360:, a diverse range of compositions reflective of his status as the primary composer at one of Europe's most renowned musical institutions, surrounded by other similarly creative people. Some scholars have suggested that he only composed music for about the last 20 years of his life, mainly when he was in the imperial service; but it has proven difficult to date any of his works precisely, although it has been possible to suggest groupings based on a rough chronology. Stylistically, his works are more similar to Josquin than to any other composer working at the same time. In fact, misattribution of doubtful works has gone both ways.
303:, rarely traveling. These are hypothesized to be the most productive years for La Rue as a composer, since he would have had the most free time, and spared the rigors of travel across Europe. Shortly after Charles V came of age in 1515, the court resumed its travels; La Rue retired shortly after a huge tour of all the cities in the northern portions of Charles' empire. Likely he left his job during one of the chapel's visits to Kortrijk, in May or June 1516. He remained there until his death a little more than two years later. While his epitaph alludes to the possibility that he may have worked at the courts in
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prebends, which he distributed to many places, including relatives, charities, choirs, institutions; and he arranged for requiem masses to be sung every day for the month after his death, and a further 300 masses to be sung afterwards, in several different cathedrals. He asked to be buried on the left side of the altar in the church in
Kortrijk, although the exact location can no longer be found, and the epitaph only survives in several partially contradictory copies. His epitaph indicates he was a thrifty, virtuous person, not "given to the crimes of Venus" (as, for example, composer
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six pieces that are completely canonic from start to finish, including two masses, three motets, and a chanson; and he wrote three more masses, two motets, and three chansons which are based on canon but contain some free sections; and there are numerous other works which include canonic sections. In his use of canons, he may have been influenced by
Matthaeus Pipelare, who wrote an early canonic mass La Rue almost certainly knew, since it was part of the repertory of the Habsburg court chapel.
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ostinatos, which may be a single note, an interval, or a series of notes. In addition he uses germinal motifs â small easily recognizable patterns from which larger melodic units are derived, and which give unity to a composition. Overall the motets are complex contrapuntally, with the individual lines having a distinctive character, in the manner of
Ockeghem. This is most true in the early works which were likely influenced by the older composer.
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264:, had died of typhus in 1506). Juana was inconsolable, unable to leave the corpse of her dead husband, and had become quite insane; why La Rue stayed as long as he did is not known, but it is not impossible that his dark, intensely expressive music was one of the few things that brought her solace. In addition, he was treated well. Juana promoted him to
221:â Adrien Basin, Gilles Joye, Hayne van Ghizeghem, and Robert Morton â was also probably still being performed and studied. It was a formidable musical organization, equalling in quality the papal chapel in Rome itself, and its quality continued to improve into the 16th century, with the addition of composers such as
217:, the venue in which composers such as Dufay and Busnois had worked and already left a body of music; music by Ockeghem had also recently been copied into manuscripts associated with the group immediately before La Rue's hire. In addition, music by the composers favored by the previous dukes of Burgundy such as
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Twenty-five motets by La Rue survive. They are mostly for four voices. While they use imitation, the technique is more likely to occur within sections and phrases rather than at their openings, unlike in the style of
Josquin. Another stylistic feature characteristic of La Rue's motets is the use of
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Yet there are some unique features to La Rue's style. He had a liking for extreme low voice ranges, descending sometimes to C or even the subterranean B flat below the bass staff; he employed more chromaticism than most of his contemporaries; and much of his work is rich in dissonance. He also broke
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virtuosity worthy of
Josquin or Ockeghem; indeed La Rue sometimes seemed to be in conscious competition with the more renowned Josquin. The closing Agnus Dei of this mass is the only known mensuration canon of the entire era for four voices, with all four voices singing the same tune. La Rue wrote
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La Rue was relatively wealthy when he died, especially for a singer who was not an aristocrat, and details of his will and the subsequent events surrounding its disposition survive in detail. Not only did his executors find chests of money in his lodgings, but he had considerable income from his
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to survive, and it is one of his most famous works. Unlike later
Requiems, it includes polyphonic settings only of the Introit, Kyrie, Tract, Offertory, Sanctus, Agnus, and Communion â the Dies IrĂŠ, often the center of gravity in more recent Requiems, was a later addition. This was the normal
171:, between 1483 and 1485; however, it has been determined that the "La Rue" in the records there was a different singer. Pierre de la Rue probably never went to Italy, making him one of the few prominent Franco-Flemish composers of this generation never to travel there.
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Canonic writing is a particularly important feature of La Rue's style, and he has been particularly celebrated for this. He liked to write canons of considerable complexity, rather than restricting himself to simple imitation. The second of his two masses based on the
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in 1472, at the church of Onze-Lieve-Vrouw, probably initially as a temporary arrangement, but by the end of the year the church authorities hired him on a more permanent basis. He was no longer employed there by 1477/8 for his name had vanished from the account-book.
182:, so he evidently had spent some time in Germany as a tenor singer. He remained at the Confraternity in 's-Hertogenbosch until 1492, at which time he simultaneously became a full member of the Confraternity, and joined the
268:, the head of the chapel, and paid him twice what the other singers received; paying the singers was apparently one of the only practical administrative matters she was able to do during the period of her madness.
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liturgical practice in
Gallican France and the region of northern Europe in which he worked. This mass, more than many others, emphasises the low registers of voices, and even the lowest voices themselves.
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His whereabouts during the 1480s are not very well known, although there is a record that he worked at a place called "St Ode" (date and city not known), and also possibly at the cathedral at
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at the
Jacobskerk as a part-time singer, paid from the cathedral's miscellaneous fund, suggesting he was brought in for special performances of polyphony. Subsequently, he was employed in
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at some time, no other corroborating evidence has been found; however there remain biographical gaps in the 1470s and 1480s: for example, the location of "St Ode" is not yet known.
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327:, who wrote a mass based on the name of his favorite prostitute). La Rue seems to have been appreciated and well liked by his colleagues throughout his career.
139:
While no records remain of his childhood, a Peter vander
Straten (the Flemish equivalent of his name) is mentioned in the archives of the cathedral of
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and
Josquin. He was one of the first routinely to expand vocal forces from the standard four, to five or six. One of his masses for six voices, the
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1313:"O Salutaris Hostia", Sacred Music of the Renaissance (Cantillation/Walker) ABC classics, 2003 (Australian Broadcasting Corporation 472 881-2)
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More than half of the motets are on the subject of the Virgin Mary. La Rue was the first composer to write a Magnificat on each of the eight
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technique thoroughly, permeating the texture of a mass with music drawn from all voices of a pre-existing source. Some of his masses use
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376:, a technically difficult feat reminiscent of some of the work of Ockeghem. This is also the earliest six-voice mass known to exist.
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260:â Joanna the Mad â he returned to the Netherlands in 1508, probably because Juana had been forced out of power (her husband,
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His thirty chansons show a diversity of style, some being akin to the late Burgundian style (for example, as seen in
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252:. On the second trip, in 1506, he was shipwrecked in the English Channel, and spent three months at the court of
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1666:"La Rue [de Platea, de Robore, de Vico], Pierre [Perison, Petrus, Pierchon, Pieter, Pirson] de"
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388:, canons in which all the voices sing the same material, but at different speeds; this is yet another feat of
209:, the musical establishment of the Burgundian-Habsburg court, already had a distinguished history by the time
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in 1469â1470, as an adult (tenor) singer; this is considered very likely to have been him. In 1471 he was in
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there, which had a substantial musical establishment. He may have been the son of Jean de la Rue, a master
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up long, dense textures by inserting contrasting passages for two voices only, something done also by
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1094:(originally attributed to Josquin; gradual scholarly consensus emerging that this may be by La Rue);
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he met many of the other Franco-Flemish composers who were working at the same time (for instance,
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technique, in which the monophonic source material is embellished and migrates between voices.
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241:. This was the musical environment into which La Rue entered his full maturity as a composer.
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1269:, Dirk Snellings (Musique en Wallonie, 2011, MEW 11059, 3 CDs). Includes four mass settings (
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323:, who was fired from the Sistine Chapel choir for being excessively "given to women", or
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287:) and these meetings may also have proved decisive in the development of his style.
178:, again as "Peter vander Straten", and the document indicates that he had come from
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style. Since La Rue never spent time in Italy, he never picked up the Italian
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Weaver, Andrew H. (2004). "Aspects of Musical Borrowing in the Polyphonic
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1967:
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In 1489 he was paid by the Confraternity of the Illustre Lieve Vrouwe in
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Nigel St. J. Davison, J. Evan Kreider and T. Herman Keahey: 1989â1998.
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as one of the most famous and influential composers in the Netherlands
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437:, and additionally wrote six separate settings of the Marian antiphon
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2100:
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The Complete Magnificats and Three Salve Reginas of Pierre de la Rue
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1736:
of the Fifteenth and Sixteenth Centuries". In Meconi, Honey (ed.).
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300:
296:
144:
21:
1711:
Pierre de la Rue and Musical Life at the Habsburg-Burgundian Court
1612:
Davison, Nigel (January 1962). "The Motets of Pierre de la Rue".
1309:
Ensemble Clément Janequin, Harmonia Mundi, 1989/1996, HMT 7901296
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308:
179:
160:
125:
121:
1769:, Nine Volumes, American Musicological Society, Hanssler-Verlag.
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304:
1323:, The Brabant Ensemble/Stephen Rice (Hyperion CDA 68150, 2016)
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inherited it in 1494. This was the central institution of the
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477:), and which so charmed the other members of his generation.
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textures (which Josquin used so effectively in his popular
190:. He was to remain in the employ of the Habsburgs, and the
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319:, who was sent to the galleys for molesting a choirboy,
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technique, but rarely strictly; he often preferred the
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and his toponymic, when present, as various forms of
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256:. After two more years in Spain, in the service of
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1367:
1355:
1334:
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1561:"Pierre de la Rue (c.1460â1518) â A discography"
1646:The New Grove Dictionary of Music and Musicians
1291:, VivaVoce, Peter Schubert (Naxos 8.557896-97)
163:. Previous biographies of La Rue place him in
2116:
1829:
457:), and others using a more current imitative
416:La Rue wrote one of the earliest polyphonic
401:La Rue also was one of the first to use the
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295:Between 1508 and 1514, the court stayed at
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1301:, 2005 (Raum Klang "Edition Apollon" 10105
25:Imaginary 19th-century depiction of la Rue
1843:
1793:International Music Score Library Project
1640:
1433:
1780:List of compositions by Pierre de la Rue
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20:
1784:Digital Image Archive of Medieval Music
1685:10.1093/gmo/9781561592630.article.16044
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2970:16th-century Franco-Flemish composers
2955:15th-century Franco-Flemish composers
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1817:
1620:(1). Oxford University Press: 19â35.
1585:
441:. Most likely these are early works.
67:. A member of the same generation as
1648:. Oxford: Macmillan Publishers Ltd.
335:
16:Franco-Flemish composer (c1452â1518)
1307:â "Missa pro defunctis" (Requiem),
1238:Chansons with uncertain attribution
13:
1809:Performing editions by W. Kempster
1755:
1740:. New York and London: Routledge.
1263:Pierre de La Rue: Portrait musical
107:style in the decades around 1500.
14:
2981:
1773:
1086:Motets with uncertain attribution
847:Masses with uncertain attribution
244:Once La Rue was engaged with the
2922:
2910:
2898:
2872:
2863:
2862:
2398:Giovanni Pierluigi da Palestrina
1763:Pierre de la Rue â Opera Omnia;
1206:Plorés, genicés, criés -Requiem;
1203:Myn hert altyt heeft verlanghen;
1799:Free scores by Pierre de la Rue
1789:Free scores by Pierre de La Rue
673:Sic deus & Non salvatur rex
1593:(revised ed.). New York:
677:, La Rue's longest mass cycle;
79:musical chapel, he ranks with
71:, and a long associate of the
1:
2141:List of Renaissance composers
1579:
1256:
128:, and likely educated at the
115:
33:
1803:Choral Public Domain Library
1702:UK public library membership
1644:(1980). "Pierre de La Rue".
1317:Missa Nuncqua fue pena mayor
1194:Incessament mon povre cueur;
983:Laudate Dominum omnes gentes
465:style which featured light,
194:, for the rest of his life.
120:La Rue was probably born at
110:
7:
1765:Corpus Mensurabilis Musicae
1079:Vexilla Regis-Passio Domini
444:
370:Missa Ave sanctissima Maria
47:. His name also appears as
43:composer and singer of the
10:
2986:
2771:Petrus Phalesius the Elder
2586:English Virginalist School
1595:W. W. Norton & Company
384:tune begins and ends with
39:â 20 November 1518) was a
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2794:
2721:
2660:
2614:
2561:
2553:Jan Pieterszoon Sweelinck
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2323:
2235:
2147:
2138:
2047:
2001:
1940:
1884:
1851:
1279:Missa Sub tuum praesidium
1271:Missa de septem doloribus
875:
864:
853:
835:
824:
813:
802:
791:
780:
769:
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396:
1591:Music in the Renaissance
1412:, pp. 53â54, 78â79.
1327:
480:
330:
271:On his travels with the
136:of the town of Tournai.
2581:English Madrigal School
1738:Early Musical Borrowing
1715:Oxford University Press
1677:Oxford University Press
1663:Meconi, Honey (2009) .
1285:), motets and chansons.
1224:Tant que nostre argent;
1218:Pourquoy tant me fault;
1104:Lamentationes Hieremiae
977:Lauda anima mea Dominum
905:Credo Angeli Archangeli
893:Kyrie in festo Paschale
772:Pro fidelibus defunctis
248:, he made two trips to
2960:Musicians from Tournai
2423:TomĂĄs Luis de Victoria
2227:Oswald von Wolkenstein
2014:Jacob Clemens non Papa
1709:Meconi, Honey (2003).
1626:10.1093/mq/xlviii.1.19
1019:Salve mater salvatoris
186:of Holy Roman Emperor
26:
2965:Renaissance composers
2443:Transition to Baroque
2388:Pierre de Manchicourt
2029:Pierre de Manchicourt
1845:Franco-Flemish School
1614:The Musical Quarterly
1538:, pp. 22â23, 25.
1176:En lâamour dâun dame;
1158:De lâĆil de le fille;
989:O Domine Jesu Christi
947:Ave sanctissima Maria
739:O gloriosa Margaretha
728:Nunqua fué pena major
668:(5vv), also known as
539:Ave sanctissima Maria
24:
2473:Girolamo Frescobaldi
2280:CristĂłbal de Morales
1001:Pater de caelis Deus
917:Credo l'amour de moy
291:Retirement and death
254:Henry VII of England
130:Notre-Dame Cathedral
2591:Florentine Camerata
2563:Composition schools
2222:Gaspar van Weerbeke
1511:, pp. 136â137.
1230:Tous nobles cueurs;
1209:Pour ceque je suis;
1191:Il viendra le jour;
1155:Cent mille regretz;
816:Sub Tuum praesidium
794:Sancta Dei Genitrix
642:de Septem Doloribus
451:Hayne van Ghizeghem
425:Motets and chansons
211:Philip the Handsome
2786:Thomas Vautrollier
2766:Ottaviano Petrucci
2741:Pierre Attaingnant
2731:Hieronymus Andreae
2538:Michael Praetorius
2523:Claudio Monteverdi
2513:Giovanni de Macque
2508:Luzzasco Luzzaschi
2478:Alfonso Fontanelli
2368:Francisco Guerrero
2343:Antonio de CabezĂłn
2255:Thomas Crecquillon
2237:Middle (1470â1530)
2217:Johannes Tinctoris
2157:Alexander Agricola
2065:Giovanni de Macque
2019:Thomas Crecquillon
1978:Matthaeus Pipelare
1932:Johannes Tinctoris
1917:Marbrianus de Orto
1892:Alexander Agricola
1672:Grove Music Online
1305:Missa l'Homme Armé
1197:Las que plains tu;
1170:Dâung desplaisier;
1167:Dâung altre aymer;
1164:Dicte moy bergere;
1146:Autant en emporte;
995:O salutaris hostia
965:Delicta juventutis
941:Ave Regina cĆlorum
911:Credo de villagiis
750:O salutaris hostia
517:Assumpta est Maria
386:mensuration canons
352:, settings of the
321:Ghiselin Danckerts
239:Alexander Agricola
223:Marbrianus de Orto
27:
2886:
2885:
2483:Giovanni Gabrieli
2310:Philippe Verdelot
2207:Johannes Ockeghem
2149:Early (1400â1470)
2132:Renaissance music
2098:
2097:
2070:Philippe de Monte
1912:Johannes Ockeghem
1907:Guillaume Faugues
1700:(subscription or
1694:978-1-56159-263-0
1642:Staehelin, Martin
1604:978-0-393-09530-2
1487:, pp. 93â96.
1400:, pp. 29â37.
1388:, pp. 10â13.
1299:ensemble amarcord
1295:Missa Incessament
1233:Trop plus secret.
1227:Tous les regretz;
1152:Ce nâest pas jeu;
1140:Ă vous non-autre;
1061:Santa Maria virgo
971:Gaude virgo mater
695:Iste est Speciosa
620:de Sancto Antonio
372:, is a six-voice
336:General character
266:premier chapelain
215:Burgundian School
2977:
2927:
2926:
2925:
2915:
2914:
2913:
2903:
2902:
2901:
2894:
2876:
2866:
2865:
2746:Vittorio Baldini
2723:Music publishing
2498:Hans Leo Hassler
2453:Gregorio Allegri
2408:Cipriano de Rore
2383:Vicente Lusitano
2378:Orlando di Lasso
2333:Jacques Arcadelt
2300:Pierre de la Rue
2295:Josquin des Prez
2275:Clément Janequin
2270:Antoine de FĂ©vin
2260:Antonius Divitis
2202:Johannes Martini
2177:Guillaume Du Fay
2125:
2118:
2111:
2102:
2101:
2055:Orlando di Lasso
2034:Cipriano de Rore
2009:Jacques Arcadelt
1993:Pierre de la Rue
1983:Josquin des Prez
1958:Antoine de FĂ©vin
1953:Antonius Divitis
1922:Johannes Prioris
1876:Johannes Pullois
1861:Guillaume Du Fay
1838:
1831:
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1461:
1460:, p. 45â52.
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1389:
1383:
1377:
1371:
1365:
1359:
1353:
1347:
1267:Capilla Flamenca
1249:Je nâay regretz;
1212:Pour ung jamais;
1098:Domini est terra
1092:Absalom, fili mi
1037:Salve regina III
1007:Quis dabit pacem
959:Da pacem, Domine
953:Considera Israel
881:
880:
870:
869:
859:
858:
841:
840:
838:Tous les regretz
830:
829:
819:
818:
808:
807:
797:
796:
786:
785:
775:
774:
764:
763:
753:
752:
742:
741:
731:
730:
720:
719:
709:
708:
698:
697:
687:
686:
676:
675:
667:
666:
656:
655:
645:
644:
634:
633:
623:
622:
612:
611:
601:
600:
590:
589:
579:
578:
576:de Beata Virgine
564:
563:
553:
552:
542:
541:
531:
530:
520:
519:
509:
508:
498:
497:
258:Juana of Castile
235:Antonius Divitis
227:Nicolas Champion
219:Charles the Bold
176:'s-Hertogenbosch
69:Josquin des Prez
38:
35:
30:Pierre de la Rue
2985:
2984:
2980:
2979:
2978:
2976:
2975:
2974:
2935:
2934:
2933:
2923:
2921:
2911:
2909:
2905:Classical music
2899:
2897:
2889:
2887:
2882:
2859:
2851:
2838:
2790:
2776:Girolamo Scotto
2761:Antonio Gardano
2717:
2656:
2610:
2557:
2548:Heinrich SchĂŒtz
2543:Philippe Rogier
2493:Orlando Gibbons
2445:
2441:
2432:
2428:Giaches de Wert
2418:Christopher Tye
2373:Claude Le Jeune
2363:Claude Goudimel
2358:Nicolas Gombert
2353:Andrea Gabrieli
2348:Jacobus Clemens
2319:
2315:Adrian Willaert
2245:Martin Agricola
2231:
2167:Antoine Busnois
2162:Gilles Binchois
2143:
2134:
2129:
2099:
2094:
2090:Giaches de Wert
2080:Philippe Rogier
2060:Carolus Luython
2043:
2039:Adrian Willaert
2024:Nicolas Gombert
1997:
1936:
1880:
1871:Antoine Busnois
1866:Gilles Binchois
1847:
1842:
1776:
1758:
1756:Further reading
1748:
1725:
1699:
1695:
1656:
1605:
1582:
1577:
1576:
1566:
1564:
1559:
1558:
1554:
1546:
1542:
1534:
1530:
1522:
1515:
1507:
1503:
1495:
1491:
1483:
1476:
1468:
1464:
1456:
1452:
1444:
1440:
1432:
1428:
1420:
1416:
1408:
1404:
1396:
1392:
1384:
1380:
1372:
1368:
1360:
1356:
1348:
1335:
1330:
1321:Missa Inviolata
1275:Missa Ave Maria
1259:
1252:Sailliés avant.
1246:Dueil et ennuy;
1188:Il fault morir;
1143:Au feu dâamour;
1055:Salve regina VI
1043:Salve regina IV
1031:Salve regina II
867:L'homme armé II
561:Cum iucunditate
483:
455:Gilles Binchois
447:
427:
399:
338:
333:
317:Nicolas Gombert
293:
285:Robert de FĂ©vin
273:Grande chapelle
246:Grande chapelle
207:Grande chapelle
203:
200:Grande chapelle
192:Grande chapelle
184:Grande chapelle
118:
113:
51:or variants of
36:
17:
12:
11:
5:
2983:
2973:
2972:
2967:
2962:
2957:
2952:
2947:
2932:
2931:
2919:
2907:
2884:
2883:
2881:
2880:
2870:
2852:
2848:Medieval music
2844:
2843:
2840:
2839:
2837:
2836:
2835:
2834:
2829:
2824:
2819:
2814:
2804:
2798:
2796:
2792:
2791:
2789:
2788:
2783:
2781:Tielman Susato
2778:
2773:
2768:
2763:
2758:
2756:Valerio Dorico
2753:
2748:
2743:
2738:
2733:
2727:
2725:
2719:
2718:
2716:
2715:
2710:
2705:
2700:
2695:
2690:
2685:
2680:
2675:
2670:
2664:
2662:
2658:
2657:
2655:
2654:
2649:
2644:
2639:
2634:
2629:
2624:
2618:
2616:
2612:
2611:
2609:
2608:
2603:
2598:
2596:Franco-Flemish
2593:
2588:
2583:
2578:
2573:
2567:
2565:
2559:
2558:
2556:
2555:
2550:
2545:
2540:
2535:
2530:
2525:
2520:
2515:
2510:
2505:
2500:
2495:
2490:
2488:Carlo Gesualdo
2485:
2480:
2475:
2470:
2465:
2460:
2458:Thomas Campion
2455:
2449:
2447:
2434:
2433:
2431:
2430:
2425:
2420:
2415:
2410:
2405:
2403:Costanzo Porta
2400:
2395:
2393:Hans Neusidler
2390:
2385:
2380:
2375:
2370:
2365:
2360:
2355:
2350:
2345:
2340:
2335:
2329:
2327:
2321:
2320:
2318:
2317:
2312:
2307:
2302:
2297:
2292:
2287:
2282:
2277:
2272:
2267:
2265:Costanzo Festa
2262:
2257:
2252:
2250:Antoine Brumel
2247:
2241:
2239:
2233:
2232:
2230:
2229:
2224:
2219:
2214:
2209:
2204:
2199:
2194:
2192:Heinrich Isaac
2189:
2184:
2182:John Dunstaple
2179:
2174:
2172:Loyset CompĂšre
2169:
2164:
2159:
2153:
2151:
2145:
2144:
2139:
2136:
2135:
2128:
2127:
2120:
2113:
2105:
2096:
2095:
2093:
2092:
2087:
2082:
2077:
2072:
2067:
2062:
2057:
2051:
2049:
2048:5th generation
2045:
2044:
2042:
2041:
2036:
2031:
2026:
2021:
2016:
2011:
2005:
2003:
2002:4th generation
1999:
1998:
1996:
1995:
1990:
1988:Jean Richafort
1985:
1980:
1975:
1970:
1965:
1963:Heinrich Isaac
1960:
1955:
1950:
1948:Antoine Brumel
1944:
1942:
1941:3rd generation
1938:
1937:
1935:
1934:
1929:
1927:Johannes Regis
1924:
1919:
1914:
1909:
1904:
1902:Firminus Caron
1899:
1897:Loyset CompĂšre
1894:
1888:
1886:
1885:2nd generation
1882:
1881:
1879:
1878:
1873:
1868:
1863:
1857:
1855:
1853:1st generation
1849:
1848:
1841:
1840:
1833:
1826:
1818:
1812:
1811:
1806:
1796:
1786:
1775:
1774:External links
1772:
1771:
1770:
1757:
1754:
1753:
1752:
1746:
1734:Missa de Feria
1729:
1723:
1706:
1693:
1660:
1654:
1638:
1609:
1603:
1587:Reese, Gustave
1581:
1578:
1575:
1574:
1563:. medieval.org
1552:
1540:
1528:
1513:
1501:
1499:, p. 135.
1489:
1474:
1462:
1450:
1448:, p. 107.
1438:
1434:Staehelin 1980
1426:
1414:
1402:
1390:
1378:
1366:
1354:
1332:
1331:
1329:
1326:
1325:
1324:
1314:
1311:
1302:
1292:
1286:
1283:Missa Alleluia
1258:
1255:
1254:
1253:
1250:
1247:
1244:
1243:Adieu comment;
1240:
1239:
1235:
1234:
1231:
1228:
1225:
1222:
1221:Si le changer;
1219:
1216:
1213:
1210:
1207:
1204:
1201:
1200:Ma bouche rit;
1198:
1195:
1192:
1189:
1186:
1183:
1180:
1177:
1174:
1173:En espoir vis;
1171:
1168:
1165:
1162:
1161:Dedans bouton;
1159:
1156:
1153:
1150:
1147:
1144:
1141:
1137:
1136:
1132:
1131:
1123:
1122:
1118:
1117:
1111:
1101:
1095:
1088:
1087:
1083:
1082:
1076:
1070:
1064:
1058:
1052:
1049:Salve regina V
1046:
1040:
1034:
1028:
1025:Salve regina I
1022:
1016:
1010:
1004:
998:
992:
986:
980:
974:
968:
962:
956:
950:
944:
937:
936:
932:
931:
926:
920:
914:
908:
902:
899:Kyrie Paschale
896:
889:
888:
887:Mass fragments
884:
883:
878:sine nomine II
872:
861:
856:Iste Confessor
849:
848:
844:
843:
832:
821:
810:
799:
788:
783:Puer natus est
777:
766:
755:
744:
733:
722:
717:L'homme armé I
711:
700:
689:
678:
658:
647:
636:
625:
614:
609:de Santa Cruce
603:
598:de Sancta Anna
592:
581:
570:
569:) (4 and 5vv);
555:
544:
533:
522:
511:
500:
488:
487:
482:
479:
446:
443:
426:
423:
418:Requiem Masses
398:
395:
337:
334:
332:
329:
292:
289:
231:Gilles Reingot
202:
196:
117:
114:
112:
109:
41:Franco-Flemish
15:
9:
6:
4:
3:
2:
2982:
2971:
2968:
2966:
2963:
2961:
2958:
2956:
2953:
2951:
2948:
2946:
2943:
2942:
2940:
2930:
2920:
2918:
2908:
2906:
2896:
2895:
2892:
2879:
2875:
2871:
2869:
2861:
2860:
2857:
2856:
2855:Baroque music
2850:
2849:
2841:
2833:
2830:
2828:
2825:
2823:
2820:
2818:
2815:
2813:
2810:
2809:
2808:
2805:
2803:
2800:
2799:
2797:
2793:
2787:
2784:
2782:
2779:
2777:
2774:
2772:
2769:
2767:
2764:
2762:
2759:
2757:
2754:
2752:
2749:
2747:
2744:
2742:
2739:
2737:
2736:Andrea Antico
2734:
2732:
2729:
2728:
2726:
2724:
2720:
2714:
2711:
2709:
2706:
2704:
2701:
2699:
2696:
2694:
2691:
2689:
2686:
2684:
2681:
2679:
2676:
2674:
2671:
2669:
2666:
2665:
2663:
2659:
2653:
2650:
2648:
2645:
2643:
2640:
2638:
2635:
2633:
2630:
2628:
2625:
2623:
2620:
2619:
2617:
2615:Musical forms
2613:
2607:
2604:
2602:
2599:
2597:
2594:
2592:
2589:
2587:
2584:
2582:
2579:
2577:
2574:
2572:
2569:
2568:
2566:
2564:
2560:
2554:
2551:
2549:
2546:
2544:
2541:
2539:
2536:
2534:
2531:
2529:
2528:Thomas Morley
2526:
2524:
2521:
2519:
2518:Luca Marenzio
2516:
2514:
2511:
2509:
2506:
2504:
2501:
2499:
2496:
2494:
2491:
2489:
2486:
2484:
2481:
2479:
2476:
2474:
2471:
2469:
2466:
2464:
2461:
2459:
2456:
2454:
2451:
2450:
2448:
2444:
2439:
2435:
2429:
2426:
2424:
2421:
2419:
2416:
2414:
2413:Thomas Tallis
2411:
2409:
2406:
2404:
2401:
2399:
2396:
2394:
2391:
2389:
2386:
2384:
2381:
2379:
2376:
2374:
2371:
2369:
2366:
2364:
2361:
2359:
2356:
2354:
2351:
2349:
2346:
2344:
2341:
2339:
2336:
2334:
2331:
2330:
2328:
2326:
2322:
2316:
2313:
2311:
2308:
2306:
2305:John Taverner
2303:
2301:
2298:
2296:
2293:
2291:
2290:Jacob Obrecht
2288:
2286:
2283:
2281:
2278:
2276:
2273:
2271:
2268:
2266:
2263:
2261:
2258:
2256:
2253:
2251:
2248:
2246:
2243:
2242:
2240:
2238:
2234:
2228:
2225:
2223:
2220:
2218:
2215:
2213:
2210:
2208:
2205:
2203:
2200:
2198:
2195:
2193:
2190:
2188:
2185:
2183:
2180:
2178:
2175:
2173:
2170:
2168:
2165:
2163:
2160:
2158:
2155:
2154:
2152:
2150:
2146:
2142:
2137:
2133:
2126:
2121:
2119:
2114:
2112:
2107:
2106:
2103:
2091:
2088:
2086:
2083:
2081:
2078:
2076:
2075:Jacob Regnart
2073:
2071:
2068:
2066:
2063:
2061:
2058:
2056:
2053:
2052:
2050:
2046:
2040:
2037:
2035:
2032:
2030:
2027:
2025:
2022:
2020:
2017:
2015:
2012:
2010:
2007:
2006:
2004:
2000:
1994:
1991:
1989:
1986:
1984:
1981:
1979:
1976:
1974:
1973:Jacob Obrecht
1971:
1969:
1966:
1964:
1961:
1959:
1956:
1954:
1951:
1949:
1946:
1945:
1943:
1939:
1933:
1930:
1928:
1925:
1923:
1920:
1918:
1915:
1913:
1910:
1908:
1905:
1903:
1900:
1898:
1895:
1893:
1890:
1889:
1887:
1883:
1877:
1874:
1872:
1869:
1867:
1864:
1862:
1859:
1858:
1856:
1854:
1850:
1846:
1839:
1834:
1832:
1827:
1825:
1820:
1819:
1816:
1810:
1807:
1804:
1800:
1797:
1794:
1790:
1787:
1785:
1781:
1778:
1777:
1768:
1766:
1760:
1759:
1749:
1747:0-8153-3521-0
1743:
1739:
1735:
1730:
1726:
1724:0-19-816554-4
1720:
1716:
1712:
1707:
1703:
1696:
1690:
1686:
1682:
1678:
1674:
1673:
1667:
1661:
1657:
1655:1-56159-174-2
1651:
1647:
1643:
1639:
1635:
1631:
1627:
1623:
1619:
1615:
1610:
1606:
1600:
1596:
1592:
1588:
1584:
1583:
1562:
1556:
1550:, p. 32.
1549:
1544:
1537:
1532:
1526:, p. 25.
1525:
1520:
1518:
1510:
1505:
1498:
1493:
1486:
1481:
1479:
1472:, p. 98.
1471:
1466:
1459:
1454:
1447:
1442:
1435:
1430:
1424:, p. 39.
1423:
1418:
1411:
1406:
1399:
1394:
1387:
1382:
1375:
1370:
1363:
1358:
1351:
1346:
1344:
1342:
1340:
1338:
1333:
1322:
1318:
1315:
1312:
1310:
1306:
1303:
1300:
1296:
1293:
1290:
1287:
1284:
1280:
1276:
1272:
1268:
1264:
1261:
1260:
1251:
1248:
1245:
1242:
1241:
1237:
1236:
1232:
1229:
1226:
1223:
1220:
1217:
1215:Pourquoy non;
1214:
1211:
1208:
1205:
1202:
1199:
1196:
1193:
1190:
1187:
1184:
1182:Forseulement;
1181:
1179:Forseulement;
1178:
1175:
1172:
1169:
1166:
1163:
1160:
1157:
1154:
1151:
1149:Carmen in re;
1148:
1145:
1142:
1139:
1138:
1134:
1133:
1129:
1125:
1124:
1120:
1119:
1115:
1112:
1109:
1105:
1102:
1099:
1096:
1093:
1090:
1089:
1085:
1084:
1080:
1077:
1074:
1073:Te decet laus
1071:
1068:
1065:
1062:
1059:
1056:
1053:
1050:
1047:
1044:
1041:
1038:
1035:
1032:
1029:
1026:
1023:
1020:
1017:
1014:
1011:
1008:
1005:
1002:
999:
996:
993:
990:
987:
984:
981:
978:
975:
972:
969:
966:
963:
960:
957:
954:
951:
948:
945:
942:
939:
938:
934:
933:
930:
927:
924:
921:
918:
915:
912:
909:
906:
903:
900:
897:
894:
891:
890:
886:
885:
879:
873:
868:
862:
857:
851:
850:
846:
845:
839:
833:
828:
822:
817:
811:
806:
805:Sine Nomine I
800:
795:
789:
784:
778:
773:
767:
762:
756:
751:
745:
740:
734:
729:
723:
718:
712:
707:
701:
696:
690:
685:
679:
674:
665:
659:
654:
653:de Virginibus
648:
643:
637:
632:
631:de Sancto Job
626:
621:
615:
610:
604:
599:
593:
588:
582:
577:
571:
568:
562:
556:
551:
550:Conceptio tua
545:
540:
534:
529:
523:
518:
512:
507:
501:
496:
490:
489:
485:
484:
478:
476:
472:
468:
464:
460:
456:
452:
442:
440:
436:
431:
422:
419:
414:
412:
408:
407:cantus firmus
404:
394:
391:
387:
383:
377:
375:
371:
367:
361:
359:
355:
351:
347:
343:
340:La Rue wrote
328:
326:
322:
318:
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2945:1450s births
2853:
2846:
2817:Architecture
2751:Jacob Bathen
2468:John Dowland
2338:William Byrd
2299:
2212:Leonel Power
2085:Jacobus Vaet
1992:
1805:(ChoralWiki)
1762:
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1733:
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1613:
1590:
1565:. Retrieved
1555:
1548:Davison 1962
1543:
1536:Davison 1962
1531:
1524:Davison 1962
1504:
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382:L'homme armé
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354:Lamentations
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124:, in modern
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48:
29:
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18:
2950:1518 deaths
2807:Renaissance
2802:Early music
2698:Netherlands
2678:Elizabethan
2533:Jacopo Peri
2503:Alonso Lobo
2463:John Cooper
2325:Late (1530)
2285:Jean Mouton
2197:Jean Japart
2187:Walter Frye
1968:Jean Mouton
1509:Weaver 2004
1497:Weaver 2004
1485:Meconi 2003
1470:Meconi 2003
1458:Meconi 2003
1446:Meconi 2003
1422:Meconi 2003
1410:Meconi 2003
1398:Meconi 2003
1386:Meconi 2003
1374:Meconi 2003
1362:Meconi 2003
1350:Meconi 2009
1185:Iam sauche;
1128:Magnificats
1121:Magnificats
1067:Si dormiero
827:Tandernaken
706:Jesum Liate
664:Incessament
567:iocunditate
350:Magnificats
325:Gilles Joye
141:Ste. Gudule
45:Renaissance
37: 1452
2939:Categories
2832:Philosophy
2827:Literature
2795:Background
2661:Traditions
2637:Magnificat
2627:Intermedio
2571:Burgundian
1713:. Oxford:
1675:. Oxford:
1580:References
1257:Recordings
475:Scaramella
467:homophonic
459:polyphonic
411:paraphrase
153:Nieuwpoort
134:enlumineur
116:Early life
105:polyphonic
77:Burgundian
2917:Biography
2647:Offertory
2576:Colorists
2438:Mannerism
1704:required)
1114:Virga tua
684:Inviolata
528:Ave Maria
471:El Grillo
188:Maxmilian
111:Biography
61:de Robore
57:de Platea
2868:Category
2845: â
2708:Portugal
2632:Madrigal
2606:Venetian
1589:(1954).
1135:Chansons
776:(4-5vv);
587:de Feria
495:Alleluia
463:frottola
445:Chansons
366:Ockeghem
358:chansons
301:Brussels
297:Mechelen
145:Brussels
101:Weerbeke
81:Agricola
73:Habsburg
53:Pierchon
49:Piersson
2891:Portals
2858:â
2688:Germany
2668:British
1801:in the
1795:(IMSLP)
1791:at the
1782:at the
761:Pascale
309:Hungary
277:Josquin
180:Cologne
161:Cambrai
126:Belgium
122:Tournai
97:Obrecht
89:CompĂšre
65:de Vico
2878:Portal
2703:Poland
2683:France
2673:Cyprus
2652:Pavane
2446:c.1600
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929:Credo.
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854:Missa
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836:Missa
831:(4vv);
825:Missa
820:(4vv);
814:Missa
809:(4vv);
803:Missa
798:(4vv);
792:Missa
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781:Missa
770:Missa
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526:Missa
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515:Missa
510:(4vv);
506:Almana
504:Missa
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486:Masses
403:parody
397:Masses
356:, and
346:motets
342:masses
305:France
262:Philip
237:, and
99:, and
85:Brumel
2929:Music
2822:Dance
2713:Spain
2693:Italy
2622:Carol
2601:Roman
1630:JSTOR
1328:Notes
1106:(von
923:Credo
481:Works
435:tones
374:canon
331:Music
281:Isaac
250:Spain
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165:Siena
149:Ghent
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