Styles antico
Stile antico ( Italian for: old style ) describes a historicizing method of composition using elements from the Renaissance in particular, especially in sacred music . The term is used for musical works that originated between the end of the 16th century and the 20th century. The term is associated with stylistic characteristics that can be found in polyphonic works of the Renaissance: Alla breve - beat and accordingly avoidance of dance-like rhythms, imitative movements, renunciation of freely occurring dissonances and a balanced melody in the style of Palestrina .
history
At the beginning of the 17th century, the brothers led Giulio Cesare and Claudio Monteverdi the term prima pratica one, as opposed to the created by them monodically embossed seconda pratica . The expression stile antico first appeared around 1640 by the music theorists Marco Scacchi and Severo Bonini (1582–1663) and is still used today as a synonym for prima pratica .
With the increased interest in the revival of the Palestrina style in the 18th century, which was particularly expressed in the Gradus ad Parnassum by Johann Joseph Fux (1725), the stile antico became a significant factor in music history. Johann Sebastian Bach composed essential parts of the B minor Mass , such as the beginning and end ( confiteor ) of the Credo , in the stile antico. The Et incarnatus from Beethoven's Missa solemnis also contains echoes of this style, such as the use of the Doric key. In the 19th century the term gained importance in the field of Catholic church music within the movement of Cecilianism . It was also used in the 20th century by Jean Langlais in his Messe en style ancien (1952) and to denote neoclassical instrumental works, for example by Ottorino Respighi .
Individual evidence
- ↑ Article Stile antico , Grove Music Online
literature
- Christoph Wolff: The stile antico in the music of Johann Sebastian Bach. Studies on Bach's late work. Steiner, Erlangen-Nuremberg 1968.