Navigation (Type of musician)

instrumentist (bajón)

List of persons

Displaying 1 - 10 of 11

Details

Birth date: 
16/4 (1591)
Death date: 
17/2 (1646)
Nationality: 
Biography: 

Regarding Eugenia Clara and her sister Clara Eugenia, also a nun musician in the Monastery of La Encarnación in Ávila, Alfonso de Vicente (1989), p. 14, annotated: "Otras dos hermanas son recibidas en las mismas circunstancias ('por estos instrumentos las recibieron de valde en el convento de la Encarnación'): doña Eugenia Clara (1591-1646), que tocaba el bajón, y doña Clara Eugenia († 1650), organista y arpista".

Submission’s author: 
1591 — 1646

Details

Birth date: 
16/3
Death date: 
17/2 (1629)
Nationality: 
Periods of service: 
1595?/12-VII-1596—3-IV-1597, 18-I-1598—30-IX-1598: Guatemala Cathedral, master of chant of the mozos de coro
4-I-1598—1603: Colegio Seminario of Nuestra Señora de la Asunción of Guatemala, colegial and vicerrector
1601: Guatemala Cathedral, singer
1602—1603: Guatemala Cathedral, bassoonist
1603—?: Colegio Seminario of Nuestra Señora de la Asunción of Guatemala, rector
8-V-1603—5-VII-1606: Guatemala Cathedral, chapelmaster
1605: Guatemala Cathedral, chaplain
19-IX-1606—ca. 18-IX-1629: Puebla Cathedral, chapelmaster
Biography: 

Since the publications of Robert Stevenson (in particular his seminal book Renaissance and Baroque Musical Sources in the Americas, 1970), most scholars agreed in that the Gaspar Fernandes listed as a singer in the cathedral of Évora, Portugal, in the 1590s was the same person as the Gaspar Fernández who was hired as chapelmaster first in Guatemala Cathedral and later in Puebla Cathedral. However, documentation located by Omar Morales (2013) indicates that the singer Gaspar Fernandes “de Évora” cannot be identified with the Gaspar Fernández documented in Guatemala and Puebla, whose period of service in the Guatemalan cathedral, since at least 1596, coincides with the presence of the singer Gaspar Fernandes “de Évora” in that Portuguese cathedral in 1599. They are clearly two different musicians.

Submission’s author: 
Province of Guatemala?, 1563/1571 — Puebla, México, ca. 18-IX-1629

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

Details

Birth date: 
17/2 (?)
Death date: 
18/1 (?)
Nationality: 
Periods of service: 
1654- Monastery of Santa Ana de Ávila ("bajona")
Biography: 

According to Alfonso de Vicente (1989), p. 16, Manuela de Jesús, "bajona" (bassoonist), born in Ávila, was professed as a nun in the Monastery of Santa Ana de Ávila in1654.

Submission’s author: 
b. Ávila, fl. 1654 — Ávila, ?

Details

Birth date: 
17/1 (1614)
Death date: 
17/3 (1674)
Periods of service: 
1636 — 1639 Catedral de México
1641 — 1654 Catedral de Puebla
1654 — 1674 Catedral de México
Submission’s author: 
México D.F., 7-IV-1614 — México D.F., 18-I-1674

Details

Birth date: 
17/4 (?)
Death date: 
18/2 (1747)
Nationality: 
Periods of service: 
ca.1702-1747 Monastery of Santa Ana de Ávila ("bajona" and "violón").
Biography: 

According to Alfonso de Vicente (1989), p. 16, "Teresa Dionisia Mathee de Vedoya, bajona y violón" (bassoonist and violon instrumentist), born in Palencia, was professed as a nun in the Monastery of Santa Ana de Ávila in 1702, and she died there in 1747.

Submission’s author: 
Palencia, ? — Ávila, 1747)

Details

Birth date: 
18/1 (1725)
Death date: 
18/4 (1795)
Nationality: 
Periods of service: 
1733-1741 Catedral de Granada (seise)
1741-1777 Catedral de Granada (bajonista)
1777-1795 Catedral de Granada (maestro de capilla)
Submission’s author: 
Granada?, ca. 1725 - Granada, 14-V-1795

Details

Birth date: 
17/1 (1605)
Death date: 
17/2 (?)
Nationality: 
Periods of service: 
1628-1630 Chapel of Archduke Leopold [V] of Austria, Count of Tirol (Bassoonist)
References: 

Bartolomé de Selma Salaverde was probably the son (or brother) of Antonio de Selma Salaverde (ca. 1585-Madrid, 1646?); at least Antonio is known to have been the son of Bartolomé de Selma (b. Catalonia late 16th c. - Madrid, 28-VIII-1616), the latter two were well-known makers of wind instruments. The composer Bartolomé de Selma y Salaverde -an Augustinian friar educated in Spain- was also a virtuoso bassoonist, who between 1628 and 1630 played at the chapel of Archduke Leopold of Austria in Innsbruck. His publication Primo libro, canzoni fantasie et correnti da suonar ad una 2. 3. 4. con basso continuo (Venice: Bartolomeo Magni, 1638) was dedicated to Karl Ferdinand, Prince of Poland and Sweden, and Bishop of Wroclaw (Poland). The unique extant exemplar is preserved at the library of the University of Wroclaw.

Submission’s author: 
ca. 1605 - after 1638

Details

Birth date: 
17/3 (?)
Death date: 
18/2
Nationality: 
Periods of service: 
1676—1691 Catedral de Valladolid de Michoacán (organist and bajonero)
1691—1726 Catedral de Valladolid de Michoacán (chapelmaster)
Submission’s author: 
17/3 (?) — Valladolid de Michoacán, after 1732

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