Navigation (people):

Ceballos [Çavallos, Cevallos, Zaballos, Zavallos], Rodrigo de

Birth and death dates: 
Aracena, Huelva, ca. 1525-30 — Granada, 1581
Birth date: 
16/1-2 (1525-30)
Death date: 
16/4 (1581)

En el "Die Musik in Geschichte und Gegenwart. Allgemeine Enzyklopädie der Musik" hay una errata que indica que murió en el año 1591.

List of works

Source: E-Bbc 1166/1967
Work ID Title Ascription MS / Print Date
E-Bbc 1967/1166 (49v-50r) Dixit Dominus Anon. MS
E-Bbc 1967/1166 (57v-58r) Dixit Dominus Anon. MS
Source: E-Bbc 0859
Work ID Title Ascription MS / Print Date
E-Bbc 859 (147v-156r) Missa 3 toni Anon. MS
Source: E-E 02
Work ID Title Ascription MS / Print Date
E-E 02 (58v-59r) Exaudiat Dominus Zaballos MS 17/1 (1604)
Source: E-E 04
Work ID Title Ascription MS / Print Date
E-E 04 (62v-63r) Feria IV Cinerum Rodericus Zaballos MS 17/1
Source: E-E 07
Work ID Title Ascription MS / Print Date
E-E 07 (52v-56r) Inter vestibulum Zaballos MS 18/4 (1781)
Source: E-GRc 1
Work ID Title Ascription MS / Print Date
E-GRc 1 (48v-50r) Virgo Dei Genitrix Anon. MS 18/(1-4)
Source: E-GU 1
Work ID Title Ascription MS / Print Date
E-GU 1 (103v-104r) Benedicamus Domino Cavallos MS 17/1-3
E-GU 1 (48v-50r) Aurea luce Ceballos MS 17/1-3
E-GU 1 (72v-74r) Hostis Herodes Ceballos MS 17/1-3
E-GU 1 (86v-88r) Pange lingua Cevallos MS 17/1-3
E-GU 1 (88v-95r) Magnificat Cavallos MS 17/1-3
Source: E-Sc 01
Work ID Title Ascription MS / Print Date
E-Sc 01 (21v-25r) Salve Regina Roderice ceuallos MS 16/3 (1550 - 1554)
E-Sc 01 (87v-91r) Hortus conclusus Roderice ceuallos MS 16/3 (1550-1554)
E-Sc 01 (91v-93r) Ego quasi vitis fructificavi Roderice ceuallos MS 16/3 (1550-1554)
E-Sc 01 (93v-95r) Exaltata es Roderice ceuallos MS 16/3 (1550-1554)
E-Sc 01 (95v-96r) Deo dicamus gratias Roderice ceuallos MS 16/3 (1550-1554)
Source: E-V 17
Work ID Title Ascription MS / Print Date
E-V 17 (5v-6r) Cuán bien aventurado Cevallos MS 16/4-17/1
Source: MEX-Mc 10
Work ID Title Ascription MS / Print Date
MEX-Mc 10A (62v-66r) Salve Regina Anon. MS 18/1-2 (1700-1731)

Inventories for composer



Journal volume and issue: 
Range of pages: 
Subject location: 
Type of publication: 
Añadir compositores/nombres: Gabriel Fernández, Francisco Sánchez, Juan García, Diego Sánchez.


Range of pages: 
vol. 1, 189-287
Type of publication: 

This article presents a list of works and sources for the following composers: Sebastián Aguilera de Heredia, Pere Alberch Vila, Jerónimo de Aliseda, Santos de Aliseda, Luis de Aranda, Ginés de Boluda, Joan Brudieu, Rodrigo de Ceballos, Bernardo Clavijo del Castillo, Ambrosio Cotes, Juan Esquivel de Barahona, Mateo Flecha, "el Joven", Francisco Guerrero, Pedro Guerrero, Fernando de las Infantas, Alfonso Lobo de Borja, Francisco de Montanos, Juan Navarro, Diego Ortiz, Ginés Pérez, Sebastián Raval, Melchor Robledo, Felipe Rogier, Pedro Rimonte, Alonso de Tejeda, Juan Vázquez, Tomás Luis de Victoria, Andrés de Villalar y Nicasio Zorita, así como de "El 'Cançoner' de Gandía del siglo XVI. There are other lists of instrumental works and contents of music treatises. 



Subject genre: 
Type of publication: 

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.



Range of pages: 
vol. 3, 456-457
Type of publication: 
Language of the publication: 
Last modified: Javier Marín-López - 13 Nov 2017

How to cite

Emilio Ros-Fábregas, Javier Marín-López "Ceballos [Çavallos, Cevallos, Zaballos, Zavallos], Rodrigo de", Books of Hispanic Polyphony, ed. E. Ros-Fábregas (accession date: 22 Jan 2019),