Ренессанс және ерте барокко дәуіріндегі ән музыкасы: Мадригал туралы

Secular vocal music composition of the Renaissance and early Baroque eras

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. 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. Unlike the verse repeating strophic forms sung to the same music, 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. 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. 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, which derives from the Latin matricalis (maternal) denoting musical work in service to the mother church. 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. 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.

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.

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. In the 1620s, Gesualdo's successor madrigalist was Michelangelo Rossi (1601–1656), whose two books of unaccompanied madrigals display sustained, extreme chromaticism.

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.

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. 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. and creation of musical institutions such as the Madrigal Society, which was established in London by attorney and amateur musician John Immyns in 1741. 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).

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.