The art of music, Vol. 06 (of 14) : $b Choral and church musicCole, Rossetter G. (Rossetter Gleason)
History
The art of music, Vol. 06 (of 14) : $b Choral and church music
Cole, Rossetter G. (Rossetter Gleason)
Music -- History and criticism; Musicians
Lassus was probably the most prolific composer of all time, having
left the enormous number of nearly 2,500 separate compositions. As
his master, Duke Albert, was a staunch and devout Catholic, by far
the larger part of his creative energy was expended in the field
of pure church-music, of which he wrote no less than 1,200 motets
and _sacræ cantiones_, 51 masses, about 180 Magnificats, and over
150 lamentations, psalms, hymns, Requiems, Ave Marias, antiphons,
etc. The most celebrated of his works and, according to Ambros,[28]
the only other work of the sixteenth century worthy to stand beside
Palestrina’s _Missa Papæ Marcelli_, are the ‘Penitential Psalms,’
which were composed at the duke’s suggestion prior to 1565, though
not published until 1584. The establishment of the date of their
composition definitely upsets the familiar legend that they were
written for Charles IX of France to solace his troubled conscience
after the horrors of the massacre of St. Bartholomew. It may well
be, however, that they were sung before this unhappy monarch, for
Lassus spent some time at the court of France at Charles’ invitation.
Lassus’ masterpiece, though written comparatively early in his career,
possesses in a marked degree all the qualities of strength, grandeur,
dignity, repose, and especially impersonality and absence of what
would now be called dramatic effects, that are the distinguishing
characteristics of the maturest period of ritual-music of the great
Netherlander and his Italian compeer, Palestrina. The ‘Penitential
Psalms’ (the 6th, 32d, 38th, 51st, 102d, 130th, and 143d) were set
for from two to six voices, according to the suggestion of the text,
and the style of expression varies from the extreme simplicity of the
opening chords to the massive and intricate tone-structures by means
of which he depicts the remorse and fear of the penitent sinner. But,
while a note of sorrow and wailing runs throughout, the master has with
equal genius portrayed the strong consolation of sincere repentance and
the sure hope of pardon from a loving God.
Public-domain text, read in full here on John Shaqi.
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