Adrian Willaert (d. 1562) was born at Bruges or Roulers before 1490. His first training was at Paris and for the law, but he also studied music with Mouton and Des Près to such effect that in 1516, when he went to Rome, it is said that he found the Papal Choir using a motet of his under Des Près' name. After some years, of which we have no record save that he was employed for a time by Louis II. of Bohemia, in 1527, the Doge of Venice, in the face of some opposition, installed him as choirmaster at St. Mark's, where he remained in the greatest honor till his death. In 1542 and 1556 he paid visits to the Low Countries. He was in request as a teacher and trained a long list of talented pupils. His published works (1536-71) include only 5 masses, but are rich in motets, hymns, etc., for the church and very numerous secular part-songs and madrigals, besides some instrumental ricercari. Further masses, motets and songs were left in MS.
In following down the long line of Willaert's contemporaries
and successors at Venice we note the recurrence in their works
of the same tendencies of style, with many individual peculiarities
as well. The drift was strong toward such uses of contrapuntal
art as should be less diffuse and abstruse than formerly,
with emphasis upon depth of feeling, charm of detail, richness
of impression, in place of the older delight in puzzle-working.
The potent influence of secular music was taking hold of all
music, rendering its more studied products more beautiful and
human.
Jachet de Buus was certainly a Netherlander. He came early to Venice
and in 1541 was chosen from many competitors for the second organ at St.
Mark's, whence in 1551 he went to Vienna, and became court-organist there,
remaining in service till 1564. He is notable as one of the earlier writers for
the organ. His works (1543-50) consist of some canzone, ricercari, and
motets.
Ciprian de Rore (d. 1565), also a Netherlander, born at Mechlin or Antwerp in 1516, was brought up as a choirboy at St. Mark's as one of Willaert's earlier pupils. He began to publish madrigals in 1542. Before 1553 he was made choirmaster at Ferrara, but in 1558 returned to the Low Countries, spending some time at Antwerp and Brussels. There he was sought as choirmaster by the Duke of Parma, but in 1563 became Willaert's successor at Venice. The next year, being discontented with his post, he moved to Parma, where he died. His long series of works (1542-73) includes several masses, many motets, an abundance of beautiful madrigals for 4-5 voices, and some ricercari. Their popularity is shown by the numerous editions demanded. He went much beyond his master and his school in the free and dexterous use of chromatic tones and harmonies, and his style has a novel richness and geniality.
Gioseffo Zarlino (d. 1590) was born in 1517 at Chioggia. After training as a Franciscan, he came in 1541 to Venice, studied under Willaert, and in 1565 succeeded De Rore as choirmaster, serving 25 years. There is no doubt that
