Orlando de lassus biography of williams
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Orlandus de Lassus
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The imperial document conferring the honour is remarkable, not only as showing the esteem in which the master was held by rulers and nations, but particularly as evidence of the lofty conception on the part of this monarch of the function of art in the social economy. After the change of his voice Orlandus spent about three years at the court of the Marquess della Terza, at Naples.
His wide culture and the extensive travels of his youth had enabled him to absorb the distinguishing musical traits of every nationality. These include 530 motets, 175 Italian madrigals and villanellas, 150 French chansons, and 90 German lieder.
Almost 60 masses have survived complete; most of them are parody masses based on secular works written by himself or other composers.
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(Original name, Roland de Lattre), composer, born at Mons, Hainault, Belgium, in 1520 (according to most biographers; but his epitaph gives 1532); died at Munich, 14 June, 1594. For thirty-four years he remained active at Munich as composer and director, first under Albert V, and then under his son and successor, William V.
During all this time he enjoyed not only the continued and sympathetic favour of his patrons and employers, but was also honoured by Pope Gregory XIII, who appointed him Knight of the Golden Spur; by Charles IX of France, who bestowed upon him the cross of the Order of Malta; and by Emperor Maximilian, who on 7 December, 1570, raised Lassus and his descendants to the nobility.
The number of works the master has left to posterity exceeds two thousand, in every possible form, and in combinations of from two to twelve voices. It was while here that Orlandus received an invitation from Albert V, Duke of Bavaria, not only to become the director of his court chapel, but also to recruit capable musicians for it in the Netherlands.
While in the employment and under the protection of this art-loving prince, Lassus developed that phenomenal productivity as a composer which is unsurpassed in the history of music.
Orlando di Lasso-Gesamtausgabe
He rarely used chromaticism, but when he did, he used it decidedly in bold fashion, as in his Prophetiae Sibyllarum or in one of his most beautiful pieces, the Motet Anna, mihi dilecta, veni.
Stylistic diversity serves often the interpretation of the words, something Lassus was highly regarded for among his contemporaries (theoretician and composer Michael Praetorius gives him praise for this).
In addition, he often transcended the stylistic boundaries of contemporary genres.
Although Lassus lived at the time of the Reformation, when the individual and secular spirit manifested itself more and more in music, and although he interpreted secular poems such as madrigals, chansons, and German lieder, the contents of which were sometimes rather free (as was not infrequently the case in those times), his distinction lies overwhelmingly in his works for the Church.
The diatonic Gregorian modes form the basis of his compositions, and most frequently his themes are taken from liturgical melodies.
His native city Mons not offering him a suitable field of activity, he spent several years in travel through France and England and then settled at Antwerp for about two years.
He also composes German Lieder according to simple French or Italian settings. During his residence in Rome, Lassus completed his first volume of Masses for four voices, and a collection of motets for five voices, all of which he had published in Venice. At the end of the campaign in the Netherlands, Orlandus followed his patron to Milan and from there to Sicily.
Motets e.g., show time and again stylistic devices from the madrigal: In madrigals, words are usually set in a way much based on affect; in motets, „madrigalisms“ intensify the interpretation of words. Among his more famous works must be mentioned his setting of the seven penitential psalms, which for variety, depth, truth of expression, and elevation of conception are unsurpassed.
He soon attracted general attention, both on account of his unusal musical talent and his beautiful voice; so much so that he was three times abducted. Thus, he actually became a pioneer in the internationalisation of musical style toward the end of the 16th century.
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Orlande de Lassus Orlande de Lassus, a.k.a. After a sojourn of probably two years in Rome, Lassus, learning of the serious illness of his parents, hastened back to Belgium only to find that they had died. The publication of a critical edition of Lassus's complete works in sixty volumes, prepared by Dr. Haberl and A. Sandberger, was begun 1894. About this pageAPA citation.Otten, J.(1910).Orlandus de Lassus. In 1553, he became chorus leader of St. John Lateran in Rome, but he stayed there only for a year. |