Showing posts with label Villa d'Este. Show all posts
Showing posts with label Villa d'Este. Show all posts

2 February 2019

Giovanni Pierluigi da Palestrina - composer

Prolific writer had huge influence on the development of religious music


Giovanni Pierluigi da Palestrina was once sacked by St Peter's for being married
Giovanni Pierluigi da Palestrina was once
sacked by St Peter's for being married
The composer Giovanni Pierluigi da Palestrina, who was the most famous representative of the 16th century Roman school of musical composition and whose work is often described as the culmination of Renaissance polyphony, died on this day in 1594 in Rome.

Probably in his 70th year when he died, he had composed hundreds of pieces, including 104 masses, more than 300 motets, at least 72 hymns and some 140 or more madrigals.

He served twice as maestro di cappella - musical director - of the Cappella Giulia (Julian Chapel), the choir at St. Peter's Basilica in Rome, a highly prestigious if not well paid position.

Appointed for the first time in 1551, he might have stayed there for the rest of his working life had a new pope, Paul IV, not introduced much stricter discipline compared with his predecessor, Julius III. A decree set down by Paul IV in 1555 forbade married men to serve in the papal choir, as a result of which Palestrina and two colleagues were dismissed.

Palestrina subsequently directed the choir at the Basilica of San Giovanni in Laterano for five years before quitting abruptly in frustration at the limited ability of his singers, compared with St Peter’s.

An engraving from 1544 shows Palestrina presenting Pope Julius III with a mass dedicated to him
An engraving from 1544 shows Palestrina presenting
Pope Julius III with a mass dedicated to him
After a period of unemployment, when he and his family had to live in modest circumstances, he took a position at the Basilica of Santa Maria Maggiore, where he stayed for seven years before, at the invitation of Cardinal Ippolito d’Este, he took charge of the music at the Villa d’Este in Tivoli, a popular summer resort near Rome. He also worked as music master for a newly-formed Seminarium Romanum (Roman Seminary), where his sons Rodolfo and Angelo became students.

By this time, his fame was spreading, but he turned down offers to go to Vienna to become musical director at the court of the emperor Maximilian II, and from the Duke of Mantua, Guglielmo Gonzaga, on the grounds that he preferred not to leave Rome, although his financial demands were considered too high also.

With the death in 1571 of Giovanni Animuccia, who had been musical director at the Vatican since Palestrina left, there was a chance for him to to return to his old post as musical director of the Julian Choir. Offered a much bigger salary, he accepted the opportunity to return and, when Santa Maria Maggiore attempted to rehire him, St. Peter’s again raised his salary.

Palestrina had been born in a house in Via Cecconi in the town of Palestrina, about 35km (22 miles) east of Rome. Commonly known as Gianetto, he became an altar boy and sang in the choir of his local church. By 1537, at around the age of 12, records suggest the was a chorister at Santa Maria Maggiore in Rome, where he was taught elementary composition.

The first page of Palestrina's Pope Marcellus Mass, published in 1565
The first page of Palestrina's Pope Marcellus
Mass, published in 1565
It is thought his music was influenced by the northern European style of polyphony, dominant in Italy at the time thanks to two composers from the Netherlands, Guillaume Dufay and Josquin des Prez. Until Palestrina, Italy had not produced anyone of comparable skill in polyphony, a style of composition which consists of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice, monophony.

At about 20 years old, Palestrina took his first job an organist of the Cathedral of St. Agapito, the principal church in his home town. In 1547, he married Lucrezia Gori, whose father had just died and left her some money as well as a house and a vineyard.

They had three sons, Rodolfo, Angelo and Iginio, and lived a relatively contented life until the series of epidemics that swept through central Italy in the late 1570s sadly took the lives of his wife and their two elder sons. Pelestrina himself became seriously ill and when he recovered, still grieving, he announced his intention to become a priest.

This all changed, however, when he met Virginia Dormoli, the widow of a wealthy merchant, whom he married in 1581. He took over the running of her late husband’s fur and leather business, which had a monopoly to supply ermine trim to the papal court. This gave him financial security for the first time in his life and he invested in property, drawing a further income from the rent on four houses.

A statue erected to commemorate the life of Palestrina in his home town
A statue erected to commemorate the life
of Palestrina in his home town
Despite the now considerable demands on his time, Palestrina continued to compose prolifically, perhaps more so, and maintained a remarkably high standard in both his sacred and secular works.

The Palestrina Style - the smooth style of 16th century polyphony - is usually taught as ‘Renaissance polyphony’ in college counterpoint classes of today.  It is characterised by the strict guidelines that Palestrina followed, namely that the flow of music should be ‘dynamic, not rigid or static’; that the melody should contain few leaps between notes and any leaps be immediately countered by opposite stepwise motion; and that dissonances (lack of harmony) are either passing note or off the beat and, if on the beat, immediately resolved.

His 105 masses embrace many different styles, and the number of voices used ranges from four to eight. Among his most important were his Pope Marcellus Mass, Accepit Jesus calicem, “L’Homme armé, Tu es Petrus and his Ave Maria. 

Palestina died in Rome on February 2, 1594 after suffering with pleurisy. His funeral was held at St. Peter's, and he was buried beneath the floor of the basilica, although his tomb was later covered by new construction and attempts to locate the site have so far been unsuccessful.

Detail from the Nile Mosaic in the Museo Archeologico Nazionale di Palestrina, near Rome
Detail from the Nile Mosaic in the Museo Archeologico
Nazionale di Palestrina, near Rome
Travel tip:

Palestrina is a pretty town of narrow, flower-bedecked streets and is full of history. In Etruscan times, then known as Praeneste, it was home to a spectacular terraced temple, the Santuario della Fortuna Primigenia, which covered much of what is now the centre of the town. It has long since been built over but there is a model in the Museo Archeologico Nazionale di Palestrina, the town’s hilltop museum, which also contains many exhibits of Etruscan remains, among them the Nile Mosaic, which once decorated the heart of the temple, depicting the course of the Nile through the Egyptian landscape, complete with attendant lions and crocodiles, until it reaches the sea. Outside the museum, within its grounds, there are some exposed sections of the original temple.

The Fontana dell'Ovato is one of the profusion of fountains in the gardens of the Villa d'Este at Tivoli
The Fontana dell'Ovato is one of the profusion of fountains
in the gardens of the Villa d'Este at Tivoli
Travel tip:

The Villa d'Este is a 16th-century villa in Tivoli, about 32km (19 miles) east of Rome, famous for its terraced hillside Italian Renaissance gardens, often referred to simply as the Tivoli Gardens, and for its profusion of fountains, more than 50 in total. A former Benedictine convent, the villa and gardens were designed by the Mannerist architect Pirro Ligorio for Cardinal Ippolito II d’Este, who had confiscated it as his residence. It is now an Italian state museum, and is listed as a UNESCO world heritage site.

More reading:

Ruggiero Giovannelli, a composer of religious music thought to have been Palestrina's pupil

How Cardinal Domenico Bartolucci became an authority on Palestrina's work

Carlo Maderno, designer of the great facade of St Peter's in Rome

Also on this day:

1723: The death of anatomist Antonio Maria Valsalva

1891: The birth of former prime minister and president Antonio Segni

1925: The birth of Olympic showjumper Raimondo D’Inzeo

(Picture credits: Statue by Sergio d'Afflitto; Mosaic by Camilia.boban; Fountain by Dnalor.01)


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17 December 2017

Rome falls to the Ostrogoths

Sacking of city in 546 left city a shadow of its former self


Francesco Salviati's portrait of the Ostrogoth king Totila, painted in about 1549
Francesco Salviati's portrait of the Ostrogoth
king Totila, painted in about 1549
The Ostrogoths, the Germanic tribe that took over large parts of the Italian peninsula with the collapse of the Western Roman Empire, achieved a symbolic victory on this day in 546 when an army under the leadership of King Totila captured and sacked Rome following a year-long siege of the Eternal City.

The event was part of the Gothic War between the Ostrogoths, who had originated on the Black Sea in the area now known as Crimea, and the Byzantine (Eastern) Empire, between 535 and 554.

Totila led a fightback by the Ostrogoths after the fall of the Gothic capital at Ravenna in 540 signalled the apparent reconquest of Italy by the Byzantines.

He had swept south with his forces and was based at Tivoli, east of Rome, as he plotted how he would recapture the region of Latium. In 545, he laid siege to the city.

Bessas, the commander of the imperial garrison charged with protecting the city, was stubborn but cruel to the Roman citizens.  Although he had a stock of grain, he would not let it be used to feed the population unless they paid for it, while at the same time refusing requests from citizens to leave the city.  He set grain prices impossibly high and many Romans starved.

Pope Vigilius, who had taken refuge in Syracuse in Sicily, sent a flotilla of grain ships in a bid to relieve the crisis but these were intercepted by Totila’s navy at the mouth of the Tiber and never reached the city.

A historical illustration said to show the army of Totila entering Rome
A historical illustration said to show the
army of Totila entering Rome
When Bessas relented and allowed citizens to leave, many were so weak with hunger they died en route to safety, either picked off by Ostrogoth soldiers or collapsing from malnutrition.

An attempt by an imperial army led by renowned general Belisarius only narrowly failed to defeat the Ostrogoth forces, its efforts hampered when Belisarius was taken ill and handed command to less-able subordinates.

Totila entered Rome on December 17, 546 after his men scaled the walls at night and opened the Asinarian Gate - the Porta Asinaria supposedly with the help of treacherous Isaurian troops from the imperial garrison who had arranged a secret pact with the Goths.

As the Goths were advancing, not knowing what resistance they would encounter, many of Bessas’s supposed defenders of the city were making their escape through another gate, leaving only about 500 soldiers still inside the walls.

In the event, resistance was minimal, with reportedly only 26 soldiers and 60 civilians killed. Rome was plundered, but Totila, having vowed the reduce the once-great city to a sheep pasture, relented and contented himself with tearing down part of the defensive walls, before moving on in pursuit of Byzantine forces in Apulia.

Yet even with most it buildings still standing, Rome was left a barren ruin. Where it boasted more than a million inhabitants during the glory days of the Empire, its population had dwindled to only a few hundred.

The Porta Asinaria was a small entrance through which farmers could enter Rome with their livestock
The Porta Asinaria was a small entrance through which
farmers could enter Rome with their livestock
Travel tip:

The Porta Asinaria (Asinarian Gate) can be found about 1.6km (1 mile) southeast of the Colosseum along the route of the Via Appia Nuova, next to the Porta San Giovanni. When Emperor Aurelian built the walls that surround Rome, there was only a posterula - a small opening for the farmers who lived outside the walls – at this location, which explains its name Asinaria (of the donkeys). It was only after the nearby Lateran Palace became the official residence of the popes that a proper gate was built, by Emperor Honorius.

The Fountain of Neptune at the Villa d'Este
The Fountain of Neptune at the Villa d'Este
Travel tip:

Tivoli, situated in the Monti Tiburtini hills about 30km (19 miles) east of Rome. Its fresher climate made it an attractive area for moneyed Romans. Nowadays it is famous for the breathtaking gardens of the Villa d’Este, complete with its 51 fountains, designed to entertain guests of Cardinal Ippolito II d’Este, who had the villa built in the 16th century.  Tivoli’s other major attraction is the enormous Villa Adriana (Hadrian’s Villa), which is not so much a villa as a small town, incorporating an array of temples, lakes, fountains, baths and other buildings so extensive that visitors need a whole day to explore.