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Renaissance -- Top Ten Greatest Hits

HEllO everyone, this is my first time posting to ChoralNet!  In my Choral Literature class today, we were discussing the Renaissance period and we tried to brainstorm a TOP TEN GREATEST HITS.  We were able to come up with 5 out of the ten, does anyone have some suggestions to add to our list?
 
here is what the class came up with:
1. Palestrina-- Sicut cervus 
2. Tallis-- If you love me
3. Byrd-- Ave verum corpus
4. Victoria-- O magnum mysterium
5. Hilton/ Farrant-- Lord for thy tender mercies sake
 
We just need about 5 more to complete the top ten! i would love the feedback! PLEASE BE NICE!!!!!
 
Replies (21): Threaded | Chronological
on February 17, 2012 1:01am
True, some major works and Madrigals probably should enter the discussion, though the ones you've started your list with are certainly wonderful pieces. Lassus/di Lasso should probably be in the conversation... Matona Mia cara, Echo Song, Ave Regina Coelorum, many pieces in many genres... Other thoughts in no particular order... Fa una Canzona by Vecchi, a Gesualdo piece (O vos omens, merce grido piangendo), Palestrina's Pope Marcellus Mass, Josquin's El grillo or one of many masses, Madrigals by Rore or Willaert, Arcadelt's Il Bianco e dolce cigno (a gem), Byrd's Sing Joyfully or others.
on February 19, 2012 4:44pm
Jeff DeMarco - EXACTLY! Are we talking about pieces that are "popular" because they are most often performed, here 400 years later, or are we talking about pieces that transcend even the quality of many of the pieces of the time? I love Jeff's suggestions, but would also add the following food for thought:
 
Our "bridging" composers who, in some ways, brought the musical Renaissance to its fruition (Gesualdo, Monteverdi's madrigals, Schütz's madrigals and early sacred works, Giaches de Wert, etc.) - some of whom are mentioned here already. Their importance can't be understated. I agree with John's rebuttal re: Robert's assertion that madrigals are secconda prattica. Clearly Reniassance in nature, and although voicing, style and instrumentation changed for Monteverdi as he matured, they are indeed still madrigals.
 
How about the mannerists? D'India, Marenzio, Luzzaschi and of course Lasso (culminating in his mind-blowing "Prophetiae Sibyllarum")
 
I also have a fondness for the Franco-Flemish composers of the 15th and 16th centuries (Mouton, Gombert, de Monte, Ockeghem, and Richafort - his Requiem for Josquin is one of the most succulent pieces of choral music EVER WRITTEN - listen to Huelgas Ensemble's recording and prepare yourself.)
 
Lastly, Josquin, Josquin, Josquin.
on February 19, 2012 9:32pm
Adam:  I haven't heard the late-period madrigalists called "mannerists" before, but it's a decent name even though kind of vague, and it's also been used for the late 14th century group now called "Ars subtilior."  These were of course the chromaticists who grew up with the "normal" madrigals and their use of harmony and wanted to carry them further into chromaticism.  Perhaps transitional from Prima to Seconda Prattica is a useful way to look at them, but not yet assuming continuo accompaniment or concertato obligato instruments.
 
And Lasso's "Prophetiae" certainly belongs in that group, but I would hesitate to call it a "culminating" work since that implies that it was something he was working toward.  I've always thought of it rather as something he wrote just to show that he thoroughly understood what was going on and wanted to prove he could do it if he felt like it (and of course that it fit his subject matter), but it isn't at all typical of his work (if we can say that ANYTHING is "typical," since he wrote in just about every style and language available!).
All the best,
John
on February 20, 2012 6:25am
Yes to all the above- one should always explore those highly original composers  at the 'cusp' of new understandings who push forward.  Such a composer was the great Nicolo Vicentino. Unfortunately his work, like some earlier 'musica reservata' were never 'hits' except to specialists, which I hope  some of these these students will become! 
SIR
on February 24, 2012 5:56am
 I decided to, for those with FaceBook, set up a page for Nicola Vicentino c.1511-1572 to share the sources and comments.
 Let me know if this is helpful. I note no one on CPDL has yet submitted or posted editions of NV.
 SIR
on February 20, 2012 1:29pm
Yes, John you're correct. Late-period madrigalists should perhaps not be referred to as "mannerists". Rather, their style of composing and indeed the performance of these chromatic works can be thought of as manneristic. Should probably refer to them instead within their context of musica reservata. Which brings me to your second point. I didn't mean to imply that this work was a culmination of Lasso's work, but rather could be thought of as a culmination of the musica reservata style.

Sig - i appreciate Vicentino's work very much. I agree - undervalued and underecognized!

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