In his new book Renaissance Polyphony (published by Cambridge University Press), Fabrice Fitch provides an engaging introduction to Renaissance polyphony. How does Renaissance music work? Why is a certain piece typical of its style and type? Or, if it is exceptional, what makes it so? Musicians at the time were keenly aware of the specialized nature of their craft. How is this reflected in the music they wrote, and how were they regarded by their patrons and audiences? With a critical and detailed examination of the musical style and attention to the most recent research, Fitch reveals the various layers of meaning behind and beyond the musical notes. His aim is to enhance the listening experience of students, performers and music lovers alike.
At Polyphony connects, Fabrice Fitch will present his new book to the public for the first time. In August the publication will be available in bookshops and online from www.cambridge.org. AMUZ subscribers who order the book here can benefit from a 30% discount for either hardback or paperback, valid through 30 September.
Fabrice Fitch is a composer and musicologist specialising in Renaissance polyphony and its performance. His monograph Johannes Ockeghem: Masses and Models is still the only English-language monograph on the composer. Fitch has published extensively on Obrecht, Agricola and other composers of that generation, as well as on the Eton Choirbook. His compositions have been performed by famous soloists and chamber music ensembles, including Fretwork, and broadcast internationally on the radio. Fabrice Fitch has worked as a critic for the music magazine Gramophone for 25 years. He is currently a Senior Research Fellow at the Royal Conservatoire of Scotland.