Page:A Dictionary of Music and Musicians vol 2.djvu/201

MADRIGAL. The few concluding bars of this contain some imitations the smoothness of which is perfectly delicious:—

Though a far less prolific writer than Archadelt, Waelrant was a true genius, and a true disciple of the good old Flemish School. His 'Symphonia Angelica,' printed, at Antwerp, in 1594, contains compositions by some of the best of his contemporaries; but, none more beautiful than his own Vorrei morire—well-known, in England, and frequently sung, as 'Hard by a fountain,' though the English words make no attempt to convey the meaning of the original Italian. Of Verdelot's numerous works, very few, unhappily, have been handed down to us with all the parts complete: we possess, however, quite enough of his writings to prove, that, like his great contemporary, Giaches de Wert, he was deeply imbued with the national style; which, from first to last, was clear in its construction, smooth in its flow of melody, euphonious in its harmonic combinations, and, though less rich in contrapuntal embroidery than the later Italian Schools, never wanting either in interest, or in animation. The last great Composer by whom this peculiar style was cultivated, in Northern Europe, was Orlando di Lasso, who, though his fame rests chiefly upon his Ecclesiastical Music, has left us many books of splendid Madrigals, which may almost be said to form, of themselves, a Third Period. With him, the School of the Netherlands came to an end. But, long before his death, the Madrigal had been transplanted to other countries: and, in Italy, especially, it took firm root, and bore abundant fruit.

The first really great Italian Madrigal-writer was Costanzo Festa, whose delicious Quando ritrovo la mia pastorella, printed in Archadelt's Third Book, has enjoyed a greater degree of popularity, in England, under its familiar title, 'Down in a flowery vale,' than any other work of the kind that ever was imported hither. This fine composition bears evident traces of the Flemish manner; as do, more or less, all the works belonging to what may be called the First Roman Period. In the Second Period, this foreign influence was entirely destroyed, and the true Roman style inaugurated, by the appearance of Palestrina's Primo libra di Madrigali a quattro voci, in 1555, followed by a Libra secondo, in 1586, and two books of Madrigali spirituali, in 1581, and 1594—the year of the great Composer's death. It may be well said, that, in these four volumes, Palestrina has shewn his command over all styles. The character of the Madrigali spirituali—more serious than that of the Chanson, but less so than that of the Motet—shews a deep appreciation of the difference which should always subsist between ordinary Sacred Music, and Music intended to be actually used in the Services of the Church. The spirit of the sæcular Madrigals changes, every moment, with the sense of the words. The second volume, (that of 1586,) contains a more than usually beautiful example—Alla riva del Tebro—in which the grief of a despairing Lover is described in discords as harsh as any that we are accustomed to hear in the works of the most modern Composers for the Lyric Stage. Yet, every one of these discords is prepared, and resolved, in accordance with the strictest laws of Counterpoint: and these very laws are used as vehicles for the expression of all that music can ever be made to express. For instance, the lovely Cadence at the word, morte, when sung with the necessary ritardando, tells, more plainly than any verbal explanation could possibly have done, how all such woes as those alluded to are healed, for ever, by death:—

Such works as these naturally excited the emulation of contemporary Composers; and led each one to do his best for the advancement of a style, so new and captivating. Palestrina's example was worthily imitated by his successor in office, Felice Anerio, whose three volumes of Madrigali spirituali, printed at Rome, in 1585,