Reformation and Counter-Reformation

Reformation

·        Europe had history of disillusionment with Catholic church; Church officials selling absolution; many other problems

·        There were earlier reform efforts, but the first with continuous lasting effects was by Martin Luther (activist, 1483-1546).  In 1517, he drafted “95 Theses”, listing failings of Church.  He called for reforms, e.g.

·        Services in vernacular

• Congregational participation in service, particularly in musical parts

·        Came out with his own version of Mass: based on Roman rite but with many details changed, especially substitution of congregational hymns (called Kirchenlieder or chorales) for many parts previously sung by Choir

• These are monophonic songs, some newly composed but many borrowed:

·        from plainsongs of Catholic church

·        from German religious songs

·        from secular songs: these were called contrafacta (a vocal work with new text substituted for original)

• Through 16^th century many more chorale texts written (some by Luther); also some new melodies written, but many originals from early Reformation were retained, some still in use today, e.g. Luther is credited with writing Ein Feste Burg
• Chorale melodies were used as basis for polyphonic music, according to the established models:

·        German Polyphonic Lied with cantus firmus in middle of 3-4 voices, free polyphony above and below

·        Franco-Flemish motet  model with tune introduced imitatively phrase by phrase

·        Older motet models, “Chorale Motets”  where chorale tune is cantus firmus

Other Reform groups:

·        Calvinists (France, Netherlands, Switzerland): discarded more of Roman service than Luther had, made more radical changes

• Thought singing was somewhat inappropriate in church;
• Banned singing of any texts other than those found in Bible
• Psalters: books of psalms translated into vernacular, intended for singing
• Sometimes plainchant melodies or popular melodies used
• Eventually some simple polyphony applied to psalms

·        Anglican Church (England): less theological, more political split

• Service wasn’t too different from Roman, but English texts crept in
• In 1540’s a decree said church music had to be plain, syllabic, homophonic (very different from Catholic music); eventually restrictions were relaxed and some polyphony returned to Anglican church music
• Main Genres: Service and Anthem

·        Service was musical setting of prayers corresponding to Matins, Vespers, Communion

·        Anthem corresponds to motet: might be intended for chorus (contrapuntal and a capella) or for solo voices with instrumental accompaniment

Counter Reformation: the Roman Church’s reaction to Reformation

·        Council of Trent (N. Italy) met intermittently 1545-63: purpose was to address concerns about abuses in the church

·        They heard many complaints on all subjects.  Musical ones:

·        Too many secular elements in liturgy (secular cantus firmi)

·        Florid polyphony obscured the meaning of the sacred rituals

·        Instruments in church were too noisy

·        Singers were irreverent, behaved badly in church

·        Singers also used poor diction, corrupted texts

·        Council issued no specific directives for musical reform, but they formed a policy

·        “Commission of Cardinlas” was charged with implementing the policy locally

·        Cardinals “tested” several masses for intelligibility in 1565

·        They called for less complex counterpoint and good pronunciation

·        warned against excessive melismas

·        Policy had little impact on composers

·        Giovanni Perluigi da Palestrina (1525-94).

·        His style (“Palestrina-style Counterpoint” or stile antico) represents church style after Council of Trent. 

·        Stepwise melodic lines

·        Regular rhythms

·        Simple counterpoint and frequent chordal textures

·        Avoids chromatic harmony

·        Clarity of text is the big goal

·        He was one of few 16^th C composers who wrote almost exclusively church music: 102 masses, 450 motets and liturgical comps., 56 spiritual madrigals.  Late in life he supervised revision of music in official liturgical books to conform with text changes mandated by Council of Trent.

• Palestrina’s music is expressive of ideals of Counter-Reformation, but not epitome of the Renaissance: he rejected many innovations of the Renaissance

·        Orlando di Lasso (1532-94): another great composer of sacred music in late 16^th Century

• Lasso (Roland de Lassus) was one of the last great Netherlanders; traveled widely and educated in Italy
• Lasso known for motets; he was equally skilled at writing masses, also wrote lots of secular music: chansons, madrigals, lieder.  Total output over 2,000 compositions.
• Lasso felt counterpoint should enhance meaning of text
• Lasso and Secular Music: the Chanson:

·        More eclectic, wrote in all genres (Lied, madrigal, chanson)

·        French still wrote polyphonically, but they were also influenced by Italian madrigals, Lasso did a lot to reconcile the two styles

·        His chansons of two types:

·        Lots of polyphony, close imitation, sudden shifts in pace

·        More homophonic, with rhythms derived from accents in the text