Research Point: Renaissance Composers

Research Point: Composers - Claudio Montiverdi

The OCA course material writes that Monteverdi was one of the most important composers of the Renaissance (and Baroque) period, changing the way that instruments were assigned to different staff lines and inventing the first “fully-fledged” example of the opera form. 

Harman & Milner (1998) describe how Monteverdi composed a number of madrigals.  These compositions demonstrated his dramatic feelings and talent for the use of dissonance.  Motifs such as the rapid repetition of notes and contrapuntal texture created a choral recitative that made the lyrics clearer; possibly demonstrating a desire to appeal to the masses and ensure that his music could be widely understood.

The OCA course material concludes that Monteverdi’s ‘innovations’ include melodic writing (later developing into a recitative style), the use of the bass line as a harmonic foundation, as opposed to an equal polyphonic voice and use of ornamentation and embellishments in the score.  Details of my reflections on one of Monteverdi’s madrigal can be found in my listening log. 

Exercise: Renaissance composers – William Byrd

“He [William Byrd] is arguably the most ambitious and accomplished composer of purely instrument music of his age, and as the creator of a highly individual style of vocal polyphony out of an imaginative amalgam of English and Continental traditions”  (Brett, 2007).

Brett (2007) further describes how Byrd’s career was shrouded in personal conflict due to his unfailing belief in the Roman Catholic Church.  During a period when reformation of the church was at a high point, Byrd refused to conform to the Anglian ways, despite being employed and revered by Queen Elizabeth I of England.  Therefore, his sacred compositions were often subject to a more intense feel, possibly portraying his inner turmoil between religious and social policy.  In addition, the Puritans added a great amount of pressure on his work, spreading the message that instrumental music was effeminate and whilst boys could learn to sing, shooting would be a much better use of their time. 

In Burkholder et al. (2010) describe Byrd’s life by saying that he was most likely trained by Thomas Tallis, was a choirboy with the Chapel Royal in London under both Protestant and Catholic rulers, yet served the Church of England as the organist and choir master at Lincoln Catherdral.  Byrd is responsible for the compositions of over 180 motets, 3 masses, fantastias, dances and an array of others pieces.

Whilst listening to some examples of Byrd’s work, it was clear to see his wide influences and eclectic musical style.  Fantastia in G (1611), Sing Joyfully (c.1610) and Mass for Four Voices (c.1610) all demonstrate a different genre; secular, Anglican and Catholic respectively, yet remain unified in Byrd’s compositional techniques such as polyphony and imitation. However, despite my research stating that Byrd was an avid Catholic, I found his mass setting to be amongst the least inspiring of his works.  It seemed to lack the joy and awe reflected in the works of Palestrina and other contemporaries.