Page:A Dictionary of Music and Musicians vol 2.djvu/111

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LASSUS.
99
 

period, 'apt for viols and voyces,' did not mean that the voices and instruments were to perform them together, though this they undoubtedly did at times, but that the music of the chansons and motets formed the principal repertoire of the instrumentalists, and that they converted them into 'songs without words' with the concurrence of the composer. What other kinds of music the instrumentalists at Munich performed, it does not come within our province to discuss, since Lassus took no part in the direction of it. The duets having apparently found favour, Orlando goes on to publish a set of trios for voices or instruments, and as if this was a new and special idea, the first one is set to the words 'Hæc quæ ter triplici,' and the book dedicated to the three Dukes, William, Ferdinand and Ernest. The most important publication of the year is 'Missæ variis concentibus ornatæ,' a set of 18 masses, of which 13 are new, printed at Paris by Le Roy, in score.

During the years 1578–80 we know of no important publications. The illness of Duke Albert, and his death (Oct. 1579), are probably sufficient to account for this. He had done a last act of kindness to Lassus in the previous April by guaranteeing his salary (400 florins) for life. We like to think that the new set of 'Vigiliæ Mortuorum'—to the words of Job as before—were Lassus' tribute to the memory of his master. They were published a year or two after the Duke's death as having been recently composed. They are more beautiful than the earlier set, in proportion as they are simpler; and so simple are they, that in them human skill seems to have been thrust aside, as out of place for their purpose. Such music as this might Handel have had in his mind, when he wrote to the words 'Since by man came death.'

Passing on to the year 1581 we find a 'Liber Missarum,' printed by Gerlach, containing 4 new masses. Of these Commer has printed one on the tune 'La, la, Maistre Pierre.' To the same date belongs a 'Libro De Villanelle, Moresche, et altre Canzoni' (à 4, 5, 8), from Paris, containing 23 numbers.

{ \time 4/4 \key f \major \tempo \markup { \italic { Lectio } 1 \raise #1.0 o } \override Score.Rest #'style = #'classical <<
\new Voice = "first" { \voiceOne \relative g' { g2 g4 fis | f f f g | a2 r4 a | a a a2 |
f4 f f g | ees2 d | r4 f2 f4 | f2. e4 | e2 g4 g |
a4 a c2 | bes a | bes g4 a | bes2 bes4 bes ~ | bes c bes2 |
a g4 g | g fis8 e fis2 | g1 \bar "||" } }
\new Voice = "second" { \voiceTwo \relative d' { d2 d4 d ~ | d d d e | f2 r4 e ~ | e f f2 |
c4 d d d | c2 b | r4 d2 d4 | d2 c | c e4 e |
f f a2 | g fis | g e4 e | f2 f4 g ~ | g g g2 |
d d | d1 | e } }
\new Lyrics \lyricsto "first" { Par -- ce mi -- _ hi Do -- mi -- ne ni -- _ hil e -- nim sunt di -- es me -- i Quid est ho -- mo qui -- a mag -- ni -- fi -- cat e -- um aut quid ap -- po -- nis er -- ga e -- um cor _ tu -- _ _ _ um. }
\new Staff { \clef bass \key f \major << \new Voice = "third" { \voiceThree \relative b { bes2 bes4 a ~ | a a a c | c2 r4 c ~ | c c c2 |
a4 bes bes bes | g2 g | r4 a2 bes4 | a2 a | g c4 c |
c c f2 | d d | d c4 c | d2 d4 ees ~ | ees ees d2 ~ | 
d4 a bes2 | a1 | c } }
\new Voice = "fourth" { \voiceFour \relative g { g2 g4 d ~ | d d d c | f2 r4 a ~ | a f f2 |
f4 bes, bes g | c2 g | r4 d'2 d4 | d2 a | c c4 c |
f f f2 | g d | g c,4 c | bes2 bes4 ees ~ | ees c g'2 |
fis g | d1 | c } } >> }
>> }

There is much new music ready for 1582, and on the 1st of January Orlando dedicates a book to the bishop of Würtzburg, containing the 2nd set of 'Lectiones ex libris Hiob,' already referred to, and 11 new [1]motets. At the end of the book, and without connexion with its other contents, a short tuneful setting of the curious words

'Quid facies, facies Veneris cum veneris ante,
Me sedeas sed eas, ne pereas per eas.'

{ \key c \major \time 4/2 <<
\new Voice = "first" { \voiceOne \relative g' { r1 g2 g | g1 a | r c2 d ~ | d c c1 |
b r | b2 c a1 | b r | c2 e1 f2 | d1 d |
r b2 d | c1 b | r cis2 cis | d f2. e8 d e2 |
f1 r | r\breve | r1 f | e2 d1 c2 | d1 r2 b |
c d d1 | b r2 b | c d d1 | b\breve \bar "||" } }
\new Voice = "second" { \voiceTwo \relative e' { r1 e2 e | d1 f | r a2 bes ~ | bes a g1 |
g r | g2 g fis1 | g r | g2 c1 c2 | bes1 a |
r d,2 a' | a1 gis | r a2 a | a1 c |
a r | r\breve | r1 c | c2 a a1 | fis r2 g |
g g1 fis2 | g1 r2 g | g g1 fis2 | g\breve } }
\new Lyrics \lyricmode { \markup { \larger Ut }1 que2 -- ant la1 -- xis \markup { \larger Re } -- son2 -- a1 -- re2 fib1 -- ris \markup { \larger Mi } -- ra2 ges -- to1 -- rum \markup { \larger Fa } -- mu2 -- li1 tu2 -- o1 -- rum \markup { \larger Sol } -- ve2 pol -- lu1 -- tis \markup { \larger La } -- bi2 -- is re1 -- a -- tum San -- cte2 Jo -- an1 -- nes San -- cte2 Jo -- an1 -- nes San -- cte2 Jo -- an1 -- nes San -- cte2 Jo -- an1 -- nes. }
\new Staff { \clef bass \key c \major <<
\new Voice = "tenor" { \voiceThree \relative g { g1 c2 c | b1 c | a f'2 f ~ | f f e1 |
d b | e2 e d1 | d c | e2 g1 a2 | g1 fis |
d g2 f | e1 e | e e2 e | f1 g |
f a | g2 f e1 | d a' | g2 f e1 | d d |
<e c>2 <d b> d1 | d d | <e c>2 <d b> d1 | d\breve } }
\new Voice = "bass" { \voiceFour \relative c { r1 c2 c | g'1 f | r f2 bes ~ | bes f c'1 |
g r | e2 c d1 | g r | c2 c1 f,2 | g1 d |
r g2 d | a'1 e | r a2 a | d1 c |
f, r | r\breve | r1 f | c'2 d a1 | d, r2 <g d'> |
c, g' <a d,>1 | <g g,> r2 <g d'> | c, g' <a d,>1 | g\breve } } >> }
>> }

Then again, on Feb. i, 'jampridem summâ, diligentiâ compositum,' 26 Sacræ cantiones à 5; of which however we only know the last; a beautiful setting of the hymn to John the Baptist, 'Ut queant laxis,' the tenor singing the

  1. These are all lying in modern score and ready for publication in the Fétis library at Brussels.