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Background: Palestrina's setting of the Requiem texts, was first published in 1591, a brief three years before his death, and perhaps intended for his own funeral – the Song of Songs requires more explanation. Taken literally, these texts constitute biblical erotica. Their rich descriptions of the lovers' relationship resembles many a contemporary secular madrigal. In his dedication of these motets to Pope Gregory XIII, Palestrina took the unusual step of discussing the style of his pieces, telling the pontiff, 'I have used a kind of music somewhat livelier that I have been accustomed to use in church music, for this I felt that the subject itself demanded. In short, Palestrina adopts a more madrigalian idiom; but nothing could be more appropriate for these works that remain, at some irreducible level, settings of love poetry. Palestrina's source for the melodic materials of his mass highlights the relationship between his melodic idiom and plainchant in a way similar to many of his motets. Without exception, he adapts the most prominent from the plainchants for the Requiem Mass, offering each imitatively through the fivevoice texture so that the same motifs are heard in overlapping succession from voice to voice. As was customary in the sixteenth century, Palestrina omits the Sequence, Dies irae, and next sets the Offertory, Domine Jesu Christe. |
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COMPOSER: Giovanni Palestrina |
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- Penguin Guide 2 star |
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CATALOGUE NR: 0927496192