American Heritage® Dictionary of the English Language, Fourth Edition
- Lassus, Roland de or Orlande de 1532-1594. Flemish composer. His works include masses, motets, and madrigals.
“Utendal's work embraces a wide range of sacred and secular forms: much of his music is polyphonic in texture, richly scored and containing both chromatic and polychoral elements, in the manner of the more progressive Netherlandish composers of the time, such as Lassus, Christian Hollander and Ivo de Vento.”
“In 1555 Susato printed what has been called Lassus’s ‘op.1’, a collection of ‘madrigali, vilanesche, canzoni francesi e motetti’ for four voices; meanwhile Antonio Gardane in Venice had issued Lassus’s first book of five-part madrigals.”
“In the mixed print issued in Antwerp by Susato in 1555 and often referred to as Lassus’s ‘op.1’, there are seven madrigals for four voices showing the composer’s grasp of the genre as a result of his Italian, particularly his Roman, years.”
“However, if one recalls Lassus’s carefully precise declamation of classical texts it becomes clear that he knew something of the German didactic tradition linking music with the study of classical metres; it is not a large step from this to assume that he also knew how classical rhetoric was studied in the schools.”
“The Lassus scholars from Dublin sang the O quam gloriosum to great effect and concluded with a Te Deum by Lassus.”
“Conspirare sounded especially convincing in the opulent music of Lassus the next afternoon and in Mr. Kyr's stirring "Santa Fe Vespers 2010.”
“For the four programs, Mr. Johnson asked Mr. Kyr to compose modern responses to Desprez, de Victoria, Lassus and Bach, using references and musical material from them as seeds for thoroughly 21st-century music.”
“It is said that the first four bars of this piece so ravished Charles IX of France that he offered Lassus lashings of cash to leave Munich and write for him, but without success.”
“Motets by Josquin alternate with pieces by Orlande de Lassus two of his Magnificats and two motets and with the Gloria and Sanctus from Antoine Brumel's Missa Et Ecce Terraemotus.”
“It's all music that has been chosen for the vividness of its response to the texts – whether it's the trembling exchanges of Brumel's Earthquake Mass, the monumentality of Josquin's Praeter Rerum Serium, or the disorientating chromatic sideslips of Lassus's Timor et Tremor.”
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