Paix

(pi’-éx), Jacob, Augsburg, 1550 —after 1590; organist and composer. Paladilhe (pal-d-dél), Emile, Montpellier, June 3, 1844—Paris, Jan. 8, 1926; studied with Marm on tel (pf.), Benoit (org.) and Halévy (cpt.), Paris Cons.; won ist prize for pf. and org., 1857; 1860, Grand prix Rome, cantata) “Le Czar Ivan IV.’ (Opéra, 1860); from Rome, he sent an Italian opera buffa, an overture and a symph.; 1872, prod. the 1-act comic opera “Le Pa ant”’ (Op.-Com.) followed by 5 operas incl. the still pop. ‘ Patrie”’ (Opéra, 1886; 1889, Hamburg, as Milan, 1895, “Vaterland”’; “Patria”’); and c. also 2 ma es, a symph., chamber music, piano piece., songs, etc. (pa-lés-tré’-n4) (rightly Sante, da Pal estrin a, from his birthplace), Pal estrin a, near Rome, probably Dec. 27, 1525 (though date has long been controversial)—Rome, Feb. 2, 1594. One of the most revered names in liturgical music and the foremost composer of the Roman Catholic Church; he was b. of poor parents, little is known of his early life; he is said to have earned his living first as a church-singer; probably studied in Goudimel’s sch., 1540, and was, 1544-51, organist at Pal estrin a, then magister puerorum (master of the boys), in the Cappella Giula, with title ‘maestro dell a capella dell a Basilica Vatican a.” He dedicated a book of ma es to Pope Julius III., who, Jan., 1554, admitted him to the Pontifical Chapel as a singer, against the rules, P. having a voice. July 30, 1555, Paul IV. dismi ed him with a pension of 6 scudi per month. blow affected him so deeply (he had 4 children to support) that he suffered nervous prostration. On Oct. 1, however, the Pope appointed him cond. at the Later an. 1560, he prod. his famous “‘Improper i a” (v. D. D.) for Holy Week, with such succ., that the Pope secured them for the Sistine Chapel, where they have been performed on every Good Friday since. 1561, he took the better-salaried post of cond. at Santa Maria Maggiore. The Pope was determined to rid church-mus. of its astonishing secular qualities: first, the use of street-ballads, even when indecent, as cant i fermi, many of the words; and second, the riotous counterpoint with which the sacred texts and the secular tunes were overrun. Council of Trent and a committee of 8 cardinals, considering the matter seriously, decided not to revolutionise church-music entirely, and in 1564 commi ioned Pal estrin a, by this time famous, to write a ma reform, uprooting, polyphony. He wrote three, all noble, the third, the “Mi a pape Mareelli,” winning the most profound praise. He was called “the saviour of music,’ and appointed composer to the Pontifical Chapel. 1571, he became and remained till death maestro of St. Peter’s. also composed for the ‘“Con greg azione del Oratorio” (v. NERI); taught in Nanini’s sch., and was from 1581 maestro concert a tore to Prince Buoncompagni. Pope Sixtus V. wished to appoint him maestro of the Sistine Chapel, but the singers refused to serve under a layman. He was, however, commi ioned to revise the Roman Gradual and Antiphonal, by Pope Gregory XIII.; he pub. the “Directorium chori’”’ (1582), the offices of Holy Week (1587), and the Pre fat i ones (1588), but on the death of his pupil and a ist. Giudetti, he was compelled to leave the work unfinished. A complete ed. of his works is pub. by Breitkopf and Hiartel: Vols. i—vii. contain 262 motets; Vol. viii., 45 hymns; Vol. ix., 68 offertories; Vols. x.-xxiv., 92 Ma es; Vol. xxv., 9 Lamentations each in various arrangements in 3, 4, 5, 6, or 8 parts; Vol. xxvi., 17 Litanies, Motets and Psalms in 3-12 parts; Vol. xxvii. 35 Magnificats; Vol. Xxviii., about 90 Italian (secular) Madrigals; Vol. xxix., 56 Church Madrigals (Latin); Vol. xxx. (from colls. of 16th-17th cent.), 12 Cant i ones sacre, 12 Cant. profane, and 14 Cant. sacre; Vol. xxx i. (from archives of the Pontifical, Chapel, etc.), 56 miscellaneous’ numbers, many doubtful, incl. 11, “Esercizi sopra la scala”; Vol. xxxii.,. 60 miscellaneous comp..incl. 8 Ricercari, Responses, Anti phones, etc.; Vol. xxxili., Documents, Index, Bibliography, etc. Among his best ma es are ‘‘ Aterna; Christ i: numera,” “Dies sanctificatus,” “O sacrum convivium,” in 8 parts; ‘‘A umpta est Marta in coelum,” “‘Dilexi quoniam,” “Ecce ego Joannes,” ‘Pape Mar cell i” in 6 parts; “Tu es Petrus” in 6 parts; these, the Motet “Exaudi Domine,” 3 Lamentations, also selected Madrigals, Canzonets, etc., are pub. separately. Biog. by Baini (Rome, 1828); A. Bartolini (Rome, 1870); Baumker (1877); Cametti (Milan, 1895). Also Brenet (1905); Raf. Casimiri (1918); (1922); Wagner, etc. (See article, page 500.) Palla vic in i (pal-li-vé-ché’-né), (1) (or Palla vic i no) Benedetto, —Mantua (?), after 1616; conductor and composer. (2) Carlo, Brescia, 1630—Dresden, 1688: conductor and dram. composer.