Lauda (music)

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Lauda (also Laude or Lauda spirituale ; Pl . : Laudi or Lauden) is a genre of sacred music that originated in the 12th century and especially in Catholic Rome in the 16th and 17th centuries. Century was common. The laudi are based on religious, mostly non- liturgical , popular poems in the Italian, rare Latin language, which were sung with very simple melodies, initially unanimously, and since the end of the 14th century predominantly polyphonic. They were used in spiritual devotions as hymns of praise and for musical relaxation. Laudi usually have a rhyming stanza form .

history

The roots of the Lauda lie in Italy in the 12th century , where they originated as a hymn of praise for pious brotherhoods (“Compagnie de 'Laudesi”). In the beginning it had a very simple, homorhythmic sentence style. The lauding companies were composed of people of simple and middle class. The medieval form of the Lauda also influenced the flagellation songs of the flagellation movement . The Laudario di Cortona has been preserved from the 13th century.

Two-part laudes by an unknown master of the Dufay generation have come down to us from the 15th century . In 1508 Ottaviano dei Petrucci had two collections of three to four-part laudes printed in movements by well-known masters of secular music. They are kept simple and clear, composed with simple chords ; their text is easy to understand. This lauden style has the high art music of the Dutch around 1500, z. B. Works by Josquin des Prèz , with lasting effect. The homophonic , note against note, expressive parts within the mensural music go back to the influence of the laudi.

Since the second half of the 16th century, the Lauda has usually been three-part. In 1563 the one- to four-part Laudi spirituali by the Dominican Serafino Razzi and the first book by Giovanni Animuccia - the oldest collection of Lauden by a single composer - were published, followed by a second in 1570.

The lauden in dialogue form are the forerunners of the musical oratorio . These represent conversations on a spiritual topic, for example between teacher and student, between Christ and the soul, but also between allegorical or biblical figures.

With their pronounced formal and compositional simplicity, the lauden lost importance in the course of the 17th century, in which Italian music underwent a significant change in style. The beginnings of the oratorio developed from the numerous lauds of the group around Philipp Neri .

Agostino Manni (1548–1618) is considered the most important laude poet . Other composers from whom Lauden has been passed down: Giovanni Animuccia (approx. 1514–1571), Francisco Soto (approx. 1534–1619) and Giovanni Giovenale Ancina (1545–1608).

See also

literature

Individual evidence

  1. ^ Johann Ernst houses: Musical Lexicon. Goetsche Meissen, 1833, Volume 1, p. 225.