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Vivanco, Sebastián de

List of works

Source: E-GU 1
Work ID Title Ascription MS / Print Date
E-GU 1 (Av-Cr) Missa Tu es vas electionis [K, G] Mo bivanco MS 17/1-3
Source: E-GU 2
Work ID Title Ascription MS / Print Date
E-GU 2 (246v-253r) Missa de Feria [K, S, A] Mo. Bivanco MS 17/1-3
E-GU 2 (249v-251r) Petite et accipietis M.A.G. SebsT. D. bivanco MS 17/1-3
E-GU 2 (255r-261r) Regem qui omnia Vivanco MS 17/1-3
E-GU 2 (260v-263r) Parce mihi Domine Vivanco MS 17/1-3
E-GU 2 (263v-272r) Missa de Requiem Sebastian de Vivanco MS
E-GU 2 (272v-276r) Circumdederunt me doloris Vivanco MS 17/1-3
E-GU 2 (276v-278r) De profundis Maestro Vivanco MS 17/1-3
E-GU 2 (280r-281r) Miserere Vivanco MS 17/1-3
E-GU 2 (282v-284r) In manus tuas Domine Mo. Vivanco MS 17/1-3
E-GU 2 (284v-289r) Vexilla regis Maestro Vivanco MS 17/1-3
E-GU 2 (289v-290r) Vexilla regis Mo. Vivanco MS 17/1-3
E-GU 2 (290v-292r) Ante diem festum paschae Vivanco MS 17/1-3
E-GU 2 (293v-301r) Lamentatione Hieremiae Mo. Bivanco MS 17/1-3
E-GU 2 (301v-306r) Lamentatione Hieremiae Vivanco MS 17/1-3
E-GU 2 (306v-312r) Lamentatione Hieremiae Vivanco MS 17/1-3
E-GU 2 (313v-316r) Christus factus est Vivanco MS 17/1-3
Source: E-SA 10 [RISM V2251]
Work ID Title Ascription MS / Print Date
E-SA (214-217) O Domine Jesu Christe Print 17/1 (1610)
E-SA (284-287) Quae est ista Print 17/1 (1610)
E-SA (312-319) Veni dilecte mi Print 17/1 (1610)
Source: E-SA 01
Work ID Title Ascription MS / Print Date
E-SA 01 (100v-101r) Et vitam venturi MS 16/4-17/1
E-SA 01 (101v-102r) Et incarnatus est MS 16/4-17/1
E-SA 01 (102v-103r) Et incarnatus est MS 16/4-17/1
E-SA 01 (103v-104r) Et incarnatus est MS 16/4-17/1
E-SA 01 (104v-105r) Et incarnatus est MS 16/4-17/1
E-SA 01 (105v-107r) Asperges me MS 16/4-17/1
E-SA 01 (107v-109r) Vidi aquam MS 16/4-17/1
E-SA 01 (10v-12r) Veni Sponsa Christi MS 16/4-17/1
E-SA 01 (110v-115r) Lamentatio. Aleph- Ego vir videns Mº Biuanco MS 16/4-17/1
E-SA 01 (13v-16) Aperi oculos tuos MS 16/4-17/1
E-SA 01 (16v-19r) Virgo benedicta MS 16/4-17/1
E-SA 01 (19v-[21r]) O quam suavis MS 16/4-17/1
E-SA 01 (23v-25r) Simile est regnum MS 16/4-17/1
E-SA 01 (25v-27r) Cum turba plurima MS 16/4-17/1
E-SA 01 (27v-29r) Ecce ascendimus Jerosolyman MS 16/4-17/1
E-SA 01 (29v-31r) Cum jejunatis MS 16/4-17/1
E-SA 01 (31v-33r) Diligite inimicos vestros MS 16/4-17/1
E-SA 01 (33v-35r) Ductus est Jesus MS 16/4-17/1
E-SA 01 (35v-37r) Accesserunt ad Jesum Sebastianus Biuanco MS 16/4-17/1
E-SA 01 (37v-39r) Erat autem quidam homo Sebastianus Biuanco MS 16/4-17/1
E-SA 01 (39v-41r) Asumpsit Jesus Petrum Sebastianus Biuanco MS 16/4-17/1
E-SA 01 (41v-43r) Locutus est Jesus Sebastianus Biuanco MS 16/4-17/1
E-SA 01 (43v-45r) Ecce ascendimus Jerosolyman Sebastian Biuanco MS 16/4-17/1
E-SA 01 (45v-47r) Novissime autem Sebastian Biuanco MS 16/4-17/1
E-SA 01 (47v-49r) Erat Dominus Jesus Sebastianus Biuanco MS 16/4-17/1
E-SA 01 (49v-51r) Hypocritae bene prophetavit Sebastiano Biuanco MS 16/4-17/1
E-SA 01 (51v-53r) Venit mulier de Samaria Sebastianus Biuanco MS 16/4-17/1
E-SA 01 (53v-55r) Accepit ergo Jesus Sebastianus Biuanco MS 16/4-17/1
E-SA 01 (55v-57r) Praeteriens Jesus Sebastian Biuanco MS 16/4-17/1
Source: E-SA 03
Work ID Title Ascription MS / Print Date
E-SA 01 (41v-42r) Orantibus in loco isto MS 18/1 (1720)

Pages

Works based on his music and composers who used his music

Text incipit Cantus firmus / Title Ascription Attribution
E-GU 1 (Av-Cr) Kyrie Mo bivanco Vivanco, Sebastián de

Documentation

Document ID (Date) Title of the document
17/2 (1632-05-24) Inventario del Archivo de Música de la Catedral de Valladolid de Michoacán, 1632
18/3 (1770-1774) Testimonio del inventario de música que está a mi cargo [Mateo Tollis de la Roca]. [Sección cuarta, fols. 54r-56v]. Libretes que tiene esta Santa Iglesia para su servicio en los días que no hay instrumentos, y es al tenor siguiente:
18/1 (1712-09-22) Año de 1712. Inventario de los Libros del Choro que se hizo por el señor Doctor D. Gerónimo López de Arbizu, chantre de esta Santa Iglesia, en virtud de comisión que para ello se de le dio por el Ilustre Señor Venerable Deán y Cabildo sede vacante de dicha Santa Iglesia. 3 fs. [rúbrica]

Bibliography

Details

Subject genre: 
Type of publication: 
Abstract: 

Spanish composers working during the second half of the sixteenth century capitalized on the generic parameters of the motet to make it an important and persuasive medium for the expression of orthodox Spanish religiosity. A survey of the motet collections printed between 1555 and 1610 by such peninsular composers as Francisco Guerrero, Sebastian de Vivanco, and Juan Esquivel de Barrahona, together with manuscripts containing motets by Rodrigo de Ceballos and Juan Navarro, reveals several unique characteristics of the Spanish motet repertory. Nearly every composer included a cycle of motets for the Sundays of Lent and Sundays of Septuagesima, and several texts addressing the Virgin Mary were important as well. Spanish motet collections all follow Guerrero's distinction between devotional and liturgical motets, where motets on New Testament texts were composed for four voices, while motets praising the saints, the Virgin Mary, or addressing other devotional topics, used larger textures. Newly consulted archival sources from Spanish cathedrals show that the motet was performed in a wide variety of public ritual contexts, including the Mass, processions, and the Salve Service, so that it became an important voice in the development of Spanish religiosity during the second half of the sixteenth-century. Close readings of motets for Lent and the Virgin Mary reveal that composers used a wide array of musical conventions in order to express the important doctrinal issues embedded in motet texts. Sixteenth century sermons, theological treatises, religious paintings and sacred poetry, when read alongside motets, support the view that the motet took part in an orthodox and uniquely Spanish expression of Catholicism. In the case of motets for Septuagesima and Lent, composers looked to texts which sixteenth century preachers explicated as warnings against vice, and lessons in virtue. Marian motets, on the other hand, used texts that symbolically expressed the Spanish enthusiasm for the controversial doctrine of the Immaculate Conception. With music that highlighted exegetically important portions of the text with clear, affective gestures, Spanish composers joined in a tradition of religious rhetoric and oratory that arose in the orthodox religious climate of Counter Reformation Spain.

1997

Details

Ed. / Coord.: 
Range of pages: 
Vol. 26, 843
Subject composer: 
Type of publication: 
2001

Details

Ed. / Coord.: 
Range of pages: 
4-22
City and publisher: 
Online access: 

https://www.academia.edu/31856042/Sancti_et_Justi._Sebastián_de_Vivanco_Motecta_1610_._Capilla_Flamenca_and_Oltremontano_Dirk_Snellings_director

Subject composer: 
Subject genre: 
Type of publication: 
Music books: 
Annotation: 
Text translate into English, pp. 23-38
Language of the publication: 
2016
Last modified: Javier Marín-López - 13 Nov 2017

How to cite

Emilio Ros-Fábregas, , Andrea Puentes-Blanco, , Javier Marín-López, "Vivanco, Sebastián de", Books of Hispanic Polyphony, ed. E. Ros-Fábregas (accession date: 23 Mar 2019), https://hispanicpolyphony.eu/person/13485