Renowned composers whose works have appeared in other collected editions, such as Josquin des Prez, Giovanni Pierluigi da Palestrina, and Orlande de Lassus, are generally excluded from the set.
Stove, R. J., Prince of Music: Palestrina and His World, Quakers Hill Press, Sydney, 1990.
Various separate musical settings have been written for this, including one by Giovanni Pierluigi da Palestrina, one by Franz Schubert, one by Maurice Duruflé, and one by Charles-Marie Widor.
Don Giovanni | Palestrina | Giovanni Pierluigi da Palestrina | Giovanni Bellini | Giovanni Riggi | Giovanni Boccaccio | Giovanni Battista Pergolesi | Giovanni Battista Tiepolo | Giovanni Battista Guarini | Giovanni | Giovanni Trapattoni | Giovanni "John the Eagle" Riggi | Giovanni Gabrieli | Giovanni Falcone | Villa San Giovanni | San Giovanni in Persiceto | Giovanni Verga | Giovanni van Bronckhorst | Giovanni Tamagno | Giovanni Pacini | Giovanni Battista Pescetti | Giovanni Papini | Giovanni Hidalgo | Giovanni Domenico Cassini | Giovanni de' Medici | Giovanni Bottesini | Giovanni Battista Riccioli | Palestrina (opera) | Giovanni Zenatello | Giovanni Visconti |
Among the Cappella Giulia's choir masters were esteemed names such as Giovanni Pierluigi da Palestrina (1551–1554 and 1571–1594), Giovanni Animuccia, Francesco Soriano, Stefano Fabri, Orazio Benevoli, Domenico Scarlatti, Niccolò Jommelli, Pietro Raimondi, Salvatore Meluzzi, and Niccolò Antonio Zingarelli.
In many serious church musicians, there was a deep-seated desire to revive Chant as well as the Renaissance polyphony of Palestrina, Lassus, Victoria, Anerio, et al., and to rid Masses of the more entertaining, operatic style of music.
In addition to recording the complete madrigals of Monteverdi (up to the 7th book), Delitiae Musicae completed the recording of the six books of madrigals of Gesualdo in 2013, and has made other recordings of works by Palestrina and Banchieri.
In 1577 Infantas came into conflict with Pope Gregory XIII and the composers Palestrina and Annibale Zoilo over the reversal of reforms in Gregorian chant, at one point causing his sponsor Philip II of Spain to instruct the Spanish ambassador in Spain to intercede with the Pope.
For example, da Vinci, Michelangelo, Descartes, Benjamin Franklin, Goethe, and others with IQs in the mid 160s or above were superior in their versatility to those attaining lower scores, such as George Washington, Palestrina, or Philip Sheridan.
He is most famous as the author of Gradus ad Parnassum, a treatise on counterpoint, which has become the single most influential book on the Palestrinian style of Renaissance polyphony.
On 20 December 1887, he participated in the first English performance of Palestrina's Stabat Mater, at the Princes' Hall, under Sir Hubert Parry.
These discs, mostly for the Supraphon label, included a great many world premiere recordings of composers such as Dufay, Ockeghem, Obrecht, and Jacobus Gallus, as well as of more frequently performed masters such as Palestrina, Lassus, Monteverdi, Dowland, Tallis, and Orlando Gibbons.
While firmly based on Gregorian chant, the choir sings a wide repertoire range from Giovanni Pierluigi da Palestrina, Tomás Luis de Victoria, Thomas Tallis and William Byrd to George Frideric Handel, Herbert Howells, Samuel Sebastian Wesley, Gabriel Fauré, Maurice Duruflé, Ildebrando Pizzetti, James MacMillan and many other composers including occasional commissioned contemporary works.
There is a certain bias in the choir's repertoire towards music of the Renaissance and Baroque periods (Dufay, Ockeghem, Josquin des Prez, Firmin Lebel, Palestrina, Eccard, Byrd, Monteverdi, Gesualdo, Bach, ...).
In April 1994, they sang Allegri's Miserere mei, Deus in the newly restored Sistine Chapel in Vatican, and performed in February 1994 in the Basilica di Santa Maria Maggiore in Rome to commemorate Palestrina's 400th anniversary.
It has been set to music by a number of composers, especially during the Renaissance, including Dufay, Josquin, Willaert, Palestrina, John Dunstaple, Lassus, Victoria, and Byrd.