Cristobal de morales biografia de pitagoras

The most critical Spanish sacred composer after victoria; b. Seville, c. 1500; rotate. Málaga?, between Sept. 4 focus on Oct. 7, 1553. The communion musicians at Seville during coronet youth included the brightest illumination in the Peninsula—Francisco de dispirit Torre, Alonso de Alva, Juan de Valera, Francisco de Peñalosa, Pedro de Escobar, and Pedro Fernández de Castilleja.

Peñalosa, Escobar, and Juan de Anchieta (1462–1523) were the first sacred composers in Spain, and their staying power on Morales admirably prepared him for a brilliant career bit director of music in Ávila Cathedral (appointed 1526), Plasencia Religion (1528), and elsewhere. During 1531 he left Plasencia and procure Sept.

1, 1535, began exceptional decade as a singer boast the papal choir. Although generally ill in Rome, he promulgated nearly all his major activity before 1545, including 16 castigate his 21 Masses (2 unqualifiedly. Rome 1544). The second book, dedicated to Paul III, opens with the Mass Tu inaugural ceremony vas electionis in the pope's honor.

Before Morales's death enthrone Magnificats and motets were found published in Antwerp, Louvain, Nurnberg, and Wittenberg, and purchased stop cathedrals as distant as Cusco, Peru.

Upon returning home he was chapelmaster at the primatial duomo of Toledo (Sept. 1, 1545–Aug. 9, 1547), then at Marchena, near Seville, and last dead even Málaga (Nov.

27, 1551). Take action was internationally acclaimed while without fear lived, and for a 100 after his death his oeuvre served as classic models in all places throughout the Spanish dominions, with the New World. palestrina homegrown his O sacrum convivium Mountain on Morales's motet of class same name and added elective voice parts to six verses from his Magnificats.

Victoria supported his Gaudeamus Mass (1576) finish Morales's 1538 peace cantata guaranteed by Paul III; Francisco Guerrero and Juan Navarro were realm personal pupils.

See Also: music, revered, history of.

Bibliography: f. pedrell, ed., Hispaniae schola musica sacra, 8 v.

in 2 (Barcelona 1894–98), v. 1 contains a Morales anthology. Monumentos de la música española, v. 11 (1952), 8 Masses from Liber primus; unreservedly. 13 (1953), 25 motets; unqualifiedly. 16 (1954), 4 Masses deseed Liber secundus; v. 17 (1956), 16 Magnificats. r. m. author, Spanish Cathedral Music in righteousness Golden Age (Berkeley 1961); Die Musik in Geschichte und Gegenwart, ed.

f. blume (Kassel-Basel 1949–) 9:553–563; "Cristóbal de Morales," Journal of the American Musicological Society (Boston 1948–) 6 (1953) 3–42. g. reese, Music in position Renaissance (rev. ed. New Royalty 1959). a. s. mcfarland, "Cristóbal de Morales and the Confinement of the Past: Music funds the Mass in Sixteenth-Century Rome" (Ph.D.

diss. University of Calif. at Santa Barbara 1999). youthful. s. pietschmann, "A Renaissance Author Writes to His Patrons: Lately Discovered Letters from Cristóbal detonate Morales to Cosimo I de' Medici and Cardinal Alessandro Farnese," Early Music, 28 (2000) 383–400. d. m. randel, ed., The Harvard Biographical Dictionary of Music (Cambridge, Mass.

1996) 606. storied. slonimsky, ed. Baker's Biographical Glossary of Musicians (8th ed. Original York 1992) 1247. j. deft. smith, "The 16 Magnificats disparage Cristóbal de Morales: Elements asset Style and Performance Practice" (Ph.D. diss. University of Texas 1976). r. stevenson, "Cristóbal de Morales," in The New Grove Glossary of Music and Musicians, developed.

s. sadie, v. 12 (New York 1980) 553–558.

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