Palestrina and the Roman School

During the Renaissance, there were two contrasting schools of thought on religious
music: the Venetian School and the Roman School. The Venetian School was considered more
liberal and prided itself in innovation and bridging the gap between the Renaissance and Baroque
era. They were also accredited with the increased use of instrumental and vocal music together in
the Church alongside the organ due to the larger cathedrals being built throughout Europe and
the use of cathedrals as centers for education. The Roman School consisted of more conservative
sacred composers who held close ties with the Vatican and the Catholic Church. The difference
in the two ideologies sparked growth through the fifteenth century and onwards; sculpting
polyphony in sacred liturgy. One of the key defining characteristics of the Roman School
included dissonant placement on weak beats culminating in its trademark masterful use of
polyphony as it developed over time. Giovanni Pierluigi da Palestrina grasped these key defining
polyphonic characteristics of the Roman School, earning his title of Prince of Music by
composing close to a thousand works in his lifetime. In addition, he worked to balance smooth,
melodic lines without losing textual meaning, encompassing the Franco-Flemish style,[1] which
were clearly portrayed through his works such as the Kyrie from Missa Papae Marcelli, Sicut
cervus, and Exsultate Deo.
There are many stories behind Palestrinas early history though all link him back to
Rome, where he spent most of his life. He was born in a town called Palestrina (da Palestrina
indicates where he is from) though he was picked up in his early years and musically educated in
Rome. Palestrina quickly rose in ranks as he was appointed to lead the choirboys at St. Peters
and in the same year, became choirmaster.[2] In 1554, Palestrina wrote his first composition and
as a result, was appointed a member of the papal chapel. His appointment caused discontent and

disapproval amongst the papal choir because most members were generally more highly
educated than Palestrina, had to pass a difficult examination to be accepted and lastly, were not
married and chose a life of celibacy. Palestrina was exempt from all rules due to his relation with
the Pope. In 1554, Palestrina also dabbled in a combination of sacred and secular music,
publishing a volume of madrigals which he later regretted due to disapproval from the Church
because of its scandalous nature. After the death of Pope Marcellus II, Pope Paul IV succeeded
him and reinforced the former rules of the papal choir which ended with Palestrinas dismissal
from his position. After his dismissal, he went through a serious of church positions from St.
John the Lateran to Santa Maria Maggiore and eventually in 1571, Palestrina returned to his post
as choirmaster at St. Peters where he remained for the rest of his days.[3]
Though many of his pieces were undated, Palestrina lived from approximately 1525 to 1594.
Missa Papae Marcelli, which translates to Mass of Pope Marcellus, dates to 1562 which was
around the time that Palestrina was a musical director at St. Mary Major. There are numerous
stories around the cause for this composition; of the most popular was that Palestrina composed
Missa Papae Marcelli to convince the members at the Council of Trent and Pope Marcellus II
that polyphony was appropriate in the Catholic Church as well as in performance of the liturgy
and Mass. During this decade, the Council of Trent decreed that there was to be reform in
Church music and officials sought to eliminate all aspects of secular music found in sacred
music, as well as the removal of any decorations that obscured textual meaning.[4] This
particular period in time saw a return to the basics of Gregorian chant but also the reintroduction
of Greek ideas and revival of the connection between music and emotion. The story behind
Missa Papae Marcelli is a prime example of rhetoric and persuasion from the study of Greek
ideologies. The Kyrie from Missa Papae Marcelli works to emulate each of the six voice parts

clearly and is a prime example of Palestrinas earlier polyphonic writing. The Kyrie is structured
around a point of imitation involving repeated notes and a leap of a fourth, similar to a reciting
tone found in Gregorian chant and the syncopated suspension emphasizes Palestrinas harmonic
intention and use of the idea of imitative polyphonic composition. When the voices enter in the
Kyrie, they carry the beginning motive to clearly express Palestrinas intent. What is particularly
interesting is that the Kyrie is entirely diatonic. Lack of chromaticism is a characteristic that
defined Palestrinas compositional style. By only using the major and minor chords in the key of
C, Palestrina works within a strict harmonic confine for the Kyrie. Towards the end, his use of a
suspension sets up a cadential V6/4 which emphasizes the word eleison[5] which translates to
Lord, have mercy. Throughout his career, Palestrina strived to combine musical material
through use of cantus firmus while upholding the given sacred text. The Kyrie from Missa Pape
Marcelli has six distinct individual vocal lines, dividing the tenor and bass lines into two, but
ultimately, they rise and fall together. Though the story behind this specific mass may not
necessarily be historically accurate, this work is representative of Palestrinas mature style and
clearly expresses the text melismatically without obscuring its meaning.
Sicut cervus is set to Psalm 42:1 and reads:
Sicut cervus desiderat ad fontes aquarum,
Ita desiderat anima mea ad te, Deus.
Translation:
As a hart longs for the flowing streams,
Thus longs my soul for thee, O God.[6]
Sicut cervus is one of the hundreds of pieces Palestrina composed during the Renaissance but in
particular, it was composed during his time as choirmaster at St. Peters in Rome. Renaissance
motets were known for nearly if not equal voice parts as well as the use of more strict music
compositional rules. Sicut cervus is a prime example Renaissance motet where he employs

polyphony to paint a picture which perfectly complements the psalm text. In the later 13

th

century, motets were generally of sacred topics though not necessarily performed in a church
setting. In this three-part motet, Palestrina mixes characteristics of the Middle Ages as well as
ideas of the Renaissance. Sicut cervus brings out Greek thoughts of ethos and its ability to
influence emotions seen when the text places emphasis on words such as desiderat, meaning
desire or longing, with a rising line and faster rhythm and in addition, places more dissonant
harmonies on other texts such as ita desiderat anima mea ad te, Deus (Thus longs my soul for
Thee, O God). Palestrina successfully combines the harmonies to build and arch shape of the
piece a characteristic of Franco-Flemish composers and the rising international style which
took its roots from French, English and Italian music, and works to pass the melodic line from
one voice to another to seamlessly conjoin the counterpoint and create an intended atmosphere.
[7]
The Roman School was a major component of movement within the Catholic Church to move
towards textual clarity without sacrificing polyphony. Another example of a trademark Palestrina
motet that clearly expresses his style is Exultate Deo, written around the same time as Sicut
cervus. Each phrase is vividly expressed; in particular, Buccinate in nomenia tuba (Blow the
trumpet) closely imitates the echoing of trumpets playing.[8] Exultate Deo is set to Psalm 81
and reads:
Exsultate Deo, adjutori nostro:
jubilate Deo Jacob.
Sumite psalmum et date tympanum:
psalterium jucundum cum cithara.
Buccinate in neomenia tuba:
insigni die solemnitatis vestrae.
Translation:
Rejoice in God our helper:
Sing aloud to the God of Jacob.

Take the psalm and bring hither the timbre:

The merry harp with the lute.
Blow the trumpet in the new moon:
Even on our solemn feast day.[9]
In the beginning, Palestrina displays an exciting opening in the rising line for the word
Exultate by shaping the line and increasing rhythmic values. Throughout the piece, Palestrina
uses running ascending and descending eighth note patterns to liven the line according to the
text. It is clear that in this motet, like Sicut cervus, the topic and text for the tenor, later known as
canctus firmus, is taken from sacred liturgy though not necessarily performed in the Church. In
addition, there is imitation seen throughout the piece. What is interesting to note about Exultate
Deo is that it was set to five voices which was previously rarely seen in the Middle Ages.[10]
The use of five voices allow for greater textural contrast and this motet was no exception. An
example of Palestrinas use of textures is when the sopranos drop out, leaving only the lower
three voices on psalterium jucundum. Upon scanning the piece, one can see that Palestrina
incorporates waves of successive similar material, moving between voices, to further solidify his
word-painting and overall structure.[11]
Ultimately, Palestrina was the prime definition of the Roman School of Music
characteristics as well as the Franco-Flemish style. He exhibited characteristics from the
Renaissance through his arched shaped melodies influenced by Italian music, faster rhythmic
values from French music and use of thirds and sixths which were of English influence. Each of
the three pieces, Missa Papae Marcelli, Exultate Deo and Sicut cervus, not only exhibit one of
these cultures but all of the above and Palestrina worked within strict harmonic confines, which
resemble modern music theory rules, to masterfully create each of his works. The Renaissance
saw the blending of cultures into an international style which resulted from increased travel
and sharing amongst nations in intellect and the arts.

Bibliography
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[1] "Giovanni Pierluigi Da Palestrina." Naxos. Accessed November 9, 2014.

http://www.naxos.com/person/Giovanni_Pierluigi_da_Palestrina/25625.htm.
[2] Kenne, Dennis. "Palestrina: Missa Papae Marcelli, Motets and Offertories." The Glory of
Palestrina. Accessed November 9, 2014. http://voicesofascension.org/Palestrina.aspx.
[3] "Giovanni Pierluigi Da Palestrina." Giovanni Pierluigi Da Palestrina. Accessed November 9,
2014. http://www.nndb.com/people/580/000093301/.
[4] "Giovanni Pierluigi Da Palestrina, Missa Papae Marcelli (1555)." Music History Resource Center. Accessed
November 9, 2014.
http://www.cengage.com/music/book_content/049557273X_wrightSimms/assets/more/25_Palestrina.html.
[5] "Giovanni Pierluigi Da Palestrina, Missa Papae Marcelli (1555)."
[6] "Motet Translations." Emmanuel Music. Accessed November 9, 2014.

http://www.emmanuelmusic.org/notes_translations/translations_motets/t_palestrina_sicut_cervus.htm
.
[7] "Motet Translations." Emmanuel Music.
[8] Kenne, Dennis. "Palestrina: Missa Papae Marcelli, Motets and Offertories."
[9] "Domuspatris." Domuspatris. Accessed November 9, 2014.
http://www.domuspatris.net/en/node/39/444
[10] "Domuspatris." Domuspatris.
[11] Hurwitz, David. Classical Music: A Prentice Hall Good Listening Guide. New York: Prentice
Hall Press, 1990. 109-110.