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Luca Marenzio

Luca Marenzio (also Marentio) (October 18? 1553? – August 22, 1599) was an Italian composer of the late Renaissance. He was one of the most renowned composers of madrigals, and wrote perhaps the finest examples of the form in its late stage of development, prior to its early Baroque transformation by Monteverdi.

Life

Marenzio was born at Coccaglio, near Brescia, and died in Rome. A birthdate of October 18, 1553 has been proposed because of a statement by his father giving his age in years, and that he may have been named after the saint with his feast day on October 18.

After early training in Brescia and possibly some years spent in Mantua, he moved to Rome, where he was employed by Cardinal Cristoforo Madruzzo until 1578, evidently as a singer; after the cardinal's death he served at the court of Cardinal Luigi d'Este, during which time he began to establish a reputation as a composer. By 1581 his music had become immensely popular, as shown by the frequency with which his published books of madrigals were reprinted, and also by the increasingly common appearance of his madrigals in anthologies. In 1587 he moved to Florence where he entered the service of Ferdinando I de' Medici for two years; in 1589 he returned to Rome, where he spent most of his last years, except for a trip to Poland from 1596 to 1597, during which time he was employed at the court of Sigismund III Vasa in Warsaw. According to some sources the trip to Poland ruined his health, and he died in Rome in 1599, shortly after returning from Poland.

Music

While Marenzio wrote some sacred music in the form of motets, and madrigali spirituali (madrigals based on religious texts), the vast majority of his work, and his enduring legacy, is his enormous output of madrigals. They vary in style, technique and tone through the two decades of his composing career.

Marenzio published at least fifteen collections of music, mostly madrigals but also canzonette and villanelle (related secular a cappella forms very much like madrigals, but usually a bit lighter in character). Close to 500 separate compositions survive. Stylistically, his compositions show a generally increasing seriousness of tone throughout his life, but in all periods he was capable of the most astonishing mood-shifts within a single composition, sometimes within a single phrase; rarely does the music seem disunified, since he closely follows the texts of the poems being sung. During his last decade he not only wrote more serious, even sombre music, but experimented with chromaticism in a daring manner surpassed only by Gesualdo. In one madrigal (O voi che sospirate a miglior note) he modulated completely around the circle of fifths within a single phrase, using enharmonic spellings within single chords (for instance, simultaneous C-sharp and D-flat), impossible to sing unless some approximation of equal temperament is being observed.

Even more characteristic of his style, and a defining characteristic of the madrigal as a genre, is his use of word-painting: the technique of mirroring in the music a specific word, phrase, implication or pun on what is being sung. An obvious example would be a setting of the phrase "sinking in the sea" to a descending series of notes, or accompanying the word "anguish" with a dissonant chord followed by an unsatisfying resolution.

Influence

Marenzio was hugely influential on composers in Italy, as well as in the rest of Europe. As an example, when Nicholas Yonge published his Musica transalpina in 1588 in England, the first collection of Italian madrigals to be published there, Marenzio had the second-largest number of madrigals in the collection (after Alfonso Ferrabosco the elder); and the second collection of Italian madrigals published in England had more works by Marenzio than anyone else.

External links

References

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Anthem
Il Canto degli Italiani
(also known as Fratelli d'Italia)


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Renaissance music is European music written during the Renaissance, approximately 1400 to 1600. Defining the beginning of the era is difficult, given the lack of abrupt shifts in musical thinking during the 15th century.
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A madrigal is a setting for two or more voices of a secular text, often in Italian. The madrigal has its origins in the frottola, and was also influenced by the motet and the French chanson of the Renaissance.
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Baroque music describes an era and a set of styles of European classical music which were in widespread use between approximately 1600 and 1750.[1] This era is said to begin in music after the Renaissance and was followed by the Classical music era.
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Coccaglio is a town and comune in the province of Brescia, in Lombardy, Italy.
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Country Italy
Region Lombardy
Province Brescia (BS)
Mayor Paolo Corsini (since june 10, 2003)

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Comune di Roma

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Nickname: "The Eternal City"
Motto: "Senatus Populusque Romanus" (SPQR)   (Latin)
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Province Mantua (MN)
Mayor Fiorenza Brioni (since April 18, 2005)

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Cristoforo Madruzzo (July 5, 1512 – July 5, 1578) was an Italian Roman Catholic cardinal and statesman. His brother Eriprando was a mercenary captain who fought in the Italian Wars.
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Country Italy
Region Tuscany
Province Florence (FI)
Mayor Leonardo Domenici (Democrats of the Left)

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Ferdinando I de' Medici, Grand Duke of Tuscany (30 July 1549 – 17 February 1609) was Grand Duke of Tuscany from 1587 to 1609, having succeeded his older brother Francesco I.
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Motto
none1
Anthem
Mazurek Dąbrowskiego   (Polish)
Dąbrowski's Mazurek
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Sigismund III Vasa
King of Poland, Grand Duke of Lithuania, Ruthenia, Prussia, Masovia, Samogitia and Livonia; hereditary King of Sweden, the Goths and the Wends

Reign 18 September 1587 – 19 April 1632 (Poland),
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Warszawa

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Motto: Contemnit procellas (It defies the storms)
Semper invicta (Always invincible)
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In Western music, motet is a word that is applied to a number of highly varied choral musical compositions.

The name comes either from the Latin movere, ("to move") or a Latinized version of Old French mot, "word" or "verbal utterance.
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A madrigale spirituale (Italian; pl. madrigali spirituali) is a madrigal, or madrigal-like piece of music, with a sacred rather than a secular text. Most examples of the form date from the late Renaissance and early Baroque eras, and principally come from Italy and Germany.
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In music, a canzonetta (pl. canzonette, canzonetti or canzonettas) was a popular Italian secular vocal composition which originated around 1560. In its earlier versions it was somewhat like a madrigal but lighter in style; but by the 18th century, especially as
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In music, a villanella (plural villanelle — not to be confused with the French poetic form villanelle) is a form of light Italian secular vocal music which originated in Italy just before the middle of the 16th century.
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A Cappella (Italian: “in the church style”) music is vocal music or singing without instrumental accompaniment, or a piece intended to be performed in this way.
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In music chromaticism is a compositional technique interspersing the primary diatonic pitches and chords with other pitches of the chromatic scale. These may be unrelated or as secondary pitches.
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Carlo Gesualdo, known as Gesualdo da Venosa (?March 8, 1566 – September 8, 1613), Prince of Venosa and Count of Conza, was an Italian music composer, lutenist and nobleman of the late Renaissance.
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In music theory, the circle of fifths (or cycle of fifths) is an imaginary geometrical space that depicts relationships among the 12 equal-tempered pitch classes comprising the familiar chromatic scale.
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In modern music, an enharmonic is a note (or key signature) which is the equivalent of some other note (or key signature), but spelled differently. For example, in twelve-tone equal temperament (the modern system of musical tuning in the west), the notes C♯ (C sharp) and
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chord (from Greek χορδή: gut, string) is three or more different notes that sound simultaneously. Most often, in European-influenced music, chords are tertian sonorities that can be constructed as stacks of thirds relative to some underlying scale.
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C# major

Relative key A# minor
Parallel key Db major
Component pitches
C#, D#, E#, F#, G#, A#, B#, C#

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