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Show 306 An example of th the works the of of Joqin. diffrenee btween polychoral idea Arddeltli Pater noster the Flemish and )firstArcadelt1 as was fet. Clemens n9n Pp, a of the Italy on tnematic sty, I the the moderate his motets, whicll use cleary shDws Venetiap treatment Flemish composers, Lyz ed tone of The , the sQcb third pne gnan t hts melodies, coloratura and tone-painting, mor-e among, During this te, ana freqently folksh of occurs main representative of this ,Flemisn school, has peen most eLos e Ly I the compositions involving eight voiceso reciprocal inflqence \1 already distinuh closely appr-oach those of Palestrina in tonal beauty thn hose of any other Flemis mastero Vat, Pevernage, Johannes de Monte names Cleve, Jacob von Hollnder, Krle, nd Q I are the other ,great are presently avalable. and the ; Lasso, one who realy 01 this circle, whos motets Their greatest represntatve, hoever, er!ected upon whose motets their style, w.as Orlando di the Italian music already had a considerable etfect. Special characteristiqs I for ostinato I (much more variations, and countersbject, certato style, l motet, and a the a a qse style great d Lve r s l ty thn PalestT!na), r in the mQdrn sn$e, / of Lasso's an effective of use are: a prefrnce form and corrterrt of ogan poip,t smltaneous introduction of both tqeme foretaste of of the recitative an the poly-sectional psalm9dy strit tanlatiop of the meter even i 00n the into the music. Almost nothing is know;n of the earlier Italian motet" We \.A yc. |
