Willaert, A.
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...Secular songs such as chansons and madrigals, instrumental ensembles, and solo pieces for lute and keyboard instruments were composed one after another, and the Reformation saw the birth of Protestant music. Composers of this period include Adrian Willaert (c. 1490-1562), the founder of the Venetian school, Nicolas Gombert (c. 1500-56), the master of madrigals Cipriano de Rore (c. 1516-65), Arcadelt, and the master of chansons Janequin. The fourth period in the second half of the 16th century is represented by Lassus. ... From the Venetian School…The term refers to a group of musicians who were active mainly at St. Mark's Cathedral in Venice from the 16th century to the first half of the 17th century. In 1527, Adrian Willaert (c. 1490-1562), a native of Flanders, became the music director at St. Mark's Cathedral and contributed to enriching the music there. St. Mark's Cathedral was built in the shape of a Greek cross, with an organ and a choir in each transept. … From Madrigal...Compared to other Italian secular songs of the same period, the lyrics were of a much higher artistic value, and there was a strong tendency to use polyphonic techniques to depict the contents of the poems, leading even to the creation of the term madrigalism, which means a pictorial technique using sound. Early representative composers included Philippe Verdelot (c. 1470-c. 1552), Arcadeto, and Costanzo Festa (c. 1490-1545), and it was succeeded by Adrian Willaert (c. 1490-1562), Cipriano de Rore (c. 1516-65), and Philippe de Monte (1521-1603). However, the most famous works are those of later representatives such as Marenzio, Gesualdo, and Monteverdi. ... From [Renaissance Music]...The Roman school, represented by Palestrina, established strict Renaissance counterpoint and popularized the a cappella style of unaccompanied performance. Meanwhile, in northern Italy, the Venetian school, led by Adrian Willaert (c. 1490-1562), Cipriano de Rore (c. 1516-65), and Gabrieli (Andrea and Giovanni), developed a three-dimensional performance style using large choirs and a flamboyant instrumental style centered on brass, paving the way for the Baroque. The madrigal reached its peak under the hands of Marenzio, Gesualdo, and Monteverdi, while lighter secular songs such as the villanella, canzonetta, and baretto also became popular. ... *Some of the terminology that mentions "Willaert, A." is listed below. Source | Heibonsha World Encyclopedia 2nd Edition | Information |
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…また，シャンソンやマドリガルのような世俗歌曲，器楽合奏曲，あるいはリュートや鍵盤楽器用独奏曲が相次いで作曲されたし，宗教改革にともない，新たにプロテスタント音楽の誕生もみた。この時期の作曲家としては，ベネチア楽派の創始者ウィラールトAdrian Willaert(1490ころ‐1562)，ゴンベールNicolas Gombert(1500ころ‐56ころ)，マドリガルの大家チプリアーノ･デ･ロレCipriano de Rore(1516ころ‐65)やアルカデルト，シャンソンの大家ジャヌカンらをあげることができる。16世紀後半の第4期は，ラッススに代表される。… 【ベネチア楽派】より…主として，16世紀から17世紀前半にかけて，ベネチアのサン･マルコ大聖堂を中心に活躍した一群の音楽家のことをいう。 1527年にフランドル出身のウィラールトAdrian Willaert(1490ころ‐1562)がサン･マルコの楽長に就任し，この大聖堂における音楽を豊かにすることに貢献した。サン･マルコ大聖堂は，いわゆるギリシア十字形に建てられていて，オルガンと聖歌隊が両袖廊にそれぞれ配置されていた。… 【マドリガル】より…同時代の他のイタリアの世俗曲に比べはるかに高尚で芸術的価値の高い内容の詩を歌詞とし，ポリフォニー技法によって詩の内容を描写しようとする傾向が強く，音による絵画的技法を意味するマドリガリズムmadrigalismという言葉をさえ生むに至った。初期の代表的作曲家にはベルドロPhilippe Verdelot(1470ころ‐1552ころ)，アルカデルト，フェスタCostanzo Festa(1490ころ‐1545)らがあり，ウィラールトAdrian Willaert(1490ころ‐1562)，チプリアーノ･デ･ロレCipriano de Rore(1516ころ‐65)，デ･モンテPhilippe de Monte(1521‐1603)らによって受け継がれていく。しかし，最も有名なのは後期の代表者マレンツィオ，ジェズアルド，モンテベルディらの作品である。… 【ルネサンス音楽】より…中心となるのはパレストリーナによって代表されるローマ楽派で，厳格なルネサンス風対位法の確立とともに，無伴奏によるア･カペラ演奏様式を普及させた。一方，北イタリアではウィラールトAdrian Willaert(1490ころ‐1562)，チプリアノ･デ･ローレCipriano de Rore(1516ころ‐65)，ガブリエリ(アンドレアおよびジョバンニ)らのベネチア楽派が大編成の合唱隊による立体的な演奏様式や，金管を中心とする華やかな器楽合奏様式を発展させ，バロックへの道を開いていった。マドリガーレはマレンツィオ，ジェズアルド，モンテベルディらの手によって最盛期を迎える一方，ビラネッラ，カンツォネッタ，バレットなどのより軽快な世俗歌曲も人気を集めた。… ※「Willaert，A.」について言及している用語解説の一部を掲載しています。 出典｜株式会社平凡社世界大百科事典 第２版について | 情報 |
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