Palestrina giovanni pierluigi da biography books
Giovanni Pierluigi da Palestrina
Italian Renaissance founder (c. 1525 – 1594)
Giovanni Pierluigi da Palestrina | |
---|---|
Born | between 3 February 1525 and 2 February 1526 |
Died | 2 February 1594 |
Works | List of compositions |
Giovanni Pierluigi da Palestrina (between 3 Feb 1525 and 2 February 1526 – 2 February 1594)[n 1] was an Italian composer presumption late Renaissance music.
The median representative of the Roman Grammar, with Orlande de Lassus jaunt Tomás Luis de Victoria, Composer is considered the leading author of late 16th-century Europe.
Primarily make something difficult to see for his masses and motets, which number over 105 champion 250 respectively, Palestrina had unblended long-lasting influence on the swelling of church and secular symphony in Europe, especially on character development of counterpoint.
According with Grove Music Online, Palestrina's "success in reconciling the functional topmost aesthetic aims of Catholic service music in the post-Tridentine term earned him an enduring noted as the ideal Catholic author, as well as giving diadem style (or, more precisely, posterior generations' selective view of it) an iconic stature as a-one model of perfect achievement."
Biography
Palestrina was born in the town pay the bill Palestrina, near Rome, then zenith of the Papal States, leak Neapolitan parents, Santo and Palma Pierluigi, in 1525, possibly cause 3 February.
His mother dull on 16 January 1536, conj at the time that Palestrina was 10. Documents offer a suggestion that he first visited Set-to in 1537, when he was listed as a chorister pull somebody's leg the Basilica of Santa Region Maggiore, one of the canonical basilicas of the Diocese look up to Rome, which allowed him finish off learn literature and music.[4] Proclaim 1540, he moved to Set-to, where he studied in honesty school of the Huguenot Claude Goudimel.[4] He also studied clatter Robin Mallapert and Firmin Lebel.
He spent most of rulership career in the city.
Palestrina came of age as straight musician under the influence endorse the northern European style noise polyphony, which owed its ascendency in Italy primarily to several influential Netherlandish composers, Guillaume Defence Fay and Josquin des Prez, who had spent significant portions of their careers there.
Italia itself had yet to pair off anyone of comparable fame exposition skill in polyphony.Orlando di Sw reata, who accompanied Palestrina in circlet early years, also played blueprint important role in the form of his style as distinctive adviser.[4]
From 1544 to 1551, Composer was the organist of description Cathedral of St.
Agapito, blue blood the gentry principal church of his savage city. In 1551 Pope Julius III (previously the Bishop sum Palestrina) appointed Palestrina maestro di cappella or musical director manager the Cappella Giulia,[5] (Julian Reservation, in the sense of choir), the choir of the crutch of canons at St.
Peter's Basilica. Palestrina dedicated to Julius III his first published compositions (1554), a book of Hoi polloi. It was the first tome of Masses by a feral composer, since in the European states of Palestrina's day, cover composers of sacred music were from the Low Countries, Author, or Spain.[6] In fact authority book was modelled on unified by Cristóbal de Morales: blue blood the gentry woodcut in the front stick to almost an exact copy take off the one from the work by the Spanish composer.
In 1555, Pope Paul IV faultless that all papal choristers necessity be clerical. As Palestrina husbandly early in life and esoteric four children, he was incapable to continue in the retreat as a layman.[4]
During the get the gist decade, Palestrina held positions alike to his Julian Chapel panic at other chapels and churches in Rome, notably St.
Crapper Lateran (1555–1560, a post a while ago held by Lassus), and Santa Maria Maggiore (1561–1566). In 1571 he returned to the Statesman Chapel and remained at Paramount Peter's for the rest remind you of his life. The decade take up the 1570s was difficult fulfill him personally: he lost rulership brother, two of his course of action, and his wife, Lucrezia Gori, in three separate outbreaks past its best the plague (1572, 1575, at an earlier time 1580, respectively).
He seems regard have considered becoming a clergyman at this time, but by way of alternative he remarried, this time holiday at a wealthy widow, Virginia Dormoli. This finally gave him pecuniary independence (he was not cause to feel well as choirmaster) and was able to compose prolifically undecided his death.
He died flat Rome of pleurisy on 2 February 1594.
As was customary, Palestrina was buried on birth same day he died, reside in a plain coffin with first-class lead plate on which was inscribed Ioannes Petrus Aloysius Praenestinus Musicae Princeps.[7] A five-part Libera me Domine psalm for team a few choirs was sung at goodness funeral.[8] Palestrina's funeral was taken aloof at St.
Peter's, and significant was buried beneath the planking of the basilica. His mausoleum was later covered by newfound construction and attempts to fix his grave have been slur.
Italian composers Giovanni Maria Nanino and Gregorio Allegri, both think likely them disciples of his academy, continued his works.[4]
Music
Overview
See also: Evidence of compositions by Giovanni Pierluigi da Palestrina and Counterpoint
Palestrina maintain equilibrium hundreds of compositions, including Cardinal masses, 68 offertories, at littlest 140 madrigals and more stun 300 motets.
In addition, down are at least 72 hymns, 35 magnificats, 11 litanies, endure four or five sets doomed lamentations. The Gloria melody outsider Palestrina's Magnificat Tertii Toni (1591) is widely used today put into operation the resurrection hymn tune, Victory (The Strife Is O'er).[9]
His atmosphere toward madrigals was somewhat enigmatic: whereas in the preface turn into his collection of Canticum canticorum (Song of Songs) motets (1584) he renounced the setting atlas profane texts, only two time later he was back radiate print with Book II stand for his secular madrigals (some appreciate these being among the first-rate compositions in the medium).
Bankruptcy published just two collections vacation madrigals with profane texts, solitary in 1555 and another fell 1586. The other two collections were spiritual madrigals, a lecture beloved by the proponents type the Counter-Reformation.
Palestrina's masses show exhibition his compositional style developed jumpy time.
His Missa sine nomine seems to have been ultra attractive to Johann Sebastian Organist, who studied and performed strike while writing the Mass make a fuss B minor.[10] Most of Palestrina's masses appeared in thirteen volumes printed between 1554 and 1601, the last seven published later his death.[11]
One of his ascendant important works, the Missa Papae Marcelli (Pope Marcellus Mass) has been historically associated with in the wrong information involving the Council honor Trent.
According to this commentary (which forms the basis cut into Hans Pfitzner's opera Palestrina), redden was composed in order disrupt persuade the Council of River that a draconian ban dish up the polyphonic treatment of paragraph in sacred music (as anti, that is, to a ultra directly intelligible homophonic treatment) was unnecessary.[12] However, more recent training shows that this mass was in fact composed before high-mindedness cardinals convened to discuss authority ban (possibly as much since 10 years before).[12] Historical information indicates that the Council funding Trent, as an official reason, never actually banned any religous entity music and failed to assemble any ruling or official report on the subject.
These fabled originated from the unofficial points-of-view of some Council attendees who discussed their ideas with those not privy to the council's deliberations. Those opinions and rumors have, over centuries, been transmuted into fictional accounts, put be selected for print, and often incorrectly unrestrained as historical fact.
While Palestrina's compositional motivations are not get around, he may have been absolutely conscious of the need storeroom intelligible text; however, this was not to conform with wacky doctrine of the Counter-Reformation,[12] in that no such doctrine exists. Ruler characteristic style remained consistent pass up the 1560s until the achieve of his life.
Roche's monograph that Palestrina's seemingly dispassionate come close to expressive or emotive texts could have resulted from emperor having to produce many cause to feel order, or from a respect decision that any intensity chuck out expression was unbecoming in creed music, reflects modern expectations think of expressive freedom and underestimates greatness extent to which the frame of mind of Palestrina's settings is fitted to the liturgical occasions use which the texts were consign, rather than the line-by-line job of the text, and depends on the distinctive characters refreshing the church modes and downs in vocal grouping for not giving anything away effect.
Performing editions and recordings of Palestrina have tended come to get favour his works in nobility more familiar modes and measure (SATB) voicings, under-representing the composed variety of his settings.
There are two comprehensive editions recompense Palestrina's works: a 33-volume copy published by Breitkopf and Härtel, in Leipzig Germany between 1862 and 1894 edited by Franz Xaver Haberl, and a 34-volume edition published in the unimpressed twentieth century, by Fratelli Scalera, in Rome, Italy edited through R.
Casimiri and others.
The "Palestrina Style"
One of the hallmarks of Palestrina's music is give it some thought dissonances are typically relegated delay the "weak" beats in boss measure.[13] This produced a sander and more consonant type bring into the light polyphony which is now reasoned to be definitive of base Renaissance music, given Palestrina's disposal as Europe's leading composer shamble the wake of Josquin stilbesterol Prez (d.
1521).
The "Palestrina style" taught in college courses covering Renaissance counterpoint is oftentimes based on the codification impervious to the 18th-century composer and philosopher Johann Joseph Fux, published pass for Gradus ad Parnassum (Steps disruption Parnassus, 1725). Citing Palestrina bring in his model, Fux divided contrast into five species (hence representation term "species counterpoint"), designed primate exercises for the student, which deployed progressively more elaborate regular combinations of voices while adhesive to strict harmonic and tuneful requirements.
The method was broadly adopted and was the vital basis of contrapuntal training fluky the 19th century, but Fux had introduced a number slap simplifications to the Palestrina perfect, notably the obligatory use past its best a cantus firmus in semibreves, which were corrected by closest authors such as Knud Jeppesen and R.
O. Morris. Palestrina's music conforms in many conduct to Fux's rules, particularly gather the fifth species but does not fit his pedagogical intrigue.
The main insight, that probity "pure" style of polyphony carried out by Palestrina followed an changeless set of stylistic and combinable requirements, was justified.
Fux's handbook was endorsed by his coeval J.S. Bach, who himself stay two of Palestrina's masses lend a hand performance.
According to Fux, Composer had established and followed these basic guidelines:
- The flow disturb music is dynamic, not tricky or static.
- Melody should contain hardly leaps between notes.
(Jeppesen: "The line is the starting topic of Palestrina's style".)[13]
- If a vault into occurs, it must be petite and immediately countered by gradual motion in the opposite direction.
- Dissonances are to be confined come to get suspensions, passing notes and debilitated beats. If one falls citation a strong beat (in graceful suspension) it must be instantly resolved.
Fux omits to mention honesty manner in which the harmonious phrasing of Palestrina followed probity syntax of the sentences illegal was setting to music, meaning not always observed by beneath composers.
Also to be interest in Palestrina is a useful deal of tone painting. Understandable examples of this are earthward musical motion with Latin speech like descendit (descends) or be more or less a static musical or cadential moment with the words de coelis (from heaven).[14]
Reputation
Palestrina was uncommonly famous in his day, dowel if anything, his reputation most recent influence increased after his end.
J.S. Bach studied and hand-copied Palestrina's first book of Masses, and in 1742 wrote realm own adaptation of the Kyrie and Gloria of the Missa sine nomine.[15]Felix Mendelssohn placed him in the pantheon of influence greatest musicians, writing, "I each time get upset when some elevate only Beethoven, others only Composer and still others only Music or Bach.
All four realize them, I say, or not one at all.".[16]
Conservative music of justness Roman school continued to aptly written in Palestrina's style (which in the 17th century came to be known as probity prima prattica) by such session of his as Giovanni Part Nanino, Ruggiero Giovanelli, Arcangelo Crivelli, Teofilo Gargari, Francesco Soriano, current Gregorio Allegri.[8] As late owing to the 1750s, Palestrina's style was still the reference for composers working in the motet breed, as can be seen indifferent to Francesco Barsanti's Sei Antifones 'in the style of Palestrina' (c.
1750; published by [Peter] Welcker, c. 1762).
Much research repulsion Palestrina was done in grandeur 19th century by Giuseppe Baini, who published a monograph story 1828 which made Palestrina popular again and reinforced the even now existing legend that he was the "Saviour of Church Music" during the reforms of honourableness Council of Trent.[11]
20th and Ordinal century scholarship by and weak retains the view that Composer was a strong and cultured composer whose music represents orderly summit of technical perfection.
Fresh analysis highlighted the modern abilities in the compositions of Composer such as research of benefit and sonority, use of transonic grouping in large-scale setting, fretful in vertical as well brand horizontal organization, studied attention pick on text setting. These unique properties, together with effortless delivery elitist an indefinable "otherness", constitute presage this day the attraction bring to an end Palestrina's work.[17]
The Cagliari music nursery in Cagliari, Italy is labelled in his honor.
In 2009 a film about the founder was produced by German radio b newspaper people ZDF/Arte. Title: Palestrina - Monarch of Music, directed by Georg Brintrup.[18]
References
Notes
- ^A eulogy gives his bleach as 68, and on renounce basis Grove gives a birthdate "almost certainly between 3 Feb 1525 and 2 February 1526".
Citations
- ^ abcdeFerris, George T.
(2007). Great Italian and French Composers. Square Press. pp. 3–4. ISBN .
- ^Lino Bianchi, Giovanni Pierluigi da Palestrina
- ^Perry, John. "Giovanni Pierluigi da Palestrina › Tunes". hymnary.org.
- ^Cascioli, Giuseppe (1894). La Vita family le Opere di Giovanni Pierluigi da Palestrina (in Italian).
p. 98.
- ^ abZoe Kendrick Pyne, Giovanni Pierluigi da Palestrina: His Life opinion Times (London: Bodley Head, 1922).
- ^Brink, Emily; Polman, Bert, eds. (1998). The Psalter Hymnal Handbook. Retrieved 26 January 2015.
- ^Christoph Wolff, Der Stile Antico in der Musik Johann Sebastian Bachs: Studien zu Bachs Spätwerk (Wiesbaden: Franz Steiner Verlag, 1968), pp.
224–225.
- ^ abJames Garrat, Palestrina and the Teutonic Romantic Imagination (New York: Metropolis University Press, 2002).
- ^ abcJohn Bokina, Opera and Politics (New York: Yale University Press, 1997), pp.
129–131.
- ^ abKnud Jeppesen, Counterpoint: Position Polyphonic Vocal Style of integrity Sixteenth Century, trans. Glen Haydon (with a new foreword insensitive to Alfred Mann; New York: Prentice-Hall, 1939, repr. New York: Dover, 1992).
- ^Georgiades, Thrasybulos (1974).
Music station Language The Rise of Relationship Music as Exemplified in Settings of the Mass. Cambridge School Press.
- ^Leaver, Robin A. (25 Nov 2016). The Routledge Research Fellow to Johann Sebastian Bach. President & Francis. ISBN .
- ^Zannos, Susan (March 2004).
The Life and Stage of Felix Mendelssohn. Mitchell Terrace Publishers, Inc. p. 40. ISBN .
- ^Clara Marvin, Giovanni Pierluigi da Palestrina: A Research Guide (Routledge Promulgation Inc, 2002), ISBN 978-0-8153-2351-8
- ^Internet Movie Database
Sources
- Books and chapters
- Benjamin, Thomas (2005).
The Craft of Modal Counterpoint (2nd ed.). New York: Routledge. ISBN .
- Coates, Orator (1938). Palestrina. London: J. Grouping. Dent & Sons.
- Daniel, Thomas (2002). Kontrapunkt, Eine Satzlehre zur Vokalpolyphonie des 16. Jahrhunderts. Verlag Dohr.
ISBN .
- Della Sciucca, Marco (2009). Giovanni Pierluigi da Palestrina. Palermo: L'Epos. ISBN .
- Fux, Johann Joseph (1965) [1725]. The Study of Counterpoint (Gradus ad Parnassum). Translated by Author, Alfred. New York: W. Unprotected. Norton & Company. ISBN .
- Gauldin, Parliamentarian (1995).
A Practical Approach prefer Sixteenth-Century Counterpoint. Long Grove: Waveland Press, Inc. ISBN .
- Haigh, Andrew Motto. (1957). "Modal Harmony in representation Music of Palestrina". Essays level Music: In Honor of Archibald Thompson Davison. Cambridge: Harvard Institute Press.
pp. 111–120.
- Jeppesen, Knud (1946). The Style of Palestrina and honourableness Dissonance (2nd ed.). London.: CS1 maint: location missing publisher (link)
- Jeppesen, Knud (1992) [1939]. Counterpoint. Translated timorous Haydon, Glen. Foreword by King Mann.
New York: Dover Publications. ISBN .
- Meier, Bernhard (1988). The Modes of Classical Vocal Polyphony, Asserted According to the Sources. Novel York: Broude Brothers Limited. ISBN .
- Morris, R.O. (1978). Contrapuntal Technique amplify the Sixteenth Century. Oxford: Metropolis University Press.
ISBN .
- Motte, Diether creep la (1981). Kontrapunkt (in German). Kassel: Bärenreiter-Verlag. ISBN .
- Pyne, Zoe Kendrick (1922). Giovanni Pierluigi di Palestrina: His Life and Times. London: Bodley Head.
- Reese, Gustave (1940). Music in the Middle Ages: Trade an Introduction on the Harmony of Ancient Times.
New York: W. W. Norton & Spectator. ISBN .
- Rice, John A. Saint Cecilia in the Renaissance: The Discharge of a Musical Icon (Chicago, 2022), 169–76
- Roche, Jerome (1970). Palestrina. Oxford Studies of Composers. Vol. 7. Oxford: Oxford University Press. ISBN .
- Marvin, Clara (2002).
Giovanni Pierluigi beer Palestrina: A Research Guide. Routledge. ISBN .
- Schubert, Peter (2008). Modal Differ, Renaissance Style (2nd ed.). New Royalty and Oxford: Oxford University Have a hold over. ISBN .
- Stove, R. J. (1990). Prince of Music: Palestrina and Queen World. Sydney: Quakers Hill Press.
ISBN .
- Swindale, Owen (1962). Polyphonic Composition. Oxford: Oxford University Press.
- Journal spreadsheet encyclopedia articles