Search Results - Quodlibet

The origins of the quodlibet can be traced to the 15th century, when the practice of combining folk tunes was popular.^[2] Composer Wolfgang Schmeltzl first used the term in a specifically musical context in 1544.^[3] An early exponent of the genre was 16th century composer Ludwig Senfl whose ability to juxtapose several pre-existing melodies in a cantus firmus quodlibet resulted in works such as Ach Elselein/Es taget, a piece noted for its symbolism rather than its humor.^[3]. Even earlier we can find another example in Francisco de Peñalosa's Por las sierras de Madrid, from his Cancionero Musical de Palacio. However, it was Praetorius who, in 1618, provided the first systematic definition of the quodlibet as "a mixture of diverse elements quoted from sacred and secular compositions".^{[citation needed][4]} During the Renaissance, a composer's ability to juxtapose several pre-existing melodies, such as in the cantus firmus quodlibet, was considered the ultimate mastery of counterpoint.^[3]

The quodlibet took on additional functions between the beginning and middle of the 19th Century, when it became known as the potpourri and the musical switch. In these forms, the quodlibet would often feature anywhere from six to fifty or more consecutive "quotations;" the distinct incongruity between words and music served as a potent source of parody and entertainment.^[5] In the 20th Century, the quodlibet remained a genre in which well-known tunes and/or texts were quoted, either simultaneously or in succession, generally for humorous effect.^[6]

In the 16th century, an independent variant of the quodlibet named ensalada developed in Spain, and the fricassée likewise in France.