In March 1571 Palestrina was appointed choirmaster at the Julian Chapel, where he stayed for the rest of his life.
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.
In 1544 Palestrina was summoned to his native town as organist and singing master of the local church.
During the following half dozen years he married, fathered the first of his three sons, and began composing.
Since the Pontiff had ignored both traditions, Palestrina's designation was viewed with little enthusiasm.
When Pope Julius died a few months later, Paul IV dismissed the composer but awarded him a small pension for his services.To both invitations the master set such a high price on his services that it might be assumed that he never seriously considered leaving the Eternal City.Intermittently from 1545 to 1565 the Council of Trent considered the reform of Church music, even contemplating the ban of all polyphony from the liturgy.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.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.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.Most important for his future career was the attention accorded his music by the new bishop of Palestrina, Cardinal del Monte.When he became Pope Julius III in 1550, one of his first acts of the following year was to appoint Palestrina choirmaster of the Julian Chapel of St. By 1554 Palestrina had published his first book of Masses and dedicated it to Pope Julius, who rewarded him with a coveted assignment to the Pontifical (Sistine) Choir at St. By custom all singers of this choir were unmarried, and they were admitted only after rigorous examination.