CANTATE DOMINO GIUSEPPE PITONI PDF

Life[ edit ] Taken to Rome as an infant, he began vocal study with Pompeo Natali at the age of five and sang in the choir of San Giovanni dei Fiorentini from age eight. At Santi Apostoli he sang and studied counterpoint with Francesco Foggia , where his early compositions were performed. By age sixteen he was maestro di cappella at Santa Maria Maggiore, Monterotondo , a historic church near Rome. In as maestro for the cathedral at Assisi he began intensive study of the works of Palestrina , and in moved to the cathedral at Rieti. In he returned to Rome for a lifelong appointment as maestro di cappella at the Basilica of San Marco.

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Life Edit Taken to Rome as an infant, he began vocal study with Pompeo Natali at the age of five and sang in the choir of San Giovanni dei Fiorentini from age eight. At Santi Apostoli he sang and studied counterpoint with Francesco Foggia , where his early compositions were performed. By age sixteen he was maestro di cappella at Santa Maria Maggiore, Monterotondo , a historic church near Rome.

In as maestro for the cathedral at Assisi he began intensive study of the works of Palestrina , and in moved to the cathedral at Rieti. In he returned to Rome for a lifelong appointment as maestro di cappella at the Basilica of San Marco. In addition he held a series of prestigious positions as maestro for Basilica dei Santi Apostoli , Rome from , at St.

John Lateran from , where Palestrina had served from to , and for the Cappella Giulia at St. Works Edit His contributions to liturgical music in Rome were profound as composer, organist, maestro di capella, writer on music theory and history, and as esaminatori dei maestri for the Academy of St. He was extremely prolific, with some masses, Psalm settings and motets among the compositions listed by his pupil and biographer, Girolamo Chiti. He prepared a complete year of music for St.

In later years he moved toward more homophonic textures with polychoral elements. His use of stile concertato also included solo sections and concertante instrumental parts.

It is said that his immense facility allowed him to compose the parts of a voice mass separately, without use of a score. To modern ears and eyes these compositions may seem dull and even repetitious. At the end of his life he was preparing a mass for twelve choirs, left incomplete at his death.

He was buried in the Pitoni family vault in the Basilica of San Marco , where he had served for some 66 years. His best known work is the Dixit Dominus a 16 in 4 choirs. Luisi Bologna, Notitia de contrapuntisti e de compositori di musica c ; ed. Cantate Domino.

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