Rennaissance composer biography

These include two masses for four and five voicesa Kyrie eleison, and the renowned four-voice motet "Osculetur me" based on the Song of Songs. Barbireau also composed secular music, notably the three-voiced song "Een vroylic wesen. Notably, this composition, along with two other surviving secular songs, later served as the basis for mass settings by other composers.

Contact About Privacy. Matteo da Perugia. Antonius Romanus. Pierre Fontaine. Nicolaus Ricii de Nucella Campli. Guillaume Legrant Lemarcherier. Beltrame Feragut. Bartolomeo da Bologna. Johannes Cesaris. Johannes de Limburgia. John Dunstaple or Dunstable. Byttering possibly Thomas Byttering. Guillaume Dufay Guillaume Du Fay. Estienne Grossin. Johannes Brassart.

Nicolaus Zacharie. Johannes Cornago. Gilles Binchois Gilles de Bins. Richard Loqueville. Arnold de Lantins. Conrad Paumann. Johannes de Quadris. John Plummer. Johannes Ockeghem. Clement Liebert. Henry Abyngdon. Guglielmo Ebreo da Pesaro. Johannes Legrant. Hugo de Lantins. Reginaldus Libert. Jean Cousin. Petrus de Domarto. Johannes Regis.

Johannes Pullois. Juan de Urrede. John Hothby Johannes Ottobi. Robert Morton. Antoine Busnois. William Hawte William Haute. Antonio Cornazzano. Guillaume le Rouge. William Horwood. Some of his rennaissance composer biography is collected in the Eton Choirbook. Eloy d'Amerval. Johannes Tinctoris. Richard Hygons. Nycasius de Clibano. Johannes Martini.

Juan de Triana. Antonius Janue. Firminus Caron. Guillaume Faugues. Heinrich Finck. Gilbert Banester. Alexander Agricola. Johannes de Stokem. Adam von Fulda. Gaspar van Weerbeke. Isaiah the Serb. Hayne van Ghizeghem. Jehan Fresneau. Philippe Basiron. Colinet de Lannoy. Abertijne Malcourt. Edmund Turges possibly the same as Edmund Sturges.

Has a number of works preserved in the Eton Choirbook ; at least three Magnificat settings and two masses have been lost. Robert Wilkinson. Major contributor to the Eton Choirbook. Matthaeus Pipelare. Arnolt Schlick. Heinrich Isaac. Josquin des Prez. Franchinus Gaffurius. Edmund Sturton. Presumably identical with the Sturton who composed the six-part Ave Maria ancilla Trinitatis in the Lambeth Choirbookhe contributed a Gaude virgo mater Christi to the Eton Choirbookthe six voices of which cover a fifteen-note range.

Jacobus Barbireau. Robert Hacomplaynt. Has a single surviving work, a setting of Salve reginain the Eton Choirbook ; a work known as Haycomplayne's Gaude, datedhas been lost. Jacob Obrecht. Jean Braconnier. Paul Hofhaimer. Jheronimus de Clibano. Pierre de La Rue. Marbrianus de Orto. Johannes Prioris. Antoine Brumel. Juan de Anchieta. Francisco de la Torre.

Robert Fayrfax. Sebastian Virdung. Pedro de Escobar. Giacomo Fogliano. William Cornysh the younger. Probably the son of William Cornysh the elder. Juan del Encina. John Browne. Robert Johnson. Bartolomeo Tromboncino. Mathurin Forestier. Antonius Divitis. Pierre Alamire. Richard Sampson. Johannes Ghiselin. Bartolomeo degli Organi. Vincenzo Capirola.

Robert Cowper. Represented by a work in the Gyffard partbooks and manuscript sources. Filippo de Lurano. Philippe Verdelot. Nicolas Champion. Andreas De Silva. Thomas Ashewell. Antoine de Longueval. Andrea Antico da Montona. Thomas Stoltzer. Noel Bauldeweyn. Jean Richafort. Benedictus Appenzeller. Served Mary, Queen of Hungary for rennaissance composer biography of his career.

Francesco Spinacino. Marco Dall'Aquila. Ninot le Petit. Gilles Reingot. Mateo Flecha the Elder. Jacquet of Mantua. Robert Carver. Nicholas Ludford. One of the main contributors to The Mulliner Book. Martin Agricola. Thomas Appleby. Joan Ambrosio Dalza. Gasparo Alberti. Pierre Passereau. Franciscus Bossinensis. Arnold von Bruck. John Taverner.

Sebastian z Felsztyna. Fridolin Sicher. Claudin de Sermisy. Adrian Willaert. Bernardo Pisano. Sebastiano Festa. Early composer of madrigals; possibly related to Costanzo Festa. Marco Antonio Cavazzoni. Francesco de Layolle. In the employ of the Medici ; music teacher to sculptor Benvenuto Cellini. Lupus Hellinck. Pierre Attaingnant. Leonhard Kleber.

Pierre Vermont. Tallis's whereabouts are not known for the several months after this until mention is made of his being employed at St Mary-at-Hill in London's Billingsgate ward. Towards the end of Tallis moved to a large Augustinian rennaissance composer biography, Waltham Abbey in Essex[ 19 ] after he had come into contact with the abbot, whose London home was near to St Mary-at-Hill.

He took away a volume of musical treatises copied by John Wylde, once a preceptor at Waltham. Among its contents was a treatise by Leonel Power that prohibited consecutive unisonsfifthsand octaves ; the last page is inscribed with his name. By the summer of Tallis had moved to the formerly monastic but recently secularised Canterbury Cathedralwhere his name heads the list of singers in the newly expanded choir of 10 boys and 12 men.

He remained there for two years. Tallis's employment in the Chapel Royal probably began in His name appears on a lay subsidy roll and is listed in a later document. It is possible that he was connected with the court when at St Mary-at-Hill, since in Tallis claimed to have "served yo[u]r Ma[jes]tie and yo[u]r Royall ancestors these fortie yeres".

He may have been responsible for teaching the boys of the choir keyboard and composition. AroundTallis married, probably for the first time, to Joan the widow of a gentleman of the Chapel Royal. Like many other members of the royal household choir, Tallis and his wife lived in Greenwich[ 20 ] although it is not known if he ever owned his house there.

He probably rented a house, by tradition in Stockwell Street. Queen Mary I granted Tallis a lease on a manor in Kent which provided a comfortable annual income. Tallis was an eminent figure in Elizabeth's household chapel, but as he aged he became gradually less prominent. Amongst the collection of works they produced using their monopoly was the Cantiones quae ab argumento sacrae vocanturbut it did not sell well and they were forced to appeal to Elizabeth for support.

They lacked their own printing press. Late in his life, Tallis lived in Greenwichpossibly close to the royal Palace of Placentia ; tradition holds that he lived on Stockwell Street. He was buried in the chancel of St Alfege Church, Greenwich. His epitaph on a brass plaquelost in the subsequent rebuilding of the church, was recorded by the English clergyman John Strype in his edition of John Stow 's Survey of London [ 10 ] [ 29 ].

He mary'd was, though children he had none, And lyv'd in love full thre and thirty yeres Wyth loyal spowse, whose name yclypt was JONE, Who here entomb'd him company now beares. As he dyd lyve, so also did he dy, In myld and quyet sort O happy man! To God ful oft for mercy did he cry, Wherefore he lyves, let deth do what he can. Tallis's widow Joan, whose will is dated 12 Junesurvived him by nearly four years.

The earliest surviving works by Tallis are Ave Dei patris filiaMagnificat for four voices[ 30 ] and two devotional antiphons to the Virgin Mary, Salve intemerata virgo and Ave rosa sine spiniswhich were sung in the evening after the last service of the day; they were cultivated in England at least until the early s. Cranmer recommended a syllabic style of music where each syllable is sung to one pitch, as his instructions make clear for the setting of the English Litany.

Tallis' Mass for Four Voices is marked with a syllabic and chordal style emphasising chords, and a diminished use of melisma. He provides a rhythmic variety and differentiation of moods depending on the meaning of his texts. The reformed Anglican liturgy was inaugurated during the short reign of Edward VI —53[ 34 ] and Tallis was one of the first church musicians to write anthems set to English words, although Latin continued to be used alongside the vernacular.

She restored the Sarum Riteand compositional style reverted to the elaborate writing prevalent early in the century. Puer natus est nobis based on the introit for the third Mass for Christmas Day may have been sung at Christmas when Mary believed that she was pregnant with a male heir. Some of Tallis's works were compiled by Thomas Mulliner in a manuscript copybook called The Mulliner Book before Queen Elizabeth's reign, and may have been used by the queen herself when she was younger.

Elizabeth succeeded her half-sister inand the Act of Uniformity abolished the Roman Liturgy [ 2 ] and firmly established the Book of Common Prayer. The religious authorities at the beginning of Elizabeth's reign, being Protestant, tended to discourage polyphony in church unless the words were clearly audible or, as the Injunctions stated, "playnelye understanded, as if it were read without singing".

A version of it published by Thomas Ravenscroft was used as the tune for Thomas Ken 's hymn "All praise to thee, my God, this night", [ 42 ] and it has become his best-known composition. The Injunctions, however, also allowed a more elaborate piece of music to be sung in church at certain times of the day, [ 39 ] and many of Tallis's more complex Elizabethan anthems may have been sung in this context, or alternatively by the many families that sang sacred polyphony at home.

He also produced compositions for other monarchs, and several of his anthems written in Edward's reign are judged to be on the same level as his Elizabethan works, such as " If Ye Love Me ". Toward the end of his life, Tallis resisted the musical development seen in his younger contemporaries such as Byrd, who embraced compositional complexity and adopted texts of disparate biblical extracts.

Tallis is remembered as primarily a composer of sacred vocal music, in part because of his lack of extant instrumental or secular vocal music. No contemporaneous portrait of Tallis survives; the one painted by Gerard Vandergucht dates from years after the composer's death, and there is no reason to suppose that it is a fair likeness.

In a rare existing copy of his blackletter signature, he spelled his name "Tallys". Three of his masses are for double choir, and they may have been influential on the Venetians themselves; rennaissance composer biography all, Andrea Gabrieli visited Lasso in Munich inand many of Lasso's works were published in Venice. Even though Lasso used the contemporary, sonorous Venetian style, his harmonic language remained conservative in these works: he adapted the texture of the Venetians to his own artistic ends.

Lasso is one of the composers of a style known as musica reservata —a term which has survived in many contemporary references, many of them seemingly contradictory. The exact meaning of the term is a matter of fierce debate, though a rough consensus among musicologists is that it involves intensely expressive setting of text and chromaticismand that it may have referred to music specifically written for connoisseurs.

A famous composition by Lasso representative of this style is his series of 12 motets entitled Prophetiae Sibyllarumin a wildly chromatic idiom which anticipates the work of Gesualdo ; some of the chord progressions in this piece were not to be heard again until the 20th century. Lasso wrote four settings of the Passionone for each of the Evangelists, St.

MatthewMarkLuke and John. All are for a cappella voices. He sets the words of Christ and the narration of the Evangelist as chant, while setting the passages for groups polyphonically. As a composer of motets, Lasso was one of the most diverse and prodigious of the entire Renaissance. His output varies from the sublime to the ridiculous, and he showed a sense of humor not often associated with sacred music: for example, one of his motets satirizes poor singers his setting of Super flumina Babylonisfor five voices which includes stuttering, stopping and starting, and general confusion; it is related in concept if not in style to Mozart's A Musical Joke.

Many of his motets were composed for ceremonial occasions, as could be expected of a court composer who was required to provide music for visits of dignitaries, weddings, treaties and other events of state. But it was as a composer of religious motets that Lasso achieved his widest and most lasting fame. Lasso's setting of the seven Penitential Psalms of David Psalmi Davidis poenitentialesordered by King Charles IX of Franceis one of the most famous collections of psalm settings of the entire Renaissance.

According to George T. Ferris, it was claimed by some that he ordered them as an expiation of his soul after the massacre of St. Bartholomew of the Huguenots. As elsewhere, Lasso strives for emotional impact, and uses a variety of texture and care in text-setting towards that end. Among his other liturgical compositions are hymnscanticles including over Magnificatsresponsories for Holy WeekPassions, Lamentationsand some independent pieces for major feasts.

Lasso wrote in all the prominent secular forms of the time. In the preface to his collection of German songs, Lasso lists his secular works: Italian madrigals and French chansons, German and Dutch songs. He is probably the only Renaissance composer to write prolifically in five languages — Latin in addition to those mentioned above — and he wrote with equal fluency in each.

Many of his songs became hugely popular, circulating widely in Europe. In these various secular songs, he conforms to the manner of the country of origin while still showing his characteristic originality, wit, and terseness of statement. A-G in the key of C. His choice of poetry varied widely, from Petrarch for his more serious work to the lightest verse for some of his amusing canzonettas.

Lasso often preferred cyclic madrigals, i. For example, his fourth book of madrigals for five voices begins with a complete sestina by Petrarch, continues with two-part sonnetsand concludes with another sestina: therefore the entire book can be heard as a unified composition with each madrigal a subsidiary part.

Rennaissance composer biography

Another form which Lasso cultivated was the French chanson, of which he wrote about Most of them date from the s, but he continued to write them even when he was in Germany: his last productions in this genre come from the s. They were enormously popular in Europe, and of all his works, they were the most widely arranged for instruments such as lute and keyboard.

Most were collected in the s and s in three publications: one by Petrus Phalesius the Elder inand two by Le Roy and Ballard in and Stylistically, they ranged from the dignified and serious, to playful, bawdy, and amorous compositions, as well as drinking songs suited to taverns.