTER XIV.</h2> <h3>POLYPHONIC SCHOOLS OF ITALY. PALESTRINA.</h3> <hr style="width: 15%;" /> <ANTIMG src="images/capi.png" width-obs="53" height-obs="100" alt="I" title="I" class="floatl" />TALY in the fifteenth century was in a highly prosperous condition. The great commercial cities had a profitable commerce with all parts of the then known world, and great public works had been under way for more than two centuries. The beginning of the Renaissance was marked by the great cathedrals, of which St. Mark's at Venice was a little earlier than Pisa, Siena, Florence and Milan. All these were built before 1300. Vast public works were undertaken in all parts of the country, such as the canal that supplied Milan with water, and irrigated a large part of the plain of Lombardy; the great sea wall of Genoa; roads, bridges, municipal buildings, fortresses and the like. By the beginning of the sixteenth century the art of painting had reached a very high eminence; the master Raphael was already at work, as was also that remarkable genius, Leonardo da Vinci—the most universally gifted artist who ever appeared. Michael Angelo was at work in the Sistine Chapel, and his plans for St. Peter's were partly being carried out. It was in this time that Johannes Tinctor, the Netherlandish composer, founded a music school at Naples. The school itself was short-lived, but[Pg 169] it was presently succeeded by four others of a different kind which eventually produced a large number of eminent musicians, several of whom will occupy our attention later. Tinctor's music school appears to have been a private affair. Those which followed it were charitable institutions, taking poor boys from the streets, furnishing them with a living, the rudiments of an education, and musical training enough to make them available in the service of the Church. The founding of these schools took place some time later than the period under immediate discussion. Santa Maria di Loreto was founded in 1535, by a poor artisan of the name of Francisco, who received in his house orphans of both sexes, and caused them to be fed and clothed and instructed in music. He was assisted by donations from the rich, and presently a priest named Giovanni da Tappia undertook to raise a permanent endowment by begging alms from house to house. At the end of nine years he had accomplished his task. The building was called the Conservatorio, and in 1536 received certain government allowances. The pupils reached the number of 800, and among the illustrious musicians produced by this school were Alessandro Scarlatti, Durante, Porpora, Trajetta, Sacchini, Gugliemi and many more. The second school of this kind organized was that of San Onofrio a Capuana, in 1576. It received 120 orphans, who were instructed in religion and music. In 1797 the pupils of this school were transferred to Santa Maria. The third school of this kind was that of De Poveri di Gesu Cristo, established in 1589, for foundlings. In 1744 this conservatory was made into a diocesan seminary. The fourth of these schools was that of Della Pieta di Turchini, which originated about 1584. Quite a number of eminent[Pg 170] composers were produced in this school. All of these conservatories were consolidated in 1808 as the Reale Collegio di Musica (Royal College of Music). The example of Naples was followed with more or less rapidity in the other principal Italian cities. The most important musical center of Italy during this time was Venice, where Adrian Willaert became musical director in the cathedral of St. Mark's, in 1527. Here he remained until 1562. The church of St. Mark's had already held a prominent position as a musical center at least two centuries of the four which it had been in existence. The recently published history of the music in St. Mark's extends back to 1380, from which time to the beginning of the present century there has been a succession of eminent musicians as organists and musical directors. There were two organs in this church, standing in galleries on opposite sides of the chancel. This circumstance had an important influence on the development of music in the cathedral, as will hereafter be seen. It was in this church, according to Italian tradition, that pedals were first applied to the organ. It is probable that these appliances were very rude at first, and few in number, but they served to supplement the resources of the hands of the organist, and enabled him to produce effects not otherwise obtainable. The existence of the two choirs and two organs, and no doubt the habit of antiphonal singing in the Plain Song of the Church, led Willaert to invent double choruses, and finally to divide his choir into three or more parts. Willaert is regarded by many as the founder of the madrigal, of which there is more to be said presently. He was also the teacher of two very eminent musicians who succeeded him in his position at St. Mark's—Zarlino and Cyprians de[Pg 171] Rore. To go on with the story of St. Mark's from this point, the most important successor of Willaert was Gioseffo Zarlino, who spent his youth in studying for the Church, and was admitted to minor orders in 1539, and ordained deacon in 1541. He was a proficient scholar in Greek and Hebrew, in mathematics, astronomy and chemistry. After studying for some years with Willaert he was elected in 1555 first Maestro di Capella at St. Mark's. In this position his services were required not alone as director of music in the church, but also as a servant of the republic, and it was his duty to compose or arrange music for all of the public festivals. After the battle of Lepanto, October 7, 1571, Zarlino was appointed to celebrate the victory with appropriate music. When Henry III visited Venice, in 1574, he was greeted by music by Zarlino. This same composer is also credited with having composed a dramatic piece called Orpheo, which was performed with great splendor in the larger council chamber. Again, in 1577, Zarlino was commissioned to compose a mass for the commemoration of the terrible plague which devastated Italy and carried off Titian, among other great men. His ecclesiastical standing was so good that in 1583 he was elected bishop, but his accession to the see was so strongly opposed by the doge and the senate that he consented to retain the appointment of St. Mark's, where he remained until his death in 1590. Zarlino was very famous as a composer, in his own day, but few of his works have come down to us. He is best known by certain works of his on harmony and the theory of music, of which the most important was the Institutioni Armoniche (Venice, 1558), and his Demonstrationi Armoniche (Venice, 1571). Zarlino's distinction rests upon[Pg 172] his having restored the true tuning of the tetrachord to that of 8:9, 9:10, 15:16, as opposed to the Pythagorean tuning of 9:8, 9:8, 256:243. He was the most important scientific authority in the music of the new epoch. His discoveries in harmony were afterward supplemented by those of Tartini, almost two centuries later. Among other strong points of Zarlino was his demonstration of equal temperament, which came into general use about 100 years later. Cypriano de Rore, whose name was mentioned above in connection with St. Mark's, held a position as master in that eminent cathedral only one year, his tenure of office falling between the death of Willaert and the appointment of Zarlino. He was a very prolific composer of motettes and madrigals, and after resigning his position at St. Mark's went to the Court of Parma, where he died at the age of forty-nine. The later eminent masters holding positions in this church will come into view in the next book, in connection with the opera, for Monteverde was director of the music here during the greater part of his career as a dramatic composer. The most eminent development of the polyphonic school, and at the same time the dawn of a better era in church music, took place in Rome, where the influence of the Netherlandish composer is noticeable. Claude Goudimel, whose name appears in the table of the Netherlandish school in the preceding chapter, opened a music school in Rome in the early part of the sixteenth century, and among his pupils was the name of Palestrina. Goudimel's residence in Rome was not very long. He afterward returned to Paris, and in some way was connected with Calvin in preparing psalm books for the[Pg 173] Calvinists. He was killed finally at Lyons in the massacre of St. Bartholomew, August 24, 1572. The culmination of the contrapuntal school and the dawn of the new era in church music came about through the labors of the pupil of Goudimel, the great Palestrina. This master, whose name was Giovanni Pierluigi (English, John Peter Lewis), was born of humble parents at Palestrina, a small town in the vicinity of Rome. The date is uncertain, but it was probably about 1520. As early as 1540 he came to Rome to study music, where he made so good progress that in 1551 he was appointed musical director at the Julian chapel in the Vatican. He then commenced the publication of a series of remarkable musical works, the first of which were in the style prevalent in his day. There was much learning of every sort; all the devices of polyphony were freely and luxuriantly employed, but along with them were other passages of true expression. The dedication of some of these books to the pope secured for him certain small preferments, which, in his most profitable condition, aggregated about thirty scudi a month (perhaps equal to $20 of our money). On this miserable pittance he supported his wife and four children. In 1556 he was discharged from his place as a pontifical singer, on account of his marriage, a fact which had been ignored by the pope who appointed him. He then held the post of chapel master at the Lateran. In 1561 he was transferred to Santa Maria Maggiore, where he remained ten years at a monthly salary of sixteen scudi, until 1571, when he was once more elected to his old office of master at the Vatican. It would take us too long to speak of his various works in detail, although his numerous publications during this period demonstrate his claim to mastership of the first[Pg 174] order. The best of his pieces had already been adopted in the apostolic chapel, and his reputation was now greater in Italy than that of any other musician. But the taste for elaboration in church music had reached a point where reform was imperatively demanded. Not content with having secular melodies employed as canti fermi in the music sung to the words of the mass, the words of these secular songs themselves were often written in and sung by a majority of the singers in the choir, only those in the front rows singing the solemn words of the ecclesiastical office. The Council of Trent (1545-1563) commented upon this state of things with great severity, and appointed a commission to inquire into the abuse and decide upon a remedy. It was contemplated to entirely do away with elaborate music in the Church, and sing only the Gregorian songs. A few of the music-loving cardinals succeeded in preventing so sweeping an order, and a commission was appointed to take the matter in hand. Two of the most active of these were Cardinals Borromeo and Vitellozzi. The former reported of the singing in the pontifical chapel, to the following effect: "These singers," said he, "count it for their principal glory that when one sings sanctus, another sings Sabbaoth and another gloria tua, and the whole effect of the music is little more than a confused whirring and snarling, more resembling the performance of cats in January than the beautiful flowers of May." At the same time Palestrina was desired to write a mass in a style suitable for the sacred office. Too modest to rest the case upon one work, he wrote three, which were performed with great care at the house of Cardinal Vitellozzi, and all were much admired, but the third, known as the mass "Papæ Marcelli," in memory of the pope[Pg 175] who had appointed Palestrina to one of his positions, was recognized as of transcendent excellence. It was copied in the collection of the Vatican, and the pope ordered a special performance of it in the Apostolic chapel. At the end of it he declared that it must have been some such music as this that the apostles of the Apocalypse heard sung by the triumphant hosts of angels in the New Jerusalem. Palestrina continued to write masses, motettes and other works during the remainder of his life, but during the entire time lived in the extremely limited condition already mentioned, and was subject to much enmity from jealous singers and composers. The most pleasing incident of his later life happened in 1575, when fifteen hundred singers from his native town came to Rome in two confraternities of the Crucifix and the Sacrament, making a solemn entry into the city, singing the music of their great townsman, who conducted at their head. The long and active life of this great master came to an end January 22, 1594. Among his greater works are ninety-three masses, a very large number of motettes, forty-five hymns for the whole year, sixty-eight offertories, and a large number of litanies, magnificats and madrigals. It is not unlikely that reform in Catholic Church music had been very largely influenced by the Protestant music of Germany. Martin Luther (1483-1546) in arranging music for the Protestant Church, invented the chorale and added to the best melodies from the Plain Song some wonderfully fine ones of his own, such as "Eine Feste Burg," and caused many others to be written by the best composers of the Netherlandish school. The chorale was the exact opposite of the motette of the Netherlands. In the chorale all of the voices moved together. The[Pg 176] same music was invariably sung to the same words, whereby an association was created, intensifying the effect of the music and the words respectively. As examples of Palestrina's music are not common I have thought best to allow space for the following from his music for Holy Week. The pieces will produce a much better effect if sung by good voices than when played upon an instrument. They are written for the voice.   "TENEBRÆ FACTÆ SUNT," BY GIOVANNI PIERLUIGI DA PALESTRINA. [Listen] <ANTIMG src="images/palestrina1.png" width-obs="600" height-obs="663" alt="Tenebrae Factae Sunt" title="Tenebrae Factae Sunt" /> [Pg 177] <ANTIMG src="images/palestrina2.png" width-obs="600" height-obs="897" alt="Tenebrae Factae Sunt" title="Tenebrae Factae Sunt" /> [Pg 178] <ANTIMG src="images/palestrina3.png" width-obs="600" height-obs="902" alt="Tenebrae Factae Sunt" title="Tenebrae Factae Sunt" />   <ANTIMG src="images/deco2.png" width-obs="200" height-obs="50" alt="decoration" title="decoration" />   [Pg 179] <div style="break-after:column;"></div>

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