List of musicians

Info

This website provides basic information about musicians and non-musicians related to music books in the database; it is not intended to present a full biography of musicians, but to establish useful connections with their sources, institutions, locations, works, documents, and bibliography. Under "Locations" of a composer's entry we list all the locations in which the composer lived and those in which his music is currently found; under "Institutions", we list only the institutions where the composer worked or to which he applied for a position through the so-called "oposiciones". Whenever possible, we'll try to indicate the approximate periods of service in each institution. The distinction between "Locations" and "Institutions" provides a useful overview about the dissemination of a composer's works; for instance, Sebastián Aguilera de Heredia (1561-1627) worked only in two cathedrals ("institutions") in Huesca and Zaragoza, but his music is found in at least twenty-two "locations" in Spain and the New World.

Displaying 1401 - 1469 of 1469

Details

Birth date: 
16/1 (1511)
Death date: 
16/4 (1576)
Nationality: 
Submission’s author: 
Vicenza, 1511 — Milán, ca. 1576

Details

Birth date: 
18/2 (?)
Death date: 
18/3 (?)
Nationality: 
Biography: 

According to Alfonso de Vicente (1989), p. 18, Martín Vidal was singer, violin and "violón" at the Oviedo Cathedral, and he teached music to the sisters María Gertrudis and Teresa Lasegue (Segue), who entered in 1760 as nun musicians in the Monastery of Santa Ana in Ávila. 

Submission’s author: 
fl. Oviedo, 18/2 — 18/3 (?)

Details

Birth date: 
17/2
Death date: 
18/1
Nationality: 
Periods of service: 
1648 — 1656 Catedral de México
1656/57 — 1702 Catedral de Puebla
Submission’s author: 
Mexico City, baptized 4-IV-1632 — Puebla, before 2-VI-1702

Details

Birth date: 
15/3 (1465)
Death date: 
16/2 (1538)
Nationality: 
Biography: 

This organist and composer is often confused with his nephew Pere Alberch i Ferrament, also known as Pere Vila. 

Submission’s author: 
Vic, Barcelona, ca. 1465 — Valencia, 1538

Details

Birth date: 
15/4 (1480)
Death date: 
16/1 (1523)
Nationality: 
Periods of service: 
1522-1523 Catedral de Granada
Submission’s author: 
Spain, ca. 1480 - d. 1523

Details

Birth date: 
18/2 (?)
Death date: 
18/4 (?)
Nationality: 
Periods of service: 
1786 Catedral de Oviedo
Submission’s author: 
fl. 1784

Details

Birth date: 
16/2 (1530)
Death date: 
16/4
Nationality: 
Zamora, ca. 1530 — after 1593

Details

Nationality: 
Periods of service: 
1633-45 Catedral de Murcia
Submission’s author: 

Details

Birth date: 
16/3
Death date: 
17/1
Nationality: 
Periods of service: 
1574 — 1590 Catedral de Jaén (seise)
1590 — 1599 Catedral de Almería (maestro de capilla)
1599 — 1600 Colegiata de Antequera (maestro de capilla)
1600 — 1614 Catedral de Almería (maestro de capilla)
Biography: 

Según Martín Tenllado, lo único que se sabe de Juan de Villalobos es que era maestro de capilla de la Catedral de Almería y en 1599 pasó a la Colegiata de Antequera, Málaga, donde estuvo hasta 1600. Una obra (sin texto) atribuida a Villalobos fue insertada en E-GRcr 1 (fols. 34v-35r); la obra siguiente (o la segunda pars de la anterior), también añadida y sin texto, es probable que sea del mismo autor.

Marín López (2007), p. 326, nota 13, afirma lo siguiente: "Otro Juan de Villalobos, hijo del anterior, ejerció como maestro de capilla en las catedrales de Almería (1614-1628) y Guadix (1628-1633) y opositó sin éxito (1631) a la Capilla Real granadina, donde se han conservado una pieza sin texto. En Zaragoza se conserva un villancico a seis (Vuestros amores) atribuido a “Villalobos”."

Jaén?, fl. 1574 — Almería, 1614

Details

Birth date: 
16/2 (?)
Death date: 
17/1 (1609)
Periods of service: 
1554 (12-IV)—1563 Catedral de Palma de Mallorca
1563—1572 Basílica de Santa María del Mar, Barcelona
1572—1600 Catedral de Palma de Mallorca
Submission’s author: 
fl. 1554, Palma de Mallorca — d., Palma de Mallorca, 28-III-1609

Details

Birth date: 
16/2 (?)
Death date: 
17/1 (?)
Nationality: 
Submission’s author: 
fl. 1568-1600

Details

Birth date: 
17/3 (?)
Death date: 
18/3 (?)
Nationality: 
Submission’s author: 
? — Sevilla, 18th century?

Details

Birth date: 
18/1 (1702)
Death date: 
18/3 (1774)
Nationality: 
Periods of service: 
1714-1724 Catedral de Toledo (seise)
1724-1774 Catedral de Oviedo
Submission’s author: 
Cañizar (Guadalajara), 1702 — Oviedo, 4-V-1774

Details

Birth date: 
16/1 (?)
Death date: 
16/3 (?)
Nationality: 
Submission’s author: 
fl. 1553-54

Details

Birth date: 
16/1 (?)
Death date: 
16/3 (?)
Nationality: 
Biography: 

There is no biographical information about this composer, known only for his 1548 publication of eight magnificats: Liber secundus Magnificarum de omnibus tonis noviter compositus (Milan: Mathia Flamengo e Innocentius Cicognera, 1548) [RISM D2115]. According to Printed Sacred Music Database (http://www.printed-sacred-music.org/manuscripts/00000000001166), the title, dedication, and table of contents of the printed book read as follows:

"LIBER SECVNDVS MAGNIFICARVM | DE OMNIBVS TONIS NOVITER CONPOSITVS | Per Geneſium Dominicum de Villena Clericum Iſpanum. Stampatus in ciuitate | Ml’i ad inſtantiam D. Mathiæ Flamenghi, & Innocentii Cigognera, | & ſotiorum omni dilignetia correĉtus & emendatus primo die | Septembris Anno ſalutis M. D. XLVIII. | LIBER [marchio tipografico con la seguente iscrizione: “TOLLIT ROSTRO NOCITURA SALUBRI IN MILANO. PER. INNOCENTIO. DA. CIGOGNERA.”] SECVNDVS. | CVM GRATIA ET PRIVILEGIO".

"Al muy Magnifico i generoſo S. el S. Melchior de Saauedra [sic] Capitan | de la Ceſarea Mageſta. | QVanto ſea muy Magnifico S. la nobleza, i excellentia de la Muſica nos dā entera | fe los antiguos, i modernos Filoſofos, que afirman el anima ſer Conpueſta de mu|ſica illos continuos mouimientos de los cielos otro notienenque ſea ſi no muſica. Y ar|monia delos quales toman origen iconocimiento todas las coſas, criadas. adōde auiendo yo conpueſto algunas coſillas de mi profiſion. i entre ellas vnas magnificas, de todos tonos i conſiderando la gran fama que de V. M. en eſta ciudad. ehallado que en ella no | ſe habla ſino delarimo iſuſtento que tenian todos loſque a virtud. i buenos exercitios | ſedauan junto con la grandeza delanimo i cōtinua li veralidad. laqual ſepuede conparar | aqual quiera granprincipe i.S.pare ciendo me ſer coſa conuiniente equerido intitular | la preſente obra conociendo que V.M. nomenos de muſica que detodo jenero de vir-|tud. ſe deleyta Como claramente e viſto en la buena dotrina que de V. M. atomado el S | Pedro deprado jentil honbre del Illuſtriſſimo Principe Don Fernando Gonzaga que | eneſta ciudad.de todos los virtuoſos. es muy amado iquerido anſi que con animo | jeneroſo V.M.las reciba junto con la boluntad. deſte ſua ficionado Seruidor de Milan primero de Settenbre ānno. [sic] M. D. LXVIII. | Domingues Villena".

"Tabula Magnificarum Dominicus Villena. | [left column] Primus Tonus | Secundus tonus | Tertius tonus | Quartus tonus | [right column] Quintus tonus | Sextus tonus | Septimus tonus | Octauus tonus".

The book is dedicated to Melchor de Saavedra, a captain of Charles V in Milan and the dedication also mentions Pedro de Prado at the service of Fernando Gonzaga.

Submission’s author: 
fl. Milán, 1548

Details

Birth date: 
16/1 (?)
Death date: 
16/2 (1550)
Nationality: 
Submission’s author: 
fl. 1532 - c 1550

Details

Birth date: 
15/2 (?)
Death date: 
15/4
Nationality: 
Periods of service: 
1450-1464 Court of Savoy, singer and organist
1469-1479 Aragonese Court of Naples, singer, composer, scribe
Biography: 

According to Atlas (2001), p. 648: "By August 1469 he [Vincenet] was at the Aragonese court of Naples, where a payroll notice dated 14 August reads: 'To Vinxenet de Enaut, singer of the chapel of His Majesty the King [Ferrante I] viii ducats, for writing and notating viii polyphonic offices for the said chapel, which offices he has delivered to Mossen Pere Brusca [the king's maestro du cappella].' Thus Vincenet was a singer and at least a part-time scribe at the Neapolitan court.... Eight works are attributed to Vincenet, four masses and four secular songs, all stylistically typical of his time.... All four secular works appear in the Mellon chansonnier (US-NH 91), compiled at Naples in the mid-1470s when Vincenet was presumably there. Fortune, par ta cruaulte and Ou doy je secours querir are French rondeaux; the former was Vincenet's most widely disseminated work, and was included in Petrucci's Odhecaton (1501). La pena sin ser sabida is a Spanish canción, a genre perfectly at home at Aragonese Naples. Triste que sperò morendo is problematic...". 

Submission’s author: 
b. Hainaut, Belgium — d. Naples?, before 1480

Details

Birth date: 
16/1(1525)
Death date: 
16/4 (1584)
Nationality: 
Submission’s author: 
Sicily, 1525- Nicosia or Piazza Armerina, 1584

Details

Birth date: 
16/3 (1551-1552)
Death date: 
17/1 (1610)
Nationality: 
Submission’s author: 
Brescia, 1551-1552 — Mantua, V-1610

Details

Birth date: 
16/2 (?)
Death date: 
17/1 (?)
Nationality: 
Periods of service: 
1566 — 1569/70 Catedral de Puebla
1570 — 1575 Catedral de México
Submission’s author: 
Burgos, 16/2 (?) — San Cristóbal de las Casas, 1624 (?)

Details

Birth date: 
16/2 (?)
Death date: 
16/4 (?)
Nationality: 
Locations: 
Submission’s author: 
fl. late 16th century

Details

Birth date: 
18/1 (?)
Death date: 
18/3 (1765)
Nationality: 
Periods of service: 
1738-1765 Monastery of Santa Ana de Ávila (singer and violinist)
Biography: 

According to Alfonso de Vicente (1989), p. 16, "María Antonia Sequeiros y Aymón, cantora y violinista" (singer and violinist), coming from Santiago de Compostela, was professed as a nun in the Monastery of Santa Ana de Ávila in 1739, and she died there in 1765. 

Although the source cited by Vicente refers to this nun musician as María Antonia Sequeiros Aimón, her complete name was María Antonia Vizarro Aimón y Sequeiros, as seen in several documents consulted by María Gembero-Ustárroz in Madrid, Archivo Histórico Nacional de España (E-Mah). The last names of this nun musician appears with variants in the sources: "Vizarro", "Bizarro", or "Pizarro" for the first last name; "Aimón", "Aymón" and "Ymón" for the second last name. She arrived to the Monastery on 27-10-1738, and she was paid as a musician since the 01-11-1738, when she took her religious habits (E-Mah, Libro 521, Gastos y salarios 1737-1739, 13v and 20r).

Submission’s author: 
Santiago de Compostela (A Coruña)?, ? — Ávila, 1765

Details

Nationality: 
References: 

Antonio Vizente de Losada copió el Cantoral polifónico 84 de la Catedral de León (E-L 84) en 1787 con obras de José Ramón Gargallo (†1794) y el Cantoral polifónico 85 (E-L 85) en 1795 con obras anónimas.

Submission’s author: 
fl. 1787-1795

Details

Birth date: 
16/1 (?)
Death date: 
16/3 (?)
Submission’s author: 
fl. c 1540

Details

Birth date: 
16/2 (1533)
Death date: 
16/4 (1580)
Nationality: 
Submission’s author: 
Antwerp, 1533 - Cambrai, Jan 1580

Details

Birth date: 
15/4 (1596)
Death date: 
16/3 (1570)
Nationality: 
Submission’s author: 
Kahla, Thuringia, 1496 - Torgau, 25 March 1570

Details

Birth date: 
15/4 (1485)
Death date: 
16/3 (1551)
Nationality: 
Submission’s author: 
Neuenburg am Rhein, c1485 - Berne, 1551

Details

Birth date: 
15/2
Death date: 
16/1
Nationality: 
Oudenaarde, ca. 1445 — after 1516

Details

Birth date: 
16/2 (1535)
Death date: 
16/4 (1596)
Nationality: 
Submission’s author: 
Flanders, perhaps Ghent, 1535 — Mantua, 6 May 1596

Details

Birth date: 
16/1 (?)
Death date: 
16/3 (?)
Nationality: 
Submission’s author: 
fl. 1554-64

Details

Birth date: 
15/2 (?)
Death date: 
15/4 (?)
Nationality: 
Biography: 

There is no biographical information about Hurtado de Xerez, the composer of two secular pieces in E-Sco 7-1-28. His name indicates that he could come from Jerez de la Frontera in the province of Cádiz; his presence in the manuscript also indicates his possible connection with Seville.  

Submission’s author: 
fl. 15/4

Details

Nationality: 
References: 

Garssias Ximenez de Alfaro probably copied in Spain the manuscript F-Pn 967, a liturgical book with plainchant which includes also polyphony on fols. 23v-30r. See Census-Catalogue, vol. III, p. 17 and DIAMM:  http://www.diamm.ac.uk/jsp/Descriptions?op=SOURCE&sourceKey=2380

Submission’s author: 
fl. 15/4 — 16/1

Details

Birth date: 
17/2 (1640)
Death date: 
17/4 (1696)
Nationality: 
Periods of service: 
1664 — 1675 Catedral de Cuenca
1675 — 1684 Catedral de Sevilla
1684 — 1696 Catedral de Cuenca
Biography: 

He studied in Toledo with Tomás de Micieces and he was chapelmaster at the Cathedral of Cuenca (03-IX-1664 — 1675), Cathedral of Seville (29-IV-1675 — 1684) and again Cathedral of Cuenca (1684 — 1696).

Submission’s author: 
Fuensalida (Toledo), 14-IV-1640 — Cuenca, 26-VI-1696

Details

Birth date: 
16/1 (?)
Death date: 
16/4 (?)
Nationality: 
Locations: 
Submission’s author: 
fl. Tarazona, 16th century

Details

Birth date: 
16/1 (?)
Death date: 
16/3 (1563)
Nationality: 
Submission’s author: 
early 16th century - Paris, 11 March 1563

Details

Birth date: 
17/4
Death date: 
18/2
Nationality: 
Periods of service: 
1716-? Catedral de Cartagena
1711-1731 Catedral de Murcia
1728 (opositor al) Real Colegio Seminario Corpus Christi o del Patriarca
Biography: 

Javier Garbayo en "Zacarías Juan, Francsico", DMEH, vol. 10, p. 1076: "España, siglo XVIII. Maestro de capilla. Ejerció en Cartagena y Murcia. En 1716 era MC en Cartagena y desde allí intervino en la controversia oriinada por la Misa Scala aretina de Francico Valls a favor el músico catalán. No se sabe en qué fecha marchó a Murcia, desde donde emitiría su segundo juicio en la controversia, pero el 12 de agosto de 1728 figura como MC de la catedral de Murcia en la lista de opositores aspirantes a cubrir el magisterio de la capilla del Real Colegio de Corpus Christi en Valencia".

Según Garbayo todas las obras de Zacarías están en Segorbe (E-SEG); no se mencionan los cuatro Magnificat de Zacarías en E-MUc A-9.

Consuelo Prats Redondo, en "Murcia", DMEH, vol. 7, p. 893, menciona este maestro de capilla como "Francisco Juan Zacarías" y su período de servicio en la Catedral de Murcia: 1711-1731.

Submission’s author: 
fl. 1711-1731

Details

Birth date: 
16/3 (1555)
Death date: 
17/2 (1627)
Nationality: 
Submission’s author: 
Pesaro, 11 June 1555 — Fiorenzuola di Focara, near Pesaro, 23-III-1627

Details

Birth date: 
16/3 (?)
Death date: 
17/1 (?)
Nationality: 
Submission’s author: 
Cremona; fl. c1590-97

Details

Birth date: 
16/3 (1551)
Death date: 
16/4 (?)
Nationality: 
Submission’s author: 
Ravenna, 13 Sept 1551 - after 1590

Details

Birth date: 
18/1-2
Death date: 
18/4 (1796)
Nationality: 
References: 

La Biblioteca del Seminario de Málaga conserva un Ms. s.s. procedente de la Colegiata de Antequera (Málaga) con obras anónimas y de José de Zameza, maestro de capilla de la Colegiata de Antequera desde el 20 de julio de 1759 hasta su muerte el 1 de agosto de 1796.

Submission’s author: 
Salinas de Léniz/Leintz-Gatzaga, 18/1-2 — Antequera, Málaga, 1796

Details

Birth date: 
16/3 (1570)
Death date: 
17/1 (1621)
Nationality: 
Submission’s author: 
Treviso, c1570 - after 1621

Details

Birth date: 
16/2 (1545)
Death date: 
16/4 (1591)
Nationality: 
Submission’s author: 
Cesena, c1545 - Praha, 4 Feb 1591

Details

Birth date: 
18/2 (?)
Death date: 
18/4 (?)
Nationality: 
Submission’s author: 
fl. c1760

Details

Birth date: 
16/1 (1517)
Death date: 
16/4 (1590)
Nationality: 
Submission’s author: 
Chioggia, probably 31-I-1517 — Venice, 4-II-1590

Details

Birth date: 
15/4 (?)
Death date: 
16/1 (?)
Biography: 

For the titles and sources of his seven frottolas, wee Grove Music Online <https://www.oxfordmusiconline.com/grovemusic/view/>

Submission’s author: 
fl. ca.1500

Details

Birth date: 
15/4 (?)
Death date: 
16/2 (?)
Submission’s author: 
First half of the 16th century

Details

Birth date: 
16/2 (1537)
Death date: 
16/4 (1592)
Nationality: 
Roma, ca. 1537 — Loreto, 1592

Details

Birth date: 
16/2 (1545)
Death date: 
16/4 (1593)
Nationality: 
Biography: 

Se desconoce el lugar de nacimiento de este compositor; se ha asumido que procede de Zurita (Huesca) debido a su apellido. Sin embargo, las atribuciones "Çorita" a este compositor sugieren que podría proceder de alguna localidad denominada "Zorita", de las que hay al menos diez en España; la más próxima a su lugar de actividad conocida en la Catedral de Tarragona, y especialmente en la región valenciana, es Zorita del Maestrazgo (Castellón), en catalán, Sorita o Sorita de Morella.

References: 

Climent's article, "La música en Valencia durante el siglo XVII", pp. 215 and 217, contains a transcription of two book inventories at the Valencia Cathedral in 1632 and in 1657 that mention a lost book of magnificats by Zorita: "un libre ab cubertes de pergamí ab huit magnificats de Çorita, apuntat de ma" (1632 inventory); "Un libro con Magnificats de Zurita" (1657 inventory).

Llorens's article, "La música española en la segunda mitad del siglo XVI", p. 241, indicates that there is a 'Salve Regina' for five voices by Zorita at Zaragoza (Archivo de la Seo). However, in the Diccionario de la Música Española e Hispanoamericana (DMEH) he doesn't list this work in Zaragoza, but in Valencia, at the Real Colegio Seminario de Corpus Christi (Patriarca).

E-VAcp 20 and E-VAcp 22 contain, respectively, one work by Zorita; according to Llorens in DMEH, a 'Salve Regina' (5vv) and an 'Ave Maria' (4vv).

 

 

Submission’s author: 
Zurita?, Huesca; Sorita?, Castellón, ca. 1545 — Tarragona, ca. 1593

Details

Birth date: 
16/2 (1550)
Death date: 
17/1 (1615)
Nationality: 
Submission’s author: 
Brescia, ? c1540-60 - after 1615

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