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Villancico
The ''villancico'' ( Spanish, ) or vilancete ( Portuguese, ) was a common poetic and musical form of the Iberian Peninsula and Latin America popular from the late 15th to 18th centuries. Important composers of villancicos were Juan del Encina, Pedro de Escobar, Francisco Guerrero, Manuel de Zumaya, Juana Inés de la Cruz, Gaspar Fernandes, and Juan Gutiérrez de Padilla.Pope, "Villancico." Derived from medieval dance forms, the 15th century Spanish villancico was a type of popular song sung in the vernacular and frequently associated with rustic themes. The poetic form of the Spanish villancico was that of an estribillo (or refrain) and coplas (stanzas), with or without an introduction. While the exact order and number of repetitions of the estribillo and coplas varied, the most typical form was a loose ABA framework, often in triple meter. The villancico developed as a secular polyphonic genre until religious villancicos gained popularity in the second half of the 16th ce ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gaspar Fernandes
Gaspar Fernandes (sometimes written ''Gaspar Fernández'', the Spanish version of his name) (1566–1629) was a Portugal, Portuguese-Mexico, Mexican composer and organist active in the cathedrals of Santiago de Guatemala (present-day Antigua Guatemala) and Puebla de los Ángeles, New Spain (present-day Mexico). Life Most scholars agree that the Gaspar Fernandes listed as a singer in the cathedral of Évora, Portugal, is the same person as the Gaspar Fernández who was hired on 16 July 1599 as organist and organ tuner of the cathedral of Santiago de Guatemala. In 1606, Fernandes was approached by the dignitaries of the cathedral of Puebla, inviting him to become the successor of his recently deceased friend Pedro Bermúdez as chapel master. He left Santiago de Guatemala on 12 July 1606, and began his tenure in Puebla on 15 September. He remained there until his death in 1629. Work One of his most important achievements for posterity was the compilation and binding in 1602 of various ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Manuel De Sumaya
Manuel de Zumaya or Manuel de Sumaya (c. 1678 – December 21, 1755) was perhaps the most famous Mexican composer of the colonial period in New Spain. His music represented the pinnacle of the Baroque in the New World. He holds the distinction of being the first person in the Western Hemisphere to compose an Italian-texted opera, entitled ''Partenope'' (now lost). Similar to Antonio Vivaldi, Zumaya was also a lifelong, active Roman Catholic priest. Life Manuel de Zumaya was born in Mexico City around 1678 and died in Antequerra, Valle de Oaxaca, on December 21, 1755. The exact date of his birth has not been conclusively determined. The only certainty is that he was baptized on January 14, 1680, as recorded in the baptismal records found in the Book of Baptisms for mestizos, blacks, and mulattos, as well as in the Book of Baptisms for Spaniards, both located in the Archive of the Metropolitan Sacristy in Mexico City. Manuel de Zumaya was a Mexican composer and organist. He likely ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tomás De Torrejón Y Velasco
Tomás de Torrejón y Velasco Sánchez (23 December 1644 – 23 April 1728) was a Spanish composer, musician and organist based in Peru, associated with the American Baroque. Life Torrejón y Velasco was born in Villarrobledo and spent his childhood in the town Fuencarral (now a district of Madrid), the birthplace of his father, Miguel de Torrejón, a huntsman in Philip IV of Spain's employ. In 1658, while still in Spain, he entered into the service of Pedro Fernández de Castro y Andrade, Count of Lemos, who later became the viceroy of Peru. In 1667, he traveled to Lima along with the new viceroy, as one of the viceroy's 113 personal attendants. From 21 November 1667 until 1672 he was superintendent of the armoury at Lima. In 1673 he was appointed magistrate and chief justice of Chachapoyas province, a position he held for four years. In 1676 he was appointed '' maestro de capilla'' at the Cathedral of Lima, replacing Juan de Araujo. He remained in that position until his de ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Juan Gutiérrez De Padilla
Juan Gutiérrez de Padilla (ca. 15901664) was a Renaissance-style Spanish composer and cantor, most of whose career took place in Mexico. Life and career Juan Gutiérrez de Padilla was born in Málaga, Spain. He received his musical education from Francisco Vásquez, who was the ''maestro de capilla'' of Málaga Cathedral. Padilla took up the position of ''maestro'' at the collegiate church in Jerez de la Frontera in 1612. While at Jerez, he unsuccessfully contended for the office of ''maestro'' at Málaga Cathedral in 1613, losing out to Estêvão de Brito. Padilla remained at Jerez until 1616, when he was appointed ''Maestro'' at Cádiz Cathedral. Padilla moved to Puebla, Mexico, between 1620 and 1622. At the time New Spain was a viceroyalty of Spain that included modern day Mexico, Guatemala, the Philippines and other parts of Central America and the Caribbean. Padilla is one of the more important composers represented in the manuscripts at Puebla, Mexico and the Hackenber ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Saudade
''Saudade'' (; plural ''saudades'') is a word in Portuguese and Galician denoting an emotional state of melancholic or profoundly nostalgic longing for a beloved yet absent someone or something. It derives from the Latin word for solitude. It is often associated with a repressed understanding that one might never encounter the object of longing ever again. It is a recollection of feelings, experiences, places, or events, often elusive, that cause a sense of separation from the exciting, pleasant, or joyous sensations they once caused. Duarte Nunes Leão defines ''saudade'' as, "Memory of something with a desire for it". In Brazil, the day of ''saudade'' is officially celebrated on 30 January. It is not a widely acknowledged day in Portugal. History ''Saudade'' ultimately derives from the Latin ''solitās, solitātis'', meaning "solitude". The word ''saudade'' was used in the Cancioneiro da Ajuda (13th century), in the Cancioneiro da Vaticana and by poets of the time of King ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pedro De Escobar
Pedro de Escobar (c. 1465 – after 1535), a.k.a. ''Pedro do Porto'', was a Portuguese composer of the Renaissance, mostly active in Spain. He was one of the earliest and most skilled composers of polyphony in the Iberian Peninsula, whose music has survived. Life He was born at Porto, Kingdom of Portugal, but nothing is known of his life until he entered the service of Isabella I of Castile in 1489. His surname is of Castilian origin, and maybe he was born to Castilian immigrants, or descendants, established in Porto. But Castilians regarded him as Portuguese. He was a singer in the Catholic Queen's chapel for ten years, and clearly was working as a composer as well; in addition he was the only member of her chapel described in court records as Portuguese. In 1499 he returned to his native Portugal, but in 1507 received an offer of employment, which he accepted, as the ''maestro de capilla'' (chapel master in the Castilian language) at the cathedral in Seville. While ther ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Juana Inés De La Cruz
Juana Inés de Asbaje y Ramírez de Santillana, better known as Sor Juana Inés de la Cruz (12 November 1651 – 17 April 1695), was a Hieronymite nun and a Mexican writer, philosopher, composer and poet of the Baroque period, nicknamed "The Tenth Muse", "The Mexican Phoenix", and "The Phoenix of America" by her contemporary critics. She was also a student of science and corresponded with the English scientist Isaac Newton. She was among the main contributors to the Spanish Golden Age, alongside Juan de Espinosa Medrano, Juan Ruiz de Alarcón and Garcilaso de la Vega "''el Inca"'', and is considered one of the most important female writers in Spanish language literature and Mexican literature. Sor Juana's significance to different communities and has varied greatly across time- having been presented as a candidate for Catholic sainthood; a symbol of Mexican nationalism; and a paragon of freedom of speech, women's rights, and sexual diversity, making her a figure of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Juan Del Encina
Juan del Encina (12 July 1468 – 1529/1530) was a Spanish composer, poet, priest, and playwright, often credited as the joint-father (even "founder" or "patriarch") of Spanish drama, alongside Gil Vicente. His birth name was Juan de Fermoselle. He spelled his name Enzina, but this is not a significant difference; it is two spellings of the same sound, in a time when "correct spelling" as we know it barely existed. Life He was born in 1468 near Salamanca, probably at Encina de San Silvestre, one of at least 7 known children of Juan de Fermoselle, a shoemaker, and his wife. He was of Jewish converso descent. After leaving Salamanca University sometime in 1492 he became a member of the household of Don Fadrique de Toledo, the second Duke of Alba, although some sources believe that he did not work for the Duke until 1495. A plausible argument is that his first post was as a ''corregidor'' in northern Spain. Fermoselle was a chaplain at Salamanca Cathedral in the early 1490s. I ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rafael Antonio Castellanos
Rafael Antonio Castellanos (c. 1725–1791) was a Guatemalan classical composer. His style is that of the late Spanish baroque, pre-classical, and classical periods, with frequent reference to Guatemalan folk music idioms. Life From an early age, Castellanos trained as an apprentice under his uncle Manuel José de Quirós, chapelmaster of the cathedral of Santiago de Guatemala. In 1740, the young Rafael signed a composition for voice and basso continuo, on the Latin text of the Second Lamentation of Jeremiah. This piece reflects his mastery of baroque writing and an unusual expressive talent. In 1745 he became a journeyman and was admitted as a member of the cathedral orchestra as first violin, sometimes also playing harp. During the 1750s he produced various of his own compositions for the matins services, along with those of his uncle. When Quirós died in 1765, Castellanos was appointed his successor as chapel master, with the duties of conducting cathedral music during matins ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cantiga
A ''cantiga'' (''cantica'', ''cantar'') is a medieval monophonic song, characteristic of the Galician-Portuguese lyric. Over 400 extant ''cantigas'' come from the ''Cantigas de Santa Maria'', narrative songs about miracles or hymns in praise of the Holy Virgin. There are near 1700 secular ''cantigas'' but music has only survived for a very few: six cantigas de amigo by Martín Codax and seven ''cantigas de amor'' by Denis of Portugal. Cantiga is also the name of a poetic and musical form of the Renaissance, often associated with the villancico and the canción. See also *Cantigas de Santa Maria * Galician-Portuguese lyric * Martin Codax *Pergaminho Sharrer *Pergaminho Vindel References * Rip Cohen. ''500 Cantigas d’Amigo,'' edição crítica/critical edition. Porto: Campo das Letras, 2003. * Giulia Lanciani and Giuseppe Tavani (edd.). ''Dicionário da Literatura Medieval Galega e Portuguesa''. Lisbon: Caminho, 1993. * Manuel Pedro Ferreira. ''O Som de Martin Codax. Sob ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Manuel José De Quirós
Manuel José de Quirós (died 1765) was an 18th-century Guatemalan composer. Life Born in Santiago de Guatemala, present day Antigua Guatemala, towards the end of the 17th century, Quirós had a religious education while pursuing his musical apprenticeship and reaching the level of a journeyman. Having taken Franciscan orders, he was put in charge of the Franciscan press, where he served until 1738, when he was appointed chapel master of the cathedral choir and orchestra. He served in this capacity for 27 years, until his death in 1765. As chapel master, he was in charge of the education of choir boys and apprentices, besides conducting the cathedral liturgical music. Among his pupils, the most outstanding was Rafael Antonio Castellanos. Quirós is the first musician in the New World to receive a critical review. On the occasion of the ceremonies that elevated the Bishopric of Guatemala to the rank of an Archbishopric, Quirós provided liturgical music during the nine days of ce ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
