español | français Roland de Lasso Denis Raisin-Dadre 10 CDs for a desert island : Eduardo Paniagua Chaucer and music   53 - 52 - 51 - 50 - 49 - 48 - 47 - 46 - 45 - 44 - 43 - 42 - 41 - 40 - 39 - 38 - 37 - 36 - 35 - 34 - 33 - 32 - 31 - 30 - 29 - 28 - 27 - 26 - 25 - 24 - 23 - 22 - 21 - 20 - 19 - 18 - 17 - 16 - 15 - 14 - 13 - 12 - 11 - 10 - 09 - 08 - 07 - 06 - 05 - 04 - 03 - 02 - 01 - ROLAND DE LASSO By Tom Moore We can know few, if any, of the composers of the sixteenth century as well as Roland de Lassus or Orlando di Lasso (1532?-1594). Lasso has been widely admired as a composer by twentieth and twenty-first century musicians since the publication of his (in-)complete works in the later nineteenth century, one of the first Renaissance composers to be so honored. The edition by Haberl and Sandberger began in 1894 (Haberl had begun the edition of the seminal Palestrina in 1863), so that by the early years of the twentieth century a substantial part, if not all, of his extensive body of work could be studied and performed by musicians. What is unique for Lasso, however, is the volume and character of the surviving letters from his pen, a total of fifty-seven such in the modern edition, dating from 1573 to 1591, which give us a remarkable insight into his personality and his relationship with his master, the Duke of Bavaria, Wilhelm. Biography Work catalogue Discography Goldberg Articles ABOUT US | CONTRIBUTE   web map - home page - cover Legal warning Copyright 2003, Goldberg. info@goldberg-magazine.com