Palestrina wrote what kind of music

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Others Others. He published just two collections of madrigals with profane texts, one in and another in The other two collections were spiritual madrigals, a genre beloved by the proponents of the Counter-Reformation. His Missa sine nomine seems to have been particularly attractive to Johann Sebastian Bach, who studied and performed it while writing the Mass in B minor. One of his most important works, the Missa Papae Marcelli Pope Marcellus Mass , has been historically associated with erroneous information involving the Council of Trent.

However, more recent scholarship shows that this mass was in fact composed before the cardinals convened to discuss the ban possibly as much as ten years before. Historical data indicates that the Council of Trent, as an official body, never actually banned any church music and failed to make any ruling or official statement on the subject.

Those opinions and rumors have, over centuries, been transmuted into fictional accounts, put into print, and often incorrectly taught as historical fact. His characteristic style remained consistent from the s until the end of his life. Fux did make a number of stylistic errors, however, which have been corrected by later authors notably Knud Jeppesen and Morris. The nineteenth century proclivity for hero-worship is predominant in this monograph, however, and this has remained with the composer to some degree to the present day.

It is only recently, with the discovery and publication of a great deal of hitherto unknown or forgotten music by various Renaissance composers, that it has been possible to properly assess Palestrina in a historical context. Though Palestrina represents late Renaissance music well, others such as Orlande de Lassus a Franco-Flemish composer who also spent some of his early career in Italy and William Byrd were arguably more versatile.

Palestrina was famous in his day, and if anything his reputation increased after his death. Conservative music of the Roman school continued to be written in his style which in the seventeenth century came to be known as the prima pratica by such students of his as Giovanni Maria Nanino, Ruggiero Giovanelli, Arcangelo Crivelli, Teofilo Gargari, Francesco Soriano and Gregorio Allegri. It is also thought that Salvatore Sacco may have been a student of Palestrina, as well as Giovanni Dragoni, who later went on to become choirmaster in the church of S.

Giovanni in Laterano. For example, Johann Gottlob Harrer , J. Bach 's successor as Thomaskantor in Leipzig , had already furnished the same mass with parts for two oboes, three violins, two violas, bass, and continuo harpsichord and organ.

In his youth J. Harrer had travelled to Italy at the expense of his protector, Count Heinrich von Briihl, and had brought to Dresden a considerable number of sacred works by Italian masters, Palestrina in particular; the Missa sine nomine was one of at least six Palestrina masses that J. Harrer 'restyled'. Bach 's involvement with the work, which first appeared in the Missarum liber quintus pubin Rome by Francesco Coattino in , is datable to about He provided colla parte instrumentation for two cornetts, four trombones, organ, harpsichord, and violone.

Only the last three parts are autograph in the Berlin source, the others being in the hand of the so-called Hauptkopist I. It is particularly significant that J. Bach provided instrumental accompaniment only for the Kyrie and Gloria, the two sections constituting the MISSA in the Lutheran liturgy of the time, and it is reasonable to assume that only these sections were performed under J.

Bach 's direction. It is nevertheless logical to conclude that the other sections of Palestrina's mass were copied with the precise intention of showing the musicians active in the J. Bach circle the importance of the stile antico. Bach added 2 cornetts, 4 trombones, organ, harpsichord, and violone; performed by J.

Bach in Leipzig c C. Stanley Sadie. London, Macmillan Publishers Ltd. Alfred Mann W. Bianchi and G. FelIerer : 'J. Schering : 'Der Thomaskantor Joh. Gottlob Harrer ', BJb 28 , pp. Home Page.