Orlando di Lasso


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Lasso, Orlando di

(ōrlän`dō dē läs`sō), 1532–94, Franco-Flemish composer, b. Mons, also known as Orlandus Lassus or Roland de Lassus. Lasso represents the culmination of Renaissance musical art. At age 12, he entered the service of Ferrante Gonzaga, viceroy of Sicily. Thereafter, he worked variously in Naples (1550–53), Rome (1553–54), and Munich (1556–94). In 1570 he was raised to a hereditary rank of nobility by Emperor Maximilian II, and in 1574 he became one of the very few musicians to receive a papal knighthood. Lasso brought Flemish polyphony to its highest development in the Renaissance and distilled in his music the best elements of European music of his time. His more than 2,000 works in every form known to his day—masses, motets, French chansons, Italian madrigals, German lieder, and others—make him one of the most versatile and cosmopolitan composers in history. In contrast to the restrained mystical style of Palestrina, Lasso's music is vigorous, often passionate and earthy. Many of his love songs were set to poems by Petrarch and other poets. Undisputed master of the motet, he showed his skill at its richest in the Magnum opus musicum (pub. 1604), a selection of 516 sacred motets. His best-known works are his Penitential Psalms of David (c.1560; pub. 1584) and his last work, Lagrime di San Pietro (1594), completed three weeks before he died.

Bibliography

See A. Einstein, The Italian Madrigal (1949); G. Reese, Music in the Renaissance (2d ed. 1961); and studies by W. Boettiches (1958) and H. Leuchtmann (1976).

Lasso, Orlando Di

 

(or Roland de Lassus). Born circa 1532 in Mons; died June 14, 1594, in Munich. Franco-Flemish composer.

Lasso was the foremost representative of the Netherlands school and one of the greatest masters of polyphony. As a child he was a choirboy in Mons. He entered the service of Duke Ferdinand of Gonzaga in 1544 and traveled with him to Sicily, Italy, France, and England. He moved to Munich in 1556; he sang in the ducal chapel, which he directed from 1563 until his death in 1594.

Lasso was famous throughout Europe. A Renaissance man, he combined various national music cultures in his music and created model works of choral polyphony in diverse genres of secular and sacred music. His music expresses a range of emotions from deep sorrow to humor, and his lyrics vary from philosophical meditations to a rather vulgar everyday-life setting; Lasso set stormy dramatic passions and subtle spiritual feelings to music. Most of the more than 2,000 songs he wrote were based on folk melodies.

Lasso’s greatest sacred works are his motets (more than 1,200; The Great Music Creation, a collection of 516 motets, was published posthumously in Monaco in 1604), Penitential Psalms (1565), and Masses (57; mostly a capella). The choral and orchestral sound of his polyphonic works is colorful and full of splendor, succulence, and dramatic force.

Lasso used verses by classical and contemporary poets as well as his own words as lyrics for his secular works—Italian madrigals, French part-songs, and German polyphonic lieder (his song “Echo” is known throughout the world and is performed by Soviet choirs). The colloquialisms, humor, and imagery of his works are characteristic of the Netherlands “genre” style. Lasso founded a school of composition; G. Gabrieli was his greatest student.

REFERENCES

Bulychev, V. (M. V. Ivanov-Boretskii). Orlando Lasso: Biograficheskii ocherk. Moscow, 1908.
Boetticher, W. Orlando di Lasso und seine Zeit. Kassel-Basel, 1958.

B. V. LEVIK

References in periodicals archive ?
De Monte was also in regular contact with Orlando di Lasso, and the two men wrote to each other letters indicating mutual trust and collegial friendship.
Boetticher, Orlando di Lasso und seine Zeit, 1532-1594 (Kassel and Basel, 1958); W.
Richard Freedman examines three published collections of contrafacta chansons by Orlando di Lasso: Thomas Vautrollier's Recueil du mellange d'Orlande (London, 1570), Jean Pasquier's Mellange d'Orlande de Lassus (La Rochelle, 1575 and 1576), and Simon Goulart's Thresor de musique d'Orlande ([Geneva], 1576, 1582, and 1594).
I am not even going to pretend to be knowledgeable about this music by the 16th-century composer Orlando di Lasso; all I can do is say in simpleminded mid-Ohio honesty, "Gee, it's really pretty and I really like it." Those familiar with previous recordings by the Hilliard Ensemble already know how disciplined yet expressive their voices sound, and with ECM giving them a warm, rich acoustic space, the end result is sonic and musical joy.
Literary distinction also permeates the selection by Cantus Colln in their Orlando di Lasso: Prophetiae Sibyllarum; Italian madrigals; French chansons (Deutsche Harmonia Mundi 05472 77304 2, rec 1993).
Isolated letters from or concerning fifteenth- and sixteenth-century musicians may be more interesting than any found here, in part because of their rarity; the letters of Orlando di Lasso to his ducal employers are more entertaining; those of Claudio Monteverdi are more personally revealing.
His own compositions were madrigals in the vein of his contemporaries Orlando di Lasso and Andrea Gabrieli.
Handel and Orlando di Lasso, a setting of a Lewis Carroll poem and several jazz standards.
For the Mantuan madrigals, we had a bookby-book presentation, with more or less complete versions of books 1 (Orlando di Lasso Ensemble Hannover), 2 (Gruppo Madrigalistico Fosco Corti), 3 (Chiaroscuro), 4 (Red Byrd), 5 (Capella Ducale) and 6 (Concerto Italiano); the 1607 Scherzi musicali were done by the King's Noyse.
Orlando di Lasso. Il canzoniere de Messer Francesco Petrarca.
Among the latter is a handwritten tribute from Johannes Eccard to Orlando di Lasso, dated 1593 (fig.
The Catholics continued to cultivate musical genres such as Marian motets abolished by the Reformation, while both confessions used Latin-texted motets in the style of Orlando di Lasso.

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