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2024-04-25
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2023-12-11 15:33:00
The glories of Roman polychoral music after Palestrina explored by I Fagiolini with Benevoli's Missa Tu es Petrus for four choirs
[…] settled in Italy where the young Orazio was a chorister at San Luigi dei Francesi, the French church in Rome, famed for the sumptuous forces it assembled to perform polychoral music on major feast days. From the age of 19 he worked as choir director there and at another Roman church, then in the 1640s he worked in Vienna (for the Emperor's brother) before returning to Rome and ending up as maestro of the unrivalled Cappella Giulia, the Julian Choir at St Peter’s.This was a period when Bernini's massive bronze canopy was completed at St Peter's (in 1634), meaning that the church no longer had a traditional enclosed quire and instead there was vast unenclosed space. How to fill it? This was a question that the young Berlioz mused on, but during Benevoli's time the tradition of using multiple choirs for feast days developed. Benevoli's training back at San Luigi […]
2020-08-24 13:53:52
Giovanni Animuccia, 2020
[…] Pope Paul III made the Archbishop of Florence. Duke Cosimo didn’t like Altoviti and banned him from entering the city, thus the archbishop spent the following 20 years in Rome. We mention this because Altovivi’s circle included the young Orlando di Lasso, so the two composers knew each other. Animuccia’s musical life was also tied to another great composer, Giovanni Pierluigi da Palestrina. In 1551 Pole Julius III appointed Palestrina the music director of the Cappella Giulia, the second most important choir in the St. Peter’s, after the Capella Sistine In January of 1555 Palestrina moved to San Giovanni di Laterano, the seat of the pope as the Bishop of Rome, and Animuccia took his place. He remained themagister cantorum at the Cappella Giulia until his death in 1571, at which time Palestrina returned to the post. Here’s the Sequence (a hymn) from Animuccia’s Mass Victimae Paschali (Praises to the […]
2018-12-24 15:44:33
Christmas music of the Renaissance_2018
December 24, 2018. Christmas music of the Renaissance. Christmas is around the corner, and at this time of the year we usually try to kill two birds with one stone: celebrate this feast and commemorate some of the musicians whom we failed to mention during the previous 12 months. Very often those are the composers of the Renaissance, whose birthdays we don’t know. So here is to Christmas and to three great composers, Orlando di Lasso, Giovanni Pierluigi da Palestrina and Tomás Luis de Victoria. Giovanni Pierluigi da Palestrina, whose name derives from the name of a small town near Rome, was born in Palestrina sometime between February 3rd of 1525 and Feb 2nd of 1526. Palestrina moved to Rome in 1551 when Pope Julius III appointed him maestro di cappella at the Cappella Giulia, the second (after Cappella Sistina) most important choir of the Vatican. We should remember that […]
2017-12-18 05:00:38
Christmas approaching - 2017
[…] of them Giovanni Pierluigi da Palestrina, the quintessential polyphonist of the Hight Renaissance. Palestrina was one of the few Italians working in Rome: most of the famous composers of that time were either Flemish or Spanish (that would change in just one generation and Italians would reign supreme for years to come). Palestrina was born around 1525 in the town of the same name. In 1551 Pope Julius III appointed him maestro di cappella at Cappella Giulia, one of the two key choirs at the Vatican, another being the Sistine Chapel choir). From that point on Palestrina moved from one important position to another. O Magnum Mysterium, Palestrina’s six-voice motet, was published in 1569. It’s sung here by the King's College Choir, Cambridge, Sir Philip Ledge conducting. Tomás Luis de Victoria also wrote an O Magnum Mysterium motet. Victoria, a Spaniard, is often considered one of the three great […]
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