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Palencia

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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 23

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: 
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

Details

Birth date: 
16/4 (?)
Death date: 
17/2 (?)
Nationality: 
References: 

Hay algunas obras de un [Francisco] Gutiérrez en el Archivo de la Catedral de Tui, Pontevedra. La voz "Gutiérrez, Francisco" en el DMEH no menciona estas obras, pero podría tratarse de otro músico de igual nombre del s. XVII con tres piezas en el "Cancionero de Medinaceli" (No. 13231), conocido también por Tonos castellanos, B de la antigua biblioteca de los duques de Medinaceli (Biblioteca Bartolomé March). También podría tratarse del autor de un Memento mei en el manuscrito E-CCs.s. copiado en 1633 en Carrión de los Condes (Palencia).

Submission’s author: 
fl. 17/1-2 Tui, Pontevedra

Details

Birth date: 
18/2 (1733)
Death date: 
19/1 (1814)
Nationality: 
Periods of service: 
1743-1755 Cathedral of Tarazona, Zaragoza (choirboy).
1755-1761 Cathedral of Tarazona, Zaragoza (instrumentist: violin and "bajón"). In 1658-1659 he studied composition for six months in Zaragoza.
1758-1759 Zaragoza (he studied composition for six months, probably with Francisco Javier García Fajer, "El Españoleto").
1759 Tarazona Cathedral (unsuccessful candidate/"opositor" to chapelmaster).
1760 Zaragoza (candidate/"opositor" to "bajón" player, probably unsuccessful).
1761-1778 Cathedral of Ávila ("bajón" and second violin). He took holy orders.
1767-1778 Monastery of Santa Ana de Ávila (chapelmaster)
1767 Cathedral of Zamora (unsuccessful candidate/"opositor" to chapelmaster).
1768 Palencia (unsuccessful attempt for a musical position, probably as "bajón" at the Cathedral).
1769 Cathedral of Málaga (unsuccessful candidate/"opositor" to chapelmaster).
1770 Cathedral of León (unsuccessful candidate/"opositor" to chapelmaster).
1771 Cathedral of Calahorra, La Rioja (unsuccessful candidate/"opositor" to chapelmaster).
1775 Cathedral of Granada (unsuccessful candidate/"opositor" to chapelmaster).
1778 Cathedral of Plasencia, Cáceres (unsuccessful candidate/"opositor" to chapelmaster).
1778 Cathedral of Santo Domingo de La Calzada, La Rioja (chapelmaster).
1778-1780 Collegiate Church of San Miguel of Alfaro, La Rioja (chapelmaster).
1780 Cathedral of Ávila (unsuccessful candidate/"opositor" to chapelmaster).
1780-1814 Cathedral of Pamplona (chapelmaster).
1782 Cathedral of Segovia (unsuccessful candidate/"opositor" to chapelmaster).
1791-1792 Cathedral of Burgos (unsuccessful candidate/"opositor" to chapelmaster).
1793 Cathedral of Valencia (unsuccessful candidate/"opositor" to chapelmaster).
1793 Cathedral of Ávila (unsuccessful candidate/"opositor" to chapelmaster).
Biography: 

The known works by Francisco de la Huerta are found in "papeles sueltos" (particelle) and not in choibooks. He has been incorporated to this database, since he was an important chapelmaster in different cathedrals and at the Monastery of Santa Ana in Ávila; he obviously had direct contact with the books of polyphony and with the performance of that repertory in the institutions where he worked.

The main part of the extant compositions by Huerta are preserved in the Pamplona Cathedral and in the Monastery of Santa Ana in Ávila, but there are also pieces by him preserved in the cathedrals of Ávila, Astorga (León), the Collegiate Church of San Miguel de Alfaro (La Rioja), the Royal Collegiate of Roncesvalles (Navarre), and the Monastery of San Lorenzo de El Escorial (Madrid).

Submission’s author: 
Borja, Zaragoza, ca. 2-XII-1733 — Pamplona, 8-III-1814

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 Nov 2020), https://hispanicpolyphony.eu/taxonomy/term/1579