He was a younger contemporary of Willaert's, but was born an Italian.
One of Willaert's motets, at any rate, tells the story of Susannah, and is plainly a forerunner of the oratorio.
In 1549 fantasies for three voices, vocal or instrumental, by Willaert were printed.
The former followed Willaert's plan of writing for antiphonal choruses, but he employed most frequently three instead of two.
Willaert is regarded by many as the founder of the madrigal, of which there is more to be said presently.
Strangely enough Willaert never mentions either his compositions or his daughter Catharine, who was a composer, too.
Willaert used original themes in his fantasies, and his style shows a gradual approach to the modern manner.