Philippe de Monte
Philippe de Monte (1521 – 4 July 1603), sometimes known as Philippus de Monte, was a
Life
Philippe de Monte was born in
"Though Monte was not likely to have been a supporter of the Reformation, he took part in a variety of intellectual exchanges on sensitive topics, some of which involved Italian academics."[9]
In 1568 Monte was appointed as successor to
Music and influence
Monte was a hugely prolific composer,
Monte's madrigals have been referred to as "the first and most mature fruits of the compositions for five voices."[25] Stylistically, Monte's madrigals vary from an early, very progressive style with frequent use of chromaticism to express the text (though he was not quite as experimental in this regard as Marenzio or Lassus), to a late style which is much simplified, featuring short motifs and frequent homophonic textures.[26] Some of his favorite poets of the time included Petrarch, Bembo, and Sannazaro.[27] Unlike Monteverdi, who began in a conservative style and became experimental later in life, Monte's compositional career had an opposite curve, progressing from experimentation to unity and simplicity in his later works.[28] Some believe that this comes from his change in poetry selections,[29] whereas others believe it was a reflection from the imperial courts.[30]
Philippe de Monte was renowned all over Europe; editions of his music were printed, reprinted, and widely circulated.[31] He has been described as "a quiet, unassuming man, gentle as a girl."[32] He had many students, including Gian Vincenzo Pinelli from Padua,[33] thereby passing on his compositional skills and experience to the generation who developed the early Baroque style. Believed to be one of the most prominent composers, Philippe de Monte's madrigals are still performed today.[34]
Recordings
- Alexander Utendal & Philippus de Monte, Motets, Capilla Flamenca and Oltremontano, 2002 (Passacaille 937).
- Philippe de Monte: Missa Ultimi miei sospiri, and other sacred music, Cinquecento, 2008 (Hyperion CDA 67658).
- Praga magna incl. Missa super Confitebor tibi Domine and motet Langue a´ll vostro languir by Philippe de Monte, Cappella Mariana, Vojtěch Semerád 2014 (Artevisio0.
Notes
- ^ Lindell 2001, p.16.
- ^ Brown 1999, p.205.
- ^ Lindell 2001, p.18.
- ^ Reese 1954, p.511.
- ^ Bergquist 2005, p.108.
- ^ Lindell 2001, p.16.
- ^ Lindell 2001, p.16.
- ^ Reese 1954, p.395.
- ^ Bergquist 2005, p.108.
- ^ Lindell 2001, p.16.
- ^ Bergquist 2005, p.107.
- ^ Lindell 2001, p.17.
- ^ Mann 1983, p.7.
- ^ Lindell 2001, p.18.
- ^ Mann 1983, p.5.
- ^ Reese 1954, p.395.
- ^ Reese 1954, p.406.
- ^ Philippe 2001, p.17.
- ^ Reese 1954, p.702.
- ^ Lindell 2001, pp.17, 18.
- ^ Reese 1954, p.406.
- ^ Lindell 2001, p.18.
- ^ Lindell 2001, p.19.
- ^ Bergquist 2005, p.106.
- ^ Mann 1983, p.3.
- ^ Lindell 2001, pp.18, 19.
- ^ Reese 1954, p.406.
- ^ Lindell 2001, p.18.
- ^ Marshall 2006, p.292.
- ^ Marshall 2006, p.293.
- ^ Lindell 2001, p.20.
- ^ Reese 1954, p.395.
- ^ Bergquist 2005, p.108.
- ^ Bergquist 2005, p.106.
References
- Bergquist, Peter. "Philipp de Monte (1521–1603)." Music and Letters 86/1 (Fall 2005): 106–9. H.W. Wilson Company. Database online. Wilson Web; accessed 31 October 2007.
- Brown, Howard M., and Louise K. Stein. Music in the Renaissance, 2nd ed. New Jersey: Prentice Hall, 1999.
- Mann, Brian. The Secular Madrigals of Filippo di Monte: 1521–1603. Michigan: UMI Research Press, 1983.
- Marshall, Melanie L. "The Poetry of Monte’s Madrigals." Early Music 34 no 2 (May 2006): 292–3. H.W. Wilson Company. Database online. Wilson Web; accessed 31 October 2007.
- Reese, Gustave. Music in the Renaissance: New York: W.W. Norton & Company, 1954 (revised 1959).
- Lindell, Robert. "Philippe de Monte" in The New Grove Dictionary of Music and Musicians, 2nd ed. Stanley Sadie, ed. London: Macmillan, 2001.
External links
- Free scores by Philippe de Monte in the Choral Public Domain Library (ChoralWiki)
- Free scores by Philippe de Monte at the International Music Score Library Project (IMSLP)