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Flemish-born Adrian Willaert, one of the most …

Years: 1550 - 1550

Flemish-born Adrian Willaert, one of the most versatile composers of the Renaissance, writes music in almost every extant style and form.

In force of personality, and with his central position as maestro di cappella at St. Mark's, he is the most influential musician in Europe between the death of Josquin and the time of Palestrina.

Some of Willaert’s motets and double canonic chansons had been published as early as 1520 in Venice.

Willaert owes much of his fame in sacred music to his motets.

According to Gioseffo Zarlino, writing later in the sixteenth century, Willaert is the inventor of the antiphonal style from which the polychoral style of the Venetian school evolves.

As there are two choir lofts, one of each side of the main altar of St. Mark's, both provided with an organ, Willaert had divided the choral body into two sections, using them either antiphonally or simultaneously.

Ciprian De Rore, Zarilino, Andrea Gabrieli, Donato, and Croce, Willaert’s successors, all will cultivate this style.

The tradition of writing that Willaert establishes during his time at St. Mark’s is to be continued by other composers working there throughout the 1600s.

He next composed and performed psalms and other works for two alternating choirs.

This innovation has net with instantaneous success and strongly influences the development of the new method.

A compositional style established by Willaert for multiple choirs dominates in Venice,.

He publishes in 1550  Salmi spezzati, antiphonal settings of the psalms, the first polychoral work of the Venetian school.

Willaert’s work in the religious genre establishes Flemish techniques firmly as an important part of the Italian Style.

While more recent research has shown that Willaert was not the first to use this antiphonal, or polychoral method—Dominique Phinot had employed it before Willaert, and Johannes Martini even used it in the late fifteenth century—Willaert's polychoral settings are the first to become famous and widely imitated.

Other well-known contemporary composers of madrigals include the Italian Costanzo Festa, the Franco-Netherlanders Philippe Verdelot and the celebrated Jacob Arcadelt, whose works are reprinted many times.

A five-part texture begins from about 1550 to be generally preferred for madrigals over the earlier dominant four-part texture.

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