ABSTRACT
Both Franz Xavier Haberl and Karl Weinmann, for instance, pay virtually no attention to the rest of the Vatican repertory, except for such pieces as Palestrina's Missa Benedicta es, which is inextricably bound up with the problems of the Pope Marcellus Mass. The concept of reform manifested itself differently in each papacy, and each of these conceptions affected the Chapel and its repertory in different ways. From about 1535 to 1580 the preservation of the Papal Chapel's repertory lay in the hands of one man, Johannes Parvus, who virtually alone prepared the polyphonic choirbooks for the chapel's use. The repertory copied under Julius III reflects the same tendencies: Arcadelt pre-eminent among Vatican composers, with Josquin and Jacquet prominently represented. The reform of the liturgy in Rome, however, began shortly before 1580 and thus preceded the changes in the repertory. The changes in the repertory of the Papal Chapel and the developments of the Counter-Reformation thus provide a continuous parallel.
