Adrian Willaert

In Paris he met Jean Mouton, the principal composer of the French royal chapel and stylistic compatriot of Josquin des Prez, and studied with him.

Indeed, Willaert's early style is very similar to that of Josquin, with smooth polyphony, balanced voices and frequent use of imitation or strict canon.

In 1522 Willaert had a post at the court chapel of Duke Alfonso; he remained there until 1525, at which time records show he was in the employ of Ippolito II d'Este.

During his previous employment with the dukes of Ferrara, he had acquired numerous contacts and influential friends elsewhere in Europe, including the Sforza family in Milan [citation needed]; doubtless this assisted in the spread of his reputation, and the consequent importation of musicians from foreign countries into northern Italy.

In force of personality, and with his central position as maestro di cappella at St. Mark's, he became the most influential musician in Europe between the death of Josquin and the time of Palestrina.

[9] Some of Willaert's motets and chanzoni franciose a quarto sopra doi (double canonic chansons) had been published as early as 1520 in Venice.

As there were two choir lofts – one to each side of the main altar of St. Mark's, both provided with an organ —, Willaert divided the choral body into two sections, using them either antiphonally or simultaneously.

[19] Willaert also pioneered a style that continued until the end of the madrigal period of reflecting the emotional qualities of the text and the meanings of important words as sharply and clearly as possible.

[11] Among his disciples were Cipriano de Rore, his successor at St. Mark's; Costanzo Porta; the Ferrarese Francesco Viola; Gioseffo Zarlino; and Andrea Gabrieli.

[8] These composers, except for Lassus, formed the core of what came to be known as the Venetian school, which was decisively influential on the stylistic change that marked the beginning of the Baroque era.

[8] Willaert left a large number of compositions – 8 (or possibly 10) masses, over 50 hymns and psalms, over 150 motets, about 60 French chansons, over 70 Italian madrigals and 17 instrumental (ricercares).