Renaissance composer Orlande de Lassus was born in Mons
and got his start as a choirboy. An often disputed
story has the child Lassus kidnapped three times on
account of his beautiful singing voice; the only
certainty is that by 1544 he had joined the service of
Ferrante Gonzaga, Viceroy of Sicily. A stopover in
Mantua allowed Lassus to absorb prevailing Italian
influences. Lassus spent less than a year in Sicily and
transferred to Milan for the remainder of the 1540s. He
often used an Italian f...(+)
Renaissance composer Orlande de Lassus was born in Mons
and got his start as a choirboy. An often disputed
story has the child Lassus kidnapped three times on
account of his beautiful singing voice; the only
certainty is that by 1544 he had joined the service of
Ferrante Gonzaga, Viceroy of Sicily. A stopover in
Mantua allowed Lassus to absorb prevailing Italian
influences. Lassus spent less than a year in Sicily and
transferred to Milan for the remainder of the 1540s. He
often used an Italian form of his name, Orlando di
Lasso. In 1551, Lassus was made choirmaster at St. John
of Lateran in Rome, but remained only until 1553, being
succeeded by Palestrina. Lassus returned to Mons in
1554, receiving word that his parents were ill, but
upon his arrival found them already dead and buried. In
1555, Lassus' first book of madrigals and a collection
of various secular works appeared simultaneously in
Antwerp and Venice, thus beginning his status as a
one-man industry of musical publications. Lassus' work
accounts for three-fifths of all music printed in
Europe between 1555 and 1600.
In 1557, the German Duke Albrecht V engaged Lassus'
services as a singer at the court in Munich. Lassus'
status was upgraded to Kapellmeister in 1561. His
position enabled considerable travel, and Lassus made
frequent trips to Venice, where he met and made friends
with the Gabrielis. Judging from the range of settings,
both sacred and secular, coming from Lassus in these
years, it is apparent he was asked to supply music for
a wide variety of events at the court of Duke Albrecht.
The flood of published editions, both authorized and
not, of Lassus' music during this time established him
as the most popular composer in Europe, and in 1574 he
was made a Knight of the Golden Spur by Pope Gregory
XIII.
In 1579, Duke Albrecht V died, and the longstanding
extravagance of his court left his successor, Duke
Wilhelm, with little choice but to make deep cuts in
the entertainment budget. This had a direct and
negative effect on Lassus' fortunes, but nonetheless he
declined an offer in 1580 to relocate to the Court at
Dresden. By the late 1580s, the number of new pieces
Lassus undertook began to slow down. In the months
before his death, Lassus succeeded in bringing to life
his last great masterwork, the Lagrime di San Pietro,
in itself a summation of the highest forms of
Renaissance musical art. He died at about the age of
62, and in 1604 his sons published an edition of his
collected works entitled Magnus opus musicum. This was
used as the basis for the first modern edition of
Lassus' music, published in Leipzig between 1894 and
1926.
In the late 1570s and 1580s Lassus made several visits
to Italy, where he encountered the most modern styles
and trends. In Ferrara, the center of avant-garde
activity, he doubtless heard the madrigals being
composed for the d'Este court; however his own style
remained conservative and became simpler and more
refined as he aged. In the 1590s his health began to
decline, and he went to a doctor named Thomas Mermann
for treatment of what was called "melancholia
hypocondriaca", but he was still able to compose as
well as travel occasionally. His final work was often
considered one of his best pieces: an exquisite set of
twenty-one madrigali spirituali known as the Lagrime di
San Pietro ("Tears of St. Peter"), which he dedicated
to Pope Clement VIII, and which was published
posthumously in 1595. Lassus died in Munich on 14 June
1594, the same day that his employer decided to dismiss
him for economic reasons; he never saw the letter.
"Libera me" ("Deliver me") is a responsory sung in the
Office of the Dead in the Catholic Church, and at the
absolution of the dead, a service of prayers for the
dead said beside the coffin immediately after the
Requiem Mass and before burial. The text asks God to
have mercy upon the deceased person at the Last
Judgment. In addition to the Gregorian chant in the
Roman Gradual, many composers have written settings for
the text, including Tomás Luis de Victoria, Anton
Bruckner (two settings), Giuseppe Verdi, Gabriel
Fauré, Maurice Duruflé, Igor Stravinsky, Benjamin
Britten, Sigismund von Neukomm, Orlande de Lassus,
Krzysztof Penderecki, Antonio Salieri, Lorenzo Perosi,
Arnold Rosner and Patrick Gowers (first stanza only).
The Christian technical thrash band Believer also used
the entire text in the operatically sung section of
"Dies Iræ (Day of Wrath)" in their 1990 album Sanity
Obscure.
Source: Wikipedia
(https://en.wikipedia.org/wiki/Orlande_de_Lassus)
Although originally composed for Chorus (SAATTB), I
created this Interpretation of "Libera me" (Deliver me)
for Oboe & Pipe Organ (2 Manuals w/Pedals).
PARTITION