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Palestrina's Palazzo

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--- Quote from: Mandryka on March 10, 2013, 02:00:48 AM ---When I first heard that as a schoolkid I was intrigued, but I've never investigated his music.  Did he write any organ music?

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Going by Wikipedia,  he only wrote for voices, possibly with continuo in some works--which is a church setting would presumably be supplied by an organ.  But dedicated instrumental works seem not to have interested him.

You can peruse here:


Delitiae Musicae do Palestrina's masses on tunes by Jachet de Mantoue, 2vol. Small scale; characterful unblended singing; the music is interesting polyphonically and melodically and no doubt in lots of other ways I haven't noticed ; on spotify and I think it's well worth a listen.

Palestrina TTT after 5 years!  :laugh:  Possibly the most prolific composer of the 16th century - summary of his compositions in the second paragraph of the quote below; a more detailed list HERE - just pulled out my modest (to say the least) collection of just 5 CDs - there is a lot available on Amazon and listed on Spotify - not sure why he has not received more attention (even wrote a 'Armed Man' mass, but what would you expect!), but my recordings are shown below - hopefully some discussion will develop?  Dave :)

--- Quote ---Giovanni Pierluigi da Palestrina (c. 1525 – 1594) was an Italian Renaissance composer of sacred music and the best-known 16th-century representative of the Roman School of musical composition. He had a long-lasting influence on the development of church and secular music in Europe, especially on the development of counterpoint, and his work is considered the culmination of Renaissance polyphony. Palestrina came of age as a musician under the influence of the northern European style of polyphony, which owed its dominance in Italy primarily to two influential Netherlandish composers, Guillaume Dufay and Josquin des Prez, who had spent significant portions of their careers there. Italy itself had yet to produce anyone of comparable fame or skill in polyphony. Orlando di Lasso , who accompanied Palestrina in his early years, also played an important role in the formation of his style as an adviser.

Palestrina left hundreds of compositions, including 105 masses, 68 offertories, at least 140 madrigals and more than 300 motets. In addition, there are at least 72 hymns, 35 magnificats, 11 litanies, and four or five sets of lamentations. The Gloria melody from Palestrina's Magnificat Tertii Toni (1591) is widely used today in the resurrection hymn tune, Victory (The Strife Is O'er). (Source)
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