Roland de Lassus (or Orlando di Lasso , Orlande de Lassus or Roland Delattre (Mons 1532 - Munich the June 14th 1594) is a Walloon Compositeur hennuyer and

Biography

As of its more young age Roland studies the music. He is very quickly registered besides as chorus-singer with the manecantery of the parish of Saint-Nicolas-in-Harbor of Mons (Belgium) where he will study the song until the 12 years age. It is at this age that its voice was noticed by Ferdinand de Gonzaga , which enabled him to return in residence to the service of this one in Sicily. It was named choirmaster to Rome in 1553, then with Munich in 1563, station which it occupied until his death. It however went on many journeys of which several at the court of Charles IX with Paris. Its art from the start was recognized and it was called “Prince of the music” or “Belgian Orphée” by its contemporaries. It is anobli by the Maximilien emperor in 1570. It was victim of an brain attack in 1590 what involved a depressive syndrome that it had of the evil to surmount.

He wrote profane songs, in the heritage of Clément Janequin but also of very many religious works: nearly 700 Motet S, 50 masses and about thirty Magnificat S.

Importance of Roland de Lassus

The musicologist Robert Wangermée considers that this Walloon musician was in more famous XVIe century of all Europe, profiting from a rimmense success not only near the social elites, but also from an audience socially much larger. The bond with the language is important in this type-setter. Collecting the many pages that it devotes to him in some synthetic lines of conclusion, Wangermée lécrit: Ultimately, which could characterize the music of Lassus, it is that it gives up all has priopri in the construction industry; one there does not find, or seldom, of cantus firmus , not of systematic imitation. The text is always the engine of the inspiration; it generally causes rather short reasons, adapted to each sentence and each key word. Deliberately moving away from estheoic from the Gregorian which lengthily remained at the contrapuntists, R. of Lassus does not fear to hustle the sentence by unexpected jumps, to intersect it by silences which, them also, have an expressive role. With the research of contrasts, it develops only briefly in imitations which are not continued a long time, of the small quite characteristic methodical reasons and this Contrepoint without heaviness often alternates with episodes of sytle homophonic. In certain works; the accordic writing carries it deliberately, with a rather fast syllabic declamation. To answer the suggestions of the text, R. of Lassus can resort to archaisms, a severe counterpoint, Chromatisme, accumulated dissonnances. All is conditioned by an expressive concern which does not scorn the dramatic effects. By respecting the standards of the contrapuntic writing, Roland de Lassus puts in work different techniques and even of the languages which varied according to the kinds, works and the effects to reach. Its music presents, all in all, a demonstration of all the processes of writing and all the expressive possibilities of the art contrapuntic of the Netherlands at the time when he was threatened.

Works

• tears of Saint Pierre
• While passing by Lorraine
• Ballet of the Polish Ambassadors (1573)

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