{"id":4282,"date":"2025-01-13T15:15:41","date_gmt":"2025-01-13T14:15:41","guid":{"rendered":"https:\/\/pigyki.fr\/?p=4282"},"modified":"2025-01-27T10:19:41","modified_gmt":"2025-01-27T09:19:41","slug":"ecoute-musicale-n54-giovanni-pierluigi-da-palestrina","status":"publish","type":"post","link":"https:\/\/pigyki.fr\/index.php\/2025\/01\/13\/ecoute-musicale-n54-giovanni-pierluigi-da-palestrina\/","title":{"rendered":"\u00c9coute musicale n\u00b054 Giovanni Pierluigi da Palestrina"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\">Giovanni Pierluigi da Palestrina (1525-1594)<\/h2>\n\n\n\n<p>Cette ann\u00e9e 2025 marque les 500 ans de la naissance de <strong><em><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Giovanni_Pierluigi_da_Palestrina\" target=\"_blank\" rel=\"noreferrer noopener\">Giovanni Pierluigi da Palestrina<\/a><\/em><\/strong>, enfin, \u00e0 un an pr\u00e8s car la date de sa naissance oscille entre 1525 et 1526. Dans tous les cas, c&rsquo;est une bonne raison de rencontrer sa musique.<\/p>\n\n\n\n<p>Il a principalement compos\u00e9 de la musique religieuse et vocale. Jugez plut\u00f4t : plus de 100 messes, 2\u00a0<a href=\"https:\/\/fr.wikipedia.org\/wiki\/Stabat_Mater\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>Stabat Mater<\/em><\/strong><\/a>\u00a0dont un \u00e0 8 voix (double ch\u0153ur) et l&rsquo;autre \u00e0 12 voix, pr\u00e8s de 250 motets (\u00e0 2, 3, 4, 5, 6, 7 et 8 voix) dont 29 sur le\u00a0<strong><em><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Cantique_des_cantiques\" target=\"_blank\" rel=\"noreferrer noopener\">Cantique des cantiques<\/a><\/em><\/strong>, plus de 140\u00a0<a href=\"https:\/\/fr.wikipedia.org\/wiki\/Madrigal\" target=\"_blank\" rel=\"noreferrer noopener\"><strong><em>madrigaux<\/em><\/strong><\/a>\u00a0profanes et spirituels, ainsi que de nombreuses autres \u0153uvres religieuses. Palestrina a \u00e9crit en tout pr\u00e8s de 650 \u0153uvres.<\/p>\n\n\n\n<p>Il est c\u00e9l\u00e8bre pour la perfection de son contrepoint par lequel les lignes m\u00e9lodiques se compl\u00e8tent avec fluidit\u00e9. <br>Pour illustrer sa mani\u00e8re, voici plusieurs compilations :<\/p>\n\n\n\n<p><strong>Madrigaux<\/strong> (profanes) :<br>1. Ahi, che quest&rsquo;occhi miei ch&rsquo;erano lieti &#8211; 2. Vestiva i colli&nbsp;&#8211; 3. Quando dal terzo cielo &#8211; 4. Se ben non veggon gli occhi ci\u00f3 che vede &#8211; 5. Che non fia che giammai dal cor si sgombri<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/01\/Palestrina-5-Madrigaux.mp3\"><\/audio><\/figure>\n\n\n\n<p><strong>Musique vocale et d\u00e9riv\u00e9s instrumentaux sur \u00ab\u00a0Io son ferito, ahi lasso\u00a0\u00bb<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/01\/Io-son-ferito-ahi-lasso-3-versions.mp3\"><\/audio><\/figure>\n\n\n\n<p><strong>Motets<\/strong> (religieux)<br>1. Sicut Cervus &#8211; 2. Super flumina Babylonis &#8211; 3. Adoramus te, Christe &#8211; 4. Exultate Deo<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/01\/Palestrina-4-Motets.mp3\"><\/audio><\/figure>\n\n\n\n<p><strong>Messe<\/strong> (Benedictus extrait de la Messe pour le pape Marcelli) et <strong>Stabat Mater<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/01\/Palestrina-Benedictus-Stabat-Mater.mp3\"><\/audio><\/figure>\n\n\n\n<p class=\"has-text-align-center\"><em>Les d\u00e9tails concernant les \u0153uvres rassembl\u00e9es ci-dessus figurent dans la suite de cet article.<\/em><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading has-text-align-center\">Motets et Madrigaux<\/h2>\n\n\n\n<p>Chez Giovanni Pierluigi da Palestrina, compositeur cl\u00e9 de la Renaissance italienne, le <strong>motet<\/strong> et le <strong>madrigal<\/strong> sont deux formes vocales importantes. Elles se distinguent principalement par leur <strong>fonction<\/strong>, leur <strong>texte<\/strong> et leur <strong>style<\/strong>.<\/p>\n\n\n\n<p><strong>Le Motet<br><\/strong>\u2022 <strong>Texte<\/strong> : Le motet est une composition sur un texte sacr\u00e9, souvent en latin, tir\u00e9 de la Bible ou de textes liturgiques. Il est con\u00e7u pour une utilisation religieuse ou spirituelle.<br>\u2022 <strong>Usage<\/strong> : Les motets de Palestrina \u00e9taient g\u00e9n\u00e9ralement destin\u00e9s \u00e0 \u00eatre chant\u00e9s dans un cadre liturgique ou religieux, comme les offices ou la messe.<br>\u2022 <strong>Style<\/strong> : Ils mettent en avant un contrepoint polyphonique strict et une clart\u00e9 textuelle exemplaire, conform\u00e9ment aux recommandations du Concile de Trente. Palestrina excellait dans l\u2019\u00e9quilibre des voix et l\u2019expression spirituelle, donnant aux motets une ambiance de recueillement et d\u2019\u00e9l\u00e9vation.<\/p>\n\n\n\n<p><strong>Le Madrigal<br><\/strong>\u2022 <strong>Texte<\/strong> : Le madrigal est une \u0153uvre profane sur un texte po\u00e9tique, souvent en italien, mettant en valeur des th\u00e8mes comme l\u2019amour, la nature ou des sentiments humains. Ces textes \u00e9taient parfois tir\u00e9s des po\u00e8mes de Petrarque ou d\u2019autres po\u00e8tes de la Renaissance.<br>\u2022 <strong>Usage<\/strong> : Le madrigal \u00e9tait destin\u00e9 \u00e0 un usage non liturgique, souvent pour des performances dans les cercles aristocratiques ou les salons.<br>\u2022 <strong>Style<\/strong> : Dans ses madrigaux, Palestrina montre plus de libert\u00e9 expressive que dans ses motets. Ces pi\u00e8ces utilisent des techniques comme le chromatisme, les contrastes rythmiques et des passages homophoniques pour accentuer le texte et les \u00e9motions qu\u2019il v\u00e9hicule.<\/p>\n\n\n\n<figure class=\"wp-block-table\"><table class=\"has-fixed-layout\"><thead><tr><th><strong>R\u00e9sum\u00e9 des diff\u00e9rences<\/strong><\/th><th><strong>Motet<\/strong><\/th><th><strong>Madrigal<\/strong><\/th><\/tr><\/thead><tbody><tr><td><strong>Texte<\/strong><\/td><td>Sacr\u00e9, en latin<\/td><td>Profane, en italien<\/td><\/tr><tr><td><strong>Fonction<\/strong><\/td><td>Liturgique ou spirituelle<\/td><td>R\u00e9cr\u00e9ative ou artistique<\/td><\/tr><tr><td><strong>Style musical<\/strong> <\/td><td>Contrepoint polyphonique strict<\/td><td>Plus expressif, parfois chromatique<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n<p>Bien que Palestrina soit surtout c\u00e9l\u00e8bre pour ses \u0153uvres sacr\u00e9es, ses madrigaux montrent une autre facette de son g\u00e9nie, o\u00f9 il marie po\u00e9sie et musique avec une subtilit\u00e9 remarquable.<\/p>\n\n\n\n<h2 class=\"wp-block-heading has-text-align-center\">La <strong>diminution<\/strong><\/h2>\n\n\n\n<p>La <strong>diminution<\/strong> dans la musique de la Renaissance est une technique ornementale qui consiste \u00e0 diviser une note longue en plusieurs notes plus courtes, ajoutant ainsi de la complexit\u00e9 et de l\u2019expressivit\u00e9 \u00e0 une m\u00e9lodie. Cette pratique \u00e9tait courante dans les styles vocaux et instrumentaux et permettait d\u2019embellir une ligne musicale tout en respectant la structure harmonique et rythmique de la pi\u00e8ce.<br>Exemple : Si une note longue d\u2019une mesure est \u00e9crite comme une blanche, la diminution pourrait transformer cette blanche en plusieurs croches ou doubles croches jou\u00e9es dans le m\u00eame laps de temps.<br>R\u00f4le artistique : La diminution refl\u00e9tait l\u2019esth\u00e9tique de la Renaissance, qui valorisait l\u2019\u00e9quilibre entre complexit\u00e9 et structure. Elle permettait aux musiciens d\u2019exprimer leur virtuosit\u00e9 et de personnaliser leur interpr\u00e9tation tout en respectant le cadre stylistique et harmonique \u00e9tabli.<br>De nombreux madrigaux ont servi de base \u00e0 ce type de variation se concentrant sur la m\u00e9lodie principale, souvent au profit des instruments, permettant de mettre en valeur leurs possibilit\u00e9s de virtuosit\u00e9. Ce traitement musical a ainsi contribu\u00e9 au passage du style de la Renaissance au style Baroque.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading has-text-align-center\">Madrigaux<\/h2>\n\n\n\n<h4 class=\"wp-block-heading\">Ahi, che quest&rsquo;occhi miei ch&rsquo;erano lieti<\/h4>\n\n\n\n<p>Ce madrigal \u00e0 3 voix \u00e9gales est pr\u00e9sent\u00e9 dans deux interpr\u00e9tations diff\u00e9rentes : l&rsquo;une vocale, l&rsquo;autre instrumentale.<br>Par l&rsquo;ensemble <strong>Alla Francesca<\/strong> : Brigitte Lesne \u00b7 Vivabiancaluna Biffi \u00b7 Christel Boiron<br>Elles ont choisit de jouer avec la r\u00e9partition des voix pour renouveler l&rsquo;int\u00e9r\u00eat de chaque strophe.<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/01\/Ahi-che-questocchi-miei-cherano-lieti.mp3\"><\/audio><\/figure>\n\n\n\n<p>Version instrumentale, aux Lutes, avec \u00ab\u00a0diminutions\u00a0\u00bb (voir plus bas) par le Quartetto di Liuti da Milano : <br>Emilio Bezzi, Renato Cadel, Stefano Guarnaschelli, Elisa La Marca liuti rinascimentali<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/01\/Quartetto-di-Liuti-da-Milano-Ricercari-danze-madrigali-canzoni-del-Cinquecento-parte-4_1.mp3\"><\/audio><\/figure>\n\n\n\n<h4 class=\"wp-block-heading has-text-align-left\"><strong>Io son ferito, ahi lasso<\/strong><\/h4>\n\n\n\n<p>Madrigal \u00e0 5 voix dans trois interpr\u00e9tations diff\u00e9rentes, dont une nettement plus rapide, puis \u00e0 partir de la m\u00e9lodie principale et sa base harmonique, quelques \u00ab\u00a0diminutions\u00a0\u00bb, variations instrumentales au trombone accompagnant le chant, puis au cornet et enfin au violon, parmi de tr\u00e8s nombreux enregistrements et adaptations.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p style=\"font-size:16px\"><strong>Texte original en italien :<\/strong><\/p>\n\n\n\n<p style=\"font-size:16px\"><em><strong>Io son ferito, ahi lasso,<\/strong><br>perch\u2019io stesso ferii.<br>Chi mi dar\u00e0 vendetta<br>s\u2019io stesso son la causa del mio male?<br>Chi mi dar\u00e0 consiglio,<br>s\u2019io stesso al mio voler son s\u00ec contrario?<br>Ohim\u00e8, che veggio? Ohim\u00e8, che sento?<br>Io vivo in foco, e nel foco languisco,<br>ma pur io stesso l\u2019accendo e l\u2019alimento.<\/em><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p style=\"font-size:16px\"><strong>Traduction en fran\u00e7ais :<\/strong><\/p>\n\n\n\n<p style=\"font-size:16px\"><strong>Je suis bless\u00e9, h\u00e9las,<\/strong><br>parce que je me suis moi-m\u00eame bless\u00e9.<br>Qui me vengera,<br>puisque je suis moi-m\u00eame la cause de mon mal ?<br>Qui me donnera un conseil,<br>puisque je suis moi-m\u00eame si contraire \u00e0 ma volont\u00e9 ?<br>H\u00e9las, que vois-je ? H\u00e9las, que ressens-je ?<br>Je vis dans le feu, et dans ce feu je languis,<br>mais c\u2019est moi-m\u00eame qui l\u2019allume et l\u2019entretiens.<\/p>\n<\/div>\n<\/div>\n\n\n\n<p>Ce texte illustre les th\u00e8mes typiques du madrigal de la Renaissance : l\u2019amour et la douleur, exprim\u00e9s avec des paradoxes et une introspection m\u00e9lancolique. Palestrina sublime ces \u00e9motions par une polyphonie raffin\u00e9e et expressive.<br>Par l&rsquo;Ensemble d&rsquo;Allegrezza \/ Direction : Nanneke Schaap (2020)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/01\/Io-son-ferito.mp3\"><\/audio><\/figure>\n\n\n\n<p>Par le Pluto-Ensemble \/ Direction : Marnix De Cat (2022)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/01\/Io-son-ferito-ahi-lasso-1.mp3\"><\/audio><\/figure>\n\n\n\n<p>Par La Compagnia del Madrigale \u2117 Musique en Wallonie (2024)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/01\/Io-son-ferito-ahi-lasso-2.mp3\"><\/audio><\/figure>\n\n\n\n<p>Ci-dessous quelques exemples de <strong>diminutions<\/strong> \u00e0 partir de ce madrigal.<\/p>\n\n\n\n<p>L&rsquo;ensemble <em>Sackbut Frenzy<\/em> pr\u00e9sente une version avec une improvisation au trombone sur la ligne du Canto sur la base des divisions \u00e9crites de Giovanni Bassano 1(558-1617) <br>Guy James, contre-t\u00e9nor &#8211; Emily White, trombone &#8211; Peter McCarthy, violon &#8211; Robin Bigwood, virginal<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/01\/Io-Son-Ferito-Ahi-Lasso-by-Giovanni-Pierlugi-da-Palestrina_1.mp3\"><\/audio><\/figure>\n\n\n\n<p>Versions instrumentales<br>Par Bruce Dickey, Cornet et Stephen Stubbs &#8211; Erin Headley &#8211; Andrew Lawrence-King<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/01\/Io-son-ferito-ahi-lasso.mp3\"><\/audio><\/figure>\n\n\n\n<p>Par The Rare Fruits Council \u00b7 Manfredo Kraemer \u00b7 Giovanni Battista Bovicelli<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/01\/Diminutions-on-the-Palestrinas-madrigal-Io-son-ferito-ahi-lasso-Diminutions-on-the.mp3\"><\/audio><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\">Vestiva i colli&nbsp;<\/h4>\n\n\n\n<p><strong>\u201cVestiva i colli\u201d<\/strong> est un madrigal polyphonique \u00e0 5 voix. Il s\u2019agit d\u2019une pi\u00e8ce originale, typique de la Renaissance, exploitant un contrepoint complexe.<br>Par l&rsquo;ensemble OCTOCLAVES della Cappella Sistina : Cantus: Gianluca Alonzi, Altus: Ekaterina Vilpo, Tenor: Ermenegildo Corsini e Cesare Stoch, Bassus: Giuseppe Nicodemo; Palestrina, Vestiva i colli, madrigale; Walter Marzilli direttore<a href=\"https:\/\/www.youtube.com\/@casomai1000\"><\/a><\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/01\/Ensemble-OCTOCLAVES-della-Cappella-Sistina-Palestrina-Vestiva-i-colli-Walter-Marzilli-direttore.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading has-text-align-center\">Motets<\/h2>\n\n\n\n<h4 class=\"wp-block-heading\">Sicut Cervus<\/h4>\n\n\n\n<p>Psalm 42:1 Sicut cervus desiderat ad fontes aquarum, ita desiderat anima mea ad te, Deus. As the hart panteth after the water brooks, so panteth my soul after thee, O God<br>Par les S\u0153urs de St. Thomas Aquinas de Brooksville \/ Floride (USA)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/01\/Sicut-Cervus-by-Palestrina.-Sisters-of-St.-Thomas-Aquinas.mp3\"><\/audio><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\">Super flumina Babylonis<\/h4>\n\n\n\n<p>Par UNT A Cappella Choir Allen Hightower, conductor<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/01\/UNT-A-Cappella-Choir-Palestrina-Super-flumina-Babylonis.mp3\"><\/audio><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\">Tu es petrus<\/h4>\n\n\n\n<p> Par The Choir of Westminster Abbey \u00b7 Simon Preston (1986)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/01\/Palestrina-Tu-es-petrus-Motet.mp3\"><\/audio><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Adoramus te, Christe<\/strong><\/h4>\n\n\n\n<p>Par le ch\u0153ur de la Chapelle Sixtine (2011)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/01\/Giovanni-Pierluigi-da-Palestrina-Adoramus-te-Christe.mp3\"><\/audio><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>O Magnum Mysterium<\/strong><\/h4>\n\n\n\n<p>Par le Westminster Cathedral Choir \u00b7 Martin Baker (2003)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/01\/Palestrina-O-magnum-mysterium.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\">Stabat Mater (1590)<\/h4>\n\n\n\n<p>Pour double ch\u0153ur, \u00e0 8 voix.<br>Par l&rsquo;<strong>Ars Nova Copenhagen<\/strong> sous la direction de Paul Hillier (2014)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/01\/Stabat-Mater-I-Palestrina-I-Ars-Nova-Copenhagen_1.mp3\"><\/audio><\/figure>\n\n\n\n<p>Le m\u00eame Stabat Mater dirig\u00e9 en 1963 par Sir David Willcocks et  <strong>The Choir Of King&rsquo;s College<\/strong>, Cambridge, presque deux fois plus long ! Autres temps, autres tempi !!!<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/01\/G.P.-da-Palestrina-Stabat-Mater.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\">Missa Papae Marcelli (1562)<\/h4>\n\n\n\n<p><strong><em><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Messe_du_Pape_Marcel\" target=\"_blank\" rel=\"noreferrer noopener\">Missa Papae Marcelli<\/a><\/em><\/strong> &#8211; <strong>Benedictus<\/strong><\/p>\n\n\n\n<p>Ce Benedictus commence par un duo en contrepoint parfait entre Soprano et T\u00e9nor puis entr\u00e9es de la Basse et de l&rsquo;Alto en imitation : une puret\u00e9 de lignes incroyable&#8230; Le ch\u0153ur \u00e0 4 voix s&rsquo;\u00e9toffe \u00e0 6 voix en d\u00e9doublant les T\u00e9nors et les Basses au moment de Hosanna. Cette fluidit\u00e9 et ces chevauchements n&#8217;emp\u00eachent pas la compr\u00e9hension du texte, souvent mise \u00e0 mal dans la p\u00e9riode pr\u00e9c\u00e9dente.<\/p>\n\n\n\n<p>Par <strong><em><a href=\"https:\/\/fr.wikipedia.org\/wiki\/The_Tallis_Scholars\" target=\"_blank\" rel=\"noreferrer noopener\">The Tallis Scholars <\/a><\/em><\/strong><br>Soprano : Jane Armstrong, Alison Gough, Stephanie Sale, Judy Stell.<br>Contre-t\u00e9nor : Matthew Bright, Paul Bropy, Joe Cooke, David Cordier.<br>T\u00e9nor : Joseph Cornwell, Andrew King, Rufus M\u00fcller.<br>Basse : Colin Mason, Francis Steele, Julian Walker, Jeremy White.<br>Peter Phillips, Direction.<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/01\/Giovanni-Pierluigi-da-Palestrina-Missa-Papae-Marcelli-Benedictus.mp3\"><\/audio><\/figure>\n\n\n\n<p>MISSA PAPAE MARCELLI : int\u00e9grale par les m\u00eames interpr\u00e8tes.<br>[00,01\u2192] Kyrie [04,44\u2192] Gloria [11,00\u2192] Credo [20,54\u2192] Sanctus et Benedictus [28,33\u2192] Agnus Dei 1 et 2 <\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/01\/Palestrina-Missa-Papae-Marcelli.-The-Tallis-Scholars-Peter-Phillips.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n","protected":false},"excerpt":{"rendered":"<p>Giovanni Pierluigi da Palestrina (1525-1594) a principalement compos\u00e9 de la musique religieuse et vocale, plus de 650 \u0153uvres au total.<br \/>\nPetit panorama de ce ma\u00eetre du contrepont.<\/p>\n","protected":false},"author":1,"featured_media":4283,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[99,17],"tags":[],"class_list":["post-4282","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ecoutes-fr-fr","category-ecoutes-fr"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>\u00c9coute musicale n\u00b054 Giovanni Pierluigi da Palestrina - Pigyki<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pigyki.fr\/index.php\/2025\/01\/13\/ecoute-musicale-n54-giovanni-pierluigi-da-palestrina\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u00c9coute musicale n\u00b054 Giovanni Pierluigi da Palestrina - Pigyki\" \/>\n<meta property=\"og:description\" content=\"Giovanni Pierluigi da Palestrina (1525-1594) a principalement compos\u00e9 de la musique religieuse et vocale, plus de 650 \u0153uvres au total. 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