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Updated: June 24, 2025
The liberal atmosphere of Weimar, the appreciation of men whose opinion was of worth, could but stimulate the mental faculties and widen the range of thought, and there is a breadth of conception and majesty in Bach at this period unknown before. With the assiduity of genius he labored for the realization of his ideal. Palestrina, Lotti, and Caldara were laid under contribution.
Sister Mary John shook her head authoritatively, and said that she quite understood that Miss Innes did not approve of the liberty of writing any melody over Bach's beautiful prelude. Besides, it required a violin. The conversation then turned on the music at St. Joseph's. Sister Mary John listened, breaking suddenly in with some question regarding Palestrina.
Again he found another post, and ten years later was back again as maestro of the Vatican after his many wanderings and vicissitudes. In the meanwhile he had written his famous mass named after his old friend, Pope Marcellus II. The ten years between 1561 and 1571 had marked an epoch not merely in the life of Palestrina, but in the history of religious music.
But as his mind by degrees calmed itself from its first wild and tumultuous rapture, he could not help asking himself the question whether they were not still to be divided! Fortifying himself in the almost impregnable fastness of Palestrina, he had assembled around him all the retainers of his family, and his lawless soldiery now ravaged the neighbouring plains far and wide.
I have but to give the order, and the Grand Company enter Rome; but without their agency, methinks if you keep faith with me, our purpose can be effected." "In the meanwhile, Palestrina is besieged by your brothers!" said Stefanello, sharply. "But they have my orders to waste their time before its walls.
"'I was born at Naples, said he, 'there they geld two or three thousand children every year; some die of the operation, others acquire a voice more beautiful than that of women, and others are raised to offices of state. This operation was performed on me with great success and I was chapel musician to madam, the Princess of Palestrina. "'To my mother! cried I.
A pope of the twentieth century declared his music to be still unrivaled and directed its universal use. Palestrina directly influenced much of the Italian music of the seventeenth century and the classical German productions of the eighteenth. Latin had been the learned language of the middle ages: it was used in the Church, in the universities, and in polite society.
The decree ordered, moreover, that the port should be repaired, the canals deepened and cleaned, the great wall of Palestrina of which I have spoken above, and the jetties in front of it, extended and maintained; that a canal of communication between the arsenal of Venice and the Pass of Mala-Mocco should be dug; and finally that this passage itself should be cleared and deepened sufficiently for vessels of the line of seventy-four tons burthen to pass in and out.
The loss of this post was a great humiliation, which Palestrina found it hard to endure. He fell ill at this time, and the outlook was dark indeed, with a wife and three little children to provide for. But the clouds soon lifted.
The compositions of Palestrina and his compeers represent music in its highest form as pure song in its most perfect consummation, attaining as song an elevation which has never even been distantly approached since. "The centuries have no power over the Palestrina style," says its historian; "it can neither fade nor die."
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