In 1568 Emperor Maximilian had invited him to the imperial court at Vienna.
And in 1583 the Duke of Mantua, an amateur musician of talent and frequent correspondent of the composer, invited Palestrina to his court.
Palestrina's influence with the Roman hierarchy is also witnessed by a papal order of 1577.
He and a colleague, Annibale Zoilo, were directed to revise the by purging the old tunes of barbarisms and the excrescences of centuries.
Of these three the madrigals played a small role, for his orientation was overwhelmingly on the side of sacred music.
His 250 motets include settings of psalms and canticles, as well as exclusively liturgical items such as 45 hymns, 68 offertories, 13 lamentations, 12 litanies, and 35 Magnificats.Palestrina's reputation makes it likely, however, that he was consulted on decisions about music.We do know that his works were performed before, and approved by, Cardinal Borromeo, who was charged with securing a liturgical music free of secular tunes and unintelligible texts.Most of these compositions reveal the so-called Palestinian style, in which stepwise melodic movement dominates expansive leaps, and diatonic tones in both horizontal and vertical combinations are preferred to their chromatic counterparts.Important as are the motets, they are decidedly secondary to the 105 Masses for which Palestrina was justly admired.Born Giovanni Pierluigi, the composer is known as Giovanni Pierluigi da Palestrina from the name of his birthplace, a hill town near Rome.It is assumed without historical evidence that Giovanni was a choir singer at the church of St. When the bishop of Palestrina, Cardinal della Valle, was transferred to the basilica of S.What seems to have been initially a suitable arrangement did not, however, work out to his satisfaction, for he left the seminary very soon thereafter.For the next 4 years he was music director for Cardinal Ippolito d'Este II, an outstanding patron of the arts.Palestrina never did complete this laborious task, and the Medicean Gradual of the early 17th century, sometimes thought to be his work, is actually the labor of others.Palestrina's voluminous works encompass the most important categories cultivated in the late Renaissance: Masses, motets, and madrigals.