After the death of Josquin Des Prez and before the rise of Orlandus Lassus, between 1521 and the 1550s, composers of the so-called "Lost Generation" created their works. During this period, figures such as Clemens non Papa, Adrian Willaert, Jacquet de Mantua, Costanzo Festa, Ludwig Senfl, and Cristóbal de Morales were active. Hermann Finck particularly highlighted Nicolas Gombert, who is considered an important representative of the imitative style and stylistic refinement. Gombert, likely influenced by Josquin, composed pieces that differed significantly from previous generations through their rich harmonies and pronounced imitation.
Few details are known about Gombert's life. He was born around 1495 in a small town in French Flanders. After working at the court of Emperor Charles V, he traveled to various regions of Europe. An incident involving a choirboy, as recounted by Cardanus, led to Gombert being punished by being sent to work on the galleys until he was finally pardoned by the emperor. His extensive output includes masses, motets, Magnificat settings, and chansons. His works were published as early as 1529 and were widely appreciated.
It remains questionable whether Gombert can truly be considered a pupil of Josquin, as his style differs significantly from that of his supposed teacher in its treatment of imitation and harmony. His Magnificat settings and the "Missa Tempore paschali," in particular, demonstrate his compositional mastery of voices and musical structure. The dissemination of his works in various cities underscores his importance to the music of his era.
Gombert's music had a formative influence on many of his contemporaries and subsequent composers, including Cristóbal de Morales. His compositions, especially his Magnificat settings and the Missa Tempore paschali, testify to his artistic refinement and innovative spirit. Despite the fragmentary nature of his life and the unclear circumstances of his death, his contribution to the history of Renaissance music remains significant.