madrigalian

However some French composers, especially those who had been to Italy, used madrigalian techniques in their writing.

While composers had been writing villanelle for a long time, Ferretti was the first to bring madrigalian characteristics to the form.

The hymn's other verses are freely adapted as madrigalian recitatives and arias.

Each brought back to Germany what they learned, and wrote madrigals or madrigalian pieces both in Italian and German.

These were not genuine madrigals though they show madrigalian traits, nor are most of his Songs of sundrie natures of the following year.

John Eliot Gardiner notes the movement's "madrigalian lightness and delicacy perfectly appropriate to the joyous message of the parable".

Schein's Diletti pastorali are more frankly madrigalian and they suggest that he was acquainted with Monteverdi's Seventh Book of 1619.

Gesualdo published six books of madrigals during his lifetime, as well as some sacred music in madrigalian style (for example the Tenebrae Responsories of 1611).

As Arcadelt borrowed some features of the chanson when he wrote his madrigals, he wrote some of his chansons with madrigalian features.

A masterpiece of lyrical and even confessional innerness, the movement opens with a contrapuntal duet, which gives way to a series of delightful and transparent madrigalian passages.

Some items are, however, more tinged with madrigalian influence than their counterparts in the earlier set, making clear that the short-lived madrigal vogue of the 1590s had not completely passed Byrd by.

One peculiar feature of Brumel's style is that sometimes he uses very quick syllabic declamation in chordal writing, anticipating the madrigalian fashion of later in the 16th century.

Above all, he delights in madrigalian pictography and symbolism - to some extent in the Masses, but very much more in the motets where they are innumerable and infinitely varied.

If they are imperfectly housebroken in matters of "authenticity" (some attacks are less Bartoli than Barbra), even the most extravagantly overdone moments spring from an authentically madrigalian concern for the words.

There were no French madrigalists but, beginning in the 1560s, the native polyphonic chanson was given new life by the immensely popular example of Lassus, whose chansons are often shot through with madrigalian techniques.

This work, probably the most historically important composition of Cavalieri to survive, consists of alternating speech, strophic songs, recitative-like sections and madrigalian parts; subsequent oratorios often used it as a starting-point.

His later masses were characterized by light melodies juxtaposed with the grace and fluidity of the madrigalian dance songs; thus creating a charming sacred style that was more sonorous than it was profound.

This was the period in which the precursors of opera were being written, and one of the prominent madrigalian trends was to take dialogue, monologue, or straight narrative texts and set them with appropriate characterization.

Dances and comic sections mix with serious arias, recitatives, and even a madrigalian lament, for an overall dramatic variety which was extremely effective, as attested by the frequent performances of the opera at the time.

Having set the Rinuccini text, slightly cut, in Monteverdian style, as a sequence of melodious dialogues, madrigalian choruses and instrumental sinfonias, he went on to vary, elaborate and play with what he had fashioned.

The second book of madrigals (1604), some of which must have been written in Rome (but were published in Venice), contains some pieces in a simpler polyphonic style, recalling the madrigalian style of decades before.

While William Byrd, probably the most famous English composer of the time, experimented with the madrigal form, he never actually called his works madrigals, and shortly after writing some secular songs in madrigalian style returned to writing mostly sacred music.

During this period, probably in early 1542, he made the acquaintance of Michelangelo, but his madrigalian settings of two of the artist's sonnets were received with indifference; indeed, from Michelangelo's letters on the topic, he probably considered himself unmusical and incapable of appreciating Arcadelt's work.

Thus in the Musique (1570) of the finest master of the later sixteenth-century chanson, Guillaume Costeley (c. 1531-1606) one encounters madrigalian traits, for instance passages in 'Puisque ce beau mois' and in his masterpiece 'Mignonne, allons voir si la rose'.

Nor are there any madrigalian extravagances in Hassler's madrigals; they make good use of antiphony between higher and lower voice-groups as in the openings of 'Ach Schatz, ich thu dir klagen' and 'Fahr hin, guts Liedelein'; but they lack rhythmic spring.