List of Renaissance composers

From Wikipedia, the free encyclopedia
Jump to navigation Jump to search

This is a list of composers active during the Renaissance period of European history. Since the 14th century is not usually considered by music historians to be part of the musical Renaissance, but part of the Middle Ages, composers active during that time can be found in the List of Medieval composers. Composers on this list had some period of significant activity after 1400, before 1600, or in a few cases they wrote music in a Renaissance idiom in the several decades after 1600.

Timeline[edit]

Orlando GibbonsMichael PraetoriusJohn Cooper (composer)Thomas CampionJohn DowlandCarlo GesualdoPhilippe RogierGiovanni GabrieliLuca MarenzioGiovanni de MacqueTomás Luis de VictoriaLuzzasco LuzzaschiWilliam ByrdGiaches de WertAndrea GabrieliOrlande de LassusClaude Le JeuneGiovanni Pierluigi da PalestrinaCipriano de RoreJacob Clemens non PapaClaude GoudimelPierre de ManchicourtHans NewsidlerThomas TallisChristopher TyeCristóbal de MoralesConstanzo FestaJohn TavernerAdrian WillaertThomas CrecquillonNicolas GombertClément JanequinPhilippe VerdelotAntoine BrumelAntonius DivitisAntoine de FévinMartin AgricolaPierre de La RueJean MoutonHeinrich IsaacJosquin des PrezJacob ObrechtAlexander AgricolaLoyset CompèreAntoine BusnoisWalter FryeJohannes OckeghemGuillaume DufayGilles BinchoisJohn DunstableLeonel PowerOswald von Wolkenstein

Burgundian[edit]

Guillaume Dufay, 1397–1474 and Gilles Binchois, c. 1400–1460
Gilles Joye, 1424/25–1483

The Burgundian School was a group of composers active in the 15th century in what is now northern and eastern France, Belgium, and the Netherlands, centered on the court of the Dukes of Burgundy. The school also included some English composers at the time when part of modern France was controlled by England. The Burgundian School was the first phase of activity of the Franco-Flemish School, the central musical practice of the Renaissance in Europe.

Name Born Died Notes
Johannes Tapissier
(Jean de Noyers)
c. 1370 before 1410
Nicolas Grenon c. 1375 1456
Pierre Fontaine c. 1380 c. 1450
Jacobus Vide fl. 1405? after 1433
Guillaume Legrant
(Lemarcherier)
fl. 1405 after 1449
Guillaume Dufay
(Guillaume Du Fay)
1397 1474
Johannes Brassart c. 1400 1455
Johannes Legrant fl. c. 1420 after 1440
Gilles Binchois
(Gilles de Bins)
c. 1400 1460
Hugo de Lantins fl. c. 1420 after 1430
Arnold de Lantins fl. 1423 1431/1432
Reginaldus Libert fl. c. 1425 after 1435
Jean Cousin before 1425 after 1475
Gilles Joye 1424/1425 1483
Guillaume le Rouge fl. 1450 after 1465
Robert Morton c. 1430 1479 English
Antoine Busnois c. 1430 1492
Adrien Basin fl. 1457 after 1498
Hayne van Ghizeghem c. 1445 after 1476
Jean-Baptiste Besard 1567 1625

Franco-Flemish[edit]

The Franco-Flemish School refers, somewhat imprecisely, to the style of polyphonic vocal music composition in Europe in the 15th and 16th centuries. See Renaissance music for a more detailed description of the style. The composers of this time and place, and the music they produced, are also known as the Dutch School. However, this is a misnomer, since Dutch (as well as The Netherlands) now refers to the northern Low Countries. The reference is to modern Belgium, northern France and the south of the modern Netherlands. Most artists were born in Hainaut, Flanders and Brabant.

1370–1450[edit]

Josquin des Prez, c. 1450–1521

1451–1500[edit]

Jacob Obrecht, 1457/58-1505
Orlande de Lassus, 1532–1594

1501–1550[edit]

1551–1574[edit]

French[edit]

"France" here does not refer to the France of today, but a smaller region of French-speaking people separate from the area controlled by the Duchy of Burgundy. In medieval times, France was the centre of musical development with the Notre Dame school and Ars nova; this was later surpassed by the Burgundian School, but France remained a leading producer of choral music throughout the Renaissance.

1370–1450[edit]

Claude Le Jeune, 1530–1600

1451–1500[edit]

1501–1550[edit]

Jean Maillard, c. 1510–c. 1570
Guillaume Costeley, 1530–1606

1551–1600[edit]

Italian[edit]

After the Burgundian School came to an end, Italy became the leading exponent of renaissance music and continued its innovation with, for example, the Venetian and (somewhat more conservative) Roman Schools of composition. In particular the Venetian School's polychoral compositions of the late 16th century were among the most famous musical events in Europe, and their influence on musical practice in other countries was enormous. The innovations introduced by the Venetian School, along with the contemporary development of monody and opera in Florence, together define the end of the musical Renaissance and the beginning of the musical Baroque.

1350–1470[edit]

Zacara da Teramo, 1350/60–1413/16

1471–1500[edit]

1501–1525[edit]

Carlo Gesualdo, 1560–1613

1526–1550[edit]

Orazio Vecchi, 1550–1605
Jacopo Peri, 1561–1633

1551–1586[edit]

Serbian[edit]

Greek[edit]

Spanish[edit]

1370–1450[edit]

1451–1510[edit]

Diego Ortiz, c. 1510–c. 1570

1511–1570[edit]

Cuban[edit]

  • Teodora Ginés (c. 1530 – 1598), not to be confused with the later Cuban singer and former slave of the same name

Swiss[edit]

Danish[edit]

Polish[edit]

During a period of favourable economic and political conditions at the beginning of the 16th century, Poland reached the height of its powers, when it was one of the richest and most powerful countries in Europe. It encompassed an area which included present day Lithuania and Latvia and portions of what is now Ukraine, Belarus, Czech Republic, Slovakia, and Germany. As the middle class prospered, patronage for the arts in Poland increased, and also looked westward – particularly to Italy – for influences.

Considered by many musicologists as the "Golden Age of Polish music," the period was influenced by the foundation of the Collegium Rorantistarum in 1543 at the chapel in Kraków of King Sigismund the Elder. The Collegium consisted of nine singers. And although it was required that all members be Poles, foreign influence was acknowledged in the dedication of their sacred repertory, "to the noble Italian art" (Reese 1959, p. 748).

Czech[edit]

Kryštof Harant z Polžic a Bezdružic, 1564–1621

Hungarian[edit]

Slovenian[edit]

  • Jacobus Gallus (1550–1591), also known as Jacob Handl; active in Moravia and Bohemia

Croatian[edit]

Dutch[edit]

Swedish[edit]

German[edit]

1350–1400[edit]

Oswald von Wolkenstein, 1376/77–1445

1401–1450[edit]

Hans Leo Hassler, 1564–1612

1451–1500[edit]

Michael Praetorius, c. 1571–1621

1501–1550[edit]

1551–1600[edit]

Portuguese[edit]

John IV of Portugal, 1603–1656

1400–1475[edit]

1476–1500[edit]

1501–1525[edit]

1526–1550[edit]

1551–1575[edit]

1576–1625[edit]

English[edit]

Due in part to its isolation from mainland Europe, the English Renaissance began later than most other parts of Europe. The Renaissance style also continued into a period in which many other European nations had already made the transition into the Baroque. While late medieval English music was influential on the development of the Burgundian style, most English music of the 15th century was lost, particularly during the Dissolution of the Monasteries during the time of Henry VIII. The Tudor period of the 16th century was a time of intense interest in music, and Renaissance styles began to develop with mutual influence from the mainland. Some English musical trends were heavily indebted to foreign styles, for example the English Madrigal School; others had aspects of continental practice as well as uniquely English traits. Composers included Thomas Tallis, John Dowland, Orlando Gibbons and William Byrd.

1370–1450[edit]

Name Born Died Notes
Pycard fl. c. 1390 after c. 1410 Has works preserved in the first layer of the Old Hall Manuscript and elsewhere. His identity is unclear; probably English, but possibly from France.
Leonel Power c. 1370 1445
Roy Henry fl. 1410 after 1410 Very likely to be Henry V of England (1387–1422)
Byttering
possibly Thomas Byttering
fl. c. 1410 after 1420
John Dunstaple
(or Dunstable)
c. 1390 1453
John Plummer c. 1410 c. 1483
Henry Abyngdon c. 1418 1497
Walter Frye fl. c. 1450 1474
William Horwood c. 1430 1484 Some of his music is collected in the Eton Choirbook.
John Hothby
Johannes Ottobi
c. 1430 1487 English theorist and composer mainly active in Italy.
William Hawte
William Haute
c. 1430 1497
Richard Hygons c. 1435 c. 1509
Gilbert Banester c. 1445 1487
Walter Lambe c. 1450 after 1504 Major contributor to the Eton Choirbook.
Hugh Kellyk late 15th century 16th century? has two surviving pieces, a five-part Magnificat and a seven-part Gaude flore virginali, in the Eton Choirbook.
Edmund Turges
possibly the same as Edmund Sturges
1450 1500 Has a number of works preserved in the Eton Choirbook; at least three Magnificat settings and two masses have been lost.

1451–1500[edit]

1501–1550[edit]

Thomas Tallis, c. 1505–1585
  • Thomas Tallis (c. 1505 – 1585)
  • Christopher Tye (c. 1505 – ? 1572)
  • John Merbecke (also Marbeck) (c. 1510 – c. 1585), produced the first musical setting for the English liturgy, publishing The Booke of Common Praier Noted, 1549; surviving works include a Missa Per arma iustitie; almost burnt as a heretic in 1543
  • Osbert Parsley (1511–1585), also spelled Parsely; wrote a set of Lamentations for Holy Week
  • John Sheppard (c. 1515 – 1559)
  • Edward Kyrton (fl. 1540 to 1550), Miserere for keyboard in a British Museum MS
  • John Black (c. 1520 – 1587)
  • Thomas Caustun (c. 1520/1525–1569), or Causton
  • John Blitheman (c. 1525 – 1591)
  • Richard Edwardes (1525–1566), also spelled Edwards
  • Thomas Whythorne (1528–1595)
  • William Mundy (1529–1591), father of John Mundy; his output includes fine examples of both the large-scale Latin votive antiphon and the short English anthem, as well as Masses and Latin psalm settings; his style is vigorous and eloquent; represented in The Mulliner Book and in the Gyffard partbooks
  • Robert Parsons (c. 1535 – 1572), Latin music includes antiphons, Credo quod redemptor, Domine quis habitabit, Magnificat and Jam Christus astra; also three responds from the Office of the Dead, songs (including Pandolpho), In nomine settings for ensemble, and a galliard
  • Robert White (1538–1574), also spelled Whyte
  • Clement Woodcock (1540–1590), also spelled Woodcoke, Woodecock; his Browning my dear is one of several pieces of the period based on a popular tune, also known as The leaves be green
  • William Byrd (c. 1540 – 1623)
  • Anthony Holborne (c. 1545 – 1602), also known as Olborner
  • John Johnson (c. 1545 – 1594)
  • Francis Cutting (1550-1595/1596)
William Byrd, 1540–1623

1551–1570[edit]

1571–1580[edit]

Orlando Gibbons, 1583–1625

1581–1611[edit]

Scottish[edit]

  • Robert Johnson (c. 1470 – after 1554), active in England and Scotland
  • Robert Carver (1485–1570), wrote a mass on L'Homme armé (the only known by a British composer) and a nineteen-part O bone jesu
  • David Peebles (fl. c. 1530–1579)

See also[edit]

There is considerable overlap near the beginning and end of this era. See lists of composers for the previous and following eras:

Sources[edit]