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1196:. Most of these he evidently intended for a different audience, since they are considerably different in tone and style from either the chansons or madrigals; in addition, he wrote them later in life, with none appearing until 1567, when he was already well-established at Munich. Many are on religious subjects, although light and comic verse is represented as well. He also wrote drinking songs in German, and contrasting with his parallel work in the genre of the chanson, he also wrote songs on the unfortunate aspects of overindulgence.
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682:, invited him to visit. Some of these kings and aristocrats attempted to woo him away from Munich with more attractive offers, but Lasso was evidently more interested in the stability of his position, and the splendid performance opportunities of Albrecht's court, than in financial gain. "I do not want to leave my house, my garden, and the other good things in Munich", he wrote to the Duke of
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722:, and which was published posthumously in 1595. Lasso died in Munich on 14 June 1594, the same day that his employer decided to dismiss him for economic reasons. He never saw the letter. He was buried in Munich in the Alter Franziskaner Friedhof, a cemetery that was cleared of gravestones in 1789 and is now the site of
1122:, many of which he wrote during his stay in Rome, his style is clear and concise, and he wrote tunes which were easily memorable; he also "signed" his work by frequently using the word 'lasso' (and often setting with the solfĂšge syllables la-sol, i.e. A-G in the key of C). His choice of poetry varied widely, from
998:. Many of his motets were composed for ceremonial occasions, as could be expected of a court composer who was required to provide music for visits of dignitaries, weddings, treaties and other events of state. But it was as a composer of religious motets that Lasso achieved his widest and most lasting fame.
815:. No strictly instrumental music by Lasso is known to survive, or ever to have existed: an interesting omission for a composer otherwise so wide-ranging and prolific, during an age when instrumental music was becoming an ever-more prominent means of expression, all over Europe. The German music publisher
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Another form which Lasso cultivated was the French chanson, of which he wrote about 150. Most of them date from the 1550s, but he continued to write them even when he was in
Germany: his last productions in this genre come from the 1580s. They were enormously popular in Europe, and of all his works,
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in addition to those mentioned above â and he wrote with equal fluency in each. Many of his songs became hugely popular, circulating widely in Europe. In these various secular songs, he conforms to the manner of the country of origin while still showing his characteristic originality, wit, and
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influence was reaching a peak in
Bavaria in the late sixteenth century, had a demonstrable impact on Lasso's late work, including the liturgical music for the Roman Rite, the burgeoning number of Magnificats, the settings of the Catholic Ulenberg Psalter (1588), and especially the great penitential
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court. However, his own style remained conservative and became simpler and more refined as he aged. In the 1590s his health began to decline, and he went to a doctor named Thomas
Mermann for treatment of what was called "melancholia hypocondriaca", but he was still able to compose as well as travel
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As a composer of motets, Lasso was one of the most diverse and prodigious of the entire
Renaissance. His output varies from the sublime to the ridiculous, and he showed a sense of humor not often associated with sacred music: for example, one of his motets satirizes poor singers (his setting of
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visited Lasso in Munich in 1562, and many of Lasso's works were published in Venice. Even though Lasso used the contemporary, sonorous
Venetian style, his harmonic language remained conservative in these works: he adapted the texture of the Venetians to his own artistic ends.
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Lasso's name appears in many spellings, often changed depending on the place in which his music was being performed or published. In addition to
Orlando di Lasso, variations include Orlande de Lassus, Roland de Lassus, Orlandus Lassus, Orlande de Lattre and Roland de Lattre.
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using as melodic source material secular works written by himself or other composers. Technically impressive, they are nevertheless the most conservative part of his output. He usually conformed the style of the mass to the style of the source material, which ranged from
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From the illuminated Codex (1559-70) of the
Penitential Psalms,vol. 2 p. 187 (Bavarian State Library Munich, Mus.ms. A) - The codex consists of two volumes (ca. 60 x 44 cm) with 400 pages and is currently under renovation and digitization. Vol. 1 is already online:
937:âa term which has survived in many contemporary references, many of them seemingly contradictory. The exact meaning of the term is a matter of fierce debate, though a rough consensus among musicologists is that it involves intensely expressive setting of text and
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in 1571, and two by Le Roy and
Ballard in 1576 and 1584. Stylistically, they ranged from the dignified and serious, to playful, bawdy, and amorous compositions, as well as drinking songs suited to taverns. Lasso followed the polished, lyrical style of
1033:, and occasionally using expressive devices foreign to Palestrina. As elsewhere, Lasso strives for emotional impact, and uses a variety of texture and care in text-setting towards that end. The penultimate piece in the collection, his setting of the
579:). Information about his early years is scanty, although some uncorroborated stories have survived, the most famous of which is that he was kidnapped three times because of the singular beauty of his singing voice. At the age of twelve, he left the
624:, the ecumenical mother church of Rome and a spectacularly prestigious post indeed for a man only twenty-one years old. However, he stayed there for only a year. (Palestrina would assume this post a year later, in 1555.)
639:, who was consciously attempting to create a musical establishment on a par with the major courts in Italy. Lasso was one of several Netherlanders to work there, and by far the most famous. He evidently was happy in
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Since these various spellings or translations of the same name have been known and accepted for centuries, and since there is no evidence that he stated a preference, none of them can be considered incorrect.
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One of the most prolific, versatile, and universal composers of the late
Renaissance, Lasso wrote over 2,000 works in all Latin, French, Italian and German vocal genres known in his time. These include 530
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Lasso often preferred cyclic madrigals, i.e. settings of multiple poems in a group as a set of related pieces of music. For example, his fourth book of madrigals for five voices begins with a complete
884:, probably the most scandalous of the lot. This practice was not only accepted but encouraged by his employer, which can be confirmed by evidence from their correspondence, much of which has survived.
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and decided to settle there. In 1558 he married Regina WĂ€ckinger, the daughter of a maid of honor of the
Duchess. They had two sons, both of whom became composers, and his daughter married the painter
1017:, is one of the most famous collections of psalm settings of the entire Renaissance. According to George T. Ferris, it was claimed by some that he ordered them as an expiation of his soul after the
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as one of the leading composers of the later Renaissance. Immensely prolific, his music varies considerably in style and genres, which gave him unprecedented popularity throughout Europe.
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891:, "brief masses", syllabic short masses meant for brief services (for example, on days when Duke Albrecht went hunting: evidently he did not want to be detained by long-winded
941:, and that it may have referred to music specifically written for connoisseurs. A famous composition by Lasso representative of this style is his series of 12 motets entitled
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during this age of religious discord, though this neither hindered him in writing worldly secular songs nor in employing music originally to racy texts in his Magnificats and
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1039:(Psalm 129/130), is considered by many scholars to be one of the high-water marks of Renaissance polyphony, ranking alongside the two settings of the same text by
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No solid evidence survives for his whereabouts in 1554, but there are contemporary claims that he traveled in France and England. In 1555 he returned to the
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they were the most widely arranged for instruments such as lute and keyboard. Most were collected in the 1570s and 1580s in three publications: one by
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992:, for five voices) which includes stuttering, stopping and starting, and general confusion; it is related in concept if not in style to Mozart's
918:, based on his own motet). Three of his masses are for double choir, and they may have been influential on the Venetians themselves; after all,
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1141:, and concludes with another sestina: therefore the entire book can be heard as a unified composition with each madrigal a subsidiary part.
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Lasso wrote in all the prominent secular forms of the time. In the preface to his collection of German songs, Lasso lists his secular works:
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In the preface to his collection of German songs, Lasso states that he had composed Dutch songs. However, no Dutch song has been preserved.
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In the late 1570s and 1580s Lasso made several visits to Italy, where he encountered the most modern styles and trends. In
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Several of his masses are based on extremely secular French chansons; some of the source materials were outright obscene.
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in the early 1550s, and his first works are presumed to date from this time. Next he moved to Rome, where he worked for
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also possibly studied with him in the 1570s. His renown had spread outside strictly musical circles, for in 1570
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to contemporary madrigals, but always maintained an expressive and reverent character in the final product.
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1241:"The woman at the well: Divine and earthly love in Orlando di Lasso's parody masses / by Barbara Eichner"
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occasionally. His final work was often considered one of his best pieces: an exquisite set of twenty-one
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and the narration of the Evangelist as chant, while setting the passages for groups polyphonically.
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songs. He is probably the only Renaissance composer to write prolifically in five languages â
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By the 1560s Lasso had become quite famous, and composers began to go to Munich to study with him.
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In addition to his traditional imitation masses, he wrote a considerable quantity of
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1409:(Music Literature Outlines Series I). Bloomington, Indiana. Frangipani Press, 1986.
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The Polyphonic Mass in France, 1600-1780: The Evidence of the Printed Choirbooks,
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599:(from 1547 to 1549). While in Milan, he made the acquaintance of the madrigalist
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Orlande de Lassus, collection of Civico Museo Bibliografia Musicale, Bologna
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Cambridge: Cambridge University Press, 2017 (Chapter 5, "Lassus as Model").
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De meerstemmige Nederlandse liederen van de vijftiende en zestiende eeuw
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for his more serious work to the lightest verse for some of his amusing
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in the post. Lasso remained in the service of Albrecht V and his heir,
1349:, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980.
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He then worked as a singer and a composer for Costantino Castrioto in
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went there in 1562, and possibly remained in the chapel for a year.
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music). The most extreme of these is a work actually known as the
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https://daten.digitale-sammlungen.de/~db/0011/bsb00116059/images/
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knighted him and in 1571, and again in 1573, the king of France,
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conferred nobility upon him, a rare circumstance for a composer.
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1184:) and sung by the drunken Justice Silence, in Act V, Scene iii.
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One of the most famous of Lasso's drinking songs was used by
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A third type of secular composition by Lasso was the German
947:, in a wildly chromatic idiom which anticipates the work of
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614:, who maintained a household there, and in 1553, he became
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Almost 60 masses have survived complete; most of them are
1025:. The counterpoint is free, avoiding the pervasive
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See the homepage of the Bavarian Academy of Science:
603:, a formative influence on his early musical style.
686:in 1580, upon receiving an offer for a position in
69:. Unsourced material may be challenged and removed.
931:Lasso is one of the composers of a style known as
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1066:, and some independent pieces for major feasts.
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1347:The New Grove Dictionary of Music and Musicians
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718:("Tears of St. Peter"), which he dedicated to
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1521:
823:(published from 1573â1580) to Lasso's music.
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32:"Lassus" redirects here. For other uses, see
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1046:Among his other liturgical compositions are
914:techniques (for example, in the eight-voice
635:(1555â1556). In 1556 he joined the court of
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906:Some of his masses show influence from the
510:â 14 June 1594) was a composer of the late
1815:
1801:
1528:
1514:
612:Cosimo I de' Medici, Grand Duke of Tuscany
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151:
1535:
1478:International Music Score Library Project
1455:List of compositions by Orlande de Lassus
1392:. New York, W.W. Norton & Co., 1954.
1227:'s 1604 dictionary of biographies called
514:. The chief representative of the mature
129:Learn how and when to remove this message
1407:Music in the Middle Ages and Renaissance
1297:https://lasso.badw.de/lasso-digital.html
1102:
880:, gave him source material for his 1581
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2692:Musicians from the Habsburg Netherlands
1459:Digital Image Archive of Medieval Music
1107:Lasso leading the Munich Court Chapel,
14:
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1159:rather than the programmatic style of
876:, "Oh you fifteen-year old girls", by
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2657:16th-century Franco-Flemish composers
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1796:
1509:
1137:by Petrarch, continues with two-part
631:and had his early works published in
1366:. Grove Music Online. Archived from
67:adding citations to reliable sources
38:
2662:Classical composers of church music
958:, one for each of the Evangelists,
647:. By 1563 Lasso had been appointed
27:Franco-Flemish composer (1532â1594)
24:
1264:Great Italian and French Composers
1243:. RADAR, Oxford Brookes University
1001:Lasso's 1584 setting of the seven
848:cycle of spiritual madrigals, the
837:masses employing parody technique.
785:Problems playing these files? See
736:
550:
25:
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1430:
1177:Un jour vis un foulon qui fouloit
954:Lasso wrote four settings of the
2687:Belgian male classical composers
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2090:Giovanni Pierluigi da Palestrina
1474:Free scores by Orlande de Lassus
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1069:
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528:Giovanni Pierluigi da Palestrina
43:
1502:of Orlando di Lasso manuscripts
1464:Free scores by Orlando di Lasso
910:, particularly in their use of
874:Entre vous filles de quinze ans
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54:needs additional citations for
1450:Orlando di Lasso-Gesamtausgabe
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1174:. English words are fitted to
622:Basilica of Saint John Lateran
13:
1:
1833:List of Renaissance composers
1313:, Uitgeverij Verloren, 1996,
1207:
1029:of the Netherlanders such as
1009:Psalmi Davidis poenitentiales
980:voices. He sets the words of
927:Motets and other sacred music
563:Orlando de Lasso was born in
504:
166:
1468:Choral Public Domain Library
1360:Haar, James. L. Macy (ed.).
1098:
659:, for the rest of his life.
7:
2672:Pupils of Orlande de Lassus
2637:Belgian classical composers
1337:Sources and further reading
1144:
1019:massacre of St. Bartholomew
839:Nevertheless, the Catholic
819:dedicated 5 volumes of his
637:Albrecht V, Duke of Bavaria
10:
2713:
2463:Petrus Phalesius the Elder
2278:English Virginalist School
1496:by the UmeÄ Academic Choir
1345:, "Orlande de Lassus", in
1262:Ferris, George T. (2007).
1152:Petrus Phalesius the Elder
1060:responsories for Holy Week
31:
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2245:Jan Pieterszoon Sweelinck
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2015:
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1015:King Charles IX of France
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701:being composed for the d'
601:Spirito l'Hoste da Reggio
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207:
189:
162:
150:
143:
1390:Music in the Renaissance
1095:terseness of statement.
2697:Belgian Roman Catholics
2273:English Madrigal School
1420:Jean-Paul C. Montagnier
1381:(subscription required)
990:Super flumina Babylonis
903:)âthe "Hunter's Mass".
882:Missa entre vous filles
537:
34:Lassus (disambiguation)
2115:TomĂĄs Luis de Victoria
1919:Oswald von Wolkenstein
1706:Jacob Clemens non Papa
1221:daughter of "de Lasso"
1176:
1115:
1007:
878:Jacob Clemens non Papa
741:
560:
532:TomĂĄs Luis de Victoria
2642:Renaissance composers
2135:Transition to Baroque
2080:Pierre de Manchicourt
1721:Pierre de Manchicourt
1537:Franco-Flemish School
1444:at Wikimedia Commons
1106:
944:Prophetiae Sibyllarum
850:Lagrime di San Pietro
740:
715:Lagrime di San Pietro
672:Emperor Maximilian II
558:
522:, Lassus stands with
520:Franco-Flemish school
269:Movements and schools
257:Transition to Baroque
2165:Girolamo Frescobaldi
1972:CristĂłbal de Morales
1494:Recordings of Lassus
1487:has compositions by
1054:(including over 100
709:madrigali spirituali
684:Electorate of Saxony
573:Habsburg Netherlands
183:Habsburg Netherlands
63:improve this article
2283:Florentine Camerata
2255:Composition schools
1914:Gaspar van Weerbeke
1405:and Warren Becker,
841:Counter-Reformation
821:Patrocinium musicum
766:Hodie Completi Sunt
748:Resonet in laudibus
730:Music and influence
649:maestro di cappella
617:maestro di cappella
501:various other names
306:English Virginalist
291:Florentine Camerata
2667:Madrigal composers
2478:Thomas Vautrollier
2458:Ottaviano Petrucci
2433:Pierre Attaingnant
2423:Hieronymus Andreae
2230:Michael Praetorius
2215:Claudio Monteverdi
2205:Giovanni de Macque
2200:Luzzasco Luzzaschi
2170:Alfonso Fontanelli
2060:Francisco Guerrero
2035:Antonio de CabezĂłn
1947:Thomas Crecquillon
1929:Middle (1470â1530)
1909:Johannes Tinctoris
1849:Alexander Agricola
1757:Giovanni de Macque
1711:Thomas Crecquillon
1670:Matthaeus Pipelare
1624:Johannes Tinctoris
1609:Marbrianus de Orto
1584:Alexander Agricola
1370:on 13 January 2011
1307:Jan Willem Bonda,
1116:
1003:Penitential Psalms
916:Missa osculetur me
742:
561:
78:"Orlando di Lasso"
2578:
2577:
2175:Giovanni Gabrieli
2002:Philippe Verdelot
1899:Johannes Ockeghem
1841:Early (1400â1470)
1824:Renaissance music
1790:
1789:
1762:Philippe de Monte
1604:Johannes Ockeghem
1599:Guillaume Faugues
1442:Orlande de Lassus
1440:Media related to
1363:Orlande de Lassus
1327:978-90-6550-545-3
1172:Henry IV, Part II
1163:for his writing.
775:
757:
720:Pope Clement VIII
676:Pope Gregory XIII
668:Giovanni Gabrieli
569:County of Hainaut
494:
493:
236:Renaissance music
221:
220:
179:County of Hainaut
139:
138:
131:
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18:Orlande de Lassus
16:(Redirected from
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2677:People from Mons
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2438:Vittorio Baldini
2415:Music publishing
2190:Hans Leo Hassler
2145:Gregorio Allegri
2100:Cipriano de Rore
2075:Vicente Lusitano
2070:Orlando di Lasso
2025:Jacques Arcadelt
1992:Pierre de la Rue
1987:Josquin des Prez
1967:Clément Janequin
1962:Antoine de FĂ©vin
1952:Antonius Divitis
1894:Johannes Martini
1869:Guillaume Du Fay
1817:
1810:
1803:
1794:
1793:
1747:Orlando di Lasso
1726:Cipriano de Rore
1701:Jacques Arcadelt
1685:Pierre de la Rue
1675:Josquin des Prez
1650:Antoine de FĂ©vin
1645:Antonius Divitis
1614:Johannes Prioris
1568:Johannes Pullois
1553:Guillaume Du Fay
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1523:
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1489:Orlando di Lasso
1439:
1382:
1379:
1377:
1375:
1330:
1305:
1299:
1288:
1282:
1281:
1259:
1253:
1252:
1250:
1248:
1237:
1231:
1225:Karel van Mander
1218:
1179:
1161:Clément Janequin
1041:Josquin des Prez
1012:
934:musica reservata
811:, and 90 German
777:
776:
759:
758:
739:
724:Max-Joseph-Platz
585:Ferrante Gonzaga
559:Orlando di Lasso
509:
506:
497:Orlando di Lasso
486:
479:
472:
449:â Medieval music
311:English Madrigal
244:
223:
222:
201:Duchy of Bavaria
171:
168:
155:
145:Orlando di Lasso
141:
140:
134:
127:
123:
120:
114:
112:
71:
47:
39:
21:
2712:
2711:
2707:
2706:
2705:
2703:
2702:
2701:
2627:
2626:
2625:
2615:
2613:
2603:
2601:
2597:Classical music
2591:
2589:
2581:
2579:
2574:
2551:
2543:
2530:
2482:
2468:Girolamo Scotto
2453:Antonio Gardano
2409:
2348:
2302:
2249:
2240:Heinrich SchĂŒtz
2235:Philippe Rogier
2185:Orlando Gibbons
2137:
2133:
2124:
2120:Giaches de Wert
2110:Christopher Tye
2065:Claude Le Jeune
2055:Claude Goudimel
2050:Nicolas Gombert
2045:Andrea Gabrieli
2040:Jacobus Clemens
2011:
2007:Adrian Willaert
1937:Martin Agricola
1923:
1859:Antoine Busnois
1854:Gilles Binchois
1835:
1826:
1821:
1791:
1786:
1782:Giaches de Wert
1772:Philippe Rogier
1752:Carolus Luython
1735:
1731:Adrian Willaert
1716:Nicolas Gombert
1689:
1628:
1572:
1563:Antoine Busnois
1558:Gilles Binchois
1539:
1534:
1485:Mutopia Project
1433:
1380:
1373:
1371:
1339:
1334:
1333:
1306:
1302:
1289:
1285:
1278:
1260:
1256:
1246:
1244:
1239:
1238:
1234:
1219:
1215:
1210:
1202:
1190:
1147:
1111:of painting by
1101:
1072:
929:
920:Andrea Gabrieli
908:Venetian School
901:Missa venatorum
867:Gregorian chant
858:
831:Lasso remained
829:
792:
791:
783:
781:
780:
779:
778:
771:
768:
762:
761:
760:
753:
750:
743:
737:
732:
664:Andrea Gabrieli
645:Hans von Aachen
553:
551:Life and career
540:
507:
490:
459:
456:Baroque music â
452:
439:
438:
437:
405:
397:
396:
395:
325:
317:
316:
315:
270:
260:
259:
242:
214:
203:
194:
185:
172:
169:
158:
146:
135:
124:
118:
115:
72:
70:
60:
48:
37:
28:
23:
22:
15:
12:
11:
5:
2710:
2700:
2699:
2694:
2689:
2684:
2682:Walloon people
2679:
2674:
2669:
2664:
2659:
2654:
2649:
2644:
2639:
2624:
2623:
2611:
2599:
2576:
2575:
2573:
2572:
2562:
2544:
2540:Medieval music
2536:
2535:
2532:
2531:
2529:
2528:
2527:
2526:
2521:
2516:
2511:
2506:
2496:
2490:
2488:
2484:
2483:
2481:
2480:
2475:
2473:Tielman Susato
2470:
2465:
2460:
2455:
2450:
2448:Valerio Dorico
2445:
2440:
2435:
2430:
2425:
2419:
2417:
2411:
2410:
2408:
2407:
2402:
2397:
2392:
2387:
2382:
2377:
2372:
2367:
2362:
2356:
2354:
2350:
2349:
2347:
2346:
2341:
2336:
2331:
2326:
2321:
2316:
2310:
2308:
2304:
2303:
2301:
2300:
2295:
2290:
2288:Franco-Flemish
2285:
2280:
2275:
2270:
2265:
2259:
2257:
2251:
2250:
2248:
2247:
2242:
2237:
2232:
2227:
2222:
2217:
2212:
2207:
2202:
2197:
2192:
2187:
2182:
2180:Carlo Gesualdo
2177:
2172:
2167:
2162:
2157:
2152:
2150:Thomas Campion
2147:
2141:
2139:
2126:
2125:
2123:
2122:
2117:
2112:
2107:
2102:
2097:
2095:Costanzo Porta
2092:
2087:
2085:Hans Neusidler
2082:
2077:
2072:
2067:
2062:
2057:
2052:
2047:
2042:
2037:
2032:
2027:
2021:
2019:
2013:
2012:
2010:
2009:
2004:
1999:
1994:
1989:
1984:
1979:
1974:
1969:
1964:
1959:
1957:Costanzo Festa
1954:
1949:
1944:
1942:Antoine Brumel
1939:
1933:
1931:
1925:
1924:
1922:
1921:
1916:
1911:
1906:
1901:
1896:
1891:
1886:
1884:Heinrich Isaac
1881:
1876:
1874:John Dunstaple
1871:
1866:
1864:Loyset CompĂšre
1861:
1856:
1851:
1845:
1843:
1837:
1836:
1831:
1828:
1827:
1820:
1819:
1812:
1805:
1797:
1788:
1787:
1785:
1784:
1779:
1774:
1769:
1764:
1759:
1754:
1749:
1743:
1741:
1740:5th generation
1737:
1736:
1734:
1733:
1728:
1723:
1718:
1713:
1708:
1703:
1697:
1695:
1694:4th generation
1691:
1690:
1688:
1687:
1682:
1680:Jean Richafort
1677:
1672:
1667:
1662:
1657:
1655:Heinrich Isaac
1652:
1647:
1642:
1640:Antoine Brumel
1636:
1634:
1633:3rd generation
1630:
1629:
1627:
1626:
1621:
1619:Johannes Regis
1616:
1611:
1606:
1601:
1596:
1594:Firminus Caron
1591:
1589:Loyset CompĂšre
1586:
1580:
1578:
1577:2nd generation
1574:
1573:
1571:
1570:
1565:
1560:
1555:
1549:
1547:
1545:1st generation
1541:
1540:
1533:
1532:
1525:
1518:
1510:
1504:
1503:
1497:
1491:
1481:
1471:
1461:
1452:
1432:
1431:External links
1429:
1428:
1427:
1417:
1403:Harold Gleason
1400:
1383:
1357:
1338:
1335:
1332:
1331:
1300:
1283:
1277:978-1406523751
1276:
1254:
1232:
1229:Schilder-boeck
1212:
1211:
1209:
1206:
1201:
1198:
1189:
1186:
1182:Monsieur Mingo
1146:
1143:
1100:
1097:
1078:madrigals and
1071:
1068:
1013:), ordered by
995:A Musical Joke
974:. All are for
928:
925:
857:
854:
843:, which under
828:
825:
799:, 175 Italian
782:
769:
764:
763:
751:
746:
745:
744:
735:
734:
733:
731:
728:
552:
549:
539:
536:
492:
491:
489:
488:
481:
474:
466:
463:
462:
461:
460:
453:
446:
441:
440:
436:
435:
430:
425:
420:
413:
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406:
403:
402:
399:
398:
394:
393:
388:
383:
378:
373:
368:
363:
358:
353:
348:
343:
338:
333:
327:
326:
323:
322:
319:
318:
314:
313:
308:
303:
298:
293:
288:
283:
281:Franco-Flemish
278:
272:
271:
268:
267:
264:
263:
262:
261:
251:
246:
245:
239:
238:
232:
231:
219:
218:
209:
205:
204:
195:
191:
187:
186:
173:
164:
160:
159:
156:
148:
147:
144:
137:
136:
51:
49:
42:
26:
9:
6:
4:
3:
2:
2709:
2698:
2695:
2693:
2690:
2688:
2685:
2683:
2680:
2678:
2675:
2673:
2670:
2668:
2665:
2663:
2660:
2658:
2655:
2653:
2650:
2648:
2645:
2643:
2640:
2638:
2635:
2634:
2632:
2622:
2612:
2610:
2600:
2598:
2588:
2587:
2584:
2571:
2567:
2563:
2561:
2553:
2552:
2549:
2548:
2547:Baroque music
2542:
2541:
2533:
2525:
2522:
2520:
2517:
2515:
2512:
2510:
2507:
2505:
2502:
2501:
2500:
2497:
2495:
2492:
2491:
2489:
2485:
2479:
2476:
2474:
2471:
2469:
2466:
2464:
2461:
2459:
2456:
2454:
2451:
2449:
2446:
2444:
2441:
2439:
2436:
2434:
2431:
2429:
2428:Andrea Antico
2426:
2424:
2421:
2420:
2418:
2416:
2412:
2406:
2403:
2401:
2398:
2396:
2393:
2391:
2388:
2386:
2383:
2381:
2378:
2376:
2373:
2371:
2368:
2366:
2363:
2361:
2358:
2357:
2355:
2351:
2345:
2342:
2340:
2337:
2335:
2332:
2330:
2327:
2325:
2322:
2320:
2317:
2315:
2312:
2311:
2309:
2307:Musical forms
2305:
2299:
2296:
2294:
2291:
2289:
2286:
2284:
2281:
2279:
2276:
2274:
2271:
2269:
2266:
2264:
2261:
2260:
2258:
2256:
2252:
2246:
2243:
2241:
2238:
2236:
2233:
2231:
2228:
2226:
2223:
2221:
2220:Thomas Morley
2218:
2216:
2213:
2211:
2210:Luca Marenzio
2208:
2206:
2203:
2201:
2198:
2196:
2193:
2191:
2188:
2186:
2183:
2181:
2178:
2176:
2173:
2171:
2168:
2166:
2163:
2161:
2158:
2156:
2153:
2151:
2148:
2146:
2143:
2142:
2140:
2136:
2131:
2127:
2121:
2118:
2116:
2113:
2111:
2108:
2106:
2105:Thomas Tallis
2103:
2101:
2098:
2096:
2093:
2091:
2088:
2086:
2083:
2081:
2078:
2076:
2073:
2071:
2068:
2066:
2063:
2061:
2058:
2056:
2053:
2051:
2048:
2046:
2043:
2041:
2038:
2036:
2033:
2031:
2028:
2026:
2023:
2022:
2020:
2018:
2014:
2008:
2005:
2003:
2000:
1998:
1997:John Taverner
1995:
1993:
1990:
1988:
1985:
1983:
1982:Jacob Obrecht
1980:
1978:
1975:
1973:
1970:
1968:
1965:
1963:
1960:
1958:
1955:
1953:
1950:
1948:
1945:
1943:
1940:
1938:
1935:
1934:
1932:
1930:
1926:
1920:
1917:
1915:
1912:
1910:
1907:
1905:
1902:
1900:
1897:
1895:
1892:
1890:
1887:
1885:
1882:
1880:
1877:
1875:
1872:
1870:
1867:
1865:
1862:
1860:
1857:
1855:
1852:
1850:
1847:
1846:
1844:
1842:
1838:
1834:
1829:
1825:
1818:
1813:
1811:
1806:
1804:
1799:
1798:
1795:
1783:
1780:
1778:
1775:
1773:
1770:
1768:
1767:Jacob Regnart
1765:
1763:
1760:
1758:
1755:
1753:
1750:
1748:
1745:
1744:
1742:
1738:
1732:
1729:
1727:
1724:
1722:
1719:
1717:
1714:
1712:
1709:
1707:
1704:
1702:
1699:
1698:
1696:
1692:
1686:
1683:
1681:
1678:
1676:
1673:
1671:
1668:
1666:
1665:Jacob Obrecht
1663:
1661:
1658:
1656:
1653:
1651:
1648:
1646:
1643:
1641:
1638:
1637:
1635:
1631:
1625:
1622:
1620:
1617:
1615:
1612:
1610:
1607:
1605:
1602:
1600:
1597:
1595:
1592:
1590:
1587:
1585:
1582:
1581:
1579:
1575:
1569:
1566:
1564:
1561:
1559:
1556:
1554:
1551:
1550:
1548:
1546:
1542:
1538:
1531:
1526:
1524:
1519:
1517:
1512:
1511:
1508:
1501:
1498:
1495:
1492:
1490:
1486:
1482:
1479:
1475:
1472:
1469:
1465:
1462:
1460:
1456:
1453:
1451:
1447:
1446:
1445:
1443:
1438:
1425:
1421:
1418:
1416:
1415:0-89917-034-X
1412:
1408:
1404:
1401:
1399:
1398:0-393-09530-4
1395:
1391:
1387:
1386:Gustave Reese
1384:
1369:
1365:
1364:
1358:
1356:
1355:1-56159-174-2
1352:
1348:
1344:
1341:
1340:
1328:
1324:
1320:
1319:90-6550-545-8
1316:
1312:
1311:
1304:
1298:
1294:
1287:
1279:
1273:
1270:. p. 2.
1269:
1265:
1258:
1242:
1236:
1230:
1226:
1222:
1217:
1213:
1205:
1197:
1195:
1188:German lieder
1185:
1183:
1178:
1173:
1169:
1164:
1162:
1158:
1153:
1142:
1140:
1136:
1131:
1129:
1125:
1121:
1114:
1110:
1105:
1096:
1093:
1089:
1085:
1081:
1077:
1070:Secular music
1067:
1065:
1061:
1057:
1053:
1049:
1044:
1042:
1038:
1037:
1032:
1028:
1024:
1020:
1016:
1011:
1010:
1004:
999:
997:
996:
991:
985:
983:
979:
978:
973:
969:
965:
961:
957:
952:
950:
946:
945:
940:
936:
935:
924:
921:
917:
913:
909:
904:
902:
898:
894:
890:
889:missae breves
885:
883:
879:
875:
870:
868:
863:
862:parody masses
853:
851:
846:
842:
838:
834:
824:
822:
818:
814:
810:
807:, 150 French
806:
802:
798:
790:
788:
767:
749:
727:
725:
721:
717:
716:
712:known as the
711:
710:
704:
700:
696:
691:
689:
685:
681:
677:
673:
669:
665:
660:
658:
654:
651:, succeeding
650:
646:
642:
638:
634:
630:
629:Low Countries
625:
623:
619:
618:
613:
609:
604:
602:
598:
594:
590:
586:
582:
581:Low Countries
578:
574:
570:
566:
557:
548:
544:
535:
533:
529:
525:
521:
518:style in the
517:
513:
502:
498:
487:
482:
480:
475:
473:
468:
467:
465:
464:
458:
457:
451:
450:
445:
444:
443:
442:
434:
431:
429:
426:
424:
421:
419:
418:
414:
412:
409:
408:
401:
400:
392:
389:
387:
384:
382:
379:
377:
374:
372:
369:
367:
364:
362:
359:
357:
354:
352:
349:
347:
344:
342:
339:
337:
334:
332:
329:
328:
324:Major figures
321:
320:
312:
309:
307:
304:
302:
299:
297:
294:
292:
289:
287:
284:
282:
279:
277:
274:
273:
266:
265:
258:
254:
250:
249:
248:
247:
241:
240:
237:
234:
233:
229:
225:
224:
217:
213:
210:
208:Occupation(s)
206:
202:
198:
192:
188:
184:
180:
176:
165:
161:
154:
149:
142:
133:
130:
122:
111:
108:
104:
101:
97:
94:
90:
87:
83:
80: â
79:
75:
74:Find sources:
68:
64:
58:
57:
52:This article
50:
46:
41:
40:
35:
30:
19:
2545:
2538:
2509:Architecture
2443:Jacob Bathen
2160:John Dowland
2069:
2030:William Byrd
1904:Leonel Power
1777:Jacobus Vaet
1746:
1470:(ChoralWiki)
1434:
1423:
1406:
1389:
1372:. Retrieved
1368:the original
1362:
1346:
1309:
1303:
1286:
1263:
1257:
1245:. Retrieved
1235:
1216:
1203:
1191:
1181:
1165:
1148:
1132:
1117:
1113:Hans Mielich
1073:
1064:Lamentations
1062:, Passions,
1045:
1036:De profundis
1034:
1000:
993:
989:
986:
975:
953:
942:
939:chromaticism
932:
930:
915:
905:
900:
896:
888:
886:
881:
873:
871:
859:
830:
827:Sacred music
820:
793:
784:
713:
707:
692:
661:
653:Ludwig Daser
648:
626:
615:
605:
595:, and later
587:and went to
575:(modern-day
562:
545:
541:
524:William Byrd
496:
495:
454:
447:
415:
375:
255: /
193:14 June 1594
125:
116:
106:
99:
92:
85:
73:
61:Please help
56:verification
53:
29:
2652:1594 deaths
2647:1532 births
2499:Renaissance
2494:Early music
2390:Netherlands
2370:Elizabethan
2225:Jacopo Peri
2195:Alonso Lobo
2155:John Cooper
2017:Late (1530)
1977:Jean Mouton
1889:Jean Japart
1879:Walter Frye
1660:Jean Mouton
1343:Haar, James
1200:Dutch songs
1168:Shakespeare
1128:canzonettas
1056:Magnificats
960:St. Matthew
805:villanellas
512:Renaissance
508: 1532
503:; probably
404:Major forms
170: 1532
2631:Categories
2524:Philosophy
2519:Literature
2487:Background
2353:Traditions
2329:Magnificat
2319:Intermedio
2263:Burgundian
1374:29 October
1268:Dodo Press
1247:31 January
1208:References
1082:chansons,
1005:of David (
977:a cappella
912:polychoral
897:JĂ€ger Mass
893:polyphonic
787:media help
680:Charles IX
516:polyphonic
391:Monteverdi
371:Palestrina
276:Burgundian
89:newspapers
2609:Biography
2339:Offertory
2268:Colorists
2130:Mannerism
1120:madrigals
1099:Madrigals
1052:canticles
1027:imitation
1023:Huguenots
817:Adam Berg
801:madrigals
699:madrigals
657:Wilhelm V
351:Tinctoris
253:Composers
119:July 2016
2560:Category
2537: â
2400:Portugal
2324:Madrigal
2298:Venetian
1500:Database
1145:Chansons
1124:Petrarch
949:Gesualdo
852:(1594).
833:Catholic
809:chansons
423:Madrigal
386:Victoria
341:Ockeghem
336:Binchois
301:Venetian
286:Colorist
243:Overview
228:a series
226:Part of
216:Musician
212:Composer
2583:Portals
2550:â
2380:Germany
2360:British
1480:(IMSLP)
1476:at the
1466:in the
1457:at the
1329:, p. 23
1157:Sermisy
1139:sonnets
1135:sestina
1118:In his
1076:Italian
1031:Gombert
1021:of the
956:Passion
695:Ferrara
688:Dresden
633:Antwerp
620:of the
577:Belgium
567:in the
417:Chanson
366:Zarlino
356:Josquin
346:Busnois
103:scholar
2570:Portal
2395:Poland
2375:France
2365:Cyprus
2344:Pavane
2138:c.1600
1413:
1396:
1353:
1325:
1317:
1274:
1109:detail
1084:German
1080:French
982:Christ
856:Masses
845:Jesuit
813:lieder
797:motets
641:Munich
608:Naples
593:Sicily
589:Mantua
530:, and
411:Anthem
361:Tallis
331:Du Fay
197:Munich
105:
98:
91:
84:
76:
2621:Music
2514:Dance
2405:Spain
2385:Italy
2314:Carol
2293:Roman
1092:Latin
1088:Dutch
1048:hymns
597:Milan
583:with
433:Motet
376:Lasso
296:Roman
110:JSTOR
96:books
2334:Mass
2132:and
1483:The
1448:The
1411:ISBN
1394:ISBN
1376:2010
1351:ISBN
1323:ISBN
1315:ISBN
1272:ISBN
1249:2020
1194:Lied
1180:(as
1086:and
972:John
970:and
968:Luke
964:Mark
803:and
703:Este
565:Mons
538:Name
428:Mass
381:Byrd
190:Died
175:Mons
163:Born
82:news
2504:Art
1223:in
1170:in
1058:),
65:by
2633::
1422:,
1388:,
1321:,
1266:.
1130:.
1050:,
1043:.
966:,
962:,
726:.
690:.
591:,
571:,
526:,
505:c.
230:on
199:,
181:,
177:,
167:c.
2585::
1816:e
1809:t
1802:v
1529:e
1522:t
1515:v
1378:.
1280:.
1251:.
899:(
789:.
499:(
485:e
478:t
471:v
132:)
126:(
121:)
117:(
107:·
100:·
93:·
86:·
59:.
36:.
20:)
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