History of music - that part of the Renaissance 2

The fundamental principles of Renaissance art was its artistic integrity of nature, as the tradition from which the Renaissance had already been rejected.

This principle was derived from the study found the new learning, which awakened in Italy by Greek refugees, and the interest with which the remains of the resulting look ancient architecture, sculpture and other art forms are constantly exposed in their country .

With the adoption ofclassical principle of the truth of nature, of course, came the adoption of a second, the exploration of the ancient world as the true path to excellence in the arts and letters. We can not recognize these two principles at work in the writings of the masters of Renaissance music.

A parallel to the truth of nature, which may alter the painters and sculptors of the right acquired by the study of Greek art, it is said that efforts by the Renaissance composer, at hisMore music and more flexible to play different human emotions.

Musicians as well as a sculptor and painter, he studied ancient art. Although it is not profitable for musicians, the lessons to be learned from the ancient world of musicians were not for educational purposes, but more for inspiration and creativity.

Palestrina was identified as a typical example of the culmination of the musical development of the early days, and now, the admission of the Considerationnew term, we must first take care of a man who was born eight years when Palestrina. The Flemish composer Adrian Willaert, conductor of San Marco in Venice.

Willaert Zugehörigkeit als zur gleichen Zeit, die alte Ordnung und die neue, für die Zeit, gemeinsam mit seiner Mitbürger, Orlando di Lasso, einige vielleicht sagen, er war einer der als der letzte und der größte flämischen Meister. At the same time, he must be regarded as a precursorreformers music of the Renaissance.

Willaert, obwohl er nicht entstehen neue Formen in der Musik, kann beanspruchen einer der ersten gewesen, musikalischen Ausdruck zu geben, dass die von Liebe Farbe, Bewegung und Geist der allgemeinen Anpassungsfahigkeit, die sich hervorragenden solche Eigenschaften der Renaissance.

The forms used, used by his contemporaries and immediate predecessors. The fair, psalm motet and madrigal. Yet, in all its colorsDirection was very strong, relatively speaking, that is sound, for the glory that led the Venetians in their enthusiasm for the works of their beloved "Messer Adriano" fotabik aurum or "drinkable gold" concept may not be as obvious, a modern audience.

Even if a musician, the introduction of a comparison between the works of Willaert and great writers, won the impact with the use of the principle, the harmonies of the Flemish masters can not stay awayextraordinarily original.

While it should be mentioned with the Venetian music of the Andrea and Giovanni Gabrielli, uncle and nephew, who will represent a further development of the style of Willaert. Giovanni Gabrielli (1557-1612) conducted his experiments in sound quality in the field of pure instrumental music, and his "Symphonic Sacrse," the first volume, which was published in Venice in 1597, was named after him as a the authors of the first rank for the orchestra.

Infirst volume of this work there are sixteen pieces for eight to sixteen instruments, and in the second volume, there are rooms for ten instruments pm. These compositions are) for violin, teeth (not the teeth of the modern era, but wooden instruments, and trombones.

After the time of Willaert and Venetians were the real workers in the music of the Renaissance, and the first of its successes, the invention of drama or musicOpera.