CHAPTER 25. ROME AND THE MUSIC OF THE COUNTER-REFORMATION. THE RENAISSANCE COMES TO ROME.
Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author.While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server.
ROME AND THE MUSIC
OF THE COUNTER-REFORMATION
The Sistine Chapel is at the top. Workers constructing the new St. Peter’s Basilica can be seen in the background at the upper right.
The high altar and Michelangelo’s Last Judgment are at the far end; the balcony for the singers, which at various times included Josquin des Prez and Palestrina, is at the lower right, just on the other side of the choir screen.
Here Palestrina concludes a section based on one point of imitation and begins another point with the text “Pleni sunt coeli.”
The high altar of St. Peter’s Basilica and, above it, the Latin inscription beginning Tu es Petrus (You are Peter). The same theme was incorporated in a Mass and three motets by Palestrina.
The beginning of Palestrina’s six-voice motet Latin inscription beginning Tu es Petrus and the Kyrie of the parody Mass that he based upon it, his Missa Tu es Petrus.
The austere, mystical style of El Greco embodies
the spirit of the Counter-Reformation.