121:, no specific documentation of either of these events has been found; some dedicatory material in his Venetian publications mentions him as a "disciple" or "follower", but not specifically as a student. Yet he was closely connected with Willaert and his associates for much of his career, and visited Venice at least once before 1542. Beginning in this year, documentation of Rore's whereabouts becomes clearer. A letter written on 3 November 1542 indicates he was at Brescia, where he was known to have remained until 16 April 1545. During this period he began to acquire fame as a composer, publishing, with the Venetian printer Scotto's assistance, his first book of madrigals in 1542, as well as two books of motets in 1544 and 1545. The reprints of these works two years later by both Scotto and Gardane indicated their high regard. Their technical mastery and stylistic indebtedness to Willaert and his circle make an early connection with Venice a reasonable supposition.
238:
pervasive imitation. These works are mostly for four or five voices, with one for six and another for eight. The tone of his writing tends toward the serious, especially as contrasted with the light character of the work of his predecessors
Arcadelt and Verdelot. Rore chose not to write madrigals of frivolous nature, preferring serious subject matter, including the works of Petrarch and tragedies presented at Ferrara. He carefully brought out the varying moods of the texts he set, developing musical devices for this purpose; additionally he often ignored the structure of the line, line division, and rhyme, deeming it unnecessary that the musical and poetic lines correspond.
136:. In 1558 he requested a leave of absence from his employer in Ferrara to return to his homeland to care for his ailing parents. He stopped in Munich on the way, reaching the city on 1 May, where he assisted in preparation of the motet manuscript, and posed for the Muelich portrait. A document of September 1558 places him in Flanders, where he was helping his sister-in-law with estate matters on the death of Celistinus, his brother. By December he had returned to Ferrara.
2327:
128:(choirmaster) beginning on 6 May 1546. This was the beginning of an extraordinarily productive portion of his life; while in the service of Duke Ercole II d'Este he wrote masses, motets, chansons, and of course madrigals, many of which were topical, some involving matters of the court itself. In 1556 Duke Ercole awarded Rore a benefice for his exceptional service. Also during the Ferrara years, Rore began cultivating his relations with the court of
2337:
93:, which implied a long association with her, he may have accompanied her when she went to Naples in 1533 before marrying into the Medici family. Margaret was born in a town within walking distance of Rore's birthplace. Before that speculative trip Rore may have had some early music instruction in Antwerp. Many gifted singers from the Netherlands went to Italy as children or adolescents, often when discovered by visiting nobility; both
31:
261:, a sacred variation on a popular secular form. Stylistically they are similar to his madrigals, and he published them throughout his career; occasionally they appeared in collections of madrigals, such as in his posthumous Fifth Book for five voices (1566), and he also included some in a collection of motets for five voices published in 1545.
83:-speaking areas. Research has established that his parents were Celestinus Rore (died before 1564) and Barbara Van Coppenolle, and he had at least two siblings, Franciscus and Celestinus. The family was active in Ronse at least since 1400, and its coat of arms appeared both on his personal seal and his tombstone in Parma Cathedral.
228:
While best known for his
Italian madrigals, Rore was also a prolific composer of sacred music, both masses and motets. Josquin was his point of departure, and he developed many of his techniques from the older composer's style. Rore's first three masses are a response to the challenge of his heritage
237:
It was as a composer of madrigals that Rore achieved enduring fame. With his madrigals published primarily between 1542 and 1565, he was one of the most influential madrigalists at mid-century. His early madrigals reflect
Willaert with the use of clear diction, thick and continuous counterpoint, and
192:
with the
Italian secular form, bringing a seriousness of tone that became one of the predominant trends in madrigal composition all the way into the 17th century. All the lines of development in the madrigal in the late century can be traced to ideas first seen in Rore; according to Alfred Einstein,
183:
Rore was one of the most influential composers of the mid-16th century, mainly through the dissemination of his madrigals. His 1542 book was an extraordinary event, and recognized as such at the time: it established five voices as the norm, rather than four, and married the
57:
who went to live and work in Italy, Rore was one of the most prominent composers of madrigals in the middle of the 16th century. His experimental, chromatic, and highly expressive style had a decisive influence on the subsequent development of that secular music form.
174:
He died at Parma the next year of unknown causes at age 49 and was buried in the cathedral in that city. Lodovico Rore, his nephew, erected his tombstone, indicating in the epitaph that his name would not be forgotten, even in the distant future.
163:, and after a stay in Antwerp, returned to Italy again, this time to Parma, in 1560. Unhappy thereâParma was not an intellectual and cultural center on the level of Ferrara or Veniceâhe left in 1563, briefly taking the prestigious position of
255:
Rore also composed secular Latin motets, a relatively unusual "crossover" form in the mid-16th century. These motets, a secular variation of a normally sacred form, paralleled the sacred madrigal, the
1245:
197:, another revolutionary. But in his sacred music, Rore was more backward-looking, showing his connection to his Netherlandish roots: his masses, for example, are reminiscent of the work of
171:
upon
Willaert's death. But he kept this post only into 1564, when he returned to Parma; he gave as his reason for departing Venice the disorder in the chapel and an insufficient salary.
245:. He used all the resources of polyphony as they had developed by the mid-16th century, including imitation and canonic techniques, all in the service of careful text setting.
159:, and when Rore reached it in autumn 1559, he found that his home town, Ronse, had been destroyed. Unable to regain his employment in Ferrara, he reentered the service of the
1238:
1905:
1231:
252:(1949), Rore's true spiritual successor was Monteverdi. Einstein also said, "Rore holds the key to the whole development of the Italian madrigal after 1550."
105:
in 1536, Rore may have gone his own way, but he is believed to have received some of his music education in Italy during his period of service with
Margaret.
71:
Little is known of Rore's early life. His probable birth years (1515/1516) are known from his age at death (49, recorded on his tombstone in the cathedral in
86:
Where Rore got his musical training is unknown. Based on a suggestive phrase in a 1559 madrigal dedicated to
Margaret of Parma, the illegitimate daughter of
1517:
1277:
229:
and to the music of
Josquin. In addition to five masses, he wrote about 80 motets, many psalms, secular motets, and a setting of the St. John Passion.
1541:
770:
248:
Rore was the model many of the great madrigalists of the late 16th century followed, including
Monteverdi. According to Alfred Einstein, writing in
1549:
1533:
1389:
958:
2371:
152:, a member of an old Ferrara family, to the foreigner. Once again he went north to his homeland; this time he did not return to Este service.
1509:
204:
Rore wrote 107 madrigals that are securely attributed to him; 16 secular Latin compositions, similar in form to madrigals; at least seven
1585:
1525:
2155:
2401:
2381:
732:
2150:
2396:
763:
951:
132:
in Munich, sending them music, and having 26 motets produced in an elaborately illustrated manuscript with miniatures by
706:
676:
662:
641:
2170:
2130:
1860:
756:
17:
1578:
2175:
1699:
944:
1611:
1830:
1787:
1603:
90:
2140:
722:
728:
2386:
2185:
53:, active in Italy. Not only a central representative of the generation of Franco-Flemish composers after
1223:
688:
2391:
2376:
2330:
2233:
2048:
1571:
1413:
718:
2015:
1445:
920:
1885:
2279:
2135:
1325:
1258:
903:
156:
102:
241:
In addition, Rore experimented with chromaticism, following some of the ideas of his contemporary
2310:
2068:
2043:
1373:
779:
1742:
2340:
2317:
2294:
2289:
1925:
1900:
1810:
1689:
1437:
1381:
1136:
2361:
2160:
2145:
2058:
1850:
1151:
967:
925:
149:
129:
46:
1805:
2366:
1935:
257:
168:
145:
118:
8:
2053:
1684:
1421:
1269:
1254:
877:
1737:
1732:
1080:
2248:
2228:
2203:
2193:
2025:
2000:
1985:
1975:
1970:
1940:
1717:
1679:
1619:
1493:
1429:
1333:
1187:
1141:
1100:
1054:
1039:
1014:
865:
488:
Digital Image
Archive of Medieval Music (DIAMM), with links to images of the manuscript
194:
87:
2010:
2336:
2284:
2033:
1945:
1772:
1669:
1594:
1405:
1365:
1357:
1349:
1309:
1192:
1034:
1029:
975:
884:
841:
835:
702:
684:: "Rore, Cipriano de", Grove Music Online, ed. L. Macy (Accessed November 18, 2007),
672:
658:
637:
94:
50:
1634:
1019:
2208:
2038:
1960:
1915:
1845:
1840:
1795:
1762:
1757:
1722:
1664:
1639:
1453:
1341:
1301:
1177:
1131:
1115:
1105:
1075:
1044:
998:
983:
897:
828:
815:
681:
242:
198:
160:
54:
1461:
2238:
2223:
2165:
2005:
1955:
1890:
1880:
1835:
1825:
1820:
1815:
1777:
1707:
1629:
1624:
1501:
1285:
1212:
1202:
1182:
1161:
1146:
993:
988:
871:
808:
794:
692:
114:
98:
144:
In July 1559 Rore left his post in Ferrara again, possibly because the new Duke
34:
Detail of a miniature of Cipriano de Rore by Hans MĂźelich, probably 1558 or 1559
2243:
2218:
1950:
1920:
1865:
1855:
1727:
1712:
1654:
1644:
1469:
1317:
1110:
1085:
1070:
1049:
1024:
891:
859:
853:
847:
212:, of which 51 survive; a Passion according to Saint John; five settings of the
80:
2355:
2198:
2084:
1990:
1980:
1875:
1767:
1752:
1397:
1197:
1095:
738:
2274:
2213:
2104:
2063:
1930:
1800:
1674:
1477:
1207:
801:
332:, (Venice, 1565, four and five voices) (also contains secular Latin pieces)
213:
133:
101:
traveled to southern Italy in similar circumstances. When Margaret married
483:
2269:
2264:
1995:
1965:
1747:
1659:
1649:
1253:
1090:
657:
Three volumes. Princeton, New Jersey, Princeton University Press, 1949.
155:
The situation in his homeland had deteriorated due to the ravages of the
936:
671:, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980.
2099:
2089:
1485:
217:
2109:
185:
1563:
2094:
748:
742:
205:
30:
113:
While it has long been claimed that Rore studied in Venice with
2114:
341:
Numerous additional works in anthologies, between 1547 and 1570
308:(Ferrara, 1550, five voices) (also contains chansons in French)
209:
189:
124:
Rore then went to Ferrara, where payment records show he was
76:
75:), and his probable birthplace was a small town in Flanders,
72:
685:
284:(Venice, 1544, five voices; enlargement of 1542 publication)
45:) (1515 or 1516 â between 11 and 20 September 1565) was a
338:(1566, five voices) (also contains secular Latin pieces)
300:
Musica ... sopra le stanze del Petrarcha ... libro terzo
413:
411:
409:
407:
405:
403:
401:
399:
397:
139:
524:
522:
614:
394:
370:Passio Domini Nostri Jesu Christi secundum Joannem
79:(Renaix), on the boundary between the French- and
626:
519:
2353:
460:
458:
456:
454:
452:
450:
330:Le vive fiamme de' vaghi e dilettevoli madrigali
669:The New Grove Dictionary of Music and Musicians
568:
566:
564:
554:
552:
1579:
1239:
952:
764:
447:
575:
561:
701:. New York, W.W. Norton & Co., 1954.
549:
1586:
1572:
1246:
1232:
959:
945:
771:
757:
966:
733:International Music Score Library Project
667:Johnson, Alvin H. "Cipriano de Rore," in
29:
14:
2354:
646:Brown, Howard M. and Louise K. Stein.
193:his only true spiritual successor was
178:
2372:16th-century Franco-Flemish composers
1593:
1567:
1227:
940:
752:
282:Il primo libro de madregali cromatici
108:
648:Music in the Renaissance, Second Ed.
384:(Venice, 1595; five to seven voices)
778:
24:
140:Departure from Ferrara; last years
25:
2413:
2402:Venetian School (music) composers
712:
2382:Italian male classical composers
2335:
2326:
2325:
1861:Giovanni Pierluigi da Palestrina
650:New Jersey: Prentice Hall, 1999.
372:(Paris, 1557; two to six voices)
232:
220:; and a handful of other works.
739:Free scores by Cipriano de Rore
729:Free scores by Cypriano de Rore
719:Free scores by Cipriano de Rore
605:
593:
584:
540:
531:
223:
627:References and further reading
510:
501:
476:
467:
438:
429:
420:
66:
13:
1:
2397:Italian Renaissance composers
1604:List of Renaissance composers
326:, (Venice, 1562, five voices)
320:, (Venice, 1557, four voices)
318:Il secondo libro de madregali
296:, (Venice, 1548, five voices)
288:Il secondo libro de madregali
188:texture of the Netherlandish
723:Choral Public Domain Library
336:Il quinto libro de madrigali
312:Il quarto libro d'imadregali
117:and that he was a singer at
7:
378:(Venice, 1563, four voices)
366:(Venice, 1549, five voices)
360:(Venice, 1545, five voices)
354:(Venice, 1544, five voices)
306:Il primo libro de madrigali
302:(Venice, 1548, five voices)
294:Il terzo libro di madrigali
290:(Venice, 1544, five voices)
278:(Venice, 1542, five voices)
10:
2418:
2234:Petrus Phalesius the Elder
2049:English Virginalist School
1414:Giacomo Giuseppe Saratelli
636:. New York, Norton, 1998.
269:
2305:
2257:
2184:
2123:
2077:
2024:
2016:Jan Pieterszoon Sweelinck
1899:
1786:
1698:
1610:
1601:
1446:Giovanni Agostino Perotti
1265:
1170:
1124:
1063:
1007:
974:
921:Venetian polychoral style
913:
786:
364:Il terzo libro di motetti
345:
324:Li madrigali libro quarto
1326:Giulio Cesare Martinengo
904:Giulio Cesare Martinengo
699:Music in the Renaissance
507:Einstein, Vol. I, p. 388
388:
264:
2044:English Madrigal School
1374:Giovanni Battista Volpe
473:Einstein, Vol. I p. 386
352:Motectorum liber primus
61:
1886:TomĂĄs Luis de Victoria
1690:Oswald von Wolkenstein
1438:Bonaventura Furlanetto
1382:Gian Domenico Partenio
1137:Jacob Clemens non Papa
426:Einstein, Vol.1 p. 384
35:
1906:Transition to Baroque
1851:Pierre de Manchicourt
1259:Saint Mark's Basilica
1152:Pierre de Manchicourt
968:Franco-Flemish School
686:(subscription access)
655:The Italian Madrigal.
314:(Venice, five voices)
150:Francesco dalla Viola
130:Albrecht V of Bavaria
103:Alessandro de' Medici
33:
1936:Girolamo Frescobaldi
1743:CristĂłbal de Morales
620:Johnson, p. 187, 189
601:The Italian Madrigal
258:madrigale spirituale
250:The Italian Madrigal
157:Wars of Independence
2054:Florentine Camerata
2026:Composition schools
1685:Gaspar van Weerbeke
1422:Baldassarre Galuppi
1270:Johannes de Quadris
1255:Maestri di cappella
878:Girolamo Dalla Casa
874:(c.1554âafter 1610)
516:Owens, Grove online
444:Johnson, p 185-187.
417:Owens, Grove Online
179:Music and influence
165:maestro di cappella
126:maestro di cappella
2387:Madrigal composers
2249:Thomas Vautrollier
2229:Ottaviano Petrucci
2204:Pierre Attaingnant
2194:Hieronymus Andreae
2001:Michael Praetorius
1986:Claudio Monteverdi
1976:Giovanni de Macque
1971:Luzzasco Luzzaschi
1941:Alfonso Fontanelli
1831:Francisco Guerrero
1806:Antonio de CabezĂłn
1718:Thomas Crecquillon
1700:Middle (1470â1530)
1680:Johannes Tinctoris
1620:Alexander Agricola
1518:Gastone De Zuccoli
1494:Delfino Thermignon
1430:Ferdinando Bertoni
1334:Claudio Monteverdi
1188:Giovanni de Macque
1142:Thomas Crecquillon
1101:Matthaeus Pipelare
1055:Johannes Tinctoris
1040:Marbrianus de Orto
1015:Alexander Agricola
926:St Mark's Basilica
866:Vincenzo Bellavere
691:2008-05-16 at the
653:Einstein, Alfred.
195:Claudio Monteverdi
109:Venice and Ferrara
88:Holy Roman Emperor
36:
2392:People from Ronse
2377:Flemish composers
2349:
2348:
1946:Giovanni Gabrieli
1773:Philippe Verdelot
1670:Johannes Ockeghem
1612:Early (1400â1470)
1595:Renaissance music
1561:
1560:
1554:
1546:
1538:
1530:
1522:
1514:
1506:
1498:
1490:
1482:
1474:
1466:
1458:
1450:
1442:
1434:
1426:
1418:
1410:
1406:Antonio Pollarolo
1402:
1394:
1386:
1378:
1370:
1366:Giovanni Legrenzi
1362:
1358:Natale Monferrato
1354:
1350:Francesco Cavalli
1346:
1338:
1330:
1322:
1314:
1310:Baldassare Donato
1306:
1298:
1290:
1282:
1274:
1221:
1220:
1193:Philippe de Monte
1035:Johannes Ockeghem
1030:Guillaume Faugues
934:
933:
885:Giovanni Gabrieli
842:Annibale Padovano
836:Baldassare Donato
682:Owens, Jessie Ann
634:Renaissance Music
528:Johnson, p. 186-7
146:Alfonso II d'Este
95:Orlande de Lassus
16:(Redirected from
2409:
2339:
2329:
2328:
2209:Vittorio Baldini
2186:Music publishing
1961:Hans Leo Hassler
1916:Gregorio Allegri
1871:Cipriano de Rore
1846:Vicente Lusitano
1841:Orlando di Lasso
1796:Jacques Arcadelt
1763:Pierre de la Rue
1758:Josquin des Prez
1738:ClĂŠment Janequin
1733:Antoine de FĂŠvin
1723:Antonius Divitis
1665:Johannes Martini
1640:Guillaume Du Fay
1588:
1581:
1574:
1565:
1564:
1552:
1544:
1536:
1528:
1520:
1512:
1504:
1496:
1488:
1480:
1472:
1464:
1456:
1454:Antonio Buzzolla
1448:
1440:
1432:
1424:
1416:
1408:
1400:
1392:
1384:
1376:
1368:
1360:
1352:
1344:
1342:Giovanni Rovetta
1336:
1328:
1320:
1312:
1304:
1302:Gioseffo Zarlino
1296:
1294:Cipriano de Rore
1288:
1280:
1278:Pietro de Fossis
1272:
1248:
1241:
1234:
1225:
1224:
1178:Orlando di Lasso
1157:Cipriano de Rore
1132:Jacques Arcadelt
1116:Pierre de la Rue
1106:Josquin des Prez
1081:Antoine de FĂŠvin
1076:Antonius Divitis
1045:Johannes Prioris
999:Johannes Pullois
984:Guillaume Du Fay
961:
954:
947:
938:
937:
898:Giovanni Bassano
829:Gioseffo Zarlino
822:Cipriano de Rore
816:Nicola Vicentino
773:
766:
759:
750:
749:
745:early music site
743:VistaMare Musica
697:Reese, Gustave.
632:Atlas, Allan W.
621:
618:
612:
609:
603:
597:
591:
588:
582:
579:
573:
570:
559:
556:
547:
544:
538:
537:Einstein, p. xxx
535:
529:
526:
517:
514:
508:
505:
499:
498:
496:
494:
480:
474:
471:
465:
462:
445:
442:
436:
433:
427:
424:
418:
415:
382:Sacrae cantiones
243:Nicola Vicentino
199:Josquin des Prez
161:House of Farnese
55:Josquin des Prez
49:composer of the
39:Cipriano de Rore
27:Italian composer
21:
18:Cypriano de Rore
2417:
2416:
2412:
2411:
2410:
2408:
2407:
2406:
2352:
2351:
2350:
2345:
2322:
2314:
2301:
2253:
2239:Girolamo Scotto
2224:Antonio Gardano
2180:
2119:
2073:
2020:
2011:Heinrich SchĂźtz
2006:Philippe Rogier
1956:Orlando Gibbons
1908:
1904:
1895:
1891:Giaches de Wert
1881:Christopher Tye
1836:Claude Le Jeune
1826:Claude Goudimel
1821:Nicolas Gombert
1816:Andrea Gabrieli
1811:Jacobus Clemens
1782:
1778:Adrian Willaert
1708:Martin Agricola
1694:
1630:Antoine Busnois
1625:Gilles Binchois
1606:
1597:
1592:
1562:
1557:
1542:Roberto Micconi
1502:Umberto Ravetta
1286:Adrian Willaert
1261:
1252:
1222:
1217:
1213:Giaches de Wert
1203:Philippe Rogier
1183:Carolus Luython
1166:
1162:Adrian Willaert
1147:Nicolas Gombert
1120:
1059:
1003:
994:Antoine Busnois
989:Gilles Binchois
970:
965:
935:
930:
909:
872:Girolamo Diruta
809:Andrea Gabrieli
795:Adrian Willaert
782:
780:Venetian School
777:
715:
693:Wayback Machine
629:
624:
619:
615:
610:
606:
598:
594:
589:
585:
580:
576:
571:
562:
557:
550:
545:
541:
536:
532:
527:
520:
515:
511:
506:
502:
492:
490:
482:
481:
477:
472:
468:
463:
448:
443:
439:
434:
430:
425:
421:
416:
395:
391:
348:
272:
267:
235:
226:
181:
142:
115:Adrian Willaert
111:
99:Giaches de Wert
69:
64:
28:
23:
22:
15:
12:
11:
5:
2415:
2405:
2404:
2399:
2394:
2389:
2384:
2379:
2374:
2369:
2364:
2347:
2346:
2344:
2343:
2333:
2315:
2311:Medieval music
2307:
2306:
2303:
2302:
2300:
2299:
2298:
2297:
2292:
2287:
2282:
2277:
2267:
2261:
2259:
2255:
2254:
2252:
2251:
2246:
2244:Tielman Susato
2241:
2236:
2231:
2226:
2221:
2219:Valerio Dorico
2216:
2211:
2206:
2201:
2196:
2190:
2188:
2182:
2181:
2179:
2178:
2173:
2168:
2163:
2158:
2153:
2148:
2143:
2138:
2133:
2127:
2125:
2121:
2120:
2118:
2117:
2112:
2107:
2102:
2097:
2092:
2087:
2081:
2079:
2075:
2074:
2072:
2071:
2066:
2061:
2059:Franco-Flemish
2056:
2051:
2046:
2041:
2036:
2030:
2028:
2022:
2021:
2019:
2018:
2013:
2008:
2003:
1998:
1993:
1988:
1983:
1978:
1973:
1968:
1963:
1958:
1953:
1951:Carlo Gesualdo
1948:
1943:
1938:
1933:
1928:
1923:
1921:Thomas Campion
1918:
1912:
1910:
1897:
1896:
1894:
1893:
1888:
1883:
1878:
1873:
1868:
1866:Costanzo Porta
1863:
1858:
1856:Hans Neusidler
1853:
1848:
1843:
1838:
1833:
1828:
1823:
1818:
1813:
1808:
1803:
1798:
1792:
1790:
1784:
1783:
1781:
1780:
1775:
1770:
1765:
1760:
1755:
1750:
1745:
1740:
1735:
1730:
1728:Costanzo Festa
1725:
1720:
1715:
1713:Antoine Brumel
1710:
1704:
1702:
1696:
1695:
1693:
1692:
1687:
1682:
1677:
1672:
1667:
1662:
1657:
1655:Heinrich Isaac
1652:
1647:
1645:John Dunstaple
1642:
1637:
1635:Loyset Compère
1632:
1627:
1622:
1616:
1614:
1608:
1607:
1602:
1599:
1598:
1591:
1590:
1583:
1576:
1568:
1559:
1558:
1556:
1555:
1547:
1539:
1531:
1523:
1515:
1507:
1499:
1491:
1483:
1475:
1470:Lorenzo Perosi
1467:
1459:
1451:
1443:
1435:
1427:
1419:
1411:
1403:
1395:
1387:
1379:
1371:
1363:
1355:
1347:
1339:
1331:
1323:
1318:Giovanni Croce
1315:
1307:
1299:
1291:
1283:
1275:
1266:
1263:
1262:
1251:
1250:
1243:
1236:
1228:
1219:
1218:
1216:
1215:
1210:
1205:
1200:
1195:
1190:
1185:
1180:
1174:
1172:
1171:5th generation
1168:
1167:
1165:
1164:
1159:
1154:
1149:
1144:
1139:
1134:
1128:
1126:
1125:4th generation
1122:
1121:
1119:
1118:
1113:
1111:Jean Richafort
1108:
1103:
1098:
1093:
1088:
1086:Heinrich Isaac
1083:
1078:
1073:
1071:Antoine Brumel
1067:
1065:
1064:3rd generation
1061:
1060:
1058:
1057:
1052:
1050:Johannes Regis
1047:
1042:
1037:
1032:
1027:
1025:Firminus Caron
1022:
1020:Loyset Compère
1017:
1011:
1009:
1008:2nd generation
1005:
1004:
1002:
1001:
996:
991:
986:
980:
978:
976:1st generation
972:
971:
964:
963:
956:
949:
941:
932:
931:
929:
928:
923:
917:
915:
911:
910:
908:
907:
901:
895:
892:Giovanni Croce
889:
881:
875:
869:
863:
860:Gioseffo Guami
857:
854:Claudio Merulo
851:
848:Costanzo Porta
845:
839:
833:
825:
819:
813:
805:
799:
790:
788:
784:
783:
776:
775:
768:
761:
753:
747:
746:
736:
726:
714:
713:External links
711:
710:
709:
695:
679:
665:
651:
644:
628:
625:
623:
622:
613:
604:
592:
583:
574:
560:
548:
539:
530:
518:
509:
500:
475:
466:
464:Johnson, p 186
446:
437:
435:Johnson, p 185
428:
419:
392:
390:
387:
386:
385:
379:
373:
367:
361:
355:
347:
344:
343:
342:
339:
333:
327:
321:
315:
309:
303:
297:
291:
285:
279:
271:
268:
266:
263:
234:
231:
225:
222:
180:
177:
141:
138:
110:
107:
68:
65:
63:
60:
47:Franco-Flemish
41:(occasionally
26:
9:
6:
4:
3:
2:
2414:
2403:
2400:
2398:
2395:
2393:
2390:
2388:
2385:
2383:
2380:
2378:
2375:
2373:
2370:
2368:
2365:
2363:
2360:
2359:
2357:
2342:
2338:
2334:
2332:
2324:
2323:
2320:
2319:
2318:Baroque music
2313:
2312:
2304:
2296:
2293:
2291:
2288:
2286:
2283:
2281:
2278:
2276:
2273:
2272:
2271:
2268:
2266:
2263:
2262:
2260:
2256:
2250:
2247:
2245:
2242:
2240:
2237:
2235:
2232:
2230:
2227:
2225:
2222:
2220:
2217:
2215:
2212:
2210:
2207:
2205:
2202:
2200:
2199:Andrea Antico
2197:
2195:
2192:
2191:
2189:
2187:
2183:
2177:
2174:
2172:
2169:
2167:
2164:
2162:
2159:
2157:
2154:
2152:
2149:
2147:
2144:
2142:
2139:
2137:
2134:
2132:
2129:
2128:
2126:
2122:
2116:
2113:
2111:
2108:
2106:
2103:
2101:
2098:
2096:
2093:
2091:
2088:
2086:
2083:
2082:
2080:
2078:Musical forms
2076:
2070:
2067:
2065:
2062:
2060:
2057:
2055:
2052:
2050:
2047:
2045:
2042:
2040:
2037:
2035:
2032:
2031:
2029:
2027:
2023:
2017:
2014:
2012:
2009:
2007:
2004:
2002:
1999:
1997:
1994:
1992:
1991:Thomas Morley
1989:
1987:
1984:
1982:
1981:Luca Marenzio
1979:
1977:
1974:
1972:
1969:
1967:
1964:
1962:
1959:
1957:
1954:
1952:
1949:
1947:
1944:
1942:
1939:
1937:
1934:
1932:
1929:
1927:
1924:
1922:
1919:
1917:
1914:
1913:
1911:
1907:
1902:
1898:
1892:
1889:
1887:
1884:
1882:
1879:
1877:
1876:Thomas Tallis
1874:
1872:
1869:
1867:
1864:
1862:
1859:
1857:
1854:
1852:
1849:
1847:
1844:
1842:
1839:
1837:
1834:
1832:
1829:
1827:
1824:
1822:
1819:
1817:
1814:
1812:
1809:
1807:
1804:
1802:
1799:
1797:
1794:
1793:
1791:
1789:
1785:
1779:
1776:
1774:
1771:
1769:
1768:John Taverner
1766:
1764:
1761:
1759:
1756:
1754:
1753:Jacob Obrecht
1751:
1749:
1746:
1744:
1741:
1739:
1736:
1734:
1731:
1729:
1726:
1724:
1721:
1719:
1716:
1714:
1711:
1709:
1706:
1705:
1703:
1701:
1697:
1691:
1688:
1686:
1683:
1681:
1678:
1676:
1673:
1671:
1668:
1666:
1663:
1661:
1658:
1656:
1653:
1651:
1648:
1646:
1643:
1641:
1638:
1636:
1633:
1631:
1628:
1626:
1623:
1621:
1618:
1617:
1615:
1613:
1609:
1605:
1600:
1596:
1589:
1584:
1582:
1577:
1575:
1570:
1569:
1566:
1551:
1550:Marco Gemmani
1548:
1543:
1540:
1535:
1534:Alfredo Bravi
1532:
1527:
1524:
1519:
1516:
1511:
1508:
1503:
1500:
1495:
1492:
1487:
1484:
1479:
1476:
1471:
1468:
1463:
1462:Nicolò Coccon
1460:
1455:
1452:
1447:
1444:
1439:
1436:
1431:
1428:
1423:
1420:
1415:
1412:
1407:
1404:
1399:
1398:Antonio Lotti
1396:
1391:
1390:Antonio Biffi
1388:
1383:
1380:
1375:
1372:
1367:
1364:
1359:
1356:
1351:
1348:
1343:
1340:
1335:
1332:
1327:
1324:
1319:
1316:
1311:
1308:
1303:
1300:
1295:
1292:
1287:
1284:
1279:
1276:
1271:
1268:
1267:
1264:
1260:
1256:
1249:
1244:
1242:
1237:
1235:
1230:
1229:
1226:
1214:
1211:
1209:
1206:
1204:
1201:
1199:
1198:Jacob Regnart
1196:
1194:
1191:
1189:
1186:
1184:
1181:
1179:
1176:
1175:
1173:
1169:
1163:
1160:
1158:
1155:
1153:
1150:
1148:
1145:
1143:
1140:
1138:
1135:
1133:
1130:
1129:
1127:
1123:
1117:
1114:
1112:
1109:
1107:
1104:
1102:
1099:
1097:
1096:Jacob Obrecht
1094:
1092:
1089:
1087:
1084:
1082:
1079:
1077:
1074:
1072:
1069:
1068:
1066:
1062:
1056:
1053:
1051:
1048:
1046:
1043:
1041:
1038:
1036:
1033:
1031:
1028:
1026:
1023:
1021:
1018:
1016:
1013:
1012:
1010:
1006:
1000:
997:
995:
992:
990:
987:
985:
982:
981:
979:
977:
973:
969:
962:
957:
955:
950:
948:
943:
942:
939:
927:
924:
922:
919:
918:
916:
912:
906:(c.1561â1613)
905:
902:
900:(c.1558â1617)
899:
896:
894:(c.1557â1609)
893:
890:
888:(c.1555â1612)
887:
886:
882:
879:
876:
873:
870:
867:
864:
862:(c.1540â1611)
861:
858:
855:
852:
850:(c.1529â1601)
849:
846:
843:
840:
837:
834:
831:
830:
826:
824:(c.1515â1565)
823:
820:
818:(1511âc.1576)
817:
814:
812:(c.1532â1585)
811:
810:
806:
804:(c.1500â1565)
803:
800:
798:(c.1490â1562)
797:
796:
792:
791:
789:
785:
781:
774:
769:
767:
762:
760:
755:
754:
751:
744:
740:
737:
734:
730:
727:
724:
720:
717:
716:
708:
707:0-393-09530-4
704:
700:
696:
694:
690:
687:
683:
680:
678:
677:1-56159-174-2
674:
670:
666:
664:
663:0-691-09112-9
660:
656:
652:
649:
645:
643:
642:0-393-97169-4
639:
635:
631:
630:
617:
608:
602:
596:
587:
578:
569:
567:
565:
555:
553:
543:
534:
525:
523:
513:
504:
489:
485:
484:"Munich MS B"
479:
470:
461:
459:
457:
455:
453:
451:
441:
432:
423:
414:
412:
410:
408:
406:
404:
402:
400:
398:
393:
383:
380:
377:
374:
371:
368:
365:
362:
359:
356:
353:
350:
349:
340:
337:
334:
331:
328:
325:
322:
319:
316:
313:
310:
307:
304:
301:
298:
295:
292:
289:
286:
283:
280:
277:
274:
273:
262:
260:
259:
253:
251:
246:
244:
239:
233:Secular music
230:
221:
219:
215:
211:
207:
202:
200:
196:
191:
187:
176:
172:
170:
166:
162:
158:
153:
151:
147:
137:
135:
131:
127:
122:
120:
116:
106:
104:
100:
96:
92:
89:
84:
82:
78:
74:
59:
56:
52:
48:
44:
40:
32:
19:
2362:1510s births
2316:
2309:
2280:Architecture
2214:Jacob Bathen
1931:John Dowland
1870:
1801:William Byrd
1675:Leonel Power
1478:Pietro Magri
1293:
1208:Jacobus Vaet
1156:
883:
827:
821:
807:
802:Jacques Buus
793:
725:(ChoralWiki)
698:
668:
654:
647:
633:
616:
611:Atlas, p 598
607:
600:
595:
586:
581:Reese, p 329
577:
572:Reese, p 330
546:Brown, p 202
542:
533:
512:
503:
491:. Retrieved
487:
478:
469:
440:
431:
422:
381:
375:
369:
363:
357:
351:
335:
329:
323:
317:
311:
305:
299:
293:
287:
281:
275:
256:
254:
249:
247:
240:
236:
227:
224:Sacred music
203:
182:
173:
164:
154:
143:
134:Hans Muelich
125:
123:
112:
85:
70:
42:
38:
37:
2367:1565 deaths
2270:Renaissance
2265:Early music
2161:Netherlands
2141:Elizabethan
1996:Jacopo Peri
1966:Alonso Lobo
1926:John Cooper
1788:Late (1530)
1748:Jean Mouton
1660:Jean Japart
1650:Walter Frye
1510:Matteo Tosi
1091:Jean Mouton
856:(1533â1604)
844:(1527â1575)
838:(1525â1603)
832:(1517â1590)
590:Brown p 205
558:Johnson 187
276:I madrigali
218:Magnificats
67:Early years
51:Renaissance
2356:Categories
2295:Philosophy
2290:Literature
2258:Background
2124:Traditions
2100:Magnificat
2090:Intermedio
2034:Burgundian
1486:Giulio Bas
599:Einstein,
186:polyphonic
169:St. Mark's
148:preferred
2110:Offertory
2039:Colorists
1901:Mannerism
1526:Luigi Vio
787:Composers
119:San Marco
91:Charles V
2331:Category
2308: â
2171:Portugal
2095:Madrigal
2069:Venetian
914:See also
880:(d.1601)
868:(d.1587)
689:Archived
206:chansons
43:Cypriano
2321:â
2151:Germany
2131:British
735:(IMSLP)
731:at the
721:in the
493:29 July
376:Motetta
358:Motetta
270:Secular
216:; some
2341:Portal
2166:Poland
2146:France
2136:Cyprus
2115:Pavane
1909:c.1600
1553:(2000)
1545:(1981)
1537:(1954)
1529:(1939)
1521:(1937)
1513:(1926)
1505:(1921)
1497:(1900)
1489:(1899)
1481:(1898)
1473:(1894)
1465:(1871)
1457:(1855)
1449:(1811)
1441:(1808)
1433:(1785)
1425:(1762)
1417:(1747)
1409:(1740)
1401:(1736)
1393:(1702)
1385:(1692)
1377:(1690)
1369:(1685)
1361:(1676)
1353:(1668)
1345:(1644)
1337:(1613)
1329:(1609)
1321:(1605)
1313:(1590)
1305:(1565)
1297:(1563)
1289:(1527)
1281:(1491)
1273:(1463)
705:
675:
661:
640:
346:Sacred
210:motets
2285:Dance
2176:Spain
2156:Italy
2085:Carol
2064:Roman
741:from
389:Notes
265:Works
208:; 53
190:motet
81:Dutch
77:Ronse
73:Parma
2105:Mass
1903:and
703:ISBN
673:ISBN
659:ISBN
638:ISBN
495:2024
214:mass
97:and
62:Life
2275:Art
1257:at
167:at
2358::
563:^
551:^
521:^
486:.
449:^
396:^
201:.
1587:e
1580:t
1573:v
1247:e
1240:t
1233:v
960:e
953:t
946:v
772:e
765:t
758:v
497:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
