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The Music of Spain:
Renaissance through Classical >> Composer Spotlight Writers & Artists of the Period Historical Timeline Glossary of Musical Terms Back to Main Piano Project 2008 Page External Links Map of Spain with Information on Regions Spanish Renaissance Poetry Prado Museum Audio Recordings of the Music of Scarlatti & Soler
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Piano
Project 2008 COMPOSER SPOTLIGHT —Bathsheba Marcus Conley Luis de Milán (1500-1561) is known primarily as a composer for the vihuela—his 1536 collection, known colloquially as El Maestro, was the first printed music for the instrument and also the first example of printed tablature in Spain. Additionally, it is one of the earliest collections of music with tempo indications. As the title, The Teacher, indicates, the collection was written with students in mind and the works are arranged in order from easiest to most difficult. Milan's compositions include fantasia, tientos, villancicos, and pavanas. Alonso Mudarra (1510-1580) was raised in Guadalajara, Spain and was known not only for his composition, but also as a vihuelist. After traveling to Italy in 1529, he returned to Spain and, like many early Spanish composers, became a priest. In 1546 Mudarra earned the position of canon at Seville Cathedral. He was influential in the cathedral's operations from planning celebrations to hiring musicians to building a new organ. It was also in 1546 that Mudarra's comprehensive Tres libros de musica en cifras para vilhuela was published, comprised of 77 works for vihuela, harp, and organ. Some of the earliest published works for guitar, these pieces used a new system of tablature for harp and organ. Mudarra wrote over 27 fantasias and also several short tientos. He is also known for his vocal songs which include romances, villancicos, and canciones set to texts by Garcilaso, Boscán, and Petrarch. Mudarra died in Seville and left a considerable amount of money to be distributed to the poor people of the city. Antonio de Cabezón (1510-1566) was born in Castrillo de Matajudíos and died in Madrid. A composer and organist, Cabezón was blind from childhood, receiving his early education at Palencia Cathedral. In 1526 he began service to Queen Isabella and was appointed músico de la cámara to Charles V in 1538. Cabezón is considered one of the most accomplished performers and composers of his period. He wrote for keyboard instruments, plucked string instruments, and minstrel ensembles. The majority of his works were published after his death by one of his five children, Hernando de Cabezón, in a volume titled Obras de música para tecla, arpa, y vihuela which includes more than 275 pieces. Cabezón's compositions include sacred works such as hymns, free works such as tientos, and variations such as diferencias.
In a preface to the publication of 30 of his keyboard sonatas in 1738, Scarlatti wrote: Do not expect, whether you are an amateur or a professional, to find any profound intention in these compositions, but rather an ingenious jesting with art by means of which you may attain freedom in harpsichord playing. Vicente Rodríguez (1690-1760) was a Spanish organist and composer born in Valencia. In 1713 he became organist at the Valencia Cathedral, a post which he kept until his death. Rodríguez is best known for his Libro de toccatas para cimbalo, a book of 30 harpsichord toccatas and a pastorela written in each major and minor key. The works are similar to sonatas, some in multiple movements, and most in the two-part, binary form of Scarlatti and Soler. Rodríguez's keyboard music employs a brilliant style and calls for frequent hand crossings. Sebastián Albero (1722-1756) was born in Navarra and died in Madrid. In 1748 he received the post of first organist of the Spanish royal chapel, bringing him in contact with Domenico Scarlatti. Albero's works include sonatas for clavichord and fortepiano and appear to be heavily influenced by Scarlatti's style, with references to Spanish folk rhythms and multiple hand crossings. Albero also wrote a number of fugues. |
Padre Antonio Soler (1729-1783)
was a Catalan composer and organist. After initial music instruction with
his father, Antonio Soler entered the well-respected music school Escolanía
in the Montserrat monastery. In 1752 he entered the order at El Escorial,
a monastery near Madrid, and was appointed permanent organist, later earning
the title of maestro de capilla (chapel master) in 1757. Soler was
prolific and, along with his duties as priest and organist, wrote a number
of compositions. We know from his writings that he slept little, often
going to bed at midnight and rising for 4 a.m. mass. Soler's style is obviously influenced by Scarlatti, and he described himself as a disciple of the Italian composer. In 1766, Soler became the tutor to Prince Gabriel and wrote many of his keyboard sonatas for the Prince. Although he wrote a variety of works, Soler is best known for these sonatas, which are mostly two or three movement works in binary form. There are eight sonatas in four movements which seem to have been influenced by Haydn, evident through the use of Alberti bass (Haydn's works were brought to Spain by Boccherini in the 1770s.) While Soler maintained the Scarlatti tradition in his keyboard works in some ways, he is much more adventurous in his modulations, and there is a distinct Spanish style to his writing, which incorporates many dance rhythms of the time. It is known that Soler had access to an organ, harpsichord, and fortepiano, but it is not always clear which instrument specific works were written for. Most of the sonatas are written for at least a five-octave keyboard and some require 63 keys, which is a greater span than Mozart had access to on his fortepiano.
Mateo Albéniz (1755-1831) was born in the Basque region of Spain and died in San Sebastián. A church musician, Albéniz held the post of maestro de capilla (chapel master) in San Sebastián until 1829. Albéniz composed a number of sacred works that were well known throughout northern Spain including masses, motets, and villancicos. He also wrote for the piano and his Sonata in D major is frequently played by students today. Albéniz held extreme respect for Haydn and Mozart and was the first composer in Spain to print examples of these composers for students to imitate.
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