Page:A Dictionary of Music and Musicians vol 3.djvu/279

SCHOOLS OF COMPOSITION. advantage. Hasler was born, at Nuremberg, in 1564; but learned his Art in Venice, under Andrea Gabrieli, whose nephew, Giovanni, was his fellow pupil, and most intimate friend. So thoroughly did he imbibe the principles and manner of the School in which he studied, that the Venetians themselves considered him as one of their own fraternity, Italianising his name into Gianleone. His works possess all the rich Harmony for which Gabrieli himself is so justly famous, and all the Southern softness which the Venetian Composers so sedulously cultivated; and are, moreover, filled with evidences of consummate contrapuntal skill, as are also those of his countrymen, Jakob Handl (= Jacobus Gallus), Adam Gumpeltzheimer, Gregor Aichinger, and many others, who, catching the style from him, spread it abroad throughout the whole of Germany. Of its immediate effect upon the native Schools, we can scarcely speak in more glowing terms than those used by the German historians themselves. Of its influence upon the future we shall have more to say hereafter.

XIV. The history of is so closely bound up with that of its Flemish sister, that it is no easy task to separate the two. Indeed, it is sometimes impossible to ascertain whether a Composer, with a French-sounding name, was a true Frenchman, a true Netherlander, or a native of French Flanders. Not only is this the case with the numerous writers whose works are included in the collections published by Pierre Attaignant, Adrian le Roy, and Ballard: but there is a doubt even about the birth of Jean Mouton, who is described by Glareanus as a Frenchman, and by other writers as a Fleming. The doubt, however, involves no critical confusion, since the styles of the two Schools were precisely the same. Both Josquin des Prés and Mouton spent some of the most valuable years of their lives in Paris; and taught their Art to Frenchmen and Netherlanders without distinction. Pierre Carton, Clement Jannequin, Noë Faignient, Eustache du Caurroy, and other Masters of the 16th century, struck out no new line for themselves: while Elziario Genet (Il Carpentrasso), the greatest of all, might easily pass for a born Netherlander. A certain amount of originality was, however, shown by a few clever Composers who attached themselves to the party of the Huguenots, and set the Psalms of Clement Marot and Beza to Music, for the use of the Calvinists, as Walther and his followers had already set Hymns for the Lutherans. The number of these writers was so small, that they cannot lay claim to be classed as a national School; but, few though they were, they carried out their work in a thoroughly artistic spirit. The Psalms of Claudin Lejeune—of which an example will be found in vol. i. p. 762—are no trifles, carelessly thrown off, to serve the purpose of the moment; but finished works of Art, betraying the hand of the Master in every note. Some of the same Psalms were also set by Claude Goudimel, but in a very different style. The Calvinists dolighted in singing their Metrical Psalmody to the simplest Melodies they could find; yet these are veritable Motets, exhibiting so little sympathy with Huguenot custom, that, if it be true, as tradition asserts, that their author perished, at Lyons, on S. Bartholomew's Day, 1572, one is driven to the conclusion that he must have been killed, like many a zealous Catholic, by misadventure. He was one of the greatest Composers the French School ever produced, and excelled by very few in the rest of Europe. Scarcely inferior, in technical skill, to Okenheim and Josquin, he was infinitely their superior in fervour of expression, and depth of feeling. His claim to the honour of having instructed Palestrina has already been discussed elsewhere. Considered in connection with that claim, the following specimen of his style, printed, at Antwerp, by Tylman Susato, in 1554, is especially interesting. [See vol. i. p. 612; vol. ii. p. 635.]

XV. The Roman origin of is so clearly manifest, that it is unnecessary to say more on the subject than has been already said at page 263. After the return of the Papal Court from Avignon, in 1377, Spanish Singers with good Voices were always sure of a warm welcome in Rome; learned Counterpoint, in the Eternal City, first, from the Flemings there domiciled, and afterwards, from the Romans themselves; practised their Art with honour in the Sistine Chapel; and, not unfrequently, carried it back with them to