Editing Giovanni Pierluigi da Palestrina

{{Short description|Italian Renaissance composer (c. 1525 – 1594)}}
{{Use dmy dates|date=March 2021}}
{{Renaissance Italian name|Palestrina|Giovanni Pierluigi}}
{{Infobox classical composer
| name          = Giovanni Pierluigi da Palestrina
| image         = Giovanni Pierluigi da Palestrina.jpg
| alt           = A painting of Giovanni Pierluigi da Palestrina
| birth_date    = between 3 February 1525 and 2&nbsp;February 1526{{refn|name=birth|group=n}}
| birth_place   = [[Palestrina]], [[Papal States]]
| death_date    = {{death date and age|2 February 1594|3 February 1525|df=y}}
| death_place   = Rome, Papal States
| list_of_works = [[List of compositions by Giovanni Pierluigi da Palestrina|List of compositions]]
}}
{{Renaissance music sidebar}}
'''Giovanni Pierluigi da Palestrina''' (between 3 February 1525 and 2 February 1526 – 2 February 1594){{refn|A eulogy gives his age as 68, and on that basis Grove gives a birthdate "almost certainly between 3 February 1525 and 2 February 1526".{{sfn|Lockwood|O'Regan|Owens|2001}}|name=birth|group=n}} was an Italian composer of late [[Renaissance music]]. The central representative of the [[Roman School]], with [[Orlande de Lassus]] and [[Tomás Luis de Victoria]], Palestrina is considered the leading composer of late 16th-century Europe.{{sfn|Lockwood|O'Regan|Owens|2001}}

Born in the town of [[Palestrina]] in the [[Papal States]], Palestrina moved to [[Rome]] as a child and underwent musical studies there. In 1551, [[Pope Julius III]] appointed him ''[[Kapellmeister|maestro di cappella]]'' of the [[Cappella Giulia]] at [[St. Peter's Basilica]]. He left the post four years later, unable to continue as a layman under the papacy of [[Pope Paul IV|Paul IV]], and held similar positions at [[Archbasilica of Saint John Lateran|St. John Lateran]] and [[Santa Maria Maggiore]] in the following decade. Palestrina returned to the Cappella Giulia in 1571 and remained at St Peter's until his death in 1594.

Primarily known for his masses and motets, which number over 105 and 250 respectively,{{sfn|Stevens|2021}} Palestrina had a long-lasting influence on the development of church and secular music in Europe, especially on the development of [[counterpoint]].{{sfn|Roche|1970}} According to ''[[Grove Music Online]]'', Palestrina's "success in reconciling the functional and aesthetic aims of Catholic church music in the post-Tridentine period earned him an enduring reputation as the ideal Catholic composer, as well as giving his style (or, more precisely, later generations' selective view of it) an iconic stature as a model of perfect achievement."{{sfn|Lockwood|O'Regan|Owens|2001}}

==Biography==
Palestrina was born in the town of [[Palestrina]], near [[Rome]], then part of the [[Papal States]], to Neapolitan parents, Santo and Palma Pierluigi, in 1525, possibly on 3 February. His mother died on 16 January 1536, when Palestrina was 10. Documents suggest that he first visited Rome in 1537, when he was listed as a chorister at the [[Santa Maria Maggiore|Basilica of Santa Maria Maggiore]], one of the [[papal basilicas]] of the [[Diocese of Rome]], which allowed him to learn literature and music.<ref name=":0" /> In 1540, he moved to Rome, where he studied in the school of the Huguenot [[Claude Goudimel]].<ref name=":0" /> He also studied with [[Robin Mallapert]] and [[Firmin Lebel]]. He spent most of his career in the city.

Palestrina came of age as a musician under the influence of the northern European style of [[polyphony]], which owed its dominance in Italy primarily to two influential [[Netherlandish]] composers, [[Guillaume Du Fay]] and [[Josquin des Prez]], who had spent significant portions of their careers there. Italy itself had yet to produce anyone of comparable fame or skill in polyphony.{{sfn|Roche|1970}} [[Orlando di Lasso]], who accompanied Palestrina in his early years, also played an important role in the formation of his style as an adviser.<ref name=":0">{{Cite book|last=Ferris|first=George T.|title=Great Italian and French Composers|publisher=[[Dodo Press]]|year=2007|isbn=978-1-4065-2375-1|pages=3–4}}</ref>

From 1544 to 1551, Palestrina was the organist of the [[Palestrina Cathedral|Cathedral of St. Agapito]], the principal church of his native city. In 1551 [[Pope Julius III]] (previously the [[Bishop of Palestrina]]) appointed Palestrina ''[[maestro di cappella]]'' or musical director of the [[Cappella Giulia]],<ref>Lino Bianchi, ''Giovanni Pierluigi da Palestrina''</ref> (Julian Chapel, in the sense of choir), the choir of the chapter of [[canon (priest)|canons]] at [[St. Peter's Basilica]]. Palestrina dedicated to Julius III his first published compositions (1554), a book of [[Mass (music)|Masses]]. It was the first book of Masses by a native composer, since in the Italian states of Palestrina's day, most composers of sacred music were from the [[Low Countries]], France, or Spain.<ref>{{Cite web |last=Perry |first=John |title=Giovanni Pierluigi da Palestrina › Tunes |url=https://hymnary.org/person/Palestrina?tab=tunes |website=hymnary.org}}</ref> In fact the book was modelled on one by [[Cristóbal de Morales]]: the [[woodcut]] in the front is almost an exact copy of the one from the book by the Spanish composer.

In 1555, [[Pope Paul IV]] ordered that all papal choristers should be clerical. As Palestrina married early in life and had four children, he was unable to continue in the chapel as a [[Laity|layman]].<ref name=":0" />

[[File:San Giovanni Laterano Rom.jpg|thumb|Facade of [[Basilica of St. John Lateran|St John Lateran]], Rome, where Palestrina was musical director]]
During the next decade, Palestrina held positions similar to his Julian Chapel appointment at other chapels and churches in Rome, notably [[Basilica of St. John Lateran|St. John Lateran]] (1555–1560, a post previously held by [[Lassus]]), and Santa Maria Maggiore (1561–1566). In 1571 he returned to the Julian Chapel and remained at St Peter's for the rest of his life. The decade of the 1570s was difficult for him personally: he lost his brother, two of his sons, and his wife, Lucrezia Gori, in three separate outbreaks of the plague (1572, 1575, and 1580, respectively). He seems to have considered becoming a priest at this time, but instead he remarried, this time to a wealthy widow, Virginia Dormoli. This finally gave him financial independence (he was not paid well as choirmaster) and was able to compose prolifically until his death.

He died in Rome of [[pleurisy]] on 2 February 1594. As was usual, Palestrina was buried on the same day he died, in a plain coffin with a lead plate on which was inscribed ''Ioannes Petrus Aloysius Praenestinus Musicae Princeps''.<ref>{{Cite book |last=Cascioli |first=Giuseppe |title=La Vita e le Opere di Giovanni Pierluigi da Palestrina |year=1894 |pages=98 |language=it}}</ref> A five-part ''Libera me Domine'' psalm for three choirs was sung at the funeral.<ref name=Pyne>Zoe Kendrick Pyne, ''Giovanni Pierluigi da Palestrina: His Life and Times'' (London: Bodley Head, 1922).</ref> Palestrina's funeral was held at St. Peter's, and he was buried beneath the floor of the basilica. His tomb was later covered by new construction and attempts to locate his grave have been unsuccessful.

Italian composers [[Giovanni Maria Nanino]] and [[Gregorio Allegri]], both of them disciples of his school, continued his works.<ref name=":0" />

==Music==
===Overview===
{{See also|List of compositions by Giovanni Pierluigi da Palestrina|Counterpoint}}
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Palestrina left hundreds of compositions, including 105 [[mass (music)|masses]], 68 [[offertory|offertories]], at least 140 [[madrigal]]s and more than 300 [[motet]]s. In addition, there are at least 72 [[hymn]]s, 35 [[magnificat]]s, 11 [[litany|litanies]], and four or five sets of [[Lamentations (music)|lamentations]].{{sfn|Roche|1970}} The ''Gloria'' melody from Palestrina's ''Magnificat Tertii Toni'' (1591) is widely used today in the resurrection hymn tune, ''Victory'' (The Strife Is O'er).<ref>{{cite book |url=http://www.hymnary.org/hymn/PsH/391 |title=The Psalter Hymnal Handbook |editor-first1=Emily |editor-last1=Brink |editor-first2=Bert |editor-last2=Polman |date=1998 |access-date=26 January 2015}}</ref>

His attitude toward madrigals was somewhat enigmatic: whereas in the preface to his collection of ''Canticum canticorum'' (Song of Songs) motets (1584) he renounced the setting of profane texts, only two years later he was back in print with Book II of his secular madrigals (some of these being among the finest compositions in the medium).{{sfn|Roche|1970}} He published just two collections of madrigals with profane texts, one in 1555 and another in 1586.{{sfn|Roche|1970}} The other two collections were spiritual madrigals, a genre beloved by the proponents of the Counter-Reformation.{{sfn|Roche|1970}}

Palestrina's masses show how his compositional style developed over time.{{sfn|Roche|1970}} His ''Missa sine nomine'' seems to have been particularly attractive to [[Johann Sebastian Bach]], who studied and performed it while writing the [[Mass in B minor]].<ref name=Wolff>Christoph Wolff, ''Der Stile Antico in der Musik Johann Sebastian Bachs: Studien zu Bachs Spätwerk'' (Wiesbaden: Franz Steiner Verlag, 1968), pp. 224–225.</ref> Most of Palestrina's masses appeared in thirteen volumes printed between 1554 and 1601, the last seven published after his death.{{sfn|Roche|1970}}<ref name=Garrat>James Garrat, ''Palestrina and the German Romantic Imagination'' (New York: Cambridge University Press, 2002).</ref>
[[File:Palestrina missa papae macelli kyrie.PNG|thumb|522x522px|Missa Papae Marcelli – Kyrie]]
One of his most important works, the ''[[Missa Papae Marcelli]]'' (Pope Marcellus Mass) has been historically associated with erroneous information involving the Council of Trent. According to this tale (which forms the basis of [[Hans Pfitzner]]'s opera [[Palestrina (opera)|''Palestrina'']]), it was composed in order to persuade the [[Council of Trent]] that a draconian ban on the [[polyphony|polyphonic]] treatment of text in sacred music (as opposed, that is, to a more directly intelligible homophonic treatment) was unnecessary.<ref name="Bokina">John Bokina, ''Opera and Politics'' (New York: Yale University Press, 1997), pp. 129–131.</ref> However, more recent scholarship shows that this mass was in fact composed before the cardinals convened to discuss the ban (possibly as much as 10 years before).<ref name="Bokina" /> Historical data indicates that the Council of Trent, as an official body, never actually banned any church music and failed to make any ruling or official statement on the subject. These stories originated from the unofficial points-of-view of some Council attendees who discussed their ideas with those not privy to the council's deliberations. Those opinions and rumors have, over centuries, been transmuted into fictional accounts, put into print, and often incorrectly taught as historical fact. While Palestrina's compositional motivations are not known, he may have been quite conscious of the need for intelligible text; however, this was not to conform with any doctrine of the [[Counter-Reformation]],<ref name="Bokina" /> because no such doctrine exists. His characteristic style remained consistent from the 1560s until the end of his life. Roche's hypothesis that Palestrina's seemingly dispassionate approach to expressive or emotive texts could have resulted from his having to produce many to order, or from a deliberate decision that any intensity of expression was unbecoming in church music,{{sfn|Roche|1970}} reflects modern expectations about expressive freedom and underestimates the extent to which the mood of Palestrina's settings is adapted to the liturgical occasions for which the texts were set, rather than the line-by-line meaning of the text, and depends on the distinctive characters of the church [[Gregorian mode|modes]] and variations in vocal grouping for expressive effect. Performing editions and recordings of Palestrina have tended to favour his works in the more familiar modes and standard (SATB) voicings, under-representing the expressive variety of his settings.

There are two comprehensive editions of Palestrina's works: a 33-volume edition published by Breitkopf and Härtel, in [[Leipzig]] Germany between 1862 and 1894 edited by [[Franz Xaver Haberl]], and a 34-volume edition published in the mid twentieth century, by Fratelli Scalera, in Rome, Italy edited by [[w:it:Raffaele Casimiri|R. Casimiri]] and others.

===The "Palestrina Style"===
[[File:Retrato de Palestrina.jpg|thumb|right|Portrait of Giovanni Pierluigi da Palestrina, 16th century]]
One of the hallmarks of Palestrina's music is that [[Consonance and dissonance|dissonances]] are typically relegated to the [[Off-beat (music)|"weak" beats]] in a measure.<ref name=Jeppesen>Knud Jeppesen, ''Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century'', trans. Glen Haydon (with a new foreword by Alfred Mann; New York: Prentice-Hall, 1939, repr. New York: Dover, 1992).</ref> This produced a smoother and more [[Consonance and dissonance|consonant]] type of [[polyphony]] which is now considered to be definitive of late Renaissance music, given Palestrina's position as Europe's leading composer in the wake of [[Josquin des Prez]] (d. 1521).

The "Palestrina style" taught in college courses covering Renaissance [[counterpoint]] is often based on the codification by the 18th-century composer and theorist [[Johann Joseph Fux]], published as ''[[Gradus ad Parnassum]]'' (Steps to Parnassus, 1725). Citing Palestrina as his model, Fux divided counterpoint into five ''species'' (hence the term "[[species counterpoint]]"), designed as exercises for the student, which deployed progressively more elaborate rhythmic combinations of voices while adhering to strict harmonic and melodic requirements. The method was widely adopted and was the main basis of contrapuntal training in the 19th century, but Fux had introduced a number of simplifications to the Palestrina style, notably the obligatory use of a ''[[cantus firmus]]'' in [[semibreves]], which were corrected by later authors such as [[Knud Jeppesen]] and [[R. O. Morris]]. Palestrina's music conforms in many ways to Fux's rules, particularly in the fifth species but does not fit his pedagogical format.

The main insight, that the "pure" style of polyphony achieved by Palestrina followed an invariable set of stylistic and combinational requirements, was justified. Fux's manual was endorsed by his contemporary [[Johann Sebastian Bach|J.S. Bach]], who himself arranged two of Palestrina's masses for performance.

According to Fux, Palestrina had established and followed these basic guidelines:

* The flow of music is dynamic, not rigid or static.
* Melody should contain few leaps between notes. (Jeppesen: "The line is the starting point of Palestrina's style".)<ref name=Jeppesen/>
* If a leap occurs, it must be small and immediately countered by stepwise motion in the opposite direction.
* Dissonances are to be confined to suspensions, passing notes and weak beats. If one falls on a strong beat (in a suspension) it must be immediately resolved.

Fux omits to mention the manner in which the musical phrasing of Palestrina followed the [[syntax]] of the sentences he was setting to music, something not always observed by earlier composers. Also to be noticed in Palestrina is a great deal of [[tone painting]]. Elementary examples of this are descending musical motion with Latin words like ''descendit'' (descends) or of a static musical or cadential moment with the words ''de coelis'' (from heaven).<ref>{{cite book|last=Georgiades|first=Thrasybulos|year=1974|title=Music and Language The Rise of Western Music as Exemplified in Settings of the Mass|publisher=Cambridge University Press}}</ref>

==Reputation==
[[File:Giovanni_Palestrina_and_Pope_Julius_III.jpg|thumb|Palestrina, presenting his masses to Pope [[Julius III]], 1554]]
Palestrina was extremely famous in his day, and if anything, his reputation and influence increased after his death. [[Johann Sebastian Bach|J.S. Bach]] studied and hand-copied Palestrina's first book of ''Masses'', and in 1742 [[Bach's church music in Latin#Kyrie–Gloria Mass, BNB I/P/2, after Palestrina's Missa sine nomine a 6 (Bach manuscript from c. 1742)|wrote his own adaptation]] of the Kyrie and Gloria of the ''Missa sine nomine''.<ref>{{Cite book|url=https://books.google.com/books?id=SCklDwAAQBAJ&q=palestrina&pg=PA252|title=The Routledge Research Companion to Johann Sebastian Bach|last=Leaver|first=Robin A.|date=25 November 2016|publisher=Taylor & Francis|isbn=978-1-315-45280-7}}</ref> [[Felix Mendelssohn]] placed him in the pantheon of the greatest musicians, writing, "I always get upset when some praise only Beethoven, others only Palestrina and still others only Mozart or Bach. All four of them, I say, or none at all."<ref>{{Cite book|url=https://archive.org/details/lifetimesoffelix0000zann|url-access=registration|page=[https://archive.org/details/lifetimesoffelix0000zann/page/40 40]|quote=palestrina.|title=The Life and Times of Felix Mendelssohn|last=Zannos|first=Susan|date=March 2004|publisher=Mitchell Lane Publishers, Inc.|isbn=978-1-61228-916-8}}</ref>

Conservative music of the Roman school continued to be written in Palestrina's style (which in the 17th century came to be known as the ''[[prima pratica|prima prattica]]'') by such students of his as [[Giovanni Maria Nanino]], [[Ruggiero Giovanelli]], [[Arcangelo Crivelli]], [[Teofilo Gargari]], [[Francesco Soriano]], and [[Gregorio Allegri]].<ref name="Pyne" /> As late as the 1750s, Palestrina's style was still the reference for composers working in the motet form, as can be seen by [[Francesco Barsanti]]'s ''Sei Antifones'' 'in the style of Palestrina' (c. 1750; published by [Peter] Welcker, c. 1762).

Much research on Palestrina was done in the 19th century by [[Giuseppe Baini]], who published a monograph in 1828 which made Palestrina famous again and reinforced the already existing legend that he was the "Saviour of Church Music" during the reforms of the [[Council of Trent]].<ref name="Garrat" />

20th and 21st century scholarship by and large retains the view that Palestrina was a strong and refined composer whose music represents a summit of technical perfection.{{sfn|Roche|1970}} Contemporary analysis highlighted the modern qualities in the compositions of Palestrina such as research of color and sonority, use of sonic grouping in large-scale setting, interest in vertical as well as horizontal organization, studied attention to text setting. These unique characteristics, together with effortless delivery and an indefinable "otherness", constitute to this day the attraction of Palestrina's work.<ref name="Marvin">Clara Marvin, ''Giovanni Pierluigi da Palestrina: A Research Guide'' (Routledge Publishing Inc, 2002), {{ISBN|978-0-8153-2351-8}}</ref>

The opera ''[[Palestrina (opera)|Palestrina]]'' by [[Hans Pfitzner]] depicts Palestrina working to preserve polyphony during the Council of Trent.

The Cagliari music conservatory in [[Cagliari]], Italy is named in his honor.

In 2009 a film about the composer was produced by German television [[ZDF]]/[[Arte]]. Title: ''[[Palestrina - Prince of Music]]'', directed by [[Georg Brintrup]].<ref>[https://www.imdb.com/title/tt1611965/ Internet Movie Database]</ref>

==References==
===Notes===
{{Reflist|group=n}}

===Citations===
{{Reflist}}

===Sources===
;Books and chapters
{{refbegin|2}}
* {{cite book |last=Benjamin |first=Thomas |year=2005 |title=The Craft of Modal Counterpoint |edition=2nd |publisher=[[Routledge]] |location=New York |isbn=978-0-415-97172-0 }}
* {{cite book |last=Coates |first=Henry |year=1938 |title=Palestrina |publisher=J. M. Dent & Sons |location=London }}
* {{cite book |last=Daniel |first=Thomas |year=2002 |title=Kontrapunkt, Eine Satzlehre zur Vokalpolyphonie des 16. Jahrhunderts |publisher=Verlag Dohr |location= |isbn=978-3-925366-96-3 }}
* {{cite book |last=Della Sciucca |first=Marco |year=2009 |title=Giovanni Pierluigi da Palestrina |publisher=L'Epos |location=Palermo |isbn=978-88-8302-387-3 }}
* {{cite book |last=Fux |first=Johann Joseph |author-link=Johann Joseph Fux |translator-last=Mann |translator-first=Alfred |translator-link=Alfred Mann (musicologist) |year=1965 |orig-year=1725 |title=The Study of Counterpoint (Gradus ad Parnassum) |publisher=[[W. W. Norton & Company]] |location=New York |isbn=978-0-393-00277-5 }}
* {{cite book |last=Gauldin |first=Robert |year=1995 |title=A Practical Approach to Sixteenth-Century Counterpoint |publisher=Waveland Press, Inc. |location=Long Grove |isbn=978-0-88133-852-2 }}
* {{cite book |last=Haigh |first=Andrew C. |year=1957 |title= Essays on Music: In Honor of Archibald Thompson Davison|chapter=Modal Harmony in the Music of Palestrina |publisher=[[Harvard University Press]] |location=Cambridge |pages=111–120 }}
* {{cite book |last=Jeppesen |first=Knud |author-link=Knud Jeppesen |year=1946 |title=The Style of Palestrina and the Dissonance |edition=2nd |publisher= |location=London }}
* {{cite book |last=Jeppesen |first=Knud |author-link=Knud Jeppesen |translator-last=Haydon |translator-first=Glen |translator-link=Glen Haydon |others=Foreword by [[Alfred Mann (musicologist)|Alfred Mann]] |year=1992 |orig-year=1939 |title=Counterpoint |publisher=Dover Publications |location=New York |isbn=978-0-486-27036-4 |url={{google books|plainurl=y|id=o0LDAgAAQBAJ}} }}
* {{cite book |last=Meier |first=Bernhard |year=1988 |title=The Modes of Classical Vocal Polyphony, Described According to the Sources |publisher=Broude Brothers Limited |location=New York |isbn=978-0-8450-7025-3 }}
* {{cite book |last=Morris |first=R.O. |year=1978 |title=Contrapuntal Technique in the Sixteenth Century |publisher=[[Oxford University Press]] |location=Oxford |isbn=978-0-19-321468-2 }}
* {{cite book |last=Motte |first=Diether de la |author-link=Diether de la Motte |year=1981 |title=Kontrapunkt |publisher=Bärenreiter-Verlag |location=Kassel |isbn=978-3-423-30146-6 |language=German }}
* {{cite book |last=Pyne |first=Zoe Kendrick |year=1922 |title=Giovanni Pierluigi di Palestrina: His Life and Times |publisher=Bodley Head |location=London |isbn= }}
* {{cite book |last=Reese |first=Gustave |author-link=Gustave Reese |year=1940 |title=Music in the Middle Ages: With an Introduction on the Music of Ancient Times |publisher=[[W. W. Norton & Company]] |location=New York |isbn=978-0-393-09750-4 }}
* Rice, John A. ''Saint Cecilia in the Renaissance: The Emergence of a Musical Icon'' (Chicago, 2022), 169–76
* {{cite book |last=Roche |first=Jerome |author-link=Jerome Roche |year=1970 |title=Palestrina |series=Oxford Studies of Composers |volume=7 |publisher=[[Oxford University Press]] |location=Oxford |isbn=978-0-19-314117-9 }}
* {{cite book |last=Marvin |first=Clara |year=2002 |title=Giovanni Pierluigi da Palestrina: A Research Guide |publisher=[[Routledge]] |location= |isbn=978-0-8153-2351-8 }}
* {{cite book |last=Schubert |first=Peter |year=2008 |title=Modal Counterpoint, Renaissance Style |edition=2nd |publisher=[[Oxford University Press]] |location=New York and Oxford |isbn=978-0-19-533194-3 }}
* {{cite book |last=Stove |first=R. J. |author-link=R. J. Stove |year=1990 |title=Prince of Music: Palestrina and His World |publisher=Quakers Hill Press |location=Sydney |isbn=978-0-7316-8792-3 }}
* {{cite book |last=Swindale |first=Owen |year=1962 |title=Polyphonic Composition |publisher=[[Oxford University Press]] |location=Oxford }}
{{refend}}

;Journal and encyclopedia articles
{{refbegin}}
* {{cite encyclopedia |last1=Lockwood |first1=Lewis |author-link1=Lewis Lockwood |last2=O'Regan |first2=Noel |last3=Owens |first3=Jessie Ann |author-link3=Jessie Ann Owens |year=2001 |encyclopedia=[[Grove Music Online]] |title=Palestrina [Prenestino, etc.], Giovanni Pierluigi da |publisher=[[Oxford University Press]] |location=Oxford |doi=10.1093/gmo/9781561592630.article.20749 |isbn=978-1-56159-263-0 |url-access=subscription |url=https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000020749 }} {{Grove Music subscription}}
* {{cite encyclopedia |last=O'Regan |first=Noel |year=2017 |orig-year=2011 |encyclopedia=[[Oxford Bibliographies Online|Oxford Bibliographies]]: Music |title=Giovanni Pierluigi da Palestrina |publisher=[[Oxford University Press]] |location=Oxford |doi=10.1093/OBO/9780199757824-0028 |url=https://www.oxfordbibliographies.com/view/document/obo-9780199757824/obo-9780199757824-0028.xml |url-access=subscription}} {{subscription required}}
* {{cite encyclopedia |last=Stevens |first=Denis William |author-link=Denis Stevens |date=29 January 2021 |title=Giovanni Pierluigi da Palestrina &#124; Biography & Facts &#124; Britannica |encyclopedia=[[Encyclopædia Britannica]] |publisher=[[Encyclopædia Britannica, Inc.]] |location=Chicago |url=https://www.britannica.com/biography/Giovanni-Pierluigi-da-Palestrina |archive-url=https://web.archive.org/web/20210723162514/https://www.britannica.com/biography/Giovanni-Pierluigi-da-Palestrina |archive-date=23 July 2021 |url-status=live }}
{{refend}}

==External links==
{{Commons}}{{Wikisource}}
*{{ChoralWiki}}
*{{IMSLP|id=Palestrina, Giovanni Pierluigi|cname=Giovanni Pierluigi de Palestrina}}
*[http://www.fondazionepierluigipalestrina.it/ Palestrina Foundation]
*{{YouTube|TFbRhL8BF8U|Palestrina's "Dum complerentur"}}: a 1971 concert performance by Guildford Cathedral Choir, directed by [[Barry Rose]]
*[https://web.archive.org/web/20110916172813/http://www.whiterabbitmusic.co.uk/angelvoices/sicutcervus.mp3 recording of Palestrina's ''Sicut Cervus''] from Coro Nostro, a mixed chamber choir based in Leicester, UK. Accessed 2010-04-17

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{{DEFAULTSORT:Pierluigi da Palestrina, Giovanni}}
[[Category:Giovanni Pierluigi da Palestrina| ]]
[[Category:1520s births]]
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[[Category:People from Palestrina]]
[[Category:16th-century Italian composers]]
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[[Category:Counter-Reformation]]
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