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Giovanni Pierluigi da Palestrina
He was nicknamed Il Prenestino. He had a tremendous influence on the development of Roman Catholic church music. He went to Rome at the age of fourteen to sixteen and is supposed to have studied under Claude Goudimel. In 1544-51 he was organist of the principal church of his native city (St. Agapito, Palestrina), and in the latter year became maestro di cappella at Cappella Giulia in Rome. By his first compositions -- three masses dedicated to Pope Julius III (previously the Bishop of Palestrina) -- he made so favorable an impression that he was appointed musical director of the Julian chapel. He held similar positions at various chapels and churches in Rome until his death (notably St. John Lateran (1555-60) and St. Maria Maggiore (1561-6)); and by his compositions, which are very numerous -- masses, motets, hymns, and others, of which only one-half have been published -- he produced a complete revolution in the history of church music, altering the existing chants in line with the recommendations of the Council of Trent. The Missa Papae Marcelli is generally counted among his greatest masterpieces. |
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Displaying 1-3 of 3 items.
Giovanni Pierluigi da Palestrina : Missa Papae Marcelli Missa Papae Marcelli, or Pope Marcellus Mass, is Palestrina's most well-known and most often-performed mass, and is frequently taught in university courses on music. The mass is freely composed, not based upon a cantus firmus or parody. It is a six-voice mass, though the use of the full forces is reserved for specific climactic portions in the text, and voice combinations are varied throughout the piece. It is set primarily in a homorhythmic, declamatory style, with little overlapping of text and a general preference for block chords such that the text, unlike many polyphonic masses of the 16th century, can clearly be heard in performance. Songlist: Kyrie, Gloria, Gloria: Qui tollis, Credo, Credo: Crucifixus, Credo: Et in spiritum sanctum, Sanctus, Sanctus: Hosanna in excelsis, Sanctus: Benedictus, Agnus Dei I & II 
Giovanni Pierluigi da Palestrina : Canticum Canticorum - 29 Motets for 5-part mixed choir Palestrina first published his 29 five-part motets, to words from King Soloman's Song of Songs, in 1583-1584 in Rome. These are most rewarding and challenging pieces for ensembles looking to add to their repertoire. Songlist: Osculetur me, Trahe me, Nigra sum, sed formosa, Vineam meam non custodivi, Si ignoras te, Pulchrae sunt genae tuae, Fasciculus myrrhae, Ecce tu pulcer es, Tota pulchra es, Vulnerasti cor meum, Sicut lilium inter spinas, Introduxit me rex, Laeva eius, Vox dilecti mei, Surge, propera amica mea, Surge, amica mea, Dilectus meus mihi, et ego illi, Surgam et circuibo civitatem, Adiuro vos, Capet eius, Dilectus meus descendit, Puchra es, amica mea, Qua est ista, Descendi in hortum nucum, Quam pulchri sunt, Duo ubera tua, Quam pulchra es, Guttur tuum, Veni, veni dilecte mi |
Displaying 1-8 of 8 items.
The expressiveness of the Renaissance is richly portrayed in this new edition of the classic masterwork by Palestrina. An excellent choice for beginning and developing SATB ensembles.Available separately: SATB, TTBB. Duration: ca. 1:15.
Arranger: John Leavitt | Composer: Giovanni Pierluigi da Palestrina
The expressiveness of the Renaissance is richly portrayed in this edition of the classic masterwork by Palestrina, now available in a men's voicing. An excellent choice for beginning and developing ensembles. Available separately: SATB, TTBB. Duration: ca. 1:15.
Arranger: John Leavitt | Composer: Giovanni Pierluigi da Palestrina
(Palestrina/Henson) SATB
Arranger: Terry Eder | Composer: Giovanni Pierluigi da Palestrina
Featuring canonic imitation, vocal ostinati, and delicately intertwining melodies, this a cappella setting is stunning.
Arranger: Matthew Michaels | Composer: Giovanni Pierluigi da Palestrina
Blending scholarship and practicality, this performing edition of a Palestrina masterpiece can be performed a cappella. Or, employing the optional instrumental parts for strings in C, Alto and Bass clefs, and a keyboard part, it can be performed with whatever combination your situation calls for.
Arranger: Ryan Kelly | Composer: Giovanni Pierluigi da Palestrina
This antiphonal setting of the Gloria Patri by Palestrina may be performed by double chorus or chorus and brass. This stately and dignified work will enhance any sacred concert.Available separately: SATB Double Chorus and Optional Brass. Performance Time: Approx. 1:00.
Composer: Giovanni Pierluigi da Palestrina
This simple 3-Part canon offers an excellent introduction into a cappella Renaissance style. Available: 3-Part any combination.
Arranger: John Leavitt | Composer: Giovanni Pierluigi da Palestrina
Jameson Marvin, through his work with Harvard and Radcliffe, has re-established the importance of teaching polyphony in the modern choral classroom. This beautiful setting of the Magnificat by Palestrina has been editited by Dr. Marvin to accommodate modern notation, clefs and measure lines. He also maintains rhythmic groupings enabling the singers to move beyond the tyranny of the bar line and bring a beautiful and authentic performance to the stage.
Arranger: Jameson Marvin | Composer: Giovanni Pierluigi da Palestrina Performed By: Harvard Glee Club
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