Palestrina, today, is generally regarded as ‘the master of his art’. Over the centuries, composers and musicians have studied and attempted to recreate his style, which is associated with an unrivalled purity. Born at around 1525 in a small town near Rome, after which he was named, Palestrina received his early training in Rome. His first patron, Giovanni Maria Ciocchi del Monte, Bishop of Palestrina, became Pope Julius III in 1550. In 1551 Palestrina was appointed the choirmaster of the Cappella Giulia at St. Peter' s, Rome (the Vatican). After Pope Julius's death, Palestrina was forced to relinquish his position by Pope Paul IV, who would not permit married men to serve in the papal choir. He then occupied some prestigious posts in Rome before returning to the Cappella Guilia from 1571 up to his demise in 1594.

To understand why Palestrina achieved such a name both during his lifetime and afterward, it is important to have some understanding of the situation in the Church at the time and of his contemporaries.

Following the Reformation, led by Martin Luther, the need for change in the Catholic Church began to be recognised. This l

Perhaps Palestrina was labelled the ‘Prince of Music’ by his contemporaries for his ability to create beautiful, flowing music with simple techniques. There is an exquisite timeless quality that surrounds his music. It supersedes everyday human emotion but is enriched with a divine spirituality, which is almost hypnotic. His output was vast – including over a hundred masses and around two hundred and fifty motets. Palestrina provided the ideal model for composers and students in the sixteenth century and after he died, the ‘stile da Palestrina’ remained immortalised in the music of subsequent generations. Today, out of all the composers of his period, his is the music, which is best known and most performed. It is for all these reasons that Palestrina is considered the composer of the Counter – Reformation.

"The whole plan of singing in musical modes should be constituted not to give empty pleasure to the ear, but in such a way that the words be clearly understood by all, and thus the hearts of the listeners be drawn to desire of heavenly harmonies, in the contemplation of the joys of the blessed... They shall also banish from church all music that contains, whither in the singing or in the organ playing, things that are lascivious or impure."

ed to the convening of the Council of Trent in 1542, which had the purpose of purging the Church of the various misdemeanours that lay within it through regulation and reform. The suitability of religious music, among other issues, was questioned, and in 1562 the following decree was announced, stating that the secular elements should be removed:

Another contemporary of Palestrina was Orlando di Lasso, born in Belgium in about 1520. Having spent much of his youth travellin

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