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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.

Contents

Burgundian

Main article: Burgundian School
Guillaume Dufay, ? 1397–1474 and Gilles Binchois, c. 1400–1460

The Burgundian School is a term used to denote 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.

English

Due in part to its isolation from mainland Europe, the English Renaissance began later than in some 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

  • Leonel Power (c. 1370 to 1385–1445)
  • Roy Henry (fl. c. 1410) Very likely Henry V of England (1387–1422)
  • Byttering (fl. c. 1400–1420) Possibly Thomas Byttering
  • John Plummer (c. 1410 – c. 1483)
  • Henry Abyngdon (c.1418 - 1497) ecclesiastic and musician.
  • Walter Frye (fl. c. 1450–1475)
  • John Tuder (15th cent.)
  • John Treloff (15th cent.) Represented in the Ritson MS, notably by three three-part settings of Nesciens mater
  • William Cornysh (c. ? 1430–1502)
  • William Horwood (c. 1430–1484) Some of his music is collected in the Eton Choirbook.
  • John Hothby (d. 1487) Also known as Johannes Ottobi. Active both in Italy and in England
  • Sir William Hawte (fl. 1460–1470)
  • Richard Hygons (c. 1435 – c. 1509)
  • Hugh Kellyk Two of his pieces, a five-part Magnificat and a seven-part Gaude flore virginali, are in the Eton Choirbook
  • John Nesbett (d. 1488)
  • Thomas Pykke (15th cent.) Also spelt Packe.
  • Gilbert Banester (c. 1445–1487)
  • Edmund Turges (c. 1445 – after ? 1501) Also spelt Sturges
  • Henry Petyr (fl. ? 1470 – ? 1516) Also spelt Petre, Peter.
  • Richard Mower (15th cent.)
  • Henry Prentes (d. 1514) Also spelt Prentyce.
Thomas Tallis, c. 1505–1585

1451–1500

  • Walter Lambe (c. 1450 – after 1504). Major contributor to the Eton Choirbook
  • Robert Wilkinson (c. 1450/1 – 1515 or later) Also spelt Wylkynson
  • John Browne (fl. c. 1490) Likely b. 1453. Major contributor to the Eton Choirbook
  • William Corbronde (fl. 1480–1500) Represented in the Pepys manuscript
  • Robert Fayrfax (1464–1521) Also spelt Fairfax, Fairfaux, Feyrefax
  • Richard Davy (c. 1465 – c. 1507) Major contributor to the Eton Choirbook
  • William Cornysh (c. 1468–1523) Probably the son of William Cornysh
  • Richard Sampson (c. 1470–1554)
  • Hacomplaynt (fl. late 15th cent. – early 16th cent.) Also spelt Hacomblene. He has a single work, a setting of Salve regina, in the Eton Choirbook
  • Avery Burton (c. 1474–1542 to 1547) Also spelt Avere, Burnet
  • John Norman (fl. 1502 to 22) Composed a 5-part Mass Resurrexit Dominus, found in the Forrest-Heyther partbooks, on an Easter plainsong; and a 3-part Miserere Mihi in the Ritson manuscript that is much more elaborate, somewhat resembling John Taverner's responds
  • William Rasor (fl. 1499–1514/5) Also spelt Rasar. His output includes English and Latin church music. Composed a Mass found in the Forrest-Heyther partbooks
  • Thomas Ashewell (c. 1478 – after 1518) Also spelt Ashwelle, Asshwell, As well
  • John Strabridge (fl. before 1548) Represented by a single work, a Dum transisset, in the Christchurch partbooks
  • Christopher Hoskins (fl. before 1548) Represented by a single work, a Speciosa facta es, in the Gyffard partbooks
  • William, Monk of Stratford Stratford has a single work, a four-part Magnificat, in the Eton Choirbook. Nothing more is known
  • Hugh Aston (c. 1485–1558) Also spelt Ashton, Assheton
  • Richard Bramston (? 1485–1554) Represented in the Peterhouse and Gyffard partbooks
  • Nicholas Ludford (c. 1485–1557)
  • John Mason (? 1485 – ? 1547) Four works survive, featured in the Peterhouse partbooks
  • Richard Pygott (c. 1485–1549) Also spelt Pigott. There are two works by Pygott in the Peterhouse partbooks
  • Edmund Sturton (fl. late 15th – early 16th cent.) Presumably identical with the Sturton who composed the six-part Ave Maria ancilla Trinitatis in the Lambeth Choirbook, he contributed a Gaude virgo mater Christi to the Eton Choirbook, the six voices of which cover a fifteen-note range
  • John Redford (c. 1486–1547) One of the main contributors to The Mulliner Book
  • Nicholas Huchyn (fl. late 15th – early 16th cent.) A single work, a setting of Salve regina in the Eton Choirbook
  • John Fawkyner (fl. late 15th cent.) Featured in the Eton Choirbook
  • William Pasche (fl. late 15th – early 16th cent.) Also spelt Pashe. Represented by a Christus resurgens Mass, written on a Sarum chant, two Magnificats, and a motet, Sancta Maria
  • Robert Cooper (14?? – 15??) A work in the Gyffard partbooks and a manuscript (MS 31922)
  • Thomas Appleby (c. 1488–1563)
  • John Taverner (c. 1490–1545)
  • William Whytbroke (fl. 1520–1530) Surviving music includes a four-part Mass apon ye Square, in the Gyffard partbooks
  • Henry VIII of England (1491–1547)
  • John Dark (? 1495 – ? 1569) Also spelt Darke. Represented by a single work in the Peterhouse partbooks
  • Robert Jones (fl. 1520 to 1538) Contributed a Mass and Magnificat to the Peterhouse partbooks, and songs to Wynkyn de Worde's songbook of 1530
  • Thomas Preston (d. c. 1563) Composed 12 Offertory settings for keyboard, including the popular Felix namque, and an alternatim organ Mass for Easter, containing the only known sequence setting of the time. His keyboard writing is extremely virtuosic for the period
Thomas Whythorne, 1528–1595

1501–1550

  • Hyett (fl. before 1548) Represented by a single work in the Gyffard partbooks
  • John Ensdale (fl. before 1548) Represented by a single work in the Gyffard partbooks
  • John Hake (fl. before 1548) Represented by a single work in the Gyffard partbooks
  • Walter Erly (16th cent.) Has a single work in the Peterhouse partbooks
  • Arthur Chamberlain (early 16th cent.) Also spelt Chamberlayne. Has a single work in the Peterhouse partbooks
  • John Ambrose (fl. 1520 to 1545) Few pieces survive
  • William Shelby (? – 1570) Also spelt Shelbye, Selby, Selbie, Selbye. Two liturgical keyboard pieces, a Miserere and Felix namque, survive in The Mulliner Book
  • Robert Okeland (fl. before 1548) Also spelt Hockland, Ockland. Represented by a single work in the Gyffard partbooks
  • Thomas Tallis (c. 1505–1585)
  • Christopher Tye (c. 1505 – ? 1572)
  • John Wood (fl. 1530) He is represented by a single work, an Exsurge Domine et dissipentur inimici, in the Christchurch partbooks
  • John Merbecke (also Marbeck) (c. 1510 – c. 1585) Produced the first musical setting for the English liturgy, publishing The Booke of Common Praier Noted 1549. Surviving works include a Missa Per arma iustitie Almost burnt as a heretic in 1543.
  • Osbert Parsley (1511–1585) Also spelt Parsely Wrote a set of Lamentations for Holy Week
  • E. Strowger (fl. early 16th cent.) Only a single piece for keyboard, a Miserere in a British Museum MS, can be attributed to him
  • Thomas Knyght (fl. 1530 to 1535) Presumably also spelt Knight. Has a single work in the Peterhouse partbooks, and three works in the Gyffard partbooks
  • Philip Alcocke (fl. before 1548) Represented by a single work in the Gyffard partbooks
  • John Sheppard (c. 1515–1559)
  • John Thorne (d. 1573) Exsultabunt sancti in a British Museum MS
  • Kyrton (fl. 1540 to 1550) Miserere for keyboard in a British Museum MS
  • John Black (c. 1520–1587)
  • Thomas Caustun (c. 1520 to 25 – 1569) Also spelt Causton
  • Richard Wynslate (d. 1572) Also spelt Wynslade. His keyboard piece Lucem tuamis in a British Museum MS
  • Henry Stenings (fl. before 1548 – after 1600) Also spelt Stonninge, Stoninge, Stoninges, Stoning, Stonings. Surviving consort works on MS are three five-part works - a Miserere, a Browning and an In Nomine - and a simpler, four-part In Nomine. A four-part Latin Magnificat is found in the Gyffard partbooks
  • Richard Allwood (fl. c. 1550–1570) Also spelt Alwood
  • Richard Edwardes (1525–1566) Also spelt Edwards
  • Hugh Sturmys (16th cent.) Has a single work in the Peterhouse partbooks
  • Thomas Wright (16th cent.) Also spelt Wrighte. He is represented by a single work in the Gyffard partbooks, a Nesciens mater
  • William Mundy (c. 1528 – before 1591) Father of John Mundy His output includes fine examples of both the large-scale Latin votive antiphon and the short English anthem, as well as Masses and Latin psalm settings; his style is vigorous and eloquent. He is represented in The Mulliner Book and in the Gyffard partbooks.
  • Robert Parsons (c. 1535–1572) Latin music includes antiphons, Credo quod redemptor, Domine quis habitabit, Magnificat and Jam Christus astra. Also three responds from the Office of the Dead, songs (including Pandolpho), In nomine settings for ensemble, and a galliard.
  • Thomas Whythorne (1528–1595)
  • John Heath (16th cent.) Contributed a Morning and Communion Service to Day's Certaine Notes, of 1560. Probably the composer of a Christe qui lux for keyboard in MS, ascribed to 'Heath'
  • Clement Woodcock (1540–1590) Also spelt Woodcoke, Woodecock. His Browning my dear is one of several pieces of the period based on a popular tune, also known as The leaves be green
  • John Cuk (16th cent.) An extant mass on Venit dilectus meus in the York MS
  • Robert White (1538–1574) Also spelt Whyte
  • William Byrd (1543–1623)
  • Richard Hunt (16th cent.) Has two works in the Peterhouse partbooks
  • Alfonso Ferrabosco the Elder (1543–1588) Also spelt Alphonso, Farrabosco, Ferabosco, Forobosco. Also known as Master Alfonso and Alfonso Ferrabosco the Elder
  • Anthony Holborne (c. 1545–1602) Also known as Olborner
  • John Johnson (c. 1545–1594)
  • Thomas Woodson (d. ? 1605) Forty Wayes of 2 pts. in one is found in a British Museum MS, canonic settings of Miserere
  • Thomas Warrock (fl. 1580–1590) Also spelt Warrocke, Warwick. Two pieces in the Fitzwilliam Virginal Book, Nos. 97-8
  • John Baldwin (before 1560–1615)
  • John Cosyn (d. 1609) Published Musicke of six, and five partes in 1585
  • Edward Martyn (16th cent.) Has a single work in the Peterhouse partbooks
  • John Northbrooke (16th cent.) Has a single work in the Peterhouse partbooks
  • Picforth (fl. c. 1580) An In nomine survives in MS, unusual in that each instrumental part consists of notes of only one time-value throughout, the values differing in each of the five parts
  • Poynt (fl. c. 1580) Works survive in manuscript
  • Thomas Oldfield (?) His Praeludium is No. 49 in the Fitzwilliam Virginal Book
  • Jehan Oystermayre (?) Almost certainly German origin. Represented in the Fitzwilliam Virginal Book
William Byrd, 1543–1623

1551–1570

  • John Marchant (? – 1611) There survive a Pavan in a Fitzwilliam Museum, Cambridge MS, an Allemanda in the Fitzwilliam Virginal Book, No. 187; The Marchants Dream in a MS in the British Museum, and a Pavan and Galliard in another British Museum MS.
  • Richard Martin (fl. c. 1610) His only surviving song Change they mind since she doth change was included in Robert Dowland's A Musicall Banquet of 1610
  • Thomas Fardyng (16th cent.) Three rounds in a British Museum MS (MS 31922)
  • Edward Collard (d. c. 1600?)
  • Edmund Hooper (c. 1553–1621) Also spelt Hoop. He contributed to Michael East's psalter and William Leighton's Teares, and wrote some intensely expressive anthems. He has two keyboard pieces in the Fitzwilliam Virginal Book
  • Elway Bevin (1554–1638) Possibly Welsh
  • William Inglot (1554–1621) Also spelt Inglott. Two keyboard pieces in the Fitzwilliam Virginal Book; there is also an untitled keyboard piece by 'Englitt' in a MS in the British Museum
  • John Mundy (c. 1555–1630) Son of William Mundy. Published a volume of Songs and Psalms in 1594, contributed to the Triumphs of Oriana, composed English and Latin sacred music, and is represented with five pieces in the Fitzwilliam Virginal Book. His Goe from my window variations are a particularly fine example of the genre
  • Thomas Morley (1557–1603)
  • Nathaniel Giles (c. 1558–1634) Also spelt Gyles
  • Matthew Jeffries (c. 1558 – c. 1615)
  • Ferdinando Richardson (? 1558–1618) Also known as Sir Ferdinando Heybourne. There survives a keyboard Pavan and Galliard, each with variation, in the Fitzwilliam Virginal Book
  • Richard Carlton (c. 1558 – ? 1638)
  • William Brade (1560–1630) Active in Denmark and Germany
  • William Cobbold (1560–1639)
  • James Harding (c. 1560–1626) Also spelt Jeames Harden. Two keyboard fantasias, possibly arrangements, in a British Museum MS; a setting by William Byrd of a Gagliarda in the Fitzwilliam Virginal Book. Galiard by 'Mr. James' in Berlin State Library
  • William Leighton (c. 1560 – before 1617)
  • Peter Philips (1560–1628) Exiled to Flanders
  • Thomas Robinson (c. 1560 – after 1609)
  • Robert Hales (fl. 1583–1616) His only surviving song O Eyes, leave off your weeping was included in Robert Dowland's A Musicall Banquet of 1610.
  • John Bull (1562–1628) Exiled to the Netherlands
  • John Dowland (1563–1626)
  • Giles Farnaby (c. 1563–1640)
  • John Milton (c. 1563–1647) Father of the poet John Milton. Composed madrigals, one of which was printed in The Triumphs of Oriana, as well as anthems, Psalm settings, a motet, and some consort music including a 6-part In nomine
  • John Danyel (1564 – after 1625) Also spelt Danyell
  • Edward Johnson (fl. 1592/4) Contributed to Michael East's psalter and The Triumphs of Oriana and more
  • Mallory (fl. c. 1580) Works survive in MS
  • Michael Cavendish (c. 1565–1628)
  • John Farmer (c. 1565–1605)
  • George Kirbye (c. 1565–1634)
  • Thomas Campion (1567–1620) Also spelt Campian. The only English composer to experiment with musique mesurée and the first to imitate the Florentine monodists
  • John Hilton (d. 1608) Probably father of John Hilton
  • Edward Gibbons (1568 – c. 1650) Brother of Orlando Gibbons
  • Richard Gibbs (1568 – c. 1650) Also known as R. Gibbs. 'Allmaine' and 'Corant' in a Christ Church, Oxford MS
  • Philip Rosseter (c. 1568–1623)
  • Tobias Hume (c. 1569–1645) Responsible for the earliest known use of col legno in Western music
  • Nicholas Strogers (fl. 1560–1575) Also spelt Strowger, Strowgers. Three (probably four) keyboard pieces in a Christ Church, Oxford, manuscipt, and a Fantasia in the Fitzwilliam Virginal Book (No. 89); an In nomine exists in a Bodleian manuscript
  • Edward Blancks (fl. c. 1590–1620) Also spelt Blanke, Blanks, Blanckes
  • Thomas Bateson (c. 1570–1630)
  • John Cooper (c. 1570–1626) Also spelt Coperario, Coprario
  • Benjamin Cosyn (c. 1570–1652 or later) Also spelt Cosin, Cosens. Compiler of the manuscript Cosyn's Virginal Book
  • Francis Cutting (fl. 1595)
  • Francis Pilkington (c. 1570–1638) Lutenist
  • William Tisdale (b. c. 1570) Also spelt Tisdall
  • Henry Lichfild (d. 1613) Madrigalist
John Bull, 1562–1628

1571–1580

  • Thomas Lupo (1571–1627) Also known as Thomas Lupo The Elder. Composer of several works, but solid attribution of many works to him or another of his relatives is difficult
  • John Ward (1571–1638)
  • Daniel Bacheler (1572–1618)
  • Alfonso Ferrabosco the younger (c. 1572–1628) Illegitimate son of Alfonso Ferrabosco the eldar
  • Martin Peerson (1572–1650) May be the same person as Martin Pearson. Four keyboard pieces in the Fitzwilliam Virginal Book. Many works also published
  • Thomas Tomkins (1572–1656)
  • Ellis Gibbons (1573–1603) Brother of Orlando Gibbons
  • John Wilbye (1574–1638)
  • John Bartlet (fl. 1606 to 1610)
  • John Bennet (c. 1575 – after 1614)
  • John Coprario (c. 1575–1626)
  • William Simmes (c. 1575 – c. 1625)
  • John Holmes (d. 1629) His church music is of considerable interest, fragmentary though it is
  • John Cornysh (late 15th cent. – early 16th cent.) Probably a relative of William Cornysh
  • William Holborne (fl. 1597)
  • Thomas Greaves (fl. c. 1600)
  • John Maynard (c. 1576/7 – between 1614 and 1633) Primarily known from one published work, The XIII Wonders of the World, published in London in 1611. It contains twelve songs, six duets for lute and viol. and seven pieces for lyra viol with optional bass viol.
  • Thomas Weelkes (1576–1623)
  • Richard Sumarte (d. after 1630)
  • Henry Lichfild (fl. 1613 – after 1620)
  • Robert Jones (c. 1577 – after 1615) Published five volumes of simple and melodious lute songs, and one of madrigals
  • John Amner (1579–1641)
  • Michael East (c. 1580–1648) Probably the son of Thomas East
  • Thomas Hunt (fl. 1600)
  • Robert Hall (? – ?) 16th and/or 17th century. Five keyboard pieces extant in the MS Priscilla Bunbury's Virginal Book
  • John Hampton (fl. late 15th cent. – early 16th cent.) He has a single work, a setting of Salve regina, in the Eton Choirbook
  • Richard Dering (c. 1580–1630)
  • Thomas Ford (c. 1580–1648)
  • Richard Nicholson (d. 1639) Composed English and Latin church music, and consort songs, in humorous rather than melancholy vein, and contributed to The Triumphs of Oriana
  • Thomas Vautor (b. c. 1580/90) Published a volume of five and six part madrigals in 1619. His best-known piece is Sweet Suffolk Owl
  • Henry Youll (b. c. 1580/90) His Canzonets to Three Voyces, although clearly the work of an amateur, have charm and individuality
  • George Handford (fl. c. 1609) Book of Ayresin MS bears a dedication to Prince Henry dated 1609, but was never published
Orlando Gibbons, 1583–1625

1581–1611

  • Robert Tailour (fl. 1615) Possibly Robert Taylor, also spelt Tailer, Taler, Taylour. Published Sacred Hymns, consisting of Fiftie select Psalms in 1615
  • Robert Johnson (c. 1582–1633)
  • Thomas Simpson (1582 – c. 1628) Also spelt Sympson. Active in Denmark
  • Orlando Gibbons (1583–1625)
  • Charles Coleman (d. 1646)
  • William Corkine (fl. 1610–1617)
  • George Mason (fl. 1611 to 1618) Published (with John Earsden) The Ayres That Were Sung And Played, at Brougham Castle in Westmerland, in the Kings Entertainment... 1618. This included some of the few masque songs that survive from the period immediately after 1613
  • Robert Ramsey (d. 1644) Composed mythological and biblical dialogues, such as Dives and Abraham, Saul and the Witch of Endor, and Orpheus and Pluto
  • John Adson (1587–1640)
  • John Lugg (? 1587 – 165?) Also spelt Lugge. There survive nine plainsong settings, one hexachord, and three voluntaries for double organ in a Christ Church autograph MS, among others
  • Nicholas Lanier (1588–1666) Also spelt Lanière
  • Walter Porter (c. 1588–1659) Madrigalist. Publications include instrumental toccatas, sinfonias and ritornellos as well as vocal pieces
  • John Tomkins (1589–1638) Half brother of Thomas Tomkins. John come kiss me now (variations) survives in a British Museum MS
  • Richard Mico (1590–1661) Two 18th century arrangements for viols of keyboard pavans in a MS in the British Museum survive
  • Thomas Ravenscroft (c. 1590 – c. 1633) Published a book of psalms amongst others
  • Leonard Woodson (d. 1641) His Mall Sims survives in a Berlin State Library MS
  • Robert Dowland (1591–1641) Son of John Dowland. Only three works are definitely ascribed to him: two lute pieces in the 'Varietie of Lute Lessons' and one in the 'Margaret Board Lutebook'.
  • John Jenkins (1592–1678)

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. The word "Dutch" here refers to the historical Low Countries, roughly corresponding to modern Belgium, northern France and the Netherlands. Most artists were born in Hainaut, Flanders and Brabant.

Jacob Obrecht, c. 1453–1505

1370–1450

1451–1500

Orlande de Lassus, c. 1531–1594
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.

Jean Maillard, c. 1510 – c. 1570

1370–1450

Claude Le Jeune, 1530–1600

1451–1500

Guillaume Costeley, 1530–1606

1501–1550

1551–1557

  • Fabrice Caietain (fl. 1570–1578)
  • Jacques Champion (before 1555–1642) known as La Chapelle
  • Jacques Mauduit (1557–1627)
  • Julien Perrichon (1566 – c. 1600) Also a lutenist.

German

Hans Leo Hassler, 1564–1612

1370–1500

Michael Praetorius, c. 1571–1621

1501–1571

Italian

After the Burgundian School came to an end, Italy became a leading exponent of renaissance music and continued its innovation with 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

Francesco Canova da Milano, 1497–1543

1471–1500

Giovanni Pierluigi da Palestrina, c. 1525–1594

1501–1525

Carlo Gesualdo, 1560–1613

1526–1550

Jacopo Peri, 1561–1633
Claudio Monteverdi, 1567–1643

1551–1575

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.

  • Jerzy Liban z Legnicy (1464 – after 1546)
  • Mikołaj z Chrzanowa (1485–1555)
  • Sebastian z Felsztyna (c. 1490–1543)
  • Sebastian Herburt (c. 1490–1543) Same as Sebastian z Felsztyna (c. 1490 – after 1543) ?
  • Jan z Lublina (late 15th century – 1540)
  • Mikołaj z Krakowa (first half of 16th century)
  • Wacław z Szamotuł (c. 1520 – c. 1560)
  • Cyprian Bazylik (1535 – c. 1600)
  • Mikołaj Gomółka (c. 1535 – c. 1609)
  • Krzysztof Borek (? – 1573)
  • Marcin Leopolita (c. 1540 – c. 1584) Also known as Marcin ze Lwowa
  • Jakub Polak (c. 1545–1605) Also known as Jacob Polonais, Jakub Reys, Jacques le Polonois and Jacob de Reis. Active in France
  • Nicolaus Cracoviensis (16th cent.)
  • Tomasz Szadek (c. 1550 – after 1611)
  • Krzysztof Klabon (c. 1550 – after 1616)
  • Marcin Wartecki (second half of 16th century)
  • Wojciech Długoraj (c. 1557 – after 1619)
  • Petrus de Drusina (c. 1560–1611)
  • Diomedes Cato (before 1570 – c. 1603)

Portuguese

Spanish

1430–1510

Diego Ortiz, c. 1510 – c. 1570

1511–1570

Tomás Luis de Victoria, 1548–1611

Czech

Kryštof Harant z Polžic a Bezdružic, 1564–1621

Other

  • Paul Hofhaimer (1459–1537) Austrian
  • Robert Johnson (c. 1470 – after 1554) Scottish. Active in England and Scotland
  • John Lloyd (c. 1480–1523) Welsh. Also spelt Lloidd, Floyd. Active in England. Works include the complex Mass on O quam suavis
  • Robert Carver (1484/5 – after 1568) Scottish. Wrote a mass on L'Homme armé (the only known by a British composer) and a nineteen part O bone jesu
  • Ludwig Senfl (c. 1486 – c. 1542) Swiss. Active in Germany
  • Bálint Bakfark (1507–1576) Hungarian
  • John Angus (c. 1515–1596) Scottish
  • Robert Douglas (early 16th cent.) Scottish. Works ascribed to him in the Christchurch partbooks, are in fact by Orlande de Lassus
  • David Peebles (fl.c. 1530–1579) Scottish
  • Philip ap Rhys (fl. 1545–1560) Probably Welsh. Also spelt Ryce
  • Jacobus Gallus (1550–1591) Slovenian. Also known as Jacob Handl. Active in Moravia and Bohemia
  • Ivan Lukačić (1584? – 1648) Croatian
  • William Kinloch (16th – 17th cent.) Scottish. Five keyboard pieces (and possibly others) in the National Library of Scotland, Edinburgh; there is also a Pavan and Galliard by 'Kinloughe' in a British Museum MS

Unknown nationality

  • Lupus (c. 1495 – after 1530) Possibly a Franco-Flemish composer, whose music has survived in the Medici Codex: stylistically distinct from Lupus Hellinck who otherwise would be identified as this composer
  • Teodora Ginés (c. 1530 – after 1598) Not to be confused with the later Cuban singer and former slave of the same name
  • Jean Courtois (fl. 1530–1545) Flemish or French, active at Cambrai

See also

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








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