Will dated 28 Jan 1611/12 and proved Jul 1612, Rochester XIX, folia 514
Fled France in 1561 to escape religious wars.
Played the flute and the cornet. He was master flutist to Henri II
of France. During the Protestant persecutions, he was a Huguenot to
England with safe passage arranged forhim by his patroness, the widowed
queen Catherine de Medici. Nicholas arrived at the new court of
Elizabeth I in London, England in 1561. This was thetime of William
Shakespeare, Ben Johnson, Francis Drake, Sir Water Raleigh.In court,
marriages were arranged by the Queen. Nicholas was paired with
Lucreece, thought to be the daughter of an Italian musician of the Royal
Orchestra. Nicholas was made Master of Flutes. The couple prospered,
acquiring a great deal of property in East Greenwich, Blackheath, and
nearby. Three generations of this remarkable family served British
royalty as court musicians, poets and artists. He was in the court of
King Henry II of France, and also the court of Queen Elizabeth and King
James of England, was the founder of the Lanier family of musicians and
the ancestor of the American Laniers He moved to East Greenwich,
Country Kent where he was one of the musicians to the court until his
death in 1612. He was a very wealthy man, having extensive holdings in
Blackheath, and the surrounding country; this section was south of the
Thames, and about 5 miles east of the London Bridge. More About
NICHOLAS LANIER: Fact 12: Will 20 Jan 1611, England, proved 1 July 1612
All property moveable and immovable to wf Lucrece to John, to
Alfonse, to Innocent, to Jerom, to Clement, to Andrea, 4 dau, wf Lucrece
to be ex. wit: George Lane, Peter Guy
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Source: Talbert Black, "untitled", 2002
The la Niere family originated in Tuscany, Northern Italy, but moved
soon after the Crusades to the province of Gascony in Southern France.
In 1559-60 he was a flute and coronet player in the Court of King
Henry II. While in Paris, he was engaged by the English Earl of
Hertford to serve as Musician in the Court of Queen Elizabeth of
England. He and his brother John, who was also a Musician arrived in
London from Paris in 1561 and both settled in the Parrish of St.
Olave. Being Protestants and of the Upper Class of France they had
become part of the French Huguenot refugees fleeing to England.
Nicholas married Lucreece before 1565 and later moved to East
Greenwich, County Kent, England, where Nicholas remained in the
service of the Royal Court until his death. By then he had become a
wealthy man and was survived by his wife and 10 children.
The following comes from:
http://familytreemaker.genealogy.com/users/l/a/n/Wayne-D-Lanier/GENE1-0001.html
1. Nicholas1 Lanier was born 1544 in Rouen, France, and diedJanuary31, 1610/11 in County Kent, England. He married (1) Unknown.He married(2) Lucreece Bassano February 13, 1570/71 in All HallowsBarking, daughterof Anthony Bassano and Elena De Nazzi. She was bornSeptember 24, 1556,and died Abt. January 4, 1633/34.
Notes for Nicholas Lanier:
In 1561 the Earl of Hertford was visiting in Paris, and met there,youngNicholas Laniere, who had been in the Court of the late KingHenry II; hewas recommended as a good flute player and also thecornet. He wasconsidered to be sober, honest, and born at Rouen. Hewas engaged to serveas messenger and a replacement for PeterGuillaume, one of the Queen'sflute players lately dead. Confirmationof his services under Henry II isto be found in the lists of"chantres et autres Jouers d'instruments" ofthe French King'sChambers, which include Nicholas Lasnier for the yearsof 1559 and1560.(Groves Dictionary of Music and Musicians, Supplement1962, p.255)
Nicholas Lanier moved to East Greenwich, County Kent, where he was oneofthe musicians to the Court until his death about 1612. He was averywealthy man, having extensive holdings in Blackheath, and thesurroundingcountry; this section was south of the Thames and aboutfive miles east ofthe London Bridge. One of the many palaces washere, the Royal Hospital,and many other buildings of earlyimportance. In early 1700 an old housewas taken down; it wasdescribed as being fitted up for a theater,probably by the Lanierswho were musicians and dramatists.
Nicholas Lanier, who was in the Court of King Henry II of France, andalsothe Court of Queen Elizabeth and King James of England, was thefounder ofthe Lanier family of musicians and the ancestor of theAmerican Laniers.
He married before 1566, Lucreece (Bassano?), perhaps the daughter ofoneof the Italian musicians in the Royal Orchestra. They had sixsons, all ofwhom were musicians to the Queen and Kings; there werealso four daughtersand eight or more grandsons who became members ofthe Royal Orchestra,making three generations serving the Royalfamily. In 1604 NicholasLanier, Sr. was named "Musician of theFlutes" and after his death his sonAndrea succeeded him "for life".
The will of Nicholas Lanier Gent. was dated January 28, 1611/12,andproved July 1612, Rochester XIX, folia 514. "To Lucreece my wife,allmy lands, and goods; to sons John, Alphonse, Innocent, Jerome,Clement,12 shillings; to Andrea 20 pounds if he does not have myplace; my fourdaughters, three of whom are unmarried, I leave to thediscretion of mywife Lucreece, my sole executrix."
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Source: Donna Herrud"Herrud/Callahan", 2001
Brother of John Lanier who came to London from Rouen, France in 1561 and diedin 1572. Nicholas was musician to King Henry II of France and in 1561 he wasasked to come to London to be a musician to Queen Elizabeth.Musician to Queen Elizabeth in 1581. All sons were musicians to the Crown.Or b. Abt 1530Will dated 28 Jan 1611/12 and proved Jul 1612, Rochester XIX, fo lia 514
Fled France in 1561 to escape religious wars.
FactPLAC MusicianBrother of John Lanier who came to London from Rouen, France in 1561 and diedin 1572. Nicholas was musician to King Henry II of France and in 1561 he wasasked to come to London to be a musician to Queen Elizabeth.Nicholas, of Rouen, France, played flute and cornet. He was first master flutist to Henri II of France. During the Protestant persecutions, he was a Huguenot, he moved to England with safe passage arranged for him by his patroness (the widow Queen Catherine de Medici. Nicholas arrived at the new court of Elizabeth I in 1561. Queen Elizabeth, thrilled at the new age she generated, drew artists, poets, scholars and musicians to England from all over Europe. Naturally they wished to be near the brillianat star, Elizabeth. Arts were glofied. This was the time of William Shakespeare and Ben Johnson, Explorers such as Francis Drake were discovering new worlds; and colonist Walter Raleigh was forming expeditions to colonize them.The Laniers were right in the midst of it. In court, marriages were arranaged by the Queen. Nicholas Lanier was paired with Lucreece Bassano, daughter of an Italian musician of the Royal Orchestra. Nicholas was made Master of Flutes for Elizabeth I and James I. Nicholas and Lucreece prospered and aquired a great deal of property in East Greenwich, Blackheath, and nearby. Three generations of Laniers served the British Monarchy as court musicians, poets and artists. Their accomplishments are weel documented and they were well rewarded. Nicholas's Will was proved 1/28/1611-12.Musician to Queen Elizabeth in 1581. All sons were musicians to the Crown.Or b. Abt 1530Will dated 28 Jan 1611/12 and proved Jul 1612, Rochester XIX, fo lia 514
Fled France in 1561 to escape religious wars.
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Source: Jo Ann Helton, "Helton & Related Families 10/30/2003", 2003
Nicholas served as a court musician to King Henry II in France (listed as the royal flutist on the Chantres et autres Jouers d'instruments for 1559-60).
During the Protestant persecutions in France, the Lanier family fled as Huguenots to England. It is said that safe passage was arranged by Queen Catherine de Medici. Nicholas arrived in 1561 and settled in St. Olave Parish, Hart Street, London. After arrival in England he served in the court of Queen Elizabeth I and King James of England. He was Royally named as the "Musician of the Flutes", a title which son Andrea later inherited. Ten of his children and 8+grandchildren served as royal musicians. He is considered as the founder of the Lanier family of musicians and the ancestor of the American Laniers.
His first wife's name is unknown, married sometime prior to 1565 in England. However, after an arrangement by the Queen, he later married Lucreece Bassano February 13, 1570-1571 in All Hallows Barking.
He had six sons, all of whom were musicians to the Queen and Kings; and four daughters, two of whom married musicians; and alter eight or more gransons became members of the Royal Orchestra, making three generations serving the royal family. In 1604 Nicholas Lanier, Sr. was named "Musician of the Flutes", and after his death his son Andrea succeeded him "for life".
Nicholas Lanier
(Contributed by Gordon J. Callon )
Born: September 1588, London (England)
Died: February 1666, Greenwich (England)
Music
Solo songs
A. Bring away this sacred tree
B. Weep no more my wearied eyes
Come, thou glorious object of my sight
Do not expect to hear
Fire, fire
I was not wearier
I wish no more
Like hermit poor
Love and I of late did part
Mark how the blushful morn
Neither sighs, nor tears
No more shall meads be deck'd with flowers
Nor com'st thou yet (Hero's complaint to Leander)
Hero and Leander, according to Roger North, writing in his (first) "Musicall Grammarian", was composed shortly after Lanier's return from his travels in Italy, 1625-28. The stylistic features of the cantata would support this claim. North also states that "The King was exceedingly pleased with this pathetick song, and caused Lanneare often to sing it, to a Consort attendance while he stood next, with his hand upon his shoulder." In his second "Musical Grammarian" North once more comments on the cantata and quotes the opening measures, set in the bass clef. Taking North's statements at face value, Peter Holman (Director of The Parley of Instruments) has prepared a reconstruction of Hero and Leander for baritone and strings.
O Amantissime Domine
Of thee kind boy, I ask no red and white
Qual musico gentil
Silly heart forbear
Stay, silly heart
Thou art not fair for all thy red and white
Dialogues
Collin, say, why sit'st thou so
I prithee keep my sheep for me
Shepherd in faith I cannot stay
Tell me shepherd
Part songs
A. Amorosa pargoletta [à 3]
B. Amorosa pargoletta [solo voice with theorbo]
Misera pastorella
A. No, no, I tell thee no [à 3]
B. No, no, I tell thee no [solo voice with thoroughbass]
Sweet, do not thus destroy me
Though I am young
Young and simple though I am
Instrumental music
Almond [Allemande]
Saraband
Symphonia, G minor
Symphonia, G major
Other
[Canon:] Thus, thus at last [from Self Portrait]
[Arrangements:] Have you any work for the sowgelder, ho [from Wilson] In guilty night (The Witch of Endor) [from Ramsey]
[Poetry by Lanier:] An Imperfect Ode, to his Sacred Majesty, for the New Year, 1665
See also: Lanier's "Nor com'st thou yet" (Hero's complaint to Leander, no. 12) arranged by Peter Holman for baritone voice with string ensemble
From: Nicholas Lanier: The Complete Works. Edited by Gordon J. Callon (Boethius Editions, XI). Hereford, England: Severinus Press, 1994. [Printed Feb. 1997.]
Lanier was also a visual artist. Only surviving painting that can be identified: Nicholas Lanier. Self Portrait. (Collection of the Faculty of Music, Oxford University. Reproduced courtesy of the Heather Professor of Music, Oxford University.) It has been suggested that Lanier's Self Portrait was presented to the Oxford Music School, c. 1642-44, when he was in Oxford with the court; if so his canon "Thus, thus at last" may date from this time.
Two books of prints (visual art) by Lanier survive: Lanier, Nicholas.] Maschere delineato di Julio Romano ex, Coll:ne NLanier [1638]. Lva E.381-423-1964; E.392-1964 (pressmark 95D.140). [Lanier, Nicholas.] Prove prime fatti a l'aqua forte da N: Lanier a L'età sua giovenile di sessanta otto Anni 1656. Lva E.381-423-1964; E.392-1964 (pressmark 95D.140).
Life
Nicholas Lanier (1588-1666) was the most prominent member of a large family of French and Italian musicians in the service of the English court since the middle of the sixteenth century. He received a position as one of the lutes in the King's Music, 12 January 1615/16. Previously (c. 1605-13) he had held a position as a domestic musician in the household of Robert Cecil. At court, in addition to his position as lutenist, Lanier was a singer, and performer on the viol. He was the first to hold the position of Master of the King's Music, from at least as early as 1626 until his death (with a hiatus during the Civil War and interregnum), and he served as first Marshall (for life) of the Corporation for Regulating the Art and Science of Music.
As a composer, Lanier was recognized in his own day, and is chiefly remembered now, as one of the composers who introduced the new style of Italian monody to seventeenth-century English music. He was an important composer of music for court masques, especially those of Ben Jonson. Indeed, if we are to take Jonson's remarks at face value, he was the first English composer to write music for a masque that was sung throughout, and thus may be considered the beginning of a sort of opera in England-Jonson, in his introductory stage directions to Lovers Made Men (1617/1640), states, "the whole Masque was sung (after the Italian manner) Stylo recitativo, by Master Nicholas Lanier; who ordered and made both the Scene, and the Musicke." Jonson also mentions Lanier (along with Lanier's uncle, Alfonso Ferrabosco) as composer of music for his Masque of Augurs.
He was a poet: many of the lyrics to his songs are probably his own, and at least one of his poems was set to music by another composer. He served as representative and agent of Charles I in the purchase of a large portion of the extraordinary art collection of the Dukes of Mantua. This purchase, which has been described as "the greatest single coup in the history of collecting by any purchaser, prince or patron", took Lanier to Italy (mainly in and near Venice) off and on for about three years (1625-28) and was the means by which he came into direct contact with the new Italian music.
Lanier was both a painter and a print maker, producing several paintings and two books of prints. As Ben Jonson noted in the remark quoted above, Lanier provided scenery for Lover's Made Men. He evidently developed a reputation for knowledge of specialized painting techniques. Theodore de Mayerne, writing about 1630, comments on a recipe for "amber varnish" given to him by Lanier. He describes Lanier as "a superb musician and art lover". De Mayerne states that Lanier "says that he had learned this and obtained the recipe from signora Artemisa, the daughter of Gentileschi". It has also been suggested that during the interregnum Lanier supported himself by painting forgeries in imitation of masterworks. Sanderson, Graphice (1658), writes: "It is said that Laniere in Paris, by a cunning way of tempering his Colours with Chimney Soote, the Painting becoms duskish, and seems ancient; which done, he roules up and thereby it crackls, and so mistaken for an old Principall, it being well copied from a good hand."
Life information from: Gordon J. Callon, "Introduction", Nicholas Lanier: The Complete Works..., ix-xiii.
Select Bibliography (very limited):
Callon, Gordon J. "Songs with Theorbo by Charles Colman and his Contemporaries in Oxford, Bodleian Library MS Broxbourne 84.9 and London, Lambeth Palace Library MS 1041," Journal of the Lute Society of America, XXIV (1991), pp. 15-51.
Emslie, MacDonald. "Nicholas Lanier's Innovations in English Song", Music and Letters, XLI (1960), 13-27.
Graham, F. Lanier. "The Earlier Life and Work of Nicholas Lanier (1588-1666), Collector of Paintings and Drawings." M.A. Thesis, Columbia University, 1967.
James, Susan E. "Nicholas Lanier: A Greenwich Notable, Part I 1588-1612", Journal of the Greenwich Historical Society, I (1992), 51-60.
James, Susan E. "Nicholas Lanier: A Greenwich Notable, Part 2 (1613-1625)", unpublished typescript [for publication in the Journal of the Greenwich Historical Society, II (1993)].
Spink, Ian. English Song, Dowland to Purcell. London: B.T. Batsford Ltd., 1974.
Spink, Ian. "Lanier in Italy", Music and Letters, XL (1959), 242-252.
Wilson, Michael I. Nicholas Lanier: Master of the King's Musick. Aldershot, Hampshire: Scolar Press, 1994.
Songs with Theorbo (ca. 1650-1663): Oxford, Bodleian Library, Broxbourne 84.9, London, Lambeth Palace Library, 1041. Edited by Gordon J. Callon. (Recent Researches in the Music of the Baroque Era, 105). Madison: A-R Editions, Inc., 2000.