Drexel 4302, also known as the Sambrook Book, based on an inscription from a former owner, Francis Sambrook, is a music manuscript containing vocal and keyboard music from Italian and British composers, documenting the transition from Renaissance to Baroque music. Though literature on the manuscript has assumed the copyist was Francis Tregian the Younger, recent analysis has demolished that hypothesis (not without some musicological contention). Belonging to the New York Public Library, it forms part of the Music Division's Drexel Collection, located at the New York Public Library for the Performing Arts. Following traditional library practice, its name is derived from its call number.

Tenebrae (—Latin for 'darkness') is a religious service of Western Christianity held during the three days preceding Easter Day, and characterized by a gradual extinguishing of candles, and the strepitus or "loud noise" in the total darkness at the end of the service. Tenebrae was originally a celebration of matins and lauds of the last three days of Holy Week (Maundy Thursday, Good Friday, and Holy Saturday) in the evening of the previous day (Holy Wednesday, Maundy Thursday and Good Friday) to the accompaniment of special ceremonies that included the display of lighted candles on a special triangular candelabra. Modern celebrations called Tenebrae may be of quite different content and structure, based for example on the Seven Last Words or readings of the Passion of Jesus. They may be held on only one day of Holy Week, especially Spy Wednesday (Holy Wednesday). They may be held during the daylight hours and the number of candles, if used, may vary. Tenebrae liturgical celebrations of this kind now exist in the Catholic Church's Latin liturgical rites, Lutheranism, Anglicanism, Methodism, Reformed churches and Western Rite Orthodoxy.

Johannes Ockeghem (c. 1410 – 6 February 1497) was a Franco-Flemish composer and singer of early Renaissance music. Ockeghem was a significant European composer in the period between Guillaume Du Fay and Josquin des Prez, and he was—with his colleague Antoine Busnois—a prominent European composer in the second half of the 15th century. He was an important proponent of the early Franco-Flemish School. Ockeghem was well associated with other prominent composers of the time, and spent most of his career serving the French royal court under Charles VII, Louis XI and Charles VIII. Numerous poets and musicians lamented his death, including Erasmus, Guillaume Crétin, Jean Molinet and Josquin, who composed the well-known Nymphes des bois for him. It is thought that Ockeghem's extant works represent only a small part of his entire oeuvre, including around 14 masses, 20 chansons and fewer than 10 motets—though the exact numbers vary due to attribution uncertainties. His better-known works include the canon-based Missa prolationum; the Missa cuiusvis toni, which can be sung in any mode; the chanson Fors seulement; and the earliest surviving polyphonic Requiem.

Delfino Thermignon (Turin May 26, 1861 – Narzole May 30, 1944) was an Italian composer, conductor, and teacher.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Ave verum corpus is a short Eucharistic chant that has been set to music by many composers. It dates to the 13th century, first recorded in a central Italian Franciscan manuscript (Chicago, Newberry Library, 24). A Reichenau manuscript of the 14th century attributes it to Pope Innocent (variously identified as Innocent III, Innocent IV, Innocent V, or Innocent VI) During the Middle Ages, it was sung at the elevation of the Eucharist during the consecration at Mass. It was also used frequently during Benediction of the Blessed Sacrament. The prayer is a meditation on Jesus's Real Presence in the Blessed Sacrament, and ties it to the redemptive meaning of suffering in the life of all believers.

The Penitential Psalms or Psalms of Confession, so named in Cassiodorus's commentary of the 6th century AD, are the Psalms 6, 31, 37, 50, 101, 129, and 142 (6, 32, 38, 51, 102, 130, and 143 in the Hebrew numbering). Psalm VI – Domine, ne in furore tuo arguas me. (Pro octava). (O Lord, rebuke me not in thy indignation. (For the octave.)) Psalm XXXI (32) – Beati quorum remissae sunt iniquitates. (Blessed are they whose iniquities are forgiven.) Psalm XXXVII (38) – Domine ne in furore tuo arguas me. (in rememorationem de sabbato). (O Lord, rebuke me not in thy indignation. (For a remembrance of the Sabbath.)) Psalm L (51) – Miserere mei, Deus, secundum magnam misericordiam tuam. (Have mercy on me, O God, according to thy great mercy.) Psalm CI (102) – Domine, exaudi orationem meam, et clamor meus ad te veniat. (O Lord, hear my prayer, and let my cry come unto thee.) Psalm CXXIX (130) – De profundis clamavi ad te, Domine. (Out of the depths I have cried to thee, O Lord.) Psalm CXLII (143) – Domine, exaudi orationem meam: auribus percipe obsecrationem meam in veritate tua. (Hear, O Lord, my prayer: give ear to my supplication in thy truth.) These psalms are expressive of sorrow for sin. Four were known as 'penitential psalms' by St. Augustine of Hippo in the early 5th century. The fiftieth Psalm (Miserere) was recited at the close of daily morning service in the early Church. Translations of the penitential psalms were undertaken by some of the greatest poets in Renaissance England, including Sir Thomas Wyatt, Henry Howard, Earl of Surrey, and Sir Philip Sidney. Before the suppression of the minor orders and tonsure in 1972 by Paul VI, the seven penitential psalms were assigned to new clerics after having been tonsured.

Giovanni Gabrieli (c. 1554/1557 – 12 August 1612) was an Italian composer and organist. He was one of the most influential musicians of his time, and represents the culmination of the style of the Venetian School, at the time of the shift from Renaissance to Baroque idioms.

Below is a sortable list of compositions by Camille Saint-Saëns. The works are categorised by genre, opus number, Ratner catalogue number, date of composition and titles. R numbers are from Camille Saint-Saëns 1835–1921: A Thematic Catalogue of His Complete Works by Sabina Teller Ratner (Oxford University Press).

"Bella ciao" (Italian: [ˈbɛlla ˈtʃaːo]) is an anti-Nazi and anti-fascist Italian folk song dedicated to the partisans of the Italian resistance, who fought against the occupying troops of Nazi Germany and the collaborationist fascist forces during the liberation of Italy. The exact origins are not known, but it is theorized to be based on a folk song of the late 19th century, sung by female workers (mondine) of the paddy fields in Northern Italy in protest against harsh working conditions. There is little evidence of the song being used during World War II, with the current partisan version becoming widespread only after it ended. Versions of "Bella ciao" continue to be sung worldwide as a hymn of resistance against Nazism, fascism, injustice and oppression.

Orlando di Lasso (various other names; probably c. 1532 – 14 June 1594) was a composer of the late Renaissance. The chief representative of the mature polyphonic style in the Franco-Flemish school, Lasso stands with William Byrd, Giovanni Pierluigi da Palestrina, and Tomás Luis de Victoria as one of the leading composers of the later Renaissance. Immensely prolific, his music varies considerably in style and genres, which gave him unprecedented popularity throughout Europe.

This is a list of Private Passions episodes from 1995 to 1999. It does not include repeated episodes or compilations.

Giovanni Gabrieli (c. 1554/1557 – 12 August 1612) was an Italian composer and organist. He was one of the most influential musicians of his time, and represents the culmination of the style of the Venetian School, at the time of the shift from Renaissance to Baroque idioms.

The Penitential Psalms or Psalms of Confession, so named in Cassiodorus's commentary of the 6th century AD, are the Psalms 6, 31, 37, 50, 101, 129, and 142 (6, 32, 38, 51, 102, 130, and 143 in the Hebrew numbering). Psalm VI – Domine, ne in furore tuo arguas me. (Pro octava). (O Lord, rebuke me not in thy indignation. (For the octave.)) Psalm XXXI (32) – Beati quorum remissae sunt iniquitates. (Blessed are they whose iniquities are forgiven.) Psalm XXXVII (38) – Domine ne in furore tuo arguas me. (in rememorationem de sabbato). (O Lord, rebuke me not in thy indignation. (For a remembrance of the Sabbath.)) Psalm L (51) – Miserere mei, Deus, secundum magnam misericordiam tuam. (Have mercy on me, O God, according to thy great mercy.) Psalm CI (102) – Domine, exaudi orationem meam, et clamor meus ad te veniat. (O Lord, hear my prayer, and let my cry come unto thee.) Psalm CXXIX (130) – De profundis clamavi ad te, Domine. (Out of the depths I have cried to thee, O Lord.) Psalm CXLII (143) – Domine, exaudi orationem meam: auribus percipe obsecrationem meam in veritate tua. (Hear, O Lord, my prayer: give ear to my supplication in thy truth.) These psalms are expressive of sorrow for sin. Four were known as 'penitential psalms' by St. Augustine of Hippo in the early 5th century. The fiftieth Psalm (Miserere) was recited at the close of daily morning service in the early Church. Translations of the penitential psalms were undertaken by some of the greatest poets in Renaissance England, including Sir Thomas Wyatt, Henry Howard, Earl of Surrey, and Sir Philip Sidney. Before the suppression of the minor orders and tonsure in 1972 by Paul VI, the seven penitential psalms were assigned to new clerics after having been tonsured.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Psalm 134 is the 134th psalm from the Book of Psalms, a part of the Hebrew Bible and the Christian Old Testament, beginning in English in the King James Version: "Behold, bless ye the LORD, all ye servants of the LORD". Its Latin title is "Ecce nunc benedicite Dominum". It is the last of the fifteen Songs of Ascents (Shir Hama'alot), and one of the three Songs of Ascents consisting of only three verses. The New King James Version entitles this psalm "Praising the Lord in His House at Night". This psalm is Psalm 133 in the slightly different numbering system of the Greek Septuagint and Latin Vulgate versions of the Bible. The psalm forms a regular part of Jewish, Catholic, Lutheran, Anglican, Calvinist (Genevan Psalter), and other Protestant liturgies. It has been set to music often and paraphrased in hymns. The short psalm is part of the daily Catholic service Compline, for which settings in Latin were composed by composers such as Tomás Luis de Victoria and Orlando di Lasso. It is frequently used in Anglican Evening Prayer, with settings by John Dowland and Benjamin Rogers, among others.

William Byrd (; c. 1540 – 4 July 1623) was an English Renaissance composer. Considered among the greatest composers of the Renaissance, he had a profound influence on composers both from his native country and on the Continent. He is often considered along with John Dunstaple and Henry Purcell as one of England's most important composers of early music. Byrd wrote in many of the forms current in England at the time, including various types of sacred and secular polyphony, keyboard (the so-called Virginalist school), and consort music. He produced sacred music for Anglican services, but during the 1570s became a Roman Catholic, and wrote Catholic sacred music later in his life.

Giovanni Gabrieli (c. 1554/1557 – 12 August 1612) was an Italian composer and organist. He was one of the most influential musicians of his time, and represents the culmination of the style of the Venetian School, at the time of the shift from Renaissance to Baroque idioms.

Orlando di Lasso (various other names; probably c. 1532 – 14 June 1594) was a composer of the late Renaissance. The chief representative of the mature polyphonic style in the Franco-Flemish school, Lasso stands with William Byrd, Giovanni Pierluigi da Palestrina, and Tomás Luis de Victoria as one of the leading composers of the later Renaissance. Immensely prolific, his music varies considerably in style and genres, which gave him unprecedented popularity throughout Europe.

Tenebrae responsories are the responsories sung following the lessons of Tenebrae, the Matins services of the last three days of Holy Week: Maundy Thursday, Good Friday and Holy Saturday. Polyphonic settings to replace plainchant have been published under a various titles, including Responsoria pro hebdomada sancta (Responsories for Holy Week). In most places, Matins as well as Lauds of these days were normally anticipated on the evening of the preceding day and were celebrated on Wednesday, Maundy Thursday and Good Friday, respectively. The 1955 reform of the Holy Week ceremonies by Pope Pius XII, redefining Triduum Sacrum to include Easter Sunday and take in only the close of Maundy Thursday, moved them to Thursday, Friday and Saturday evenings. Tenebrae as such was not included in the 1970 Liturgy of the Hours, vanishing altogether around 1977. Summorum Pontificum (2007) now permits clerics bound to recitation of the Divine Office to use the 1961 Roman Breviary. Composers who produced polyphonic settings include Carlo Gesualdo (Responsoria et alia ad Officium Hebdomadae Sanctae spectantia, 1611), Tomás Luis de Victoria, Jean L'Héritier, Marc-Antoine Charpentier, (19 settings: H.111 -119, H.126 - 134 and H.144), Jan Dismas Zelenka (ZWV 55), Max Reger and Francis Poulenc.

Infelix ego ("Alas, wretch that I am") is a Latin meditation on the Miserere, Psalm 51 (Psalm 50 in Septuagint numbering), composed in prison by Girolamo Savonarola by 8 May 1498, after he was tortured on the rack, and two weeks before he was burned at the stake in the Piazza della Signoria in Florence on 23 May 1498. The prison authorities had spared only his right arm during the preliminary torture, so that Savonarola would be able to sign his confession: after doing so, and in a state of despair at not being strong enough to resist the pain of his prolonged torture, he wrote Infelix ego and a portion of a companion meditation, Tristitia obsedit me, on Psalm 30. He was executed before he was able to complete Tristitia obsedit me. Savonarola was devastated at his own personal weakness in allowing the physical torture to overcome his will. After signing the confession, recanting his beliefs, and even denying that his prophecies had been sent by God Himself, he felt the need to prostrate himself before his God and beg for forgiveness. Penitential Psalm 51 (50 in the Septuagint numbering), the Miserere, provided the inspiration for his long and impassioned cry for mercy, a document which was to become highly influential in the years before the Reformation, especially in music history. On 23 May 1498, Savonarola and two other friars who were his supporters were led out of their cells to the public square beside the Palazzo della Signoria. After their crimes were read to them, they were hanged in chains, and then burned, with the ashes being hurled into the Arno so that no relics would be recoverable by the crowds of the fanatical reformer's former supporters. Almost immediately, however, Savonarola's two meditations were in print: Laurentius de Rubeis produced one of the first prints, in Ferrara, Savonarola's birthplace, a town which continued to venerate him well into the 16th century. Infelix ego begins, in translation: Alas wretch that I am, destitute of all help, who have offended heaven and earth—where shall I go? Whither shall I turn myself? To whom shall I fly? Who will take pity on me? To heaven I dare not lift up my eyes, for I have deeply sinned against it; on earth I find no refuge, for I have been an offence to it. What therefore shall I do? Shall I despair? Far from it. God is merciful, my Saviour is loving. God alone therefore is my refuge ...

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Giovanni Gabrieli (c. 1554/1557 – 12 August 1612) was an Italian composer and organist. He was one of the most influential musicians of his time, and represents the culmination of the style of the Venetian School, at the time of the shift from Renaissance to Baroque idioms.

Giovanni Gabrieli (c. 1554/1557 – 12 August 1612) was an Italian composer and organist. He was one of the most influential musicians of his time, and represents the culmination of the style of the Venetian School, at the time of the shift from Renaissance to Baroque idioms.

This is a list of Private Passions episodes from 1995 to 1999. It does not include repeated episodes or compilations.

Drexel 4302, also known as the Sambrook Book, based on an inscription from a former owner, Francis Sambrook, is a music manuscript containing vocal and keyboard music from Italian and British composers, documenting the transition from Renaissance to Baroque music. Though literature on the manuscript has assumed the copyist was Francis Tregian the Younger, recent analysis has demolished that hypothesis (not without some musicological contention). Belonging to the New York Public Library, it forms part of the Music Division's Drexel Collection, located at the New York Public Library for the Performing Arts. Following traditional library practice, its name is derived from its call number.

The Lagrime di San Pietro (Italian: Saint Peter's Tears) is a cycle of 20 madrigals and a concluding motet by the late Renaissance composer Orlande de Lassus (Roland de Lassus). Written in 1594 for seven voices, it is structured as three sequences of seven compositions. The Lagrime was to be Lassus’ last composition: he dedicated it to Pope Clement VIII on May 24, 1594, three weeks before his death, and it was published in Munich the next year.

This is a list of Private Passions episodes from 2000 to 2004. It does not include repeated episodes or compilations.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Thomas Tallis (; also Tallys or Talles; c. 1505 – 23 November 1585) was an English composer of High Renaissance music. His compositions are primarily vocal, and he occupies a primary place in anthologies of English choral music. Tallis is considered one of England's greatest composers, and is honoured for his original voice in English musicianship.

As minor planet discoveries are confirmed, they are given a permanent number by the IAU's Minor Planet Center (MPC), and the discoverers can then submit names for them, following the IAU's naming conventions. The list below concerns those minor planets in the specified number-range that have received names, and explains the meanings of those names. Official naming citations of newly named small Solar System bodies are approved and published in a bulletin by IAU's Working Group for Small Bodies Nomenclature (WGSBN). Before May 2021, citations were published in MPC's Minor Planet Circulars for many decades. Recent citations can also be found on the JPL Small-Body Database (SBDB). Until his death in 2016, German astronomer Lutz D. Schmadel compiled these citations into the Dictionary of Minor Planet Names (DMP) and regularly updated the collection. Based on Paul Herget's The Names of the Minor Planets, Schmadel also researched the unclear origin of numerous asteroids, most of which had been named prior to World War II. This article incorporates text from this source, which is in the public domain: SBDB New namings may only be added to this list below after official publication as the preannouncement of names is condemned. The WGSBN publishes a comprehensive guideline for the naming rules of non-cometary small Solar System bodies.

The Magnificat, in Latin also canticum Beat(issim)ae Virginis Mariae (the song of the (most) Blessed Virgin Mary), is a common part of Christian worship, for instance traditionally included in vespers, evensong or matins. As such it is often sung and was set to music by various composers.

A discography of albums released by ECM. Distributor catalogue numbers are not provided here.

Psalm 51, one of the penitential psalms, is the 51st psalm of the Book of Psalms, beginning in English in the King James Version: "Have mercy upon me, O God". In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Hebrew Bible, this psalm is Psalm 50. In Latin, it is known as Miserere, (Ancient Greek: ἐλέησόν με ὁ θεός, romanized: eléēsón me ho Theós) in Ancient Greek: Ἥ Ἐλεήμων, romanized: Hḗ Eleḗmōn), especially in musical settings. The introduction in the text says that it was composed by David as a confession to God after he sinned with Bathsheba. The psalm forms a regular part of Jewish, Catholic, Eastern Orthodox, Oriental Orthodox, and Protestant liturgies.

Giovanni Gabrieli (c. 1554/1557 – 12 August 1612) was an Italian composer and organist. He was one of the most influential musicians of his time, and represents the culmination of the style of the Venetian School, at the time of the shift from Renaissance to Baroque idioms.

Orlando di Lasso (various other names; probably c. 1532 – 14 June 1594) was a composer of the late Renaissance. The chief representative of the mature polyphonic style in the Franco-Flemish school, Lasso stands with William Byrd, Giovanni Pierluigi da Palestrina, and Tomás Luis de Victoria as one of the leading composers of the later Renaissance. Immensely prolific, his music varies considerably in style and genres, which gave him unprecedented popularity throughout Europe.

Orlando di Lasso (various other names; probably c. 1532 – 14 June 1594) was a composer of the late Renaissance. The chief representative of the mature polyphonic style in the Franco-Flemish school, Lasso stands with William Byrd, Giovanni Pierluigi da Palestrina, and Tomás Luis de Victoria as one of the leading composers of the later Renaissance. Immensely prolific, his music varies considerably in style and genres, which gave him unprecedented popularity throughout Europe.

Hungarian Romantic composer Franz Liszt (1811–1886) was especially prolific, composing more than 700 works. A virtuoso pianist himself, much of his output is dedicated to solo works for the instrument and is particularly technically demanding. The primary cataloguing system for his compositions was developed by Humphrey Searle; it has been thoroughly revamped by Michael Short and Leslie Howard.

Antoine Brumel (French pronunciation: [ɑ̃twan bʁymɛl]; c. 1460 – 1512 or 1513) was a French composer. He was one of the first renowned French members of the Franco-Flemish school of the Renaissance, and, after Josquin des Prez, was one of the most influential composers of his generation.

Susanne un jour is a 16th-century French poem by Guillaume Guéroult (1507–1569) based on the biblical story of Susannah and the Elders. It was set to music by Didier Lupi Second and much adapted by later composers, including Orlande de Lassus, Cipriano de Rore, Gerard van Turnhout, Claude Le Jeune, and Eustache Du Caurroy. The text was also translated into various languages and sung widely throughout Europe well into the seventeenth century. For example, a version to an Icelandic text (Súsanna, sannan Guðs dóm) is found in the Icelandic manuscript Melódía (Rask 98), written in ca. 1660. Lassus's Missa Susanne un jour is a mass setting on the theme of the song tune.

This is a list of Private Passions episodes from 1995 to 1999. It does not include repeated episodes or compilations.

Missa brevis (Latin for 'short Mass'; plural: Missae breves) usually refers to a Mass composition that is short because part of the text of the Mass ordinary that is usually set to music in a full Mass is left out, or because its execution time is relatively short.

Heavenly Spheres (L'Harmonie des Sphères) is an a cappella choral album by the Studio de musique ancienne de Montréal under the direction of Christopher Jackson. Recorded in 1998, it features songs from the late 15th to early 16th century. It was awarded a Félix Award from the ADISQ and was nominated for the Juno Award for Classical Album of the Year – Vocal or Choral Performance in 2000. The album includes performances of compositions by Nicolas Gombert, Roland de Lassus, Giovanni Pierluigi da Palestrina, Josquin des Prez, and others.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Josquin Lebloitte dit des Prez (c. 1450–1455 – 27 August 1521) was a singer and composer of Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he was a central figure of the Franco-Flemish School and had a profound influence on the music of 16th-century Europe. Building on the work of predecessors like Johannes Ockeghem, he developed a complex style of polyphony that emphasized the relationship between text and music. Josquin preferred motifs to melisma, and his compositions are mainly vocal works like masses, motets, and secular chansons. Josquin's biography has been continually revised by modern scholarship. By 1477 he was in the choir of René of Anjou. In the 1480s, Josquin traveled to Italy with the Cardinal Ascanio Sforza. Many of his works were printed and published by Ottaviano Petrucci in the early 16th century. From 1504 until the end of his life, he lived in Condé, where he produced some of his most admired works, including the masses Missa de Beata Virgine, and Missa Pange lingua. Josquin has been described as the first Western composer to retain posthumous fame. In 16th-century Europe, his music was widely performed and imitated. He earned praised from figures like Martin Luther, Heinrich Glarean, and Gioseffo Zarlino. During the 20th century early music revival, Josquin's reputation was reevaluated and attributions of his work became dubious. His music remains central to the repertoire of early music ensembles and is frequently recorded. He was celebrated worldwide on the 500th anniversary of his death in 2021.

Drexel 4302, also known as the Sambrook Book, based on an inscription from a former owner, Francis Sambrook, is a music manuscript containing vocal and keyboard music from Italian and British composers, documenting the transition from Renaissance to Baroque music. Though literature on the manuscript has assumed the copyist was Francis Tregian the Younger, recent analysis has demolished that hypothesis (not without some musicological contention). Belonging to the New York Public Library, it forms part of the Music Division's Drexel Collection, located at the New York Public Library for the Performing Arts. Following traditional library practice, its name is derived from its call number.

Prophetiae Sibyllarum ("Sibylline Prophecies" or "Sibylline Oracles") are a series of twelve motets by the Franco-Flemish composer Orlando di Lasso. The works are known for their extremely chromatic idiom.

This is a list of Private Passions episodes from 2000 to 2004. It does not include repeated episodes or compilations.

Giovanni Gabrieli (c. 1554/1557 – 12 August 1612) was an Italian composer and organist. He was one of the most influential musicians of his time, and represents the culmination of the style of the Venetian School, at the time of the shift from Renaissance to Baroque idioms.

"Resonet in laudibus" (Latin for "Resound in praises") is a 14th-century Christmas carol which was widely known in medieval Europe, and is still performed today. Although probably earlier, in manuscript form it first appears in the Moosburg gradual of 1360 and occurs in several 15th, 16th and 17th century printed collections from both Catholic and Lutheran traditions. There is no definitive version of the Latin text, and there are many variations and parodies in various sacred songbooks, as well as extended, embellished versions (for example motets by the Franco-Flemish composer Orlande de Lassus or the Slovenian-German composer Jacobus Gallus). Georg Witzel, a contemporary of Martin Luther, referred to the carol as "one of the chief Christmas songs of joy" in 1550. In addition to its literal English translation, it has also appeared as "Christ was Born on Christmas Day" in two different translations by John Mason Neale in 1853 (who based his version on the 1582 Swedish song collection Piae Cantiones) and Elizabeth Poston in 1965. In Germany, the melody is used for the traditional song "Joseph, lieber Joseph mein" ("Joseph dearest, Joseph mine"), originally sung as a lullaby by the Virgin Mary in a 16th-century mystery play in Leipzig (and doubtfully credited to Johannes Galliculus). The Lutheran poet and composer Johann Walter wrote one of his finest motets using this song. Sir David Willcocks' arrangement in Carols for Choirs 2 titles the work "Resonemus laudibus".

The "Salve Regina" ( SAL-vay rə-JEE-nə, Ecclesiastical Latin: [ˈsalve reˈdʒina]; meaning "Hail Queen"), also known as the "Hail Holy Queen", is a Marian hymn and one of four Marian antiphons sung at different seasons within the Christian liturgical calendar of the Catholic Church. The Salve Regina is traditionally sung at Compline in the time from the Saturday before Trinity Sunday until the Friday before the first Sunday of Advent. The Hail Holy Queen is also the final prayer of the Rosary. The work was composed during the Middle Ages and originally appeared in Latin, the prevalent language of Western Christianity until modern times. Though traditionally ascribed to the eleventh-century German monk Hermann of Reichenau, as well as to Bernard of Clairvaux, Peter of Compostela and Adhemar of Le Puy, among others, it is regarded as anonymous by most musicologists. Traditionally it has been sung in Latin, though many translations exist. These are often used as spoken prayers.

The "Salve Regina" ( SAL-vay rə-JEE-nə, Ecclesiastical Latin: [ˈsalve reˈdʒina]; meaning "Hail Queen"), also known as the "Hail Holy Queen", is a Marian hymn and one of four Marian antiphons sung at different seasons within the Christian liturgical calendar of the Catholic Church. The Salve Regina is traditionally sung at Compline in the time from the Saturday before Trinity Sunday until the Friday before the first Sunday of Advent. The Hail Holy Queen is also the final prayer of the Rosary. The work was composed during the Middle Ages and originally appeared in Latin, the prevalent language of Western Christianity until modern times. Though traditionally ascribed to the eleventh-century German monk Hermann of Reichenau, as well as to Bernard of Clairvaux, Peter of Compostela and Adhemar of Le Puy, among others, it is regarded as anonymous by most musicologists. Traditionally it has been sung in Latin, though many translations exist. These are often used as spoken prayers.

The "Salve Regina" ( SAL-vay rə-JEE-nə, Ecclesiastical Latin: [ˈsalve reˈdʒina]; meaning "Hail Queen"), also known as the "Hail Holy Queen", is a Marian hymn and one of four Marian antiphons sung at different seasons within the Christian liturgical calendar of the Catholic Church. The Salve Regina is traditionally sung at Compline in the time from the Saturday before Trinity Sunday until the Friday before the first Sunday of Advent. The Hail Holy Queen is also the final prayer of the Rosary. The work was composed during the Middle Ages and originally appeared in Latin, the prevalent language of Western Christianity until modern times. Though traditionally ascribed to the eleventh-century German monk Hermann of Reichenau, as well as to Bernard of Clairvaux, Peter of Compostela and Adhemar of Le Puy, among others, it is regarded as anonymous by most musicologists. Traditionally it has been sung in Latin, though many translations exist. These are often used as spoken prayers.

Heavenly Spheres (L'Harmonie des Sphères) is an a cappella choral album by the Studio de musique ancienne de Montréal under the direction of Christopher Jackson. Recorded in 1998, it features songs from the late 15th to early 16th century. It was awarded a Félix Award from the ADISQ and was nominated for the Juno Award for Classical Album of the Year – Vocal or Choral Performance in 2000. The album includes performances of compositions by Nicolas Gombert, Roland de Lassus, Giovanni Pierluigi da Palestrina, Josquin des Prez, and others.

Heavenly Spheres (L'Harmonie des Sphères) is an a cappella choral album by the Studio de musique ancienne de Montréal under the direction of Christopher Jackson. Recorded in 1998, it features songs from the late 15th to early 16th century. It was awarded a Félix Award from the ADISQ and was nominated for the Juno Award for Classical Album of the Year – Vocal or Choral Performance in 2000. The album includes performances of compositions by Nicolas Gombert, Roland de Lassus, Giovanni Pierluigi da Palestrina, Josquin des Prez, and others.

Giovanni Gabrieli (c. 1554/1557 – 12 August 1612) was an Italian composer and organist. He was one of the most influential musicians of his time, and represents the culmination of the style of the Venetian School, at the time of the shift from Renaissance to Baroque idioms.

Susanne un jour is a 16th-century French poem by Guillaume Guéroult (1507–1569) based on the biblical story of Susannah and the Elders. It was set to music by Didier Lupi Second and much adapted by later composers, including Orlande de Lassus, Cipriano de Rore, Gerard van Turnhout, Claude Le Jeune, and Eustache Du Caurroy. The text was also translated into various languages and sung widely throughout Europe well into the seventeenth century. For example, a version to an Icelandic text (Súsanna, sannan Guðs dóm) is found in the Icelandic manuscript Melódía (Rask 98), written in ca. 1660. Lassus's Missa Susanne un jour is a mass setting on the theme of the song tune.

The Requiem in D minor, K. 626, is a Requiem Mass by Wolfgang Amadeus Mozart (1756–1791). Mozart composed part of the Requiem in Vienna in late 1791, but it was unfinished at his death on 5 December the same year. A completed version was delivered to Count Franz von Walsegg, who had commissioned the piece for a requiem service on 14 February 1792 to commemorate the first anniversary of the death of his wife Anna, who had died at the age of 20 on 14 February 1791. The autograph manuscript shows the finished and orchestrated movement of the Introit in Mozart's hand, and detailed drafts of the Kyrie, the Sequence (the latter including the first eight bars of the Lacrimosa), and the Offertorium. First Joseph Eybler and then Franz Xaver Süssmayr filled in the rest, composed additional movements, and made a clean copy of the completed parts of the score for delivery to Walsegg, imitating Mozart's musical handwriting but clumsily dating it "1792." It cannot be shown to what extent Süssmayr may have depended on now lost "scraps of paper" for the remainder; he later claimed the Sanctus and Benedictus and the Agnus Dei as his own. Walsegg probably intended to pass the Requiem off as his own composition, as he is known to have done with other works. This plan was frustrated by a public benefit performance for Mozart's widow Constanze. She was responsible for a number of stories surrounding the composition of the work, including the claims that Mozart received the commission from a mysterious messenger who did not reveal the commissioner's identity, and that Mozart came to believe that he was writing the Requiem for his own funeral. In addition to the Süssmayr version, a number of alternative completions have been developed by composers and musicologists in the 20th and 21st centuries. At least 19 conjectural completions have been made, eleven of which date from after 2005.

Tristis est anima mea is the second responsory of the Tenebrae for Maundy Thursday. The Latin text refers to Christ's Agony in the Garden of Gethsemane, a part of his Passion.

Orlando di Lasso (various other names; probably c. 1532 – 14 June 1594) was a composer of the late Renaissance. The chief representative of the mature polyphonic style in the Franco-Flemish school, Lasso stands with William Byrd, Giovanni Pierluigi da Palestrina, and Tomás Luis de Victoria as one of the leading composers of the later Renaissance. Immensely prolific, his music varies considerably in style and genres, which gave him unprecedented popularity throughout Europe.

This article lists the various treatments given by Franz Liszt to the works of almost 100 other composers. These treatments included transcriptions for other instruments (predominantly solo piano), arrangements, orchestrations, fantaisies, reminiscences, paraphrases, illustrations, variations, and editions. Liszt also extensively treated his own works in a similar manner, but these are not tallied here—neither are his treatments of national (or "folk") melodies whose composers are unknown, nor other anonymous works. In most cases, Liszt arranged only one or two pieces by a composer, but he delved more deeply into the works of Bach, Beethoven, Bellini, Berlioz, Chopin, Donizetti, Gounod, Mendelssohn, Meyerbeer, Mozart, Rossini, Schubert, Schumann, Verdi, Wagner, and Weber. The earliest-born composer whose works Liszt dealt with was Orlande de Lassus (born c. 1532). Jacques Arcadelt was born earlier (c. 1507), but Liszt's treatment was not of Arcadelt's original work, rather of a setting by Pierre-Louis Dietsch loosely based on Arcadelt. The last composer to die whose works Liszt dealt with was Géza Zichy (1849–1924).

Orlando di Lasso (various other names; probably c. 1532 – 14 June 1594) was a composer of the late Renaissance. The chief representative of the mature polyphonic style in the Franco-Flemish school, Lasso stands with William Byrd, Giovanni Pierluigi da Palestrina, and Tomás Luis de Victoria as one of the leading composers of the later Renaissance. Immensely prolific, his music varies considerably in style and genres, which gave him unprecedented popularity throughout Europe.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

Hans Leo Hassler (in German, Hans Leo Haßler) (baptised 26 October 1564 – 8 June 1612) was a German composer and organist of the late Renaissance and early Baroque eras, elder brother of lesser known composer Jakob Hassler. He was born in Nuremberg and died in Frankfurt.

Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c. 1548 – c. 20–27 August 1611) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving oeuvre, unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.

The Lagrime di San Pietro (Italian: Saint Peter's Tears) is a cycle of 20 madrigals and a concluding motet by the late Renaissance composer Orlande de Lassus (Roland de Lassus). Written in 1594 for seven voices, it is structured as three sequences of seven compositions. The Lagrime was to be Lassus’ last composition: he dedicated it to Pope Clement VIII on May 24, 1594, three weeks before his death, and it was published in Munich the next year.