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The worthy fathers, although they did not see their way to guaranteeing a yearly grant of money sufficient to ensure adequate performances of Palestrina's finest works, were glad to support, with occasional guineas, their organist's concerts. Painters and men of letters were attracted by them; musicians seldom. Nor did Mr. Innes encourage their presence. Musicians were of no use to him.
So that, while Palestrina's music places God before man, that of Cherubini places man before God." Adolphe Adam puts the comparison more epigrammatically in saying: "If Palestrina had lived in our own times, he would have been Cherubini." The masters of the old Roman school of church music had received it as an emanation of pure sentiment, with no tinge of human warmth and color.
The cardinals follow his example, and meanwhile the choir sings Palestrina's famous composition, the "Mass of Pope Marcellinus," a wonderful piece that must have been first sung to the composer by the angels themselves. When the last notes of the music had died away, the bells of St.
Another of the same period; his jealous contemporaries called him 'Palestrina's monkey' taking all his works to be imitations, in consequence of his long sojourn in Rome; but, believe me, instead of being plagiarisms from the Italian, they are far superior.
Deronda, having looked enough at the German translation of the Hebrew in the book before him to know that he was chiefly hearing Psalms and Old Testament passages or phrases, gave himself up to that strongest effect of chanted liturgies which is independent of detailed verbal meaning like the effect of an Allegri's Miserere or a Palestrina's Magnificat.
Palestrina's versatility and genius enabled him to lift ecclesiastical music out of the rigidity and frivolity characterizing on either hand the opposing ranks of those that preceded him, and to embody the religious spirit in works of the highest art. No individual preeminence is ever allowed to disturb and weaken the ideal atmosphere of the whole work.
"Nothing at all, Fraulein." "And what led her to Rome?" "She practised the art of singing, of which she was mistress; but did not cease studying, and made great progress in Rome. I was permitted to instruct her in counterpoint." "And did she appear in public as a singer?" "Yes and no. A distinguished foreign prelate was her patron, and his recommendation opened every door, even the Palestrina's.
"Nothing at all, Fraulein." "And what led her to Rome?" "She practised the art of singing, of which she was mistress; but did not cease studying, and made great progress in Rome. I was permitted to instruct her in counterpoint." "And did she appear in public as a singer?" "Yes and no. A distinguished foreign prelate was her patron, and his recommendation opened every door, even the Palestrina's.
It goes without saying that the Jewish musicians are treated with scant consideration; and even the great Protestant musicians, giants in their art, do not escape rebuke. If Goudimel is mentioned, it is because he was Palestrina's master, and his achievement of "turning the Calvinist psalms into chorales" is dismissed as being of little importance.
Dannreuther see Finck's "Wagner and his Works" that "Mozart's music and Mozart's orchestra are a perfect match; an equally perfect balance exists between Palestrina's choir and Palestrina's counterpoint, and I find a similar correspondence between Chopin's piano and some of his Etudes and Preludes I do not care for the Ladies' Chopin; there is too much of the Parisian salon in that, but he has given us many things which are above the salon."
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