Page:The New International Encyclopædia 1st ed. v. 14.djvu/204

* Mtrsic. 168 MUSIC. Eschenbarh, Frauciilnli. ami Hans Saehs. En<j- laiul gives us tlio round ■Sumer is icumen in' (siH' Hondo), and theic are fragments of works by Marehault de Muris, Tunatede, and De Handlo in the fourteenth century which are not promising examples. The Netherlands in the early part of the fifteenth century sliowed signs of re-awakening energy, the lirst representative composer being Dufay, in the service of Philip the Good of Burgundy. His style was crude, showing the intluenee of .John Dunstable, an Englishman (e. 1400- 14.^3 ). who at one time was regarded as the greatest eompo-ser in Europe. After Paugues, Caron. Busncris, the next ligiirc of importance is Okeghem, who lived until 1513. He, too, was a Fleming. He is known to fame, however, as the master of .Tosquin Depr^s (born about 1450), a genius. He wrote church and secular uuisic with enal facility and was in' the Papal choir from 1471 to 1484. His pupils were .Jean .Mouton and Nicholas (lombert. Obrecht, chapel-master at I'trccht. was anotluT man of ability. The art of printing from music types was first practiced in the early part of the sixteenth century (1501). This led to an increased ac- tivity among composers, and soon came an inter- esting list of names, such as Adrian Willaert ( 1400-1502), attached to Saint Mark's Cathe- dral, Venice; Philip Verdelot (about 1500-67), composer of madrigals, canzonas; .Jacques Area- delt (C.1514-C.1575), and others. Constanzo Festa was the lirst Italian composer of proini- nence ( 14!I0-1545I. B>it wc' nuist not forget other Netherlanil men. .Taciiucs tlemcns, Cyprian Van Rove. Walraent, Phillipus del Monte, and Orlando di Lasso (1520-94), who continued to write good music even after the Italian su- premacy. Orlando di Lasso is famous for his setting of the Penitential Psalms, which contain much lovely and characteristic uuisic. Then for a time the Italians, Zarlino, the two Oabrielis, Claudio Merulo ( 15:i3-lfi04 ), Marenzio. a great organist, and Palcstrina held the field. The latter was born at the town from which he takes his name about 1514. He studied Tinder Claude (louiliniel. a FreniOiman. The "Pope Marcellus Mass" was written in 15G5. and in it the clima.K of ecclesiastical music was reached. Palcstrina was the greatest master of pure choral style; he closed an epoch when he died in 1594. His contemporaries and pupils were Morales, a Spaniard; Nanini. Vittoria, also a Spaniard and second onl.v to Palcstrina; (liovanni Croce, and .Allcgri. In Germanv. Heinrich Isaak. .lohann Walther — the friend of Luther — (Jalhis. Stalzer, and Hans Leo Hassler (15(U-l(il2), the latter a pupil of Andrea (Jabrieli. passed on the torch of tradition, keeping it aflame by their own honest elforts. In England there was a musical activity that has not been par.illeled since in the history of the nation. Christopher Tve. .Tohn Merbeck, Thomas Tallis, his celebrated pupil William ]!yril. Edwards, Whythorne. Xiiholas Yonge, Thomas .Morley, Thomas Weelkcs, .lohn Dowland ( 15(!21t!2r)), Thomas Uatesen, Orlando Gibbons (15831(!25), .lohn Bull. V. Forster. Benjamin Cosyria, .John Blow, wrote wonderfully sparkling, vigorous, and original music. .Ml England sang their catches, roniidela,vs, madrigjils, motets, and the more eultivalcd played their virginal and lute mUHic. Indeed, the beginnings of music for the clavichord, harpsichord, and modern pianoforte may Ix! found in the literature of Bvrd, Gib- bons, Bull, and others. The school culminated in Purccll (1(J58-95|. Whether because of Puritan- ical inllucnces or the advent of the Italians and later Cieorge Frederick Handel, an overwhelming composer, certainly England has produced no Other such original genius as Henry Purcell. The cuirenls of music now begin to run swifter, opera and oratorios absorbing the ears of the civilized world thanks to the work of Monteverde, Lully. Purcell, Alcssandro Scarlatti. Lotte. Du- rante. Leo, Handel, and Bach. (Sec Ok.torio,) This article will in the main confine itself to purel,v instrumental music and its ])rogress. The crudeness of the viol family was giving way to the finished specimens of Italian violin-makers' art, and with improved instruments came music of a better quality and wider range, ( See Violin,) The organ, which aided the growth of t.vpes of choral music, was now become a more highly diti'erentiated instrument, and music per xc was Iieard from its pipes. (See Organ,) The fore- runners of the pianoforte (see Pianofokte) were engaging the attention of composers, and the orchestra (see Orchestra), from a simi)le gather- ing of heterogeneous instruments, many of them obsolete to-da,v, was gradually approximating its present size. Parry divides the liisiory of in- strumental music into three well-defined periods: the first extends from the early experiments in the fifteenth and sixteenth centuries up to the time of Bach; the second up to Beethoven: the third to the present dav. Contrapuntal methods prevailed during the first; the second saw the development of pure harmonic forms (jf the sonata order, culminating in Beetlioven: the third was marked by modifications of the form with greater freedom in contra])untal devices, and the patent factor of orchestration playing a powerful part. There was much graceful, fantastic dance- music written for the clavecin and harpsichord by Purcell and Lully. while Cliaml)oni<'^res and Cou])erin com]ioscd what are now known as suites, then called ordrcs. composed of lively dance movements out of which tlic sonata grew. (See Sonata.) Cambert and Lully also wrote ballads with overtures. Both Conperin .and Rameau (1683-1704) contributed excellent music for the clavecin, and, being supple performers, did much to advance the purelv formal side of com- ])osition, while in their suggestive titles we see the humble beginnings of iirogramme music. Organ-playing was growing ajiace, (Jabrieli, Me- rulo. Sweelinck of .msterilam. Keinken, Fresco- baldi. Scheldt. Froberger, a pupil of Frc-culialdi, Kerl. Pachelbel, and Buxtelinde the Dane, all helping to rear the mighty fabric of fugue and sonata which culminated in Bach. In Italy, Amati. Stradivarius, and (iuarnerius stimulated the genius of Arcangelo Corelli ( 1653-1713), who gave the world his sonatas and concertos for stringed instruments accompanied b.v harpsi- chord or organ. The first set of twelve were called "Sonata da Chiesa," the second set of twelve "Simata da Camera." The first, patterned aft<'r (he churchly form, was in four movements, and is a prototype of the modern sonata ; the sec- ond is a dance suite, consisting of Allemande, Corrente. Sarabande, fJiga or Gavotte,. d the music, as we can testify to-dav, is sweet, sane, and diumificd. Then followed a gifted group of Corclli's pu])ils, Somris, l.ocatelli, (icniiniani, 'cra(ini, Vivaldi, and Tartini. Being virtuosi, they all helped to solidify the technique of their