Renaissance Motets and Masses: Evolution of Polyphony

Renaissance Motets and Masses

Evolution of Polyphony

Early Motets

Motet styles varied depending on the season. Isorhythmic motets, less common in later years, were prominent in the early period. In homophonic motets, all voices are equal. The imitative motet became the most important and innovative style.

Masses

Masses shared similarities with motets. Several masses, like the L'homme armé Mass and the L'homme armé Mass with isorhythm in the upper voice, were based on the popular tune "L'homme armé." Another example is the Missa Hercules dux Ferrariae, where the cantus firmus is derived from an acronym of the title.

Secular Music

Secular music production flourished in France and Italy. In Italy, works were sometimes attributed to the pseudonym Joskin D'Ascanio. Popular forms included frottole, such as "El Grillo è buon cantore," "Caramella," and the French "Bergerette savoyenne." The late 15th and early 16th centuries saw the rise of fixed forms like the rondeau (e.g., "Plus des plus" and "Plusieurs regretz"), the ballade, and the virelai. New chanson forms like "Mille regretz," "Adieux mes amours," and "Petite camusette" used the AABBCC structure.

Heinrich Isaac

Polyphony became a regular part of church music, gradually replacing Gregorian chant. Isaac's distinctive trait was incorporating popular melodies, not just as cantus firmus but also in other voices. His woven polyphony, with melodies interspersed, shares similarities with Josquin's style.

Jacob Obrecht

Obrecht was among the first composers to use imitative counterpoint, creating a clear tonal sound. He worked in Italy for the Duke of Ferrara, as well as in Bruges and Cambrai. However, he may not have given as much attention to the text as his contemporaries.

Fourth Generation (Mid-16th Century)

Andrea Willaert

Willaert composed secular, religious, and instrumental music, earning high praise from theorists like Zarlino. His music helped establish counterpoint rules and he was respected for his text setting. He increased the number of voices (6, 7, or 8) and was among the first to use double choirs. After working in France, he settled in Venice as maestro di cappella of St. Mark's, effectively founding the Venetian polyphonic school.

Nicolas Gombert

Gombert spent much of his life in Spain, arriving with Charles I and his Flemish-French chapel. This marked a period of flourishing Spanish music. While skilled in counterpoint, his style leaned more towards Flemish traditions, with less emphasis on meticulous text setting. He favored long phrases and often wrote for four voices.

Clemens non Papa

Clemens non Papa worked in Italy at the Papal chapel.

Fifth Generation (Late 16th Century)

Jan Pieterszoon Sweelinck

With the rise of Calvinism in the 17th century, many musicians abandoned polyphony. Sweelinck spent his career in Germany, focusing on instrumental music, particularly for organ. He is considered the founder of the North German organ school.