Among the Great Masters of Music | Page 6

in October of the same year (1555) he was made
director of the music at the Lateran Church, where he remained for over
five years. During this time he produced several important works,
among them being his volume of Improperia ("the Reproaches"), an
eight-voiced "Crux Fidelis," and the set of "Lamentations" for four
voices. These compositions gave him fame as the leader of a new
school, the pure school of Italian church-music. In 1561 the composer
became director of music at the Church of St. Maria Maggiore, where
he remained ten years, during which period the event took place which
gave him his greatest fame.
For years church music had been lacking in that dignity which should
be its main characteristic, and this fault was largely due to the Flemish
composers, who thought most of displaying their technical skill. They
frequently selected some well-known secular tune around which to
weave their counterpoint, many masses, for instance, having been
written on the old Provencal song of "L' Homme Armé." Some of the
melodies chosen as the basis for masses were nothing but drinking
songs. At that time the tenor generally sang the melody, and, as in order
to show on what foundation their work rested, the Flemings retained
the original words in his part, it was not uncommon to hear the tenors
singing some bacchanalian verses, while the rest of the choir were
intoning the sacred words of a "Gloria" or an "Agnus Dei." These
abuses lasted for an incredibly long time, but finally, in 1562, the
cardinals were brought together for the purification of all churchly
matters, and the Council of Trent took note of the evil. All were agreed
upon abolishing secular words from the mass, and some even urged the
banishment of counterpoint itself, and a return to the plain song or
chant, but fortunately this sweeping reform met with a vigorous protest
from others. At last the whole matter was referred to a committee of
eight cardinals, who wisely sought the aid of an equal number of the
papal singers, and the outcome of their debate was a commission given
Palestrina to write a mass, which should employ counterpoint without
irreverence, and prove that religion and music might be blended into
one.
The composer, in response to this signal mark of confidence, wrote

three masses, which he submitted in 1565. The third one was the
celebrated "Mass of Pope Marcellus," of which the Pope ordered a
special performance by the choir of the Apostolical Chapel. The
rendition was followed by the complete acceptance of Palestrina's
work.
A new office, that of "Composer to the Pontifical Choir," was created
for him, and in 1571 he became leader of the choir of St. Peter's.
Although highly honoured and rewarded with many offices, Palestrina
received no great pecuniary recompense for his labours. His life was
blessed, however, with the love of a devoted wife, and the friendship of
many true admirers, especially Cardinal Carlo Borromeo and Filippo
Neri, the founder of oratorio, both of whom were afterward canonised.
Palestrina died in 1594, and lies buried in St. Peter's, where his works
are still performed. To the end of his life he never ceased to produce,
and left behind him over ninety masses, one hundred and seventy-nine
motettes, forty-five sets of hymns for the entire year, and an immense
quantity of other compositions. No composer, it is said, has ever
existed at once so prolific and so sustainedly powerful. Both the man
and his work deserve our regard. Elson says: "If ever the Catholic
Church desires to canonise a musical composer, it will find devoutness,
humility, and many other saintly characteristics in Palestrina."
Palestrina, in reverend age, discoursing on his art to some pupils or
friends, has been painted by Ferdinand Heilbuth (1826-1889), an artist
who, born in Germany of Jewish parents, gained his greatest successes
in France. He painted three classes of pictures,--those in which
celebrated personages of other times are the central attraction, as in
"Palestrina;" others which portray aged ecclesiastics of the Roman
Church, conversing with the orphan boys of some religious foundation,
or the like; and lastly, charming transcripts from field or wood, in
whose foreground he placed some fair dame in fashionable attire.

LULLI.

That Amazon of princesses, granddaughter of Henry IV., and cousin of
Louis XIV., the Duchesse de Montpensier (better known, perhaps, by
the name of "La Grande Mademoiselle"), once asked the Chevalier de
Guise to bring her from Italy "a young musician to enliven my house."
The chevalier did not forget the great lady's whim, and noticing, one
day in Florence, a bright-eyed boy of twelve singing to the music of his
guitar, said to him, "Will you come with me to Paris?" The lad, a poor
miller's son, without hesitation answered, "Yes;" and