Gasparo Alberti was a author of liturgical music in the time that preceded Palestrina. His lifestyle is fairly well-recorded, but was apparently uneventful. By sometime in his past due teenagers or early twenties Alberti had been a cleric on the cathedral of St. Maria Maggiore in Bergamo, and he continued to be mounted on St. Maria for the others of his lifestyle. His following rise followed a typical course of achievement for the liturgical musician in the Renaissance. He was ordained in 1514 and was appointed being a chaplain the next calendar year. In 1517 he’s shown as a vocalist in the choir and 19 years afterwards, 1536, he obtained the rank of maestro di cappella. That same calendar year, Alberti was responsible for the musical reception for music theorist Pietro Aaron when he appeared to become listed on the monks from the St. Leonardo monastery in Bergamo. Alberti was instantly forced into pension in 1550. Evidently, he hadn’t were able to ferret apart enough cash to maintain himself heading, because he had taken hostage a number of the precious choirbooks he’d copied for the cathedral. With those, he were able to discuss a two-year reappointment in 1552. It wasn’t more than enough; in 1559 he struck a straight stranger cope with St. Maggiore, donating most of his worldly items to the cathedral in substitution for a pension. The picture of Alberti living out his last years within an unfurnished house can be a melancholy one, but as lot of money could have it, he passed away when 1560, therefore he didn’t suffer such materials poverty for very long. It isn’t known precisely when of these years Alberti created his substantial body of function, but anything that survives of his music is perfect for the chapel. He do what he could to align himself with modern advancements in music, and he’s one of the primary to compose for multiple choirs and continued to accomplish a well-developed polychoral design. His greatest music is within his 1549 publication of masses, that was the 1st published book completely of people by an individual Italian composer. These items, unlike his additional work — thought to be excessively derivative — confirm him among the most significant liturgical composers of his era.