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Madrigal

A madrigal is a form of secular vocal music most typical of the Renaissance (15th–16th c.) and early Baroque (1600–1750) periods, although revisited by some later European composers.[1] The polyphonic madrigal is unaccompanied, and the number of voices varies from two to eight, but usually features three to six voices, whilst the metre of the madrigal varies between two or three tercets, followed by one or two couplets.[2] Unlike the verse-repeating strophic forms sung to the same music,[3] most madrigals are through-composed, featuring different music for each stanza of lyrics, whereby the composer expresses the emotions contained in each line and in single words of the poem being sung.[4]

The Lute Player (c. 1600) by Caravaggio. The lutenist reads madrigal music by the composer Jacques Arcadelt. (Hermitage, Saint Petersburg)

As written by Italianized Franco–Flemish composers in the 1520s, the madrigal partly originated from the three-to-four voice frottola (1470–1530); partly from composers' renewed interest in poetry written in vernacular Italian; partly from the stylistic influence of the French chanson; and from the polyphony of the motet (13th–16th c.). The technical contrast between the musical forms is in the frottola consisting of music set to stanzas of text, whilst the madrigal is through-composed, a work with different music for different stanzas.[5] As a composition, the madrigal of the Renaissance is unlike the two-to-three voice Italian Trecento madrigal (1300–1370) of the 14th century, having in common only the name madrigal,[6] which derives from the Latin matricalis (maternal) denoting musical work in service to the mother church.[2]

Artistically, the madrigal was the most important form of secular music in Italy, and reached its formal and historical zenith in the later 16th century, when the madrigal also was taken up by German and English composers, such as John Wilbye (1574–1638), Thomas Weelkes (1576–1623), and Thomas Morley (1557–1602) of the English Madrigal School (1588–1627). Although of British temper, most English madrigals were a cappella compositions for three to six voices, which either copied or translated the musical styles of the original madrigals from Italy.[2] By the mid 16th century, Italian composers began merging the madrigal into the composition of the cantata and the dialogue; and by the early 17th century, the aria replaced the madrigal in opera.[6]

History

Origins and early madrigals

 
As a writer, Cardinal Pietro Bembo advocated using vernacular Italian (Tuscan dialect) for poetry and literature, which facilitated composers' creating lyrical styles for the madrigal musical form in 16th-century Italy. (Titian)

The madrigal is a musical composition that emerged from the convergence of humanist trends in 16th-century Italy. First, renewed interest in the use of Italian as the vernacular language for daily life and communication, instead of Latin. In 1501, the literary theorist Pietro Bembo (1470–1547) published an edition of the poet Petrarch (1304–1374); and published the Oratio pro litteris graecis (1453) about achieving graceful writing by applying Latin prosody, careful attention to the sounding of words, and syntax, the positioning of a word within a line of text. As a form of poetry, the madrigal consisted of an irregular number of lines (usually 7–11 syllables) without repetition.[6][7][8]

Second, Italy was the usual destination for the oltremontani ("those from beyond the Alps") composers of the Franco-Flemish school, who were attracted by Italian culture and by employment in the court of an aristocrat or with the Roman Catholic Church. The composers of the Franco-Flemish school had mastered the style of polyphonic composition for religious music, and knew the secular compositions of their homelands, such as the chanson, which much differed from the secular, lighter styles of composition in late-15th- and early-16th-century Italy.[6]

Third, the printing press facilitated the availability of sheet music in Italy. The musical forms then in common use — the frottola and the ballata, the canzonetta and the mascherata — were light compositions with verses of low literary quality. Those musical forms used repetition and soprano-dominated homophony, chordal textures and styles, which were simpler than the composition styles of the Franco-Flemish school. Moreover, the Italian popular taste in literature was changing from frivolous verse to the type of serious verse used by Bembo and his school, who required more compositional flexibility than that of the frottola, and related musical forms.[6][8]

The madrigal slowly replaced the frottola in the transitional decade of the 1520s. The early madrigals were published in Musica di messer Bernardo Pisano sopra le canzone del Petrarcha (1520), by Bernardo Pisano (1490–1548), while no one composition is named madrigal, some of the settings are Petrarchan in versification and word-painting, which became compositional characteristics of the later madrigal.[6] The Madrigali de diversi musici: libro primo de la Serena (1530), by Philippe Verdelot (1480–1540), included music by Sebastiano Festa (1490–1524) and Costanzo Festa (1485–1545), Maistre Jhan (1485–1538) and Verdelot, himself.[6]

In the 1533–34 period, at Venice, Verdelot published two popular books of four-voice madrigals that were reprinted in 1540. In 1536, that publishing success prompted the founder of the Franco-Flemish school, Adrian Willaert (1490–1562), to rearrange some four-voice madrigals for single-voice and lute. In 1541, Verdelot also published five-voice madrigals and six-voice madrigals.[6] The success of the first book of madrigals, Il primo libro di madrigali (1539), by Jacques Arcadelt (1507–1568), made it the most reprinted madrigal book of its time.[9] Stylistically, the music in the books of Arcadelt and Verdelot was closer to the French chanson than the Italian frottola and the motet, given that French was their native tongue. As composers, they were attentive to the setting of the text, per Bembo's ideas, and through-composed the music, rather than use the refrain-and-verse constructions common to French secular music.[10]

Mid-16th century

Although the madrigal originated in the cities of Florence and Rome, by the mid 16th-century Venice had become the centre of musical activity. The political turmoils of the Sack of Rome (1527) and the Siege of Florence (1529–1530) diminished that city's significance as a musical centre. In addition, Venice was the music publishing centre of Europe; the Basilica of San Marco di Venezia (St. Mark's Basilica) was beginning to attract musicians from Europe; and Pietro Bembo had returned to Venice in 1529. Adrian Willaert (1490–1562) and his associates at St. Mark's Basilica, Girolamo Parabosco (1524–1557), Jacques Buus (1524–1557), and Baldassare Donato (1525–1603), Perissone Cambio (1520–1562) and Cipriano de Rore (1515–1565), were the principal composers of the madrigal at mid-century.

Unlike Arcadelt and Verdelot, Willaert preferred the complex textures of polyphonic language, thus his madrigals were like motets, although he varied the compositional textures, between homophonic and polyphonic passages, to highlight the text of the stanzas; for verse, Willaert preferred the sonnets of Petrarch.[6][11][12] Second to Willaert, Cipriano de Rore was the most influential composer of madrigals; whereas Willaert was restrained and subtle in his settings for the text, striving for homogeneity, rather than sharp contrast, Rore used extravagant rhetorical gestures, including word-painting and unusual chromatic relationships, a compositional trend encouraged by the music theorist Nicola Vicentino (1511–1576).[9][13] From Rore's musical language came the madrigalisms that made the genre distinctive, and the five-voice texture which became the standard for composition.[14]

1550s–1570s

 
In the last twenty years of the 16th century, the madrigalist Luca Marenzio (1553–1599) was an influential composer until Monteverdi's Baroque-era transformation of the madrigal as a musical form.
 
The commemorative statue of the singer and publisher Nicholas Yonge (1560–1619), who introduced madrigals to England.

The latter history of the madrigal begins with Cipriano de Rore, whose works were the elementary musical forms of madrigal composition that existed by the early 17th century.[6][15] The relevant composers include Giovanni Pierluigi da Palestrina (1525–1594), who wrote secular music in his early career; Orlande de Lassus (1530–1594), who wrote the twelve-motet Prophetiae Sibyllarum (Sibylline Prophecies, 1600), and later, when he moved to Munich in 1556, began the history of madrigal composition beyond Italy; and Philippe de Monte (1521–1603), the most prolific madrigalist, first published in 1554.[6][16]

In Venice, Andrea Gabrieli (1532–1585) composed madrigals with bright, open, polyphonic textures, as in his motet compositions. At the court of Alfonso II d'Este, Duke of Ferrara (r. 1559–1597), there was the Concerto delle donne (1580–1597), the concert of the ladies, three women singers for whom Luzzasco Luzzaschi (1545–1607), Giaches de Wert (1535–1596), and Lodovico Agostini (1534–1590) composed ornamented madrigals, often with instrumental accompaniment. The great artistic quality of the Concerto delle donne of Ferrara encouraged composers to visit the court at Ferrara, to listen to women sing and to offer compositions for them to sing. In turn, other cities established their own concerto delle donne, as at Firenze, where the Medici family commissioned Alessandro Striggio (1536–1592) to compose madrigals in the style of Luzzaschi.[6] In Rome, the compositions of Luca Marenzio (1553–1599) were the madrigals that came closest to unifying the different styles of the time.[17]

In the 1560s, Marc'Antonio Ingegneri (1535–1592) — Monteverdi's instructor — Andrea Gabrieli (1532–1585), and Giovanni Ferretti (1540–1609) re-incorporated lighter elements of composition to the madrigal; serious Petrarchan verse about Love, Longing, and Death was replaced with the villanella and the canzonetta, compositions with dance rhythms and verses about a care-free life.[9] In the late 16th century, composers used word-painting to apply madrigalisms, passages in which the music matches the meaning of a word in the lyrics; thus, a composer sets riso (smile) to a passage of quick, running notes that mimic laughter, and sets sospiro (sigh) to a note that falls to the note below. In the 17th century, acceptance of word-painting as a musical form had changed, in the First Book of Ayres (1601), the poet and composer Thomas Campion (1567–1620) criticised word-painting as a negative mannerism in the madrigal: "where the nature of everie word is precisely expresst in the Note ... such childish observing of words is altogether ridiculous."[18]

Turn of the century

 
Carlo Gesualdo da Venosa (1566–1613), Prince of Venosa and Count of Conza, composed madrigals and religious music that feature chromaticism not heard again until the late 19th century.

At the end of the 16th century, the changed social function of the madrigal contributed to its development into new forms of music. Since its invention, the madrigal had two roles: (i) a private entertainment for small groups of skilled, amateur singers and musicians; and (ii) a supplement to ceremonial performances of music for the public. The amateur entertainment function made the madrigal famous, yet professional singers replaced amateur singers when madrigalists composed music of greater range and dramatic force that was more difficult to sing, because the expressed sentiments required soloist singers of great range, rather than an ensemble of singers with mid-range voices.

There emerged the division between the active performers and the passive audience, especially in the culturally progressive cities of Ferrara and Mantua. The emotions communicated in a madrigal in 1590, an aria expressed in opera at the beginning of the 17th century, yet composers continued using the madrigal into the new century, such as the old-style madrigal for many voices; the solo madrigal with instrumental accompaniment; and the concertato madrigal, of which Claudio Monteverdi (1567–1643) was the most famous composer.[6]

In Naples, the compositional style of the pupil Carlo Gesualdo followed from the style of his mentor, Luzzasco Luzzaschi (1545–1607), who had published six books of madrigals and the religious music Responsoria pro hebdomada sancta (Responsories for Holy Week, 1611). In the early 1590s, Gesualdo had learnt the chromaticism and textural contrasts of Ferrarese composers, such as Alfonso Fontanelli (1557–1622) and Luzzaschi, but few madrigalists followed his stylistic mannerism and extreme chromaticism, which were compositional techniques selectively used by Antonio Cifra (1584–1629), Sigismondo d'India (1582–1629), and Domenico Mazzocchi (1592–1665) in their musical works.[6][19][20] In the 1620s, Gesualdo's successor madrigalist was Michelangelo Rossi (1601–1656), whose two books of unaccompanied madrigals display sustained, extreme chromaticism.[21]

Transition to the concertato madrigal

 
In the early 17th century, Claudio Monteverdi (1567–1643) was the most influential madrigalist. (Bernardo Strozzi, 1640)

In the transition from Renaissance music (1400–1600) to Baroque music (1580–1750), Claudio Monteverdi usually is credited as the principal madrigalist whose nine books of madrigals showed the stylistic, technical transitions from the polyphony of the late 16th century to the styles of monody and of the concertato accompanied by basso continuo, of the early Baroque period. As an expressive composer, Monteverdi avoided the stylistic extremes of Gesualdo's chromaticism, and concentrated upon the drama inherent to the madrigal musical form. His fifth and sixth books include polyphonic madrigals for equal voices (in late-16th-century style) and madrigals with solo-voice parts accompanied by basso continuo, which feature unprepared dissonances and recitative passages — foreshadowing the compositional integration of the solo madrigal to the aria. In the fifth book of madrigals, using the term seconda pratica (second practice) Monteverdi said that the lyrics must be "the mistress of the harmony" of a madrigal, which was his progressive response to Giovanni Artusi (1540–1613) who negatively defended the limitations of dissonance and equal voice parts of the old-style polyphonic madrigal against the concertato madrigal.[22][23]

Transition from the concertato madrigal

In the first decade of the 17th century, the Italian compositional techniques for the madrigal progressed from the old ideal of an a cappella vocal composition for balanced voices, to a vocal composition for one or more voices with instrumental accompaniment. The inner voices became secondary to the soprano and the bass line; functional tonality developed, and treated dissonance freely for composers to emphasise the dramatic contrast among vocal groups and instruments. The 17th-century madrigal emerged from two trends of musical composition: (i) the solo madrigal with basso continuo; and (ii) the madrigal for two or more voices with basso continuo. In England, composers continued to write ensemble madrigals in the older, 16th-century style.[22][6] In 1600, the harmonic and dramatic changes in the composition of the madrigal expanded to include instrumental accompaniment, because the madrigal originally was composed for group performance by talented, amateur artists, without a passive audience; thus instruments filled the missing parts. The composer usually did not specify the instrumentation; in The Fifth Book of Madrigals and in the Sixth Book of Madrigals, Claudio Monteverdi indicated that the basso seguente, the instrumental bass part, was optional in the ensemble madrigal. The usual instruments for playing the bass line and filling inner voice parts, were the lute, the theorbo (chitarrone), and the harpsichord.[22][6]

 
Title page of Le nuove musiche (1601), by the madrigalist Giulio Caccini

The madrigalist Giulio Caccini (1551–1618) produced madrigals in the solo continuo style, compositions technically related to monody and descended from the experimental music of the Florentine Camerata (1573–1587). In the collection of solo madrigals, Le nuove musiche (The New Music, 1601), Caccini said that the point of the composition was anti-contrapuntal, because the lyrics and words of the song were primary, and balanced-voice polyphony interfered with hearing the lyrics of the song. After Caccini's developments, the composers Marco da Gagliano (1582–1643), Sigismondo d'India (1582–1629), and Claudio Saracini (1586–1630) also published collections of madrigals in the solo continuo style. Whereas Caccini's music mostly was diatonic, later composers, especially d'India, composed solo continuo madrigals using an experimental idiom of chromaticism. In the Seventh Book of Madrigals (1619), Monteverdi published his only madrigal in the solo continuo style, which uses one singing voice, and three groups of instruments — a great technical advance from Caccini's simple voice-and-basso-continuo compositions from the 1600 period.[6]

Beginning around 1620, the aria supplanted the monodic-style madrigal. In 1618, the last, published book of solo madrigals contained no arias, likewise in that year, books of arias contained no madrigals, thus published arias outnumbered madrigals, and the prolific madrigalists Saracini and d'India ceased publishing in the mid 1620s.[6]

In the late 1630s, two madrigal collections summarised the compositional and technical practises of the late-style madrigal. In Madrigali a 5 voci in partitura (1638), Domenico Mazzocchi collected and organised madrigals into continuo and ensemble works specifically composed for a cappella performance. For the first time in a collection of madrigal music, Mazzocchi published precise instructions, including the symbols for crescendo and decrescendo; however, those madrigals were for musicologic study, not for performance, indicating composer Mazzochi's retrospective review of the madrigal as an old form of musical composition.[24] In the Eighth Book of Madrigals (1638), Monteverdi published his most famous madrigal, the Combattimento di Tancredi e Clorinda, a dramatic composition much like a secular oratorio, featuring musical innovations such as the stile concitato (agitated style) that employs the string tremolo. In the event, the evolution of musical composition eliminated the madrigal as a discrete musical form; the solo cantata and the aria supplanted the solo continuo madrigal, and the ensemble madrigal was supplanted by the cantata and the dialogue, and, by 1640, the opera was the predominant dramatic musical form of the 17th century.[22]

English madrigal school

In 16th-century England, the madrigal became greatly popular upon publication of Musica Transalpina in (Transalpine Music, 1588), by Nicholas Yonge (1560–1619) a collection of Italian madrigals with corresponding English translations of the lyrics, which later initiated madrigal composition in England. The unaccompanied madrigal survived longer in England than in Continental Europe, where the madrigal musical form had fallen from popular favour, but English madrigalists continued composing and producing music in the Italian style of the late-16th century.

 
"Hark! Hark! The birds" by Thomas Linley the younger (1756–1778) – a madrigal in G major for 5 voices, "presented by Mr. Sheridan to the Catch Club" (see inscription)

In early 18th-century England, the singing of madrigals was revived by catch clubs and glee clubs, leading to an upsurge of interest in the form[25][26] and creation of musical institutions such as the Madrigal Society, which was established in London by attorney and amateur musician John Immyns in 1741.[27] In the 19th century, the madrigal was the best-known music from the Renaissance (15th–16th c.) consequent to the prolific publishing of sheet music in the 16th and 17th centuries, even before the rediscovery of the madrigals of the composer Palestrina (Giovanni Pierluigi da Palestrina).[6]

Continental Europe

In the 16th century, the musical form of the Italian madrigal greatly influenced secular music throughout Europe, which composers wrote either in Italian or in their native tongues. The extent of madrigalist musical influence depended upon the cultural strength of the local tradition of secular music. In France, the native composition of the chanson disallowed the development of a French-style madrigal; nonetheless, French composers such as Orlande de Lassus (1532–1594) and Claude Le Jeune (1528–1600) applied madrigalian techniques in their musics.[6] In the Netherlands, Cornelis Verdonck (1563–1625), Hubert Waelrant (1517–1595), and Jan Pieterszoon Sweelinck (1562–1621) composed madrigals in Italian.[6]

In German-speaking Europe, the prolific composers of madrigals included Lassus in Munich and Philippe de Monte (1521–1603) in Vienna. The German-speaking composers who studied the Italian techniques for composing madrigals, especially in Venice, included Hans Leo Hassler (1564–1612) who studied with Andrea Gabrieli, and Heinrich Schütz (1585–1672) who studied with Giovanni Gabrieli. From northern Europe, Danish and Polish court composers went to Italy to learn the Italian style of madrigal; while Luca Marenzio (1553–1599) went to the Polish court to work as the maestro di cappella (Master of the Chapel) for King Sigismund III Vasa (r. 1587–1632) in Warsaw.[6] Moreover, the rektor of the University of Wittenberg, Caspar Ziegler (1621–1690) and Heinrich Schütz wrote the treatise Von den Madrigalen (1653).[28]

Madrigalists

Trecento madrigal

Early composers

Late Renaissance composers

At the Baroque threshold

Baroque madrigalists

The a capella old-style madrigal for four or five voices continued in parallel with the new concertato style of madrigal, but the compositional watershed of the seconda prattica provided an autonomous basso continuo line, presented in the Fifth Book of Madrigals (1605), by Claudio Monteverdi.

Italy

Germany

English madrigal school

Some 60 madrigals of the English School are published in The Oxford Book of English Madrigals

English composers of the classical period

19th-century composers

20th-century composers

Contemporary

Musical examples

  • Stage 1 Madrigal: Arcadelt, Ahime, dov'e bel viso, 1538
  • Stage 2 Madrigal (prima practica): Willaert, Aspro core e selvaggio, mid-1540s
  • Stage 3 Madrigal (seconda practica): Gesualdo, Io parto e non piu dissi, 1590–1611
  • Stage 4 Madrigal: Caccini, Perfidissimo volto, 1602
  • Stage 5 Madrigal: Monteverdi, Il Combatimento di Tancredi et Clorinda, 1624
  • English Madrigal: Weelkes, O Care, thou wilt despatch me, late 16th century/early 17th century
  • Nineteenth-century imitation of an English Madrigal: "Brightly dawns our wedding day" from the Gilbert and Sullivan comic opera, The Mikado (1885)

References

Notes

  1. ^ Hobson, James (2015). Musical antiquarianism and the madrigal revival in England, 1726-1851 (Ph.D.). University of Bristol. Retrieved 2 October 2022 – via EThOS.
  2. ^ a b c J. A. Cuddon, ed. (1991). The Penguin Dictionary of Literary Terms and Literary Theory. p. 521.
  3. ^ Tilmouth, Michael (1980), "Strophic", in Sadie, Stanley (ed.), The New Grove Dictionary of Music and Musicians, vol. 18, London: Macmillan Press, pp. 292–293, ISBN 0-333-23111-2
  4. ^ Scholes, Percy A. (1970). Ward, John Owen (ed.). The Oxford Companion to Music (Tenth ed.). Oxford: Oxford University Press. p. 308. ISBN 0-19-311306-6. Durchkomponiert (G.) Through-composed; applied to songs with different music for every stanza, i.e. not merely a repeated tune.
  5. ^ Brown 1976, p. 198
  6. ^ a b c d e f g h i j k l m n o p q r s t u v von Fischer & et al. 2001
  7. ^ Atlas 1998, p. 433.
  8. ^ a b Brown 1976, p. 221
  9. ^ a b c Randel 1986, p. 463
  10. ^ Atlas 1998, pp. 431–432.
  11. ^ Atlas 1998, pp. 432ff.
  12. ^ Brown 1976, pp. 221–224.
  13. ^ Brown 1976, pp. 224–225.
  14. ^ Einstein 1949, Vol. I, p. 391.
  15. ^ Brown 1976, p. 228.
  16. ^ Reese 1954, p. 406.
  17. ^ Atlas 1998, pp. 636–638.
  18. ^ Campion, Thomas. First Booke of Ayres (1601), quoted in von Fischer & et al. 2001
  19. ^ Bianconi, Lorenzo; Watkins, Glenn (2001). Watkins, Glenn (ed.). "Gesualdo, Carlo, Prince of Venosa, Count of Conza". Grove Music Online. Oxford University Press. doi:10.1093/gmo/9781561592630.article.10994. ISBN 9781561592630.
  20. ^ Einstein 1949, Vol II, pp. 867–871.
  21. ^ The Madrigals of Michelangelo Rossi, Brian Mann, Ed. University of Chicago Press, 2003.
  22. ^ a b c d Arnold & Wakelin 2011
  23. ^ Artusi 1950, p. 395.
  24. ^ Bukofzer, Manfred R. (1947). Music in the Baroque Era: From Monteverdi to Bach. New York: W. W. Norton & Company. p. 37. OCLC 318558558. Retrieved 3 October 2022.
  25. ^ Lovell, Percy (1979). "'Ancient' Music in Eighteenth-Century England". Music & Letters. Oxford University Press. 60 (4): 401–415. doi:10.1093/ml/60.4.401. JSTOR 733505 – via JSTOR.
  26. ^ Day, Thomas (1972). "Old Music in England, 1790-1820". Revue Belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap. Societe Belge de Musicologie. 26/27: 25–37. doi:10.2307/3686537. JSTOR 3686537 – via JSTOR.
  27. ^ Craufurd, J. G. (1956). "The Madrigal Society". Proceedings of the Royal Musical Association (82nd session). Taylor & Francis. 82: 33–46. doi:10.1093/jrma/82.1.33. ISSN 0080-4452. JSTOR 765866 – via JSTOR.
  28. ^ Von den Madrigalen. Leipzig: Digitalisat. 1653.

Sources

Further reading

  • Iain Fenlon and James Haar: The Italian Madrigal in the Early 16th Century: Sources and Interpretation. Cambridge, 1988
  • Oliphant, Thomas, ed. (1837) La musa madrigalesca, or, A collection of madrigals, ballets, roundelays etc.: chiefly of the Elizabethan age; with remarks and annotations. London: Calkin and Budd
  • Choral Public Domain Library] contains scores for many madrigals

External links

madrigal, other, uses, disambiguation, madrigal, form, secular, vocal, music, most, typical, renaissance, 15th, 16th, early, baroque, 1600, 1750, periods, although, revisited, some, later, european, composers, polyphonic, madrigal, unaccompanied, number, voice. For other uses see Madrigal disambiguation A madrigal is a form of secular vocal music most typical of the Renaissance 15th 16th c and early Baroque 1600 1750 periods although revisited by some later European composers 1 The polyphonic madrigal is unaccompanied and the number of voices varies from two to eight but usually features three to six voices whilst the metre of the madrigal varies between two or three tercets followed by one or two couplets 2 Unlike the verse repeating strophic forms sung to the same music 3 most madrigals are through composed featuring different music for each stanza of lyrics whereby the composer expresses the emotions contained in each line and in single words of the poem being sung 4 The Lute Player c 1600 by Caravaggio The lutenist reads madrigal music by the composer Jacques Arcadelt Hermitage Saint Petersburg As written by Italianized Franco Flemish composers in the 1520s the madrigal partly originated from the three to four voice frottola 1470 1530 partly from composers renewed interest in poetry written in vernacular Italian partly from the stylistic influence of the French chanson and from the polyphony of the motet 13th 16th c The technical contrast between the musical forms is in the frottola consisting of music set to stanzas of text whilst the madrigal is through composed a work with different music for different stanzas 5 As a composition the madrigal of the Renaissance is unlike the two to three voice Italian Trecento madrigal 1300 1370 of the 14th century having in common only the name madrigal 6 which derives from the Latin matricalis maternal denoting musical work in service to the mother church 2 Artistically the madrigal was the most important form of secular music in Italy and reached its formal and historical zenith in the later 16th century when the madrigal also was taken up by German and English composers such as John Wilbye 1574 1638 Thomas Weelkes 1576 1623 and Thomas Morley 1557 1602 of the English Madrigal School 1588 1627 Although of British temper most English madrigals were a cappella compositions for three to six voices which either copied or translated the musical styles of the original madrigals from Italy 2 By the mid 16th century Italian composers began merging the madrigal into the composition of the cantata and the dialogue and by the early 17th century the aria replaced the madrigal in opera 6 Contents 1 History 1 1 Origins and early madrigals 1 2 Mid 16th century 1 3 1550s 1570s 1 4 Turn of the century 1 5 Transition to the concertato madrigal 1 6 Transition from the concertato madrigal 1 7 English madrigal school 1 8 Continental Europe 2 Madrigalists 2 1 Trecento madrigal 2 2 Early composers 2 3 Late Renaissance composers 2 4 At the Baroque threshold 2 5 Baroque madrigalists 2 5 1 Italy 2 5 2 Germany 2 6 English madrigal school 2 7 English composers of the classical period 2 8 19th century composers 2 9 20th century composers 2 10 Contemporary 3 Musical examples 4 References 4 1 Notes 4 2 Sources 5 Further reading 6 External linksHistory EditOrigins and early madrigals Edit As a writer Cardinal Pietro Bembo advocated using vernacular Italian Tuscan dialect for poetry and literature which facilitated composers creating lyrical styles for the madrigal musical form in 16th century Italy Titian The madrigal is a musical composition that emerged from the convergence of humanist trends in 16th century Italy First renewed interest in the use of Italian as the vernacular language for daily life and communication instead of Latin In 1501 the literary theorist Pietro Bembo 1470 1547 published an edition of the poet Petrarch 1304 1374 and published the Oratio pro litteris graecis 1453 about achieving graceful writing by applying Latin prosody careful attention to the sounding of words and syntax the positioning of a word within a line of text As a form of poetry the madrigal consisted of an irregular number of lines usually 7 11 syllables without repetition 6 7 8 Second Italy was the usual destination for the oltremontani those from beyond the Alps composers of the Franco Flemish school who were attracted by Italian culture and by employment in the court of an aristocrat or with the Roman Catholic Church The composers of the Franco Flemish school had mastered the style of polyphonic composition for religious music and knew the secular compositions of their homelands such as the chanson which much differed from the secular lighter styles of composition in late 15th and early 16th century Italy 6 Third the printing press facilitated the availability of sheet music in Italy The musical forms then in common use the frottola and the ballata the canzonetta and the mascherata were light compositions with verses of low literary quality Those musical forms used repetition and soprano dominated homophony chordal textures and styles which were simpler than the composition styles of the Franco Flemish school Moreover the Italian popular taste in literature was changing from frivolous verse to the type of serious verse used by Bembo and his school who required more compositional flexibility than that of the frottola and related musical forms 6 8 The madrigal slowly replaced the frottola in the transitional decade of the 1520s The early madrigals were published in Musica di messer Bernardo Pisano sopra le canzone del Petrarcha 1520 by Bernardo Pisano 1490 1548 while no one composition is named madrigal some of the settings are Petrarchan in versification and word painting which became compositional characteristics of the later madrigal 6 The Madrigali de diversi musici libro primo de la Serena 1530 by Philippe Verdelot 1480 1540 included music by Sebastiano Festa 1490 1524 and Costanzo Festa 1485 1545 Maistre Jhan 1485 1538 and Verdelot himself 6 In the 1533 34 period at Venice Verdelot published two popular books of four voice madrigals that were reprinted in 1540 In 1536 that publishing success prompted the founder of the Franco Flemish school Adrian Willaert 1490 1562 to rearrange some four voice madrigals for single voice and lute In 1541 Verdelot also published five voice madrigals and six voice madrigals 6 The success of the first book of madrigals Il primo libro di madrigali 1539 by Jacques Arcadelt 1507 1568 made it the most reprinted madrigal book of its time 9 Stylistically the music in the books of Arcadelt and Verdelot was closer to the French chanson than the Italian frottola and the motet given that French was their native tongue As composers they were attentive to the setting of the text per Bembo s ideas and through composed the music rather than use the refrain and verse constructions common to French secular music 10 Mid 16th century Edit Although the madrigal originated in the cities of Florence and Rome by the mid 16th century Venice had become the centre of musical activity The political turmoils of the Sack of Rome 1527 and the Siege of Florence 1529 1530 diminished that city s significance as a musical centre In addition Venice was the music publishing centre of Europe the Basilica of San Marco di Venezia St Mark s Basilica was beginning to attract musicians from Europe and Pietro Bembo had returned to Venice in 1529 Adrian Willaert 1490 1562 and his associates at St Mark s Basilica Girolamo Parabosco 1524 1557 Jacques Buus 1524 1557 and Baldassare Donato 1525 1603 Perissone Cambio 1520 1562 and Cipriano de Rore 1515 1565 were the principal composers of the madrigal at mid century Unlike Arcadelt and Verdelot Willaert preferred the complex textures of polyphonic language thus his madrigals were like motets although he varied the compositional textures between homophonic and polyphonic passages to highlight the text of the stanzas for verse Willaert preferred the sonnets of Petrarch 6 11 12 Second to Willaert Cipriano de Rore was the most influential composer of madrigals whereas Willaert was restrained and subtle in his settings for the text striving for homogeneity rather than sharp contrast Rore used extravagant rhetorical gestures including word painting and unusual chromatic relationships a compositional trend encouraged by the music theorist Nicola Vicentino 1511 1576 9 13 From Rore s musical language came the madrigalisms that made the genre distinctive and the five voice texture which became the standard for composition 14 1550s 1570s Edit In the last twenty years of the 16th century the madrigalist Luca Marenzio 1553 1599 was an influential composer until Monteverdi s Baroque era transformation of the madrigal as a musical form The commemorative statue of the singer and publisher Nicholas Yonge 1560 1619 who introduced madrigals to England The latter history of the madrigal begins with Cipriano de Rore whose works were the elementary musical forms of madrigal composition that existed by the early 17th century 6 15 The relevant composers include Giovanni Pierluigi da Palestrina 1525 1594 who wrote secular music in his early career Orlande de Lassus 1530 1594 who wrote the twelve motet Prophetiae Sibyllarum Sibylline Prophecies 1600 and later when he moved to Munich in 1556 began the history of madrigal composition beyond Italy and Philippe de Monte 1521 1603 the most prolific madrigalist first published in 1554 6 16 In Venice Andrea Gabrieli 1532 1585 composed madrigals with bright open polyphonic textures as in his motet compositions At the court of Alfonso II d Este Duke of Ferrara r 1559 1597 there was the Concerto delle donne 1580 1597 the concert of the ladies three women singers for whom Luzzasco Luzzaschi 1545 1607 Giaches de Wert 1535 1596 and Lodovico Agostini 1534 1590 composed ornamented madrigals often with instrumental accompaniment The great artistic quality of the Concerto delle donne of Ferrara encouraged composers to visit the court at Ferrara to listen to women sing and to offer compositions for them to sing In turn other cities established their own concerto delle donne as at Firenze where the Medici family commissioned Alessandro Striggio 1536 1592 to compose madrigals in the style of Luzzaschi 6 In Rome the compositions of Luca Marenzio 1553 1599 were the madrigals that came closest to unifying the different styles of the time 17 In the 1560s Marc Antonio Ingegneri 1535 1592 Monteverdi s instructor Andrea Gabrieli 1532 1585 and Giovanni Ferretti 1540 1609 re incorporated lighter elements of composition to the madrigal serious Petrarchan verse about Love Longing and Death was replaced with the villanella and the canzonetta compositions with dance rhythms and verses about a care free life 9 In the late 16th century composers used word painting to apply madrigalisms passages in which the music matches the meaning of a word in the lyrics thus a composer sets riso smile to a passage of quick running notes that mimic laughter and sets sospiro sigh to a note that falls to the note below In the 17th century acceptance of word painting as a musical form had changed in the First Book of Ayres 1601 the poet and composer Thomas Campion 1567 1620 criticised word painting as a negative mannerism in the madrigal where the nature of everie word is precisely expresst in the Note such childish observing of words is altogether ridiculous 18 Turn of the century Edit Carlo Gesualdo da Venosa 1566 1613 Prince of Venosa and Count of Conza composed madrigals and religious music that feature chromaticism not heard again until the late 19th century At the end of the 16th century the changed social function of the madrigal contributed to its development into new forms of music Since its invention the madrigal had two roles i a private entertainment for small groups of skilled amateur singers and musicians and ii a supplement to ceremonial performances of music for the public The amateur entertainment function made the madrigal famous yet professional singers replaced amateur singers when madrigalists composed music of greater range and dramatic force that was more difficult to sing because the expressed sentiments required soloist singers of great range rather than an ensemble of singers with mid range voices There emerged the division between the active performers and the passive audience especially in the culturally progressive cities of Ferrara and Mantua The emotions communicated in a madrigal in 1590 an aria expressed in opera at the beginning of the 17th century yet composers continued using the madrigal into the new century such as the old style madrigal for many voices the solo madrigal with instrumental accompaniment and the concertato madrigal of which Claudio Monteverdi 1567 1643 was the most famous composer 6 In Naples the compositional style of the pupil Carlo Gesualdo followed from the style of his mentor Luzzasco Luzzaschi 1545 1607 who had published six books of madrigals and the religious music Responsoria pro hebdomada sancta Responsories for Holy Week 1611 In the early 1590s Gesualdo had learnt the chromaticism and textural contrasts of Ferrarese composers such as Alfonso Fontanelli 1557 1622 and Luzzaschi but few madrigalists followed his stylistic mannerism and extreme chromaticism which were compositional techniques selectively used by Antonio Cifra 1584 1629 Sigismondo d India 1582 1629 and Domenico Mazzocchi 1592 1665 in their musical works 6 19 20 In the 1620s Gesualdo s successor madrigalist was Michelangelo Rossi 1601 1656 whose two books of unaccompanied madrigals display sustained extreme chromaticism 21 Transition to the concertato madrigal Edit In the early 17th century Claudio Monteverdi 1567 1643 was the most influential madrigalist Bernardo Strozzi 1640 In the transition from Renaissance music 1400 1600 to Baroque music 1580 1750 Claudio Monteverdi usually is credited as the principal madrigalist whose nine books of madrigals showed the stylistic technical transitions from the polyphony of the late 16th century to the styles of monody and of the concertato accompanied by basso continuo of the early Baroque period As an expressive composer Monteverdi avoided the stylistic extremes of Gesualdo s chromaticism and concentrated upon the drama inherent to the madrigal musical form His fifth and sixth books include polyphonic madrigals for equal voices in late 16th century style and madrigals with solo voice parts accompanied by basso continuo which feature unprepared dissonances and recitative passages foreshadowing the compositional integration of the solo madrigal to the aria In the fifth book of madrigals using the term seconda pratica second practice Monteverdi said that the lyrics must be the mistress of the harmony of a madrigal which was his progressive response to Giovanni Artusi 1540 1613 who negatively defended the limitations of dissonance and equal voice parts of the old style polyphonic madrigal against the concertato madrigal 22 23 Transition from the concertato madrigal Edit In the first decade of the 17th century the Italian compositional techniques for the madrigal progressed from the old ideal of an a cappella vocal composition for balanced voices to a vocal composition for one or more voices with instrumental accompaniment The inner voices became secondary to the soprano and the bass line functional tonality developed and treated dissonance freely for composers to emphasise the dramatic contrast among vocal groups and instruments The 17th century madrigal emerged from two trends of musical composition i the solo madrigal with basso continuo and ii the madrigal for two or more voices with basso continuo In England composers continued to write ensemble madrigals in the older 16th century style 22 6 In 1600 the harmonic and dramatic changes in the composition of the madrigal expanded to include instrumental accompaniment because the madrigal originally was composed for group performance by talented amateur artists without a passive audience thus instruments filled the missing parts The composer usually did not specify the instrumentation in The Fifth Book of Madrigals and in the Sixth Book of Madrigals Claudio Monteverdi indicated that the basso seguente the instrumental bass part was optional in the ensemble madrigal The usual instruments for playing the bass line and filling inner voice parts were the lute the theorbo chitarrone and the harpsichord 22 6 Title page of Le nuove musiche 1601 by the madrigalist Giulio CacciniThe madrigalist Giulio Caccini 1551 1618 produced madrigals in the solo continuo style compositions technically related to monody and descended from the experimental music of the Florentine Camerata 1573 1587 In the collection of solo madrigals Le nuove musiche The New Music 1601 Caccini said that the point of the composition was anti contrapuntal because the lyrics and words of the song were primary and balanced voice polyphony interfered with hearing the lyrics of the song After Caccini s developments the composers Marco da Gagliano 1582 1643 Sigismondo d India 1582 1629 and Claudio Saracini 1586 1630 also published collections of madrigals in the solo continuo style Whereas Caccini s music mostly was diatonic later composers especially d India composed solo continuo madrigals using an experimental idiom of chromaticism In the Seventh Book of Madrigals 1619 Monteverdi published his only madrigal in the solo continuo style which uses one singing voice and three groups of instruments a great technical advance from Caccini s simple voice and basso continuo compositions from the 1600 period 6 Beginning around 1620 the aria supplanted the monodic style madrigal In 1618 the last published book of solo madrigals contained no arias likewise in that year books of arias contained no madrigals thus published arias outnumbered madrigals and the prolific madrigalists Saracini and d India ceased publishing in the mid 1620s 6 In the late 1630s two madrigal collections summarised the compositional and technical practises of the late style madrigal In Madrigali a 5 voci in partitura 1638 Domenico Mazzocchi collected and organised madrigals into continuo and ensemble works specifically composed for a cappella performance For the first time in a collection of madrigal music Mazzocchi published precise instructions including the symbols for crescendo and decrescendo however those madrigals were for musicologic study not for performance indicating composer Mazzochi s retrospective review of the madrigal as an old form of musical composition 24 In the Eighth Book of Madrigals 1638 Monteverdi published his most famous madrigal the Combattimento di Tancredi e Clorinda a dramatic composition much like a secular oratorio featuring musical innovations such as the stile concitato agitated style that employs the string tremolo In the event the evolution of musical composition eliminated the madrigal as a discrete musical form the solo cantata and the aria supplanted the solo continuo madrigal and the ensemble madrigal was supplanted by the cantata and the dialogue and by 1640 the opera was the predominant dramatic musical form of the 17th century 22 English madrigal school Edit Main article English Madrigal School In 16th century England the madrigal became greatly popular upon publication of Musica Transalpina in Transalpine Music 1588 by Nicholas Yonge 1560 1619 a collection of Italian madrigals with corresponding English translations of the lyrics which later initiated madrigal composition in England The unaccompanied madrigal survived longer in England than in Continental Europe where the madrigal musical form had fallen from popular favour but English madrigalists continued composing and producing music in the Italian style of the late 16th century Hark Hark The birds by Thomas Linley the younger 1756 1778 a madrigal in G major for 5 voices presented by Mr Sheridan to the Catch Club see inscription In early 18th century England the singing of madrigals was revived by catch clubs and glee clubs leading to an upsurge of interest in the form 25 26 and creation of musical institutions such as the Madrigal Society which was established in London by attorney and amateur musician John Immyns in 1741 27 In the 19th century the madrigal was the best known music from the Renaissance 15th 16th c consequent to the prolific publishing of sheet music in the 16th and 17th centuries even before the rediscovery of the madrigals of the composer Palestrina Giovanni Pierluigi da Palestrina 6 Continental Europe Edit In the 16th century the musical form of the Italian madrigal greatly influenced secular music throughout Europe which composers wrote either in Italian or in their native tongues The extent of madrigalist musical influence depended upon the cultural strength of the local tradition of secular music In France the native composition of the chanson disallowed the development of a French style madrigal nonetheless French composers such as Orlande de Lassus 1532 1594 and Claude Le Jeune 1528 1600 applied madrigalian techniques in their musics 6 In the Netherlands Cornelis Verdonck 1563 1625 Hubert Waelrant 1517 1595 and Jan Pieterszoon Sweelinck 1562 1621 composed madrigals in Italian 6 In German speaking Europe the prolific composers of madrigals included Lassus in Munich and Philippe de Monte 1521 1603 in Vienna The German speaking composers who studied the Italian techniques for composing madrigals especially in Venice included Hans Leo Hassler 1564 1612 who studied with Andrea Gabrieli and Heinrich Schutz 1585 1672 who studied with Giovanni Gabrieli From northern Europe Danish and Polish court composers went to Italy to learn the Italian style of madrigal while Luca Marenzio 1553 1599 went to the Polish court to work as the maestro di cappella Master of the Chapel for King Sigismund III Vasa r 1587 1632 in Warsaw 6 Moreover the rektor of the University of Wittenberg Caspar Ziegler 1621 1690 and Heinrich Schutz wrote the treatise Von den Madrigalen 1653 28 Madrigalists EditTrecento madrigal Edit Main article Madrigal Trecento Francesco Landini Jacopo da BolognaEarly composers Edit Jacques Arcadelt I Libro a 4 1543 Author of the most reprinted book of madrigals Francesco Corteccia court composer to Cosimo I de Medici Costanzo Festa I Libro a 3 1541 Bernardo Pisano Cypriano de Rore I Libro a 5 1542 Philippe Verdelot I Libro a 5 1535 One of the first madrigalists also associated with the Medici court Adrian Willaert Franco Flemish composer founder of the Venetian SchoolLate Renaissance composers Edit Andrea Gabrieli I Libro a 3 1575 Orlando di Lasso Francisco Leontaritis Philippe de Monte author of the largest number of madrigal books Giovanni Pierluigi da Palestrina famous mostly for his sacred music he also wrote at least 140 secular madrigals Giovan Leonardo PrimaveraAt the Baroque threshold Edit Camillo Cortellini I Libro a 5 e 6 1583 Carlo Gesualdo I Libro 1594 Sigismondo d India I Libro a 5 1606 Luzzasco Luzzaschi I Libro a 5 1571 Luca Marenzio I Libro a 5 1580 Claudio Monteverdi I Libro a 5 1587 Giaches de Wert I Libro a 5 1558Baroque madrigalists Edit The a capella old style madrigal for four or five voices continued in parallel with the new concertato style of madrigal but the compositional watershed of the seconda prattica provided an autonomous basso continuo line presented in the Fifth Book of Madrigals 1605 by Claudio Monteverdi Italy Edit Agostino Agazzari I Libro a 5 1600 Adriano Banchieri Giulio Caccini Antonio Cifra I Libro a 5 1605 Sigismondo d India Marco da Gagliano I Libro a 5 1602 Alessandro Grandi Marco Marazzoli Domenico Mazzocchi Madrigali a 5 1638 Claudio Monteverdi Giovanni Priuli I Libro 1604 Paolo Quagliati I Libro a 4 1608 Michelangelo Rossi Salamone Rossi I Libro a 5 1600 His Secondo Libro 1602 is the first example of madrigals published with continuo Claudio Saracini Barbara Strozzi I Libro a 2 5vv with bc 1644 Orazio Vecchi I Libro a 6 1583Germany Edit Hans Leo Hassler I Libro 1600 Johann Hermann Schein Heinrich Schutz I Libro a 5 Venice 1611 English madrigal school Edit Thomas Bateson William Byrd John Dowland John Farmer Orlando Gibbons Thomas Morley Thomas Tomkins Thomas Weelkes John WilbyeSome 60 madrigals of the English School are published in The Oxford Book of English Madrigals English composers of the classical period Edit Samuel Wesley Thomas Attwood Walmisley Joseph Barnby John Wall Callcott19th century composers Edit Robert Lucas de Pearsall Vincent d Indy20th century composers Edit Paul Hindemith Constant Lambert Bohuslav MartinuContemporary Edit Gavin Bryars George Crumb Emma Lou Diemer Mauricio Kagel Morten Lauridsen Gyorgy Ligeti Paul Mealor Moondog Henri Pousseur Ned RoremMusical examples EditStage 1 Madrigal Arcadelt Ahime dov e bel viso 1538 Stage 2 Madrigal prima practica Willaert Aspro core e selvaggio mid 1540s Stage 3 Madrigal seconda practica Gesualdo Io parto e non piu dissi 1590 1611 Stage 4 Madrigal Caccini Perfidissimo volto 1602 Stage 5 Madrigal Monteverdi Il Combatimento di Tancredi et Clorinda 1624 English Madrigal Weelkes O Care thou wilt despatch me late 16th century early 17th century Nineteenth century imitation of an English Madrigal Brightly dawns our wedding day from the Gilbert and Sullivan comic opera The Mikado 1885 References EditNotes Edit Hobson James 2015 Musical antiquarianism and the madrigal revival in England 1726 1851 Ph D University of Bristol Retrieved 2 October 2022 via EThOS a b c J A Cuddon ed 1991 The Penguin Dictionary of Literary Terms and Literary Theory p 521 Tilmouth Michael 1980 Strophic in Sadie Stanley ed The New Grove Dictionary of Music and Musicians vol 18 London Macmillan Press pp 292 293 ISBN 0 333 23111 2 Scholes Percy A 1970 Ward John Owen ed The Oxford Companion to Music Tenth ed Oxford Oxford University Press p 308 ISBN 0 19 311306 6 Durchkomponiert G Through composed applied to songs with different music for every stanza i e not merely a repeated tune Brown 1976 p 198 a b c d e f g h i j k l m n o p q r s t u v von Fischer amp et al 2001 Atlas 1998 p 433 a b Brown 1976 p 221 a b c Randel 1986 p 463 Atlas 1998 pp 431 432 Atlas 1998 pp 432ff Brown 1976 pp 221 224 Brown 1976 pp 224 225 Einstein 1949 Vol I p 391 Brown 1976 p 228 Reese 1954 p 406 Atlas 1998 pp 636 638 Campion Thomas First Booke of Ayres 1601 quoted in von Fischer amp et al 2001 Bianconi Lorenzo Watkins Glenn 2001 Watkins Glenn ed Gesualdo Carlo Prince of Venosa Count of Conza Grove Music Online Oxford University Press doi 10 1093 gmo 9781561592630 article 10994 ISBN 9781561592630 Einstein 1949 Vol II pp 867 871 The Madrigals of Michelangelo Rossi Brian Mann Ed University of Chicago Press 2003 a b c d Arnold amp Wakelin 2011 Artusi 1950 p 395 Bukofzer Manfred R 1947 Music in the Baroque Era From Monteverdi to Bach New York W W Norton amp Company p 37 OCLC 318558558 Retrieved 3 October 2022 Lovell Percy 1979 Ancient Music in Eighteenth Century England Music amp Letters Oxford University Press 60 4 401 415 doi 10 1093 ml 60 4 401 JSTOR 733505 via JSTOR Day Thomas 1972 Old Music in England 1790 1820 Revue Belge de Musicologie Belgisch Tijdschrift voor Muziekwetenschap Societe Belge de Musicologie 26 27 25 37 doi 10 2307 3686537 JSTOR 3686537 via JSTOR Craufurd J G 1956 The Madrigal Society Proceedings of the Royal Musical Association 82nd session Taylor amp Francis 82 33 46 doi 10 1093 jrma 82 1 33 ISSN 0080 4452 JSTOR 765866 via JSTOR Von den Madrigalen Leipzig Digitalisat 1653 Sources Edit Arnold Denis Wakelin Emma 2011 Madrigal In Alison Latham ed The Oxford Companion to Music ISBN 978 0 19 957903 7 subscription required Artusi Giovanni 1950 Della imperfezioni della moderna musica Source Readings in Music History Translated by Oliver Strunk New York W W Norton Atlas Allan W 1998 Renaissance Music Music in Western Europe 1400 1600 New York W W Norton ISBN 0 393 97169 4 Brown Howard Mayer 1976 Music in the Renaissance Prentice Hall History of Music Series Englewood Cliffs New Jersey Prentice Hall ISBN 0 13 608497 4 Einstein Alfred 1949 The Italian Madrigal Three volumes Princeton New Jersey Princeton University Press ISBN 0 691 09112 9 von Fischer Kurt D Agostino Gianluca Haar James Newcomb Anthony Ossi Massimo Fortune Nigel Kerman Joseph Roche Jerome 2001 Madrigal In L Macy ed Grove Music Online doi 10 1093 gmo 9781561592630 article 40075 ISBN 978 1 56159 263 0 subscription required Randel Don ed 1986 The New Harvard Dictionary of Music Cambridge Massachusetts Harvard University Press ISBN 0 674 61525 5 Reese Gustav 1954 Music in the Renaissance New York W W Norton ISBN 0 393 09530 4 Further reading EditIain Fenlon and James Haar The Italian Madrigal in the Early 16th Century Sources and Interpretation Cambridge 1988 Oliphant Thomas ed 1837 La musa madrigalesca or A collection of madrigals ballets roundelays etc chiefly of the Elizabethan age with remarks and annotations London Calkin and Budd Choral Public Domain Library contains scores for many madrigalsExternal links Edit Look up madrigal in Wiktionary the free dictionary Wikimedia Commons has media related to Madrigals Gosse Edmund William Tovey Donald Francis 1911 Madrigal Encyclopaedia Britannica Vol 17 11th ed p 295 Early Music free recordings of English Madrigals free recordings of German Lieder and free recordings of Spanish Madrigals from Umea Academic Choir Academic Computer Club Umea University Sweden The Italian Madrigal Resource Center Portal Classical music Retrieved from https en wikipedia org w index php title Madrigal amp oldid 1165242139, wikipedia, wiki, book, books, library,

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