(Or-land’ de Las’soos) 1532–94 Franco-Flemish composer Lassus went to Italy at the age of 12 as a singer in the choir of Ferrante Gonzaga, a minor member of the important family of music patrons who ruled the duchy of Mantua. He spent the next 10 years in Italy, travelling to Naples and then Rome, where for a time he ...
(An-dra’-a Gab-re-a’-le) c. 1510–86 Italian composer After spending some time in Munich as a colleague of Lassus, Gabrieli became maestro di cappella at St Mark’s, Venice in 1566. There, with the resources of its great choir at his disposal, he composed an impressive repertory of music for various combinations of voices and instruments. His style – in sacred ...
achievement was a seamless union of words and music. Our understanding of Monteverdi’s life and works is greatly enriched by his extraordinary surviving correspondence. With the exception of Orlande de Lassus (1532–94), no other composer before Wolfgang Amadeus Mozart (1756–91) left so many letters; they discuss in fascinating detail his compositional aims and musical ideals. The Court Musician By 1592 Monteverdi ...
lot from this detailed knowledge of great music. He was interested in composers from earlier centuries, and as well as J. S. Bach he transcribed works by Orlande de Lassus (1532–94) and Giovanni Pierluigi da Palestrina (1526–94). His influence on others was equally widespread, and his innovations, both imaginative and technical, were far-reaching. The striking economy of ...
(Jo-van’-ne Gab-re-a’-le) c. 1553–1612 Italian composer Gabrieli was taught by his uncle Andrea Gabrieli and, like him, was first employed in Munich with Lassus. After Andrea’s death Giovanni became principal composer for St Mark’s, Venice, and he wrote much of his music with its choir (and building) in mind. His musical debt to his uncle is evident in ...
Juan de Peñalosa (c. 1515–79) and Escobar. Recommended Recording: Missa cum iocunditate, Motets, Hilliard Ensemble (dir) Paul Hillier (Virgin/Erato) Introduction | Renaissance | Classical Personalities | Orlande de Lassus | Renaissance | Classical ...
there as organist after her death in 1603. The Counter-Reformation intensity of Victoria’s music encourages comparison with the paintings of his contemporary El Greco. Not as prolific as Palestrina or Lassus, Victoria published 20 Masses and a variety of smaller liturgical works. His Christmas motet O magnum mysterium (1572), on which he based a parody Mass, opens with a ...
Italian courts, it follows that the madrigal saw the greatest range of development. One of the most prolific madrigal composers, and one of the best, was Orlande de Lassus, or Orlando di Lasso (1532–94). His name can be correctly spelt in more than one language, as he was a Burgundian who later found employment in Italy and ...
of texture into the technique of cori spezzati (It. ‘divided choirs’). The motets written by Victoria and Palestrina represent the culmination of the conservative Renaissance style, while those of Lassus are at the other end of the stylistic spectrum: the emphasis is on the depiction of the individual words of the text, using rhetorical techniques familiar from the madrigal. ...
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