by Kirsten Flores
On my recent travels on t’internet, I came across this fascinating Gantt chart showing a timeline of early music composers from 1400-1610, accompanied by a written list for each entry. I haven’t been able to find out who compiled the list (do let me know if you can shed light on the author’s identity), but it was in a public post in the Baroque Composers Group on Facebook. It makes for interesting reading, although no doubt there will be a few bun fights over inclusions and omissions – Peter Syrus felt the list could rightfully have included, in alphabetical order: Arcadelt, Claudin de Sermisy, Ferrabosco I, Lechner, P. de Monte, Ruffo, Senfl, Vecchi, as well as a few other English composers, such as Tomkins, J. Browne, Ludford, Sheppard and R. White. Such lists are never perfect (why only start at 1400 and miss out Hildegard of Bingen, and indeed make no mention at all of any female composers?), but they can be a good starting point and help give a chronological context to many of the names we’re so familiar with. So if you think any particular composer deserved to make the list, write to the Editor and let us know.
Oswald von Wolkenstein (Germanic, c. 1376 – 1445)
Poet, composer, and diplomat. A key figure of the late medieval Minnesang tradition.
Leonel Power (English, c. 1385 – 1445)
An early master of English sacred polyphony, associated with the Old Hall Manuscript.
John Dunstable (English, c. 1390 – 1453)
The leading English composer of the early 15th century. Influential across Europe for introducing the “contenance angloise.”
Guillaume Du Fay (Franco-Flemish, c. 1397 – 1474)
One of the most important composers of the early Renaissance, merging medieval styles with newer textures.
Gilles Binchois (Franco-Flemish, c. 1400 – 1460)
Renowned for his graceful chansons and his contribution to Burgundian court music.
Johannes Ockeghem (Franco-Flemish, c. 1410 – 1497)
A towering figure of mid-Renaissance polyphony, known for his complex mass settings.
Walter Frye (English, fl. 1450s)
A less documented English composer whose works circulated widely on the continent.
Antoine Busnois (Franco-Flemish, c. 1430 – 1492)
An important figure in the transition from Ockeghem to Josquin. Celebrated for his masses and secular songs.
Loÿset Compère (Franco-Flemish, c. 1445 – 1518)
A gifted melodist who worked in Milan and later returned to Cambrai.
Alexander Agricola (Franco-Flemish, c. 1457 – 1506)
Noted for his rhythmically complex and often eccentric polyphonic style.
Jacob Obrecht (Franco-Flemish, c. 1457 – 1505)
One of the last to write large-scale cyclic masses in the style of Du Fay and Ockeghem.
Josquin des Prez (Franco-Flemish, c. 1450/55 – 1521)
The most celebrated composer of the High Renaissance; his music marked a shift toward expressive, text-sensitive style.
Heinrich Isaac (Franco-Flemish, c. 1450 – 1517)
Served the Medici in Florence and Maximilian I; his Choralis Constantinus is monumental.
Pierre de La Rue (Franco-Flemish, c. 1452 – 1518)
Composer of elaborate sacred music in the Habsburg-Burgundian court.
Pedro de Escobar (Iberian, c. 1465 – after 1535)
One of the earliest known Portuguese composers of polyphony.
Martin Agricola (Germanic, 1486 – 1556)
A theorist and composer known for advancing Protestant church music.
Antoine de Févin (French, c. 1470 – c. 1511/12)
Composer at the French royal chapel. Style similar to Josquin.
Antonius Divitis (Franco-Flemish, c. 1470 – c. 1530)
A colleague of Josquin’s, also active in the French royal chapel.
Antoine Brumel (Franco-Flemish, c. 1460 – c. 1512/13)
Famous for his Earthquake Mass, one of the earliest polyphonic settings for 12 voices.
Philippe Verdelot (French, c. 1480 – c. 1530/40)
Key figure in the development of the Italian madrigal.
Clément Janequin (French, c. 1485 – 1558)
Known for his programmatic chansons such as La Guerre.
Nicolas Gombert (Franco-Flemish, c. 1495 – c. 1560)
A master of dense imitative counterpoint and pupil of Josquin.
Thomas Crecquillon (Franco-Flemish, c. 1505 – c. 1557)
Highly prolific composer of motets and chansons.
Adrian Willaert (Franco-Flemish, c. 1490 – 1562)
Founder of the Venetian School and a major influence on polychoral writing.
John Taverner (English, c. 1490 – 1545)
Premier English composer of the early Tudor period.
Costanzo Festa (Italian, c. 1485 – 1545)
The first great Italian madrigalist, active in the Sistine Chapel.
Cristóbal de Morales (Iberian, c. 1500 – 1553)
Most celebrated Spanish composer of the mid-16th century.
Christopher Tye (English, c. 1505 – c. 1572/73)
A gifted organist and innovator of English church music.
Thomas Tallis (English, c. 1505 – 1585)
A bridge figure between Catholic and Protestant musical traditions.
Hans Neusidler (Germanic, c. 1508 – 1563)
Renowned lutenist and music publisher.
Pierre de Manchicourt (Franco-Flemish, c. 1510 – 1564)
Kapellmeister to Philip II of Spain, known for elegant sacred music.
Claude Goudimel (French, c. 1514 – 1572)
Set many of the Genevan Psalter texts to music.
Jacob Clemens non Papa (Franco-Flemish, c. 1510 – c. 1555)
Noted for his expressive motets and Psalms.
Cipriano de Rore (Franco-Flemish, c. 1515 – 1565)
Crucial in the development of the expressive madrigal.
Giovanni Pierluigi da Palestrina (Italian, c. 1525 – 1594)
Pillar of the Roman School; model of Catholic Counter-Reformation polyphony.
Francisco Guerrero (Iberian, 1528 – 1599)
Deeply spiritual Spanish composer, with both sacred and secular works.
Costanzo Porta (Italian, c. 1528 – 1601)
Follower of Willaert and important teacher in Italy.
Claude Le Jeune (French, c. 1528 – 1600)
Major composer of musique mesurée and psalm settings.
Orlande de Lassus (Franco-Flemish, 1532 – 1594)
One of the most prolific and versatile composers of the 16th century.
Andrea Gabrieli (Italian, c. 1533 – 1585)
Important Venetian composer, precursor to the grand polychoral style.
Giaches de Wert (Franco-Flemish, 1535 – 1596)
Leading madrigalist whose style prefigured Monteverdi.
William Byrd (English, c. 1543 – 1623)
Greatest English composer of his generation; master of sacred and secular music.
Luzzasco Luzzaschi (Italian, c. 1545 – 1607)
Composer for the concerto delle donne in Ferrara.
Tomás Luis de Victoria (Iberian, c. 1548 – 1611)
The most important Spanish composer of the Counter-Reformation.
Giovanni de Macque (Franco-Flemish/Italian, c. 1550 – 1614)
Neapolitan madrigalist with experimental harmonic language.
Luca Marenzio (Italian, c. 1553 – 1599)
Master of the late madrigal, praised for his sensitivity to text.
Alonso Lobo (Iberian, c. 1555 – 1617)
Pupil of Guerrero; combined Spanish austerity with rich polyphony.
Thomas Morley (English, c. 1557 – 1602)
Key figure in English secular music and author of Plaine and Easie Introduction.
Giovanni Gabrieli (Italian, c. 1557 – 1612)
Pioneer of spatially separated choral and instrumental forces in Venice.
Philippe Rogier (Franco-Flemish, c. 1561 – 1596)
Worked in Spain, blending northern polyphony with Iberian flair.
Carlo Gesualdo (Italian, 1566 – 1613)
Known for intensely expressive and harmonically daring madrigals.
John Dowland (English, 1563 – 1626)
Leading lutenist and melancholic song composer of the Elizabethan era.
Hans Leo Hassler (Germanic, 1564 – 1612)
Introduced Italian styles into Protestant Germany.
Gaspar Fernandes (Iberian/New World, c. 1566 – 1629)
Worked in Guatemala and Mexico; early colonial polyphonist.
Thomas Campion (English, 1567 – 1620)
Composer, poet, and theorist, known for lute songs.
Claudio Monteverdi (Italian, 1567 – 1643)
A revolutionary figure who transitioned from Renaissance to Baroque, blending madrigal and opera.
John Cooper (Giovanni Coprario) (English, c. 1570 – 1626)
Court composer under James I, known for instrumental music.
Michael Praetorius (Germanic, 1571 – 1621)
Composer, theorist, and organist; major contributor to Lutheran music.
Orlando Gibbons (English, 1583 – 1625)
A master of English sacred music and keyboard repertoire.
Published in September 2025 Newsletter
