THE ORIGINS, HISTORY, AND DEVELOPMENT OF THE TIENTO DE MEDIO REGISTRO FROM THE SIXTEENTH TO THE EIGHTEENTH CENTURY By ©2015 HEATHER LYNN PAISAR Submitted to the graduate degree program in the School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degrees of Doctor of Philosophy and Doctor of Musical Arts. ________________________________ Chairperson, Dr. Paul Laird ________________________________ Co-chairperson, Dr. Michael Bauer ________________________________ Dr. James Higdon ________________________________ Dr. Roberta Freund Schwartz ________________________________ Dr. Scott Brandon Murphy ________________________________ Dr. Luis Corteguera Date Defended: May 12, 2015 The Dissertation Committee for Heather Lynn Paisar certifies that this is the approved version of the following dissertation: THE ORIGINS, HISTORY, AND DEVELOPMENT OF THE TIENTO DE MEDIO REGISTRO FROM THE SIXTEENTH TO THE EIGHTEENTH CENTURY ________________________________ Chairperson, Dr. Paul Laird ________________________________ Co-chairperson, Dr. Michael Bauer Date approved: May 12, 2015 ii ABSTRACT “The Origins, History, and Development of the Tiento de medio registro from the Sixteenth to the Eighteenth Century” The tiento de medio registro was one of the most popular types of organ music in the Iberian Peninsula from the late sixteenth century until the beginning of the eighteenth century. A subgenre of the tiento, this form was originally developed in the 1530s as a means to “try out” a lute or vihuela. The resultant keyboard style by the same name usually featured alternating sections of imitative, chordal, and figurative material. Composers of these pieces, including well-known Iberian figures such as Sebastián Aguilera de Heredia (1561-1627), Francisco Correa de Arauxo (1584-1654), and Juan Cabanilles (1644-1712), employed the registro partido—the divided organ manual, usually split between c' and c#'—in order to exploit the diverse registrational capabilities of Iberian organs; as a result, they produced a large corpus of literature written explicitly for instruments containing this construction technique. Their resultant output displays a variety of formal structures and styles, with complexity and length expanding over time. By the mid-eighteenth century the number of tientos de medio registros waned, as the genre—already considered archaic— was gradually replaced by new Classical genres such as the sonata. Chapter 1 provides the background of the origins of the tiento genre, including those written for vihuela and keyboard, and includes considerations of extant publications and treatises containing theoretical information pertaining to their construction. Chapter 2 examines the development of the Iberian organ from its pan-European roots prior to the sixteenth century to the emergence of an instrument containing elements, such as the registro partido and horizontal reeds, which would become synonymous with Iberian iii organs—despite the fact that they were often constructed by builders from other countries. Chapter 3 concentrates on the origins and development of the registro partido in Spain, Portugal, and the New World, as well as its equivalents throughout the rest of Europe. This approach to organ building quickly spread throughout the peninsula (particularly in Castile) and made the tiento de medio registro possible; its tremendous popularity is shown by archetypical stoplists from important organ-building hubs. Chapter 4 is an overview of the tiento de medio registro literature and its representative composers. Musical examples demonstrate that there existed both a degree of standardization and compositional traits unique to individual composers. Chapter 5 presents a guide for the effective registration and performance of the Iberian repertoire on modern-day instruments. The tiento de medio registro constitutes a substantial percentage of the surviving Spanish and Portuguese organ repertoire, exhibiting the importance of the registro partido, as well as the Iberian proclivity for timbral contrasts and virtuosity. Through the examination of these pieces one comes to understand the aesthetic ideals that guided Iberian organ composition for well over two hundred years. iv Acknowledgements This document has been a labor of both love and learning over the past three years—an undertaking that would most likely remain a dream to this day without the help and guidance of so many important people in my life. I am exceedingly grateful to the members of my committee: Dr. Paul Laird, Dr. Michael Bauer, Dr. James Higdon, Dr. Roberta Freund Schwartz, Dr. Scott Murphy, and Dr. Luis Corteguera. These amazing scholars and mentors have shaped not only this document, but have also fostered my love of music and taught me innumerable lessons about life in general. Their wisdom, talent, patience, and encouragement have made an immense impact on me for which I am most deeply indebted. Among my committee, I would like to express my sincerest thanks to my primary advisor, Dr. Paul Laird, for his continued support and his uncanny ability to both make me laugh and work harder than I thought possible. His dedication to his students and tireless commitment to excellence has meant the world to me and I am most fortunate to have had him as my advisor. Special thanks to Dr. Michael Bauer, who first introduced me to the Spanish organ repertoire and urged me to explore the possibilities of its performance on modern-day organs. His inspirational teaching, unrivaled work ethic, spiritual counseling, and nonstop willingness to go above and beyond are most appreciated. I owe my deepest gratitude to my family—the one I was born into and the one I have chosen over the years. The consistent and overwhelming support of my parents, Cheri and Dennis, has kept me going through thick and thin and without their belief in me none of this would have been possible. Many thanks to my brother, Travis, whose in-depth knowledge of all things technological was immensely helpful in the final stages of this project. Love and thanks to my partner in crime and life, Harpreet, who has supported me in countless ways and kept me centered and smiling. Finally, words cannot express what it has meant to me to have my younger brother and organist extraordinaire, Mark, share this journey with me. He has continually pushed me to be a better musician and an even better human being. To him and all of my family, I dedicate this document. vi Table of Contents Introduction ............................................................................................................................................ 1 Chapter 1: The Origins of the Tiento ............................................................................................. 11 Background of the Tiento ........................................................................................................................... 11 The Vihuela Tiento ......................................................................................................................................... 13 The Keyboard Tiento .................................................................................................................................... 23 The Tientos of Antonio de Cabezón ........................................................................................................ 41 Other Writings on the Tiento .................................................................................................................... 50 Cifra Notation .................................................................................................................................................. 54 Summary ........................................................................................................................................................... 65 Chapter 2: History and Development of the Iberian Organ.................................................. 67 Beginnings ........................................................................................................................................................ 67 General Characteristics of Early Spanish Organs .............................................................................. 68 History and Development of Spanish Organs from the Sixteenth to Eighteenth Centuries ............................................................................................................................................................................... 71 The Sixteenth-Century Spanish Organ ........................................................................................ 74 Spanish Organs in the Seventeenth Century ............................................................................. 84 Development of Horizontal Reeds ................................................................................................ 87 Cross-Cultural Influences: The Netherlands ............................................................................. 91 Eighteenth Century and Beyond .................................................................................................... 96 Summary ......................................................................................................................................................... 101 Chapter 3: History and Development of the Registro Partido .......................................... 103 The Mid-Sixteenth Century: A Time of Transition .........................................................................