Spanish Polyphonists in the Age of the Armada 93
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Download References File
TECNOLOGÍA NAVARRA DE NANOPRODUCTOS S.L. (TECNAN) THINK BIG, ACT NANO! REFERENCES RESTORATION AND CONSERVATION OF HERITAGE BUILDINGS TECNADIS PRODUCTS - REMARKABLE WORKS Metropolitan Cathedral Seville Cathedral Oviedo Cathedral (Panama City) (Sevilla - Spain) (Asturias - Spain) Mosque-Cathedral of Cordoba La Almudena Cathedral Tui Cathedral Santander Cathedral (Córdoba - Spain) (Madrid - Spain) (Pontevedra - Spain) (Cantabria - Spain) Tarazona Cathedral Burgo de Osma Cathedral Pamplona Cathedral Segovia Cathedral (Zaragoza - Spain) (Soria - Spain) (Navarra - Spain) (Segovia - Spain) TECNADIS PRODUCTS - REMARKABLE WORKS Cologne Cathedral Pisa Cathedral Saint Bavon Cathedral Saint Esteban Cathedral (Italy) (Germany) (Ghent - Belgium) (Wien - Austria) (Bélgica) São João National Theatre Santo Domingo de la Calzada Cathedral Casa Milá – La Pedrera Viana Do Castelo Cathedral (Porto-Portugal) (La Rioja - Spain) (Barcelona - Spain) (Portugal) Buen Pastor Cathedral The Real Alcazar Casa Batlló Valencia Cathedral Museum (San Sebastián - Spain) (Sevilla - Spain) (Barcelona - Spain) (Valencia - Spain) TECNADIS PRODUCTS - REMARKABLE WORKS Bank of Spain Headquarters Santander Bank Headquarters National Library Parador of Leon (Madrid-Spain) (Santander - Spain) (Madrid - Spain) (León - Spain) ) Bank of Spain Building Spain Square Canalejas Complex Prado Museum (Málaga - Spain) (Sevilla - Spain) (Madrid - Spain) (Madrid - Spain) Royal Pavilion - Mª Luisa Park The old Seville Artillery Factory Astorga Episcopal Palace Catalunya Caixa Bank Headquarters -
Late German Gothic Methods of Vault Design and Their Relationships with Spanish Ribbed Vaults
Late German Gothic Methods of Vault Design and Their Relationships with Spanish Ribbed Vaults Rafael Martín Talaverano, Carmen Pérez de los Ríos, Rosa Senent Domínguez Polytechnic University of Madrid, Spain Despite the differences among the Late Gothic The vault of the Antigua Chapel has two vaults in different European countries in the striking characteristics: the first is the design of 15th century, masons travelled throughout the the vault plan, which is divided in four rectangles, continent, maintaining an ongoing exchange each reproducing a tierceron ribbed vault with among the different lodges. The Spanish case five keystones;2 the second is the aforementioned is particularly significant, as a great number of ribs that intersect in the tas-de-charge. These two masons from Europe arrived to Spain during the charac teristics can also be found in one of the 1440s and 1450s; for instance, Pedro Guas from vaults illustrated in the Codex Miniatus 3. Brittany and the Coeman family from Brussels Research work on Late Gothic vault construc- settled in Toledo, while Juan de Colonia travelled tion is usually restricted to a single country or from Cologne to Burgos. These masters brought region, and no comparative studies have been with them the advanced knowledge and the tech- carried out in order to prove a potential transfer nological improvements used in Their countries, of knowledge. This present paper, which com- which would appear in the vaults created in Spain pares a German-appearing Spanish vault with the from that moment on. This hypothesis is sup- theoretical German vault construction system, is ported by the fact that some Late Gothic vault intended as a starting point for further research models found in central Europe were also used on this field. -
La Deformación Del Tipo. Construcción De Bóvedas No-Canónicas En
7. Bóvedas de crucería no canónicas (1681). Este texto ha sido analizado en la primera parte de la tesis (cfr. capítulo 4, apartado 4.3). Aunque no coinciden con la solución final adoptada, en las trazas aparecen dibujados tres propuestas de diseño de nervios para las bóvedas de la girola que adaptan la crucería a la planta trapecial. Este ajuste en planta implica necesariamente, una adaptación de la volumetría de la bóveda, donde entran en juego mecanismos de diseño distintos de los habituales. Vamos a analizar el diseño de la girola de la Catedral de Segovia y la construcción geométrica de la forma de las bóvedas trapezoidales que la cubren, tomando como punto de partida la documentación antes mencionada.62 El análisis se inició con un levantamiento de dos de las siete bóvedas, realizado por medio de una estación total. A partir de los datos obtenidos de dicho levantamiento, se analiza la forma de las bóvedas y los mecanismos de control Figura 7.109. Traza geométrico de las mismas, proponiendo una hipótesis sobre el proceso atribuida a Rodrigo Gil de Hontañón (c. 1561) (RUIZ de diseño y control de la forma durante su construcción. HERNANDO 2003, 25) El diseño de la girola de la Catedral de Segovia El diseño semicircular de la girola que rodea el ábside no es inmediato. Por una parte la girola coordina las dimensiones del ábside con las de las naves laterales e implica, además, la división en un número de lados aproximadamente iguales. Sin embargo, aunque las dimensiones de la girola vengan condicionadas por las del resto del templo, no hay una solución única ya que es posible actuar sobre algunas variables como el punto de inicio de la girola o el centro de radiación.63 Sin duda la mayor dificultad radica en la división en tramos de la girola. -
The Renaissance Choir and the Music of Spain
The Renaissance Choir and the music of Spain The Renaissance Choir was formed in the summer of 1976 and gave its first concert in November of the same year. It was initially known as ‘The Highbury Singers’, taking that name from its then rehearsal venue, but the definitive name had been adopted by the start of the following season. As its name implies, the Choir, of some thirty voices, chose to specialize in unaccompanied music of both the Renaissance and the twentieth century, with composers ranging from acknowledged masters such as Palestrina, Schütz and Victoria to little-known figures such as Alonso de Alba. Francisco Guerrero Although the Founder and Conductor of the Choir for its first ten years, Raymond Calcraft, was a specialist in Spanish Golden Age literature and art, the music of Spanish composers did not feature prominently in the Choir’s repertoire until 1979, when the Choir performed a programme of Spanish Renaissance music at Oaklands, repeating this later the same year on its first tour to Spain, where it sang in the Cathedrals of Seville, Córdoba and Granada. Both then, and subsequently, the music of Francisco Guerrero was a particular focus for the Choir, which gave several programmes in 1983 entitled ‘A Portrait of Francisco Guerrero’, when motets, a Mass, and several villanescas espirituales were interspersed with readings from the composer’s autobiography, The Journey to Jerusalem. This programme was given at St John’s, Smith Square, London, with the distinguished actor, Gabriel Woolf, and a shortened version was then broadcast on both BBC Radios 3 and 4. -
Maestro Francisco Correa De Arauxo's (1584–1654) Facultad Orgánica (1626) As a Source of Performance Practice
View metadata,citationandsimilarpapersatcore.ac.uk 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 provided by exemplar R.9279 of the Facultad orgánica. Drawing made by Iina-Karita Hakalahti. byIina-KaritaHakalahti Helsingin yliopistondigitaalinenarkisto ISBN 978-952-5531-41-1 ISSN 0788-3757 brought toyouby Helsinki University Print Helsinki 2008 CORE 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. -
Monteverdi's Spanish Contemporary: Sebastián
MONTEVERDI’S SPANISH CONTEMPORARY: SEBASTIÁN DE VIVANCO’S MAGNIFICAT SETTINGS AT THE END OF THE RENAISSANCE HONORS THESIS Presented to the Honors College of Texas State University in Partial Fulfillment of the Requirements for Graduation in the Honors College by Andrew Joseph McNair San Marcos, Texas May 2016 MONTEVERDI’S SPANISH CONTEMPORARY: SEBASTIÁN DE VIVANCO’S MAGNIFICAT SETTINGS AT THE END OF THE RENAISSANCE by Andrew Joseph McNair Thesis Supervisor: ________________________________ Kay Lipton, Ph.D. School of Music Second Reader: __________________________________ Charles Ditto, D.M.A. School of Music Approved: ____________________________________ Heather C. Galloway, Ph.D. Dean, Honors College Abstract In this thesis, I focus on Magnificat settings by two, relatively contemporaneous, early seventeenth-century composers, both of whom were revered for their sacred music. In Part I, I consider the complete polyphonic setting of the Magnificat on psalm tone 6 by the highly regarded Spanish composer, Sebastián de Vivanco. In Part II, I explore portions of the Magnificat setting at the end of Vespro della Beata Virgine by the renowned Italian composer, Claudio Monteverdi. Each of these discussions include an overview of research, biographical summaries, and musical analyses with observations about specific stylistic trends, some of which were congruent with late-sixteenth-century, polyphonic Magnificat settings, and some which anticipated new, seventeenth-century innovations that would become hallmarks associated with the Baroque style. 3 Introduction The starting point for this project came almost five years ago, when I heard at conference of the Wisconsin Choral Directors Association (I was attending as a student in one of the choirs) a performance of excerpts from Italian composer Claudio Monteverdi’s Vespro della Beata Virgine performed by the professional choir Seraphic Fire who had released a full recording of the work a few years before. -
Susana Muñoz, Ympressora De Los Libros De Musica, and Diego De Bruceña’S Libro De Canto De Misas Y Magnificas Y Motetes Y Una Salue (Salamanca, 1620)
ANUARIO MUSICAL, N.º 75 enero-diciembre 2020, 23-60 ISSN: 0211-3538 https://doi.org/10.3989/anuariomusical.2020.75.03 SUSANA MUÑOZ, YMPRESSORA DE LOS LIBROS DE MUSICA, AND DIEGO DE BRUCEÑA’S LIBRO DE CANTO DE MISAS Y MAGNIFICAS Y MOTETES Y UNA SALUE (SALAMANCA, 1620) SUSANA MUÑOZ, YMPRESSORA DE LOS LIBROS DE MUSICA, Y EL LIBRO DE CANTO DE MISAS Y MAGNIFICAS Y MOTETES Y UNA SALUE (SALAMANCA, 1620) DE DIEGO DE BRUCEÑA Michael Noone [email protected] ORCID ID: 0000-0002-4710-5403 In memoriam José López-Calo, S. J. (†2020) Resumen Abstract Entre sus muchos tesoros, la Catedral de Miranda do Douro Among its many treasures, the Cathedral of Miranda do en el distrito de Bragança en Portugal alberga el único ejemplar co- Douro in the district of Bragança in Portugal houses the only known nocido del libro de polifonía de Diego de Bruceña (Salamanca: An- exemplar of Diego de Bruceña’s book of polyphony (Salamanca: tonio Vázquez, 1620). Este libro de coro conserva el conjunto más Antonio Vázquez, 1620). This choirbook preserves the most signif- significativo de las obras de un compositor cuyas composiciones se icant body of the works of a composer whose compositions were pensaba que estaban casi completamente perdidas. El estudio deteni- thought to be almost entirely lost. Close study of the choirbook al- do del libro de coro nos permite elaborar una comprensión más deta- lows us to construct a more detailed and nuanced understanding of llada y matizada de la impresión de la música sacra, y especialmente the printing of sacred music, and especially the printing of poly- de los libros de coro polifónicos, en la Salamanca de las primeras phonic choirbooks, in Salamanca in the first decades of the 17th décadas del siglo XVII. -
Historic Organs of Spain
Historic Organs of Spain Historic organs OF May 13-25, 2013 13 DAYS Spain with J. Michael Barone www.americanpublicmedia.org www.pipedreams.org National broadcasts of Pipedreams are made possible with funding from the National Endowment for the Arts, by a gift from Mr. and Mrs. Wesley C. Dudley, by a grant from the MAHADH Fund of HRK Foundation, by the contributions of listeners to American Public Media stations, and through the support of the Associated Pipe Organ Builders of America, APOBA, representing designers and creators of fine instruments heard throughout the country, on the Web at www.apoba.com, and toll-free at 800-473-5270. See and hear Pipedreams on the Internet 24-7 at www.pipedreams.org. A complete booklet pdf with the tour itinerary can be accessed online at www.pipedreams.org/tour Table of Contents Welcome Letter Page 2 Historical Background Page 3-14 Alphabetical List of Organ Builders Page 15-18 Organ Observations: Some Useful Terms Page 19-20 Discography Page 21-25 Bios of Hosts and Organists Page 26-30 Tour Itinerary Page 31-35 Organ Sites Page 36-103 Rooming List Page 104 Traveler Bios Page 105-108 Hotel List Page 109 Map Inside Back Cover Thanks to the following people for their valuable assistance in creating this tour: Natalie Grenzing, Laia Espuña and Isabel Lavandeira in Barcelona; Sam Kjellberg of American Public Media; Valerie Bartl, Janelle Ekstrom, Cynthia Jorgenson, Janet Tollund, and Tom Witt of Accolades International Tours for the Arts. We also gratefully acknowledge the following sources for this booklet: Asociación Antonio de Cabezón, Asociación Fray Joseph de Echevarria de Amigos del Organo de Gipuzkoa. -
Via De La Plata
Spain Spain Gothic Art Gothic Art EUROPEAN COMMUNITY European Regional Development Fund I TABLE OF CONTENTS SPANISH TOURIST INFORMATION UNITED STATES OF AMERICA Introduction 1 OFFICES ABROAD Los Angeles Tourist Office of Spain Gothic Art 2 CANADA. Toronto The three great cathedrals 8 8383 Wilshire Blvd, Suite 960 Tourist Office of Spain Beverly Hills, California 90211 A Tour 2 Bloor Street West Suite 3402 % 1(323) 658 71 88 Andalusia 14 Toronto, Ontario M4W 3E2 ) 1(323) 658 10 61 Aragon 20 % (1416) 961 31 31 www.okspain.org Asturias 24 ) Ireland (1416) 961 19 92 e-mail: [email protected] The Balearic Isles 26 United www.tourspain.toronto.on.ca Chicago The Canary Islands 27 Dublin e-mail: [email protected] Cantabria 28 Kingdom Tourist Office of Spain Castile-La Mancha 30 GREAT BRITAIN. London Water Tower Place, suite 915 East Castile and León 35 London Spanish Tourist Office 845 North Michigan Avenue Catalonia 45 PO BOX 4009 Chicago, Illinois 60 611 Murcian Region 49 London W1A 6NB % 1(312) 642 19 92 Valencian Region 50 % (44207) 486 80 77 ) 1(312) 642 98 17 Extremadura 53 Paris ) (44207) 486 80 34 www.okspain.org Galicia 56 www.tourspain.co.uk e-mail: [email protected] La Rioja 60 e-mail: [email protected] Miami Madrid 62 France Tourist Office of Spain Navarre 64 JAPAN. Tokyo 1221 Brickell Avenue Basque Country66Bay of Biscay Tourist Office of Spain Miami, Florida 33131 Daini Toranomon Denki % Glossary 70 1(305) 358 19 92 Bldg.6F. 3-1-10 ) 1(305) 358 82 23 General information 72 Toranomon. -
The Expertises of Segovia Cathedral
Some Notes on Gothic Building Processes: the Expertises of Segovia Cathedral. Santiago Huerta and Antonio Ruiz Gothic architecture has aroused the interest of architects, engineers and historians for centuries (Frank1 1960). The technical point of view has also received attention; in particular, there is an abundant literature on gothic vault construction and structural behaviour. The rational approach of Viollet-le-Duc (1854), followed by Choisy (1899) and many others, was subsequently criticized, mainly by Pol Abraham in the 1930s (for an excellent risumi of the debate, see Kubler 1944, pp. 135-7; see also Mark, 1977). From a structural point of view the discussion focused on the actual functioning of the different elements of the vault (the ribs, webs and bosses) and the debate was actually closed by Heyman (1 966, 1968) with the application of the ideas of modern limit analysis to masonry structures. However, the deep meaning and the practical consequences of Heyman's disco~rerieshave not yet been fully understood by many architects and engineers, who are still using sophisticated computer programs to try and obtain the actual state of internal stresses in niasonry. There is another aspect that has been rarely considered: the cathedral must also have been in equilibrium during the building process. In any of the intermediates phases, the sequence of the operations, the dispositions of scaffoldings, materials, etc., must have assured a safe state of equilibrium. This consideration implies some order in the erection procedures. The only author who has tricd to answer these kinds of questions is Fitchen in his book The construction of Gothic Cathedrals: A Study of Medieval Vault Erection (1961). -
Sculpture in Spain the Spanish Series
SITY OF LOS ANGE f *^-»- THE SPANISH SERIES SCULPTURE IN SPAIN THE SPANISH SERIES EDITED BY ALBERT F. CALVERT Toledo Madrid Seville Murillo Cordova El Greco Velazquez The Prado The Escorial Sculpture in Spain Valencia and Murcia Royal Palaces of Spain Spanish Arms and Armour Leon, Burgos and Salamanca Catalonia and Balearic Islands Valladolid, Oviedo, Segovia, Zamora, Avila and Zaragoza SCULPTURE IN SPAIN :: BY ALBERT F. CALVERT :: :: WITH 162 ILLUSTRATIONS :: 1 -) LONDON: JOHN LANE, THE BODLEY HEAD NEW YORK : JOHN LANE COMPANY. MCMXII ' O c i € P - -, , :;.V.«;:: Co. Printed by Ballantyne, Hanson & At the Ballantyne Press, Edinburgh , CONTENTS PAGE Introduction i Early Sculpture belonging to the Native Iberian, Latin, Byzantine, and Visi- gothic Periods ... 14 The Churches of the Romanesque and Early Gothic Periods .... 25 The Sculptured Pieces and Tombs of the Romanesque and Early Gothic Periods 37 The Altar-screens or Retablos of the Romanesque and Gothic Periods . 50 The Renaissance, and the Influence of Michael Angelo on the Spanish Sculptors 70 The Renaissance, and the Influence of Michael Angelo {continued)—The Schools of Valladolid and Madrid . -97 The School of Andalusia— Martinez — Juan Montanes Seville and its Sculptors . 117 The Disciples of Montanes in Seville . 142 The School of Granada and Alonso Cano — The Decline of Sculpture —'Fran- cisco Zarcello . 151 LIST OF ILLUSTRATIONS TITLE PLATE Visigoth Crowns found near Toledo i Byzantine Crucifix and the Virgin in the Gothic Style. Provincial Museum of San Marcos, Leon . 2 Wooden Crucifix with which the Troops of the Cid were harangued. The smaller Crucifix the Cid carried beneath his Armour. -
Chapter Ii Origins of Gothic Architecture in Cyprus
C. ENLART L'ART GOTHIQUE ET LA RENAISSANCE E N CHYPRE 11.LUSTKK DE 34 PLANCHES ET DE 421 FIGURES Ouvrage publié sous les auspices du Ministère de l'Instruction publique et des Beaux-Arts. TOME PREMIER PARIS KU \ KSI LlîOl'X, ÉDITKl R 28, RUE BONAPARTE, 2S 18!)!» Title page of the 1899 edition. CHAPTER I CHARACTER AND DEVELOPMENT OF WESTERN ARCHITECTURE IN CYPRUS l ROMANESQUE ARCHITECTURE Romanesque architecture had undoubtedly made its presence felt in Cyprus before the western invasion; that was in 1191, whereas Roman- l esque architecture had been brought from the coast of Syria, where it Now the Bazaar Mosque. was already being practised in the twelfth century by the Romanesque architects who have left us in Beirut a beautiful church in the finest 2 1 Les églises de la Terre French style, not to mention those noteworthy Romanesque churches Sainte (Didron, Paris, 1860). 2 in Palestine studied by the Marquis de Vogiié. 3 (Ed. Note.) On the churches One proof of the source from where the Romanesque style was im- of the Karpas believed by ported into Cyprus can be derived from the situation of the buildings; Enlart to be Romanesque see further: G. Jeffery, A De- its influence can only be traced in the Karpas Peninsula, that elongated scription of the Historic promontory which stretches in the direction of the coast of Asia Minor Monuments of Cyprus and approaches it closely. Seeing that in the course of the twelfth (Nicosia, 1918), pp. 258-60; R. Gunnis, Historic Cyprus century Cyprus was cut off from its cultural roots it is reasonable to (London, 1916), pp.