List of Renaissance composers

Lists of classical music
composers by era
Medieval (476–1400)
Renaissance (1400–1600)
Baroque (1600–1760)
Classical era (1730–1820)
Romantic era (1815–1910)
20th century (1900–2000)
21st century (since 2000)

This is a list of composers active during the Renaissance period of European history. Since the 14th century is not usually considered by music historians to be part of the musical Renaissance, but part of the Middle Ages, composers active during that time can be found in the List of Medieval composers. Composers on this list had some period of significant activity after 1400, before 1600, or in a few cases they wrote music in a Renaissance idiom in the several decades after 1600.

Timeline

Orlando Gibbons Michael Praetorius John Cooper (composer) Thomas Campion John Dowland Carlo Gesualdo Philippe Rogier Giovanni Gabrieli Luca Marenzio Giovanni de Macque Tomás Luis de Victoria Luzzasco Luzzaschi William Byrd Giaches de Wert Andrea Gabrieli Orlande de Lassus Claude Le Jeune Giovanni Pierluigi da Palestrina Cipriano de Rore Jacob Clemens non Papa Claude Goudimel Pierre de Manchicourt Hans Newsidler Thomas Tallis Christopher Tye Cristóbal de Morales Constanzo Festa John Taverner Adrian Willaert Thomas Crecquillon Nicolas Gombert Clément Janequin Philippe Verdelot Antoine Brumel Antonius Divitis Antoine de Févin Martin Agricola Pierre de La Rue Jean Mouton Heinrich Isaac Josquin des Prez Jacob Obrecht Alexander Agricola Loyset Compère Antoine Busnois Walter Frye Johannes Ockeghem Guillaume Dufay Gilles Binchois John Dunstable Leonel Power Oswald von Wolkenstein

Burgundian

Main article: Burgundian School
Guillaume Dufay, 1397–1474 and Gilles Binchois, c. 1400–1460
Gilles Joye, 1424/25–1483

The Burgundian School was a group of composers active in the 15th century in what is now northern and eastern France, Belgium, and the Netherlands, centered on the court of the Dukes of Burgundy. The school also included some English composers at the time when part of modern France was controlled by England. The Burgundian School was the first phase of activity of the Franco-Flemish School, the central musical practice of the Renaissance in Europe.

Name Born Died Notes
Johannes Tapissier
(Jean de Noyers) 		1370c. 1370 1410before 1410
Nicolas Grenon 1375c. 1375 14561456
Pierre Fontaine 1380c. 1380 1450c. 1450
Jacobus Vide 1385fl. 1405? 1433after 1433
Guillaume Legrant
(Lemarcherier) 		1385fl. 1405 1449after 1449
John Dunstaple
(or Dunstable) 		1390c. 1390 14531453 English
Guillaume Dufay
(Guillaume Du Fay) 		13971397 14741474
Johannes Brassart 1400c. 1400 14551455
Johannes Legrant 1400fl. c. 1420 1440after 1440
Gilles Binchois
(Gilles de Bins) 		1400c. 1400 14601460
Hugo de Lantins 1410fl. c. 1420 1430after 1430
Arnold de Lantins 1413fl. 1423 14321431/1432
Reginaldus Libert 1405fl. c. 1425 1435after 1435
Jean Cousin 1415before 1425 1475after 1475
Gilles Joye 14241424/1425 14831483
Guillaume le Rouge 1430fl. 1450 1465after 1465
Robert Morton 1430c. 1430 14791479 English
Antoine Busnois 1430c. 1430 14921492
Adrien Basin 1437fl. 1457 1498after 1498
Hayne van Ghizeghem 1445c. 1445 1476after 1476
Jean-Baptiste Besard 15671567 16251625

Franco-Flemish

Main article: Franco-Flemish School

The Franco-Flemish School refers, somewhat imprecisely, to the style of polyphonic vocal music composition in Europe in the 15th and 16th centuries. See Renaissance music for a more detailed description of the style. The composers of this time and place, and the music they produced, are also known as the Dutch School. However, this is a misnomer, since Dutch (as well as The Netherlands) now refers to the northern Low Countries. The reference is to modern Belgium, northern France and the south of the modern Netherlands. Most artists were born in Hainaut, Flanders and Brabant.

1370–1450

Josquin des Prez, c. 1450–1521

1451–1500

Jacob Obrecht, 1457/58-1505
Orlande de Lassus, 1532–1594
Jan Pieterszoon Sweelinck, 1562–1621

1501–1550

1551–1574

French

France here does not refer to the France of today, but a smaller region of French-speaking people separate from the area controlled by the Duchy of Burgundy. In medieval times, France was the centre of musical development with the Notre Dame school and Ars nova; this was later surpassed by the Burgundian School, but France remained a leading producer of choral music throughout the Renaissance.

1370–1450

Claude Le Jeune, 1530–1600

1451–1500

1501–1550

Jean Maillard, c. 1510 – c. 1570
Guillaume Costeley, 1530–1606

1551–1600

Italian

After the Burgundian School came to an end, Italy became the leading exponent of renaissance music and continued its innovation with, for example, the Venetian and (somewhat more conservative) Roman Schools of composition. In particular the Venetian School's polychoral compositions of the late 16th century were among the most famous musical events in Europe, and their influence on musical practice in other countries was enormous. The innovations introduced by the Venetian School, along with the contemporary development of monody and opera in Florence, together define the end of the musical Renaissance and the beginning of the musical Baroque.

1350–1470

Zacara da Teramo, 1350/60–1413/16
Francesco Canova da Milano, 1497–1543

1471–1500

Giovanni Pierluigi da Palestrina, c. 1525–1594

1501–1525

Carlo Gesualdo, 1560–1613

1526–1550

Orazio Vecchi, 1550–1605
Jacopo Peri, 1561–1633

1551–1586

Serbian

Greek

Spanish

1370–1450

1451–1510

Diego Ortiz, c. 1510–c. 1570

1511–1570

Tomás Luis de Victoria, 1548–1611

Cuban

Swiss

Danish

Polish

During a period of favourable economic and political conditions at the beginning of the 16th century, Poland reached the height of its powers, when it was one of the richest and most powerful countries in Europe. It encompassed an area which included present day Lithuania and Latvia and portions of what is now Ukraine, Belarus, Czech Republic, Slovakia, and Germany. As the middle class prospered, patronage for the arts in Poland increased, and also looked westward - particularly to Italy - for influences.

Considered by many musicologists as the "Golden Age of Polish music," the period was influenced by the foundation of the Collegium Rorantistarum in 1543 at the chapel in Kraków of King Sigismund the Elder. The Collegium consisted of nine singers. And although it was required that all members be Poles, foreign influence was acknowledged in the dedication of their sacred repertory, "to the noble Italian art" (Reese 1959, p. 748).

Czech

Kryštof Harant z Polžic a Bezdružic, 1564–1621

Hungarian

Slovenian

Croatian

Dutch

Swedish

German

1350–1400

Oswald von Wolkenstein, 1376/77–1445

1401–1450

Hans Leo Hassler, 1564–1612

1451–1500

Michael Praetorius, c. 1571–1621

1501–1550

1551–1600

Portuguese

John IV of Portugal, 1603–1656

English

Due in part to its isolation from mainland Europe, the English Renaissance began later than most other parts of Europe. The Renaissance style also continued into a period in which many other European nations had already made the transition into the Baroque. While late medieval English music was influential on the development of the Burgundian style, most English music of the 15th century was lost, particularly during the Dissolution of the Monasteries during the time of Henry VIII. The Tudor period of the 16th century was a time of intense interest in music, and Renaissance styles began to develop with mutual influence from the mainland. Some English musical trends were heavily indebted to foreign styles, for example the English Madrigal School; others had aspects of continental practice as well as uniquely English traits. Composers included Thomas Tallis, John Dowland, Orlando Gibbons and William Byrd.

1370–1450

Name Born Died Notes
Forest
probably John Forest 		13651365/70 14461446 Dean of Wells. One credo setting and six antiphons by him survive in the second layer of the Old Hall Manuscript; two anonymous settings may also be by him.
Pycard 1370 fl. c. 1390 1410after c. 1410 Has works preserved in the first layer of the Old Hall Manuscript and elsewhere. His identity is unclear; probably English, but possibly from France.
Leonel Power 1370c. 1370 14451445
J. Cooke
probably John Cooke 		1385c. 1385 14421442? Nine pieces attributed to him in the Old Hall Manuscript.
Damett
almost certainly Thomas Damett 		1389c. 1389 14361436/7 A significant contributor to the second layer of the Old Hall Manuscript where nine of his works are preserved.
Robert Chirbury 1400fl. c. 1400 c. 1400 Wrote one Agnus Dei to the Old Hall Manuscript
Roy Henry 1390fl. 1410 1410after 1410 Very likely to be Henry V of England (1387–1422).
Byttering
possibly Thomas Byttering 		1390fl. c. 1410 1420after 1420
N. Sturgeon
almost certainly Nicholas Sturgeon 		1393fl. 1413 14541454
Richard Smert 1400c. 1400 14781478/9 Has eight carols for 2 or 3 voices attributed entirely to him in the Ritson Manuscript; a further four are jointly credited to Smert and John Trouluffe.
John Plummer 1410c. 1410 1483c. 1483
Henry Abyngdon 1418c. 1418 14971497
John Trouluffe
John Treloff 		1428fl. 1448 1473c. 1473 Represented in the Ritson Manuscript, by three settings of Nesciens mater for three voices and by four carols. Richard Smert is jointly credited.
Richard Mowere
possibly the same as Richard Mawere 		1430fl. 1450 1470after 1470 Has two 3-voice settings in the Ritson Manuscript.
Walter Frye 1430fl. c. 1450 14741474
William Horwood 1430c. 1430 14841484 Some of his music is collected in the Eton Choirbook.
John Hothby
Johannes Ottobi 		1430c. 1430 14871487 English theorist and composer mainly active in Italy.
William Hawte
William Haute 		1430c. 1430 14971497
Richard Hygons 1435c. 1435 1509c. 1509
Gilbert Banester 1445c. 1445 14871487
John Tuder
John Tudor 		1450fl. c. 1470 1470after 1470 A number of his works are found in the Pepys Manuscript; the most extended piece, a setting of Lamentations, is incomplete (only one voice part is preserved).
Walter Lambe 1450c. 1450 1504after 1504 Major contributor to the Eton Choirbook.
Henry Prentyce
Harry Prentes 		14501450s 15141514 Has an extant 5-voice Magnificat setting in the Caius Choirbook.
Hugh Kellyk 1460late 15th century 150116th century? has two surviving pieces, a five-part Magnificat and a seven-part Gaude flore virginali, in the Eton Choirbook.
Edmund Turges
possibly the same as Edmund Sturges 		14501450 15001500 Has a number of works preserved in the Eton Choirbook; at least three Magnificat settings and two masses have been lost.

1451–1500

1501–1550

Thomas Tallis, c. 1505-1585
William Byrd, 1540–1623

1551–1570

John Bull, 1562–1628

1571–1580

Orlando Gibbons, 1583–1625

1581–1611

Welsh

Scottish

See also

There is considerable overlap near the beginning and end of this era. See lists of composers for the previous and following eras:

Sources

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