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Orlando di Lasso was a composer of the late Renaissance. The chief representative of the mature polyphonic style in the Franco-Flemish school, Lassus stands with William Byrd, Giovanni Pierluigi da Palestrina, and Tomás Luis de Victoria as one of the leading composers of the later Renaissance. Immensely prolific, his music varies considerably in style and genres, which gave him unprecedented popularity throughout Europe.
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Adrian Willaert was a Flemish composer of High Renaissance music. Mainly active in Italy, he was the founder of the Venetian School. He was one of the most representative members of the generation of northern composers who moved to Italy and transplanted the polyphonic Franco-Flemish style there.
Jacobus Clemens non Papa was a Netherlandish composer of the Renaissance based for most of his life in Flanders. He was a prolific composer in many of the current styles, and was especially famous for his polyphonic settings of the psalms in Dutch known as the Souterliedekens.
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France has a rich music history that was already prominent in Europe as far back as the 10th century. French music originated as a unified style in medieval times, focusing around the Notre-Dame school of composers. This group developed the motet, a specific musical composition. Notable in the high Middle Ages were the troubadours and trouvères soon began touring France, composing and performing many original songs. The styles of ars nova and ars subtilior sprung up in the 14th century, both of which focused on secular songs. As Europe moved into the Renaissance age, the music of France evolved in sophistication. The popularity of French music in the rest of Europe declined slightly, yet the popular chanson and the old motet were further developed during this time. The epicenter of French music moved from Paris to Burgundy, as it followed the Burgundian School of composers. During the Baroque period, music was simplified and restricted due to Calvinist influence. The air de cour then became the primary style of French music, as it was secular and preferred by the royal court.
Hubert Waelrant or Hubertus Waelrant was a Flemish composer, singer, teacher, music editor, bookseller, printer and publisher active in 16th century Antwerp. He was a member of the generation of the Franco-Flemish School of composers who were contemporaries of Palestrina. Unlike famous composers of his time he mostly worked in northern Europe. His style is a transition between that of Nicolas Gombert and the mature Orlande de Lassus. His compositions were modern in the use of chromaticism and dissonance.
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Jan van Wintelroy or Joannes Wintelroy was a Franco-Flemish composer and choirmaster.
Tandernaken, al op den Rijn was once a very popular Middle Dutch song about two girls who in Andernach, a city in Germany on the left Rhine bank, were spied on by the lover of one of the girls, who was listening to their conversation on love affairs from a distance.
Cornelius Canis was a Franco-Flemish composer, singer, and choir director of the Renaissance, active for much of his life in the Grande Chapelle, the imperial Habsburg music establishment during the reign of Emperor Charles V. He brought the compositional style of the mid-16th century Franco-Flemish school, with its elaborate imitative polyphony, together with the lightness and clarity of the Parisian chanson, and he was one of the few composers of the time to write chansons in both the French and Franco-Flemish idioms.
Petit Jean De Latre or Joannes de Latre was a Flemish Renaissance composer and choirmaster who worked in Liège and Utrecht. He is no longer believed to be same person as Claude Petit Jehan who died in 1589.
Jan Belle was a Flemish composer from the Franco-Flemish School and a music theorist.
Jacob Bathen or Jacob Baethen, Latinised as Jacobus Bathius, Iacobus Batius and Jacobus Bathenius, was a Flemish bookseller, printer and publisher of the 16th century, mainly known now for music publications. He is sometimes confused with Johannes Baethen, a printer active in Leuven and Cologne between 1552 and 1562, who was likely his brother. Jacob was active in Leuven, Maastricht and Düsseldorf. He is mainly remembered for his publication of the so-called Maastricht songbook of 1554, which is one of only five surviving song books in the Dutch language from the 16th century.
References
- ↑ Eugeen Schreurs, Het Nederlandse polyfone lied (The Dutch Polyphonic Song), published on the occasion of a homonymous set of radio broadcasts by the Flemish Radio and Television Broadcast Company, the BRT, Alamire ed., Peer, 1986, ISBN 90-6853-018-6, p.82
- ↑ Jan Willem Bonda, De Nederlandse meerstemmige liederen van de vijftiende en zestiende eeuw (The Dutch Polyphonic Songs of The 15th and 16th centuries), Hilversum, Verloren, 1996. ISBN 90-6550-545-8, p. 152-153
