A meticulous and informed examination of the compositional style of the greatest Renaissance creator of liturgical music. Author Knud Jeppesen explores the elements and disciplines that constitute Palestrina's personal style including his handling of rhythm line and harmony. The beginning chapters discuss the standard use of rhythm and harmony in Palestrina's time setting the context of the work identifying common and uncommon practices.At the heart of the book is a painstaking examination of Palestrina's use of dissonance and his contrapuntal technique which forged new harmonic devices that were unorthodox for his time but proved vital to the development of thewestern harmonic systems of later years. In addition Jeppesen includes a complete history of the evolving concept of dissonance before Palestrina including quotations from some of the earliest theoretical works.

Palestrina is one of the towering figures of late Renaissance church music whose polyphonic compositions remain actively performed in the Choral repertoire. He composed more than 250 motets. This one Assumpta Est Maria for theFeast of the Assumption is of particular interest.In 1545 the Council of Trent set out to reform various practices in the Roman Catholic Church in defense of the threats of the new Protestant movement. Clarity of scripturalwords was one of the issues at stake especially as the polyphonic style of which Palestrina was a master overlaid many Vocal lines creating complex textures. It is debated whether this motet with a newfound clarity oflanguage was written in response to the Council of Trent or if it predated the Counterreformation and sprung with its innovations entirely from Palestrina’s own fertile creativity. This edition was prepared from the Vaticanchoirbook contemporary with the composer’s life. It is scored for Cantus I and II Alto Tenor I and II and Bass with rehearsal Piano accompaniment.

'Palestrina’s masses run the gamut of styles from the consistently contrapuntal Missa ad fugam through the largely homophonic but texturally varied Missa Papae Marcelli designed for word-intelligibility (see Jeppesen’s statistical comparison of its Gloria and Credo sections with those of other masses 1923) to the antiphonal dialogue of the four polychoral masses.'From 'Grove Music Online'

Par HAENDEL GEORG FRIEDRICH / PALESTRINA GIOVANNI PIER. / Répertoire / Choeur Mixte

Par PALESTRINA GIOVANNI PIERLUIGI DA. Fond Musiluc : Un Catalogue Des Editions Delatour France / Niveau : Moyen / Contemporain / Date parution : 2007-10-01/ Répertoire / Choeur a Cappella

Arr. SERGE HAERRING, RESON'ANCHES. Par DA PALESTRINA. / Niveau : Cycle 1 / Musique de Chambre / Date parution : 2023-03-21/ Répertoire / Musique de Chambre

Alma Redemptoris Mater. for SSSA unaccompanied. Palestrina's setting of the Marian motet Alma Redemptoris Mater seamlessly interweaves each of the four independent voices based on the solemn tone of the corresponding chant.

Par PALESTRINA GIOVANNI PIERLUIGI DA / KING. For trumpet, trumpet (or horn), trombone (or horn) and trombone (or tuba)./ Répertoire / Quatuor de Cuivres

Par PALESTRINA GIOVANNI PIERLUIGI DA. SSATTB a cappella -/ Répertoire / Travaux Pour Choeurs

Par PALESTRINA GIOVANNI PIERLUIGI DA. Editeur(s) d'origine: Ewerhart, Rudolf/ Répertoire / Double Choeur Mixte

Palestrina's Vestiva i colli for Recorder Quintet (SATTB). This can also be played by other renaissance string and wind ensembles.

Par PALESTRINA GIOVANNI PIERLUIGI DA. / Niveau : Facile / Musique sacrée et Noëls / Répertoire / Parties Supplémentaires