ALBRECHT V.

Reproduced from an ancient prayer book.

It may be as well to add here that Lasso and his wife had six children, four sons and two daughters. Ferdinand and Rudolph, the eldest sons, became composers of some note. It was in 1562 that Lasso was made chapel-master to the Duke of Bavaria, thus attaining what was then esteemed as the highest prize in the musical world. He now had under his direction a fine body of singers and instrumentalists, for which a modern composer would have written not only masses, but cantatas and oratorios. We must bear in mind, however, that in Lasso's day church composers preferred the a capella style, and the art of orchestral accompaniment, as we understand it now, was unknown. When instruments were used in conjunction with voices they simply doubled the voice parts. Hence Lasso's great compositions are all written for an unaccompanied choir. It appears that Lasso served for five years as chamber musician before being made chapel-master, because Ludwig Daser was not quite old enough to be retired from the higher post and because the Duke wished Lasso to learn the language before assuming the responsibility of the mastership. In 1562, as stated, Daser was retired, and, as Van Quickelberg tells us, "the Duke, seeing that Master Orlando had by this time learnt the language and gained the good will of all by the propriety and gentleness of his behavior, and that his compositions (in number infinite) were universally liked, without loss of time elected him master of the chapel, to the evident pleasure of all."

From this time forward for several years Lasso was engaged in composing his most noted church works, among them being the famous "Penitential Psalms," which are still held in the highest esteem among lovers of pure old church music. He wrote also some of his finest Magnificats, as well as many pieces of secular music. His fame spread through Europe, and though Palestrina was his contemporary, it was Lasso who was spoken of as the "Prince of Musicians." He was also much praised as a conductor, and contemporary writers bear testimony to the fine precision and spirit with which the ducal choir sang under his direction. In 1570 the Emperor Maximilian honored the composer by making him a knight. The following year Pope Gregory XIII. conferred upon him the order of the Golden Spurs. The ceremony was performed with much pomp in the papal chapel at Munich by the chevaliers Cajetan and Mezzacosta. In the same year the composer made a visit to Paris, where he was received with every mark of distinction by Charles IX. This visit and the favor of the monarch have given rise to one of those pretty stories with which the history of music is dotted, but which unfortunately will not bear scrutiny. The story is that Charles IX., tormented by remorse for the massacre of St. Bartholomew, asked Lasso to write his Penitential Psalms as an expression of the kingly repentance. But dates, which are stubborn things, refuse to be reconciled with this story. These psalms were undoubtedly written at the request of Duke Albert. The first volume of them in manuscript is preserved in the Royal State Library at Munich, and it bears the date 1565. The massacre of St. Bartholomew took place in 1572. The value which Duke Albert set upon these compositions is shown by the manner in which he treated them. They were bound in the most costly manner, in morocco, with silver ornaments which alone cost seven hundred and sixty-four florins. The court painter, Hans Mielich, painted for them portraits of the Duke, Orlando, and of the persons who made the books. J. Sterndale Bennett, in his excellent article on Lasso in Grove's "Dictionary of Music," makes the suggestion that the production of these noble psalms so early in the composer's life at Munich points to the probability that his Roman sojourn was twelve years instead of two, and that he was, therefore, born in 1520 instead of 1530. The inference is hardly avoidable.

To return to the Paris visit, it may be deemed probable that one result of it was the erection of a new Academy of Music, authorized by the king in 1570. The only composition known to have been produced by Lasso in Paris was sent to Duke Albert as "some proof of my gratitude." In 1574 Lasso set out for Paris once more, but when he had gone as far as Frankfort he learned that King Charles IX. was dead; so he returned to Munich, where he resumed the work of composition with undiminished activity. Lasso never left Munich again and a detailed record of his life subsequent to 1575 would consist chiefly of a chronological catalogue of the works which he published. It may be said that he did not produce any large compositions in the years 1578-80. The Duke, who had confirmed him for life in his appointment on his return from Munich, had become ill, and in October, 1579, this generous and high-minded patron of the arts breathed his last.

This was a sad blow to Lasso, whose affection for his princely friend was surely sincere. It was fortunate for the composer's material welfare that Duke Albert's successor was a hearty admirer of his works. The substantial nature of his regard was shown in 1587, when, Lasso having begun to show signs of failing health, the new potentate gave him a country house at Geising on the Ammer. There the composer sought seclusion for a time from the bustle of court life. On April 15, he dedicated twenty-three new madrigals to Dr. Mermann, the court physician, and J. Sterndale Bennett sees in this an evidence of restored health and renewed activity. Near the end of the year, however, he asked to be relieved of some of his numerous duties. The Duke gave him permission to retire from his post and pass a part of each year at Geising with his family, but his salary was to be reduced to two hundred florins per annum. His son Ferdinand, however, was to be appointed a member of the choir at two hundred florins, and Rudolph was to be made organist at the same salary. For some reason Lasso was not satisfied with this arrangement, and so he resumed his labors.

STATUE OF LASSO IN MUNICH

Erected by Ludwig II.

It would be gratifying to be able to picture this great master approaching his end along the green pathway of a serene old age. Unfortunately this cannot be done. His declining years were marked by gloom and morbidity. He talked constantly of death, and became so peevish as to write to Duke William complaining that he had not done all for the composer that Duke Albert had promised. The devoted wife, Regina, united her efforts with those of Princess Maximiliana to remove the evil effects of this letter. The composer sank gradually and died at Munich on June 14, 1594. He was buried in the cemetery of the Franciscans, and his widow erected a fine monument to his memory in their church. According to Fétis this stone was two feet four inches high and four feet eight inches long. It had ornamental bas-reliefs representing the holy sepulchre, Lassus and his family at prayer, and the coat-of-arms conferred upon them by the Emperor Maximilian. The inscription on the base was as follows: