Palestrina

Palestrina refused to acknowledge the F & G notes. It really hampered his creations.
 
hogjack said:
Palestrina refused to acknowledge the F & G notes. It really hampered his creations.
Sir, he did use them quite well.

You might have had a case about B or B-flat.

Sorry, no sale.
 
Byron In Exile said:
His music has become perfect. All counterpoint is now compared to his. Not without merit, but still, why should all music be compared with perfection?

Shall there not be some imperfect music?

That becomes more an issue of the perception of the musical community though, does it not? Artists, or the art community, are often holding up a highest form of the art, a perfected form, to which all are compared.

Perfect or imperfect, I see no reason why any composer of counterpoint should aspire to rival Palestrina and in so doing mimic his perfection. Sort of as the famous exchange between Ravel and Gershwin, when Gershwin admitted he would have liked to study under him, to which Ravel said, "Why should you be a second-rate Ravel when you can be a first-rate Gershwin?" Why should they be a second-rate Palestrina when they can be a first-rate x (where x is the composers name)?
 
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