ed
Palestrina to one of his positions, was recognized as of transcendent
excellence. It was copied in the collection of the Vatican, and the
pope ordered a special performance of it in the Apostolic chapel. At
the end of it he declared that it must have been some such music as
this that the apostles of the Apocalypse heard sung by the triumphant
hosts of angels in the New Jerusalem. Palestrina continued to write
masses, motettes and other works during the remainder of his life, but
during the entire time lived in the extremely limited condition
already mentioned, and was subject to much enmity from jealous singers
and composers. The most pleasing incident of his later life happened
in 1575, when fifteen hundred singers from his native town came to
Rome in two confraternities of the Crucifix and the Sacrament, making
a solemn entry into the city, singing the music of their great
townsman, who conducted at their head. The long and active life of
this great master came to an end January 22, 1594. Among his greater
works are ninety-three masses, a very large number of motettes,
forty-five hymns for the whole year, sixty-eight offertories, and a
large number of litanies, magnificats and madrigals.

It is not unlikely that reform in Catholic Church music had been very
largely influenced by the Protestant music of Germany. Martin Luther
(1483-1546) in arranging music for the Protestant Church, invented the
chorale and added to the best melodies from the Plain Song some
wonderfully fine ones of his own, such as "_Eine Feste Burg_," and
caused many others to be written by the best composers of the
Netherlandish school. The chorale was the exact opposite of the
motette of the Netherlands. In the chorale all of the voices moved
together. The same music was invariably sung to the same words,
whereby an association was created, intensifying the effect of the
music and the words respectively.

As examples of Palestrina's music are not common I have thought best
to allow space for the following from his music for Holy Week. The
pieces will produce a much better effect if sung by good voices than
when played upon an instrument. They are written for the voice.

[Music illustration: "TENEBRAE FACTAE SUNT," BY GIOVANNI PIERLUIGI DA
PALESTRINA.

Te-ne-brae fac-tae sunt, dum cru-ci-fi-xis-sent Je-sum Ju-dae-i.
Et cir-ca ho-ram no-nam ex--cla-ma-vit Je-sus vo-ce mag-na:
De-us me-us, ut-quid me de-re-li-qui-sti.
Ex-c