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Renaissance music
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Periods and eras of
Western classical music
Early
Medieval c. 500–1400
Renaissance c. 1400–1600
Common practice
Baroque c. 1600–1750
Classical c. 1730–1820
Romantic c. 1780–1910
Modern and contemporary/postmodern
Impressionist c. 1890–1925
Expressionist c. 1908–1950
Modern
c. 1890–1975
20th century (1901–2000)
Contemporary
Postmodern
c. 1930–present
21st century (2001–present)
v
t
e
Musicians, ca 1600
Renaissance music is vocal and instrumental music written and performed in Europe during the Renaissance era. Consensus among music historians has been to start the era around 1400, with the end of the medieval era, and to close it around 1600, with the beginning of the Baroque period, therefore commencing the musical Renaissance about a hundred years after the beginning of the Renaissance as it is understood in other disciplines. As in the other arts, the music of the period was significantly influenced by the developments which define the Early Modern period: the rise of humanistic thought; the recovery of the literary and artistic heritage of Ancient Greece and Ancient Rome; increased innovation and discovery; the growth of commercial enterprises; the rise of a bourgeois class; and the Protestant Reformation. From this changing society emerged a common, unifying musical language, in particular, the polyphonic style (this means music with multiple, independent melody lines performed simultaneously) of the Franco-Flemish school, whose greatest master was Josquin des Prez.
The invention of the printing press in 1440[citation needed] made it cheaper and easier to distribute music and musical theory texts on a wider geographic scale and to more people. Prior to the invention of printing, songs and music that were written down and music theory texts had to be hand-copied, a time-consuming and expensive process. Demand for music as entertainment and as a leisure activity for educated amateurs increased with the emergence of a bourgeois class. Dissemination of chansons, motets, and masses throughout Europe coincided with the unification of polyphonic practice into the fluid style which culminated in the second half of the sixteenth century in the work of composers such as Giovanni Pierluigi da Palestrina, Orlande de Lassus, Thomas Tallis and William Byrd. Relative political stability and prosperity in the Low Countries, along with a flourishing system of music education in the area's many churches and cathedrals allowed the training of large numbers of singers, instrumentalists, and composers. These musicians were highly sought throughout Europe, particularly in Italy, where churches and aristocratic courts hired them as composers, performers, and teachers. Since the printing press made it easier to disseminate printed music, by the end of the 16th century, Italy had absorbed the northern musical influences with Venice, Rome, and other cities becoming centers of musical activity. This reversed the situation from a hundred years earlier. Opera, a dramatic staged genre in which singers are accompanied by instruments, arose at this time in Florence. Opera was developed as a deliberate attempt to resurrect the music of ancient Greece (OED 2005).
Music was increasingly freed from medieval constraints, and more variety was permitted in range, rhythm, harmony, form, and notation. On the other hand, rules of counterpoint became more constrained, particularly with regard to treatment of dissonances. In the Renaissance, music became a vehicle for personal expression. Composers found ways to make vocal music more expressive of the texts they were setting. Secular music (non-religious music) absorbed techniques from sacred music, and vice versa. Popular secular forms such as the chanson and madrigal spread throughout Europe. Courts employed virtuoso performers, both singers and instrumentalists. Music also became more self-sufficient with its availability in printed form, existing for its own sake. Precursor versions of many familiar modern instruments (including the violin, guitar, lute and keyboard instruments) developed into new forms during the Renaissance. These instruments were modified to responding to the evolution of musical ideas, and they presented new possibilities for composers and musicians to explore. Early forms of modern woodwind and brass instruments like the bassoon and trombone also appeared; extending the range of sonic color and increasing the sound of instrumental ensembles. During the 15th century, the sound of full triads (three note chords) became common, and towards the end of the 16th century the system of church modes began to break down entirely, giving way to the functional tonality (the system in which songs and pieces are based on musical "keys"), which would dominate Western art music for the next three centuries.
From the Renaissance era, notated secular and sacred music survives in quantity, including vocal and instrumental works and mixed vocal/instrumental works. An enormous diversity of musical styles and genres flourished during the Renaissance. These can be heard on recordings made in the 20th and 21st century, including masses, motets, madrigals, chansons, accompanied songs, instrumental dances, and many others. Beginning in the late 20th century, numerous early music ensembles were formed. Early music ensembles specializing in music of the Renaissance era give concert tours and make recordings, using modern reproductions of historical instruments and using singing and performing styles which musicologists believe were used during the era.
Contents
[hide]
1 Overview
1.1 Genres
1.2 Theory and notation
1.3 Composers – timeline
2 Early period (1400–1470)
3 Middle period (1470–1530)
4 Late period (1530–1600)
4.1 Mannerism
4.2 Transition to the Baroque
5 Instruments
5.1 Organs
5.2 Brass
5.3 Strings
5.4 Percussion
5.5 Woodwinds (aerophones)
6 See also
7 References
8 External links
Overview[edit]
One of the most pronounced features of early Renaissance European art music was the increasing reliance on the interval of the third and its inversion, the sixth (in the Middle Ages, thirds and sixths had been considered dissonances, and only perfect intervals were treated as consonances: the perfect fourth the perfect fifth, the octave, and the unison). Polyphony – the use of multiple, independent melodic lines, performed simultaneously – became increasingly elaborate throughout the 14th century, with highly independent voices (both in vocal music and in instrumental music). The beginning of the 15th century showed simplification, with the composers often striving for smoothness in the melodic parts. This was possible because of a greatly increased vocal range in music – in the Middle Ages, the narrow range made necessary frequent crossing of parts, thus requiring a greater contrast between them to distinguish the different parts. The modal (as opposed to tonal, also known as "musical key", an approach developed in the subsequent Baroque music era, ca. 1600–1750) characteristics of Renaissance music began to break down towards the end of the period with the increased use of root motions of fifths or fourths (see the "circle of fifths" for details). An example of a chord progression in which the chord roots move by the interval of a fourth would be the chord progression, in the key of C Major: "D minor/G Major/C Major" (these are all triads; three-note chords). The movement from the D minor chord to the G Major chord is an interval of a perfect fourth. The movement from the G Major chord to the C Major chord is also an interval of a perfect fourth. This later developed into one of the defining characteristics of tonality during the Baroque era.
The main characteristics of Renaissance music are (Fuller 2010):
Music based on modes.
Richer texture, with four or more independent melodic parts being performed simultaneously. These interweaving melodic lines, a style called polyphony, is one of the defining features of Renaissance music.
Blending, rather than contrasting, melodic lines in the musical texture.
Harmony that placed a greater concern on the smooth flow of the music and its progression of chords.
The development of polyphony produced the notable changes in musical instruments that mark the Renaissance from the Middle Ages musically. Its use encouraged the use of larger ensembles and demanded sets of instruments that would blend together across the whole vocal range (Montagu n.d.).
Genres[edit]
Principal liturgical (church-based) musical forms which remained in use throughout the Renaissance period were masses and motets, with some other developments towards the end of the era, especially as composers of sacred music began to adopt secular (non-religious) musical forms (such as the madrigal) for religious use. The 15th and 16th century masses had two kinds of sources that were used, monophonic (a single melody line) and polyphonic (multiple, independent melodic lines), with two main forms of elaboration, based on cantus firmus practice or, beginning some time around 1500, the new style of "pervasive imitation", in which composers would write music in which the different voices or parts would imitate the melodic and/or rhythmic motifs performed by other voices or parts. Four main types of masses were used:
Cantus firmus mass (tenor mass)
The cantus firmus/imitation mass
The paraphrase mass
The imitation mass (parody mass)
Masses were normally titled by the source from which they borrowed. Cantus firmus mass uses the same monophonic melody, usually drawn from chant and usually in the tenor and most often in longer note values than the other voices (Burkholder n.d.). Other sacred genres were the madrigale spirituale and the laude.
During the period, secular (non-religious) music had an increasing distribution, with a wide variety of forms, but one must be cautious about assuming an explosion in variety: since printing made music more widely available, much more has survived from this era than from the preceding Medieval era, and probably a rich store of popular music of the late Middle Ages is lost. Secular music was music that was independent of churches. The main types were the German Lied, Italian frottola, the French chanson, the Italian madrigal, and the Spanish villancico (Fuller 2010). Other secular vocal genres included the caccia, rondeau, virelai, bergerette, ballade, musique mesurée, canzonetta, villanella, villotta, and the lute song. Mixed forms such as the motet-chanson and the secular motet also appeared.
Purely instrumental music included consort music for recorders or viols and other instruments, and dances for various ensembles. Common instrumental genres were the toccata, prelude, ricercar, and canzona. Dances played by instrumental ensembles (or sometimes sung) included the basse danse (It. bassadanza), tourdion, saltarello, pavane, galliard, allemande, courante, bransle, canarie, piva, and lavolta. Music of many genres could be arranged for a solo instrument such as the lute, vihuela, harp, or keyboard. Such arrangements were called intabulations (It. intavolatura, Ger. Intabulierung).
Towards the end of the period, the early dramatic precursors of opera such as monody, the madrigal comedy, and the intermedio are heard.
Theory and notation[edit]
Ockeghem, Kyrie "Au travail suis," excerpt, showing white mensural notation.
According to Margaret Bent: "Renaissance notation is under-prescriptive by our [modern] standards; when translated into modern form it acquires a prescriptive weight that overspecifies and distorts its original openness" (Bent 2000, p. 25). Renaissance compositions were notated only in individual parts; scores were extremely rare, and barlines were not used. Note values were generally larger than are in use today; the primary unit of beat was the semibreve, or whole note. As had been the case since the Ars Nova (see Medieval music), there could be either two or three of these for each breve (a double-whole note), which may be looked on as equivalent to the modern "measure," though it was itself a note value and a measure is not. The situation can be considered this way: it is the same as the rule by which in modern music a quarter-note may equal either two eighth-notes or three, which would be written as a "triplet." By the same reckoning, there could be two or three of the next smallest note, the "minim," (equivalent to the modern "half note") to each semibreve.
These different permutations were called "perfect/imperfect tempus" at the level of the breve–semibreve relationship, "perfect/imperfect prolation" at the level of the semibreve–minim, and existed in all possible combinations with each other. Three-to-one was called "perfect," and two-to-one "imperfect." Rules existed also whereby single notes could be halved or doubled in value ("imperfected" or "altered," respectively) when preceded or followed by other certain notes. Notes with black noteheads (such as quarter notes) occurred less often. This development of white mensural notation may be a result of the increased use of paper (rather than vellum), as the weaker paper was less able to withstand the scratching required to fill in solid noteheads; notation of previous times, written on vellum, had been black. Other colors, and later, filled-in notes, were used routinely as well, mainly to enforce the aforementioned imperfections or alterations and to call for other temporary rhythmical changes.
Accidentals (e.g., added sharps, flats and naturals that change the notes) were not always specified, somewhat as in certain fingering notations for guitar-family instruments (tablatures) today. However, Renaissance musicians would have been highly trained in dyadic counterpoint and thus possessed this and other information necessary to read a score correctly, even if the accidentals were not written in. As such, "what modern notation requires [accidentals] would then have been perfectly apparent without notation to a singer versed in counterpoint." (See musica ficta.) A singer would interpret his or her part by figuring cadential formulas with other parts in mind, and when singing together, musicians would avoid parallel octaves and parallel fifths or alter their cadential parts in light of decisions by other musicians (Bent 2000, p. 25). It is through contemporary tablatures for various plucked instruments that we have gained much information about which accidentals were performed by the original practitioners.
For information on specific theorists, see Johannes Tinctoris, Franchinus Gaffurius, Heinrich Glarean, Pietro Aron, Nicola Vicentino, Tomás de Santa María, Gioseffo Zarlino, Vicente Lusitano, Vincenzo Galilei, Giovanni Artusi, Johannes Nucius, and Pietro Cerone.
Composers – timeline[edit]
Early period (1400–1470)[edit]
The key composers from the early Renaissance era also wrote in a late Medieval style, and as such, they are transitional figures. Leonel Power (ca. 1370s or 1380s – 1445) was an English composer of the late Medieval and early Renaissance music eras. Along with John Dunstaple, he was one of the major figures in English music in the early 15th century (Stolba 1990, p. 140; Emmerson and Clayton-Emmerson 2006, 544). Power is the composer best represented in the Old Hall Manuscript, one of the only undamaged sources of English music from the early 15th century. Power was one of the first composers to set separate movements of the Ordinary of the Mass which were thematically unified and intended for contiguous performance. The Old Hall Manuscript contains his mass based on the Marian antiphon, Alma Redemptoris Mater, in which the antiphon is stated literally in the tenor voice in each movement, without melodic ornaments. This is the only cyclic setting of the mass Ordinary which can be attributed to him (Bent n.d.). He wrote Mass cycles, fragments, and single movements and a variety of other sacred works.
John Dunstaple (or Dunstable) (ca. 1390–1453) was an English composer of polyphonic music of the late medieval era and early Renaissance periods. He was one of the most famous composers active in the early 15th century, a near-contemporary of Power, and was widely influential, not only in England but on the continent, especially in the developing style of the Burgundian School. Dunstaple's influence on the continent's musical vocabulary was enormous, particularly considering the relative paucity of his (attributable) works. He was recognized for possessing something never heard before in music of the Burgundian School: la contenance angloise ("the English countenance"), a term used by the poet Martin le Franc in his Le Champion des Dames. Le Franc added that the style influenced Dufay and Binchois. Writing a few decades later in about 1476, the Flemish composer and music theorist Tinctoris reaffirmed the powerful influence Dunstaple had, stressing the "new art" that Dunstaple had inspired. Tinctoris hailed Dunstaple as the fons et origo of the style, its "wellspring and origin."
The contenance angloise, while not defined by Martin le Franc, was probably a reference to Dunstaple's stylistic trait of using full triadic harmony (three note chords), along with a liking for the interval of the third. Assuming that he had been on the continent with the Duke of Bedford, Dunstaple would have been introduced to French fauxbourdon; borrowing some of the sonorities, he created elegant harmonies in his own music using thirds and sixths (an example of a third interval is the notes C and E; an example of a sixth interval is the notes C and A). Taken together, these are seen as defining characteristics of early Renaissance music. Many of these traits may have originated in England, taking root in the Burgundian School around the middle of the century.
Because numerous copies of Dunstaple's works have been found in Italian and German manuscripts, his fame across Europe must have been widespread. Of the works attributed to him only about fifty survive, among which are two complete masses, three connected mass sections, fourteen individual mass sections, twelve complete isorhythmic motets and seven settings of Marian antiphons, such as Alma redemptoris Mater and Salve Regina, Mater misericordiae. Dunstaple was one of the first to compose masses using a single melody as cantus firmus. A good example of this technique is his Missa Rex seculorum. He is believed to have written secular (non-religious) music, but no songs in the vernacular can be attributed to him with any degree of certainty.
Oswald von Wolkenstein (ca. 1376–1445) is one of the most important composers of the early German Renaissance. He is best known for his well-written melodies, and for his use of three themes: travel, God and sex.
Gilles Binchois (ca. 1400–1460) was a Netherlandish composer, one of the earliest members of the Burgundian school and one of the three most famous composers of the early 15th century. While often ranked behind his contemporaries Guillaume Dufay and John Dunstaple by contemporary scholars, his works were still cited, borrowed and used as source material after his death. Binchois is considered[by whom?] to be a fine melodist, writing carefully shaped lines which are easy to sing and memorable. His tunes appeared in copies decades after his death and were often used as sources for Mass composition by later composers. Most of his music, even his sacred music, is simple and clear in outline, sometimes even ascetic (monk-like). A greater contrast between Binchois and the extreme complexity of the ars subtilior of the prior (fourteenth) century would be hard to imagine. Most of his secular songs are rondeaux, which became the most common song form during the century. He rarely wrote in strophic form, and his melodies are generally independent of the rhyme scheme of the verses they are set to. Binchois wrote music for the court, secular songs of love and chivalry that met the expectations and satisfied the taste of the Dukes of Burgundy who employed him, and evidently loved his music accordingly. About half of his extant secular music is found in the Oxford Bodleian Library.
Guillaume Du Fay (ca. 1397–1474) was a Franco-Flemish composer of the early Renaissance. The central figure in the Burgundian School, he was regarded by his contemporaries as the leading composer in Europe in the mid-15th century (Planchart n.d.). Du Fay composed in most of the common forms of the day, including masses, motets, Magnificats, hymns, simple chant settings in fauxbourdon, and antiphons within the area of sacred music, and rondeaux, ballades, virelais and a few other chanson types within the realm of secular music. None of his surviving music is specifically instrumental, although instruments were certainly used for some of his secular music, especially for the lower parts; all of his sacred music is vocal. Instruments may have been used to reinforce the voices in actual performance for almost any of his works.[citation needed] Seven complete Masses, 28 individual Mass movements, 15 settings of chant used in Mass propers, three Magnificats, two Benedicamus Domino settings, 15 antiphon settings (six of them Marian antiphons), 27 hymns, 22 motets (13 of these isorhythmic in the more angular, austere 14th-century style which gave way to more melodic, sensuous treble-dominated part-writing with phrases ending in the "under-third" cadence in Du Fay's youth) and 87 chansons definitely by him have survived.[citation needed]
Portion of Du Fay's setting of Ave maris stella, in fauxbourdon. The top line is a paraphrase of the chant; the middle line, designated "fauxbourdon", (not written) follows the top line but exactly a perfect fourth below. The bottom line is often, but not always, a sixth below the top line; it is embellished, and reaches cadences on the octave. Play (help·info)
Many of Du Fay's compositions were simple settings of chant, obviously designed for liturgical use, probably as substitutes for the unadorned chant, and can be seen as chant harmonizations. Often the harmonization used a technique of parallel writing known as fauxbourdon, as in the following example, a setting of the Marian antiphon Ave maris stella. Du Fay may have been the first composer to use the term "fauxbourdon" for this simpler compositional style, prominent in 15th-century liturgical music in general and that of the Burgundian school in particular. Most of Du Fay's secular (non-religious) songs follow the formes fixes (rondeau, ballade, and virelai), which dominated secular European music of the 14th and 15th centuries. He also wrote a handful of Italian ballate, almost certainly while he was in Italy. As is the case with his motets, many of the songs were written for specific occasions, and many are datable, thus supplying useful biographical information. Most of his songs are for three voices, using a texture dominated by the highest voice; the other two voices, unsupplied with text, were probably played by instruments.
Du Fay was one of the last composers to make use of late-medieval polyphonic structural techniques such as isorhythm (Munrow 1974), and one of the first to employ the more mellifluous harmonies, phrasing and melodies characteristic of the early Renaissance (Pryer 1983). His compositions within the larger genres (masses, motets and chansons) are mostly similar to each other; his renown is largely due to what was perceived as his perfect control of the forms in which he worked, as well as his gift for memorable and singable melody. During the 15th century, he was universally regarded as the greatest composer of his time, an opinion that has largely survived to the present day.
Middle period (1470–1530)[edit]
1611 woodcut of Josquin des Prez, copied from a now-lost oil painting done during his lifetime
In the early 1470s, music started to be printed using a printing press.[citation needed] Music printing had a major effect on how music spread, for not only did a printed piece of music reach a larger geographic region and audience than any hand-written or hand-copied manuscript ever could, it did so far more cheaply as well. Also during the sixteenth century, a tradition of famous makers developed for many instruments. These makers were masters of their craft. An example is the Neuschel family of Nuremberg, for their trumpets.
Towards the end of the 15th century, polyphonic sacred music (as exemplified in the masses of Johannes Ockeghem and Jacob Obrecht) had once again become more complex, in a manner that can perhaps be seen as correlating to the increased exploration of detail in painting at the time. Ockeghem, particularly, was fond of canon, both contrapuntal and mensural. He composed a mass, Missa prolationum, in which all the parts are derived canonically from one musical line. It was in the opening decades of the next century that music felt in a tactus (think of the modern time signature) of two semibreves-to-a-breve began to be as common as that with three semibreves-to-a-breve, as had prevailed prior to that time.
In the early 16th century, there is another trend towards simplification, as can be seen to some degree in the work of Josquin des Prez and his contemporaries in the Franco-Flemish School, then later in that of G. P. Palestrina. Palestrina was partially reacting to the strictures of the Council of Trent, which discouraged excessively complex polyphony as it was thought that it inhibited the listener's understanding of the text. Early 16th-century Franco-Fleming composers moved away from the complex systems of canonic and other mensural play of Ockeghem's generation, tending toward points of imitation and duet or trio sections within an overall texture that grew to five and six voices. They also began, even before the Tridentine reforms, to insert ever-lengthening passages of homophony (a single melody line supported by accompanying chords), to underline important text or points of articulation in a piece. Palestrina, on the other hand, came to cultivate a freely flowing style of counterpoint in a thick, rich texture within which consonance followed dissonance on a nearly beat-by-beat basis. Suspensions, in which a note is held over ("suspended") until it leads to a dissonance with the other voices, which is then resolved, ruled the day (see counterpoint). By the 16th century, the tactus was generally two semibreves per breve, with three per breve used for special effects and climactic sections. This was a nearly exact reversal of the prevailing technique a century before.
Late period (1530–1600)[edit]
San Marco in the evening. The spacious, resonant interior was one of the inspirations for the music of the Venetian School.
In Venice, from about 1530 until around 1600, an impressive polychoral style developed, which gave Europe some of the grandest, most sonorous music composed up until that time, with multiple choirs of singers, brass and strings in different spatial locations in the Basilica San Marco di Venezia (see Venetian School). These multiple revolutions spread over Europe in the next several decades, beginning in Germany and then moving to Spain, France, and England somewhat later, demarcating the beginning of what we now know as the Baroque musical era.
The Roman School was a group of composers of predominantly church music in Rome, spanning the late Renaissance and early Baroque eras. Many of the composers had a direct connection to the Vatican and the papal chapel, though they worked at several churches; stylistically they are often contrasted with the Venetian School of composers, a concurrent movement which was much more progressive. By far the most famous composer of the Roman School is Giovanni Pierluigi da Palestrina. While best known as a prolific composer of masses and motets, he was also an important madrigalist. His ability to bring together the functional needs of the Catholic Church with the prevailing musical styles during the Counter-Reformation period gave him his enduring fame (Lockwood, O'Regan, and Owens n.d.)
The brief but intense flowering of the musical madrigal in England, mostly from 1588 to 1627, along with the composers who produced them, is known as the English Madrigal School. The English madrigals were a cappella, predominantly light in style, and generally began as either copies or direct translations of Italian models. Most were for three to six voices.
Musica reservata is either a style or a performance practice in a cappella vocal music of the latter half of the 16th century, mainly in Italy and southern Germany, involving refinement, exclusivity, and intense emotional expression of sung text.[citation needed]
The cultivation of European music in the Americas began in the 16th century soon after the arrival of the Spanish, and the conquest of Mexico. Although fashioned in European style, uniquely Mexican hybrid works based on native Mexican language and European musical practice appeared very early. Musical practices in New Spain continually coincided with European tendencies throughout the subsequent Baroque and Classical music periods. Among these New World composers were Hernando Franco, Antonio de Salazar, and Manuel de Zumaya.[citation needed]
In addition, writers since 1932 have observed what they call a seconda prattica (an innovative practice involving monodic style and freedom in treatment of dissonance, both justified by the expressive setting of texts) during the late 16th and early 17th centuries (Anon. 2017).
Mannerism[edit]
In the late 16th century, as the Renaissance era closed, an extremely manneristic style developed. In secular music, especially in the madrigal, there was a trend towards complexity and even extreme chromaticism (as exemplified in madrigals of Luzzaschi, Marenzio, and Gesualdo). The term "mannerism" derives from art history.
Transition to the Baroque[edit]
Beginning in Florence, there was an attempt to revive the dramatic and musical forms of Ancient Greece, through the means of monody, a form of declaimed music over a simple accompaniment; a more extreme contrast with the preceding polyphonic style would be hard to find; this was also, at least at the outset, a secular trend. These musicians were known as the Florentine Camerata.
We have already noted some of the musical developments that helped to usher in the Baroque, but for further explanation of this transition, see antiphon, concertato, monody, madrigal, and opera, as well as the works given under "Sources and further reading."
For a more thorough discussion of the transition to the Baroque specifically pertaining to instrument music, see Transition from Renaissance to Baroque in instrumental music.
Instruments[edit]
Many instruments originated during the Renaissance; others were variations of, or improvements upon, instruments that had existed previously. Some have survived to the present day; others have disappeared, only to be recreated in order to perform music of the period on authentic instruments. As in the modern day, instruments may be classified as brass, strings, percussion, and woodwind.
Medieval instruments in Europe had most commonly been used singly, often self-accompanied with a drone, or occasionally in parts. From at least as early as the 13th century through the 15th century there was a division of instruments into haut (loud, shrill, outdoor instruments) and bas (quieter, more intimate instruments) (Bowles 1954, 119 et passim). Only two groups of instruments could play freely in both types of ensembles: the cornett and sackbut, and the tabor and tambourine (Burkholder n.d.).
At the beginning of the 16th century, instruments were considered to be less important than voices. They were used for dances and to accompany vocal music (Fuller 2010). Instrumental music remained subordinated to vocal music, and much of its repertory was in varying ways derived from or dependent on vocal models (OED 2005).
Organs[edit]
Various kinds of organs were commonly used in the Renaissance, from large church organs to small portatives and reed organs called regals.
Brass[edit]
Brass instruments in the Renaissance were traditionally played by professionals. Some of the more common brass instruments that were played:
Slide trumpet: Similar to the trombone of today except that instead of a section of the body sliding, only a small part of the body near the mouthpiece and the mouthpiece itself is stationary. Also, the body was an S-shape so it was rather unwieldy, but was suitable for the slow dance music which it was most commonly used for.
Cornett: Made of wood and played like the recorder (by blowing in one end and moving the fingers up and down the outside) but using a cup mouthpiece like a trumpet.
Trumpet: Early trumpets had no valves, and were limited to the tones present in the overtone series. They were also made in different sizes.
Sackbut (sometimes sackbutt or sagbutt): A different name for the trombone (Anon. n.d.), which replaced the slide trumpet by the middle of the 15th century (Besseler 1950, passim).
Strings[edit]
Modern French hurdy-gurdy
As a family, strings were used in many circumstances, both sacred and secular. A few members of this family include:
Viol: This instrument, developed in the 15th century, commonly has six strings. It was usually played with a bow. It has structural qualities similar to the Spanish plucked vihuela (called viola da mano in Italy); its main separating trait is its larger size. This changed the posture of the musician in order to rest it against the floor or between the legs in a manner similar to the cello. Its similarities to the vihuela were sharp waist-cuts, similar frets, a flat back, thin ribs, and identical tuning. When played in this fashion, it was sometimes referred to as "viola da gamba", in order to distinguish it from viols played "on the arm": viole da braccio, which evolved into the violin family.
Lyre: Its construction is similar to a small harp, although instead of being plucked, it is strummed with a plectrum. Its strings varied in quantity from four, seven, and ten, depending on the era. It was played with the right hand, while the left hand silenced the notes that were not desired. Newer lyres were modified to be played with a bow.
Irish Harp: Also called the Clàrsach in Scottish Gaelic, or the Cláirseach in Irish, during the Middle Ages it was the most popular instrument of Ireland and Scotland. Due to its significance in Irish history, it is seen even on the Guinness label and is Ireland's national symbol even to this day. To be played it is usually plucked.[clarification needed] Its size can vary greatly from a harp that can be played in one's lap to a full-size harp that is placed on the floor
Hurdy-gurdy: (Also known as the wheel fiddle), in which the strings are sounded by a wheel which the strings pass over. Its functionality can be compared to that of a mechanical violin, in that its bow (wheel) is turned by a crank. Its distinctive sound is mainly because of its "drone strings" which provide a constant pitch similar in their sound to that of bagpipes.
Gittern and mandore: these instruments were used throughout Europe. Forerunners of modern instruments including the mandolin and guitar.
See main article: Lira da braccio
See main article: Bandora (instrument)
See main article: Cittern
See main article: Lute
See main article: Orpharion
See main article: Vihuela
See main article: Clavichord
See main article: Harpsichord
See main article: Virginal
Percussion[edit]
Some Renaissance percussion instruments include the triangle, the Jew's harp, the tambourine, the bells, cymbala, the rumble-pot, and various kinds of drums.
Tambourine: The tambourine is a frame drum. The skin that surrounds the frame is called the vellum and produces the beat by striking the surface with the knuckles, fingertips, or hand. It could also be played by shaking the instrument, allowing the tambourine's jingles or pellet bells (if it has either) to "clank" and "jingle".
Jew's harp: An instrument that produces sound using shapes of the mouth and attempting to pronounce different vowels with one's mouth. The loop at the bent end of the tongue of the instrument is plucked in different scales of vibration creating different tones.
Woodwinds (aerophones)[edit]
Woodwind instruments (aerophones) produce sound by means of a vibrating column of air within the pipe. Holes along the pipe allow the player to control the length of the column of air, and hence the pitch. There are several ways of making the air column vibrate, and these ways define the subcategories of woodwind instruments. A player may blow across a mouth hole, as in a flute; into a mouthpiece with a single reed, as in a modern-day clarinet or saxophone; or a double reed, as in an oboe or bassoon. All three of these methods of tone production can be found in Renaissance instruments.
Shawm: A typical oriental[clarification needed] shawm is keyless and is about a foot long with seven finger holes and a thumb hole. The pipes were also most commonly made of wood and many of them had carvings and decorations on them. It was the most popular double reed instrument of the Renaissance period; it was commonly used in the streets with drums and trumpets because of its brilliant, piercing, and often deafening sound. To play the shawm a person puts the entire reed in their mouth, puffs out their cheeks, and blows into the pipe whilst breathing through their nose.
Renaissance recorders
Reed pipe[contradictory]: Made from a single short length of cane with a mouthpiece, four or five finger holes, and reed fashioned from it. The reed is made by cutting out a small tongue, but leaving the base attached. It is the predecessor of the saxophone and the clarinet.
Hornpipe: Same as reed pipe but with a bell at the end.
Bagpipe/Bladderpipe: Believed by the faithful to have been invented by herdsmen who thought using a bag made out of sheep or goat skin would provide air pressure so that when its player takes a breath, the player only needs to squeeze the bag tucked underneath their arm to continue the tone. The mouth pipe has a simple round piece of leather hinged on to the bag end of the pipe and acts like a non-return valve. The reed is located inside the long mouthpiece, which would have been known as known as a bocal, had it been made of metal and had the reed been on the outside instead of the inside.
Panpipe: Employs a number of wooden tubes with a stopper at one end and open on the other. Each tube is a different size (thereby producing a different tone), giving it a range of an octave and a half. The player can then place their lips against the desired tube and blow across it.
Transverse flute: The transverse flute is similar to the modern flute with a mouth hole near the stoppered end and finger holes along the body. The player blows across the mouth hole and holds the flute to either the right or left side.
Recorder: The recorder was a common instrument during the Renaissance period. Rather than a reed, it uses a whistle mouthpiece as its main source of sound production. It is usually made with seven finger holes and a thumb hole.
See also[edit]
History of music
List of Renaissance composers
Music of the French Renaissance
References[edit]
Anon. 2017. “Seconda prattica”. Merriam-Webster.com (accessed 13 September 2017).
Anon. n.d. "What's with the Name?". Sackbut.com website (accessed 14 October 2014).
Atlas, Allan W. Renaissance Music. New York: W.W. Norton, 1998. ISBN 0-393-97169-4.
Baines, Anthony, ed. Musical Instruments Through the Ages. New York: Walker and Company, 1975.
Bent, Margaret. "The Grammar of Early Music: Preconditions for Analysis". In Tonal Structures of Early Music, [second edition], edited by Cristle Collins Judd,[page needed]. Criticism and Analysis of Early Music 1. New York and London: Garland, 2000. ISBN 978-0815336389 ISBN 978-0815323884. Reissued as ebook 2014. ISBN 978-1135704629.
Bent, Margaret. "Power, Leonel". Grove Music Online, edited by Deane Root. S.l.: Oxford Music Online, n.d. (accessed June 23, 2015).
Bessaraboff, Nicholas. Ancient European Musical Instruments, first edition. Cambridge, Mass: Harvard University Press, 1941.
Besseler, Heinrich. 1950. "Die Entstehung der Posaune". Acta Musicologica, 22, fasc. 1–2 (January–June): 8–35.
Bowles, Edmund A. 1954. "Haut and Bas: The Grouping of Musical Instruments in the Middle Ages". Musica Disciplina 8:115–40.
Brown, Howard M. Music in the Renaissance. Englewood Cliffs, NJ: Prentice Hall, 1976. ISBN 0-13-608497-4.
J. Peter Burkholder. "Borrowing." Grove Music Online. Oxford Music Online. Retrieved September 30, 2011.
Emmerson, Richard Kenneth, and Sandra Clayton-Emmerson. Key Figures in Medieval Europe: An Encyclopedia. [New York?]: Routledge, 2006. ISBN 978-0415973854.
Fenlon, Iain, ed. (1989). The Renaissance: from the 1470s to the End of the 16th Century. Man & Music. 2. Englewood Cliffs, NJ: Prentice Hall. ISBN 978-0-13-773417-7.
Fuller, Richard. 2010. Renaissance Music (1450–1600). GCSE Music Notes, at rpfuller.com (14 January, accessed 14 October 2014).
Gleason, Harold and Becker, Warren. Music in the Middle Ages and Renaissance (Music Literature Outlines Series I). Bloomington, IN: Frangipani Press, 1986. ISBN 0-89917-034-X.
Judd, Cristle Collins, ed. Tonal Structures of Early Music. New York: Garland Publishing, 1998. ISBN 0-8153-2388-3.
Lockwood, Lewis, Noel O’Regan, and Jessie Ann Owens. n.d. "Palestrina, Giovanni Pierluigi da." Grove Music Online. Oxford Music Online. Retrieved September 30, 2011.
Montagu, Jeremy. "Renaissance instruments". The Oxford Companion to Music, edited by Alison Latham. Oxford Music Online. Retrieved September 30, 2011.
Munrow, David. Notes for the recording of Dufay: Misss "Se la face ay pale". Early Music Consort of London. (1974)[full citation needed]
Munrow, David. Instruments of the Middle Ages and Renaissance. London: Oxford University Press, 1976.
OED. "Renaissance". Oxford English Dictionary (3rd ed.). Oxford University Press. September 2005. (Subscription or UK public library membership required.).
Ongaro, Giulio. Music of the Renaissance. Westport, Connecticut: Greenwood Press, 2003.
Planchart, Alejandro Enrique. "Du Fay, Guillaume". Grove Music Online. (s.l.: Oxford Music Online, n.d.; accessed June 23, 2015).
Pryer A. 1983. "Dufay". In The New Oxford Companion to Music, edited by Arnold[full citation needed].
Reese, Gustav. Music in the Renaissance. New York: W.W. Norton, 1954. ISBN 0-393-09530-4.
Stolba, Marie (1990). The Development of Western Music: A History. Dubuque: W.C. Brown. ISBN 9780697001825. Leonel Power (c. 1375–1445) was one of the two leading composers of English music between 1410 and 1445. The other was John Dunstaple.
Strunk, Oliver. Source Readings in Music History. New York: W.W. Norton, 1950.
Orpheon Foundation, Vienna, Austria
External links[edit]
Pandora Radio: Renaissance Period
Ancient FM (online radio featuring medieval and renaissance music)
Guide to Medieval and Renaissance Instruments – descriptions, photos, and sounds.
"Here of A Sunday Morning"
Renaissance Period Music Collection of music from 5 countries
"The Renaissance Channel"- Renaissance Music Videos
"Before and After Internet Radio"- Medieval, Renaissance, Modern Classical music
Répertoire International des Sources Musicales (RISM), a free, searchable database of worldwide locations for music manuscripts up to ca. 1800
WQXR: Renaissance Notation Knives
Modern performance
City of Lincoln Waites The Mayor of Lincoln's Own Band of Musick
Pantagruel – A Renaissance Musicke Ensemble
Stella Fortuna: Medieval Minstrels (1370) from Ye Compaynye of Cheualrye Re-enactment Society. Photos and Audio Download.
The Waits Website – Renaissance Civic Bands of Europe
Ensemble Feria VI – Six voices and a viola da gamba
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text:
List of dates for Easter
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Dates for Easter in the past and coming 20 years
(1998–2038 in Gregorian dates)
Year
Western
Eastern
1998
April 12 April 19
1999
April 4 April 11
2000
April 23 April 30
2001
April 15
2002
March 31 May 5
2003
April 20 April 27
2004
April 11
2005
March 27 May 1
2006
April 16 April 23
2007
April 8
2008
March 23 April 27
2009
April 12 April 19
2010
April 4
2011
April 24
2012
April 8 April 15
2013
March 31 May 5
2014
April 20
2015
April 5 April 12
2016
March 27 May 1
2017
April 16
2018
April 1 April 8
2019
April 21 April 28
2020
April 12 April 19
2021
April 4 May 2
2022
April 17 April 24
2023
April 9 April 16
2024
March 31 May 5
2025
April 20
2026
April 5 April 12
2027
March 28 May 2
2028
April 16
2029
April 1 April 8
2030
April 21 April 28
2031
April 13
2032
March 28 May 2
2033
April 17 April 24
2034
April 9
2035
March 25 April 29
2036
April 13 April 20
2037
April 5
2038
April 25
This is a list of dates for Easter. The Easter dates also affect when Ash Wednesday, the Ascension of the Lord and Pentecost occur. Easter may occur on different dates in the Gregorian Calendar and the Julian Calendar. The accompanying table provides both sets of dates, for recent decades and forthcoming years — see the computus article for more details on the calculation.
Contents
[hide]
1 Earliest Easter
2 Latest Easter
3 Western and Orthodox Easter on the same date
4 Range of dates for Western and Orthodox Easter
5 Public holidays
6 References
7 External links
Earliest Easter[edit]
Western/Gregorian
In 1818 the Paschal Full Moon fell on Saturday March 21 (the equinox). Therefore, the following day, March 22, was Easter. It will not fall as early again until 2285, a span of 467 years. The next earliest Easter between 1818 and 2285 (March 23) occurred in 1845, 1856, 1913 and 2008, and will occur again in 2160--a 11, 57, 95 and 152-year gap, respectively.
Orthodox/Julian
The earliest dates for Easter in the Eastern Orthodox Church between 1875 and 2099 are, 22 March 1915 and 22 March 2010. Both dates are equivalent to April 4 in the Gregorian Calendar.
Latest Easter[edit]
Western/Gregorian
In 1943 Easter fell on Sunday, April 25. The ecclesiastical full moon did not occur until Saturday, March 20; because it came before the vernal equinox, the paschal full moon did not happen until Sunday, April 18. Consequently, Easter was the following Sunday (April 25). Easter will not fall as late again until 2038—a span of 95 years. The second latest date for Easter, April 24, occurred in 2011. The latter occurred in 1859 and will not happen again until 2095—152 and 84 years, respectively. However between years 5121 and 6482, Easter will be no later than April 24.
Orthodox/Julian
The latest dates for Orthodox Easter between 1875 and 2099 are 25 April 1983 and 25 April 2078. Both dates are equivalent to May 8 in the Gregorian Calendar. Orthodox Easter has not had an May 7 Gregorian date yet; it will happen in 2051 unless these churches change to another calendar.
Western and Orthodox Easter on the same date[edit]
Despite using calendars that are apart by 13 days, Easter 2014 fell on the same date. According to the Western (Gregorian) calendar, the first Paschal Full Moon after the Spring Equinox (March 20) fell on Monday, April 14, 2014. The following Sunday, April 20, was, therefore, Easter Day.
According to the Orthodox (Julian) calendar (which is 13 days behind the Gregorian calendar), the Spring Equinox also falls on March 21. However, in the Gregorian Calendar, this is April 3. The first Orthodox Full Moon after the Equinox falls on (Julian) Tuesday, April 2, 2014 (Gregorian April 15). The following Sunday, (Julian) April 7, is, therefore, Easter Day (Gregorian April 20).
Range of dates for Western and Orthodox Easter[edit]
Both calendars (Gregorian and Julian) calculate Easter as falling on dates between March 22 and April 25. However, because of the 13-day difference, any member of an Orthodox church would observe that the Western Easter falls between March 10 and April 12 on the Julian calendar. Conversely, any member of a Western church would observe that Orthodox Easter falls between April 4 and May 8 on the Gregorian calendar.
Beginning March 14, 2100 (Gregorian; February 29 Julian), the difference between the Julian and Gregorian calendars will increase to 14 days.
Public holidays[edit]
In Hungary, the United Kingdom, Australia, Canada, South Africa, Germany, Switzerland and New Zealand, Easter comprises two public holidays, Good Friday and Easter Monday:
In the United Kingdom in 2000 and 2011, the May Day bank holiday was one week after Easter Monday, causing there to be three consecutive weeks with a bank holiday. In 2011, a bank holiday was declared on Friday 29 April for the Wedding of Prince William and Catherine Middleton;[1] consequently there were four bank holidays within three consecutive calendar weeks (including two in one week), creating two consecutive four-day weekends (Friday 22 — Monday 25 April and Friday 29 April — Monday 2 May), with a three-day working week in between (Tuesday 26 — Thursday 28 April).
In Australia, ANZAC Day is a public holiday on 25 April. In 2000 and 2011, this created a five-day weekend over Easter: in 2000, Easter Monday fell on 24 April, with Easter Tuesday, 25 April, then being ANZAC Day; in 2011, ANZAC Day and Easter Monday coincided on Monday 25 April, which led to a substitute public holiday being declared for Tuesday 26 April.[2] In 2003 and 2014, ANZAC Day fell on Easter Friday, and in 2019 it will fall on Easter Thursday, and in 2038 it will fall on Easter Sunday; the consequence is three-day working weeks immediately following the Easter weekend.
Easter is not a federal holiday in the United States. In North Carolina, however, it was a public holiday from 1935 to 1987.[3]
References[edit]
Jump up ^ "Royal Wedding Bank Holiday in the United Kingdom".
Jump up ^ https://www.afei.org.au/public-holidays
Jump up ^ "Easter Monday in the United States". TimeandDate.com. Retrieved October 25, 2016.
External links[edit]
http://tlarsen2.tripod.com/thomaslarsen/easterdates.html – has a much larger list of dates
A chronology since Council Nicaea "Date of Easter Sunday" Father Kevin Michael Laughery, as observed by Western Christians since A.D. 326 (last updated Tuesday, November 4, 2008)
Interactive calculator generates historical feast dates in Julian calendar prior to 1582 Gregorian reforms
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text:
Medici: Masters of Florence
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Medici: Masters of Florence
Genre
Historical fiction
Created by
Frank Spotnitz
Nicholas Meyer
Starring
Richard Madden
Stuart Martin
Annabel Scholey
Guido Caprino
Alessandro Sperduti
Ken Bones
Lex Shrapnel
Daniel Caltagirone
Valentina Bellè
Alessandro Preziosi
Eugenio Franceschini
Sarah Felberbaum
Miriam Leone
Michael Schermi
Tatjana Nardone
Valentina Cervi
Brian Cox
Dustin Hoffman
Sean Bean
Daniel Sharman
Bradley James
Julian Sands
Sebastian de Souza
Raul Bova
Sarah Parish
Alessandra Mastronardi
Opening theme
Renaissance (From "Medici: Masters of Florence")
by Paolo Buonvino & Skin (musician) [1]
Composer(s)
Paolo Buonvino
Country of origin
Italy
United Kingdom
No. of series
1
No. of episodes
8
Production
Executive producer(s)
Frank Spotnitz
Luca Bernabei
Matilde Bernabei
Producer(s)
Fania Petrocchi
Running time
52 minutes
Production company(s)
Lux Vide
Big Light Productions
Rai Fiction
Release
Original network
Rai 1 (Italy)
Original release
18 October 2016 (2016-10-18) – present
Medici: Masters of Florence is an Italian-British television drama series about the Medici dynasty set in 15th-century Florence, starring Dustin Hoffman as Giovanni di Bicci de' Medici, Richard Madden as Cosimo de' Medici, and Stuart Martin as Lorenzo de' Medici (The Elder). The series was co-created by Frank Spotnitz (The X-Files and Man in the High Castle) and Nicholas Meyer (Star Trek II: The Wrath of Khan). Sergio Mimica-Gezzan (The Pillars of the Earth) directed all eight episodes. Episodes 1 and 2 aired on Rai 1 (Italian TV) on 18 October 2016. According to Italian ratings compiler Auditel, it attracted a record 7.6 million viewers.[2] The first season consists of eight episodes.
The show has been renewed for a second season, with Sean Bean appearing as Jacopo de' Pazzi.[3][4] It is broadcast in several countries around the world, on SFR's premium SVOD service Zive in France and Sky 1 in Germany.[5] Netflix carries the show in the US, Canada, Argentina on Fox Premium, the UK, Ireland and India.[6] In Australia, the series was broadcast by SBS.[7] In Portugal, the series was broadcast by RTP1.
Contents
[hide]
1 Plot
2 Cast
2.1 Main
2.1.1 Season 1
2.1.2 Season 2
2.2 Guest Cast
3 Production
3.1 Historical Accuracy
3.2 Locations
3.3 Technical Details
4 Episodes
5 Reception
5.1 Awards
6 References
7 External links
Plot[edit]
The series is set in the 15th-century Florence, and the protagonist is Cosimo the Elder who was elected head of the Florentine Republic in 1434. Cosimo has inherited the Bank of Medici from his father Giovanni, who has been mysteriously poisoned. Through various flashbacks (20 years prior), we are introduced to Florence at the time of Giovanni, and to his relationship with his sons Cosimo and Lorenzo.
Cast[edit]
Main[edit]
Character
Appearances
Season 1
Season 2
Piero de' Medici Alessandro Sperduti Julian Sands
Lucrezia de' Medici Valentina Bellè Sarah Parish
Cosimo de' Medici Richard Madden
Lorenzo de' Medici (The Elder) Stuart Martin
Contessina de' Medici Annabel Scholey
Giovanni de' Medici Dustin Hoffman
Marco Bello Guido Caprino
Ugo Bencini Ken Bones
Rinaldo degli Albizzi Lex Shrapnel
Andrea Pazzi Daniel Caltagirone
Filippo Brunelleschi Alessandro Preziosi
Ormanno Albizzi Eugenio Franceschini
Maddalena Sarah Felberbaum
Bianca Miriam Leone
Ricciardo Michael Schermi
Emilia Tatjana Inez Nardone
Alessandra Albizzi Valentina Cervi
Bernardo Guadagni Brian Cox
Jacopo de' Pazzi Sean Bean
Lorenzo de' Medici (The Magnificent) Daniel Sharman
Giuliano de' Medici Bradley James
Sandro Botticelli Sebastian de Souza
Pope Sixtus IV Raul Bova
Lucrezia Donati Alessandra Mastronardi
Alessandro de' Bardi David Bradley
Piccarda de' Medici Frances Barber
Messer Calvacanti Luigi Diberti
Donatello Ben Starr
Pope Eugene IV David Bamber
Antipope John XXIII (Cardinal Cossa) Steven Waddington
Corona Alberto Sette
Season 1[edit]
Richard Madden as Cosimo de' Medici: Head of the Medici family after his father's death
Stuart Martin as Lorenzo de' Medici: Cosimo's brother
Annabel Scholey as Contessina de' Bardi: Cosimo's wife
Guido Caprino as Marco Bello: Cosimo's loyal friend and ally
Alessandro Sperduti as Piero de' Medici: Cosimo's son
Ken Bones as Ugo Bencini: Administrator of the Medici Bank
Lex Shrapnel as Rinaldo degli Albizzi: Cosimo's enemy
Daniel Caltagirone as Andrea Pazzi: A powerful member of the Signoria
Valentina Bellè (dub. : Aisling Franciosi) as Lucrezia Tornabuoni: Piero's wife
Alessandro Preziosi as Filippo Brunelleschi
Eugenio Franceschini (dub. : ALex Wells-King) as Ormanno Albizzi: Rinaldo and Alessandra's son
Sarah Felberbaum as Maddalena: Cosimo's lover in Venice and Florence
Miriam Leone as Bianca: Cosimo's lover in Rome
Michael Schermi (dub. : Callum Cameron) as Ricciardo: A common man of Florence, loyal to Cosimo
Tatjana Inez Nardone as Emilia: Contessina's maid
Valentina Cervi as Alessandra Albizzi: Rinaldo's wife
Brian Cox as Bernardo Guadagni: Officer of the Signoria
Dustin Hoffman as Giovanni di Bicci de' Medici: Cosimo and Lorenzo's father
Season 2[edit]
Sean Bean as Jacopo de' Pazzi [8]
Daniel Sharman as Lorenzo the Magnificent [8]
Bradley James as Giuliano de' Medici [8]
Julian Sands as Piero de' Medici (older) [8]
Sebastian de Souza as Sandro Botticelli [8]
Raul Bova as Pope Sixtus IV [8]
Sarah Parish as Lucrezia Tornabuoni (older) [8]
Alessandra Mastronardi as Lucrezia Donati [8]
Guest Cast[edit]
David Bradley as Alessandro de' Bardi: Contessina's father
Frances Barber as Piccarda Bueri: Cosimo and Lorenzo's mother
Luigi Diberti as Messer Cavalcanti
Ben Starr as Donatello
David Bamber as Pope Eugene IV
Steven Waddington as Cossa
Alberto Sette as Corona
Production[edit]
Historical Accuracy[edit]
During an interview at the Roma Fest panel in 2015, Spotnitz stated, "the season will be more thriller than historical saga . . . we begin the show with a 'what if' because we don't know how Giovanni de' Medici died. One of the questions that haunts Cosimo, is whether his father was murdered".[9]
Locations[edit]
Several noticeable locations are used throughout the series, in addition to sets and sound stages:
Bracciano Castle: The principal courtyards and staircases of the Orsini-Odescalchi castle in Bracciano serve as streets in Florence, a palace in Rome, and the ancestral home of Contessina de' Bardi. The central courtyard in the Castle features a particularly recognisable staircase with the sculpture of a bear; this staircase becomes the principal entrance of the Medici home in Florence with the addition of the Medici Coat of Arms.[10]
The Villa Farnese in Caprarola and its gardens: The frescoed and ring-vaulted internal terrace-courtyard of Villa Caprarola doubles as a Medici villa in the series, while an un-frescoed terrace is used as a Vatican property in Rome. The Caprarola secret gardens with their unique fountains are used to represent the Vatican Gardens.[11]
The creators took significant liberties with sets, often showing interior decorations, works of art, and exterior landscapes that were created many years after the events described in the series which occur in the mid-1430s. For example, the Medici Palazzo was built in 1440s–1480s and the Benozzo Gozzoli frescoes of Magi Chapel shown in the Cosimo study were executed in 1459–61. The Lorenzo rooms are decorated with the Giulio Romano fresco "Mars and Venus" which was painted in the 1520s in Palazzo Te in Mantova. During the episode exile in Venice, the church of Santa Maria della Salute built in the 1630s is repeatedly shown as part of the Venice city landscape. Villa Medici contains "Fortitude and Temperance with Six Antique Heroes" by Perugino, painted in 1497.
Castle of Santa Severa is Cardinal Baldassarre Cossa's Palace.[12]
The medieval oldtown of Viterbo and its Palazzo dei Papi are the set for late medieval Rome.
Hadrian's Villa in Tivoli is another set for Rome; Cosimo meets Donatello along the Canopus.
Borgo di Rota, a frazione of Tolfa, is the set for Francesco Sforza's army camp and the village where Lorenzo meets mercenary Ferzetti.[13]
Pienza: used as the Palazzo Medici, the streets of Florence, and the background for Cosimo's wedding.
Montepulciano: Several scenes are filmed outside the Duomo using the unfinished façade of the cathedral as a backdrop. These scenes often incorrectly show the Duomo of Florence rising in the background to the north. The Communal Palace, also in Piazza Grande, is part of several scenes, as is the Church of San Biagio.
Technical Details[edit]
Medici: Masters of Florence was originated in 4k video and broadcast in this format on the free Italian satellite service Tivu whilst on the Italian Digital Terrestrial service DVB-T2 it was broadcast in Full-HD 1920x1080.
Two soundtracks were transmitted: Rai TV gave satellite and terrestrial decoder viewers the option to watch it in Italian or English.[14]
Episodes[edit]
No.
Title
Directed by
Written by
Original air date
Italy viewers
(millions)
1
"Original Sin" Sergio Mimica-Gezzan Frank Spotnitz, Nicholas Meyer 18 October 2016 (2016-10-18) 8.04[15]
When Giovanni di Bicci de' Medici is poisoned his son Cosimo takes over the family bank and asks Marco Bello to investigate the murder. Cosimo is elected to his father's seat on the Signoria where Rinaldo degli Albizzi, the family's rival, is pushing for war with Milan because they attacked Lucca. Twenty years earlier, Giovanni sent Cosimo and his elder brother Lorenzo to Rome with bribes to install a friendly cardinal as Pope and gain control of the Vatican's banking. Cosimo, who wants to be an artist, meets Donatello and falls in love with his beautiful model Bianca, but Giovanni finds out and has the studio shut down driving Bianca away.
2
"The Dome and the Domicile" Sergio Mimica-Gezzan Frank Spotnitz 18 October 2016 (2016-10-18) 7.14[16]
The war with Milan is going badly and Florence's economy is in ruins. Cosimo funds Filippo Brunelleschi to build a dome for the cathedral creating work and brokers a deal between Lucca and the Duke of Milan for peace. Twenty years earlier, Giovanni forces Cosimo to marry Contessina, the strong-willed daughter of a noble banker with financial problems, forcing Cosimo to give up his dreams of being an artist.
3
"Pestilence" Sergio Mimica-Gezzan Sophie Petzal 25 October 2016 (2016-10-25) 6.73[17]
Florence is hit by the Black Plague and Cosimo moves the family to the safety of their estate outside the city. Albizzi turns the people against Cosimo and his dome blaming the plague on God's wrath at the Medici's usury. Cosimo returns to Florence and turns the cathedral into a hospice for plague victims to save the dome. Lorenzo overrules Contessina and sells the family's wool business making their financial problems public. Albizzi has Cosimo arrested after Marco breaks into a house to gather evidence on Giovanni's murder. Twenty years earlier, Cosimo and Contessina struggle to trust each other and make their marriage work.
4
"Judgment Day" Sergio Mimica-Gezzan Alex von Tunzelmann 25 October 2016 (2016-10-25) 6.32[18]
Albizzi accuses Cosimo of usury and trying to overthrow the republic. Piero and Contessina try to mount a defense but Cosimo is sentenced to death. Lorenzo buys the Sforza army and threatens to invade Florence. Contessina storms the Signoria on horseback and persuades them to exile Cosimo to prevent war. Twenty years earlier, Cosimo's friend Albizzi tells him that his family lost a valuable ship at sea and Giovanni uses the information to have Albizzi's father declared bankrupt and thrown off the Signoria.
5
"Temptation" Sergio Mimica-Gezzan Francesca Gardiner 1 November 2016 (2016-11-01) 6.50
Albizzi hires mercenaries and exiles the Medici's allies to gain control of Florence. Contessina turns down an offer to flee Florence with her old lover, who she was forced to abandon when she was betrothed to Cosimo. In Venice, Cosimo lobbies The Doge to back his return to Florence, and with information supplied by Contessina thwarts Albizzi's attempt to make an alliance through marriage. The Doge gives Cosimo a beautiful slave named Maddelena whom he teaches to draw and then falls for. Albizzi tries to seize the Signoria but he is betrayed by Pazzi and arrested.
6
"Ascendancy" Sergio Mimica-Gezzan Mark Denton, Jonny Stockwood 1 November 2016 (2016-11-01) 6.02
Cosimo is welcomed back to Florence and pays off the mercenaries who are terrorising the town because they haven't been paid. Cosimo finally makes up with Contessina and ends his relationship with Maddelena. The Pope seeks sanctuary with the Medici when Rome is attacked. At the Pope's urging, Cosimo persuades the Signoria to show mercy and exile Albizzi instead of executing him. While the Pope blesses Cosimo's cathedral, Albizzi and his son are murdered in the woods by the mercenaries.
7
"Purgatory" Sergio Mimica-Gezzan Emilia di Girolamo 8 November 2016 (2016-11-08) 6.42
Cosimo has a local olive merchant elected to the Signoria to fill Albizzi's vacant seat, but the merchant is murdered and Pazzi is elected while Cosimo is absent. After Marco reveals that the apothecary was killed with Lorenzo's dagger, Cosimo has Lorenzo locked in his room. Marco sleeps with Maddelena causing tension with Cosimo. Lorenzo claims Marco framed him to cover up his own involvement in Giovanni's murder, which Marco denies and Cosimo allows him to leave. Ugo reveals that Rosa was carrying Lorenzo's child and Giovanni had her shipped off to a home for unmarried mothers, but they were both killed.
8
"Epiphany" Sergio Mimica-Gezzan John Fay 8 November 2016 (2016-11-08) 6.26
Rumours of Cosimo's hand in Albizzi's murder result in the Pope transferring the church's banking to Pazzi. Cosimo heads to Rome with money to pay for an army to retake Rome for the Pope. Marco helps Lorenzo to capture Pazzi's assassin and obtain a letter that proves Pazzi's complicity. Pazzi's men kill Lorenzo and free the assassin but Cosimo gives the letter to the Pope and the Medici retain the church's banking. Maddelena is pregnant with Cosimo's child and Contessina decides that Cosimo will acknowledge and raise the bastard. Ugo murdered Giovanni because he ordered him to take Rosa to her death.
Reception[edit]
Awards[edit]
Winner of the 2016 Capri TV Series Award.
References[edit]
Jump up ^ "Renaissance (From "Medici: Masters of Florence")". Creazioni Artistiche Musicali C.A.M. Srl/ Lux Vide. 14 October 2016. Retrieved 1 January 2017.
Jump up ^ Keslassy, Elsa (21 October 2016). "'Medici' With Dustin Hoffman, Richard Madden Sets Italy Ratings Record". Variety. Retrieved 23 October 2016.
Jump up ^ http://renewcanceltv.com/medici-masters-of-florence-renewed-for-season-2/
Jump up ^ Clarke, Stewart (16 June 2017). "Sean Bean and ‘24’ Showrunner Join Second Season of ‘Medici’ (EXCLUSIVE)". Variety. Retrieved 16 June 2017.
Jump up ^ http://variety.com/2016/tv/global/pay-tv-sky-sky-1-germany-austria-1201908343/
Jump up ^ http://www.tvwise.co.uk/2016/11/wild-bunch-tv-sells-big-lights-medici-masters-florence-netflix-us-canada-india/
Jump up ^ "Medici: Masters of Florence premiering on SBS this April". MediaWeek. 4 April 2017.
^ Jump up to: a b c d e f g h Clarke, Stewart (10 August 2017). "Daniel Sharman and Bradley James Join Netflix’s ‘Medici’ (EXCLUSIVE)". Variety. Retrieved 11 August 2017.
Jump up ^ Show Patrol. 17 November 2015.
Jump up ^ http://www.gismonda.it/en/2017/01/26/medici-tv-series-location-castle-bracciano/
Jump up ^ http://www.gismonda.it/en/2017/03/06/medici-masters-of-florence-tv-series-locations-palazzo-farnese-caprarola/
Jump up ^ http://www.gismonda.it/en/2017/01/28/medici-tv-series-locations-castle-santa-severa/
Jump up ^ http://www.gismonda.it/en/2017/02/26/medici-tv-series-locations-castle-of-rota/
Jump up ^ Medicimastersoflorence.com
Jump up ^ http://www.toutelatele.com/les-medicis-maitres-de-florence-carton-d-audience-pour-la-serie-de-sfr-play-85995
Jump up ^ http://www.davidemaggio.it/archives/138365/ascolti-tv-martedi-18-ottobre-2016
Jump up ^ http://www.davidemaggio.it/archives/138696/ascolti-tv-martedi-25-ottobre-2016
Jump up ^ http://www.davidemaggio.it/archives/138696/ascolti-tv-martedi-25-ottobre-2016
External links[edit]
Medici: Masters of Florence on IMDb
Richard Madden, Italy & the 'Medici'. Show Patrol. 17 November 2015.
Trailer on YouTube (English with French Subtitles). Posted 8 October 2016.
Medici: Masters of Florence Dedicated Website
Review Medici : Master of Florence on Bulles de Culture
[show]
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