query: where did giovanni pierluigi da palestrina live?

title: Palestrina

text: the daughter of Pope Urban X and the Princess of Palestrina. A fictional account of the action at Palestrina in 1849 appears in Geoffrey Trease's novel "Follow My Black Plume". Mark Sandman singer-bassist of Morphine (band) died of cardiac arrest onstage in Palestrina, Italy, on July 3, 1999. Palestrina Palestrina (ancient "Praeneste"; , "Prainestos") is an ancient city and "comune" (municipality) with a population of about 22,000, in Lazio, about east of Rome. It is connected to the latter by the Via Prenestina. It is the birthplace of composer Giovanni Pierluigi da Palestrina. Palestrina is sited on a spur of

title: Giovanni Pierluigi da Palestrina

text: 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 the organist of the Cathedral of St. Agapito, the principal church of his native city. In 1551 Pope Julius III (previously the Bishop of Palestrina)

title: Giovanni Pierluigi da Palestrina

text: 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. Palestrina dedicated to Julius III his first published compositions (1554), a book of 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, Portugal, Italy, or Spain. In fact the book was modeled on one by Cristóbal de Morales: the woodcut in the front is almost an exact copy

title: Giovanni Pierluigi da Palestrina

text: edited by Franz Xaver Haberl, and a 34-volume edition published in the mid twentieth century, by Fratelli Scalera, in Rome, Italy edited by R. Casimiri and others. One of the hallmarks of Palestrina's music is that dissonances are typically relegated to the "weak" beats in a measure. This produced a smoother and more consonant type of polyphony which is now considered to be definitive of late Renaissance music, given Palestrina's position as Europe's leading composer (along with Orlande de Lassus) in the wake of Josquin des Prez (d. 1521). The "Palestrina style" taught in college courses covering Renaissance counterpoint is

title: Italian art

text: project was not completed, however, until long after Bramante's death. Humanistic studies continued under the powerful popes of the High Renaissance, Julius II and Leo X, as did the development of polyphonic music. The Sistine Choir, which p\d, drew musicians and singers from all of Italy and northern Europe. Among the most famous composers who became members were Josquin des Prez and Giovanni Pierluigi da Palestrina. Mannerism was an elegant, courtly style. It flourished in Florence, Italy, where its leading representatives were Giorgio Vasari and Bronzino. The style was introduced to the French court by Rosso Fiorentino and by Francesco

title: Pierluigi Orlandini

text: Pierluigi Orlandini Pierluigi Orlandini (born 9 October 1972 in San Giovanni Branco, Italy) is an Italian former footballer who played as a midfielder. Orlandini started his career with Atalanta in 1989, but was a fringe player and in 1992 was sold to Lecce, where he spent a season, before moving back to Atalanta. After another season long stay, he joined one of Italy's biggest clubs in 1994, Internazionale, where he spent 2 seasons, and subsequently moved to Verona in 1996. After this, he had unsuccessful spells with Parma and Venezia. In 2000, he played 2 games for A.C. Milan and

title: Spanish Golden Age

text: the addition to the top of the main façade, a work by Churriguera. Tomás Luis de Victoria, a Spanish composer of the sixteenth century, mainly of choral music, is widely regarded as one of the greatest Spanish classical composers. He joined the cause of Ignatius of Loyola in the fight against the Reformation and in 1575 became a priest. He lived for a short time in Italy, where he became acquainted with the polyphonic work of Giovanni Pierluigi da Palestrina. Like Zurbarán, Victoria mixed the technical qualities of Italian art with the religion and culture of his native Spain. He

title: Pierluigi Orlandini

text: scored 1 goal. He went on to spend the remainder of his career with Brescia, his former club Atalanta and Brindisi before retiring. At international level, Orlandini also won 10 caps for the Italian under-21 team between 1992 and 1994, scoring once. Pierluigi Orlandini Pierluigi Orlandini (born 9 October 1972 in San Giovanni Branco, Italy) is an Italian former footballer who played as a midfielder. Orlandini started his career with Atalanta in 1989, but was a fringe player and in 1992 was sold to Lecce, where he spent a season, before moving back to Atalanta. After another season long stay,

title: Teofilo Macchetti

text: hammers on anvils), attests the circulation of medieval dissertations as well as those of the Renaissance in Italy (Macchetti demonstrated knowing very well the dissertations of Johannes de Muris, Johannes Tinctoris, Glarean, Vincenzo Galilei and Athanasius Kircher) reflecting on the concept of tempo, and studied the evolution of performance customs (for example, he observed how the mass Aeterna Christi munera by Giovanni Pierluigi da Palestrina was performed more quickly over the years). The "Curiosità" represents the first Italian attempt at creating a true and proper "History of Music", which precedes, by almost 40 years, the most famous treaty of Giovanni

title: Culture of Italy

text: integral part of Italian life, owes many of its forms as well as its language to Italy. The musical staff was either invented or established by Guido of Arezzo. A leading 14th-century composer was the blind Florentine organist Francesco Landini. Leading composers of the High Renaissance and early Baroque periods were Giovanni Pierluigi da Palestrina; the madrigalists Luca Marenzio and Carlo Gesualdo, prince of Venosa; the Venetian organists Andrea Gabrieli and Giovanni Gabrieli; Claudio Monteverdi, one of the founders of opera; organist-composer Girolamo Frescobaldi; and Giacomo Carissimi. Important figures of the later Baroque era were Arcangelo Corelli, Antonio Vivaldi, Alessandro

title: Giovanni Martini da Udine

text: Giovanni Martini da Udine Giovanni Martini or Giovanni Martini da Udine (1470/75 – September 30, 1535) was an Italian painter and sculptor of the Renaissance, born in Udine between 1470 and 1475. With Pellegrino da San Daniele he is one of the main representatives of Renaissance art in the Friuli region of north-east Italy. A member of a family of artists, Giovanni was the son of Martin and the grandson of Domenico da Tolmezzo. For many years, he was identified as the painter, also from Udine, who signed "John the Baptist" and worked in Udine and in the Friuli, between

title: Giovanni Domenico da Nola

text: Giovanni Domenico da Nola Giovanni Domenico da Nola (also Nolla) (c. 1510-1520May 1592) was an Italian composer and poet of the Renaissance. He was born in the town of Nola, Italy. He was a founding member of the "Accademia dei Sereni" in 1546-1547, where he knew Luigi Dentice and Marchese della Terza, who was a patron of Orlando di Lasso. Nola was appointed "maestro di cappella" at the SS Annunziata in Naples on 1 February 1563, a position he held up to his death 29 years later. He also taught singing to the women of the "ospedali" at the Annunziata

title: Giovanni Pierluigi da Palestrina

text: Giovanni Pierluigi da Palestrina Giovanni Pierluigi da Palestrina ( 1525 – 2 February 1594) was an Italian Renaissance composer of sacred music and the best-known 16th-century representative of the Roman School of musical composition. He had a lasting influence on the development of church music, and his work is considered as the culmination of Renaissance polyphony. 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

title: Giovanni Pierluigi da Palestrina

text: music represents a summit of technical perfection. 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. In 2009 a film about the composer was produced by German television ZDF/Arte. Title: "Palestrina - Prince of Music", directed by Georg Brintrup. https://www.jstor.org/stable/pdf/3125600.pdf Giovanni Pierluigi da Palestrina Giovanni Pierluigi da Palestrina ( 1525 –

title: Stabat Mater (Giovanni Pierluigi da Palestrina)

text: here decays May my soul your goodness praise, Safe in heaven eternally. </poem> Choral Public Domain Library information on Stabat Mater by Palestrina Stabat Mater (Giovanni Pierluigi da Palestrina) Stabat Mater is a Motet for Double Chorus by Giovanni Pierluigi da Palestrina. It was composed in the Late Renaissance Period sometime during the late 16th Century. It is centered on the 20 verses of text that constitute the hymn of the same name. The text predates Palestrina's composition and dates as far back as the 13th century. The author of the text is unknown. Some possible authors include: St. Bonaventure,

text: Stabat Mater (Giovanni Pierluigi da Palestrina) Stabat Mater is a Motet for Double Chorus by Giovanni Pierluigi da Palestrina. It was composed in the Late Renaissance Period sometime during the late 16th Century. It is centered on the 20 verses of text that constitute the hymn of the same name. The text predates Palestrina's composition and dates as far back as the 13th century. The author of the text is unknown. Some possible authors include: St. Bonaventure, Pope Innocent III, and Jacopone da Todi, a Franciscan Friar. The liturgical text is centered on Mary's suffering at the Crucifixion of Christ.

title: Canticum Canticorum (Giovanni Pierluigi da Palestrina)

text: There is also a powerful, passionate tone throughout the work, distinguishing it from others of its time. Canticum Canticorum (Giovanni Pierluigi da Palestrina) Canticum Canticorum ("Song of Solomon") is a cycle of 29 motets by Giovanni Pierluigi da Palestrina. Originally titled "Motettorum - Liber Quartus", this Renaissance work is one of Palestrina's largest collections of Sacred motets. The work is in Latin and based upon excerpts from the book in the Song of Songs of the Old Testament. The Song of Songs is thought to be an allegorical representation of the relationship of God and Israel as husband and wife.

text: Canticum Canticorum (Giovanni Pierluigi da Palestrina) Canticum Canticorum ("Song of Solomon") is a cycle of 29 motets by Giovanni Pierluigi da Palestrina. Originally titled "Motettorum - Liber Quartus", this Renaissance work is one of Palestrina's largest collections of Sacred motets. The work is in Latin and based upon excerpts from the book in the Song of Songs of the Old Testament. The Song of Songs is thought to be an allegorical representation of the relationship of God and Israel as husband and wife. The text uses the main image of a man and wife almost throughout, the poem suggesting movement

title: Giovanni Pierluigi da Palestrina

text: and Gloria of the "Missa sine nomine." 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.". 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") by such students of his as Giovanni Maria Nanino, Ruggiero Giovanelli, Arcangelo Crivelli, Teofilo Gargari, Francesco Soriano, and Gregorio Allegri. As late as the 1750s, Palestrina's

title: Palestrina

text: Palestrina Palestrina (ancient "Praeneste"; , "Prainestos") is an ancient city and "comune" (municipality) with a population of about 22,000, in Lazio, about east of Rome. It is connected to the latter by the Via Prenestina. It is the birthplace of composer Giovanni Pierluigi da Palestrina. Palestrina is sited on a spur of the Monti Prenestini, a range in the central Apennines. Palestrina borders the following municipalities: Artena, Castel San Pietro Romano, Cave, Gallicano nel Lazio, Labico, Rocca di Cave, Rocca Priora, Rome, San Cesareo, Valmontone, Zagarolo. Early burials show that the site was already occupied in the 8th or 7th

title: Giovanni Pierluigi da Palestrina

text: 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. 20th and 21st century scholarship by and large retains the view that Palestrina was a strong and refined composer whose

title: Giovanni Pierluigi da Palestrina

text: 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). Palestrina was extremely famous in his day, and if anything, his reputation and influence increased after his death. J.S. Bach studied and hand-copied Palestrina's first book of "Masses", and in 1742 wrote his own adaption of the Kyrie

title: Palestrina

text: Museum of Palestrina is housed inside the Renaissance Barberini Palace, the former baronial palace, built above the ancient temple of Fortuna. It exhibits the most important works from the ancient town of Praeneste. The famous sculpture of the Capitoline Triad is exhibited on the first floor. The second floor is dedicated to the necropoli and sanctuaries, while the third floor contains a large polychrome mosaic depicting the flooding of the Nile (Nile mosaic of Palestrina). Praeneste was the native town of the 3rd-century Roman writer Aelian, and of the great 16th-century composer Giovanni Pierluigi da Palestrina. Thomas Mann spent some

title: Thomas Oliphant (lyricist)

text: Tallis. 149th Psalm: "I will give thanks": Giovanni Pierluigi da Palestrina (Words T Oliphant) "O Be Joyful": Giovanni Pierluigi da Palestrina (words T Oliphant) "Be Not Thou Far From Me": Giovanni Pierluigi da Palestrina (Words T Oliphant) "Hard By A Fountain": Huberto Waelrent (words Oliphant) "Let Us All Sing, Merrily Sing": Jer. Saville (words Oliphant) "Ah Me! Where Is My True Love?" : Felice Anerio (words Oliphant) "Lady, See, On Every Side" : Luca Marenzio (words Oliphant) "When April deck'd in roses gay" : Luca Marenzio (words Oliphant) used in the Commemoration of Sir Thomas Gresham, Saturday, May 14, 1836

title: Missa Brevis (Palestrina)

text: came to be called Brevis (link to Missa Brevis article), for it is not any shorter than the usual four part Palestrina mass. Missa Brevis (Palestrina) Missa Brevis is a mass written by Giovanni Pierluigi da Palestrina first published in 1570 in Palestrina's "Third Book of Masses" and has been Reprinted several times since. The Title can be misleading as Missa Brevis is commonly a short mass. Palestrina likely chose the word "Brevis" as this was the most adequate word to portray the piece. Missa Brevis is considered to be one of the most performed of Palestrina's repertoire of polyphony.

title: Palestrina (opera)

text: Palestrina (opera) Palestrina is an opera by the German composer Hans Pfitzner, first performed in 1917. The composer referred to it as a "Musikalische Legende" (musical legend), and wrote the libretto himself, based on a legend about the Renaissance musician Giovanni Pierluigi da Palestrina, who saves the art of contrapuntal music (polyphony) for the Church in the sixteenth century, through his composition of the "Missa Papae Marcelli". The wider context is that of the European Reformation and the role of music in relation to it. The character of Cardinal Borromeo is depicted, and a General Congress of the Council of

title: Giovanni Pierluigi da Palestrina

text: 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 J.S. Bach, who himself arranged two of Palestrina's masses for performance. According to Fux, Palestrina had established and followed these basic guidelines: Not mentioned by Fux, was the manner in which the musical phrasing

title: Giovanni Pierluigi da Palestrina

text: 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

title: O magnum mysterium (Palestrina)

text: for the beginning of the second big section of the piece. The final “Alleluja” section is lively and the voices no longer sing in unison and all voices sound independently. Palestrina makes use of scale patterns and variations, which are common in his other works. This can be seen in bar 141, in which quarter notes are used and sung in different variations as melismas. Finally, Palestrina ends the motet with a very strong plagal cadence. O magnum mysterium (Palestrina) O magnum mysterium is a six-part motet by Giovanni Pierluigi da Palestrina, based on the responsorial chant of the same

title: O magnum mysterium (Palestrina)

text: O magnum mysterium (Palestrina) O magnum mysterium is a six-part motet by Giovanni Pierluigi da Palestrina, based on the responsorial chant of the same name, and was written for the celebration of Christmas. The piece is intended to express the joy and awe that was felt by the shepherds as they celebrated and worshiped the Christ-child in the manger on Christmas Eve. Palestrina took the text for this piece from the first half of the third and fourth Responsories of Matins on Christmas Day. The text has been set many times by numerous composers, such as Palestrina, Poulenc, Lauridsen, and

title: Missa Brevis (Palestrina)

text: Missa Brevis (Palestrina) Missa Brevis is a mass written by Giovanni Pierluigi da Palestrina first published in 1570 in Palestrina's "Third Book of Masses" and has been Reprinted several times since. The Title can be misleading as Missa Brevis is commonly a short mass. Palestrina likely chose the word "Brevis" as this was the most adequate word to portray the piece. Missa Brevis is considered to be one of the most performed of Palestrina's repertoire of polyphony. Missa Brevis is written for four voices, soprano, alto, tenor, and bass. The Benedictus, however, is for three voices, while the second Angus

title: Missa Tu es Petrus (Palestrina)

text: clarity the accomplishments of those who came before him. "Missa Tu es Petrus" is one of those works where that aim is most perfectly achieved." Missa Tu es Petrus (Palestrina) Missa Tu es Petrus ("Mass: You Are Peter") is a six-part parody mass that originates from a book of motets published by Giovanni Pierluigi da Palestrina in 1572 in Rome. "Tu es Petrus", the title speaks of the meaning behind the work, “for the feast of St. Paul and St. Peter,” and is based on a motet of this name. The work is for six voices, (SSATBB.) The writing of

title: Palestrina - Prince of Music

text: Palestrina - Prince of Music Palestrina - Prince of Music is an Italian/German 2009 music film directed by Georg Brintrup. The subject is the life and music of Giovanni Pierluigi da Palestrina (ca.1525-1594), famous Italian Renaissance composer of sacred music. He is the best-known 16th-century composer of the Roman School. Filmed in March 2009 on locations mainly in and around L'Aquila and Rome, most of the ancient buildings and historical interiors in the city of L'Aquila were destroyed by the 2009 L'Aquila earthquake, only a few days after the end of shooting. Palestrina’s music in the film is directed by

title: Missa Tu es Petrus (Palestrina)

text: Missa Tu es Petrus (Palestrina) Missa Tu es Petrus ("Mass: You Are Peter") is a six-part parody mass that originates from a book of motets published by Giovanni Pierluigi da Palestrina in 1572 in Rome. "Tu es Petrus", the title speaks of the meaning behind the work, “for the feast of St. Paul and St. Peter,” and is based on a motet of this name. The work is for six voices, (SSATBB.) The writing of parody masses occurred naturally for Palestrina, as more often than not he used old material in newer works and reworked it. The text is in

title: Giovanni Dragoni

text: Giovanni Dragoni Giovanni Andrea Dragoni (or Draconi, c. 1540 – December 1598) was an Italian composer of the Roman School of the late Renaissance, a student of Giovanni Pierluigi da Palestrina, and a prominent composer and "maestro di cappella" in Rome in the late 16th century. He left numerous sacred and secular works, almost all vocal, and was especially noted for his often-reprinted books of madrigals. Dragoni was born at Meldola, not far from Forlì, but details of his early life are lacking. He studied with Palestrina, as he indicated in the dedication to his first book of madrigals (1575).

text: these motets to be a single quasi-dramatic work then the textual content would not have been set to five-part polyphony. On the other hand, Palestrina was deeply rooted in traditional polyphony, questioning the value of that claim. Nevertheless, the polyphony itself forms an important element in the work - "for example", in motet XIX, Palestrina makes use of polyphony to individualise the Lover. She asks the Daughters of Jerusalem about her lover and they reply. The polyphony symbolises the crowd, as well as expressing the Lover as an individual. Palestrina was restricted by the musical practices of his day. It

title: Palestrina - Prince of Music

text: Flavio Colusso and the Roman Ensemble Seicentonovecento. The film was also titled The Liberation of Music or Die Befreiung der Musik when released in Germany. “To achieve artistic and economic independence, Palestrina works with great diplomacy in the shadow of the powerful Roman Catholic Church. Despite strict ecclesiastical rules, he succeeds in modernizing music.” The film starts with the death of Giovanni Pierluigi da Palestrina in 1594. Afterwards his son, Iginio, some of his students and colleagues, members of the Cappella Giulia (Julian Chapel) at St. Peter's Basilica, and also members of the Roman clergy give their personal statements or

title: Missa L'homme armé (Palestrina)

text: which means; without rests. The other three voices in this movement sing closely woven, motivic, imitative passages around the climatic top voice. Missa L'homme armé (Palestrina) Missa L'Homme armé is a part of a mass by Giovanni Pierluigi da Palestrina. It was published in 1570 and consists of four movements. The Kyrie section can be divided into Kyrie I, Christe Eleison and Kyrie II. Kyrie I The texture starts small and all five voices eventually enter in imitation. It is triple meter and contains an abundance of thirds and sixths. The Cantus Firmus enters in the tenor in very long

title: Missa L'homme armé (Palestrina)

text: Missa L'homme armé (Palestrina) Missa L'Homme armé is a part of a mass by Giovanni Pierluigi da Palestrina. It was published in 1570 and consists of four movements. The Kyrie section can be divided into Kyrie I, Christe Eleison and Kyrie II. Kyrie I The texture starts small and all five voices eventually enter in imitation. It is triple meter and contains an abundance of thirds and sixths. The Cantus Firmus enters in the tenor in very long note values. Christe Eleison: It is in duple meter and shows imitative polyphony. the voices also enter here in a well regulated

title: Giovanni Pierluigi da Palestrina

text: performed it while writing the Mass in B minor. Most of Palestrina's masses appeared in thirteen volumes printed between 1554 and 1601, the last seven published after his death. 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"), it was composed in order to persuade the Council of Trent that a draconian ban on the polyphonic treatment of text in sacred music (as opposed, that is, to a more directly intelligible

title: Giovanni Pierluigi da Palestrina

text: the floor of the basilica. His tomb was later covered by new construction and attempts to locate the site have been unsuccessful. Palestrina left hundreds of compositions, including 105 masses, 68 offertories, at least 140 madrigals and more than 300 motets. In addition, there are at least 72 hymns, 35 magnificats, 11 litanies, and four or five sets of lamentations. The "Gloria" melody from a Palestrina's "Magnificat Tertii Toni" (1591) is widely used today in the resurrection hymn tune, "Victory" (The Strife Is O'er). His attitude toward madrigals was somewhat enigmatic: whereas in the preface to his collection of "Canticum

title: Giovanni Pierluigi da Palestrina

text: 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. Palestrina's funeral was held at St. Peter's, and he was buried beneath

title: Giovanni Pierluigi da Palestrina

text: 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

title: Giovanni Pierluigi da Palestrina

text: 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 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

text: design. By grouping the motets together in modes, there is a sense of dramatic unity. Palestrina did not use the biblical versus in their original order, but arranged them to achieve a dramatic context. Motets 1 to 10 are in the G Dorian mode. The third motet ends with the lyrics “they made me the keeper of the vineyards”, while motet 4 opens with the text “but mine own vineyard have I not kept”. Motet 4 then continues with a question which is in turn answered in motet 5. The entire work is set-up in this way, one motet connecting

text: - indicating that he realised that he was creating something new which may not be suitable for use in the church. He did, however, continue to refer to the motets as sacred. The entire piece forms a dramatic lyric consisting of a series of individual motets. The work is also divided into larger sections, or episodes, distinguishable by mode. It is often questioned whether the motets were designed to be performed as a whole or separately, although it seems Palestrina attempted to arrange the text according to coherence and climax - strong evidence that the work is of a single

text: during its composition, he kept in mind that other church composers had lost their jobs for composing madrigals, and he, also being guilty of this fault, would ‘repent’ by composing music that celebrates divine love. His illustration of passion in this piece exceeds that of any of his other sacred works. Through the work, Palestrina insists upon the independence of musicians, firstly through the composition thereof, and secondly through admitting awareness of what he has created - a musical setting of profane love songs, but ultimately a celebration of divine love. Palestrina famously declared: "Sic enim rem ipsam postulare intelligebam"

title: Giovanni Dragoni

text: as well as an understanding of motivic unity, both characteristics of the developing Baroque style. In addition he experimented with polychoral textures in some of his later works, a feature more prominent in Venetian than Roman music. Giovanni Dragoni Giovanni Andrea Dragoni (or Draconi, c. 1540 – December 1598) was an Italian composer of the Roman School of the late Renaissance, a student of Giovanni Pierluigi da Palestrina, and a prominent composer and "maestro di cappella" in Rome in the late 16th century. He left numerous sacred and secular works, almost all vocal, and was especially noted for his often-reprinted

text: to the next - telling a story that continues until the end of the first episode (motet 10). The following episodes continue with the same dramatic development. Episode 2 (in G Mixolydian) ends unexpectedly with the use of a single motet in the Hypoaolian mode, the only one in the collection (motet 19). The final 2 episodes are in the E Phrygian mode and F Ionian mode respectively. The Motets are organized in the collection as follows: The work is in five-part polyphony, which was considered un dramatic at the time. Therefore, some writers emphasised that if Palestrina intended for

text: from courting to consummation. Palestrina's setting of the text is scored for 5 voices: SATTB (1 - 18, 29), SAATB (19 - 22, 27 - 28), and SSATB (23 - 26); and was published, after revision, by Breitkopf and Härtel in the collection "Palestrina Werke, vol. 4". "Canticum Canticorum" was written in the year 1584. This work, as with many of Palestrina's works around this time, was dedicated to Pope Gregory XIII. The work can, however, also be seen as a social statement which challenged what music was commonly accepted in the church at the time. It is assumed that

title: Daniel Hensel

text: also performing visual arts combined with his electronic pieces. In 2016 he obtained his post doctoral lecturer's qualification in systematical musicology and has become a member of the philosophical faculty of Martin Luther University of Halle-Wittenberg. The title of the habilitation treatise is: "Modus, Klang- und Zeitgestaltung in Motetten Orlando di Lassos und Giovanni Pierluigi da Palestrinas". (Mode, time-management and sounddesign in motets by Orlando di Lasso and Giovanni Pierluigi da Palestrina) for which the software-developer Ingo Jache and Hensel developed the music analyzing Software PALESTRiNIZER. Op.16 "Reflexions for orchestra" composed for the Festival: Europe, the blue star. 2222\433\Timp\Hrp\ Strings

title: Giuseppe Baini

text: by order of Pope Pius VII, has taken a permanent place in the services of the Sistine chapel during Passion Week. Baini held a higher place, however, as a musical critic and historian than as a composer, and his "Life of Palestrina" ("Memorie storico-critiche della vita e delle opere di Giovanni Pierluigi da Palestrina", 1828) was described by the "1911 Encyclopædia Britannica" as being "one of the best works of its class". The phrase "Il Principe della Musica", which has become firmly associated with the name of Palestrina, is found in the aforementioned biography. Baini's book on Palestrina established the

title: Hans Pfitzner

text: Hans Pfitzner Hans Erich Pfitzner (5 May 1869 – 22 May 1949) was a German composer and self-described anti-modernist. His best known work is the post-Romantic opera "Palestrina", loosely based on the life of the sixteenth-century composer Giovanni Pierluigi da Palestrina. Pfitzner was born in Moscow,Russia where his father played violin in a theater orchestra. The family returned to his father's native town Frankfurt in 1872, when Pfitzner was two years old, and he always considered Frankfurt his home town. He received early instruction in violin from his father, and his earliest compositions were composed at age 11. In 1884

title: Giovanni Mercurio da Correggio

text: Archives reporting da Correggio was in Lucca in 1494. Other sources found by Kristeller include the Harley Manuscript 4081 in the British Museum, better known as "De Quercu", as well as da Correggio's sonnet with Sosenna's commentary. Kristeller dissented against Ohly's conclusion, now concluding that Giovanni da Correggio had in fact existed. Since Kristeller other scholars have brought to the forefront other accounts of da Correggio. Among them are David Ruderman in Abraham Farissol's "Magen Avraham". It is generally agreed upon that Giovanni da Correggio did in fact exist. Giovanni Mercurio da Correggio Giovanni Mercurio da Correggio (Latin name: "Iohannes

title: Giovanni da Nola

text: Giovanni da Nola Giovanni da Nola (1478–1559), also known as Giovanni Merliano, was an Italian sculptor and architect of the Renaissance, active in Naples. He was born the son of a leather merchant, in Nola near Naples. Da Nola moved to Naples where he trained under Aniello del Fiore and Benedetto da Maiano. In his youth, he traveled to Rome where he was influenced by Michelangelo, and then returned to Naples where he spent the rest of his career as sculptor and architect. As an architect he built a number of palaces in Naples, including the Palazzo Giusso, now the

title: Giovanni da Nola

text: Nola made for the royal entry of Emperor Charles V in Naples (1535) are still to be seen on the Porta Capuana. His pupils included a Nicola of Naples, Ferdinando Manlio, and Cola dell'Amatrice. Giovanni da Nola Giovanni da Nola (1478–1559), also known as Giovanni Merliano, was an Italian sculptor and architect of the Renaissance, active in Naples. He was born the son of a leather merchant, in Nola near Naples. Da Nola moved to Naples where he trained under Aniello del Fiore and Benedetto da Maiano. In his youth, he traveled to Rome where he was influenced by Michelangelo,

title: Giovanni Pierluigi da Palestrina

text: 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, 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, reflects modern expectations about expressive freedom

title: Giovanni Pierluigi da Palestrina

text: homophonic treatment) was unnecessary. However, more recent scholarship shows that this mass was in fact composed before the cardinals convened to discuss the ban (possibly as much as ten years before). 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

title: Giovanni Pierluigi da Palestrina

text: 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). He published just two collections of madrigals with profane texts, one in 1555 and another in 1586. The other two collections were spiritual madrigals, a genre beloved by the proponents of the Counter-Reformation. Palestrina's masses show how his compositional style developed over time. His "Missa sine nomine" seems to have been particularly attractive to Johann Sebastian Bach, who studied and

title: Giovanni da Serravalle

text: translated the "Divine Comedy" into Latin. He did this largely for the benefit of Nicholas Bubwith and Robert Hallam, English bishops attending the Council; he was encouraged by Amedeo Saluzzo attending the council, who was a cardinal of the Avignon obedience. Serraville was also a source for stories concerning the young Dante's visits to Paris and Oxford. He lectured at Constance on Dante too, producing later a written commentary. It was strongly influenced by Benvenuto da Imola and Stefano Talice da Ricaldone; and Serravalle revised Benvenuto's glosses, to support the Council's reforming programme. Giovanni da Serravalle Giovanni da Serravalle (c.

title: Symphony No. 6 (Sibelius)

text: declining into extinction, in the manner, perhaps, of a day, a season, a year, or a person’s life.” Because of its quiet qualities and the uncertainty of its key attribution, the Sixth has been described as “the Cinderella of the seven symphonies”. But like the poor sister, its unassuming qualities grow on the listener. As they did, for example, for Benjamin Britten, converting him from a fixation on the avant-garde composers who influenced him when younger. It has also been claimed that one of the influences on the symphony was Giovanni Pierluigi da Palestrina, whose music the young Sibelius had

title: Missa Papae Marcelli

text: effect. This was a new technique, using "tonal planning" to replace imitation as the means to keep the music moving forward. The Agnus Dei returns to the imitative polyphony of the Kyrie (the opening of Agnus Dei I repeats that of the Kyrie). As was frequently done in the 16th century, Palestrina adds an extra voice in Agnus Dei II, making seven for this movement, in which is embedded a three-part canon that begins with the head-motive. Missa Papae Marcelli Missa Papae Marcelli, or Pope Marcellus Mass, is a mass "sine nomine" by Giovanni Pierluigi da Palestrina. It is his

title: Kari Turunen

text: also attended the University of Helsinki. Around this time, Turunen also studied with or took part in master classes with musicians such as Stefan Sköld, , Eric Ericson, Oren Brown, and the Hilliard Ensemble. Turunen later returned to academia, receiving his Doctor of Music degree in 2014 at the Sibelius Academy's DocMus Doctoral School, by then part of the University of the Arts Helsinki, with a dissertation on performance practice and Giovanni Pierluigi da Palestrina, titled "Performing Palestrina: From historical evidence to twenty-first century performance". As part of his doctoral degree, Turunen formed and directed the Ensemble Petraloysio, an all-male

title: Mass (music)

text: Byrd, the Castilian Tomás Luis de Victoria and the Roman Giovanni Pierluigi da Palestrina, whose "Mass for Pope Marcellus" is sometimes credited with saving polyphony from the censure of the Council of Trent. By the time of Palestrina, however, most composers outside of Rome were using other forms for their primary creative outlet for expression in the realm of sacred music, principally the motet and the madrigale spirituale; composers such as the members of the Venetian School preferred the possibilities inherent in the new forms. Other composers, such as Orlande de Lassus, working in Munich and comfortably distant from the

title: Antonio Possevino

text: the Renaissance court of pope Julius III (1550–1555), the patron of Giovanni Pierluigi da Palestrina and the builder of Villa Giulia. These included Fulvio Orsini and Paulus Manutius. In 1553 he published posthumously the "Dialogo dell'Honore" of Giovanni Battista who died not yet thirty. In Rome he dedicated the "Centones ex Vergilio" published under the name of Lelio Capilupi, to the French poet Joachim Du Bellay and in 1556 in "Due Discorsi" he defended his brother against accusations of plagiarism and defended the writings of Giovanni Battista Giraldi. His brilliance and literary skills made the young humanist much in demand.

title: Giovanni da San Giovanni

text: the "Circumcision" (1620). He painted a fresco cycle on the vault of the Mellini Chapel in Santa Maria del Popolo which displays "The Story of Saint Nicholas of Tolentino" in 1623–24. He died in 1636 and was buried in the church of San Pier Gattolino in Florence. Giovanni da San Giovanni Giovanni da San Giovanni (20 March 1592 – 9 December 1636), also known as Giovanni Mannozzi, was an Italian painter of the early Baroque period. Born in San Giovanni Valdarno, he trained under Matteo Rosselli. Mannozzi started the decoration of the "Sala degli Argenti" in the Palazzo Pitti and

title: Giovanni da San Giovanni

text: Giovanni da San Giovanni Giovanni da San Giovanni (20 March 1592 – 9 December 1636), also known as Giovanni Mannozzi, was an Italian painter of the early Baroque period. Born in San Giovanni Valdarno, he trained under Matteo Rosselli. Mannozzi started the decoration of the "Sala degli Argenti" in the Palazzo Pitti and planned decorations at Villa La Petraia. His biography was featured by Filippo Baldinucci. In 1615 he painted two ceiling canvases of "Putti Supporting the profile of Michelangelo" for the Casa Buonarroti and in the same period frescoed a choir of musician-angels for the dome of the church

title: Giovanni Mercurio da Correggio

text: the pope would give him and his family protection. Da Correggio writes "De Quercu" as if he is the conduit of a divine entity, imploring the pope's help in the third person: "Give our Giovanni Mercurio your help and I will help you." It is uncertain if Julius II ever secured any help for da Correggio, but given that there are no other documentations concerning Giovanni da Correggio after this meeting with the pope, then it can be surmised that Julius did not assist da Correggio and he and his family perished in poverty sometime thereafter. The first modern authority

title: Responsory

text: "Carols for Choirs" edited by David Willcocks and John Rutter, where it is given the title "Matin Responsory", and is set to music adapted from a setting by Giovanni Pierluigi da Palestrina of the "Nunc dimittis" (free score of the Nunc dimittis here on CPDL) - and not of the "Magnificat" as stated by the editors. The structure of the Willcocks/Rutter arrangement, however, differs somewhat from what is shown above since it does not repeat the refrain after each verse in the traditional English way. For example, in the traditional English form (shown above) after the first verse, the choir

title: Josquin des Prez

text: Josquin des Prez Josquin des Prez (; – 27 August 1521), often referred to simply as Josquin, was a French composer of the Renaissance. His original name is sometimes given as Josquin Lebloitte and his later name is given under a wide variety of spellings in French, Italian, and Latin, including and . His motet "Illibata Dei virgo nutrix" includes an acrostic of his name, where he spelled it "Josquin des Prez". He was the most famous European composer between Guillaume Dufay and Giovanni Pierluigi da Palestrina, and is usually considered to be the central figure of the Franco-Flemish School.

title: Casale Monferrato

text: The cathedral there has in its archives polyphonic music by Jean Mouton, Andreas de Silva, and Francesco Cellavenia, as well as important prints by Giovanni Pierluigi da Palestrina and other major composers of the period. In the 17th and 18th centuries, Casale was the site for premieres of operas by Giulio Cesare Monteverdi, Pietro Guglielmi, and Pasquale Anfossi, and was the birthplace of the Swiss-Italian composer Carlo Evasio Soliva. Currently the city's musical center is the Teatro Municipale. Casale is situated in a plain where rice cultivation is predominant, and in an area of cement-bearing hills and wineries. Casale is

text: rare examples of anticipation, which are relatively early for its time. It also contains many suspensions. The texture is thick and is more homophonic than contrapuntal. The two choruses alternate during the work, usually per line of verse. Within the work there are moments of full chorus, where both choruses sing together, and moments with soloists within the two choirs. It contains changes in tempo: It begins as "Adagio ma non troppo" and slows to "Largo" at the beginning of the 9th verse. At the start of verse 11, it returns to the first tempo, but this time "un poco

title: Solemn Mass

text: dress", they also use the biretta. If not, then they use their hood in the same fashion as one uses a biretta. Birettas are plain black for priests, deacons and subdeacons, purple or black with purple or red trim for monsignori, canons, bishops and archbishops; cardinals' birettas are scarlet. The typical music of Solemn Mass is Gregorian chant. However, a wide variety of musical settings of the Ordinary of the Mass have been composed over the centuries, and may be used instead. The polyphonic works of Giovanni Pierluigi da Palestrina and Giovanni Gabrieli are considered especially suitable. There are also

title: Cappella Giulia

text: in Italian). He enlarged its revenue and its size to twelve men and twelve boys, so that it could serve as a sort of preparatory school for the papal choir, on the plan of the ancient schola. Among the Cappella Giulia's choir masters were esteemed names such as Giovanni Pierluigi da Palestrina (1551–1554 and 1571–1594), Giovanni Animuccia, Francesco Soriano, Stefano Fabri, Orazio Benevoli, Domenico Scarlatti, Niccolò Jommelli, Pietro Raimondi, Salvatore Meluzzi, and Niccolò Antonio Zingarelli. The capella was disbanded in 1980 and replaced temporarily by a choir directed by the Spanish Monsignor Pablo Colino Paulis ("Magister ad nutum") to continue

title: Giovanni da Penna

text: as popular veneration - that endured through the centuries. Giovanni da Penna Blessed Giovanni da Parma (1193 - 3 April 1271) was an Italian Roman Catholic priest and a professed member of the Order of Friars Minor. He became a Franciscan in 1213 after hearing Fra Filippo - one of the disciples of Saint Francis of Assisi - preach. He spent over two decades in France where he oversaw the establishment of Franciscan houses before returning to the Italian peninsula where he served his life in quiet cloistered retirement. His beatification received the papal approval of Pope Pius VII on

title: Giovanni da Penna

text: Giovanni da Penna Blessed Giovanni da Parma (1193 - 3 April 1271) was an Italian Roman Catholic priest and a professed member of the Order of Friars Minor. He became a Franciscan in 1213 after hearing Fra Filippo - one of the disciples of Saint Francis of Assisi - preach. He spent over two decades in France where he oversaw the establishment of Franciscan houses before returning to the Italian peninsula where he served his life in quiet cloistered retirement. His beatification received the papal approval of Pope Pius VII on 20 December 1806 after the latter decreed that there

title: Tomás Luis de Victoria

text: Tomás Luis de Victoria Tomás Luis de Victoria (sometimes Italianised as "da Vittoria"; c. 1548 – 27 August 1611) was the most famous composer in 16th-century Spain, and was one of the most important composers of the Counter-Reformation, along with Giovanni Pierluigi da Palestrina and Orlando di Lasso. Victoria was not only a composer, but also an accomplished organist and singer as well as a Catholic priest. However, he preferred the life of a composer to that of a performer. Victoria was born in Sanchidrián in the province of Ávila, Castile around 1548 and died in 1611. Victoria's family can

title: Santa Cecilia Choir

text: the founder members: Msgr. Matheus d’ Oliveira (Rector), Fr. Agostinho da Rocha (Professor of Music) Sem. Pedro Antonio Lopes (Choir Master), Fr. Luis Bruno Menezes and twelve other seminarians. The newly born Choir was baptised "Orpheon Palestriniano do Seminário" (Palestrianian Orpheon of the Seminary) or simply "Coro Palestriniano". From the name, it is evident that the initial aim of the Choir was to promote sacred polyphonic chant, according to the method of the famous Italian Composer Giovanni Pierluigi da Palestrina, who lived during the late 16th century, and was a pioneer in the sacred music of his age. On 23

title: Giovanni da Cascia

text: in the twentieth century. "(all for two voices)" "(all for three voices)" Giovanni da Cascia Giovanni da Cascia, also Jovannes de Cascia, Johannes de Florentia, Maestro Giovanni da Firenze, was an Italian composer of the medieval era, active in the middle of the fourteenth century. Virtually nothing is known about Giovanni's life. From his surname it is presumed that he was born in the village of Cascia, near Florence. It was once thought that he held a post at Florence Cathedral, but this is no longer accepted. A Florentine chronicle states that Giovanni and Jacopo da Bologna competed at Mastino

title: Giovanni da Cascia

text: Giovanni da Cascia Giovanni da Cascia, also Jovannes de Cascia, Johannes de Florentia, Maestro Giovanni da Firenze, was an Italian composer of the medieval era, active in the middle of the fourteenth century. Virtually nothing is known about Giovanni's life. From his surname it is presumed that he was born in the village of Cascia, near Florence. It was once thought that he held a post at Florence Cathedral, but this is no longer accepted. A Florentine chronicle states that Giovanni and Jacopo da Bologna competed at Mastino II of Scala's court; Mastino died in 1351. The metaphors used in

title: Giovanni da Udine

text: Fountain). In Cividale, he helped in the construction of Santa Maria dei Battuti. He returned to Rome in 1560 to work on the third floor of the Logge Vaticane, and died in this city in 1564. Giovanni da Udine Giovanni Nanni, also Giovanni de' Ricamatori, better known as Giovanni da Udine (1487–1564), was an Italian painter and architect born in Udine. A painter also named "Giovanni da Udine" was exiled from his native city in 1472. As a student and assistant of Raphael, he was responsible for most of the "decorative" (i.e. non-narrative) elements of the major Raphaellesque projects in

title: Classical music

text: Johannes Ciconia. Notable Renaissance composers include Josquin des Prez, Giovanni Pierluigi da Palestrina, John Dunstaple, Johannes Ockeghem, Orlande de Lassus, Guillaume Du Fay, Gilles Binchois, Thomas Tallis, William Byrd, Giovanni Gabrieli, Carlo Gesualdo, John Dowland, Jacob Obrecht, Adrian Willaert, Jacques Arcadelt, and Cipriano de Rore. The common practice period is usually defined as the era between the formation and the dissolution of the hegemony of common-practice tonality. The term usually spans roughly two-and-a-half centuries, encompassing the Baroque, Classical, and Romantic periods. Baroque music is characterized by the use of complex tonal counterpoint and the use of a basso continuo, a

title: Giovanni da Udine

text: Giovanni da Udine Giovanni Nanni, also Giovanni de' Ricamatori, better known as Giovanni da Udine (1487–1564), was an Italian painter and architect born in Udine. A painter also named "Giovanni da Udine" was exiled from his native city in 1472. As a student and assistant of Raphael, he was responsible for most of the "decorative" (i.e. non-narrative) elements of the major Raphaellesque projects in Rome, and he was a specialist in fresco and stucco grotesque decorations. These included the stucco work in the Loggia di Raffaello (Vatican, 1517–1519) and the heavy fruit-laden wreaths in the "loggia di psiche" in the

title: Giovanni Animuccia

text: Giovanni Animuccia Giovanni Animuccia ( – March 1571) was an Italian composer of the Renaissance who was involved in the heart of Rome’s liturgical musical life. He was one of Giovanni Pierluigi da Palestrina's most important predecessors and possibly his mentor. As " of St Philip Neri's Oratory and the Capella Giulia at St Peter's, he was composing music at the very center of the Roman Catholic Church, during the turbulent reforms of the Counter-Reformation and as part of the new movements that began to flourish around the middle of the century. His music reflects these changes. Animuccia was born

title: Giovanni da Penna

text: told this to his fellow friars who at once summoned the aged Matteo da Monte Robbiano - who was a confessor on occasion for Father Giovanni and a close friend - who arrived not long before his death. Fra Matteo encouraged Father Giovanni instead and comforted him and said it was a mere trick of Satan. Father Giovanni died on 3 April 1271 after his week of suffering. The late priest's beatification received approval from Pope Pius VII on 20 December 1806 after the latter ratified that the late priest did in fact have a local 'cultus' - otherwise known

title: Giovanni da Milano

text: in 1369, when he is known to be working in Rome for Pope Urban V with Giottino and the sons of Taddeo Gaddi. Giovanni da Milano Giovanni da Milano (Giovanni di Jacopo di Guido da Caversaccio) was an Italian painter, known to be active in Florence and Rome between 1346 and 1369. His style is, like many Florentine painters of the time, considered to be derivative of Giotto's. Vasari misidentified him as a student of Taddeo Gaddi, a noted Giotto protégé. Hailing from Lombardy, the earliest documentation shows Giovanni in Florence on October 17, 1346, under the name Johannes Jacobi

title: Giovanni da Milano

text: Giovanni da Milano Giovanni da Milano (Giovanni di Jacopo di Guido da Caversaccio) was an Italian painter, known to be active in Florence and Rome between 1346 and 1369. His style is, like many Florentine painters of the time, considered to be derivative of Giotto's. Vasari misidentified him as a student of Taddeo Gaddi, a noted Giotto protégé. Hailing from Lombardy, the earliest documentation shows Giovanni in Florence on October 17, 1346, under the name Johannes Jacobi de Commo, listed amongst the foreign painters living in Tuscany. Amongst Giovanni's most significant works: The latest extent documentation of Giovanni's career comes

title: Giovanni da Maiano

text: Giovanni da Maiano Giovanni da Maiano II (c. 1486 – c. 1542) was an Italian sculptor employed by Henry VIII of England and Cardinal Wolsey to decorate their palaces. Maiano, from which village Giovanni took his name, is near Fiesole and Florence. He was the son of Benedetto da Maiano. In June 1521, Giovanni wrote from Rome in Latin to Cardinal Wolsey requesting payment for his work at Hampton Court. He had made, painted, and gilded, eight terracotta medallions costing £2 6s 8d each, with three "Stories of Hercules" costing £4 each, with 20 shillings expense on fixing the sculptures.

title: Giovanni da Carignano

text: Giovanni da Carignano Giovanni da Carignano, or Johannes de Mauro de Carignano (Genoa c. 1250-Genoa 1329) was a priest and a pioneering cartographer from Genoa. There is little certain information about his life. There is a Genoese document (dated June 9, 1291) referring to a certain Giovanni, son of Mauro, from Carignano ("Johannes de Mauro de Calignano"). Other fragments suggest he had two brothers, Giacomo a notary, and Anselmo a doctor. Further documents suggest he was still alive in September 1329, but dead by May, 1330. From 1293 to 1329, Giovanni da Carignano was the rector of the church of

title: Quirizio di Giovanni da Murano

text: regular and well-shaped, fingers and neck long, waist very slender. Some of other works attributed to him may have been done by Bartolommeo Vivarini. Quirizio di Giovanni da Murano Quirizio di Giovanni da Murano or Quirizio da Murano or Quiricius (Venice "floriat" circa 1460 to 1478), was an Italian Renaissance painter of religious subjects. Little is known about this painter. He is supposed to have been a pupil of Antonio of Murano, though conjectures by critics vary about him and his work. The probability is that he did little alone, but was one of the assistants in the Vivarini workshop.

title: Quirizio di Giovanni da Murano

text: Quirizio di Giovanni da Murano Quirizio di Giovanni da Murano or Quirizio da Murano or Quiricius (Venice "floriat" circa 1460 to 1478), was an Italian Renaissance painter of religious subjects. Little is known about this painter. He is supposed to have been a pupil of Antonio of Murano, though conjectures by critics vary about him and his work. The probability is that he did little alone, but was one of the assistants in the Vivarini workshop. His use of tempera is similar to the school of Murano, flat, light, and with little or no shade. His type of head is

title: Giovanni da Verrazzano

text: Giovanni da Verrazzano Giovanni da Verrazzano (, sometimes also incorrectly spelled Verrazano; 1485–1528) was an Italian explorer of North America, in the service of King Francis I of France. He is renowned as the first European to explore the Atlantic coast of North America between Florida and New Brunswick in 1524, including New York Bay and Narragansett Bay. The consensus amongst scholars is that Giovanni da Verrazzano was born in Val di Greve, south of Florence, then the capital and main city of the Republic of Florence, the son of Piero Andrea di Bernardo da Verrazzano and Fiammetta Cappelli. It

title: Giovanni Donato da Montorfano

text: Da Vinci's masterpiece of The Last Supper. This fresco is said to have some of the figures of the Duke and his family painted by Leonardo. A Giovanni Battista da Montorfano is documented as part of team of artists, including Vincenzo Foppa and Cristoforo Moretti forming an estimate for the paintings of Stefano dei Fedeli in a chapel of the Castle of Milan. Giovanni Donato da Montorfano Giovanni Donato da Montorfano (c. 1460–1502/03) was an Italian painter of the Renaissance who was born, lived, and worked in Milan. Giovanni Donato comes from a family of painters. His grandfather, Abramo, and

title: Giovanni Battista da Sangallo

text: Giovanni Battista da Sangallo Giovanni Battista da Sangallo (1496–1548) was an Italian architect. He was the brother of the more famous Antonio da Sangallo the Younger. His is intimately connected with that of Antonio: the two worked on numerous projects together, Giovanni Battista responsible for measuring and surveying. All but a single project of Giovanni Battista's own architecture have been demolished or rebuilt. A codex of highly detailed, carefully measured drawings of sixteen ancient buildings in Rome and the temples of Hercules and Castor and Pollux at nearby Cori made by Giovanni Battista, the "Codex Stosch", named for an eighteenth-century

title: Giovanni Donato da Montorfano

text: Giovanni Donato da Montorfano Giovanni Donato da Montorfano (c. 1460–1502/03) was an Italian painter of the Renaissance who was born, lived, and worked in Milan. Giovanni Donato comes from a family of painters. His grandfather, Abramo, and father, Alberto da Montorfano worked in the Milan Cathedral as painters and were members of the Milan painter's guild. Both Giovanni Donato and his brother Vincenzo were pupils of their father. Giovanni Donato is best known for his fresco depicting the "Crucifixion" (1495) in the refectory of the convent of Santa Maria delle Grazie in Milan. It is painted on the wall facing

title: Giovanni da Asola

text: Giovanni da Asola Giovanni da Asola (active 1512 – 1530) was an Italian painter of the Renaissance, who along with his son Bernardino da Asola, were prominent in the Venice of the early 16th century. Born in Brescia, Giovanni appeared in Venice in 1512, probably contemporary with Girolamo Romanino. An "Adoration of the Magi" were painted for the Duomo of Asola in 1518. In 1526 he and his son painted a set of organ shutters for San Michele in Murano now in Museo Correr. He painted an "Adoration of the Shepherds" in 1526, now in the Museo Civico of Padua.

title: Giovanni da Asola

title: Giovanni da Verrazzano

text: stone from Castello di Verrazzano, the explorer's ancestral home. Notes Giovanni da Verrazzano Giovanni da Verrazzano (, sometimes also incorrectly spelled Verrazano; 1485–1528) was an Italian explorer of North America, in the service of King Francis I of France. He is renowned as the first European to explore the Atlantic coast of North America between Florida and New Brunswick in 1524, including New York Bay and Narragansett Bay. The consensus amongst scholars is that Giovanni da Verrazzano was born in Val di Greve, south of Florence, then the capital and main city of the Republic of Florence, the son of

title: Giovanni da Maiano

text: The engraved decoration of armour produced in the royal workshop at Greenwich is thought to have been influenced by Giovanni's Italian renaissance style. Giovanni began to work on a tomb for Wolsey with the Italian sculptor and bronze-founder, Benedetto da Rovezzano, but the project had to be abandoned after the Cardinal fell out of royal favour in 1529. The artist and biographer of artists, Giorgio Vasari mentions the project under Benedetto's name, but thought the tomb was for Henry VIII. Giovanni da Maiano Giovanni da Maiano II (c. 1486 – c. 1542) was an Italian sculptor employed by Henry VIII

title: Giovanni Mercurio da Correggio

text: Giovanni Mercurio da Correggio Giovanni Mercurio da Correggio (Latin name: "Iohannes Mercurius de Corigio"; 1451 - ?) was an Italian itinerant preacher, Hermeticist, and alchemist. Due to his bizarre appearance in Rome on Palm Sunday 1484 he has been believed by some scholars to have not actually existed, but this has been contested with other reports that corroborate his eccentricities. His most notable follower was Lodovico Lazzarelli, an Italian humanist poet and alchemist, who writes his accounts of da Correggio in his "Epistola Enoch". Giovanni da Correggio was born sometime around 1451 to a noble family in Bologna, and was