See also:

• LASSO (LASSOS), ORLANDO (c. 1530-1594)
• LASSO (Span. lazo, snare, ultimately from Lat. laqueus, cf. " lace ")

LASSO (LASSOS), ORLANDO (c. 1530-1594)  , Belgian musical composer, whose real name was probably See also:

• ROLAND
• ROLAND, LEGEND OF

Roland Delattre, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• MONS (Flemish Bergen)

Mons, in Hainault, probably not much earlier than 1532, the date given by the See also:

• EPITAPH (Gr. it oa¢cos, sc. X/yos, from bri, upon, and ra¢os, a tomb)

epitaph printed at the end of the volumes of the Magnum See also:

• OPUS ('O7rois)

opus musicum; though already in the 16th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century the opinions of his biographers were divided between the years 1520 and 1530 . Much is reported, but very little known, of his connexions and his See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early career . The discrepancy as to the date of his See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth appears also in connexion with his See also:

• APPOINTMENT, POWER OF

appointment at the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of St See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John Lateran in See also:

• ROME
• ROME (Roma)

Rome . If he was born in 1530 or 1532 he could not have obtained that appointment in 1541 . What is certain is that his first See also:

• BOOK

book of madrigals was published in See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice in 1555, and that in the same See also:

• YEAR

year he speaks of himself in the See also:

• PREFACE (Med. Lat. prefatia, for classical praefatio, praefari, to speak beforehand)

preface of See also:

• ITALIAN

Italian and See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French songs and Latin motets as if he had recently come from Rome . He seems to have visited See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England in 1554 and to have been introduced to See also:

• CARDINAL (Lat. cardinalis)

Cardinal See also:

• POLE (FAMILY)
• POLE, REGINALD (1500-1558)
• POLE, RICHARD DE LA (d. 1525)
• POLE, WILLIAM (1814—1900)

Pole, to whom an adulatory See also:

• MOTET

motet appears in 1556 . (This is not, as might hastily be supposed, a confusion resulting from the fact that the See also:

• AMBASSADOR (also EMBASSADOR, the form sometimes still used in America; from the Fr. ambassadeur, with which compare Ital. ambasciatore and Span. embajador, all variants of the Med. Lat. ambassiator, ambassiator, ambasator, &c., derived from Med. Lat. amba

ambassador from See also:

• FERDINAND
• FERDINAND (1577-1650)
• FERDINAND (COLOGNE)
• FERDINAND (Span. Fernando or Hernando; Ital. Ferdinando or Ferrante; in O. H. Ger. Herinand, i.e. " brave in the host," from O. H. G. Heri, "army," A. S. here, Mod. Ger. Heer, and the Goth. nan]jan, " to dare ")
• FERDINAND, MAXIMILIAN KARL LEOPOLD MARIA

Ferdinand, See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king of the See also:

• ROMANS
• ROMANS, EPISTLE TO THE

Romans, See also:

• DON
• DON (anc. Tanais)

Don Pedro de See also:

• LASSO (LASSOS), ORLANDO (c. 1530-1594)
• LASSO (Span. lazo, snare, ultimately from Lat. laqueus, cf. " lace ")

Lasso, attended the See also:

• MARRIAGE

marriage of See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip and See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary in England in the same year.) His first book of motets appeared at See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp in 1556, containing the motet in See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

honour of Cardinal Pole . The See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style of Orlando had already begun to purify itself from the speculative and chaotic elements that led See also:

• BURNEY, CHARLES (1726-1814)

Burney, who seems to have known only his earlier See also:

• WORKS

works, to See also:

• CALL (from Anglo-Saxon ceallian, a common Teutonic word, cf. Dutch kallen, to talk or chatter)

call him "a See also:

• DWARF (A.S. dweorg, D. dwerg, Icel. dvergr)

dwarf on See also:

• STILTS

stilts " as compared with See also:

• PALESTRINA, GIOVANNI PIERLUIGI DA (1526-1594)

Palestrina . But where he is orthodox he is as yet stiff, and his See also:

• SECULAR (Lat. saecularis, of or belonging to an age or generation, saeculum)

secular compositions are, so far, better than his more serious efforts . In 1557, if not before, he was invited by Albrecht IV., See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke of See also:

• BAVARIA (Ger. Bayern)

Bavaria, to go to See also:

• MUNICH (Ger. Munchen)

Munich . The duke was a most intelligent See also:

• PATRON

patron of all the See also:

• FINE

fine arts, a notable See also:

• ATHLETE (Gr. aOX177'7r; Lat. athleta)

athlete, and a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of strict principles . Munich from henceforth never ceased to be Orlando's See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home; though he sometimes paid See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long visits to See also:

• ITALY
• ITALY (Italia)

Italy and See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France, whether in response to royal invitations or with projects of his own .

In r558 he made a very happy marriage by which he had four sons and two daughters . The four sons all became See also:

• GOOD, JOHN MASON (1764-1827)

good musicians, and we owe an inestimable See also:

• DEBT (Lat. debitum, a thing owed)

debt to the pious See also:

• INDUSTRY (Lat. industria, from indu-, a form of the pre, position in, and either stare, to stand, or struere, to pile up)

industry of the two eldest sons, who (under the patronage of Duke See also:

• MAXIMILIAN
• MAXIMILIAN (1832—1867)

Maximilian I., the second successor of Orlando's See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master) published the enormous collection of Orlando's Latin motets known as the Magnum opus musicum . Probably no composer has ever had more ideal circumstances for See also:

• ARTISTIC

artistic See also:

• INSPIRATION (Lat. inspirare, breathe upon or into)

inspiration and expression than had Orlando . His See also:

• DUTY (from " due," that which is owing, O. Fr. deu, dil, past participle of devoir; Lat. debere, debitum; cf. " debt ")

duty was to make See also:

• MUSIC

music all See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day and every day, and to make it according to his own See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste . Nothing was too good, too severe or too new for the duke . Church music was not more in demand than secular . Instrumental music, which in the 16th century had hardly any See also:

• INDEPENDENT

independent existence, accompanied the meals of the See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court; and Orlando would rise from dessert to sing trios and quartets with picked voices . The daily prayers included a full See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

mass with polyphonic music . This amazing See also:

• STATE
• STATE, GREAT OFFICERS OF

state of things becomes more intelligible and less alarming when we consider that 16th-century music was no sooner written than it could be performed . With such material as Orlando had at his disposal, musical performance was as unattended by expense and tedious preliminaries as a See also:

• GAME

game of See also:

• BILLIARDS

billiards in a good billiard See also:

• ROOM

room . Not even See also:

• HAYDN, FRANZ JOSEPH (1732–1809)

Haydn's position at Esterhaz can have enabled him, as has been said, to " See also:

• RING (O.E. hring; a word common to Teutonic languages; and probably cognate with the Lat. circus, Gr. KtpKOS or KpLKOS, Skt'. chakra, wheel, circle, cf. also " harangue "); in art, a band of circular shape of varying sizes, made of any material and used f

ring the See also:

• BELL
• BELL, ALEXANDER MELVILLE (1819—1905)
• BELL, ANDREW (1753—1832)
• BELL, GEORGE JOSEPH (1770-1843)
• BELL, HENRY (1767-1830)
• BELL, HENRY GLASSFORD (1803-1874)
• BELL, JACOB (1810-1859)
• BELL, JOHN (1691-178o)
• BELL, JOHN (1763-1820)
• BELL, JOHN (1797-1869)
• BELL, ROBERT (1800-1867)
• BELL, SIR CHARLES (1774—1842)

bell " for musicians to come and try a new orchestral effect with such ease as that with which Orlando could produce his See also:

• WORK

work at Munich . His fame soonbecame See also:

• WORLD

world-wide, and every contemporary authority is of the See also:

• ACCLAMATION (Lat. acclamatio, a shouting at)

acclamation with which Orlando was greeted wherever his travels took him .

Very soon, with this rapid means of acquiring experience, Orlando's style became as pure as Palestrina's; while he always retained his originality and versatility . His relations to the See also:

• LITERARY

literary culture of the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time are intimate and fascinating; and during his stay at the court of France in 1571 he became a friend of the poet See also:

• RONSARD, PIERRE DE (1524-1585)

Ronsard . In 1579 Duke Albrecht died . Orlando's See also:

• SALARY

salary had already been guaranteed to him for See also:

• LIFE

life, so that his outward circumstances did not See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change, and the new duke was very See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind to him . But the loss of his master was a See also:

• GREAT

great grief and seems to have checked his activity for some time . In 1589, after the publication of six Masses, ending with a beautiful Missa See also:

• PRO

pro defunctis, his strength began to fail; and a sudden serious illness See also:

• LEFT

left him alarmingly depressed and inactive until his See also:

• DEATH

death on the 14th of See also:

• JUNE

June 1594 . If Palestrina represents the supreme height attained by 16th-century music, Orlando represents the whole century . It is impossible to exaggerate the range and variety of his style, so long as we recognise the limits of 16th-century musical See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language . Even critics to whom this language is unfamiliar cannot fail to See also:

• NOTICE

notice the glaring See also:

• DIFFERENCES, CALCULUS OF (Theory of Finite Differences)

differences between Orlando's numerous types of See also:

• ART

art, though such critics may believe all those types to be equally crude and archaic . The swiftness of Orlando's intellectual and artistic development is astonishing . His first four volumes of madrigals show a very intermittent sense of beauty . Many a number in them is one compact mass of the fashionable harsh See also:

• PLAY

play upon the " false relation " between twin See also:

• MAJOR
• MAJOR (Lat. for " greater ")
• MAJOR (or MAIR), JOHN (1470-1550)

major and See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

minor chords, which is usually believed to be the unenviable distinction of the See also:

• ENGLISH

English See also:

• MADRIGAL (Ital. madrigale)

madrigal style from that of the Italians .

It must be confessed that in the Italian madrigal (as distinguished from the villanella and other See also:

• LIGHT

light forms), Orlando never attained See also:

• COMPLETE

complete certainty of See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch, though some of his later madrigals are indeed glorious . But in his French chansons, many of which are settings of the poems of his friend Ronsard, his wit and lightness of touch are unfailing . In setting other French poems he is sometimes unfortunately most witty where the words are most See also:

• GROSS

gross, for he is as See also:

• FREE

free from See also:

• MODERN

modern scruples as any of his Elizabethan contemporaries . In 1562, when the See also:

• COUNCIL (Lat. concilium, from cum, together, and the root cal, to call)

Council of See also:

• TRENT
• TRENT (Lat. Tridentum; Ital. Trento; Ger. relent)
• TRENT, COUNCIL OF

Trent was censuring the abuses of Flemish church music, Orlando had already purified his ecclesiastical style; though he did not go so far as to Italianize it in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to oblige those modern critics who are unwilling to believe that anything appreciably unlike Palestrina can be legitimate . At the same time Orlando's Masses are not among his greatest works . This is possibly partly due to the fact that the proportions of a musical Mass are at the See also:

• MERCY (adapted from Fr. merci, Lat. merces, reward)
• MERCY (or MERCI), FRANZ, FREIHERR VON

mercy of the See also:

• LOCAL

local practice of the See also:

• LITURGY (Low Lat. liturgia; Gr. X€Zros, public, and Epyov, work; )Aetrovpy6s, a public servant)

liturgy; and that perhaps the uses of the court at Munich were not 'quite so favourable to broadly designed proportion (not length) as the uses of Rome . Differences which might See also:

• CRAMP
• CRAMP, CHARLES HENRY (1828— )

cramp the 16th-century composer need not amount to anything that would draw down the censure of ecclesiastical authorities . Be this as it may, Orlando's other church music is always markedly different .rom Palestrina's, and often fully as See also:

• SUBLIME (Lat. sublimis, exalted)

sublime . It is also in many ways far more modern in resource . We frequently come upon things like the Justorum animae [Magnum Opus, No . 26o (301)] which in their way are as overpoweringly touching as, for example, the See also:

• BENEDICTUS

Benedictus of See also:

• BEETHOVEN, LUDWIG VAN (1770-1827)

Beethoven's Mass in D or the See also:

• SOPRANO (a variant of Ital. sovrano, supreme, sovereign, Late Lat. superanus, from super, above)

soprano See also:

• SOLO, OR SOLO WHIST

solo in See also:

• BRAHMS, JOHANNES (1833–1897)

Brahms's Deutsches See also:

• REQUIEM

Requiem . No one has approached Orlando in the ingenuity, quaintness and See also:

• HUMOUR (Latin humor)

humour of his See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone-See also:

• PAINTING

painting .

He sometimes descends to extremely elaborate musical puns, carrying farther than any other composer since the dark ages the absurd See also:

• DEVICE

device of setting syllables that happened to coincide with the sol-fa See also:

• SYSTEM

system to the corresponding sol-fa notes . But in the most absurd of such cases he evidently enjoys twisting these notes into a theme of pregnant musical meaning . The quaintest instance is the motet Quid estis pusillanimes [Magnum Opus, No . 92 (69)] where extra sol-fa syllables are introduced into the See also:

• TEXT (Lat. textum, woven fabric, from texere, to weave)

text to make a good theme in See also:

• COMBINATION (Lat. combinare, to combine)

combination with the syllables already there by See also:

• ACCIDENT
• ACCIDENT (from Lat. accidere, to happen)

accident 1 (An nescitis Justitiae Ut Sol [Fa Mi] Re Laxatas habenas possit denuo cohibere?) . The significance of these euphuistic jokes is that they always make good music in Orlando's hands . There is musical fun even in his voluminous See also:

• PARODY (Gr. s-apybia, literally a song sung beside, a comic parallel)

parody of the See also:

• STAMMERING, or STUTTERING

stammering style of word-setting in the See also:

• BURLESQUE (Ital. burlesco, from burla, a joke, fun, playful trick)

burlesque motet S . U.Su . PER. per. super F.L . U., which gets through one See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse of a See also:

• PSALM (from the Gr. word * hXAew, to play the harp)

psalm in fifteen minutes . When it was a question of purely musical high See also:

• SPIRITS

spirits Orlando was unrivalled; and his setting of See also:

• WALTER, HUBERT (d. 1205)
• WALTER, JOHN (1738/9-1812)

Walter de Mape's Fertur in conviviis (given in the Magnum opus with a stupid moral derangement of the text), and most of his French chansons, are among the most deeply humorous music in the world . But it is in the tests of the sublime that Orlando shows himself one of the greatest minds that ever found expression in art . Nothing sublime was too unfamiliar to frighten him into repressing his See also:

• QUAINT (O. Fr. cointe, from Lat. cognitus, known, probably influenced by association with Lat. corn plus, neat)

quaint See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy, though he early repressed all that thwarted his musical nature .

His See also:

• PENITENTIAL (Lat. poenitentiale, libellus poenitentialis, &c.)

Penitential See also:

• PSALMS, BOOK
• PSALMS, BOOK OF, or PSALTER

Psalms stand with Josquin's See also:

• MISERERE (the imperative of Lat. misereri, to have mercy or pity)

Miserere and Palestrina's first book of See also:

• LAMENTATIONS (Lamentations of Jeremiah)

Lamentations as artistic monuments of 16th-century penitential See also:

• RELIGION
• RELIGION, FOLKLORE, CUSTOM

religion, just as See also:

• BACH, JOHANN SEBASTIAN (1685–1750)
• BACH, KARL PHILIPP EMANUEL (1714-1788)

Bach's See also:

• MATTHEW, GOSPEL OF ST
• MATTHEW, ST (MaOOaior or MarOaIos, probably a shortened form of the Hebrew equivalent to Theodorus)
• MATTHEW, TOBIAS

Matthew See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

Passion stands alone among such monuments in later art . Yet the passage (quoted by See also:

• SIR

Sir See also:

• HUBERT (HUCBERTUS, HUGBERTUS), ST (d. 727)

Hubert See also:

• PARRY (from Fr. parer, to ward off)
• PARRY, SIR CHARLES HUBERT HASTINGS, BART
• PARRY, SIR WILLIAM EDWARD (179o–1855)

Parry in vol . 3 of the See also:

• OXFORD
• OXFORD, EARLS OF
• OXFORD, EDWARD DE VERE, 17TH EARL
• OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
• OXFORD, PROVISIONS OF
• OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
• OXFORD, ROBERT HARLEY, 1ST

Oxford See also:

• HISTORY

History of Music) " Nolite fieri sicut mulus " is one among many traits which are ingeniously and grotesquely descriptive without losing See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony with the austere profundity of the huge works in which they occur . It is impossible to read any large quantity of Orlando's mature music without feeling that a mind like his would in modern times have covered a wider See also:

• FIELD (a word common to many West German languages, cf. Ger. Feld, Dutch veld, possibly cognate with O.E. f olde, the earth, and ultimately with root of the Gr. irAaror, broad)
• FIELD, CYRUS WEST (1819-1892)
• FIELD, DAVID DUDLEY (18o5-1894)
• FIELD, EUGENE (1850-1895)
• FIELD, FREDERICK (18o1—1885)
• FIELD, HENRY MARTYN (1822-1907)
• FIELD, JOHN (1782—1837)
• FIELD, MARSHALL (183 1906)
• FIELD, NATHAN (1587—1633)
• FIELD, STEPHEN JOHNSON (1816-1899)
• FIELD, WILLIAM VENTRIS FIELD, BARON (1813-1907)

field of mature art than any one classical or modern composer known to us . Yet we cannot say that anything has been lost by his belonging to the 16th century . His music, if only from its See also:

• PECULIAR

peculiar technique of See also:

• CROSSING

crossing parts and unexpected intervals, is exceptionally difficult to read; and hence intelligent conducting and performance of it is rare . But its impressiveness is beyond dispute; and there are many things which, like the Justorum animae cannot even be read, much less heard, without emotion . Orlando's works as shown by the See also:

• PLAN
• PLAN (from Lat. planes, flat)

plan of Messrs Breitkopf & Hartel's complete See also:

• CRITICAL (in alphabetical order of authors)

critical edition (begun in 1894) comprise: (1) the Magnum opus musicum, a See also:

• POSTHUMOUS

posthumous collection containing Latin pieces for from two to twelve voices, 516 in number (or, counting by single movements, over 700) . Not all of these are to the See also:

• ORIGINAL

original texts . The Magnum opus fills eleven volumes . (2) Five volumes of madrigals, containing six books, and a large number of single madrigals, and about See also:

• HALF

half a See also:

• VOLUME

volume of lighter Italian songs (villanellas, &c.) . (3) Three volumes (not four as in the .See also:

• PROSPECTUS (Lat. for view, look-out, prospect, from prospicere, to look forward)

prospectus) of French chansons .

(4) Two volumes of See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German four-See also:

• PART

part and five-part Lieder . (5) Serial church music: three volumes, containing Lessons from the Book of See also:

• JOB

Job (two settings) . Passion according to St Matthew (i.e. like the Passions of See also:

• VICTORIA
• VICTORIA (or VITTORIA), TOMMASSO LUDOVICO DA (C. I540-C. 1613)
• VICTORIA [ALEXANDRINA VICTORIA]

Victoria and Soriano, a setting of the words of the crowds and of the disciples); Lamentations of See also:

• JEREMIAH

Jeremiah; See also:

• MORNING

Morning Lessons; the Officia printed in the third volume of the Patronciniuin (a publication suggested and supported by Orlando's patrons and containing eight entire volumes of his works) ; the Seven Penitential Psalms; German Psalms and Prop.hetiae Sibyllarum, (6) one See also:

• HUNDRED

hundred Magnificats (Jubilus B . M . Virginis) 3 vols., (7) eight volumes of Masses, (8) two volumes of Latin songs not in the Magnum opus, (9) five volumes of unpublished works . (D . F .