Ave Maria  Paribus vocibus

Composer:  Giovanni Pierluigi da Palestrina (c1515-1594)


 

This music is assumed to be public domain in the USA. BEWARE: the modern-day recordings of that music are not!

  

 

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I have a music notation program file of this song (NWC, Sibelius, etc.) I have a video of this song. Giovanni da Palestrina 1525 1594     Ave Maria
Paribus vocibus		 TTBB a cappella
I have a music notation program file of this song (NWC, Sibelius, etc.) I have a video of this song. Giovanni da Palestrina 1525 1594 1590   Ave Maria
In Annunciatione Beatae Mariae		 TTBB a cappella
I have a score of this song I have a music notation program file of this song (NWC, Sibelius, etc.) I have a MIDI file of this song. X X   Giovanni da Palestrina   1525 1594   1604     Ave Maria
? Paribus vocibus ?		 TTBB a cappella
I have a score of this song I have a music notation program file of this song (NWC, Sibelius, etc.) I have a MIDI file of this song. X X   Giovanni da Palestrina   1525 1594         Angelus Domini SATTB a cappella
I have a score of this song I have a music notation program file of this song (NWC, Sibelius, etc.) I have a MIDI file of this song. X X   Giovanni da Palestrina   1525 1594   1575     Ave Maria SSATB a cappella
I have a score of this song I have a music notation program file of this song (NWC, Sibelius, etc.) I have a MIDI file of this song. X X   Giovanni da Palestrina   1525 1594   1593     Ave Maria - Offertorium Dominica IV Adventus SATTB a cappella
X X X X   Giovanni da Palestrina   1525 1594         Missa Ave Maria SAATTB a cappella
I have a score of this song I have a music notation program file of this song (NWC, Sibelius, etc.) I have a MIDI file of this song. X   Giovanni da Palestrina   1525 1594         Ave Maria SATBx2 a cappella
X X X X   Giovanni da Palestrina   1525 1594         Ave mundi spes, Maria SATBx2 a cappella
X X X     Giovanni   Bassano   c1558 1617         transcription of
Palestrina's Ave Maria  (ii)		    

Lyrics: 

 

A-ve Ma-ri-a, a-ve Ma-ri-a,
gra-ti-a ple-na,
Do-mi-nus te-cum, Do-mi-nus te-cum,
be-ne-di-cta tu, be-ne-di-cta tu
in mu-li-e-ri-bus ­ ­
et be-ne-di-ctus fru-ctus ven-tris tu-i, Je-sus.




San-cta Ma-ri-a, San-cta Ma-ri-a,
re-gi-na coe-li, re-gi-na coe ­ ­ ­ li,
dul-cis et pi-a, o Ma-ter De-i
o-ra pro no-bis pec-ca-to ­ ­ ­ ri-bus;
ut cum e-le-ctis te vi-de-a-mus,
ut cum e-le-ctis te vi-de-a-mus.
Score:  free download on cipoo.net, ...

play/stop MIDI:

Operaomnia (tomus V)

Recording: 

play/stop MP3 sample:

Posted on YouTube:

Cyclopedia of Music and Musicians: N-Z
edited by John Denison Champlin, William Foster Apthorp 1893
PALESTEINA GIOVANNI PIERLUIGI DA (Joannes Petraloysius Praenestinus)
born at Palestrina near Rome probably in 1514-15 died in Rome Feb 2 1594.
His family name was Sante in the earlier editions of his works he is called either simply Gianetto or Gianetto with differently spelled affixes such as Palestrina Pallestrina Palestrino Palestina Pelestrino with or without the da sometimes also Jo de Palestina. He is called JP Aloisius by his biographer Baini The date of his birth has been much disputed and was formerly set at 1524 but the best later authorities now agree that it must have been ten years earlier.

He was the son of Pierluigi and Maria Gismondi Sante people in a humble station His musical gift is said to have been first discovered by the maestro di cappella of Sta Maria Maggiore in Rome It is almost certain that he was sent at an early age to Claude Goudimel's music school where he laid the foundations of his unsurpassed mastery in counterpoint The first record of his occupying an official position is his


succeeding Francesco Rosseli as maestro de putti master of the boys at the Cappella Giulia in February or March 1551 the chapter of St Peter conferring upon him the title of maestro della cappella della Basilica Vaticana it is estimated that he began his professional career as a musician in 1544 In 1554 was published his first book of masses dedicated to Pope Julius HI On Jan 1 1555 he was made maestro di cappella of the Pontifical Chapel Giovanni Animuccia succeeding him at his former post at St Peter's It is evident that his exceptional genius must have been pretty well recognized at this period for the pope dispensed him from passing the strict examination prescribed in the Motu proprio of Aug 5 1553 for all applicants for admission to the Pontifical Chapel and also overlooked the regulation that all members of the chapel must be priests for at that time Palestrina was already married and had several sons But although these infractions of the rules of the chapel were winked at also by Julius's successor Mar cellus H who had been a patron of Pales trina's before his accession to the Papal Chair that stern reformer in church matters Paul IV expelled him and two other married singers from the chapel with a very small pension July 30 1555 so that he held the position for only seven months It was however a stroke of the irony of fate that Palestrina should afterwards have been a potent agent in thwarting one of Paul's most cherished reformatory measures the abolition of contrapuntal church music and the return to the plain Gregorian chant On Oct 1 1555 Palestrina was appointed maestro di cappella at San Giovanni in Laterano but as this post was poorly paid he obtained a release from it and in 1561 the
appointment to the similar position at Sta Maria Maggiore In 1563 came the most famous event of his life the writing of the Mar cellus Mass and with it the so called saving of the art of music This whole transaction which ended in nullifying in so far as music itself was concerned the radical reforms in church music proposed by Paul IV and discussed at great length at the Council of Trent 1545 63 has been made the theme of almost endless romancing A brief account of it may be found under the heading Missa Papse MarceUi and a detailed one in Ambros iv 7 20 The result to Palestrina was his being made composer to the Pontifical Chapel an honorary position which has been held only by him and by Felice Anerio In 1571 on the death of Animuccia he was made maestro di cappella at St Peter's which post he held until his death Other supplementary posts held by him were those of composer to the Congregazione del Oratorio founded by S Filippo Neri of maestro concertatore to Prince Buoncompagni in 1581 and occasional teacher in GM Nanini's music school Pope Gregory XTTT intrusted him with the revision of the Eoman Gradual and Antiphonal an enormous task in which he was assisted by his pupil Giudetti but left unfinished at his death In 1585 Pope Sixtus Y tried to reinstate him in his former position of maestro di cappella to the Pontifical Chapel but the jealous opposition of the singers was too energetic to be overcome x Palestrina stands universally accepted as the greatest genius not only of the great Koman contrapuntal school but of the whole epoch of strict simple contrapuntal composition which reached its

culmination in him The only two men who could in any way dispute his supremacy in this style wrere Giovanni Gabrieli and Orlando Lasso but making all due allowance for the greatness of these men the palm of superiority must still be awarded to Palestrina The romantic legends that grew up around the nucleus of fact concerning the part he and his Marcellus Mass played in the history of church music after the Council of Trent for a long time misled musical historians into looking upon him as an important innovator in music He was dubbed not only the Prince of Music but the Father of Music But Palestrina was in no sense a musical innovator his tendencies were conservative he never departed from the field f composition which had been so well worked by his great predecessors In the Marcellus Mass itself there was not a single element of novelty either in style or construction lPalestrina's mission was to complete and perfect a great musical epoch not to pave the way for a new one His compositions are all in strict simple counterpoint in the Gregorian modes for unaccompanied chorus he made frequent use of almost every contrapuntal subtlety known to the older Netherlandish composers but with a completeness of technical mastery and an unfailing sense for ideal beauty that wholly veiled the merely scholastic side of these devices His long life was a hard working but not particularly eventful one he saw a line of fifteen popes from Leo X to Clement VHI ascend the throne and pass away and he held some of the most brilliant musical positions of his day but the salaries were small and there is little doubt that he was miserably poor the greater part of his life The portrait on this page is a facsimile of part of the frontispiece of his first book of masses representing him presenting the book to the pope It is the only contemporary likeness of him Works I Masses Joannis Petri Aloysii Prsenestini in Basilica S Petri de Urbe cappellae Magistri Missarum liber primus
four 4 part masses and one in 5 parts Rome 1554 2d ed 1572 3d ed containing a 5 part Requiem and a 6 part mass 1591 Mis sarum liber secundus four 4 part and two 5 part masses and the 6 part Missa Papse Marcelii Rome 1567 2d ed Venice 1598 Missarum liber tertius four 4 part two 5 part including tlie Uhomme arme and two 6 part masses Rome 1570 Missarum liber quartus four 4 part and three 5 part masses Rome 1582 2d ed ib 1582 3d ed ib 1590 Missarum liber quintus three 4 part two 5 part and two 6 part masses Rome 1590 2d ed Venice 1591 Missse liber sextus four 4 part masses and one 5 part Rome 1594 2d ed containing also a 6 part Ave Maria Venice 1596 Missse liber septimus two 4 part and two 5 part masses published after Palestrina's death by his son Hvgin Rome 1594 2d ed ib 1595 3d ed containing also a 6 part mass Venice 1605 Missarum liber octavus two 4 part two 5 part masses and one 6 part with perpetual double canon Rome 1599 2d ed ib 1609 Missarum liber nonus two 4 part two 5 part and two 6 part masses Rome 1599 2d ed ib 1608 Missarum liber decimus two 4 part two 5 part and two 6 part masses Rome 1600 Missarum liber un decimus one 4 part two 5 part and two 6 part masses Rome 1600 Missarum liber duodecimus two 4 part two 5 part and two 6 part masses Rome 1601 Mis sae octonis vocibus concinendse four 8 part masses Venice 1601 Lauda Sion Pater noster and Jesu nostra redemptio in 4 parts Beatus Laurentius Panem nostrum Salve Regina and O Sacrum Convivium for 5 parts Ecce ego Joannes and Veni Creator Spiritus for 6 parts and other unedited masses preserved in the Library of the Vatican also a collection in the Minerva Library Rome II Motets Motecta fes torum totius anni cum communione sanctorum quaternis vocibus liber primus Rome 1585 and 1590 Venice 1601 and Rome 1622 Mottettorum quae partim
quinis partim senis partim septenis vocibus concinantur liber primus Rome 1569 2d ed Venice 1586 3d ed 1600 Mottettorum liber secundus discovered by Baini Venice 1572 Mottettorum liber tertius Rome 1575 Venice 1581 1589 and 1594 Mottettorum quatuor vocibus partim plena voce e partim partibus vocibus liber secundus Venice 1581 Rome 1590 Venice 1604 1606 Mottettorum quinque vocibus liber quartus Rome 1584 2d ed Venice 1584 10th ed Rome 1650 Mottettorum quinque vocibus liber quintus Rome 1584 Venice 1588 1595 1601 Three books of motets for 4 5 and 6 voices were collected by Baini HL Lamentations of Jeremiah 23 Lamentations in 4 parts liber primus Rome 1588 Venice 1589 and two other works in 4 5 and 6 parts collected by Baini IV Hymns Hymni totius anni secundum SRE consuetudinem quatuor vocibus con cinendi nee non hymni religionum Rome and Venice 1589 Rome 1625 V Offer toria Rome 1593 Venice 1594 1596 VI Magnificat Magnificat octo tonorum liber primus Rome 1591 2d ed Venice 1591 also of 5 6 and 8 part unedited Magnificats collected by Baini VII Litanies Litanige Deiparae Virginis Rome 1600 VIII Madrigali spirituali libro primo Venice 1581 libro secundo Rome 1594 IX Psalms Sacra omnia solemn Psalmodia Vespertina Venice 1596 X Madrigals Libro primo a quattro voci Rome 1555 Venice 1568 1570 1594 1596 1605 libro primo a cinque voci Venice 1581 secundo libro a quattro voci Venice 1586 Many of Palestrina's masses were edited and published by Al fieri in his Raccolta di Musica in cui con tengonsi i capolavori di celebri compositori italiani Rome 1841 and Alfieri also published Raccolta di mottetti a quattro voci di Giovanni Pierluigi da Palestrina Ludo vico de Vittoria di Avia e di Felice Anerio ib 1841 A number of Palestrina's works were published by Proske in his collection of
Musica Divina The most of Palestrina's MSS are in the Library of the Vatican and 37 motets are in the Library of the Conservatoire in Paris Breitkopf & Hartel's edition of Palestrina Werke I 5 6 and 7 part Motets II 5 6 and 8 part Motets III 5 6 and 8 part Motets IV 5 part Motets V 4 parfc Motets VI 5 6 and 8 part Motets VII 4 6 8 and 12 part Motets VlLL 4 part Hymns IX 5 part Offertories X Masses 1st Book XI 2d Book XII 3d Book XHX 4th Book XIV 5th Book XV 6th Book XVI 7th Book XVK 8th Book XVIH 9 Books of Masses XIX 10 Books of Masses XXIV 15 Books of Masses XXVI Three Books of Litanies for 4 5 6 and 8 voices and six 12 part Motets and Psalms XXVTL 35 Magnificats in 3 Books XXVIH 3 4 5 and 6 part Madrigals 3 Books XXIX 5 part Madrigals 2 Books 15 Books of Masses 3 Books of Lamentations in 4 5 T A rr and 6 parts 3 Books f J yL of Litanies in 4 and 6 parts 2 Books of Magnificats in 4 5 6 and 8 parts and a Supplement of miscellaneous works biographical data and docu ments etc Baini Memorie storico critiche della vita e delle opere di G Pierluigi da Palestrina 2 vols Home 1828 German translations by Kandler and Kiesewetter 1834 C Winterfeld Palestrina seine Werke und deren Bedeutung fur die Ge schichte der Tonkunst Breslau 1832 Bau inker Palestrina Freiburg 1871 Fetis vi Ambros iv 1 Clement Mus celebres 7 Eiemann Naumann Italien ische Tondichter von Palestrina bis auf die Gegenwart

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