The concentrated results of this era consisted of the consecutive development of the technicalities of counterpoint, growing regard for euphony and expressive verbal interpretation, finally, the ascendency of objective emotionalism. Lasso, embodying in his works the highest ideals of polyphonic writing, transplanted them into Germany. Simultaneously, Palestrina, the greatest purist of Italian vocal writing, was at the zenith of his glory. France had produced Goudimel and Claude le Jeune. The music of England was prominently connected with such names as Merbecke, Tallys, Byrd, Morley. The Reformation was exercising a powerful influence upon the art of music in the development of the Chorale.
And thus in the second half of the sixteenth century, this wonderful array of coexisting phases of choral art stood prepared for something greater. Pure choral music had been perfected. The era of instrumental music was at hand. For in spite of the rare æsthetic beauty, the intricate yet lucid voice-leading, the admirable handling of human voices en masse that signalize the works of Palestrina and Lasso, two essential elements, indispensable for further creative expansion, were lacking—rhythm and form. To attain these, new means and methods were necessary. Two possibilities presented themselves: solo singing, and instrumental music. Although both of these combined had been subjected to quasi-scientific experiment since time immemorial, the style of writing for them possessed as yet but little individuality. There was indeed much to be done before a permanent basis for modern tonality and modern instrumentation could be secured. The old modal system was still at the root of both sacred and secular music. Harmony was but the adventitious corollary of counterpoint. Only simple diatonic intervals were in use. Incipient harmony could not inspire men to think rhythmically. Pure church music was monotonous and vague. True, secular music in erudite form was influenced by the Folk-song, and showed some progress in rhythmic and simple harmonic effects. These in turn reacted favorably upon the sacred forms. Nevertheless, any attempt at developing motives as the synthetic germs of a composition was not to be thought of until the following century in connection with instrumental forms.
The pith of the conditions prevalent at the close of the era has been happily stated by Parry when he says: "It is as though the art was still in too nebulous a state for the essential elements to have crystallized into separate and definite entities."
[CHAPTER II.]
THE DAWN OF INDEPENDENT INSTRUMENTATION.
I.
The awakening interest for instrumental music received its incentive from two distinctive sources—the organ, and accompaniment to solo singing. As a natural corollary to centuries of ecclesiastical supremacy in musical composition, the organ had taken first rank among instruments and was, comparatively speaking, the most advanced, both as to mechanical construction and correlative technique of its performers. Hence the organ was destined to become a spontaneous yet covert connecting link between pure choral and pure instrumental music.
The initiative in this progression is due to the direct heirs of the Flemish School—the Venetian organists. Both Andreas Gabrieli (1510), pupil of Willaert, and Merulo (1533) had begun to add ornamental embellishments to their accompaniments, and although coherence was lacking, the step once taken led to extended experiments. Thus the treatment of further instruments employed in religious worship instinctively received more careful attention. Little by little composers awoke to the realization that the servile imitation of a capella polyphonic choral writing hitherto employed, was unsuited to the characteristics of differentiated individual instruments or combinations of instruments. True, the artistic value of these early attempts was but small, and would almost appear as an incompatibility, taking into consideration the fact that their authors were erudite in the subtleties of canonical device. Nevertheless, several tangible results are to be noted. As has been said, instrumental writing acquired a certain amount of individuality. Through search for balance of tone there was inaugurated a selective process as to the permanent value of each specific genre of an instrument. Instrumental adaptation of choral imitation led to contrast. Expansibility of musical thought was quickened. Thus Flemish influence was kept alive in that the incipient forms of their Venetian disciples, inherited by the subsequent violinist-composers, matured into the cyclic sonata.