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This is a survey of the music of the High Renaissance composer Orlando di Lasso.
Orlando di Lasso was probably the most famous and most popular composer of the second half of the 1500s. This book of essays written by leading scholars from Europe and the United States is a survey of a broad spectrum of Lasso's music. The essays discuss his large and varied output with regard to structure, expressive qualities, liturgical aspects and its use as a model by other composers, focusing in turn on his Magnificat settings, masses, motets, hymns and madrigals. His relationship to contemporaries and younger composers is the main subject of three essays and is touched on throughout the book, together with the circulation of his music in print and in manuscript. His attitude toward modal theory is explored in one essay, and another considers the relationship of verbal and musical stress in Lasso's music and what this implies both for scholars and for performers.
Review quote:
'- anyone with an academic interest in Lassus will need to read this.' Early Music Review
'- a series of articles which, in their searching analyses and archival investigations, confidently edge us forward into the realm of certainty and understanding regarding this extremely diverse and prolific composer.' BBC Music
'- this collection of essays, edited by one of the most prolific contributors to Lassus scholarship, is timely and welcome.' Early Music Today
'The essays in this volume range from the analytic to the historical with one or two entertaining polemics.' Church Times
Table of contents:
Preface; List of abbreviations; 1. Aspects of form in Orlando di Lasso's Magnificat settings James Erb; 2. Orlando di Lasso and Andrea Gabrieli: two motets and their masses in a Munich choir book from 1564-65 Marie Louise Göllner; 3. Post-Tridentine liturgical change and functional music: Lasso's cycle of polyphonic Latin hymns Daniel Zager; 4. The salon as marketplace in the 1550s: patrons and collectors of Lasso's secular music Donna G. Cardamone; 5. Lasso's 'Standomi un giorno' and the canzone in the mid-sixteenth century Mary S. Lewis; 6. Lasso's 'Fertur in conviviis': on the history of its text and transmission Bernhold Schmid; 7. Orlando di Lasso and Rome: personal contacts and musical influences Noel O'Regan; 8. Orlando di Lasso as a model for composition as seen in the three-voice motets of Jean de Castro Ignace Bossuyt; 9. The madrigal book of Jean Turnhout (1589) and its relationship to Lasso James Haar; 10. Modal ordering within Orlando di Lasso's publications Peter Bergquist; 11. Correct and incorrect accentuation in Lasso's music: on the implied dependence on the text in classical vocal polyphony Horst Leuchtmann; General index; Index of Lasso compositions and printed sources.
Orlando di Lasso was probably the most famous and most popular composer of the second half of the 1500s. This book of essays written by leading scholars from Europe and the United States is a survey of a broad spectrum of Lasso's music. The essays discuss his large and varied output with regard to structure, expressive qualities, liturgical aspects and its use as a model by other composers, focusing in turn on his Magnificat settings, masses, motets, hymns and madrigals. His relationship to contemporaries and younger composers is the main subject of three essays and is touched on throughout the book, together with the circulation of his music in print and in manuscript. His attitude toward modal theory is explored in one essay, and another considers the relationship of verbal and musical stress in Lasso's music and what this implies both for scholars and for performers.
Review quote:
'- anyone with an academic interest in Lassus will need to read this.' Early Music Review
'- a series of articles which, in their searching analyses and archival investigations, confidently edge us forward into the realm of certainty and understanding regarding this extremely diverse and prolific composer.' BBC Music
'- this collection of essays, edited by one of the most prolific contributors to Lassus scholarship, is timely and welcome.' Early Music Today
'The essays in this volume range from the analytic to the historical with one or two entertaining polemics.' Church Times
Table of contents:
Preface; List of abbreviations; 1. Aspects of form in Orlando di Lasso's Magnificat settings James Erb; 2. Orlando di Lasso and Andrea Gabrieli: two motets and their masses in a Munich choir book from 1564-65 Marie Louise Göllner; 3. Post-Tridentine liturgical change and functional music: Lasso's cycle of polyphonic Latin hymns Daniel Zager; 4. The salon as marketplace in the 1550s: patrons and collectors of Lasso's secular music Donna G. Cardamone; 5. Lasso's 'Standomi un giorno' and the canzone in the mid-sixteenth century Mary S. Lewis; 6. Lasso's 'Fertur in conviviis': on the history of its text and transmission Bernhold Schmid; 7. Orlando di Lasso and Rome: personal contacts and musical influences Noel O'Regan; 8. Orlando di Lasso as a model for composition as seen in the three-voice motets of Jean de Castro Ignace Bossuyt; 9. The madrigal book of Jean Turnhout (1589) and its relationship to Lasso James Haar; 10. Modal ordering within Orlando di Lasso's publications Peter Bergquist; 11. Correct and incorrect accentuation in Lasso's music: on the implied dependence on the text in classical vocal polyphony Horst Leuchtmann; General index; Index of Lasso compositions and printed sources.