Chapter 4 returns to sacred choral music of the Renaissance by exploring composers' increasing use of imitation and parody, ultimately concentrating on contributions to the Mass Ordinary by three giants of the High Renaissance: Giovanni Pierluigi da Palestrina,
Orlando di Lasso, and Tomas Luis de Victoria.
"This recommendation notwithstanding, De Monte was not hired and the job in Bavaria was given to his no less distinguished compatriot
Orlando di Lasso. Thirteen years later, he assumed a similarly prestigious post, that of Kapellmeister of the Habsburgs, which he would hold for 35 years.
Some of the group's recent recordings have focused on composer Arvo Part (Stabat Mater), early English Anthems, Italian music (
Orlando Di Lasso and Vaticano repertoire) and the Marc-Antoine Charpentier Mass for Four Choirs masterpiece.
In 1581
Orlando di Lasso, a famous Belgian-born composer, published a collection of songs he had reportedly written in his youth, Libro de villanelle, moresche, et altre canzoni a 4, 5, 6, et 8 voci (Erb, 18-19; Williams, 3; 7).
Jeremy will narrate a programme called The Final Coronation in which the choir will recreate elements of the papal coronation ceremony featuring music by Palestrina and
Orlando di Lasso which was performed at papal coronations for 400 years until 1963.
The University of Oregon School of Music Chamber Choir will perform a selection of motets by
Orlando di Lasso at 7:30 p.m.
Haugen's score turned out to be a pastiche, mixing original music with quotations from the 16th- and 17th-century music of
Orlando di Lasso, William Byrd, Giovanni Gabrielli and Nicolas Lanier.
Snippets of music from composers as diverse as Monteverdi, Pergolosi, Brel, and
Orlando di Lasso are mingled with music composed/improvised by the three performers.
Boetticher,
Orlando di Lasso und seine Zeit 1532-1594: Repertoire-Untersuchungen zur Musik der Spatrenaissance (Kassel & Basel, 1958), pp.