December 29, 2014. Happy New Year! 2015 is fast approaching, and following yet another serendipitous tradition that was established at Classical Connect over the last several years, we dedicate the last annual entry to a composer with an unknown birthdate. For obvious reason, these composers usually come from the age when record-keeping was not very accurate. During Medieval times not only the birthdate, but often the name and the music itself were usually lost, so our composers come from the period that followed, the Renaissance. Orlando di Lasso (or Orlande de Lassus, as his name is sometimes written) was one such composer. He was born either in 1530 or 1532 in the town of Mons, in the County of Hinaut in what is now Belgium (Gilles Binchois, another famous composer of the Renaissance, was born in Mons 130 years earlier). It is said that as a boy, Orlando had a very beautiful voice – according to a legend he was even kidnapped for it, not once, but three times. When Orlando was 12, Ferrante Gonzaga, of the Mantuan Gozagas, a condottiero close to the Emperor Charles V, heard him sing and made Orlando part of his entourage. Gonzaga’s travels brought Orlando to Italy, Mantua first, then Sicily and Milan. He then moved to Rome, to the household of Cosimo I de’ Medici, the grand duke of Tuscany (despite the title, Cosimo was from a minor branch of the great family that ruled over Florence in the 15th century). He then received a very prestigious position as the maestro di capella at the basilica of Saint John Lateran, the second most important church in Rome (Palestrina would succeed him several years later). He started publishing his music around that time, and in several years became famous not just in Italy, but in all of civilized Europe.
In 1556 Orlando was hired by the court of the Duke of Bavaria. He moved to Munich and remained there for the rest of his life. His fame continued to grow; composers would visit him in Munich, the Pope knighted him, he was invited to many courts. Only Palestrina could compete with Orlando in popularity. He made several visits to Italy, but despite all offers always returned to Bavaria. In his last years his health declined; he died on June 14th of 1594 and was buried in Munich.
Orlando was immensely prolific. Apparently he wrote over 2000 pieces of music, sacred (masses and motets), as well as secular (madrigals and chansons). The cycle of motets called Cantiones sacrae sex vocum (Sacred songs for six voices) was published the year of his death, in 1594. Here are three of these songs: Ad Dominum cum tribularer, Beatus homo, and Cantabant canticum Moysi. They are performed by Collegium Vocale Gent under direction of Philippe Herreweghe. The Madonna and Child (above) are by the Florentine painter Benozzo Gozzoli. It was completed in 1450.
Orlando do Lasso, 2014
December 29, 2014. Happy New Year! 2015 is fast approaching, and following yet another serendipitous tradition that was established at Classical Connect over the last several years, we
dedicate the last annual entry to a composer with an unknown birthdate. For obvious reason, these composers usually come from the age when record-keeping was not very accurate. During Medieval times not only the birthdate, but often the name and the music itself were usually lost, so our composers come from the period that followed, the Renaissance. Orlando di Lasso (or Orlande de Lassus, as his name is sometimes written) was one such composer. He was born either in 1530 or 1532 in the town of Mons, in the County of Hinaut in what is now Belgium (Gilles Binchois, another famous composer of the Renaissance, was born in Mons 130 years earlier). It is said that as a boy, Orlando had a very beautiful voice – according to a legend he was even kidnapped for it, not once, but three times. When Orlando was 12, Ferrante Gonzaga, of the Mantuan Gozagas, a condottiero close to the Emperor Charles V, heard him sing and made Orlando part of his entourage. Gonzaga’s travels brought Orlando to Italy, Mantua first, then Sicily and Milan. He then moved to Rome, to the household of Cosimo I de’ Medici, the grand duke of Tuscany (despite the title, Cosimo was from a minor branch of the great family that ruled over Florence in the 15th century). He then received a very prestigious position as the maestro di capella at the basilica of Saint John Lateran, the second most important church in Rome (Palestrina would succeed him several years later). He started publishing his music around that time, and in several years became famous not just in Italy, but in all of civilized Europe.
In 1556 Orlando was hired by the court of the Duke of Bavaria. He moved to Munich and remained there for the rest of his life. His fame continued to grow; composers would visit him in Munich, the Pope knighted him, he was invited to many courts. Only Palestrina could compete with Orlando in popularity. He made several visits to Italy, but despite all offers always returned to Bavaria. In his last years his health declined; he died on June 14th of 1594 and was buried in Munich.
Orlando was immensely prolific. Apparently he wrote over 2000 pieces of music, sacred (masses and motets), as well as secular (madrigals and chansons). The cycle of motets called Cantiones sacrae sex vocum (Sacred songs for six voices) was published the year of his death, in 1594. Here are three of these songs: Ad Dominum cum tribularer, Beatus homo, and Cantabant canticum Moysi. They are performed by Collegium Vocale Gent under direction of Philippe Herreweghe. The Madonna and Child (above) are by the Florentine painter Benozzo Gozzoli. It was completed in 1450.