- Born:
- c. 1525, Palestrina, near Rome [Italy]
- Died:
- February 2, 1594, Rome
- Movement / Style:
- Renaissance art
- polyphony
- Renaissance
Giovanni Pierluigi da Palestrina
-
Who was Giovanni Pierluigi da Palestrina?
Giovanni Pierluigi da Palestrina (c. 1525-1594) was an Italian Renaissance composer renowned for his mastery of counterpoint and his significant contributions to church music.
Palestrina's musical career included roles such as organist, singer, and musical director at various churches, including St. Peter's Basilica. He composed over 105 masses and 250 motets, showcasing a variety of styles and techniques, such as cantus firmus and parody technique. His works included masses, motets, madrigals, offertories, hymns, and magnificats.
Even after his death, Palestrina's work remained influential, with his compositions serving as models for strict counterpoint in academic settings.
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What kind of music did Palestrina compose?
Giovanni Pierluigi da Palestrina was an Italian Renaissance composer known for his sacred and secular works. He composed more than 105 masses and 250 motets and was a master of contrapuntal composition.
Palestrina's masses employed different styles, ranging from four to eight voices, and he used the cantus firmus technique, using a preexistent melody in one voice part. Many of his masses used the parody technique, using his own or others' music as a starting point. The Pope Marcellus Mass is his best known mass, known for its intricate vocal lines.
His motets displayed variety in form, often reflecting the shape of the liturgical text. His madrigals showed a keen sense for pictorial and pastoral elements.
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During which time period did Palestrina live and work?
Giovanni Pierluigi da Palestrina (c. 1525–1594) was an Italian Renaissance composer, composing over 105 masses and 250 motets, and a master of counterpoint.
Palestrina lived during the Counter-Reformation and was a leading representative of the 16th-century conservative approach to church music. He served as musical director for the Julian Chapel and the Vatican Basilica, receiving the title of master of music in 1578. His Pope Marcellus Mass, published in 1567, exemplifies Renaissance polyphonic choral music, ensuring the text's clarity amidst intricate vocal lines.
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Why is Palestrina considered important in the history of music?
Giovanni Pierluigi da Palestrina (c. 1525–1594) was an Italian Renaissance composer of sacred music and a master of contrapuntal composition. Living during the Catholic Counter-Reformation, he embodied the era's conservative approach to church music.
Palestrina's impact stems from his vast musical output of masses and motets, maintaining high standards in both sacred and secular works. His Pope Marcellus Mass exemplifies Renaissance polyphonic choral music, studied for its intricate vocal lines. His work influenced generations of composers, solidifying his place in music history.
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What is a Mass, and why did Palestrina compose so many of them?
A Mass is a significant vocal form with roots in the 14th century, wherein the text remains constant throughout the annual church calendar. It is divided into sections such as the Kyrie, Gloria, Credo, Sanctus, and Agnus Dei.
Giovanni Pierluigi da Palestrina was an Italian Renaissance composer renowned for his masses and motets, composing over 105 masses. Palestrina served at the Vatican and composed sacred music for Pope Julius III. His compositions reflect a conservative approach to church music during the Counter-Reformation.
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How did Palestrina's music influence later composers and church music?
Giovanni Pierluigi da Palestrina was an Italian composer whose work had a significant influence on later composers and church music. His mastery of counterpoint and polyphony, especially evident in his masses and motets, established him as a model for Renaissance sacred music.
Palestrina's style, marked by its purity and clarity, became a standard for strict counterpoint in academic settings, influencing generations of composers. His emphasis on the intelligibility of text in sacred music also had a lasting impact on the composition of church music, ensuring that the words were clearly understood amidst the intricate vocal lines.
4 Britannica SourcesCreated from Britannica articles using AI. AI can make mistakes, so verify using Britannica articles.
Giovanni Pierluigi da Palestrina (born c. 1525, Palestrina, near Rome [Italy]—died February 2, 1594, Rome) was an Italian Renaissance composer of more than 105 masses and 250 motets, a master of contrapuntal composition.
Palestrina lived during the period of the Roman Catholic Counter-Reformation and was a primary representative of the 16th-century conservative approach to church music.
Life
Palestrina was born in a small town where his ancestors are thought to have lived for generations, but as a child he was taken to nearby Rome. In 1537 he was one of the choirboys at the basilica of Santa Maria Maggiore, where he also studied music between 1537 and 1539. In 1544 Palestrina was engaged as organist and singer in the cathedral of his native town. His duties included playing the organ, helping with the choir, and teaching music. His pay was that of a canon and would have been received in money and kind. His prowess at the church there attracted the attention of the bishop, Giovanni Maria Ciocchi del Monte, who later became Pope Julius III.
In 1547 Palestrina married Lucrezia Gori. Three sons were born to them: Rodolfo, Angelo, and Iginio. Only the last outlived his father. In 1551 Palestrina returned to Rome, where he assumed the first of his papal appointments, as musical director of the Julian Chapel choir, and thus was responsible for the music in St. Peter’s. Before he was 30 he published his first book of masses (1554), dedicated to Julius III, and the following year he was promoted to singer in the Pontifical Choir. About this time he became composer to the papal chapel. Palestrina repaid the pope’s patronage by composing a mass in his honour. Yet he did not neglect the secular side of his art, for his first book of madrigals (secular and spiritual part-songs) appeared in 1555, unfortunately at a time when the lenient regime of Julius III had given way to the sterner discipline of Paul IV. A decree of the new pope forbade married men to serve in the papal choir, and Palestrina, together with two of his colleagues, received a small pension by way of compensation for their dismissal.
For the next five years Palestrina directed the choir of St. John Lateran, but his efforts were continually thwarted by singers whose quality was almost as limited as their number, which was restricted because very little money was available for music. Nevertheless, he gained admission for his eldest son, Rodolfo, then about 13, as a chorister. Eventually he broke away from this uncongenial milieu. The chapter archives of St. John Lateran record that in July 1560 he and his son suddenly departed.
A year passed before Palestrina found employment. In March 1561 he accepted a new post at Santa Maria Maggiore. This post was more congenial to him and he remained at it for about seven years. At the invitation of Cardinal Ippolito d’Este he then took charge of the music at the Villa d’Este in Tivoli, a popular summer resort near Rome. He was in the cardinal’s service for four years, at which time he also worked as music master for a newly formed Seminarium Romanum (Roman Seminary), where his sons Rodolfo and Angelo became students.
Palestrina received an offer in 1568 to become musical director at the court of the emperor Maximilian II in Vienna. He refused the position because of the low salary and a disinclination to leave Rome. Palestrina’s terms were also too high when he was invited to the court at Mantua in 1583. The composer and the duke of Mantua, Guglielmo Gonzaga, an amateur musician of some pretensions, did become friends, however, and Palestrina was commissioned to write special compositions for the ducal chapel of Santa Barbara.
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With the death in 1571 of the composer Giovanni Animuccia, musical director at the Vatican since 1555, there was a chance for Palestrina to return to his old post as musical director of the Julian choir. The chapter, eager to have him back, increased the salary, and he forthwith returned to St. Peter’s. When his growing fame as a composer prompted Santa Maria Maggiore to rehire him, St. Peter’s again raised his salary. In acknowledgment of his position as the most celebrated Roman musician, he was given in 1578 the title of master of music at the Vatican Basilica.
The series of epidemics that swept through central Italy in the late 1570s carried off his wife and his two elder sons, both of whom showed great musical promise. He himself fell seriously ill. Grieving over his wife’s death, he announced his intention of becoming a priest, to the delight of the pope, Gregory XIII. After having been made a canon, however, he renounced his vows in order to marry (1581) Virginia Dormoli, widow of a wealthy merchant. Although he spent considerable time administering her fortune, he retained his position at St. Peter’s and continued to compose.
Although an attempt in 1585 to make Palestrina musical director of the Pontifical Choir proved abortive, he was considered by all the popes under whom he served as the official composer for the choir, and it is recorded that he marched at the head of the pontifical singers on the occasion of erecting the great Egyptian obelisk in the piazza of St. Peter’s.
Pope Gregory XIII had commissioned Palestrina and Annibale Zoilo to restore the plainchant, or plainsong (a traditional liturgical chant sung in unison), then in use to a more authentic form. The task proved too great, and Palestrina’s editorial work gave way to a flow of creative music. Much of it was published during the last 12 years of his life, including volumes of motets (choral compositions based on sacred texts), masses, and madrigals. He also helped to found an association of professional musicians called the Vertuosa Compagnia dei Musici.
Two years before Palestrina’s death, the new pope, Clement VIII, increased his pension, and the same year, in a singular mark of respect and admiration, fellow composers paid their elderly senior the compliment of writing 16 settings of the Vesper Psalms to his praise. In return, Palestrina sent them a motet on the appropriate text: Vos amici mei estis “You are my friends, if you do what I teach, said the Lord.”