Chapter I: Part 1

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FAMOVS
COMPOSERS
AND THEIR
WORKS

VOL. I
]

Famous Composers and
their Works

Edited by

John Knowles Paine
Theodore Thomas and Karl Klauser

Illustrated

Boston
J. B. Millet Company
1906

Copyright, 1891, by
J. B. MILLET COMPANY.

This book is dedicated by the Publishers to
Henry L. Higginson
who has advanced the culture of music in America.

List of Contributors

America

Clarence J. Blake
Mrs. Ole Bull
Charles L. Capen
John S. Dwight
Louis C. Elson
Henry T. Finck
John Fiske
Arthur Foote
Philip Hale
William J. Henderson
Louis Kelterborn
Henry E. Krehbiel
Leo R. Lewis
W. S. B. Mathews
John K. Paine
Martin Roeder
Howard M. Ticknor
John Towers
George P. Upton
Benj. E. Woolf

England

Edward Dannreuther
Mrs. Julian Marshall
W. S. Rockstro

France

Oscar Comettant
Adolphe Jullien
Arthur Pougin

Germany

Wilhelm Langhans
Philipp Spitta

The Illustrations

The originals of the illustrations reproduced for this work were collected from museums, conservatories, antiquaries, public and private libraries, and other authentic sources in England and on the Continent, by Mr. Arthur J. Mundy, who spent several months in making a special search.

The authorities in London, Paris, Rome, Florence, Venice, Vienna, Leipsic, Dresden, Berlin, and other places visited, gladly assisted in making the collection as complete as possible.

This material was placed in the hands of Mr. Karl Klauser, who made valuable additions to it from his private collection of authentic portraits. A lifelong study of this subject enabled him to contribute valuable notes and comments on the illustrations.

The ornamental half-titles, headpieces, and initials were designed by Mr. E. B. Bird, of Boston.

TABLE OF CONTENTS

Page

DEDICATION III

LIST OF CONTRIBUTORS V

LIST OF FULL-PAGE PLATES VIII

INDEX OF ILLUSTRATIONS IX-XII

GENERAL INDEX 961

* * * * *

ORLANDO DI LASSO _W. J. Henderson_ 3

THE NETHERLAND MASTERS _W. J. Henderson_ 11

GIOVANNI PIERLUIGI DA PALESTRINA _Louis C. Elson_ 25

CLAUDIO MONTEVERDE _W. S. B. Mathews_ 33

ALESSANDRO SCARLATTI _W. S. B. Mathews_ 37

GIOVANNI BATTISTA PERGOLESE _H. M. Ticknor_ 43

GIOACCHINO ROSSINI _Arthur Pougin_ 51

VINCENZO BELLINI _H. M. Ticknor_ 67

GAETANO DONIZETTI _H. M. Ticknor_ 75

GASPARO LUIGI PACIFICO SPONTINI _Adolphe Jullien_ 83

LUIGI CHERUBINI _Philipp Spitta_ 93

ARRIGO BOITO _Arthur Pougin_ 107

GIOVANNI SGAMBATI _Arthur Foote_ 111

GUISEPPI VERDI _Benj. E. Woolf_ 117

MUSIC IN ITALY _Martin Roeder_ 135

JOHANN SEBASTIAN BACH _Philipp Spitta_ 163

GEORGE FREDERICK HANDEL _Philipp Spitta_ 195

CHRISTOPH WILIBALD GLUCK _W. Langhans_ 219

FRANZ JOSEPH HAYDN _Benj. E. Woolf_ 245

WOLFGANG AMADEUS MOZART _Philip Hale_ 269

LUDWIG VAN BEETHOVEN (Biography) _Philip Hale_ 309

THE DEAFNESS OF BEETHOVEN _Clarence J. Blake_ 333

BEETHOVEN AS COMPOSER _John K. Paine_ 337

FRANZ PETER SCHUBERT _John Fiske_ 351

LUDWIG SPOHR _W. J. Henderson_ 375

CARL MARIA VON WEBER _H. E. Krehbiel_ 389

HEINRICH MARSCHNER _H. E. Krehbiel_ 409

FELIX MENDELSSOHN BARTHOLDY _John S. Dwight_ 417

ROBERT SCHUMANN _Louis Kelterborn_ 439

ROBERT FRANZ _Louis Kelterborn_ 463

GIACOMO MEYERBEER _Arthur Pougin_ 473

STRAUSS _Henry T. Finck_ 487

JOSEPH JOACHIM RAFF _W. J. Henderson_ 497

JOHANNES BRAHMS _Louis Kelterborn_ 503

CARL GOLDMARK _W. J. Henderson_ 515

MAX BRUCH _Louis C. Elson_ 519

JOSEPH GABRIEL RHEINBERGER _Louis Kelterborn_ 525

RICHARD WAGNER _W. J. Henderson_ 533

MUSIC IN GERMANY _John K. Paine and Leo R. Lewis_ 569

JEAN BAPTISTE LULLY _Oscar Comettant_ 609

JEAN PHILIPPE RAMEAU _Oscar Comettant_ 615

ANDRÉ ERNEST MODESTE GRÉTRY _Oscar Comettant_ 623

FRANÇOIS ADRIEN BOIELDIEU _Louis C. Elson_ 633

ETIENNE NICOLAS MÉHUL _Geo. P. Upton_ 639

LOUIS JOSEPH FERDINAND HÉROLD _Geo. P. Upton_ 645

DANIEL FRANÇOIS ESPRIT AUBER _Oscar Comettant_ 653

JACQUES FRANÇOIS FROMENTAL ELIAS HALÉVY _Benj. E. Woolf_ 665

HECTOR BERLIOZ _Adolphe Jullien_ 675

AMBROISE THOMAS _Benj. E. Woolf_ 691

ALEXANDER CÉSAR LÉOPOLD BIZET _Philip Hale_ 697

CAMILLE SAINT-SAËNS _Oscar Comettant_ 703

JULES EMILE FRÉDÉRIC MASSENET _Oscar Comettant_ 711

CHARLES GOUNOD _Arthur Pougin_ 719

MUSIC IN FRANCE _Arthur Pougin_ 735

FREDERICK CHOPIN _Edward Dannreuther_ 759

ANTON DVOŘÁK _Henry T. Finck_ 779

MICHAEL IVANOVITCH GLINKA _Philip Hale_ 785

ANTON RUBINSTEIN _Henry T. Finck_ 791

PETER ILITSCH TSCHAÏKOWSKY _W. J. Henderson_ 803

FRANZ LISZT _W. Langhans_ 813

EDUARD HAGERUP GRIEG _Sara C. Bull and Philip Hale_ 831

NIELS WILLIAM GADE _Louis C. Elson_ 837

MUSIC IN RUSSIA, POLAND, NORWAY, ETC. _Henry T. Finck_ 845

WILLIAM BYRD _W. S. Rockstro_ 867

HENRY PURCELL _John Towers_ 871

JOHN FIELD _Chas. L. Capen_ 877

WILLIAM STERNDALE BENNETT _W. S. Rockstro_ 881

MICHAEL WILLIAM BALFE _Benj. E. Woolf_ 885

ARTHUR SEYMOUR SULLIVAN _Florence A. Marshall_ 891

CHARLES HUBERT HASTINGS PARRY _W. S. Rockstro_ 899

ALEXANDER CAMPBELL MACKENZIE _Florence A. Marshall_ 903

CHARLES VILLIERS STANFORD _W. S. Rockstro_ 907

MUSIC IN ENGLAND _W. S. Rockstro_ 913

MUSIC IN AMERICA _Henry E. Krehbiel_ 933

LIST OF FULL-PAGE PLATES.

PLATE PAGE

41 AUBER facing 653

12 BACH, portrait 161

13 BACH, statue 169

60 BALFE 885

18 BEETHOVEN 307

5 BELLINI 67

59 BENNETT 881

43 BERLIOZ 673

45 BIZET 697

38 BOIELDIEU 633

9 BOITO 107

29 BRAHMS 503

31 BRUCH 519

8 CHERUBINI 91

49 CHOPIN 757

72 CONSERVATORY OF MUSIC IN LEIPSIC 593

6 DONIZETTI 75

50 DVOŘÁK 779

58 FIELD 877

25 FRANZ 463

56 GADE 837

70 GARDEN OF HARMONY 737

51 GLINKA 785

15 GLUCK 217

30 GOLDMARK 515

48 GOUNOD 717

37 GRÉTRY 623

55 GRIEG 831

42 HALÉVY 665

14 HANDEL 193

16 HAYDN 243

40 HÉROLD 645

1 LASSO 1

54 LISZT 811

35 LULLY 609

63 MACKENZIE 903

22 MARSCHNER 409

47 MASSENET 711

39 MÉHUL 639

23 MENDELSSOHN 415

26 MEYERBEER 471

17 MOZART 267

65 PAINE 931

2 PALESTRINA 25

71 PANTHEON OF GERMAN MUSICIANS 567

62 PARRY 899

57 PURCELL 871

28 RAFF 497

36 RAMEAU 615

32 RHEINBERGER 525

4 ROSSINI 49

52 RUBINSTEIN 791

46 SAINT-SAËNS 703

3 SCARLATTI 37

19 SCHUBERT 349

24 SCHUMANN 437

10 SGAMBATI 111

20 SPOHR 375

7 SPONTINI 83

64 STANFORD 907

27 STRAUSS 487

61 SULLIVAN 891

44 THOMAS 691

53 TSCHAÏKOWSKY 803

11 VERDI 115

33 WAGNER 531

34 WAGNER 545

21 WEBER 387

INDEX TO ILLUSTRATIONS.

(Titles set in small capital letters indicate full-page illustrations.)

PORTRAITS.

PAGE

Abt, Franz 602

Adam, Adolphe 751

Albrecht, V. 4

Allegri, Gregorio 141

AUBER 653

Auber, medallion 664

BACH, J. S. 161

Bach, J. S. 175

BACH, EMANUEL 583

Balakireff 852

BALFE 885

BEETHOVEN 307

Beethoven, silhouette 311

Beethoven, miniature 312

Beethoven, by Gatteux 317

Beethoven, pencil portrait 318

Beethoven, by Schimon 319

BEETHOVEN, by Stieler 321

BELLINI 67

BENNETT 881

BERLIOZ 673

Berlioz, by Signol 681

Berlioz in his later years 683

Berlioz, by Hüssener 685

Berton 745

BIZET 697

BOIELDIEU 633

BOITO 107

Borodin 853

BRAHMS, by Brasch 503

Brahms in early youth 505

Brahms, by Weger 509

BRAHMS, by Luckhardt 511

BRUCH 519

Bruch from wood-engraving 520

Bülow, Hans von 605

CHERUBINI 91

Cherubini, by Quenedey 95

CHERUBINI, by Ingres 105

CHOPIN 757

Chopin, by Duval 761

Chopin, by Winterhalter 765

CHOPIN, bas-relief 769

Cimarosa, Domenico 148

Colbran, Isabella Angela 55

Corelli, Arcangelo 152

Cornelius, Peter 603

Cramer, Johann Baptist 590

Cui, César 847

D'Alayrac 741

David, Félicien 753

DONIZETTI 75

Donizetti 77

Dussek, Johann Ludwig 588

DVOŘÁK 779

FIELD 877

Flotow, Friedrich von 600

FRANZ 463

FRANZ, by Weger 465

Franz 469

Frescobaldi, Girolamo 151

GADE 837

Gade 839

Geyer, Ludwig 535

GLINKA 785

Glinka in his 39th year 787

GLUCK, by Duplessis 217

Gluck, by Duplessis 223

Gluck, pencil portrait 227

Gluck, by Aug. de St. Aubin 241

GOLDMARK 515

GOUNOD, by Nadar 717

Gounod in his 41st year 723

GOUNOD IN HIS STUDY 729

Graun, Karl Heinrich 579

GRÉTRY 623

Grétry, by Vigée Lebrun 630

GRIEG 831

HALÉVY 665

HANDEL 193

HANDEL'S FATHER 199

HANDEL, by Houbraken 203

Handel, by Mad. Clement 207

Hassler, Hans Leo 571

Hauptmann, Moritz 598

HAYDN 243

Haydn, by Anton Graff 249

Haydn, silhouette 255

Haydn, miniature 257

Haydn in his 49th year 263

Hensel, William 423

HÉROLD 645

Hérold, medallion 652

Hiller, Ferdinand 593

Hummel, Johann N. 589

Jadassohn, Salomon 597

Joachim 863

Lachner, Franz 596

LASSO 1

Lasso, in "Penitential Psalms" 6

Lasso 7

Lesueur 743

LISZT 811

Liszt in his 13th year 815

Liszt in his 30th year 821

Liszt in his 75th year 821

Lortzing, Albert 599

LULLY 609

Lully, by Bonnart 611

Lully 613

MACKENZIE 903

Marcello, Benedetto 145

MARSCHNER 409

Martini, Padre 146

Mascagni, Pietro 159

MASSENET 711

MASSENET IN HIS STUDY 713

MÉHUL 639

Méhul 640

Méhul 641

MENDELSSOHN 415

Mendelssohn's father 419

Mendelssohn's mother 420

Mendelssohn, Fanny 421

Mendelssohn's wife 422

Mendelssohn on his death-bed 424

Mendelssohn in his 12th year 428

Mendelssohn in his 26th year 431

MEYERBEER 471

Meyerbeer in his eighth year 475

Meyerbeer, from wood-cut 479

Monte, Philip de 23

Moszkowski 858

MOZART 267

Mozart in his sixth year 272

Mozart in his ninth year 272

Mozart in his tenth year 273

Mozart in his 14th year 273

Mozart, Maria Anna 277

Mozart's wife 280

MOZART FAMILY, by Carmontelle 281

Mozart family, by de la Croce 283

Mozart, last portrait of 293

Mozart, profile portrait 297

Offenbach 754

Paderewski 859

PAGANINI 679

PAINE, JOHN KNOWLES 931

Paisiello, Giovanni 147

PALESTRINA, by Böttcher 25

Palestrina 27

Palestrina, by Schnorr 29

PARRY 899

Pergolese 44

Philidor 739

Piccini, Nicola 229

Prés, Josquin des 17

PURCELL 871

RAFF 497

RAMEAU 615

Rameau, by Nesle 617

Rameau, by Bellinger 618

Reber 752

Reichardt, Johann F 581

Reinecke, Carl 594

RHEINBERGER 525

Rheinberger, by Lützel 527

Rimsky-Korsakoff 854

Rore, Cyprian de 20

ROSSINI 49

ROSSINI IN MIDDLE LIFE 53

Rossini in his 36th year 54

ROSSINI, by Dupré 57

ROSSINI ON HIS DEATH-BED 59

ROSSINI, medallion 65

RUBINSTEIN 791

Rubinstein, by Downey 793

Rubinstein, silhouette 795

SAINT-SAËNS 703

SAINT-SAËNS, by Raschkow 705

SCARLATTI, A. 37

Scarlatti, A., by Solimène 38

Scarlatti, Domenico 150

SCHUBERT 349

Schütz, Heinrich 575

Schulz, Johann Peter 591

SCHUMANN 437

Schumann in his 21st year 442

SCHUMANN, CLARA, by Weger 443

Schumann, Robert and Clara 445

SCHUMANN, ROBERT AND CLARA, by Kaiser 453

Schumann, Clara, by Hanfstängl 457

SCHUMANN, ROBERT AND CLARA, relief medallion 461

Senfl, Ludwig 570

Seroff 851

SGAMBATI 111

Smithson, Miss 677

SPOHR, by Schlick 375

SPOHR, by W. Pfaff 379

SPONTINI 83

Spontini, by Vincent 84

Spontini, by Jean Guérin 85

STANFORD 907

STRAUSS, JOHANN (senior) 489

STRAUSS, JOHANN (junior) 487

STRAUSS, JOSEPH 491

Strauss, Richard 604

SULLIVAN 891

SULLIVAN 893

Suppé, Franz von 601

Svendsen 862

Swelinck 22

Tartini, Guiseppe 153

Tausig, Carl 857

THOMAS, AMBROISE 691

Thomas, Ambroise 695

TSCHAÏKOWSKY, by Sarony 803

TSCHAÏKOWSKY, by Shapiro 805

VERDI 115

Verdi, by Deblois 121

Volkmann, Friedrich Robert 595

Wagner's gondolier, Trevisan 544

WAGNER, by Krauss 531

Wagner's mother 536

WAGNER, by Herkomer 559

WAGNER 545

Wagner 551

Wagner from family group 555

Weber, Aloysia, and Jos. Lange 279

Weber, Constanze 280

WEBER 387

Weber in his 24th year 393

WEBER, by T. Minasi 395

Willaert, Adrian 19

Zelter, Carl Friedrich 591

CARICATURES.

Auber 655

Beethoven 329

Berlioz, by Benjamin 687

Berlioz, by Carjat 688

Donizetti 76

Halévy, by Dantan 667

Halévy, by Carjat 671

Handel 210

Kreisler, Kapellmeister 455

LISZT 827

Liszt, by Dantan 829

Meyerbeer, bust 476

Meyerbeer 478

Rossini, by Carjat 56

Rossini, bust 63

Rossini from "Panthéon Charivarique" 64

Strauss, Johann (senior) 492

Verdi 129

FAC-SIMILE MANUSCRIPTS.

AUBER, music 661

AUBER, letter 662

BACH, music 182

Bach, poem 192

Balfe, letter 889

Balfe, music 890

Beethoven's creed 329

BEETHOVEN, music 336

BELLINI, letter 73

Bellini, music 74

Bizet, music 702

BOIELDIEU, music 637

Brahms, music and letter 506

BRUCH, music 521

Cherubini, music 106

CHOPIN, music 775

Donizetti, music 774

Dvořák, music 81

FRANZ, music and letter 467

GADE, music and letter 841

Gade, musical autograph 842

GLUCK, music and letter 233

GOUNOD, music 727

GRÉTRY, music 629

Grieg, music 836

Halévy, music 669

Handel, music 211

HAYDN, music 261

HÉROLD, music and letter 651

LISZT, music and letter 825

Marschner, letter 411

MARSCHNER, music 413

Massenet, music 716

MÉHUL, music 643

MENDELSSOHN, letter 425

MENDELSSOHN, music 426

MEYERBEER, music and letter 483

Mozart, letter 290

MOZART, music 292

PERGOLESE, music 47

Purcell, music 873

Raff, letter 499

Raff, music 501

Rameau, music 621

RHEINBERGER, music 529

ROSSINI, music 61

RUBINSTEIN, letter 797

Rubinstein, music 800

SAINT-SAËNS, music 707

SCARLATTI, music 40

SCHUBERT, music 361

SCHUBERT, letter 371

Schumann, Clara, letter 449

Schumann, letter 449

SCHUMANN, music 450

Schumann, music 462

Sgambati, music and letter 113

SPOHR, letter 377

SPOHR, music 383

SPONTINI, music and letter 87

Strauss (junior), music 493

Strauss (senior), music 493

Sullivan, music 895

THOMAS, AMBROISE, music 693

TSCHAÏKOWSKY, music 807

VERDI, music 125

Verdi, letter 132

WAGNER, letter 547

WAGNER, music 548

WAGNER, humorous composition 561

Weber, letter 401

WEBER, music 407

BIRTHPLACES AND RESIDENCES.

Auber's residence 658

Bach's birthplace 167

Beethoven's birthplace 310

Beethoven, house where he died 323

Gluck's birthplace 221

Gounod's residence 725

Grétry's Hermitage 627

GRIEG'S country house 833

Handel's house 201

Haydn's birthplace 247

Mendelssohn's birthplace 418

Mendelssohn's residence 435

Mozart's birthplace 274

Mozart's residence in Vienna 287

Mozart, house where he died 289

Palestrina's birthplace 32

Schubert's birthplace 353

Schumann's birthplace 441

Verdi's birthplace 119

Verdi's residence 123

Wagner's birthplace 534

Wagner's residence, Villa Triebschen 537

Wagner's residence at Bayreuth 538

Wagner's residence at Venice 541

Weber's birthplace 391

MONUMENTS, STATUES, BUSTS, AND TOMBS.

Auber, bust 656

Auber's tomb 659

BACH, statue 169

Bach, monument 185

Balfe, tablet 887

BEETHOVEN'S tomb 325

BEETHOVEN, MONUMENT IN VIENNA 332

BEETHOVEN, MONUMENT IN VIENNA 339

Beethoven, bust 341

Beethoven, monument in Bonn 345

Beethoven, Mozart, and Schubert, Tombs of 365

BELLINI, monument 69

Bellini, bust 70

BELLINI'S tomb 71

Bizet's tomb 699

Boieldieu, bust 634

Boieldieu's tomb 635

CHERUBINI, monument 99

Cherubini's tomb 101

Cherubini, bust 103

CHOPIN'S tomb 773

DONIZETTI, monument 79

Donizetti, bust 80

Glinka, bust 789

Gluck's grave 231

GLUCK, statue 237

GLUCK, MONUMENT 239

Grétry's tomb 626

Grétry's Memorial Chapel 627

HALÉVY'S TOMB 668

Handel, monument in Halle 197

HANDEL, statue in Vauxhall Gardens 205

HANDEL, bust 209

HANDEL, statue, Paris Opera House 213

HAYDN, bust 251

HAYDN, monument 253

Haydn's grave 259

HÉROLD, bust 647

HÉROLD'S TOMB 649

Lasso, statue in Munich 5

Mendelssohn, bust 433

MEYERBEER, bust 477

Meyerbeer, family tomb 481

MOZART, statue 285

MOZART, MONUMENT IN VIENNA 291

MOZART, MONUMENT IN SALZBURG 299

MOZART, MONUMENT IN VIENNA 301

Purcell, memorial tablet 875

RAMEAU, statue 619

SCHUBERT, MONUMENT 363

SCHUBERT'S TOMB 367

SCHUMANN, monument 447

Spontini, bust 88

VERDI, bust 127

WAGNER, bust 563

WEBER, monument 399

MISCELLANEOUS.

Animated Forge movement 566

Auber's Piano 657

Bach and Family 171

Bach before Frederick 181

Bayreuth Hill and Theatre 540

Beethoven and Mozart 313

Beethoven's Death Mask 327

Beethoven's Life Mask 327

Beethoven leading quartet 315

Beethoven's Studio 322

BERLIN OPERA HOUSE 585

CONSERVATORY OF MUSIC AT LEIPSIC 593

Frescos in Vienna Opera House.

from "Armide" 242

" "Barber of Seville" 66

" "Creation" 266

" "Fidelio" 348

" the "Huguenots" 486

" "Jessonda" 386

" Mozart's operas 306

" Schubert's "Domestic War" 374

" the "Water Carrier" 91

GARDEN OF HARMONY 737

Gewandhaus Concert Hall in Leipsic 607

Gounod directing 732

GRÉTRY'S CLAVICHORD 625

Grétry crossing the Styx 632

Guidonian hand 137

Handel Commemoration 215

Handel's harpsichord 216

Hannibal, Scene from 576

Huguenots, billboard 484

Liszt's library and music room 818

Liszt's organ room 819

LISZT PLAYING TO HIS FRIENDS 817

Memorial Chapel, Grétry 627

Mendelssohn's hand 436

Mozart's ear 295

Mozart's first composition 270

Mozart's piano and spinet 276

Mozart, room where he was born 275

OLD MARKET SQUARE, Dresden 397

OPERA HOUSE, Paris 749

Palazzo Vendramin 543

PANTHÉON MUSICAL 755

PANTHÉON OF GERMAN MUSICIANS 567

Pergolese medal by Mercandetti 45

Pergolese commemorative medal 48

Rossini's clay pipe 60

SALZBURG 271

SCHUBERT AND HIS FRIENDS 357

SPONTINI'S PIANO 90

Strauss (junior) leading orchestra 496

St. Thomas's School 177

SYNTAGMA MUSICUM, Title-page of 572

Triumph of Rameau 622

VIENNA OPERA HOUSE 606

WAGNER AND FRIENDS AT BAYREUTH 557

Wagner's studio 539

WEBER LEADING OPERA 405

Weber's coat-of-arms 408

_Reproduction of an engraving by C. Debluis, after an old German print in the "Cabinet des estampes" in Paris. It bears the inscription, "Orlandus Lassus, musicus excellens."_]

ORLANDO DI LASSO

Roland Delattre is generally known by the Italian form of his name, Orlando di Lasso. He was the last great light of the famous school of Netherlands masters who were the real founders of modern musical art. The history of Lasso's career is tolerably well known to us, owing to the existence of Vinchant's "Annals of Hainault" and a sketch by Van Quickelberg published in 1565 in a biographical dictionary called "Heroum Prosopographia." Although the former author was born in 1580, and Lasso died in 1594 or 1595, he places the date of the composer's birth ten years earlier than Van Quickelberg. Fétis gives plausible reasons for accepting Vinchant's date, yet it is probable that Van Quickelberg got his data directly from the composer, of whom he was an intimate friend.

At any rate, he was born in Mons in 1520 or 1530 and at the age of seven began his education. Like all musically gifted persons, he displayed his inclination toward the tone art at an early age, and in his ninth year he began the study of music. At that period music meant counterpoint and church singing. Hence Lasso, being endowed with a fine voice, began his career as a boy chorister in the church of St. Nicolas in his native town. There he became celebrated for the beauty of his voice and was twice stolen but recovered by his parents. The third time the little song-bird was carried off, he consented to remain with Ferdinand Gonzague, viceroy of Sicily and at that time commander of the army of Charles V. When the war was over the lad went with Ferdinand to Sicily and afterward to Milan. Van Quickelberg says that after six years his voice broke and at the age of eighteen he was sent by his patron under charge of Constantin Castriotto to Naples with letters of recommendation to the Marquis of Terza. He became a member of that nobleman's household and remained with him three years. At the end of that time he went to Rome, where he stayed six months as the guest of the archbishop of Florence. He was then appointed chapel-master of the famous church of St. John Lateran. While serving there he was informed of the sickness of his parents, and, probably being somewhat conscience stricken, set out for Mons, where he arrived after his father and mother were dead.

He returned to Rome and soon afterward paid a visit to France and England in company with a noble amateur of music called Julius Caeser Brancaccio. From France he went to Antwerp, where he stayed until he went to Munich in 1557 to enter the service of Albert of Bavaria. The doubt as to the date of his birth makes the length of his residence in Rome uncertain. He was there either two years or twelve, according as he was born in 1520 or 1530. The invitation to Munich seems to show that Lasso had acquired a European reputation as a composer. Such a reputation would naturally have been acquired during a long period of service in the Lateran church. If, however, Lasso did remain in Rome twelve years and produce works which gave him European celebrity, they are lost. Nevertheless even Van Quickelberg's testimony goes to show that Lasso's fame as a composer and as a man had preceded him to Munich. The Duke Albert directed him to engage a number of singers for the ducal choir and take them with him to Munich. Albert V. was a lover of art, and he is credited with being highly pleased at the engagement of Lasso. Quickelberg says that report in the Bavarian capital "was busy as to the character and disposition of the man. He was credited with being a great artist and a high-minded gentleman, and the Munich folk were not to be disappointed. The brilliant wit of the master, his amiability of temper, the cheerfulness of his disposition, and the universality of his knowledge, combined to make him a favorite with all. With the duke and the duchess he was especially intimate, and owing to their favor was admitted to the highest social gatherings. His introduction to the court nobility resulted in his marriage in 1558 with Regina Welkinger, a maid of honor attendant on the duchess." [Naumann, History of Music, p. 376.]

Reproduced from an ancient prayer book.]

It may be as well to add here that Lasso and his wife had six children, four sons and two daughters. Ferdinand and Rudolph, the eldest sons, became composers of some note. It was in 1562 that Lasso was made chapel-master to the Duke of Bavaria, thus attaining what was then esteemed as the highest prize in the musical world. He now had under his direction a fine body of singers and instrumentalists, for which a modern composer would have written not only masses, but cantatas and oratorios. We must bear in mind, however, that in Lasso's day church composers preferred the _a capella_ style, and the art of orchestral accompaniment, as we understand it now, was unknown. When instruments were used in conjunction with voices they simply doubled the voice parts. Hence Lasso's great compositions are all written for an unaccompanied choir. It appears that Lasso served for five years as chamber musician before being made chapel-master, because Ludwig Daser was not quite old enough to be retired from the higher post and because the Duke wished Lasso to learn the language before assuming the responsibility of the mastership. In 1562, as stated, Daser was retired, and, as Van Quickelberg tells us, "the Duke, seeing that Master Orlando had by this time learnt the language and gained the good will of all by the propriety and gentleness of his behavior, and that his compositions (in number infinite) were universally liked, without loss of time elected him master of the chapel, to the evident pleasure of all."

From this time forward for several years Lasso was engaged in composing his most noted church works, among them being the famous "Penitential Psalms," which are still held in the highest esteem among lovers of pure old church music. He wrote also some of his finest Magnificats, as well as many pieces of secular music. His fame spread through Europe, and though Palestrina was his contemporary, it was Lasso who was spoken of as the "Prince of Musicians." He was also much praised as a conductor, and contemporary writers bear testimony to the fine precision and spirit with which the ducal choir sang under his direction. In 1570 the Emperor Maximilian honored the composer by making him a knight. The following year Pope Gregory XIII. conferred upon him the order of the Golden Spurs. The ceremony was performed with much pomp in the papal chapel at Munich by the chevaliers Cajetan and Mezzacosta. In the same year the composer made a visit to Paris, where he was received with every mark of distinction by Charles IX. This visit and the favor of the monarch have given rise to one of those pretty stories with which the history of music is dotted, but which unfortunately will not bear scrutiny. The story is that Charles IX., tormented by remorse for the massacre of St. Bartholomew, asked Lasso to write his Penitential Psalms as an expression of the kingly repentance. But dates, which are stubborn things, refuse to be reconciled with this story. These psalms were undoubtedly written at the request of Duke Albert. The first volume of them in manuscript is preserved in the Royal State Library at Munich, and it bears the date 1565. The massacre of St. Bartholomew took place in 1572. The value which Duke Albert set upon these compositions is shown by the manner in which he treated them. They were bound in the most costly manner, in morocco, with silver ornaments which alone cost seven hundred and sixty-four florins. The court painter, Hans Mielich, painted for them portraits of the Duke, Orlando, and of the persons who made the books. J. Sterndale Bennett, in his excellent article on Lasso in Grove's "Dictionary of Music," makes the suggestion that the production of these noble psalms so early in the composer's life at Munich points to the probability that his Roman sojourn was twelve years instead of two, and that he was, therefore, born in 1520 instead of 1530. The inference is hardly avoidable.

To return to the Paris visit, it may be deemed probable that one result of it was the erection of a new Academy of Music, authorized by the king in 1570. The only composition known to have been produced by Lasso in Paris was sent to Duke Albert as "some proof of my gratitude." In 1574 Lasso set out for Paris once more, but when he had gone as far as Frankfort he learned that King Charles IX. was dead; so he returned to Munich, where he resumed the work of composition with undiminished activity. Lasso never left Munich again and a detailed record of his life subsequent to 1575 would consist chiefly of a chronological catalogue of the works which he published. It may be said that he did not produce any large compositions in the years 1578-80. The Duke, who had confirmed him for life in his appointment on his return from Munich, had become ill, and in October, 1579, this generous and high-minded patron of the arts breathed his last.

This was a sad blow to Lasso, whose affection for his princely friend was surely sincere. It was fortunate for the composer's material welfare that Duke Albert's successor was a hearty admirer of his works. The substantial nature of his regard was shown in 1587, when, Lasso having begun to show signs of failing health, the new potentate gave him a country house at Geising on the Ammer. There the composer sought seclusion for a time from the bustle of court life. On April 15, he dedicated twenty-three new madrigals to Dr. Mermann, the court physician, and J. Sterndale Bennett sees in this an evidence of restored health and renewed activity. Near the end of the year, however, he asked to be relieved of some of his numerous duties. The Duke gave him permission to retire from his post and pass a part of each year at Geising with his family, but his salary was to be reduced to two hundred florins per annum. His son Ferdinand, however, was to be appointed a member of the choir at two hundred florins, and Rudolph was to be made organist at the same salary. For some reason Lasso was not satisfied with this arrangement, and so he resumed his labors.

Erected by Ludwig II.]

It would be gratifying to be able to picture this great master approaching his end along the green pathway of a serene old age. Unfortunately this cannot be done. His declining years were marked by gloom and morbidity. He talked constantly of death, and became so peevish as to write to Duke William complaining that he had not done all for the composer that Duke Albert had promised. The devoted wife, Regina, united her efforts with those of Princess Maximiliana to remove the evil effects of this letter. The composer sank gradually and died at Munich on June 14, 1594. He was buried in the cemetery of the Franciscans, and his widow erected a fine monument to his memory in their church. According to Fétis this stone was two feet four inches high and four feet eight inches long. It had ornamental bas-reliefs representing the holy sepulchre, Lassus and his family at prayer, and the coat-of-arms conferred upon them by the Emperor Maximilian. The inscription on the base was as follows:

"Hic ille est Lassus, lassum qui recreat orbem,
Discordemque sua copulat harmonia."

Here lies he weary who a weary world refreshed,
And discord with his harmony enmeshed.

The reader will note the play on the word _lassus_, weary. The monument was removed when the Franciscan churchyard was dismantled in 1800, and in 1830 the stone disappeared from view. The world of art has to thank the "mad king" Ludwig, of Bavaria (to whom it owes debts of gratitude in connection with Wagner's career), for the erection of a life-size statue in bronze of Orlando Lasso. It stood originally next to the statue of Gluck near the Theatiner Church, but was afterward removed to the public promenade. There is another statue of Lasso at Mons, where he was born.

Lasso was one of the most prolific composers that ever lived. He is said to have written no less than two thousand five hundred original works. A great number of these have been preserved, but the reader who is not able to decipher antique scores will undoubtedly be most interested in those which have been republished in modern form. These are as follows: his famous seven Penitential Psalms, edited by S. W. Dehn and published in Berlin in 1835; a "Regina coeli," "Salve Regina," "Angelus ad pastores," and "Miserere," Rochlitz's "Sammlung vorzüglicher Gesangstücke," Vol. I., published by Schott in 1838; a setting of the twenty-third Psalm as a motet for five voices, a "Quo properas" for ten voices, and a Magnificat for five, published at Berlin by Schlesinger; "Confirma hoc deus" for six voices, Berlin, Guttentag; six German chansons (four voices) and one dialogue (eight voices) in Dehn's "Sammlung alter Musik," Berlin, Crantz; twelve motets (four to eight voices) in Commer's collection published by Schott of Mainz; twenty motets in Proske's "Musica Divina"; the mass "Qual donna attende" (five voices) in Proske's selection of masses published at Ratisbon, 1856; the mass "Or sus à coup" (four voices), edited by Ferrenberg and published by Heberle at Cologne in 1847. Many more of his works have been edited and are ready for publication, but remain in MS. The above list is taken from Scribner's "Cyclopedia of Music and Musicians," and appears to be correct, as far as it goes. Naumann's "History of Music" contains a very beautiful "Adoramus te Christe," a chorale for four male voices. Lest the reader should fall into the error of supposing that the great bulk of Lasso's works were ecclesiastical, it should be mentioned that he wrote many German songs, fifty-nine canzonets, three hundred and seventy-one French songs, thirty-four Latin songs, and two hundred and thirty-three madrigals. Of these last, at least one--"Matrona, mia cara"--holds its own among the glees of to-day; and its quaint refrain of "Dong, dong, dong, derry, derry, dong, dong," haunts every ear that once has heard it.

To rightly appreciate the value of Lasso's music one must bear in mind the history of the great Netherlands school as a whole. Lasso was the perfect blossom of a plant of long growth. His earliest predecessors had been occupied in manufacturing musical materials, systematizing the old chaotic practice of the mere improvisers and establishing fundamental forms on which the superstructure of modern music was to be reared. In their efforts at perfecting these forms they had fallen into extravagances, often losing sight of the nature and purpose of music, of which at the best they had a very imperfect comprehension. Occasionally, at least once in each period of the existence of the school, a composer arose who urged forward the march of development. A host of imitators would follow, and in imitating the new forms and touches of a creative mind these men could fall back into mere formal ingenuity again, and stay there till another original thinker arose. The progress of musical art, therefore, might be likened to the rising of the ocean tide on the beach, moving forward in a series of waves, each followed by receding water.

From a very early period in the rise of the Netherlands school a movement toward beauty and simplicity of form and expression can be traced. This movement came to its destination in Lasso. He did not, it is true, abandon the contrapuntal forms of his predecessors; but he wholly subordinated them to his purpose, and his purpose was plainly the expression of those feelings which belong to man's religious nature. He succeeded in keeping this purpose uppermost, no matter in what style he chose to write. Sometimes he composed simple chorales in which the voices moved simultaneously, and again he wrote hymns in four parts, adding a popular melody as a discant. He moved from either of these styles to the most complicated polyphonic manner of the Des Prés period without sacrifice of dignity, musical beauty or religious fervor. He wrote works for two and three choirs, and he wrote others for only two voices. In the Penitential Psalms he clearly demonstrated that a mass of voices and parts was not necessary to an attainment of impressive effect, for he showed that he could be most powerfully expressive and influential while employing the simplest of means. Some of his writing is extremely old-fashioned even for his time. It might have been handed down from the days of Ockeghem. Again he plunges boldly into the labyrinth of chromatics and makes one think he hears the voice of Cyprian de Rore. In short, we must concede that Lasso displayed in his constructive skill the versatility of a complete master, while through all his work there runs the never-failing current of personal influence that flows only from the masterful individuality of a real genius.

Interesting comparisons have been drawn between the style of Lasso and that of Palestrina. The fact is that in formal arrangement Palestrina's masses bear a close assemblance to the most modern of Lasso's works. It is only when the Flemish master is writing in the style of his predecessors that his construction ceases to bear resemblance to that of the Italian. Both excelled in one style--that in which the profundity of contrapuntal skill results in an appearance of simplicity and in a real conveyance of emotion. The difference between the men lies in the character of their musical thought, and that difference has been most excellently expressed by Ambros, who says: "The one (Palestrina) brings the angelic host to earth; the other raises man to eternal regions, both meeting in the realm of the ideal." Fétis, in his prize essay of 1828, says: "Too many writers in their eulogies of Lasso have called him the Prince of musicians of his age. Whatever be the respect which I have for that great man, I declare that I am not able to acquiesce in this exaggerated admiration. It is sufficient for the glory of Lasso that he equalled the reputation of a musician like Palestrina; it would be unjust to accord him the superiority. In examining the works of these two celebrated artists, one remarks the different qualities which they possess and which gives to them an individual physiognomy. The music of the former is graceful and elegant (for the time in which it was composed); but that of Palestrina has more force and seriousness. That of Lasso is more singable and shows greater imagination, but that of his rival is much more learned. In the motets and madrigals of Palestrina are effects of mass which are admirable; but the French songs of Lasso are full of most interesting details. In fine they deserve to be compared with one another; that is a eulogy of both."

Fétis's assertion that the music of Palestrina is the more learned is a trifle vague. The fact is that the learning of Palestrina's music is greater than that of Lasso's only because the former more successfully conceals itself. Nothing could be more lovely in its simplicity than Lasso's "Adoramus te" given by Naumann, but its simplicity is that of the chorale style. The "Regina Coeli" given by Rochlitz is a fine specimen of double counterpoint. The "Salve Regina," given by the same author, is in free chorale style and is written for solo quartet and chorus. The "Angelus ad pastores," while not strict in its counterpoint, is full of learned work, yet withal is not involved in style. The "Principal Parts of the 51st Psalm," also printed in Rochlitz's work, looks very much like a modern anthem, especially the "Gloria patri." The madrigals of Lasso are charming in their native humor and in the piquancy of their part writing.

The influence of Lasso upon later composers cannot well be separated from the general influence of his time, for the contrapuntal church style was the prevailing manner of composition throughout Europe. The Belgian, Italian, and German music of the time is all built on the model established by the Netherlands masters. But Lasso must be credited with having done almost as much as Palestrina toward showing how ecclesiastical music could be written in an artistic but wholly intelligible manner. The German writers who imitated him (Ludwig Senfl, Paul Gerhardt and others) in their Protestant chorals and motets led the way directly to the motets, cantatas and passion music of the Bach period, and Lasso through his influence on them contributed toward the development of the genius of the immortal Sebastian.

THE NETHERLAND MASTERS

The improvisatore nursed the infancy of both poetry and music. The latter did not grow to the stature of an art until the rude improvisations of its early guardians gave way to the systematic compositions of the Netherland masters. Systematic composition, however, presupposes the existence of three fundamental elements, none of which had assumed tangible form in the earliest days recorded in musical history. These elements are harmony, notation and measure. Huckbald, a Benedictine Monk of St. Armand in Flanders, is credited with being the first to formulate rules for harmony about 895 A. D. His ideas were crude and their results disagreeable to the modern ear. He used chiefly parallel fourths and fifths, but he employed another freer style in which a melody moved flexibly above a fixed bass--the earliest form of pedal point. Harmony was not invented by Huckbald, but he must be honored as the writer of the first treatise on the subject. The field once opened up was industriously cultivated, and by the time the era of the Netherland school began, had been productive of a rich harvest. Notation was also a plant of slow growth, but the employment of four lines in a staff, together with the spaces, was introduced by Guido of Arezzo, who died in 1050. The formulation of rules for measure was the work of Franco of Cologne, who flourished 1200 A. D. He adopted four characters to represent sounds of different lengths. These notes were the _longa_, ; the _brevis_, ; the _duplex longa_, and the _semi brevis_, . He also distinguished common from triple time, calling the latter "perfect." Fétis quotes from the introduction to Franco's "Ars Cantus Mensurabilis" the following words: "We propose, therefore, to set forth in this volume this same measured music. We shall not refuse to make known the good ideas of others, nor to expose their mistakes; and if we have invented anything good, we shall support it with good arguments." Fétis, however, makes this significant remark: "Néanmoins le profond savoir qu'on remarque dans l'ouvrage de Francon, et l'obscurité dans laquelle sont ensevelis et les noms et les œuvres de ceux, auxquels il attribue la première invention de la musique mesurée, le feront à jamais regarder comme le premier auteure de cette importante découverte." [Fétis, Mémoire sur cette Question: "Quels out été les mérites des Neerlandais dans la musique," etc.--Question mise au concours pour l'année 1828 par la quatrieme classe de l'Institut des Sciences, de Litterature et des Beaux Arts du Royaume des Pays-Bas.]

With harmony and measure governed by rules and the written page at hand as a conserving power, systematic composition became a possibility. The study of this art was the work of monks, who were the repositories of polite learning in the middle ages, and they naturally sought for their thematic material in the plain chant of the church. Their treatment of this chant was a natural outgrowth of the impromptu production of music which had preceded systematic composition and which clung to existence with great pertinacity. Guido of Arezzo had taught choristers the art of singing with such success that they began the long-honored custom of adding ornaments to their melodies. They carried this practice to such an extent that it became necessary for one singer to intone the melody while another sang the ornamental part. This adding of ornamental parts was called the art of discant; and when the monks took up scientific composition they simply added discants to the liturgical chants of the church. This was the beginning of counterpoint, the art of writing two or more melodies which shall proceed simultaneously without breaking the rules of harmony. The name "counterpoint" was early applied to it by Johannes de Muris, doctor of theology at the University of Paris in the beginning of the fourteenth century. This indicates that by his time the scientific setting of note against note had fully superseded discant, the fanciful elaboration of the singers.

It was in the hands of the great masters of the Netherland school that this counterpoint, the first species of scientific composition, was developed to its highest perfection. In the main the differences between their counterpoint and ours are due to the cramped harmony of their time, which was fettered by the employment of the Gregorian scales. The superiority of Bach's counterpoint over theirs from a technical point of view is the result of his mastery of chromatics and his perfection of the system of equal temperament. With the aesthetic superiority of his work we need not concern ourselves, for we must bear in mind the fact that most of the Netherland masters were absorbed in developing the technical construction of music, and had little to do with the exploration of its emotional possibility.

Systems are not completed in a day. Those writers on musical history who pass immediately from the labors of Franco to the Netherland masters ignore the long series of tentative works of the French composers who flourished between 1100 and 1370 A. D., and of the English composers who flourished between the same years. It is a well established fact that in England there were many writers who showed skill in the early contrapuntal forms. Johannes Tinctoris, a Netherlander, writing in 1460 A. D., went so far as to say that the source of counterpoint was among the English, of whom Dunstable was in his opinion the greatest light. Walter Odington, an Englishman, wrote a learned treatise on counterpoint in 1217, and some authorities accept him as the composer of the notable canonic composition, "Sumer is icumen in." It is pretty clearly established, however, that Odington was a disciple of the French school, while Dunstable, being a contemporary of Binchois, was of later birth than the early French composers. The writer of this paper is of the opinion that the line of contrapuntal development appears to join Flanders with France rather than with England, and he, therefore, prefers to consider chiefly the French school.

The Frenchman, Jean Perotin, then, about 1130 A. D., employed imitation, and one of his immediate successors, Jean de Garlande, says in his treatise on music that double counterpoint was known before his time. He says it is the repetition of the same phrase by different voices at different times. It is impracticable in this article to review in detail the achievements of the French school, but a summary of its work is necessary to a comprehension of the Netherland school. The Frenchmen possessed three kinds of harmonic combinations: the Déchant (discant) or double, the triple and the quadruple, or in other words, contrapuntal compositions in two, three and four parts. Discants were of two kinds. In the first the cantus firmus, or fixed chant of the liturgy, was sung by one voice (called tenor--Latin, _teneo_, I hold--because it held the tune) while the other added a discant above it. In the second the discant was freely composed, and a lower part, or bass added.

Three-part compositions were of four kinds: fauxbourdon, motet, rondeau and conduit, the last three being written also in four parts. Fauxbourdon was simply a three-voiced chant, the parts having similar motion, the upper and lower being parallel sixths and the middle in fourths with the discant. In the motet each voice had a text of its own. The rondo was secular and was developed from the folk-music of the day. The conduit was uncertain in form, secular in character, and, like the rondo, was written for either voices or instruments. The early French masters made extensive use of the parallel movement of voices, yet had plainly no conception of harmony founded on chords. They show a much clearer purpose in their contrapuntal writings wherein the imitations are plainly devised according to rules. But the entire musical product of France between 1100 and 1250 was the cold, mathematical work of academicians, who nevertheless served the cause of the tone art by laying down indispensable laws. The last great master of this school, William of Machaut, who wrote the celebrated Coronation Mass for the crowning of Charles V., flourished between 1284 and 1369. Naturally enough the teachings of the French spread into the provinces of Belgium, and there grew up a school from which the Netherland masters rose. The most prominent early Belgian composer was Dufay (1350-1432). This writer introduced secular melodies into his masses, forbade the use of consecutive fifths, and freely used interrupted canonic part writing, in which the imitation appears only at occasional effective places. His works show evidences of a vague groping after euphonic beauty. Antoine de Busnois, who died in 1482, was the last of these early masters. His works abound in clever use of the devices of imitation and inversion. His canonic writing is more finished and his harmony bolder than Dufay's. The character of the music produced at this time has been well described by Mr. Rockstro. He says: "At this period, representing the infancy of art, the subject, or canto fermo, was almost invariably placed in the tenor and sung in long sustained notes, while two or more supplementary voices accompanied it with an elaborate counterpoint, written like the canto fermo itself in one or other of the ancient ecclesiastical modes, and consisting of fugal passages, points of imitation, or even canons, all suggested by the primary idea, and all working together for a common end."

Dufay was the connecting link between the French School and the great Netherland masters. At this time the Dutch led the world in painting, in the liberal arts and in commercial enterprise. Their skill in mechanics was unequalled, and we naturally expect to see their musicians further the development of musical technique. We must bear in mind facts to which the writer has had to refer elsewhere ("Story of Music," p. 21). "The general tendency of European thought at this time also had its bearing on the tone art. Scholasticism was in full sway, and such philosophers as Albertus Magnus, John Duns Scotus and William of Ockham were engaged in wondrous metaphysical hair-splitting, endeavoring to reduce Aristotelianism to a Christian basis by the application of the most vigorous logic. This spirit of scholasticism entered music, and contrapuntal science by too much learning was made mad." Yet the essential nature of music could not be wholly suppressed, and as the writers of the time acquired that marvellous mastery of musical material which came from their practice of counterpoint, they began to use their science as a means and not an end; and finally the masters of the Netherland school attained the loftiest heights of church composition. Various divisions of the periods of development of this school have been made. That adopted by the writer is Emil Naumann's with some alterations. It does not appear to be necessary to set the Dutch members of the school apart from the Belgians; and the writer, in his estimate of the comparative importance of the masters, agrees with Kiesewetter and Fétis rather than with Naumann. The division of the school into four periods, as follows, seems to be a fair one:

NETHERLANDS SCHOOL (1425-1625 A. D.).

First Period, 1425-1512.

Chief masters: Ockeghem, Hobrecht, Brumel.

Second Period, 1455-1526.

Chief masters: Josquin des Près, Jean Mouton.

Third Period, 1495-1572.

Chief masters: Gombert, Willaert, Goudimel, De Rore, Jannequin,
Arkadelt.

Fourth Period, 1520-1625.

Chief masters: Orlando Lasso, Swelinck, De Monte.

Johannes Ockeghem, the most accomplished writer of the first period, was born between 1415 and 1430, probably at Termonde in East Flanders. It is likely that he studied music under Binchois, a contemporary of Dufay. At any rate an Ockeghem was one of the college of singers at the Antwerp cathedral in 1443, when Binchois was choir master. About 1444 the youth entered the service of Charles VII. of France, as a singer. He stood high in the favor of Louis XI., who made him treasurer of the church of St. Martin's at Tours. There Ockeghem passed the remainder of his life, retiring from active service about 1490. He died about 1513.

Octavio dei Petrucci, of Fossombrone, invented movable types for printing music in 1502, and obtained a patent for the exclusive use of the process for fifteen years in 1513. By that time the advance in the mastery of counterpoint had left Ockeghem somewhat out of fashion; and it is, therefore, not remarkable that Petrucci's earliest collections contain nothing by this master. Not till years after his death was any mass or motet of his given to the world. Then only one was printed entire. This was his "Missa cujusvis toni," which was plainly selected because of its science. Extracts from his "Missa Prolationum" were used in theoretical treatises; and, indeed, Ockeghem's music seems generally to have been cherished wholly on account of the technical instruction which might be derived from it. The list of his extant compositions, as given in Scribner's "Cyclopedia of Music," is as follows:

"Missa cujusvis toni," in Liber XV., missarum (Petreius, Louvain, 1538); six motets and a sequence (Petrucci, Venice, 1503); an enigmatic canon in S. Heyden's "Ars Canendi" and in Glarean's "Dodekachordon"; fragments of "Missa prolationum" in Heyden's book and in Bellermann's "Kontrapunkt"; mass "De plus en plus," MS. in Pontifical Chapel, Rome; two masses, "Pour quelque peine" and "Ecce ancilla Domini," in the Brussels Library; motets in MS. in Rome, Florence and Dijon; six masses, an Ave and some motets in Van der Straeten; Kyrie and Christe, from "Missa cujusvis toni" in Rochlitz.

This list is probably correct except the six motets and a sequence set down as published by Petrucci in 1503. Ambros, who is always trustworthy and who mentions all these works and also three songs ("D'ung aultre mer," "Aultre Venus" and "Rondo Royal") and a motet ("Alma redemptoris") in MS. at Florence, did not discover any publications by Petrucci. The enigmatical canon was solved by Kiesewetter, Burney, Hawkins and other historians; but the solution believed to be most nearly correct is that of the profound contrapuntist and excellent historian, Fétis. Glareanus (Dodekachordon, p. 454) speaks also of a motet for thirty-six voices. This was, no doubt, originally written for six or nine voices, the other parts being derived from them by canons. It is not certain, however, that Ockeghem ever wrote such a work. The "Missa cujusvis toni" ("A mass in any tone," or scale, as we should say now) may have been written as an exercise for the master's pupils, as some historians conjecture, but it seems more probable that it was a natural outgrowth of the puzzle-building spirit of the time and of Ockeghem's especial fondness for displays of musical ingenuity. The peculiarity of the mass is that it employs in a remarkable manner all the church modes or scales. It was sung in Munich many years after Ockeghem's death and a corrected copy of it is still preserved in the chapel.

Fétis says: "As a professor, Ockeghem was also very remarkable, for all the most celebrated musicians at the close of the fifteenth and beginning of the sixteenth century were his pupils." In the "Complaint" written after his death by William Grespel, appear the following lines:

"Argicola, Verbonnet, Prioris,
Josquin des Près, Gaspard, Brumel, Compère,
Ne parlez plus de Joyeul chants, ne ris,
Mais composez un ne recorderis,
Pour lamentir nostre maîstre et bon père."

Antoine Brumel achieved the greatest distinction among these pupils. He was born about 1460 and died about 1520. His personal history is lost. The present age possesses, however, a fuller record of his work than it has of his master's. In one volume printed by Petrucci in 1503 and to be found in the Royal Library at Berlin, there are five of his masses. Another mass by this composer is in a volume of works by various writers, printed also by Petrucci. A copy of this composition is in the British Museum. A number of masses and motets of his are scattered through other collections of Petrucci's. Others exist in MS. in Munich. Brumel's motet, "O Domine Jesu Christe, pastor bone," quoted by Naumann, is written in a clear and dignified style, abounds in full chords, and contains only such passages of imitation as would readily suggest themselves. A better example of the style of the period is his canonic, "Laudate Dominum," given by Foskel and Kiesewetter.