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Documentation

Document ID (Date) Title of document
17/1 (1601-05-14) Tomás Luis de Victoria sends books of polyphony to Palencia Cathedral
16/4 (1581-02-09) Francisco Guerrero writes to Palencia Cathedral recommending Tomas Luis de Victoria
16/4 (1585-01-07b) Tomás Luis de Victoria sends a book of masses to Palencia Cathedral.
16/4 (1585-01-07a) George de la Hèle sends his book of masses to Palencia Cathedral.

List of persons

Displaying 1 - 10 of 26

Details

Birth date: 
17/3 (?)
Death date: 
17/4 (1689)
Nationality: 
Periods of service: 
1686-1689, Monastery of Santa Ana de Ávila (singer)
Biography: 

According to Alfonso de Vicente (1989), p. 16, María Antonia de Angulo, "cantora" (singer), born in Palencia, was professed as a nun in the Monastery of Santa Ana de Ávila in 1686, and she died there in 1689.

Submission’s author: 
b. Palencia, ? — d. Ávila, 1689

Details

Birth date: 
18/3 (?)
Death date: 
19/1 (?)
Nationality: 
Biography: 

An inscription in the book of polyphony 6 at Palencia cathedral (E-PAL 6) with works by Joaquín Martínez de la Roca Bolea (ca. 1676-ca. 1756) identifies the copyist as follows: "Siendo Fabriquero de esta / Sta. Yglesia Cathedral de Palen/cia el Dr. D. Julián de Molline/do, Canonigo y Dignidad de Ma/estrescuela y Gobernador de / este Obispado; escribio este / Cantoral el P. Fr. Estevan de la Concepción, Balderrueda, Religº / en este Conv. de S. Buenaventura / quien lo dedica a la Immaculada Concepcion de Maria SS. S. N. / Año de 1799". The inscription also indicates that it was copied in the old convent of San Buenaventura in Palencia.

Submission’s author: 
fl. Palencia, 1799

Details

Birth date: 
17/2 (1629)
Death date: 
17/4 (1692)
Nationality: 
Biography: 

The manuscript P-Pm MM-42 (olim Ms. 1577), with organ tablatures (same system used by Venegas de Henestrosa, Hernando de Cabezón and Correa de Araujo), contains the only four works known by this organist/composer: two are titled Obra and the other two Registro. According to Preciado (1999-2002), p. 715, the obras are "llenos para órgano" and the registros are "registros partidos de mano derecha (de uno y dos tiples, espectivamente)"; the four works are like tientos. He points out: "Es notable la Obra de 5º tono, porque en su segunda mitad introduce el autor un motivo de jota riojana, que le confiere un aire de fiesta popular. Antonio Brocarte aclara el estilo organístico español de su tiempo, haciéndolo menos farragoso y más transparente".

Submission’s author: 
Logroño, 20-IX-1629 — Salamanca, 21-VIII-1692

Details

Birth date: 
17/3 (1660)
Death date: 
18/1 (1716)
Nationality: 
Periods of service: 
1679: Catedral de Zaragoza
1680: Catedral de Sevilla
1681: Catedral de El Burgo de Osma
1691: Real Capilla de Madrid
Submission’s author: 
Brihuega (Guadalajara), 19-IV-1660 — Cambo-les-Bains, 03-VIII-1716

Details

Birth date: 
16/4 (?)
Death date: 
17/2 (?)
Nationality: 
Periods of service: 
1633 Iglesia de Santa María, Viana (Navarra), músico
Biography: 

Known as copyist and perhaps composer, whose name appears in the manuscript E-CCs.s., dated 1633, at the Real Convento de Santa Clara, Carrión de los Condes (Palencia). The title page of the manuscript states that Martin de Galdamez, at the time of copying, was a musician at the Iglesia of Viana (Navarre): "LIBRO DE / musíca en el qual se contiene todo lo necesario para / el oficio divino de missa y visperas compuesto de / muchos autores y recopilado por martin de galdames / musico de la Santa yglesia de la çiudad De Viana / cabeça de principado del Reyno de navarra / DIRIGIDO A nuestra / madre Soror Luissa de la ascension Religíosa de con/vento de santa clara la Real de carrion de los condes / Año de 1633."

Submission’s author: 
fl. 1633, Viana (Navarra)

Details

Birth date: 
16/3
Death date: 
17/1 (1605)
Nationality: 
Submission’s author: 
fl. 1581-1605

Pages

Related documentation

Displaying 1 - 4 of 4

Details

Document's source: 
Catedral de Palencia, Actas Capitulares, 1581, fol. 9
Location/s related to Document: 
Musician owner of books or mentioned in document: 
Composers cited in music inventories: 
Institution owner of books or mentioned in document: 
Francisco Guerrero writes to Palencia Cathedral recommending Tomas Luis de Victoria

Details

Document's source: 
Catedral de Palencia, Actas Capitulares, 1585, fol. 3
Number of book-related items in this document: 
1
Location/s related to Document: 
Musician owner of books or mentioned in document: 
Genres mentioned/represented in document: 
Composers cited in music inventories: 
Institution owner of books or mentioned in document: 
George de la Hèle sends his book of masses to Palencia Cathedral.

Details

Document's source: 
Catedral de Palencia, Actas Capitulares, 1585, fol. 3
Number of book-related items in this document: 
1
Location/s related to Document: 
Musician owner of books or mentioned in document: 
Genres mentioned/represented in document: 
Composers cited in music inventories: 
Institution owner of books or mentioned in document: 
Tomás Luis de Victoria sends a book of masses to Palencia Cathedral.

Details

Document's source: 
Catedral de Palencia, Actas Capitulares, 1601
Location/s related to Document: 
Musician owner of books or mentioned in document: 
Composers cited in music inventories: 
Institution owner of books or mentioned in document: 
Tomás Luis de Victoria sends books of polyphony to Palencia Cathedral

Bibliography

Details

Vol. of music collection: 
6
Range of pages: 
361-365
Type of publication: 
Language of the publication: 
2000

Details

Ed. / Coord.: 
Range of pages: 
504-548
City and publisher: 
Type of publication: 
Abstract: 

One of the most striking characteristics of the music from the Spanish kingdoms at the time of Ferdinand and Isabel in comparison with other musical traditions of the same period is the relative scarcity of sources of instrumental and polyphonic music. This lack can partly be explained by the loss of many manuscript sources and the late introduction of music printing in Spain; El Maestro by Luis Milán, printed in 1536, is the earliest Spanish collection of solo instrumental music and accompanied songs, as well as the first printed Spanish tablature. However, there is a third reason: the importance of oral tradition in the transmission and performance of music in Spanish culture during the Renaissance, in both sacred and secular contexts. This essay will survey the different traditions of unwritten music in Spain at the time of the Catholic Monarchs: in the liturgical context, particular emphasis will be placed on the transmission and performing practices of extempore counterpoint and unwritten fabordones; and in the secular context, several aspects related to the oral repertory of vernacular songs, both polyphonic and accompanied, as well as instrumental music will be considered.

Language of the publication: 
2016

How to cite

, "Palencia", Books of Hispanic Polyphony, ed. E. Ros-Fábregas (accession date: 26 Feb 2021), https://hispanicpolyphony.eu/taxonomy/term/1579