204:, a Mantuan composer who was Wert's competitor at Santa Barbara. When this affair was discovered in 1570, she was forced to leave Mantua, with Wert remaining behind. Wert persisted in his job, despite the censure of the choir for being a cuckold. However, Lucrezia's subsequent misfortunes exceeded those of Wert. On returning to Novellara, she became sexually involved with Claudio, an illegitimate son of Count Francesco of Novellara, and took part in a plot to murder his uncle on the death of his father as an attempt to gain his inheritance and title; while Claudio escaped justice, Lucrezia was caught with some of the other conspirators, and she died in prison in 1584.
112:
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170:, as a musician in the service of a branch of the Gonzagas; a previous suggestion that he may have been in Rome has not been securely established. Novellara in the mid-sixteenth century was a significant musical center under its local branch of the Gonzaga family. Alfonso I built a theatre and staged dramatic performances at his castle, with his young Flemish choirmaster in charge.
370:, anticipating the changes in musical language of the early Baroque, during which functional tonality crystallized out of the pre-tonal universe of the late Renaissance; in addition these late compositions are mainly homophonic, with only occasional polyphonic passages appearing as an animating contrast. An influence from the Venetians is his occasional use of the
329:. Pure homophony became more common in his works, and he began to exploit registral and textural contrasts rather than switch from polyphony to homophony; in addition, his lines became more lyrical. His preferred poets changed as well: while early in his career he had used Bembo and Petrarch, and later Ariosto, he shifted to
354:, he began to write madrigals for them in an appropriate style â with elaborate parts for three high voices, often containing separate blocks for high and low voices, and the most virtuosic singing required in the topmost part. His music during this period was influenced by the other composers working in Ferrara, including
296:
While Wert wrote both sacred and secular music, as well as a handful of instrumental fantasias, his madrigals were by far the most famous portion of his output during his lifetime. He wrote approximately 230, which he published in sixteen separate books spread across a half-century, from 1558 to the
300:
Wert's early style was heavily influenced by
Cipriano de Rore, the renowned mid-century madrigalist active at Ferrara. Wert's first three books show some features typical of Rore's writing, such as chromaticism, word-painting, and, according to Alfred Einstein, an "indifference to everything merely
412:
appeared in anthologies with the music of other composers. His other six masses remained in manuscript, as did the majority of the music he wrote for Santa
Barbara in Mantua. Most likely this was because he was commissioned to write that music, such as his cycle of 127 hymns, specifically for that
233:
family. However he became increasingly close to the Este court in
Ferrara during the 1570s and 1580s, without actually becoming employed there. While the two courts were closely connected by marriage and mutual interchange of musicians, Ferrara was a place with a profoundly different outlook from
253:
Tarquinia, unlike Wert, but like
Lucrezia, was a member of the nobility, and when her affair with Wert was found out in 1589 â their affair was plagued with spies, and their love-letters opened â she was banished to Modena. Wert may have been previously married to nobility, but in Ferrara he was
238:; the progressive tendencies of Ferrara better fitted Wert's musical inclinations. Wert had a good time there; so much so that his employer in Mantua sent a strongly worded letter on 22 December 1584 demanding his immediate return to his post. Wert, however, had fallen in love with the widowed
395:, or the most impertinent chanson ... could not be more removed from true poetry" but yet which was the most-often set individual poem of the late sixteenth century. It portrayed a nymph and a shepherd attempting, by speeding up and slowing down, to achieve simultaneous orgasm, with multiple
224:
from 1558 to 1560.) During the late 1560s Wert had several offers of employment elsewhere, but turned them down. The most significant came in
Augsburg in 1566, where Wert's spectacular ability to improvise counterpoint engendered an offer to join the imperial court in Prague, serving
420:(as Mantua was a center of the Counter-Reformation, this was to be expected), to motet settings similar in expressive intensity to his madrigals including passages of surprising chromaticism not unlike that of Gesualdo. This is particularly true in the 1581 collections:
358:, and his favorite poets of the time were those most closely associated with Ferrara â Tasso and Guarini. In his tenth book of madrigals (1591), six of the compositions may have been intended for a solo singer with instrumental accompaniment, in the manner of the
181:, who was the most influential figure on his early musical style. While in Novellara, Wert married Lucrezia Gonzaga and raised a family, having at least six children. Wert stayed in Novellara until the early 1560s, at which time he accepted the position of
309:
manner influential on
Monteverdi, and he also showed a liking for high voices â something which turned out to be a defining characteristic of the music-making at the Este court in Ferrara. The poems he chose to set for his early books include examples by
381:, one of the most popular texts for musical setting of the era. The final collection published under Wert's name came out posthumously in 1608, and contained pieces for four to seven voices. One of its madrigals was a setting of Guarini's notorious
242:, the most famous female singer and poet in Italy, who was a lady-in-waiting at the Este court, so he endeavored to spend as much time as possible in Ferrara. This was the same year that Lucrezia, Wert's wife, died in prison in Novellara.
211:
in Mantua until 1592. The 1560s were productive years for Wert musically, as he produced his first four books of five-voice madrigals during this time, and his first book for four voices. The dedications are significant: one is to
297:
final posthumous collection in 1608. His madrigal books are almost all for five voices, although he published one book in 1561 for four, and the posthumous collection of 1608 includes pieces ranging from four to seven voices.
173:
Relations between the
Gonzaga and Este families were close, and in the early 1550s Wert traveled at least once to Mantua and Ferrara, centers of musical activity in the late sixteenth century, where he met the renowned
305:'s madrigals, he also explored distant tonal regions, while avoiding jarring harmonic progressions. In addition, he showed a preference for a declamatory, homophonic style, which he refined later in his career into a
407:
Wert wrote a considerable amount of sacred music, but little of it was published during his lifetime. He published only three books of motets, one in 1566 and the other two in 1581; a few of his works, such as the
337:. In his sixth book of madrigals for five voices (1577), he included three madrigal cycles, an innovation which was to become a prominent musical subgenre near the end of the century. The cycles include two
764:
Einstein, p. 518. Einstein (1949) alone claims that these cyclic compositions are in his third madrigal book of 1563; both Carol MacClintock and Iain Fenlon find them in the sixth madrigal book of 1577.
151:. Francesco was often in France and adjacent areas on military campaigns, and as an adjunct to these adventures he brought musically talented youths back to Italy with him. Wert's association with the
279:
in Mantua, and in August 1595 he dedicated his last book of madrigals. Wert died in 1596 in Mantua, in his house near the ducal palace; his tomb is near to that of his contemporary
1796:
602:"Vox in Rama", Signum, sung by Collegium Regale, the choral scholars of King's College, Cambridge, under Stephen Cleobury. Contains the entire second book of motets.
48:
213:
201:
383:
416:
The style of his sacred music varies from simple homophony, designed for absolute clarity of textual expression in conformance with the dictates of the
136:
345:
by
Ariosto; they are set in a declamatory manner, thereby including a treatment of vocal lines which foreshadowed monody, and Wert's own later works.
261:
in 1582, and ill-health was to bedevil him for the rest of his life. Even so, he remained musically productive, writing a coronation mass for Duke
1189:
2282:
996:
424:, for example, contains colorful examples of text-painting such as he used in the works he was composing for the Ferrarese court at the time.
823:
1476:
2046:
342:
35:
2267:
588:
207:
While Wert endured the humiliating situation in Mantua through the late 1560s, he kept his job: he was to remain at least nominally
325:
Wert's style at mid-career began to change away from the Rore manner towards one more closely aligned with the
Venetians, such as
2041:
2272:
1094:
220:, and in the dedicatory preface Wert thanks him for the opportunity to lead his choir. (FernĂĄndez de CĂłrdoba was Governor of
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1182:
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989:
262:
194:
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932:
915:
898:
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All of Wert's works, both sacred and secular, have been compiled and edited by Carol MacClintock and M. Bernstein in
226:
2061:
2021:
1751:
1469:
387:, an obscene poem that Einstein called "worthless, indeed contemptible", and "...more obscene than the coarsest
2297:
2066:
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1175:
649:
1502:
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123:
Little is known about his early life, except that he was from
Flanders, from either the vicinity of Ghent or
2031:
1099:
962:
939:
Warrior, Courtier, Singer: Giulio Cesare Brancaccio and the Performance of Identity in the Late Renaissance
797:
139:, Marchesa of Padulla. Maria was the wife of Francesco d'Este, Marchese di Massalombarda, a captain under
2287:
2076:
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1939:
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229:, the Holy Roman Emperor. The next job offer he refused came from Parma the next year, the home of the
1906:
958:
330:
272:
167:
116:
1776:
377:
For his final madrigal book published in his lifetime, the eleventh, he set passages from Guarini's
2170:
2026:
1078:
1036:
95:. He was one of the most influential of late sixteenth-century madrigal composers, particularly on
399:
on "death" and "dying"; the popularity of this poem was enormous. Wert wrote his setting in 1581.
2201:
1959:
1934:
612:
94684 (2014). First book of motets, sung by Collegium Musicum Amsterdam, under Anthony Zielhorst.
40:
1633:
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still a servant, and his affair was considered as scandalous there as was Lucrezia's in Mantua.
2231:
2208:
2185:
2180:
1816:
1791:
1701:
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1367:
249:
Torquato Tasso, possible friend of Wert at Ferrara, and poet whose verse he often set to music.
2051:
2036:
1949:
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for the main Gonzaga chapel in Milan; however, he did not stay long there, moving in 1565 to
80:
1696:
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1826:
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267:
8:
1944:
1575:
783:
622:
HMC901621 (1997). Selection from various books of madrigals, sung by Cantus Cölln, under
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148:
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1608:
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1285:
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871:
609:
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271:, the renowned group of musical ladies of Ferrara, who were virtuoso singers. In 1592,
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478:(Venice 1564; five voices) (Note that the third book was published before the second)
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283:, in the crypt of Santa Barbara, beneath the church where he worked for many years.
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Numerous other works published separately or in anthologies, between 1563 and 1609.
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Once Wert made the acquaintance of the virtuoso singing ladies of Ferrara, the
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1975:
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Numerous works published separately or in anthologies, between 1558 and 1590.
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135:
in southern Italy, near Naples, where he became a choir boy in the chapel of
100:
99:, and his later music was formative on the development of music of the early
301:
formal and ... striving for the most intense expression." In the manner of
91:, he was one of the leaders in developing the style of the late Renaissance
2165:
2104:
1995:
1954:
1821:
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1565:
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311:
910:
Three volumes. Princeton, New Jersey, Princeton University Press, 1949.
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1856:
1638:
1550:
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893:, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980.
867:
1167:
824:"Giaches De Wert, Cantus Cölln, Konrad JunghĂ€el â Madrigali (CD, Album)"
111:
1990:
1980:
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371:
2000:
163:
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550:
Most remained in manuscript. However, the following were published:
234:
Mantua: Ferrara was progressive, while Mantua was supportive of the
1985:
367:
315:
175:
132:
200:
It was in Mantua that Lucrezia, Wert's wife, began an affair with
338:
319:
258:
245:
128:
88:
26:
2005:
359:
186:
968:
733:
731:
729:
87:. Intimately connected with the progressive musical center of
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221:
119:
in Mantua: Wert was choir director here from 1565 until 1592.
84:
726:
627:
719:
717:
854:
Renaissance Music: Music in Western Europe, 1400â1600.
714:
439:
158:
Sometime before 1550 he began his association with the
2244:
891:The New Grove Dictionary of Music and Musicians
538:(Venice 1608; four to seven voices; posthumous)
155:family was to endure through most of his life.
413:institution, and his publisher was in Venice.
1470:
1183:
990:
707:
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695:
971:Master List of Composers, "Wert, Giaches de"
162:family. Most likely around 1550 he moved to
83:composer of the late Renaissance, active in
927:. New York, W.W. Norton & Co., 1954.
1477:
1463:
1190:
1176:
997:
983:
692:
591:. Contains two six-voice motets by Wert,
518:Il primo libro delle canzonette villanelle
374:style, with groups of voices in dialogue.
1197:
874:. Grove Music Online, Oxford Music Online
685:
683:
1004:
856:New York, W.W. Norton & Co., 1998.
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671:
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265:in 1587, and numerous madrigals for the
244:
110:
51:of all important aspects of the article.
143:; Francesco was a son of the notorious
2245:
647:
589:Studio de musique ancienne de Montréal
286:
47:Please consider expanding the lead to
2283:16th-century Franco-Flemish composers
1484:
1458:
1171:
978:
660:
362:which were one of the forerunners of
969:The Italian Madrigal Resource Center
654:Dizionario Biografico degli Italiani
440:Secular music: madrigals, canzonette
20:
115:Campanile of Santa Barbara, at the
16:Franco-Flemish composer (1535â1596)
13:
866:
587:, CBC Records, MVCD 1121, sung by
464:Madrigale del fiore, libro secondo
14:
2309:
952:
2268:Belgian male classical composers
2226:
2217:
2216:
1752:Giovanni Pierluigi da Palestrina
798:"De Wert: Motets, Book 1 (1566)"
458:Madrigale del fiore, libro primo
25:
816:
790:
776:
545:
536:Il duodecimo libro de madrigali
39:may be too short to adequately
959:Free scores by Giaches de Wert
941:. Ashgate Publishing, 2007.
767:
758:
749:
740:
641:
49:provide an accessible overview
1:
1495:List of Renaissance composers
846:
755:Einstein, Vol. II pp. 517â518
746:Einstein, Vol. II pp. 514â515
737:Einstein, Vol. II pp. 512â513
576:
530:L'undecimo libro de madrigali
500:Il settimo libro de madrigali
476:Il secondo libro de madrigali
2273:Flemish expatriates in Italy
963:Choral Public Domain Library
656:(in Italian). Vol. 100.
593:Ascendente Jesu in naviculam
524:Il decimo libro de madrigali
488:Il quinto libro de madrigali
482:Il quarto libro de madrigali
214:Gonzalo FernĂĄndez de CĂłrdoba
166:, a town in what is now the
7:
2263:Belgian classical composers
773:Einstein, Vol. II pp. 542â3
561:Il secondo libro de motetti
506:L'ottavo libro de madrigali
494:Il sesto libro de madrigali
470:Il terzo libro de madrigali
452:Il primo libro de madrigali
448:(Venice, 1558; five voices)
446:Il primo libro de madrigali
257:Wert first became ill with
79:; 1535 â 6 May 1596) was a
10:
2314:
2125:Petrus Phalesius the Elder
1940:English Virginalist School
563:(Venice 1581; five voices)
557:(Venice 1566; five voices)
532:(Venice 1595; five voices)
526:(Venice 1591; five voices)
520:(Venice 1589; five voices)
514:(Venice 1588; five voices)
512:Il nono libro de madrigali
508:(Venice 1586; five voices)
502:(Venice 1581; five voices)
496:(Venice 1577; five voices)
490:(Venice 1571; five voices)
484:(Venice 1567; five voices)
472:(Venice 1563; five voices)
466:(Venice 1561; five voices)
460:(Venice 1561; five voices)
454:(Venice 1561; four voices)
291:
2293:People from East Flanders
2196:
2148:
2075:
2014:
1968:
1915:
1907:Jan Pieterszoon Sweelinck
1790:
1677:
1589:
1501:
1492:
1401:
1355:
1294:
1238:
1205:
1149:
1108:
1100:Margherita Gonzaga d'Este
1087:
1051:
1014:
802:www.brilliantclassics.com
711:MacClintock, Grove (1980)
569:(Venice 1581; six voices)
567:Modulationum liber primus
402:
273:Giovanni Giacomo Gastoldi
168:Province of Reggio Emilia
1079:Giulio Cesare Brancaccio
1037:Giulio Cesare Brancaccio
925:Music in the Renaissance
723:Einstein, Vol. II p. 512
634:
434:
1935:English Madrigal School
885:(subscription required)
784:"Collegiumregale.co.uk"
648:Sonoda, Midori (2020).
616:Madrigali a cinque voci
555:Motectorum liber primus
195:chapel of Santa Barbara
106:
1777:TomĂĄs Luis de Victoria
1581:Oswald von Wolkenstein
1368:Jacob Clemens non Papa
889:"Giaches de Wert", in
606:O mors, quam amara est
391:, the most suggestive
275:took over his post as
250:
131:. As a boy he went to
120:
73:Jacques/Jaches de Wert
2298:Renaissance composers
1797:Transition to Baroque
1742:Pierre de Manchicourt
1383:Pierre de Manchicourt
1199:Franco-Flemish School
937:Wistreich, Richard.
908:The Italian Madrigal.
597:Peccavi super numerum
248:
114:
1827:Girolamo Frescobaldi
1634:CristĂłbal de Morales
1074:Vittoria Bentivoglio
1007:Concerto delle donne
689:Fenlon, Grove online
393:canto carnascialesco
366:. The late music is
268:concerto delle donne
1945:Florentine Camerata
1917:Composition schools
1576:Gaspar van Weerbeke
351:concerto delle dame
287:Music and influence
277:maestro di cappella
236:Counter-Reformation
209:maestro di cappella
191:maestro di cappella
183:maestro di cappella
2288:Madrigal composers
2140:Thomas Vautrollier
2120:Ottaviano Petrucci
2095:Pierre Attaingnant
2085:Hieronymus Andreae
1892:Michael Praetorius
1877:Claudio Monteverdi
1867:Giovanni de Macque
1862:Luzzasco Luzzaschi
1832:Alfonso Fontanelli
1722:Francisco Guerrero
1697:Antonio de CabezĂłn
1609:Thomas Crecquillon
1591:Middle (1470â1530)
1571:Johannes Tinctoris
1511:Alexander Agricola
1419:Giovanni de Macque
1373:Thomas Crecquillon
1332:Matthaeus Pipelare
1286:Johannes Tinctoris
1271:Marbrianus de Orto
1246:Alexander Agricola
1136:Claudio Monteverdi
1131:Luzzasco Luzzaschi
872:"Wert, Giaches de"
650:"WERT, Giaches de"
610:Brilliant Classics
356:Luzzasco Luzzaschi
341:by Petrarch and a
251:
202:Agostino Bonvicino
147:, and her husband
121:
97:Claudio Monteverdi
2278:Flemish composers
2240:
2239:
1837:Giovanni Gabrieli
1664:Philippe Verdelot
1561:Johannes Ockeghem
1503:Early (1400â1470)
1486:Renaissance music
1452:
1451:
1424:Philippe de Monte
1266:Johannes Ockeghem
1261:Guillaume Faugues
1165:
1164:
1116:Lodovico Agostini
1095:Alfonso II d'Este
1069:Leonora Sanvitale
1064:Isabella Bendidio
1059:Lucrezia Bendidio
410:Missa Dominicalis
384:Tirsi morir volea
66:
65:
2305:
2230:
2220:
2219:
2100:Vittorio Baldini
2077:Music publishing
1852:Hans Leo Hassler
1807:Gregorio Allegri
1762:Cipriano de Rore
1737:Vicente Lusitano
1732:Orlando di Lasso
1687:Jacques Arcadelt
1654:Pierre de la Rue
1649:Josquin des Prez
1629:Clément Janequin
1624:Antoine de FĂ©vin
1614:Antonius Divitis
1556:Johannes Martini
1531:Guillaume Du Fay
1479:
1472:
1465:
1456:
1455:
1409:Orlando di Lasso
1388:Cipriano de Rore
1363:Jacques Arcadelt
1347:Pierre de la Rue
1337:Josquin des Prez
1312:Antoine de FĂ©vin
1307:Antonius Divitis
1276:Johannes Prioris
1230:Johannes Pullois
1215:Guillaume Du Fay
1192:
1185:
1178:
1169:
1168:
1157:Vittorio Baldini
1121:Ippolito Fiorini
999:
992:
985:
976:
975:
886:
883:
881:
879:
852:Allan W. Atlas,
840:
839:
837:
835:
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747:
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738:
735:
724:
721:
712:
709:
690:
687:
658:
657:
645:
624:Konrad JunghÀnel
584:Heavenly Spheres
418:Council of Trent
397:double entendres
307:seconda prattica
281:Francesco Rovigo
263:Vincenzo Gonzaga
189:where he became
179:Cipriano de Rore
149:Alfonso I d'Este
137:Maria di Cardona
77:Giaches de Vuert
61:
58:
52:
29:
21:
2313:
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2306:
2304:
2303:
2302:
2243:
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2241:
2236:
2213:
2205:
2192:
2144:
2130:Girolamo Scotto
2115:Antonio Gardano
2071:
2010:
1964:
1911:
1902:Heinrich SchĂŒtz
1897:Philippe Rogier
1847:Orlando Gibbons
1799:
1795:
1786:
1782:Giaches de Wert
1772:Christopher Tye
1727:Claude Le Jeune
1717:Claude Goudimel
1712:Nicolas Gombert
1707:Andrea Gabrieli
1702:Jacobus Clemens
1673:
1669:Adrian Willaert
1599:Martin Agricola
1585:
1521:Antoine Busnois
1516:Gilles Binchois
1497:
1488:
1483:
1453:
1448:
1444:Giaches de Wert
1434:Philippe Rogier
1414:Carolus Luython
1397:
1393:Adrian Willaert
1378:Nicolas Gombert
1351:
1290:
1234:
1225:Antoine Busnois
1220:Gilles Binchois
1201:
1196:
1166:
1161:
1145:
1141:Giaches de Wert
1104:
1083:
1047:
1042:Tarquinia Molza
1010:
1003:
955:
904:Alfred Einstein
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828:www.discogs.com
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637:
579:
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442:
437:
422:Ascendente Jesu
405:
327:Andrea Gabrieli
303:Adrian Willaert
294:
289:
240:Tarquinia Molza
145:Lucrezia Borgia
109:
69:Giaches de Wert
62:
56:
53:
46:
34:This article's
30:
17:
12:
11:
5:
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2255:
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2206:
2202:Medieval music
2198:
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2194:
2193:
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2190:
2189:
2188:
2183:
2178:
2173:
2168:
2158:
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2146:
2145:
2143:
2142:
2137:
2135:Tielman Susato
2132:
2127:
2122:
2117:
2112:
2110:Valerio Dorico
2107:
2102:
2097:
2092:
2087:
2081:
2079:
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2018:
2016:
2012:
2011:
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2003:
1998:
1993:
1988:
1983:
1978:
1972:
1970:
1966:
1965:
1963:
1962:
1957:
1952:
1950:Franco-Flemish
1947:
1942:
1937:
1932:
1927:
1921:
1919:
1913:
1912:
1910:
1909:
1904:
1899:
1894:
1889:
1884:
1879:
1874:
1869:
1864:
1859:
1854:
1849:
1844:
1842:Carlo Gesualdo
1839:
1834:
1829:
1824:
1819:
1814:
1812:Thomas Campion
1809:
1803:
1801:
1788:
1787:
1785:
1784:
1779:
1774:
1769:
1764:
1759:
1757:Costanzo Porta
1754:
1749:
1747:Hans Neusidler
1744:
1739:
1734:
1729:
1724:
1719:
1714:
1709:
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1641:
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1631:
1626:
1621:
1619:Costanzo Festa
1616:
1611:
1606:
1604:Antoine Brumel
1601:
1595:
1593:
1587:
1586:
1584:
1583:
1578:
1573:
1568:
1563:
1558:
1553:
1548:
1546:Heinrich Isaac
1543:
1538:
1536:John Dunstaple
1533:
1528:
1526:Loyset CompĂšre
1523:
1518:
1513:
1507:
1505:
1499:
1498:
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1411:
1405:
1403:
1402:5th generation
1399:
1398:
1396:
1395:
1390:
1385:
1380:
1375:
1370:
1365:
1359:
1357:
1356:4th generation
1353:
1352:
1350:
1349:
1344:
1342:Jean Richafort
1339:
1334:
1329:
1324:
1319:
1317:Heinrich Isaac
1314:
1309:
1304:
1302:Antoine Brumel
1298:
1296:
1295:3rd generation
1292:
1291:
1289:
1288:
1283:
1281:Johannes Regis
1278:
1273:
1268:
1263:
1258:
1256:Firminus Caron
1253:
1251:Loyset CompĂšre
1248:
1242:
1240:
1239:2nd generation
1236:
1235:
1233:
1232:
1227:
1222:
1217:
1211:
1209:
1207:1st generation
1203:
1202:
1195:
1194:
1187:
1180:
1172:
1163:
1162:
1160:
1159:
1153:
1151:
1147:
1146:
1144:
1143:
1138:
1133:
1128:
1126:Carlo Gesualdo
1123:
1118:
1112:
1110:
1106:
1105:
1103:
1102:
1097:
1091:
1089:
1085:
1084:
1082:
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1076:
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1066:
1061:
1055:
1053:
1049:
1048:
1046:
1045:
1039:
1034:
1029:
1024:
1022:Laura Peverara
1018:
1016:
1012:
1011:
1002:
1001:
994:
987:
979:
973:
972:
966:
954:
953:External links
951:
950:
949:
935:
918:
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841:
815:
804:. January 2014
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620:Harmonia Mundi
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379:Il pastor fido
335:Torquato Tasso
293:
290:
288:
285:
108:
105:
81:Franco-Flemish
64:
63:
43:the key points
33:
31:
24:
15:
9:
6:
4:
3:
2:
2310:
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2209:Baroque music
2204:
2203:
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2172:
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2167:
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2090:Andrea Antico
2088:
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2002:
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1989:
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1984:
1982:
1979:
1977:
1974:
1973:
1971:
1969:Musical forms
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1882:Thomas Morley
1880:
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1872:Luca Marenzio
1870:
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1767:Thomas Tallis
1765:
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1680:
1676:
1670:
1667:
1665:
1662:
1660:
1659:John Taverner
1657:
1655:
1652:
1650:
1647:
1645:
1644:Jacob Obrecht
1642:
1640:
1637:
1635:
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1627:
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1466:
1461:
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1457:
1445:
1442:
1440:
1437:
1435:
1432:
1430:
1429:Jacob Regnart
1427:
1425:
1422:
1420:
1417:
1415:
1412:
1410:
1407:
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1404:
1400:
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1354:
1348:
1345:
1343:
1340:
1338:
1335:
1333:
1330:
1328:
1327:Jacob Obrecht
1325:
1323:
1320:
1318:
1315:
1313:
1310:
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1300:
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1023:
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1000:
995:
993:
988:
986:
981:
980:
977:
970:
967:
964:
960:
957:
956:
948:
947:0-7546-5414-1
944:
940:
936:
934:
933:0-393-09530-4
930:
926:
922:
921:Gustave Reese
919:
917:
916:0-691-09112-9
913:
909:
905:
902:
900:
899:1-56159-174-2
896:
892:
888:
873:
869:
865:
863:
862:0-393-97169-4
859:
855:
851:
850:
829:
825:
819:
803:
799:
793:
785:
779:
770:
761:
752:
743:
734:
732:
730:
720:
718:
708:
706:
704:
702:
700:
698:
696:
686:
684:
682:
680:
678:
676:
674:
672:
670:
668:
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664:
655:
651:
644:
640:
629:
625:
621:
617:
614:
611:
607:
604:
601:
598:
594:
590:
586:
585:
581:
580:
571:
568:
565:
562:
559:
556:
553:
552:
551:
540:
537:
534:
531:
528:
525:
522:
519:
516:
513:
510:
507:
504:
501:
498:
495:
492:
489:
486:
483:
480:
477:
474:
471:
468:
465:
462:
459:
456:
453:
450:
447:
444:
443:
432:
431:series xxiv.
430:
425:
423:
419:
414:
411:
400:
398:
394:
390:
386:
385:
380:
375:
373:
369:
365:
361:
357:
353:
352:
346:
344:
340:
336:
332:
328:
323:
321:
317:
313:
308:
304:
298:
284:
282:
278:
274:
270:
269:
264:
260:
255:
247:
243:
241:
237:
232:
228:
227:Maximilian II
223:
219:
218:Duke of Sessa
215:
210:
205:
203:
198:
196:
192:
188:
184:
180:
177:
171:
169:
165:
161:
156:
154:
150:
146:
142:
138:
134:
130:
126:
118:
113:
104:
102:
98:
94:
90:
86:
82:
78:
74:
70:
60:
50:
44:
42:
37:
32:
28:
23:
22:
19:
2207:
2200:
2171:Architecture
2105:Jacob Bathen
1822:John Dowland
1781:
1692:William Byrd
1566:Leonel Power
1443:
1439:Jacobus Vaet
1140:
1052:Predecessors
1032:Livia d'Arco
1027:Anna Guarini
1015:Core members
1005:
965:(ChoralWiki)
938:
924:
907:
890:
876:. Retrieved
868:Fenlon, Iain
853:
832:. Retrieved
827:
818:
806:. Retrieved
801:
792:
778:
769:
760:
751:
742:
653:
643:
615:
605:
596:
592:
582:
566:
560:
554:
549:
546:Sacred music
535:
529:
523:
517:
511:
505:
499:
493:
487:
481:
475:
469:
463:
457:
451:
445:
426:
421:
415:
409:
406:
396:
392:
388:
382:
378:
376:
349:
347:
324:
312:Pietro Bembo
306:
299:
295:
276:
266:
256:
252:
208:
206:
199:
190:
182:
172:
157:
122:
117:Ducal Palace
76:
72:
68:
67:
54:
38:
36:lead section
18:
2258:1596 deaths
2253:1535 births
2161:Renaissance
2156:Early music
2052:Netherlands
2032:Elizabethan
1887:Jacopo Peri
1857:Alonso Lobo
1817:John Cooper
1679:Late (1530)
1639:Jean Mouton
1551:Jean Japart
1541:Walter Frye
1322:Jean Mouton
1044:(uncertain)
176:madrigalist
57:August 2024
2247:Categories
2186:Philosophy
2181:Literature
2149:Background
2015:Traditions
1991:Magnificat
1981:Intermedio
1925:Burgundian
1109:Associates
878:29 October
847:References
834:25 January
808:25 January
577:Recordings
389:mascherata
372:concertato
2001:Offertory
1930:Colorists
1792:Mannerism
164:Novellara
141:Charles V
41:summarize
2222:Category
2199: â
2062:Portugal
1986:Madrigal
1960:Venetian
360:monodies
343:capitolo
316:Petrarch
133:Avellino
93:madrigal
2212:â
2042:Germany
2022:British
1150:Printer
1088:Patrons
961:in the
339:canzoni
331:Guarini
320:Ariosto
292:Secular
259:malaria
231:Farnese
193:at the
160:Gonzaga
129:Antwerp
127:, near
101:Baroque
89:Ferrara
2232:Portal
2057:Poland
2037:France
2027:Cyprus
2006:Pavane
1800:c.1600
945:
931:
914:
897:
860:
830:. 1996
403:Sacred
187:Mantua
71:(also
2176:Dance
2067:Spain
2047:Italy
1976:Carol
1955:Roman
635:Notes
435:Works
368:tonal
364:opera
222:Milan
125:Weert
103:era.
85:Italy
1996:Mass
1794:and
943:ISBN
929:ISBN
912:ISBN
895:ISBN
880:2010
858:ISBN
836:2019
810:2019
628:lute
595:and
333:and
318:and
153:Este
107:Life
2166:Art
429:CMM
2249::
923:,
906:,
870:.
826:.
800:.
728:^
716:^
694:^
662:^
652:.
630:).
618:â
608:â
322:.
314:,
216:,
197:.
75:,
1478:e
1471:t
1464:v
1191:e
1184:t
1177:v
998:e
991:t
984:v
882:.
838:.
812:.
786:.
626:(
599:.
59:)
55:(
45:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
