Page:A Dictionary of Music and Musicians vol 2.djvu/112

100 notes of the scale with their names, and the other parts taking up the remaining words of each line, the music very interesting aa a specimen of an old treatment of the scale, though scarcely so old-fashioned as might be expected. The next month, March, brings a set of Motets (à 6), 'singulari authoris industriâ,' for voices or instruments. These books which follow so closely on each other are not collections of old work, but, as we learn from the title-pages, had all been recently composed. The last set exists also in modern notation in the Brussels library among many such scores, prepared by the 'singular industry' of another native of Mons, M. Fétis, who was appointed by the Belgian government to bring out a complete edition of his fellow-townsman's works, but was stopped by death from carrying out one more of the many great tasks he had accomplished and was intending to accomplish.

The successful adaptation of German words to some of Orlando's earlier French chansons leads him in the following year, 1583, to write 33 original ones to sacred and secular German words 'Neue teutsche Lieder, geistlich und weltlich'—short pieces of great beauty in 4-part counterpoint. Several of them have been printed by Commer. The most important publication of 1584 is the 'Penitential Psalms.' This is the work we have already spoken of under the year 1565.

A violent storm occurred at Munich on the Thursday of the Fête-Dieu in this year, and the Duke gave orders that the customary procession round the town from the church of St. Peter should be confined to the interior of the building. But no sooner had the head of the procession reached the porch of the church, and the choir was heard singing the first notes of Lassus' motet 'Gustate, videte,' than a sudden lull occurred in the storm, and the ceremony was performed as usual. This was looked upon as a miracle, and the people of Munich 'in their pious enthusiasm looked upon Lassus as a divine being.' Afterwards, whenever fine weather was an object, this motet was chosen. 1585 brings a new set of madrigals à 5, and a book containing besides motets the 'Hieremiæ prophetæ Lamentationes.' Besides these we have a volume of 'Cantica sacra' (24 nos.), and another of 'Sacræ cantiones' (32 nos.), both, according to the title-pages, recently composed. The first contains a setting of the 'Pater noster,' à 6, and an ode to Duke Ernest, Archbishop of Cologne, and the latter a 'Stabat mater' for two 4-part choirs singing alternate verses.

For some years back, all the editions bear on the frontispiece some testimony to the wonderful industry of the composer. 1586 seems to bring the first warning of declining strength. It is a blank as far as publications are concerned, and the opening of 1587 brings with it the gift from Duke William of a country house at Geising on the Ammer, probably as a place of occasional retirement. Then he comes back to work, and in gratitude, no doubt, for better health, on April 15 dedicates 23 new madrigals to the court physician, Dr, Mermann. In August a new volume of the 'Patrocinium Musices' appears, containing 13 [App. p.697 "10"] magnificats. Two masses, a 'Locutua Sum' and 'Beatus qui intelligit,' bear the same date. Towards the close of the year Orlando is begging for rest from his arduous duties as chapel-master. Portions of the Duke's decree in answer to this request are interesting.

The composer does not seem to have been satisfied with this arrangement, and again returns to his post. In 1588, in conjunction with his son Rudolph, he brings out 50 'Teutsche Psalmen.' Commer prints the 25 nos. contributed by Orlando—and very beautiful and interesting they are—3 part hymns, the melody occuring, according to his fancy, in either of the 3 parts.

The volume of the 'Patrocinium Musices' for 1598 [App. p.697 "1589"] contains 6 masses, the last number being the 'Missa pro defunctis,' which we may consider the last important publication of his life. Its lovely opening is an inspiration which finds no parallel in any other of his compositions that we have seen. As his end approaches, he has here