|
|
|
>
The Roman Catholic Church remained an important patron of music. Much sacred music would be composed for its use. Secular music continued to grow, particularly due to the popularity of the opera. In mid-century, the oratorio emerged as the sacred equivalent of opera. These popular dramatic works, based on sacred subjects, weren’t staged. They were originally presented in non-liturgical devotional gatherings. Influences Throughout the century, the Roman Catholic Church remained an important patron of music. Much sacred music would be composed for its use, although secular music continued to grow in importance. The popularity of opera was a significant factor. The new concerted techniques associated with opera, and the increased production of independent instrumental music, greatly influenced sacred music. The continued celebration of the Roman Catholic Mass in its full chanted form continued with just slight changes. The conservative polyphonic style of the "first practice" of Giovanni Pierluigi da Palestrina and other legendary composers remained a staple of traditional church music composition. Progressive composers continued to write polyphonic Masses, motets, and Magnificat settings. Also, they employed concerted techniques in settings, if only by adding a basso continuo to their polyphonic works. Gradually, more sacred works revealed the compelling influence of the operatic devices of monody, specified instrumentation, and use of the "affections" to express emotional states or actions. Roman Catholic composers in other centers created grand concertos. These were grandiose works of impressive dimensions for festival occasions that called for many choirs of voices and instruments. Contrasting in size were the concertos for solo or few voices of Lodovico Viadana and Alessandro Grandi. These latter works contained elements of the Italian secular cantata. At mid-century, the oratorio emerged as the sacred equivalent of opera. These popular dramatic works, based on sacred subjects, weren’t staged. They initially were presented in non-liturgical devotional gatherings. The works of Giacomo Carissimi best represent this style. The celebrated Italian virtuoso organist Girolamo Frescobaldi contributed enormously to organ literature, some of it intended for worship. The specifications for church organ music at the time included a wide variety of types of composition. For example, a toccata (a "restless" showy form of contrasting sections) was used at the Elevation of the Host––the consecration section of the Mass. Italian composer Girolamo Frescobaldi wrote organ mass settings consisting mostly of introductory pieces to be played before or after the chanted text. The most important composer of France, Jean-Baptiste Lully (1632-1687), wrote many motets, of which at least 11 are large-scale, "grand" motets. These are sectioned works of impressive size and scale for voices and instruments, intended for royal audiences. Marc-Antoine Charpentier (1634-1704), known chiefly for his French oratorios, also wrote grand motets. In England, public worship included the Service (similar to the Mass) as well as the Offices of Morning and Evening Prayer (Matins and Vespers). While William Byrd still wrote masses and liturgical motets, Anglican church music consisted chiefly of settings of the service, Office canticles and Psalms, and anthems. Other major composers were Orlando Gibbons, John Blow, and Henry Purcell.
|
|||||||
