Yet the two creative arts did not drift completely apart, since for centuries music remained predominantly vocal. In the madrigal literature of the Renaissance we find, over and over, the names of such famous poets as Petrarch and Dante. The care with which their texts were set, 'the descriptive detail that colors the vocal lines, is well known to anyone who has enjoyed singing madrigals. But as these part-songs were written primarily for the pleasure of the singers (there were in those days no audiences as we have them today) the modern listener may miss many of the details. In writing for the church, composers drew on the timeless texts of the liturgy and the Bible. The very familiarity of these texts, and the impersonality of the Latin language, tempted them to indulge in more and more elaborate counterpoint. Spurious though it may be, the story of the composition of Palestrina's Mina Papae Marcelli in a conscious effort to prove how distinctly words could be set in polyphonic music, is not without significance. To hurry on through the years, the birth of Italian mono dy, and of opera itself, were attempts to bring together, on equal terms, the sister arts of poetry and music.
In this discussion of the art song we will limit ourselves to~ music for one voice and piano, occasionally with the addition of an Obbligato instrument. In setting such limits, of course, we rule out the whole magnificent literature of the lute song, and early German lieder by such masters as Albert, Erlebach, Telemann, even Johann Sebastian Bach (with such a gem as Biff dz: bei mir composed for voice and figured bass). Classic Italian arias, well known in the various anthologies, and cantatas by French and Italian masters, must also be denied a place.
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Language - English
Author(s) - Philip Lieson Miller
Published Date - August 23 2019
ISBN - 9780331092875
Dimesions - 22.9 x 15.2 x 1.5 cm
Page Count - 220
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