Guglielmo was particularly interested in sacred vocal music, and is known particularly to music historians for his extensive correspondence with the composer Giovanni Pierluigi da Palestrina. He built a large new church in Mantua, dedicated to Santa Barbara. He engaged in an unprecedented negotiation with the Papacy to create his own rite for Mantua, and devoted considerable resources to developing a musical repertoire for the church, commissioning works by Giaches de Wert and Palestrina. Part of his correspondence with Palestrina discusses the work commissioned in detail, stipulating Guglielmo's requirements, and therefore giving a sense of his musical preferences. Guglielmo's musical tastes were conservative for the day. He enjoyed imitative contrapuntal music but was concerned to maintain clarity of text, thereby showing the influence of Tridentine reforms. Upon his death, his son Vincent invited followers of the more modern trends to his court.
Three months before his death, Gonzaga wounded the organist of the ducal basilica, Ruggier Trofeo, in an encounter over a woman; the latter survived his injuries.[2]
Parrott, David (1997). "The Mantuan Succession, 1627–31: A Sovereignty Dispute in Early Modern Europe". The English Historical Review. CXII, Issue 445, February (445). Oxford Academic: 20–65. doi:10.1093/ehr/CXII.445.20.
Further reading
Iain Fenlon, Music and Patronage in Sixteenth-Century Mantua, Cambridge University Press, 1980. ISBN0-521-22905-7.
