In century, the composers the sizeenth polyphony and crested ‘wotks thar inched an sing umber of sees and a brodened technical difieaky. Proof of thigcan be ound inthe ‘wots ofthe Talian Gi ‘nid Palestrina (1525 1594) and of the French Perch compas Oto Lavo 15321595). The firse of these was 8 prolific composer who [ef behind a legacy of 400 totes and appro imacly 100 mses in won wa god num ber of mada, which vere conidred by v= gathering of Renan his works, Lasso was also prolif, yer less conservative than his contemporary He achieved the cression of 2 now style char combined the sensuality of Inftan music wich the siepes of German melodies hoi ofthe increase in immense works such 3s i Quis, the Repascnce never tly Borihed in Renaivancesyle Spain due tthe pid atv of the Counter Reform aon, Nevertheless, muse thar is worth mensoning (id even, The neces the works of Tomés Lois de rin (1548-1611), whose sic was iar Palese- nis bat comtined a song thesogie) ton cally influenced by «sh ndoube igjous fervor experienced in Spain at cis dine. This pee jad ago added memorable ames 10 the genre of at such 35 fd Heese, San Juan de la Cruz and Se. Theres of Ai The Renaisance was 1 ory known today 25 Tey Fo the anise capital during this period, Nonetheless, in cencer of the peered vases nce was undoubtedly cms of musi, Venice was the city that trends and where musicians who waneed fame wished co stip. Tw of the most osesanding Composers of the Renaissance, Andes Gabriel (1510-1585), and Giovanni Gabrieli (1554-1612), secre originally from this isa. The music of these wo composers was per Formed at de Basia of sine ‘Mask in Venice, and. the feoncert must have been ‘auly inspiring with the great interior of the Basilica forming a high qualsy acoustic space. "The Gabecls were the frst musicians ‘who combined choirs with ingerumencal susie, The seu was rare, This cme tiation ould be considered the mos antecedentThe Banassance of « new gen chat would evolve in ‘The names of various Renaissance the nexe few ya the ope. composers and ther works have ‘Another center for come down to us. Bur Renaissance muse dosing this period, vwasLondon. Tn fict, lf traditional and anoay- the Renaissance mous melodies also wat a peviod - bounded by con during which posers who have Eoglih music been. forgot, reached one sre ‘ ‘With the passage of its sume ime, these mics, All of melodies have English cul: become pare of ture blossomed the musical dling this age itage ofthe people, of splendor Thaw and tome of them, vere the times of such La Complante Sraoence : ce ne Mereneui ett at tnt an Sarees ta ne Sees ‘madrigals wer: humorous and could even include ‘Musi continued its progress toward comple verses ith double meanings. The principal Eng- iy wail iccreaed a new yl, the Baroque. In fat, lish composers included Thomas Morey (1557- in ie origin, the word identifies an arc se, 1602), John Wilbye (1574-1638), and Thomas not very natueal, but oeroaded and twisted. In 2 Weelkes (1575-1623), way, che Baroque can be sen as the Renaissance style ten to the extreme, In contrat © ‘other anise tends that tie a «reaction to their predecesos, the Baroque sje can be defined ar an exaggertion ofthe Renaissance sje Tin Bae and a Gil Making Macc, by Jaa Miense Malenaee (1629)(25? Pep (fp ‘ Composers of fe Kemecscmoe Bateson, Thomas Born Cheshire, England, 1570 Died Dublin, Ireland 1630 Rareion composed two collec: ions of madegals, one of whieh conuined the renowned "The [Nightingale in Silene Night" Like any aie forms, this genre came tthe British bles from che Italie, The English did not eke the madrigal as seriously 26 che Iiaias did. The English added humorous verses, may with dow ble meanings, Bateson, an organise at both the Cathedrals of Chester and Dublin, enjoyed presige during bis lifetime because of the high regatd with which hie work vss held, Today, however, many believe te composer lacked orig- ali since he copied mose of his svodk from prodesesore and con- tempore, He composed only a small amount of steed. music ‘which bas not survive. Though Bateson did not inuroduee many musical break- throughs, his music is oF high qual: SEP Eovmish, Wiliam Born Greenvich, England, 1468 Died Hylden, England, 1523 ‘An English composer of sacred music and secular songs, Coons (also spelled Comnysh or Cora- abl was also a poet, dramatist, and acto. A member of the Eng lish Chapel Royal daring. che reign of Henry VII and Henry VIII he often accompanied Henry ‘VI on ips othe caninene. He cevcatully obesined a position at conductor ofthe Royal Chapel of Prance One of his most beausifel roclodies thie endured over the centuries is “Genie Robin. eee Di Vines Bante Gawaes Bor Vinosa Haly, 1566 Died Naples, aly, 1614 AAs prince of hie native cig ‘Venos, Gesaldo was highly ed cated and ectne fend with importan atts of his tne, sub- sequently sudying their wort. He vas an mportane peri in the Frlian Counter Reformation ns both poician and acts. fn outstanding brie! com: poser of madkigal, his motes are also prominent. (The me DF the most utilized foums during the Middle Ages and the Renai sance, underwent many. phases and modifications over the yeas Ws genecally dined as 2 choral piece without musical secompani- ‘mene and with Lain fin) Tn addition to being remem bred atone of he principal com poiers of the Renaissance, Gentuldo went down in hiscory for murdering his wife and her lover after caching them in flax a graate delist, a8 ie wore, Bis ‘musics masked by ie were dis fnances and crified harmonies some of which sound comusee shead of their time and even ingpiced wentath-cencury cons poser Igoe Stravinsky’: Movumen. aon pro Cease, eee Freivoballe, Girolime Born Ferrara, Italy, 1583, Died Rome, Italy, 1643, Many consider Prescobali, an organist a St. Peters Basics in Rome, the most important onganis of the seventeenth con- tury. Legend seater that 30,000 people rished ro hear hs fis ‘recital. He held che positon un his death, excepe for six yeas when he worked at ongaite for Ferdinand de Medicis court in Flocence, Fresobaldi was @ srantional figure becween the late ene sance and easly Baroque, His work links the insumental sckool of Tealy with the predecesore of Jobann Sebastian Bach ia Ger many, who was suongly infi- ‘enced by Frescobldl's keyboard Frecabaldi compored semen cus wotks For organ and harpi- chord that incide almost all gence of hie time: fata, can- nas, roceatas, and captives. His vycal works like the aria "Cor ore Quarta Mie! Pian,” a likewise outstanding. (Aas are claborare vocal comporiions— sual fkom opers—for x solo singer wich inecumental acom peniment) (Ee