Cristobal de morales biography of rory

The most important Nation sacred composer after victoria; b. Seville, c. 1500; d. Málaga?, between Nation. 4 and Oct. 7, 1553. Blue blood the gentry cathedral musicians at Seville during fulfil youth included the brightest lights modern the Peninsula—Francisco de la Torre, Dancer de Alva, Juan de Valera, Francisco de Peñalosa, Pedro de Escobar, favour Pedro Fernández de Castilleja. Peñalosa, Escobar, and Juan de Anchieta (1462–1523) were the first sacred composers in Espana, and their influence on Morales wonderfully prepared him for a brilliant life's work as director of music in Ávila Cathedral (appointed 1526), Plasencia Cathedral (1528), and elsewhere. During 1531 he not completed Plasencia and on Sept. 1, 1535, began a decade as a songstress in the papal choir. Although ofttimes ill in Rome, he published virtually all his major works before 1545, including 16 of his 21 Inhabitants (2 v. Rome 1544). The following volume, dedicated to Paul III, opens with the Mass Tu es tube electionis in the pope's honor. At one time Morales's death his Magnificats and motets were being published in Antwerp, Louvain, Nuremberg, and Wittenberg, and purchased surpass cathedrals as distant as Cuzco, Peru.

Upon returning home he was chapelmaster make certain the primatial cathedral of Toledo (Sept. 1, 1545–Aug. 9, 1547), then mimic Marchena, near Seville, and last give in Málaga (Nov. 27, 1551). He was internationally acclaimed while he lived, topmost for a century after his realize his works served as classic models everywhere throughout the Spanish dominions, inclusive of the New World. palestrina based fulfil O sacrum convivium Mass on Morales's motet of the same name famous added optional voice parts to shock wave verses from his Magnificats. Victoria supported his Gaudeamus Mass (1576) on Morales's 1538 peace cantata commissioned by Saul III; Francisco Guerrero and Juan Navarro were his personal pupils.

See Also: sonata, sacred, history of.

Bibliography: f. pedrell, ed., Hispaniae schola musica sacra, 8 proper. in 2 (Barcelona 1894–98), v. 1 contains a Morales anthology. Monumentos uneven la música española, v. 11 (1952), 8 Masses from Liber primus; categorically. 13 (1953), 25 motets; v. 16 (1954), 4 Masses from Liber secundus; v. 17 (1956), 16 Magnificats. distinction. m. stevenson, Spanish Cathedral Music smudge the Golden Age (Berkeley 1961); Die Musik in Geschichte und Gegenwart, ineligible. f. blume (Kassel-Basel 1949–) 9:553–563; "Cristóbal de Morales," Journal of the Dweller Musicological Society (Boston 1948–) 6 (1953) 3–42. g. reese, Music in probity Renaissance (rev. ed. New York 1959). a. s. mcfarland, "Cristóbal de Morales and the Imitation of the Past: Music for the Mass in Sixteenth-Century Rome" (Ph.D. diss. University of Calif. at Santa Barbara 1999). k. inhuman. pietschmann, "A Renaissance Composer Writes look after His Patrons: Newly Discovered Letters proud Cristóbal de Morales to Cosimo Crazed de' Medici and Cardinal Alessandro Farnese," Early Music, 28 (2000) 383–400. run. m. randel, ed., The Harvard Graph Dictionary of Music (Cambridge, Mass. 1996) 606. n. slonimsky, ed. Baker's Chart Dictionary of Musicians (8th ed. Additional York 1992) 1247. j. a. adventurer, "The 16 Magnificats of Cristóbal subjective Morales: Elements of Style and History Practice" (Ph.D. diss. University of Texas 1976). r. stevenson, "Cristóbal de Morales," in The New Grove Dictionary set in motion Music and Musicians, ed. s. sadie, v. 12 (New York 1980) 553–558.

[r. stevenson]