Palestrina Sentence Examples
In three-part movements Palestrina presents us with twelve combinations of voices.
South of Palestrina again, the main mass of the Apennines throws off another lateral mass, known in ancient times as the Volscian mountains (now called the Monti Lepini), separated from the central ranges by the broad valley of the Sacco, a tributary of the Liri (Liris) or Garigliano, and forming a large and rugged mountain mass, nearly 5000 ft.
Wagner's retouching of Gluck's Iphigenie en Aulide and his edition of Palestrina's Stabat Mater demand mention as important services to music, by no means to be classified (as in some catalogues) with the hack-work with which he kept off starvation in Paris.
He made his brother, Antonio, a distinguished soldier, and two nephews, cardinals, and gave to a third nephew, Taddeo, the principality of Palestrina.
On the death of Prince Enrico Barberini-Colonna the name went to his daughter and heiress Donna Maria and her husband Marquis Luigi Sacchetti, who received the title of prince of Palestrina and permission to bear the name of Barberini.
The most celebrated Requiem Masses are those of Palestrina, Mozart and Cherubini.
He became the intimate friend of Pope Urban VIII., who appointed him to the suburban see of Palestrina in 1691.
One of the earliest acts of the new pontificate was to forbid the use in the services of the Church of any music later than Palestrina, a drastic order justified by the extreme degradation into which church music had fallen in Italy, but in general honoured rather in the spirit than in the letter.
In 1297 the Colonna family, who then owned Praeneste (Palestrina), revolted from the pope, but in the following year the town was taken and razed to the ground.
Praeneste was the native town of Aelian, and in modern times of the great composer (Giovanni) Pierluigi da Palestrina.Advertisement
The modern town of Palestrina, a collection of narrow and filthy alleys, stands on the terraces once occupied by the temple of Fortune.
The more important city of Tusculum occupied one of the northern summits of the same group; while opposite to it, in a commanding situation on a lofty offshoot of the Apennines, rose Praeneste, now Palestrina.
Accordingly, Palestrina and his great contemporaries and predecessors treated the Gloria and Credo in a style midway in polyphonic organization and rhythmic breadth between that of the elaborate motet (adopted in the Sanctus) and the homophonic reciting style of the Litany.
Baini held a higher place, however, as a musical critic and historian than as a composer, and his Life of Palestrina (Memorie storico-critiche della vita e delle opere di Giovanni Pierluigi da Palestrina, 1828) ranks as one of the best works of its class.
The phrase Il Principe della Musica, which has become finally associated with the name of Palestrina, originates with this biography.Advertisement
Aldrich also composed a number of anthems and church services of high merit, and adapted much of the music of Palestrina and Carissimi to English words with great skill and judgment.
Palestrina composed 105 Masses, more than 250 motets, Magnificats, other sacred music, and some secular madrigals.
Having vainly besieged the fortress of Palestrina, he returned to Rome, where he treacherously seized the soldier of fortune, Fra Monreale, who was put to death, and where, by other cruel and arbitrary deeds, he soon lost the favour of the people.
From the 3rd of May until the 30th of May he was continuously engaged against the Bourbon troops at Palestrina, Velletri and elsewhere, dispersing an army of 20,000 men with 3000 volunteers.
The story of the action of the council of Trent on the subject of corruption of church music is told elsewhere (see Music and Palestrina); and it has been recently paralleled by a decree of Pope Pius X., which has restored the 16th-century polyphonic Mass to a permanent place in the Roman Catholic Church music.Advertisement
Fortunately, however, the Gregorian canto fermo associated with it is of exceptional beauty and symmetry; and the great 16th century masters either, like Palestrina, left it to be sung as plain-chant, or obviated all occasion for dramatic expression by setting it in versicles (like their settings of the Magnificat and other canticles) for two groups of voices alternatively, or for the choir in alternation with the plain chant of the priests.