19.—A CRITICAL COMPOSITION.
Musical progress depended largely at one time on the effect produced by one composition. It came about in this way: In the middle of the sixteenth century the music used in the Mass of the Catholic church had become so light and trivial that Pope Marcellus concluded he would discontinue the use of music in the service. But the great composer of that day, Palestrina (who, by the way, was generally known by the name of his native place), believing that could the Pope and cardinals hear a mass written in what he believed to be the true ecclesiastical style they would reverse their decision, begged them not to put the order into execution until they had given his music a hearing. The request was granted, and on Easter, 1555, this mass, called "Missa Papæ Marcelli," i. e., Mass of Pope Marcellus, was performed before the highest dignitaries of the church.
It was an entire change from the trivial church music of the time; so refined, elevating and appropriate was it to the sacred office for which it was intended, that the Pope and cardinals were delighted, and had no further thought of banishing music from the service. Another result was that Palestrina was appointed chapelmaster to the Pope, and exercised a most beneficial influence in church and other styles of composition for many years. He is now regarded as a landmark in musical history, and when we remember that the Catholic church was in those times the main conservator of musical art, we realize that even at this day we owe him a debt of gratitude.