Research Paper On Palestrina Llb Dissertation
Such bold behavior did not seem to affect adversely his future career, for he became choirmaster at S. Working conditions in this basilica were considerably better than at the Lateran, and Palestrina remained reasonably content for the next 5 years.In 1566 Palestrina became music director of the newly formed Roman Seminary. Maria Maggiore, he was in part compensated by permission to enroll his sons Rodolfo and Angelo at the institution.
Important as are the motets, they are decidedly secondary to the 105 Masses for which Palestrina was justly admired.What seems to have been initially a suitable arrangement did not, however, work out to his satisfaction, for he left the seminary very soon thereafter.For the next 4 years he was music director for Cardinal Ippolito d'Este II, an outstanding patron of the arts.To both invitations the master set such a high price on his services that it might be assumed that he never seriously considered leaving the Eternal City.Intermittently from 1545 to 1565 the Council of Trent considered the reform of Church music, even contemplating the ban of all polyphony from the liturgy.Most important for his future career was the attention accorded his music by the new bishop of Palestrina, Cardinal del Monte.When he became Pope Julius III in 1550, one of his first acts of the following year was to appoint Palestrina choirmaster of the Julian Chapel of St. By 1554 Palestrina had published his first book of Masses and dedicated it to Pope Julius, who rewarded him with a coveted assignment to the Pontifical (Sistine) Choir at St. By custom all singers of this choir were unmarried, and they were admitted only after rigorous examination.Born Giovanni Pierluigi, the composer is known as Giovanni Pierluigi da Palestrina from the name of his birthplace, a hill town near Rome.It is assumed without historical evidence that Giovanni was a choir singer at the church of St. When the bishop of Palestrina, Cardinal della Valle, was transferred to the basilica of S.He was not modern in the same way as his Venetian colleagues with their polychoral pieces.His fuller identification with the older Franco-Flemish masters, however, made him the representative of that illustrious group best remembered by posterity.