The Sixteenth Century: Golden Age of Imitative Polyphony

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.