Composers

Orlande de Lassus

Voice
Mixed chorus
Soprano
Tenor
Bass
Alto
Female chorus
Men's chorus
Viol
Organ
Religious music
Motet
Song
Magnificat
Vesper
Madrigal
Mass
Chanson
Sacred hymns
Hymn
by alphabet
BiciniaNovae aliquot et ante hac non ita usitatae cantiones suavissimae, LV 1577.2Fantasias for 3 ViolsMatona mia cara, LV 663Bicinium, LV 604Missa super Bella Amfitrit' altera, LV 1146Beatus vir qui in sapientia morabitur, LV 592Lagrime di San PietroMissa ad imitationem moduli Jäger, LV 622Bonjour mon coeur, LV 167Beatus homo qui invenit sapientiam, LV 593Oculus non vidit, LV 594Chansons françaises à quatre voix, Vol.1Adoramus te Christe, LV 1083Madrigals and ChansonsAve Regina caelorum, LV 554Jubilate Deo omnis terra, LV 854La nuict froide et sombre, LV 578O là, o che bon eccho, LV 674Musica Dei donum optimi, LV 999Sicut rosa inter spinas, LV 603Expectatio justorum, LV 596Bicinium, LV 605Domine Deus meus, LV 616Qui sequitur me non ambulat, LV 597Audite nova, LV 483Justus cor suum tradet, LV 595Magnificat octavi toni, LV 286De profundis clamavi, LV 799Sancti mei, LV 599Christus resurgens ex mortuis, LV 550Fulgebunt justi, LV 602Super flumina Babylonis, LV 860Tristis est anima mea, LV 238Justi tulerunt spolia impiorum, LV 598Missa super Qual donna attende, LV 960Alleluia laus et gloria, LV 1077Qui vult venire post me, LV 600Ad te levavi oculos meos, LV 405Ego sum resurrectio, LV 542Susanne un jour, LV 98Adoramus te Christe, LV 885Il magnanimo Pietro, LV 1005Ad te perenne gaudium, LV 1075Sancta et immaculata virginitas, LV 548Serve bone et fidelis, LV 601Resonet in laudibus, LV 363Justus es Domine, LV 617Exaudi me, Domine, LV 546Compositions françaises de 4 à 8 voixO Maria, clausus hortus, LV 552Diligam te, Domine, LV 618Deus tu scis insipientiam meam, LV 544In pace in idipsum, LV 1074Chansons françaises à quatre voix, Vol.2Laetatus sum, LV 543Ave Maria alta stirps, LV 644RicercarTimor et tremor, LV 1946 Motets for 3 Voices or InstrumentsBenedictus es Domine, LV 856Célébrons sans cesse, LV 573Benedicam Dominum qui tribuit, LV 875Beau le cristal, LV 574Un jour l'amant et l'amie, LV 388Haec quae ter triplici, LV 540Ich weiß mir ein Meidlein, LV 750Adorna thalamum, LV 869Prophetiae SibyllarumDomine ne in furore, LV 796Je l'aime bien et l'amerai, LV 39Ego dixi Domine miserere mei, LV 551Amen amen dico vobis, LV 204Dextera Domini, LV 878Benedicite gentes, LV 877Ave mater matris Dei, LV 1085Missa super Frère Thibault, LV 417Illumina oculos meos, LV 1081Occhi, piangete, LV 27Alma real dignissima, LV 177Ma gli archi, LV 1006Tota pulchra es amica mea, LV 1080In te speravi Domine, LV 690Verbum caro panem verum, LV 1072Domine fac mecum misericordia tuum, LV 855Laudate Dominum quoniam bonus, LV 343Audi dulcis amica mea, LV 42Tre volte haveva, LV 1007Exsultate justi in Domino, LV 349Exaudi Deus orationem meam, LV 851Alma cortese in piu bel lembo involta, LV 3Appariran per me, LV 82Teutsche PsalmenQual a l'incontro, LV 1008Mia benigna fortun’e ’l viver lieto, LV 10Nessun fedel trovai, LV 1012Da pacem Domine, LV 957Ben mi credea passar mio tempo, LV 18Confitebor tibi Domine, LV 848Fiera stella, LV 14Gaudent in coelis, LV 502Beatus Nicolaus, LV 1137Improperium expectavit cor meum, LV 852Domine convertere, LV 849Carmina Chromatico, LV 1048Ecce nunc benedicite Dominum, LV 1129Tibi laus, tibi gloria, LV 886Mein mann, der ist in krieg, LV 456Le rossignol plaisant et gratieux, LV 91O dolci parolette, LV 183Crudel acerba inesorabil morte, LV 12Ad altre le voi dare ste passate, LV 654Die Gnad kombt oben her, LV 747Benedixisti Domine terram tuam, LV 709Verbum caro panem verum, LV 1082Alma Redemptoris Mater, LV 1041Expectans expectavi, LV 873Fratres sobrii estote, LV 368Secourès moy, madame, LV 102Eripe me de inimicis meis, LV 476Anna, mihi dilecta, LV 646In qual parte del ciel, LV 72De l'eterne tue sante alme faville, LV 803Vive sera et toujours perdurable, LV 384Decantabat populus Israel, LV 191Candid’allhor del ciel, LV 73Domine in auxilium meum respice, LV 867Hispanum ad coenam, LV 360Io che l’età piu verd' e piu fiorita, LV 804Quando la sera scaccia, LV 15Misera, che faro, LV 591Sol’e pensoso i più deserti campi, LV 19Standomi un giorno, LV 64Meditabor in mandatis tuis, LV 692Nessun visse giamai, LV 777Cantai hor piango, LV 1Sperent in te omnes, LV 876Lasso ch'il crederia, LV 322Tutto lo dì mi dici, LV 655Princeps Marte potens, Guilielmus, LV 1076Emendemus in melius, LV 420Regnum mundi, LV 519Fallax gratia, LV 475Cognovi Domine, LV 232Al gran Guglielmo nostro, LV 784Fleur de quinze ans, LV 157Questi ch’inditio fan, LV 68Peccantem me quotidie, LV 43Domine secundum actum meum, LV 474Canzon se l’esser meco, LV 768Malvaggio horrido gelo, LV 393Quemadmodum desiderat cervus, LV 365Lauda Sion salvatorem, LV 634Beati pauperes spiritu, LV 471Respicit Dominus vias hominis, LV 982Evro gentil se d’amoroso ardore, LV 69O sacrum convivium, LV 702Cantate Domino canticum novum, LV 549Levavi oculos meos, LV 267Concupiscendo concupiscit anima mea, LV 226Diliges proximum tuum, LV 694Margot labourez les vignes, LV 169Iste flos Allemanorum, LV 1087Johannes est nomen eius, LV 1086Pulvis et umbra sumus, LV 504Volgi cor mio la tua speranza, LV 70Honorabile est inter omnes, LV 477Precatus est Moyses, LV 858Choirbook, D-Mbs Mus. MS AMentre fioriv’amor, LV 65Christus resurgens ex mortuis, LV 712Pon fren' al gran dolor, LV 13Bestia curvafia pulices, LV 588Fuyons tous d’amour le jeu, LV 164Laudate Dominum omnes gentes, LV 1122Vatene lieta homai, LV 28O invidia nemica di virtute, LV 11Da pacem Domine, LV 63Madonna sa l’amor, LV 585Un jeune moine est sorti du couvent, LV 484Nos qui sumus in hoc mundo, LV 503Tribulationem et dolorem inveni, LV 366Iniquos odio habui, LV 233Non vos me elegistis, LV 123Quid estis pusillanimes, LV 473Quasi cedrus exaltata sum in Libano, LV 205Saccio na cosa, LV 656Quia vidisti me Thoma credidisti, LV 150Gallans qui par terre et par mer, LV 766Scapulis suis obumbrabit tibi Dominus, LV 686Beati omnes qui timent Dominum, LV 553Deutsche geistliche Psalmen mit drei StimmenIch hab ein Mann, der gar nichts kann, LV 752Infelix ego omnium, LV 264Quel chiaro sol che tragge indi lontano, LV 67Perche nemica mia mi vi mostrate, LV 22Come la notte ogni fiammella è viva, LV 771Mes pas semez et loings alez, LV 165Petite folle, LV 163Come lume di notte in alcun porto, LV 770Deus noster refugium et virtus, LV 223Ave Regina caelorum, LV 1105Che più d’un giorno è la vita mortale, LV 586Christ ist erstanden, LV 746Lamentationes Hieremiae Prophetae à 5, LV 815-823Qui tribulant me inimici mei, LV 691Je ne veux rien, LV 170Cum rides mihi, LV 633Ce faux amour, LV 133Deh perchè voglio anco di me dolermi, LV 776Da pacem Domine, LV 718Qui cupit exsolvi, LV 203Sibylla Persica, LV 1049Lucescit jam o socii, LV 759En m’oyant chanter quelquefois, LV 172Dominus scit cogitationes hominum, LV 58Exaudi Deus orationem meam, LV 547Magnificat quarti toni, LV 557Zanni, LV 673Di terrena armonia satia l’anima mia, LV 781En un lieu ou l’on ne voit goutte, LV 166Veoir est beaucoup, LV 79Baur was tregst im Sacke, LV 751Quicumque vult salvus esse, LV 631Missa ad imitationem moduli Doulce memoire, LV 619Di quà di là va le noiose piume, LV 779O faible esprit, LV 444Zachaee festinans descende, LV 252Dapoi che sotto il ciel cosa non vidi, LV 778La non vol esser più mia, LV 772Ego sum pauper dolens, LV 545Hatez vous de me faire grace, LV 333Annelein, du singst fein, LV 479Missa ad imitationem moduli Susanne un Jour, LV 408Angelus ad pastores ait, LV 115Praesidium Sara dulce meum, LV 412Poi ch'el mio largo pianto, LV 755Pronuba Juno, LV 411A voi Guglielmo invitto, LV 773Adoramus te Christe, LV 1092Missa super Entre vous filles, LV 650Ein Esel und das Nüßbaumholz, LV 478Si com’i fiori da l’ardente sole, LV 407Von Gott will ich nicht lassen, LV 97211 Pièces latines à deux voixOve le luci giro un tenebros’ horrore, LV 587Signor da l’alto trono, LV 783Domine non est exaltatum, LV 541Ich ruf zu dir, mein Herr und Gott, LV 965Ton feu s’estaint de ce que le mien ard, LV 80I'vo piangendo, LV 319Maria voll Genad, LV 968Lamentationes Hieremiae Prophetae à 4, LV Anh.63-71Auss meiner Sünden tieffe, LV 748Wol kombt der May, LV 754Auss gutem grundt, LV 480Si pour moy avez du souci, LV 572Si froid et chaut, LV 168Nun grüß dich Gott, LV 497Der König wird sein wohlgemut, LV 971Aus hartem Weh, LV 966O Lucia miau miau, LV 101Ein guten Rat will geben ich, LV 964Es thut sich als verkeren, LV 481Surgens Jesus Dominus noster, LV 127Ein Körbelmacher, LV 970Al dolce suon', LV 370O Mensch, gedenk, LV 967Wach auf, o Menschenkind, LV 749Avec le jour commence ta journee, LV 736MadrigaleO vin en vigne, LV 379MotettenMissa Cantorum, LV Anh.80Ce que tu peux maintenant, LV 737In viel Trübsal und Versuchung, LV 969Selig ist, der auf Gott sein Hoffnung setzet, LV 738La morre est jeu pire, LV 160Non tarde veniet, LV 1051Si par souhait, LV 377On doit le fer battre, LV 745MessenAlma Nemes, quad sola Nemes, LV 46ChansonsDeus misereatur nostri, LV 266Magnificat octavi toni, LV 897Las voules vous, LV 36Missus est angelus Gabriel, LV 218Domine, quando veneris, LV 351La peine dure, LV 762Trop endurer, LV 40Pensier dicea che'l cor, LV 372Elle s'en va de moi, LV 90Ben convenne, LV 373Gratia sola Dei, LV 364Missa super Credidi propter, LV 526Vostro fui, vostro sono, LV 66Missa super Je ne mange poinct de porcq, LV 414Missa super La, la, maistre Pierre, LV 415Ove d'altra montagna, LV 323Chi no'l sà, LV 590Missa super Sidus ex claro, LV 525O beltà rara, LV 311Missa super Le berger et la bergère, LV 418Spent' è d'amor, LV 371Missa ad imitationem moduli Puis que j'ai perdu, LV 620Missa super Pilons pilons lorge, LV 416Chi ad una ad una, LV 1013Ogni occhio del signor, LV 1011Giovane donna, LV 1009Missa super Ite rime dolenti, LV 523Missa super Scarco di doglia, LV 524E non fu il pianto suo, LV 1015Queste opre e più, LV 1023Come falda di neve, LV 1014Così talhor, LV 1010Non trovava mia fé, LV 1022Passio Domini nostri Jesu Christi secundum Joannem, LV Anh.136Vide homo, LV 1025E vago d'incontrar, LV 1018O vita troppo rea, LV 1020Veduto il miser, LV 1017A quanti già felici, LV 1021Negando il mio signor, LV 1024Quel volto, LV 1016Sabbato Sancto, LV Anh.145Vattene vita va, LV 1019Officium Ascensionis Domini, LV Anh.124Officium in Purificatione Beatae Mariae Virginis, LV Anh.129Officium primum In Nativitate Domini, LV Anh.131Officium Sancti Michaelis, LV Anh.133Passio Domini nostri Jesu Christi secundum Lucam, LV Anh.137Passio Domini nostri Jesu Christi secundum Marcum, LV Anh.13824 Cantiones, lieder, chansons, et madrigali, LV 1573.825 Duets for Flugelhorns3 Chansons polyphoniques7 motets for 3 VoicesA ce matin ce seroit bonne estreine, LV 156AbendgebetAlma redemptoris mater, LV 728Antiphonae septem ad Vesperas Corporis Christi, LV Anh.3Antiphonae septem ad Vesperas Sancti Michaelis, LV Anh.4Ardant amour souvent me fait instance, LV 174Ave Regina caelorum, LV 717Avecques vous mon amour finira, LV 38Beati omnes qui timent Dominum, LV 242Benedictus Dominus Deus Israel, LV Anh.10Bianca neve è il bel collo, LV 493Buon' hora prende il giorno, LV 324Cantiones Duum VocumCantionum quas mutetas vocant, LV 1573.9Chansons a 4 et 5 parties, LV 1561.2Chansons a 4 et 5 parties, LV 1564.3Chansons a 4 et 5 parties, LV 1565.9Christe qui lux es, LV Anh.12Comme la tourterelle, LV 230Del freddo Rheno, LV 23Der ander Theil Teutscher LiederDi moi mon cueur, LV 498Di persona era tanto ben formata, LV 490Domine labia mea aperies, LV 857Edite Caesareo boiorum, LV 344En un chateau, LV 378Estote ergo misericordes, LV 192Factus est Dominus, LV 862Guarda'l mio stato, LV 2Helas quel jour, LV 85Il estoit une religieuse, LV 228In manus tuas, LV Anh.56In omnibus requiem quaesivi, LV 249In te Domine speravi, LV 193J'ay de vous voir, LV 767Je suis quasi prest d'enrager, LV 376La cortesia voi donne predicate, LV 33Le vray amy, LV 158Liber mottetarum, trium vocumLibro de villanelle, moresche et altre canzoniLumen ad revelationem, LV Anh.74Madonna, mia pietà, LV 30Madrigali a 5 voci, Libro 1Madrigali a 5 voci, Libro 2Madrigali a 5 voci, Libro 3Magnificat octavi toni, LV 1069Magnificat secundi toni, LV 1070Magnificat sexti toni, LV 1068Magnificat sexti toni, LV 1168Magnum opus musicumManuscript, D-Mbs Mus.ms.2749Manuscript, D-Mbs Mus.ms.2750Mellange, 1570Missa super Alleluia à 5, LV Anh.77Missa super Alleluia à 5, LV Anh.78Missa super In me transierunt à 5, LV Anh.87Missa super Io son ferito ahi lasso, LV 962Missa super Tempus est ut revertar, LV Anh.106Missae aliquot quinque vocum, LV 1574.3Mon coeur se recommande a vous, LV 94Monsieur l'Abbé, LV 154Mostran le braccia sue misura giusta, LV 494Mottetta, sex vocum, typis nondum uspiam excusaNunc dimittis quinti toni, LV Anh.116Nunc dimittis sexti toni, LV Anh.121Officium Epiphaniae Domini, LV Anh.126Omnes de Saba, LV 973Per pianto la mia carne, LV 24Prolongati sunt dies mei, LV 975Quand mon mary, LV 153Quand un cordier cordant, LV 487Quand'io penso al fuggir, LV 811Quare tristis es anima mea, LV 472Qui bien se mire, LV 488Qui dort icy?, LV 152Quid tibi quidnam, LV 243Regina coeli laetare, LV 1127S'una fede amorosa, LV 499Sauter, danser, faire des tours, LV 577Sces tu dir l'ave disoit il, LV 489Se ben l’empia mia sorte, LV 26Selectissimae cantiones, LV 1568.3Selectissimae cantiones, LV 1568.4Selectissimae cantiones, LV 1579.2Selectissimae cantiones, LV 1579.3Si du malheur, LV 485Si ie suis brun, LV 486Sotto duo negri, LV 491Sotto quel sta quasi fra due vallette, LV 492Soyons joyeux, LV 176Spesso in poveri alberghi e in picciol tetti, LV 495Spiritus meus attenuabitur, LV 215Sto core mio, LV 35Sämtliche Werke, Neue ReiheTranscriptions for 3 ViolsTranscriptions for 4 ViolsUn doux nenny, LV 86Un jour vis un foulon, LV 380Unde revertimini, LV 496Vray Dieu disoit une fillette, LV 41Wem soll man jetzund trauen, LV 482Asperges me, LV 528Asperges me, LV 529Audi benigne conditor, LV Anh.5Conditor alme siderum, LV Anh.15Domine Dominus noster, LV 637Fit porta Christi pervia, LV Anh.48In exitu Israel, LV Anh.55Iste confessor, LV Anh.59Magnificat octavi toniMagnificat octavi toni, LV 1066Magnificat octavi toni, LV 1177Magnificat octavi toni, LV 1178Magnificat octavi toni, LV 1179Magnificat octavi toni, LV 1190Magnificat octavi toni, LV 1194Magnificat octavi toni, LV 1195Magnificat octavi toni, LV 1196Magnificat octavi toni, LV 294Magnificat octavi toni, LV 927Magnificat peregrini toni, LV 892Magnificat primi toniMagnificat primi toni, LV 1156Magnificat primi toni, LV 1157Magnificat primi toni, LV 1158Magnificat primi toni, LV 1159Magnificat primi toni, LV 271Magnificat primi toni, LV 279Magnificat primi toni, LV 287Magnificat primi toni, LV 555Magnificat primi toni, LV 890Magnificat primi toni, LV 894Magnificat primi toni, LV 921Magnificat quarti toniMagnificat quarti toni, LV 1164Magnificat quarti toni, LV 1165Magnificat quarti toni, LV 1166Magnificat quarti toni, LV 1192Magnificat quarti toni, LV 274Magnificat quarti toni, LV 282Magnificat quarti toni, LV 290Magnificat quarti toni, LV 896Magnificat quarti toni, LV 924Magnificat quinti toniMagnificat quinti toni, LV 1067Magnificat quinti toni, LV 1184Magnificat quinti toni, LV 275Magnificat quinti toni, LV 283Magnificat quinti toni, LV 291Magnificat quinti toni, LV 556Magnificat secundi toniMagnificat secundi toni, LV 1151Magnificat secundi toni, LV 1160Magnificat secundi toni, LV 1161Magnificat secundi toni, LV 1162Magnificat secundi toni, LV 1180Magnificat secundi toni, LV 1181Magnificat secundi toni, LV 1182Magnificat secundi toni, LV 1183Magnificat secundi toni, LV 272Magnificat secundi toni, LV 280Magnificat secundi toni, LV 288Magnificat secundi toni, LV 889Magnificat secundi toni, LV 893Magnificat secundi toni, LV 899Magnificat secundi toni, LV 922Magnificat septimi toniMagnificat septimi toni, LV 1154Magnificat septimi toni, LV 1155Magnificat septimi toni, LV 1172Magnificat septimi toni, LV 1173Magnificat septimi toni, LV 1174Magnificat septimi toni, LV 1175Magnificat septimi toni, LV 1176Magnificat septimi toni, LV 1187Magnificat septimi toni, LV 1188Magnificat septimi toni, LV 1189Magnificat septimi toni, LV 1191Magnificat septimi toni, LV 1193Magnificat septimi toni, LV 277Magnificat septimi toni, LV 293Magnificat septimi toni, LV 559Magnificat septimi toni, LV 895Magnificat septimi toni, LV 926Magnificat septimi toni, LV Anh.75Magnificat sexti toniMagnificat sexti toni, LV 1153Magnificat sexti toni, LV 1169Magnificat sexti toni, LV 1170Magnificat sexti toni, LV 1171Magnificat sexti toni, LV 1185Magnificat sexti toni, LV 1186Magnificat sexti toni, LV 276Magnificat sexti toni, LV 284Magnificat sexti toni, LV 292Magnificat sexti toni, LV 558Magnificat sexti toni, LV 925Magnificat sexti toni, LV Anh.76Magnificat tertii toniMagnificat tertii toni, LV 1152Magnificat tertii toni, LV 1163Magnificat tertii toni, LV 273Magnificat tertii toni, LV 281Magnificat tertii toni, LV 289Magnificat tertii toni, LV 898Miserere mei Deus, LV Anh.108Missa ad imitationem moduli O passi sparsi, LV 621Missa ad imitationem moduli Tous les regretz, LV 626Missa Sesquialtera, LV Anh.101Missa super Beatus qui intelligit, LV 920Missa super Benedicam Dominum, LV Anh.79Missa super Certa fortiter, LV 1148Missa super Confundantur superbi, LV Anh.81Missa super Congratulamini mihi, LV 410Missa super Deus in adiutorium, LV 1150Missa super Dittes maistresse, LV 958Missa super Dixit Joesph, LV 1144Missa super Domine Dominus noster, LV Anh.85Missa super Domine secundum actum meum, LV 409Missa super Ecce Maria, LV Anh.86Missa super Ecce nunc benedicite, LV 1149Missa super Il me suffit, LV 649Missa super In die tribulationis, LV 961Missa super Je prens en gres, LV Anh.89Missa super Je suis desheritée, LV Anh.90Missa super Locutus sum, LV 919Missa super On me l'a dict, LV Anh.94Missa super Or sus à coup, LV 1145Missa super Osculetur me, LV Anh.95Missa super Quand'io penso al martire, LV 675Missa super Qui la dira, LV Anh.97Missa super Rompi de l'empio cor, LV Anh.99Missa super Se salamandre, LV Anh.100Missa super Si rore aenio, LV Anh.103Missa super Triste départ, LV Anh.107Missa super Veni in hortum meum, LV 651Nunc dimittis octavi toni, LV Anh.110Nunc dimittis primi toni, LV Anh.111Nunc dimittis primi toni, LV Anh.112Nunc dimittis primi toni, LV Anh.113Nunc dimittis quarti toni, LV Anh.114Nunc dimittis quarti toni, LV Anh.115Nunc dimittis secundi toni, LV Anh.117Nunc dimittis secundi toni, LV Anh.118Nunc dimittis secundi toni, LV Anh.119Nunc dimittis septimi toni, LV Anh.120Nunc dimittis tertii toni, LV Anh.122Nunc dimittis tertii toni, LV Anh.123Officia aliquot de praecipuis Festis Anni, LV 1574.4Officium Corporis Christi, LV 533Officium Corporis Christi, LV Anh.125Officium in feira secunda post Resurrectionem, LV Anh.127Officium in feria tertia post Resurrectionem, LV Anh.128Officium in Quinquagesima, LV Anh.130Officium Natalis Christi, LV 530Officium Paschale, LV 531Officium Pentecostes, LV 532Officium Resurrectionis Domini, LV Anh.132Pange lingua gloriosi, LV Anh.135Passio Domini nostri Jesu Christi secundum Mattheum, LV 534PassionenResponsoria in Nativitate Domini, LV Anh.142Responsoria, LV Anh.58, 142-146Responsorium in exequiis, LV Anh.147Stabat Mater, LV 879Surrexit Dominus vere, LV Anh.58Te lucis ante terminum, LV Anh.154Vidi aquam, LV 527Ad coenam agni providi, LV Anh.1Ad preces nostras, LV Anh.2Aurea luce et decore, LV Anh.6Ave maris stella, LV Anh.7Christe redemptor omnium, LV Anh.13Christe redemptor omnium, LV Anh.14Das HymnariumDeus tuorum militum, LV Anh.20Deus tuorum militum, LV Anh.21Doctor egregie, LV Anh.22Fortem virili pectoreHaec dies, quam fecit Dominus, LV Anh.49Hostis Herodes impie, LV Anh.51Jesu corona virginum, LV Anh.52Jesu nostra redemptio, LV Anh.53Lamentiatio prima primi diei, LV 815Lamentiatio prima primi diei, LV Anh.63Lamentiatio prima secundi diei, LV 818Lamentiatio prima secundi diei, LV Anh.64Lamentiatio prima tertii diei, LV 821Lamentiatio prima tertii diei, LV Anh.65Lamentiatio secunda primi diei, LV 816Lamentiatio secunda primi diei, LV Anh.66Lamentiatio secunda secundi diei, LV 819Lamentiatio secunda secundi diei, LV Anh.67Lamentiatio secunda tertii diei, LV 822Lamentiatio secunda tertii diei, LV Anh.68Lamentiatio tertia primi diei, LV 817Lamentiatio tertia primi diei, LV Anh.69Lamentiatio tertia secundi diei, LV 820Lamentiatio tertia secundi diei, LV Anh.70Lamentiatio tertia tertii diei, LV 823Lamentiatio tertia tertii diei, LV Anh.71Lauda mater ecclesia, LV Anh.72Lectio nona, LV 217Lectio nona, LV 684Lectio octava, LV 216Lectio octava, LV 683Lectio prima, LV 209Lectio prima, LV 535Lectio prima, LV 676Lectio quarta, LV 212Lectio quarta, LV 679Lectio quinta, LV 213Lectio quinta, LV 680Lectio secunda, LV 210Lectio secunda, LV 536Lectio secunda, LV 677Lectio septima, LV 215Lectio septima, LV 682Lectio sexta, LV 214Lectio sexta, LV 681Lectio tertia, LV 211Lectio tertia, LV 537Lectio tertia, LV 678LectionesLucis creator optime, LV Anh.73Magnificat octavi toni, LV 278Magnificat primi toni, LV 891Magnificat quinti toni, LV 1167Magnificat secundi toni, LV 888Magnificat septimi toni, LV 285Magnificat tertii toni, LV 923Manuscript, D-Mbs Mus.ms.32Missa ad imitationem moduli In te Domine speravi, LV 269Missa ad imitationem moduli Vinum bonum, LV 627Missa Octavi toni à 5Missa super Amor ecco colei, LV 1147Missa super In principio, LV Anh.88Missa super Surrexit pastor bonus, LV Anh.105Nunc dimittisO lux beta trinitas, LV Anh.134Petrus beatus catenarum, LV Anh.139Quand' han più, LV 956Quincumque christum queritis, LV Anh.141Rex gloriose martirum, LV Anh.148Sibylla Agrippa, LV 1060Sibylla Cimmeria, LV 1052Sibylla Cumana, LV 1054Sibylla Delphica, LV 1051Sibylla Erythraea, LV 1059Sibylla Europaea, LV 1057Sibylla Hellespontica, LV 1055Sibylla Libyca, LV 1050Sibylla Phrygia, LV 1056Sibylla Samia, LV 1053Sibylla Tiburtina, LV 1058Te lucis ante terminum, LV Anh.153Tibi christe splendor patris, LV Anh.155Tristes erant apostoli, LV Anh.156Urbs beata Jerusalem, LV Anh.157Ut queant laxis, LV Anh.158Veni creator spiritus, LV Anh.159Vexilla regis prodeunt, LV Anh.160Voi volete ch'io muoia, LV 629Exultet coelum laudibus, LV Anh.24Magnificat primi toni, LV 887Missa De Feria in Septimana Sancta, LV Anh.83Missa Paschalis, LV Anh.96Missa pro defunctis, LV 624Missa super Amar donna, LV 959Missa super Jesus ist ein süßer Nam', LV Anh.91Requiem à 4, LV Anh.98Sanctorum meritis, LV Anh.152Come'l candido pie per l'herba fresca, LV 628Missa De Feria in Quadragesima, LV Anh.82Missa pro defunctis, LV 963Salvete flores martyrum, LV Anh.151MagnificatsMissa De Feria, LV 623Missa super Laudate Dominum, LV 953Missa ad imitationem moduli Surge propera, LV 625
Wikipedia
Orlande de Lassus (also Roland de Lassus, Orlando di Lasso, Orlandus Lassus, Orlande de Lattre or Roland de Lattre; 1532, possibly 1530 – 14 June 1594) was a composer of the late Renaissance, chief representative of the mature polyphonic style of the Franco-Flemish school, and considered to be 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).
Orlande de 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.
He then worked as a singer and a composer for Costantino Castrioto in Naples in the early 1550s, and his first works are presumed to date from this time. Next he moved to Rome, where he worked for Cosimo I de' Medici, Grand Duke of Tuscany, who maintained a household there, and in 1553, he became maestro di cappella of the Basilica of Saint John Lateran, the ecumenical mother church of Rome and a spectacularly prestigious post indeed for a man only twenty-one years old. However, he stayed there for only a year. (Palestrina would assume this post a year later, in 1555.)
No solid evidence survives for his whereabouts in 1554, but there are contemporary claims that he traveled in France and England. In 1555 he returned to the Low Countries and had his early works published in Antwerp (1555–1556). In 1556 he joined the court of Albrecht V, Duke of Bavaria, who was consciously attempting to create a musical establishment on a par with the major courts in Italy. Lassus was one of several Netherlanders to work there, and by far the most famous. He evidently was happy in Munich and decided to settle there. In 1558 he married Regina Wäckinger, the daughter of a maid of honor of the Duchess. They had two sons, both of whom became composers, and his daughter married the painter Hans von Aachen. By 1563 Lassus had been appointed maestro di cappella, succeeding Ludwig Daser in the post. Lassus remained in the service of Albrecht V and his heir, Wilhelm V, for the rest of his life.
By the 1560s Lassus had become quite famous, and composers began to go to Munich to study with him. Andrea Gabrieli went there in 1562, and possibly remained in the chapel for a year. Giovanni Gabrieli also possibly studied with him in the 1570s. His renown had spread outside strictly musical circles, for in 1570 Emperor Maximilian II conferred nobility upon him, a rare circumstance for a composer. Pope Gregory XIII knighted him and in 1571, and again in 1573, the king of France, Charles IX, invited him to visit. Some of these kings and aristocrats attempted to woo him away from Munich with more attractive offers, but Lassus was evidently more interested in the stability of his position, and the splendid performance opportunities of Albrecht's court, than in financial gain. "I do not want to leave my house, my garden, and the other good things in Munich", he wrote to the Duke of Electorate of Saxony in 1580, upon receiving an offer for a position in Dresden.
In the late 1570s and 1580s Lassus made several visits to Italy, where he encountered the most modern styles and trends. In Ferrara, the center of avant-garde activity, he doubtless heard the madrigals being composed for the d'Este court. However, his own style remained conservative and became simpler and more refined as he aged. In the 1590s his health began to decline, and he went to a doctor named Thomas Mermann for treatment of what was called "melancholia hypocondriaca", but he was still able to compose as well as travel occasionally. His final work was often considered one of his best pieces: an exquisite set of twenty-one madrigali spirituali known as the Lagrime di San Pietro ("Tears of St. Peter"), which he dedicated to Pope Clement VIII, and which was published posthumously in 1595. Lassus died in Munich on 14 June 1594, the same day that his employer decided to dismiss him for economic reasons. He never saw the letter. He was buried in Munich in the Alter Franziskaner Friedhof, a cemetery that was cleared of gravestones in 1789 and is now the site of Max-Joseph-Platz.
One of the most prolific, versatile, and universal composers of the late Renaissance, Lassus wrote over 2,000 works in all Latin, French, Italian and German vocal genres known in his time. These include 530 motets, 175 Italian madrigals and villanellas, 150 French chansons, and 90 German lieder. No strictly instrumental music by Lassus is known to survive, or ever to have existed: an interesting omission for a composer otherwise so wide-ranging and prolific, during an age when instrumental music was becoming an ever-more prominent means of expression, all over Europe. The German music publisher Adam Berg dedicated 5 volumes of his Patrocinium musicum (published from 1573–1580) to Lassus' music.
Lassus remained Catholic during this age of religious discord, though this neither hindered him in writing worldly secular songs nor in employing music originally to racy texts in his Magnificats and masses employing parody technique. Nevertheless, the Catholic Counter-Reformation, which under Jesuit influence was reaching a peak in Bavaria in the late sixteenth century, had a demonstrable impact on Lassus' late work, including the liturgical music for the Roman Rite, the burgeoning number of Magnificats, the settings of the Catholic Ulenberg Psalter (1588), and especially the great penitential cycle of spiritual madrigals, the Lagrime di San Pietro (1594).
Almost 60 masses have survived complete; most of them are parody masses) using as melodic source material secular works written by himself or other composers. Technically impressive, they are nevertheless the most conservative part of his output. He usually conformed the style of the mass to the style of the source material, which ranged from Gregorian chant to contemporary madrigals, but always maintained an expressive and reverent character in the final product.
Several of his masses are based on extremely secular French chansons; some of the source materials were outright obscene. Entre vous filles de quinze ans, "Oh you fifteen-year old girls", by Jacob Clemens non Papa, gave him source material for his 1581 Missa entre vous filles, probably the most scandalous of the lot. This practice was not only accepted but encouraged by his employer, which can be confirmed by evidence from their correspondence, much of which has survived.
In addition to his traditional imitation masses, he wrote a considerable quantity of missae breves, "brief masses", syllablic short masses meant for brief services (for example, on days when Duke Albrecht went hunting: evidently he did not want to be detained by long-winded polyphonic music). The most extreme of these is a work actually known as the Jäger Mass (Missa venatorum)—the "Hunter's Mass".
Some of his masses show influence from the Venetian School, particularly in their use of polychoral techniques (for example, in the eight-voice Missa osculetur me, based on his own motet). Three of his masses are for double choir, and they may have been influential on the Venetians themselves; after all, Andrea Gabrieli visited Lassus in Munich in 1562, and many of Lassus's works were published in Venice. Even though Lassus 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.
Lassus 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 chromaticism, and that it may have referred to music specifically written for connoisseurs. A famous composition by Lassus representative of this style is his series of 12 motets entitled Prophetiae Sibyllarum, in 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.
Lassus wrote four settings of the Passion, one for each of the Evangelists, St. Matthew, Mark, Luke 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, Lassus 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 Babylonis, for 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 Lassus achieved his widest and most lasting fame.
Lassus's 1584 setting of the seven Penitential Psalms of David (Psalmi Davidis poenitentiales) is one of the most famous collections of psalm settings of the entire Renaissance. The counterpoint is free, avoiding the pervasive imitation of the Netherlanders such as Gombert, and occasionally using expressive devices foreign to Palestrina. As elsewhere, Lassus strives for emotional impact, and uses a variety of texture and care in text-setting towards that end. The penultimate piece in the collection, his setting of the De profundis (Psalm 129/130), is considered by many scholars to be one of the high-water marks of Renaissance polyphony, ranking alongside the two settings of the same text by Josquin des Prez.
Among his other liturgical compositions are hymns, canticles (including over 100 Magnificats), responsories for Holy Week, Passions, Lamentations, and some independent pieces for major feasts.
Lassus wrote in all the prominent secular forms of the time. In the preface to his collection of German songs, Lassus 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.
In his madrigals, many of which he wrote during his stay in Rome, his style is clear and concise, and he wrote tunes which were easily memorable; he also "signed" his work by frequently using the word 'lasso' (and often setting with the sol-fege syllables la-sol, i.e. 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.
Lassus often preferred cyclic madrigals, i.e. settings of multiple poems in a group as a set of related pieces of music. For example, his fourth book of madrigals for five voices begins with a complete sestina by Petrarch, continues with two-part sonnets, and concludes with another sestina: therefore the entire book can be heard as a unified composition with each madrigal a subsidiary part.
Another form which Lassus cultivated was the French chanson, of which he wrote about 150. Most of them date from the 1550s, but he continued to write them even after he was in Germany: his last productions in this genre come from the 1580s. 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 1570s and 1580s in three publications: one by Petrus Phalesius the Elder in 1571, and two by Le Roy and Ballard in 1576 and 1584. Stylistically, they ranged from the dignified and serious, to playful, bawdy, and amorous compositions, as well as drinking songs suited to taverns. Lassus followed the polished, lyrical style of Sermisy rather than the programmatic style of Clément Janequin for his writing.
One of the most famous of Lassus's drinking songs was used by Shakespeare in Henry IV, Part II. English words are fitted to Un jour vis un foulon qui fouloit (as Monsieur Mingo) and sung by the drunken Justice Silence, in Act V, Scene iii.
A third type of secular composition by Lassus was the German lied. Most of these he evidently intended for a different audience, since they are considerably different in tone and style from either the chansons or madrigals; in addition, he wrote them later in life, with none appearing until 1567, when he was already well-established at Munich. Many are on religious subjects, although light and comic verse is represented as well. He also wrote drinking songs in German, and contrasting with his parallel work in the genre of the chanson, he also wrote songs on the unfortunate aspects of overindulgence.
In the preface to his collection of German songs, Lassus states that he had composed Dutch songs. However, no Dutch song has been preserved.
In the Arthur Conan Doyle short story "The Adventure of the Bruce-Partington Plans," Sherlock Holmes is working on a monograph about the polyphonic motets of Lassus.