Missa Papae Marcelli. Giovanni Pierluigi da Palestrina. Tallis Scholars, Peter Phillips, conducting

00:03 Kyrie
03:51 Gloria
09:20 Credo
18:07 Sanctus
21:35 Benedictus
24:26 Agnus Dei I
27:39 Agnus Dei II

Missa Papae Marcelli
Giovanni Pierluigi da Palestrina
(c. 1525 – 2 February 1594)

Sistine Chapel ceiling fresco painting by Michelangelo (between 1508 and 1512) is displayed on the right side of the video and the music on the left.

On Saturday, 28 April 1565, by order of Cardinal Vitellozzi, all the singers of the papal chapel were gathered together at his residence. Cardinal Borromeo was already there, together with all the other six cardinals of the papal commission. Palestrina was there as well...they sang three Masses, of which the Pope Marcellus Mass was the last...The greatest and most incessant praise was given to the third, which was extraordinarily acclaimed and, by virtue of its entirely novel character, astonished even the performers themselves. Their Eminences heaped their congratulations on the composer, recommending to him to go on writing in that style and to communicate it to his pupils.
— Quoted in Taruskin, Richard, and Weiss, Piero. Music in the Western World:A History in Documents. Schirmer, 1984, p. 142.

One of Palestrina's most important works, the Missa Papae Marcelli (Pope Marcellus Mass) has been historically associated with erroneous information involving the Council of Trent. According to this tale (which forms the basis of Hans Pfitzner's opera Palestrina), it was composed in order to persuade the Council of Trent that a draconian ban on the polyphonic treatment of text in sacred music (as opposed, that is, to a more directly intelligible homophonic treatment) was unnecessary. However, more recent scholarship shows that this mass was in fact composed before the cardinals convened to discuss the ban (possibly as much as 10 years before). Historical data indicates that the Council of Trent, as an official body, never actually banned any church music and failed to make any ruling or official statement on the subject. These stories originated from the unofficial points-of-view of some Council attendees who discussed their ideas with those not privy to the Council's deliberations. Those opinions and rumors have, over centuries, been transmuted into fictional accounts, put into print, and often incorrectly taught as historical fact. While Palestrina's compositional motivations are not known, he may have been quite conscious of the need for intelligible text; however, this was not to conform with any doctrine of the Counter-Reformation, because no such doctrine exists.

From notes of Peter Philllips:

The story of the Missa Papae Marcelli is difficult to fix down in fact. The myth holds that the cardinals attending the Council of Trent were about to decide that singing polyphony in church services was unacceptable, for reasons ranging from the inaudibility of the texts to the complaint that polyphony was too sensuous and too intellectualized (quite a complaint!). There was a move to reinstate plainchant as the only permissible church music. One of the leading figures in the debate was the man who became Pope Marcellus II in 1555 and it is probable, given the title of the eventual composition, that Marcellus asked Palestrina to write a piece which would show the world that part-music could be both concise and musically valuable. Certainly in two of its movements—the Gloria and Credo—the Missa Papae Marcelli has a precision of word-setting which was innovative, though the other three movements are much more elaborate and the second Agnus Dei possibly the most mathematically complex movement Palestrina ever wrote. The evidence is rather confused, then, though it is surely significant that the syllabic style of the Gloria and Credo was recognized at the time as being novel: when the Mass came to be published in 1567 it was prefaced with the words ‘novo modorum genere’ (broadly speaking ‘a new form of expression’).
from notes by Peter Phillips © 2007

#Palestrina