One of the most popular techniques composers use to create cohesion in their work is that of imitation. Imitation is that compositional device in part-writing in which one voice repeats a phrase stated by another voice. This may be used in a strict regulated and balanced pattern or otherwise. One of the principal textures that predominated sixteenth century music is that of imitative counterpoint. In imitative counterpoint, voices imitate or echo a motive or phrase in another voice, usually at a different pitch level, such as a fifth, fourth, or octave away.
In his poem "Que la musique date du XVI siècle" (Music begins in the 16th century") from the cycle Les Rayons et les Ombres (Rays and Shadows), Victor Hugo calls Palestrina "the old master, the old genius...father of harmony..." Giovanni Pierluigi da Palestrina's style of counterpoint, taken as a model for imitation by later generations, has had an even wider influence as an essential element in the traditional teaching of compositional technique. The Council of Trent assembled in 1545, insisted on the clarity of words in liturgical music. Legend has it that Palestrina has been credited with saving polyphony against its opponents in the Council who favored plainchant, by his composition of the Missa Papae Marcelli.
Palestrina wrote sixty-eight offertories for five voices in imitative motet style. The style of the motets represents imitative polyphony in its most idealized state, with balanced melodic shapes, prepared and resolved dissonances, and structural symmetry. Textures do not alternate phrases of imitative polyphony with passages of homophony as in the motets of Andrea Gabrieli. Palestrina's motets are modeled after the pervasive point-of-imitation style as practiced by Adrian Willaert and other Franco-Flemish masters. Phrase structures are well balanced, as is seen in Veni sponsa Christi (Come, bride of Christ), 'accipe coronam" (receive the crown), "quam tibi Dominus" (that for you the Lord), and "praeparavit in aeternam" (has prepared in eternity)-each given equal treatment imitatively.
The first and second points of imitation, as well as the third and fourth points, are overlapped slightly, while there is a clear textural demarcation between points two and three. Many other motets are constructed similarly, including Sicut cervus, Super flumina Babylonis, and Dies sanctificatus. The two-movement motets Canite tuba -Rorate coeli and Tu es Petrus - Quadcumque ligaveris, are also in the point-of-imitation style. The Kyrie, Sanctus, and Agnus Dei of the Pope Marcellus Mass use imitative polyphony throughout. His Missa Aeterna Christi Munera is principally for four voices. The Kyrie, in its smooth treatment of voices entering in imitation, offers a perfect example of Palestrina's achievement. There is also clarity of writing within the imitative textures of the setting of the Credo.
Andrea Gabrieli composed six masses. Four of the masses (all those scored for six voices) are parodies of Italian motets and madrigals and are in the imitative style of early-sixteenth century composers. Like many of his contemporaries, Gabrieli is best known for his madrigals. They are in the style of the day, with varied rhythms, syllabically set texts, short phrases, and textures that alternate between imitative polyphony and homophony.
The motets of Adrian Willaert are varied in style, although they exhibit mostly the pervasive imitative textures that were admired during the middle and latter decades of the sixteenth century. The madrigals are like contemporaneous motets, with consistent imitative polyphony. Amor mi fa morire became one of the dozen or so most popular madrigals of the sixteenth century.
In the four-voiced Jubilate Deo, Orlando di Lasso constructs four balanced points of imitation in the style of Palestrina, with the overlaps between the first and last two phrases and with a cadential demarcation between the second and third phrase.
Byrd is considered the greatest composer of the English renaissance. As a consequence of Byrd's decision to publicly observe his catholic faith, he published two collections of Latin motets in 1589 and 1591-Liber primus sacrarum cantionum for five voices and Liber secundus sacrarum cantionum for five and six voices. These collections contain many of Byrd's most celebrated works in the point-of-imitation style. The motets in the two volumes published in 1589 and 1591 are generally characterized by exchanges of short motif-like phrase fragments and brief point-of imitation phrases that alternate with equally brief passages of homophony. This characteristic is especially apparent in Haec dies quam fecit Dominus.
Morley's madrigals are more like his motets (modeled after works in Byrd's Gradualia) with brief imitative phrases, some which include duets, alternating with large passages of homophony. April is in my mistress face, his only popular madrigal today, is an example. John Wilbye's most acclaimed madrigal from the 1609 collection, The Second Set of madrigals, and one of the most admired English madrigals of the entire Renaissance era, is Draw on sweet night. Structured of five points of imitation that coincide with the five sentences of the text, it is a masterpiece of balanced proportions.
Orlando Gibbons' smaller scale full anthems are characterized by pervasive imitation and balanced phrases in the style of Palestrina motets or anthems by Thomas Tomkins. The famous Almighty and everlasting God is divided into 2 sections, each of which consists of two relatively equal points of imitation and a short closing coda.
While one may be able to find examples of imitative polyphony before and certainly since the sixteenth century, one would be hard-pressed to deny that the period of the Renaissance is responsible for the composition of the finest specimens of the use of this compositional device. If you are conducting a choir, the exploration of the music of this period would be a great place to start to delve into this style of choral writing.
In his poem "Que la musique date du XVI siècle" (Music begins in the 16th century") from the cycle Les Rayons et les Ombres (Rays and Shadows), Victor Hugo calls Palestrina "the old master, the old genius...father of harmony..." Giovanni Pierluigi da Palestrina's style of counterpoint, taken as a model for imitation by later generations, has had an even wider influence as an essential element in the traditional teaching of compositional technique. The Council of Trent assembled in 1545, insisted on the clarity of words in liturgical music. Legend has it that Palestrina has been credited with saving polyphony against its opponents in the Council who favored plainchant, by his composition of the Missa Papae Marcelli.
Palestrina wrote sixty-eight offertories for five voices in imitative motet style. The style of the motets represents imitative polyphony in its most idealized state, with balanced melodic shapes, prepared and resolved dissonances, and structural symmetry. Textures do not alternate phrases of imitative polyphony with passages of homophony as in the motets of Andrea Gabrieli. Palestrina's motets are modeled after the pervasive point-of-imitation style as practiced by Adrian Willaert and other Franco-Flemish masters. Phrase structures are well balanced, as is seen in Veni sponsa Christi (Come, bride of Christ), 'accipe coronam" (receive the crown), "quam tibi Dominus" (that for you the Lord), and "praeparavit in aeternam" (has prepared in eternity)-each given equal treatment imitatively.
The first and second points of imitation, as well as the third and fourth points, are overlapped slightly, while there is a clear textural demarcation between points two and three. Many other motets are constructed similarly, including Sicut cervus, Super flumina Babylonis, and Dies sanctificatus. The two-movement motets Canite tuba -Rorate coeli and Tu es Petrus - Quadcumque ligaveris, are also in the point-of-imitation style. The Kyrie, Sanctus, and Agnus Dei of the Pope Marcellus Mass use imitative polyphony throughout. His Missa Aeterna Christi Munera is principally for four voices. The Kyrie, in its smooth treatment of voices entering in imitation, offers a perfect example of Palestrina's achievement. There is also clarity of writing within the imitative textures of the setting of the Credo.
Andrea Gabrieli composed six masses. Four of the masses (all those scored for six voices) are parodies of Italian motets and madrigals and are in the imitative style of early-sixteenth century composers. Like many of his contemporaries, Gabrieli is best known for his madrigals. They are in the style of the day, with varied rhythms, syllabically set texts, short phrases, and textures that alternate between imitative polyphony and homophony.
The motets of Adrian Willaert are varied in style, although they exhibit mostly the pervasive imitative textures that were admired during the middle and latter decades of the sixteenth century. The madrigals are like contemporaneous motets, with consistent imitative polyphony. Amor mi fa morire became one of the dozen or so most popular madrigals of the sixteenth century.
In the four-voiced Jubilate Deo, Orlando di Lasso constructs four balanced points of imitation in the style of Palestrina, with the overlaps between the first and last two phrases and with a cadential demarcation between the second and third phrase.
Byrd is considered the greatest composer of the English renaissance. As a consequence of Byrd's decision to publicly observe his catholic faith, he published two collections of Latin motets in 1589 and 1591-Liber primus sacrarum cantionum for five voices and Liber secundus sacrarum cantionum for five and six voices. These collections contain many of Byrd's most celebrated works in the point-of-imitation style. The motets in the two volumes published in 1589 and 1591 are generally characterized by exchanges of short motif-like phrase fragments and brief point-of imitation phrases that alternate with equally brief passages of homophony. This characteristic is especially apparent in Haec dies quam fecit Dominus.
Morley's madrigals are more like his motets (modeled after works in Byrd's Gradualia) with brief imitative phrases, some which include duets, alternating with large passages of homophony. April is in my mistress face, his only popular madrigal today, is an example. John Wilbye's most acclaimed madrigal from the 1609 collection, The Second Set of madrigals, and one of the most admired English madrigals of the entire Renaissance era, is Draw on sweet night. Structured of five points of imitation that coincide with the five sentences of the text, it is a masterpiece of balanced proportions.
Orlando Gibbons' smaller scale full anthems are characterized by pervasive imitation and balanced phrases in the style of Palestrina motets or anthems by Thomas Tomkins. The famous Almighty and everlasting God is divided into 2 sections, each of which consists of two relatively equal points of imitation and a short closing coda.
While one may be able to find examples of imitative polyphony before and certainly since the sixteenth century, one would be hard-pressed to deny that the period of the Renaissance is responsible for the composition of the finest specimens of the use of this compositional device. If you are conducting a choir, the exploration of the music of this period would be a great place to start to delve into this style of choral writing.
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