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Giovanni Pierluigi da Palestrina (c. 1525 – 2 February 1594)〔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" (''The New Grove Dictionary of Music and Musicians'', 2nd ed., s.v. "Palestrina, Giovanni Pierluigi da" by Lewis Lockwood, Noel O'Regan, and Jessie Ann Owens).〕 was an Italian Renaissance composer of sacred music and the best-known 16th-century representative of the Roman School of musical composition.〔Jerome Roche, ''Palestrina'' (Oxford Studies of Composers, 7; New York: Oxford University Press, 1971), ISBN 0-19-314117-5.〕 He had a lasting influence on the development of church music, and his work has often been seen as the culmination of Renaissance polyphony.〔 ==Biography== Palestrina was born in the town of Palestrina, near Rome, then part of the Papal States. Documents suggest that he first visited Rome in 1537, when he is listed as a chorister at the Santa Maria Maggiore basilica. He 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 Dufay 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.〔 From 1544 to 1551, Palestrina was organist of the cathedral of St. Agapito, the principal church of his native city. His first published compositions, a book of Masses, had made so favorable an impression with Pope Julius III (previously the Bishop of Palestrina) that in 1551 he appointed Palestrina ''maestro di cappella'' or musical director of the Cappella Giulia, (Julian Chapel, in the sense of choir), the choir of the chapter of canons at St. Peter's Basilica. This book of Masses was the first by a native composer, since in the Italian states of Palestrina's day, most composers of sacred music were from the Low Countries, France, Portugal,〔Manuel Mendes, António Carreira, Duarte Lobo, Filipe de Magalhães, Fr. Manuel Cardoso, João Lourenço and Pero do Porto, among many others.〕 or Spain. In fact the book was modeled 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. During the next decade, Palestrina held positions similar to his Julian Chapel appointment at other chapels and churches in Rome, notably St John Lateran (1555–1560, a post previously held by Lassus), and St Mary Major (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 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. This finally gave him financial independence (he was not well paid as choirmaster) and he was able to compose prolifically until his death. He died in Rome of pleurisy in 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 ''Libera me Domine''. A five-part psalm for three choirs was sung at the funeral.〔Zoe Kendrick Pyne, ''Giovanni Pierluigi di Palestrina: His Life and Times'' (London: Bodley Head, 1922).〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Giovanni Pierluigi da Palestrina」の詳細全文を読む スポンサード リンク
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