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Updated: June 7, 2025
Undiverted by the changes of revolutionary times, they continue, in forms conditioned by the modern feeling for color, for tonal complexity, for supple and undulant rhythm, the high tradition of the elder music. Claude Le Jeune wrote motets; the eighteenth-century masters wrote gavottes and rigadoons, forlanas and chaconnes, expressed themselves in courtly dances and other set and severe forms.
Bach had worked and died there; Mozart, not so long before Wagner's birth, had visited it and got to know some of Bach's motets by the astounding process of memorizing the separate parts and putting them together mentally. It was far from being the busy, if somewhat philistine, musical centre we know to-day.
Pius IV, who was in power when the mass was performed, praised it eloquently, saying John Peter Louis of Palestrina was a new John, bringing down to the church militant the harmonies of that "new song" which John the Apostle heard in the Holy City. The musician-pope, Gregory XIII, to whom Palestrina dedicated his grandest motets, entrusted him with the sacred task of revising the ancient chant.
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