A Reexamination of Palestrinas Role in the Catholic Reformation

by Edward Schaefer

Meeting ofthe in . Painted in 1633.

The story of the 1565 meeting of Catholic church offi­ The first abuse of these singers arises from the fact that cials, during which 's Missa Papae Marcelli is alleged many of them do not even lmow one note from another, to have been heard and proclaimed to be the consummate as they say, and are in fact unskilled in any phase of music. example of an appropriate style of music for mass settings, is Therefore they teach through substitute assistants-a well documented. 1 Prior to this meeting, however, many course of action not without its derision and mockery discussions were held regarding the banning of polyphonic from the people. music from the Catholic church altogether. This article will The second abuse, coming from the first, is that they clarify the contributions of persons, in addition to Palestrina, do not care whether there are either corrected or un­ who might be credited for their part in having "saved church corrected musical books, even daring to use them (un­ music"2 and the polyphonic style. corrected books) in church. But since even one vowel, incorrectly written, is able to malce the sense of the words The State of Church Music and prayers perverse and heretical, ... those most during the Early Sixteenth Century important books which are accustomed to be used, which During the first half of the sixteenth century, the Catholic they call missals and breviaries, ought to be most carefully church struggled to correct rampant abuses-in areas ranging written and edited. from the selection and formation of clergy to preaching and The third abuse is that they do not care whether their other liturgical practices, including music-in virtually all parts efforts of singing may be a shout or a love-cry, so that of its domain. Perhaps one of the most revealing descriptions of they permit themselves rather to roar than to sing in the the musical abuses of the time is found in a report written by choir. Nor do they recognize the fact that all too often Fridericus Nausea Blancicampianus, Bishop ofVie nne, France.3 those things which are prescribed for the sacred services The bishop prepared this report in June 1543 for Pope Paul III are omitted or cut short for the salce of the harmonies of in preparation for the day when the Pope would call an ecu­ songs or organ music. These parts consist [of] the menical council to address the many unchecked abuses. The Prophecies, the Epistles, the , the Preface, the need for musical reforms is mentioned four times in the report. actions of graces, the prayers, and other things of that The third reference, which discusses abuses committed by sort which are of great importance. cathedral canons while chanting the Divine Office, is most The fourth abuse of the singers is that they do not advert descriptive of the poor state of affairs: to the manner in which they read or sing in the choir, since the chant itself must be equal not precipitous but dear, detached, moderate, pious, and in a temperate manner Edward Schaefer is Director of Choral Activities at Gonzaga in all things, in order that the divine services may be University, Spokane, Washington, and serves as President of performed with reverence. Washington ACDA. The final abuse of the singers is that they sometimes permit in the churches songs and organ music which arouse

AUGUST 1994 PAGE 19 wantonness rather than piety. They Nothing may be read or sung ecumenical council at Trent in 1543. Pre­ allow at times things to be sung in church unless it is tal

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PAGE 20 CHORAL JOURNAL constituted not to give empty pleasure whether by the organ or in the little curious given the specific nature of to the ear, but in such a way that the singing, contains things that are the concerns outlined by various indi­ words may be clearly understood by lascivious or impure, likewise all viduals prior to the council session in all, and thus the hearts of the listeners worldly conduct, vain and profane which it was adopted. Furthermore, since be drawn to the desires of heavenly conversations, wandering around, the issue of musical reform was brought harmonies, in the contemplation of noise and clamor, so that the house before the council again the following the joys of the blessed. Those things of God may be seen to be and may year, not all council members considered which are established for the cele­ be truly called a house of prayer.9 the matter adequately addressed by this bration of the masses should be decree. Perhaps one of the reasons for its observed in them and also in the other This decree, however, fell short of speci­ vagueness is what appears to have been a sacred services, so that those things fying what kind of music was "lascivious difference of opinions regarding exactly which are performed in a sacred or impure." In addition, it did not ad­ how church music should be reformed, manner may be understood with dress at all the concern about a style of especially with regard to the use of poly­ greater reverence, piety, and faith.s polyphony that would render the texts phonic music in the liturgy. intelligible to the congregation. The spe­ The formal decree, adopted in the cifics of this mandate-that is, deter­ Chant vs. Polyphony twenty-second session of the council, mining exactly what kind of music would was a rather short summation of these be acceptable in the liturgy-were left to and the Contributions of preliminary texts and a formal mandate future discussions. the Spanish for reform: On the one hand, it is not surprising One group of reformers-in particular that this conciliar decree is lacking in spe­ Cardinal Giovanni Morone, who served as Decree Concerning Things to be cifics. Typically, such decrees define a gen­ president of the Council of Trent, and Observed and Avoided in the eral course of action and leave the specifics Cardinal Bernardo Navagero-advocated Celebration of Mass of implementation to be addressed at a banning polyphony from the church alto­ They shall also banish from the later time. On the other hand, the vague­ gether. Indeed, in 1538, Cardinal Morone churches all such music which, ness of this particular decree is at least a had temporarily banned polyphony from

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AUGUST 1994 PAGE 21 his own cathedral in Modena in favor of polyphonic music not be banned from might have been aware of the practical plainsong because of the clarity that mono­ use in the church: difficulties likely to be encountered in phonic music gave to the text. 10 enforcing such a ban, because the use of Due largely to the efforts of Morone There are some other articles polyphonic music was widespread in the and Navagero, preliminary discussions about which we think that we must church. Second, if there were difficulties regarding the matter were held prior to speak to you. Among these is the in enforcing such a decree, the church's the twenty-fourth session (November 11, last of the third section, which struggles in this matter might be perceived 1563) of the Council. Word of these states: "sentimental chants must be as a sign of general weakness, thereby di­ discussions, however, reached Spain, outlawed, and in our churches we minishing the church's influence. Third, and on August 23, 1563, Ferdinand I, must maintain grave music which he may have been aware of the universal ruler of the Holy Roman Empire, wrote is more fitting to the ecclesiastical popularity of music by Spanish a letter to the council requesting that simplicity." such as Cristobal de Morales and Fran­ We will not approve removing cisco Guerrero, and he may have wanted ornate chants (polyphony) com­ to preserve the notoriety brought to Spain SOIlgs'ftlrD$'eniors™ pletely from our services, because we by their music. .;i' "":j" .. ,'.;., .. " ...... ".. '/;i,D ~\ believe that so divine a gift as music Morales, for example, was one of the ~i:Jelightfur~~d. humor~us. ~gnectiiin can frequently stir to devotion the most renowned composers in dur­ l ~f" Origi~~~ ~p~~~;J~n}~jin'a.~If:§;) \\ souls of men who are especially ing the first half of the sixteenth century. J ~~I~ .. ~!\music,'?$all~!;!}~'it~ '\\ sensitive to music. This music must He served as a singer in the papal choir Ii \ 0" ! .. a:,!~~ retlreme~~::~,', \i never be banned ftom our churches. 11 for ten years (1535-1545), during which i Avail n'piano, voc~l,imd.c!1or.aL ! i (>a~rang'ments o~cas'settetap~';f\ i time his compositions were heard fre­ ~. \cAsk·about 6ur'twonew j '"' Ji While the emperor may truly have quently by rulers from all over the conti­ \:, H~Qk Beebe 9horal Anthe~s. j' found polyphonic music to be stirring, nent. As a result, his compositions enjoyed \ '""" ... ",;~;E;:~.",>,,;::~:.;;;. ,.' ./ !/ at least three other possible reasons exist a rapid diffusion throughout Europe. Even \:~;, VOlce~ofthe R()cki,es ./ for his concern about the abolition of after his death in 1553, his reputation '\";~ 1<80iP1~:l~~i2~3 'Jo) polyphony from the church. First, he continued to spread not only in Europe but also in the New World. 12 In fact, the eighteenth-century writer Fornari, in "dis­ cussing Palestrina's text-setting in the T~merican Missa Papae Marcelli, praised Morales as the who first showed how to BOYegb,glr set words intelligibly in a contrapuntal fabric."13 Indeed, Palestrina looked on the works of Morales as models in more ways 7th National Conference on Choral Training than one. He composed at least one mass for Directors of Children's, Girls' and Boys' Choirs based on a motet by Morales. 14 In addi­ tion, his first book of masses (1544) shared A Very Special International Event many similarities with that of the Spanish composer: • September 29-0ctober 2, 1994 Princeton, New Jersey • Dr. Edward Higginbottom, Choir of New College, Oxford It opens with a tenor mass with Jean Ashworth Bartle, Toronto Children's Choir separate text celebrating the reigning pope . . . and it contains a letter of Dr. James Litton, The American Boychoir dedication to the pope. Moreover, the woodcut used for Palestrina's THREE INTENSIVE DAYS: print is the vety one that had been • Vocal development and choral techniques employed for Morales's. While the • Open rehearsals with the American Boychoir faces of both pope and composer • The American Boychoir sound have been altered, along with the papal arms, the music in both • International treble choir repertoire illustrations is the same, though with • Inauguration of the Presser Choral Music Study Center the words deleted; thus Palestrina is For complete information and registration contact: inadvertently depicted presenting Nancy Plum, Conference Coordinator Morales's mass. 15 The American Boychoir School 19 Lambert Drive, Princeton, New Jersey 08540 Ferdinand, as Holy Roman Emperor, 609/924-5858 609/924-5812 (fax) had a vested interest in any actions taken

PAGE 22 CHORAL JOURNAL by the council. He had followed its delib­ BRIGHT LIGHT erations closely, and the correspondence FOR ANY SITE and negotiations between Ferdinand and the council indicate that his influence II' 9" flexible Gooseneck 16 II' Bright halogen light spreads was significant. His August 1563 letter over a 12" x 18" sheet of must have swayed the council's think­ II' Durable constructlonl ing, for the final decree on the marrer, II' lightweight (6.5 oz.) coming from the twenty-fourth session, II' In line 'on - off' switch. ~-...... - II' Clamps onto any edge up to 1" thick. allowed local authorities to determine II' Operates from any 110 volt outlet or !":id "~~l~II ~1.ll§ ~"I!! ~ I,; what types of music would be permitted optional 12 volt battery packs TECHNOLOGIES in the liturgy: II' Rechargable lead gel batteries with 'IP.o. BOX 211635 COlUMBIA, SC 29221·6635 carry pack and shoulder strap. 1803) 732·4363 FAX IB03) 732·4435 With regard to matters that pertain to the proper manner of conduct in the divine offices, the proper way of singing or the modulating therein, the definite rule for assembling and remaining in choir, the things necessary for those who minister in the church, and such like, the provincial synod shall prescribe for each province a fixed form that will be beneficial to and in accordance with the usage of each province. In the meantime, the bishop, with the aid of no less than two canons, one chosen by himself, the other by the chapter, may provide in these matters as he "Where are the other ~ 7~ {Z 2- may deem expedient. I? We know that there are over 90,000 organists and what your friends have to say. And look for yourself. church choirs who would make good use of and enjoy We're proud of what we publish, and we guarantee ev­ This decree effectively ended the debate our publications, but we still haven't heard from many erything we sell. of them. Why haven't we heardfrom you? We really would like to hear from you. It's easy to regarding the liturgical use of polyphony You might ask why we feel it necessary to look for get in touch (free, too). Call our toll-free number, and versus chant. Three weeks later, on De­ the rest of these organists and choir directors. (We could for just one minute of your time, you will get yourself a cember 3, 1563, the council confirmed stay in business with just the customers we already catalog of church music to help you shape the future. this, declaring that polyphonic music have.) 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Yourcontri­ Selah is an independent and ecumenical church mu­ sions of cardinals were established to bution to worship is important, and Selah wants to give sic publisher dedicated to providing quality resources implement the council's many mandates. you the opportunity to reach more and more people. for choirs, congregations, and church musicians. Two members of the commission charged That is Selah's goal: to help you direct the future of church music in your congregation and commu­ with accomplishing musical reforms, nity. We publish music for all levels of difficulty. We take Free newsletter Carlo Borromeo and Vitellozzo Vitelli, our time finding the best work of the best composers for church musicians were ardent reformers with a special in­ and then we carefully produce quality editions-qual­ Ask for a copy of our newsletter Music in Worship. terest in finding a style of polyphonic ity from the paper we use to the typesetting and design. Choir directors and organists find it full of practical Our publications are going to be around for a while. articles, interviews, and other helpful information. music in which the text would be intelli­ Look at what the reviewers are saying. Listen to gible. Borromeo, the Cardinal Archbishop of Milan, wrote to his vicar in Milan and CaD naw for ourfree catalog requested that , master of oj organ and choral musIc the chapel at the cathedral in Milan, be asked to "compose a Mass that should be Call toll-free 1-800-852-6172

AUGUST 1994 PAGE 23 400 Years in the Making: John Rutter's as clear as possible and send it to me."19 Palestrina / The Song of Songs! Vitelli hosted at his house the now fa­ mous meeting ofApril 28, 1565, in which the papal chapel singers "were assembled ... to sing some masses and test whether the words could be understood, "20 and at which it is suggested that Palestrimls Missa Papae Marcelli was heard and acclaimed to be the preeminent example of intelli­ gible polyphony. Even though Palestrina's Missa Papae Marcelli is a work composed with intelli­ gibility in mind,21 it is not certain that the work was actually performed at this meeting.22 Nevertheless, Palestrina's influ­ ence at the time with regard to the devel­ opment of a new, intelligible style of polyphony must have been considerable. He had spent virtually his entire career in , holding positions in the Sistine Original(v published by 16th Century Composer Palestrina, this Choir and at the three major churches in collection (Col 122, CD only) is new from The Cambridge Singers. Now the city-Santa Maria Maggiore, San in finer record stores or call J -800-367-9059. Giovanni in Laterano, and San Pietro in ------Vaticano. One of his masses was selected as a test piece and sung in the Sistine Chapel on June 19, 1563, for the assembled cardinals and pope to judge its suitability. Afterward, it received general acclaim, and the pope "declared that this [polyphonic] music would be retained in the services [of the church] on the condition that its use be moderated. "23 Palestrina was supremely successful in reconciling the techniques of modal coun­ terpoint with the church's demand for intelligible music in a way that was func­ tional enough for the church to accept and yet sublime in its artistic expression. Thus, it is quite appropriate, and espe­ cially so in this year marking the anniver­ sary of his death, to honor his contri­ butions both to the church and to the choral art. At the same time, credit is due to Emperor Ferdinand I and to the nu­ merous cardinals and bishops who wrestled with the issue of the suitability of music for worship during a crucial pe­ riod in the history and development of polyphonic music.

NOTES I The most thorough discussion of the facts and the legends surrounding this meeting can be found in Lewis Lockwood, Giovanni Pierluigi da Palestrina: Pope Marcellus Mass (New York: W. W. Norton, 1975).

PAGE 24 CHORAL JOURNAL 2 The claim regarding Palestrina as the savior Norton, 1984), 105. The original text of by provincial councils, see Edward Schaefer, of church music was first made by a Modena citizen, Tommaso Lancellotti, "The Relationship between the Liturgy of Agostino Agazzari, Del sonare sopra il basso describing the clarity of plainsong appears the Roman Rite and the Italian Organ con tutti gli stnlmenti (1607). The specific in G. Roncaglia, La Cappella musicale Literature of the Sixteenth and Seventeenth reference is translated in Oliver Strunk, del duomo di Modena (Florence, 1957), Centuries" (D.M.A. diss., Catholic Source Readings in Music History (New 24, and in Lewis Lockwood, "Some University ofAmerica, 1985), 14-25. York: W. W. Norton, 1950),430-31, and Observations of the Commission of 18 J. Massarelli, ed., Concilium Tridentinum: Lockwood, 28-29. Lockwood also docu­ Cardinals and the Reform of Sacred Music Diariontm (Freiburg: B. Herder, 1901- ments the propagation of the claim in the (1565)," Quadrivium 6 (1966): 44. 1924), vol. 6, 754, cited by Hayburn, 29. works of various writers after Agazzari. II Hayburn, 28. 19 Lockwood, Giovanni Pierluigi da Palestrina: 3 Societas Goerresiana, ed., Concilium Tri­ 12 Robert Stevenson, "Morales, Cristobal de," Pope Marcellus Mass, 21. dentinum: Diariorum, actonlm, epostularum in New Grove Dictionary of Music and 20 Lockwood, "Palestrina," 98. tl"actatuum nova colleedo (Freiburg, Breisgau: Musicians, 1980. 21 Knud Jeppesen, The Style of Palestrina and B. Herder, 1900- ), vol. 12, Tractatuum 13 Fornari, Nal"l"atione istorica (1749), cited in the Dissonance, 2d ed. (London: Oxford pars priO/; ed. V. Schweitzer (1930), 364. Stevenson. University Press, 1946), reprint ed. (New 4 Robert F. Hayburn, Papal Legislation on 14 Missa 0 sacrum convivium. See Gustave York: Dover, 1970),41-47. Sacred Music (Collegeville, MN: Liturgical Reese, Music in the , rev. ed. 22 Lockwood, Giovanni Pierluigi da Palestrina: Press, 1979),26. (New York: W. W. Norton, 1959),472. Pope Marcellus Mass, 6-29. 5 Ibid., 26, 27. 15 Lockwood, "Palestrina," 97-98. 23 Bibliotheca Vaticana, Manuscrit dim·i sistini, 6 Ibid., 27. 16 Lockwood, "Some Observations," 42-44. See no. 7, cited by Andre Pons, Droit 7 Ibid. also Ludwig Freiherr von Pastor, The History ecclesiastique et musique samie (St. Maurice, 8 Ibid. of the Popes (St. Louis: B. Herder, 1923- Switzerland: Editions de l'Oeuvre St. 9 H. J. Scl1foeder, Canons and Decrees ofthe Council 1953); vol. 15, ed. Ralph Francis Kerr Augustin, 1959-1961), vol. 3,114. ofTrent (St. Louis: B. Herder, 1950), 15l. (1928), 179££ 10 Lewis Lockwood, "Palestrina," in High 17 Schroeder, Canons and Decrees, 202. For -C]- Renaissance Masters (New York: W. W. examples of various legislative actions talcen

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