Giovanni Pierluigi da Palestrina

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  • noun

Synonyms for Giovanni Pierluigi da Palestrina

Italian composer (1526-1594)


References in periodicals archive ?
Baini, Memorie storio-critiche della vita e delle opere di Giovanni Pierluigi da Palestrina (Rome, 1828), i, P.
It is a worthwhile contribution to the Palestrina quater-centenary celebrations by the Accademia Nazionale di Santa Cecilia, under whose auspices it has been published, as well as an impressive monument to the activities of the Fondazione Giovanni Pierluigi da Palestrina and the indefatigable Lino Bianchi and Giancarlo Rostirolla.
Ad Te levavi animan meam,' ('to you, Lord, I lift up my soul'), the Offertory of Giovanni Pierluigi da Palestrina was just said, echoing Psalm (25 [24]:1).
The program consists of music by Giovanni Pierluigi da Palestrina and others.
Bianchi, Giovanni Pierluigi da Palestrina, La vita, i repertori liturgici e i madrigali profani e spirituali (Turin, 1971), pp.
The Renaissance (early 15th to early 17th centuries) half of the program will sweep through madrigals, motets, chanconnes, part-songs, one movement of a mass and dance music, mainly from France, Germany, Italy and England by such masters as Guillaume Dufay, Johannes Ockeghem, Josquin Desprez, Claudin de Sermisy, Clement Janequin, Orlando di Lasso, Orazio Vecchi, Luca Marenzio, Giovanni Pierluigi da Palestrina, Hanns Leo Hassler, Orlando Gibbons, Thomas Morley and John Dowland.
As for the foremost Roman polyphonist, Giovanni Pierluigi da Palestrina, the first example of the insertion of a basso continuo part in his compositions dates from the first decade of the 17th century.
Bach's Fugue in G Major (BWV 577), Samuel Scheidt's Canzon Cornetto a 4, and a lovely ricercar by Giovanni Pierluigi da Palestrina.
Fondazione Giovanni Pierluigi da Palestrina, vicolo Pierluigi 3, 1-00036 Palestrina, Italy.
1485-1545), the first representative of the Roman School that culminated with the music of Giovanni Pierluigi da Palestrina, wrote a series of counterpoint exercises on a cantus firmus, but the collection was assumed lost.
One particularly pleasing inclusion within the anthology that one would not necessarily have predicted are motets by Giovanni Pierluigi da Palestrina and Orlando di Lasso, chosen to illustrate the prima pratica.
Next he comments on the sequence Veni Sancte Spiritus and gives a long list of motet settings from John Dunstable to Tomas Luis de Victoria, Giovanni Pierluigi da Palestrina, and even Contino.
9, "Come havra vit', Amor," quotes in three places an earlier setting of t he same text by Ruggiero Giovanelli, which itself quotes earlier madrigals by Cipriano da Rore and Giovanni Pierluigi da Palestrina.