Book contents
- Frontmatter
- Contents
- Preface
- List of abbreviations
- 1 Aspects of form in Orlando di Lasso's Magnificat settings
- 2 Orlando di Lasso and Andrea Gabrieli: two motets and their masses in a Munich choir book from 1564–65
- 3 Post-Tridentine liturgical change and functional music: Lasso's cycle of polyphonic Latin hymns
- 4 The salon as marketplace in the 1550s: patrons and collectors of Lasso's secular music
- 5 Lasso's “Standomi un giorno” and the canzone in the mid-sixteenth century
- 6 Lasso's “Fertur in conviviis”: on the history of its text and transmission
- 7 Orlando di Lasso and Rome: personal contacts and musical influences
- 8 Orlando di Lasso as a model for composition as seen in the three-voice motets of Jean de Castro
- 9 The madrigal book of Jean Turnhout (1589) and its relationship to Lasso
- 10 Modal ordering within Orlando di Lasso's publications
- 11 Correct and incorrect accentuation in Lasso's music: on the implied dependence on the text in classical vocal polyphony
- General index
- Index of Lasso compositions and printed sources
4 - The salon as marketplace in the 1550s: patrons and collectors of Lasso's secular music
Published online by Cambridge University Press: 18 December 2009
- Frontmatter
- Contents
- Preface
- List of abbreviations
- 1 Aspects of form in Orlando di Lasso's Magnificat settings
- 2 Orlando di Lasso and Andrea Gabrieli: two motets and their masses in a Munich choir book from 1564–65
- 3 Post-Tridentine liturgical change and functional music: Lasso's cycle of polyphonic Latin hymns
- 4 The salon as marketplace in the 1550s: patrons and collectors of Lasso's secular music
- 5 Lasso's “Standomi un giorno” and the canzone in the mid-sixteenth century
- 6 Lasso's “Fertur in conviviis”: on the history of its text and transmission
- 7 Orlando di Lasso and Rome: personal contacts and musical influences
- 8 Orlando di Lasso as a model for composition as seen in the three-voice motets of Jean de Castro
- 9 The madrigal book of Jean Turnhout (1589) and its relationship to Lasso
- 10 Modal ordering within Orlando di Lasso's publications
- 11 Correct and incorrect accentuation in Lasso's music: on the implied dependence on the text in classical vocal polyphony
- General index
- Index of Lasso compositions and printed sources
Summary
In 1555 the Flemish music printer, Tielman Susato, issued a miscellany of Lasso's works under two separate titles, the first in French and the second in Italian, resulting in an edition often referred to as the composer's “Opus 1.” The Italian-titled issue, by far the more accurate of the two in respect to text placement, was dedicated to Stefano Gentile, a prominent merchant-banker in the Genoese nation of Antwerp. This collective enterprise not only marked the debut of madrigals and villanelle in the Low Countries, but it was the first publication that Lasso authorized and corrected in situ, leaving the impression that he selected compositions from a substantial repertory and meticulously edited them to satisfy a very particular patron and community of Italian readers whose interpretive styles he knew well. Although Lasso's dedicatory letter speaks eloquently to Gentile's love of music, his patron had an equally strong passion for poetry as evinced in various books dedicated to him by humanist scholars. This combination of interests suggests that Gentile vied with his compatriots for attention from the cultured elite by organizing festive social gatherings enhanced by music and recitation of poetry. Indeed, the Venetian humanist Gian Michele Bruto was struck by the spirit of competition among Genoese merchants when recalling the hospitality he received in Antwerp during 1554 and 1555, the very period of time in which Lasso attracted Gentile's patronage.
- Type
- Chapter
- Information
- Orlando di Lasso Studies , pp. 64 - 90Publisher: Cambridge University PressPrint publication year: 1999