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Palestrina - Missa Assumpta est Maria

Giovanni Pierluigi da Palestrina - Missa Assumpta est Maria Giovanni Pierluigi da Palestrina (c. 1525 – 2 February 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 as the culmination of Renaissance polyphony. Palestrina was born in the town of Palestrina, near Rome, then part of the Papal States to Napoli parents, Santo and Palma Pierluigi, in the year 1525, presumed on February 3. His mother died on 16 January 1536, when Palestrina was aged 10. Documents suggest that he first visited Rome in 1537, when he is listed as a chorister at the Santa Maria Maggiore basilica, Cathedral of the Diocese of Rome. He studied with Robin Mallapert and Firmin Lebel. He spent most of his career in the city. 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. From 1544 to 1551, Palestrina was the organist of the Cathedral of St. Agapito, the principal church of his native city. In 1551 Pope Julius III (previously the Bishop of Palestrina) appointed Palestrina maestro di cappella or musical director of the Cappella Giulia,[4] (Julian Chapel, in the sense of choir), the choir of the chapter of canons at St. Peter's Basilica. Palestrina dedicated to Julius III his first published compositions (1554), a book of Masses. It was the first book of Masses by a native composer, since in the Italian states of Palestrina's day, most composers of sacred music were from the Low Countries, France, or Spain. In fact the book was modeled on one by Cristóbal de Morales: the woodcut in the front is almost an exact copy of the one from the book by the Spanish composer. During the next decade, Palestrina held positions similar to his Julian Chapel appointment at other chapels and churches in Rome, notably St. John Lateran (1555–1560, a post previously held by Lassus), and Santa Maria Maggiore (1561–1566). In 1571 he returned to the Julian Chapel and remained at St Peter's for the rest of his life. The decade of the 1570s was difficult for him personally: he lost his brother, two of his sons, and his wife in three separate outbreaks of the plague (1572, 1575, and 1580, respectively). He seems to have considered becoming a priest at this time, but instead he remarried, this time to a wealthy widow. This finally gave him financial independence (he was not well paid as choirmaster) and he was able to compose prolifically until his death. He died in Rome of pleurisy on 2 February 1594. It is said that Palestrina died only one day before his 69th birthday. As was usual, Palestrina was buried on the same day he died, in a plain coffin with a lead plate on which was inscribed Libera me Domine. A five-part psalm for three choirs was sung at the funeral. Palestrina's funeral was held at St. Peter's, and he was buried beneath the floor of the basilica. His tomb was later covered by new construction and attempts to locate the site have been unsuccessful. 1. Antiphon: Assumpta est Maria 0:28 2. Kyrie 4:51 3. Gloria 4:36 4. Credo 7:30 5. Sanctus 3:06 6. Benedictus 3:00 7. Agnus Dei I 2:46 8. Agnus Dei II 3:34 For more: http://www.melhoresmusicasclassicas.b...