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Updated: June 7, 2025
His masses have a character of their own, and in his motets one finds not only a high degree of technical skill, power and sheer beauty, but also a positive white heat of passion curiously kept from breaking out.
The Tabernacle: A Collection of Hymn-Tunes, Chants, Sentences, Motets, and Anthems, adapted to Public and Private Worship, and to the Use of Choirs, Singing-Schools, Musical Societies, and Conventions. Together with a Complete Treatise on the Principles of Musical Notation. By B.F. BAKER and W.O. PERKINS. Boston: Ticknor & Fields.
"But, my dear Meister!" exclaimed the burgomaster's wife with increasing impatience, "I'm not asking about your motets and tabulatures, but my husband." Wilhelm gazed at the young wife's face with a half-startled, half-astonished look.
Margarita Cozzolani and Lucrezia Orsina Vezzana, both Catholic sisters, won renown by their motets and other sacred works. Cornelia Calegari, born at Bergamo in 1644, won the plaudits of her nation by her wonderful singing and organ-playing, as well as by her many compositions. Her first book of motets was published in her fifteenth year, and met with universal success.
The collection of Hymn Tunes comprises a judicious choice of the old and favorite pieces, together with original compositions of great variety, freshness, and beauty. The Anthems, Motets, and Sentences are designed to supply fully the varied wants of choirs.
The ironclad dreadnaughts of the academic world, the reactionary artists, the dry-as-dust lecturers are constantly ignoring the most vital, the most real, the most important artists while they sing polyphonic, antiphonal, Palestrinian motets in praise of men who have learned to imitate comfortably and efficiently the work of their predecessors.
The first three died in early manhood, after showing themselves in some sort heirs of their father's genius: in the second book of his motets Palestrina has included some of their compositions.
Feeling more sure of himself, Palestrina continued to compose masses, until he had created ninety-three in all. He also wrote many motets on the Song of Solomon, his Stabat Mater, which was edited two hundred and fifty years later by Richard Wagner, and his lamentations, which were composed at the request of Sixtus V. Palestrina's end came February 2, 1594.
Our church here, although no older than five years, was both served and attended as if it were a church in Europe. Its services were rendered more magnificent by the choir of music, especially on feast-days; the musicians not only celebrated divine worship in consonance with the organ, but accompanied it with motets and other compositions in their own Bissayan language.
One of his motets calls for an orchestra of eight trombones, eight violas, eight large flutes, a spinet and a large lute. Without doubt his most significant work in the domain of the lyric drama was "Il Calamento delle Donne al Bucato," published at Florence in 1584.
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