As Vesta Was Descending Texture

As_Vesta_was_from_Latmos_hill_descending_-_Weelkes — As Vesta was from Latmos colina descending - Weelkes

Introduction [ ]

Thomas Weelkes (1576-1623) was an important English language composer in the belatedly Renaissance menstruation. I chose the madrigal: "Equally vesta was" which formed part of an Anthology of Madrigals equanimous in award of Queen Elizabeth, the compilationk was chosen: The Triumphs of Oriana" written in 1601 approximately.

Assay [ ]

This madrigal is set in 6 voices. With the imitative polyphony, he created a peachy human relationship between text and music, case of this is the function in which the maiden queen is climbing the loma and the music represents that scene with the utilization of ascending scales or descending, then the music is set with a descendent melodic motive; another example is the role in which 1 vocalism is singing "All lonely" by the soprano and then on. This technique was called text painting.

Musically it is denoted with a freely employ of the harmony to give expressivity to the composition. The use of the suspended discord at the cadence in the middle of the phrases was an innovation fabricated by him. This is clear, the influence of the Italian chromaticism, although there is a strong desire to avoid diatonic bases through the use of the discord.

Comparisons [ ]

Thomas Weelkes was a contemporary with Claudio Monteverdi, which was the greatest composer of madrigals at that time and likewise a transitional composer from the Renaissance to the Baroque period. Weelkes and his generation did not follow Monteverdi's innovations and he preferred to keep his style intact with a few innovators elements such as the discord and the artificial relation that he created of the major and pocket-sized third enclosing them simultaneously. They are important characteristics of his music also as the passionate character. But Monteverdi used the word painting through his all music too and also he incorporated the use of dissonances qualities that brand his music even more dramatic and passionate than Weelkes who avoided dissonances equally much every bit he could. Technically Weelkes madrigals are easier to interpret than Monteverdi's considering of the simplicity of the musical lines. Monteverdi'south harmonies are clearly more innovative than Weelkes because he was working in his treatise "seconda prattica" in which he discusses the idea of making the words "the mistress of the harmony" case: "Cruda Amarilli". On the other hand, Thomas Weelkes felt more than comfy working with madrigals with 4, five and 6 voices than with the others because of the audio which is fuller and because he found this gear up a fashion to introduce his innovations. The truth is that the madrigals equanimous past him in 6 voices have longer phrases than the others with incredible furnishings made by him with the discord. The utilization of repetition of motives within voices was more axiomatic, too the alternation of group of voices in dissimilarity to each other. These particularities are defining his style within the period.

Observations [ ]

I cull this madrigal because it resulted attractive to me to see how Weelkes was influenced by Monteverdi although he could express his innovations in the English style of composition. Using chromaticism, his discords, intervals of 2nds and 7ths without showing a specific tonality. His fashion is romantic to me because of the passion that he gave in order to express in the music what the text is setting.

Sources [ ]

Fellowes, Edmund H, Proceedings of the Musical Clan , 42nd Sess., (1915 - 1916) , pp. 117-143. [ ]

Morphthing1 "Equally vesta was from Latmos hill descending-Weelkes"; youtube: Equally Vesta was from Latmos loma descending - Weelkes - YouTube [ ]

Thomas Weekles. As vesta was. http:// javanese.imslp.info/files/imglnks/usimg/half dozen/61/IMSLP19715-PMLP46228-As_Vesta_Was.pdf