Biography[ edit ] Hassler was born in Nuremberg and baptized on 26 October , receiving his first instruction in music from his father, the organist Isaak Hassler. Hassler was already familiar with some of this music, as numerous prints had circulated in Germany due to the interest of Leonhard Lechner , who was associated with Orlandus Lassus in Munich. While in Venice, Hassler became friends with Giovanni Gabrieli , with whom he composed a wedding motet for Georg Gruber, a Nuremberg merchant living in Venice, in Under Andrea, Hassler received instruction in composition and organ playing. The Augsburg years were extremely creative for him; in addition he became well known as a composer and organist at this time, though his influence was limited because he was a Protestant in an area which was still heavily Catholic.
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With his father before him, Isaac Hassler had been settled for some time previously at Jouchunsthal in Bohemia, but had returned to Nuremberg, the original home of the family.
In Hans Leo Hassler was recalled to Germany to become private organist to Count Ottavianus Octavian Fugger, the great merchant prince and art patron of Augsburg, where he remained with some interruptions to the year The Augsburg years were extremely creative for him; in addition he became well-known as a composer and organist at this time, though his influence was limited because he was a Protestant in an area which was still heavily Catholic.
Though his actual stay at Venice was short, he had already fully imbibed the Venetian influence in music, as the warmth and suavity of harmony of his compositions show. In Hassler published on his own account 24 Italian Canzonette a 4; in , Cantiones Sacrae a , originally containing 31 motets in several numbers, afterwards enlarged in to 38, including 2 Magnificats.
In Hassler published 8 masses a dedicated to his patron Octavian Fugger. He was appointed organist of the Frauenkirche and director of the town band at Nuremberg, but about the same time he also became absorbed in commercial speculations in connexion with the manufacture of musical clocks, which tended to divert his energies from much further musical production, and involved him in protracted legal disputes. Having some time previously been ennobled by the Emperor Rudolph, he also now received the more or less sinecure appointment of Hof-Dienerund Kammer-Organist to the Imperial court at Prague.
It was republished in score by Kirnberger in. It would seem to have continued in use in Nuremberg churches for some time afterwards, since a new edition of it was issued in with some additions by S. A modern edition was published in by G.
Teschner, omitting, however, the two 8-part settings with which the original work concludes. In Hassler applied for and obtained the post of organist to the Electoral Chapel at Dresden , but in the last years of his life suffered greatly from consumption, and published no further works. In he accompanied the Elector of Saxony, Johann Georg I, to Frankfurt, where the Imperial election was to be held, and died there.
Nuremberg did honour to its greatest musician by a memorial epitaph in one of its churches. Style Hans Leo Hassler was the most eminent organist of his day.
He was one of the first to bring the innovations of the Venetian style across the Alps. While musicians of the stature of Lassus had been working in Germany for years, they represented the older school, the prima prattica, the fully developed and refined Renaissance style of polyphony; in Italy new trends were emerging which were to define what was later called the Baroque era.
Stylistically, his earlier music is more progressive than his later: he uses polychoral techniques, textural contrasts and occasional chromaticism in the music he wrote after coming back from Italy; but most of his later religious music is conservative, using linear polyphony in the manner of Giovanni Pierluigi da Palestrina. His secular music—madrigals, canzonette, and songs among the vocal, and ricercars, canzonas, introits and toccatas among the instrumental—show many of the advanced techniques of the Gabrielis in Italy, but with a somewhat more restrained character, and always attentive to craftsmanship and beauty of sound.
Alleluia. Cantate Domino (Hans Leo Hassler)
MusicXML source file is in compressed. Cantate Domino Hassler, Hans Leo All the note values in this edition have been halved from the original. The metric transition in measure 14 from duple to triple time is also editorial. We Can Change the World!
Cantate Domino Lyrics
Cantate Domino a 4 (Hans Leo Hassler)
Cantate Domino (Hassler, Hans Leo)