- published: 17 Jun 2020
- views: 12601
-
remove the playlistAntiphon Iam Hiems Transiit (plainchant) Orlande De Lassus
- remove the playlistAntiphon Iam Hiems Transiit (plainchant) Orlande De Lassus
Orlande de Lassus
Roland de Lassus (also Orlande de Lassus, Orlando di Lasso, Orlandus Lassus, or Roland de Lattre; 1532, possibly 1530 – 14 June 1594) was a Netherlandish or Franco-Flemish composer of the late Renaissance. He is today considered to be the chief representative of the mature polyphonic style of the Franco-Flemish school, and one of the three most famous and influential musicians in Europe at the end of the 16th century (the other two being Palestrina and Victoria).
Life
Lassus was born in Mons in the County of Hainaut, Habsburg Netherlands (modern-day Belgium). Information about his early years is scanty, although some uncorroborated stories have survived, the most famous of which is that he was kidnapped three times because of the singular beauty of his singing voice. At the age of twelve, he left the Low Countries with Ferrante Gonzaga and went to Mantua, Sicily, and later Milan (from 1547 to 1549). While in Milan, he made the acquaintance of the madrigalist Spirito l'Hoste da Reggio, a formative influence on his early musical style.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Orlande_de_Lassus
Podcasts:
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Giovanni Pierluigi da Palestrina - Missa Nigra sum
*Sounds a whole tone lower than score* Missa Nigra sum Composer: Giovanni Pierluigi da Palestrina (ca. 1525 - 1594) Performers: The Tallis Scholars, dir. Peter Philips 0:00 Kyrie 4:44 Gloria 11:19 Credo 21:33 Sanctus 25:05 Benedictus 29:49 Agnus Dei _________________________ "It is rare to be able to highlight the music of Jean Lhéritier, the composer of the motet Nigra sum which Palestrina parodied. In the reverential atmosphere which has long surrounded Palestrina’s music, it has been thought that his style was born perfect, needed to change little during his lifetime, and died with him, leaving theorists with a code of mathematical perfection which they have not tired of trying to crack to this day. The idea that he owed little to anybody in his formative years is attributable to th...
published: 17 Jun 2020 -
Robert White- Tota pulchra es
Robert White (1538- 1574)- Tota pulchra es. Performed by ORA Singers & Suzi Digby. Recorded at All Hallows, Gospel Oak, February 2016. From the album 'Desires: A Song of Songs collection'- released 8th March, 2019 with harmonia mundi. Text: Tota pulchra es amica mea, Et macula non est in te; Favus distillans labia tua, Mel et lac sub lingua tua; Odor unguentorum tuorum Super Omnia aromata. Iam enim hiems transiit, Imber abiit et recessit; Flores apparuerunt, Vineae florentes odorem dederunt, Et vox turturis audita est In terra nostra. Surge, propera, amica mea, Veni de Libano; Veni coronaberis. You are wholly beautiful my love, And in you there is no blemish; Your lips are a dripping honeycomb, Honey and milk under your tongue; The smell of your perfumes Is sweeter than any scent. ...
published: 25 Oct 2019
developed with YouTube
35:07
Giovanni Pierluigi da Palestrina - Missa Nigra sum
- Order: Reorder
- Duration: 35:07
- Uploaded Date: 17 Jun 2020
- views: 12601
*Sounds a whole tone lower than score*
Missa Nigra sum
Composer: Giovanni Pierluigi da Palestrina (ca. 1525 - 1594)
Performers: The Tallis Scholars, dir. Pete...
*Sounds a whole tone lower than score*
Missa Nigra sum
Composer: Giovanni Pierluigi da Palestrina (ca. 1525 - 1594)
Performers: The Tallis Scholars, dir. Peter Philips
0:00 Kyrie
4:44 Gloria
11:19 Credo
21:33 Sanctus
25:05 Benedictus
29:49 Agnus Dei
_________________________
"It is rare to be able to highlight the music of Jean Lhéritier, the composer of the motet Nigra sum which Palestrina parodied. In the reverential atmosphere which has long surrounded Palestrina’s music, it has been thought that his style was born perfect, needed to change little during his lifetime, and died with him, leaving theorists with a code of mathematical perfection which they have not tired of trying to crack to this day. The idea that he owed little to anybody in his formative years is attributable to the lack of any obvious predecessor; his music does not sound like that of Josquin, and there are no major figures to bridge the gap between the two of them. Lhéritier, with de Silva, Penet and Morales, fills this gap – and, on the evidence of Lhéritier’s five-voice motet Nigra sum, very obviously so. Lhéritier’s music has much of the balance that is associated with Palestrina; the points unfold slowly and spaciously, and the part-writing is sonorous. The principal difference is that Lhéritier wrote counterpoint throughout, whereas Palestrina added homophony to his general technique.
Palestrina wrote fifty-three parody Masses, of which thirty-one were based on music by other composers. Almost all of these models were by French, Flemish and Spanish composers – not Italians. This strongly suggests that Palestrina was showing his own appreciation of the Franco-Flemish style, and probably at the same time learning to write in it himself. Another feature of these thirty-one models is that almost all were available to Palestrina in print by 1563. It has been said that the resulting parody Masses by Palestrina pre-date the remaining twenty-two based on his own motets, and that they must be – in the broadest sense – apprentice works, as Palestrina refined in his own way the styles of those he most admired. This recording shows what he gained from Lhéritier.
The text for the plainchant Nigra sum, sed formosa combines three Marian antiphons – Nigra sum, Iam hiems transiit and Speciosa facta es – sung now at Second Vespers for the common Feasts of the Virgin; with the Alleluia placed at the end of each antiphon, the plainchant is proper to the Easter period. It will be seen from the words how Church authorities tried to tame the erotic imagery of the Song of Songs and make it serviceable; the effusions of praise are reinterpreted to refer to the Virgin Mary.
Jean Lhéritier (c.1480–after 1552) was a French disciple of Josquin, and widely known in his own time – copies of his music may be found in Poland and Bohemia, even though he himself worked in France and Italy. He joins Josquin’s style to Palestrina’s by developing the technique known as ‘ad imitationem’, ‘using imitation consistently’, which he then helped to make more generally known throughout Italy. That his melodies can be described as presenting ‘nicely balanced arches … resulting from predominantly step-wise motion’ is tribute to his influence on Palestrina.
[...] The motet and Palestrina’s Mass, including the second Agnus Dei, are scored for soprano, countertenor, two tenors and bass.
Palestrina’s Missa Nigra sum (published in 1590, but written many years earlier) follows its model unusually closely. Whereas with the Missa Benedicta es Palestrina adapts Josquin’s music very noticeably, in this case he feels himself unable to add very much. Most of the movements start with the opening of the motet which thus becomes a head-motif. The ‘Hosanna’ takes a point which occurs almost incidentally in the motet and turns it into an impressively spacious piece of counterpoint. The falling scale, which Lhéritier probably took from the chant, is put to a wide variety of different uses by Palestrina; it is interesting to see what can be made of so simple a phrase. At ‘descendit de caelis’ in the Credo it contributes to some exciting word-painting. At ‘miserere nobis’ in the Gloria the phrase takes on a much more supplicatory air. At ‘dona nobis pacem’ it carries the Mass to a peaceful conclusion. The motif of the falling and rising third is also used consistently throughout the work. This Mass has no musical connection with Palestrina’s own motet Nigra sum, as has been maintained (Zoë Kendrick Pyne, Palestrina, his Life and Times, London, 1922). Palestrina’s motet is not recorded here because it has a different text, after its initial phrase, from these settings."
~Peter Philips
Source: https://www.hyperion-records.co.uk/dc.asp?dc=D_CDGIM003
________________________
For education, promotion and entertainment purposes only. If you have any copyrights issue, please write to unpetitabreuvoir(at)gmail.com and I will delete this video.
https://wn.com/Giovanni_Pierluigi_Da_Palestrina_Missa_Nigra_Sum
*Sounds a whole tone lower than score*
Missa Nigra sum
Composer: Giovanni Pierluigi da Palestrina (ca. 1525 - 1594)
Performers: The Tallis Scholars, dir. Peter Philips
0:00 Kyrie
4:44 Gloria
11:19 Credo
21:33 Sanctus
25:05 Benedictus
29:49 Agnus Dei
_________________________
"It is rare to be able to highlight the music of Jean Lhéritier, the composer of the motet Nigra sum which Palestrina parodied. In the reverential atmosphere which has long surrounded Palestrina’s music, it has been thought that his style was born perfect, needed to change little during his lifetime, and died with him, leaving theorists with a code of mathematical perfection which they have not tired of trying to crack to this day. The idea that he owed little to anybody in his formative years is attributable to the lack of any obvious predecessor; his music does not sound like that of Josquin, and there are no major figures to bridge the gap between the two of them. Lhéritier, with de Silva, Penet and Morales, fills this gap – and, on the evidence of Lhéritier’s five-voice motet Nigra sum, very obviously so. Lhéritier’s music has much of the balance that is associated with Palestrina; the points unfold slowly and spaciously, and the part-writing is sonorous. The principal difference is that Lhéritier wrote counterpoint throughout, whereas Palestrina added homophony to his general technique.
Palestrina wrote fifty-three parody Masses, of which thirty-one were based on music by other composers. Almost all of these models were by French, Flemish and Spanish composers – not Italians. This strongly suggests that Palestrina was showing his own appreciation of the Franco-Flemish style, and probably at the same time learning to write in it himself. Another feature of these thirty-one models is that almost all were available to Palestrina in print by 1563. It has been said that the resulting parody Masses by Palestrina pre-date the remaining twenty-two based on his own motets, and that they must be – in the broadest sense – apprentice works, as Palestrina refined in his own way the styles of those he most admired. This recording shows what he gained from Lhéritier.
The text for the plainchant Nigra sum, sed formosa combines three Marian antiphons – Nigra sum, Iam hiems transiit and Speciosa facta es – sung now at Second Vespers for the common Feasts of the Virgin; with the Alleluia placed at the end of each antiphon, the plainchant is proper to the Easter period. It will be seen from the words how Church authorities tried to tame the erotic imagery of the Song of Songs and make it serviceable; the effusions of praise are reinterpreted to refer to the Virgin Mary.
Jean Lhéritier (c.1480–after 1552) was a French disciple of Josquin, and widely known in his own time – copies of his music may be found in Poland and Bohemia, even though he himself worked in France and Italy. He joins Josquin’s style to Palestrina’s by developing the technique known as ‘ad imitationem’, ‘using imitation consistently’, which he then helped to make more generally known throughout Italy. That his melodies can be described as presenting ‘nicely balanced arches … resulting from predominantly step-wise motion’ is tribute to his influence on Palestrina.
[...] The motet and Palestrina’s Mass, including the second Agnus Dei, are scored for soprano, countertenor, two tenors and bass.
Palestrina’s Missa Nigra sum (published in 1590, but written many years earlier) follows its model unusually closely. Whereas with the Missa Benedicta es Palestrina adapts Josquin’s music very noticeably, in this case he feels himself unable to add very much. Most of the movements start with the opening of the motet which thus becomes a head-motif. The ‘Hosanna’ takes a point which occurs almost incidentally in the motet and turns it into an impressively spacious piece of counterpoint. The falling scale, which Lhéritier probably took from the chant, is put to a wide variety of different uses by Palestrina; it is interesting to see what can be made of so simple a phrase. At ‘descendit de caelis’ in the Credo it contributes to some exciting word-painting. At ‘miserere nobis’ in the Gloria the phrase takes on a much more supplicatory air. At ‘dona nobis pacem’ it carries the Mass to a peaceful conclusion. The motif of the falling and rising third is also used consistently throughout the work. This Mass has no musical connection with Palestrina’s own motet Nigra sum, as has been maintained (Zoë Kendrick Pyne, Palestrina, his Life and Times, London, 1922). Palestrina’s motet is not recorded here because it has a different text, after its initial phrase, from these settings."
~Peter Philips
Source: https://www.hyperion-records.co.uk/dc.asp?dc=D_CDGIM003
________________________
For education, promotion and entertainment purposes only. If you have any copyrights issue, please write to unpetitabreuvoir(at)gmail.com and I will delete this video.
6:51
Robert White- Tota pulchra es
- Order: Reorder
- Duration: 6:51
- Uploaded Date: 25 Oct 2019
- views: 627
Robert White (1538- 1574)- Tota pulchra es. Performed by ORA Singers & Suzi Digby. Recorded at All Hallows, Gospel Oak, February 2016.
From the album 'Desires...
Robert White (1538- 1574)- Tota pulchra es. Performed by ORA Singers & Suzi Digby. Recorded at All Hallows, Gospel Oak, February 2016.
From the album 'Desires: A Song of Songs collection'- released 8th March, 2019 with harmonia mundi.
Text:
Tota pulchra es amica mea,
Et macula non est in te;
Favus distillans labia tua,
Mel et lac sub lingua tua;
Odor unguentorum tuorum
Super Omnia aromata.
Iam enim hiems transiit,
Imber abiit et recessit;
Flores apparuerunt,
Vineae florentes odorem dederunt,
Et vox turturis audita est
In terra nostra.
Surge, propera, amica mea,
Veni de Libano;
Veni coronaberis.
You are wholly beautiful my love,
And in you there is no blemish;
Your lips are a dripping honeycomb,
Honey and milk under your tongue;
The smell of your perfumes
Is sweeter than any scent.
For now the winter has passed,
The rain is over and gone;
Flowers have appeared,
The vines in bloom give out their scent,
And the voice of the turtle dove is heard
In our land.
Get up and make haste my love,
And come from Lebanon;
Come, and you will receive a crown.
Song of Songs 4: 7,11,10b, 2: 11,12,13b, 4:8
Full album listing:
1. Antoine Brumel (c.1460-1512/13)- Sicut lilium inter spinas (2'19)
2. Jacob Clemens non Papa (c. 1510/15- 1555.56)- Ego Flos Campi (4'36)
3. Gabriel Jackson (b. 1962)- I am the Rose of Sharon (6'00)
4. Rodrigo de Ceballos (c. 1525/30- 1581)- Hortus conclusus (5'09)
5. Plainchant -Tota pulchra es (2'03)
6. Robert White (1538- 1574)- Tota pulchra es (6'50)
7. Francis Grier (b.1955)- Dilectus meus mihi (7'24)
8. Nicolas Gombert (c. 1495- c.1560)- Quam pulchra es (5'17)
9. Tomás Luis de Victoria (1548- 1611)- Vadam et circuibo civitatem (8'18)
10. Jonathan Dove (b.1959)- Vadam et circuibo civitatem (8'52)
11. Sebastián de Vivanco (c.1551- 1622)- Veni, dilecte mi (4'43)
12. Giovanni Pierluigi da Palestrina (1525/26- 1594)- Duo ubera tua (3'41)
13. Juan Esquivel (c, 1560- c.1624)- Surge propera amica mea (3'14)
14. John Barber (b.1980)- Sicut lilium (2'50)
www.orasingers.com
https://wn.com/Robert_White_Tota_Pulchra_Es
Robert White (1538- 1574)- Tota pulchra es. Performed by ORA Singers & Suzi Digby. Recorded at All Hallows, Gospel Oak, February 2016.
From the album 'Desires: A Song of Songs collection'- released 8th March, 2019 with harmonia mundi.
Text:
Tota pulchra es amica mea,
Et macula non est in te;
Favus distillans labia tua,
Mel et lac sub lingua tua;
Odor unguentorum tuorum
Super Omnia aromata.
Iam enim hiems transiit,
Imber abiit et recessit;
Flores apparuerunt,
Vineae florentes odorem dederunt,
Et vox turturis audita est
In terra nostra.
Surge, propera, amica mea,
Veni de Libano;
Veni coronaberis.
You are wholly beautiful my love,
And in you there is no blemish;
Your lips are a dripping honeycomb,
Honey and milk under your tongue;
The smell of your perfumes
Is sweeter than any scent.
For now the winter has passed,
The rain is over and gone;
Flowers have appeared,
The vines in bloom give out their scent,
And the voice of the turtle dove is heard
In our land.
Get up and make haste my love,
And come from Lebanon;
Come, and you will receive a crown.
Song of Songs 4: 7,11,10b, 2: 11,12,13b, 4:8
Full album listing:
1. Antoine Brumel (c.1460-1512/13)- Sicut lilium inter spinas (2'19)
2. Jacob Clemens non Papa (c. 1510/15- 1555.56)- Ego Flos Campi (4'36)
3. Gabriel Jackson (b. 1962)- I am the Rose of Sharon (6'00)
4. Rodrigo de Ceballos (c. 1525/30- 1581)- Hortus conclusus (5'09)
5. Plainchant -Tota pulchra es (2'03)
6. Robert White (1538- 1574)- Tota pulchra es (6'50)
7. Francis Grier (b.1955)- Dilectus meus mihi (7'24)
8. Nicolas Gombert (c. 1495- c.1560)- Quam pulchra es (5'17)
9. Tomás Luis de Victoria (1548- 1611)- Vadam et circuibo civitatem (8'18)
10. Jonathan Dove (b.1959)- Vadam et circuibo civitatem (8'52)
11. Sebastián de Vivanco (c.1551- 1622)- Veni, dilecte mi (4'43)
12. Giovanni Pierluigi da Palestrina (1525/26- 1594)- Duo ubera tua (3'41)
13. Juan Esquivel (c, 1560- c.1624)- Surge propera amica mea (3'14)
14. John Barber (b.1980)- Sicut lilium (2'50)
www.orasingers.com
- published: 25 Oct 2019
- views: 627
35:07
Giovanni Pierluigi da Palestrina - Missa Nigra sum
*Sounds a whole tone lower than score*
Missa Nigra sum
Composer: Giovanni Pierluigi da Pa...
published: 17 Jun 2020
Giovanni Pierluigi da Palestrina - Missa Nigra sum
Giovanni Pierluigi da Palestrina - Missa Nigra sum
- Report rights infringement
- published: 17 Jun 2020
- views: 12601
*Sounds a whole tone lower than score*
Missa Nigra sum
Composer: Giovanni Pierluigi da Palestrina (ca. 1525 - 1594)
Performers: The Tallis Scholars, dir. Peter Philips
0:00 Kyrie
4:44 Gloria
11:19 Credo
21:33 Sanctus
25:05 Benedictus
29:49 Agnus Dei
_________________________
"It is rare to be able to highlight the music of Jean Lhéritier, the composer of the motet Nigra sum which Palestrina parodied. In the reverential atmosphere which has long surrounded Palestrina’s music, it has been thought that his style was born perfect, needed to change little during his lifetime, and died with him, leaving theorists with a code of mathematical perfection which they have not tired of trying to crack to this day. The idea that he owed little to anybody in his formative years is attributable to the lack of any obvious predecessor; his music does not sound like that of Josquin, and there are no major figures to bridge the gap between the two of them. Lhéritier, with de Silva, Penet and Morales, fills this gap – and, on the evidence of Lhéritier’s five-voice motet Nigra sum, very obviously so. Lhéritier’s music has much of the balance that is associated with Palestrina; the points unfold slowly and spaciously, and the part-writing is sonorous. The principal difference is that Lhéritier wrote counterpoint throughout, whereas Palestrina added homophony to his general technique.
Palestrina wrote fifty-three parody Masses, of which thirty-one were based on music by other composers. Almost all of these models were by French, Flemish and Spanish composers – not Italians. This strongly suggests that Palestrina was showing his own appreciation of the Franco-Flemish style, and probably at the same time learning to write in it himself. Another feature of these thirty-one models is that almost all were available to Palestrina in print by 1563. It has been said that the resulting parody Masses by Palestrina pre-date the remaining twenty-two based on his own motets, and that they must be – in the broadest sense – apprentice works, as Palestrina refined in his own way the styles of those he most admired. This recording shows what he gained from Lhéritier.
The text for the plainchant Nigra sum, sed formosa combines three Marian antiphons – Nigra sum, Iam hiems transiit and Speciosa facta es – sung now at Second Vespers for the common Feasts of the Virgin; with the Alleluia placed at the end of each antiphon, the plainchant is proper to the Easter period. It will be seen from the words how Church authorities tried to tame the erotic imagery of the Song of Songs and make it serviceable; the effusions of praise are reinterpreted to refer to the Virgin Mary.
Jean Lhéritier (c.1480–after 1552) was a French disciple of Josquin, and widely known in his own time – copies of his music may be found in Poland and Bohemia, even though he himself worked in France and Italy. He joins Josquin’s style to Palestrina’s by developing the technique known as ‘ad imitationem’, ‘using imitation consistently’, which he then helped to make more generally known throughout Italy. That his melodies can be described as presenting ‘nicely balanced arches … resulting from predominantly step-wise motion’ is tribute to his influence on Palestrina.
[...] The motet and Palestrina’s Mass, including the second Agnus Dei, are scored for soprano, countertenor, two tenors and bass.
Palestrina’s Missa Nigra sum (published in 1590, but written many years earlier) follows its model unusually closely. Whereas with the Missa Benedicta es Palestrina adapts Josquin’s music very noticeably, in this case he feels himself unable to add very much. Most of the movements start with the opening of the motet which thus becomes a head-motif. The ‘Hosanna’ takes a point which occurs almost incidentally in the motet and turns it into an impressively spacious piece of counterpoint. The falling scale, which Lhéritier probably took from the chant, is put to a wide variety of different uses by Palestrina; it is interesting to see what can be made of so simple a phrase. At ‘descendit de caelis’ in the Credo it contributes to some exciting word-painting. At ‘miserere nobis’ in the Gloria the phrase takes on a much more supplicatory air. At ‘dona nobis pacem’ it carries the Mass to a peaceful conclusion. The motif of the falling and rising third is also used consistently throughout the work. This Mass has no musical connection with Palestrina’s own motet Nigra sum, as has been maintained (Zoë Kendrick Pyne, Palestrina, his Life and Times, London, 1922). Palestrina’s motet is not recorded here because it has a different text, after its initial phrase, from these settings."
~Peter Philips
Source: https://www.hyperion-records.co.uk/dc.asp?dc=D_CDGIM003
________________________
For education, promotion and entertainment purposes only. If you have any copyrights issue, please write to unpetitabreuvoir(at)gmail.com and I will delete this video.
6:51
Robert White- Tota pulchra es
Robert White (1538- 1574)- Tota pulchra es. Performed by ORA Singers & Suzi Digby. Recorde...
published: 25 Oct 2019
Robert White- Tota pulchra es
Robert White- Tota pulchra es
- Report rights infringement
- published: 25 Oct 2019
- views: 627
Robert White (1538- 1574)- Tota pulchra es. Performed by ORA Singers & Suzi Digby. Recorded at All Hallows, Gospel Oak, February 2016.
From the album 'Desires: A Song of Songs collection'- released 8th March, 2019 with harmonia mundi.
Text:
Tota pulchra es amica mea,
Et macula non est in te;
Favus distillans labia tua,
Mel et lac sub lingua tua;
Odor unguentorum tuorum
Super Omnia aromata.
Iam enim hiems transiit,
Imber abiit et recessit;
Flores apparuerunt,
Vineae florentes odorem dederunt,
Et vox turturis audita est
In terra nostra.
Surge, propera, amica mea,
Veni de Libano;
Veni coronaberis.
You are wholly beautiful my love,
And in you there is no blemish;
Your lips are a dripping honeycomb,
Honey and milk under your tongue;
The smell of your perfumes
Is sweeter than any scent.
For now the winter has passed,
The rain is over and gone;
Flowers have appeared,
The vines in bloom give out their scent,
And the voice of the turtle dove is heard
In our land.
Get up and make haste my love,
And come from Lebanon;
Come, and you will receive a crown.
Song of Songs 4: 7,11,10b, 2: 11,12,13b, 4:8
Full album listing:
1. Antoine Brumel (c.1460-1512/13)- Sicut lilium inter spinas (2'19)
2. Jacob Clemens non Papa (c. 1510/15- 1555.56)- Ego Flos Campi (4'36)
3. Gabriel Jackson (b. 1962)- I am the Rose of Sharon (6'00)
4. Rodrigo de Ceballos (c. 1525/30- 1581)- Hortus conclusus (5'09)
5. Plainchant -Tota pulchra es (2'03)
6. Robert White (1538- 1574)- Tota pulchra es (6'50)
7. Francis Grier (b.1955)- Dilectus meus mihi (7'24)
8. Nicolas Gombert (c. 1495- c.1560)- Quam pulchra es (5'17)
9. Tomás Luis de Victoria (1548- 1611)- Vadam et circuibo civitatem (8'18)
10. Jonathan Dove (b.1959)- Vadam et circuibo civitatem (8'52)
11. Sebastián de Vivanco (c.1551- 1622)- Veni, dilecte mi (4'43)
12. Giovanni Pierluigi da Palestrina (1525/26- 1594)- Duo ubera tua (3'41)
13. Juan Esquivel (c, 1560- c.1624)- Surge propera amica mea (3'14)
14. John Barber (b.1980)- Sicut lilium (2'50)
www.orasingers.com
Orlande de Lassus
Roland de Lassus (also Orlande de Lassus, Orlando di Lasso, Orlandus Lassus, or Roland de Lattre; 1532, possibly 1530 – 14 June 1594) was a Netherlandish or Franco-Flemish composer of the late Renaissance. He is today considered to be the chief representative of the mature polyphonic style of the Franco-Flemish school, and one of the three most famous and influential musicians in Europe at the end of the 16th century (the other two being Palestrina and Victoria).
Life
Lassus was born in Mons in the County of Hainaut, Habsburg Netherlands (modern-day Belgium). Information about his early years is scanty, although some uncorroborated stories have survived, the most famous of which is that he was kidnapped three times because of the singular beauty of his singing voice. At the age of twelve, he left the Low Countries with Ferrante Gonzaga and went to Mantua, Sicily, and later Milan (from 1547 to 1549). While in Milan, he made the acquaintance of the madrigalist Spirito l'Hoste da Reggio, a formative influence on his early musical style.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Orlande_de_Lassus
Giovanni Pierluigi da Palestrina - Missa Nigra sum...