Religious Music in the Later Renaissance
Religious Music in the Later Renaissance
If the sixteenth century represented a great age of secular musical achievement and innovation, religious music was to be equally transformed by the enormous religious changes that occurred at the time. The Reformation began with Martin Luther's attack on the sale of indulgences in 1517, and, over the decade that followed, a number of groups with teachings focused on reforming the Catholic Church appeared throughout Northern Europe. While some Reformation figures—notably Ulrich Zwingli in Zürich—aimed to purify the church of music altogether, most retained some place for it in the new Protestant services. The developing Lutheran Church was the most accepting of medieval musical practices. Throughout Germany many of the territorial churches reformed along the lines of Luther's model kept a great deal of the musical tradition of the medieval church alive. Often new German texts conformed to the old melodies of the Middle Ages, but innovations occurred as well. Luther himself had been a singer, and he composed many vivid new hymns for the Reformation movement that stirred the imagination, deepened the piety, and inspired musical creativity for centuries. A great age in the writing of hymns, or "chorales" in the German Lutheran tradition, resulted from the relatively accepting and fluid attitude of the Lutheran Church toward music. Elsewhere the situation was not so tolerant. The reformed churches that followed the religious ideas of John Calvin and other more extreme reformers permitted music in church life, but often in a new, severe way. The leaders of Reformed congregations usually insisted on a spare and unadorned style in musical performance, and they resisted great musical embellishments and elaboration in performance. The chief musical achievements of this tradition lay in the Psalters, collections of tunes that set to music the poetic texts of the Old Testament Psalms. With the penetration of reformed ideas into late sixteenth-century England and the growth of Puritanism, the music of the new Anglican Church grew more restrained as well. In Anglicanism, a musical tradition developed that placed a greater emphasis on music that did not obscure the sacred texts, but which made their meanings obvious to worshipers. Similarly, a new stress on making religious lyrics intelligible to the laity dominated the music of the Roman Catholic Church over the course of the sixteenth century. Composers in the Counter-Reformation Church downplayed the intricate simultaneous vocal lines and complex polyphony that had flourished in the later Middle Ages. This new sensibility, which favored the primacy of the text in the composition of vocal music, was one of the hallmarks of the age for both Catholics and Protestants.
LUTHER DEFENDS MUSIC
introduction: The Protestant reformer Martin Luther (1483–1546) was an avid music lover and singer. In 1524, he published the first of a series of spiritual songs and motets for the developing Lutheran Church, which he followed with several more editions of chorales or hymns. During the sixteenth century this sacred music grew to a large repertoire. In his foreword to the first of his hymnals, the Wittenberg Song Book, he made clear his reasons for his generally tolerant attitude toward music's role in the church.
That it is good, and pleasing to God, for us to sing spiritual songs is, I think, a truth whereof no Christian can be ignorant; since not only the example of the prophets and kings of the Old Testament (who praised God with singing and music, poesy and all kinds of stringed instruments), but also the like practice of all Christendom from the beginning, especially in respect to psalms, is well known to every one: yea, St. Paul doth also appoint the same (I Cor. xiv) and command the Colossians, in the third chapter, to sing spiritual songs and psalms from the heart unto the Lord, that thereby the word of God and Christian doctrine be in every way furthered and practised.
Accordingly, to make a good beginning and to encourage others who can do better, I have myself, with some others, put together a few hymns, in order to bring into full play the blessed Gospel, which by God's grace hath again risen: that we may boast, as Moses doth in his song, (Exodus xv) that Christ is become our praise and our song, and that, whether we sing or speak, we may not know anything save Christ our Saviour, as St. Paul saith (I Cor. ii).
These songs have been set in four parts, for no other reason than because I wished to provide our young people (who both will and ought be instructed in music and other sciences) with something whereby they might rid themselves of amorous and carnal songs, and in their stead learn something wholesome, and so apply themselves to what is good with pleasure, as becometh the young.
Beside this, I am not of opinion that all sciences should be beaten down and made to cease by the Gospel, as some fanatics pretend; but I would fain see all the arts, and music in particular, used in the service of Him who hath given and created them.
Therefore I entreat every pious Christian to give a favorable reception to these hymns, and to help forward my undertaking, according as God hath given him more or less ability. The world is, alas, not so mindful and diligent to train and teach our poor youth, but that we ought to be forward in promoting the same. God grant us His grace. Amen.
source: Martin Luther, "Luther's First Preface," in The Hymns of Martin Luther. Ed. Leonard Woolsey Bacon (New York: Charles Scribner's Sons, 1883): xxi.
The Lutheran Church's most distinctive musical contribution to sacred music was the chorale, a verse hymn set to a tune. The first Lutheran hymnals appeared in 1524 in Luther's hometown of Wittenberg and also at Nuremberg and Erfurt. Luther himself wrote many of the texts for these early collections, and he and a close composer friend Johann Walther set them to music. The first chorales were to be sung without accompaniment and in unison. Luther's own hymn, "A Mighty Fortress is Our God," illustrates some of the musical properties that developed early on in this tradition. Most of the words of the hymn are set to music using a single tone for each syllable, although melisma—the singing of a word or syllable on more than one tone—added emphasis to words like "fortress," "sword," and "bulwark" that convey the poem's central ideas. Luther, unlike more severe Protestant Reformers, also approved of polyphony in church music, calling it a "heavenly dance." In the collections upon which he and Walther collaborated, they included a number of Latin motets written in five-part harmony. Although the chorale texts originally written in Lutheran hymnals had a simple unison tune, by the late sixteenth century harmony had become an essential part of the chorale tradition. In the numerous hymnals published at the time, four-part settings with the melody carried in the highest voice dominated. It is difficult to overestimate the popularity of hymns in the Lutheran Church. Throughout the sixteenth century Lutheran pastors, musicians, and composers combed through the medieval tradition in search of tunes in sacred and secular music that were appropriate for the new chorales. They adopted texts and music from traditional plainsong, composed new texts that they set to the music of popular secular songs, and wrote many hymns from scratch. Luther himself termed these spiritual songs "sermons in sound," and he believed they possessed the power to purge the soul of evil thoughts and to prepare it to commune with God. The force of "A Mighty Fortress is Our God" was so widely revered throughout the Lutheran confession that it was sometimes even used to exorcize those who were believed to be demonically possessed. In Reformation Germany, a distinctly vibrant culture of chorale singing was one of the results of Luther's and other early Protestant reformers' admiration for the power of music. In the seventeenth and eighteenth centuries the Lutheran tradition's major musical figures, from Heinrich Schütz to Johann Sebastian Bach, elaborated and embellished the Reformation chorale tradition, elevating it to the level of high art.
A CAUTIOUS ACCEPTANCE
introduction: The French Reformer Jean Calvin was considerably more cautious than German or English religious authorities concerning the role that music should play in the Church. He was one of the most important founders of Reformed Christianity, and in his preface to the Geneva Psalter of 1543, he explained his position on sacred music. Calvin's reference to Plato's ideas about music in this paragraph betrays his early training as a humanist.
Now among the other things which are proper for recreating man and giving him pleasure, music is either the first, or one of the principal; and it is necessary for us to think that it is a gift of God deputed for that use. Moreover, because of this, we ought to be the more careful not to abuse it, for fear of soiling and contaminating it, converting it our condemnation, where it was dedicated to our profit and use. If there were no other consideration than this alone, it ought indeed to move us to moderate the use of music, to make it serve all honest things; and that it should not give occasion for our giving free rein to dissolution, or making ourselves effeminate in disordered delights, and that it should not become the instrument of lasciviousness nor of any shamelessness. But still there is more: there is scarcely in the world anything which is more able to turn or bend this way and that the morals of men, as Plato prudently considered it. And in fact, we find by experience that it has a sacred and almost incredible power to move hearts in one way or another. Therefore we ought to be even more diligent in regulating it in such a way that it shall be useful to us and in no way pernicious. For this reason the ancient doctors of the Church complain frequently of this, that the people of their times were addicted to dishonest and shameless songs, which not without cause they referred to and called mortal and Satanic poison for corrupting the world. Moreover, in speaking now of music, I understand two parts: namely the letter, or subject and matter; secondly, the song, or the melody. It is true that every bad word (as St. Paul has said) perverts good manner, but when the melody is with it, it pierces the heart much more strongly, and enters into it; in a like manner as through a funnel, the wine is poured into the vessel; so also the venom and the corruption is distilled to the depths of the heart by the melody. What is there now to do? It is to have songs not only honest, but also holy, which will be like spurs to incite us to pray to and praise God, and to meditate upon his works in order to love, fear, honor and glorify him. Moreover, that which St. Augustine has said is true, that no one is able to sing things worthy of God except that which he has received from him. Therefore, when we have looked thoroughly, and searched here and there, we shall not find better songs nor more fitting for the purpose, than the Psalms of David, which the Holy Spirit spoke and made through him.
The tradition of church music that developed in Switzerland, France, and other regions of Europe where Reformed Protestantism took hold differed greatly from the harmonic complexity and embellished elaboration of the Lutheran tradition. Reformed Christianity, a second wing of the Protestant Reformation, began to emerge first in Switzerland and along the Rhine River in southwestern Germany around the same time as Luther attacked the traditional church. A key figure in defining this tradition was Ulrich Zwingli (1484–1531), who banned all music from the churches of Zürich in spite of his background as a humanist, musician, and lover of the arts. Sacred music did not return to the city until the very last years of the sixteenth century. Elsewhere, Reformed Christians did not oppose music so completely, although they limited its use and development far more than Lutherans did. At Geneva in French-speaking Switzerland, John Calvin (1509–1564) helped to codify the Reformed tradition's teachings during his more than twenty years' tenure in the city as its chief minister. He opposed many of the elaborate ceremonial elements of the traditional church, and sought to restrict the use of music by insisting that all texts sung in church have biblical foundations. Thus throughout most of the Reformed churches in Europe, the greatest achievements in sacred music consisted largely of the Psalters, collections of translations from the Old Testament Book of Psalms that were set to music with melodies drawn from medieval plainsong, from popular secular songs, and from some newly written tunes. Although some harmonized versions of the Psalters were published for private use in Reformed homes, these hymns were originally sung in unison in church. Eventually some simple four-part harmonies did make their way into Reformed practice. The first of the many Psalters that appeared in sixteenth-century Reformed Christianity was the Geneva Psalter of 1542, which was followed by several later editions in the city. This first Geneva Psalter made use of fifty of Clément Marot's translations of the Psalms, which had been rendered in an elegant metrical French verse. Marot's translations, although condemned by the theological faculty of the University of Paris, were wildly popular in France at the time. More than 500 editions of his Psalm translations were published in French during the sixteenth century, and their inclusion as the texts in the first Geneva Psalter helps to explain part of the book's popularity and its constant republication. The book also spread to other non-French speaking regions of Europe, including the Netherlands, England, Scotland, and Germany. In some of these places, the popularity of the Geneva Psalter, with its sophisticated metrical renderings, encouraged the replacement of previously existing Psalters. In other places, like England, Scotland, and the New England colonies, the Geneva Psalter inspired new native versions of the Psalms. While the Reformed Psalms never rivaled the Lutheran chorales for musical inventiveness, they were a devotional music that was prized for generations in their own tradition.
England's long, sometimes torturous Reformation greatly affected religious music. Although England's music had inspired the innovations of the Flemish composers of the early fifteenth century, the country was largely a musical backwater by the late fifteenth and early sixteenth centuries. At this time musical currents on the island were relatively isolated from the innovations in Renaissance style that were occurring on the continent. This situation began to change slowly under Henry VII (r. 1485–1509), and during the reign of his son Henry VIII (r. 1509–1547) English music began to flower. Both Henry VII and Henry VIII were music lovers, and during their reigns, the religious music of the English court acquired greater sophistication. By the mid-sixteenth century a number of native composers were at work in service to the court and the country's major religious institutions. The most important of these was Thomas Tallis (c. 1505–1585), whose long and varied career illustrates some of the implications that England's "long Reformation" had for the musical scene. Tallis entered into royal service under Henry VIII, the monarch who severed ties to Rome to achieve his divorce from Catherine of Aragon. Henry, however, remained a religious conservative, and the pieces that Tallis wrote for the English church at the time were largely traditional in nature. During the reign of Henry's minor son, Edward VI, Protestant forces at court achieved ascendancy over religious practices, and in the king's short reign, they attempted to introduce the severe style of Reformed worship in the English church. As part of this goal, they required Tallis to write service music to be used in tandem with the Book of Common Prayer, and he wrote a number of austere, yet beautiful anthems on biblical texts in English translation. In 1553, the premature death of Edward, however, resulted in the re-introduction of Catholic practices throughout the land at the instigation of Queen Mary I. In response, Tallis returned to writing Latin hymns, motets, and masses. The Catholic Restoration proved equally short-lived, with the ascendancy of Elizabeth I in 1558, who soon re-introduced the Book of Common Prayer and Protestant reforms throughout the Church of England. Tallis now returned to writing works in English, although under the generally tolerant attitude of Elizabeth, he continued to compose works in Latin. Among the greatest achievements of his maturity in Elizabethan times were two settings of the Old Testament Lamentations of Jeremiah. Another of his greatest works was the motet Spem in alium, a work that was scored for a remarkable forty voices, each carrying a different melodic line. Both the Lamentations and Spem in alium are noteworthy for their intricate interplay of vocal lines. They are dramatic tour de forces of Renaissance polyphony, yet at the same time, the composer always managed to find a pleasing balance in his work between the texts that he set to music and the use of counterpoint and harmony. Despite their complexity, they beautifully portray the spirit of the lyrics they convey.
Music in Anglicanism.
As the life of Tallis suggests, the Reformation in England had major implications for composers of sacred music. A chief aim of Edward VI's introduction of the Book of Common Prayer was to introduce the celebration of the liturgy in the native language, and he and his Protestant officialdom desired to eliminate the elaborate traditional music of the Roman Church. In its place, these figures wanted to sponsor a new kind of religious music notable for its textual clarity and simplicity. Catholic restoration brought yet another series of short-lived changes to the sacred music favored in England, although Elizabeth I's ascendancy to the throne in 1558 signaled a new "middle path." During her long reign she took a generally accepting attitude toward the traditional Latin motets and masses of the medieval past, allowing these services to be celebrated in some of the island's venerable religious institutions. At the same time the composers favored at court—figures like William Byrd, Thomas Tallis, and Orlando Gibbons—created new forms of Anglican service music that survived over the following centuries. Chief among the services of the English Book of Common Prayer were the Offices of Morning Prayer, Evening Prayer, and Holy Communion, reformed celebrations of two of the medieval Offices and the Mass. Since Holy Communion was celebrated less frequently than it had been in the medieval church, the composition of masses played a less important role in Anglicanism than it did in Roman Catholicism. Choral evensongs and anthems composed for the celebration of Morning Prayer tended to replace the once dominant choral mass. At the same time the custom of composing Great and Short Services developed. In a Great Service, composers like William Byrd created elaborate choral responses that relied on counterpoint and all the devices common to the musical life of Renaissance Europe at the time. The more common Short Service, though, made use of far simpler unison responses, which could be sung to simple chordal music, chanted, or merely spoken. In the most elaborate Anglican ceremonies the anthem played a role similar to that of the Catholic motet in the Roman Church as a musical interlude within the service, or as part of a solemn occasion external to the church's ritual. And as with the Catholic motet, the anthem became one of the most important avenues for composers to demonstrate their technical finesse during the sixteenth century.
introduction: The Council of Trent, which met in Northern Italy during the years between 1545 and 1563, deliberated on many issues in the church. Although concerns for the reform of church music came to play a major role in Roman Catholicism during the later sixteenth century, the Council only rarely gave mention to music in its canons and decrees. The following text shows, though that the removal of "lascivious" melodies, by which sixteenth-century commentators usually had in mind the popular melodies of the street, was as important for the Catholic church fathers as it was for John Calvin and Martin Luther.
What great care is to be taken, that the sacred and holy sacrifice of the mass be celebrated with all religious service and veneration, each one may easily imagine, who considers, that, in holy writ, he is called accursed, who doth the work of God negligently; and if we must needs confess, that no other work can be performed by the faithful so holy and divine as this tremendous mystery itself, wherein that life-giving victim, by which we were reconciled to the Father, is daily immolated on the altar by priests, it is also sufficiently clear, that all industry and diligence is to be applied to this end, that it be performed with the greatest possible inward cleanness and purity of heart, and outward show of devotion and piety. Whereas, therefore, either through the wickedness of the times, or through the carelessness and Corruption of men, many things seem already to have crept in, which are alien from the dignity of so great a sacrifice; to the end that the honour and cult due thereunto may, for the glory of God and the edification of the faithful people, be restored; the holy Synod decrees, that the ordinary bishops of places shall take diligent care, and be bound to prohibit and abolish all those things which either covetousness, which is a serving of idols, or irreverence, which can hardly be separated from impiety; or superstition, which is a false imitation of true piety, may have introduced. And that many things may be comprised in a few words: first, as relates to covetousness:—they shall wholly prohibit all manner of conditions and bargains for recompenses, and whatsoever is given for the celebration of new masses; as also those importunate and illiberal demands, rather than requests, for alms, and other things of the like sort, which are but little removed from a simonical taint, or at all events, from filthy lucre.
In the next place, that irreverence may be avoided, each, in his own diocese, shall forbid that any wandering or unknown priest be allowed to celebrate mass. Furthermore, they shall not allow any one who is publicly and notoriously stained with crime, either to minister at the holy altar, or to assist at the sacred services; nor shall they suffer the holy sacrifice to be celebrated, either by any Seculars or Regulars whatsoever, in private houses; or, at all, out of the church, and those oratories which are dedicated solely to divine worship, and which are to be designated and visited by the said Ordinaries; and not then, unless those who are present shall have first shown, by their decently composed outward appearance, that they are there not in body only, but also in mind and devout affection of heart. They shall also banish from churches all those kinds of music, in which, whether by the organ, or in the singing, there is mixed up any thing lascivious or impure; as also all secular actions; vain and therefore profane conversations, all walking about, noise, and clamour, that so the house of God may be seen to be, and may be called, truly a house of prayer.
source: The Council of Trent, The Canons and Decrees of the Sacred and Oecumenical Council of Trent. Ed. and Trans. J. Waterworth (London: Dolman, 1848): 159–161.
Council of Trent.
Protestants were not alone in making major reforms in church music during the sixteenth century. The criticisms of the elaborate, overly ornate worship of the fifteenth- and early sixteenth-century church struck a chord within the Catholic Church, too. Between 1545 and 1563 the Council of Trent met in several sessions to answer the charges that Protestants had made against the church and to refine church discipline, theology, and religious practices. The church fathers who met in Trent, a city on the northern Italian border with Austria, did not consider religious music in much depth or detail. Instead they insisted that churches should be houses of God in which nothing "impure or lascivious" occurred, and that they wanted to rid the church of worldly music, including the longstanding practice of composing imitation masses that were based on popular songs. The Council also insisted that the texts of sacred music should be readily intelligible, since the liturgical text was the focus of worship. Beyond these prescriptions, however, the Council gave composers little concrete guidance, although a new more severe style of religious music soon began to flourish in Italy, prompted in part by the spirit of the age and also by the peninsula's bishops and major religious institutions who favored greater clarity and less ornamentation in music. Eventually, this style influenced Catholic music throughout Europe. Giovanni Pierluigi da Palestrina (c. 1525–1594) was the chief exponent of this new, more serious style. He had been born in Palestrina, a small town near Rome, and received his musical education in the church's capital. He began to compose early, publishing his first masses when he was only nineteen. His musical idiom fit the developing contours of the Counter-Reformation in the city, and he held a number of important posts in Rome as choirmaster. As part of Palestrina's duties, he was also responsible for revising the church's official chants, a task that he did not complete during his lifetime because of its enormous complexity. According to the directives given to him by Pope Gregory XIII, he was expected to purge the church's chants of "barbarisms" and "superfluities" so that the teachings of the Mass and of the other Christian rituals might stand out in greater relief. The composer also wrote more than 100 masses and almost 250 motets. A master of the developing madrigal style, he composed about 50 of these works based on religious themes. Palestrina's music brilliantly fit with the serious tone of Catholic reform, and although he relied on polyphony, his compositions gave greater primacy to the text. To achieve this union between music and sacred message, Palestrina generally reduced the number of voice parts, usually only writing for four voices, rather than the five, six, or even more parts that filled the works of his contemporaries. To this economy of harmony, Palestrina also brought gentle rhythmic lines that enhanced the music's message.
While Palestrina's most masterful achievements were in his settings of the Mass, Orlando di Lasso (1532–1594), a composer in the Franco-Flemish tradition, brought his considerable talents to bear on the perfecting of the motet to fit within the changed circumstances of Counter-Reformation taste. Though the composer spent his youth publishing books of madrigals, chansons, and motets, he eventually concentrated in his later years solely on the production of sacred motets, leaving behind 500 of these works at his death. Like Palestrina, his later works (published by his sons a decade after his death), reveal a dynamic association between textual rhetoric and musical interpretation. Yet Lasso's temperamental and tempestuous nature is reflected in his music, which varies freely, includes rich harmonies and intricate vocal lines, and is governed by sudden changes in tempo, rhythm, and harmony. Only rarely did Lasso make use of the contemporary fashion for chromatic scales, but when he did, he always wedded its use to the piece's words. Lasso was one of the first composers to establish his reputation largely through musical printing, gaining a reputation during his years in Italy in the 1540s and 1550s for his numerous published musical pieces. From 1556 onward, he lived in the relative isolation of Munich, the capital of the Duchy of Bavaria. Here he had access to the considerable musical establishment and resources amassed by the Bavarian dukes over previous decades. Even in this relative backwater, Lasso continued to publish his pieces, which were enthusiastically studied by composers throughout Europe and performed by ensembles soon after they came into print. From this vantage point, they had an enormous influence on sacred musical conventions, not only in Catholic Europe but in some Protestant centers as well.
The dynamic events of the Protestant and Catholic Reformations left their imprint on the sacred music of sixteenth-century Europe. The most radical centers of Protestantism removed music altogether from the church. Other branches of Protestantism—particularly the Genevan Reformed tradition—allowed music to flourish only within rigid confines. In Lutheranism and Anglicanism, a greater tolerance, even approval, for sacred music inspired new forms like the chorale and the anthem. A key feature shared by both Protestant and counter-reforming Catholic composers, however, was a new emphasis on the importance of texts and on fashioning a musical vocabulary to convey religious meaning in a way that was forceful and clearly intelligible to listeners.
F. Blume, Protestant Church Music (New York: Norton, 1974).
H. M. Brown, Music in the Renaissance (Englewood Cliffs, N.J.: Prentice Hall, 1967).
D. J. Grout and C. V. Palisca, A History of Western Music. 5th ed. (New York: Norton, 1996).
P. LeHuray, Music and the Reformation in England 1549–1660 (New York: Oxford University Press, 1967).
"Religious Music in the Later Renaissance." Arts and Humanities Through the Eras. . Encyclopedia.com. (November 2, 2018). https://www.encyclopedia.com/humanities/culture-magazines/religious-music-later-renaissance
"Religious Music in the Later Renaissance." Arts and Humanities Through the Eras. . Retrieved November 02, 2018 from Encyclopedia.com: https://www.encyclopedia.com/humanities/culture-magazines/religious-music-later-renaissance