Giovanni Pierluigi da Palestrina
Italian Renaissance composer (c. 1525-1594) · Italy · Musicians · Died at 69
Giovanni Pierluigi da Palestrina is read about 457 times a day, in 111 languages.
A typical day, 30 days to 27 October 2026
The middle day of the days counted, so one week of news cannot move it. The line under it is the last 400 days, one point a day.
Something wrong?He wrote over 105 masses and 250 motets, but what survived him wasn't the music itself - it was the rulebook others made from it.
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Giovanni Pierluigi da Palestrina
Charles-Alphonse Deblois - Giovanni Pierluigi da Palestrina
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Giovanni Pierluigi da Palestrina - Morì quasi il mio core. (BL Mad.Soc. C. 1 f. p21).jpg?width=1200)
Giovanni Pierluigi da Palestrina - Morì quasi il mio core. (BL Mad.Soc. C. 1 f. p22).jpg?width=1200)
Giovanni Pierluigi da Palestrina - Morì quasi il mio core. (BL Mad.Soc. C. 1 f. p24)Listen
SpotifyAlbums 24
PMPilgrimage: A Journey in Choral Music
GVGiovanni Pierluigi da Palestrina, Volume 8GVGiovanni Pierluigi da Palestrina, Volume 7
PAPalestrina
RÆRoma ÆternaGVGiovanni Pierluigi da Palestrina, Volume 6GVGiovanni Pierluigi da Palestrina, Volume 5GVGiovanni Pierluigi da Palestrina, Volume 4GVGiovanni Pierluigi da Palestrina, Volume 3GVGiovanni Pierluigi da Palestrina, Volume 2GVGiovanni Pierluigi da Palestrina, Volume 1
MMMissa Papae Marcelli / Motets
MCMusic from the Sistine ChapelIn their orbit 2
About this person
Born in the papal town that gave him his name, Palestrina moved to Rome as a child and rose through the church music ranks. In 1551, Pope Julius III made him maestro di cappella at St. Peter's Basilica, though he was forced out four years later when Paul IV required the post go to a cleric. He cycled through positions at St. John Lateran and Santa Maria Maggiore before returning to St. Peter's in 1571, where he stayed until his death in 1594. His masses and motets reconciled the aesthetic ambitions of Renaissance polyphony with the functional demands of post-Tridentine Catholic reform. That balancing act earned him a reputation as the ideal Catholic composer - and his style, filtered through later generations' selective reading, became an iconic model of perfect counterpoint.
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