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Maestro Francisco Correa De Arauxo's MAESTRO FRANCISCO CORREA DE ARAUXO’S (1584–1654) ARAUXO’S FRANCISCOCORREADE MAESTRO MAESTRO FRANCISCO CORREA DE ARAUXO’S (1584–1654) FACULTAD ORGÁNICA (1626) AS A SOURCE OF PERFORMANCE PRACTICE by Iina-Karita Hakalahti FACULTAD ORGÁNICA FACULTAD (1626) AS A SOURCEOFPERFORMANCEPRACTICE AS (1626) Front Cover: Photograph of the main door of "Colegio Mayor de Arzobispo Fonseca" (the City of Salamanca, Spain) by Iina-Karita Hakalahti (1996). Back Cover: Watermark appearing in the Madrid exemplar R.9279 of the Facultad orgánica. Drawing made by Iina-Karita Hakalahti. byIina-KaritaHakalahti ISBN 978-952-5531-41-1 ISSN 0788-3757 Helsinki University Print Helsinki 2008 Studia Musica 33 MAESTRO FRANCISCO CORREA DE ARAUXO’S (1584–1654) FACULTAD ORGÁNICA (1626) AS A SOURCE OF PERFORMANCE PRACTICE I II MAESTRO FRANCISCO CORREA DE ARAUXO’S (1584–1654) FACULTAD ORGÁNICA (1626) AS A SOURCE OF PERFORMANCE PRACTICE by Iina-Karita Hakalahti A Dissertation Presented to the DocMus Department of the Sibelius Academy in partial fulfi llment of the requirements for the degree of Doctor of Music June 2008 III Copyright © Iina-Karita Hakalahti Graphic design: Heikki Jantunen ISBN 978-952-5531-43-5 (pdf) ISSN 0788-3757 Helsinki University Print Helsinki 2008 IV Sibelius Academy DocMus Department 2008 Iina-Karita Hakalahti: MAESTRO FRANCISCO CORREA DE ARAUXO’S (1584–1654) FACULTAD ORGÁNICA (1626) AS A SOURCE OF PERFORMANCE PRACTICE A dissertation for the degree of Doctor of Music ABSTRACT I regard Francisco Correa de Arauxo as the most important composer of organ music of seventeenth-century Spain. Besides having been a renowned organist at the Sevillian Church of San Salvador, the Jaén Cathedral, and the Cathedral of Segovia, Correa was a teacher and a signifi cant writer on issues of music theory and performance conventions. His Facultad orgánica of 1626 involves sixty-nine compositions plus pedagogical and theoretical writings in the form of an extensive foreword and preambles written to compositions. Despite the undisputed importance of Correa’s book, it has been studied surprisingly little – and even less from the angle of performance practice. My research belongs to the fi eld of study on performance practice of early Spanish keyboard/organ music, its main focus being on Correa’s advice on different elements of performance considerations. Additionally, upon studying Correa’s book, one encounters some issues connected with performance that the author of the Facultad does not comment on himself (e.g., the 3+3+2 rhythm and rules of musica fi cta). I examine the following elements of performance in the present study: 1) glosas (diminutions) and adornos (ornaments); 2) fi ngerings; 3) tempo, time signatures and proportions; 4) special rhythmic features (ayrezillo, most importantly); 5) registration; and 6) musica fi cta. Besides the main purpose of research – of gathering and analyzing the performance considerations involved in the Facultad – I present updated facts about Correa’s life and professional career, situate the Facultad and its author in their historical context, introduce Correa’s central theoretical concepts and discussions (including the cifra tablature), and give a brief account of local Spanish organ types and of the general lines of development of the historical Spanish organs. In addition to the above-mentioned research objectives, I aim at demonstrating that Correa, with his Facultad, was an important renovator of style and a great advocate of a particular compositional type, the tiento de medio registro, for divided registers. My research results include a list of the currently known exemplars of the Facultad orgánica and their location. The theoretical framework of my study is the philosophical hermeneutics of Hans- Georg Gadamer, whose Wahrheit und Methode [Truth and Method] (1960) is a fundamental V work of philosophical hermeneutics of the twentieth century. In regard to Correa’s compositions, I have used an analytical approach supplemented by an ”experimental” approach – stemming from my experience as an organist and as a performer. I have applied a historical approach to considering Correa’s theoretical and pedagogical texts, the emphasis being on the history of musical styles, of music theory, and of the history of keyboard instruments. (In situating Correa and his book in their historical context, I have taken advantage of an occasional micro-historical touch.) Upon completing my research on Correa’s Facultad orgánica, I have become convinced of its signifi cance as a work which refl ects performance practice of Spanish organ music of the early seventeenth century at various levels and which involves – in relatively great abundance – maestro Correa’s pieces of advice, which are useful and of interest to today’s performers of his tientos or of pieces by other Spanish/Iberian composers of his time. KEYWORDS: Correa/Correa de Arauxo/Libro de tientos y discursos/Facultad orgánica/ performance practice/Spanish keyboard music/organ VI PREFACE The interest and affection towards early music which have been present since my childhood and which gave direction to my music studies from the very beginning have provided the background for this study. However, I did not have any contact with early Spanish keyboard music until the early 1980’s nor had I any plans initially to carry out further studies upon completing the degree of Master of Music. Both of these matters were to change, however, as the result of a particular concert experience. One evening in the summer of 1982, I went to the Cathedral of Helsinki to listen to an organ recital by Professor Montserrat Torrent from Barcelona. At this concert, I heard a piece by Francisco Correa de Arauxo for the fi rst time, in addition to some other compositions from the early Iberian repertoire. I was deeply impressed and touched by this music, and from that moment I began to seek the means to gradually become acquainted with the early Spanish keyboard music and the instruments that go with it. My fi rst chance to hear and play some of the historical Spanish organs was offered in 1985, when I participated in an international course on the interpretation of Spanish organ music at the illustrious University of Salamanca. After having heard the sound of the instruments (although, regrettably, not entirely in their original state), I knew that studying and performing early Spanish organ music would belong permanently to my activities as a performer. Since then, I have returned to Spain from time to time, I have worked on the Spanish keyboard music repertoire, and I have strived to delve deeper into the world of this refi ned music. Now, about twenty-fi ve years after I discovered the early Spanish keyboard music, I am still following the same path, with the same mission. Aside from the masterful pieces by Antonio de Cabezón, Correa’s music – found in his Facultad orgánica from 1626 – has made the greatest impression on me of all the 16th- and 17th-century Spanish keyboard music with which I am acquainted. My efforts to try to fi nd interpretational solutions for various challenging questions posed by Correa’s tientos gave birth to the idea of launching a research project on Correa, especially on his remarks concerning playing. I was soon to fi nd out that, despite its signifi cance, Correa’s book had been studied surprisingly little. I sincerely hope that my study will promote a growing interest towards maestro Correa’s music and towards his writings – on matters of performance considerations, in particular. The purpose of my research report is not to serve as a guidebook or manual on how to perform Correa’s pieces. Rather, I have aimed at introducing to the reader the main contents of the Facultad orgánica, letting ”Correa’s voice” be heard and – hopefully VII – providing some tools for individual musicians in their encountering interpretational challenges that inescapably confront every performer of Correa’s works. In the course of my research, I have had the opportunity to immerse myself in the Spanish culture of the past and the present. During this process, I have come to love and respect the culture of the land of contrasts through my explorations of its history and splendid cultural achievements, being conscious that my lifelong journey in the Spain of El Siglo de Oro and of today is only at its modest beginning. Iina-Karita Hakalahti ACKNOWLEDGEMENTS I express my appreciation and gratitude to the eminent musicologists Professor Louis Jambou, José Enrique Ayarra Jarne (organist of the Seville Cathedral) and Dr. Dionisio Preciado for their assistance in questions concerning some sources of my study, to the personnel of the Sala Cervantes at the Biblioteca Nacional of Madrid – to Jesús Muñoz Alia and Malaquias Velasco del Pozo, in particular, to Marjaana Kuokkanen-Kekki, M.A., for providing expert advice on some tricky places in my translations of Spanish citations from the primary sources of the 16th and 17th centuries, and to Virginia Nikkilä, B.A., for her encouragement, assistance and unselfi sh contribution at different phases of preparing the manuscript, in the editing of my English language. In addition, I express my sincere gratitude to my family, my friends, and colleagues who have given me indispensable support during the times of trial in my personal life, as a consequence of unexpected occurrences that happened to coincide with the period of the research process. In this context, I owe special thanks to Professor Kari Kurkela of the DocMus Department of the Sibelius Academy, who among his colleagues and students is known for his disposition to create a favorable and inspiring working and learning atmosphere and for his readily giving a hand to other people. The preparation of the present study has been supported by the VEST Graduate School, the Sibelius Academy (the DocMus Department included), the City of Espoo, the Oskar Öfl und Foundation, the Science Foundation for Women (Naisten Tiedesäätiö), the Jenny and Antti Wihuri Foundation, the E.J.Sariola Foundation, the Finnish Concordia Fund, the Alfred Kordelin Foundation, the Emil Aaltonen Foundation, the Niilo Helander Foundation, and the Finnish Cultural Foundation.
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