Philip II of Spain founded the great Spanish monastery and royal palace of El Escorial in 1563, promoting within it a musical foundation whose dual function as royal chapel and monastery in the service of a Counter Reformation monarch was unique; this volume explores the performance and composition of liturgical music there from its beginnings to the death of Charles II in 1700. It traces the ways in which music styles and practices responded to the the changing functions of the institution, challenging notions about Spanish musical patronage, scrutinising musical manuscripts, uncovering the biographical details of hundreds of musicians, and examining musical practices. Michael Noone is Professor of Musicology at the University of Hong Kong.
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MusicandMusiciansintheEscorialLiturgyundertheHabsburgs,1563–1700
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MusicandMusiciansintheEscorialLiturgyundertheHabsburgs,1563–1700 MichaelNoone
UNIVERSITYOFROCHESTERPRESS
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Copyright©1998MichaelNoone AllRightsReserved.Exceptaspermittedundercurrentlegislation,nopartofthisworkmaybephotocopied,storedinaretrievalsystem,published,performedin public,adapted,broadcast,transmitted,recorded,orreproducedinanyformorbyanymeans,withoutthepriorpermissionofthecopyrightowner. Firstpublished1998 UniversityofRochesterPress 668Mt.HopeAvenue Rochester,NY14620USA andatP.O.Box9 Woodbridge,SuffolkIP123DF UnitedKingdom ISBN1–878822–71–3 ISSN1071–9989 LibraryofCongressCataloginginPublicationData Noone,MichaelJ.(MichaelJohn),1956– MusicandmusiciansintheEscorialliturgyundertheHabsburgs, 1563–1700/MichaelNoone. p.cm.—(Eastmanstudiesinmusic9,ISSN1071–9989) Includesbibliographicalreferencesandindex. ISBN1–878822–71–3(alk.paper) 1.Churchmusic—Spain—SanLorenzodelEscorial—16thcentury. 2.Churchmusic—Spain—SanLorenzodelEscorial—17thcentury. 3.Churchmusic—Catholicchurch—16thcentury.4.Churchmusic— CatholicChurch—17thcentury.5.Catholicchurch—Spain—San LorenzodelEscorial—Liturgy—History—16thcentury.6.Catholic Church—Spain—SanLorenzodelEscorial—Liturgy—History—17th century.7.Churchmusicians—Spain—SanLorenzodelEscorial. 8.Escorial.I.Title.II.Series. ML3047.8.S26N661998 781.71'2'0094641—dc2197–41721 CIP MN BritishLibraryCataloguinginPublicationData Acataloguerecordforthisbookis availablefromtheBritishLibrary DesignedandtypesetbyCornerstoneCompositionServices PrintedintheUnitedStatesofAmerica Thispublicationisprintedonacidfreepaper
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to SCOTTRUSSELLJOHNSON (1961–1988) and JOHNBERNARDNOONE (1931–1991) INLOVINGMEMORY
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AppendwhatIsay.YesterdayIdidnotknowInés.Append.Addwordstowords.Willthispalacesurvive?Shoulditnotsurvive,letwordsserveasits continuityandreproducethelifethatwaslivedwithinit. —C.Fuentes,TerraNostra
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Contents ListofFigures
viii
ListofTables
ix
ListofMusicalTranscriptions
x
Acknowledgments
xi
ListofAbbreviations
xv
Introduction 1.TheEscorialasStructureandSymbol
15
2.TheReignofPhilipIIfromtheEscorial'sFoundationto1586
33
3.TheReignofPhilipIIfrom1586to1598
69
4.TheReignofPhilipIII(1598to1621)
111
5.TheReignofPhilipIV(1621to1665)
127
6.TheReignofCharlesII(1665to1700)
161
Epilogue
187
Appendixes
1.ManuscriptPolyphonicChoirbooksofEscorialProvenance
191
2.BiographicalNotesonEscorialMusicians
259
3.TranscriptionsofDocuments
297
4.DynasticTableofSpanishRulers,1474to1665
313
5.MusicalTranscriptions
315
SelectedBibliography
356
Index
388
1
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Figures Frontispiece.ClaudioCoello,LaSagradaForma(KingCharlesIIofSpain AdoringtheHost). Figure1.AperspectiverenderingoftheEscorial(westbynorth)fromFrancisco delosSantos,DescripciónbrevedelmonasteriodeS.LorenzoelRealdel Escorial(Madrid,1657).
17
Figure2.CabreradeCórdoba,FilipeSegundo,reydeEspaña(Madrid, 1619):titlepageengravedbyPedroPerret.
25
Figure3.Detailofthebasilicachoir.
57
Figure4.AnengravingofthebasilicachoirfromF.Branvila,Coleccióndelas vistasdelr[ea]lsitiodeS[an]Lorenzo(Madrid,1832).
62
Figure5.OpeningofMartíndeVillanueva'sMisadelosdoblesmaiores. NYorkH861,fols.1v2r.
97
Figure6.MainnaveofthebasilicaduringCorpusChristiprocession.Early nineteenthcenturyengravingbyManuelAlegre(17681815).
115
i
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Tables Table2.1LiturgicalcommemorationsattheEscorial
41
Table2.2SingersattheEscorial,15711586
66
Table2.3CorrectoresdelcantoattheEscorial,15711586
66
Table2.4KeyboardplayersattheEscorial,15711586
66
Table2.5OtherinstrumentalistsattheEscorial,15711586
66
Table2.6ComposersattheEscorial,15711586
66
Table3.1SingersattheEscorial,15861598
106
Table3.2CorrectoresdelcantoattheEscorial,15861598
106
Table3.3KeyboardplayersattheEscorial,15861598
106
Table3.4OtherinstrumentalistsattheEscorial,15861598
108
Table3.5ComposersattheEscorial,15861598
108
Table4.1SingersattheEscorial,15981621
122
Table4.2CorrectoresdelcantoattheEscorial,15981621
124
Table4.3KeyboardplayersattheEscorial,15981621
124
Table4.4OtherinstrumentalistsattheEscorial,15981621
125
Table4.5ComposersattheEscorial,15981621
125
Table5.1SingersattheEscorial,16211665
149
Table5.2CorrectoresdelcantoattheEscorial,16211665
151
Table5.3MaestrosdecapillaattheEscorial,16211665
153
Table5.4KeyboardplayersattheEscorial,16211665
153
Table5.5OtherinstrumentalistsattheEscorial,16211665
155
Table5.6ComposersattheEscorial,16211665
157
Table6.1CensusofmonkmusiciansattheEscorialin1684
168
Table6.2SingersattheEscorial,16651700
178
Table6.3CorrectoresdelcantoattheEscorial,16651700
180
Table6.4MaestrosdecapillaattheEscorial,16651700
181
Table6.5OrganistsattheEscorial,16651700
183
Table6.6OtherinstrumentalistsattheEscorial,16651700
184
Table6.7ComposersattheEscorial,16651700
185
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MusicalTranscriptions 1.MartíndeVillanueva,Misadelosdoblesmaiores(Kyrie,Gloria,and Sanctus)
316
2.PedrodeTafalla,Magnificat
330
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Acknowledgments InthefourteenyearsthathavepassedsincethatwintereveningwhenImetwithIainFenlonatKing'sCollege,Cambridge,andhesuggestedIwriteaboutmusicatthe Escorial,Ihaveincurredmorescholarlyandpersonaldebtsthancanadequatelybeacknowledgedhere.ToFenlon,whosupervisedthedissertationfromwhichthis studygrew,Ireserveaspecialgratitude.Inthecourseofaprojectwhichhasfollowedaratherperipateticcareer,Ihavebenefitedincountlesswaysfromthe assistance,encouragement,andcriticismgenerouslyofferedbyscholars,colleagues,friends,andlovedones.Inparticular,IshouldliketomentionTessKnightonwho, togetherwiththelatePeterleHuray,criticizedanearlydraft.JoséLópezCalomademanysuggestionsandallowedmeaccesstohisuniquelibrary.IsmaelFernández delaCuestademonstratedkindnessandpatienceinourdiscussionsaboutchantandtheliturgy.RobertSnowsharedhisliturgicalexpertise,hisknowledgeofthe entirefieldofIberianpolyphony,andhispricelesscollectionofsources.CarlMannssharedtheresultsofhisunpublishedresearchontheNewYorkHispanicSociety choirbooks.BrunoTurnerrespondedtoavarietyofrequestswithcandor,imagination,andhumor.RobertStevenson'sencouragement,too,hasalwaysbeen appreciated. Ihaveexperiencedsimilargoodfortuneinmycontactswiththemostdistinguishedescorialófilos.P.PaulinoGonzálezOSAnotonlyintroducedmetothebasilica's organs,butalsofacilitatedacloseexaminationofClaudioCoello'spaintingLaSagradaForma.JoséSierraPérez,whoseinspiredorganizationofthefirstsymposium onmusicattheEscorialin1992sawthepremièreperformancesinmoderntimesofsomeofthemusicIhadtranscribedinthecourseofmyresearch,hasalwaysbeen asourceofstimulatingandrobustcriticism.Unfortunately,hisrecentarticleonLaSagradaFormaappearedwhilethisbookwasinthepress,andithasthereforenot beenpossibletotakeintoaccounthisfindingshere.Sotoo,IacknowledgeLuisHernández,whosestudieswillremainimportantcontributionstothefield.Forideas freelyshared,helpgenerouslyoffered,andthehandoffriendshipgraciouslyextended,IamindebtedtoLouisJambou,BegoñaLolo,PaulLaird,DavidCrawford, EmilioCasaresRodicio,andBartonHudson.TheSociedadEspañoladeMusicologíadeservesmythanksforhonoringanearlyversionofthisstudywiththeprizefor theirXIIIConcursoAnualdeInvestigaciónMusicalydeEstudiosMusicológicos(1990). IthankCristinaBordaswhosharedherworkonorganologyandwhoextendedprecioushelpinthetranslationandinterpretationofsomeparticularlyintractable descriptionsofinstruments.LuisRobledopresentedmewithanunpublishedtypescriptofhisimportantworkonmusicinthecourtofPhilipII.WolfgangFreisnotonly gavemeacopyofhisdissertationonMorales,butalsorespondedto
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dozensofpleasforcounselandadviceonspecificmethodologicalandanalyticalmattersandcommentedonalatedraftofChapter3.BernadetteNelsonresponded withinformationandreferences,andcommentedingreatdetailonalatedraftoftheentirebook.DouglasKirksuppliedmewithacopyofhisdissertationonthe Lermamanuscripts,helpedilluminatemyincompleteunderstandingofmanymattersconcernedwithwindinstruments,andalertedmetooversightsandomissionsinan earlierversionofAppendix1.GretaOlson,alwaysreadywithinformationandideas,sentmeacopyofherunpublishedpaperonNasco'sSt.MatthewPassion. GraysonWagstaffkindlyallowedmetocopyhisdissertationonpolyphonicsettingsoftheOfficiumandMissaprodefunctisbySpanishandLatinAmerican composers.JessieAnnOwenshelpedmesecureacopyofDavidFillingham'sB.A.thesisonMartíndeVillanuevaandcommentedonanearlyversionofapaperI draftedontheNewYorkchoirbooks.KennethKreitnerrespondedtomymanyqueriesconcerningministriles,windinstruments,andmanuscripts.DeborahCrisp andJenniferRowekindlyverifieddetailsofmusicmanuscriptsheldintheEscorialarchive.SteveZohndrewmyattentiontosomeofhisrecentarchivaldiscoveries. BothFrankKennedyandGaryTowneinvitedmetopresentsomeofthefindingspresentedheretoamuchwideraudienceandofferedcommentsandcriticism. InadditiontosharinghisprofoundknowledgeoftheliturgyandGregorianchant,JuanCarlosAsensiohonoredmewithinnumerablekindnesses.CarlosMartínezGil presentedmewithhisunpublishedcatalogueofPastrana'sArchivoParroquial.PabloRodríguezcametotherescuewhenIhaddespairedofeverseeingcertain primaryandsecondarysources.AlfonsodeVicenteallowedmeaprepublicationcopyofhispaperonFranciscoGómezdeSandovalyRojasasamusicalpatron andcommentedonanearlyversionofthisstudy.TheexaminationofPhilipII'spatronageinChapter3owesagreatdealtolivelydiscussionswithIainFenlon,thelate HowardMayerBrown,TessKnighton,WolfgangFreis,LuisRobledo,andLouiseStein. Forhelpwithproblemsofpaleography,orthography,andtranslation,IthankTessKnighton,EmilioRosFábregas,BernadetteNelson,KirstenKennedy,Frances Calvert,PaulMitchell,DeliaGómezdeAgüerodeAcuña,J.HoytRogers,JorgeSánchez,RoyHowat,andRogerHillman.Anotherkindofexpertisewaslentbya numberofperformerswhoseadviceIvalueprofoundly:amongthemIwishespeciallytomentionBrunoTurner,AndrewLawrenceKing,WinsomeEvans,Jennifer Sayre,DouglasKirk,andRichardCheetham.IthankmembersoftheAustralianChamberSingers,whopresentedfirstperformancesinmoderntimesofmusicby severalEscorialcomposers.GeneroussupportfortheirperformanceswassecuredthroughtheinterventionofHisExcellencyJoséLuisPardos,SpanishAmbassador toAustralia,andAntonioSoler,theSpanishConsulGeneralinAustralia.AmbassadorCarlosFérnandezShaw,too,hashonoredmyworkwithsupportandgenuine interest. IhavebeenluckytohaveparticipatedinenergeticexchangeswithdistinguishedHispanistsworkinginnonmusicalfields.SarahNalleandEdwardSullivanboth
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readlatedraftsofsomeofthechaptersandofferedvaluablecriticalinsightsandamuchneedednonmusicologicalperspective.CatherineWilkinsonZerner,George Kubler,andColinSmithwereforthcomingindifferentwaysandatvariousstageswithcriticism,encouragement,andsupport. Iwishtoextendmythanks,too,tothosefriendsandfamilywhoallowedmyworktoinfringeupontheirownlivesinavarietyofoftenunpredictableways:toMary EdmundsandBrendanDoran,whoprovidedhospitalityinMadrid;toClaudioandPenelopeVitaFinziinwhoseLondonhomethefirstdraftwassketched,tothe studentsatCornellUniversity'sTellurideHouse;toBeatriceandthelatePaulBeckett,whoseFundaciónValparaíso,nestledamongalmondandolivegrovesonthe MediterraneancoastinMojácar,providedanunmatchedenvironmentforresearchandwriting;toDeborahCrispandMartínCerónGarcía,whoallowedmeto stretchthedefinitionoffriendshipfarbeyondreasonablelimits;tomyparentsandtothelateScottJohnson. Amongpresentandformercolleagues,mythanksgoespeciallytoRogerCovell,JaneMorrison,andJohnBrothertonattheUniversityofNewSouthWales;toPeter SculthorpeandAnneBoydattheUniversityofSydney,andtoNealZaslawandRebeccaHarrisWarrickatCornellUniversity.ToformerteachersAllanMarettand PeterPlatt,whosedeepcommitmenttoliberalhumanisticscholarshipinitsbroadestsensestandsasanenduringinspiration,Ishouldliketopayspecialtribute.Totwo remarkablewritersandfriends,ErrolLeaScarlettandJohnAraneta,asimilartributebelongs.AuniquekindofinspirationcamefromthemonksoftheBenedictine communityofNewNorcia. Itisapleasuretoacknowledgetheassistanceofthestaffsofthelibrariesandarchivesinwhichmuchofmyresearchwascarriedout.TothearchivistoftheReal BibliotecaofSanLorenzodelEscorial,P.TeodoroAlonsoTurienzo,Iamespeciallygrateful.IacknowledgetheassistanceIreceivedatthefollowinglibrariesand archives:theBibliotecaNacional,theArchivoGeneraldelPalacioReal,andtheArchivoHistóricoNacional,allinMadrid,theArchivoGeneralatSimancas,the ArchivoHistóricoProvincialinToledo,theToledoCathedralArchive,theMuseoParroquialinPastrana,andtheMonasteriodeSantaAnainAvila.IntheUnited States,IwasassistedbyDr.SandraSiderattheHispanicSocietyofAmericainNewYorkCity,byMr.CarlMannsandMr.JerryCallattheRenaissance ManuscriptArchiveattheUniversityofIllinoisatUrbanaChampaign.LenoreCoralandJimCassaroatCornell'smusiclibrarymaderesearchajoy.InBritain,Iowe aspecialdebttotheinterlibraryloanstaffoftheCambridgeUniversityLibraryandtoRichardAndrewes,thenofthePendleburyLibrary.Similarthanksgotothe staffsoftheManuscriptReadingRoomoftheBritishLibrary,theFitzwilliamMuseum,andtheRoweLibraryofKing'sCollege,Cambridge.InAustralia,Iwas assistedbythestaffsoftheNationalLibraryofAustraliaandthelibrariesoftheAustralianNationalUniversityandtheCanberraInstituteoftheArts.Mostrecently, theMusicLibraryoftheUniversityofHongKonghasbeenavaluablelifeline.
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IacknowledgetheawardofthreeconsecutivegrantsfromtheJ.B.TrendFundandanotherfromtheWilliamBarclaySquireFund,allofwhichenabledmetotravelto Spainanumberoftimesbetween1983and1985.AFriendsoftheCanberraSchoolofMusicTravelingFellowshipallowedmetospendsomemonthsinCambridge andSpainin1988,andResearchFellowshipsawardedbytheSpanishMinistryofForeignAffairsmadepossiblefurtherjourneystoSpainin1989and1992.Agrant fromtheAlfredS.WhiteTrustallowedmetovisittheUnitedStates.AfellowshipattheFundaciónValparaísoinMojácarprovidedthetimeandspacefor uninterruptedwriting.AgrantfromtheAustralianAcademyoftheHumanitiesenabledafurtherresearchtriptoSpain,andtheawardofaFulbrightFellowshipandan awardfromthePedleyTrustgrantedmetheprivilegeofworkingatCornell.AgrantfromtheProgramforCulturalCooperationbetweenSpain'sMinistryofCulture andNorthAmericanUniversities,whichassiststhepublicationofthisvolume,isacknowledged. IamalsogratefultoRalphLocke,editorofthisbook;toAdelineWong,whotypesetthemusicaltranscriptions;andtoSeanM.CulhaneandLouiseGoldbergofthe UniversityofRochesterPress. Themostprofounddebtsarethosewhichcanneverberepaid;theyareacknowledgedinthededication. HongKong
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Abbreviations ArchivesandLibraries AGP
ArchivoGeneraldelPalacioReal,Madrid
AME
ArchivodelaRealBibliotecadelMonasteriodeElEscorial
LBL
London,BritishLibrary
MBN
Madrid,BibliotecaNacional
NYorkH
NewYork,HispanicSocietyofAmerica
PBN
Paris,BibliothèqueNationale
BibliographicalAbbreviations AC
Actascapitulares,AME,MSs.s.
APS
S.RubioCalzón,Antologíapolifónicasacra2vols.(Madrid,19546)
AnchO
S.RubioCalzón,JuandeAnchieta:OperaOmnia(Guipuzcoa,1980)
BecMus
P.Becquart,MusiciensnéerlandaisàlacourdeMadrid:PhilippeRogier etsonécole(Brussels,1967)
BeniCAM
C.J.deBenito,CatálogodelarchivodemúsicadelEscorialUnpublished, handwrittencatalogue.OriginalinMBN
CD
LaCiudaddeDios(ElEscorial,1881)
CenCat
CensusCatalogueofManuscriptSourcesofPolyphonicMusic1400 1550,RenaissanceManuscriptStudies1,5vols.(NeuhausenStuttgart, 1979,1982,1984,1988)
CerVSP
L.CerveraVera,LaiglesiacolegialdeSanPedroenLerma(Burgos, 1981)
CMM
Corpusmensurabilismusicae(Rome,1947)
Cramer
OfficiumHebdomadaeSanctae,TomásLuisdeVictoria,ed.E.Cramer, MusicologicalStudies,31(Henryville,1982)
CrawSC
D.Crawford,SixteenthCenturyChoirbooksintheArchivioCapitolare atCasaleMonferrato,RenaissanceManuscriptStudies2(Rome,1975)
DHM
DocumentosparalahistoriadelMonasteriodeSanLorenzoelRealde ElEscorial10vols.(Madrid,19161993)
FillFray
D.Fillingham,''FrayMartíndeVillanuevaandMusicatElEscorial"(B.A. thesis,BrandeisUniversity,1980)
Pagexvi
GuerreroO
FranciscoGuerreroOperaOmniaed.H.Anglés,Monumentosdela músicaespañola(Rome,1955)
HierseKat380
K.Hiersemann,Katalog380(Leipzig,n.d.[1910?])
HierseKat392
K.Hiersemann,Katalog392(Leipzig,1911)
HierseKat419
K.Hiersemann,Katalog419(Leipzig,1913)
HSMS
F.Pedrell,Hispaniaescholamusicasacra,8vols.(Barcelona,18941898)
IglesiasPol
A.IglesiasyJ.LópezCobos,PolifoníadelaSantaIglesiaCatedral BasilicadeCuenca(Cuenca,1968)
KirkChur
D.Kirk,"ChurchingtheShawmsinRenaissanceSpain:Lerma,Archivode SanPedroMs.Mus.1"(Ph.D.dissertation,McGillUniversity,1993)
KirschQM
W.Kirsch,DieQuellendermehrstimmigenMagnificatundTeDeum VertonungenbiszurMittedes16.Jahrhunderts(Tutzing,1966)
KrautH
F.Krautwurst,"DieHeilsbronnerChorbücherderUniversitätsbibliothek Erlangen(Ms473,14)."JahrbuchfürFränkischeLandesforschung25 (1965):273324;27(1967):25382
LSH
H.Eslava(comp.),Lirasacrohispana,10vols.in5(Madrid,[1869])
MarCat
C.MartínezGil,"CatálogodemúsicadelArchivoParroquial(Antigua Colegiata)dePastrana(Guadalajara),"Trabajoparaloscursosdedoctorado delbienio199394deldepartamentodemusicologíadelaUniversidadde Salamanca(1993)
MME
Monumentosdelamúsicaespañola(Rome,1941)
MoralesO
CristóbaldeMoralesOperaOmniaed.H.Anglès,Monumentosdela músicaespañola(Rome,1952)
MS
Manuscript
NewG
TheNewGroveDictionaryofMusicandMusicians,ed.S.Sadie,20vols. (London,1980)
NooneFel
M.Noone,"FelipeII,MartíndeVillanuevayelestilodesornamentado musicaldeElEscorial,"inLamúsicaenelMonasteriodelEscorialActas delSimposium(Madrid,1993)
NooneLib
M.Noone,"LibrosdecorodeElEscorialenlaSociedadHispánicade America,"RealesSitios30(1993):415
OlivCM
A.Olivar,Catàlegdelsmanuscritsdelabibliotecadelmonestirde Montserrat(Montserrat,1977)
PalO
Leoperecomplete,diGiovanniPierluigidaPalestrinaed.R.Casimiri (Rome,19391965,1973)
PennHS
[C.L.Penneyetal.],AHistoryofTheHispanicSocietyofAmerica MuseumandLibrary19041954,withaSurveyoftheCollections(New York,1954)
RobQue
L.Robledo,"QuestionsofPerformancePracticeinPhilipIII'sChapel,"Early Music22(1994):198220
RogO
PhilippeRogierOperaOmnia.Ed.L.Wagner,Corpusmensurabilis musicae61(Rome,1976),3vols.
Pagexvii
RubCat
S.Rubio,CatálogodelarchivodemúsicadelMonasteriodeSan LorenzoelRealdeElEscorial(Cuenca,1976)
SantDesc
FranciscodelosSantos,DescripcióndelRealMonasteriodeSanLorenzo delEscorial,únicamaravilladelmundo(Madrid,1681)
SantDescEng
FranciscodelosSantos,ADescriptionoftheRoyalPalace,and MonasteryofSt.Laurence,CalledtheEscurial,andoftheChapelRoyal ofthePantheon,trans.G.Thompson(London,1760)
SnowRC
R.Snow,TheExtantMusicofRodrigodeCeballosanditsSources DetroitStudiesinMusicBibliography44(Detroit,1980)
StevnsnSCM
R.Stevenson,SpanishCathedralMusicintheGoldenAge(Berkeleyand LosAngeles,1961)
TSM
Tesorosacromusical
ValleTrad
JoséVicenteGonzálezValle,Latradicióndelcantolitúrgicodelapasion enEspaña,MME49(Barcelona,1992)
YouL
L.Youens,"MusicfortheLutheranMassinLeipzig,Universitätsbibliothek, MSThomaskirche49/50"(Ph.D.dissertation,IndianaUniversity,1978)
AbbreviationsUsedinAppendix1 C
Concordances
D
Description
Dis
Discussionofthemanuscriptoritscontents
I
Incipitsofthemusic
L
Listofcontents
M
Mentionofthemanuscript
MS
Manuscript
p
partial
T
Transcriptionofthemusic
Pagexix
EastmanStudiesinMusic
ThePoeticDebussy:ACollectionofHisSongTextsandSelectedLetters (RevisedSecondEdition) EditedbyMargaretG.Cobb ConcertMusic,Rock,andJazzsince1945:EssaysandAnalyticalStudies EditedbyElizabethWestMarvinandRichardHermann MusicandtheOccult:FrenchMusicalPhilosophies,1750–1950 JoscelynGodwin "WanderjahreofaRevolutionist"andOtherEssaysonAmericanMusic ArthurFarwell,editedbyThomasStoner FrenchOrganMusicfromtheRevolutiontoFranckandWidor EditedbyLawrenceArchboldandWilliamJ.Peterson MusicalCreativityinTwentiethCenturyChina:Abing,HisMusicanditsChangingMeanings (includesCD) JonathanP.J.Stock ElliottCarter:CollectedEssaysandLectures,1937–1995 EditedbyJonathanW.Bernard MusicTheoryinConceptandPractice EditedbyJamesM.Baker,DavidW.Beach,andJonathanW.Bernard MusicandMusiciansintheEscorialLiturgyundertheHabsburgs,1563–1700 MichaelNoone
Page1
Introduction Theprospectofthismiracleofgenius,skill,andarchitecture,discouragesanyattempttodescribeit,assurpassingcomprehension;themajestic grandeurofitsappearancesoconfoundsthemind,thatitislostinastonishment,andcanonlyadmirewhatitintendstodelineate.Heresilence,the rhetoricofimagination,isthebestpainting,agreeabletotheexampleofSallust,who,passingoverintoAfrica,inordertoexhibitamorestrikingpicture ofthecelebratedCarthage,wassoamazedatthesightofitsaugustandextensiveruins,thathechoserathertopassitoverinsilence,thaninjureitbya pen,whichheconsideredasunequaltoitsdignity.Whowouldnotbeatalossfortermsproperfordescribingthismiracleofart?Whocouldfind wordspropertoconveyanadequateideaofitssuperbappearance?Thesymmetry,order,andbeauty,whichreignthroughthewholecompositionof thisvaststructure,elevatesandfillsthesoulofthecuriousspectatorwithrapture.Theregularity,loftiness,andworkmanshipofthisunparalleled quadrangle;itssplendidfaçades,andcorrespondingpiazzas;itselevatedtowers,pin[n]acles,cupolas,columns,pyramids,windows,doors,mouldings, globes,andcrosses,areallobjectsofsuchinimitablegrandeur,asimposessilenceontheobserver.1 IhadalwaysbeenfascinatedbytheextraordinaryflorescenceofsacredpolyphonyinSpainduringthereignofPhilipII(b.15271598),andwhenIfirstdecidedto writeonmusicattheEscorial,thePrudentKing'smonasterypalaceseemedtoprovidetheperfectfocusforastudyofthisgreatmusic.EminenthistoriansofPhilipII's reignaswellassuchmusicscholarsasStevensonandAnglésagreedthatPhilipIIwasagreatmusicpatron,andtheworksofsuchGoldenAgepolyphonistsas Morales,Guerrero,Lobo,Palestrina,andVictoriaweretobefoundinabundanceamongtheEscorial'ssurvivingmanuscripts.Iwasexcited,too,bytheprospectof concentratingmyattentionuponamusicalinstitutionratherthan,say,theworksofanindividualcomposeroramusicalgenre,sinceKnighton'srecentworkonmusicat thecourtofFernandoofAragónandLópezCalo'sonthecathedralofGranadahadrevealedhowfruitfulsuchapproachescouldbe.Iftherelationshipsbetweenthe worksofthegreatpolyphonistsofthesiglodeoroandthe 1SantDescEng,17.
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rulerwhopatronizedthemweretobediscoveredanywhere,itwassurelyhereintheveryinstitutionwhichPhilipIIfoundedin1563andtowhichheobsessively devotedthelast35yearsofhislife.ThestrikingparallelsbetweentheEscorialandtheducalbasilicawhichGuglielmoGonzagabeganconstructingataboutthesame timeinMantuaweresuggestive.BothrulersbroughtanintenseanddeeplypersonalinteresttothedetailedimplementationoftheidealsoftheCatholicReformationin theconstructionoftheirdynastictemples.Whilesuchaninterestwasclearlytotheirpoliticaladvantage,italsoenabledthemtoindulgetheirmoreprivatepassionsfor thearts.IainFenlonhasrevealedDukeGuglielmoGonzagatohavebeenaknowledgeableanddiscerningmusicpatronwhoelaboratedahighlydevelopedvisionof theplaceofmusicandtheliturgyintheCatholicstate.2ArmedwiththesuspicionthatPhilipIImighthavebehavedinasimilarmanner,thoughonamuchlargerscale,I setoffforseveralmonths'workinSpanisharchives.Theremypreconceptionsbegan,onebyone,todissolve. TheEscorialisoverwhelming;itwasdesignedtoastound.NoseriousstudentofSpanishculturecanignoreitandthemillionswhovisitityearafteryearareinvariably struckbythesheerweightofitsauthoritativegranitepresence.Indeed,asphilosopherMigueldeUnamunoremarksinabriefbutperceptivereflection,itisasdifficult toleavethisawesomepalaceunimpressedasitistoapproachitwithoutpreconceptions.3 TheearliestwritingsontheEscorial,mostofwhichemanatefromsourcesclosetothemonasteryanditsfounder,areuncompromisinglylaudatory.ForAlonsode Almela,theEscorialwasnothinglessthantheeighthwonderoftheworld.4ForJosédeSigüenza,whosemonumentalworkontheEscorialappearedin1605,itwas anotherTempleofSolomon.5FranciscodelosSantos,inhisDescripciónbrevedelMonasteriodeSanLorenzo,praiseditastheopusmiraculorumorbis,a "houseofGod,"the"gateofheaven,""aheavenonearth,"''thegloryofSpain,andwonderoftheworld."TheviewprojectedbyPhilipII'sSpanishcontemporaries andtheirheirs,however,wasnotonetobesharedbylatergenerations,especiallybynonSpaniardsandProtestants.FrenchdramacriticThéophileGautierfoundthe Escorial"tobethedullestandmostdismalbuildingimaginedforthemortificationoftheirfellowmenbyagloomymonkandsuspicionhauntedtyrant."6Alexandre Dumas,acontemporaryofGautier,found"thesightofitssepulchralimmensitytrulyworthyofthemanwho 2I.A.Fenlon,MusicandPatronageinSixteenthCenturyMantua,2vols.(Cambridge,1980). 3"CasitodoslosqueaverElEscorialsellegan,vanconantojeras,conprejuiciospolíticosoreligiosos,yaenunsentido,yaenelcontrario;vanmásquecomoperegrinosdelarte,
comoprogresistasocomotradicionalistas,comocatólicosocomolibrepensadores.VanabuscarlasombradeFelipeII,malconocidotambiénypeorcomprendido,ysinola encuentran,selafingen."M.deUnamuno,AndanzasyVisionesEspañolas(Madrid,1988),834. 4J.A.deAlmela,"Descripcióndelaoctavamaravilladelmundo,"DHM6:598. 5J.deSigüenza,FundacióndelMonasteriodeElEscorial(Madrid,1963),6.
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chosethedesertforhiscapitalandatombforhispalace." Forhimitevokedterrorratherthanadmiration.WhereastheAmericanhistorianWilliamPrescottfoundthe Escorialtobea"grandbutgloomypile,"8GermanarthistorianCarlJustiobserved"astylewhichitscontemporariestermednoblesimplicityanditsadmirersmajesty, butinwhichtoday'stastefindsonlyarepulsivedryness."9ForUnamuno,whoisquicktocounterwhathecallsJusti'scalumny,theGermanwasincapableof appreciating'architecturalnudity.'ButitremainedforarthistorianRenéTaylor,whotracedametaphoricalpathfromnuditytosadism,todeclarethattheEscorialwas raised"tosubjectthebeholdertoaprocessofvisualflagellation.''10ByproclaimingJusti'scriticismpoliticalratherthanaesthetic,Unamunoisolatedarecurrentfeature ofthehugebodyofwritingsinspiredbytheEscorial.Asasymbol,thebuildingissoboundupwithpolemicaldiscourses,thatitultimatelybecomesinseparablefrom them.Itisalso,asCalvert,Unamuno,andFryobserved,inextricablyboundupwiththepersonofitsfounder.11ExtremeandcontradictoryviewsabouttheEscorial aresolegionthattheyhavebecomethesubjectsofanthologiesintheirownright.12 Poets,playwrights,andnovelists,too,havecontributedtotheEscorial'srenown.ForGerardManleyHopkinsitwasa"piousworkwiththreefoldpurposecrown'd," whileVictorianpoetJohnAddingtonSymondsdubbeditthe"sepulchreofkings."Schiller'sDonCarlos,broughttotheoperaticstagebyVerdi,isperhapsthemost potenttheatricalrealizationofwhathistorianshavecometocalltheleyendanegra.Morerecently,CarlosFuentes,whoseprodigiousTerraNostracollapses chronologi 6T.Gautier,ARomanticinSpain(1843),asquotedinM.Cable,ElEscorial(LondonandNewYork,1971),138. 7A.Dumas,AdventuresinSpain(1846),asquotedinCable,ElEscorial,139. 8W.H.Prescott,HistoryoftheReignofPhilipII,2vols.(London,1903),676. 9C.Justi,"PhilipIIalsKunstfreund,"astranslatedinBaedeker'sSpainandPortugal(LondonandNewYork,1901),109. 10R.Taylor,"FranciscoHurtadoandHisSchool,"TheArtBulletin32(1950):52. 11"Buildings,likepoemsorpictures,reflectthecharacterofthosewhoconceiveandproducethem.TheEscorialmaybelikenedtoadocumentorapaintingrevealingthe
temperament,theaspirations,andthephilosophyofapowerful,sombreand,withal,fascinatingpersonality."A.Calvert,TheEscorial:AHistoricalandDescriptiveAccount(London andNewYork,1907),1."SurelynokinghaseverleftasharperimprintofhisspiritthanPhilipII.Gloomyandbigotedthatspiritmayhavebeen,butitwasnot,Iimagine,withoutakind ofgenius."R.Fry,ASamplerofCastile,asquotedinCable,ElEscorial,148. 12
See,forexample,J.Comas,AntologíadelEscorial(Madrid,1946);J.FradejasLebrero,"ElEscorialenlaliteratura,"Goya20(1958):916;S.AlvarezTurienzo,ElEscorialenlas letrasespañolas(Madrid,1963);Cable,ElEscorial,13860;J.Bury,"ElEscorial.Antologíadeopinionesexpresadasalolargode400años,"inIVCentenariodelMonasteriodeEl Escorial:Feysabiduría—Labiblioteca(PatrimonioNacional,1986).1018;andA.Gallego,"ElEscorial,granpiedralírica,"inLamúsicaenelMonasteriodelEscorial:Actasdel Simposium,EdicionesEscurialenses,ColeccióndelInstitutoEscurialensedeInvestigacionesHistóricasyArtísticas,no.2(Madrid,1993),12343.
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calandgeographicalboundaries,nottomentionthosewhichtraditionallyseparatefictionfromhistoricalwriting,successivelydubbedtheEscorial"aFortressofthe MostHolySacramentoftheEucharist,"a"NecropolisofPrinces,"a''CityoftheDead,"anda"BasilicaofPower."13 InavaluableessayonthechangingfameoftheEscorial,KublertellinglydividesarchitecturalwritingsontheEscorialintothefollowingcategories:Spanishpanegyrics, nineteenthcenturyguidebooks,derogatorywritings,Frencharchitecturalcriticism,andRomanticcriticism.14Ifwritingsaboutthearchitecturalfabricextendasfarback asthebuilding'sorigins,sotoodoesthesearchforitsmeaning.Andifweaddtwentiethcenturywritingstohislist,Kubler'scategoriesarejustasusefulforconsidering interpretationsofthemeaningoftheEscorialastheyareforstudiesofitsconstruction.Indeed,asEirehasrecentlypointedout,thesymbolicdimensionsofthebuilding haveoftenovershadowedthefunctional.TheEscorialis,asEirearguesinoneofthemostimportantrecentcontributionstoitsstudy,"amessagewaitingtobe decoded."15Kubler,whowaseagertoquestionthe"equationbetweenarchitecturalmorphologyandpsychicstates,"locatesthekeytoasixteenthcenturymeaningof theEscorialinJosédeSigüenza'sknowledgeofAugustinianaesthetics.16SomestudieshaveinterpretedtheEscorialasasymbolofvictoryoverProtestantism,asa monumenttotheEmperorCharlesVandtheHabsburgdynasty,andasanexpressionoftheCounterReformationspiritoftheCouncilofTrent.17Othershavefound occulthermeticmeaningsembeddedwithinitsgranitewalls.18RosemarieMulcahy'srecentstudyofthedecorationofthebasilica,whichshecalls"agiganticprayer wheel,"revealstheEscorialasaGesamtkunstwerkwhosecoherenceisowedtoPhilipII'simpositionofacarefullydevisediconographicprogram.19Fernando Checa,too,viewstheentireedificeasanartisticenterprisethat 13C.Fuentes,TerraNostra(GreatBritain,1978),117,768,860. 14G.Kubler,BuildingtheEscorial(Princeton,1982),311. 15C.Eire,FromMadridtoPurgatory:TheArtandCraftofDyinginSixteenthCenturySpain(Cambridge,1995),261. 16Kubler,Building,12534. 17SeeespeciallyC.vonderOstenSacken,ElEscorial:EstudioIconológico(Bilbao,1984);translationofSanLorenzoelRealdeElEscorial:StudienzurBaugeschichteund
Ikonologie(Madrid,1979);M.Calí,DaMichelangeloall'Escorial:Momentideldibattitoreligiosonell'artedelCinquecento(Turin,1980);Idem,DeMiguelAngelaElEscorial (Madrid,1994);andG.delEstal,"Laiglesia,Trento,yElEscorial,"inElEscorial,15631963:IVoCentenario,vol.1(Madrid,1963),467530. 18R.Taylor,"ArchitectureandMagic:ConsiderationsontheIdeaoftheEscorial,"inEssaysintheHistoryofArchitecturePresentedtoRudolfWittkower(NewYork,1967),81109
andA.Yanko,ElEscorialesotéricoyhermético(Madrid,1992). 19R.Mulcahy,TheDecorationoftheRoyalBasilicaofElEscorial(Cambridge,1994);Idem,AlamayorgloriadeDiosyelrey:LadecoracióndelaRealbasílicadelMonasteriode
ElEscorial(Madrid,1992).
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comprehensivelyembracesapluralityoffunctionsandsymbols. ForWilkinson,whoismoreconcernedwithstrictlyarchitecturalquestions,thestyleemployedby architectJuandeHerrera"wastheproductofrepressionandareflectionofthepersonalityofPhilip:anegativeclassicism,aclassicismofabsence."21Inthecourseof examiningJusti'sreadingoftheEscorial,sheasksifanonpoliticaloratleastnonideologicalinterpretationoftheEscorialisevenpossible.Eire'srecentworkfocuses uponthefunctionalandsymboliccentralityofdeathinPhilipII'smonasterypalace.Inanunusuallywiderangingandprovocativestudy,hefindsintheEscoriala "uniquemonumenttothecorrelationofdeathwitharchitecture,sacramentandkingship".22ForEire,theEscorialwasdesignedasa"functionaltheologicallesson:a liturgicalmachinethataffirmedRomanCatholicteachingontherelationshipbetweenspiritualandmaterialrealities."23 ThatPhilipII's"palaceofdeath,"ashecallsit,representsapeculiarlySpanishphenomenon,isaxiomatictoEire'smethodology.Inthis,heechoesUnamuno,who drewaparallelbetweentheSpaniard'sjourneytotheEscorialandtheMoslem'spilgrimagetoMecca,andOrtegayGasset,whofeltthattherewasnobetterplace thantheEscorialinwhichtounderstandtheSpanishessence.Fuentesis,perhapsuncharacteristically,moresuccinct:hehasPhilipIIproclaim"Spainiscontained withinSpain,andSpainisthispalace."24Nowonderthen,thatitwastheclassicalstyleofHerrera'sEscorialwhichGeneralísimoFranciscoFrancochosetorevive aftertheSpanishCivilWar. Eulogizedanddamned,worshippedanddespised,theEscorialcontinuestostandasafulcrumuponwhichsuchenduringdualitiesaschurchandstate,lifeanddeath, publicandprivate,CatholicandProtestant,Spanishandforeign,spiritualandmaterial,nationandempire,fascistanddemocraticarenegotiatedandrenegotiated. DespitethevastbibliographyofwritingsontheEscorial,however,itsmultiplemeaningsremainelusive.AsarthistorianJonathanBrownasserts,"theEscorialisthe greatestarchitecturalprojectofitstime,andalsotheleastunderstood."25This 20"ElMonasteriodeElEscorialeselgranprogramaartísticodelreinadodeFelipeII.Suideageneralessusceptiblededividirseenotrasmenoresqueabarcanlamayoríadelas
cuestionesdetiporeligioso,político,culturalydinásticoqueeledificioresumeensí.ElReyloplanteócomolapiezaclavedeunconjuntodepalaciosyedificacionesenelque debíancaberunaenormepluralidaddefunciones;paraelloloconvirtióenungigantescodepósitodelosmásvariadoselementos,alosquesólounsigloconlamentalidaddelXVI podíadarsentidounitario:restosdesusantepasados,reliquias,libros,objetoslitúrgicosycuadros."F.Checa,FelipeII:Mecenasdelasartes(Madrid,1992),323. 21
C.Wilkinson,JuandeHerrera:ArchitecttoPhilipIIofSpain(London,1993),29.
22Eire,FromMadridtoPurgatory,258. 23Eire,FromMadridtoPurgatory,3389. 24Fuentes,TerraNostra,374. 25J.Brown,"AnotherImageoftheWorld:SpanishArt,15001920,"inJ.H.Elliott(ed.),TheSpanishWorld(NewYork,1991),152.
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isespeciallytrueforourcomprehensionofthefunctionofmusicwithinitsprecincts.ItmustbeclearlystatedattheoutsetthattheEscorialrepresentsanunusual musicalpracticewhichcontrasts,oftenquitesharply,withthatofsuchbetterstudiedmusicalinstitutionsascathedrals,theroyalchapel,andthecourt.Justasthe EscorialwasseparateanddistinctfromtheroyalchapelandthecourtinMadrid,sotoowereitsmusicalandliturgicalpractices. Untilrecently,ourknowledgeofmusicattheEscorialresteduponaseriesofstudiesbySamuelRubio,oneofthemostreveredandeminentofSpanishmusic scholars.AsamemberoftheEscorial'scommunityofAugustiniancanonswhooccupiedsuccessivelythepostsoforganistandmaestrodecapillathereand,after 1972,catedráticoinMadrid'sRoyalConservatory,RubiowasuniquelyqualifiedandideallyplacedtowriteaboutmusicattheEscorial.Myworkisindebted,in particular,toRubio's"LacapillademúsicadelMonasteriodeElEscorial"26andhiscatalogueofthemonastery'smusicalarchive.27Intheformer,Rubiofirstpresented findingswhichhavebeenrefined,revised,andexpandedinthepresentstudy;inthelatterhelaidtheindispensablegroundworkforallsubsequentstudiesofthe Escorialanditsmusic.TwootherscholarscloselyassociatedwiththeEscorial,LuisHernándezandJoséSierra,haveproducedimportantstudiesonvariousaspects ofthemonastery'smusicallife.WhileHernándezhasconcentratedforthemostpartuponmusicintheliturgy,especiallyduringtheJeronymiteperiod,Sierrahas treatedthewritingsofJosédeSigüenza,themusicofAntonioSoler,andtheatermusic.28Thesinglemostimportantpublicationtodealwithoursubjectisthe proceedingsofasymposiumonmusicattheEscorialheldatthemonasteryitselfinSeptember1992.29Itdrawstogetherimportantcontributionsbyaninternational groupofscholarsworkinginthearea.Mystudydoesnotpretendtosupplantanyoftheworkcarriedoutbythese 26LaCiudaddeDios163(1951):59117. 27CatálogodelarchivodemúsicadelMonasteriodeSanLorenzoelRealdeElEscorial(Cuenca,1976). 28L.Hernández,"ElcultodivinoenElEscorial,"inIVCentenariodelMonasteriodeElEscorial:Iglesiaymonarquía—Laliturgia(PatrimonioNacional,1986),3960;idem,"La
liturgiasolemnedelosJerónimosenelmonasteriodeElEscorial,"RealesSitios21/80(1984):6573;idem,"MúsicaycultodivinoenelmonasteriodeElEscorialdurantelaestanciaen éldelaordendeS.Jerónimo,"inLamúsicaenelMonasteriodelEscorial:ActasdelSimposium,75122;idem,(transcription,introduction,notes,andindexes)Músicaycultodivino enelrealmonasteriodeElEscorial(15631837),DHM10,2vols.(ElEscorial,1993);andJ.SierraPérez,AntonioSoler(17291783):Músicaescenica,estudioytranscripciónvol.1 (ElEscorial,1983);idem,''LamúsicadeescenaytonoshumanosenelmonasteriodeElEscorial,"inLamúsicaenelMonasteriodelEscorial:ActasdelSimposium,267319;idem,"La músicaenElEscorial,segúnelP.JosédeSigüenza,"RevistadeMusicología6(1983):497520;idem,"LamúsicaescénicaenElEscorial.ElP.AntonioSolerylatradición calderoniana,"RevistadeMusicología10(1987):56380. 29LamúsicaenelMonasteriodelEscorial:ActasdelSimposium.
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scholars.Itsaimsaremoremodest.Thefourthcentenarycommemorationin1998ofPhilipII'sdeathoffersanidealopportunityforthepublicationofthefirstbookin EnglishtobededicatedtotheEscorial'sliturgicalmusicanditsmusicians. AtanearlystageIdecidedtolimitthisstudytoLatinliturgicalpolyphony,thoughmyintentionwasnevertoprivilegeconcertedsacredmusicoverplainsong,organ music,villancicosandtheatricalmusic.DespiteimportantworkbyRubioandRabanal,30theverylargeseriesofatlassizedplainsongchoirbookswhichPhilipII commissionedfortheEscorialawaitsadetailedstudy.Butthepresentproblemsofaccesswhichmadeitnecessaryformetoexcludethemfromconsiderationhere mustberesolvedbeforethatwillbepossible.DespitearticlesbyRubio,Jambou,andBourligueux,31thereremainsmuchdetailedworktobedoneonorgansand organmusicattheEscorial.Onlywhentheirarticles,togetherwithrecentstudiesbyLairdandSierraonvillancicosandtheatricalmusicrespectively,32arereadin conjunctionwiththestudywhichfollowscanwehopetobeapproachingacomprehensiveunderstandingofmusicandmusiciansattheEscorial.Betweenthese covers,thereaderwillsearchinvainfordetaileddiscussionofmusicalstyleorstudiesofthecontributionofindividualcomposers,exceptinsofarastheseilluminateour understandingofthewayinwhichmusicfunctionswithinthebroaderframeworkoftheinstitutionforwhichitwascomposed.Althoughabodyofmusicpreservedat andcomposedfortheEscorialisthepointfromwhichthisinvestigationbegins,itisnotinitselfthefocusofthestudy.Similarly,manyprecisequestionsareleft unresolved, 30V.Rabanal,LoscantoralesdeElEscorial(ElEscorial,1947);idem,"LoslibroscantoralesdeElEscorial,"CD158(1946):75106;S.Rubio,"LosjerónimosdeElEscorial,elcanto
gregorianoylaliturgia,"CD182(1969):22531;idem,''Lasmelodíasdelos'libroscorales'delMonasteriodelEscorial,"TSM2(1970):677;idem,"Lasmelodíasdelos'libros corales'delMonasteriodelEscorial,"CD182(1969):34372;Rubio,LasmelodíasgregorianasdeloslibroscoralesdelMonasteriodelEscorial(ElEscorial,1982);idem,"La músicareligiosaenElEscorial,"TSM57/629(1974),6773. 31Rubio,"LosórganosdelmonasteriodelEscorial,"TSM3(1971):868;4(1971):11720;3(1972):868;idem,"LosórganosdelmonasteriodeElEscorial,"CD187(1965):46490;idem,
"LosorganistasylamúsicadeórganoenelMonasteriodelEscorial(s.XVII),"TSM60/642(1977):1179;L.Jambou,"Lafuncióndelórganoenlosoficioslitúrgicosdelmonasteriode ElEscorialafinalesdelsigloXVI,"inLamúsicaenelMonasteriodelEscorial:ActasdelSimposium,391426;G.Bourligueux,"LesgrandesorguesduMonastèreroyaledel'Escurial," L'Orgue127(1968):10119. 32P.Laird,"FrayDiegodeTorrijosandtheVillancicoatSanLorenzodelEscorial,16691691"RevistadeMusicología12(1989):45168;idem,"LosvillancicosdelsigloXVIIenel
monasteriodelEscorial"inLamúsicaenelMonasteriodelEscorial:ActasdelSimposium,169234;"TheVillancicoRepertoryatSanLorenzoElRealdelEscorial,ca.1630ca.1715,"2 vols.(Ph.D.diss.,UniversityofNorthCarolinaatChapelHill,1986);Sierra,AntonioSoler(17291783):Músicaescenica,estudioytranscripción;idem,"MonasteriodeElEscorial," Scherzo103(1996):1315;idem,"LamúsicadeescenaytonoshumanosenelmonasteriodeElEscorial";idem,"LamúsicaenElEscorial";andidem,"LamúsicaescénicaenEl Escorial."
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sincetheavailabledataisalltooofteninsufficienttosupportdefinitiveconclusions.Intheprocess,ofcourse,evenmorequestionsareraised. Duringthefirstofmanyvisitstothemonasteryarchive,Iturnedmyattentiontoitscollectionofmanuscriptpolyphonicchoirbooksandwasatonceconfrontedwithan internationalrepertorywhichshowedfewlocalidiosyncrasies.LikeRubioandHernández,IpuzzledoverPhilipII'sprohibitionofpolyphony;Iwonderedhowsucha bancouldbereconciledwithwhatseemedtobetheincontrovertibleevidenceofthepolyphonicchoirbooks,andIconfirmedthedocumentaryevidencethatproved polyphonyofsomekindwasindeedperformednotonlyinPhilipII'spresencebutathisspecificrequest.CarlMannsthenkindlynotifiedmeofthescribal concordancesbetweentheEscorialmanuscriptchoirbooksandchoirbooksheldbytheHispanicSocietyinNewYork.Thefirststudyofthesescribalconcordances waspresentedinathesissubmittedatBrandeisUniversitybyDavidFillingham.TheHispanicSocietychoirbookspreserveuniqueworksbyEscorialcomposerswhich arestylisticallydistinctfromthoseheldatthemonasteryitself.Inattemptingtoexplainthestyleoftheseworks,IsetaboutexaminingreceivednotionsofPhilipII's patronageofmusic.ThewritingofmusicasaustereasthatcomposedbyMartíndeVillanuevaforamagnificentlyendowedprincelyanddynasticchapelinthelate sixteenthcenturydemandsexplanation.Howandwhy,Iwondered,couldPhilipIIhavetolerated,letaloneencouraged,musicofsuchmediocrity?Didhe,infact, tolerateandencourageit?Andwhosetasteswouldajudgmentofmediocrityreflect?FollowingStevenson,whowasthefirstpublishedwritertohaveconnectedthe NewYorkchoirbookswiththoseattheEscorial,IsoughtanexplanationfortheemergenceandcultivationofVillanueva'sconspicuouslyplainmusicalstyleby referencetoPhilipIIandwhatcanbeinferredabouthisvisionoftheplaceofmusicwithintheEscorial'sideologicalframework.Whencomparedwiththeworksof suchillustriouscontemporariesasVictoria,Guerrero,Lobo,orVivanco,Villanueva'smusicmakeslittlesense.Ifviewedwithinthecontextoftheuniqueandtightly wroughtaestheticenvironmentoftheEscorial,however,itemergesasamusicalmanifestationofacoherentideologicalconceptiondevisedbyapatronwhose aestheticchoiceswereinformedbyconsistentandsophisticatedcriteria.Becausecontextissovitaltoanunderstandingofthemusicwhichwascomposedforand performedintheEscorial,IhavedevotedmorespacethaniscustomarytosuchothermanifestationsofPhilipII'sconceptionasarchitecture,painting,anddecorative elements. AttheEscorial,unencumberedbytheenormousweightofinheritedtraditionwhichboreupontheroyalchapel,PhilipIIexerciseddirectandwillfulinfluenceoversuch detailedmusicalmattersasthecopyingofplainsongchoirbooks,theemploymentofsalariedinstrumentalists,andeven,asIargue,thedevelopmentofapolyphonic styleuniquetotheEscorial.InthesamewayasotherRenaissanceprinceslavishlyendowedtheirpalacesandchapels,PhilipIIsparednoexpenseinequippingthe Escorialmusically.Infact,thesumspaidforthecopyingoftheplainsongchoirbooksandthebuildingoftheorganswereunprecedentedanywhereintheworld.Yet he,theworld'smostpowerfulruler,theverymonarchwhocollectedandcommis
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sionedworksbyDürer,Bosch,Moro,Titian,Tintoretto,andVeronese(tonamejustafew),deliberatelychosenottoemployanyoftheconstellationofcelebrated composerslivinginanagewhichhascometoberegardedasperhapsSpanishmusic'smostglorious.AttheEscorial,musicwasanessentialpartofacoherent, minutelyplanned,highlydeveloped,politicallymotivatedCounterReformationstrategydevelopedbythekinghimself.Herethemonarch'smusicaltasteorpreference wasutterlysubordinatetothedemandsofanideologicallydrivenprogramofhisowndevising. InseekingtoexplaintheemergenceandcultivationofthemusicpreservedintheEscorial'smanuscripts,theinstitutionwhichgaverisetotherepertorybecamethe centralfocusofinvestigation.Inonesense,thisstudyisahistoryofthefunctionandpracticeofmusicwithinaninstitution.Initssymbioticcollocationofadiversityof social,political,religious,andsymbolicfunctions,theEscorialstandsasafinelybalancedresponsebyPhilipIItoaspecificsetofobjectivesandmotives.These motives,togetherwiththefunctionsandpurposesoftheinstitutionthatnurturedtherespondingmusicalrepertories,arethesubjectofthefirstchapter.JustasPhilipII createdauniquesynthesisofpolitical,courtly,monastic,dynastic,andsymbolicfunctionsintheEscorial,sotoohepromotedwithinitamusicalfoundationwhosedual functionasroyalchapelandmonasteryintheserviceofaCounterReformationmonarchwasunique.Suchfunctionsdemandedaparticularorganizationalstructure, thedeterminationofwhichposesspecialproblemsforthemusichistorian,sincesheorheisdeniedthekindofprecisionaffordedbytherecordsofpaymentkeptby suchnonmonasticmusicalinstitutionsasroyalchapels,privatehouseholds,cathedrals,andcollegiatechurches.Intheabsenceofpayrollsandregistersofpersonnel, thescholarmustturntoawidevarietyofarchival,economic,liturgical,andhistoricaldocuments,bothpublishedandunpublished,whichilluminate,oftenonly tangentially,themusicallifeoftheinstitution.Inevitably,thesurvivingdocumentationhastosomeextentconditionedtheconclusions,aswellastheshapeandscope,of thestudywhichfollows. Asprimarysources,themanuscriptpolyphonicchoirbooksarefundamentaltoourknowledgeofmusicattheEscorial.Thissetcomprisesfifteenmanuscripts,sevenof whicharelocatedinNewYork,fiveattheEscorialitself,twoinMontserrat,andoneinPastrana.Physicaldescriptions,indexes,andinventoriesofeachofthe manuscriptshavebeenpreparedandappearinAppendix1andanumberofpreviouslyunattributedpieceshavebeenidentifiedthroughaconcordancesearch. WhilethereconstructionoftheEscorial'srepertoryismadepossiblebyourstudyofthemusicmanuscripts,evidenceconcerningthemusicianswhowereresponsible fortheselection,maintenance,andperformanceofthismusicmustbesoughtelsewhere.Thesourcesforthispartofthestudyfallintothreeclasses,thefirstandmost importantofwhichembracesthefollowingprimarymanuscriptsources:themonasterynecrology(commonlyreferredtoastheMemoriassepulcrales),33theActas 33AGP,Legajo1791.Themanuscript,whosefulltitleisLibroymemorialdelosreligiososhiiosprofessosdeestemonasteriodeS.LavrencioelReal,measures370×240mm.and
isboundintwovolumeswithonesystemoffoliation.ItwasacquiredbytheAGPin1854
(footnotecontinuedonnextpage)
Page10 34
35
36
capitulares, thesocalledPruebasdelimpiezadesangre, andtheFamiliareligiosaofFranciscodePaulaRodríguez(1756). Asecondclass,theprimary publishedsources,comprisesthewritingsofcontemporarychroniclersandhistorians.InpartbecauseofitscentralroleinPhilipII'sgovernment,andalsobecauseof thereadyavailabilityofmonkswillingandabletoundertakethetask,theEscorial,especiallyduringitsfounder'sreign,iswellservedbyagoodnumberofsuch sources.TheworksofthemonksJosédeSigüenza,37AntoniodeVillacastín,38JuandeSanJerónimo,39FranciscodelosSantos,40JerónimodeSepúlveda,41andLuis deSantaMaría,42togetherwiththechroniclesofthelayhistorianLuisCabreradeCórdoba,43arethemost (footnotecontinuedfrompreviouspage) onthesuppressionoftheJeronymiteorderbyQueenIsabellaII'sroyaldecreeof11September1854.Itcontains,totranslatefromthemanuscriptit*elf,"asummaryaccountofthe lifeofeachreligious,thedayonwhichheprofessed,thedayonwhichhediedtotheworldandinwhichhewenttorestfromhislaborsandpassedfromthislifetotheother;and whetherhediedinthishouseorinanother."("UnarelaciónsumariadelavidadecadaReligioso,eldíaqueprofessóymurióalmundoyenelquefueadescansardeltravajo,y passódestavidaalaotra.YsimurióenestaCassa,oenotradelaOrden.")Memoriassepulcrales,fol.1v. 34AME,MS:LibrodelosActoscapitularesdesteMonesteriodeSanctLorencioelReal,elqualcomiençadesdelaprimerafundaçióndeldichom*onesterio. 35AGP,Patronato.S.Lorenzo,Legajos1,2,3,4,5,7,31,33,34,35,36,37,38,39,40,41,42,44,45,46,99,136,137,149,1,686,1,690,1,816,and1,995. 36NYorkHMSH380/527:FranciscodePaulaRodríguez,FamiliareligiosadeElRealMonasteriodeS.Lorenzo.Distribuidaporsusclasses. 37J.deSigüenza,HistoriadelaordendeSanJerónimo(Madrid,16001605). 38MemoriasdeFr.AntoniodeVillacastín,ed.J.ZarcoCuevas,DHM1. 39J.deSanJerónimo,LibrodememoriasdesteMonasteriodeSantLorencioelReal,ColeccióndedocumentosinéditosparalahistoriadeEspaña7(Madrid,1845),facs.ed.(Madrid,
1984). 40F.delosSantos,DescripciónbrevedelmonasteriodeS.LorenzoelRealdelEscorial(Madrid,1657),facs.ed.(Madrid,1984);idem,DescripcióndelRealMonasteriodeSan
LorenzodelEscorial,únicamaravilladelmundo(Madrid,1681);idem,TheEscurial;or,aDescriptionofThatWonderoftheWorld.TranslatedintoEnglishbyaServantoftheEarl ofSandwich(London,1671);idem,QvartapartedelahistoriadelaordendeSanGerónimo(Madrid,1680);idem,Sermonesfunerales,enlashonrasdelReynuestroSeñordon FelipeII(Madrid,1601);idem,ADescriptionoftheRoyalPalace,andMonasteryofSt.Laurence,CalledtheEscurial,andoftheChapelRoyalofthePantheon.Translatedfromthe SpanishbyG.Thompson(London,1760);idem,"HistoriadelaSantaFormaqueseveneraenlasacristíadelRealMonasteriodeElEscorialydesutraslación.Funcióncatólicayreal celebradaenelRealMonasteriodeSanLorenzo,únicamaravilladelmundo.Añode1690"DHM6:10137. 41J.deSepúlveda,"HistoriadevariossucesosydelascosasnotablesquehanacaecidoenEspañayotrasnacionesdesdeelañode1584hastaelde1603,"DHM4(Madrid,1924). 42L.deSantaMaría,Octavasagradamenteculta,celebradadeordendelreynuestroseñor,enlaoctavamaravilla(Madrid,1664). 43L.CabreradeCórdoba,HistoriadeFelipeII,reydeEspaña,2vols.(Madrid,18767).
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important.InaclassbyitselfarethebiographicalnotesonSpanishmusiciansthatformapartoftheextraordinarylegacyoftheindefatigablepioneeringmusichistorian FranciscoBarbieri(18231894). ForbiographicalinformationconcerningallmembersoftheEscorial'smonasticcommunity,theMemoriassepulcralesremainsunrivaled.Inaddition,itsupplies,often uniquely,dataabouttheidentitiesandresponsibilitiesofsingers,composers,instrumentalists,andothermusiciansattheEscorialandthusrepresentsasubstantialpart ofthedocumentarybedrockuponwhichtheresultsofthepresentinvestigationarebased.Inthecourseofmyresearch,Itranscribedhundredsofcompleteentries fromtheMemoriassepulcralestogetherwithhundredsofotherdocumentswhichIconsultedinvariousarchivesinSpain,EnglandandtheUSA.Thankstothe appearanceofLuisHernández'sMúsicaycultodivinoenelrealmonasteriodeElEscorial(15631837),alargecorpusofprimarysourcematerialconcernedwith musicandtheliturgyattheEscorialisnowavailableinprintandIhavebeenthusfreedfromtheresponsibilityofpresentingalargedocumentaryappendix.Wherever possible,IreferdirectlytoHernández'stranscriptions.Thoughthereadershouldbewaryofhisindexes,whichareplaguedbytypographicalerrors,histranscriptions, allofwhichIhavecomparedwiththeoriginaldocuments,inspireconfidence.Oneotherimportantpublicationappearedinthecourseofmyworkunderthetitle Biografíasydocumentossobremúsicaymúsicosespañoles.ComprisingtranscriptionsoftheBarbieripapersheldintheBibliotecaNacional,Madrid,itcontainsall kindsofusefulinformationaboutmusicandmusiciansattheEscorialwhichBarbierihadcollectedduringhisexhaustiveresearches. Takentogether,thesesourceshelpidentifythosemusicianswhowereactiveattheEscorialduringtheHabsburgera,theyenableustopiecetogetheranimpressionof thewaysandcontextswithinwhichmusicwasperformedinthemonasterypalace,andtheyprovideagooddealofbiographicalinformationaboutthemusicians themselves.Appendix2comprisesbiographicalsketchesofalltheJeronymitemusicians,atotalof89,whoarenowknowntohavebeenactiveattheEscorialsome timeduringtheperiodbefore1700.ThepictureoftheEscorialmusicalestablishmentwhichemergesisoneofextraordinarystability,wheremonkmusiciansspent theirentirecreativeliveswithinthemonasterywalls.ItisapicturewhichcouldhardlycontrastmorewiththelivesofsuchcomposersasNavarro,Lobo,andVivanco, whosemovements,inStevenson'smemorablewords,"readlikeAmericanExpresstoursofSpain."44ThisisbutoneofthesignificantwaysinwhichtheEscorialdiffers fromsuchotherinstitutionsascathedralsandroyalchapelsinwhichliturgicalmusicwasnurtured.Althoughadetailedcomparisonwithothermusicalinstitutionsisone ofthelongtermgoalstowhichaconsiderationoftheEscorialultimatelypoints,thatisbeyondthescopeofthepresentstudy.Indeed,itwillnotbepossibleto constructa 44R.Stevenson,SpanishCathedralMusicintheGoldenAge(BerkeleyandLosAngeles,1961),240.
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comprehensivestudyofSpanishmusicduringthisperioduntilagoodnumberofnarrowlyfocusedstudieshavebeencompleted. WhilethedocumentsallowtheconfidentreclamationoftheEscorial'smusicalrepertoryandpersonnel,effortstoreconstructthewaysinwhichthosemusicians engagedwiththerepertoryarefrustratedbyalackofdocumentaryprecision.Inseekingtodeterminethecontextswithinwhichliturgicalmusicwasperformedatthe Escorial,allknowncontemporaryaccountsofmusicalperformancehavebeendrawntogetherandcompared.WiththesingleexceptionofClaudioCoello's extraordinarypaintingLaSagradaForma,theseaccountsarewrittenbychroniclersorhistorians.Throughtheexaminationofsuchcontemporarydescriptions,an attempthasbeenmadetomaintainachronologicalnarrative.Sincethenarrativeisdrivenbydocuments,itisnecessarilyselective,oftenhighlyso;itdoesnotpretend tobeinanysenseexhaustive.Contemporarydescriptionsofliturgicalmusicmakingarelinkedagainstthebackgroundofarelativelystaticmonasticroutinethatwas characterizedbyahighdegreeofcontinuityinpersonnel,manyofwhomwereresponsibleformorethanonemusicalfunction.Sincethismethodinvolvestheuseofa widevarietyofsources,noneofwhichwaswritten,ofcourse,withtheintentionofconveyingprecisedataaboutmusicalperformance,anumberofquestions concerningtheuseofmusicaltermsandtheirdefinitionsareraisedandrequiresolutions.Perhapsthemostimportantofthesequestionsistheapparentcontradiction betweenPhilipII'sproscriptionofpolyphonyattheEscorialandseveralauthoritativeeyewitnessaccountsoftheperformanceofpolyphonynotmerelyinthepresence ofPhilipII,butathisspecificrequest. Afurthergroupofsources,bothpublishedandunpublished,andintendedprescriptivelyratherthandescriptively,hasbeencalledupontoilluminatedetailsofliturgical practiceattheEscorial.Despitetheiruncertainstatus—itseemsthattheyaredraftswhichwereneverformallyapproved—theLibrodelascostumbres(1567)45and theincompleteQuadernosdelascostumbres(before1598),46bothinmanuscript,areourmostimportantsourcesfordeterminingliturgicalpracticeduringthereigns ofPhilipIIandPhilipIII.MartíndelaVera'sInstru[c]cióndeeclesiásticos(Madrid,1630)andOrdinarioyceremonial(Madrid,1636)castsimilarlightuponthe reignofPhilipIVaswellasprovidingretrospectiveinsightintothepreviousreigns. Ingeneralterms,thehistoriographyofsixteenthandseventeenthcenturySpanishmusichastakenitsleadlargelyfromtheapproachesadoptedbyhistoriansof Spanishart,thoughatarespectabledistance.WhileSpanishscholarshaveemphasizedlifeandworksstudies,editionsofcomposers'completeworksand,toalesser extent,thepublicationofdocuments,foreignHispanists,especiallyfromtheUnitedStates,havecultivatedthemonographicstudyofmanuscripts,musicalgenres,and individualcomposers.Withoutdenyingtheutilityofsuchapproaches,itisim 45AGP,MSlegajo137:Librodelascostumbres. 46AGP,MSlegajo137:Quadernosdelascostumbres.
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portantthatthelimitationsintrinsictotheirnarrowfocusberecognized.Indeed,thefailuretoperceiveawiderhistoricalperspectivehasimpededtheexplorationand explanationofthemusicofsixteenthandseventeenthcenturySpain.IfthevaluableinsightsofferedbyrecentstudiesofSpanishartandarchitecturebysuchforeign scholarsasBrown,47Elliott,48OstenSacken,49Orso,50Kubler,51Mulcahy,52Wilkinson,53Sullivan,54and,inthemusicalfield,Stein55areanyindication,ourknowledge ofSpanishmusicwillbeimmeasurablyenrichedbytheadoptionofamethodologywhichseekstoresituatethemusicalworkwithinthehistorical,ideological,and institutionalcontextsthatinitiallygaverisetoit.Whilerecognizingthepitfallsofprematuregeneralizationfromanincompletedocumentarybase,theprecociousaimof thisstudyisthepresentationofjustsuchamultifacetedview.Accordingly,thebiographiesofmusicians,thetranscriptionofdocuments,andthestudyofthemusical manuscripts,allofwhich,toagreaterorlesserextent,representtheverifiableunderpinningoftheinvestigation,havebeenrelegatedtoappendixes.Transcriptionsof unpublishedpiecesbyEscorialcomposersMartíndeVillanuevaandPedrodeTafallaappearinAppendix5. Theperiodcoveredbythisstudyhasbeenchosentoembracetheinstitutionfromitsfoundationin1563,throughthereignsofPhilipII,PhilipIII,andPhilipIV,tothe endofthereignofCharlesII.Theterminaldatealmostsuggesteditself:in1699FranciscodelosSantos,celebratedhistorianoftheEscorialandoneofourprincipal informantsonmusicalmatters,died,and1700sawthedeathofCharlesII,thelastoftheSpanishHabsburgs.Chapter1examinesthefunctionsandpurposesofthe Escorialasbothaphysicalstructureandanideologicalsymbol.Chapters2through6arearrangedchronologicallyaccordingtoperiodswhichcoincidewiththereigns ofthefourHabsburgKings.ThroughoutChapters2,3,and4,Ihavesoughttomaintainacontinuousnarrativewhichallowsanassessmentofthemannersinwhich, andtheextenttowhichPhilipIIandPhilipIIIinfluencedthecompositionandpracticeofmusicwithintheEscorial.Thismethodgraduallydisintegrateswiththefading importanceoftheEscorialtoitsfounder'ssuccessors.Indeed,itwaspreciselybecauseoftheEscorial'scloseidentificationwithPhilipIIandhisreignthathis successors,oftenundertheinfluenceofvalidos,soughttodistancethemselvesfromthemausoleumandeverythingitsymbolized.Farfromattemptingathoroughgo 47J.Brown,ImagesandIdeasinSeventeenthCenturySpanishPainting(Princeton,1978). 48J.BrownandJ.H.Elliott,APalaceforaKing:TheBuenRetiroandtheCourtofPhilipIV(NewHaven&London,1980). 49OstenSacken,SanLorenzoelRealdeElEscorial. 50S.Orso,PhilipIVandtheDecorationoftheAlcázarofMadrid(Princeton,1986). 51
Kubler,BuildingtheEscorial.
52Mulcahy,TheDecorationoftheRoyalBasilicaofElEscorial. 53C.Wilkinson,JuandeHerrera.ArchitecttoPhilipIIofSpain(London,1993). 54E.Sullivan,BaroquePaintinginMadrid(Columbia,1986). 55L.Stein,SongsofMortals,DialoguesoftheGods(Oxford,1993)
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inghistoryofmusicalpracticesduringthereignsofPhilipIVandCharlesII,Chapters5and6concentrateuponwelldocumentedmoments.Suchvignettes,brightlylit becausetheywererecordedinwordsoroncanvas,offerusraredetailsthathelpilluminatethedailyroutineofunexceptionalliturgicalmusicmakingwhichremains undocumented. InterestintheEscorialhasgeneratedavast,largelyindigenousbibliographywhich,inrespectofitssheerbulk,inaccessibility,andwildlyvaryingquality,represents somethingofafauxami.TothealmostcompleteneglectoftheEscorialduringthereignsofPhilipIII,PhilipIV,andCharlesII,scholarsandhistorianshave concentratedtheireffortsoverwhelminglyupontheEscorialinthesixteenthcentury.Thisbiasisbutareflectionofthecomparativedearthofgoodhistoriesof seventeenthcenturySpain.InthecaseoftheEscorial,itisalsoareflectionofthecomparativescarcityofprimarysourcematerialemanatingfromtheseventeenth century,which,inturn,isanexpressionoftheinstitution'sdecliningimportanceinthatperiod. BycontrastwiththeEscorial,seriousresearchintothehistoryandtraditionsoftheJeronymiteOrder,whichwassuppressedin1835,hasbarelybegun.Onlytwo studies,thosebyTormoandZarco,56appearedthiscenturybeforetheOrderbegantoreestablish*tselfinSegoviain1957.Thisreestablishment,whichsoweda seedofinterestinitspastfromwithintheOrder'sownranks,boreitsfirstfruitinapioneeringcompilationofthewidelydispersedandofteninaccessiblesourcesfor theOrder'shistory.57Thecelebration,in1973,ofthesixhundredthanniversaryofthefoundingoftheOrdersawthepublicationofacollectionofarticlesunderthe titleStvdiaHieronymiana,58butdespitethemanyavenuesopenedupbyboththisandMadrid'sstudy,onlyonesubstantialsubsequenthistoryhasappeared, Revuelta'sLosJerónimos;itsconcernsareconfinedtotheOrder'sfirstgeneration(13731428).59GiventherudimentarystateofourknowledgeoftheOrder,itis hardlysurprisingthatit*musicaltraditionsandliturgicalpracticesremainaterraincognitathathasbeenexploredbutonce,andthenonlyinapreliminaryway,inan articlebyLópezCalo.60Untilthislacunahasbeenadequatelyfilled,thosefindingspresentedherewhichpertaintopurelyJeronymitecultureandpractice,asdistinct fromcustomsdevelopedatandfortheEscorial,mustremainprovisional.ThemusicalpracticesofSpanishmonasteriesinthesixteenthandseventeenthcenturiesis anotherunchartedterritory.Untilthemusicofatleastonesuchinstitutionhasbeenstudied,itwillnotbepossibletodeterminethepreciseextenttowhichtheEscorial's musicallifeconformedtoatypicallymonasticpatternandtheextenttowhichitwasconditionedbyitsuniquestatus. 56E.TormoyMonzó,LosGerónimos(Madrid,1919);J.ZarcoCuevas,LosJerónimosdeSanLorenzoelRealdeElEscorial(ElEscorial,1930). 57I.deMadrid,"LaordendeSanJerónimoenEspaña,"StudiaMonastica3(1961):41214. 58StvdiaHieronymiana,2vols.(Madrid,1973). 59J.RevueltaSomalo,LosJerónimos(Guadalajara,1982). 60J.LópezCalo,"Lamúsicaenelritoyenlaordenjeronimianos,"StvdiaHieronymiana1(Madrid,1973),12338.
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1— TheEscorialasStructureandSymbol Standingbesidetheflagflutteringinthestormygraybreezeofthedyingnight,lookingouttowardthewindmillspikedfieldsofFlanders,thereamidthe debrisoftheroundfortifiedtowerwithnocompanybutthesilentmoon,ElSeñorutteredthesewords,hisstatementofpurposeinfoundinghis inviolablefortressoftheEucharist:RecognizingthemanyandgreatbeneficeswehavereceivedfromtheLordOurGodandeverydayreceivefrom Him,andrecognizinghowHehasbeencalledupontodirectandguideourdeedsandaffairsinHisholyservice,andtohelpsustainandmaintainthese kingdomswithinHisHolyFaith,whichbydoctrineandexampleofthereligiousservantsofGodisconservedandaugmented,andsothatlikewisethey mayprayandintercedebeforeGodforus,andforourfatherswhocamebeforeandthosewhowillfollowus,andforthegoodofoursouls,andthe continuationofourRoyalEstate,Ishallerectavastedifice,rich,holy,decorative,beneficial,theeighthmarveloftheworldinrankbutthefirstin dignity,aretreatforspiritualandcorporealrecreation,notforvainpastimes,butaplacewhereonemaydevotehimselftoGod,whereeveryday divinepraiseswillbesungwithacontinualchoir,withprayer,alms,silence,study,andletters,toconfoundandshameallhereticsandcruelenemiesof theCatholicChurchandalltheblasphemerswhowithimpietyandtyrannyhaveleveledThytemplesinsomanylands.Amen.1 Grandmotivesstimulateheroicandgenerousmindstograndundertakings;andmajestycastsashadeonitssplendor,whenitsactionsareunequalto itsimpulse.Aseriesofdistinguishedfavors,anincreaseofhappinessandglory,havealwaysanimatedreligiousprincestogiveillustrious demonstrationsoftheirgratitude;andindeedtheyonlymeritthetitleofreligiouswhoseprodigiouseffectsareequaltotheimportanceofthecause. Thusinanastonishingwork,whichcomprehendswhateverantiquityhascelebrated,themostprudentmonarchPhilipIIofferedtoGod,aheavenon earth;totheillustriousSpanishmartyrSt.Laurence,atempleofdivinemagnificence;tohisancestors,aChristianmausoleum;totheHieronymite recluses,anaugusthabitation;andtotheworld,astructure 1Fuentes,TerraNostra,756.
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whichitcanneversufficientlyadmire!Tho',ifthegreatnessofthemotivesbeconsidered,itwasonlybysostupendousamonumentthathisgenerous androyalheartcoulddischargeitselfwithproperdignity.2 Withthesewordsthehistorianand,from1643,maestrodecapillaoftheEscorial,FrayFranciscodelosSantos,openedhisDescripcióndelRealMonasteriode SanLorenzo.Inisolatingherewhatheperceivedtobethefounder'smotives,SantosdemonstratedanacuteawarenessthatourcomprehensionoftheEscorialmust besecurelyfoundeduponanunderstandingofPhilipII.Suchanunderstandingisnolessimportantinexplainingthecompositionandperformanceofliturgicalmusicat theEscorial. At11:00amon23April1563,thefoundationstoneoftheroyalmonasterycompoundofSanLorenzoelRealdeElEscorialwaslaidbythearchitectJuanBautistade Toledobeforeafewworkmenandmonks.3InhisMemorias,JuandeSanJerónimo,oneofthemonkspresentattheceremony,tellsusthatthepsalmAdtelevavi wassaidduringthelayingofthestone.4And,accordingtotheJeronymitehistorianJosédeSigüenza(15441606),therewere"hymnsandprayersinvokingdivine graceandfavor."5TheperformanceofthesepsalmsandhymnsmarksthebeginningofthehistoryoftheperformanceofliturgicalmusicattheEscorial. Theentirecomplexwastocompriseamonastery,basilica,dynasticmausoleum,library,seminary,college,andaroyalpalace.Likeallotheraspectsanddetailsofthis ambitiousproject,thesite,intherockyfoothillsoftheSierradeGuadarrama,1,028metersabovesealeveland48kilometersnorthwestofMadrid,wasdetermined, aftertwoyearsofsearching,byPhilipIIhimself.6FromitsinitialconceptionintheKing'smind,throughalmosteveryaspectofitsrapidconstruction,andinvirtually everydetailoftheoperationsofitsdiversefunctions,theEscorialcanbeshowntobetheclearoutcomeoftheexpressedintentionsofitsfounder.7IftheEscorialis unthinkablewithoutPhilipII,itisalsoinexplicablewithouthim. TheKing'sintentionsinconstructingtheEscorialaresetoutinsixdocuments.Thefirstandmostimportantofthese,theletteroffoundationandendowment,was 2SantDescEng,1. 3J.deSanJerónimo,Librodememorias,23.SeealsoaletterwrittenbythePriorJuandeColmenartoPhilipIIdescribingtheeventinA.PortabalesPichel,Maestrosmayores,
arquitectosyaparejadoresdeElEscorial(Madrid,1952),160,wherehestatesthatittookplaceat10:00am;andFamiliareligiosa,fol.27v. 4SanJerónimo,Librodememorias,24. 5Sigüenza,FundacióndelMonasteriodeElEscorial,24. 6L.CabreradeCórdoba,HistoriadeFelipeII,reydeEspaña(Madrid,18767),372. 7SeeKubler,BuildingtheEscorial;A.BustamanteGarcía,LaOctavamaravilladelmundo(Madrid,1994);andJ.L.CanodeGardoquiyGarcía,LaconstruccióndelMonasteriodeEl
Escorial(Valladolid,1994).
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Figure1 AperspectiverenderingoftheEscorial(westbynorth)from FranciscodelosSantos,Descripciónbrevedelmonasteriode S.LorenzoelRealdelEscorial(Madrid,1657).
issuedon22April1567,afullfouryearsafterthelayingofthefirststone.8Tothissubstantialanddetailedletter,PhilipIImadesubsequentalterationsinroyalwarrants dated1571and1573andinanadditiondated1592.9Furtherexpressionsofthemonarch'swishesconcerningtheEscorialarefoundinPhilipII'slastwilland testament(1594)andthetwocodicils(1597and1598)tothiswill.10Accordingtotheletteroffoundation(1567).PhilipII'sfirstintentionwastoacknowledge publiclythemanydivinebenefitsandblessingswhichhehadreceived,mostnotablythepreservationofhiskingdoms''injusticeandpeace"andthemaintenanceof Catholicismwithinhisvastrealms.11 8"CartadefundaciónydotacióndeSanLorenzoelReal,"ed.J.ZarcoCuevasinDHM2:63138.ThemostrecentandcomprehensivestudyofthisdocumentisF.J.Campos,
"CartadefundaciónydotacióndeSanLorenzoelReal,22IV1567." 9"Primeracédulareal,"publishedinDHM2:14156;"Segundacédulareal,"ibid.,15763;and"[Loquesehadetenerpresenteenlasescriturasdefundaciónydotacióndelmonasterio
deSanLorenzo...],"ibid.,16584. 10"TestamentodelCatólicoReydelasEspañasDonFelipeSegundo...,"ed.J.ZarcoCuevasinDHM2:1137;"CodicilodelCatólicoReydelasEspañasDonFelipeII,otorgadoen
SanLorenzoa23deAgostode1597,"ibid.,3851;and"CodicilodelascosastocantesaSanLorenzoelReal,otorgadoendichom*onasterioporelCatólicoReyDonFelipeII,a veinticincodeagostodemilquinientosnoventayocho,"ibid.,5262. 11"ReconosciendolosmuchosygrandesbeneficiosquedeDiosNuestroSeñorhabemosrescebidoycadadíarescebimos,ycuántoÉlhasidoservidodeencaminaryguiarlos
(footnotecontinuedonnextpage)
Page18
Philip'ssecondintentionwastoprovideaburialplaceforhisfather,theEmperorCharlesV.Inacodiciltothewillwhichhesignedon7September1558,onlytwo weeksbeforehisdeath,theEmperorexpressedthedesiretobeburiedprovisionallyattheJeronymitemonasteryofYuste,inExtremadura,wherehehadlivedin retirementsinceSeptember1556.ItwastheEmperor'swishthathisremainsbeinterredtogetherwiththoseofhisdeceasedwife,theEmpressIsabella,ataplaceto bedeterminedbyPhilipII,solongasthatplacewasnotatGranada,wheretheEmperor'sgrandparentsFerdinandandIsabellawereburied.12TheEmperor's emotionalformalabdicationwasstagedbeforetheStatesGeneralinBrussels,on25October1555,andhediedon21September1558. AsLucianoRubiohaspointedout,theEmperor'swishes,asexpressedinhis1554willwithitsendowmentof30,000Masses,andits1558codicilwithitsdetailed prescriptionofthestatueshewishedtoadornhisimperialsepulcher,impliedtheestablishmentofafoundationmuchmoresubstantialthanameretombor mausoleum.13ItwasthusindirectfulfillmentofCharlesV'swishforthealmostcontinuousintercessionthroughpublicprayeronbehalfoftheEmperor,theroyalfamily, andtheirancestorsandsuccessors,thatthepresenceofacommunityofreligious,withthehugeinfrastructureitimplied,becameessential.Oneoftheprincipal functionsofthisdynasticandnowmonasticmonumentwastobetheconservationandaugmentationoftheCatholicfaith.14Theletteroffoundationcontinued: (footnotecontinuedfrompreviouspage) nuestroshechos,elosnuestrosnegociosasusanctoservicio,ydesostenerymantenerestosnuestrosReinosensusanctaFeeyReligión",DHM2:71. 12"[M]icuerposedeposite,yesteenestedichom*onasterio[Yuste],dondequerriayesmivolu[n]tadquefuessemienterramiento,yquesetraxessedeGranadaelcuerpodela
Emperatriz...Perosinembargotengoporbienderemitillo,comoloremitoalReymihijo,paraqueelhagayordeneloquesobreellolepareciere,contantoquedecualquieramanera quesea,elcuerpodelaEmperatrizyelmioestenjuntos,conformealoqueambosacordamosensuvida,porcuyacausamandèqueestuuiesseenelentretantoendeposito,ynode otramanera,enladichaciudaddeGranada."P.deSandoval,HistoriadelavidayhechosdeCarlosV,2:882.Inhislastwillandtestament,whichwasdraftedinBrusselsanddated6 June1554,CharlesVstatedthathewishedtobeburiedintheCapillaReal,Granada:"nuestrocuerposeasepultadoenlaciudaddeGranada,enlacapillaRealdelosReyesCatholicos degloriosamemorianuestrosabuelos."Ibid.,860.ForacontemporaryexplanationoftheEmperor'schangeofmind,seeFrayJuandelaCruz,Libro4o.delaHistoriadelaOrdendeSt. Hiermo,AME,MS&.II.22,fol.1v,andDHM2:72,n.1. 13L.Rubio,"LaVictoriadeSanQuintín,"414. 14"[E]ledificaryfundariglesiasymonasteriosdondesusanctonombresebendiceyalabaysusanctaFeeconladoctrinayexemplodelosreligiosossiervosdeDiosseconservay
aumenta,yparaqueansimismoseruegueeintercedaDiosNuestroSeñorp*rnoseporlosReyesnuestrosantecesoresesubcesores,eporelbiendenuestrasánimas,ela conservacióndenuestroEstadoReal."DHM2:71.
Page19 FortheseconsiderationswearefoundingandbuildingtheRoyalMonasteryofSanLorenzo,nearthetownoftheEscorial,inthedioceseandarchbishopricofToledo,andwe dedicateittotheblessedSt.Laurenceonaccountofthespecialdevotionwhichwehavetothissaint,andinmemoryofthevictorywhichwegainedonhisfeastday.Wefoundit oftheorderofSt.Jeromebecauseoftheaffectionanddevotionwehave,andtheEmperorandKing,ourfather,hadforthisOrder.Besidesthis,wehavedecidedthatacollege shallalsobefounded,wheretheartsandtheologywillbetaught,andwheresomeboysshallbebroughtupundertheruleofaseminary.15
Intheletteroffoundation,theKingexplainsthededicationtoSt.Lawrenceasanexpressionofthanksforthefavorandvictorieswhichhebeganreceivingonthat saint'sfeastday,10August1557.OnthisdatetheSpanishforces,ledbytheDukeofSavoyandtheCountofEgmont,achievedadecisivevictoryagainsttheFrench atSt.QuentinwhentheycrossedtheborderintoFrancefromFlanders.PhilipII,neverthewarriorthathisfatherwas,arrivedatthebattlefieldsoonafterthevictory, butintimetoaccepttheacclamationofhisjubilanttroops.Byahappycoincidence,St.Lawrence,anearlyChristianmartyr,wasborninSpain.Sojustasthe sovereigndedicatedhisfoundationtoaSpanishsaintwithwhomhecouldassociatehisownbattlevictory,sotoohechosetoentrusthismonasterytoaspecifically Spanishreligiousorder.Thusorthodoxreligion,dynasticlegitimacy,andauthoritativemonarchywereneatlyassociatedwiththeideasofSpainandvictoryinaway thatwouldallowthelaterskillfulexploitationoftheircombinationinapowerfullysymbolicmanner.TheJeronymites,whohadalwaysenjoyedaspecialandprivileged relationshipwiththeSpanishmonarchy,16werechosenbecauseofthe"specialaffectionanddevotion"whichPhilipII,andhisfathertheEmperor,heldfortheOrder.17 The 15"PorlascualesconsideracionesfundamosyedificamoselMonasteriodeSanctLorenzoelReal,cercadelavilladelEscorial,enladiócisiyarzobispadodeToledo,elcual
fundamosadevociónyennombredelbienaventuradoSanctLorenzoporlaparticulardevociónque,comodichoes,tenemosaestegloriososancto,yenmemoriadelamercedy victoriasqueeneldíadesufestividaddeDioscomenzamosarescebir.Eotrosí:lefundamosdelaOrdendeSanctHierónimoporlaparticularafecciónydevociónqueaestaOrden tenemosyletuvoelEmperadoryRey,miseñor.Edemásdeesto:habemosacordadoinstituiryfundarunColegioenqueseenseñenyleanlasArtesySanctaTeología,yquese críeneinstituyanalgunosniñosamaneradeSeminario."DHM2:723. 16TherelationshipbetweentheJeronymiteOrderandtheSpanishmonarchyistracedinTormoyMonzó,LosGerónimos,326andinZarcoCuevas,LosJerónimos,1522and246.
ForPhilipII'sdealingswiththeOrder,seeG.SabauBergamín,"Relaciones." 17Similarsentimentswereexpressedinaletterof16April1561fromPhilipIItotheGeneraloftheJeronymitesinvitingtheOrdertostafftheEscorial.Theletterispub
(footnotecontinuedonnextpage)
Page20
documentsshowthataspartoftheEscorialcompoundPhilipIIintendedtofoundacollegefortertiarystudies,aseminaryforthetrainingofpriests,andahospitaland pharmacytoprovidefortheneedsoftheEscorial'sinhabitants.Therearenofurtherexplicitstatementsofpurposeintheletteroffoundation;theremainderofthe documentisconcernedwiththedetailedimplementationoftheproject. Paragraphs1to15specifytheprovisionofendowmentsforthemaintenanceofthemonasteryandcollege.Paragraphs16to17guaranteethemonastery'sincomein perpetuitythroughamortgageonthepropertyofthecrown.TheburialplaceofCharlesV,thedeterminationofwhichPhilipIIreservedtohimself,wastobethemost importantpartoftheEscorial(18).ThemortalremainsoftheHabsburgsCharlesV,theEmpressIsabella,QueenLeonora,andQueenMarywere,uponcompletion oftheconstruction,tobetransferredtotheEscorial,unlessthefounderweretodecidethattheyshouldbeplacedbeforehandintheprovisionalmonasticchapel (21).18Paragraph22specifieslocationsreservedfortheintermentofkingsandtheirfamilies(thechapelbeneaththecapillamayor),Jeronymitemonks(thelarge cloister,oroneofthesmallercloisters),andservantsandtheirfamilies(anothercloister).Paragraphs23to33prescribeindetailtheendowmentoftheenormous numberofcommemorativeMasses,tobecelebratedforthesoulsofthedeceasedburiedintheEscorialand,inparticular,thesoulsoftheEmperorCharlesVandhis family.Inaddition,theserviceswhichweretobecelebratedoncertainfeastdaysareenumerated(34to38)togetherwiththeliturgicalparaphernaliarequiredby theseservices.Paragraph38containstheonlyspecificmentionofmusic:itconsistsofastronglywordedprohibitionoftheuseofpolyphony,regardlessofthe occasion.Paragraphs41to46dealwiththerulesfortheJeronymitecommunityandtheprovisionofpriestsforthecelebrationofthelargenumberofcommemorative Masses:therewerealwaystohavebeen100monksintheEscorial,ofwhomatleastseventyweretohavebeenpriests.Itwasfurtherdecreedthatthemonksshould prayforthepreservationofthestateandforthefounder'ssoul(46),thatthemonasteryshouldpracticealmsgiving(50),thatthesurroundingvillagesshouldbe providedwiththeservicesofsixconfessorsfromthemonastery(53and54),thatasetofcustoms(costumbres)bedraftedfortheKing'sapproval(56),andthatthe monasterymaynotacceptfinancialsupportfromanyotherthanroyalsources(57).Thereareinstructionsfortheoperationsoftheinfirmary(49),anorderthatnoone butthesovereignmayliveintheroyalapartments(58),andawarningthatthepossessionsofthemonasterymaybesoldonlywithroyalpermission(60).Themonastic communitywastobeboundtotheplaceandthebuildingchosenbyPhilipII(64)andthevillageoftheEscorialwasplaced (footnotecontinuedfrompreviouspage) lishedinSantos,QuartapartedelaHistoriadelaOrdendeSanGerónimo,78,andinS.AlvarezTurienzo,ElEscorialenlasletrasespañolas,356. 18This,infact,ispreciselywhatPhilipIIdid—in1573,someeightyearspriortothecompletionofthebasilica,theroyalremainsweretransferredtotheprovisionalchapel.(See
Chapter2.)
Page21
underthejurisdictionofthemonastery(63).Theestablishmentofthecollege,theseminary,andthehospitalisthesubjectofparagraphs67to86.Thecollege,which wasfounded"inordertoserveGodandtostrengthenhisholyCatholicreligionthroughscienceandteaching,"wasplacedundertheauthorityofthepriorofthe monasteryanditspersonnelweretobeaccommodatedintheabbeyofPárraces,intheprovinceofSegovia,untiltheconstructionofitsbuildingswascompleted. PhilipIIwisheditsfacultytobedrawnnotfromtheJeronymitecommunity,butratherfromthesecularacademicworld.Graduatesofthecollege,however,were expectedtotakeholyordersandtoenterthemonasteryofSanLorenzo.Theseminarywasexpectedtoprovideallthatwasnecessaryforthetemporalwelfare, spiritualtraining,andacademicinstructionofthirtyboysofbetweennineandthirteenyearsofa*ge.Itmustbesignificant,inadocumentofsuchdetail,thatmatters concerningtheactivities,oreventheaccommodation,ofthecourtarealmostentirelyabsent.Ratherthansomegrossoversight,thisapparentlacunastandsasastrong andearlyindicationoftheprioritiesofthemonarchwho,intheageofLuther,styledhimselfthe"mostCatholicKing." Inthelateradditionstotheletteroffoundationandendowment,andinhiswill,PhilipIIexpandedhisplansfortheEscorialanditsfunctions.Intheroyalwarrant (cédulareal)of1571,theKingsetalimitof50onthenumberofmonksintheEscorialcommunityandnotedthatthedraftingofasetofcustoms(costumbres), whichhadbeenorderedintheletteroffoundation,hadnotyetbeenaccomplished.ThePriorwasconsequentlychargedwiththisdraftingand,inthemeantime,the customsoftheancientJeronymitemonasteryofNuestraSeñoradeGuadalupe,especiallyinrespectofthedivineoffice,weretobeobserved.Thatnolessthan fourteenparagraphs(7to21)ofthisfirstroyalwarrantareconcernedwithdetailsofcommemorativeMasseswhichweretobesaidfordeceasedroyalpersons,isa furtherindicationoftheimportanceinthemonarch'smind,oftheEscorialasadynasticmausoleumandahouseofprayer.19Andinboththeroyalwarrantsof1571 and1573,hechargedthemonasteryvicarwiththeresponsibilityfordrawingupatableofallthedaysoftheyearonwhichcommemorativeMassesandother devotionsweretobecelebratedandherequiredthatthesetablesbepostedbothinthevicar'scellandinthesacristy.20Alsoin1573,theEscorialcommunitywas grantedbyroyalprivilegetheexclusiverighttoprintalltheliturgicalbooksnecessaryforthecelebrationofthenewlyapprovedTridentineliturgy.Moreover,the EscorialwasawardedamonopolyonthesaleofthosebooksinCastile,Aragon,andintheNewWorld.21Bythegrant 19DHM2:14651. 20DHM2:16061. 21"Item:sehadehacerotrocapítulo,delamercedydonaciónqueSuMajestadhizoaesteMonasteriodelaimpresiónyventadeloslibrosdelNuevoRezado,ycanto,ytodoslos
demástocantesalOficiodivino,entodosestosreinosdeCastillayenlosdelaCoronadeAragón,yparatraerlosdefueradestosreinos,yparallevarlosalasIndiasyvenderlosy
(footnotecontinuedonnextpage)
Page22
ingofsuchanimportantprivilege,PhilipIIsimultaneouslyinvestedtheEscorialwiththeroleofvanguardofCatholicorthodoxyintheHispanicworldandassertedthe independenceofhisrealmsfromthepowerofRome. Inhislastwillandtestament(1594),22PhilipIIreturned,initsfirstclause,totheEscorial'sfunctionasadynasticmausoleumbydecreeingthattheroyaltombsshould becompletedasquicklyaspossibleandthatprideofplaceshouldbereservedfortheimperialsepulcherofCharlesV.Asforhisowndecease,PhilipIIdirectedthat onthedayofhisdeathandfortheninedaysfollowing,allpriests,assistedbytheunordainedmonks,shouldcelebrateMassesinSanLorenzoforthereposeofthe King'ssoul.Moreover,heendowed30,000Massesforthereposeofhissoul,10,000commemorativeservicesofthePassion,10,000LadyMasses,10,000 RequiemMasses,and2,000Massesforthesoulsinpurgatory.Inaddition,PhilipIIchargedhisheirswithrespectingandexecutingthewillsofhisancestorsand, similarly,hegavehissonandheirtothethroneamandatetopreservehiskingdomintheCatholicfaith. OfthetwocodicilstoPhilipII'swill,thefirst(1597)increasedthemonastery'sendowmentsbyamonthlygrantof8,000ducatsforthecompletionofthetombsand reliquaries.Thesecondcodicil(1598)furtherincreasedthemonastery'sendowmentwitheightlargepropertiesandadepositof50,000ducats.Togetherwiththis increasedincome,thedutiesofthemonasticcommunityaugmented,andthefollowingobligationswereaddedtotheiralreadyheavyburdenofduties:twomonkswere topraycontinuouslybeforethesacrament,twentyfourRequiemMassesweretobecelebratedontheanniversariesofthefounder'sbirthdayandthedateofhisdeath, andanadditionalsixMassesweretobeoffereddailyforthefounder'ssoul. FromthisbriefexaminationofthecontentsofthosedocumentsinwhichPhilipIImadepublichiswishes,aconsistentroyalconceptionofthepurposeandfunctionof theEscorialemerges,anditispossibletodeduceseveralcompatiblemotivesfortheconstructionofthisextraordinaryedifice.First,theEscorialwaserectedin gratitudeforthebenefitsPhiliphadreceivedandforthepreservationofhislandsintheCatholicfaithandinpeaceandjustice.Second,itwasconstructedasatomb forCharlesV,Philiphimself,andforhissuccessors,wherecontinualpublicprayerwouldbeofferedforthesoulsofthoseburiedinthemausoleum.Third,theEscorial wastobeacenterforthepropagationanddisseminationoftheCatholicfaiththroughcontinuousliturgicalprayerinthebasilica,throughthetrainingofpriestsinthe seminary,throughbothsecularandecclesiasticalstudiesinthelibrary,throughsecularuniversity (footnotecontinuedfrompreviouspage) destribuirlosenellas,sinqueotroalgunolopuedahacersinlicenciadestedichom*onasterio,comopareceporunprivilegioReal,dadoenelBosquedeSegoviaa15dejuliode 1573,yporotrosprivilegiosycédulasReales,despachadosenlosañosdeadelante;ytambiéndelacasayaposentosqueporsumandadoseedificaronenSanHierónimode Madridparatenerlosdichoslibros."DHM2:169. 22Foradiplomatictranscriptionofthewillandthecodicilof1597,seeTestamentoyCodicilodelReyDonFelipeII(Madrid,1882).Foranannotatededitionofthewillandthecodicils
of1597and1598,togetherwithanintroduction,seeDHM2:162.
Page23
studiesinthecollege,throughtheprintingandsaleofthenewliturgicalbooks,andthroughthepracticeofcharityinthehospitalandthedistributionofalmstothepoor. ThereislittledocumentaryevidencetosupportthepopularnotionthattheEscorialwasbuilttofulfillanexpiatoryvowmadebyPhilipIItoreplaceachurch supposedlydestroyedatSt.QuentinontheoccasionoftheSpanishvictoryof10August1557.23Nomentionofanyvowappearsintheletteroffoundationorits additions,andtwocontemporarysources,thehistorianandprioroftheEscorialFrayJosédeSigüenzaandPhilipII'sservant,officialbiographerandchroniclerLuis CabreradeCórdoba(15591623),specificallyrefutetheexistenceofanyvow.24JustaspersuasiveisthelackofevidencethatanychurchatSt.Quentineven existed,muchlesswasdestroyed.25Therecanbenodoubt,however,thattheconceptofvictory,ratherthanthecommemorationofaspecificvictoriousbattle,wasin PhilipII'smindbeforetheworksbeganandthatit*ubsequentlybecamearecurrentthemeintheEscorial'siconography.26Itistruethatinhisletterof16April1561,in whichPhilipIIfirstproposedthefoundationofaJeronymitemonasterytotheGeneralofthatOrder,theKingmadespecificreferencetothevictoryofSt.Quentin.27 Butbythetimehecametowritetheletterofendowment(1563),thereferencetoSt.Quentinissubtlyreworkedandexpandedtosignifyvictoryinamuchless localizedandlessmilitarysense.28ThepowerfulsymbolismofstruggleandvictorybecomeslinkedinsteadtotheCatholicworld'sCounterReformationstruggle. 23See,forexample,T.Gautier,VoyageenEspagne,139.Rubio,in"LaVictoriadeSanQuintín,"tracestheideabackasfaras1601,toasourceclosetoPhilipII:A.deHerreray
Tordesillas,HistoriadelmundodeltiempodeFelipeII(Madrid,1601). 24"AquíacabódeconfirmarsenuestroFelipeensusaltosdesignios.EntendiendoclaroelpatrociniodesuSanto,propusodeedificarleuntemplo,sindescenderaotrosparticulares,
aunquenuncahizovotodeello,comoalgunos,sinsaberlobein,hanosadoafirmarysacarloenpúblico."Sigüenza,Fundación,9."DiólenombredeSanLorenzoelRealdelaVitoria, porlaquealcanzóensusantodiayoctavaenFranciaestandosobrelaciudaddeSanQuintin,comoconstadelprincipiodeladotaciónquepondréaquí,paraqueseveafue devocion,noobligaciondevoto,nisatisfaciondedañoporhaberasoladomonasteriocomovulgarmentesetieneyescribeenlaHistoriauniversaldelmundoAntoniodeHerrera, cronistadeSuMajestadCatólica."CabreradeCórdoba.HistoriadeFelipeII,reydeEspaña,371. 25OstenSacken,SanLorenzoelRealdeElEscorial,12.Forafulldiscussionofthisissue,seeRubio,"LaVictoriadeSanQuintín." 26Foradetailedstudy,seeOstenSacken,SanLorenzoelRealdeElEscorial,125ff. 27"ReverendoydevotopadreGeneral:SabedqueenreconocimientodelavictoriaqueNuestroSeñorfueservidodedarmeeldíadeSanLorenzodelañopasadodemilquinientosy
cincuentaysiete,tengodeterminadodeedificarydotarunMonasterio."Foratranscriptionofthefulltext,seeAlvarezTurienzo,ElEscorialenlasletrasespañolas,30. 28"[E]lcualfundamosadevociónyennombredelbienaventuradoSanctLorenzoporlaparticulardevociónque,comodichoes,tenemosaestegloriososancto,yenmemoriadela
mercedyvictoriasqueeneldíadesufestividaddeDioscomenzamosarescebir."DHM2:73.
Page24
IndiscussingPhilipII'sintensesupportfortheCouncilofTrent,whichconcludeditsfinalsessioninthesameyearinwhichconstructionattheEscorialbegan,Sigüenza referstotheEscorialasa"fortressandtemple"wherethe"decreesanddogmas"oftheCouncilofTrentwouldbe''eternallydefended."29Ifnotaselegantly,the sentimentsofsuchbattlerhetoricareneverthelessreinforcedinthebellicoseDefensorFideiengravedbyPedroPerretinthefrontispiecetoPhilipII'sofficial biography(seeFigure1).30Herethewarriorking,armedwithasinglesword,theEscorialinthebackground,isdepicteddefendingorthodoxreligionagainsta multitudeofitshereticalenemies,theexplicitLatinlegendSum[m]aratioproReligionepermittingnomisinterpretation.TheassociationoftheEscorialwiththeidea ofvictoryallowedPhilipIItoshareintheimperialgloryofhisfather,thevictoriouswarrior,withoutactuallyhavingtowagewarandincuritsconsequentexpense.31It istelling,inthisconnection,thatPhilipIIreceivedthenewsofthevictoryofLepanto,theonevictoryofhisreign,whileattendingVespersattheEscorial.32The monasterywaswidelyreferredtoas"SanLorenzodelaVictoria"until1563,whenthenamewasrejectedinfavorof"SanLorenzoelReal."33Twocommemorative medalsissuedin1563and1578havebeeninterpretedbyKublerasan"emphaticcorrectionofanearlymisinterpretation"thatPhilipIIintendedtofoundatthe Escorialatempleofvictory.34Thesymbolsimpressedonthemedalsarenotthoseofmartialvictory,butratherthoseofpietyanddynasty.Inthecontextoftheactual politicalsituations 29"CuarentayseisañossetardóenedificareltemplodeJerusalénlasegundavezporZorobabel,ysetardóotrotantoenelConcilioTridentino,silomiramosdesdesuorigen,
quefuedelaherejíadeMartínLutero,año1517,entiempodeLéonX,yseacabóenel63,entiempodePíoIV.ReprobáronlelosprotestantesdeAlemania,reprobóleEnriqueVIII enInglaterrayIsabela,suhija;resistióletambiénenmuchascosasEnrique,ReydeFrancia;abrazóleconsumareverenciaFelipeII.ReydeEspaña,yparaconfirmaciónyguarda desussantosestatutosydogmas,pusolaprimerapiedradeunalcázarytemplodeSanLorenzo,dondesehabíandeeternizaryobedecerparasiempre."Sigüenza,Fundación,26 7. 30CabreradeCórdoba,FilipeSegundo,reydeEspaña(Madrid,1619).Thetitlepageisnotreproducedintheeditionof1876. 31OnCharlesV'semploymentofimperialimagery,seeJ.Jacquot,ed.,LesFêtesdelaRenaissance,II:FêtesetcérémoniesauxtempsdeCharlesQuint(Paris,1960);R.Strong,Artand
Power:RenaissanceFestivals14501650(Berkeley,1984),7597;H.TrevorRoper,PrincesandArtists:PatronageandIdeologyatFourHabsburgCourts15171633(NewYork, 1976),1145;andF.Yates,Astraea:TheImperialThemeintheSixteenthCentury(LondonandBoston,1975),128. 32SeeSanJerónimo,Librodememorias,812;Sigüenza,Fundación,44;andMemoriasdeFr.AntoniodeVillacastín,ed.ZarcoCuevas,DHM1:15. 33See,forinstance,CabreradeCórdoba,HistoriadeFelipeII,reydeEspaña,where370isentitled"FundaelReyelinsigneMonasteriodeSanLorenzoelRealdelaVictoria."In1562,
theVenetianambassadorwrotetotheDogethatPhilipII'schurchwasdedicatedto"SanLorenzodellaVittoria";seeKubler,BuildingtheEscorial,13. 34Kubler,BuildingtheEscorial,14.
Page25
Figure2 CabreradeCórdoba,FilipeSegundo,reydeEspaña(Madrid,1619): titlepageengravedbyPedroPerret.
Page26
facedbyPhilipIIatthetimethatthefinaldraftoftheletteroffoundationandendowmentwasdrawnup,thenotionoftheerectionoftheEscorialin"gratitudeforthe preservationofPhilipII'slandsinGod'sholyfaithandinpeaceandjustice"mustbetakenasmuchmorethanafamiliarpiousformula.ForPhilipII,asmuchasforhis Habsburgancestorsandsuccessors,politicalandreligiousobjectiveswereindivisible.In1562,thewarsoftheHuguenotsbrokeoutinFrance;since1555,Germany hadbeendividedbyreligiouswars;andin1558,EnglandreturnedtotheChurchofEngland.Philip'slandssharedboundarieswithcountrieswhichwereeither Protestantortornapartbyreligiouswars.In1559,theVenetianambassadorMicheleSurianoreportedthatPhilipII'saimwas"nottowagewarsothathecanaddto hiskingdoms,buttowagepeacesothathecankeepthelandsthathehas."35PiersonhasshownhowPhilipsharedthehistoricalassumptionswhichmotivatedhis fatherandthat,inhisunderstandingofhistory,hetendedtowardsthatofhisfather:"CharlessawhimselfasthebulwarkofChristianEuropeagainsttheOttoman Empire,astheswordofCatholiccivilisationagainstthespreadofProtestantism,andasabrakeontheambitionsoftheKingofFrance,whoperverselythreatenedthe peaceofChristendom,madeallianceswiththeTurk,andrefusedtotakehisplace—aftertheEmperorandtheKingofSpain—inthedefenceoftheChurchand CatholicEurope.''36 JustasPiersonhasshownthatPhilipII'sformulationofpolicyderivesfromCharlesV,sotoothepurposeandfunctionsofhisconstructionoftheEscorialmaybe tracedbacktoprincipleswhichPhilipIIlearnedfromhisfather.TheprincipalsourcesfortheevidencefromwhichthisviewiselucidatedarethelettersCharlesVsent toPhilipfromPalamósin1543(dated4Mayand6May),theletterCharlesVsenttoPhilipfromAugsburgon18January1548,andthelastwillandtestamentof CharlesVtogetherwithitscodicil.Secondarysourcesaretheinstructionsof1539and1551andthecorpusofcorrespondencewhichpassedbetweentheretired Emperorandhissonduringthefirsttwoyearsofthelatter'sreign.37 Takentogether,theletters,avisos,thewill,anditscodicildefinetheguidingprincipleswhichtheEmperorconsistentlyrecommendedtohissonandwhichPhilip,in turn,putintopracticethroughandinhisfoundationoftheEscorial.Asearlyas1539,whenPhilipIIwasonly12yearsold,theEmperor,awareofthepossibilityofhis ownsuddendeath,initiatedanintermittentprogramofinstructionintheprinciplesofkingshipforhisson.First,theEmperorchargedhissontoliveintheloveandfear ofGod,toliveinobservanceofthefaithandtoobeytheRomanChurchandtheApostolicSeeinthemannerofhisancestors.38Ofmuchgreatersubstanceand 35Pierson,PhilipII,131. 36
Ibid.
37Inconnectionwiththeinstructions,seeFernándezAlvarez,Politicamundial,16890. 38"Primeramenteencargamosyencomendamosaldichonuestrohijo,quevivaenamorythemordeDiosnuestrocriador,yenlaobservanciadenuestrasanctayantiguareligión,
(footnotecontinuedonnextpage)
Page27 39
40
detailaretheinstructionsof4Mayand6May1543, whichPiersondescribedas"oneofhistory'smostremarkablepoliticaltestaments" andwhichstillremain largelyneglectedbyhistorians.TheseconfidentialinstructionsweresentbyCharlesVtothesixteenyearoldPrincePhilipontheoccasionofhisfirstregency.The EmperorcommendedPhiliptoholdtwoprinciplesaboveallelse:thefirst,toholdGodalwaysbeforehiseyesandofferallhisworkstoGod,andthesecondtobe subjectalwaystogoodadvice.CharlesValsoadvisedPhiliptoupholdtheInquisition,suppressheresy,defendreligion,anddispensejustice.41Inaletterdated1May 1543,afewdaysbeforetheseinstructions,CharlesVstressedtheimportanceofthePrince'sfrequentandpublicattendanceatMass.42 Theinstructionsof1548,whicharecouchedinamoreprofoundlyreligioustonethanthepreviousletters,werefirstpublishedin1614.AnabbreviatedEnglish translationfollowedin1703:"HisMajestyfearinglesttheDistempersthatincreas'duponhimmightsnatchhimawaybeforethearrivalofhisSon,senthimInstructions inWritingforthegovernmentofhimselfandKingdoms,thesubstancewhereofwas,ThatheplaceallhisConfidenceinGod,beveryObedienttotheChurch,Zealous fortheCatholickReligion,andtakecaretoseetheCouncilofTrentbroughttoahappyConclusion,incasetheEmperorhimselfshouldnotlivetodoit;Thathe chooseworthyPersonsforallBenefices,endeavourtopreservePeace...ThatwhenthePopeDies,heusehisInteresttohavesuchaonechosenasmaybeforthe goodofChristendom:ThathebesubmissivetothePopeinallthingsthatarenotprejudicialtohisCrown."43 Inhiswill,CharlesVreturnedtothesethemesandcharged"thePrincetobe (footnotecontinuedfrompreviouspage) uniónyobedienciadelaiglesiaromanaydelasanctasedeapostólicaysusmandamientos,comolohanhechotodosnuestrospredecesoresdefelicememoria."Aletterof1539 fromCharlesVtoPhilipII.SeeM.FernándezAlvarez,ed.,CorpusdocumentaldeCarlosV,2:33. 39Ibid.,2:90118. 40Pierson,PhilipII,19. 41"Paraesteefecto,antetodascosas,haveysmenesterdetermynarosendoscosas;launayprinçipal:tenersiempreaDyosdelantedevuestrosojos,yofreçerletodoslostrabajosy
cuydadosquehaveysdepasar,ysacrificarosyestarmuyprontoaellos;ylootro,creerysersujetoatodobuenconsejo...Nuncaosdescuydeysdeseruirle.Seddeuotoytemoroso deofenderle,yamaldesobretodascosas.Sedfauoreçedorysustentadsufe.NuncapermytaysqueheregíasentrenenvuestrosReynos.FauoreçedlasantaInquisiçiónytened cuydadodemandaralosofiçialesdellaqueusenbienyrectamentedesusofiçiosyadministrenbuenajusticia.Y,enfin,porcosadelmundonohagayscosa,nyporcosaqueos puedaaconteçer,queseaensuofensa."FernándezAlvarez,Corpusdocumental,2:923. 42"QueelPríncipeoyacontinuamentemisapública,ylosdomingosyfiestasqueleparecieresalgaalaoíralasiglesiasymonasteriosquelepareciere."Ibid.,2:87. 43[P.de]Sandoval,TheHistoryofCharlesV.,EmperorandKingofSpain...madeEnglishbyJ.Stevens,4212.Thisisanabbreviatedtranslationof[P.de]Sandoval,Historiadela
vidayhechosdelEmperadorCarlosV(Pamplona,161418),2:63957.Foramoderneditionofthelettersof1548,seeFernándezAlvarez,Corpusdocumental,2:569601.
Page28 44
zealousforthetrueReligion,protectandsupporttheInquisition,preservetheImmunitiesoftheChurch,favorReligiousOrders." Inthecodiciltothewill,CharlesV wasmoreinsistentaboutthedefenseofthefaithandthestruggleagainstheresy.Whenheurged"thatsuchHereticksashaveappear'doflateinSpain,bepunish'd withtheutmostRigor,"45hewasrespondingdirectlytothediscovery,in1557and1558,ofsmallProtestantcommunitiesinValladolidandSeville.ForanEmperor whosecoronationoathobligedhimtodefendtheChurchagainstit*enemies,andtowhomreligiousandpoliticalconsiderationswereintertwined,thediscoveryof heresyasclosetohomeasValladolidwasprofoundlydisturbing.Inafamousletterof25May1558,totheRegentJuana,CharlesVwrote:"Believeme,daughter, thisbusinesshasupsetmeandcausedsomuchworrythatIcannotadequatelyexpressit."46ThattherewasnodoubtintheEmperor'smindthatheresywasasmucha politicalasareligiousthreatisclearinthecontinuationofhisletter:"Itmustbeseenwhethertheycanbeproceededagainstascreatorsofsedition,upheaval,riotsand disturbanceinthestate;theywouldthenbeguiltyofrebellionandcouldnotexpectanymercy."47ToPhilipII,theEmperoraddedthefollowingdirective:"Myson,you willrealizehowscandalizedIambytheunpleasantheresywhichhasraiseditsheadhere.YouwillseethatIhavewrittenaboutittoyoursister.Itisnecessarythatyou rootthemovementout,asvigorouslyaspossible."48AnacknowledgmentoftheenormousinfluenceexercisedbyCharlesVuponhissonisessentialtoan understandingoftheEscorial,which,asweknowfromtheearliestdocumentinwhichPhilipIIsetforthhisplanstobuildamonument,wasexpresslydesignedto honorhisdeadfather.MorethansimplyenshriningtheEmperor'sbodyandprovidingcontinualprayerforthereposeofhissoul,theEscorialwasbuiltasavisible symboloftheEmperor'sworldviewaswellasapracticalrealizationandimplementationofhispolicygoals.Therecanbenodoubtoftheessentialcontinuityofthe conceptionofthesovereign'sroleintheworldfromCharlesVthroughPhilipII. InanunpublishedmanuscriptnowheldintheBibliotecaNacional,Madrid,PhilipIIofferedthefollowingadviceconcerningkingshiptohisownson:"Tobeagood princeyoumustfirstbeagoodChristian,sincetheonlywaytoruleisthroughvirtue."49Inthesamedocument,PhilipIIexhortedhissontoattenddailyMass,to 44Sandoval,TheHistoryofCharlesV.,462.ForthefullSpanishtextofthewill,seeSandoval,Historiadelavida,85981. 45Sandoval,TheHistoryofCharlesV.,464.Thecodicilisdated19September1558. 46FernándezAlvarez,CharlesV,1834.ForthefullSpanishtextseeidem,Corpusdocumental,4:4245. 47H.Kamen,Spain14691714(NewYork,1983),119. 48FernándezAlvarez,CharlesV,184.FortheoriginaltextseeL.P.Gachard,RetraiteetmortdeCharlesQuintaumonastèredeYuste(Brussels,1854),1:303. 49"Siqueréisserbuenpríncipehabéisdeserprimerobuencristiano,pueselúnicocaminoparabienreinareseldelavirtud."QuotedinFernándezAlvarez,Politicamundial,210.The
translationisfromPierson,PhilipII,43.
Page29
availhimselfofthesacramentsoftheEucharistandpenanceatleastonceaweek,andimpresseduponhimtheoverridingimportanceofthedefenseofreligion,evenat thecostoflosingthethrone.50"Thecommunitywasnotcreatedfortheprince,"writesPhilipII,"butrathertheprincewascreatedforthesakeofthecommunity."51 IfPhilipII'sloyaltytotheguidingprincipleslaiddownbyhisfatherfoundafullandappropriateexpressionintheconstructionoftheEscorial,sotoomanyaspectsof thelifeoftheEscorial,aswellassomeofitsspecificarchitecturalfeatures,foundadirectantecedentinthemonasteryofYuste.ThelifeledbytheretiredEmperorat YustefromSeptember1556untilhisdeathon21September1558isfullyandreliablydocumented.52Ofthemonasterybuilding,Sandovaloffersthefollowing description: TheMonasteryofYusteoftheMonksoftheOrderofS.Jerom,towhichHisImperialMajestywithdrewhimself,isinasolitarybutpleasantPlace,sevenLeaguesfromPalencia. ThenearestTown,containingabout500Houses,andcall'dCoacos,iswithinaquarterofaLeague,andyetnotseenfromit,becauseofaHillthatrisesbetweenthem.The MonasteryisseatedonthesideoftheHillNorthoftheChurchthatisaboveit;andontheSouthsideoftheChurch,closetoit,wasbuiltHisMajesty'sApartment,consistingof sixGroundRooms,andsixoverthem.ThelowerFloorwasus'dbutlittle;oneoftheupperChamberswasevenwiththehighAltar,whereadoorwasmadeaboutsixFootwide, throughwhichheheardMassandtheDivineOffice,sometimesinBed,andsometimesup;andthatwaytheywentintogivehimtheBlessedSacrament. TheEmperorliv'dheresopoorly,thatonlytheRoomhelayinwasHung,andthatwithsomeoldblackCloth;hehadbutoneArmChair,sodecay'd,thatitwouldnothaveyielded HalfaCrownifitweretobesold;hisHabitwasverypoor,andalwaysblack.53 50"Muchascoronasdegloriahallareissilaterrenaqueosdejareperdieseisenestademanda;porquesicampeónesforzadoospresentaisalabatallapordefendernuestraReligión
sagrada,aunqueperdaiselreinoosdaráDioslagloria,queeslofixoyloúnicoquedevemosdesear."FernándezAlvarez,Políticamundial,210. 51H.Koenigsberger,"TheStatecraftofPhilipII,"EuropeanStudiesReview1(1971):3. 52SeeespeciallyD.GuzmánMaríadeAlboraya,HistoriadelmonasteriodeYuste;Gachard,RetraiteetmortdeCharlesQuint;andW.StirlingMaxwell,TheCloisterLifeofthe
EmperorCharlesV(1852). 53Sandoval,TheHistoryofCharlesV.,4567.
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EventhisbriefextractrevealsmanyfeatureswhichrecurintheEscorial:thechoiceofaremotemonasteryoftheJeronymiteorder,theproximityoftheroyal apartmentstothechapel,themaintenanceofadirectlineofsightbetweenthemonarch'sbedroomandthehighaltar,theaustereappointmentanddecorationofthe royalapartments,andeventheEmperor'schoiceofblackclothing—apracticewhichPhilipIIhimselflateradopted.WeknowthatPhilipwasawareof,andeven intriguedbythearchitecturalfeaturesofYustesince,asSigüenzatellsus,PhilipmadeapointofvisitingtheconstructionatYuste,incognito,on24May1554,enroute toEngland.54Significantly,thechiefforemanappointedatYusteinthesameyearasPhilip'svisit,FrayAntoniodeVillacastín,waslaterentrustedwiththesupervision ofallconstructionattheEscorial.55OfparticularinterestistherelationshipoftheroyalapartmentstothealtarwhichatYustemusthaveestablishedapowerfulsymbol oftheunityofpiety,orthodoxy,legitimacyandauthority.56 Theconjunctionofroyalresidenceandmonasteryoccupiesasubstantialpositioninthearchitecturalhistoryofthepeninsula,anditslonghistoryisoneinwhichthe JeronymiteOrderfigureslargely.57ButwhiletheEscorialisaculminationofthetradition,italsoembodiesseveralmajorrefinementsandadaptationsofthistradition. ThemostsignificantfunctionwhichPhilipIIgraftedontothetraditionofthemonasteryroyalresidencewasthatofadynasticmausoleum.Symbolically,the establishmentofimperialpatronagecouldonlyenhanceanalreadypowerfulimageoforthodoxpietyandroyallegitimacy.Legitimacywouldalsobelentbythe presenceofsuchalargenumberofrelicsofsaintsandmartyrs.58TheheavyemphasisplaceduponcontinuousliturgicalprayerattheEscorialalsofindsaprecedentin thedailylifeofCharlesV'sImperialretreatatYuste: 54Sigüenza,Historiadelaorden,2:1478.OnPhilipII'sinterestinandknowledgeofarchitecture,seeKubler,BuildingtheEscorial,1517. 55Sigüenza,Historiadelaorden,2:147. 56Foradiscussionofthekingaspriestandthekingasruler,seeOstenSacken,SanLorenzoelRealdeElEscorial,18797. 57SeeS.ZuazoUgalde,"AntecedentesarquitectónicosdelMonasteriodeElEscorial,"inElEscorial,15631963;IVoCentenario2:10554;andF.ChuecaGoitia,Casasrealesen
monasteriosyconventosespañoles(Madrid,1966). 58
AnimpressionoftheextraordinarylengthstowhichPhilipIIandhissuccessorsextendedthemselvesinthecollectionofallmannerofrelicsmaybegainedfromJ.M.delEstal, "FelipeIIysuarchivohagiográficodeElEscorial,"HispaniaSacra23(1970):193333.Thewidersignificanceoftheacquisitionandvenerationofthehugequantityofrelicsatthe EscorialisdiscussedinOstenSacken,SanLorenzoelRealdeElEscorial,369and6063.Ofthemanycontemporaryreferencestotheaccumulationofrelics,thefollowingarethe mostimportant:Sigüenza,Fundación,401,53,109,164ff.,36676;SanJerónimo,Librodememorias,4653,57,399400;Sepúlveda,"SucesosdelreinadodeFelipeII,"CD114(1918): 12930,2046;andCabreradeCórdoba,FilipeSegundo,reydeEspaña,1989.
Page31 InthespiritualExercisesofPrayer,ReadingandMeditation,he[CharlesV]faroutdidthemostperfectreligiousMen.HesaidthedivineOffice;andifSicknessobstructed,his Confessorsaiditinhispresence.UponallholidaysheheardhighMass,andeverydayalowMass,tho'hewerenotabletorise.HehadSermonsafterDinner,andwhenthatfail'd, aLessonreadhimoutofS.Agustin.Helov'dMusick,andhadanexcellentEar,yetwouldallownonebuttheFryarstoSingintheChoir.HisZealforReligionwassogreat,that beingtoldoftheapprehendingofCazallaandotherHereticks,hesaid,NothingcoulddrawhimoutoftheMonastery,unlesstherewereneedofhimtoopposethem.59
ThekeytoanunderstandingoftheEscorialinbothitsbroadconceptionandinitseverydetail,asbothstructureandsymbol,maybelocatedpreciselyinthemotives ofitsfounder.AlthoughmanyofthesemotivesmaybetraceddirectlytotheaspirationsofCharlesV,thesynthesisofacomplexofmutuallyenhancingfunctionsinthe serviceofpolicygoalswhicharesimultaneouslyreligious,political,andprofoundlysymbolicwasundoubtedlytheinspiredinventionofPhilipII.Thismultiplicityof mutuallyenhancingfunctions,astheJeronymitehistoriansknewfullwell,waswhatmadetheEscorialunique.FranciscodelosSantossummarizesthemthus: ThisdivineedificewaserectedbythemonarchjustlysurnamedtheWise,who,inthecenterofitsvastfabric,placesthelaurelofSpain,whichhadsooftendefendedhisheroic countrymenagainstthethunderboltsoftheirenemies,thatthevicedeitiesthekingsoftheland,bothdeadandliving,mightrestunderitsshadow,andinacatholichopeseek gloryandtriumph,secureofobtainingboth,thro'theassistanceandsupplicationsofthemonks,whoseincessantprayersappeasethedivinewrath,andcalmthatindignation whichthesinsofmenhaveexcited.Suchwerethemotives,suchtheends,forwhichtheroyalfounderofferedtoGodthisstupendouschurch;toSt.Laurencethisillustrious Basilica;tohisfathers,thisglorioussepulchre;andtothedisciplesofStJerome,thissplendidhabitation,erectedinadesert,butwherethevariousbeautiesoftheparadisaical [sic]landscapecallonthecontemplativetopourforththeirpraisestotheCreator,inadmirationofthatcondescendingprovidencewhichmakesuseofthingsapparentlyofsmall importance, 59Sandoval,TheHistoryofCharlesV.,4589.
Page32 andoverlooksnoplaceforrenderingthemindinlovewiththetranquilityofsolitude.60
ThespecificwaysinwhichPhilipII'spolicygoalswereimplemented,andtheroleofliturgicalmusicanditspractitionersinthisimplementationduringthefounder's lifetime,arethesubjectsofthefollowingchapters. 60SantDescEng,9.
Page33
2— TheReignofPhilipIIfromtheEscorial'sFoundationto1586 Aboveandoutsideonthevastsurroundingplain,blocksofgranitewerepiledhigh.Sixtymasterquarrierswereworkingthemarble,andoxcartsladen withnewstoneswerearrivingeverymoment.Masons,carpenters,smiths,weavers,goldsmiths,andwoodworkershadsetuptheirworkshops,their taverns,andtheirhutsontheflatfieldbeneaththeburningsun,whiletheoriginalconstructionswerebeingraisedbesidethechestnutgrove,thelast refugeonplainsandmountainsdevastatedbythefuryandurgencyofbuildingthisedificeorderedbyElSeñorDonFelipeuponhisreturnfromthe victoryagainstthehereticsofFlanders:theaxhadfelledforeverthepinegrovesthathadbeenintendedtoshelterthepalaceagainsttheextremitiesof summerandwinter.1 Patioswouldbeaddedtopatios,roomsformonks,servantsandtroopswouldbeaddedtothebedchambersoftheoriginalrectangle.Agranite quadrangle,aswideasitwaslong,wouldbethecenterofthepalace,conceivedofasaRomancamp,severeandsymmetrical;andinthatcenter wouldrisethegreatbasilica;theexteriorwouldbeastraight,severecastlewithabastiononeachcorner;withintherewouldbeasinglenave, enormous,empty;andallfoursideswouldbeenclosedbyastrongwall,sothatfromadistancethepalacewouldlooklikeafortress,itsstraightlines fadingintotheplainandtheinfinitehorizonwithoutasingleconcessiontocaprice,carvedlikeonesolidpieceofgraygraniteandsetuponapolished stonebasewhosesnowwhitecontrastwouldlendanevenmoresomberairtothewhole. Andassheenvisionedit,sherepeatedwhatElSeñorhadsaidononeoccasionwhenhestatedhiswishes;hehadneveragainhadtorepeatthewords: withallhasteconstructapalaceandmonasterythatwillbebothaFortressoftheMostHolySacramentoftheEucharistandtheNecropolisof Princes.Noostentation,nocelebration,noswervingfromthatimplacablyaustereproject.Hehadconceivedit;nowthearmyofworkmenwere executinghisconcept.2 1Fuentes,TerraNostra,1067. 2Ibid.,117.
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In1558ortheyearfollowing,PhilipIIinitiatedanexhaustiveexploration,destinedtolastmorethanthreeyears,insearchofasuitablelocationuponwhichto constructhismonasterypalace.3Indeterminingthesite,theKingsoughtthecounseloftheJeronymitesandrequestedtheGeneraloftheOrdertoappointseveral monkswhowouldbeabletoofferarchitecturaladvice.4Fromitsinception,PhilipIIdelegatedmuchoftheresponsibilityforthemonastery'sgovernancetothe Jeronymites.On12July1561,theKingformallyappointedJuanBautistadeToledoroyalarchitectresponsiblefortheentireproject.5Atameetingofthearchitect, theprior,andamasoncalledbyPhilipIIon14November1561,thefinaldecisionaboutthesitewastakenand,on26Decemberofthesameyear,thedecisionwas madepublic.6 Inthespringof1562thefirstthreeJeronymitemonksarrivedfromthemonasteryofGuisando,inwhichtheywereallprofessed,toformthecoreofthemonastic communityoftheEscorial.7Thethreemonks,FrayJuandelColmenar,FrayMigueldelaCruz,andthechroniclerFrayJuandeSanJerónimowereinitially accommodatedinapeasantworker'shouseboastingneitherchimneynorwindowsandwithonlyatinyroomforachapel.8Inthewinterof1562,excavationsbegan onthesiteandonthefirstdayofMarch1563,FrayJuandeHuetearrivedtoassumeresponsibilitiesasthemonastery'sfirstprior.Hewasaccompaniedbythepriest FrayDiegodeOviedoandthelaybrotherFrayBartolomédeMadrigal.9Withthesenewarrivals,thecommunityfoundmorecomfortablelodgingsinthevillageofEl Escorial,whichtheysetabouttransformingintosomethingapproachingtherequirementsoftheirmonasticlife.Narrowcellsandachapelwithasmallgallerywere constructedtogetherwithanapartmentfortheKing,fromwhichhewouldbeabletohearMass,thedivineoffices,andsermons.10Sigüenzarelatesseveralinstances wherePhilipIIattendedMassandtheofficesinthishumblechapel,andwhereheevenascendedthestepstothechoirgalleryandstood"shouldertoshoulder"with themonks. Thefirstreportsoftheperformanceofmusic,whichmusthavebeenplainsong,concerntwoconspicuousceremoniesin1563.On23April,thefirststoneofthe monasterywaslaidinaceremonybrieflydescribedbytheeyewitnesschroniclerandparticipantSanJerónimoandthehistorianJosédeSigüenza.11Accordingtothe lat 3SanJerónimo,Librodememorias,10. 4
AGP,Cédulas,2,fol.99r(16June,1561).
5
AGP,Cédulas,2,fols.142v143r(12July,1561).
6SanJerónimo,Librodememorias,11andSigüenza,Fundación,18. 7SanJerónimo,Librodememorias,167andSigüenza,Fundación,21. 8SanJerónimo,Librodememorias,22. 9Ibid.,212. 10SeeL.Rubio,"CronologíaytopografíadelafundaciónyconstruccióndelMonasteriodeSanLorenzoelReal,"245;SanJerónimo,Librodememorias,212;andSigüenza,
Fundación,32. 11SanJerónimo,Librodememorias,234andSigüenza,Fundación,24.
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ter,therewere"manyhymnsandprayersinvokingdivinegraceandfavor."Lessthanfourmonthslater,on20August,afurtherceremony,thistimemarkingthelaying ofthebasilica'sfoundations,wascelebrated.Highrankingofficials,includingthemonarchhimself,attended.SanJerónimoleftadetaileddescriptionoftheceremony recountingthatalitanyofthesaints,theantiphonManesurgens,andthethreepsalmsNisiDominus,Misereremei,andLaetatussumweresung.SanJerónimo's accountconfirmsthattheEscorialcommunitythennumberedonlytwelvemonks.12Thenamesofeightareknown:JuandelColmenar,MigueldelaCruz,JuandeSan Jerónimo,DiegodeOviedo,AntoniodeVillacastín,JuandeHuete,BartolomédeMadrigal,andMarcosdeCardona. Inaprovisionalmonastery,wherethechapel'saltarpiececonsistedofacrucifixscratchedontoawallwithcharcoal,13therewasspaceforonlythesimplestmusical elaborationoftheliturgy,andthereisnoevidencetosuggesttheperformanceofmusicanymoreintricatethanplainsongbefore1574.Oneofthemostpressing liturgicalneedsofthesmallcommunityseemstohavebeenafullsetofliturgicalbooksforthecelebrationofMassandthedivineoffice.Similarlylackingwere plainsongchoirbooks(cantorales)forthecelebrationoftheliturgy.Indeedtheproductionofanenormousseriesofchantbookswhichwouldfulfilltherequirements ofthebusyliturgicallifePhilipIIplannedfortheEscorialwasoneofthemonarch'splans.Fortheproductionoftheseessentialmanuscripts,theJeronymites welcomed,in1565,threeaccomplishedscribesandilluminators.FrayAndrésdeLeónarrivedfromtheJeronymitemonasteryofLaMejoradatosetaboutthe illuminationofchoirbooksandotherliturgicalbooks.14FromValenciacamethescribeCristóbalRamírez,15whopreparedliturgicalbooksaccordingtotheancient breviaryoftheJeronymiteOrder16since,then,"nothingwasknownofthenewbreviary[ofPiusV]."17Atabout 12SanJerónimo,Librodememorias,2530andSigüenza,Fundación,256. 13Sigüenza,Fundación,28. 14ForfurtherinformationconcerningthisimportantmonkseeG.Antolín,"MiniaturistasdelEscorial,"405ff.;Ibid.,"EllibrodehorasdeFelipeII,"passim;DomínguezBordona,"El
Escorialenelartedelaminiatura,"4804;Ximénez,DescripcióndelRealMonasterio,443;ZarcoCuevas,LosJerónimos,83;andIglesiasdelaVega,"AlgunosartistasjerónimosdeEl Escorial,"306. 15SeeSanJerónimo,Librodememorias,1834. 16"[E]lbreviarioviejoyantiguoquetenialaórden,"seeAC1,fol.11v(foratranscription,seeDHM10(1):403)andSanJerónimo,Librodememorias,334.Theearliestknownprinted
liturgicalbookoftheJeronymiteOrderistheBreviarium(Zaragoza,1499).SanJerónimo'saccountofthearrivalofAndrésdeLeónandCristóbalRamírezreproducesverbatimthe entryinAC1,fol.11v. 17ThemostdetailedstudiesofthecopyingandilluminationoftheplainsongchoirbooksareV.Rabanal,LoscantoralesdeElEscorialandM.Bordonau,"Lalibreríayloslibrosde
corodelrealmonasteriodeSanLorenzodelEscorial."SeealsothefollowingmorerecentseriesofstudiesfromthemusicalviewpointbyS.Rubio:"LosjerónimosdeEl
(footnotecontinuedonnextpage)
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thistimetheBenedictinescribeFrayMartíndePalencia joinedtheefforttofulfilltherequirementsoftheyoungcommunityand,moreimportantly,therequirementsof themuchlargercommunitywhichwasplanned.AccordingtoSigüenza,PhilipII'sintentionswere,in1563,tobuildahousefornomorethanfiftyreligious.19Inthe samehistory,SigüenzagivesthenamesofthemembersoftheentireJeronymitecommunityattheEscorialasitstoodinFebruary1568.20Thecommunitycomprised fivepriests(JuandelEspinar,twonamedJuandeSanJerónimo,FranciscodeCuéllar,andAlonsodeMadrid),onechoirbrother(AntoniodeVillacastín)andonelay brother(AlonsodelEscorial).Between1563and1567,whenhecametosigntheletteroffoundation,PhilipIIhadincreasedtoonehundredthenumberofmonkshe requiredforhisnewmonastery.21Thisincreasemusthavebeenprompted,inpart,bytheburdenofcontinuousliturgicalprayerandthemanycommemorations, RequiemMassesandotherendowedservicesthatPhilipIIexpectedthemonkstobearandwhichhedetailedinparagraphs23to39oftheletteroffoundation.22 On23April1570,DoctorGarcíapresentedtothegeneralchapteroftheJeronymitestheKing'srequestthatthenumberofmonksattheEscorialbeincreased. Althoughitwasintendedthatthecommunityshouldeventuallynumberonehundred,notincludingthemembersofthecollegeortheservinglaybrothers,theimmediate concernwasanincreaseinthenumberofmonkstofifty;theywouldbehousedinthebuildingswhichwerescheduledtobecompletedinthefollowingfewyears.The proposalspresentedtothegeneralchapterwerequitespecific:twentyfivetothirtyordainedmonksrequiredforthecelebrationofthedivineofficeandMass,threeof fourpreachers,sevenoreightconfessors,anduptofifteenorsixteenchoirbrotherswithgoodvoiceswhowerewellversedinmatterspertainingtothechoir23and, finally,laybrothersasservants.24 On11June1571,thefeastofSt.Bernard,themonasticcommunitygatheredtocelebratealastMassinthequartersinthevillageofElEscorialwhichhadservedas (footnotecontinuedfrompreviouspage) Escorial,elcantogregorianoylaliturgia'';"Lasmelodíasdelos'libroscorales'delMonasteriodelEscorial";"Lasmelodíasdelos'libroscorales'delMonasteriodelEscorial";and LasmelodíasgregorianasdeloslibroscoralesdelMonasteriodelEscorial.Ofthemanycontemporaryreferencestotheplainsongchoirbooks(libreríadelcoro),thefollowing arethemostimportant:Sigüenza,Fundación,72,130,33335,418,422;SanJerónimo,Librodememorias,334,1834,3378.Seealso"Ladescripciónde'SanLorenzoelRealdela Victoria'delEscorialporLorenzovanderHamen(1620),"2645. 18SeeAC1,fol.11v(foratranscription,seeDHM10(1):403). 19Sigüenza,Fundación,30. 20Sigüenza,Fundación,378. 21DHM2:1037,paragraphs41,42,47. 22DHM2:96103. 23"[H]astaquinceódiezyseiscoristasquetenganbuenasvozes,expertoséinstructosenlodelcoro,"SanJerónimo,Librodememorias,72. 24SanJerónimo,Librodememorias,72.
Page37
theirtemporaryhomesince1563.ThesungMasswascelebratedbythepriorFrayHernandodeCiudadRealinthepresenceofPhilipIIandanumberofnoblesand courtiers.On13Junethenewchapel,whichwastoservethecommunityuntilthecompletionofthebasilicain1586,wasblessedandconsecrated.25Acensusofthe communityasitstoodon12June1571isgivenbySanJerónimo.26Twomonthslater,on8August1571,twelveJeronymites(including"eightornine"novices)arrived fromthemonasteryofLupianaintheprovinceofGuadalajaratotakeuppermanentresidenceattheEscorial.27Thenextday,twelvemoremonks(fourpriests,two deacons,twochoirbrothers,andfourlaybrothers)arrivedfromGuadalupe.28 Thefollowingday,10August,markedthefeastofSt.LawrenceandthebeginningofthecontinuouscelebrationofthedivineofficeattheEscorial.Accordingtothe testimonyofbothSanJerónimoandSigüenza,thecommunitythennumberedsomefortyreligious,whilethenewlycompletedaccommodationwascapableofhousing uptofiftyaccordingtoSigüenzaanduptoseventyaccordingtoSanJerónimo.29Simultaneouswiththisdevelopmentofthemonasticcommunitywastherapid architecturaladvanceatthebuildingsite.TheprogressofconstructionjustbeforethearrivalofthemonksfromLupianaandGuadalupewasdescribedbySigüenzain thefollowingmanner: Althoughthefabricwasnotrisingswiftly,theentiresouthfaçadewasup,roofed,andperfectlyfinished.Thewestandeastfrontswerewellalong,sothatanabundanceof lodgingandtheprincipalserviceswereready,notonlyforthefriarstooccupythemonasterybutalsofortheKingandhiscourtiers,althoughmuchofitwasprovisional.Further roomswerebeingarrangedasthebuildinggrew.Twosmallcloisterswereready,andthetwoothersweremorethanhalfbuilt,aswellasonerangeofthelargecloisterandapartof another.Asmallchurchwithitschoirandsacristywerearranged,while 25Sigüenza,Fundación,423andSanJerónimo,Librodememorias,678. 26SanJerónimo,Librodememorias,68,givesthefollowingnames:LorenciodeMonserrate(priest),AlonsodeSevilla(priest),JuandeSantaCruz(priest),AlonsodeToledo(priest),
LorenciodeSevilla(priest),FranciscodeCórdoba(laybrother),AlonsodeMadrid(priest),JuandelEspinar(priest),AndrésdeLeón(illuminator),AntoniodeMirabal(laybrother), RafaelSolá(laybrother),JuandeSanctaMaría(laybrother),JuandeAragon(laybrother),AntoniodeVillacastín(obreromayor),andFranciscodeCuéllar(stonemason).Hislistingis clearlynotcomplete,however,sinceSanJerónimodoesnotincludehimself. 27SanJerónimo,Librodememorias,778. 28SanJerónimo,Librodememorias,78andSigüenza,Fundación,43.Unfortunately,theincompletenatureofourpresentknowledgeofliturgicalandmusicalpracticesatGuadalupe
preventsusefulcomparisonwithsuchpracticesattheEscorial. 29SanJerónimo,Librodememorias,79andSigüenza,Fundación,43.
Page38 theinfirmary,pharmacy,refectory,kitchen,toilets,andhospicewerethesameasnow.30
Onthisday,11June,PhilipIItookupresidenceinamodestapartmentunderthechoirbalconyoftheprovisionalchurch.Asmallapertureallowedhimtoviewthe celebrationofMassandthehours,anarrangementwhichhasitsdirectantecedentinthemonasteryofYustewhereCharlesVspenthislastdaysandwhich foreshadowedthepositioningofPhilipII'schamberinrelationtothebasilicaofthecompletedEscorialcomplex. AttheEscorial,thefifteenyearsbetween1571and1586markedaperiodofintensepreparationforandrehearsalofthefinalritual,symbolic,andarchitecturalfabrics ofPhilipII'smonasterycomplex.Duringthisperiod,thebasilicawasconstructed;acontractforfourorgansandacarillonwasawardedandfulfilled;thecopying, illumination,andbindingofanentirelibraryof214atlassizedbooksofplainsongwasconcluded;31themortalremainsofalldeceasedmembersoftheroyalfamily weretransportedtotheEscorial;theconstitutionsofthecollegewereissuedanditsbuildingswereallbutcompleted;alargenumberofrelicsfromalloverEuropewas collectedanddepositedinreliquaries;andtheliturgicalframeworkwaslargelyestablished. ThefeastofSt.Lawrence,10August1571,signaledthebeginningofthecelebrationofthedivineofficebytheJeronymitecommunityoftheEscorial.Itscelebration, accordingtotheJeronymitechroniclerFrayAntoniodeVillacastín,didnotsubsequentlyceaseevenforasinglehour.32TheconventualMasswhichmarkedthis occasionwascelebrated,inthepresenceofPhilipII,bythepriorHernandodeCiudadReal.Andalthoughwearenottoldwhetherornotpolyphonywassungonthe occasion,thechroniclersagreethatthesingingduringthecelebrationofVespersintheafternoonwasenhancedbytheparticipationofthe"goodvoices"ofthetwelve monkswhohadjustarrivedfromGuadalupe.33ArichmusicaltraditionwasmaintainedatthispreeminentJeronymitemonasteryanditiscertainthatpolyphonywas nurturedthere.34 30Sigüenza,Fundación,423,basedonSanJerónimo,Librodememorias,679,astranslatedinKubler,BuildingtheEscorial,756.Thedescriptionisdated11June1571. 31Thesechoirbooksmusthavebeencompletedby10March,1594onwhichdateJ.AlonsodeAlmelacompletedhisDescripcióndelaOctavaMaravilladelMundo,MBNMS1724.
Foramodernedition,seeDHM6:43.Foradescriptionofthebooks,seeSantos,DescripcióndelRealMonasterio(Madrid,1681),fols.20r20vandfol.105r. 32"Ydesdeestedíaenadelantesiempresehadichoeloficiodivinoenelcorosinfaltarunasolahora,ytodaslasotrascosasdeoservanciaasimesmocongranderigor."Memoriasde
Fr.AntoniodeVillacastín,ed.ZarcoCuevas,DHM1:14. 33SanJerónimo,Librodememorias,79;Sigüenza,Fundación,43;andMemoriasdeFr.AntoniodeVillacastín,ed.ZarcoCuevas,DHM1:14. 34AlthoughnostudyofmusicatthemonasteryofGuadalupehasbeenpublished,the
(footnotecontinuedonnextpage)
Page39
On6June1573theKingsentalettertothemonksoftheEscorialexpressinghisintentiontotransfertheroyalbodieswhichweretheninterredinvariouspartsofthe peninsulatotheEscorial.PhilipIIorderedthemonkstoreceivethecorpsesandtodeposittheminthevaultbelowthehighaltaroftheprovisionalchapelofthe monastery.35Onthefollowingday,7June,thebodiesoftheQueenDoñaIsabelandthePrinceDonCarloswerebroughtfromMadridtotheEscorialbyan impressiveentourageofcourtiers,nobles,andreligious.Thecapillareal,too,accompaniedtheprocessionand,despitethesilenceofhistoriansonthematter,must havesungduringtheelaborateliturgicalreceptionoftheroyalbodiesandtheOfficeoftheDeadwhichfollowed.36Inaletterof22January1574,PhilipIIorderedthe receptionintheEscorialofthebodiesoftheEmperorCharlesV,theEmpressIsabella,thePrincessDoñaMaría,EleanorofFrance,MaryofHungary,theInfants DonFernandoandDonJuan,theQueenDoñaIsabel,andthePrinceDonCarlos.EnclosedwiththeletterwasadetailedInstrucciónwhichprescribedthemannerin whichthebodiesweretobereceived,theofficeswhichweretobesung,andtheceremonieswhichweretobeperformed.37Itwason4Februarythatthetranslation ofthebodiestookplace38and,accordingtoSigüenza,asolemnresponsorywassunginpolyphonywhiletheroyalbodieswereunloadedfromthelittersuponwhich theyhadbeentransported.39Thisistheearliest,thoughbynomeanstheonlynoticeoftheperformanceofpolyphonyattheEscorialthusfardiscovered.Inthelightof PhilipII'sprohibitionofpolyphony,thisandotherreportsoftheperformanceofpolyphonydemandexplanation.Althoughwearenottoldwhetherthepolyphonywas performedbytheJeronymitesorbythevisitingcapillareal,weknowthatSigüenzahimselfwasbothamusicallyliterateandareliablehistorian.Nevertheless,his accountshouldbereadinconjunctionwiththatofananonymouseyewitness: Thesixroyalcorpseswerereceivedwithgreatpompandmajestyinprocession,andattendedbyHisMajesty'sservants.
(footnotecontinuedfrompreviouspage) subjectistoucheduponbrieflyinRubio,HistoriadeNuestraSeñoradeGuadalupe;SarrabloAguareles,InventariodelarchivodelRealMonasteriodeGuadalupe;and Villacampa,GrandezasdeGuadalupe.Estudiossobrelahistoriaylasbellasartesdelgranmonasterioextremeño.AmorepreciseimpressionmaybegainedfromBarrado, "CatálogodelarchivomusicaldelmonasteriodeGuadalupe"andCrawford,"TwoChoirbooksofRenaissancePolyphonyattheMonasteriodeNuestraSeñoraofGuadalupe." 35SanJerónimo,Librodememorias,834andSigüenza,Fundación,456. 36SanJerónimo,Librodememorias,858.SanJerónimo'saccountsoftheRequiemMasswhichwascelebratedon9Junecannotbetakenasevidencefortheperformancebythe
monksofmusicanymoreelaboratethanplainsong. 37SanJerónimo,Librodememorias,92107. 38MemoriasdeFr.AntoniodeVillacastín,ed.ZarcoCuevas,DHM1:16. 39"Entantoquesacaronloscuerposdelasliteras,cantaronunresponsosolemnementeencantodeórgano,puestosenlamesaaltaporsuorden."Sigüenza,Fundación,49.
Page40 Fourcantorsvestedincopes,togetherwiththeprelateandhisministers,allinbrocade,wentoutwithagreatnumberofreligiouswholivedinthatmonasterysingingthe responsorySubvenite,etc.soslowly,thatitappearedtousthatthisresponsorywasnevergoingtoend.40
Inthisaccountthe"fourcantors"areclearlyseparatedfromthe"greatnumberofreligiouswholiveinthatmonastery,"thoughthewriterdoesnotfurnishthe informationneededtodeterminewhetherornotthefourcantorsweremembersoftheJeronymitecommunity.Itseemscertainthatifpolyphonywereindeedsungby membersofthemonasticcommunity,itwouldhavebeenentrustedtofourcantorsratherthantoa"greatnumber"ofreligious.Ontheotherhand,thefourcantorsmay wellhavebeenprovidedbythevisitingcapillareal. Inaroyaldecreeof11May1574,PhilipIIdeclaredthatworkwouldbeginontheconstructionofthebasilicainthatyear.AccordingtoKubler,"morethoughtand discussionhadbeendevotedtothebasilicasincethebeginningthanonanyotherpartoftheEscorial."41InhisparaphraseofPhilipII'sdecree,Sigüenzawritesthatthe constructionwastobegin"withallfury"andtheenormousactivityfocusedontheconstructionofthestonefabricwasparalleledbytheJeronymiteswhobusied themselvesintheplanningandrehearsaloftheritualfabricandliturgicalframeworkoftheirmonasticrule.42AttheEscorial,thisrulewasoverlaidbythespecial requirementsimposedbyPhilipII.BothSanJerónimoand,followinghim,Sigüenza,givedetailedlistingsofthemasses,anniversaries,responsories,and commemorationswhichtheEscorialcommunitywasobligedtoobserveinperpetuity.43AcompositelistingoftheseobligationswillbefoundinTable2.1.These commemorationsaresodetailedandsominutelyprescribedinPhilipII'sletteroffoundationandotherdocumentsthatatabularlistingcangiveonlyageneralideaof thehugenumberofcommemorativeliturgicalactsPhilipIIimposedonthemonks.44 OneoftheimportantactivitiesoftheJeronymitecommunityduringthispe 40"[L]osseiscuerposReales...fueronrecibidoscongranpompaymajestaddeprocesiónyacompañamientodeloscriadosdeS[u]M[ajestad].Salieronvestidoscuatrocantores
decapas,yelpreladoysusministros,todosdebrocado,congrannúmerodereligiososqueresidenenaquelconventocantandoelresponsoSubvenite,etc.,tandespacio,que nosparecióquenuncasehabíadeacabaraquelresponso."TheanonymousHistoriabreveysumariadecómoelemperadordonCarlosVasquotedinMemoriasdeFr.Antonio deVillacastín,ed.ZarcoCuevas,DHM1:57. 41Kubler,BuildingtheEscorial,77.OntheimportanceofthebasilicaseeSigüenza,Fundación,53. 42Sigüenza,Fundación,55. 43SanJerónimo,Librodememorias,11418andSigüenza,Fundación,52. 44Foradetaileddiscussionofthecommemorationsaswellasanotherattemptattheirtabulation,seeF.J.Campos,"CartadefundaciónydotacióndeSanLorenzoelReal,22IV1567,"
32875.
Page41 Table2.1:aLiturgicalcommemorationsattheEscorial Date
Commemoration
Details
Daily
PhilipII
2saidMassesaccordingtothefeastoftheday,withaprayertothe HolySpiritandaprayerproRege
Daily
AnnaofAustria
1saidMassoftheday,withaprayertotheHolySpirit
Daily
CharlesV
4saidMasseswitharesponseatthestepsofthehighaltar
Daily
EmpressIsabella
2saidMasseswitharesponseatthestepsofthehighaltar
Daily
MaryTudor
1saidMasswitharesponse
Daily
EleanorofFrance
1saidMasswitharesponse
Daily
MaryofHungary
1saidMasswitharesponse
Daily
ElizabethofValois
1saidMasswitharesponse
Daily
Allroyaltyburied
1sungRequiemMasswithministersintheEscorial
18February
EleanorofFrance
VespersoftheDeadwithvigilandsungresponse,1sungRequiem Mass,and6saidRequiemMasses
19February
EleanorofFrance
ConventualMassoftheDeadwithasungresponse,6Massesfor reposeofhersoul
24February
CharlesV
VespersoftheDeadwithvigilandresponse,12RequiemMasses withresponsestobesaidatthestepsofthehighaltar
25February
CharlesV
SungRequiemMasscelebratedbytheprior
1May
EmpressIsabella
VespersoftheDeadwithvigilandresponse,12RequiemMasses withresponsestobesaidatthestepsofthehighaltar
2May
EmpressIsabella
ConventualMassoftheDeadcelebratedbytheprior,12Requiem Masseswithresponsestobesaidatthestepsofthehighaltar
21May
PhilipII
ConventualMassoftheHolySpirit
12July
MaryofPortugal
VespersoftheDeadwithvigilandresponse,sungRequiemMass and12saidRequiemMasses
13July
MaryofPortugal
ConventualMassoftheDeadwithsungresponse,6Requiem Masseswithresponsestobesaidatthestepsofthehighaltar
21September
CharlesV
12sungRequiemMasseswithresponsestobesaidatthestepsof thehighaltar,VespersoftheDead,24RequiemMassestobesaidat thestepsofthehighaltar
2October
ElizabethofValois
VespersoftheDeadwithvigilandsungresponse
3October
ElizabethofValois
ConventualMassoftheDeadwithresponse,6saidMasses
18October
MaryofHungary
VespersoftheDeadwithvigilandresponses,asung,Requiem Mass,6saidRequiemMasses
19October
MaryofHungary
ConventualMassoftheDeadwithresponse,6Massesforthe reposeofhersoul
24October
EmpressIsabella
VespersoftheDeadwithvigilandresponse,12sungRequiem Masseswithresponsestobesaidatthestepsofthehighaltar,24 saidRequiemMasseswithresponsesatthestepsofthehighaltar
25October
EmpressIsabella
ConventualMassoftheDeadcelebratedbytheprior
17November
MaryTudor
VespersoftheDeadwithvigilandsungresponse,6Massesforthe reposeofhersoul
18November
MaryTudor
ConventualMassoftheDeadwithresponse,6Massesforrepose ofhersoul
a
Thetableisbaseduponthefollowingsources:SanJerónimo,Librodememorias,11418;Sigüenza,Fundación, 523;"Cartadefundación,"clauses23to39,inDHMII,96103;AlonsodeAlmela,DescripcióndelaOctava MaravilladelMundo,DHMVI,712andLhermite,LePassetemps2,778.
Page42
riodofpreparationandrehearsalwasthecodificationofallaspectsoftheincreasinglycomplexrituallifeofthemonastery.FranciscodelosSantoswritesofthebroad frameworkofthedivineofficethus:"Eighthoursoftheday,dividedbyequalintervals,andcommencingfrommattins,whosestatedhourisalwaysthatofmidnight,are constantlyappropriatedtopublicworship;andintheinterval,duringwhichthecommunitiesarenotinthechoir,tworeligious,withtheappellationofwatchers, relievingeachothereverytwohours,areincessantlyprayingdayandnight,sothat,inthissacredplace,thereisnodiscontinuanceofprayerandpraiseduringagreat partoftheyear."45 TheresponsibilitiesanddutiesofthemembersofeveryJeronymitecommunitywereregulatedandprescribedinminutedetailinthesocalledbookofcustomswhich eachhousedrewupinaccordancewiththeOrder'srule.BothSanJerónimoandSigüenzalocatethisconcernwiththecodificationanddraftingofthemonastery's customsduringthepriorateofFrayHernandodeCiudadReal(16January1571to23February1575).46Asthesovereignmadefurtherdemandsuponthe communityandasmoremonksarrivedfromotherhousesoftheOrder,theneedforabookofcostumbresbecamemoreandmorepressing.Atthesametime,the liturgicalreformsbroughtaboutbytheCouncilofTrenthadtobeimplementedandtheconsequentconfusion,asSigüenzahints,wasasourceofconsiderable tension.47AlthoughnobookofcustomswasapprovedforuseattheEscorialduringthereignofPhilipII,atleasttwodraftsareextant.Theearliest,aLibrodelas costumbres,48whichwascompletedin1567andprobablydraftedbyFrayFranciscodeVillalba,49offersadetailedschemefortheorganizationofthemonastery's activitiesrepresentingtheclosestapproximationtoactualpracticethatweposses.Althoughitwasneverofficiallyapproved,itisprobablethatthisdocumentservedas adefactobookofcustomsfrom1567until1608,whenitwassuspendedpendingfurtherdeliberationsandexperimentationwithaviewtothedevisingofanewbook ofcustoms.50 Withinthemonastery,thepriorexercisedjurisdictionoverallmatters,temporalaswellasspiritual.InotherJeronymitehousestheprioratewasawardedinrenewable termsbyelection,butintheEscorial,PhilipIIreservedtohimselfandhissuccessorstherighttoappointthemonkofhischoicetothepriorate.51Manyofthe 45SantDesc,fol.1;SantDescEng,57. 46
SanJerónimo,Librodememorias,120andSigüenza,Fundación,534.OnthepriorateofHernandodeCiudadReal,seeModinodeLucas,Losprioresdelaconstruccióndel monasteriodeElEscorial,2:9151. 47Sigüenza,Fundación,54andSanJerónimo,Librodememorias,1201. 48AGP,legajo137. 49
SeeSanJerónimo,Librodememorias,124andG.SabauBergamín,"RelacionesdeFelipeII,"335.
50AC1,fol.125v.Foratranscription,seedocument1inAppendix3. 51"43.Ycomoquieraqueenloquetocaalaeleccióndelpriorqueportiempohubieredesereneldichom*onasterioNosqueremosqueaquéllaseaporlaformaqueenlasotras
(footnotecontinuedonnextpage)
Page43
otherofficesofthemonasterywereheldforunspecified,butoftenlong,termsbymonkswhopossessedthenecessaryqualificationsorabilities;oftentheonemonk wouldcarryoutthedutiesofmanyoffices.TheauthorofSanJéronimo'sbiographyintheEscorialnecrologysays,forinstance,thoughpresumablywithsome exaggeration,thathehelda"hundredoffices."52Contemporarychroniclesand,especially,theMemoriassepulcralestransmitanimpressionofaninstitutioninwhich individualmonksmovedfreelyfromoneofficetoanotherinresponsetotheneedsofthecommunityatanygiventime.However,withtheincreaseinthemonastery's populationinthe1590sandtheachievementofadegreeofstability,certainofficestendedtobeheldbytheonemonkforlongperiodsand,notinfrequently,forlife. Thefollowingapproximationofthemonastery'sdailyroutinecanbeextractedfromtheQuadernosdelascostumbres:53 Commencementtime54
Service
12:00midnight
MatinsandLauds
2:003:15
5:00/6:00am
PrimeandMass
0:45
8:00/10:00am
Terce,ConventualMass,Sext,andNone
1:302:00
10:00/11:45am
Mainmealandsiesta
3:45/4:00pm
Vespers
1:452:15
4:45pm
Compline
0:150:30
7:00/7:45pm
Sleep
Duration(hrs.:mins.)
ThedutiesandresponsibilitiesofthekeymusicalofficesattheEscorialaresetoutinsomedetailintheLibrodelascostumbresandtheQuadernodelas costumbres.Sincebothofthesemanuscriptsaretiresomelyrepetitiousandprolix,summariesofthe (footnotecontinuedfrompreviouspage) casasdeladichaOrdenseacostumbrasinquecercadestohayadiferencianinovedaddelosdemásmonasteriosdelaOrden,masporqueesjustoquesiendoesteMonasteriotan principalep*rnosfundadoedotadoedondehandeestarloscuerposypersonasRealesqueestándichoshayaalgunamaneradereconoscimientoseparticularpreeminencia, ordenamosquesubcesivayperpetuamenteparaadelanteansíennuestravidacomodespuésdenuestrosdíasluegoquefuerehechalaeleccióndelprioreneldichom*onasterioe confirmadaporlospadresconfirmadoressehagasaberaNosealosReyesquedespuésdeNossubcedieren."DHM2:104.SeealsoZarcoCuevas,LosJerónimos,1617. 52
SeeMemoriassepulcrales,fol.198v.(Foratranscription,seedocument2inAppendix3andM.ModinodeLucas,LosprioresdelaConstruccióndelMonasteriodeElEscorial1: 1524. 53Thisapproximationalsoborrowsfromthefollowingsources:LópezCalo,"Lamúsicaenelritoyenlaorden,"127;OstenSacken,ElEscorial:EstudioIconológico,48;Librodelas
costumbres,60522;Quadernosdelascostumbres,fols.8r18r;M.deGranada,"UsanzadelcoroenelmonasteriodeSanLorenzo,"45865;M.delaVera,Ordinarioyceremonial, fols.102103;ZarcoCuevas,LosJerónimos,16670;andSigüenza,Fundación,53. 54Sincethecommencementtimevariedthroughouttheyearaccordingtotheseason,arangeoftimesisgiveninthiscolumn.
Page44
sectionsdealingwiththekeyoffices,ratherthantranslations,areofferedinthefollowingparagraphs. Thecantorandthesuccentorexchangerolesonceaweekandoccupythehighestofthelowchoirstallsfromwhichtheyintonethehymnsandpsalms.Other intonationsaremadefromthemiddleofthechoir.Thecantorandthesuccentorareresponsiblefortheplacing,arrangement,management,andremovalofbookson thelectern.ThecantorintonestheresponsesandthefirstKyrieinprocessions.55 Theterm'chorister'isapplicabletoallwhoparticipateinthecelebrationofthedivineofficesinchoir,whetherlaybrothers,ordainedmonks,seminarians,ornovices. Whensingingresponsorially(achoros),noonemustsingwiththeoppositechoir,andcaremustbetakensothatthemanyvoicessingasone.Thecorrectordel cantoconductsthechoirandhisdirectionmustbediligentlyfollowed.Decorumistobemaintainedinthechoiratalltimes.56 Theofficeofthecorrectordelcantoisofgreatimportanceasmuchforthedivineoffice,whichistheprincipaloccupationoftheOrder,asforthemonastery.The prelateandhisdeputiesalwayschooseforthisofficeapersonwellinformed,discreet,modest,elderly,andskilledinthechant.Inorderthatthechoirneverbewithout acorrector,asecondandathirdwhopossesthesamequalitiesaretobeappointed.Intheabsenceofthepriororthevicar,thecorrectorisresponsibleforgranting permissiontothosewhoforvariousreasonsmustabsentthemselvesfromthedivineoffices.Atalltimes,butespeciallywhentheofficeisnotfamiliar,thecorrector mustexamineallthatwhichistobesaidordoneinthechoir,sinceinallthatwhichissaidincommon,beitchantorword,theerrorsmustbeeliminated.The corrector,however,isnotpermittedtoalteranybookswithouttheauthorityoftheprior. Thecorrectordelcantomustalsotakethedurationoftheofficeintoconsideration,andhemustbeattimeinthechoirinsuchawaythatthedivineofficefinishesat theappropriatetimeformealsandforsleepaccordingtotherulesofthekeeperoftheclocks.Inthealterationwhichhemakesfromslowtofast,orfromfasttoslow, thecorrectordelcantoshouldbemindfulthatitisdonelittlebylittle,soastoavoiddisorder,andsothatthepeoplewillremainunawareofit.Thecorrectordel cantobeatstimeinthesamemannerintheOffertory,Sanctus,Agnus,andPostcommunionsotherewillalwaysbesonginthechurch,anditbeginsandendsexactly withtheactionsandmovementsofthepriestsatthealtar.Thecorrectordelcantoalsoensuresthatinprocessions,thechoirdoesnotlosepitchandifitdoes,he correctsit. Theorganistmusttakecaretomaintainunanimitywiththechoir,asmuchinthesoundandconsonanceandmelodyofthechoir'schant,whichsoundsasonevoice,as inobservingthebeatandtempokeptbythechoir. 55Librodelascostumbres,4649. 56Librodelascostumbres,5962. 57Librodelascostumbres,6368.
Page45
Thecorrectordelaletra,whoisappointedbythepriorandhisadvisers,mustbeagoodLatinscholarandbewellversedintheaccentsofAntoniodeNebrija(the 'father'ofSpanishlexicography),whoseauthorityinthismatterisfollowedbytheOrder.Thecorrector'sknowledgeoforthographyandreadingwillbesound,as muchinsacredscriptureasinscholastictheology,andespeciallyinthatwhichtheOrderreadsandsings.Thecorrectordelaletraexerciseshisofficeinwhatever partofthemonasterythingsaresungorrecited.AndifthereisanerrorineithertheLatin,theaccent,theorthographyorinthepronunciation,hecorrectsitinthesame wayasthecorrectordelcantocorrectsallthatisconcernedwithsong,highorlow,fastorslow.Sothatoneisneverlacking,thepriorandhisdeputieswillappointa secondandathirdcorrectordelaletra.57 TheEscorialhistoriansSigüenza,Sepúlveda,andSanJerónimoalltestifytoPhilipII'skeeninterestinmatterspertainingtotheliturgy.58Thatthisinterestwasbased uponaprodigiousknowledgeisrevealedinPhilipII'scorrespondence.59Indeed,forthemostCatholicKing,theliturgybecameanexternalmanifestationofthe identificationofroyalanddivinepower;fortherexsacerdosthemaintenanceofstrictorthodoxyintheperformanceoftheliturgybecameaninextricablepartofhis roleasdefenderofthefaith.Thematterofthereformofliturgicalbookswasdebatedatthetwentyfifthsession(3and6November1563)oftheCouncilofTrent. TherethetaskofpublishingthenewMissalandBreviarywasdelegatedtothePope.Asaresult,thereformedBreviarywaspublishedin1568andtheMissalin1570, bothundertheauthorityofPopePiusV,whosucceededPiusIVin1566.On12July1564,PhilipIIorderedtheobservanceofthecanonsanddecreesofthe CouncilofTrentthroughouttheSpanishdominions.60In1573,amonopolyontheprintingandsaleofthereformedliturgicalbooks(nuevorezado)wasconcededto theEscorialand,aswehaveseen,thereformedBreviaryandMissalwereadoptedforuseattheEscorialinabout1575.Inaletterof20January1578tohis ambassadoratRome,PhilipreferstoapolicywherebyliturgicalbookswhichalteredPiusV'sreformedbookswouldnotbetoleratedwithinhiskingdoms.61Inhis 1592additiontotheletter 58SeeSigüenza,Fundación,72;Sepúlveda,"SucesosdelreinadodeFelipeII,"CD114:133;andSanJerónimo,Librodememorias,366. 59SeeD.Serrano,CorrespondenciadiplomáticaentreEspañaylaSantaSededuranteelpontificadodeS.PioV;B.AriasMontano,CorrespondenciaenviadaaFelipeIIyasus
secretariossobreasuntosconcernientesalabibliotecaescurialense;N.Hergueta,"NotasdiplomáticasdeFelipeIIacercadelcantollano,misales,breviariosydemáslibros litúrgicos";andR.SantaMaría,"Algunosdocumentosacercadelcantogregoriano."AlmostaquarterofthethirtysevenbooksPhilipIIkeptinhisbedchamberwereliturgicalbooks. SeeG.Antolín,"LalibreríadeFelipeII.Datosparasuconstrucción,"CD116(1919):423. 60Hergueta,"Notasdiplomáticas,"40. 61TheletterisreproducedinHergueta,"Notasdiplomáticas,"478.ForanEnglishtranslation,seeR.Hayburn,PapalLegislationonSacredMusic95a.d.to1977a.d.,3940.
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offoundation,PhilipIIlegislatedthattheEscorialliturgymustconformtothereformedBreviaryandMissal.
Asformusicintheliturgy,thereisnothingineithertheLibrodelascostumbresortheQuadernosdelascostumbrestosuggestthatpolyphony,otherthanthatofa veryrestrictedstyle,wassungattheEscorial.Thereare,however,manyspecificinstructionsabouttheemploymentofmusicintheliturgy.Thesectionconcerningthe officeofthecorrectordelcantointheQuadernosdelascostumbresdetailsthecuriousmannerinwhichthetempoofthechantwastobedetermined: TheTeDeumlaudamusissaidatamediumtempoandnotveryfastaccordingtothefeast,andtheantiphonsofLaudsaresaidfasterthanthoseofthenocturns,andalmostatthe paceoftheresponses,andtheirpsalmswillgoatsuchapacethatit*seculorumwillgoatthesamepaceastheantiphons.ThatoftheBenedictusissaidtwiceasslowlyasthose ofLaudsalthoughtherepetitionissaidsomewhatfaster.TheantiphonsofPrime,Terce,Sext,andNone,whentheyaresung,aresaidtwiceasslowlyaswastheseculorumofthe spokenpsalms,exceptthatofTerceorofthehoursaidbeforethemainMass,whichistobesaidmoreslowlythanthepsalms;it(theantiphon)issaidatthepaceoftheir seculorum. TheantiphonsofVespersgoatthesamepaceastheseculorumofthepsalms,andtheseculorumatthepaceoftheantiphons,andthissamemannerisobservedintheantiphons andpsalmsofCompline.TheantiphonoftheMagnificatatdoublesgoessomewhatslowerthantheantiphonsofVespers,andattherepetitionitgoessomewhatfasterthanit began.TheantiphonsoftheOfficeoftheDead,asmuchthoseofVespersasthoseofnocturnsandLauds,goatthesamepaceastheseculorumofthepsalms,andtheresponses gohalfasfastagainastheantiphonsandtheseculorumofthepsalms,excepttheresponsoryLiberameDomine,threeverseofwhichgomuchslower.63
Theimportanceattachedtothetempoofthechant64mustberelatedtothealmostintolerablescheduleofthedivineofficesandcommemorativeobligationswithwhich PhilipIIburdenedthemonksoftheEscorial.ThereisperhapsnomorevividevidenceforthisthantheletterwhichtheEscorialcommunitydirectedtotheGeneral 62''[S]epodráañadirquesehagayserececonformealnuevobreviarioymisaldelpapaPíoQuinto,ysegúnlasceremoniasenelloscontenidas,"DHM2:178. 63Seedocument3inAppendix3. 64Forabriefdiscussion,seeLópezCalo,"Lamúsicaenelrito,"1268.
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oftheJeronymiteOrderjustafterthedeathofPhilipIIin1598,beggingtheGeneraltointercedewithPhilipIIIonbehalfofthecommunitysothatnofurtherduties wouldbeaddedtothemonastery'salreadyoverloadedschedule: WehumblyimploreyoutoputbeforetheeyesoftheKingourLord[PhilipIII]andthoseofotherswhohaveinfluenceinthismatter,howunbearablyfullofdutiesandobligations thiscommunityis.Thepriests,eventhemostelderly,areinapoorerconditionthantheyoungestofotherhouses,becausetheelectionofneithertheprior,thevicar,northe procuratorisallowed....Asalltheofficesandoccupationsareofsuchprolixityandaresogreat,itexhaustsandweariesthemandleavesthemunfitforcontemplationand spiritualrecollection,withoutwhichallisdryceremonialoflittleworth.Thecloister,whichuntilnowhasbeenkeptforthespaceoftwentyeightyearsasamonastery,has exceededeventhatofChartreuse,sincethereisnotahouseintheOrder,nomatterhowsaditis,thatdoesnothavecontinualaccesstotheopenairandthegate.Asforthechoir (leavingasidethethreedailysungMasses,themerefactofhearingaboutwhichshockstheotherhouses),itisextremelydrawnout;becauseonmostfeastdaysinthesummer theyleaveneitherchoirnorchurchfromfiveinthemorninguntiltwelveandonmanyofthedays,whenHisMajestyhasbeeninattendance,theyhavehadfourteenandfifteen hoursinthechoir,whichseemsimpossible.Thespecialvigils,anniversaries,processions,responses,vigilsofthesacrament,andotherprayersaresomanythatnoweekisfree andinallthehousesoftheOrdertogethertherearenotasmanyasthereareinthissinglehouse.Ifthisisseenwithgoodeyes,itwillsufficetodemolishanythoughtofaddingto it....65
Inthelightofthispetition,Fuentes'simagineddialoguebetweentheKingandthemonksacquiresachillingauthenticity: FirstheorderedthattwofriarsbecontinuouslybeforetheMostHolySacramentofthealtar,prayingtoGodforhissoulandthesoulsofhisdead,dayandnightinperpetual prayer.ThenonthedayofCorpusChristi,heorderedthatthirtythousandMassesbeofferedforthereposeofhissoul. 65ThefulltextisquotedinE.Esteban,"Labiblioteca,"1334.
Page48 Thefriarswereastounded,andoneofthemdaredsaytohim:"Butyoustilllive,Sire..." "Wouldyoubearwitnesstothat?"ElSeñorrepliedwithabittersmile,andheaddedthatwhenthethirtythousandMasseswereended,anewseriesofequalnumbershouldbe begun,andsoonuntoinfinity,whetherhelivedordied. Theoutspokenfriarsaid:"YoudoviolencetoHeaven." "Ishalltemperitwithpiety,"ElSeñorresponded,trembling,andadded:"Yes,andmaytwothousandMassesbesaidforsoulsinPurgatory.AndattheendofeachMass,saya responseformysoul,andwiththisintentmaytheappropriatealmsbedistributedamongthepoor."66
Anysuggestionofhyperboleinthemonks'petitionmayimmediatelyberefutedbyreferencetotheLibrodelascostumbres.Thefollowingparagraphsparaphraseits sectiononthedivineoffice: MatinsandLaudsweresungsolemnlyonprincipaldoublemajorfeastssuchasthoseofEaster,Christmas,Pentecost,theCircumcision,Epiphany,Ascension,Trinity,andCorpus ChristiaswellasthemajorMarianfeasts(thePurification,Annunciation,Assumption,NativityoftheB.V.M.,andConceptionoftheB.V.M.)togetherwiththefeastsofSt.John theBaptist,SS.PeterandPaul,St.James,St.Lawrence,St.Bartholomew,St.Jerome,AllSaints,andSt.Andrew.Thesamewasdoneonthefollowinglessimportantfeasts:the Transfiguration,St.Augustine,St.Luke,andthetranslationofSt.Jerome.Onprincipalfeasts,MatinsandLaudslastedforthreehoursandonlessimportantdays,for approximatelytwoandahalfhours.OnChristmasnight,MatinsandthefirstMasslastedfrom10:00until3:00am.Prime,Terce,andNoneweresungandSextwassaidexcepton daysoffasting.ThenTercewassaidattheendofsungPrime,SextwassungbeforetheMass,andNonewassaidaftertheMass.FirstandsecondVespersandComplinewere sungonthesedayswithcalmnessandsolemnity.Becauseaprocession,sermon,communion,andaprofessionoftencoincidedonadoublemajor,thekeeperoftheclocksandthe correctordelcantohadtoremainmindfulofthepassingoftime.OnminordoublesofobligationsuchasthefeastsofSS.PhilipandJames,theInventionofthemostHolyCross, St.Ber 66Fuentes,TerraNostra,769.
Page49 nard,St.Anne,MaryMagdalene,St.Matthew,St.MichaelinSeptember,St.Francis,SS.SimonandJude,andtheminorMarianfeastssuchasthePresentation,Expectation, Descent,Visitation,andtheFeastoftheSnows,Matins,Lauds,Prime,andTerceweresungandSextandNoneweresaid.Thesamewasalsoobservedonminordoublefeastsnot ofobligationwhichfellonaSunday.Ondaysoffasting,TercewassaidaftersungPrime,Sextwassung,Nonewassaid,andVespersandComplineweresung.Onminordoubles whichwerenotofobligationandwhichdidnotfallonSundays,Matinswassaid,Lauds,Terce,Vespers,andComplineweresungandSextandNoneweresaid.Onsemidoubles, solemnities,andbothsimpleandsolemnoctaves,therewastheminorofficeofOurLadyinthechoir,allofwhichwassaidexceptforMass,Vespers,andCompline,whichwere sung.OnthoseoctaveswhichwerecelebratedinthemannerofsemidoublesandinwhichthereisnoofficeofOurLadyinthechoir—asatChristmas,Easter,Pentecost,Corpus Christi,andSt.Lawrence—Matinsandallthehoursweresung,exceptthatSextandNoneweresaidwhentherewasnofast,andwhentherewas,TerceandNoneweresaid.On Saturdaysonwhichnodoubleorotherfeastfell,theofficeofOurLadywascelebratedasalesserdoublenotofobligationexceptthatatLaudsthehebdomadarydoesnotgo downtotakethecopetothesacristy,norcensesthealtarexceptattheantiphontotheBenedictus.OnthoseSundayswhichareordinary,orasemidoubleorsolemn,allofthe officewasrecitedexceptMass,Terce,Vespers,andCompline,whichweresung.TheprincipalMassofthedayortheRequiemMass,oranyothervotiveMasswhichwassaidin placeoftheprincipalMass,wasalwayssung.Itwascelebratedwiththesolemnityrequiredofthefeast.BecausemanysungRequiemMasseswerecelebratedthroughoutthe year,someweresaidwithministersinplaceoftheprincipalMassoftheday,aswerethoseoftheobligatorycommemorations. ItisassumedbytheOrdinaryoftheOrderthatonethirdofthetwentyfourhoursofthedaymustbedevotedtothechoir,consideringthesumptuousnessofthishouseand monastery,andthatthehighestprincesoftheworldareburiedhere,forwhomtheofficesarerecitedandsacrificesareofferedtoGod.Itisacustominthishousethatthedivine officeisperformedwithgravityandsolemnity,withtranquility
Page50 andwithouthaste.Itiswellpronouncedanditconsumeseighthours,whichisonethirdoftheday.Matinsonprincipalmajordoubleslastsaboutthreehours,andonthosewhich arenotprincipal,andtherestwhicharesung,lastsabouttwoandahalfhours.ThesameoccursonSundays.Ondoubleminorswhicharenotsung,onsemidoublesbothsolemn andsimple,andonferias,Matinslastsmorethantwohours.Andwhenthereisasermonorprocessionorcommunionorprofession,orallofthesetogether,itlastsforthreeor morehours.ThenthereishalfanhourforNoneandanhourforVespersandaboutfortyfiveminutesforCompline.Thekeeperoftheclocksinsoundingthehoursandthe correctorinbeatingtimemusttakecareoforderingthedivineofficeinsuchamannerthatitisdonewithmoderationandsolemnity.Everydaythemonkswereobligedtomeditate inthechurchforahalfhourbeforeVespers.67
TheLibrodelascostumbresalsogivesdetailsoftheroleoforganmusicintheEscorialliturgy: AtfirstandsecondVespersofChristmas,Easter,andPentecost,theorganplaysthreepsalms:thefirst,third,andfifth,unlessitisLaudateDominumomnesgentes,andthe canticleoftheMagnificatandBenedicamusDomino;andatCompline,theyplaythefirstpsalm,andtheQuihabitatandEccenuncbenedicite,andInmanus,Nuncdimittis,and somepartsoftheantiphonofOurLady,withsomegoodvoicethatsingswiththeorgan.AndatMatins,thehymnsattheendoftheinvitatory,theTeDeumlaudamus,andthe hymnofLaudsandtheBenedictusandBenedicamus.AndatMass,theyplaytheKyries,theGloriaalternatim,theGradual,Offertory,Sanctus,andaftertheelevation,andatthe AgnusandtheDeogratiasoftheItemissaest. Onprincipledoublemajors,theorgansplaytwopsalmsandtherestatfirstandsecondVespers,andatComplinefromtheQuihabitat.AndatMatins,[theyplay]thehymn,the TeDeumlaudamus,andatLauds,thehymn,Benedictus,andBenedicamusDomino. Onlessimportantdoubles,they[theorgans]playatVespersonepsalm,theMagnificat,thehymn,andtheBenedicamusDomino.AtCompline,thehymn,Inmanus,and 67Seedocument4inAppendix3.
Page51 theNuncdimittis.AtMatins,theTeDeumlaudamus,thehymns,theBenedictus,andtheBenedicamusDomino.AndatMass,theKyrie,theGloriaalternatim,theGradual, Offertory,Sanctus,aftertheelevation,theAgnus,andtheDeogratias. Atminordoublesofobligationandnotofobligation,andonthoseSaturdayswhichareofOurLady,they[theorgans]playatfirstandsecondVespers,thehymn,Magnificat,and Benedicamus.AndatLauds,thehymn,Benedictus,andBenedicamus.AndatMass,theKyrie,Gloriaalternatim,andtheGradual,Offertory,Sanctus,aftertheelevation,andthe Agnus. Onsemidoublesandsemidoubleswithintheoctave,suchasthatofChristmas,Epiphany,Easter,Pentecost,CorpusChristi,theAssumptionandNativityoftheVirgin,andofSt. Lawrence,andofourfatherSt.Jerome,theyplayatLauds,Mass,andVespers,thatwhichisplayedinminordoubles,exceptfortheGradual. OnSundaysoftheyear,atMass,theyplaytheKyrie,Gloriainexcelsisalternatim,Sanctus,aftertheelevation,andtheAgnusevenifasolemnityorasolemnitywithintheoctave iscelebrated,exceptingfromthis[those]SundaysofAdventandtheVespersofSaturdays,andfromSeptuagesimauptoEasterDaywhenthereisnoorgan,exceptatthe AnnunciationwhenitfallsbeforePassionSunday. OnthevigiloftheEpiphanyandofPentecost,andHolySaturday,theyplayattheGloriaandtherestasonSundays,andonSaturdaytheyplayattheMagnificat,whichisbefore theMassends. Onthesolemnprocessions,withthemonkshalfwayaroundthechurch,andhavingfinishedtheantiphonofOurLady,unlessthereisaprayer,theplayerbeginstoplayuntilthe IntroitoftheMassbegins.ButwhentheprocessioniswithaTeDeum,andthemonksarehalfwayaroundthechurch,theorganistplaysateachstationaverseofthehymnwhich thecorrectordelcantodecidesshouldbesungthere.68
SincePhilipIIendowedtheEscorialwithoneofthemostimportantsetsoforgansbuiltintheentirecentury,itisonlytobeexpectedthattheirusewouldrapidly becomeestablishedasanintegralpartofmusicalpracticeinthebasilica.AstheLibro 68Seedocument5inAppendix3.
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delascostumbresshows,theiruseclearlyembracedtherolesofaccompaniment,thealternationofverseswiththechoir,andsoloplaying. TheearliestunequivocalaccountoftheperformanceofpolyphonybythemonksoftheEscorialisgivenbySanJerónimoinhisMemorias:
OnJuly26ofsaidyearof1575,St.Anne'sday,consideringthegreatworkthefathersofthishousehaddonewiththecandles,disciplines,processionsandprayersforthehealth ofPrinceFerdinandourLord(becauseofwhichthecommunitywastiredandweary)ourprior,FrayJuliándeTricio,orderedthattheentirecommunitygoouttogethertothe HerreríadeFuenteLámparastorelaxandenjoythemselves.TheoutingbeingdonewithjustconsiderationandwiththeChristianandreligiousconsiderationsthatinsuchacase maybenecessary,etc...,thirtymonks,youngandold,leftthehousebythestairsofthenichesofthegardens,whichfacestheSouth,anddidnotgooutthemaindoorofthe house,thusattractingtothemselveslessattentionfromtheofficersandtheworkers,etc.Then,uponreachingthedoorsoftheaforesaidniches,themonkmusicianssangthe antiphon 69TheQuadernosdelascostumbresoffersfurtherevidenceforthealternationofversesbetweenchoirandorgan.Seefol.44v:"dizeDomin[us]vobiscum,yelorganodize,
BenedicamusD[omi]noyrespondidodelChoro";fols.73v74r:"commiencaenmediodelchoroelhymnoTelucis,yelnuncdimittisdesdesusillaau[n]q[ue]hayaorgano,porque loshymnos,ytodoslospsalmosycanticosquesedizenaversosconelorgano,siemprelocommiençanloscantores,yresponde,yalternaelorgano,salvoelTeDeumlaudamus. yhadehazerseñalelorganistaenelorganoparadareltonoenq[ue]hadecommençarelcantoreltalhymno,cantico,opsalmo.";fol.76r:"elorganocommiençaelTeDeum laudamusentodoslosdobles,yalternaelchoro...Elbenedicamustañeelorganoyrespondeelchoro.";fol.79r:"Laprosadizetodoelchoro,yelorganoaversos.Losusod[ic] hoseentiendequandonohayorganocomoesenquaresma,q[ue]quandolohayelorganocommiençaelprimerokyrie,yelEtinTerrapaxdelagloria,yelprimerversodela prosa,ylosSanctus,yAgnus.";fol.79v:''Sihuuiereorganoelcommiençaelprimerokyrie,lagloria,ytañetodoelgradualyoffrenda,yprosa.ycommiençalossanctus,y agnus.";fol.87r:"Enlasfiestassemidobleselkalendariopreparaelfacistorentretantoquesedizeelhymno,ylleuarlehaalhebdomadarioquandosedizeotañeelverso EsurientesdelaMagnificatylomesmoharaenlasvisperasdefinadosquandohuuieredeleuarseelfacistoralquecelebra,yenlaslaudeslleuaraelfacistorquandoenelchorose dizeotaneelverso,EttupuerdelBenedictusyprepararlehaentretantoquesedizeelhymno."SeealsotheQuadernosdelascostumbres,fol.77v:"acabadalaprocessionse subenalchoroacommençarelofficioyentretantoquesubentañeelorgano."ForadetailedaccountoftheuseoftheorganintheEscorialliturgy,seeL.Jambou,"Lafuncióndel órganoenlosoficioslitúrgicosdelmonasteriodeElEscorialafinalesdelsigloXVI,"inLamúsicaenelMonasteriodelEscorial:ActasdelSimposium,391426.
Page53 Attoliteportasinpolyphonywiththehonestynotofsingers,butofvirtuousreligiousmen,somethingthatgaveparticularcontentmenttotheothermonks.Withthistheywent ontotheorchardofthemonastery,wherethewashingmillwasnewlybuiltandthere,forthesecondtime,theybeganhonestvillanescaswhichseemedtohavebeenmadeforthat place.Andfromsaidwashingmillallthesefatherswent,withoutfollowingapath,tothehermitageoftheHerreríadeFuenteLámparas,passingthroughthebrooksandravines andthroughthedensefoliageoftherockroses,ashtrees,oaks,andotherundergrowththere,inwhichtherewasahermit,old,thin,buthealthy,whoopenedthedoorofthe hermitage,insidewhichtherewasanimageofOurLady,anduponentering,thesingersbegantosinginfabordóntheSalveRegina,whichmovednotonlythehermit,butalsothe otherfatherspresenttosuchdevotionthatitmadethemweep;andaftertheSalve,otherdevotionalsongsweresungtoOurLady....70
Thisintriguingdescriptionistheearliestaccountwepossesstoestablish,first,thepresenceofanumberofmonkmusicianscapableofperformingpolyphonyand, second,theperformanceofapolyphonicsettingofaliturgicaltext,albeitoutsidethemonasterywalls.Thispassageisalsotheearliestevidencewehaveforthe performanceofvillanescas,orsacredvernacularpolyphonicpieces,andtheperformanceofaliturgicaltext"enfabordón."71 Sincetheperformancesdescribedheretookplaceoutsidethemonastery,theycannotbeseenasacontraventionofthegeneralprohibitionofpolyphonyinparagraph 38oftheletteroffoundation.Thisisnotthecase,however,inthenextaccountofmusicalperformanceofferedbySanJerónimo,forherethepolyphonyisnotonly performedliturgically,itisalsoperformedinthepresenceofPhilipIIhimself: OnFriday,23Decemberofsaidyear[1575],KingPhilipOurLordcametospendtheNativityofOurLord,whichfellon 70Seedocument6inAppendix3. 71InhisTesorodelalenguacastellana,Cobarruviasgivesthefollowingdefinitionof'villanesca':"Lascancionesquesuelencantarlosvillanosquandoestánensolaz.Perolos
cortesanos,remendándolos,hancompuestoaestemodoymensuracantarcillosalegres.EssemesmoorigentienenlosvillancicostancelebradosenlasfiestasdeNavidadyCorpus Christi."Bythelatesixteenthcentury,thetermfabordónwaslooselyusedtorefertothesettingofaliturgicalchantinachordalcontext,thechantfrequentlybeingassignedtothe topvoice,orelsethetenor.Fabordónperformancewasmoreusuallyrestrictedtochantssuchasthepsalmtones,whichconsistofrepeatedrecitingnotes.See,forexample,thosein MontsM750andNYorkH253a.ThisreferencetoasettingofaMarianantiphonenfabordónisnotcommon.
Page54 thefollowingSunday,athismonasteryofSt.Lawrence.ForfirstVespersofthefeast,HisMajestywasinthechoirofthemonastery,whereheremainedwithmuchdevotion,and theofficewasperformedwithsuchorderthathadneverpreviouslybeenexceeded,becausetherewereverygoodvoicesinthechoir,andthefatherswereveryskilledin polyphony,andamongallofthemthreeexcelled:FrayGaspardeLeón,professedinSanJerónimoofGranada;FrayBartolomédeSantoDomingo,professedinSanMigueldel Monte;andFrayFranciscoMuñoz,professedinSanBartholoméelReal;andwiththesethreewasFrayAgustíndeValencia,whoalsogavegreatpleasurewithhisvoice.72
Frominformationsuppliedbythemonasterynecrology,73weknowthatbothBartolomédeSantoDomingoandAgustíndeValenciasangcontraltoandthatGaspar deLeónwasabass.Twoyearslater,duringHolyWeekof1577,SanJerónimoreportedthattwoofthesamesingers,GaspardeLeónandBartolomédeSanto Domingo,togetherwithFrayMateodeAvila,sangthePassion,onceagaininthemonarch'spresence.74WeknowfromthemonasterynecrologythatMateodeAvila possesseda"gooddeepbassvoice"anditseemspossible,especiallyinthelightoflateraccountsofthesingingofthePassionsattheEscorial,thatonthisoccasion too,theysangpolyphony.75However,nofurtherevidenceaboutwhatmusicmayhavebeensungontheseoccasionshascometolight,anditwouldbehastytotake theseaccountsoftheperformanceofpolyphonyonimportantfeastdaysasrepresentingthedaytodaymusicalpracticeofthemonastery.Indeed,forthenexteight years,from1577until1585,theEscorialhistoriansaresilentaboutanyperformanceof 72"Viernes23diasdelmesdediciembredeldichoañovinoelReyD.FilippenuestroSeñorátenerlaPascuadelaNatividaddelSeñorensumonesteriodeSantLorencio,quecayó
eldomingosiguiente.EstuvoS[u]M[ajestad]enelcorodeldichom*onesteriolasprimerasvisperasdelafiesta,dondeestuvoconmuchadevocion,yeloficiosehizocontanto conciertocualnuncahastaestediasehabiahechomejor,porquehabiamuybuenasvocesenelcoro,ylospadreseranmuydiestrosenelcantodeórgano,yentretodosse señalarontresdellos,quefuéelpadrefrayGaspardeLeonprofesodeSantHierónimodeGranada,yfrayBartolomédeSanctoDomingo,profesodeSantMigueldelMonte,yfray FranciscoMuñozprofesodeSantBartoloméelReal,yconestostressejuntófrayAgustindeValencia,quetambiendiógrancontentamientoconsuvoz."SanJerónimo,Librode memorias,156. 73AGP,Legajo1791.TheMSiscommonlyreferredtoastheMemoriassepulcralesandwillbethuscitedhereinafter.SeeAppendix2forbiographicalnotesonthesethreemonks. 74"DijeronlapasionfrayGaspardeLeon,frayBartolomédeSantoDomingo,profesosdeldichom*onesterio,yfrayMateodeAvila,profesodelmonesteriodeSantHierónimode
Espeja."SanJerónimo,Librodememorias,186. 75Memoriassepulcrales,fol.226r.SeeAppendix2forbiographicalnotesonMateodeAvila.
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polyphonybythemonks.Theydomention,however,thesingingofpolyphonyattheEscorialbyvisitingmusicians. At7:00pmonSunday,24May1579,themortalremainsofPhilipII'shalfbrotherDonJuandeAustriawereceremoniallyreceivedattheEscorialintheaccustomed manner.Thebodywasgreetedbyfour"monksingersincopes"whosangaSubveniteSanctiDei,butwedonotknowwhetherthisresponsorywasapolyphonic settingornot.Onthefollowingday,wearetoldbySanJerónimo,themainMasswascelebratedbySanchoBustodeVillegas,thebishopofAvila,whosesingers assistedinthechoir.AfterMass,thecompanyretiredtothechurchinwhichtheroyalcorpsewaslaid,andafterthebishop'schapelsangapolyphonicresponsory,the Escorialcommunitysangoneinplainsong.76Implicitinthiscleardivisionofmusicalrolesisthedualfunctionoftheprovisionalchurch:itisatoncearoyalchapelanda privatemonasticchapel,thuspresagingthedualfunctionsoftheEscorialbasilicaunderPhilipII. Inthefollowingyear,1580,on11November,thebodyofQueenAnnawastranslatedtotheEscorial,whereitwasreceivedbyGasparQuiroga,archbishopof Toledo.SanJerónimotellsusthatQuirogabroughtwithhimthechapelofToledocathedral"withthebestsingers"who"performedtheirofficeperfectly."Alsopresent wasthecapillareal,whichhadcomefromMadrid,andSigüenzatellsusthatthesemusiciansjoinedwiththosefromToledo.77 76"Eporestarnuestropadrepriorabsenteenelcapítulogeneralquesecelebróesteañode79enSanBartoloméelReal,elpadrevicariofrayHernandodeTorrecillashizoeloficio
ensunombre,ésalióvestidodecapa,éconlosdosministrosvestidosdealmáticas,écuatropadrescantoresvestidosdecapas,loscualestodosllegaronáunamesaqueestaba cubiertadeundoseldericobrocadoenmediodelclaustroprincipal,dondeloscaballerospusieronelcuerpoReal,éluegocomenzaronlospadrescantoreselSubveniteSancti Dei,yconestosevolvieronenprocesionálaiglesia,ylosmesmoscaballerosécomendadoresquellevabanelcuerpoRealenloshombros,lepusieronenelsitialótúmuloque estabaaderezadoparaelmismo,yelpadrevicariodijolaoracionestandotodoelconvento,obispoécaballerosenderredordeltúmulo;yenacabandodedecirlasefueronlos padresdelacasaalcoroádecirunavigiliacantada,yelseñorobispoconsucompañasefuéádescansar.Yeldiasiguientequefuéá25dijoporlamañanalamisamayorelseñor obispoayudandoácantarsuscantoreseloficioenelcoro;édichalamisasebajóelconventoálaiglesiadondeestabaelcuerpoReal,yledijeronunresponsocantadoenla capilladelobispoencantodeórganounpedazo,yelconventodeSanLorenzoencantoIlanootropedazo."SanJerónimo,Librodememorias,265. 77"VinolacapillaRealconellimosneromayordeS[u]M[ajestad]D[on]LuisManrique,ylacapilladeToledoquetraiaelseñorarzobispoconlosmejorescantores:loscualescantores
escogidamentehicieronsuoficio.Dijolamisadepontificaleldichoseñorarzobispo:vistiéronsedecapasymitraslasdignidadesdeToledo,concanónigosqueservianenlamisaásu señoría."SanJerónimo,Librodememorias,336."EstuvobuenoluegoelRey.MandóalObispodelamismacuidaddeBadajozyalDuquedeOsunaquetrajesenaquísucuerpo, avisandotambiénalArzobispodeToledo,Quiroga,Cardenaly
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ThenextreportsofpolyphonyattheEscorialarefoundinthevariousaccountsofthepreparationsleadingtothededicationofthenewlycompletedbasilicain1586. SincethebasilicawasthecentralfocusoftheEscorial'sliturgyandsinceitprovidedtheimmediatecontextfortheEscorial'sliturgicalmusic,itisworthdetaining ourselvesforamomentwithacontemporarydescriptionofthisremarkablebuilding.Perhapsourbestguidetothetemple,inwhichthevastmajorityoftheEscorial's liturgicalmusicwasperformed,isFranciscodelosSantos."LetusnowenterthebasilicofSt.Laurence,"hewrites,"whereweshallseehumanartandmagnificence displayedinthemostgloriousmanner."Hecontinues: Hereareunitedalltheart,genius,andmagnificence,whichdistinguishesitfromtheothers;butinsuchasuperiordegreeofperfectionandgrandeur,asevidentlyshew,thatthe intentionofthatgreatmonarchinthisamazingexertionofhispower,wastoleavenothingunattemptedthatcouldbeeitherdesiredorperformed.Itisimpossibletoenteritwithout beinglostinastonishment.Thecapacity,elevation,symmetry,decorations,andrefulgentmagnificenceunitetostrikethemindwithareligiousawe. Thelengthofthisstatelyfabric,fromtheentranceofthefivegates,andthearchesofthefrontispiecedelosreyes,beforementioned,tothewallofthegreataltar,onwhichthe altarpieceispainted,isthreehundredandsixtyfourfeet,andthebreadth,fromthewalloftheconvent'sprincipalcloister,tothatofthegreatgalleryofthehouseandthecloister ofthepalace,istwohundredandthirty.Withinthisspacearecontainedthegreatchapel,thechoir,andthesidearches,adjoiningtothechapelandantecoros,onbothsides, togetherwiththepassagesfromtheconventtothecollege,andthesotacoroattheentrance.Butexclusiveoftheseparts,andlimitingthemensurationbythebrassbalustrade belowtherailsofthechoir,andthefrontstepofthegreatchapel,thelengthisonehundredandeightyfeet,andthebreadthpreciselythesame;sothatinthispart,whichisthe principal,
(footnotecontinuedfrompreviouspage) Inquisidorgeneral,quesehallasepresentealdepósito.Llegaronaquíconelcuerpo,a11denoviembre,elCardenal,elObispoyelDuque.AlaCondesadeParedes,camarera mayordelaReina,yalaCondesadeBarajasmandóSuMajestadacompañasenelcuerpohastaaquí,porqueeltiempodelaentregaatestiguasenseraquelelcuerpodelaReina, porquenoledescubriesenelrostro.Hízoseeloficiodelentierrocongransolemnidad,porquesejuntaronlosmúsicosdelaCapillaRealyladelasantaIglesiadeToledo.Dijola misaelArzobispodepontifical."Sigüenza,Fundación,96.
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Figure3 Detailofthebasilicachoir.
Page58 thebasilicformsanequilateralsquare,oratleastthedifferenceisveryminute. Itisbuiltofthesamestoneastheotherparts,verywhiteandbeautiful,beingchosenfromamongtheneighbouringquarries,andnearlythesameasthattowhichtheGreeksgave thenamepyrites,onaccountofitsinflammatoryquality,andisparticularlyadaptedtothechurchofSt.Laurence,whosewonderfulconstancywasnottobesubduedbythe flames. Itsarchitectureisofthedoricorder,which,onaccountofitsstrengthanddignity,wasdedicatedtothebraveandvigorous;thustheancientsuseditinthetemplesofthosegods whoweremostrenownedformilitaryachievements;asJupiter,Mars,andHercules,todenotetheirstrengthandintrepidity. Thewholestructureissupportedbyfourantas,orverystrongsquarepillars,erectedroundthecenterofthechurch,atthedistanceoffiftythreefeetfromeachother,formingfour grandarches.Thesecorrespondwithotherantas,orsquarepillars,placedinthewalls,atthedistanceofthirtyfeet,andformingotherarches.Thusthebasilicisdividedintothree naves,onwhateversideitisviewed;butinrealitytheyaresix,twointhemiddle,andfourinanequilateraldispositionalongthesides.Thoseinthemiddleareabovefiftyfeet wide,andthoseonthesidesthirty.Thesymmetryandcorrespondenceinall,hasaverypleasingeffect.Thefourprincipalpillarsaretwentyninefeetsquare,andtheheighttothe entablatureissixtyfivefeet.Roundeachpillararefourstraitedpilasters,projectingafootfromthemainshaft,withintercolumniationsofthree;andasthepillarsanswertoeach other,theyformthearchesandcurvesoftheprincipalnaves,whichdependonthedispositionofthepilasterstraversingeachother.Inthemiddle,ontheothertwosidesofthese pillars,facingthelessernaves,aretwoniches,oneovertheother,whichdecoratethewholeshaft,andanswertoothersintheantasalongthewall,formedbetweentwoplain pilasters,projectingafootfromit.Theyareninefeetintheclear,toaheightofeighteen.Thelowerserveforaltarsofamiddlingsize.Thuseverypillarhastwoaltars,andtwo nichesoverthem.Likewiseinthenichesofthepilasters,alongthewall,onbothsides,arealtarsanswerabletotheothers.
Page59 Besidesthese,thewholecircuitofthechurch,beneaththecornice,whichisattheheightofthirtyfeet,issurroundedwithchapelsofveryelegantarchitecture,andsplendidly adorned;andoverthechapelsandcornicearegalleries,extendingquiteroundthechurch,anddecoratedwithbrassballustrades.Heretheeyehasamorecollectiveviewofthe beautiesofthisstructure.Beyondthese,attheheightofsixtyfeet,inthenorthandsouthfronts,facingeachother,aretwoorgans,whichtakeupthewholebreadth,andalsothe height,uptotheprincipalcornice.Abovethisprincipalcornice,whichisofexquisiteworkmanship,andcarriedroundthewholechurch,attheheightofeightyfeet,isanother passagewithinthewall,thatresemblesthefirst,andformsthetoweroftheinside.Andsuchistheelegance,richness,andnumberofobjects,thatthecuriousbeholderisravished withsograndadisplayofmagnificenceanddevotion.Theceilingconsistsoftwentyfourloftyarches,formedbythedispositionofthenaves;theiruniformappearance,withthe regularityofthedistances,addtothedignityoftheplace.Theheightofthefourprincipalarchesofthecross,andoftheothers,fromthepavementtothekeystone,isone hundredandtenfeet,andthoseofthefourlessernaves,betweensixtyandseventy.TheseexciteanideaofthosesuperbarcheswhichRomeerectedtohervictoriousgenerals; butthenthesehave,withmuchgreaterreason,beenraisedtothehonorofSt.Laurence,who,inthismajestictemple,triumphsovertherageofpagantyranny. Onthefourcentralpillars,andthefourarchesformedbythem,restsastrongandsplendidpedestal,twentyeightfeethigh,supportingthestupendiouscupola,ofsuch magnitude,workmanshipandsolidity,thatthepillars,thoughinthemselvesprodigiouslylarge,appeartooslenderfortheamazingweighttheysupport.78
InreadinessforthefeastofSt.Lawrenceon10August1586,PhilipIIorderedthat,on8August,thesmallpreciousmonstranceofthetemporarychapelbeplacedin thenicheprovidedforitinthehighaltarofthenewbasilica.79Forthefirsttime,thealtarsofthebasilicaweredressedandtherecentlyfinishedplainsongchoirbooks werestoredinthestandsespeciallybuilttohousethem.Inaddition,allthesilver 78SantDescEng,3540. 79SanJerónimo,Librodememorias,403.
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platewasdeliveredtothesacristyandarrangementsweremadefortheilluminationofthechurch,thechoir,andtherelics.Theseelaboratepreparationsmarkedthe culminationoftheconstructionofthebasilica,althoughitsdedicationwasdelayeduntil30August.OnFriday,9August,theeveofthefeastofSt.Lawrence,the JeronymitessangPrime,Terce,Sext,andNoneinthesmallprovisionalchapelwhichhadservedcontinuouslyfrom1571forthecelebrationoftheliturgy.80At8:00 am,theentireJeronymitecommunity,whichatthistimenumberedsome80professedmonks,81togetherwithallthemembersofthecollegeandtheseminary, assembledinthissamechapeltocelebratetheMassofthedayinthepresenceofPhilipII,hissonthefutureKingPhilipIII,theInfantaDoñaIsabel,andmembersof theroyalhousehold.AfterMass,prayersweresaidandpolyphonywassung,probablybythecapillareal,whichwascertainlypresent.82 Theconsecratedsacramentwasthencarriedinsolemnprocessionfromtheprovisionalchapeltothehighaltarofthebasilica.BothPhilipIIandhissonPrincePhilip, asconspicuousdefendersofthatmostCatholicdoctrineoftheEucharistagainstthereformers,boreoneofthesupportingcolumnsofthebaldachinunderwhichthe sacramentwascarried.Acolytes,seminarians,andcourtiersjoinedthemusiciansofthecapillarealintheprocessiontothegreatportalofthebasilica.Inaddition,six monkswearingcopessangCorpusChristihymnsand,onenteringthebasilica,intonedtheTeDeumlaudamus.AccordingtoSigüenza,83theorgansrespondedwhen theTeDeumwasthusintoned,butaccordingtoSepúlvedaitwasinstrumentalists,bajonesandcornetas84aswellastheorganswhich"deafenedthechurch."After thesacramenthadbeenplaceduponthehighaltar,thepriorFrayMigueldeAlaejoscelebratedthefirstMassinthenewbasilicainthepresenceoftheKing,the Prince,andtheInfanta,inthewordsofSepúlveda,"withmuchpolyphonyandelegantvoiceswiththeorgans,whichsoundedheavenly."85ThebiographerCabrerade CórdobawrotethattheMasswascelebrated"withharmonyandthemusicofthemonasteryandthecapillarealwithvoicesandinstrumentswhichresounded admirablyinthatchurchwithmajestyanddevotion,"86thusagainnamingtheJeronymitesandthe 80SanJerónimo,Librodememorias,404andSigüenza,Fundación,110. 81SeeMemoriasdeFr.AntoniodeVillacastín,ed.ZarcoCuevas,DHM1:29. 82"[Y]dichasycantadasalgunascosasdemúsicaacantodeórgano,"Sepúlveda,"SucesosdelreinadodeFelipeII,"CD114:132.SantosreferstothisceremonyinhisSantDesc,fol.
27v. 83Sigüenza,Fundación,111. 84"[L]amúsicadelosministriles,bajonesycornetas,"Sepúlveda,"SucesosdelreinadodeFelipeII,"CD114:132. 85"[C]onmuchocantodeórganoymuylindasvocesconlosórganosquesonabancelestialmente,"Sepúlveda,"SucesosdelreinadodeFelipeII,"CD114:133. 86"[C]onarmoníaymúsicadelConventoycapillarealdevoceséinstrumentosqueresonabanenaquellaiglesiaadmirablementeconmajestadydevocion."CabreradeCórdoba,
FilipeSegundo,ReydeEspaña,199.Whentheterm'música'isusedinsimilarcontexts,itseemstorefertoadiscretegroupofexpertmusicians,singersaswellasinstrumentalists.
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musiciansofthecapillarealamongtheperformingforces.Itisnotknown,though,towhatextentthesediscreteforcesperformedthesamemusic.At3:30pm Vesperswascelebrated"withmuchsolemnity,"bythepriorandsixpriestcantorswearingcopes.SepúlvedatellsusthatbothVespersandComplinewerecelebrated withthesamemusicalforcesastheMass.87 Onthefollowingday,thefeastofSt.Lawrence(10August)at8:00am,PhilipIIandhissonjoinedthemonksinsolemnprocessionthroughthethreenavesofthe basilica.Duringtheprocession,musicwasonceagainprovidedbythemusiciansofthecapillareal"withvoicesandinstruments"andtheprocessionwasfollowedby aMassatwhichSigüenzapreached.88AtVespersandCompline,theorganwasplayedbyDiegodelCastillo,theorganistofthecapillareal.89Afewdayslater, Sepúlvedawrites,themonkswenttothebasilicatoinspectthechoirmoreclosely.FranciscodelosSantosoffersthefollowingdescriptionofthechoir: Admirationisneversatisfiedwithcontemplatingthemajestyandbeautyofthischoir,where,dayandnight,thepraisesoftheAlmightyaresungwithvoicesexpressiveoffervent devotion;thisisaninstitutionpeculiartotheorderofS.Jerom,themostnobleemploymentofcreatures,andtheendforwhichthewiseandprudentPhiliperectedthisstructure.It isspacious,solemn,andreceivesthelightthroughitsgreatnumberofwindows,whicharethoseseenonthefaçadeandfrontispiecedelosreyes,whichwehavealready described.Itslengthfromtheprior'sseattothebrassrails,orthebalustradeattheentranceofthechurch,isninetysixfeet,toabreadthoffiftysix;theheightofthecornice, whichextendsroundthewholefabric,isfortysixfeet,andfromthencetotheroofthirtyeight;whichinallmakesanelevationofeightyfourfeet. Onbothsidesaretworowsofstalls,oneabovetheother,madeofthemostvaluablewoods,someofwhicharenatives,andofthosethemostcommoniswalnuttree;therestare fromIndia,ascaobaoftwokinds,somethingredderthanbrazil,acanaofadeepsanguinecolor,cedar,box,ebony;formingamostbeautifulvariety.Thearchitectureisofthemost ornamentalorder,ImeantheCorinthian,andtheexecutionsurprizinglydelicate. 87Sepúlveda,"SucesosdelreinadodeFelipeII,"CD114:133. 88Sigüenza,Fundación,113andSepúlveda,"SucesosdelreinadodeFelipeII,"CD114:134. 89"Lasvisperassegundasycompletasfueroncomolasprimeras.TañiaelórganoCastillo,famosohombreyúnicoenesteartesilehahabidoenelmundo."Sepúlveda,"Sucesosdel
reinadodeFelipeII,"CD114:134.
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Figure4 AnengravingofthebasilicachoirfromF.Branvila, Coleccióndelasvistasdelr[ea]lsitiodeS[an]Lorenzo(Madrid,1832). Onthearmsofthestalls,inthelowerrank,areveryneatpedestals,which,withtheintermediateplane,formsabackadornedwithmouldingsofebonyfrizes,which,withtheworks inotherwood,hasaverypleasingeffect.Thebackalso,whichrunsalongthewholerow,issodisposedasnottoobstructthesightofthoseintheupperseats;nordoesitrise abovetheheadsofthemonks.Theupperrow,besidesaback,likethatofthelower,isadornedwitharangeofroundandflutedcorinthianpillarsrisingaboveit.Theshaftsareof asanguinecolor,withboxchapiters,andthebasesofthesame,thefillingofwhichformsamostbeautifulcontrastwiththeacana.Theseareofcedar,surpassingincolorthe finestpine,andembellishedwithacanaandebonymouldings.Themodillonsabovethearchitrave,withthethistleleavesoverthem,andtheflueronsbetweenboth,arelikewiseof box,andmakethemostagreeableappearance.Overthese,andthecrownofthecornice,isanotherpedestal,directlyabovethepillars,andwiththesameembellishmentsasthose underthem;which,coveringtheupperrow,givesaprodigiousbeautyandgrandeurtothem,asthecolor,grain,andwork
Page63 manshipcannotbeexceeded.Theheightoftheseats,orstalls,intheupperrow,isseventeenfeet,andthedistance,betweenthemandthelower,ten;sothatapassageisleft sufficientforthreepersons,veryconveniently,towalkabreast. Theprior'sstallisinthemiddleoftwoothers,thethreeformingagrandfrontoftwelvecolumns,whicharealsoofthecorinthianorder,placedtwoandtwoalongthearmsofthe threeseats,sixattheextremity,andsixfartherin,perfectlyansweringtoeachother;aworkextremelyadmiredforthegrandeurofthearchitecture.Thefrontispieceissquare,and embellishedwithpillars,pilasters,andsomebeautifulvolutesatthesides,andinthemiddlesquare,isapictureofChristbearinghiscross. Thewholenumberofstallsinthechoirisonehundredandtwentyeight,andonbothsidesarefourascentsofthreemarblesteps,betweenthelowerandupperrow,yet sometimesnotafewstallsarewantingforpersonsofrank,whocometojoinintheconventualdevotions.Ontherightside,atthecorneroftheupperrow,nearadooropeningto anapartmentadjoiningtothechoir,isthestallofPhilipthesecond,whofrequentlyusedtoassistatthedevotionsofthemonks;andherehereceivedthenewsofthefamous victoryofLepantoovertheinfidels,whenhisforcessogloriouslydistinguishedthemselves. Thechantingdeskhasfewequalsforlargenessandmagnificence.Itstandsintheintermediatespacebetweenthetwolaststalls,onasquarepedestalofjasper,inlaidwithwhite marble,andsupportedbyfourlargebrasspilasters,enamelledwithgold.Theleaf,onwhichthebookslie,isalsoofenamelledbrass,tenfeetfromangletoangle,orfortyin circumference,anditswholeheightissixteenfeet.Itismadeofacanaandcaovowood,withmouldingsandfilletsoftheabovemetalgilt.Overthecornicearefourglobes,whose gildingmakesafineappearance,andtheglobesthemselvesanswertothefourpilasters.Inthemiddleoftheglobes,onapedestalofthesamewoodasthestalls,isasmalltemple, consistingoftwelvecolumns,formedinportals,withanimageofourLadyinthecenter,andterminatinginacupola,onthetopofwhichisagiltbrasscrucifix.Thewhole,inits designanddecorations,isextremelybeautiful,andverymuchheightensthemagnificentappearanceofthischoir. Themusicbooksareofapiecewiththedesk;whenopened
Page64 theyareexactlysquare,beingtwoyardsinwidth,andthesameinheight.Theleavesareofparchment,verywhiteonbothsides,theletterssolargeanduniform,thattheymaybe seenfromtheprior'sstall,andmostexquisitelyilluminated,beingtheworkoffatherAndreasdeLeon,who,inthiselegantart,wasaseconddonJulio,fatherJulian'sdisciple,and othermasters.Hereisalsoacapitularyfortheprincipalfestivals.Thisworkishighlyesteemedbothforthelargenessandforthebeautyoftheilluminations,neitherSpain,nor Italy,havingeverproducedthelike.Thenumberofthebooksisnolessthantwohundredandfourteen,allsimilarintheirbindingandornaments,whichareofbrassenamelled withgold.90
Hearingthemonksenterthechoirfromhisoratory,PhilipIIsentamessengertorequestthatthemonkssingapsalmtotesttheacousticpropertiesofsuchalarge choir.Thesound''wentoutcelestially"andthePrudentKingwas,wearetold,verysatisfiedwiththeresult.91On30August,eventhoughitwasnotyetconsecrated, themonarchorderedthatthebasilicabededicated.InorderthatMassandtheofficebecelebratedinthebasilica,heobtainedaPapalfacultyontheunderstanding thattherewaseveryintentionthatthebasilicabeconsecratedinthefuture.92 Inaletterdated18October1586,PhilipIInotifiedtheJeronymitemonksofhisintentiontohavetheeighteenroyalbodies,whichhadbeenentombedonly temporarilyattheEscorial,transferredtoacryptbeneaththealtarofthebasilica.93Ofthefourcontemporaryaccounts,onlyone,thatofSepúlveda,mentionsthe performanceofpolyphonyinthecourseofthethreedaysofceremonywhichaccompaniedthetranslation.94Sepúlvedadescribedtheceremonyoftheseconddayin thisway:"Thesecond[day]wasmuchmoresolemnbecausethepriorcelebrated.Therewasmuchpolyphony.Vesperswassaidverysolemnlyandafterwardsthe lastresponsorydowninthechurch[wassung]inpolyphony,veryhighly....TheMassthenbeganwithmuchmusic,attheconclusionofwhichwewentdowntothe churchandsangaresponsoryveryhighly,inpolyphony."95 90SantDescEng,4851. 91Sepúlveda,"SucesosdelreinadodeFelipeII,"CD114:134. 92Sigüenza,Fundación,1145;Sepúlveda,"SucesosdelreinadodeFelipeII,"CD114:135;andMemoriasdeFr.AntoniodeVillacastín,ed.ZarcoCuevas,DHMI:29. 93ThetextoftheletterisreproducedinSanJerónimo,Librodememorias,4078andSigúenza,Fundación,115.TheidentitiesoftheeighteenbodiesarelistedinSanJerónimo,Libro
dememorias,410. 94ThefouraccountsareSanJerónimo,Librodememorias,40711;Sigüenza,Fundación,11517;MemoriasdeFr.AntoniodeVillacastín,ed.ZarcoCuevas,DHM1:29;and
Sepúlveda,"SucesosdelreinadodeFelipeII,"CD114:13537. 95"Elsegundo[día]fuémuchomássolemne,porquecelebróelprior.Hubomuchamúsica
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Takentogether,thewritingsoftheearliestJeronymiteannalistsofferanauthoritativebodyofevidenceconcerningtheperformanceofmusicattheEscorial.Fromtheir chroniclesandhistories,weknowthatasearlyas1575therewasagroupofmonkssufficientlyexpertinmusictobesingledoutasmonkmusicians.Weknow,too, thatpolyphonywasperformedliturgicallyandthatvillanescasandfabordoneswereperformedoutsidethemonasterywalls.Mostinterestingofallarethetwo reportsofthesingingofpolyphonybytheJeronymitesinthepresenceofPhilipII,thefirstduringtheChristmasliturgyandthesecondduringthetranslationoftheroyal bodiesin1586.Allotherpolyphony,itseems,wasperformedbyvisitingmusicianswhowerealsoresponsiblefortheparticipationofinstrumentsotherthantheorgan. WhenconsideringthemusicalpersonnelattheEscorial,itisimportanttorecallthattheinstitutionwasorganized,likeeveryJeronymitehouse,alongstrictlymonastic lines.Almosteveryaspectoflifewithinthemonasteryprecincts,fromtheperformanceofmusictothebakingofbread,wasentrustedtomonksunderthejurisdiction oftheprior.Sincetherewasnoquestionofmoneychanginghandsundersuchcirc*mstances,themusichistorianisdeniedthekindofprecisionwhichisaffordedby therecordsofpaymentkeptbynonmonasticmusicalinstitutionssuchasroyalchapelsandcathedrals.AlthoughnodocumentslistingtheEscorial'smusicalpersonnel assuchhavethusfarbeenuncovered,thesurvivingdocumentationisneverthelessfullenoughtoallowanapproximatereconstructionofsuchalisting.Tables2.2to 2.6listallthosemembersoftheEscorial'smusicalestablishmentwhoareknowntohavebeenactiveattheEscorialbetween1571and1586.96Becauseofthenature ofthedocumentationuponwhichtheseandsubsequentsimilartablesarebased,ithasnotbeenpossibletoaccountforamonk'stemporaryabsencefromtheEscorial. Forthepurposeofthetables,ithasbeenassumedthateachmonklivedcontinuouslyinthemonasteryuntilhisdeath. SincetheentireJeronymitecommunityjoinedinsingingtheplainsongforMassandthedivineoffice,whichwastheirprincipaloccupation,itmustbeassumedthat thosemonkssingledoutassingers(seeTable2.2)musthaveperformedmusic (footnotecontinuedfrompreviouspage) decantodeórgano.Dijéronselasvísperasmuysolemnes,ydespuéselúltimoresponsoabajoenlaiglesiaacantodeórgano,muyaltamente....Comenzóseluegolamisacon muchamúsica,yacabadabajamosalaiglesiaycantamosunresponsomuyaltamente,acantodeórgano."Sepúlveda,"SucesosdelreinadodeFelipeII,"CD114:13637. 96Theinformationqualifyingthosemusiciansnamedinthislistingforinclusionhasbeenculledfromavarietyofprimaryandsecondarysourcematerial,inbothmanuscriptand
printedforms.ThemostimportantsourcesaretheMemoriassepulcrales,theActascapitulares,andthewritingsoftheearlyEscorialhistoriansSigüenza,SanJerónimoanddelos Santos.BriefbiographiesformostofthemonkslistedherearegiveninAppendix2.Iwishtoemphasizetheapproximatenatureoftheseandallsubsequentsuchtables.Theyare designedtopresentintabularforminformationculledfromavarietyofprimarysourcesinconjunctionwithwhichtheyoughttoberead.
Page66 Table2.2:SingersattheEscorial,15711586
Table2.3:CorrectoresdelcantoattheEscorial,15711586
Table2.4:KeyboardplayersattheEscorial,15711586
Table2.5:OtherinstrumentalistsattheEscorial,15711586
Table2.6ComposersattheEscorial,15711586
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overandabovethatrequiredbyallmembersofthecommunity.Thefactthatthreeofthemarenamedasbassesandthreeasaltosfurthersuggeststhattheservicesof thesesingerswerecalleduponwhenmusicmoreelaboratethanplainsongwascalledfor.Indeedmanyofthem,aswehaveseen,havebeennamedinthechroniclers' accountsofthesingingofsacredpolyphony,fabordones,andrecreationalvillanescas.Noevidencehasyetcometolight,however,tosuggestthatthesesingers constitutedaformalcapillawithitsownmaestro,anditsspecialliturgicalrole.Atleasttwoofthesingers—PedroMarínandAgustíndeValencia,andprobably others—werebroughttotheEscorialcommunityspecificallybecauseoftheirmusicalskills.97Althoughnodocumentshavebeenfoundthatreferspecificallytothe unbrokenvoicesoftheseminarians,weknownthattheysangadailydawnMassontheirown. OftheelevenkeyboardmusicianswhowereactiveattheEscorialsometimebetween1571and1586(seeTable2.4),themajorityweremembersoftheJeronymite community.98Inadditiontotheirkeyboardskills,fourofthemwerealsoactiveassingersandone,DiegodelaConcepción,taughttheseminarianstosing. Thethreecorrectorsdelcantowhoservedintheperiod1571to1586arelistedinTable2.3.Weknowthattheywereallskilledsingersofpolyphony.Itseemsthat themonasterycarillonwastheonlynonkeyboardinstrumenttohavebeenplayedbyamemberoftheJeronymitecommunity(seeTable2.5).AccordingtoFrancisco delosSantos,thesetofbellsthatweremeltedinthecatastrophicfireof1671werereplacedduringthereignofCharlesII.99Asforthecompositionofmusicduring thisperiod,therewasonlyonemonkwithanyaptitudeforcomposition,FrayHernandodeCiudadReal,andifhecomposedanyworksattheEscorial,theyarenot knowntohavesurvived(seeTable2.6). NoteontheTables Thetableslistonlymonkmusicians.Salariedsecularmusiciansarenotlisted.HorizontallinesrepresentthepresenceofamonkattheEscorial.Theendsofthelines aretobeinterpretedthus:
97SeebiographicalnotesonthesetwomonksinAppendix2. 98Onlyonekeyboardmusician,CristóbaldeAguila,wasnotaJeronymite.FromtheActascapitularesof1582,weknowthatheservedthecommunityformanyyearsandtaughtthe
organtosomeofthemonks.SeeAC1,fol.62vandDHM10(1):405. 99SeeChapter6.
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3— TheReignofPhilipIIfrom1586to1598 "Thisismyfortress,thispalace,constructedastheshrineforthetwosacramentswhicharebutone:mypowerandmyfaith."1
"Therehas,perhaps,beennopersonalityinmodernhistory,notevenNapoleonorStalin,whohasbeenbothasenigmaticandcontroversialasPhilipIIofSpain. Neitherhisowncontemporariesnorlaterhistorianshavebeenabletoagreeonhischaracter,hisaimsoreventhedegreeofsuccessheachieved."2Giventhestrong disagreementwhichhascharacterizedhistorians'judgmentsofPhilipII,itisperhapssurprisingtofindacomparativelylessturbulentconsensusamongthosemusic scholarswhohaveconcernedthemselveswithPhilip'srelationshiptomusicandmusicians.InhisLaMúsicaenlacortedeCarlosV,Anglésrepeatedlyand emphaticallystylesPhilipIIasthemonarch"whom*ostprotectedmusicinSpain"and"thetruemecenasofSpanishmusic.''3ForStevenson,PhilipIIwas"theleading internationalmusicpatronofhisage"who"attheendofhisreign,justasatthebeginning...outdistancedeverycontemporarysovereigninhissupportofmusic."4This judgmentenjoyedwidespreadacceptanceuntilrecently,whenSteinexpressedanotherview:"Asapatronofmusic,KingPhilipIIdeservesattentioninthehistoryof Spanishmusicnotforhisenergybutforhispassivity....Itisstriking,givenhisplaceinhistory,thatPhilipIIcontributedsolittletothecauseofSpanishmusic."5 Sincesuchstarklydivergentviewscanhardlybeallowedtostandwithout 1Fuentes,TerraNostra,710. 2Koenigsberger,"TheStatecraftofPhilipII,"1. 3ThefollowingquotationsfromAnglés,LamúsicaenlacortedeCarlosVillustratetheinsistenceofAnglés'sviews:"Nadiehabíasospechadoqueelverdaderomecenasdela
músicanacionalfueraFelipeIIynoCarlosV,comoseveníarepitiendo."(x);"ElmonarcaporantonomasiamecenasdelamúsicanacionalnofuéCarlosV,sinoFelipeII."(84andagain on141);"HemosdichoanteriormentequeFelipeIIdebeserconsideradocomoelmonarcaquemásprotegiólamúsicaenEspaña,"117.Inaddition,thefirstsectionofhisChapter4is entitled"FelipeIIfuéelverdaderomecenasdelamúsicaespañola"(83). 4Stevenson,SpanishCathedralMusic,241(274inSpanished.). 5L.K.Stein,"MusicalPatronage:theSpanishRoyalCourt,"RevistadeMusicología16(1993):6167.
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resolution,itismypurposeheretoexaminetheevidenceuponwhichtheseconclusionsarebasedand,tosomeextent,theunderlyingassumptionsuponwhichthese statementsdepend.Beforedoingso,however,weshouldconsiderthelargebodyofhistoricalliteratureconcerningPhilipIIsince,takentogether,thevarious biographiesandhistoriesofhisreignpresentapersistentbutunreliablehistoriographicaltraditionattributingmusicalknowledge,andeventalent,totheking.6Ifwe conflatetheseextracts,ignoringthegrosserabsurditiesandinaccuracies,wefindaviewofPhilipIIwhichcomprisesthefollowingrecurrentthemes:heenjoyeda musicaledu 6ThefollowingchronologicallistingofextractsaboutmusicfromboththegeneralandmusicalliteratureconcerningPhilipIIandhisreigndoesnotpretendtobeexhaustive:
CabreradeCórdoba,FilipeSegundoReydeEspaña,Lib.1,Cap.1,5;A.Andrés,"LibrosdecantodelacapilladeFelipeII,"MúsicaSacroHispana10(1917):93;B.Porreño, DichosyhechosdelReyDonFelipeII(Madrid,1942),227;J.FernándezMontaña,NuevaluzyjuicioverdaderosobreFelipeII(Madrid,1882),283;H.Forneron,Histoirede PhilippeII,2vols.(Paris,1887),139;E.vanderStraeten,LamusiqueauxPaysBasavantleXIXesiècle(Brussels,186788),8,385;B.Saldoni,Diccionariobiográfico bibliográficodeefeméridesdelosmúsicosespañoles(Madrid,186881),4,244;M.Hume,PhilipIIofSpain(London,1911),159;J.BeneytoPérez,Losmediosdeculturayla centralizaciónbajoFelipeII(Madrid,1927),178;L.Bertrand,PhilippeIIál'Escorial(Paris,1929),189;ZarcoCuevas,LosJerónimos,44;J.H.Mariéjol,PhilipII,theFirst ModernKing(NewYork,1933),2778;R.Merriman,TheRiseoftheSpanishEmpireintheOldWorldandtheNew(NewYork,19181934),excerptedinRule,TheCharacterof PhilipII,38;W.T.Walsh,PhilipII(NewYork,1937),29[anabbreviatedSpanishtranslationofthispassageisquotedinA.IniestaCorredor,LaeducacióndeFelipeII(Madrid, 1960),102];L.Pfandl,FelipeII:Bosquejodeunavidayunaépoca,trans.JoséCortsGrau(Madrid,1942),594;M.S.Kastner,Contribuciónalestudiodelamúsicaespañolay portuguesa(Lisbon,1941),48,231;C.Cadoux,PhilipofSpainandtheNetherlands,AnEssayonMoralJudgmentsinHistory(London,1947),excerptedinRule,TheCharacterof PhilipII,69;J.PeñaCostaandAnglés,Diccionariodelamúsicalabor(Barcelona,1954),885;R.AltamirayCrevea,AHistoryofSpainfromtheBeginningstothePresentDay trans.MunaLee(NewYork:1958),excerptedinRule,TheCharacterofPhilipII,96;W.Starkie,Spain:AMusician'sJourneythroughTimeandSpace(Geneva,1958),1,95;G. Chase,TheMusicofSpain(NewYork,1959),86;J.Miranda,EspañayNuevaEspañaenlaépocadeFelipeII(Mexico,1962),22;N.SolarQuintes,"Nuevosdocumentossobre ministriles,trompetas,cantorcicos,organistasycapillarealdeFelipeII,"MisceláneaenhomenajeaMonseñorHiginioAnglés(Barcelona,1961),884;C.Petrie,PhilipIIofSpain (London,1963),37,51;F.SopeñaIbañez,"LamúsicaenelmonasteriodeElEscorial:deFelipeIIalailustración,"inElEscorial.15631963.IVoCentenario2(Madrid,1963),664 6;R.TrevorDavies,TheGoldenCenturyofSpain15011621(NewYork,1965),120;M.A.Vente,"TheFamilyBrebos,OrganBuildersfromLierandAntwerp,"AnuarioMusical 21(1966):43;G.Bourligueux,''LesgrandesorguesduMonastèreroyaledel'Escurial,"L'Orgue127(1968):1023;A.Livermore,AShortHistoryofSpanishMusic(London,1972), 856;P.Becquart,MusiciensNéerlandaisálacourdeMadrid:PhilippeRogieretsonécole(Brussels,1967),34;G.Abraham,ed.,TheAgeofHumanism15401630,TheNew OxfordHistoryofMusic,4(Oxford,1968),3789;F.W.Sternfeld,AHistoryofWesternMusic(1973),390;P.Pierson,PhilipIIofSpain(London,1975),15,60;H.TrevorRoper, PrincesandArtists—
(footnotecontinuedonnextpage)
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cation,whetherformalorinformal,andpossiblyplayedthevihuela;likehisfatherCharlesV,helovedmusicandemployedaverylargenumberofmusicians;hewas especiallyfondofAntoniodeCabezón;hesupportedthepublicationofworksbyimportantcomposers;decisionshemadeaboutmusicandmusicianswereguidedby hispersonaltastesandpreferences;hesoughtoutthebestforeignmusicians;hisreigncoincidedwithaperiodofextraordinaryflorescenceforthemusicalartsinSpain andthiswas,insomemeasure,duetotheprotectionheofferedmusicandtheotherarts.Itisagainsttheconsiderableweightofthisbackgroundofreceivedopinion thatmusicologistsfindthemselvesworking. ThenotionthatPhilipIIplayedthevihuelaseemstobebaseduponasingleflatteringsentenceinthededicationofDiegoPisador'sLibrodemúsicadevihuela (Salamanca,1552).7SimilarlyslightevidencethatPhilipIIwasamusicianisfoundinTitian's"Venuswiththeorganplayer,"whichwaspaintedinabout1550andis nowhousedintheGemäldegalerie,BerlinDahlem,themusiciandepictedinwhichhastraditionallybeenheldtobePhilipII.8Despitetheslendernessofthisevidence, theassumptionthatPhilipIIwasaperformermaybefrequentlyencounteredeveninthemostrecenthistoricalliterature.Theonecontemporarystatementwehave concerningtheKing'smusicalabilitiescomesfromPhilipII'sbiographerCabreradeCórdoba,whogrewupathiscourtandservedashissecretary.Hereportsthat thesovereign"hadperfecteyesightandakeenearformusic,sothatevenknowingneithermusicnorwhatkindofvoicehehad(forheneversang)hejudgedit knowledgeably."9Thisconcise,distanced,andmeasuredstatementcontrastsmarkedlywith (footnotecontinuedfrompreviouspage) PatronageandIdeologyatFourHabsburgCourts15171633(NewYork,1976),52;M.AlonsoCantarino,ElorganistaciegodeFelipeII(AntonioCabezón)(Madrid,1977),36, 75,86,87,8889;G.Parker,PhilipII(London,1979),9,1667;M.S.Kastner,"Cabezón,"inTheNewGroveDictionaryofMusicandMusicians,ed.S.Sadie(London,1980),3:572; M.Lacarta,FelipeII:LaideadeEuropa(Madrid,1986),28;T.AlonsoTurienzo,"ExposiciónyCatálogo"inIVCentenariodelMonasteriodeElEscorial:Feysabiduría—La biblioteca(PatrimonioNacional,1986),136;M.J.RodríguezSalgado,TheChangingFaceofEmpire,(Cambridge,1988),9;J.Brown,TheGoldenAgeofPaintinginSpain(New HavenandLondon:1991),39;I.Cloulas,PhilippeII(Fayard,1992),4145;G.Woodward,PhilipII(NewYorkandLondon,1992),6;R.Mulcahy,TheDecorationoftheRoyal BasilicaofElEscorial,10;andOstenSacken,SanLorenzoelRealdeElEscorial,79;andH.Kamen,PhilipofSpain(NewHavenandLondon,1997),4. 7DiegoPisador'sLibrodemúsicadevihuela(Salamanca,1552):"YlasegundaporquesiV[uestra]Al[teza]queriéndosedesocuparenlostrabajosdegobernaciónquisieradescansar
enesteexerciciodelavihuela,sepaVuestraAltezaqueestelibroeselmásprovechosoquehastaagorasehacompuesto."Foradiscussionoftheevidenceandatranscriptionofthe dedication,seeL.Villalba,"FelipeII,tañedordevihuela." 8H.TrevorRoper,PrincesandArtists—PatronageandIdeologyatfourHabsburgCourts15171633(NewYork,1976),523. 9"Tuvoperfectavista,yeneloirsutilezatantaquenosabiendolamúsicaniquétérminodevoztenía(porquejamascantó)juzgabaenellaadvertidamente."CabreradeCórdoba,
FilipeSegundoReydeEspaña(Madrid,1619),Lib.1,Cap.1,5.
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theinflatedassertionsofmorerecentwriters.ItshouldbenotedhowrarelytheEscorial,towhichthesovereign,afterall,obsessivelydedicatedhislast35years,is invokedbymodernhistorianswhendiscussingPhilipandmusic.Andwhenitis,PhilipII'sprohibitionofpolyphonywithinitswallsiseithernotmentionedornot accordedtheseriousconsiderationwhichitdeserves.OstenSackenandFernándezArmestoareexceptions;theyconcentratedirectly,butbriefly,onthisremarkable prohibition,eventhoughtheirfocusisneithermusicnorPhilip'sartisticpatronage.10 Withinthemusicologicalliterature,aparticularviewofPhilipIIhasbeenprojectedbyWagnerand,toalesserextent,byBecquart.Inaseriesofarticlesbasedupon hisworkineditingtheworksofPhilippeRogier,Wagnerdevelopsascenarioinwhich"PhilipIIacquiredfromhisfather,CharlesV,atasteforthefinestmusicofthe mid16thcentury.Helearned,too,thattheLowCountrieswereaprimesourceofexcellentmusicians.Therefore,afterPhilipIIestablishedhiscourtinSpainin1559, hehadasuccessionofchapelmastersfromthisareaofnorthernEurope."11Onthebasisofthepremise—apremiserendereduntenablebyRobledo'sfindings12—that PhilipIIsupportedtwoindependentmusicalchapelsinMadrid,oneSpanishandtheotherFlemish,Wagnerhassuggestedthatthe"evidentfavoritismofthekingmust havecontributedtothegeneralunpopularitywhichtheforeigners,asrepresentativesofapeoplewhovexedSpainmightilyduringthesixteenthcentury,sufferedinhis service.13IfWagnerpresentsPhilipasachampionofFlemishmusicandmusicianstothedetrimentofSpanishmusicandmusicians,Anglésjustasvigorouslypresents himasachampionofSpanishmusicwhowentsofarastopromoteitinhistravelsabroad.Inordertoaccountforthiscontradiction,wemustreturntoacloser examinationofAnglés'sfindings.Stevenson,bystatingthat"athiscourtforeignanddomesticmusicmixedonimpartialterms"14remainsalooffromthispolemic.When theevidenceissotantalizinglyscant,itissubject,orsoitseems,toawidevarietyofinterpretations. Anglésbaseshisconclusionsuponacloselydocumentedstudyofpaymentrecordstomusiciansatcourtbefore1556,theyearinwhichPhilipassumedthecrown. SuchaseriousshortcomingasAnglés'sdecisionnottoconsiderevidencefromthe 10OstenSacken,SanLorenzoelRealdeElEscorial,79;F.FernándezArmestoandD.Wilson,Reformation:ChristianityandtheWorld15002000(London,1996),80. 11L.Wagner,"MusicofComposersfromtheLowCountriesattheSpanishCourtofPhilipII,"MusiquedesPaysBasanciens:Musiqueespagnoleancienne(c.1450c.1650).
ColloquiaEuropalia3(Louvain,1988),193.SeealsoBecquart,MusiciensnéerlandaisàlacourdeMadrid. 12L.Robledo,"LamúsicaenlacortemadrileñadelosAustrias.Antecedentes:lascasasrealeshasta1556,"RevistadeMusicología10(1987):75396. 13PhilippeRogier,ElevenMotets.RecentResearchesintheMusicoftheRenaissance,vol.2,ed.L.Wagner,9.SeeI.Pope,"The'SpanishChapel'ofPhilipII"andN.AlvarezSolar
Quintes,"NuevasnoticiasdemúsicosdeFelipeIIysuépoca,"195. 14Stevenson,SpanishCathedralMusic,241(274inSpanished.).
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periodofPhilipII'sreign(15561598),however,oughttocautionusagainsttheuncriticalacceptanceofhisfindings,especiallyastheyrelatetohisfortyoneyearsas KingofSpain.Havingestablishedthepresenceattheprince'scourtofsuchimportantmusiciansasAntoniodeCabezón(15101566)andFranciscodeSoto,Anglés proceedstoanumberofconclusionswhichexertseverepressureupontheevidence.Forinstance,hisconclusionthatthemerepresenceofCabezónandSotoat courtensuredthattheprinceacquired"aprofoundloveofartandartists"isdifficulttomaintainwithoutsomekindofcorroboration.AlthoughAnglésfindsnoevidence tosuggestthattheKingplayedaninstrument,heneverthelessconcludesthatPhilipreceivedamusicaleducation.15OnthebasisofafewwordsintheProemioto AntonioCabezón'sObrasdemúsica,whichhissonHernandosawthroughthepress,16AnglésdescribesCabezónas"verybelovedofFelipeII."17Similarly,he deducesfromthephrase"theauthorisasubjectandservantofYourHighness''inthededicationofPisador'sLibrodemúsicadevihuela,thatthevihuelistwasinthe serviceofPhilipII.18Onceagain,corroboratingarchivalevidenceislacking. In1553CharlesVplacedPhilipIIunderthetutelageofthecomendadorofCastille,DonJuandeZúñiga,theclericJuanMartínezSiliceo,thescholarHonoratoJuan, andthechroniclerJuanGinésdeSepúlveda.ThefirsttwentyyearsofPhilip'slifeandeducationhavebeenthoroughlyandreliablystudiedbyMarch.19Ifthisstudy revealsnothingtocontradictCabreradeCórdoba'sstatementaboutPhilip'slimitedmusicalabilities,itissuggestiveofthestrongandlastinginfluenceofSiliceo's tutorship.BeforeassumingachairattheUniversityofSalamanca,SiliceoreadphilosophyandtheologyinParisaswellasinSpain,andin1546hewasappointed archbishopoftheSpanishprimatialseeofToledo.Hisfourteenpublishedworksincludemathematicaltreatises,theologicalworks,twomissals,abreviary,andthe notoriousEstatutodelimpiezadesangre.20ThefactthatmathematicsbecametheyoungPrince'sstrongestsubjectconfirmstheimpressionofthestronginfluence exertedoverhimbySiliceo.Sincemusicwasregardedasamathematicalscience,itseemslikelythatifPhilipdidstudyanymusictheory,itwastaughttohimby Siliceo.AchampionoforthodoxyinthefaceoftheReformation,SiliceoheldakeypositionintheoperationsoftheInquisitionandexercisedconsiderableexpertisein mattersconcernedwiththeliturgy. AnglésfollowsFernándezMontañainattributingpatronagetoPhilipIIon 15Anglés,LamúsicaenlacortedeCarlosV,60,84. 16"SiguiendoysirviendoalcathólicoReydonPhilippenuestroseñor,dequienfuétambiénqueridoyestimado,quantopudoserhombredesufacultaddeReyninguno,yaunen
demostracióndestohizosacarsuretratoyletieneoyendiaensuRealpalacio."MME2:89. 17"MuyamadodeFelipeII."MME2:98. 18"ElautoresvasalloycriadodeVuestraAlteza."MME2:117. 19J.M.March,NiñezyjuventuddeFelipeII. 20Ibid.,5862.
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thestrengthofmusicalpublicationsdedicatedtohim. AnglésassumesthatifapublicationwasdedicatedtoPhilipIIitwasthereforesomehowpatronizedbythe monarch,andheproceedstoconcludethatthemusicinpublicationssodedicatedwouldinsomewayreflectthemonarch'stastes.22Noneofthedocuments uncoveredbyAngléssupportsthesimplisticbutadmittedlyattractivehypothesisthatseesPhiliprewardingacomposerwhosemusichelikedbyofferingafinancialor otherrewardinreturnforaflatteringdedication.AnotherkindofunconvincingreasoninghasAnglésdescribethesortofmusicPhilipwouldneedtocalmhissoulas "soft,peaceful,absolutelyserene,andimpersonal,butprofoundlymystical"andthenclaimthatthis"waspreciselythemusiccreatedbyCabezón."23Onceagain,we arelefttowonderaboutthemechanismbywhichthepatroncommunicatedhisrequirementstothecomposerandthewayinwhichthecomposerresponded.It remainsextremelyunlikely,however,thatmusichistorianswilleverfindamusicalequivalentof—totakebutoneexample—PhilipII'sdetailedcommissiontoElGreco resultinginthecontroversialMartyrdomofSt.MauriceandtheThebanLegion,whichthemonarchsubsequentlyrejected,probablyoniconographicalratherthan stylisticgrounds.24Yetitispreciselybecauseofthescarcity,oreventhetotalabsence,ofsuchdocumentationrelatingtomusicalpatronagethatweshouldtreadwith cautionwhenassumingrelationshipsofcauseandeffect. 21"SábesetambienqueD.FelipeIIprotegiólaimpresionypropagacióndelasobrasmusicalesdeaquelmaestrocelebérrimo,GiovanniPierluigidiPalestrina,quefuéasombro
delossiglos.Suscomposiciones,quesondesumaexcelencia,admiraronlosgrandesartistasdelaEdadModerna.Yconefecto:alláseleeenlashistoriasdelmaravillosoartede cantarytañer,cómoelcélebrePalestrinadedicabaen1569susdoslibrosinmortales(segundoytercero)deMisas,queesdelomáscompletoyperfectoqueseconoceennota musical,áFelipeII,juntoconelfamosolibrodemotetes,publicadoentoncesbajolaprotecciondelCardinalHipólitodeEste.ConstaigualmentequeelcélebreTomásLuisVictoria Abulense,inspiradoenlascomposicionesprofundasdelamúsicadeaquelsigloyacompañadodesuscompatriotasMoralesyEscobedo,vueltoáEspaña,fuéllamadoycon predileccionfavorecidodelReyD.Felipe,quienlenombrómuyprontoCapellandesucasa."SeeJ.FernándezMontaña,NuevaluzyjuicioverdaderosobreFelipeII(Madrid, 1882),283. 22"ElhechodequelosvihuelistasespañolesdedicasenaFelipeII,siendopríncipe,obrasdecámaraparavihuelayvillancicosamorososparavihuelaycanto,pruebaunavezmáslo
muchoqueaDonFelipelecomplacíalamúsicaprofana."MME2:134. 23"Paraserenarsualmaeinfundirleoptimismo,precisaba,pues,deunamúsicasuave,apacible,absolutamenteserenaeimpersonalyprofundamentemística.Yestamúsicafué,
precisamente,lacreadaporAntoniodeCabezón."MME2:88. 24Fortranscriptionsofthedocumentsdetailingthecommission,seeZarcoCuevas,PintoresespañolesenSanLorenzoElRealdeElEscorial,1402.Foradetaileddiscussionofthe
commission,seeMulcahy,TheDecorationoftheRoyalBasilica,5467. 25"Amedidaquepasanlosañosyelpríncipetieneunconceptomáselevadodelamúsicasagrada,crecetambiénelnúmerodecantoresdesucapilla."MME2:98.
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Anglésseemsalltooreadytoinfersuchrelationships.TheappearanceofavolumebythemusictheoristGafuriusinalistofbookspurchasedfortheprincesometime between1544and1548isreadbyAnglésasevidencethattheprincelikedtokeepmusicbooksinhislibrary.Anglésinterpretsanincreaseinthenumberofsingers onthechapel'spayrollasaresponsetoPhilip'sacquisitionof"anelevatedconceptofsacredmusic."25Preciselywhatthis"elevatedconcept"mightbe,however,isleft unexplained. AnglésseemssodeterminedtomakeamusicalzealotoutofPhilipthatheimputesanationalisticandevenmusicalstylisticgoaltothevoyageshemadein1548. WhereashistoriansaregenerallyagreedthatCharlesVorderedthejourneysinordertofamiliarizetheyoungprincewiththeterritorieshewassoontoinherit,Anglés seesPhiliptakingtheopportunitytoensurethatthemusicalworldsofFlanders,Italy,andGermanywouldlearnthenewvariationformsandtheSpanishmusical aestheticfromexposuretosuchroyalchapelmusiciansasCabezón.26UponsuchshakyfoundationsasAntoniodeCabezón'spresenceintheroyalemployandhis sonHernando'sposthumousdedicatorywordsintheObrasdemúsica,AnglésconstructsanimageofPhilipasadiscriminatingandlearnedpatronwhowishedthe blindorganist'sworkstobeheardbeyondSpanishfrontiers.27IsitnotpossiblethatAnglésherecooptsPhilip'sfactfindingvoyage—whichhe,uniquelyamong historians,describesasa"misiónpatriótica"—aspartofhisownmissiontorehabilitateaSpanishnationalmusic?ItisperhapsAnglés'senthusiasmtoreassertan indigenousmusicaltraditionthatleadshimtomakethesehyperbolicclaims?TherelationshipbetweenFrancoFlemishandSpanishmusicisoneofthethreadsthat runsthroughhisdiscussionofPhilipII.WhenwritingoftherichnessoftheFrancoFlemishmusicaltraditionsthatcharacterizedthecourtofCarlosV,Angléssuggests thatthereadermightthinkthattheSpanishmusicalgeniushadbeencompletelyabsorbed:"No,athousandtimesno!"ishisreply.28AngléspaintsPhilip's1542tripto Valladolid,Monzón,Zaragoza,Lérida,Tarragona,Barcelona,andValenciaasavoyageofmusicaldiscoveryduringwhichheheardthesacredpolyphonyofthe Emperor'sFlemishchapelandtypicalSpanishpolyphonyintheSpanishcathedrals.Withoutourknowingexactlywhatheheard,andgiventhesignificantpresenceof FrancoFlemishrepertoryinSpanishcathedrals,Anglés'sconclusionscanonlybetreatedaspureconjecture.Hecontinuesthisconjecturebyimaginingthefuture sovereignasgraduallyconceiving,duringhistravels,theideaofcreatinghisownSpanishchapelto 26"FelipeII,convencidodelvalordeestemúsicosuyo[AntoniodeCabezón]ydelatécnicaartísticadesuejecución,tieneunempeñoespecialenqueelmundomusicalde
Flandes,ItaliayAlemaniaaprendaaconocerlasnuevasformasdelavariaciónydelaestéticamusicalespañola."MME2:110. 27"FelipeIIconocemuybienelvaloraltísimodelgeniodeCabezónyquierequesuarteseaprontoconocidomásalládelasfronterashispánicas."MME2:88. 28MME2:69.
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competewithhisfather'sFlemishchapel. RecentimportantarchivalworkbyRobledohasdiscreditedthewidelyacceptednotionthatPhilipsupportedtwo independentroyalchapels:oneSpanishandtheotherFlemish.Hisresearchhasdemonstratedthatthecapillasflamencaandespañoladidnotfunctionasseparate musicalinstitutions,althoughtheyweretreatedseparatelyforthepurposesoffinancialandadministrativerecordkeeping.30Theramificationsofthesefindingsuponour viewofPhilipasapatronhaveyettobefelt.Anglés'sdesiretoestablishanationalmusicaltraditionformspartofabroaderstraininSpanishmusicalhistoriography—a reaction,ontheonehand,tothebiastowardsFrancoFlemishmusicbysomescholarsand,ontheother,totherelativelyunderdevelopedstateofSpanishmusic research.31Anglésdesiretoredressthebalanceisexpressedinsuchfrequentrhetoricalflourishesas:"NoonewillbeabletonegatethattheartofMoraleswas typicallySpanish."32 Becauseoftheirappearanceinsuchauthoritative,prestigious,andwidelydisseminatedpublicationsastheMonumentosdelamúsicaespañolaandtheDiccionario delamúsicalabor,33Anglés'swritingsonPhilipIIhaveexercisedagooddealofinfluenceagainstwhichonlyonedissentingSpanishvoiceseemstohavebeenraised, albeitmutely.InhisHistoriadelamúsicaespañola:Desdeel'arsnova'hasta1600,Anglés'smostillustriousstudentRubiosuggests,inwhatmaybeanoblique referencetotheworkofAnglésandthosewhofollowedhim,thatthecaseforconsideringeitherCharlesVorPhilipIIasenergeticmusicalpatronsissupportedmore byanecdotalratherthanweightyhistoricalevidence.34 Anglés'sfindingsareseriouslycompromisednotonlybecausetheyarerestrictedtoPhilip'sfirst28years,butalsobecauseAnglésseemstohaveallowedamisplaced nationalisticfervortoguidehisconclusions.AlthoughhewasnotthefirsttoinvokemusicpublicationsdedicatedtoPhilipIIasevidenceofhispatronageofmusic,he didsowithoutquestioningthecrudeassumptionspreviouswritershavetolerated.35 29MME2:89. 30Robledo,"LamúsicaenlacortemadrileñadelosAustrias,"75396. 31
SeeW.Freis,"CristóbaldeMoralesandtheSpanishMotetintheFirstHalfoftheSixteenthCentury:AnAnalyticalStudyofSelectedMotetsbyMoralesandCompetitiveSettings inSevBC1andTarazC23"(Ph.D.diss.,UniversityofChicago,1992),35. 32MME2:70. 33J.PenaandH.Anglés,Diccionariodelamúsicalabor(Barcelona,1954),885. 34
"Historiadoreshayquevinculanambosacontecimientoscomosientreellosseprodujeraunamutuadependencia,yatribuyendoaciertasactitudesdelosdosmonarcascomouna especiadeinfluenciapositivasobrelavivaebulliciónmusicalquesepalpaentodoslosrinconesdelaEspañadeentonces.Sinánimop*rnuestrapartederestarfuerzaniimportancia aesteplaneamiento,que,deotrolado,seapoyaenanécdotasmásqueenrazoneshistóricasdepeso...."S.RubioCalzón,Historiadelamúsicaespañola:Desdeel"arsnova" hasta1600(Madrid,1983),148. 35See,forinstance,J.FernándezMontaña,FelipeII,elprudente,ReydeEspaña,enrelaciónconartesyartistas,concienciasysabios(Madrid,1912),1534:"Esotroartedivinoy
del
(footnotecontinuedonnextpage)
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Loth,forinstance,innocentlystatesthatPhilipII"publishedPalestrina'sfirstmasses,andfelthimselfamplyrepaidwhenthecomposerdedicatedtwotohim." The relationshipsbetweencomposer,dedicatee,patron,andprinterpublisherduringthereignsofCharlesVandPhilipIIhaveyettobestudiedandthepointatwhicha dedicateebecomesapatronremainsunclear.Thefactisthatweknowverylittleabouttheprecisemechanismsofmusicpublicationand,indeed,musicalpatronage underPhilipII.Ironically,oneofthemostvaluableservicesprovidedbyAnglés'sresearchishisexposureofpreciselythislackofevidence.Thereis,infact,nothing amongthedocumentspublishedbyAngléstosuggestthatPhilipdevelopedeitheraparticularinterestinoraknowledgeofmusicormusicians.Nevertheless,the presenceofsuchmusiciansasAntoniodeCabezónandFranciscodeSoto,bothofwhomarelistedintheaccountbooksofthecourtofQueenIsabel,andwhowere requiredtospendsixmonthsofeachyearintheserviceofPhilip'ssistersMaríaandJuana,ensured,attheveryleast,thatthePrinceenjoyedsomecontactwithmusic inhisearlyyears.37 PerhapsevenmoreinfluentialthanthewritingsofAnglésarethoseofStevenson.WritingbeforeRobledo'sdiscoveries,StevensonsawPhilipII'ssupportoftworoyal chapelsnotonlyasevidenceofextravagantfinancialsupportforthemusicalarts,butalsoasevidenceofanimpartialattitudetothecultivationofforeignand indigenousmusic.Hebeginsbyinvokingthenamesofthecomposerswhoservedasmaestrosdecapillainthesocalled'Flemish'chapel:NicolasPayen(1556 1559),PierredeManchicourt(15601564),JeanBonmarchais(15641569),GérarddeTurnhout(15721580),GeorgesdelaHèle(15811586),PhilippeRogier (15871596),andMateoRomero(=MaestroCapitán)(1575/61647).UnlikeAnglés,StevensondoesnotcompletelyignoretheEscorial,thoughthefactthata discussionofitsmusicandmusiciansisperipheraltotheconcernsofhisSpanishCathedralMusicintheGolden (footnotecontinuedfrompreviouspage) cieloqueFelipeIIprotegió,promovió,ysegúnalgunos,practicó,imitandoàsupadreelEmperadorCarlosV,dequienseasegurahaberposeídomuybienoído,muchaafición musical,muysonorayagradablevoz.Desuhijoafirmanmuchoshabertañidoconprecisiónygustolavihuela,instrumentohermoso,yenaquelsiglodenuestrasmayoresglorias preferidoàtodos.Algunosotrosloniegan.Perodejandoparamejorsazónestepunto,nosepuededudarqueFelipeIIpatrocinóregiamanteelartemusicaldentroyfueradesus Estados.BastaparaprobarlohabercooperadoyestimuladoconobrasyhechospiezasclásicasqueentoncescomponíanypublicabanmaestrostanfamososcomoPalestrina, TomásVictoria,Morales,Cabezónymuchosotros." 36D.Loth,PhilipIIofSpain(NewYork,1932),150.SeealsoH.Collet,Lemysticismemusicalespagnol,123. 37H.Anglés,LamúsicaenlacortedeCarlosV,88.Becquart,inMusiciensnéerlandaisàlacourdeMadrid,quotesthediplomatSarmientowritingfromLisbonon25July,1542:
"danzamuybienysabemásdelcantoqueunmaestrodecapilla"butismistakeninbelievingthatthediplomatwasreferringtoPhilipII;itistheprincessDoñaMaríatowhomitrefers. SeeAnglés,LamúsicaenlacortedeCarlosV,33.
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AgedoesindicatealessthanpivotalmusicalroleforthemonarchduringwhosereignsomuchofthemusicStevensontreatswascomposedandperformed.Inbrief butperceptivecommentsonPhilipII'smonasterypalace,StevensonpointstotheuniquenotationalandstylisticcharacteristicsofEscorialcomposerMartínde Villanueva'sMisadeNuestraSeñoraandsuggeststhat"thebestproofofPhilip'stastesisthecharacterofthisverymusic."38AlthoughStevensonoffersnofurther evidencetosupportthisastutesuggestion,itisonethatdeservescarefulconsideration.If,forthesakeofargument,weassumehishypothesistobetrue,thefollowing intriguingquestionsaretriggered:IfVillanueva'smusicwasindeedtoPhilip'staste,didVillanuevacomposeinordertopleasePhilipIIorwasthemonarch'spleasure incidentaltothecomposer'sintentions?IfPhilipIIfavoredVillanueva,whywashenotappointedmaestrodecapillaintheroyalchapelandwhywerenoneofhis compositionspublished,orevendisseminatedinmanuscript,withorwithoutdedicationstoPhilip?Inshort,whatwouldtheexistenceofapatronclientrelationship betweenanEscorialmonkcomposerandPhilipIItellusaboutPhilipII'spatronageofmusic?Iaddressthesequestionsbelow,butreturnbrieflytootherimportant evidenceofferedbyStevenson. Inadditiontolistingthenamesoftheroyalchapelmasters,StevensonrehearsesanimpressivebibliographyofmusicalpublicationsdedicatedtoPhilipII:Diegode Pisador,Librodemúsicadevihuela(Salamanca:DiegodePisador,1552);MigueldeFuenllana,Orphénicalyra(Seville:MartíndeMontesdoca,1554);Francisco Guerrero,CanticumBeataeMariae(Louvain:Phalèse,1563);GiovanniPierluigidaPalestrina,Missarumlibersecundus(Rome:Dorico,1567)andMissarum libertertius(Rome:Dorico,1570);AntoniodeCabezón,Obrasdemúsica(Madrid:FranciscoSánchez,1578);GeorgesdelaHèle,Octomissae(Antwerp: Plantin,1578);FernandodelasInfantas,Sacrarumvariistylicantionumliber1(Venice,1578),Sacrarumvariistylicantionumliber2(Venice,1578),and Sacrarumvariistylicantionumliber3(Venice,1579);TomásLuisdeVictoria,Missarumlibriduo(Rome:Basa,1583);andPhilippeRogier,Missaesex (Madrid,1598).Onthebasisoftheirdedicatoryletters,Stevensonassumesthatthepublicationofthesevolumeswasmadepossibleby"Philip'sgenerosity."Acloser readingofthededications,however,islessconclusive.Indeed,thestiltedformulaiclanguageinwhichtheyareroutinelycastshouldcautionusabouttakinganything theysaytooliterally.39Itisunlikely,forinstance,thatsuchlanguagewouldhave 38Stevenson,SpanishCathedralMusic,332. 39Thefollowinglistinggiveslocationsoftranscriptionsand/orfacsimilesand/ortranslationsofthededicationsforeachofthepublicationslistedwheretheyareavailable:Diegode
Pisador,Librodemúsicadevihuela(1552):foratranscription,seeL.VillalbaMuñoz,"FelipeII,tañedordevihuela,"CD94(1913);44850;MigueldeFuenllana,Orphénicalyra(1554): foratranscriptionandtranslation,seeC.Jacobs,ed.,MigueldeFuenllana.OrphénicaLyra(Seville1554),lxxvilxxxiii;Guerrero,CanticumBeataeMariae(1563):forapartial Spanishtranslation,seeR.Mitjana,FranciscoGuerrero,578andMME36:767;Palestrina,MissarumLiberSecundus(1567):foratranslation,seeL.Lockwood,ed.,Giovanni Pierluigi
(footnotecontinuedonnextpage)
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beenpennedunaided,ifatall,bycomposersthemselves.Whetherornothackswereemployedforthepurpose,assuggestedbyFenloninasimilarcontext, isbut oneofthemanyquestionstoberesolvedbyadetailedstudy—astudyyettobeundertaken—ofthepreciserelationshipsthatobtainedbetweencomposer,dedicatee, patron,andprinterpublisher.Theonedocumentwhichmightconceivablythrowmuchneededlightontheprocessofdedicationis,unfortunately,disappointinglysilent onthematter.ThisdocumentisthecontractamongCristóbaldeMorales,AntoniodeSalamanca,GiovanniDellaGata,andValerioDoricofortheprintingofMorales' Missarumliberprimus(Rome,1544)whichCusickhascarefullystudied.41 Inadditiontohavingactedasexpressionsofgratitude,Stevensonsuggeststhatdedicationsmightalso,oralternatively,havefunctionedto"solicitfuturefavors."42 Stevensondoesnotspeculate,however,onthepurposesofdedicationsbythesamecomposerstosuchnonearthlybenefactorsastheBlessedVirgin(Guerrero, 1582;Victoria,Motecta,1583;andVictoria,Motecta,1589),Christ(Guerrero,Motectalibersecundus,1589),andtheBlessedTrinity(Victoria,Officium hebdomadaesanctae,1585).Iffavorsarebeingeitheracknowledgedorsoughtthroughtheprocessofdedication,itseemsthatthosefavorsmightjustaswellbe spiritualasmaterial.Indeed,someofourcomposerscodedicatedtheonepublicationtobothcelestialandterrestrialpersonalities:Guerrero'sCancionesy villanescas(1589),forinstance,isdedicatedtoJesusChristandCardinalRodrigodeCastro.Similarly,hisMissarumlibersecundus(Rome:Basa,1582)is dedicatedbothtotheBlessedVirginandPopeGregoryXIII.Ifitwereonlythemostgeneralkindoffavorwhichwasbeingsoughtoracknowledgedindedications, thefewinstanceswheredesiresexpressedindedicationsseemdirectlyconnectedwithlateroutcomesmayrepresentnothingmorethanwishfulthinkingonthepartof modernbiographers.Victoria'sdesiretoleaveRomeinordertoreturntoSpain,expressedinthededicationtohis1583book,andhissubsequent (footnotecontinuedfrompreviouspage) daPalestrina—PopeMarcellusMass,223;Palestrina,Missarumlibertertius(1570):foratranscription,seeGiovanniPierluigidePalestrinasWerke.Erstekritisch durchgeseheneGesammtausgabe,Th.deWitt,J.N.Rauch,Fr.Espagne,Fr.Commer,F.X.Haberl,eds.,12:iv;Cabezón,Obrasdemúsica(1578):foratranscription,seeM.Alonso Cantarino,ElorganistaciegodeFelipeII(AntonioCabezón),702;FernandodelasInfantas,Sacrarumvariistylicantionumliber1(Venice,1578),andFernandodelas Infantas,Sacrarumvariistylicantionumliber2(Venice,1578),andFernandodelasInfantas,Sacrarumvariistylicantionumliber3(Venice,1579):fortranscriptions,seeR. MitjanayGordón,DonFernandodeLasInfantas,64,67,723,83;Victoria,Missarumlibriduo(1583):foratranscription,seeMME25:2021;foratranslation,seeM.Noone,ed., T.L.deVictoria,Missaprodefunctis(1583),131.IamgratefultoWolfgangFreisforthemanyusefulsuggestionshehasmadeonmytreatmentofdedicationsandmanyother mattersraisedinthischapter. 40Fenlon,MusicandPatronageinSixteenthCenturyMantua,2. 41Foratranscriptionofthecontractandathoroughdiscussion,seeS.Cusick,ValerioDorico:MusicPrinterinSixteenthCenturyRome(AnnArbor,1981),6674,95101. 42Stevenson,SpanishCathedralMusic,360.
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appointmentaschaplaintotheDowagerEmpressMaríamight,forexample,representsuchacase.Whilededicationsformanimportantclassofevidence,wehave yettoformulateasophisticatedmethodologyforunlockingtheirsecretsandinterpretingtheirprecisemeanings. Ifweassumethatadedicationsignalsfavorsreceivedorsought,wemightreducethesefavorstothreecategories:employment,prestige,andcash.Inadditionto soliciting,maintaining,orimprovinganyoneofthesethreecategories,adedicationmightalsoindicateadedicatee'sand/oranauthor'sdesiretopropagateideas, knowledge,orworksofart.Theassumptionthatadedicationsignalsfavorsreceivedorsoughtfromapatronoffersus,atbest,onlythemostgeneralindicationthat patronageisatwork.Toextendthisassumptiontoincludethenotionthatadedicationtoapatronisasignofapatron'sinterest,oreventaste,introducesafurtherset ofproblems.SinceneitherStevensonnorAnglésdefinewhattheymeanbytheterms"mecenas"or"patron",wearelefttoinfertheirdefinitionsbyinvestigatingthe waysinwhichtheyusetheterms.43Forbothofthem,financialsupportforthemusicalartsthroughsuchmeansassalariesandpublicationsubsidiesisaxiomatic.By emphasizingPhilip's"profoundloveofartandartists,"Anglésinfersthattheruler'sfinancialsupportformusicandmusicianswasmotivatedprincipallybythepatron's personalinterestintheartsand,perhaps,anationalisticdesiretopromoteSpanishmusicabroad.IfStevenson'ssuggestionthatPhilipIII's"preferenceforbrightmajor music"influencedthecompositionalstyleofthebookVictoriadedicatedtohimin1600,forinstance,infersmuchmorethancanbesupportedbytheevidence,italso presentsaplausiblehypothesiswhichshouldnotlightlybedismissed.Sincepatronageoftheartsinvolvesacomplexsetofrelationships,itisunlikelythatapatronwill bemotivatedbyasingleconcern."Ifdecisionsofpatronagereflectpersonaltastesandpassions,''writesGundersheimer,"onemustnotlosesightoftheconsistent patternsofrationalcalculationthatoftenunderliethemaswell."44TheKing,asanindividual,mightchoosetorewardmusiciansbecausehelikeswhattheycomposeor howtheyperform.TheKing,asanagentofthestate,mightrewardmusiciansbecausetheirworkadvances,insomeway,theinterestsofthestate.Inpractice,of course,suchtheoreticaldistinctionsdissolveintoacomplexwebofmotivationsconditionedbysuchconstraintsasprecedence,tradition,andcompetingpoliticaland powerstruggles.ThatPhilipIIwaswellawareoftheconstraintswhichrestrictedhispersonalfreedommaybeinferredfromthewordshewrotein1559totheduke ofAlcalá,viceroyofNaples:"Thefirstthingyoumustrealiseisthatthe 43
ThemutliplemeaningsareexaminedanddiscussedinR.Weissman,"TakingPatronageSeriously:MediterraneanValuesandRenaissanceSociety,"inF.W.KentandP.Simons withJ.C.Eade,eds.,Patronage,Art,andSocietyinRenaissanceItaly(CanberraandOxford,1987),2545. 44W.L.Gundersheimer,"PatronageintheRenaissance:anExploratoryApproach,"inG.F.LytleandS.Orgel,eds.,PatronageintheRenaissance(Princeton,1981),18.
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communitywasnotcreatedfortheprincebutratherthattheprincewascreatedforthesakeofthecommunity." EvenifitwerepossibletodefinePhilipII'smusical policy,whethermotivatedbypersonaltasteorapoliticalprogram,itwouldbeunwisetoassumethatsuchapolicywasthesameatalltimesandinallplaces.The musicalinstitutionsthatPhilipinheritedfromhisfatherhadcarefullydifferentiatedfunctions,andtheroleofmusicwithintheseinstitutionswasstrictlyregulated.Eventhe Escorial,whichwasofcoursePhilip'sowncreation,wasconstrainedbyacomplexsetoffactorsincludingtheliturgy,Tridentinedecrees,andJeronymitetraditions,all ofwhichmusthaveimpactedindecisivewaysuponthecompositionandperformanceofmusic. Inteasingoutthemotivatingconcernsofpatrons,musichistoriansarefacedwithproblemsthatarerarelyencounteredbyhistoriansofartorarchitecturewhose patrons,beingmoreorlessknowledgeable,drawupcontractsinalanguagecomprehensibletoallparties.Sofarasweknow,therearenomusicalequivalentstothe richlydetaileddocumentationconcerning,totakeasecondexample,PhilipII'scommissioningofthefunerarygroupbronzeswhichkneelinsilentprayeratthehigh altarofthebasilicafromrenownedsculptorLeoneLeoniandhissonPompeo.46ThesepapersteachagreatdealaboutthemechanismsofPhilipII'spatronageofthe artsandarchitectureand,intheabsenceofsuchspecificdocumentationaswefind,forinstance,inthecelebratedcorrespondencebetweenGuglielmoGonzagaand Palestrinadiscussingmusicalstyle,47itseemsreasonabletoconsidersuchevidenceofPhilip'snonmusicalpatronageindrawingconclusionsabouthisactivityasa musicalpatron. Amongarthistorians,PhilipII'sstatusasanimportantpatronissecure:forJusti.PhilipIIwasaKunstfreund;48Brownstyleshim"thegreatestmecenasofthesecond halfofthesixteenthcentury";49forCheca,whosemonumentalstudyofhispatronageoftheartsisthemostcomprehensiveandthoroughtodate,Philipwasnot"onlya generousmecenasofthearts,hewasalsooneofthemostintelligentandoriginalinallhistory";50MulcahyprefacesherdetailedanalysisoftheEscorialbasilicaby writingthathe"wasoneofthegreatestartpatronsofhistime,"51whileWilkinsonfindsPhiliptobe"noordinaryamateur:eveninanagenotedforitsambitious builders,hisinvolvementinbuildingwasextraordinary."Innotingthat''Philip 45Koenigsberger,"TheStatecraftofPhilipII,"3. 46F.Checa,FelipeII:Mecenasdelasartes(Madrid,1992),30221. 47SeeFenlon,MusicandPatronageinSixteenthCenturyMantua,87ff. 48C.Justi,"PhilipIIalsKunstfreund,"MiscellanëenausdreiJahrhundertenspanischenKunstlebens;2vols.(Berlin,1908),336(Spanishtrans.byR.CasinosAssens,"FelipeII
Amigodelarte,"EstudiosdeArteEspañol,2;146). 49Checa,FelipeII:Mecenasdelasartes,9. 50Ibid.,10. 51Mulcahy,TheDecorationoftheRoyalBasilicaofElEscorial,10.
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consideredarchitecturetooimportanttobelefttoarchitects," shefollowsTrevorRoper'sjudgmentthat"itwasPhiliphimselfwhoinspiredanddirectedthe architectureoftheEscorial."53 WilkinsonreadsPhilipII's1559appointmentofJuanBautistadeToledotothehithertounknownpositionof"nuestroarquitecto"asadecisivemomentinwhatshe referstoasPhilip's"peculiarstyleofartisticpatronage."Inexplainingthisstyle,shesuggeststhat"wecanthinkofPhilipIIandHerreraasactorsinaplayforwhich theytogetherwrotethescriptandassembledandtrainedthecast,althoughtheirproduction,asinanytheater,wassubjecttocirc*mstancesbeyondtheirdirect control.''54Wilkinsondemonstratesthat,atleastinarchitecture,Philip'sunderstandingofthemechanismsofpatronagewassophisticatedandinnovativeandshecredits himwithintegratingtheidealofahumanistpatronofarchitectureintotheinstitutionsofthestatebeforethiswastooccurelsewhereintheseventeenthcentury.55 Wilkinson'sstudyrevealsPhilipasasophisticatedpatronunconstrainedbyprecedentinthemechanismsofpatronageanddeeplyinvolvedateverylevel,fromthe broadlyconceptualtothemosttrivialtechnicaldetail.AsimilarpictureemergesfromMulcahy'sstudyofthedecorationoftheEscorialbasilica."Itishereinthe basilica,"shewrites,"thatwecancomeclosesttoPhilipIIasapatron,forasweshallsee,hecloselysupervisedeverydetailofthework,notonlythepaintingsand sculpture,butalsothechurchfurnishingsandfittings,thechoirbooks,vestments,sacredvessels,andreliquaries."56MulcahyshowsPhiliptobeaninvolvedpatron intenselyinterestedindetail,whosoughtadviceasfarafieldastheFlorentineacademy,whowasintouchwithcontemporaryarttrends,whofeltnohesitationin expressingdispleasurewithworkshehadcommissioned(evenrejectingpaintingsbyTitian,Tintoretto,Veronese,and,mostfamously,ElGreco),whovisitedartistsin theirworkshops,andwhofrettedoverthepaintingsofZuccaro.ShedemonstratestheoverridingimportancetoPhilipIIofconformitytopostTridentineideason sacredimagesandshowshowPhilip'sobjectionsweremadeconsistentlyoniconographic,ratherthanaestheticgrounds.Thedecorationofthebasilicawasguidedby anunambiguousiconographywhichemphasizedpiety,decorum,andthestrictestorthodoxyinaccordancewithCounterReformationideas.Philip'sjudgments,it seems,werenevermadeonaestheticgroundsalone. Theinspiredworkofthesescholarshasbothelucidated,ofteningreatdetail,themechanismsofPhilipII'spatronageofthenonmusicalartsandclarifiedhisguiding principles.Giventhehugevolumeofsurvivingdocumentation,thecolossalscaleoftheproject,therapidityofitsconstruction,andthecoherenceofitsdesign, 52SeeWilkinson,JuandeHerrera:ArchitecttoPhilipIIofSpain,168. 53TrevorRoper,PrincesandArtists,54. 54SeeWilkinson,JuandeHerrera:ArchitecttoPhilipIIofSpain,1. 55Seeibid.,1213. 56Mulcahy,TheDecorationoftheRoyalBasilicaofElEscorial,11.
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theEscorialitselfprovidesanunequaledcasestudyofroyalpatronageofartandarchitectureintheRenaissance.Indeed,becauseoftheextraordinarycoherenceofits conceptionandexecution,theEscorialstandsasmuchanexpressionofanideologicalprogramastheexpressionofanindividual'staste. Checa'sdetailedexposéofthepatronalmechanismsemployedbyPhilipII,mechanismswhichhecharacterizesas"themostremarkableandpeculiarinsixteenth centuryEurope,"onceagainemphasizestheKing'sstrongpredilectionfordetailandhisinvolvementwitheveryphaseoftheprocess.57Checaarguesconvincinglythat everyaspectoftheEscorialwassubservienttothetrazauniversal,theideologicalprogramdevisedbyPhilipwhich,brieflyput,affirmedorthodoxCatholicismand legitimatedtheHabsburgdynasty.Againstthebackgroundofthefindingsofarthistorians,wemayreturntothequestionoftherelativelysparseevidencewehave concerningPhilipII'sinvolvementwithandknowledgeofmusic. ThesnippetsofevidencewehaveconcerningPhilipII'sattitudetowardmusicrevealamonarchwhoseguidingprinciplewas,atalltimesandinallthings,butespecially thosepertainingtotheliturgy,themaintenanceofstrictorthodoxy.ThislentlegitimacytotherulerandcohesiontotheSpanishEmpireasawhole.Attentionhas alreadybeendrawntothewaysinwhichPhilipsharedthehistoricalandpoliticalassumptionsthatmotivatedhisfatherandthewaysinwhichPhilipsoughttoadhere strictlytotheadviceofhisfather.Itisnotsurprising,then,tofindPhilipvowingin1555toobeyhisfather'sdesirethattheEmperor'schapelbemaintainedinits entiretywithoutanyreductioninitspersonnel.ThestatementwaswritteninreplytoanopportunisticrequestfromPhilipII'scousin,MaximilianII,who,awareofthe Emperor'simminentabdication,hopedtoacquireafewmembers,ifnottheentirecompany,ofthehighlyesteemedchapeloftheretiringEmperor.58 ThesmallbodyofevidencewehaveconcerningPhilip'sengagementwithmusicfallsintothefollowingcategories:thereportsandanecdotesofcontemporary chroniclersandhistorians,briefpassagesinletterswrittenbyPhilipIItohisdaughters,documentspronouncingofficialpolicydirectives,anddiplomatic correspondencewiththeVatican. AccordingtoSigüenza,59PhilipIIwassointerestedinthefirstchantbookthathadbeenbroughttotheEscorialin1563,thatonenighttheKingenteredthetempo 57Checa,FelipeII:Mecenasdelasartes,30221. 58TheletterispublishedinM.FernándezAlvarez,Corpusdocumental,4:249. 59"Otravez,estandoyaenelaposentoquemandólabrarparasíenestacasa,yviviendojuntosélylosreligiososenella,supoquehabíantraídounlibrodelosdecantollanoparalos
oficiosdivinos,habíanlepuestoenelfacistolaquellanocheparadecirlosmaitines;tuvotantaganadeverlo,porserelprimero,que,despuésderecogidoslosreligiosos,entróagatas porunaventanaquesalíadesuaposentoalcoro,alumbrándoleSantoyoconunacandela;andabaelPriormirando,comoescostumbre,siestabanlosfrailesrecogidos,ycomovioluz enelcoro,entróaverquiénerayhallóalReydentroycogióle
(footnotecontinuedonnextpage)
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rarychapelinconspicuouslythroughawindowinordertoexaminethebook.Whetherornottheanecdoteistrueinalldetails,thereseemslittledoubtthatPhilip entertainedapersonalinterestintheprovisionoftheEscorialwithacompletechantrepertory.ThisinterestisconsistentwithhisdesireforconformitywiththeCouncil ofTrentinallliturgicalmattersandisperhapsmorerightlyseenasanexpressionofhispolicyofCatholicorthodoxyratherthanasindicativeofhismusicaltaste.Philip II'slivelyinterestintheliturgymayalsobeobservedinthelistofbooksdeliveredforhisprivatelibrary,whichhasbeenbroughttogetherinAntolín'sattempted reconstructionofitscontents.In1567,forinstance,aplainsongdominical,aplainsongsantoral,anilluminatedBreviary,andanilluminatedMissalweredeliveredto theEscorial.60On12August1572,themonarch'spersonalsecretaryAntonioGraciánrecordedinhisdailyjournalthatthesovereignwishedtoseethelibrosdecoro. Thefollowingday,accordingtothejournal,Philipwentuptothelibrarytoseethechoirbooks.61On13Marchofthesameyear,Graciánrecordedthearrivaloftwo 'librosdecanto,'possiblyplainsong,whichhadbeenbroughtfromValenciatotheEscorial.From1564to1568,anumberofplainsongchoirbookshadbeencopied attheEscorialinconformitywiththeoldJeronymiteBreviary,andin1577PhilipIIorderedthattheyberecopied.AccordingtoSanJerónimo,thisrecopyingwas orderedfortworeasons:becausesomeversesoftheIntroits,responses,andOffertorieswerenowobsolete,andbecause"theywerewrittenonparchmentsfrom Segoviathatarewhiteononesideanddarkontheother,andalsobecausetwosheetswerejoinedtomakeone."TheKingresolvedthatparchmentfromValencia wastobeused,andorderedthat14,000skinsweretobeboughtfortheprojected150plainsongchoirbooks.HetheninformedthePrior"thatitwashiswishthat eachfoliooftextcarrytenlines,andofchantfourlines,andthatinthistherewastobenoexception;andthatallthebookscomprise67leavesandnomore,owingto theirweightandsize,andthatthepsalmsforMatinsforeachoneoftheferiasbeinasinglebook,andthatthepsalmsofLaudsofferiasbeinanotherbook,whichis tobedonetofulfilltheroyaldesireandorder."62 (footnotecontinuedfrompreviouspage) conelhurto,dequesindudasepusocolorado,porqueeradeentenderquehabíaentradoporlaventana;menudenciafueparatangrandePríncipe,masevidenteseñaldesu codicia,curiosidadydeseosantoypío."Sigüenza,Fundación,29. 60G.Antolín,"LaLibreríadeFelipeII."CD116(1919):288. 61
DHM5:48.
62"Enelmismodia21defebrerovinoáSantLorencioCristovalRamirezvecinodeValenciaáescribirloslibrosdelcoro,elcualeraelmejorescriptorquehabiaenEspañaensutiempo,
porquedetodaellahabianvenidooficialesáoponersetrayendosusmuestras,yningunollegóálaletradeldichoCristovalRamirez;yesdesaberquelosañospasadosde64,65,66, 67y68entiempodelpadrefrayJoandelColmenar,segundoprior,habiaescriptoloslibrosdominicalesdemisadelcorosegunelbreviarioviejodelaórdendenuestropadreSant Hierónimo,yelReynuestroSeñormandóquedenuevosetornasenáescrebirpordoscosas,launaporladiferenciaquehabiaenalgunosversosdelosintroitosdelamisa, responsosyofrendas,laotraporqueestabanescriptosenpergamino
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Page85
PhilipII'sfixationondetailiswellknownandhasbeenvariouslyinterpretedasproofofaninabilitytoperceivebroadcomplexissuesor,quitetothecontrary,asa recreationalactivityprovidingtemporaryrelieffromthestrainofthewiderproblemsofgovernment.Amereninemonthsafterissuingtheseinstructions,Philipwas informedbyFernandodelasInfantasofPopeGregoryXIII'sdecisiontoauthorizeaneweditionofthechantbooks.ThissocalledMediceaneditionwasentrusted bythePopetoPalestrinaandZoilo.WhilePhilipII'sinterventionwasswiftanddecisive,itwassurelymotivatedmorebypoliticalandfinancial,ratherthanmusical concerns:suchareformwouldimmediatelyrendertheenormouslyexpensivesetofchoirbooksPhilipIIhadjustorderedfortheEscorialredundantandobsolete,if notunorthodox.Thus,on20January1578,hewrotetoJuandeZúñiga,hisambassadortotheHolySee: WehavereceivedaletterfromDonFernandodelasInfantas,whor*sidesatRome.Iamenclosinghereacopyofthatletter,inwhichheinformsusthatbyorderofHisHoliness,a generalprintingofficehasbeenbegun,inordertoprintintheCityofRome,sothattheerrorscausedinotherprintingofficesinthemattersoftheChurchwillbepurifiedand booksbespreadallovertheChurch.Theytrytoprintaneweditionoftheplainchant,andtoreformandchangeinitsomethingswhichintheopinionofthosewhoknowthe matter,arenotaccordedtotheartofmusic.Thereareotherthingswhichyouwillseefromtheenclosedcopy. IfintheeditionsofbooksofnewprayerswhichHisHolinessPopePiusVmadeandarranged,somethingsubstantialhadtobechanged,fromwhatitwasintheirchants,agreat damageandlosswouldfollowtomykingdoms,andtoallthechurchesandecclesiasticalpersons.Fortheyareprovidedwiththenecessarybooks,particularlyintheCathedral andCollegiateChurches,andintheConventsofReligious.Indeed,theyhavehadnewchantbooks,whichhavebeenwrittenatgreatcost,andbyhand,andthesehavebeen providedforthechoirs.63
(footnotecontinuedfrompreviouspage) deSegovia,queestanblancosporlaunaparteynegrosporlaotra,ytambienporqueestabansolfadasypegadasdoshojasparahaceruna;demaneraqueS[u]M[ajestad]se resolvióenquesetrujesepergaminodeValenciayquesehiciesedepielesdemacho,hastaencuantidaddecatorcemilpielesquesehallabaeranmenesterparaescrebircientoy cincuentalibrosdelcoro:ycadapielpuestaenSantLorenciollegabaáunducadoconlosportes."SanJerónimo,Librodememorias,183. 63Hayburn,PapalLegislationonSacredMusic,40.
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AlthoughPhilipII'sinterventionwiththeMediceanreformhasbeenstudiedinsomedetail,itisrarelymentionedinconnectionwithhispatronageof,orinterestin music.Theincidentreveals,forourpresentpurposes,amonarchwhoseemedcontenttodelegatetechnicalmusicalmatterstotheexpertsbutwhovigorously defendedhisinvestmentintheEscorial'sliturgy.64Theinvestmentwasnotmerelyfinancial.JustaseverypaintingcommissionedfortheEscorialhadtobescrutinized foritsorthodoxyandeveryrelichadtobeguaranteedgenuine,sotootheauthenticityofthechantwhichwastobesungattheEscorialhadtobebeyondquestion. ThefewunofficialdocumentswehaveemanatingdirectlyfromPhilipII,especiallythelettershewrotetohisdaughtersIsabelandCatherineduringhisvoyageto Portugalbetween1581and1583,lendawelcomealternativeperspectivetothatofthebureaucratickingwholeftnomemoirs.Inaletterof10July1581,Philip remarksontheabsenceofanorganistintheLisboncapillarealandreportsthathehassentforHernandodeCabezón(15411602).65WritingfromtheEscorialin 1584,Philipadmitstohavingsleptthroughpartofoneofthelongestsermonshehadeverhadtoendure,andmentionstheduosingingofatipleandatenor.66Inthe sameyearhewritesofhisattendanceatMassandthedivineofficesand,onceagain,commentsonthelengthoftheservices.67On28July1586,aspreparationsfor thededicationon10Augustofthenewlycompletedbasilicareachedfeverpitch,thesovereignwrotetohisdaughtersabouthissatisfactiononhearingthemonkstest theacousticconditionsofthechoir.68 64Seeibid.,3367;R.Molitor,DieNachtridentinischeChoralreformzuRom:EinBeitragzurMusikgeschichtedesXVI.undXVII.Jahrhunderts(Hildesheim,1966);L.Villalba
Muñoz,"Palestrinaylaediciónmedicea,"CD54(1901):52334;Hergueta,"NotasdiplomáticasdeFelipeII,"3950;R.SantaMaría,"Algunosdocumentosacercadelcanto gregoriano,"RevistadeArchivos,BibliotecasyMuseos16(1907):28892;andR.MitjanayGordón,DonFernandodeLasInfantas(Madrid,1918),3655. 65"Ynosésihabréissabidoque,p*rnohaberaquíquientañesebienlosórganosenlacapilla,hiceveniraquíaCabezón."F.J.BouzaAlvarez,CartasdeFelipeIIasushijas(Madrid,
1988),49. 66"Yanteayerpredicóelvicarioynosdioalcabolasbuenaspascuasynoséquéfuequesemehicieronlosdosmáslargossermonesqueheoídoenmivida,aunquedormípartede
ellos.Eltipleestáaquí,quedespuéshacantadohartoytambiénestáotroquevinoestandovosotrasaquíyhoycomenzaronélyuntenorjuntos,nosésifueenvidiadelos muchachosdeahí."BouzaAlvarez,CartasdeFelipeIIasushijas,90. 67"Ynomeespantoquesecansaseconlasdelosconsejosyembajadoresquedecíshandesermuylargasytambiénmeparecelosmaitinesdehoy.Losdeaquínolofuerontantoy
secomenzaronalasnueveymediayseacabaronpocomásdelasdoce;yolosestuveenelcoroyparécemequesedijeronmásdeprisaquesueleyalamisamebajédondesolemos estaryseacabóalaunaymedia"BouzaAlvarez,CartasdeFelipeIIasushijas,91. 68"YtambiénéstavaescritadeSanLorenzo,comolaotraquedecísquerecibisteisycreoyoquevuestrahermanaosdebeescribirloqueaquípasaycuánadelanteestálaiglesiayasí
creoquelomáslargoparaSanLorenzosepasaránlosfrailesaellayayerlosvimos
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ThereareonlytwoofficialpolicydirectivesthatsuggestPhiliptookapersonalinterestinmusic.Thelateroneisaruling,apparentlyissuedon11June1596,thatno villancicosweretobesungintheroyalchapel.69ThedecreeisreportedbytheItaliantheoristPedroCerone,and,closertotheEscorial,byVera.70Thereis, however,considerableevidencetoshowthatthecomposition,andpresumablyperformance,ofvillancicoscontinuedattheroyalchapeluntroubledbytheedict.71In acategoryofitsown,andofcrucialimportanceformusicattheEscorial,isparagraph38oftheEscorial'sletteroffoundation,issuedin1567: AndasfortheotherMassesandhoursanddivineofficesthatmustbesaidandcelebratedcontinuouslyinthemonastery,wewishthattheybesaidandcelebratedaccordingto, andinconformitywith,whatislaiddownintheConstitutionsandcustomsoftheOrder,andofthisitisneitherourintentionnordesiretoalteranythingexceptthattheybesaid andcelebratedwiththesolemnity,ceremonies,order,andauthoritythatisthecustom,withwhichwedesireandexpresslyorderthattheybesaidandcelebratedinplainsong,and thattherebeinnomanner,neitherinanydaynorfeast,polyphony,andthatfortheremaindertheybesaidandcelebratedwiththegreatestdevotionandcalmnessthatwouldbe possible.72
Thisprohibitionofpolyphonyhas,asHernándeznotes,73alwaysperplexedmodernwritersnotonlybecauseitcontrastssodirectlywithreceivednotionsofPhilipIIas agreatpatronofmusic,butalsobecauseofthebodyofevidencethatseemstoprove (footnotecontinuedfrompreviouspage) queprobabanacantarenelcoroynospareciómuybienquesonabanmuybienlasvocesylosoratoriosdondehemosdeestarsonmuybuenosparaestetiempoymuyfrescos." BouzaAlvarez,CartasdeFelipeIIasushijas,112. 69ForthetextofPhilipII'sdecree,seeMoll,"Losvillancicoscantados,"82. 70SeeP.Cerone,ElMelopeoymaestro,197andVera,Instruc[c]ióndeeclesiasticos(Madrid,1630),196:"Allidize,ifueassi,queFilipeIIquitólosvillancicosdesuRealCapilla;yase
hanbueltoaintroduzir,idemodoq[ue]enlasfiestaselcantollanodeloficioescomodealdea,inoesoído,nivisto,ilosvillancicossecelebranco[n]sumaautoridad,isolenidad,i pareceq[ue]setienecomo[por]principal,ieloficiodivino,comoporacessorio;cosadignadellorarporhazerseenCapilladeRey,tanpíoitanCatólico,ienpresenciadelosNuncios, iLegadosdelPapa,iotrosPerlados,q[ue]loavíandezelar." 71SeeMoll,"Losvillancicoscantados."Untilanoriginalexemplaroftheedictisuncovered,doubtsaboutit*authenticityremain. 72Seedocument7inAppendix3.Thetermpausa,forwhichthereisnopreciseEnglishequivalent,isfrequentlyencounteredindescriptionsofliturgicalmusicmakingattheEscorial.I
havetranslateditas'calmness,'awordwhichconveysneithertheslownessnorthesolemnityofpausa. 73L.Hernández,"ElcultodivinoenElEscorial,"inIVCentenariodelMonasteriodeElEscorial:Iglesiaymonarquía—Laliturgía(PatrimonioNacional,1986),45.
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thattheprohibitionwasroutinelyignoredattheEscorialeveninPhilipII'spresence.Zarco,andSierraafterhim,resolvethedilemmabysuggestingthatPhilipsimply changedhismind.74Itshouldhardlysurpriseus,Zarcomaintains,that,inthetwentyyearswhichpassedbetweenthepromulgationoftheletteroffoundationin1567 andtheinaugurationofthebasilicain1586,PhilipIIshouldchangehismind.Certainly,thereissomeevidencetoshowthatPhilipwasnotstronglyopposedto polyphony.InthemarginofaletterfromtheKingtothemonasterypriorconcerningtheuseoforgans,dated6December1564,Philipwrote:"NeitherwouldIwant themtobeplayedeithertoomuchortoolittle,likepolyphony."75YetneitherZarconorSierraoffersanexplanationforPhilip'srestatementoftheprohibitionof polyphonyinhis1592additionstotheletteroffoundation.76ItseemspossiblethatPhilip,keenlyawareoftherepresentationalandsymbolicsignificanceoftheEscorial anditsfoundationalstatutes,soughttoenshrinewithinthemamusicalpolicyevenstricterthanwhathehimselfwaspreparedtotolerateandthateventhemostextreme Tridentinereformerswouldfindfaultless.Rubio,whoperceivestheproblemwithgreatersubtlety,seeksclarificationinthewritingsofSigüenzaandVera.77He concludesthattheprohibitionwasneverrigidlyenforced,possiblybecauseofpressureexertedbymonkswhocametotheEscorialfromotherJeronymitehouses wherepolyphonywasnurtured.Inherstudy,LolopointstotheextraordinarycontrastbetweenthenumberofdetailedregulationsdrawnupinPhilipII'snameforthe governanceofthecapillarealandthecapillaofLasDescalzasRealesandthissingleregulationofprohibitionattheEscorial.Eventhough,elsewhere,she acknowledgestheKingtobeautocraticandextremelyconcernedwithdetail,shesuggestsherethathemusthavedelegatedallmattersconcerningmusictothe Jeronymitemonkswhoperformedpolyphonywiththemonarch'stacitapproval.78Ifmodernwritershavebeenperplexedbytheapparentcontradictionbetweenthe prohibitionandreportsoftheperformanceofpolyphony,theirattitudefindsnocounterpartinthewritingsofcontemporarychroniclers.Withoutsuggestingany inconsistency,forinstance,Sigüenzatellsusthat 74ZarcoCuevas,LosJerónimosdeSanLorenzoelRealdeElEscorial,445andSierra,"MonasteriodeElEscorial,"132. 75"Queahoraesolohandemenestertanto,unosórganosenviaréundíadeestos,ydespuésseverásiseránmenestermás.Yotampocoquerríaqueseechasenmuchonipoco,como
elcantodeórgano."SeeDHM9:155. 76"38.Enelcapítulo38,quetratadeloficiodivinoyquenohayacantodeórgano,sepodráañadirquesehagayserececonformealnuevobreviarioymisaldelpapaPíoQuinto,y
segúnlasceremoniasenelloscontenidas,yaquisepodráponerloquesetratadelosacólitosenelcapítulo56."DHM2:178. 77S.Rubio,"LacapillademúsicadelmonasteriodeElEscorial,"CD163(1951):615. 78B.Lolo,"AproximaciónalacapillademúsicadelmonasteriodeElEscorial,"inLamúsicaenelMonasteriodelEscorial:ActasdelSimposium,363.
Page89 thefounderdidnotwanttheretobeinthechoirofhishousemusicotherthanthatofthereligious,who,withoutleavingordisturbingthearrangementoftheirstalls,nor forgettingthesolemnityinthechoirtowhichtheJeronymitesaredutybound,raisethevoiceandthespirittotheLordwithaplainconsonancewhichtheycallfabordones,and thatsurpassesthegreatdisagreementoforgansandtheirmixtures,whichalsoareproperinstrumentsofthechurch,thatwhichsalariedinstrumentalistswereabletomake,by avoidingallthatmaybereasonfordistractionandnoise.79
ForSigüenza,theKing'sexpressedwishesmeantthattheinvolvementofsecularsingersandsalariedinstrumentalistsinthemusicmakingoftheEscorialwas prohibited.Paragraph38recognizedtwotypesofmusic:plainsong(cantollano)andpolyphony(cantodeórgano).Theformerwasmandated;thelatterwas prohibited.HereSigüenzaintroducesathirdtypeofmusic:the"plainconsonance"offabordonessungbythemonks.Sigüenzatellsusthattheperformanceof fabordones,simpleharmonicformulaetowhichthepsalmsweresung,waspermitted.Apossibleexplanationforthesilenceofcontemporarywritersabouta contradictionbetweenpracticeandregulationattheEscorialisthatuseandregulationwereconsistent.Perhapsparagraph38wasintended,andinterpreted,tomean thatnoprovisionwasmadeforaformalcapilla,orgroupofexpertmusicianswhosesoleresponsibilitywouldbetheperformanceofcomplexmusicsuchas polyphony,orfortheemploymentofsalariedmusicians.Inattemptingtoreconcileparagraph38andSigüenza'sstatement,weencounteranumberofproblems. Althoughtheybothemploysuchprecisemusicalterminologyascantollano(plainsong),cantodeórgano(polyphony)andfabordón,itisunclearhowliterallythese termsareintendedtobeunderstood.Whateverthecontext,however,itisclearthatwearenotdealingherewithtechnicaltermswrittenbyamusictheoristfor professionalmusicians.Despitetheirgreatdifferenceinstatus—paragraph38isaconstitutiondraftedandredraftedinprofessionallegallanguagewhileSigüenza's offersthemorerelaxedtoneofadiscursiveandinterpretativenarrativehistory—weshouldexercisesimilarcautionindrawingconclusionsaboutactualmusical practicefromeitherofthem.Inquitedifferentwaystheyinformusaboutthefounder'sstatedintentionsratherthanactualpractice.Another 79"Noquisoelfundadorquehubieseenelcorodesucasaotramúsicasinoladelosreligiosos,que,sinsalirnidescomponersedesussillasniperderpuntolagravedadquea
corodejerónimossedebe,levantasenlavozyelespíritualSeñorconunaconsonanciallanaquellamanfabordones,yquesupieselamuchadiferenciadeórganosysusmixturas, quetambiénsonpropiosinstrumentosdeiglesia,laquepudieranhacerministrilesasalariados,porevitartodoloquepuedeserrazóndedistracciónybullicio."Sigüenza, Fundación,333.
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importantdifferenceisthatparagraph38specifiesthekindofmusictobeperformed(cantollano)orprohibited(cantodeórgano)whereasSigüenzareferstothe kindsofmusicianswhowillorwillnotperform(otramúsicasinoladelosreligiosos...ministrilesasalariados).WhileZarcoconcludesthatPhilipIIbanned polyphonybutthenchangedhismindandRubiosuggeststhatthebanwasneitherrigidlynorconsistentlyenforced,Idevelopbelowahypothesisthatattemptsto reconciletheapparentcontradictionspresentedinthedocumentaryevidencebyassumingthatregulationandpracticewere,indeed,consistent.IinterpretVillanueva's styleasadirectresponsetoPhilipII'smusicalrequirementsfortheEscorial. ThereisnothinginthesmallbodyofevidencewehaveconcerningPhilip'sattitudetomusicthatsuggestshehadanyparticularmusicalknowledgeorability,orthathe tookaspecialinterestinmusicormusicians.Inthislight,Stein'schargeofpassivityseemsjustified.Hersuggestion,however,thathe"affectedthegeneralcourseof Spanishmusicthroughanuncharacteristic'handsoff'approach"80seemsdifficulttojustifyinthelightoftheprohibitionofpolyphonyattheEscorialandthe arrangementshemadetoequipitwithahugesetofpolyphonicchoirbooksandfourofthecostliestorganseverbuilt.IndeedStein'sview,likeAnglés's,completely ignoresevidencefromtheEscorial,where,ifPhilipmadeanycontributiontotheartofmusic,itismorelikelytobefoundthananywhereelse.Althoughitisnota contributionwhichearnsPhilipthekindofreputationwhichAnglésandhisfollowersweresokeentobestowuponhim,itisneverthelessafascinatingandperhaps uniqueattempttopressmusicintotheserviceofanideologicalprogramdesignedtoadvancepoliticalandreligiousgoals.TocondemnPhilipforcontributing"solittle tothecauseofSpanishmusic"mightmakesenseifthiswerehisavowedaim,yetitwasAnglésandStevenson,ratherthanPhiliporhiscontemporaries,whoinvested himwiththemantleofthe"truemecenasofSpanishmusic."AttheEscorial,PhilipIIfoundhimselfunencumberedbyinheritance,unfetteredbytheinertiaand resistancetoinnovationofestablishedinstitutions,andrelativelyunimpededbyvestedinterests.ItisintherituallifeoftheEscorial,morethananywhereelse,thathis patronageofmusiccanbeobservedandinterpreted.AnditisinthemusicVillanuevacomposedfortheEscorialliturgythatPhilipII'sinfluenceuponmusicalstylecan mostclearlybeobserved. On18October1586,PopeSixtusVissuedthePapalBullUtconcessiones,whichgrantedtheEscorialexemptionfromepiscopalruleanddeclareditsstatusasthat ofnulliusdiocesis.Theprior'stemporalandspiritualjurisdictionoverthemonastery,itsdependencies,anditspropertieswastherebyelevatedtothatexercisedbya bishopoverhisdiocese.81Theattainmentofthisnewstatusrepresentedanewstageinthe 80Stein,"MusicalPatronage:TheSpanishroyalcourt,"6167. 81SeeG.delEstal,"ElEscorialenlatransición,"5656;Sigüenza,Fundación,60,115;andSigüenza,Librotercerodelahistoriadelaorden,620b621c.Thetextofthebullis
publishedinJ.deSantaMaría,Disceptacionessobrelosprivilegiosenloespiritualytemporaldel
(footnotecontinuedonnextpage)
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increasinginstitutionalprestigeandimportanceoftheEscorial.Bythefollowingyear,ithadbecomecustomaryforPhilipIItospendtheperiodfromEasteruntilthe feastofAllSaints(1November)attheEscorial,82anditwasduringthisperiodthatthemonastery'sliturgywascelebratedwithparticularsolemnity.Thethree descriptionsthathavecomedowntousoftheHolyWeekliturgyof1587providevaluableinsightsintotheliturgicalandmusicalpracticeoftheEscorialasitwas nearingcompletion.83 On19March1587,PhilipIIcamewithhissonPrincePhilip,hisdaughtertheInfantaDoñaIsabel,andanumberofcourtierstotheEscorial,arrivingat10:00am.On PalmSunday(22March),theKingandhischildrenattendedtheblessingofpalmsandjoinedtheprocessionofmonks,seminarians,andeightpriestcantorsinchoir copes,whichcirculatedwithinthebasilica.Theroyalfamilythenreturnedtotheiroratoryandheardthemonks'conventualMass.ThePassionwassungduringMass, accordingtoSepúlveda,"withpassagesofpolyphony"(pasosacantodeórgano).SanJerónimoprovidesalittlemoredetail:"ThefathervicarFrayGaspardeLeón, andFrayPedroMarín,andFrayMartíndeVillanueva,FrayBartolomédeSantiagoandFrayPedrodeAlcalá,allskilledsingers,saidthePassionsthisHolyWeek withpassagesofpolyphonybyorderoftheKingourLord,andtheydiditsowellthattheygavemuchpleasure."84 Althoughitisnotspecificallystated,Sepúlveda'saccountcouldbetakentomeanthat,inadditiontothePassions,theLamentationsofJeremiahwerealsosungwith polyphonicpassages: ThentheMasswasbegunandtheProcessionandpassionwassungwithpassagesinpolyphony.Theremainingdayswentthesame,andallwassaidwithsuchcalmnessand majesty,thatIdoubtifitisdonebetterinalltheCatholicChurch,norwithsuchsolemnity.AllthreedaysofTenebraeweresungveryhighly,andparticularlytheLamentations, becausetheybroughtsomeonewhosangthemadmirably.85
(footnotecontinuedfrompreviouspage) realmonasteriodeSanLorenzodelEscorial(Madrid,1727),613.ThebullitselfisheldinAGP,legajo1690. 82Sepúlveda,"SucesosdelreinadodeFelipeII,"CD115(1918):213. 83SanJerónimo,Librodememorias,4189;Sepúlveda,"SucesosdelreinadodeFelipeII,"CD114:300302;andSigüenza,Fundación,118. 84"DijeronlaspasionesestasemanasantaconpasosdecantodeórganopormandadodelReynuestroSeñor,elpadrevicariofrayGaspardeLeon,yfrayPedroMarin,yfrayMartín
deVillanueva,frayBartolomédeSantiago,yfrayPedrodeAlcalá,todoscantoresdiestros,ylohicierontanbienquedieronmuchogusto."SanJerónimo,Librodememorias,419. 85"LuegosecomenzólamisaysecantólaprocesiónyPasiónconpasosacantodeórgano.Losdemásdiasfuélomesmo,ytododichocontantapausaymajestad,quedudoyose
hagamejorentodalaIglesiaCatólica,nicontantasolemnidad.LasTinieblassecantarontodostresdíasmuyaltamente,yparticularmentelasLamentaciones,porquetrujeronquienlas cantaseadmirablemente."Sepúlveda,"SucesosdelreinadodeFelipeII."CD114:301.
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ItseemsthatGaspardeLeónandMartíndeVillanueva,twoofthefivemonkswhosangthePassions(andpossiblytheLamentations),werebroughttotheEscorial fromthemonasteryofSanJerónimoinGranadaspecificallyfortheirmusicalabilities.CertainlythewriterofLeón'sobituarynoticeinthemonastery'snecrology claimedthathewasheldinhighesteembyPhilipIIandgoesontoconveytheimpressionthatascorrectormayordelcanto,heheldakeypositionintheKing's plansfortheEscorialliturgy.86Inasimilarway,SantossuggeststhatPhilipIIsentforVillanuevafromthesamemonasteryinGranada,onceagainonaccountofhis musicalexpertise.87Exceptintherecruitmentofthesetwomonkmusicians,nootherinstancesofthedirectinterventionofthefounderintheselectionofmusical personnelforhismonasteryhavebeenfound.Itisquiteconceivable,however,thatthePrudentKingexercisedalltheinfluencenecessarythroughVillanueva,who eventuallybecameoneofthesovereign'sfewconfidants.Ifthisisthecase,thenitmarksaradicaldeparturefromthepatternsofmusicalpatronagethatwenormally associatewithRenaissanceprinces. AmongthePassionstobefoundinthesetofpolyphonicchoirbookswhichwascopiedattheEscorialaretwofourvoicesettingsbyMartíndeVillanueva.Itdoes seempossiblethateitherorbothofhissettings—oneoftheSt.MatthewPassionandtheotherofSt.John—wereperformedhereintheKing'spresence.Certainlythe rangesofthevoicesinVillanueva'ssettingscouldhavebeenhandledbyfourmen.Thefifth,perhaps,wasVillanuevahimselfconductingthepieces.Amongthe survivingLamentationsettings,too,isVillanueva'sTethcogitavitDominusa4.It,likewise,mayhavebeensungduringHolyWeek. OnMaundyThursday,theKing,thePrince,andanumberofcourtiersborethebaldachinunderwhichthesacramentwascarriedinprocession,andafterVespersthe monarchhimself,assistedbytheyoungPrince,performedthemandatum(washingofthefeet).Andagain,onEasterDay,theKing,thePrince,andtheirretinuejoined intheprocessionaroundthebasilica.ThewidersignificanceoftheconspicuousroleoftheKingandtheroyalfamilyintheHolyWeekliturgydidnotgounmarkedby Sigüenza:''Inallthesematters,"heobserveswithcharacteristicperspicacity,"whoeverwouldseesomanyexercisesofactssohumbleandsoholyinsuchhighand supremePrinces,wouldnotsaythatitwaseitheracourtorapalace,butamonasteryofmonkswithouthabit."88Nowthattheritualfabricwas,inmost 86Memoriassepulcrales,fol.146r146v.Foratranscription,seeDHM10(1):2413.Thisimpressionwasechoedin1780intheMSAMEL.III.34,whichistranscribedinDHM10
(2):34951. 87Santos,Quartaparte,693[b].SantosreliesheavilyupontheentryforVillanuevaintheMemoriassepulcralesfol.515v516v.Foratranscription,seeDHM10(1):36871. 88"EntodasestaspartesquienvieratantosejerciciosdeactostanhumildesytansantosentanaltosysupremosPríncipes,nodijeraqueeraCorteniPalacio,sinomonasteriode
monjessinhábito."Sigüenza,Fundación,119.
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respects,finalized,andthemajorityofthebuildings,includingthebasilica,werecompleted,thehugestageinwhichPhilipwouldactouttheroleoftherexsacerdos wasset. FortheissueofmusicattheEscorial,SanJerónimo'saccountissignificantnotonlybecauseitreportstheperformanceofpolyphonyinthepresenceofthemonarch whospecificallyprohibitedtheuseofpolyphonyinhisletteroffoundation,butalsobecauseitstatesthatthepolyphonywasperformed"byorderoftheKing."Italso namesasmallgroupofexpertsingers,oneofwhomwasanEscorialcomposer—MartíndeVillanueva—wholeftsettingsofthesametextswhoseperformancehe reports.Thatthismusicwasinfactcomposedpolyphony,ratherthanimprovisedmusic,issuggestedbyhisuseofthetermcantodeórgano.Evidencetosuggestthat improvisationwaspracticedattheEscorialmaybefoundintheLibrodelascostumbres,whichwasdraftedin1567,butwhichwassuspendedbytheJeronymite communityin1608.89Attheendofthesectiondealingwiththedutiesoftheorganist,itstates:"Item:thishouseisnotaccustomedtothesingingofpolyphonynor havingachapelofit,becauseitwasthusorderedbyhisMajestyKingPhilipourfounderandLordfortherespectswhichhehasbeenserved,butthosewhohave voicesandabilityandgoodgraceforitarepermittedtocounterpointanddiscantasmuchinthepsalmodyasintherestthatadmitscounterpoint."90 Evidently,thoseresponsiblefordraftingthebookofcustoms,regardlessofthemanuscript'sofficialstatus,perceivedacleardistinctionbetweenpolyphonyontheone handandtheadditionofvocallinesaboveplainsongontheother:theformerwasunderstoodtobeprohibitedbyparagraph38oftheletteroffoundation,butthelatter wasnot.ThisevidenceseemsalsotobequitespecificaboutPhilipII'sintentions:hedidnotwantapolyphonicchapel.Ifthestatusofthismanuscriptisuncertain,so tooisitsuseofmusicalterminology.Itsuseof"counterpoint"and"discant"asverbs,maintainedratherinelegantlyinmytranslationabove(thoughrecallingThomas Morley'ssimilaruseinhisAPlaineandEasieIntroductiontoPracticallMusicke[London,1597]),enablesustoconcludethatwhatevermusicalpracticethese wordsreferto,itwassomethingdonebygoodsingers,ratherthanbycomposers.Counterpointanddiscantseemtorefertoapracticeofimprovisationratherthana styleofcomposedmusic.FromhisreadingofTinctorisandlaterFrenchtheoristsGueronandWollick,Wrightderivesthefollowingdefinitionofcontrapunctus:"a workgeneratedbysingersimprovisingindependentlines,eithersimpleorflorid,aboveaGregorianchant."91Becauseofitsephemeralnature,therewillalwaysbeless writtenevidenceconcerningimprovisedmusicalpracticesthanthereisforcomposed 89AC1,fol.125v.Foratranscription,seedocument1inAppendix3. 90Seedocument5inAppendix3. 91C.Wright,MusicandCeremonyatNotreDameofParis,5001550(Cambridge,1989),351.
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music.Nevertheless,documentationshowingtheuseofthetermcounterpointtorefertoimprovisationissufficientlywidespreadtoenableustoadoptWright's definitionherewithconfidence.92Theuseofthetermdiscantar,however,isproblematicandlargelydependsontheextenttowhichtheunnamedauthorofthe passagewasfamiliarwithmusicalterminology.IhavefoundnootheruseofthetermindocumentsassociatedwiththeEscorial. FurtherevidenceforthepracticeofimprovisedcounterpointattheEscorialmaybefoundintheInstruc[c]ióndeeclesiásticos.Itwaspublishedin1630byMartín delaVera,whor*ceivedtheJeronymitehabitin1584andwaslaternamedprioroftheEscorial: Polyphonywasbroughtupagain,andbecauseofthesameobstaclesPopeJohnXXIIprohibiteditagainintheyear1316,butwiththisconcession:thatsometimes,principallyon festivaldays,inthesolemnMassesandinthedivineoffices,oneisabletoaddcounterpointabovetheplainchant,butinawaywhichpreserveswithoutdamagetheintegrityof thesameplainsong,withoutalteringanythingofthemusicthatingooduseisalreadyreceived,principallybecausetheconsonancesarepleasingtotheears,arousedevotion,and donotleavethesoulsofthosewhosingnumbed. ThismannerofsingingisusedonfeastdaysinthechoirofSanLorenzoelReal,attherequestofPhilipII,becausethereligiousdonotceasethedivinepraises,whilethe musicianssing;andbyavoidingsaidobjections,hewantedothervoicestobeheardovertheplainsongthatthechoirsings,andthusallsing,andthisworksouthappily,because asthechoirandthechurcharesolarge,andsomanyarethevoicesandechoesthatrespondtothem,oneisunabletosayhowmuchisthegoodwhichthisimparts,and[even] moreinthefabordoneswithwhichthepsalmsaresung.93
Hereweseemtohaveasmallgroupofexpertsingersimprovisingaroundachantthatisbeingsungbytheentiremonasticchoir.WhatSanJerónimodescribes, however,isagroupoffiveskilledsingerswhoperformpassagesofcomposedmusic(pasosacantodeórgano)bythemselves.Thusfar,theevidencesuggeststhat theliturgicalmusicthatwasperformedattheEscorialbytheJeronymitecommunityduring 92SeeE.Ferand,"ImprovisedVocalCounterpointintheLateRenaissance,"Annalesmusicologiques4(1956):12974andG.Wagstaff,"MusicfortheDead:PolyphonicSettings
oftheOfficiumandMissaprodefunctisbySpanishandLatinAmericancomposersbefore1630"(Ph.Ddiss.,UniversityofTexas,Austin,1995),8498. 93Seedocument8inAppendix3.
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PhilipII'sreignfallsintofourcategories:plainsong,fabordones,improvisedcounterpoint(contrapunto)andcomposedpolyphony(cantodeórgano). InthecaseofSanJerónimo'sreportofthesingingofPassionswithpassagesofpolyphonyduringtheHolyWeekliturgyof1587,thereisenoughsupportingevidence toenableustodetermine,withareasonabledegreeofcertainty,thekindofpolyphonytowhichhereferred.Itwasprobablyaperformancebyfoursingersofknown workscomposedbyVillanueva.Inmanyothercaseswherecontemporaryhistoriansandchroniclersreporttheuseofcantodeórgano,however,suchprecisionis deniedus.Sepúlveda,forinstance,tellsusthatthefeastofCorpusChristiwascelebratedinboth1587and1588"veryhighly"andthat,ineachyear,"therewasa danceoftheseminarychildrenandtheyperformedverywellateachstation.Thereweremanyvillancicosandmuchpolyphony."94Althoughwearenottoldwho performedthepolyphony,Sepúlvedadoesmention,atleastinhisaccountofCorpusChristiin1588,thatthecapillarealwaspresentand,inalllikelihood,itwas thesevisitingsalariedmusicianstowhomtheperformanceofmusicofanycomplexitywouldhavebeendelegated.95IntheobservanceofthefeastofAllSoulsin1587 (2November),SanJerónimomentionsthathalfoftheresponsoriesweresunginpolyphony,onceagaininthepresenceoftheroyalfamily.96Inhisdetaileddescription oftheelaborateritualthataccompaniedthereceptionoffourcasesofrelicson14June1598,Sigüenzarelatedthesingingofapsalm:"Attheverymomentthatthe processionmoved,allthechoirofthereligiousraiseditsvoicetoheaven,intoning,inpolyphony,apsalm,anditwentwithsuchdevotionandsmoothnessthatinan instantanabundanceofhappyanddevotedtearswasseentobreakforthintheeyesofall."97Thatthepolyphonysungherewasofatypesimpleenoughtobesungin procession,ratherthanamoreelaboratekindwherethesingerswouldbeobligedtogatheraroundachoirbook,issuggestedinSigüenza'sfollowingparagraph:"Inthis manner,alternatingantiphonsandpsalms,theprocessionmadeits 94"EsteañosecelebróenestaCasalafiestadelCorpusChristimuyaltamente....Hubounadanzadelosniñosseminariosyrepresentaronacadaestaciónmuybien.Hubo
muchovillancicoymuchocantodeórgano."Sepúlveda,"SucesosdelreinadodeFelipeII,"CD114:312.Sepúlvedarepeatsthispassageverbatiminhisdescriptionofthefeastof CorpusChristiin1588.SeeSepúlveda,"SucesosdelreinadodeFelipeII,"CD115(1918):204. 95"SonabanmuybienlosministrilesdelaCapillaRealqueatronabanlaiglesia,lascornetasybajonesysacabuches."Sepúlveda,"SucesosdelreinadodeFelipeII,"CD115:204. 96"TovieronenestacasalafiestadetodosSantosydefinados,enloscualesdiashizoeloficionuestropadreprior,ylaprocesiondelosfinadossehizoporlaiglesia,ylamitadde
losresponsossedijeronencantodeórgano,queparesciómuybien,ysehizoconmuchadevocion."SanJerónimo,Librodememorias,425. 97"Alpuntoquemoviólaprocesiónlevantatodoelcorodelosreligiososlavozalcielo,entonando,encantodeórgano,unsalmo,yfuecontantadevociónysuavidadquesevioen
uninstanteromperporlosojosdetodosgrancopiadealegresydevotaslágrimas."Sigüenza,Fundación,170.
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way." Sepúlveda'saccountofthesameceremony,however,seemstoseparatetheperformanceofpolyphonyfromtheprocession: Averysolemnprocessionwasmadewithmanytorches,withanumberofreligiousdressedinmanycopesandotherrichornaments,withmanydances,motets,villancicos,and charmingconcepts,allinpraiseofsaintsandholyrelics,withmuchpolyphonywithveryelegantvoicesandsotunedthattrulyitwasalivingportraitofparadise;andthiswithso muchsolemnityandmajestyandmuchcalmnessand,whatismore,withmanytearsofdevotion,whichiswhatGoddesiresandlooksforinman,thatnothingsimilarisknownto thememoryofthosenowliving.99
Documentssuchasthefoundationstatutesandbooksofcustomsareprescriptiveratherthandescriptive:theylegislateaboutwhatoughttohappenratherthan describewhatdoeshappen.Forevidenceconcerningthemusicthatwasactuallyperformed,wemustcalluponanotherclassofdocuments:themusicmanuscripts.In thecompleteabsenceofrecordsthatlocatetheperformanceofnamedpiecesatspecifictimes,wemustturntothepolyphonicchoirbooksandweightheprobability thattheypreservepiecesthatmayhavebeenperformedduringthereignofPhilipII.Oneoftheassumptionshereisthatthechoirbookscontainworksthatwere actuallyperformed.Certainlythereisnothingaboutthechoirbookstosuggestthattheywereintendedaseitherpresentationmanuscriptsoranthologiesforstudy.The factthatonlyoneiscopiedonparchmentsuggeststhattheirproductionwasnotlavishlyfinanced.Yetthesepapermanuscriptsarebynomeanspoorlyexecuted.They arecertainlyofasizethatisconsistentwiththeirbeingcopiedprimarilyforperformance.Frustratingly,thecopyingofonlytwoofthechoirbookscanbesecurely dated,andthesedates,1607and1608,fallafterPhilipII'sdeath.Tobalancesuchuncertainties,thereareanumberofotherfactorsthatofferthepossibilityofsome knowledgeofthemusicperformedduringPhilipII'sreign.Thereis,forexample,thepresence,inthepersonofMartíndeVillanueva,ofacomposerwhomweknow PhilipIIfa 98"Deestamanera,alternandoantífonasysalmos,caminólaprocesión...."Sigüenza,Fundación,170. 99"Hízoseunamuysolemneprocesiónconmuchasluces,connúmerodereligiososvestidosconmuchascapasyotrosricosornamentos,conmuchasdanzas,motetes,villancicosy
lindosconceptos,todosenalabanzadelossantosysantasreliquiasconmuchocantodeórganoconmuygallardasvocesytanacordadasqueverdaderamenteeraunretratomuyal vivodelparaíso;yestocontantagravedadymajestadymuchapausa,yloquemáses,conmuchaslágrimasdedevoción,queesloqueDiosquiereybuscaenelhombre,queen memoriadelosnacidosnosesabedesemejantecosa."Sepúlveda,"SucesosdelreinadodeFelipeII,"CD119:206.
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Figure5 OpeningofMartíndeVillanueva'sMisadelosdoblesmaiores.NYorkH861,fols.1v2r.
Page98
vored.Indeed,hewasbroughttotheEscorialin1586specificallybecauseofhismusicaltalents,andheistheonlycomposerfromthisperiodwhoseworkssurvive. Weknowthatin1587hewasoneofasmallgroupofskilledsingers(cantoresdiestros)whosangpolyphony,possiblyofhisowncomposition,attheKing's command.IfPhilipII'ssupportforliturgicalpolyphonyistobefoundanywhere,itis,asStevensonsuggests,inthecompositionsofthismonkmusician.Iftheplain styleofVillanueva'smusicdoesnotfitmodernnotionsofwhatakingofPhilipII'sstatusoughttohavecommissioned,thensuchideasobscureratherthanaidthe understandingandexplanationoftheappearanceofsuchastylesolateinthesixteenthcentury. Villanuevaleftnineworks,allofwhichareLatinliturgicalpiecesscoredforfourvoices.100TheysurviveonlyinEscorialsources,andsixofthemexistinmorethanone copy.StevensondrewparticularattentiontoVillanueva'sMisadeNuestraSeñora,whichisuniqueamongVillanueva'sSpanishcontemporariesinanumberof ways.101TothisMasswemaynowaddaMisadelosdoblesmaioresbythesamecomposer.102IattributethisMass,whichfollowstheLadyMassimmediatelyin themanuscriptNYorkH861,toVillanuevabecauseitsAgnusDeimovementisidenticaltotheAgnusDeiofhisMisadeNuestraSeñora.InadditiontotheAgnus Dei,theMisadelosdoblesmaiorescomprisesKyrie,Gloria,andSanctusmovements.TheCredo,whichisfoundbetweenitsGloriaandSanctusmovements,is AlonsoLobo'sCredoRomano.SinceonesourceofthispieceisextantinGranada,wemightevenventuretosuggestthatitwasbroughttotheEscorialfromGranada byVillanueva.ThetwoMassesthatcanbesecurelyattributedtoVillanuevaarealternatimpiecesscoredforfourvoices,inwhichthetenorvoicequotesaplainsong cantusfirmusinnotesofequaldurationataboutthesametempoasweknowplainsongwassungattheEscorial.Theotherthreevoicessurroundthetenorina mannerthatresultsinakindofimitativelymotivatedhom*ophonyinwhichimitationisstrictlycontrolled.Atalltimesthestructureisdeterminedbytheeverpresent plainsongbearingtenorvoice.Thevocalrangesrarelyexceedanoctave,andimitationiscastinasubservientanddecorativerole.Thesepiecesarenotonlyunlikeany othermusicintheEscorialchoirbooks,theyare—giventhepresentstateofourknowledge—unlikeanythingelsethatwasbeingcomposedinSpainatthetime.In addition,theyemployasimilarlyrarenotationaldevice:thecantusfirmusbearingtenorvoiceiswritteninblackneumesthat,despitetheirarrangementinligatures, mustbereadassemibreves.ThisispreciselythesamenotationaldeviceemployedintheContrapunctusseufiguratamusicasuperplanocantumissarum solenniumtotiusanni(Lyons,1528),andonewhichisfoundin 100TheKyrieisinfacta4,nota3asstatedinStevenson,SpanishCathedralMusic,331. 101ForatranscriptionoftheMass,seemy"FelipeII,MartíndeVillanuevayelestilodesornamentadomusicaldeElEscorial"inLamúsicaenelMonasteriodelEscorial:Actasdel
Simposium,46080. 102ForatranscriptionoftheKyrie,Gloria,andSanctusmovementsfromthisMass,seeAppendix5.
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atleastfourotherwidelyscatteredsixteenthcenturycontinentalsources. Thisnotationalconventionisalwaysassociatedwithaconservativecompositionalstyleand isnottobefoundinanyothersixteenthcenturySpanishLadyMass.Josephson'scomparisonofVillanueva'smasswithLadyMassesbyMorales,Bernardinode Ribera,Guerrero,Palestrina,Victoria,andVivancorevealsnotonlythatit*choiceofchantsisunique,butthatit*consistentconfidingofthecantusfirmustothetenor voicehasnocontemporarySpanishparallel.104Theallocationofthecantusfirmusexclusivelytothetenorvoice,onceagaininblackneumaticnotation,isalsoa featureofVillanueva'sMisadelosdoblesmaiores.Itseemsquitepossiblethattheallocationoftheplainsongbearingvoicetoonepartthroughoutindicatesthatthe plainsong,whichallthemonkswouldhaveknownbyheart,wasactuallyperformedbytheentiremonasticcommunity,whiletheotherthreevoicesweresuppliedby skilledsolosingers.ThisisverysimilartotheimprovisatorypracticeattheEscorialdescribedabovebyMartíndelaVera.Sutherland'ssuspicion,inreferencetothe LyonsContrapunctus,thatsuch"strictadherencetotheoriginalplainchant,unalteredeveninappearance,locatesitintheorbitofimprovisation"issuggestive.105 Althoughitwouldbefutiletoattempttoresurrectanimprovisatorypracticefrommanuscriptsthattransmitcomposedmusic,itseemsreasonabletosuggestthat Villanueva'sMassespreserveastylepossiblyindicativeofimprovisatorypracticesthatMartíndelaVera's1630publicationtellsusexistedattheEscorial.That improvisationwaspermittedbeforethisdateisintimatedbythestatementintheLibrodelascostumbresthat"thosewhohavevoicesandabilityandgoodgraceforit arepermittedtocounterpointanddiscantasmuchinthepsalmodyasintherestthatadmitscounterpoint."ItissurelynotentirelycoincidentalthattheLyons Contrapunctus,whoseverytitleseemstobegconnectionwiththeverbcontrapuntear,iscloselyassociatedwithinstitutionstouchedinsignificantwaysbythe continuingdebatessurroundingthesuitabilityofpolyphonyintheliturgy.TheCathedralofLyons,forinstance,legislatedinthesixteenthcenturythat"inthischurchonly plainsongissung."106Onthese,andothergrounds,SutherlandassociatestheLyonsContrapunctuswiththeDominicanchapelofNôtreDamedeConfort,inwhich PopeJohnXXIIwaselectedtothepapalthronein1316.ItwasthissamepopewhoseinfluentialDoctasanctorumpatrumisinvokedbyMartíndelaVerawhenhe discussestheaddi 103Foralistofthesesources,seeD.Sutherland,TheLyonsContrapunctus(1528),RecentResearchesintheMusicoftheRenaissance1,xiv.Chronologicallyandgeographically
closertotheEscorialsourcesarethesetofChantPropersforthefeastoftheEspousalsoftheBVMinBarcelonaM.1166/1967(ca.1546).SeeB.Nelson,"AChoirbookforthe chapelofDonFernandodeAragón"andB.Càrceres,OperaOmnia,95103. 104N.Josephson,"MissaeBMVoftheSixteenthCentury,"(Ph.D.diss.,UniversityofCalifornia,Berkeley,1971),2269. 105Sutherland,TheLyonsContrapunctus,1,xv. 106Ibid.,1,xxi.
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tionofcounterpointaboveplainchantattheEscorial. Indeed,thepracticethatVeratellsuswasinstituted"attherequestofPhilipII"andinwhichasmallgroupof singersaddcounterpointstoaplainchantthatissungbytheentiremonasticcommunityseemstobereflectedinbothofVillanueva'sMasses.Thisstyleofmusic, whetherimprovisedorcomposed,seemstohavearisenindirectresponsetothewishesofPhilipII.LikethesocalledestilodesornamentadoperfectedbyPhilipII's architectJuandeHerrera,Villanueva'sstyleis,touseWilkinson'sperceptivejudgment,"idiosyncraticpreciselyinitsimpersonality."108Justastheadornmentofthe basilicawasinformedbyanunambiguousiconographyofthestrictestorthodoxy,sotootheliturgicalmusicwhichwastobeperformedinthebasilicahadtoconform tothemostexactingpostTridentineideasofliturgicaldecorum.Viewedinthisway,aremarkablecoherenceemergesinbothconceptionandexecutionbetweenthe architectural,decorative,liturgical,musical,andsymbolicaspectsoftheEscorial.Herearchitects,artists,andmusiciansgiveaestheticshapetoanideologicalprogram devisedbythepatron. ThosesourceswehaveconcerningVillanueva'slifeagreethatVillanuevawasbroughttotheEscorialbecauseofhismusicalabilitiesandatPhilipII'sspecificrequest. Furthermore,itseemsthatPhilipIIreservedforthismonkaspecialaffection,evennaminghiminhislastwillandtestament.AccordingtoSantos,theKingdiscussed manymattersconcerningthestateoftheEscorialcommunitywithVillanueva.109Althoughitwouldbemerespeculationtosuggestthatmusicalmatterswereraisedin thediscussionsthatPhilipIIheldwithVillanueva,itseemsthatthemusicalstyleVillanuevadevelopedattheEscorialmostcloselyapproachedtheKing'swishesforhis monasterypalace.IfPhilipII'smusicalpatronageistobeexaminedanywhere,itisintheratheruninspired,butthoroughlyorthodoxstylecultivatedbyVillanueva.This styleofpolyphony,becauseitpreservedtheplainsongentireinamannerapparenteventotheextentofitsnotation,wasbeyondreproachbecauseofitsdemonstrable conformitywithsuchunassailableauthoritiesasPopeJohnXXII'sfamousdecree.TheextenttowhichsuchastylewasrelatedtoJeronymitemusicalpracticesisa questionthatawaitsfurtherresearchintothatorder'smusicaltraditions. On30August1595,PhilipIItraveledfromToledotospendthesummerattheEscorial,aswashiscustom,andtobepresentfortheconsecrationofthebasilica.The principalcelebrantoftheconsecrationceremonywasCamilloCayetano,PatriarchofAlexandriaandApostolicNunciotoCastile.Hewasassistedintheritualbythe BishopofSegovia.InaccordancewiththeRomanPontifical,CayetanoorderedafastfromtheTuesdaybeforetheconsecrationfortheJeronymitecommunityand theirservants,theworkers,andtheinhabitantsofthevillageofElEscorial.Onthe 107SeeHayburn,PapalLegislationonSacredMusic,1723andWright,MusicandCeremonyatNotreDame,3467. 108Wilkinson,JuandeHerrera:ArchitecttoPhilipIIofSpain,vii. 109AfulllistofsourceswillbefoundinthebiographyofVillanuevainAppendix2.
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afternoonof29August,relicsofthetwelveapostles,inadditiontothoseofSt.Lawrence,St.Stephen,andothermartyrs,wereprepared.Therelicswereplacedinan urnthatwastobeenshrinedwithinthebasilica'shighaltar.WearetoldbySigüenza,whoseaccountoftheconsecrationisoneofourprincipalsourcesfortheevent,110 thathymnsandpsalms,almostcertainlyplainsong,weresungthroughoutthenightinthepresenceoftheserelics.Otherpreparationsincludedtheconstructionofa largeportablewoodenstairwaythatwastobeusedforthenuncioandhisministerswhenanointingthecrossesinthefourpartsofthebasilica,theilluminationofthe Escorial'swindowsandtowerswithsome14,000oillamps,andtheprintingofbookswhichcontainedtheentireconsecrationservice. The210pagebooks,copiesofwhichsurvive,weresmallenoughtobecarriedinprocessionbyeachmonkandincludedmusicalnotationforallthesungpartsofthe service.111TheconsecrationceremonybeganinthemorningandwasfollowedbyaMasswhich,Sigüenzatellsus,concludedatabout4:00pm.TheprintedOfficium, aprolixdescriptionoftheceremonybySigüenza,112andanunsignedmanuscriptthatappearstobeworkingnotesforthemasterofceremoniescombinetogivea thoroughaccountoftheceremonyasitwascelebratedonthatday.113Althoughallofthesedocumentsreportsinging,nonementionspolyphony.Thereis,however, onepieceofevidencetosuggestthatmusicmoreelaboratethanplainsongwasperformedduringthisceremony.Thatevidenceisthetitlepageoftheanonymous musicalmanuscriptMBNMS4106,whichcontainsthefollowingnote:"Missaa8,Sapiensaedificavit,whichwassungforthefirsttimeinthebasilicaoftheEscorial onthedayofconsecration,30August1595,consecratedbyCamiloCayetano,PatriarchofAlexandriaandPapalNunciointhesereigns,inthepresenceofOurLord KingPhilipIIandofhisson,PrincePhilip.[signed]P.M.Fr[ay]MigueldeAlaejos,Prior."114Al 110Sigüenza,Fundación,14364.OtherimportantsourcesareSantos,Quartaparte,59;Lhermite,LePassetemps2,8081;Sepúlveda,"SucesosdelreinadodeFelipeII,"CD119
(1919):1201;andM.delEstal,"Relacióninédita,"16.SeealsoJ.deQuevedo,HistoriadelRealMonasteriodeSanLorenzo,769. 111OFFICIVMETCAEREMONIAEADDEDICATIONEM...(Madrid,1595). 112Sigüenza,Fundación,14664. 113Theceremonyisalsodescribed,inwhatappearstobethehandofFrayBartolomédeSantiago,intheMS"InventarioymemorialdelasSanctasReliquiasyRelicariosqueelSeñor
ReyD[on]PhilippeSegundohaentregadoaestasuRealCasadeSanLorenzodesdeelañode1571enelquesehizolaprimeraEntregahastaelañode1598enquemurió"(AGP,San Lorenzo,legajo1,816).SeeEstal,"FelipeIIysuarchivohagiográficodeElEscorial,"30719foradescriptionanddiscussionofthisMS.FromtheMemoriassepulcrales,fol.30v,we knowthatBartolomédeSantiagoenteredtheEscorialin1579anddiedin1634.HisaccountoftheconsecrationisderivedalmostentirelyfromSigüenza's. 114"Missaa8,SapiensaedificavitquesecantóporprimeravezenlaBasílicadelEscorialeldíadelaconsagraciónporCamiloCayetanoPatriarcadeAlexandríayNunciodeS[u]
SantidadenestosReynos,apresenciadeNuestroS[eno]rReyD[on]FelipeSegundoydesuhijoPríncipedonFelipe."SeeMBNMS4106,fol.17v.
Page102
thoughtheexplanationforthisseeminglyauthoritativenoteisuncertain,itmustbedismissedasinauthentic.First,suchnotationalfeaturesastheemploymentofthe3/4 keysignatureandthescoringofalleightvocalpartsandcontinuowithregularbarlinesindicatethatthemanuscriptpostdates1595.Stylistically,too,themusicclearly belongstoalaterperiod. At5:00amonSunday13September1598,whiletheseminariansweresingingthedawnMass,PhilipIIdied.115Sigüenzatellsusthatallthereligiousbegan immediatelytocelebratemassesinthemonasteryandthecollege.116InsteadofthemainMassoftheday,aRequiemMasswassung.At6:00pm,afterCompline,all thecourtiersandreligiousgatheredtogetherinthebasilica.ThecourtierscarriedPhilipII'sbodyfromtheroyalapartmenttothesacristy,accompaniedbythemonks whocarriedcandlesandsangthepsalmDeprofundis.OnthefollowingdaythenewKing,PhilipIII,wentwithhiscourtierstothesacristy,wheretheyjoinedwiththe Jeronymitecommunity.ThearchbishopofToledowastosaytheofficeandcelebrateMass,andtheservicebeganwithaprocessionduringwhichthemonkssangthe appropriateresponsories. Innoneoftheaccountsoftheseservicesnorinthoseoftheburialservice,whichtookplaceonthemorningofTuesday,15September,isthereanysuggestionthat musicmoreelaboratethanplainsongwasperformed.Oneaccountstatesthattheburialproceeded''withoutmusic"(whichinthelightoftheotherevidencemustmean "withoutpolyphony")"becauseHisMajestyordereditthus."117OnWednesday,16September,asolemnmemorialservicecomprisingVespersandMasswasheldin thechapeloftheJeronymitemonasteryofSanJerónimoinMadridand,accordingtoPhilipII'sbiographerCabreradeCórdoba,thesingersofthecapillareal attended.118 ThelastfewyearsofPhilipII'sreignaremuchbetterservedthantheearlieryearsbyavarietyofprimarysourceswhich,takentogether,allowustoconstructapicture ofthemonastery'spersonnel,musicalandotherwise,asitstoodatthattime.Inhisletteroffoundationof1567,PhilipIIenvisagedthedefinitivepopulationofthe Escorial'smonasticcommunityas100monks,atleastseventyofwhomwouldbeordained.119By1592,however,astatementwasissuedinwhichincreasedendow 115Sepúlveda,"SucesosdelreinadodeFelipeII,"CD119:297. 116Sigüenza,Fundación,1947. 117PBNMS60,fol.9r,Relat.delamortetdesfunér.dePhilippeII:"elentierrosinmúsica,ruidonipompa,porqueasilodexóordenadosuMag[esta]d."QuotedinCollet,Le
mysticismemusicalespagnol,127. 118CabreradeCórdoba,FilipeSegundoReydeEspaña,331. 119"41.Otrosí:porcuantonuestraintenciónyvoluntadhasidoyesqueesteMonasterioquefundamosenelnúmerodelosfrailesyreligiososqueenélhadehaberyenlosoficios
ycosaspertenescientesalcultodivinoyenlasbuenasypíasobrasqueenélsehandehacerseamuyprincipalymuyinsigne,...queeneldichom*onasterioyconventodéldemás deloquetocaalColegiohayadehaberperpetuamenteparasiemprejamásnúmerodecienfrailesdeloscualeslossetentaalomenoshayandeseryseansacerdotesdemisa
(footnotecontinuedonnextpage)
Page103 120
mentsfortheEscorialwereenumeratedasbeingsufficientfor150monksinadditiontothecollegeandtheseminary. Twoyearslater,thechroniclerJuanAlonsode Almeladescribedthemonastery'spopulationintheseterms:"ThereareinthisexcellentmonasteryandinthecollegeandinPárraces,anearbyabbeywhichisannexed tothisholyhouse,150religious,ofwhom110arepriests;ofordinary[religiousthereare]afewmoreorlessandtheycomprisethecollegians,therectorandvice rector,andassistantswiththerectoroftheseminary."121Forhispart,SigüenzareportstheKing'sson,PrincePhilip,asdeclaring,inaformalceremonialreplytothe papalnuncio'saddressattheconsecrationoftheEscorialbasilicain1595,that:"Thenumberofreligious,asmuchinthemonasteryasinthecollege,amountsto150, ofwhich100arepriests,withoutcountingtheprofessorsanddistinguishedmastersofthesciencesandexceptingtheboysoftheseminary,allofwhichsurpass 100."122 ThemostdetailedbreakdownoftheEscorial'spopulationisgivenbyJehanLhermite.Itmaybesummarized,usinghisobservationsofthecommunityasitstoodin 1597,asfollows:150religiousmadeupof100priests,tendeaconsandsubdeacons,twentyinminorordersandtwentylaybrothers,andfiftysecularcollegians.123 Lhermiteneglectsmentionoftheseminarianswhonumberedforty,accordingtotheroyaldocumentof1592thatwasdesignedtoupdatetheletteroffoundation.124 OneofthefewdescriptionswehaveoftheseminaryanditsmusicalactivityisAlmela's1594Descripción:"Therearefiftypersonsintheseminary,comprisingforty childrenwholearngrammar,rhetoric,andpoetry,andtheirfamiliars,artstheologians,andthemasterofthemusic.ChosenbyHisMajestyandapprovedbytheprior, theyentertheseminarybetweentheagesofthirteenandfifteenyears."125 (footnotecontinuedfrompreviouspage) paraquesepuedamejorsatisfacerycumplirloquehabemosordenadocercadelasmisas,memoriasyconmemoraciones,elosotrosoficiosdivinosqueeneldichom*onasterio conformealoqueestáordenadosehandedeciryhacer."DHM2:1034. 120DHM2:16584. 121"HayenesteexcelenteconventoyenelcolegioyenParracesunaabadíacerca,queesanejaaestasantacasa,cientocincuentareligiosos,deloscualessondemisaloscientodiez
deordinariopocomásomenos,ydeellossoncolegialesyelrectoryvicerrectorypasantesconelrectordelseminario."Almela,DescripcióndelaOctavaMaravilladelMundo,70. 122"Elnúmerodelosreligiosos,asíenelconventocomoenelcolegio,llegaacientocincuenta,entreloscualescientosonsacerdotes,sinloscatedráticosymaestrosinsignesdelas
cienciasysinlosmuchachosdelseminario,queentretodospasandeciento."Sigüenza,Fundación,156. 123"Lesreligieuxqu'ilyaenceconvent,suyvantsoninstitution(encoresqu'ellen'estsiprecisequel'ons'enpeultbienexceder),sontjusquesaunombredecentetcinquante,dont
ordinairementles100.sontprestres,les10.diacresetsubdiacres,les20.delapremieretonsure,quid'ordinaireassistentauchoeur,etlesautres20frereslayzpourserviràmesseet estreoccupézauserviceduconvent.Ilyaaucollege(oultreceulxquecydevantavonsdict)cinquantecollegiauxseculiers."Lhermite,LePassetemps2:76. 124"Quelosseminariosseancuarenta,elegidosporelprior,limpiosdelinaje."DHM2:1823.
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Annually,attheconclusionoftheirfouryearsintheseminary,sixgraduatingstudents,threeinartsandthreeintheology,werechosentopursuetertiarystudywithinthe Escorialcollege,whichwasfullyaccreditedwithfullPapalapprobation.Inaddition,fourgraduatingstudentswerechosenasfamiliarsoftheseminary,oneofwhom wasthemasterofthemusic.OneofthefewsourcestomentionanythingabouttheperformanceofmusicintheseminaryisAlmela'sDescripción:"Theseseminarians attendadailysungMassthroughouttheyear,onthemostimportantdayswithpolyphonyandonordinarydayswithitsplainsongforthereigningKingandforthe preservationofhisdominions."126ThetotalpopulationoftheentireEscorialcomplex,then,includingthatofthecollegeandtheseminary,exceeded200inthelast yearsofPhilipII'sreign.Asforthosemembersofthecommunityengagedinmusicalactivities,theimpressionemergingfromourexaminationofthesourcesisoneofa musicalinstitutionuniqueinPhilipII'spatronage,andofonefundamentallydifferentfromthecapillareal,bothinorganizationalstructureandrepertory. Intheabsenceofannualorevenlessfrequentlistsofthemonastery'sinhabitantsandtheofficeswhichtheyheld,thecensusof1597isespeciallyvaluable.Itisthe earliestextantcensusoftheinhabitantsoftheEscorialthusfaruncovered.127Althoughneithermusicalpostsnorresponsibilitiesarespecifiedinthiscensus,weknow fromdocumentssuchasthemonasterynecrologythatatleastsixteenofthosem*ntionedinthecensusperformed,inonewayoranother,amusicalroleattheEscorial. Thenamesofthesesixteenfollow:GaspardeLeón(bassandcorrectordelcanto),DiegodeToledo(singerandorganist),JosédeSigüenza(musicianandsinger), MatheodeAvila(bass),PedroMarín(bassandcorrectordelcanto),GinésdeOlmedo(tenorandorganist),PedrodeNavarra(singerandcorrectordelcanto), MartíndeVillanueva(singer,composer,organist,correctordelcanto),BartholomédeSantiago(altoandcorrectordelcanto),NicolásdeSanLorenzo(singer), PedrodeAlcalá(singer),CarlosdeLila(organist),PedrodeEstremera(bass,correctordelcanto,andpolyphonicmusicscribe),JuandelaFuente(bass,keyboard player,andcorrectordelcanto),AndrésdeSanLorenzo(carillon),andFranciscodeAlcalá(singer,vihuelist,andscribe).Thisistheclosestapproximationwehave toarosteroftheJeronymitemusiciansworkingattheEscorialinthesecondlastyearofPhilipII'sreign.Therewerefourteensingers,ofwhomweknowthatfour werebasses,onewasatenor,andanotherwasanalto.Therewerealsocorrectoresdelcanto,fourorganists,onecarillonist,oneplayerofthevihueladelarco,one keyboardplayer,onescribe,andonecomposer. 125"Haycinquentapersonasenelseminarioquesoncuarentaniñosqueaprendenlagramática,retóricaypoesíaysusfamiliaresyartistasteólogosyelmaestrodemúsica.Los
qualesentraneneldichoseminariodetreceaquinceañosdeedad,elegidosporSuMajestadyaprobadosporelPrior."Almela,DescripcióndelaOctavaMaravilladelMundo, 70. 126"Dicenestosseminariosunamisatodoelañocadadíacantada,losdíasmásprincipalesconsucantodeórganoylosotrosferialesconsucantollanoenlaiglesiaporelReyque
viveyporlaconservacióndesusreinos."Ibid.,71. 127ThecensusmaybefoundinAME,MScaja14,no.13:Listadelaspersonas1597.
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Table3.1showsasmallnumericalaugmentationinthepopulationofEscorialmonkmusiciansovertheperiod1571to1586.Thereisaqualitativeincreasetoo,for thisisthefirstperiodinwhichwefindthepresenceofanadulttipleorsopranist.Theperiod1586to1598ischaracterizedbyaconsciousefforttoimprovethe musicalcaliberoftheEscorial.MonkssuchasthetenorandorganistGinésdeOlmedo,thebassandcorrectordelcantoPedroMarín,andthealtoBartholoméde Santiago,forinstance,werebroughttotheEscorialfromthemonasteriesoftheirfirstprofessiononaccountoftheirmusicalskill.Anacquisitionofparticular significanceforthedevelopmentofmusicattheEscorialwasMartíndeVillanueva.Aswellasbeingaskilledsinger,hewasbothanorganistandcomposerwho servedforsomeyearsascorrectormayordelcanto.OnlyaboutayearafterVillanueva'sarrival,PedrodeEstremeratooktheJeronymitehabit,in1587.Heis importantprincipallyasthechiefscribeofaseriesofatlassizedpolyphonicchoirbooks.Withthearrivalofthesem*n,twooftheessentialingredientsforthe developmentoftheEscorialasamusicalcenterwereinplace:acomposercapableoffulfillingthestrictrequirementsimposedbyPhilipII'swishes,andascribe capableofenteringthosecompositionsintochoirbooks. Thesevenmonkswhoservedascorrectoresdelcantointheperiod1586to1598(seeTable3.2)representasignificantincreaseoverthefourmonkswhoservedin theperiod1571to1586.AllsevenarelistedalsoassingersandthefactthatsomanymonkswereengagedinthisofficeisareflectionoftheheavyburdenofMasses, offices,andcommemorationsbornebytheJeronymitecommunity.AstheLibrodecostumbresmakesclear,asecondandathirdcorrectordelcantowere appointedinadditiontothecorrectormayordelcanto.128Theobligationsofthisofficewereundertakenbythemostskilledandexperiencedmusiciansatthe Escorial.ThatthisofficecouldbeheldforlongperiodsisattestedtobythewriterofBartolomédeSantiago'sobituarynotice,whostatesthatthismonkwascorrector mayordelcantoformorethantwentyyears.129 ThesevenkeyboardplayersactiveattheEscorialduringthisperiodarelistedinTable3.3.Fourofthemwerealsoactiveassingers,andsixwereorganists.Juandela Fuenteisdescribedsolelyasakeyboardplayer.In1587,whenSepúlvedatellsusthatalltheorganswereplayedtogether,fiveorganistswereavailablefromthe monasticcommunity130.Duringtheentireperiod,asinglemonk,AndrésdeSanLorenzo,musthavetakensolechargeofplayingthecarillon. Althoughitisknownthatforcertainmajorceremonies,boththecapillarealand,lessfrequently,thecapillasofboththecathedralsofAvilaandToledotraveledto theEscorialtosingandplayforimportantceremonies,thereisnoevidencetosuggestthatsecularmusiciansparticipatedinliturgicalmusicattheEscorialduring 128SeeLibrodelascostumbres,5962. 129Memoriassepulcrales,fol.29r.Foratranscription,seeDHM10(1):30916. 130"Despuésentrandoporlapuertadelaiglesia,tocarontodoslosórganos,"Sepúlveda,"SucesosdelreinadodeFelipeII,"CD114:310.
Page106 Table3.1:SingersattheEscorial,15861598
Table3.2:CorrectoresdelcantoattheEscorial,15861598
Table3.3:KeyboardplayersattheEscorial,15861598
Page107
thelatterperiodofPhilipII'sreign.NeitheristhereevidencetodocumenttheregularuseofanyinstrumentsotherthantheorganbytheJeronymitecommunity.The oneslenderpieceofevidencewehaveconcerningtheplayingofinstrumentsotherthantheorganmentionsthemonkAlonsodeVaeza,who"playedthebajónand otherinstruments"andwhocametotheEscorialfromthemonasteryofSanJerónimoatYusteforthefeastofSt.Lawrence.131Itisnotevenknownwhetherornothis presencewasrequiredbecauseofhisinstrumentalskill,letalonewhetherornothejoinedintheliturgicalmusicmakingassociatedwiththepatronalfestival.Visiting chapels,ofcourse,broughttheirowninstrumentalistswiththem.132Onlyonemonkwhosenameappearsinthe1597censusisknowntohaveplayedaninstrument otherthantheorganorcarillon(seeTable3.4).ButtheobituarynoticeofFranciscodeAlcalástatesnothingmorethanthat"heplayedthevihueladelarco."133The participationofsuchaninstrumentinthestrictlycontrolledandregulatedmusicalenvironmentoftheEscorialliturgyduringthereignofPhilipIIisfarfromlikely.Even aslateas1630,theEscorialmonkMartíndelaVeravoicedtheOrder'sdisapproval,inprinciple,oftheinterventionofinstrumentsotherthantheorganinliturgical music.134Fortheseventeenyearsbetween1586and1603,VillanuevawastheonlycomposerworkingattheEscorial(seeTable3.5)anditishismusicalstylethatis characteristicoftheroyalmonasteryduringthelateryearsofthereignofPhilipIIandtheearlyyearsofthereignofPhilipIII. AtPhilipII'sdeath,theEscorialcomprisedthreemutuallydependentfoundations.Thelargest,andmostimportant,wasthemonastery,withapopulationofover150. Underthejurisdictionofthemonasterystoodthecollegeandtheseminary,thepopulationsofwhichstoodataboutfortyeach.Inthegovernanceandexecutionofits daytodayfunctions,theEscorialwasessentiallylikeanyotherJeronymitemonastery.Twofactors,however,distinguish*tinadecisivewayfromothermonasteriesof theOrder.First,asbothstructureandsymbol,theEscorialembodiedauniquesynthesisoftheroleswhichitsfounderperceivedasinseparable.NootherJeronymite monastery,indeednootherRenaissanceinstitution,combinedthefunctionsofdynasticmausoleum,centerofthegovernmentofanempire,defenderofthefaithagainst theReformation,andshowcaseofCatholicorthodoxy.Theothersignificantfactor 131SeeMemoriassepulcrales,fol.178r. 132ThesoundofthebajonesandcornetsofthecapillarealintheEscorialonthefeastofSt.Lawrence(10August),1586,forexample,isreportedinSepúlveda,"Sucesosdelreinado
deFelipeII,"132.SeealsoCabreradeCórdoba,RelacionesdelascosassucedidasenlacórtedeEspañadesde1599hasta1614(Madrid,1857),199. 133Memoriassepulcrales,fol.378r.Foratranscription,seeDHM10(1),1924. 134M.delaVera,Instruc[c]ióndeeclesiasticos,1956.Thepassageisquotedinfullasdocument9inAppendix3.
Page108 Table3.4:OtherinstrumentalistsattheEscorial,15861598
Table3.5:ComposersattheEscorial,15861598
distinguishingtheEscorialfromotherJeronymitehousesisacorollaryofthefirst:itistheextraordinarywealthwithwhichtheEscorialwasendowed.135 Inanyotherevenvaguelycomparableroyalorecclesiasticalfoundationofthetime,thebestmusicianswereactivelysoughtafterinordertoaddsplendor, magnificence,and,indirectly,legitimacytothefoundation.InthesamewayasotherRenaissanceprinceslavishlyendowedtheirpalacesandchapels,PhilipIIspared noexpenseinequippingtheEscorialmusically.Infact,thesumspaidforthecopyingoftheplainsongchoirbooksandthebuildingoftheorganswereunprecedented anywhereintheworld.Yetheinsisted,inparagraph38oftheletteroffoundation,thatthepersonnelresponsiblefortheEscorial'smusicbedrawnentirelyfromthe monastery.Asamusicalinstitution,then,theEscorialfunctionedwithinastrictlymonasticframework.Nosecularmusicianswereemployed,anditwasthereforenot possibleforthemonasterytocompeteformusiciansofthehighestcaliberwithsuchinstitutionsascathedralsandtheroyalchapel,whichadvertisedsalariedpositions ontheirmusicalstaffs.136Inaddition,theparticipationofinstrumentalists,oneofthemostcharacteristicfeaturesofsixteenthcenturySpanishchurchmusic,was expresslyforbidden.Andsincetherewasnoformallyconstitutedcapilla,therewasnoneedofapositionsuchasamaestrodecapilla.Whilstallthemonkswere involvedintheperformanceofplainsong,asmallernumberofskilledsingerswereavailabletoperformpolyphony.Theywereoftenthesamemonkswho,as correctoresdelcanto,directedthecommunityinitsplainsong.ThepolyphonytheysangwasofatypedevelopedattheEscorialindirectresponsetothewishesof PhilipII.InlegislatingforastrictinterpretationofTridentineorthodoxyintheliturgicalandmusicalobservanceofhismonasterypalace,the"mostCatholicKing" createdconditionsthatnurturedpracticesmorerigidlyorthodoxthanthoseembracedanywhereelseinCatholicChristendom. 135TheeconomicaspectsoftheEscorialhavebeenmostrecentlyanalyzedinSánchezMeco,ElEscorialylaordenjerónima:Análysiseconómicosocialdeunacomunidad
religìosa(Madrid,1985). 136TheadvertisingofvacantchapelmastershipsandtheintensecompetitionwhichthisinvolvedisdescribedinRubioPiqueras,Músicaymúsicostoledanos(Toledo,1923),94.
Page109
BythetimeofPhilip'sdeathin1598,themusicalestablishmentoftheEscorialhaddevelopeditsownmomentumsince,inadditiontoitssecureendowments,itcould boastseveralskilledmusicians.Itsdevelopmentalonglineswhichmighthavebeenexpectedofatypicalsixteenthcenturymusicalfoundation,though,hadbeen checkedbythefounder'sscrupulousproscriptions.ThereignofPhilipIII,however,wastoseequitedifferentforcesatworkinthecompositionandperformanceof music,sincePhilipII'sdeathsignaledthebeginningofadeclineintheobservanceoftherestrictionshesocarefullyenshrinedinthefoundationstatutes.
Page111
4— TheReignofPhilipIII (1598to1621) God,whohasgivenmesomanykingdoms,hasdeniedmeasoncapableofrulingthem.1
AlthoughitwassaidthatPhilipIIIinheritedhisfather'spietyanddevotiontotheJeronymiteOrder,2hecompletelylackedPhilipII'sfascinationwitheitherthedayto dayaffairsoftheEscorialorhisvastrealms.Itdoesseem,however,thathedevelopedagenuineinterestinmusic.InaseriesofletterswrittentohisdaughterAna, QueenofFrance,intheperiod1616to1618,PhilipIIImentionsthe"goodvillancicos"whichhehadheardatChristmasMatinsandremarksupontheperformance ofaMagnificatandNuncdimittisbyindividualsingersofthecapillareal.3ForthetheoristPedroCerone,theKing"showedhimselfveryfondofit[music]andits teachers,"4althoughCeronealsoprovidesevidencethatsuggeststhesovereign'stastewasnotexactlyprofound.Inadetaileddiscussionofvillancicos,Ceroneplaces thegenreamong"trivialitiesandwhimsicalverses,"settingthemapartfromthelessfrivolous''psalms,hymns,andspiritualsongs."5Itseemsthegenrewasprohibitedin thecapillarealbyadecreethatPhilipIIissuedin1596.6TheallegedlylightweighttastesofPhilipIIIarecalleduponbyStevensoninaccountingforthestylisticshift encounteredinVictoria'spublication 1PhilipII,asquotedinLynch,SpainundertheHabsburgs,2:14.SeealsoElliott,ImperialSpain14691716,295. 2Sepúlveda,"SucesosdelreinadodeFelipeIII,"CD128:104. 3Fortranscriptionsoftheoriginaltexts,seeSolarQuintes,"PanoramamusicaldesdeFelipeIIIaCarlosII,"AnuarioMusical12(1957):1789. 4"Estedigo,porqueelReyDONPHELIPPEIII.(QueDiosguardemuchosyfelicesaños)quandoPrincipemostrosemuyafficionadoàellayàlosprofessoresdella,"CeroneEl
Melopeoymaestro,150. 5"NoenuiaelApostolàlosChristianosàcantarVilancicos,niliuiandades,niversosantojadizos;sinosalmos,hymnosycanticosespirituales,"Cerone,ElMelopeoymaestro,196. 6ThedecreeisquotedinfullinMoll,"Losvillancicoscantados,"82.ThequestionoftheperformanceofvillancicosisfurtherdiscussedinVera,Instruc[c]ión,196.
Page112 7
of1600,asepitomizedintheMissaprovictoria. FurtherevidenceofPhilipIII'stasteforinsubstantialmusicisadvancedbytheroyaltutorAntoniodeObregóny Cerezada,whotellsoftheaccomplishedsingerLuisHonguero'sperformancefortheKingofaratherunsophisticated39stanzasecularpieceentitledEnlanoche serena.8Collet'sstatement,repeatedverbatimbyBecquart,thatPhilipIIIdeclaredhimselfafriendofmusiciansandfavoredtheireffortsisbasedalmostsolelyupon theevidenceprovidedbyCerone.9Onmuchsurergrounds,however,areclaimsthattheKinglearnedandenjoyeddancing.10 In1598PhilipIII(r.15981621),attwentyyearsofa*ge,succeededtothegreatestthroneinEuropeandimmediatelyabdicateditsconcomitantresponsibilitiesby transferringthemtoFranciscoGómezdeSandovalyRojas,firstDukeofLerma.SoonafterattendingthememorialserviceheldforhisfatherinthemonasteryofSan JerónimoinMadrid,PhilipIII,wearetold,11traveledtotheEscorial,wherehetookpartinthedivineofficesforthefeastofAllSaints.12EveniftheKing'sactof joiningintheprocessioninthebasilicawithhiscourtierswasmeanttosuggestotherwise,thechroniclersofPhilipIII'sreignconsistentlyconveyanimpressionthat huntingwasmoretotheyoungersovereign'stastethanworship.Santos'sstatementthatPhilipIII"entertainedhimselfgreatlyintheforests...buthismainrecreation wasthedivineoffice"13isanindicationoftheovertlyreligiouscharacterPhilipIIhadbequeathedtotheSpanishmonarchy.14ButPhilipIIIbynomeanssharedhis father'sobsessiveinterestintheliturgy,anditseemsthathisreignsawarelaxationoftheregulationswithwhichtheEscorial'smusicmakinghadbeenbound. HavingspentthefeastofAllSaintsattheEscorial,andhavinghadhishandkissedbyeachmemberoftheJeronymitecommunitythere,PhilipIIImadehiswayto MadridandthencetoValencia.Inthatcity,on18April1599,hemarriedMargaretofAustria,aHabsburgcousin.15InOctober1599,PhiliptraveledtotheEscorial withhiswife.Itwasherfirstvisittothemonastery,andanelaboratereceptionwasarrangedforher,duringwhichtheentiremonasterycomplexwasilluminatedwith 7"Certainlytheworkbearsallthemarksofhavingbeenwrittentogratifythefeatherweighttastesofthiswellintentionedbutfrivolousyoungprince."Stevenson,Spanish
CathedralMusic,412. 8A.deObregónyCerezada,DiscursossobrelafilosofiamoraldeAristóteles,fols.181r186r. 9SeeCollet,Lemysticismemusical,128andBecquart,MusiciensàlacourdeMadrid,945. 10SeeCabreradeCórdoba,Relacionesdelacosassucedidas,6007. 11Santos,Quartaparte,67. 12Sepúlveda,"SucesosdelreinadodeFelipeIII,"CD128:37. 13Santos,Quartaparte,67. 14ForadiscussionofroyalsacrednessafterPhilipII,seeEire,FromMadrigaltoPurgatory,35961. 15AcontemporaryprintthatreportstheweddingisreferredtoinSepúlveda,"SucesosdelreinadodeFelipeIII,"CD128:44.
Page113 16
oillamps.Inhisdescription,Santosprovidessomedetailsconcerningtheroleofmusicinthereception. AsthemonarchapproachedtheEscorial,thecarilloninone ofthebelltowersbegantoplay,andthemonks,collegians,andseminariansgatheredtogetherinthebasilicatoformasolemnprocession.Intwofiles,theprocession leftthebasilicaforthepalaceporchwiththepriorfollowingattheend.Aftertheentranceofthemonarchsandtheirretinue,sixcantorsvestedincopesintonedtheTe Deum,inwhichtheJeronymitesthenjoined.Santoscontinues: Theprocessionturnedaboutthechurch,TheirMajestiesfollowing,withmuchpleasureinseeingthebeautyoftheporch,duetosomanycorrespondingilluminations.Buton enteringthattemple,thejoywasgreater,foratthesametimeasthatheavenandearthcameintoview,theearsweregreetedbytheharmonyoftheorgans,ofwhichthereare many;allofthemwereplayed,andoneandtheotherevokedblessednessintheirhearts....Thosewhosangrespondedtothosewhoplayed....TheyprayedtotheBlessed Sacrament,andinconcludingthesingingoftheTeDeumlaudamus,thepriorsaidtheversesandresponsessetdownintheCeremonial,thechapelrespondingtoallaccompanied bytheorgans,withanadmirablefullsound,withwhichtheceremonywasconcluded.17
BecauseitistheearliestreferencewehavetothepresenceofacapillaattheEscorial,Santos'sdescriptionoftheseeventsisintriguing.Itisalso,unfortunately,vague. SinceCabreradeCórdobatellsusthattheKingandQueenleftfortheEscorialwith"fewservants,"18itisunlikelythatthecapillatowhichSantosreferswastheroyal chapel 16Santos,Quartaparte,6970.SeealsoSepúlveda,"SucesosdelreinadodeFelipeIII,"CD128:46andCabreradeCórdoba,Relacionesdelascosassucedidas,46. 17"VoluiòlaProcessionazialaIglesia,siguiendolasusMagestades,conmuchoagradodeverlahermosuradeelPortico,causadadetantascorrespondientesluminarias:peroen
llegandoaentrarenaquelgrandiosoTemplo,fuemayorelgozo;porquealmismotiempoquesevinoàlavistalaespecieadmirabledeaquelCieloenlatierra,diòenlosoidosla armoniadelosOrganos,quesonmuchos,ylostocarontodos,yvnoyotrohizoenlasAlmasvnefectocomodeBienaventurança.DesdeallifueronrespondiendoseàChoros,losque cantaban,ylosquetañian...HizieronOracionalSantissimoSacramento,yenacabandodecantarelTeDeumlaudamus,dixoelPriorlosVersos,yOracionesquedeterminael Ceremonial,respondiendoàtodolaCapilla,acompañadadelosOrganos,convnllenoadmirable,conquesediòfinàesteacto."Santos,Quartaparte,6970. 18"Eljuevesá14sefueronáSanLorenzoconpocoscriadosydamas,dejandotodalacasaenelPardo,confindeestarsolosochodiasallá."CabreradeCórdoba,Relacionesdelas
cosassucedidas,46.
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fromMadrid.ItismuchmorelikelythatthischapelcomprisedaninformalaggregationofthefourteenJeronymitesingerswhomweknowwerepartoftheEscorial communityin1599(seeTable4.1). In1600,PhilipIIIspentthefeastoftheAscensionattheEscorial,afterwhichheatewiththeJeronymitecommunityinthemonasteryrefectory.19Afewdayslater,on thefeastofPentecost,theKingjoinedintheliturgicalprocessionbeforemovingtotheOratory,wherehetookhisplacewiththeQueentohearthedivineoffice.For thefeastofCorpusChristi,whichwasobservedsoonafterwards,theCardinalArchbishopofToledowassummoned,arrivingadaybeforethefeast.Sepúlvedatells usthatthevigilofthefeastofCorpusChristiwascelebrated"veryhighly,withmuchrejoicingandgreatmusic;firstVesperswassaidandonthefollowingdaythe officewassaid.20Sepúlvedacontinues: TheprocessionwasdoneveryhighlyandtheCardinalcelebratedpontifically,vestedwithrichandcostlyornaments,andhecarriedtheBlessedSacramentinhishandsinagold monstrance.TheKingandhisgrandees,withwhomheborethepolessupportingthebaldachinovertheBlessedSacrament,appearedverygallant.TheQueenalsojoinedthe processionwithallherladiesinwaiting,eachbearingaburningcandleofwhitewax.Itwasdonewithmuchcalmnessandmajestyandwithmuchmusic.Thereweresomedances whichgreatlycheeredthefeast.21
ItisameasureofthedegreetowhichliturgicalobservanceshadchangedattheEscorialsincethedeathofitsfounderthataftertheceremoniestheseminarians performedacomedyatthehighaltarwithsomedances.22TheKing,Sepúlvedatellsus,"laughedalotandrejoiced"atthecomedy.23 PhilipIIItraveledagreatdealbetweentheroyalpalacesatValsaín,Toledo,Aranjuez,Madrid,andValladolid.In1600,hevisitedtheEscorialtwicemore:oncefor thefeastofSt.JeromeandlaterforthefeastofAllSaints.InJanuary1601,however,thesovereignannouncedtheremovaloftheentirecourtfromMadridto Valladolid.Hewaspersuadedtomakethemovebyhisfavorite,theambitiousDukeofLerma,24whosoughttodistancetheKingontheonehandfromtheinfluence of 19Sepúlveda,"SucesosdelreinadodeFelipeIII,"CD128:106. 20Ibid.,CD128:106. 21Ibid.,CD128:106. 22
OnthelongtraditionofliturgicaldanceinSpain,especiallyinassociationwiththefeastofCorpusChristi,seeRosayLópez,LosseisesdelacatedraldeSevilla(Seville,1904).
23Sepúlveda,"SucesosdelreinadodeFelipeIII,"CD128:107.OntheatricalperformancesattheEscorialduringthisperiod,seeSierra,AntonioSoler(17291783):Músicaescénica,
estudioytranscripción1:516. 24Santos,Quartaparte,75;Sepúlveda,"SucesosdelreinadodeFelipeIII,"CD128:25960;
(footnotecontinuedonnextpage)
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Figure6 MainnaveofthebasilicaduringCorpusChristiprocession. EarlynineteenthcenturyengravingbyManuelAlegre(17681815).
Page116
hisaunt,theEmpressMaría,wholivedintheconventoftheDescalzasRealesinMadrid,andontheotherfromtheEscorial,whichwassocloselyidentifiedwiththe oldorderofPhilipIIandtheEmperorCharlesV.Freedfromeitheroftheseinfluences,theKingwouldhavebeenmoreamenabletoLerma'spotentdomination.Ifthe Escorialasaninstitutionhadnoplaceintheplansofthefavorite,asapowerfulsymbolofimperiallegitimacyitwasinimicaltothoseplans.ItwasLerma'sintentionthat thechurchofSanPabloinValladolidwouldabsorbthefunctionsthathadpreviouslybeenservedbytheEscorial,anditishardlysurprisingthattheJeronymite communitygreetedthisnewswithalarm.SepúlvedareportsthatinreplytotheurgingsoftheKing'sservantsandtheprioroftheEscorial,theKingpromisedtoreturn totheEscorialforHolyWeek.25SomeofthemonksextractedasimilarundertakingfromtheDukeofLerma.Theseagreements,however,werenothonored.Infact, itwasnotuntil1602thatPhilipIIInextsetfootinsidetheEscorial.AmerefourvisitstotheEscorialintheperiod1602to1605arereportedbyCabreradeCórdoba: forCorpusChristiin1602,foreightdaysinApril1603,foradayandahalfinNovember1603,andforthefeastofSt.JeromeinOctober1605.26ForSepúlveda, therewasnoquestionthatthetranslationofthecourttoValladolidwasdisadvantageoustotheEscorial,27anditwaswidelyknownthattheDukeofLermapreferred theJesuitsandDominicanstotheJeronymites.TheremusthavebeenconsiderableconcernwithintheEscorialcommunitytoensurethattheKing'sbriefsojournsatthe monasterywereascomfortableandenjoyableaspossible.In1606thecourtreturnedtoMadrid,havingspentfiveuncomfortableyearsinValladolid.Althoughthis movemeantthatthemonarch'svisitstotheEscorialbecamemorefrequent,itbynomeanssignaledareinstatementoftheEscorialtoitsformerpreeminence.28 Fortheperiod1601to1603,SepúlvedamentionstheperformanceofmusicattheEscorialonfouroccasions.ThefirstisaconcisereferencetotheChristmas ceremoniesof1601wherethechroniclernotes"thegrandinventionsofmusicandvillancicos."29Althoughbrief,itisoneoftheearliestrecordswehaveforthe performanceofvillancicosattheEscorial.IntheabsenceofPhilipII'scondemnations,it (footnotecontinuedfrompreviouspage) andCabreradeCórdoba,Relacionesdelascosassucedidas,934.ThatthemovetoValladoloidwasthecauseofsomecontroversy,especiallyamongtheinhabitantsofMadrid,is attestedtobythecontemporarypublicationofsuchpetitionsbeggingtheKingtoreconsiderthetranslationasthefollowing:MemorialyDiscurso,quelaVilladeMadriddioal ReyDonFelipeIII(Madrid,1600);AlaCatólicayRealMagestaddelReyDonFelipeIII([Madrid],1600);andAlaCatólicaRealMagestaddelReyDonFelipeIII(Madrid,n.d.). 25
Sepúlveda,"SucesosdelreinadodeFelipeIII,"CD128:261.
26CabreradeCórboda,FilipeSegundo,147,172,193,260. 27Sepúlveda,"SucesosdelreinadodeFelipeIII,"CD128:266. 28Santos,Quartaparte,83. 29"Lasgrandesinvencionesdemúsicayvillancicos,"Sepúlveda,"SucesosdelreinadodeFelipeIII,"CD128:414.
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seemsthatvillancicosandprobablysucheventsasthetwocomediasthatSepúlvedaalsomentionswerefreetoflourish.Itseemspossible,too,thatsuchgenres werenowcultivatedinadeliberateattempttorespondtothenewking'stastes. EarlyinMarch1603,30SepúlvedareportsthedeathofFrayAntoniodeVillacastín.Theburialofthismonkwasattendedbyalargenumberoflaypeopleaswellas themonks,collegians,andseminariansoftheEscorial.Theburialwasperformed,inSepúlveda'swords,"withmorepompandmajestythanIhadseeninallmylife." TheMass,hecontinued,wassung"withmuchpolyphony."Adayorsolater,on6March1603,thebishopofSalamanca,theCountofOrgaz,andtheCountof PliegoescortedthebodyoftheyoungInfanta,whohadrecentlydiedinValladolid,totheEscorial."Therewasmuchmusic,"reportedSepúlveda,continuing: Theyputherinthecenterofthechurchinalargecatafalquewhichwasmadeforthis,andtheysanginfabordónthatwhichissungforsimilarburials....Onthefollowingday,at theappropriatehour,averysolemnMisadelosAngeleswassaidwithmuchpolyphonyandmanyvoicesandmusic,withallthosewhohadbroughtthebodyattending.31
Sometimeduringthesecondhalfof1603,alargereliquaryformerlyownedbythedeceasedEmpressMaríawasbroughttotheEscorialbyorderofPhilipIII. Sepúlvedarelatestheceremonyinthefollowingway: They[therelics]cameontheshouldersofthefourpriestcantorsvestedincopesofrichbrocade,andtheywereaccompaniedbytheotherministers.Eachoneofthemonksand seminarianscarriedlitcandlesofwhitewaxintheirhandsandabookfromwhichtosing.Theycamesinginginfabordónthethingswhichthereareforthisministry,takenfromthe bookofconsecrationforthischurch.Theholyrelicscameinthecenteroftheprocession,whichpausedfromtimetotime,anditiscertainthattherewasmuchtoseewithsomany monksarrangedinsuchorder,somuchlight,suchgoodandwelltunedmusicwithsuchgoodandsonorousvoices,thattrulyitwasapaintingcomealiveofthatwhichis 30Sepúlveda,"SucesosdelreinadodeFelipeIII,"CD130:245givesnodate,butitmusthavebeensoonafter4March,thedateuponwhichVillacastíndied. 31"Hubomuchamúsica.Pusiéronlaenmediodelaiglesiaenungrantúmuloqueparaestosehizo,ysecantóafabordónloquehayparasemejantesentierros....Porlamañana,ala
horacompetente,sedijounamuysolemnemisadelosAngeles,conmuchocantodeórganoymuchasvocesymúsica,asistiendoaellatodoslosquehabíanvenidoconelcuerpo." Sepúlveda,"SucesosdelreinadodeFelipeIII,"CD130:75.
Page118 foundinheaven.Alsothelargeandsmallbellsmademuchmusic,ringingwithsuchconcertthatitrousedmuchdevotionanditappearedthatitwouldoverwhelmtheworld.In displayingtheholyrelicsinthechurch,themusicoftheorgansbegan,andwiththem,thebells,whichoverwhelmedthechurch.Itwassomethingtosee,andcertainlyworth everyoneseeing.Manypeoplefromthevillagefoundthemselvesintheprocession,whichwasperformedwithsuchmajesty.TheholyrelicswereplacedontheGospelsideofthe highaltar,andthentheMassbeganwithmuchpolyphony,whichcertainlywasathingworthseeing.32
On8October1606,alargeconsignmentofrelicsorderedbytheKingwasceremoniallyreceivedattheEscorial.33TherewasasolemnprocessioninwhichPhilipIII tookparttogetherwithhiscourtiers,thecollegians,andtheseminarians.Santosreportsthattheprocessionwas"withmusic,"butwithholdsfurtherdetails. WhereashisfatherhadalwaysbeenpresentattheEscorialduringHolyWeek,whenheplayedanactiveroleintheliturgy,itwasnotuntil1608thatPhilipIIIspent HolyWeekattheEscorial.34AccordingtoCabreradeCórdoba,theQueenhadbeeninformed"howwellanddevoutlythedivineofficesarecelebratedatthattime" attheEscorial.35ThestudentofeventsattheEscorialduringthelatterpartofPhilipIII'sreignispoorlyservedbyprimarysources,andthis,inturn,issymptomaticof theinstitution'sdecliningimportance.FromCabreradeCórdoba,weareabletotracetheKing'svisitstotheEscorialonlyuntil1614,thechronicle'sterminaldate. ApartfromrecordinghispresenceattheEscorial,however,CabreradeCórdobaprovideslittledetailoftheKing'sactivitiesthere,letalonedescriptionsofmusicthat mighthavebeenperformedduringsuchvisits. TheothersourceforthisperiodisSantos'shistory.SinceheenteredtheEscorialinabout1635,however,histreatmentofthisperiodlacksthefreshnessanddetailof thoseoftheeyewitnesshistoriansofPhilipII'sreign.Nevertheless,asamemberof 32Sepúlveda,"SucesosdelreinadodeFelipeIII,"CD130:351. 33Santos,Quartaparte,834. 34CabreradeCórdoba,Relacionesdelascosassucedidas,334.ThefollowinginscriptionappearsintheMSchoirbookEscSL1onfol.14r,thefirstopeningofananonymoussetting
oftheSt.MatthewPassionforPalmSunday:"Inthisholyhouseitwassungforthefirsttimeintheyearof1607beforeKingPhilipIII."YetthiscannotmeanthatPhilipIIIwasatthe EscorialforHolyWeekin1607sinceCabreradeCórdoba,299,statesthathespenttheHolyWeekof1607inMadrid,andonp.334statesthathehadnotbeentotheEscorialforHoly Weekbefore1608.CabreradeCórdobareportsthatPhilipIIIvisitedtheEscorialonthefollowingoccasionsin1607:forthesummerbeginning7July,inAugust,inSeptember,andon 27October.SeeCabreradeCórdoba,Relacionesdelascosassucedidas,306. 35CabreradeCórdoba,Relacionesdelascosassucedidas,334.
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theEscorialcommunity,hemaintainedalivelyinterestintheminutiaeofthemonastery'slifeandwouldhavehadimmediateaccesstothemonastery'straditionoforal histories.Despitethis,however,hementionsmusiconlyonceafter1606,andbrieflyatthat.InDecember1616,theKing,DonCarlos,DonFernando,theInfanta María,andtheQueenwerereceivedattheEscorial:"onenteringthechurch,graveandjoyfulvoicesintonedtheTeDeumandthegreatorgansrespondedtothe voiceswithanagreeableconsonance.Therestfolloweduntilthisceremonywasconcludedwithmuchmusic."36Nofurtherdescriptionsofthepracticeofmusicatthe EscorialuntiltheburialofPhilipIIIin1621havebeenfound.On4October1618,PhilipendedtheperiodoftheDukeofLerma'sdominationbydismissinghim.From aboutthistime,anattemptbytheKingtoassociatehimselfwiththereignofhisfatherandtheEscorialisdiscernable,andPhilipIIIbrieflyturnedhisattentionstothe completionofthemonastery'sPanteón.37 PhilipIIIdied,agedjustunder43,intheroyalpalaceinMadridonWednesday,31March1621.OnthefollowingFridayevening,theKing'sbodywastransportedto theEscorial"withverylittleceremony,"accordingtotheambassadorMariscaldeBassompierre.38AccordingtoSantos,however,thecapillarealaccompaniedthe bodyfromMadrid,anditwasreceivedattheEscorialonthefollowingday.39Therethefuneralexequieswereperformed,Santostellsus,"withmuchgrandeur."40 DespitethepreliminarygroundworklaidoutinAppendix1,thecollectionofmanuscriptpolyphonicchoirbooksofEscorialprovenanceremainsimperfectly understood.Weareignorantofthedatesonwhichthemajorityofthemanuscriptswerecopied;wedonotknowthepurposeforwhichtheywerecopied,norwho wasresponsiblefortheselectionoftherepertory.Atpresent,thenumberofextantmanuscriptpolyphonicchoirbooksassumedtohavebeencopied,inwholeorin part,attheEscorialearlyintheseventeenthcenturystandsatfifteen.FiveofthesearestillheldattheEscorial,sevenarepreservedinNewYorkCity,41twoareat Montserrat,andoneisat 36"Conalegres,ygrauesvozesentonòelTeDeumlaudamus,entraronàlaIglesia,dondecomençaronàresponderlosOrganosgrandes,àlasvozes,congustosaconsonancia.
Siguiòseluegolodemas,hastadarfinàesteactoconmuchaMusica."Santos,Quartaparte,99. 37
SeeF.Navarro,"ElrealpanteóndeS.LorenzodeElEscorial,"71337.
38"LanochedelviernestransportaronelcuerpodeldifuntoreyaElEscorialconmuyreducidaceremonia."GarcíaMercadal,ViajesdeextranjerosporEspañayPortugal(Madrid,
1962),2:374. 39
Santos,Quartaparte,108.
40ForabriefimpressionisticdescriptionoftheobsequiesperformedinthechurchofSanJerónimoinMadrid,seeBrownandElliott,APalaceforaKing,8. 41ImportantworkontheNewYorkmanuscriptswillbefoundinD.Fillingham,"FrayMartíndeVillanuevaandMusicatElEscorial"(B.A.thesis,BrandeisUniversity,1980)andD.
Kirk,"ChurchingtheShawmsinRenaissanceSpain:Lerma,ArchiviodeSanPedroMs.Mus.1"(Ph.D.diss.,McGillUniversity,1993).CarlManns,inapaperen
(footnotecontinuedonnextpage)
Page120 42
Pastrana. Allthemanuscriptswerecopiedby,orunderthesupervisionof,aprincipalscribe.Theworkofanumberofminorscribesisalsofoundthroughoutthe series.Ontheevidenceofthemonasterynecrology,theprincipalscriberesponsibleforcopyingthemanuscriptswasPedrodeEstremera(ca.15521632).Fromthis monk'sobituarynotice,writtenin1632,weknowthat"heoccupiedhimselfwellinhiscell,particularlywritingbooksofpolyphony;thosewhicharesunginourchapel areinhishand."43Thisprecious,yetinconclusivestatementistheonlyevidenceofthescribe'sidentitythatIhavebeenabletouncoverinarchivalsources.Onlytwoof themanuscriptscanbedatedwithreasonableaccuracy.Thedate"1607"isinscribedonfol.14rofthemanuscriptEscSL1,andthedate"1608"appearsattheendof theindexofthemanuscriptNYorkH870.Theformeriswrittenonthesamesizeparchmentthatwasusedforthehugesetofcantoralesorplainsongchoirbooksthat werecompletedby1586.SinceallthemanuscriptsexceptEscSL1arewrittenonpaper,itseemslikelythatEscSL1wasthefirsttobecopied,in1607,andthat Estremerausedtheonlymaterialsathand,namelythesheetsofparchmentleftoverfromthecopyingoftheplainsongcantorales.Bythecompletionofthefirst manuscript,thesupplyofsheetsofpaperlargeenoughforthetaskwouldhavebeenorganized.Thecopyingoftheentireseriesofmanuscriptsmusthavebegunin about1607andmusthavebeencompletedbeforeEstremera'sdeathin1632.Afewpieces,suchasthosebyAntonioSoler,wereaddedatalaterdate. TherepertorycontainedwithinthisseriesofmanuscriptsistheclearestindicationwehaveofthemusicsungattheEscorialduringthereignofPhilipIII.Itcomprises polyphonicsettingsofliturgicaltexts,mainlymotets,Massordinaries,Magnificatsettings,antiphons,andPassions.Themajorityofthepieces,onehundred,arescored forfourvoices;sevenofthesepiecesextendtosixvoicesforafinalmovement.Therearefortyninepiecesforfivevoicesandthirteenforsixvoices.Mostofthe worksareattributablebyascriptionand/orconcordancetooneoftwentysevencomposers;onlyfourteenremainunattributed.Themostfrequentlyrepresented composersarePalestrina,withsomefiftypieces,andMorales,withtwentysix.Takentogether,theirworksaccountforoverfortyfivepercentoftherepertory.The nextmostfrequentlyrepresentedcomposersarePhilippeRogier,withelevenpieces,MigueldeGuerauwithten,MartíndeVillanuevawithnine,RodrigodeCeballos witheight,andJuandeCastroandGuerrero,eachwithfive.TheonlycomposersrepresentedinthisrepertorywhomweknowtohavebelongedtotheEscorial communityareMartíndeVillanuevaandManueldeLeón. (footnotecontinuedfrompreviouspage) titled"SpanishRenaissanceManuscriptsattheHispanicSocietyofAmerica,"readatameetingoftheAmericanMusicologicalSocietyin1984,amplifiedfindingsfirstpresented byFillingham. 42Thesiglaofthesemanuscripts,togetherwithphysicaldescriptions,compositionandcomposerindexes,andinventoriesaregiveninAppendix1. 43Memoriassepulcrales,fol.434r.Foratranscription,seeDHM10(1):2246.
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ThegenresrepresentedinthiscollectionconfirmwhatisalreadyknownofliturgicalobservanceattheEscorial.TheMassandMagnificatsettingswouldhavebeen sungonimportantfeastsandthemotetswouldprobablyhavebeensungduringMass.ThatthepolyphonicPassionwascultivatedisdemonstratedbythesurvivalofno lessthanfifteensuchsettings.EirehasrecentlyshownthatthePassionnarratives,especiallySt.Matthew's,wereamongPhilipII'sfavorites.44BothCerveradela TorreandLhermiteattesttothedyingKing'srequestthatthePassionbereadathisbedside.45AnexplanationforthefactthatonlyonesettingoftheMissapro defunctisistobefoundamongthepolyphonicmanuscriptsmaybefoundinMartíndelaVera'sOrdinarioyceremonial(Madrid,1636),wherehestatesthatneither theorgannorpolyphonywasusedfortheMassandtheOfficeoftheDeadattheEscorialexceptwhentheofficewasformonarchsorpersonsofsimilarrank.46Since someoftheliturgicaleventsmentionedinthischapterreportwhatseemstobetheperformanceofapolyphonicMassforthedead,itwasprobablythisMissapro defunctiswhichwasusedonthoseoccasions. Thecollection,copying,andperformanceofthisinternationalrepertoryofLatinpolyphonymarksad*stinctdeparturefromtheregulationsconcerningpolyphonylaid downbyPhilipII.Thefounder'sregulationsseemtohavediedsoonafterhim.AnditwasonlyintheearlyseventeenthcenturythattheEscorialacquiredthekindof repertorywhichwasbeingperformedthroughoutEuropeinthesecondhalfofthepreviouscentury. DuringthereignofPhilipIII,thenumberofadultmonkswhowereknownwithinthecommunityfortheirsingingabilityrangedfromaboutelevenin1611toabout seventeenin1620.TheyarelistedinTable4.1.Forfifteenofthesesingers,thedocumentsdonotspecifyvoicetypes.Oftheremainder,sixaredescribedasbasses, oneasatenor,oneasanalto,anotherasatiple/alto,andthreeastiples.OneofthesingersdescribedasatiplewasthecastratoPedrodeAntequera.Unfortunately, itisnotknownhowlongthismonkremainedatthemonastery,butitiscertainthatcastratiwererareattheEscorial.47Duringthisperiod,ninesingersdiedorleftthe communityandelevennewsingerswereadmitted.Manyofthemundertookother 44Eire,FromMadridtoPurgatory,326. 45SeeA.CerveradelaTorre,TestimonioauténticoyverdaderodelascosasnotablesquepassaronenladichosamuertedelReyNuestroSeñorDonPhelipeSegundo,5961andJ.
Lhermite,LePassetemps,1267. 46''EnlasMissas,yOficiosdeDifuntosnuncaayorgano,nitampocoauiadeauerca[n]todeorgano,peroenestovltimoguardeselacostumbreq[ue]sueleauerqua[n]doelOficioes
porReyes,òpersonasgraues,queennuestrosentierros,yho[n]rasmasdecenteeselcantollano."MartíndelaVera,Ordinarioyceremonial(Madrid,1636),131.SeeChapter5fora discussionoftheOrdinarioandatranslationofthispassage. 47AMoroccanambassadorvisitingSpainin169091reportedseeingcastratiinMadridandattheRoyalPalace.SeeGarcíaMercadal,ViajesdeextranjerosporEspañayPortugal,2:
231.
Page122 Table4.1:SingersattheEscorial,15981621
aThedatesofthismonk'sshortstayattheEscorialarenotknown.
musicalresponsibilities,andsome,likeBaltasardeFuenlabrada,whoservedaspriorfrom1642to1648,rosetohighrankwithinthemonastery. ThepresenceoftheyoungPedrodeHuéscar,whoprobablyenteredtheEscorialseminaryinabout1602,heraldsanewdevelopmentinthemonastery'smusical establishment.Accordingtohisobituarynotice,PedrodeHuéscaroccupied"oneofthetwoplacesthatHisMajesty[PhilipIII]assignedforthosewhowouldknow polyphonyandwouldbeabletoassistinthecapilla."48ThisisthefirstreferencethusfaruncoveredtoaspecificallymusicaldecisionmadebyPhilipIII.Itisa decision, 48Memoriassepulcrales,fols.525r525v.Foratranscription,seeDHM10(1):2345.Thestatementthat"itisevensaidthathewasthe[Escorial's]firstmaestrodecapilla"(see
ZarcoCuevas,LosJerónimos,80)seemstobebaseduponamisinterpretationofthisdocument.
Page123
moreover,thatcontrastsdirectlywithhisfather'sprohibitionofpolyphony,althoughthereisnoevidencetosuggestthatthetwoplacesreservedforsingersof polyphonywereopentoanybutmonkmusicians.Itseemslikelythatthefounder'sprohibitionofpolyphonywasinterpreted,atthistime,asaprohibitionofpolyphony sungbysecularmusicians.Ifsomethingofapolyphoniccapillawasfunctioningfromthistime,astheevidencesuggests,itwasonethatexistedentirelywithina monasticframework.ItisprobablethatMigueldeTalaverawasadmittedtooneofthenewlyassignedplacesin1614.FromanentryintheActascapitularesof 1601,itisclearthattheabilitytosingwasoneofthecriteriaemployedintheselectionofnovices.49Anentryof1608inthesamedocument,forinstance,statessimply that"JoandeCuencawasadmittedtothehabitforbeingverycapableandhavingavoice."50 Asearlyas1594,Almelainformsus,therewasapositionofmaestrodelamúsicaintheEscorialseminary.51Thefirstmonkweknowtohaveheldthispostwas JuanBaptista,52whor*ceivedthehabitattheEscorialin1605.By1617,however,theremusthavebeensomedissatisfactionwiththemusicaltuitionthatwasbeing providedfortheseminarians,sinceinMayofthatyear,theJeronymiteswereinformedoftheKing'sapprovalforthecreationofasalariedpostofmaestrodecanto intheseminary.Theincumbentofthisnewpositionwastobeoccupiedsolelyinteachingtheseminarianstosingandwouldberequiredtobeabletoplaythebajónin thechoir.53Althoughtheproposalwassupportedbythecommunity,norecordofasubsequentappointmenthasbeenfound. ThosemonkswhoheldtheofficeofcorrectordelcantosometimeduringPhilipIII'sreignarelistedinTable4.2.Duringthisperiod,fourofthemonkswhoheldthis officeinPhilipII'sreigndiedandtheywerereplacedbythreeothers.ThreemonkswhohadheldtheofficeinPhilipII'sreignoutlivedPhilipIII.Theofficewas evidentlyanimportantandburdensomeone,andtheminimumnumberofmonksavailabletofulfillitsdutiesduringthisperiodwasfour.From1612onwards,six monkswereavailable.ThefactthatPedrodeTafallawasthefirstimportantmusicianattheEscorialnottohaveservedthisofficesuggeststhathedevotedhisenergies tothedirectionofthepolyphonythatwassungbytheinformalcapilla. FivenewkeyboardmusiciansarefoundattheEscorialduringthereignofPhilipIII(seeTable4.3).AboutPedrodeCastellón,JuandelaCruz(d.1605),andhis namesake,whodiedin1612,virtuallynothingisknown.TheothertwonewcomerswerethecomposersCristóbaldeSanJerónimoandPedrodeTafalla,many 49
SeeAC1,fol.99v.Foratranscription,seeDHM10(1):410.
50"En4deJulio[1608]fuéRecibidoalHábitofr.Joandecuencaporsermuydiestroytenervoz."AC1,fol.125r. 51NosuchpositionismentionedineithertheLibrodelascostumbresortheQuardernosdelascostumbres. 52SeeMemoriassepulcrales,fols.530v531v. 53SeeAC1,fol.162r.Foratranscription,seeDHM10(1):4156.
Page124 Table4.2:CorrectoresdelcantoattheEscorial,15981621
Table4.3:KeyboardplayersattheEscorial,15981621
aThedatesofthismonk'sshortstayattheEscorialarenotknown
ofwhoseworkssurvive.ThreeofthoseorganistswhoservedduringPhilipII'sreign,MartíndeVillanueva(d.1605).DiegodeToledo(d.1608),andGinésde Olmedo(d.1608),diedduringthisperiod.TheFlemishorganistCarlosdeLilaandthekeyboardplayerJuandelaFuente,however,outlivedbothPhilipIIandPhilip III. Table4.4liststhosemusicianswhoplayedinstrumentsotherthankeyboardinstruments.DuringthisperiodAndrésdeSanLorenzocontinuedtoplaythecarillonuntil hisdeathin1608.ThevihueladelarcowasplayedbyFranciscodeAlcalá,wholivedattheEscorialuntilhisdeathin1611.FormostoftheperiodofPhilipIII's reign,thatis,from1603until1621,theEscorialwasservedbytwobajonistas,PedrodeHuéscarandFaustinodeSantorcaz.Forabriefperiod,athirdbajonista, JuandelaCruz(d.1605)wasavailable.DuringthereignofPhilipII,onlyonebajonista,AlfonsodeBaeza,wasavailableforameretwoyears.SincePedrode Huéscaractu
Page125 Table4.4:OtherinstrumentalistsattheEscorial,15981621
Table4.5:ComposersattheEscorial,15981621
allylearnedthebajónattheEscorial,itseemsthattherewasagrowingrequirementwithintheEscorial'smusicmakingforitsparticipation. MartíndeVillanuevawasthelastandmostimportantcomposertowriteatandfortheEscorialduringPhilipII'slifetime.54WhereasthelatterpartofPhilipII'sreign wascharacterizedbyanidiosyncraticallyconservativestyleofliturgicalpolyphony,exemplifiedmostclearlyintheworksofVillanueva,thereignofPhilipIIIwas characterized,iftheevidenceoftheEscorialchoirbooksistobeconsidered,bytheworksofsuchcomposersofinternationalreputationasPalestrina,Morales, Rogier,andGuerreroaswellasmanylesserknownpeninsularcomposers(see.Table4.5).ThefirsttoarrivewasCristóbaldeSanJerónimo,whowasprofessedin 1605.Verylittleisknownabouthim,althoughitisassumedthatthethreeorganworksandfourvillancicos55thatsurviveandthatareattributedtoaCristóbaldeSan Jerónimoareofhiscomposition.56SoonafterSanJerónimo'sarrivalattheEscorial,JuanBaptistareceivedthehabitandenteredtheEscorialcommunity,whichhe serveduntilhisdeathin1653.ThethirdcomposertoentertheEscorialduringthisperiodwasPedrodeTafallawho,likeBaptista,livedlongintothereignofPhilipIV. SincetheworksofbothofthesecomposersseemtodatefromPhilipIV'sreign,theywillbediscussedinthefollowingchapter. 54SeeChapter3,note101. 55TheCorpusChristivillancico,Alpandeloscielos,istranscribedinLaird,"TheVillancicoRepertory,"2:12753. 56SeeRubio,Catálogo,62628.
Page127
5— TheReignofPhilipIV (1621to1665) Imakenoquestion,butthough(bythisLamentableAccidentofFire,whichoflatehathhappenedinSpain)themostMagnificentandAugustPileofBuildingonthe faceoftheEarthhathbeenruinedanddestroyed;yetthat,bythissadoccasion,mostthathaveheardofitwilltalkmoreofitthaneverbefore;andasmanyperchance asshallhaveopportunityoftravellingintothoseParts,willviewwithnolessastonishment,theRuinesofthisRoyalHouse,thantheywouldwithcuriositysurveythe PlacewhereoldRomeorthefamousancientCarthagestood.1
HistorianshavetraditionallycharacterizedthereignofPhilipIVasadichotomy:aperiodofeconomicdecline,politicaldisaster,andmilitarydefeatontheonehand, andaGoldenAgeoftheliterary,visual,andperformingartsontheother.2Typically,thepoliticoeconomicdecline3hasbeenlinkedtoculturalflorescencethroughthe personoftheking,whosereignhasfrequentlybeensummarizedinsuchwaysasthefollowing:"PhilipIVwasbasicallyfrivolousandirresponsible,akingwho preferredprivatepleasuretopublicduty."4UnderlyingmuchofthesimilarobloquywhichhasbeensoreadilyandconsistentlyheapeduponPhilipIVistheeasy assumptionofacausalrelationshipbetweenSpain'seconomicandpoliticaldecadenceandPhilipIV'spatronageofthearts.Moreover,thewillingnesswithwhichthe kingallowedSpainanditsdomin 1TheEscurial;or,aDescriptionofthatWonderoftheWorldforArchitectureandMagnificenceofStructure:BuiltbyK.PhiliptheIIDofSpainandlatelyConsumedbyFire.
WritteninSpanishbyFranciscodelosSantos,aFrieroftheOrderofS.Hierome,andanInhabitantthere.TranslatedintoEnglishbyaServantoftheEarlofSandwichinhis ExtraordinaryEmbassiethither(London,1671),2r2v. 2SeeM.Hume,TheCourtofPhilipIV:SpaininDecadence;A.DomínguezOrtiz,TheGoldenAgeofSpain15161659;andJ.Elliott,ImperialSpain14691716.Thehistoriography
ofPhilipIV'sreignissuccinctlyreviewedinStradling,PhilipIV,325. 3ThequestionofdeclineisexaminedindetailinJ.Elliott,"SelfperceptionandDeclineinEarlySeventeenthCenturySpain,"PastandPresent74(1977):4161. 4J.Lynch,SpainundertheHabsburgs,2:68.
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ionstoberuledfortwodecadesbyhispowerfulfavoriteDonGasparGuzmán,theCountDukeofOlivares(15871645),hasalltooeasilybeeninterpretedas culpablenegligenceonagrandscale. OurviewofPhilipIV,describedbyStradlingas"themostpersistentlymisunderstood,andobstinatelyundervalued,ofearlymodernEuropeanmonarchs,"5has undergoneasignificantandradicalreassessmentinrecentyears.JustasStradlinghasprovidedawelcomecorrectivetoreceivednotionsofPhilipthepoliticianasa monochromemediocrity,sotooBrown,Elliott,andOrsohaveshownPhilipthepatrontohavebeenaknowledgeableanddiscerningconnoisseurofthearts.6 Circulatingwithintheorbitofthe"PlanetKing"toemploythesobriquetadoptedbyPhilipin1625,wereluminariesnolesserthantheplaywrightsLopedeVegaand CalderóndelaBarca,thepoetFranciscodeQuevedo,andthepaintersVelázquez,Rubens,andZurbarán,tonamebutthemoreprominentfigures.Duringtheforty threeyearsofhisreign,PhilipIVaddedatleast2,000paintingstotheroyalcollection,7andduringtheearly1630s,hismostambitiousbuildingproject,thePalaceof theBuenRetiro,wascompleted.Thathisengagementwiththeartswasdirect,discriminating,andinformedissuggestednotonlybyhisyouthfulstudiesofdrawing, painting,andmusic,butalsobyhisappearancesincourtmasques,hisvisitstothestudiosofVelázquezandRubens,andhisdemonstratedfascinationwiththe techniquesemployedbyAngeloMicheleColonnaandAgostinoMitelliintheirfrescopaintings.8 "IthinkthatmusicoughttobetaughttoaPrinceandheldinhighestimation,"wroteJuandeMarianainhisDeregeetregisinstitutiones(Toledo,1599),amanual ostensiblyintendedforPhilipIII.ThisJesuitpolymath,whoin1623wasappointedHistoriographerRoyalwithOlivares'ssupport,continuedtherelativelylongsection devotedtomusicinhistreatisethus: Thegreatphilosophers,thefoundersofstates,notwithoutjustificationwantedtheyouthtobetrainedinthisart;theyhadinmindthattheirhabitsmightbegentledbyits sweetnessandthattheymightberenewedintheirhumanity. Thereforekingshaveneedofmusicfirstforpleasure;theirceaselessworkmustbelightenedbysomethingsoothingandpleasant,theseriousmustbeinterspersedwiththe playful,sothattheycankeepup.Atthesametimeamindweighted 5Stradling,PhilipIV,35. 6Stradling,PhilipIV;Orso,PhilipIVandtheDecorationoftheAlcázarofMadrid;andBrownandElliott,APalaceforaKing.ThelatteremphasizestheroleofOlivares,whichis
furtherilluminatedinJ.Elliott,TheCountDukeofOlivares. 7BrownandElliott,APalaceforaKing,114. 8BrownandElliott,APalaceforaKing,44;Orso,PhilipIVandtheDecorationoftheAlcázarofMadrid,5:1834;andStradling,PhilipIV,3079.
Page129 withcaresandaccustomedtowarandthechasewouldbecomeroughandcruel,unlessmusicalharmonywouldrestoreittotractabilityandbenignity.Nothingismoresuitedthan thisvirtuetocapturingthegoodwillofcitizens.9
ThewritingsofMariana,particularlythoseconcernedwiththeeducationoftheking,seemtohavedeeplyimpressedOlivares,who,astheprivadoorvalido,brought enormousinfluencetobearuponPhilip'sinductionintokingship.10Itseemscertainthat,atleastin1620,theyoungprincewastaughtthebassviolbyMathieuRomarin (=MateoRomero).11ButevenifclaimsthatPhilipcomposedandconductedarelesseasilysubstantiated,12therecanbenodoubtthatmusicflourishedintheroyal chapelunderthedirectionofRomeroand,from1634,hissuccessorCarlosPatiño.13Hispatronageofchambermusicandtheatermusicwasevenmoredirect.14 IfPhilipIVwasasgreatapatronoftheartsashisgrandfatherPhilipII,hewasalsoasavidabuilder,andjustasPhilipIIconstructedapowerfulsymbolofhisreignin theEscorial,sothereignofPhilipIVfindsitsmostcharacteristicexpressioninthePalaceoftheBuenRetiro.InsharpcontrasttotheEscorial,theBuenRetirowas designedtoprovideasettingforlavishcourtlyfestivitiessuchasmasques,plays,pageants,dances,bullfights,tournaments,literarysoirées,andbanquets.15Whereas thefunctionoftheRetiro,asitsnameimplies,waslargelyrecreational,theAlcázar,alsoinMadrid,servedastheseatoftheSpanishcourtandgovernment,anditwas herethatPhilipIVspentmostofhislife.Indeed,likehisfather,althoughfordifferentreasons,PhilipIVspentverylittletimeattheEscorialandnoevidencehasbeen foundtosuggestthatheinterestedhimselfinthemonastery'saffairsbeyondhiscompletionofthePanteón.DuringthereignofPhilipIV,theEscorialwasdistin 9J.deMariana,TheKingandtheEducationoftheKing(trans.fromLatinfirsteditionbyG.Moore),2134. 10ThecasefortheimportanceofMariana'streatiseismorestronglystatedinStradling,PhilipIV,63. 11SeeBecquart,MusiciensNéerlandaisàlacourdeMadrid,16571andStevenson,SpanishCathedralMusic,4768.Themostimportantcontemporaryevidenceconcerningboth
Romero(ca.15751647)andhistutorshipofPhilipIVisthatcollected,collated,andsummarizedbyBarbieriinMBN,MS14069,uponwhichbothBecquartandStevensonareheavily reliant. 12TheseclaimsarebasedsolelyuponthepossiblyhyperbolicstatementsmadeinJuanRuizdeRobledo'sunpublishedLaurademúsicaeclesiástica(1644).Therelevantpassagesare
quotedinBecquart,MusiciensNéerlandaisàlacourdeMadrid,1678andmorefullybutlessreliablyinH.AnglésandJ.Subirá,Catálogomusicaldelabibliotecanacionalde Madrid(Barcelona,194651),1:1827. 13Becquart,MusiciensNéerlandaisàlacourdeMadrid,passim. 14SeeStein,SongsofMortals,DialoguesoftheGods,12634. 15SeeBrownandElliott,APalaceforaKing.
Page130
guishablefromotherhousesoftheJeronymiteOrderbylittlemorethanitsunrivaledendowmentsanditsgloriouspast. ThemostcompleteandauthoritativesummaryofmusicalpracticeandpolicyattheEscorialduringthereignofPhilipIVistobefoundintwobookspublishedbyFray MartíndelaVera(?1637)duringhislifetime:theInstruc[c]ióndeeclesiásticos(Madrid,1630)andtheOrdinarioyceremonialsegúnlascostumbresyritode laordendenuestroPadreSanGerónimo(Madrid,1636).16TheInstruc[c]ióndeeclesiásticosisaprolixmanualofinstructionconcernedwithliturgical ceremoniesandritual,andthesemattersittreatsinexhaustiveandexhaustingdetail.TheInstruc[c]iónisdedicatedtoPhilipIVwhoisdepicted,inafrontispiece engraving,asadefenderofthefaithinmuchthesamewayPhilipIIwasdepictedinthefrontispieceofCabreradeCórdoba'sHistoriadeFelipeII.Itisclearfromthe titlepage,whichisflankedbyrepresentationsofSt.JeromeandSt.LawrenceandwheretheauthorisdescribedasamonkoftheEscorial,thatthemanualis concernedwithpracticesattheEscorial.Theseinferencesareexplicitlyconfirmedinthededication.17Nevertheless,astheapprobationofFranciscodeCuenca testifies,themanualisaddressednotjusttoJeronymites,buttoallclergy.18 Chapter16oftheInstruc[c]iónconstitutesthemostsignificantstatementaboutmusicattheEscorialsince1567,whenPhilipII'sletteroffoundationappeared.The chapter,entitledInWhichtheChoirisDiscussed,commenceswithatypicallyhumanisticpreamblethatrehearsesthefamiliarwritingsonmusicfromPlatoand Aristotle,throughSt.AugustineandSt.Jerome,totheDoctasanctorumpatrumofPopeJohnXXII.DelaVera'sdiscussionofJohnXXII'sDoctasanctorum patrumhasalreadybeencitedtoshowtheuseintheEscorialofplainsongtowhichcounterpointswereadded.19Hecontinues,answeringJohnXXII'sobjectionsto polyphonyinthefollowingmanner: 16MartíndelaVerareceivedtheJeronymitehabiton26October1584attheEscorial.Afterconsiderablescholasticsuccess,hewasappointedtotheChairofArtsintheCollegeof
Benaventewherehealsoservedasvicar.HethenservedaspriorinanumberoftheOrder'shousesbeforebeingraisedbyPhilipIV,in1621,tothepriorateoftheEscorial.Heheld thisofficeforsixyearsandwaslaterelevatedtothepositionofGeneraloftheOrder.Furtherbiographicaldetailsmaybefoundinthefollowingsources:Santos,Quartaparte, 7546;ZarcoCuevas,LosJerónimos,45;Familiareligiosa,fols.2v,42v,66v,69v,71v,74v75r,86v;andModinodeLucas,LosprioresdelaconstruccióndelMonasteriodeEl Escorial,1:31. 17"EnlaCasaRealdeSANLORENÇo...esdondeflorece,iàcrecidomasqueenotraparteelCultoDivino:dondelosReligiososconparticularassistencia,icuidado,denoche,ide
dia,procura[n]quelosOficiosDivinoscorrespondanconmagestad,idevocionalagrandezaincomparabledelEdificio,iTemplo."Vera,Instruc[c]ión,4. 18"Enelqualnoèhalladocosaquenomerezcasaliraluz,iandarenlasmanosdetodoslosEclesiasticos,"Vera,Instruc[c]ión,1. 19Seeabove,Chapter3.
Page131 notwithstandingtheaboveconstitution,theyrevertedtointroducepolyphony,withsomemoreliberties,becausetheprelatesofthechurchseeingit,andthesupremepontiffs approvingit,itismuchbettertoremovetheobjections,andtorestrainthesingers...thantoremovethismusicfromthedivinepraises,becausetakingaway[themusic]deniesto thefaithfulmanyspiritualbenefitsandtheconsolationtheyreceivethroughit,andthedeprivationofsomuchbenefittoallonaccountofthebaduseofthefewisnotjust,and thustheCeremonialofthebishops,ofClementVIII,whereitdiscussestheorganandmusic,inconformitywiththis,says:onSundays,andfeastsduringtheyear,whicharedays ofrest(andonotherdayswhicharesodesignated),itisproperthatinthechurchtherebetheorganandthesongofmusicians.Thisremovesalltheproblems,becausethe authorityofthechurchismuchgreaterthanthatofmanysaints,andaftertakingcare,thatcautionmustbeexercised(itsays)toensurethatthesoundoftheorganwillbeneither lascivious,norunclean,andthatnothingthatdoesnotpertaintotheofficebeingcelebratedwillbesungwithit,muchlessprofane,humorous,orrecreationalsongs;norare instrumentsotherthantheorgantobeadded.Thesameistobeobservedbysingersandmusicianswiththeharmonyofthevoices,whichisorderedtoincreasepietyand devotion,andisnottobemixedwithanythingfrivolousorlascivious,andwhichdrawsthesoulsofthehearersawayfromcontemplationofdivinematters,butit*voicewillbe devout,distinct,andintelligible:allarewordsoftheCeremonial,itdoesnotallowmusicalinstrumentsotherthantheorganindivineworship,despitethefactthatGodwas accustomedtobeingcelebratedintheOldLawandtocelebratewithmanyothers,andvariousinstruments,asstatedinthePsalmsofDavid,andotherplaces,andintheNew [Testament];ifitbedonewithmodesty,thismannermaybewellserved,buttheholyandmostprudentchurchhasputalimitonthis;ontheonehandbecauseinstrumentsare ideallysuitedforfulfillingtheinappropriateusesittriestoavoid,andlesssuitablethanorgansforevokingdevotion,andontheother[hand]inordertodifferentiateinthisfrom thesynagogue,whichsincetheendsitproposesaremoreworldly,theinstrumentsusedtocelebrateGodaremoreworldly,andinthechurch,thatwhichissoughtisdevotionand fervorintheloveofGod:andthus
Page132 themostsuitabletothisendaretaken:shawms,flutes,orlos,andotherinstrumentspertainingtoministrilesarereducedtotheorgans,andthereforetheuseofthemdoesnot contradictwhatissetforthintheCeremonial.20
WhereasPhilipII'sstatementproscribingpolyphonyattheEscorialisdirectandsuccinct,delaVera'sstatementiscircuitousanddiscursive.Nevertheless,its importanceliesinitsapproval,howevercirc*mspectlyexpressed,oftheuseofpolyphonyonSundaysandfeaststhroughouttheyear.Sinceitisthefirststatementof policy,publishedorunpublished,concerningliturgicalmusicsincePhilipII'suncompromisingparagraph38,andsinceitpronouncesapolicyindirectcontrasttothe founder's,itsauthor'sadoptionofa*guardedveinishardlysurprising.Ineffect,thestatementdoeslittlemorethanacknowledgeapracticewhichby1630washonored byuptothirtyyears'continuousobservance.YetdelaVeraiscarefultocalluponauthoritiesasimpeccableasprelates,thesupremepontiffs,andtheRoman CeremonialtosupporttheuseofpolyphonyattheEscorial.Theexistenceofatractentitled''TroublesandVeryGreatWrongsArisingfromtheUseofPolyphonic MusicbyReligiousOrders,"which,accordingtoStevenson,21"datesfromthefirstdecadeoftheseventeenthcentury,"isindicativeofacertainclimateofcontroversy whichfoundsignificantnourishmentduringthereignsofPhilipIIIandPhilipIV.Thereseemslittledoubtthatthisantipolyphonicsentimentpromptedthecarewith whichdelaVeratreatstheissue. Anotherwidespreadandpopularpracticethatearnedharshcriticismfromtheaforementionedtractwastheperformanceofvillancicos.Inconsideringvillancicos,de laVeraexpressesdoubtabouttheirconformitytothepreceptsoftheCeremonial.22HereferstoCerone'sMelopeoymaestroanditsstatementthatPhilipIIbanned villancicosatthecapillareal.Hisobjectionsdonotextend,however,totheirperformanceoneitherChristmasDayorCorpusChristi,sinceonthesedaysChrist's humanitymaybecelebratedappropriatelyinamannerwhichislesselevatedthanusual. AfurthermatteraddressedbydelaVeraconcernstheuseofinstrumentsotherthantheorgan.Itistreatedasavexedquestion,andunequivocalpermissionis forthcomingonlyfortherestricteduseofcertaininstruments.Areluctancetoprescribe 20Seedocument9inAppendix3. 21Stevenson,SpanishCathedralMusic,333.Amanuscriptcopyofthetract,entitled"Ynconvenientes,ygravisimosdañosquesesiguendequelasReligionestenganMusicade
cantodeOrgano"isinMBN,MS14059.11.StevensonregardsthetractasanechoofCirilloFranco'spolemicagainstmodernchurchmusicfirstpublishedinLetterevolgarididiversi nobilissimihuomini...terzolibro[Venice,1564].Persuasivetestimonytothetract'sstrongimpactuponthepeninsulaisofferedbythefactthataslateas1649JoãoIV,Kingof Portugal,founditnecessarytopublishaDifensadelamusicamodernacontralaerradaopiniondelObispoCirilloFranco. 22Vera,Instruc[c]ión,196.
Page133
morespecificregulationsunderwhichsuchinstrumentsmightbeemployedisapparent,andapossibleexplanationofthisreluctanceisthatthecurrentpracticeatthe Escorialwasforthemostpartselfregulating.CertainlytheuseofinstrumentsotherthantheorganinliturgicalmusicwasnewneitherattheEscorialnorinanyother importantpeninsularcenterofliturgicalmusicintheseventeenthcentury.Onceagain,delaVeragoestosuchpainstorehearsetheargumentsforandagainsttheuseof instrumentsthatit*eemsheisansweringafamiliarbodyofopinion.CirilloFranco,forinstance,wasasvociferouslyopposedtotheuseofinstrumentsashewasto polyphonyitself.DelaVerapursuesthismatterinmoredetailinhisChapter18,TheVariousUsesWhichThereAreforMusic,andWhy.23Inthischapter, somethingofarudimentaryaestheticphilosophyofmusic,albeitderivative,isbrieflysketched.FollowingThomasAquinas,delaVerawritesthatmusichasthepower toaffectboththebodyandthesoul,andthatcertainmodesmaybeassociatedwithcertainstates.TheDorianmodeevokesstabilityandconstancy,thePhrygian movesthesoultosoftnessandsweetness,andtheHypolydianinspiressolemnity.Theremainingmodes,hecontinues,inspirevariouscombinationsofthesestates. Moreover,certaininstrumentsmaybeassociatedwithsimilarstates;tibias,flutes,andsimilarinstrumentsareassociatedwithstabilityandconstancy;thelyre,harp,and vihuelawithsoftnessandsweetness;andthepsalteryandzitherwithsolemnity.Havingoutlinedtheaffectivepropertiesofthemodesandinstruments,delaVera, followingAristotle,dividesmusicintothreecategories:wordssungwithoutaccompaniment,purelyinstrumentalmusic,andwordswithinstrumentalaccompaniment. Mostsuitedtoteachingarewordssungwithoutaccompaniment,whereasinstrumentalmusicismostsuitedtomovingtheaffections.Thecombinationofwordsand accompanimentpairsboththeteachingandaffectivefunctions.DespitetheargumentsofAristotleandAquinasagainsttheuseofmusicalinstruments,delaVera explainsthattheyareusedalmosteverywhere,andthattheyarousedevotionespeciallyamongthespirituallyweakandthelaity. DelaVerafollowedhisInstruc[c]iónsixyearslaterwithanotherbook,entitledOrdinaryandCeremonial,AccordingtotheCustomsandRitesoftheOrderof OurFatherSt.Jerome.NewlyAugmentedandAmended,ConformingtotheRulesandRubricsoftheMissal,andRomanBreviaryofPiusV,Newly ReformedbyClementVIIIandUrbanVIII,RomanPontiffs,andAccordingtotheCeremonialoftheBishopsofClementVIIIandtheRitualofPaulV.In thisbookhereturnedtosomeofthesubjectstreatedintheInstruc[c]ion,thoughmuchmoreconcisely.IntheprologuetotheOrdinario,hestates,withoutfurther explanationorjustification,hispositionontheuseofpolyphony:"inourchoir,polyphonymaybesungonveryimportantandprincipalfeasts,withthepermissionofthe prelate,andnotwithothersecularsingers."24Similarlyconciseare 23SeeDocument11inAppendix3.Vera,Instruc[c]ión,242. 24"[Q]ueennuestroCorosepuedacantarcantodeorganoenfiestasmuyprecipuasyprincipales,conlicenciadelPrelado,ynoconotroscantoresseglares."Vera,Ordinario,fol.2r.
Page134 25
hisreferencestotheperformanceofvillancicos.Hewrote,forinstance,thatatChristmas"thevillancicospermittedforthisdayandnight"aresung. Moreover,the questionoftheparticipationofinstrumentsotherthantheorganisnotsomuchasmentioned. IntheOrdinario,delaVeradescribesthedutiesandresponsibilitiesofthekeyofficesattheEscorial,includingthoseconcernedwiththeperformanceofliturgical music.AclosecomparisonoftheOrdinarioandtheearliermanuscriptLibrodelascostumbresandQuadernosdelascostumbresrevealsnosubstantialchangein therolesperformedbycantors,succentors,choristers,correctoresdelcanto,andcorrectoresdelaletra.26 ThemostinformativesinglepassageintheOrdinarioisentitledOftheOrganandPolyphony.Atranslationoftheentirepassagefollows: OfallthreemannersofsingingwhichourOrderusesinitschoirs,pointedplainsongisemployedatVespers,whichisalwayssung,andalsoatMass.Asfortheremaininghours, thecustomofeachhousemustalwaysbeobserved,takingintoaccountthenumberofreligiouswhichithas.TheSalveofComplineisalwayssungandwithmuchcalmness (pausa).IntheMass,theIntroit,Kyrie,Gloria,Gradual,Alleluia,Tract,Proseifthereisone,Credo,andSanctusaresung,buttheBenedictusissungaftertheelevation.Alsosung aretheAgnus,Communion,andtheresponsestowhatthecelebrantsings.Thethingswhichthecelebrant,deacon,andsubdeaconmustsingarethePreface,Lord'sPrayer, Epistle,Gospel,andBenedicamus;andtheremainderwillconformtotheToledanchantinthemissalsprintedforSpain;andthemannerofsinging,whichisattheendofthe Missal,notonlyisthereexemption,butanobligationtodoso;andwhatisalsosunginthechoirwillalsobeaccordingtotheToledanchantandtheoldTonariumoftheOrder, andthepsalmsandcanticlesaresungaccordingtotheSaeculorumbelongingtoeachAntiphon,andnoonewilldareofhisownauthoritytoadd,erase,oralterthenotesofthe choirbooks.Also,itisstronglycharged,sinceitisourofficetoattendtothedivinepraises,thatallacquireknowledgeofsingingandthatthenovicesareputinthecareof teachersforthispurpose.Itisnecessary 25"[Y]cantarlosvillancicosqueenestanoche,ydiasepermiten."Vera,Ordinario,fol.39r. 26Ontherolesofcantorandsuccentor,seeVera,Ordinario,fols.95r98r;onchoristers,seeibid.,fols.104r128v;onthecorrectordelcanto,seeibid.,fols.93v94v;andonthe
correctordelaletra,seeibid.,fols.94v95r.
Page135 tosingnotonlywiththebeat,andobservingthemediationandtherest,whichmustbeoftwobeats'[duration],oratleastoneandahalfbeats,accordingtothetempo;butalso thispausehastobecutoffandattheendoftheverseapauseofhalfabeatisobservedinordertobegintheotherverse:andwhentwoormoresingtogether,andthecorrector doesnotgivethemthepitch,themostseniorofthembegins;theydonotbegintogether. InourOrder,itwasnotusualtosinginahightonewithoutpoint(entonoaltosinpunto)unlessitwasdonebyaccidentorwiththepermissionoftheprelate.Inthismannerof singing,allgoinafullline,andinthepartwheretheaccentfalls,alongnoteismade;theremainingsyllablesrun,betheylongorshort,andinthoseashortnoteissungandall runclosetogetherinorderthattheyproceedwell.Amediationandacutoffrestismade,asinthatwhichissungbynotes,andahalfbeatpauseismadeinordertobeginthe otherverse:inthismannerofsinging,thesamerulesasthoseinreadinglessonsareobserved,exceptthatinthisthemediationsandrestsarealwaysfull,neitherraisingnor loweringthepitch,butsingingthesamepitch[astherest]. Thelowtone,which,sinceitproceedsintimeandhasitsmediationsandpausesisusuallycalledrecited(althoughitissung),isemployedforallthatisnotsungbynotesandfor theminorofficeofOurLady;andin[performing]it,thatwhichisdoneinsinginginahightone(tonoalto)mustbeobserved;andthusonemusttrytobeofsuchalowmanner thatallareabletojoinin,inorderthattheyareequalintone,sincethecontrarywouldbeverybad.Andwhenonlyonesingsinthistone,orreadssomelesson,hemusttakecare nottomakeanynoise,andifhehasaweakvoice,hemustraisethetoneinorderthatitbeunderstood. Polyphonyisusedinourchoirsontheprincipalfeasts,andtheperformanceofcounterpointispermittedonthesamedays,andalsosinginginfabordón,allatthediscretionof theprior.It[polyphony]musthaveitsownchapelmasterwho,unlessheisthesameperson,mustnotinterferewiththedirectionofthecorrector.Thechapelmasterdirectsthem, andthesingersmustfollowandobeyhim,andheentruststoeachonewhathemustdoandwhohastosingtotheorgan,andinthefabordonesthataresunginthechoir,the correctorneednotbereplaced,butthedirectionpertainstothe
Page136 chapelmasterwhenitseemsfitting,andaccordingtothefestivityandsolemnityofthefeastwhichiscelebrated.Caremustbetakentodirectthechapelwithoutdisturbanceor noise,andthemusiciansmustbecarefultoobeyhimandtosingwithcompletehumilityandcomposure. Inthechoirallareobligedtosing,andmainlythatwithwhichtheyarethereentrusted.Thatwhichthehebdomadary,cantor,theversicular,andothersaretosing,islaiddown[in thesectionsofthisbook]speakingoftheiroffices.Thechoirsingswhateverthecantorbeginsatthevirgule,andwhentheyhavetosingresponsorially,thechoirtakesitslead fromthehebdomadary,andwhenthesecondversebegins,itissungbytheotherchoir. Onferias,theKyriesaresungresponsorially,andthelast[Kyrie]fromthevirgule,orhalfway,bothchoirssing.TheGloriaisalsosungresponsoriallyintheferiasofPaschaltide, andallsingtheAmen.ThecantorbeginstheSanctusandAgnus,andbothchoirsfollow.TheBenedictusissungbybothchoirsaftertheelevation.TheTeDeumissung responsorially,andattheendallsingNonconfundarinaeternum. Hewhowouldsingorsaysomethinginthechoirmusthaveitpreparedandregistered,andthesameappliesforwhateverelsemayhavetobedonesothatneitherthesongnor attentivenessisimpeded;andthebooksfromwhichtheysingaretobeplacedbeforethecommunityinthemiddleofthechoir;andifoncetheretheyneedtobemoved,itmustbe donewithcareandwithoutdisorder.Neitherarethebooksfromwhichtheyhavetosingtoberemovedwithoutpermission,andtheymustbecarefultoreturnthemintime,sothat theydonotgomissing. TheorganisplayedeverySundayandonholydaysofobligationoccurringthroughouttheyear,includingthefeastoftheHolyInnocents;forbeingdaysofobligation(savethe SundaysofAdventandLent)plusGaudete,thethirdSundayofAdventandLaetare,thefourthSundayofLent,it[theorgan]isplayedatMass.Itisalsoplayedonthefeaststhat theChurchcelebrateswithsolemnityinLent,suchasthedaysoftheAnnunciationofOurLady,ofSt.MatthewtheApostle,oftheGuardianAngel,ofSt.GabrieltheArchangel, andSt.Joseph,andalloftheMassofMaundyThursdayandattheprocessionofthisday,andHolySaturdayfrom
Page137 theGloria,andinothersimilardays;andalwaysthatwhichiscelebratedsolemnlyforapubliccauseoftheChurch,orforsomegravematter,andattheentryintothechurchofa bishoporsomeapostoliclegate,cardinal,orarchbishoptowhomreverenceisdue,andbycustomthesamemaybedonewiththeKingorQueen,untiltheyhaveofferedaprayer. AtMatins,whichiscelebratedsolemnlyonmajorfeasts,theorgansmaybeplayedfromthehymnTeDeumlaudamus,asatVespers,butatChristmasMatins,theorgansmaybe playedfromthebeginning. Itisageneralrule,beitatVespers,Matins,orMass,thatthechoiralwayssingstheinitialversesofthecanticles,hymns,andalsotheversesofthehymnsinwhichtheyhaveto bekneeling,suchasTeergoquaesumus,andTantumergosacramentumwhenthealtarisuncovered,andothersimilarones,andtheorgansdonotplay.Thesameisobserved withtheverseGloriapatri,andwiththelastversesofhymns,althoughtheprecedingverseissung,andmeanwhiletheorganwillplaybriefly,andthesamewilloccurifthehymn hasnomorethantwoverses. Atthosehourscalledminor,theorganisnotusuallyused,butwhereitmaybethecustomtouseit,suchasinTerceofPentecost,atNoneoftheAscension,andatComplineof HolySaturday,andothersimilardays,thecustomofeachhouseisobserved,thesingingoftheversesofthepsalmsalternatelywiththeorgan,asinthehymnsandcanticles,is observedthroughouttheOrder,butthecantor,orthecantorsinthemiddleofthechoir,mustsaythatwhichtheorgansays,inanintelligiblevoice,unlessanothersingsittothe organ,whichwouldbealaudablepractice. ItmayalsobeplayedatsolemnVespers,attheendofthepsalms,inplaceoftherepetitionoftheantiphon.AtsolemnMasstheorganplaysalternatelyattheKyrie,Gloria, Sanctus,andAgnus.ItmayalsoplayattheconclusionoftheEpistle,inplaceoftheGradual,attheOffertoryandduringtheelevationoftheBlessedSacrament;andthenthe choirsingstheBenedictuswiththemostgraveandsweetsoundattheelevation,andafterwardstheorganplaysuntilthePaternoster.WhentheCredoissaidatMass,itisnot joinedbytheorgan,butthewholechoirsingsit.TheorganneverplaysatthePrefaceorPaternosterofthesolemnMass;thesearesungbythecelebrant.Itmayalsobeplayed afterthepriesthas
Page138 communicated,attheversecalledthePostcommunion,andwhilethereligiousmaketheircommunion,afterthedeaconhassaidtheconfession,andfinally,itmaybeplayedatthe endoftheMass. Attheendoftheprocessionsofmajordoubles,inthosewherevioletvestmentsarenotworn,theorganplayswhilethereligiousgouptothechoirandthecelebrantandministers preparethemselves,andinprocessionsprogratiarumactionewhentheTeDeumlaudamusissung,theorganmayplayalternately. TheorganalsoplaysalternatelyattheVeniCreator,whensomeonemakeshisprofession,andwhen,afterwards,thereligiousreceivehimwithanembrace;buttheorganistis verymuchadvisedthatwhatisplayedshouldbeneitherlasciviousnorlustful,andthatnothingisplayedattheorganthatdoesnotpertaintotheofficebeingcelebrated,and muchlessthatthingsprofaneorburlesqueareplayed.Thisappliesequallytochapelmastersandtosingers,thattheharmonyofthevoicesbefavorabletopietyanddevotion, andtherebenothingoflewdnessorlustthatmightdistractthesoulsofthosewhohearthemfromthecontemplationofmattersdivine,butthatit*songandharmonybedevout, distinctandintelligible. TheorganisneverplayedinMassesandofficesofthedead,neitheristherepolyphony,butinthislastthecustomisobservedwhentheofficeisformonarchsorothergrave persons,thatplainsongismostdecentinourburialsandlasthonors.27
ThereislittledoubtthattheminutiaeofmusicalandliturgicalobservancedetailedherewerefollowedattheEscorial.Certainly,thereisnosubstantialdivergencefrom theLibrodelascostumbresortheQuadernosdelascostumbresinthischapterofdelaVera'sOrdinario. OneofthemostimportantroyaleventsattheEscorialduringthereignofPhilipIVwasthevisitofMarianaofAustriain1649,theyearofhermarriagetotheKing. Mariana,somethirtyyearsyoungerthanPhilipandthedaughteroftheEmperorFerdinandIII,wasalsoPhilip'sniece.Herreceptionanditsattendantceremoniesare documentedinsomedetailinapublishedchroniclerecordedbyananonymous"monkofsaidRoyalMonastery."28Hetellsusthatat6:00pmonFriday 27Vera,Ordinario,fols.128v131r. 28PompafestivayrealaparatoquedispusoalegreyexecutógozosoelRealMonasteriodeS.
(footnotecontinuedonnextpage)
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1October,PhilipIV,hisdaughter,andtheirrespectiveentouragesarrivedtoaspectacularwelcomeattheprincipalentranceofthepalace.OnSunday3October, bothKinganddaughterattendedthemonks'conventualmass,onthefollowingdaytheyinspectedtheprogresswhichhadbeenachievedonthecompletionofthe Panteón,29andonWednesday6October,PhilipdepartedforthenearbytownofNavalcarnerotomeetMariana.OnPhilip'sreturntotheEscorialwithhisqueenon9 October,theroyalpartywasceremoniallyreceivedbytheentireJeronymitecommunity,includingtheseminariansandcollegiates.30Inthecourseofhisnarration,the anonymouschroniclerrecordedsomemusicaldetailsofthereception: Therewas,atthefeetoftheprior,amostbeautifulcarpet,anduponit,theCountofFigueroa,whoactedasmajordomo,placedabrocadecushion,uponwhichourmostserene QueenSeñoraDoñaMarianaofAustria,morebeautifulthanthesun,kneeledandadoredthecrosswhichthepriorheldinhishands,withsingulardevotion,andshegaveittoHis Majestytokiss.Thisdevoutceremonyconcluded,sheroseandfollowedtheprocessionwiththeKingandthemostsereneInfanta,andtheremaininggentlemenandcourtiers, andthecommunitybegantosingthehymnTeDeumlaudamus.Onenteringthechurch,thefourorganssimultaneouslyrespondedtotheverses,whichsuspendedwith admirationallthosewhoentered.31
Theroyalentouragethenmadeitswaytothestepsofthehighaltar,fromwhichpointthechroniclecontinues: WhileTheirMajestieswereheldinsuspensebythebeautyandgoodarrangementofthechurch,thechapelsangtheverseTeergoquaesumus;andthentheprior(whohad alreadyreachedthehighaltarwithhisassistants)turnedtofaceTheirMajestiesandintonedtheversesandprayersprescribedbytheRomanPontifical,towhichthechapel,the community,andthefourorgansresponded,causingadmirationinall.Thismusicwasfollowedbyanotherforthreechoirs,who
(footnotecontinuedfrompreviouspage) Lorenço,OctavaMaravilladelMundo.EnelrecibimientodelaSerenísimaReynanuestraSeñoraDoñaMarianadeAustriaaquiensededica(Madrid,1649).Theeventisalso describedinSantos,Quartaparte,1604.Thislateraccountisprobablybasedontheformer. 29IfollowKubler,BuildingtheEscorial,inavoidingtheEnglishword"Pantheon"withitsstrongGreekassociations. 30Pompafestivayreal,fol.11v. 31Ibid.,fol.13v.
Page140 sangthisvillancicowithskill,givingtoTheirMajestiesawelcometothis,theirroyalhouse.32
Onthefollowingday,Sunday10October,at10:00am,PhilipIVjoinedtheprocessionthatprecededthemonks'conventualMass.HeattendedtheMass,whichwe aretold"wascelebratedwiththeaccustomedsolemnity"togetherwithMarianaofAustria,theInfanta,andtheircourtiers.33OnSunday31October,PhilipIV attendedVespersofAllSaintsinthechoir.Onthefollowingday,thefeastofAllSaints,heandhisentouragejoinedtheprocessioninthebasilicaandtheprincipal cloister.Attheendoftheprocession,PhilipandhisQueenwentuptotheoratory,wheretheyheardtheconventualMass,which"wascelebratedwithgreatsolemnity andcelestialmusic."OnTuesday2November,thefeastofAllSouls,TheirMajestiesattendedtheconventualMassandjoinedintheprocessionthatpassedthrough thethreenavesofthebasilica.34Thefollowingday,theKingandQueendepartedforMadrid. ItwasnotuntiltheendofFebruary1654thattheburialchamber,intendedbyPhilipIIasadynasticmausoleum,wasfinallycompleted,thusfulfillingoneofthe founder'sprimarymotivesinconstructingtheEscorial.35ThePanteón,36theonlysignificantadditiontotheEscorialafterthedeathofPhilipII,istreatedingreatdetail byFranciscodelosSantos,whoallocatedonethirdofhisDescripcióndelRealMonasteriodeSanLorenzodelEscorial(Madrid,1657)toafulldepictionofthe crypt,asummaryoftheconsecrationceremony,andanaccountoftheritualtranslationoftheroyalbodiestoitstombs.Thereisonlyoneotherprimarysourcefor theseceremoniesofconsecrationandtranslation:theQvartapartedelahistoriadelaordendeSanGerónimo(Madrid,1680),bythesameauthor.Thetextofthe laterpublicationoftencloselyfollowsthatoftheearlierone,thoughinmattersofdetailtherearemanyminordepartures,mostsignificantlyinthereportingofthe translationoftheroyalcorpses.Inaletterdated12March1654,PhilipIVissuedhisinstructionsabouttheirtranslationfromthevaultinwhichtheywereentombedto thenewlycompletedPanteón.37Thetranslationwastotakeplaceon17March,andonSunday15March,astheKingandhisretinueofcourtierstraveledfrom MadridtotheEscorial,thealtarofthePanteónwasconsecratedinpreparationforthearrivalofthecourt. TheconsecrationwasperformedbyAlonsodeGuzmán,PhilipIV'schaplainandPatriarchoftheIndies,inaccordancewiththeuseoftheRomanPontifical.In 32Ibid.,fol.14r.AnothertranslationmaybefoundinLaird,"TheVillancicoRepertory,"1:1845wherethetextofthevillancicoisbrieflydiscussed. 33Ibid.,fols.23v24r. 34Ibid.,fols.29v30r. 35SantDesc,fol.131r. 36Forasummaryofthehistoryofitsconstruction,seeKubler,BuildingtheEscorial,1157. 37ThetextoftheletterisreproducedinbothSantDesc,fols.132r132vandQuevedo,HistoriadelRealMonasteriodeSanLorenzo,1145.
Page141
hisfirstpublishedaccountoftheceremony,Santosmakesbuttwobriefreferencestotheperformanceofmusic.Whenthemonksdescendedinsolemnprocession fromthebasilicatothePanteón,bearingtherelicswhichweretobeenshrinedwithinthealtarofthePanteón,theysang"thosejoyousandcelestialantiphons"laid downintheCeremonial.38Almostcertainlythiswouldhavebeenplainsong.ThesecondreferenceconcernstheMassoftheDedication,whichimmediatelyfollowed theconsecrationandwhichwascelebrated,wearetold,"withmuchmusic."39 WhereasthemusicattheconsecrationwasperformedsolelybymembersoftheresidentJeronymitecommunity,themusicperformedduringthesolemntranslationof theroyalbodieson16and17Marchalsoinvolvedthevisitingcapillareal.40TheKingarrivedattheEscorialonSunday15March,butwasnotpresentatthe consecration,whichtookplacethatday. At3:00pmonMonday,16March,theringingoftheEscorial'sbellssummonedalltoassemble,signalingtheimminentcommencementofthetranslationceremony. FromSantos'sDescripción,wehavewhatseemstobeanapproximatecountofthepopulationoftheEscorialcommunityatthisdate:themonksnumbered150,and thepopulationsofthecollegeandtheseminarycametofiftyeach.41AtPhilipIV'sentranceintothebasilica,themonksbegansolemnlytosingaresponsory.42The royalbodieswerethencarriedfromthecrypttothedoorofthesacristy.Onenteringthebasilicafromthesacristydoor,thisprocessionwasgreetedbythesingingof theresponseSubveniteSancteDeifromtheOfficeoftheDead.43ButSantospresentsnoevidencethatwouldleadustobelievethatthisresponsory,likethe previousone,wassungtoanythingbutaplainsongsetting.Indeedhisuseofthephrasesconpassograue 38"YtomandolaCaxaelPatriarcareuerentemente,despuesdedichasalgunasOraciones,voluieroncontodagrauedad,orden,ypompaalPantheo[n],cantandoaquellasalegres,y
CelestialesAntiphonas,quedeterminaelCeremonial."SantDesc,fol.135v. 39"SeprosiguieronlasCeremoniasdesuConsagracionhastaelfin,acabandoelOficioconlaMissadelaDedicacion,quesecelebròconmuchaMusica,yregozijo."SantDesc,fol.
135v. 40ThepresenceofthecapillarealisexplicitlystatedinSantos,Quartaparte,188and191,butmustbeinferredinSantDesc. 41SantDesc,fols.141r141v. 42"ComençaronluegoacantarlosReligiosossolemnementevnResponso,"SantDesc,fol.142r."Come[n]çaronlosReligiososàcantarsolemneme[n]tevnResponso."Santos,Quarta
parte,186. 43"DestasuertefueronentrandoenlaIglesia;yapenaslosdescubrieron,losqueenProcessionestauanaguardandosuvenida,quandoleuantandolavozalCielo,entònoigualme[n]
teafectuoso,començaronàcantarelResponsoacostumbrado,ennuestrosOficiosdeDifuntos:SubveniteSanctiDei."SantDesc,fol.143r."Deestasuertefueronentrandoenla Iglesia,yapenaslosdescubrieronlosqueenProcessionestabanaguardandosuvenida,quandolebantandolavozalCieloentonograue,començaronàcantarelResponso acostumbradoennuestrosOficiosdeDifuntos,quees:SubveniteSanctiDei."Santos,Quartaparte,187.
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(''withagravepace")andco[n]passoigual("withequalpace")recallthosehabituallyusedtodescribetheperformanceofplainsongattheEscorial.
ThemusicsungduringtheVespersthatfollowed,however,wasmuchmoreelaborate.Themonks,theKing,andhisentouragemovedinprocessionuptothechoir, whereVespersoftheDeadwascelebratedwith"greatsolemnity."Themusic,bothinstrumentalandvocal,wasperformedbymonkmusiciansandthecapillareal. AttheconclusionofVespers,theroyalentourageretiredandthemonksbegantheofficeofthreenocturns,whichlasteduntil7:00pm.Aftertheninthandlastlesson, theKingreturnedtothebasilicaandthecapilla,probablythecapillareal,sangtheresponsoryLiberameDomine.45 Onthefollowingday,Tuesday17March,at8:30am,asolemnMassoftheDeadwascelebratedinthepresenceofPhilipIV.Ineachofhisbriefaccountsofthe mass,Santosmentionstheperformancebyacapilla"inallharmony"of"gravemusic."Themusicmaythushavebeenprovidedbymonkmusicians,thevisitingcapilla real,ortheircombinedforces.46Afterthesermon,whichtooktheformofafuneraloration,theKingjoinedinaprocessionwithinthebasilica,whichhaltedatthe catafalque.Here,wearetold,threesolemnresponsoriesweresungbythecapilla.47ThenextmusictobeheardwasthatofthemonkssingingtheburialantiphonIn 44"LeuantòlaCruzelMinistro,VanderadeaquelExercitoReligioso,yNoble,yalsontristedelosclamores,yvozes,conpassograue,ycompuesto,fueronmarchandotodospor
laNauedelSeptentrion,hastaladelOccidente,cantandosiempreelreferidoResponso."SantDesc,fol.143v."LeuantòelMinistrolaCruz,VanderadeaquelExercitoReligioso,y Noble,yalsontristedelosclamores,yvozes,co[n]passoigual,fueronmarchandoporlaNauedelSeptentrionhastaladeOccidente,cantandosiemprelosReligiososelreferido Responso,SubveniteSanctiDei."Santos,Quartaparte,187. 45SeeDocuments12and13inAppendix3. 46"Hechalaseña,començolaCapillacontodaarmoniaelIntroito.FuecaminandoelCelebranteconelacompañamientohastaelAltar;quedaronselosNiñosderodillasenlasGradas,
queofrecenlasubidahastalaprimeraMesa,comolohazenenlosdiasmasfestiuos,queparecemuybien;ydichalaConfession,sevoluieronàsusassientos.DuròlaMissavna hora;ynoseleshizovninstanteàlosqueauianestadorobados,ysuspendidosdelamagestad,decencia,deuocion,ygrauemusicaconquesecelebrò."SantDesc,fol.146r."Hecha laseñaldelosClamoresconlasCampanas,començòlaCapillacontodaarmoniaelIntroitodelaMissa,ysaliòelCelebranteconelAcompañamientohastaelAltar.DuròlaMissavna hora,ynoseleshizovninstanteàlosqueauianestadorobados,ysuspendidos,delamagestad,decencia,deuocion,ygraueMusicaconquesecelebrò."Santos,Quartaparte,189. 47"CantaronseallitresResponsosmuysolemnes,conexcelentemusicadelaCapilla,haziendoencadavnolasacostumbradasCeremoniasdeincensar,yecharAguabendita."
SantDesc,fol.146v."CantaronseallitresResponsossolemnissimos,conMusicaexcelente,haziendoencadavnoelCelebrantelasacostumbradasceremoniasdeasperjar,yincensar." Santos,Quartaparte,190.
Page143 48
paradisum. InSantos'snextreportofmusicthereisaclearerdivisionoftheforcesintothreeseparategroupings:themajorityofthemonks,asmallergroupof monkmusiciansandthecapillareal.AfterMass,themajorityofthemonksremainedinthechoirtosayLaudsfromtheOfficeoftheDead.Atthesametimethe capillarealdescendedtothePanteónwhere,togetherwithafewmonks,theysangthecanticleBenedictusDominusDeusIsrael.49Thesameforceswouldalso havesungthelastresponsoryastheprocessionmadeitswayfromthePanteóntothebasilica.50 ThefullestdescriptionoftheEscorialtoappearafterSigüenza'sistheDescripciónbrevedelMonasteriodeSanLorenzoelRealdelEscorialofFranciscodelos Santos.SinceSantosservedforsomeyearsasmaestrodecapilla,51hisdescriptionsofmusicalandliturgicalmattersareunusuallyauthoritative.Indescribingthe carillon 48"Lomismosonauan,ysignificauanlasvozespiadosasenelResponso,quecomençaronàcantarlosMongesalpartirdelaProcession:InParadysumdeducantvosAngeli."
SantDesc,fol.147r."Lomismocomençaronàcantar,ysignificarlasvozesdelosMongesenlaProcessio[n],conelResponsoquedize:InParadysumdeducantvosAngeli." Santos,Quartaparte,190. 49"QuedaronseenlaIglesiadiziendolasLaudesdeDifuntosmuchosdelosMonges;queeldiaantesnoseauiandicho,porauertantoquehazer,yassisedexaronparaentonces,y
losqueestauanenelPantheon,juntamenteconlaCapilla,entonaronelCanticodeBenedictusDominusDeusIsrael,contansuaues,yordenadasvozes,queseconociaenellasel espirituquelasformaua;fuevnratodeGloria,eltiempoqueduròsuconsonancia;ycomoaquelhermossimo[sic]CuerpodelPantheonestàcontalcorrespondenciaenlosonorode losEcosserepetiaelCantico,ytodoerasuspension...BendixoelPriorlasVrnas,quetenianlosTitulosdesusnombresàlapartedelEuangelio,ydelaEpistola,haziendolas Aspersiones,yIncensandolascontodaslasdemàsCeremoniasdevnEntierro;yacabadalaAntifonadelBenedictus,dixolaOracionporlosReyes,ydiòfinlaMusicaconel Requiescantinpace."SantDesc,fol.148v."Quedaro[n]seenlaIglesiaàlapuertadeelPantheon,yenladistanciadelaEscaleramuchosdelosReligiosos,diziendolasLaudesde Difuntos;laCapillaRealbaxòàbaxo,yàsutiempoentonaronelCa[n]ticodeBenedictusDominusDeusIsrael,contangraues,yordenadasvozes,queseconociaenellaselespiritu quelasformaba...BendixoelPriorcelebrantelasVrnas,queyatenianlostitulosdesusnombresàlapartedelEuangelio,ydelaEpistola,conlasCeremoniasdevnEntierro;y acabadalaAntifonadelBenedictus,dixolaOracionporlosReyes,ydiòfinlaMusicaconelRequiescantinpace;àquerespondierontodos,Amen."Santos,Quartaparte,191. 50"Alegraronsetodosinfinito,devèryàconseguidoestefin,ydexandolosCuerposRealessobreaquellasMesas,subieronàlaIglesia,cantandoelvltimoResponso,àqueassistiò
tambiensuMagestad,quenoperdiòenestaTranslacionpunto."SantDesc,fol.149r."AlegraronsetodosdeauervistoensumerecidolugaraquellosCuerposReales;ydexandolos sobrelasMesas,hastaquedespueslosReligiososreseruadamenteloscolocassenensusVrnas,segunelordendelRey;subieronàlaIglesiaca[n]tandoelvltimoResponso,àque assistiòtambiensuMagestad;yacabado,sesalierontodos,ysuMagestadseentròenPalacio."Santos,Quartaparte,191. 51SeeAppendix2forabriefbiographyofFranciscodelosSantos.
Page144
andtheorgans,SantosoffersvaluableinsightsintothemusicallifeoftheEscorial.Hetellsus,forinstance,thatthecarillonwasusedonmajorfeasts: Intheothertowerisalsoasetofbells,consistingofthirtytwoinnumber.TheseweresentasapresenttohismajestybycountdeMonterrey,governorofFlanders,toreplacethe former.Theyareinmusicalconsonance,playedwithkeysliketheorgan,andmakeaverymelodiousconcertwithotherinstruments:accordinglytheyareapartofthesolemn musicontheprincipalfestivals.ChimesareaFlemishinvention,improvedbytheGermans.52
Fromhisdescription,welearnthatthetwochoirorganswerethemostfrequentlyused,thattheyaccompaniedthevocalfabordones,andthattheyjoinedwithother instruments.53Thetwonaveorgans,eachhavingtwomanualsandpedals,withthirtytwostops,werelargerthantheirchoircounterpartsandaremorelikelytohave beenplayedsolo.Ofthefoursmallerorgans,onewasconstructedofsilverandwasusedintheprocessionsofCorpusChristi.54Theotherthreewerelocatedinthree ofthebasilica'sbalconies.Thedescriptionalsoconfirmsthesurvivalofthepracticeofplayingalltheorganstogetheroncertainfestiveoccasions,suchasattheGloria oftheMassofHolySaturday. [Margin:]Organsofthechoir Betweenboth,andoverthestallsinthetwochoirs,aretwoorganlofts,withbalconiesofbrassgilt,standingonbeautifulcorbels,projectingfromthecornice,togivesufficient roomtotheperformers.Theseorgansaretwentysixfeetwide,andthegalleriesofnearlythesamesize.Eachofthemaredecoratedwithfourcorinthianpillars,formingthe apertures,ordoors,withinwhicharethepipes.Thetwosidedoorsarequadrilateral,andthemiddleoneformsacurva 52"EnlaotraTorreayotroordendeCampanas,queenlugardelasqueestauanantes,remitiòàsuMagestadelCondedeMonterrey,siendoGouernadordeFlandes,quesonen
todastreintaydos,puestasenconsonancia,ysetocanconteclas,comolosOrganos,haziendomusicaconcertada,comootrosinstrumentos,conquesefestejanlasfiestas principales.EsinuenciondeAlemanes,yFlamencos."SantDesc,fol.13randSantDescEng,323. 53"LosOrganossonocho,repartidosportodalacapacidaddeesteTemplo:yassicomoleadornanmuchoconeldoradolucimientodesusCaxas,lealegran,yllenanmuchoconla
variedaddesusregistros,yvozes.Vnoaytododeplata,quesetocaeldiadelCorpus,hartoprecioso."SantDesc,fol.105r105v. 54ThisinstrumentisdepictedinClaudioCoello'sLaSagradaForma,whichhangstodayinthesacristyofthebasilica.
Page145 ture,whichbreaksthearchitraveandcornice,asthepipesreachthewholeheight.Thepillars,andthewholelofttothemodillonsofthefrontcornice,arefinelyinlaidwithpolished gold. [Margin:]Churchorgans Inthemiddleofthebodyofthechurch,againstthefrontsoftheprincipalnave,whichcrossesfromsouthtonorth,andoverthethirtyfeetpassage,aretwootheradmirable organs,fiftyfeetbroad,andfortyhigh,withsixpedestals,forasmanypillarsofthecorinthianorder,formingfiveapertures:thatinthemiddlebreaksthearchitraveandthecornice, forminganarch,whichtakesinthewholeplaneofthefrontispiece,thepipesbeingofamagnitudethatrequiresallthatspace.Theseloftsalsoarelarge,and,besidesother embellishments,havebalustradesofbrass. Omittingthevarioussoundsproducedbythecombinationsoftheseorgans,withtheinstruments,astrumpets,clarions,hautboys,bassoons,flutes,&c.,togetherwithagreat varietyofharmoniousvoices,whichareimitatedbytheinfinitenumberoftheirpipes:itissufficienttosay,thattoeachoftheselargeorgansbelongthirtytwostops,anddemand boththefeetandhandsofanorganist,havingtworowsofkeysforthelatter,andonefortheformer.Ifthoseofthechoirhavenotsuchanumberofstopsanddifferent modulations,yettheyaretrulyadmirable,andmadebythesameorganbuilder,Masegil,aFlemin,whointheseinstrumentsincomparablyexcelsallhiscontemporaries,and, perhaps,futureageswillneverproducehisequal.Healsomadethreeportableorgans,whosesoundsaremostdelightful.Theseareplacedinthreegalleriesofthechurchsothat, onhighfestivals,sevenorgansplayatonetime;besidesanotherentirelyofsilver,thesweetnessofwhosesoundsshewitsinestimablevalue.Itisthereforenowonder,thatevery musicalmindisextremelyelevatedwiththesegrandorgans,whichfillthewholeextentofthechurchwithmelody.55
In1663,theJeronymitecommunitycommemoratedthecentenaryofthelayingofthefoundationstoneoftheEscorialmonasteryandbasilica.Thecelebrations,both 55Seedocument10inAppendix3.SantDescEng,534.
Page146
liturgicalandsecular,wereconcentratedintotheperiod29Augustand6September,andadetailedaccountofthefestivitieswaspublishedbyFrayLuisdeSanta María.56Accordingtothisaccount,thefestivitiesbeganinthefollowingmanner: OnWednesday,19Augustofthisyearof1663,atnoon,theclarinesmadetheirreport,withthesweetnessoftheirechoesbeginningthefestiveacclamationofthecentenary.And inordertogivefirstplacetothegloryofGodandtomonasticthings(soproperlyours),Vesperswascelebratedat3:00pmwithsomuchharmony,andsuchagreatnumberof bells,thatthisjoywouldonlybeabletopassasanentertainment....Inthebasilicaatthistime,theorganswereheardaccompanyingthemselvesinagreement,aswellasthe clarines,whichweresosweetandsosoftthatitappearedtobemusicfromtheheavensmorethanfromtheearth:exciting,eveninthemosttepidhearts,memoriesofthemusicof theangels.TheycelebratedVespersoftheDedicationandoftheconsecrationofthechurch(aswasordered).FrayManueldelValle,thechapelmasterofthisroyalmonastery, withallthemonkmusicians,whoaremany,andbeingmany,allareskilledandexcellent,sangthepsalmswithsuchharmonioussweetness,andvillancicosofsuchseasoned taste,thateveryone'ssoulswereastonishedinsuchawaythateventhoughVesperslastedmorethantwohours,itseemedbrief.Itistruethatthechapelofthismonastery,so richinallvarietiesofvoices,socopiousininstrumentsandsoequippedwithskill,owesnothingtoanyofthefourmorecelebrated[chapels]ofthecourt,andforthisreasonthe chapelfromMadridwasnotbroughtfortheOctave;becauseitdidnotseemthatanyfromafarcouldbefoundbetterthanthatwhichwehaveathome.57
ThereisnoquestionhereoftheinvolvementofmusiciansfromoutsidetheEscorialcommunity.Indeed,theabsenceofanysignificantcontingentfromMadridor elsewheremustbeanindicationofthedecliningimportanceoftheEscorialforallthoseexceptit*inhabitants.ToPhilipIV,whosearchitecturalambitionsandpatronal activitieswereabsorbedbythePalacesoftheBuenRetiroandtheAlcázarinMadrid,theEscorialwaslargelyirrelevant.ForthemonksoftheEscorial,however,the centenaryofferedanoccasionforavarietyofcelebrationsinwhichmusicfiguredpromi 56SantaMaría,Octavasagradamenteculta.WhatlittleisknownofSantaMaríamaybefoundinZarcoCuevas,LosJerónimos,94. 57SantaMaría,Octavasagradamenteculta,78.
Page147
nently.SantaMaría'saccountdescribesboththeperformanceofvillancicosandtheparticipationofinstrumentsinthesecelebrationsinthefollowingexcerpts: Theprocession(whosemusicandmajestyredeemedthefestivityoftheday)concluded,themostreverendFatherPriorcelebratedtheMass,atwhichmanyvillancicosweresung, veryappropriatetothefestivity.58 Thechapelsangsomevillancicos,andtheTantumergo,etc.Andafterputtingawaythesacrament,theylistenedinthemeanwhiletotheharmonyoftheorgans,clarines,and otherinstruments,withsuchsoftsweetness,thatit*eemedanemulationofblessedness.59
Thataformalcapillawithitsownmaestrodecapillawaswellestablishedby1663isclearfromSantaMaría'sdescriptionofthepartitplayedinthecentenary celebrations:"Andthroughoutthecourseoftheoctave,Mass,andVespersatleastweresungbythechapel(anditwasnolittletroubleforthechapelmasterto composeeightdifferentMasses,anddifferentpsalmsfortheVespersofeachday)."60 AlthoughtheEscorialin1663numberedsomesevenmonksascomposers(seeTable5.6),fiveofwhomhadservedatsometimeasmaestrodecapilla(seeTable 5.3),SantaMaríaseemstoconveytheimpressionthattheburdenofcomposition,aswellasthedutiesofthechapelmastership,fellexclusivelytoManueldelValle. ThefollowingextractatteststoJuandeDurango'sexpertiseasaharpistandhisinvolvementintherecreationalperformanceofsecularmusic: Theclarineswerequiteforawhile;theymadeabreak,andthesweeterandsoftermusicofthechapelofthishousefollowed.Totheaccompanimentoftheharp(whichFather FrayJuandeDurangoplayedwithsuchskill,thathisnamedeservestobeprinted,eveninplatesmoredurablethantheseofbronze),thisromancewassungtobegintheacademy. Theconsonanceofthenotesinthisandintherest,whichwassungafterwards,wasinthecareoftheFatherFrayManueldelValle,chapelmasterofthishouse,anditwascredit thathisgoodtasteredeemed.61
AsshowninTable5.1,thenumberofadultmonkswhowereavailableassingersatanyonetimeduringthefortyfouryearsofPhilipIV'sreignremainedquitestable. Atthebeginningofhisreign,in1621,therewereseventeensingers;halfwaythrough 58Ibid.,13. 59Ibid.,14. 60Ibid.,17. 61Ibid.,33.
Page148
hisreign,in1643,theynumberedsixteen;andattheendofhisreign,in1665,therewereeighteen.Unfortunately,thesurvivingdocumentationisnotfullenoughto allowustobespecificaboutthevocalrangesofallthesingers.Fortheentireperiod,thirtysixsingershavebeenidentified.Ofthese,thedocumentsdescribetwenty oneas"singers,"threeastiples,threeasaltos,twoastenors,fiveasbasses,oneasatiple/alto,andanotherasatiple/tenor.Sincemanymonksspentalmosttheir entirelivesattheEscorial,theirvoices,ofcourse,wouldhavechangedovertheyears.GregoriodelaEstrella,forinstance,wasgreatlyvaluedforhisunbrokentiple voicewithwhichheenteredthemonasteryattheageof16.Hisvoicebrokeattheageof19,whenhebegantosingtenor,andeventuallyitsettledintoabassrange.62 Duringthisperiod,eighteensingersdiedandeighteennewsingerswereadmitted.OnlytwosingerswhoservedinthereignofPhilipII,FranciscodeColmenarand MartíndelaCruz,livedtoseethefouryearoldCharlesIIascendthethronein1665.In1637therewasalackoftiplevoicesamongthecommunity,andinthatyear itwasdecidedthatatiplefromMadridbepaidanannualsalaryof500realestosingwiththemonkmusicians.63Nootherevidenceoftheemploymentofsecular singersattheEscorialbefore1665hasbeenfound. ThosemonkswhoheldtheofficeofcorrectordelcantosometimeduringthereignofPhilipIVarelistedinTable5.2.Ofatotalofeighteenmonkswhoservedinthis capacity,sixteenarenamedinthedocumentsalsoassingers.Duringthisperiod,sevenmonksfulfillingthisofficediedandtwelvewereadmitted.Theminimumnumber ofmonksavailabletofulfilltheofficeatanyonetimedroppedtosixin1636,whilethemaximumnumberoftwelvewasachievedin1656.Theofficeofmaestrode capillawasestablishedduringthisperiod,anditseemsthatinpracticeacleardistinctionwasdrawnbetweenthedutiesofthecorrectordelcanto,whodirectedthe plainsongsungbytheentiremonasticcommunity,andthoseofthemaestrodecapilla,whodirectedthepolyphonyofthecapilla.Upuntilabout1623,whenManuel deLeónwasadmittedtotheEscorialcommunity,polyphonywasoftendirectedby,oratleastinvolved,thecorrectordelcanto.Inthislaterperiod,however,not onemonknamedinthedocumentsascorrectordelcantoisalsonamedasmaestrodecapilla. ThenamesofthosesevenmonkswhoheldthepositionofmaestrodecapilladuringthereignofPhilipIVarelistedinTable5.3.Thisisthefirstperiodinthe Escorial'shistorywherethetermmaestrodecapillaisfrequentlyencountered.Onlytwoofthechapelmasters,PedrodeTafalla64andJuandeDurango,arenamed alsoas 62ForabiographicalnoteonEstrella,seeAppendix2. 63AC1,fol.213r.Foratranscription,seeDHM10(1),4212. 64AlthoughnosourcecontemporarywithTafallahasbeenfoundwhichnameshimasamaestrodecapilla,hehasbeenregardedasoneofthefirstmaestrosdecapillabysuch
historiansofmoderntimesasRotondo,Madrid,andBarbieri.InthelightofthenumberofcompositionsleftbyTafallaandtheinformalandinconsistentwayinwhichthetermmaestro decapillawasusedearlyinPhilipIV'sreignattheEscorial,Tafalla'snameisincludedhere.
Page149 Table5.1:SingersattheEscorial,16211665
(tablecontinuedonnextpage)
Page150 Table5.1:SingersattheEscorial,16211665,cont'd.
Page151 Table5.2:CorrectoresdelcantoattheEscorial,16211665
Page152
singers.ThissameJuandeDurango,aharpist,istheonlymonknamedasaplayerofanonkeyboardinstrument.Threemonks,PedrodeTafalla,JosephdelValle, andManueldelVallewereorganists.Theonlymusicalactivitycommontoallsevenmaestrosdecapillaisthattheywerecomposers.Fortheperiod1621to1635, onlytwomonkscapableofservinginthecapacityofmaestrodecapillawereavailable.Asteadyincreasefrom1635inthenumberofmonksavailableforthisoffice reachedapeakin1658,whensixwereavailable.Thecareersofthemonksnamedinthesourcesashavingservedasmaestrodecapillaarebynomeansidentical. JaímedeValencia,forinstance,wasnamedmaestrodecapillaassoonashereceivedthehabitattheageoftwenty,butdidnotlivetoseehistwentyfourthbirthday. AndwhilemonkslikePedrodeTafallacomposedagreatdeal,FranciscodelosSantoswasdivertedfromcomposition,probablybyhismanyliteraryactivities.Itis clearfromtheinconsistentandarbitrarywayinwhichthetermmaestrodecapillaisusedintheprimarysourcesthatthepositionwasnotasformallyestablishedas thosesimilarlytitledsalariedpositionsassociatedwithcathedralsorcapillasreales.Nolistsofduties,declarationsofavacantpost,orotherdetailshavebeen found.65InhisstudyofthemusicattheEscorial,RubiospeculatesabouttheexistenceofaLibrodelmaestrodecapilla,whichwouldhavecontainedthistypeof information.Intheabsenceofsuchamanuscript,however,theevidence,ortobemoreaccurate,thelackofevidence,suggeststhattheappointmentandregulationof theactivitiesofthemaestrodecapillaweretheunilateralresponsibilityoftheprior. ThekeyboardmusicianswhoweremembersoftheEscorialmonasterysometimeduringtheperiod1621to1665arelistedinTable5.4.Inthisperiodwerefer primarilytoorganists,sinceofthenineJeronymitekeyboardmusicianswhoservedthecommunitythen,eightaredescribedas''organists,"andonlyone,Juandela Fuente,asakeyboardplayer.Inthisperiod,threekeyboardplayersdiedandfivenewoneswereadmittedtothecommunity.Thenumberoforganistsavailabletothe communitydroppedtoaminimumoftwointheyears16331638androsetoamaximumofsixintheyears16551660.ForthefirsteightyearsofPhilipIV'sreign, onlythreekeyboardplayersfromthecommunitywereavailable,andin1622themonkssetaboutcorrectingthisinadequacybyagreeingtoemployasecularorganist bothtoplayonprincipalfeastsandtoteachtheinstrumenttomembersofthecommunity.66Themantheyfoundforthejob,PedroMartínSevillano,wasaclericwho, accordingtoacapitularactof1622,wastobepaid100ducadosperannum.67 Table5.5liststhosetenmonkswhoplayedinstrumentsotherthankeyboardinstrumentsduringthereignofPhilipIV.Allbutoneofthesemonks,thecornettist LuperciodeArcos,alsoservedthecommunityasasinger.Duringthisperiod,themonksalsoemployedseveralsecularinstrumentalists.In1622,DiegoRoldanwas 65Rubiodiscussesthemaestrosdecapillaindetailin"LacapillademúsicadelmonasteriodeElEscorial,"87105. 66AC1,fol.173r.Foratranscription,seeDHM10(1):417. 67AC1,fol.174r.Foratranscription,seeDHM10(1):417.
Page153 Table5.3:MaestrosdecapillaattheEscorial,16211665
Table5.4:KeyboardplayersattheEscorial,16211665
Page154 68
appointedtoplaythecornetto"andotherinstrumentsonprincipalfeasts"foranannualsalaryof100ducados, andin1623,anunnamedplayerofthebajónwas paid20ducadosinadditiontoamealallowance.69In1628,oneFranciscoRoldan,probablyrelatedtoDiegoRoldan,wasappointedtothesamedutiesatthesame salaryaswashisnamesakesixyearsbefore.70Inthefollowingyear,1629,anadditionalcornettist,EstebanThomás,wasemployedtocarryoutthesameduties.71 Althoughfrom1621to1635,theonlyinstrumentplayedbyamonkwasthebajón,"otherinstruments"—inalllikelihoodwindinstruments—wereplayedbyasmall numberofsalariedsecularmusicians.In1640,withtheprofessionofFranciscodelaPuebla,wefindtheearliestpresenceofaharpist,andfromthistimeon,atleast oneharpistwasavailable.72In1646,thecornettistLuperciodeArcoswasadmittedtothecommunity.Althoughheisthefirstmonkweknowtohaveplayedthe corneta,itisverylikelythatthisinstrumentwasamongthoseplayedbythesalariedsecularmusicians.In1656,thecomposerandinstrumentalistJoséphdeSan Bartholoméwasinvestedwiththehabit.Amongthevarietyofinstrumentsheplayed,thechirimíaisnumbered.AlthoughwidelyusedinSpainforagoodcentury beforethistime,thisistheearliestmentionoftheinstrument'spresenceattheEscorial. IntheabsenceofanyconvincingchronologyoftheworkscomposedbytheprincipalEscorialcomposerslivingduringthereignofPhilipIV,thecomposerswillbe discussedhereintheorderofthedateonwhichtheywerereceivedintotheEscorialcommunity(seeTable5.6).JuanBaptistaenteredtheEscorialasearlyas1605. Oftheextantpiecesattributedtohim,fourareeightvoiceVesperspsalmsandthefifthisaneightvoiceChristmasvillancicowithaviolinpart.73Eachofthefour liturgicalpiecesissuppliedwithtwosparselyfiguredorgancontinuoparts.FromthedayBaptistawasprofessed,in1606,themusiciansandinstrumentsrequiredfor theperformanceofthesepieceswereavailableattheEscorial.Itisnotyetpossible,however,todateeitherthecompositionorfirstperformanceofthepieces. ThenextcomposertoentertheEscorialafterBaptistawasPedrodeTafalla(16051660).HereceivedtheJeronymitehabiton1April1622,inthesecondyearof PhilipIV'sreign,anditishismusicwhichischaracteristic,morethananyother,oftheEscorialinthisperiod.Some34LatinliturgicalworksattributedtoTafallaare preservedintheEscorialarchiveincopieswhichappeartohavebeenmadeafterthe 68AC1,fol.174r.Foratranscription,seeDHM10(1):4178. 69AC1,fol.175r.Foratranscription,seeDHM10(1):418. 70AC1,fol.191r.Foratranscription,seeDHM10(1):418. 71AC1,fol.194v.Foratranscription,seeDHM10(1):4189. 72Foranaccountoftheuseoftheharpbymonksinchurchmusic,writtenbyaMoroccanambassadorvisitingMadridin169091,seeGarcíaMercadal,Viajesdeextranjerospor
EspañayPortugal2:1224. 73TherearereasonstodoubttheattributionofthevillancicoEa,eajitanillasa8tothismonk.SeeLaird,"TheVillancicoRepertory,"1:558.
Page155 Table5.5:OtherinstrumentalistsattheEscorial,16211665
Page156 74
composer'sdeath. Themajority,twentyonepieces,area8,fivearea6,fourarea4,andthereisoneeachofpiecesa12,a10,a7anda2.Onlyonepieceisnot providedwithacontinuopart,andinfourcasesaharpisspecifiedasacontinuoinstrument.75ThegenresinwhichTafallawrotemustreflecttheliturgicaloccasions whichcalledformaximummusicalelaborationduringthereignofPhilipIV.TherearesettingsoftheMassordinary,lessonsfortheOfficeoftheDead,asetof Lamentations,alitany,invitatoriesforChristmasMatins,ahymnforCorpusChristi,andpsalms,canticles,andhymnsforVespersandCompline.(AMagnificatby TafallawillbefoundinAppendix5.)Apartfromliturgicalpolyphony,Tafallaleftonlythreeworksfororgan.Tafalla,BaptistaandManueldeLeónwerethefirst EscorialcomposerstoemploythekindofpolychoralwritingwhichwascommonthroughoutEuropeatthetime.Thispolychoralstyle,asithappened,wasideally suitedtotheEscorialbecauseoftheantiphonalarrangementofchoirsandorgansinthecoroofthebasilica.ThroughthecompositionsofTafalla,itwastodominate themusiccomposedattheEscorialformostofthereignofPhilipIV.Indeed,throughhisactivitiesasateacher,Tafalla'sinfluencewastoextendpasthisownlifetime, especiallythroughJoséphdelValleandManueldelValle. Tafalla'smusicisstraightforwardandimmediatelyattractive.Hispolychoralforcesaredividedintotwoorthreeusuallyunequalchoirs,eachsupportedbyanorgan continuo,andthescoringofthesechoirsrevealsapreferenceforlighttextures.Antiphonyisanimportantstructuraldevice,althoughitisusuallyconfinedtothe contrastofonechoirwithanother.Oftenthewritingforonechoir,usuallythelarger,ishom*ophonic,whilethewritingforthesmaller,andoftenhigher,groupsismore imitativeanddiscursive,adoptingsmallernotevalues.Mostofhispiecesareinduplemeter,thoughsectionsintriplemeterarefrequentlyintroduced.Harmonically,the styleissimpleanddiatonic,andneverventuresfarfromitstonalcenter.Tafalla'srhythmicandmelodicmotifsarealwaysconciseandwelldefined.Mostofthismusic, asisevidentfromthetextshechosetoset,wascomposedforfestaluse,anditisnotsurprisingthatthestyleofhisextantpieceswouldreflectthis.Itmusthave providedthemonksoftheEscorialwithawelcomerelieffromthelonghoursofplainsongtowhichtheyweredailycommitted.Itwasnotuntil1649thatthemonks actuallysatforthedurationofpolyphonicperformancesofthelongermovementsoftheMassordinary.76 ManueldeLeónisthefirstEscorialcomposeraboutwhomwecansaywithsomecertaintythatheheldthepostofmaestrodecapilla.77Hemusthaveservedin 74ThenumberingofthepiecesfollowsthatofRubio,Catálogo,54855.Thusthesetof11pieceswhichconsistsofacompleteVespers,Compline,andMasssettingiscountedas
onework. 75TheharpasacontinuoinstrumentinSpainisdiscussedinLópezCalo,SigloXVII(Madrid,1983),5964. 76AC1,fol.282r. 77Santos,Quartaparte,745.
Page157 Table5.6:ComposersattheEscorial,16211665
Page158
thisofficesometimebetweenhisreceptionofthehabitin1623andhisdeathin1632.AccordingtoRodríguezhecomposed"manypsalms,Masses,andlitaniesof OurLady"butnosecularworks.78Tothislist,Santosadds"somemotetswhichhecomposedforHolyWeek,"79andtheMemoriassepulcralesmentionshis "conductinghisPassions."80AtthetimeSantoswaswriting,ManueldeLeón'sworkswerestillbeingperformedattheEscorial.Manuscriptcopiesofthreemotets, twopsalmsettings,andtwoMagnificatsettingsarepreservedintheEscorialarchive.Thethreemotetsarescoredforfourvoicesandarewritteninthestyleof classicalpolyphony.81TheMagnificatandpsalmsettingsareeachscoredfortwoalternatingfourvoicechoirsandorgancontinuo.TheMisererespecifiesharpforits continuo. ThreeyearsafterManueldeLeón'sdeath,SantosreceivedthehabitattheEscorial.Afterdistinguishinghimselfinphilosophyandtheologyinthecollege,hewas appointedmaestrodecapilla.AccordingtotheEscorialnecrology,heheldthispostformanyyears,butneverwantedhisowncompositionstobeperformed.The samesourcetestifiesthathecomposedsomevillancicosforsolemnfeastsandforthevisitsoftheKingtotheEscorial.WearetoldthattheseworksearnedforFray FranciscotheesteemofPhilipIV,"whohimselfwasapoetandamusician."82Unfortunately,noworksbySantosareknowntohavesurvived. In1639,theunfortunateJuandelBarcoreceivedtheJeronymitehabitdespitebeingacastratoandtheillegitimatesonofapriest.Fromthatdateuntilhisdeathin 1705,hewasanorganistandcomposer.Itispossiblethatthetwoworks,aneightvoicelitanyandasixvoicevernacularpiece,survivingtodayattheEscorialand attributedto"JuandelVarco"arehis.IncontrasttothispaucityofsurvivingworksstandthoseofJuandeDurango(16321696),whowasadmittedtotheEscorialas ayoungtrebleinabout1642.83Nolessthanninetyworksattributedtothiscomposersurviveinmanuscript,somepossiblyinautograph,attheEscorial.Thirtyfourof theseareLatinliturgicalpiecesscoredforasmanyastwelvevoiceswithorganandharpcontinuo.Theremainingpiecesarevillancicosforuptotwelvevoices.84 LikeDurangobeforehim,JoséphdelValle(ca.16301692)wasadmittedtotheEscorialasatreblewhostudiedmusicandtheorganwithPedrodeTafalla.He 78"Nosehallacomposiciónsuyaalohumano,perosimuchosPsalmos,MissasyLetaniasdeN[uest]raS[eño]ra,"Familiareligiosa,fol.69v. 79Santos,Quartaparte,745. 80Memoriassepulcrales,fol.378v.Foratranscription,seeDHM10(1):2445. 81Oneofthese,themotetDomineJesuChriste,hasbeenpublishedbyS.Rubiointhe"Suplementopolifónico,"TSM(1944):3841. 82Memoriassepulcrales,fol.70v72r.Foratranscription,seeDHM10(1):3268. 83SinceDurangoreceivedtheJeronymitehabitin1650,Lairdisinerrorwritingthat"Durango...enteredtheEscorialin1650,""TheVillancicoRepertory,"244. 84Oneofthesevillancicos,Atirarconvidaelamor,istranscribedinLaird,"TheVillancicoRepertory,"2:419.Durango'sscribalactivitiesarediscussedin1:24349.
Page159
wasthefirstoffourmonkmusiciansnamed"delValle"toliveattheEscorial.Themonasteryarchiveholdsmanuscriptcopiesofover150worksascribedinwaysthat donotdistinguishbetweenthefourpossiblecandidates.TheconfusioniscompoundedbythefactthatthefirstnameoftwoofthemonkswasJoséph,andtheother twowerenamedManuel.85Afterthis,thefirstdelValle'sprofessionin1648,heservedthecommunityforanunknownperiodasanorganistandasmaestrode capilla.Previouswritershaveassumedthathecomposed,presumablyonthebasisthatheservedasmaestrodecapilla,thoughitisclearfromthecareerof FranciscodelosSantos,forinstance,thatitwaspossiblesuccessfullytoholdthepostandcomposeverylittle.86Ifhedidcompose,andifhisworkssurvive,theywill befoundtogetherwiththeworksofthethreehom*onymousmonkswhoservedtheEscorialbetween1648and1775. Inabout1651,ManueldelValle(16381676),wasadmittedasachildtotheEscorialhostelry,wherehestudiedgrammarandsinging.Fromthehostelry,hewassent totheseminary,wherehegainedaplaceasacantor.Hereceivedthehabiton10June1655andwasprofessedon11June1656.Givenhisclearlydemonstrated abilities,hewasdirectedtostudyorganandcounterpointunderPedrodeTafalla.Intime,thestudentachievedalevelofaccomplishmentcomparabletothatofhis teacher.Bothasmaestrodecapillaandasapoet,FrayManuelcontributedtothecelebrationsoftheEscorial'scentenaryin1663.AccordingtoSantaMaría,87Fray ManuelcomposedeightdifferentMasssettingsandsetsofVesperspsalmsfortheoctaveofthecentenaryofthelayingofthefoundationstoneoftheEscorial,in additiontovillancicosandotherworks,bothmusicalandliterary,associatedwiththecelebrations.TwoothercomposersenteredtheEscorialbeforethedeathof PhilipIV.JuandeAlmagro(16361679)receivedthehabitin1655,asdidJaímedeValencia(16371660)inthefollowingyear.NoworksbyAlmagroseemtohave survived,andonlyonebyValencia,aBeatusvira8,isextant. PhilipIVdiedat4:00amonThursday17September1665,inMadrid.Hewas62yearsold.At9:00pmonSaturday19September,alargecortègesetoutfrom MadridtotransportPhilipIV'sbodytotheEscorialforburial.TheyarrivedatthechurchoftheEscorialvillageat6:30amonthefollowingmorning,andat7:00am theyleftthechurchfortheroyalmonastery.ThecortègewasceremoniallyreceivedattheEscorialporticobytheseminarians,collegiates,andmonksoftheEscorial. Themonksandthemusiciansofthevisitingcapillarealthenascendedtothechoir,wheretogethertheysangthethreenocturns,Lauds,andMass.Attheconclusion oftheseoffices,thechoirdescendedintothebasilica,whereatthecatafalque,theysang 85ThisunresolvedattributionproblemisbrieflydiscussedinRubio,Catálogodelarchivodemúsica,64950. 86See,forexample,Rubio,"LacapillademúsicadelmonasteriodeElEscorial,"102. 87SantaMaría,Octavasagradamenteculta,17.SeeAppendix2forfurtherbiographicaldetailsofManueldelValle(16381676),togetherwithalistofthesourcesuponwhichthe
informationgivenhereisbased.
Page160 88
"threeverysolemnresponsories." AmongthemanyprovisionsfortheEscorialintheKing'swillwasthe"extensionandrepairofthebalconiesofthechoirorgans wherethemusiciansputthemselves."89ThissinglegestureistheonlyevidencewehavethatPhilipIV,inhisfortyfouryearsonthethrone,interestedhimselfinthe Escorialasamusicalfoundation. 88Santos,Quartaparte,208. 89Ibid.,209.
Page161
6— TheReignofCharlesII (1665to1700) Hiscanvasswassixyardshighbyonlythreewide,andhissubjectnothingmorenorlessthanCharlesII.andhiscourtreceivingthesacerdotalbenedictionatthe dedicationofthealtar.Fromtheseunpromisingmaterialsheproducedaworkofgreatpowerandsplendour,andoneofthemostinterestingpictureswhichhasbeen sparedtothedesolateEscorial.1
ThereignofCharlesIIwitnessed,inJune1671,themostdestructivefireinthehistoryoftheEscorial.Duringthefifteendaysinwhichthefireraged,largenumbersof artworks,books,andmanuscriptswerelost.TwoofthemostimportantdocumentstocomedowntousfromtheyearsofCharlesII'sreign,however,postdatethe blaze.TheyconcerntheceremonialrelocationsofasacredrelicattheEscorialin1684and1690.Oneofthedocumentsisanextraordinarypaintinghanginginthe sacristyofthebasilica,which,recordsamongotherthings,aclimacticmomentinthe1684ceremony.Theotherdocumentisamanuscriptdescriptionofthe ceremoniesofboth1684and1690,writtenbyFranciscodelosSantos.2ClaudioCoello'sLaSagradaForma,sometimesknownasKingCharlesIIofSpain AdoringtheHost,occupiedtheartistfrom1685to1690.Inamagisterialstudy,Sullivanhasbroughttogetherallthatisknownaboutthecirc*mstancesrelatingtothe painting'scommission,itsrelationshiptocontemporarypolitics,anditsiconographicalsignificance.3Despiteitsobviousimportancetomusichistory,however,the paintinghasattractedlittlemorethanpassingreferencesinthemusicologicalliterature.4Similarly,despiteitspublicationin1962,Santos'sdescriptionofthe 1W.StirlingMaxwell,AnnalsoftheArtistsofSpain(London,1848),1014. 2AME,MSJ.II.3.IthasbeentranscribedandeditedbyBenitoMediavillainDHM6:99141. 3E.Sullivan,BaroquePaintinginMadrid.Seeespecially6279. 4SeeL.Hernández,"ElcultodivinoenElEscorial,"passim;B.Hudson,"Torrijos,Diegode,"NewG19:834;Laird,"TheVillancicoRepertoryatSanLorenzoElRealdelEscorial,"1:
18992,5467;P.Laird,"FrayDiegodeTorrijosandtheVillancicoatSanLorenzodelEscorial,16691691,"453,456;B.Lolo,''AproximaciónalacapillademúsicadelmonasteriodeEl Escorial,"36971;S.Rubio,"FrayDiegodeTorrijos,"DieMusikinGeschichteundGegenwart,13:col.5767;andS.Rubio,"Lacapillademúsica,"834.
Page162 5
twoceremoniesremainsallbutunknowntomusichistory.Althoughthemanuscriptisundated,internalevidencesuggeststhatitwaswrittenin1691. Thevalueof eachofthesedocumentsisenhancedbytheothersincetheyareinterrelatedatanumberoflevels.Theauthorofthemanuscriptwasnotonlyprior,historian,and sometimemaestrodecapillaoftheEscorial;hewasalsoaneyewitnesstotheceremonies,thedevisorofthepainting'siconographicprogram,andthesubjectofone ofitscentralportraits.Tothemusichistorian,Coello'spaintingandSantos'smanuscriptoffer,individuallyandincombination,uniqueevidenceaboutthemusicallifeof theEscorialduringthereignofCharlesII. ItwasPhilipII'sintentiontoequiphismonasterypalacewithalargenumberofsacredrelics,andhesparednoexpenseindoingso.6InhisDescripción,Santosgives ussomeideaoftheextentofthiscollection:thereisahairofChrist'shead,severalpartsofthecross,eleventhornsfromthewreaththatpiercedhishead,andapiece ofoneofthenailsthatfastenedhimtothecross.Elevenentirebodiesofsaintsarenumberedamongtherelics.7Hecontinues:"Themostremarkablereliques,nextto theintirebodies,aretheheads...andofthese,thissacredmusaeumcanboastanuncommoncollection:thenumberofthose,whichareentire,beingnolessthan threehundred."8Afterdescribingthewholeheads,Santostellsusthatamongthepartialremains isawholejaw,withseveralteeth,ofStAgnes,virginandmartyr,andotherpartsoftheeleventhousandvirgins;withabovesixtyskullsofdauntlessmartyrs,besidesahundred othersacredremains,whichexcitereverenceinallwhoarenotlosttoreligionandtrueheroicvirtue.Besidesthese,thenumberofarms,ortheprincipalbonesofsaints,issogreat astostaggerbelief;foritappearsfromanexactaccounttakenofthem,thattheyexceedsixhundred.9
SantosexplainsPhilipII'szealincollectingsuchrelicstogetherattheEscorial: 5IfollowMediavillainconcludingfromthefollowingstatementthatthemanuscriptwaswrittenin1691:"Tuvosucomplementolareferidafábricaesteañopasadode1690."See
DHM6:129. 6SeeEstal,"FelipeIIysuarchivohagiográficodeElEscorial,"193333;Mulcahy,ThedecorationoftheRoyalBasilicaofElEscorial8:105;Checa,FelipeIIMecenasdelasartes,
28494,296;OstenSacken,SanLorenzoelRealdeElEscorial,604;Sigüenza,Fundación,401,53,109,164ff,36676;CabreradeCórdoba,FilipeSegundo,ReydeEspaña,1989; andSepúlveda,"SucesosdelreinadodeFelipeII,"2046. 7SantDescEng,104ff. 8Ibid.,109. 9Ibid.,1101.
Page163 Themultitudeofreliquesofconfessors,preachers,andholyvirgins,istrulyamazing;butourwonderwillcease,whenweconsiderthattheywerecollectedbysodevouta monarch,asPhilipthesecond;whoseardentzealknewnoboundsinamassingthesepreciousremainsfromallpartsoftheworld;especiallyinrescuingthemfromthehandsof heretics,andenemiesofthecatholicchurch,that,inthisbasilic,theymightenjoythevenerationtheydeserve,andbearrangedinsuitableorderandmagnificence.10
Prideofplaceamongtheserelicsisreservedforthesagradaforma,whichSantosdescribesas"aconsecratedhost...withthreebloodyspots,theindelible memorialsofitshavingbeentrampledonbyabandonedheretics,inthetownofGorcuminHolland."11Sincethehistoryoftherelicitselfhasbeentreatedindetail elsewhere,onlyabriefsummaryisofferedhere.12Thoughboththedateonwhichthehostwasconsecratedandwhetherornotitwasalreadyconsideredmiraculous whenitwasprofanedareunknown,historiansaregenerallyagreedthatthedesecrationtookplacein1572.13InthefaceoftheZwinglianheretics'attack,Catholic loyalistsinGorcumensuredapassageforthehosttothetownofMalines,whereitwasguardedbytheFranciscans.Itwassubsequentlytranslatedwithotherrelicsto AntwerpinthecareofacertainAndreasvanHorst.AccordingtothetestimonyofJohannesvanderDelft,priorofthechurchinGorcumwheretheprofanationtook place,therelicwasthenpassedtoFerdinandWeidner,aGermannoble,whotookittoVienna.14InVienna,thehostpassedfromWeidnertoBaronAdam Dietrichstein.Onhisdeath,Dietrichstein'swife,DoñaMargaritadeCardona,tookthehostwithhertoherresidenceinPrague.Theresheresolvedtopasstherelicto herdaughter,theMarquesadeNavarrés,butnotbeforegoingtogreatpainstoauthenticateit.Sometimeafter15October1592,onwhichdatetheauthenticating documentationwasendorsedbyanotary,therelic,togetherwiththedocumentationandasilverreliquary,weredeliveredtotheMarquesa.Thereissomedoubtabout whethertherelicwasdonatedtoPhilipIIbytheMarquesaorbytheEmperorRudolphofPrague,butinanycase,weknowthatitarrivedattheEscorialin1594.It wasnotuntil7November1597,how 10Ibid.,115. 11Ibid.,106. 12SeeE.Esteban,"LaSagradaFormadeElEscorial,"CD29(1892):91105andDHM6:10111.AcriticaldistillationofthesesourcesinofferedinSullivan,BaroquePaintingin
Madrid,6279. 13SeeEsteban,"LaSagradaFormadeElEscorial,"96andE.Tormo,"ElcentenariodeClaudioCoelloenElEscorial,"BoletíndelaSociedadEspañoladeExursiones,50(1942):158. 14Estal,"FelipeIIysuarchivohagiográficodeElEscorial,"28790.
Page164
ever,thatthemiraculoushostwassolemnlyreceivedatthemonasterybythepriorGarcíadeSantaMaría,GaspardeLeón,JosédeSigüenza,LuisdeToledo,Martín deVillanueva,andJuandeMadrid.15ThedecisiontohousetherelicintherelativelyminoraltaroftheAnnunciationwasmade,itseems,becauseofunresolveddoubts aboutthehost'sauthenticity. Theconsecratedhostwas,ofcourse,apowerfulsymboloftheEucharisticdoctrineuponwhichsomuchoftheReformation'stheologicaldebatehinged.Ahostthat hadactuallybledwouldhavebeenapowerfultoolofpropagandaintheageofReform.Butinanenvironmentwhichencouragedalucrativeblackmarketinthetrade ofrelics,PhilipIIinsistedoncastironassurancesofitsauthenticity.TherecanbelittledoubtthatthepossessionoftherelicwouldlendlegitimacytotheMostCatholic Kingasdefenderofthefaith,butitisjustascertainthatthepossessionofafakewouldperhapsevenmoreeffectivelyerodethatlegitimacy.Atameetingconvenedon 4March1594,agroupoflearnedclericscomprisingFrayAntoniodeCáceres,FrayGarcíadeLoaysa,andFrayJuanGuttiérezconcludedthatthedocumentation thathadarrivedwiththesagradaformawasinsufficienttoprovidesuchanassuranceandtheyrequestedthatfurtherevidencebegathered.Afewdayslater,the prioroftheEscorial,withaneyetoCanon6ofSession13oftheCouncilofTrent,offeredtheviewthattherelicmightlegitimatelybetheobjectofprivateratherthan publicdevotion.16Itseemsthatthefurtherevidencerequestedatthe4Marchmeetingnevermaterialized,andthehostremainedinthealtaroftheAnnunciationuntil thesolemntranslationof1684,whichisimmortalizedinCoello'spainting. Theseriesofeventsleadingtothe1684translationhadmuchmoretodowithpalacepoliticsthanwiththeReformation.ButifduringthereignofCharlesIItherelic begantoacquirenewsymbolicassociations,italsocontinuedtoactasapowerfulreinforcementofHabsburgpietyandlegitimacy.Thecomplexdetailsneednot detainushere.SufficeittosaythatmembersofthejuntadegobiernomountedanattackuponFernandoValenzuela,afavoriteoftheQueenRegentwhoactedas headofstatefromthedeathofPhilipIVuntilCharlesII'sfourteenthbirthday.CharlesarrangedforValenzuelatobehiddenintheEscorialmonasteryandin1667, 500troopsloyaltothejuntabeganasystematicransackingofthemonasteryinsearchofValenzuela.Outragedbythebehavioroftheinvadingtroops,theEscorial's priorpronouncedexcommunicationagainsttheirleaders.Theexcommunicationwasfinallyliftedsubjecttotheleadersagreeingtoconstructachapeloraltarwithinthe Escorialasanexpiatorygesture.Coello'sportraitandthealtaritconcealswerepartofthatgesture,thoughitwastheKing,ratherthantheprofaners,whofinancedthe project. 15SeeEsteban,"LaSagradaFormadeElEscorial,"92andEstal,"FelipeIIysuarchivohagiográficodeElEscorial,"219,2601. 16SeeG.deAndrésMartínez,"DosdocumentosinéditossobrelaSagradaFormadeElEscorial,"CD170(1957):66570.
Page165
AccordingtoSpanishartspecialistJonathanBrown,ClaudioCoello'sLaSagradaForma"isatonceadocumentary,aceremonialgroupportrait,areligiousallegory, andastatementofpoliticalpropaganda,allconjoinedinamasterpieceofillusionisticpainting."17Itisalsoaminutelydetailedrecordofamusicalperformanceandone ofthemostimportanticonographicalsourceswepossessforthestudyofmusicattheEscorial.Thepaintingdepictsanhistoricalevent:thereceptionin1684ofthe miraculoushostinanewlyconstructedaltarinthesacristyoftheEscorialbasilica.Thecanvas,whichislocatedaboveanaltaratthesouthernendofthesacristy, measuresapproximatelyfivemetersbythreemeters.Itistheartist'slargestandmostambitiousworkandisfrequentlycitedasthe"lastmajormonumentofSpanish lateBaroquepainting."18IndeedSullivanhasshownthatthepaintingispartofatraditionofgroupportraiturewhosemostnotableSpanishantecedentisVelázquez's LasMeninas. Forallthequalificationsthatshouldbemadeindemandingmusicalevidencefromsuchsources,thereissomeconsolationtobegainedfromtheconsensusamong commentators,beginningwiththeeyewitnessSantoshimself,aboutCoello'sscrupulousattentiontothedepictionofaccuratedetails.Theceremonies,which culminatedinthebenedictioncommemoratedinthepainting,aredescribedbySantosasfollows: Theopulentgatheringandmagnificentprocessionwhichtookplaceduringtheopeningceremony,especiallyonarrivingatthesacristy,isdepictedinit[thepainting].Inthe foregroundisshown,ononeside,thealtar,withitsdecorationsandcandlesticks,anduponthecarpeteddais,thecelebrantPrior,myselfatthetime,accompaniedbythedeacons andministers,bearinginhishandsthemonstranceoftheSagradaForma,[andshown]asthoughturningtowardsthepeopletogivethemthebenediction.Ontheothersideis ourlordtheKingkneelingatarichpredieu,withalightedcandleinhishand,andbehind[him]theretinueofgrandeesandnobleswhofollowedhimonthatoccasion.Then,inthe middledistanceandacrosstherestofthefloor,monksintheirdoublefilesasforaprocessionandseminaryboyswiththeirrochetsandsilvercandlestickscanbeseen;the baldachinatoneside,theportativeorganofCharlesVinthemiddleofthesingers[who]atthebeatofthemaestrodecapilla,aresingingandplayingavarietyofinstruments; andmuchfurther 17Brown,TheGoldenAgeofPaintinginSpain(Yale,1991),300. 18SeeSullivan,BaroquePaintinginMadrid,62andG.KublerandM.Soria,ArtandArchitectureinSpainandPortugalandtheirAmericanDominions15001800(London,1959),
289.
Page166 back[and]reducedinsize,otheranonymousfigureswatchthisceremonyattentively,withgreatproprietyofdressandbearing.Allthosevisiblearefaithfullyportrayed,[the depiction]oftheKingbeingsolifelikethatevenasapaintedimageheinstillsrespectandinspiresloveandadoration.19
Thisistheearliestandmostauthoritativedescriptionofthepaintingtohavecomedowntous.Itsauthorwasdepictedinthepainting,hewasresponsiblefor determiningitsiconographicalprogram,andhewasachiefprotagonistintheeventsrecordedonthecanvas.Thefactthatheservedasmaestrodecapillalends particularweighttotheaccuracyofthepreciousfewmusicaldetailshisdescriptionconveys.Indeed,thisdescriptionseemstohavebeenthechief,butfrequently unacknowledged,sourceofmanysubsequentwritingsconcernedwiththegroupportrait. Thefocalpointoftheentirepictureisthemonstranceencasingtherelic,whichisheldbyFranciscodelosSantos.Heisflankedbyadeaconandsubdeacon.Infront ofhimkneelsKingCharlesII.Behindthemonarcharethemembersofhiscourt.Themusiciansofthechapelaregatheredbehindaportativeorganonaraised platform.Oneithersideofthemaretworowsofseminariansholdingsilvercandlesticks,andatthelefttherearetworowsofkneelingmonks.Intheextremelowerleft handcornerisagroupofthreepersons,oneofwhomisbelievedtobetheartisthimself.Flyingabovethecourtassemblyarethreeangelswhor*presentReligion, DivineLove,andRoyalMajesty.Abovethese,fourputtifrolicbeforearedcurtainthatdrapestheentireupperportionofthecanvas.Thecherubsholdsabanderole withaLatininscriptionthatreferstothedelightsoftheeucharist. Themusicians,groupedtogetheronaraisedplatform,occupyadiscretespacewithintheframe,andtheirpostures,habits,facialexpressions,andinstrumentssetthem apartfromtheothergroups.Withoutcountingtheseminarianwhopumpstheorganbellows,thereareatleastfourteenmusiciansinthegroup.Theycomprisea cornettist,anorganist,abajonista,aconductorwhobeatstimeandholdsascore,aseminarianboysingerwhoholdsascore,andatleastnineotherswhoare probablysingers.Intheabsenceofanydetaileddocumentationthatmightfurtherclarifytheidentitiesandmusicalrolesofthemusicians,wemustturntoothernon musicaldocumentstodeterminethenamesandrolesofallthemonkmusicianswhoareknowntohavebeenmembersofthemonasteryin1684. WiththehelpofsuchdocumentsastheMemoriassepulcralesandRodríguez'sFamiliareligiosa,itispossibletoreconstructalistofthemonkmusicianswhowere livingintheEscorialin1684.Whilethedocumentslistthemusicalabilitiesofmostmonks,theyneverspecifytheperiodduringwhichtheywereactiveinaparticular function.In1684therewereatleasteighteenmonkmusicianswhomighthavebeen 19SeeDocument14inAppendix3.IamgratefultoKirstinKennedyandBernadetteNelsonfortheirhelpinthetranslationofthisandallsubsequentpassagesfromSantos's
manuscript.
Page167
involvedasmusiciansintheceremonywhichisdepictedinthepainting.Alistofthenamesofthesemusicians,togetherwithalistofthemusicalfunctionswhichwe knowtheyperformedatsometimeduringtheirresidenceinthemonastery,isgiveninTable6.1.Theageofeachmonkin1684isalsogiven,sincethishelpsinthe admittedlyhazardousprocessofidentification. In1684onlytwomonksresidentinthemonasteryplayedthecorneta:LuperciodeArcos,whowas57yearsofa*ge,andEusebiodeToledo,whowasonly18.No matterhowseveretherigorsofmonasterylifemayhavebeenattheEscorial,itseemsinconceivablethatthecornettistdepictedinthepaintingisateenager.Heis probably,therefore,LuperciodeArcos.AccordingtoRodríguez,writingin1756,Arcoswas"thecornettistofgreatestsweetnessandskillknowninthosetimes."20 Indeterminingtheidentityofthebajonista,wearepresentedwiththreepossiblecandidates:EusebiodeToledo(18years),FernandodelaTrinidad(24years),and JuandelaCalle(30years).Itmightreasonablybesuggestedthatitisthelattermonkwhoisdepictedinthepaintingforthefollowingreasons:Toledomaybe eliminatedbecausethebajonistainthepaintingseemsolderthan18years,Trinidadmaybeeliminatedbecauseheseemstohaveplayedbajónasanactivity secondarytocomposition,organplaying,anddirectingthechoir.JuandelaCalle'sclaimseemssecurefirstbecausehewasmoreseniorthantheothersandbecauseit waspreciselyhisfameasaplayerofthebajón,bajoncillo,andchirimíathatledCharlesIItorequestthathemovetotheEscorial,wherethesovereigngrantedhim anannualpensionfromhisownpurse.21 Theidentitiesoftheorganistandthemaestrodecapillaarelesseasytoestablish.Sullivan,inhisperceptivestudiesofthepainting,namestheorganistasDiegode Torrijoswithoutcitingasource.22BothRubio23andHudson24believetheorganisttobeTorrijos,onceagainwithoutcitingasource.Lolonotonlyrepeatsthisclaim, butaddsthatTorrijosisalsothemaestrodecapilla.Onthispoint,however,ourmusicallyliterateeyewitnessSantosisunequivocal:hedescribesthe"portativeorgan belongingtoCharlesVinthemidstofthesingers[who]ledbythemaestrodecapillaaresingingandplayingavarietyofinstruments."25LolocitesLairdasher source,butinfactLairdismuchmorecautiouswhenhewrites:"ItispossiblethatTorrijosisdepictedin...LaSagradaForma...thefacepeeringoutfrombehind theorganmightbethatofDiegodeTorrijos."26 20Familiareligiosa,fol.83r.ForatranscriptionfromMBN,MS13419,seeDHM10(1):198. 21SeeAppendix2forbiographicalnotesonthesemonkmusicians. 22Sullivan,BaroquePaintinginMadrid,64andSullivan,"PoliticsandPropaganda,"245. 23Rubio,"Torrijos,FrayDiegode.' 24Hudson,"Torrijos,Diegode." 25"ElorganillodeCarlosVenmediodeloscantoresalcompásdelMaestrodeCapilla,"DHM6:125. 26Laird,"FrayDiegodeTorrijosandtheVillancicoatSanLorenzodelEscorial,16691691,"453.
Page168 Table6.1:CensusofmonkmusiciansattheEscorialin1684 HermengildodelAguila:cantor,correctordelcanto,54 LuperciodeArcos:cornettist,57 JuandelBarco:organist,63 JuandelaCalle:correctormayordelcanto,maestrodecapilla,playerofbajón,bajoncillo,andchirimía, 30 JuandeDurango:singer,maestrodecapilla,composer,harpist,52 GregoriodelaEstrella:singerofpolyphony(voicebrokenby1684),organistwhoaccompanied polyphony,correctormayordelcanto,bass,49 AndrésdeFalces:tenor,correctordelcanto,42 JuandeLeón:singer,correctordelcanto,61 PedrodePrado:singerofplainsongandpolyphony,62 GabrieldelRío:correctormayordelcanto,singer,organist,23 JoséphdeSanJerónimo:singer,correctordelcanto,54 FranciscodeSalvatierra:correctordelcanto,singer,68 FranciscodelosSantos:maestrodecapilla,composer,67 EusebiodeToledo:bajonista,cornettist,18 DiegodeTorrijos:organist,composer,harpist,maestrodecapilla,cantorcillo,31 FernandodelaTrinidad:correctormayordelcanto,maestrodecapilla,organist,composer,bajonista,24 MateodeTrujillo:singer,59(?) MigueldeVadillo:singer,correctormayordelcanto,67 JoséphdelValle(d.1692)(P.Benedicte):tiple,organist,maestrodecapilla,composer,54
Untilsuchtimeasanauthoritativesourceidentifyingtheorganistcomestolight,itseemsprudenttoweighthecompetingclaimsofthesixcandidates:JuandelBarco (63years),JoséphdelValle(54years),GregoriodelaEstrella(49years),DiegodeTorrijos(31years),FernandodelaTrinidad(24years),andGabrieldelRío(23 years).Onthegroundsthattheorganistdepictedinthepaintingseemsolderthan31,wemayeliminateTorrijosandthetwoyoungercandidatesfromconsideration. Indeed,theveryfactthattheywerejuniortothreeotherorganistsseemsgroundsenoughtoeliminatethemfromaperformanceofsuchsingularimportance.Ofthe threeelderorganists,JoséphdelVallewascertainlythemostdistinguishedmusicianthoughhemightjustaswellbethemaestrodecapillainthepainting.Although theclaimsmadeforTorrijosseemtobeunfounded,itdoesnotyetseempossibletonarrowtheorganist'sidentitydowntoasinglecandidate. Thesameistruefortheidentityofthemaestrodecapilla.Infactthreeofthecandidatesforthisportraitarealsocandidatesforthatoftheorganist.Onthegrounds thathewasthemostsenioranddistinguishedmusician,thestrongestcasemaybemadeforJoséphdelValle(54years).Oversixtyofhiscompositionsareextantin theEscorialarchive.Asachild,hisadmissiontotheEscorialwasrecommendedbymaestrodecapillaPedrodeTafalla,underwhosetutelagehelearnedmusicand theorgan. Thosemembersofthecapillawhoareneitherconductingnorplayinginstru
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mentsmusthavebeensingers.Withtheexceptionoftheoneseminarian,theyareadults.Althoughthedocumentsmentionthesingingabilitiesoffifteenmonks,the voicetypesofonlytwoarespecified:GregoriodelaEstrellawasabass,andAndrésdeFalcesatenor.Thefactthatneithersopranists,altos,norfalsettistsare mentionedinthedocuments,however,doesnotallowustoruleouttheirpresence.Thedocumentsaresilentaboutthevocalabilitiesoftheonecastratomusician,Juan delBarco,whoseabilitiesasacomposerandorganist,nevertheless,arementioned. Afewotheraspectsoftheperformancecanbenoted:itiscertainthattheorganistandthemaestrodecapillaarenotoneandthesamepersonasLoloclaims.The performanceisclearlyunderthedirectionofthemaestrodecapilla,whoconductsfromamanuscript,whichheholdsinhislefthand.Inanycase,weknowfromthe consistentwayinwhichtheEscorialdocumentsdistinguishbetweenthesetwoofficesthattheywerenot,asarule,carriedoutbythesameperson.Thecornettist, whosecharacteristicsideembouchureisfaithfullyportrayed,playseitherfrommemoryorreadsmusicplacedontheorgan'smusicrack.Ayoungseminarian,who holdsapageofmusicmanuscript,issinging.MusicmanuscriptsfromthisperiodattheEscorialaretypicallypapermanuscriptswritteninsingleparts.Thefactthat duplicatepartsarerarelypreservedis,asbothLoloandLairdhavenoted,suggestiveofperformancebysmallnumbersofmusicians.Althoughthealmost photographicaccuracyofthepaintingmightraisehopesthatthemusicitselfisaccuratelycopiedonthecanvas,acloseexaminationrevealsthattheartistwascontent torepresentthenotationinanimpressionisticratherthanarealisticmanner. Ofthethreemusicalinstrumentsdepictedinthepainting,weknowleastaboutthecorneta.Infact,verylittleresearchatallhasbeenpublishedontheSpanish corneta.27Wedoknow,however,thattheinstrumentwasheardattheEscorialfromatleast1622,whenDiegoRoldánwasadmittedasasecularsalariedplayerof thecornetaandotherinstruments.In1629anothercornettist,EstebanThomás,wasaddedtothepayroll.28AlthoughnoSpanishcornetasareknowntosurvive,we havetwophotographsofinstrumentswhichbelongedtothecollectionofFranciscoAsenjoBarbieri(18231894).29Theirpresentwhereaboutsisunknown. ThankstotheworkofBordas,Verjat,andKenyondePascual,weknowmoreaboutthebajón.Infact,BordasandVerjathaveexaminedthreeinstrumentswhich surviveattheEscorial.30Althoughnoneoftheseinstrumentshascomedowntousin 27SeeE.H.Tarr,"EinKatalogerhaltenerZinken,"BaslerJahrbuchfürHistorischeMusikpraxis5(1981):11262. 28SeeDHM10(1):4178onthereceptionofasecularbajonistaandcornettistin1622and1629. 29C.Bordas,"LacoleccióndeinstrumentosdeBarbieri:unaaportaciónalahistoriadelaorganologíaenEspaña,"RevistadeMusicología14(1991):10511. 30C.BordasandL.Verjat,"Nuevosdatossobrebajonesespañoles:losinstrumentosdeElEscorial"(inpress).
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goodcondition,theydobearmarksthatindicatetheywerebuiltrespectivelybyM.Romero,Selma,andMelchorRodríguez.Theonlyoneofthesetohavebeen describedisthebajónbuiltbyRodríguez,awindinstrumentmakerattachedtotheroyalchapelfrom1669to1701.Themark'SE..A'ononeoftheEscorial instrumentsprobablyreferstoBartolomédeSelma,masterinstrumentmakerfortheroyalchapelbandfrom1612untilhisdeathin1616,orperhapstohisson, Antonio,whooccupiedthesamepostuntil1646.31SeventeenthcenturybajonesbySelmaandRodríguezthatsurviveinAvilahaverecentlybeendescribedby Bordas.32Romero,however,is,butfortheoneexemplarattheEscorial,unknown. Becauseofitsexceptionalvalueandceremonialimportance,wehaveanumberofdetailedandearlydescriptionsoftheorgan.Themostcompletedescriptionisfound inan"inventoryoftreasures,relics,paintings,tapestries,andotherobjectsofvalueandcuriositygivenbyKingPhilipIItothemonasteryoftheEscorialintheyears 15711598": Organ:somesilverorgans,eachgildedandcarvedinmezzorilievo,withtwolargehandles,uppermostpart[oftheorgan]hasthirteenappliquéedarms,withvariousinsigniaof trumpetsandtridents,belowonthesidesaresomearmswithsomepartitionspaly,andatthefrontaretwelvelittlerosettesofgarnetandfourgarnetsmountedindividually,above which,eightsmallergarnets;theentireorganscatteredwithlargeandsmallroughpearls,andallthepipesofsilverandthekeysofwood,platedwithsilver,enameledingreenand blue,andtwospringscoveredwithcrimsonsatinandMoorishstylesilverwork;organandbellowswithtwolargeleadweightsforthebellows,andorganandbellowsplacedin theirblackboxeswithlocksmadeinGermany.33 31B.KenyondePascual,"ABriefSurveyoftheLateSpanishBajón,"GalpinSocietyJournal37(1984):79. 32Bordas,CatálogoLasEdadesdelHombre(León,1991)2378. 33"Órgano:unosórganosdeplata,todosdoradosylabrados,demediorelieve,condosaldabasgrandes,contrecefigurasdesobrepuestoenloalto,condiversasinsigniasde
trompetasytridentesyabajoalosladosunasfigurasconunosrepartim[i]entosyenladelantera12rosicasdegranatesycuatroengastesdegranatesolos,arribaenloalto,8granates máspequeños;todoelórganosembradodealjófargruesoymenudoytodosloscañosdeplataylasteclasdemaderacubiertasdeplata,rieladasdeverdeyazulydosmuelles cubiertosderasocarmesíydeplatalabradaalamorisca;elórganoylosfuellescondospesasgrandesdeplomoparalosfuellesyelórganoyfuellesmetidosensuscajasnegrascon cerradurahechasenAlemania.(Ar.monasteriodelEscorial,cajón57,no.2)."Casares,Barbieri1:530.IremaingratefultoCristinaBordas,BernadetteNelson,andKirstenKennedyfor theirassistanceinthepreparationofthistranslation.
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ThisistheinstrumentmentionedbyAlmelainhisDescripcióndelaoctavamaravilladelmundo.In1594hewrites:''Andtheothersmallorganworkedwithmany andvariedfiguresandpoeticinventionsinit,sculpturedandmolded,whichwaspresentedtoHisMajestybythehouseofBohemiaassomethinghighlyprized,andat present,becauseitisnotrequired,isinanofficeofthesacristy."34 Writingataboutthesametime,Sigüenzamentionswhatmustbethesameinstrument:asilverorganwhich,becauseofitsvalue,ishousedinthesacristy.Hetellsus thatthisorganwascarriedinprocessionsoftheholysacrament.35Suchprocessionswere,ofcourse,anessentialpartofthecelebrationsofCorpusChristianditis clearfromthewritingsofFranciscodelosSantosthatthistraditionwascertainlyaliveinhisday:"TheOrgansthroughoutthewholeChurchareinnumber8;which bothbeautifieitwiththeiroutwardLustre,theLoftsbeingallgilt;andenlivenitwiththeirDivineMelody.ThereisoneallofSilver,extraordinaryrich,whichisplaid uponeveryCorpusChristiday."36 Thecustomofemployingthesilverorganduringthisfeast,alwayscelebratedwithgreatsolemnityinSpainandofparticularsignificanceintheEscorial'sCounter Reformationagenda,seemstohaveextendedfromatleast1600,whenSigüenzawasfirstpublished,toatleast1784,whenwefinditmentionedintheDirectoriodel correctorsegundo.37Accordingtothisprescriptiveliturgicalmanuscript,onthefeastofCorpusChristitheorganalternatedwiththeplainsongprocessionalhymnand TeDeum,andaccompaniedtheTantumergoverseoftheplainsonghymnPangelingua.Furtherdetailsoftheorgan'suseonCorpusChristiaregiveninthe Directoriodelcorrectordelcanto(1780),whichwarnsthattheinstrumentistuned"fiveorsixsemitoneshigherthantheusualpitch."38Inadditiontotheorgan's accompanyingandalternatingfunctions,theDirectoriodelcorrectordelcantoof1746tellsusthattheorganplayedsolotoaccompanythemovementoftheCorpus Christiprocession.Theseprocessionsalwaysculminatedatthehighaltarwhere,atthecompletionofthePangelingua,thepeoplewereblessedwiththemonstrance whilethemusicians 34"Yelotropequeñorealejodeplatadoradaconmuchasyvariasfigurasyfábulaspoéticasenél,esculpidasyvaciadas,quefuépresentadoaSuMajestaddelacasadeBohemia
porcosamuypreciada,yalpresente,p*rnosernecesario,estáenunaoficinadelasdelasacristía."Almela,Descripcióndelaoctavamaravilladelmundo,"DHM6:51.Thisis repeatedalmostverbatiminSantDesc,fol.24r.RotondoDescripción,100mentionstheorganandsaysthatitisusedinprocessionsoftheBlessedSacrament.Ximénez, DescripcióndelRealMonasteriodeSanLorenzodelEscorial,230mentionsonlythatthesilverorganistakenoutinprocessiononthefeastofCorpusChristi. 35SeeSigüenza,Fundación,333:"yelotroseguardaenlasacristía,porserdeplataydeprecioyporquedesdeallísellevaalasprocesionesdelsantoSacramento." 36SantDescEng,14. 37SeeDHM10(2):54. 38Seeibid.,2856.
Page172 39
sangthealabado. ItispreciselythismomentwhichisdepictedinClaudioCoello'sgroupportrait,thoughofcourseinthiscasethedestinationisthesacristyrather thanthehighaltarandtheceremonytakesplaceon19OctoberratherthanonCorpusChristi. ThequestionofthepiecebeingperformedatthemomentfrozeninCoello'sportraitbegsresolution.InOctober1690,asecondrelocationoftherelic,whichsawthe installationofCoello'spaintinginitspresentpositioninthesacristyofthebasilica,tookplaceovertwodays.Inhisdetaileddescriptionofthissecondrelocation, Santossuppliesmanyvaluablemusicaldetails.MostusefulforourpresentpurposesishismentionoftwoperformancesofsettingsofanOhadmirablesacramento preciselyatthemomentofbenediction.40Itseemspossiblethatasettingofthesametextwouldhavebeensungatthesamepointinthe1684relocationdepictedinthe painting.InacommentaryonSantos'smanuscript,MediavillacitesRubio'sopinionthatthepiecebeingsungisbyTafallaandinformsusthatRubio'stranscriptionof thepiecewassungina1946centenarycelebrationofthebirthofClaudioCoello.41AcursoryexaminationofRubio'stranscription,however,showsthatthepiecehe transcribedisTafalla'sOhinefablesacramento.42ItshouldbenotedthatRubiohimselfdoesnotclaim,eitherinthenotestohistranscriptionorinhisarticleonthe Escorialcapilla,thatitisindeedtheTafallapiecethatisbeingsunginthepicture.Inthefirst,hesimplystatesthatitwasacustomamongtheJeronymitestosingOh admirablesacramentoduringbenedictionwiththesacrament,andthatitispreciselythismoment(ofbenediction)whichisreproducedinCoello'scanvas.43Inthe second,henotesthesingingofOhadmirablesacramentoduringbenedictionwiththesacramentasanEscorialcustomimmortalizedbyCoello.44Perhapsthe substitutionofinefableforadmirableistrivial,butitcouldeasilyleadtosomeconfusion.ThreesettingsoftheOhadmirablesacramentotext,whichseemstobea parodyofthewellknownantiphonforthefeastoftheCircumcision,Oadmirabilecommercium,45areextantintheEscorialarchive:oneisattributabletothe otherwiseunknownJuandeTorres,anotherisbyCarlosPatiño(16001675),andthethirdisanonymous.Therearealso 39Seeibid.,1401. 40"Tomóenlasmanoslacustodia,yvueltoalpuebloenelaltar,cantandolosdelaCapillacomounosángelesel¡Ohadmirablesacramento!,echóatodoslabendición,"DHM6:134
and"SiguióseluegoelcantarelTantumergocongrandearmoníaydespuéseldecirelcelebrantelaoración,yconsiguientementeeldarlabendiciónatodosconlacustodiadela FormaSantadesdeelaltar,y,porúltimo,elponerlaycolocarlaentangloriosa¡OhadmirableSacramento!,cuyossuavísimosacentos,alentandoladevoción,hicieronsentirseenlas almasmilefectoscelestiales.'Ibid.,137. 41
SeeDHM6:134,n.65.
42SeeEvocacióndelpintorClaudioCoello,4954. 43Ibid.,48. 44S.Rubio,"LacapillademúsicadelmonasteriodeElEscorial,"83. 45Kirk,"ChurchingtheShawmsinRenaissanceSpain,"117.
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twosettingsofatext,Ohinefablesacramento,whichisidenticalbutforthesecondword:oneisanonymousandtheotherisattributedtoPedrodeTafalla(1605 1660). Thefinalrelocationofthemiraculoushosttookplaceovertwodaysin1690:28October,thefeastofSS.SimonandJudeandtheQueen'sbirthday,and29October. CharlesII,hisnewwifeMarianaofNeuburg,andthecourtarrivedatthevillaofLaFresnedawiththeirentourageintheafternoonof18October.Aftersunset,the monarchsemergedtothespectacleofthemonasterypalacebathedinthelightof36,000candlesandlanterns.Tothesoundofthecarillon,theroyalpartywasmetat thegrandportalbytheJeronymiteswhosangthetraditionalTeDeum"agravepaso."Theprocessionofsingingmonksledtothebasilicawheretheirvoices,asthey entered,begantomergewiththesoundoftheorganswhichwerealreadyplaying.46TothecontinuingaccompanimentoftheTeDeum,theprocessionmadeitswayto thehighaltar,whereallpresentkneltinadorationoftherelicintheirrespectiveplacesuntiltheconclusionoftheTeDeum. Throughoutthefollowingtendays,therelic,surroundedbyflowersandcandles,wasexposedforpublicveneration.TheKinghadorderedthepresenceoftheroyal chapelforthecelebrations,andwearetoldthatfortysingersandagreatnumberofinstrumentalistsmadethejourneyfromMadrid.OnSaturday,28Octoberthe sacramentwasexposedtopublicvenerationfromtheconventualMassuntilnighttime."Veryfewwerethehours[thatday]duringwhichthedivinepraisestotheLord couldnotbeheard;some[oftheseweresetto]theplainsongofthemonks,otherstothedifferentchoirsoftheroyalchapelmusicians.TheirMajestiesattendedMass intheoratories."47Intheafternoon,everyonecametogethertocelebrateVespersofthetranslation. Santos'sdescriptioncontinues: TheirMajestiesattendedhighabove,inthechoirloft.This[Vespers]wascelebratedwithsolemnityandincomparablemusic,[performed]bysevenchoirsandwithanuncommon varietyofinstruments.ThesingingofComplinefollowed;intheinterimthelampsofthehighaltarwerelit,asHisMajestyhadordered,andthusthetemple,thenaheavenfor celestialharmonies,becameoncemoreaskyscatteredwithstars.Complinehavingfinished,thecommunities[monks,seminarians,andcollegiates]wentdowntotheprincipal naveofthechurchtocoveruptheBlessedSacrament,[from]where,[standing]intwolonglinesthatstretchedfromthegrillesattheentranceuptothehighaltarsteps,with lightedcandlesintheirhands,andtheroyalchapelinthemiddle,dividedintodifferentchoirs,betweenthem,theymadea 46DHM6:131. 47Ibid.,133.
Page174 curioussight.Forthisceremony,TheirMajestiespositionedthemselvesabovebythebalustradeofthechoirloft,andthelordsandladies[placedthemselves]atanappropriate distance.Theorgansdidnotceasetobeplayeduntiltheywerethussettled,and[until]thecelebrantpriorwasatthealtarwithhisassistantsdeckedoutwithsumptuousfinery. Everyoneknelt,and,withthe[soundofthe]organsceasing,thosebelongingtotheroyalchapelbegan[thesinging]withavillancicomostaptforthemysticalcirc*mstances,and ofgreatskillandgrace.Then,uponfinishingit,itwastakenupbyallsinginginfabordón,accompaniedbytheorgans.Thosebelongingtotheroyalchapelbeganwitha villancico,andvariousinstrumentstheLaudaJerusalemDominum,[and]beforesuchperfection,formedfromvoicesandechoes,noonecouldceasetobeamazed;thepsalm lastedsometime,andthedevotion[ofthosepresentmadethemwish*thadlasted]muchlonger.TheTantumergowasthensungimmediatelywithmarvelousharmonieswhich broughtjoytothesoul,andthecelebranthavingperformedatthealtartheritesoftheHolyChurch,andtheprayershavingbeenofferedwhichrequestGod'sgracetocelebrate withdignityinthatsacredmysteryandthefruitofredemptionforallthosewhothuscelebrate,thehealthandlonglifeofthemonarchs,andpeaceofthemonarchies,throughthe intercessionoftheholyapostleswhosefeasthadbeensolemnized,hetookinhishandsthemonstrance,andturnedtothepeopleatthealtar,thechapelsinginglikeangelstheOh admirablesacramento,heblessedallandtookthehosttothemonstrancefromwhenceitwastoleavethefollowingdaytobetranslatedtothesacristy.48
Onthefollowingday,thecarillonplayedinthemorningandtheseminarianssangthedawnMass.Themonksthensangthemisadeprimafollowedbytheother canonicalhours.InpreparationfortheconventualMass,thebasilicawasdecoratedwithrichornamentsandilluminations.Santoscontinues: ByorderoftheKing,fourchoirsofsingersfromhisroyalchapelwerepositionedinthemainnave,andabove,inthemonks'choir,anotherfour,twoatthebalustradeandtwoat theorgans,withavarietyofinstruments,andthemonks'chorus,whichhadalreadyenteredtooccupyitsstalls,was 48Ibid.,133.
Page175 alsosingingmostsolemnly,makingatotalofnine,whichaswasshownbythemagnanimouszealofHisMajestyonasimilaroccasion,itappearshewantedtheretobeninechoirs inimitationofthoseoftheangels,andthusitwasindeedso,withgreatsimilarityofeffect.TheirMajestiesenteredtheoratoriesfromtheirpalace,which[inturn]opensontothe highaltar,andthegrandeesenteredthechurchandchoirinaccordancewiththeirrank,whileatthesametimejoyfulandmelodiousinstrumentssoundedinsonorousproportion. These[instruments]ceasing,themonksbegantheIntroitoftheMass,andthecelebrantpriorwiththedeacons,acolytes,andthurifersascendedtothealtar,whiletheseminary boyswhohadaccompaniedthemfromthesacristydressedintheirrochets,remaineduponthesteps.49
SantosoffersmanydetailsaboutthemusicperformedduringtheMass: WhenduringtheMassthecelebrantsangtheGloriainexcelsisDeo,itseemedthat[it]hadfilledthetempleandwasbeingenjoyed[there],suchdidtheharmoniesoftheechoes ofthevoicesandinstrumentsresoundinitsvastinteriorandvaults,carryingbeforethemthemysteriousepilogueofthepraisestoGod.Nowaverseintheprincipalnave,now anotherfromthebalustradeofthechoir,nowontheorgans,someaccompaniedbynobleharps,othersbydelightfulviolins,inonepartthesonorousarchluteisheard,inanother boldclarines,answeredbyachoirofotherdifferentinstruments,andwhentheyalljointogether,astheydidtosingGratiasagimustibiproptermagnamgloriamtuam,and afterwardsatothermomentsduringtheMass,asintheCredoatthe[Et]Incarnatus,andattheAgnusDei,itisnotpossibletospeakofthedelightedastonishmentfeltbyalland theheavenlysensationwhichflowedintheirhearts.Inthiswaythemusicproceeded....
AttheconclusionoftheMass,an"admirablevillancico"wasbegun.InthecourseoftheprocessionwhichfollowedtheMass, veryjoyfulandfestivevillancicosweresung,whoseharmonywasajoytothehearatthestation,andgaveconsolationtotheheart.Therewereasmanyvillancicosasaltarsand onprocessingfromonetoanotherreturninginawidecircuitofthecloister,therewerehymnsandpsalmsofastonishment 49Ibid.,1345.
Page176 whichresonatedinitsexpanse,musiciansaccompanyingthevoiceswithinstruments,andveryespeciallywiththeportativeorganoftheEmperorCharlesV,allofsilverandofthe sweetesttonesandtherichestconsonances.Inthiswaytheyreturnedtothechurchwhereatthegrilleofabeautifulaltarthepenultimatevillancicowassung,whichtheQueen heardfromthechoirwithmuchpleasure;andtheTeDeumlaudamusfollowed,towhoseversesthegreatorgansrespondedwithincreasingmixtures,those[intheprocession]led fromtheprincipalnavetothesacristy,thedestinationofsuchanillustriousmovementandcipherinitsadornmentofallthatwhichisimaginableinmajesty.50
Wheneveryonehadenteredthesacristythelastvillancicobegan,and [t]henfollowedthesingingoftheTantumergowithgreatharmony,andafterwardsthecelebrantsayingtheprayerandthenblessingallwiththemonstranceoftheSagradaforma fromthealtar,and,finally,placingitinsuchaglorioustabernacleandrepeatinginthemeantimethemusicOhadmirablesacramento,whosesweetaccentsinspireddevotion, liftingtheirheartsheavenwards.51
ThefivetypesofinstrumentsspecifiedbySantosareorgans,harps,violins,clarinesandthearchlute.TheseinstrumentswereheardthroughoutVespersandMass, andthefamoussilverportativeorganwasplayedintheprocessions.Althoughwedonothaveapreciselistingofthemembersofthecapillarealin1690,Lolohas shownitsmembershipin1695tohaveconsistedoftwoorganists,twoharpists,twoarchlutenists,fourviolinists,andtwovioloneplayers.52AlthoughSantosdoesnot mentionthelatterinstrumentbyname,hemayhaveintendedittohavebeencoveredbytheumbrellatermviolin.Itwasnotuntil1701thatchirimíaswereofficially replacedbyclarinesatthecapillareal.TheemploymentofclarinesbythecapillarealattheEscorialin1690isoneoftheearliestnoticeswehaveoftheiruse beforethe1701reformofthecapilla. TheperformingforcesdocumentedinSantos'sdescriptioncomprisethefortymembersoftheroyalchapel,aJeronymitechoir,andalargenumberofinstruments. DuringtheMass,ninechoirsweredistributedthroughoutthebasilicainthefollowingmanner:fourfromtheroyalchapelsanginthemainnave,twosangatthe balustradeofthemonk'schoirgallery,twosangattheorgansinthesamegallery,andthe 50Ibid.,136. 51Ibid.,136. 52B.Lolo,LamúsicaenlaRealCapilladeMadrid,28,41,667.
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choiroftheJeronymitecommunitypresumablysangfromtheirchoirstalls.WhileplainsongwasprobablyentrustedtotheentireJeronymitecommunity,itisnotclear whetherthemonkmusiciansoftheEscorialcapillaalwaysperformedasadiscreteunit,orwhethertheyaugmentedtheconsiderableforcesofthevisitingcapillareal. Inadditiontovillancicos,thevisitorssangatVespers(includingtheLaudaJerusalem),theyjoinedinafabordónwhichwasaccompaniedbytheorganandsungby everyone,theysangtheordinaryoftheMass,andtheypossiblyjoinedinthesingingoftheTantumergoinprocessionandperhapsoneorbothoftheperformances oftheOhadmirablesacramento. Table6.2liststhetwentysixmonkswhowereactiveattheEscorialsometimeduringthereignofCharlesIIandwhomthedocumentsnameassingers.Thereisstrong evidenceofamarkeddeclineinthenumberofsingersavailableduringthisperiod:atthebeginningofthereigntwentysingerswereavailable,in1684onlytenor twelvewereavailable,andby1700thenumberhaddwindledtoperhapsfiveorsix.Nolessthantwentysingersdiedduringthisperiod,butonlysevennewrecruits arrivedtofilltheirplaces.TheMemoriassepulcralesmentionsanumberofchronicillnesses,andthedeclininghealthofmanyofthosesingerswhosubsequentlydied musthavedealtaseriousblowtoperformancestandardsatvarioustimes.ThemajorityofsingersavailableduringthisperiodhadenteredtheEscorialascantorcillos. Indeed,manywereadmittedpreciselybecauseoftheirgoodvoicesandmusicalabilities.SuchmusiciansasHermengildodelAguila,GregoriodelaEstrella,Juande Durango,andFranciscodeNájera,forinstance,fallintothiscategory.Typically,attheageof12or13,theyenteredtheseminary,wheretheystudiedLatin,grammar, rhetoric,andmusic.Havingcompletedfouryearsintheseminary,theywouldbeadmittedtothehabit,usuallyattheageof16or17.Afterayearofnovitiate,the monkwouldbeprofessed.Itwasintheseminarythatmostoftheformalmusicalinstructioninthemonasterytookplace.Thedocumentsmakeitclearthatplainsong wastaughttoallseminarystudentsandthatthosewithtalentwereinstructedinpolyphonyandevenincomposition.Seminarianswithexceptionaltalent,suchas JoséphdeSanBartholomé,receivedinstructioninbajón,bajoncillo,chirimía,andvihuela.Suchmusicalinstructionwouldoftencontinuethroughthenovitiateyear. TalentedsingerslikeGregoriodelaEstrella,forinstance,learnedtheorganandpolyphonyduringtheirnovitiate.AgustíndeSanJerónimo,whohimselfwasadmitted asacantorcillo,becamemusicmasterintheseminary,teachingbothplainsongandpolyphony.Ifsuchpracticesassuredthecontinuityofmusicaltuition,theywould alsohavecontributedtoaclosedandintrovertedmusicaloutlook.Outsideinfluencesmusthavearrived,however,withthatminorityofmusicianswhojoinedthe Escorialcommunityasadultsandwhothereforehadreceivedtheirmusicaltrainingelsewhere.SingerslikeSebastiánSerranoandMigueldeVadillobelongedtothis category.Aspirantstothemonasticlifecamefromavarietyofclassesandregions.MonkslikePedrodePrado,GabrieldelRío,JoséphdeSanBartholomé, SebastiándeVictoria,andFranciscodeSalvatierracamefromwealthynoblefamilieswhile
Page178 Table6.2:SingersattheEscorial,16651700
Page179
othershailedfromlessillustriouscirc*mstances.Someofthesingersdistinguishedthemselvesinfieldsfarremovedfrommusic:SebastiándeVictoria,forinstance,was apublishedauthorandrosethroughimportantpostsattheEscorialtobecomepriorandeventuallyBishopofUrgel.SuchdocumentsastheMemoriassepulcrales andtheFamiliareligiosafrequentlydistinguishbetweenthecoroandthecapillawhenreferringtosingersinthisperiod.Someeveninferthepermanentdivisionof choralforcesintomultiplechoirs.FranciscodeNájera,wearetold,alwayssangtheprincipalpartsofthefirstchoir.So,too,didGregoriodelaEstrella,though presumablynotatthesametime.GregoriodelaEstrellawasgreatlyvaluedforhistiplevoice,whichdidnotbreakuntilhisnineteenthyear.Nomentionismadeofthe presenceoffalsettists,sopranists,orcastratiduringthisperiod. Table6.3liststhefifteenmonkswhoheldthepostofcorrectordelcantoatsometimeduringtheperiod1665to1700.AlltenwhocametotheEscorialbefore1665 diedduringthisperiod;fivenewmonksarrivedtofillthebreach.Attheveryendofthisperiod,onlyfourmonkswereavailableascorrectoresdelcanto,whereasten wereavailableatthebeginning.Ofthefifteenmonksnamedinthiscapacity,twelvearealsonamedinthedocumentsassingers.Someofthemonksnamedheldthe officeofcorrectordelcantoforlongperiods:FranciscodeSalvatierra,forinstance,wascorrectorfortwentynineyears.Onlytwomonks,JuandelaCalleand FernandodelaTrinidad,arenamedashavingservedasbothmaestrodecapillaandcorrectordelcanto,suggestingthattheskillsandresponsibilitiesofthese positionsremained,forthemostpart,separateanddistinctduringthisperiod. ThenamesoftheeightmonkswhoheldtheofficeofmaestrodecapilladuringthereignofCharlesIIarelistedinTable6.4.Itisthesemonks,sixofwhomwere composers,whomusthavedominatedmusicmaking.Fivemaestrosdecapilladiedinthisperiod.ThefirstofthethreenewcomerswasDiegodeTorrijos,whose musicalcareerunfoldedentirelywithinthemonastery'swallsfollowingafamiliarpattern:hewasadmittedtothemonasteryasacantorcilloandsubsequentlystudied theharp,organandcomposition.ThesecondtoarrivewasFernandodelaTrinidad,who,likeTorrijos,wasanorganist.Itisnotknowntowhatextenthisfriendship withMarianaofNeuberg,CharlesII'ssecondwife,influencedmusicmakinginthemonastery.Thethirdmaestrodecapillatoarriveduringthisperiod,Juandela Calle,wasprecededbyastrongreputationasaplayerofbajón,bajoncillo,andchirimía,whichhehadearnedintheJeronymitemonasteryofSanJuandeOrtega nearBurgos.HewasbroughttotheEscorialthroughtheinterventionofCharlesII,whograntedthemusiciananannualpensionfromhisownpocket.Itwasthe monarch'sintervention,too,whichbroughtAndrésdelEspírituSantototheEscorial,thoughitisnotknownforhowlongorpreciselywhen.AccordingtoNúñez,this castratowasbroughttosingintheEscorialcapillaattheKing'srequestanditwasprobablyonlyinthiscapacitythatheperformedattheEscorial.53Withthe exceptionofEspírituSanto 53JuanNúñez,QuintapartedelahistoriadelaordendeS.Gerónimo,1174.
Page180 Table6.3:CorrectoresdelcantoattheEscorial,16651700
Page181 Table6.4:MaestrosdecapillaattheEscorial,16651700
Page182
andFranciscodelosSantos,allothermaestrosdecapillawereknownfortheirinstrumentalabilities:JuandelaCalleplayedbajón,bajoncillo,andchirimía;Juan deDurangowasaharpist;DiegodeTorrijosplayedharpandorgan;FernandodelaTrinidadplayedbajónandorgan;andbothJoséphdelValle(d.1692)and ManueldelVallewereorganists.TheEscorialwasaneveraplacewheremusicaltaskswerecloselydefinedandthefreedomwhichitsmusiciansenjoyedintheir musicalactivitiescontrastsstronglywiththespecializedtasksrequiredofmaestrosdecapillaincathedralsandroyalchapels. Inthisperiod,theumbrellatermtecladisappearsfromthedocuments;nokeyboardplayersotherthanorganistsarementionedintherecords.Theorganists'names arelistedinTable6.5;duringtheentireperiod,sixorsevenwereavailableatanyonetime.Whilethepracticeofplayingsixorganssimultaneouslyisdocumented,it wasreservedforthemostspecialoccasions.Fiveorganistsdiedandsevenneworganistsarrivedinthisperiod.JuandelBarcodistinguishedhimselfbylivingthrough theentireperiodofCharlesII'sreign.WhileJosédeBuendíaandMigueldeSantiagoseemtohaverestrictedtheirmusicalactivitiestoorganplaying,thiscouldnot havebeenbecauseitwasdiscouraged.AllotherorganistscontributedtotheEscorial'smusicmakinginaleastone,andoftenmorethanone,othercapacity.The abilitytoplaytheorganismoreoftenassociatedwithmaestrosdecapillaandcomposersthanwiththeabilitytoplayotherinstruments.JosédeBuendíaplayedthe organattheEscorialforsometimebeforejoiningtheOrder. Table6.6liststhosemonkswhoplayedinstrumentsotherthantheorganduringtheperiodofCharlesII'sreign.Thenumberofinstrumentalistsavailableremained stable,atbetweensixtoeight,throughouttheperiod.Thedocumentsnamefiveharpists,eightbajonistas,threecornettists,twoshawmists,andtwocarillonneurs. Many,ofcourse,playedmorethanoneinstrument.Ignoringforthemomentthecarilloneurs,theinstrumentalistsseemtofallintotwodiscretegroups:harpplayersand windplayers.Noharpistseemstohaveplayedawindinstrumentandnowindplayerseemstohaveplayedtheharp,althoughJoséphdeSanBartholomédidplaythe vihuela.DuringthisperiodnineinstrumentalistsdiedorlefttheEscorialandninenewcomersarrived.Someinstrumentalists,likeFernandodeSantaCruz,Luperciode Arcos,andVicentedeSanFranciscocametotheEscorialasadultswhowereadmittedtothecommunityspecificallybecauseoftheirinstrumentalexpertise.Mostof thecornettistsseemtohavelearnedtheirinstrumentoutsidethemonastery'swalls,whereasorganists,singers,andbajonistasseemtohavereceivedtheirinstruction withinthemonastery. Table6.7liststheelevenmonkmusicianswhowereactiveascomposersattheEscorialduringthisperiod.Ofthethreenewcomers,DiegodeTorrijosistheonlyone tohaveleftaconsiderablebodyofcompositions.AndrésdelEspírituSantowasvaluedprincipallyforhisfinevoiceandseemstohavespentonlyabriefperiodatthe Escorial.Nocompositionsattributabletohimsurvive.AneightvoiceRequiemistheonlyworkofFernandodelaTrinidadtosurvive.Torrijosleft50Latinliturgical pieces,12worksfororgan,and21villancicos.Laird,whohasstudiedthevillancicos
Page183 Table6.5:OrganistsattheEscorial,16651700
Page184 Table6.6:OtherinstrumentalistsattheEscorial,16651700
Page185 Table6.7:ComposersattheEscorial,16651700
Page186 54
indetail,hasshownhowTorrijossupervisedthecopyingofmanyofhisownworks. OfTorrijos'ssevensettingsoftheMassordinary,fourarescoredfortwelve voices,twoarescoredforsixvoices,andoneisscoredforeightvoices.Thevoicesineachcasearedistributedovertwoorthreechoirs,eachofwhichissupported bytheorganplayingfromasparselyfiguredorunfiguredbassline.Sometimesthereisaseparatepartforharpwhichalwaysconsistsofabassline.Asan accomplishedorganist,harpist,andmaestrodecapilla,hequitepossiblydirectedhisperformancesfromtheharportheorgan.MuchofTorrijos'smusicwaswritten forVespers:hissettingsofVesperspsalmsandhymnsarenearlyalwaysscoredforeightormorevoices.InadditiontofivepolychoralMagnificatsettings,helefttwo completesettingsofVespersfortheBlessedVirginfortwelvevoicesandeightvoices.HissinglesettingoftheOfficeoftheDeadrevertstoamoresoberfourvoice choir,andhisLamentationsforHolyWeekarescoredforeightvoices.ThefactthatsomeofTorrijos'sworkssurvive—incopiesmadebyJoséCrespoin1749,by FrayPabloRamoneda(17431792)and,aslateas1803,byoneofthehom*onymousmonksnamedFerrer—demonstratestheesteeminwhichhismusicwasheld afterhisdeath.ThetextssetbyTorrijosarethemostreliableguidewehavetothepartsoftheEscorialliturgywhichadmittedthegreatestmusicalelaborationduring thisperiod.AlthoughTorrijos'smusicalstylediffersconsiderablyfromthatofthecomposersrepresentedintheEscorial'spolyphonicchoirbooks,theliturgicalgenres inwhichhecomposeddonot.ItisclearthatVespershadbecometheofficetowhichmostmusicaleffortwasdirected,buttheMassordinary,theOfficeoftheDead, andtheHolyWeektextswerestillofgreatimportance. 54Laird,''FrayDiegodeTorrijosandtheVillancicoatSanLorenzodelEscorial,16691691."
Page187
Epilogue OfthefiveHabsburgkings,CharlesVinspiresenthusiasm,PhilipIIrespect,PhilipIIIindifference,PhilipIVsympathy,andCharlesIIpity.1
IntheEscorial,PhilipIIfoundedamusicalinstitutionuniquenotonlyinhisownmusicalpatronage,butalsointheworld.Almosteveryaspectoftheperformanceand compositionofhismusicwithintheEscorial'swallsduringhisreignmaybeexplainedbyreferencetohisexpressedintentions.Inthisextraordinarybuilding,the"most CatholicKing"enshrinedaninterpretationoftheTridentineorthodoxyinliturgicalandmusicalobservancesthat,inthecontemporaryCatholicworld,wasapproached initsrigidityonlybythatofCardinalCarloBorromeoinMilan. SuchmattersasPhilipII'sinterventioninthereformoftheRomanGradual,hisvigoroussupportofthepolyglotBible,andhisinsistenceupontheuseoftheBreviary andMissalofPiusV,aremanifestationsofconcernsmuchdeeperthansimplepiety.ToPhilipII,religiousandpoliticalmotiveswereinseparable,and,atatimewhen heterodoxythreatenedhisdominions,theEscorialwasconceivedasthecornerstoneofaminutelyplannedCounterReformationstrategy.Hisaimwastoreinforceand advanceorthodoxythroughthetrainingofpriestsintheseminary,throughtheprintinganddisseminationofliturgicalbooks,throughtheologicalresearchinthelibrary, andthroughcontinuousliturgicalactivityinthebasilica.AsasymbolicshowpieceoforthodoxyandacenterforthepropagationofCatholicreform,theEscorialwas unsurpassed. InthefoundationstatutesfortheEscorial,PhilipIIorderedthatMassandthedivineofficebecelebratedinplainsong,andheprohibitedpolyphony"inanymanner, neitherinanydayorfeast."Tothisend,hecommissionedthelargestandmostexpensivesetofplainsongchoirbooksevercopied.Nevertheless,andinspiteofthe restatementoftheprohibitionofpolyphonyin1592,thereisstrongevidencetosuggestthatasimplekindofpolyphony,probablyimprovisedandconsistingofthe additionofcontrapuntallinestoaplainsong,waspermitted.Indeed,itseemslikelythatthisstyleofpolyphonywasdevelopedattheEscorialbyMartíndeVillanueva indirectresponsetotheKing'swishes.ItwasalsotheKing'swishthatnosalariedmusiciansbeemployedattheEscorial. PhilipII'sdeathin1598precipitatedthebeginningoftheendoftheEscorial'spreeminence.Undertheinfluenceofhisfavorite,thefirstDukeofLerma,whowas 1G.Marañon,ElCondeDuquedeOlivares:Lapasióndemandar(Madrid,1952),720.
Page188
eagertodisassociatehimselfandhisKingfromtheolderorderofPhilipII,PhilipIIIallowedtheEscorialtodiminishinstatusandimportanceonthewiderpolitical stage.TheremovalofthecourtfromtheEscorialtoValladolidin1601dealtablowtotheEscorial'sprestige,fromwhichitneverrecovered.FortheEscorialasa musicalinstitution,however,thedeathofitsfoundermeantthebelatedacquisitionofthekindofpolyphonicrepertorythatwasbeingperformedthroughoutEuropein thesecondhalfofthesixteenthcentury.MusicsuchasMorales'sMagnificatsettings,Palestrina'sMasses,andthemotetsofPalestrina,Rogier,andotherswerenow heardattheEscorial.TheaccessionofPhilipIIItothethronealsosignaledtheintroductionofmusicalgenressuchastheChristmasvillancico,andpracticessuchas theuseofthebajón,andtheprovisionofplacesforsingersskilledintheperformanceofpolyphony,whichwerecommonthroughoutthecathedralsandchapelsof Spaininthepreviouscentury. ForPhilipIV,arguablymoremusicallyknowledgeablethaneitherhisfatherorgrandfather,theEscorialwasanirrelevantrelicofthepast.Thoughhispatronageofthe literary,visual,andmusicalartswasconsiderable,itfounditoutletsinthePalacesoftheBuenRetiroandtheAlcázarratherthanintheEscorial.Duringhisreignthe Escorialshedmanyofitsformerroyalfunctions,anditsdecliningsignificanceisreflectedin,amongotherthings,therelativelysparsedocumentationforthisperiod.The earlieststatementwehaveapprovingtheuseofpolyphonyonSundaysandfeastdaysemanatingfromtheEscorialwaspublishedindelaVera'sInstru[c]ciónde eclestiásticos(1630).InhisOrdinarioyceremonial,publishedsixyearslater,thesameauthorrestatedthisapproval,thoughprohibitingtheinvolvementofsecular singers.Fromothersourcesweknowthat,fromatleast1622,secularinstrumentaliststookpartinliturgicalmusicmakingattheEscorial.Beyondtheemploymentof theseinstrumentalists,however,thereisnoevidenceofanycontactwiththemusicalworldoutsidethemonasteryprecincts.Withinthisintrospectiveenvironment,a musicalstylethatansweredsolelytotherequirementsofthemonastery'sliturgywasformulatedprincipallybyPedrodeTafalla. PhilipIV'smostenduringandimportantcontributiontotheEscorialwasthePanteón.Thatheordereditscompletionin1647,thesameyearinwhichhefoundhimself thelastmaleHabsburginSpain,suggeststhattheEscorialmaintaineditspotencyasadynasticsymbolinaperiodwhenmanyofitsotherfunctionshadseriously declined.WhereasPhilipIIdeterminedtheEscorial'smusicalpracticesbypolicyandlegislation,thereisnoevidence,beyondthecompletionofthePanteón,thatPhilip IVinterestedhimselfinthemonasterypalaceoritsmusic.Althoughtheperiodfrom1630to1660wasoneoftotalwarforSpain,itwasalsoaperiodofconspicuous royalpatronageofthearts,nearlyallofwhichwasfocusedupontheMadridPalacesoftheBuenRetiroandtheAlcázar. DuringthereignofCharlesII,theEscorial'sliturgicalmusicmakingwasdominatedbyagroupofabouteightmonkswhoheldtheofficeofmaestrodecapilla.Sixof thesemonkswerecomposers,mostofwhomlearnedtheircraftwithinthemonas
Page189
teryitself.JoséphdelValle,JuandeDurango,ManueldelValle,andDiegodeTorrijoswerethemoreprolificcomposers.ForCharlesII,theEscorialwasasitefor theatricalliturgicaleventsthatservedbothimmediatepoliticalendsandbroaderpropagandisticpurposes.Intwospectacularceremoniesassociatedwiththerelocation ofamiraculousrelic,CharlesIIlinkedhispersonalpietywiththetraditionalroleoftheSpanishHabsburgsasdefendersoftheCatholicfaith.Hereheplayedoutarole rehearsedforhimbyPhilipIIonthestagedesignedatleastacenturybeforeforthatpurpose.Liturgicalmusicplayedanimportantbutsubservientpartinthecreation ofthesespectacles.ClaudioCoello'sSagradaFormawasthelast,andoneofthemostbrilliant,examplesofatraditionofHabsburgimperialiconographywhich emphasizedthedynasty'slegitimacythroughreligiousorthodoxyandsecularglory.TheceremoniesitrecordsattesttotheenduringsymbolicpowerofPhilipII's monasterypalace.WiththedeathofCharlesII,thegloriousperiodofHabsburgreigncametoanend,andformorethanfiftyyearsafterhisdeaththeEscoriallay neglectedbyitsnewheirs.
Page191
Appendix1— ManuscriptPolyphonicChoirbooksofEscorialProvenance Thisappendixpresentsthreecategoriesofinformationforeachofthefifteenmanuscriptpolyphonicchoirbooksthatarenowknowntohavebeencopied,inwholeor inpart,attheEscorialintheearlyseventeenthcentury.Theentriesarearrangedinalphabeticalorderaccordingtothesiglumgiventothemanuscriptby,orin accordancewiththepracticeof,theCensusCatalogueofManuscriptSourcesofPolyphonicMusic,14001550.1Thesesiglaarelistedbelow.Foreach manuscriptthereisaconcisephysicaldescription,adiplomatictranscriptionofthemanuscript'soriginalindex(ifithasone)andaninventory.Thephysicaldescription followsascloselyaspossibletheorganizationoftheentriesintheCensusCatalogueofManuscriptSources.2Intheinventories,informationsuppliedwithinsquare bracketsiseditorial.Melodicincipitsaregivenforcompositionsnotaccessibleinmoderneditions.Ifchantprecedesthepolyphony,thechantedtextappearswithin parentheses.Whenmorethanonemoderneditionofaworkexists,referenceismadetothemostinformative,reliable,ormostreadilyavailableone.Voiceparts appearinthesameorderasinthemanuscripts,readingtheversofromtoptobottomandthentherecto.Textualincipits,attributions,andrubricsfollowthe orthographyofthemanuscript.Allwordsinitalicsarequotedexactlyastheyappearinthemanuscript.Concordantsourcesoutsidethepresentgroupofmanuscripts havenotbeenlisted. Ihavesuppliedtwoindexes.3Thefirstlistsallpiecesalphabeticallywithintheirspeciesandgenre.Inthisindextheoriginalorthographyofbothcomposers'namesand textualincipits(butnot,inthecaseofMassesandPassions,thetitles)isretained.Inthesecondindex,whichlistseverypiecealphabeticallyaccordingtoitscomposer, theoriginalorthographyhasbeensuppressedinfavorofthemostcommonmodernformofacomposer'sname. SiglaofManuscriptsCited EscSL1
ElEscorial.RealMonasteriodeSanLorenzoelRealdeElEscorial.
BibliotecayArchivodeMúsica.MS1. 1AmericanInstituteofMusicology,1979,1982,and1984. 2SeeCensusCatalogueofManuscriptSources1:xivxxix,forathoroughdescriptionofthemethodemployedhere. 3ThestyleoftheindexesisborrowedfromD.Crawford,SixteenthCenturyChoirbooksintheArchivioCapitolareatCasaleMonferrato,RenaissanceManuscriptStudies2(Rome,
1975).
Page192
EscSL2
ElEscorial.RealMonasteriodeSanLorenzoelRealdeElEscorial.
BibliotecayArchivodeMúsica.MS2.
EscSL3
ElEscorial.RealMonasteriodeSanLorenzoelRealdeElEscorial.
BibliotecayArchivodeMúsica.MS3.
EscSL4
ElEscorial.RealMonasteriodeSanLorenzoelRealdeElEscorial.
BibliotecayArchivodeMúsica.MS4.
EscSL5
ElEscorial.RealMonasteriodeSanLorenzoelRealdeElEscorial.
BibliotecayArchivodeMúsica.MS5.
MontsM750
Montserrat.BibliotecadelMonestir.MS750.
MontsM751
Montserrat.BibliotecadelMonestir.MS751.
NYorkH253a
NewYork.TheHispanicSocietyLibrary.MS**HC392/253a.
NYorkH278
NewYork.TheHispanicSocietyLibrary.MSHC392/278.
NYorkH288
NewYork.TheHispanicSocietyLibrary.MSHC392/288.
NYorkH861
NewYork.TheHispanicSocietyLibrary.MS**HC380/861.
NYorkH869
NewYork.TheHispanicSocietyLibrary.MS**HC380/869.
NYorkH870
NewYork.TheHispanicSocietyLibrary.MS**HC380/870.
NYorkH871
NewYork.TheHispanicSocietyLibrary.MS**HC380/871.
PastraMs.s
Pastrana.MuseoParroquial.MSs.s
AbbreviationsUsedinAppendix1 C
Concordances
D
Description
Dis
Discussionofthemanuscriptoritscontents
I
Incipitsofthemusic
L
Listofcontents
M
Mentionofthemanuscript
MS
Manuscript
p
partial
T
Transcriptionofthemusic
EscSL1 ELESCORIAL.RealMonasteriodeSanLorenzoelRealdeElEscorial.BibliotecayArchivodeMúsica.MS1. 8Passions,10motets=18 PedrodeCastellón—1,IoandeCastro—5,JuanBautistaComes—1,MigueldeGuerau—3,CristóbaldeMorales—1,AntonioSoler—2,PedrodeValladolid—1, MartíndeVillanueva—2,anonymous2
Page193
ii+55parchmentfolios,714×462.Originalinkfoliation,155(exceptthatfol.52hasbeenremovedandthenumberonfol.53hasbeencutout).Originalcoversof blacktooledleatheroverwoodenboardswiththeremainsoftwoleatherstrapsandattachedmetalclasps.Originalindexonfol.[0]vlistsfirstthePassionsandthen themotetsinliturgicalorder.Staffheight:37(fols.1v22r)and28(fols.22v55r).Rubricsspecifydaysuponwhichthepiecesweretobesung.Thefollowing inscriptionappearsonfol.14r:"enestas[ant]acasaseca[n]tolaprimeravezelañode1607dela[n]tedelReyPhilippe3o."Thisprobablyreferstotheceremoniesat thecollegialchurchofS.PedroinLerma(seeCerVSP,4950andKirkChur,312). Early17thcentury.CopiedattheEscorial,possiblybyFrayPedrodeEstremera,whowasactiveattheEscorialfrom1587untilhisdeathin1632.(SeeDHM10(1): 2246andDHM10(2):351.) BeniCAM:L;CenCat:(1:2089;4:366);FillFray:D(88)Dis(914,1726)T(4452);NewG:M(17:700);RobQue:Dis(215);RubCat:DLC(1:35)Fp(1: plates1and2)Ip(2:34);TSMno.13(1947):Tp(2538). [Index] Tabladelaspasionesymotetesqueayenestelibro
PassioinRamispalmarumquatuorvoc.
02
Aliapassioincodemdiec*msexvoc.
14
Passioferiaetertiaecumquatuorvoc.
30
Passioferiaequartaecumquatuorvoc.
33
Passioferiaesextaecum4voc.
10
Aliaeiusdemferiaec*msexvoc.
23
Aliaeiusdemferiaecum4voc.
27
Aliaeiusdemferiaecum4voc.
48
Motetes: DominicainRamispalmarumVigilateetorate
22
IndominicaTurbamulta
44
Inprimadominicaquadragesimae
36
Insecundadominica
38
Intertiadominica
40
Inquartadominica
42
InDominicaPassions
46.
Dominica1aAdvent.
Dominica2aAdv.
a
Dominica4 .Adv.
47.
Page194
EscSL1
3.13v21rNonindiefesto6v.[JuanBautistaComes] Modernedition:ValleTrad,189208 TurbadelapassiondeValencia.D[ominica]InRamispalmarum entregoestapassionelduquedecalabriaalaigle[sia]maiordeVale[n]cia NYorkH288,99v124r;NYorkH278,12v34r. 4.21v22rVigilateetorate4v.Morales Modernedition:MoralesO8:434. Dominicainramispalmaru[m] Postelevatione[m]corporisD[omi]ni.A4 EscSL5,8v9r;EscSL7,33v36r;MontsM750,20v22r;NYorkH278,34v36r.
Page195
Page196 v
r
14.45 46 ConfitebortibiDomine4v.Fr.AntoniusSoler Modernedition:TSM13:2535. Offertoriu[m]D[omi]n[i]caePassionis.4Voc.
EscSL2 ELESCORIAL.RealMonasteriodeSanLorenzoelRealdeElEscorial.BibliotecayArchivodeMúsica.MS2. 4Masses,38motets=40+2duplicates=42 GinésdeBoluda—1,DiegodelCastillo—2,RodrigodeCeballos—1,AlfonsoFerrabosco(theelder)—1,AlonsoLobo—1,GiovanniPierluigidaPalestrina—25, PhilippeRogier—10,anonymous—1
Page197
i+94+ipaperfolios,830×565.Eachfoliocomprisestwolargesheetsofpaperpastedtogethertoformonelargefolioofdoublethickness.Originalinkfoliation,2 97(''42"appliedtotwoconsecutivefolios;fol.67isfollowedimmediatelybyfol.70).Originalcoversofblack,lightlytooledleatheroverwoodenboards,decorated with9brassstuds.Originalincompleteindexonfol.[1]rlistsfirstMasses,thenmotetsa4,thenmotets"desanctis"a4,andfinallymotets"detemporis"a5.Staff height:2526and3536.Rubricsspecifyfeastsuponwhichthemotetsweretobesung. CopiedattheEscorialin1604(fol.50v:"AñoDei1604"),possiblybyFrayPedrodeEstremera,whowasactiveattheEscorialfrom1587untilhisdeathin1632. (SeeDHM10(1):2246andDHM10(2):351.) APS:Tp(1:769);BecMus:Ip(3168);BeniCAM:L;CenCat:(1:209;4:3667);IglesiasPol:Tp(311);LSH:Tp(I,ser.la,sig.XVI,1068,1659,1713); NewG:M(17:700);RubCat:DLC(1:69)Ip(2:47) [Index]
Missadeiste
2
MissabrebisA4.
12
MissaferialA4.
23
MissapaselaGíonamiaA6
82
A4.motetes
Commissamepavesco
31
Heumihidominequia
33
Animameaturbataestvalde
35
Adtelevavioculosmeos
37
39
41
42
Sicutceruusdesiderat
43
SuperfluminaBabylonis
44
Exaudi
52
Viuoegodicit
58
ExaudiatDominus
59
Exaudi
67
Ad
tribularerclamui
2aSagita
precesseruitui
precesseruitui
MotetesdeSanctis.A4
29
2aMissererenostri
veneris
folio
QviavidistimeThoma
46
Magnus
47
Paulus
Page198
VenisponsaChristi
53
Nos
Gloriariopertet
50
NativitatastuaDeigenitrix
51
Veni
49
Christi
Gaudentincoelis
54
Tollite
55
supervos
Beatusvirquisuffert
56
IsteestquianteDeum
57
Iesusiunxitsediscipulissuis
61 63
varijslinguis Egosumpanisviuusquideçelo MotetesdetemporeA5
65
HeumihiDomine
70
Iustuses
etomniaiuditiatua.
71
Iustuses
et
C019805.gif
80
DescenditAngelusdomini
72
VerbameaauribuspercipeDne
73
Venitlumentuum
74
Oaltitudo
75
Quisenimcognouitsensum s
76
Dapacemdomineindieb nris
60
Dapacemdomineindiebsnris
77
Respiceinmeetmisereremei
78
Cantatedomino
79
Pereatdiesinquanatussum.
81
TE
DeusTrinitas,
Collaudetomnisspiritus,
Quospercrucis
Salvas,regepersecula.
EscSL2 1.[1]v11rKyrie4v.Palestrina Modernedition:PalO15:7288. MissaIsteconfessor NYorkH861,50v65r. 2.11v22rKyrie4v.Palestrina Modernedition:PalO6:6283. Missabrevis
Page199 v
r
3.22 28 Kyrie4v.[Palestrina] Modernedition:PalO6:8496. MissadeFeria LacksGloriaandCredo EscSL4,57v62r;EscSL4,70v74r. 4.28v32rDominequa[n]doveneris4v.Palestina Modernedition:PalO11:38. Prodefu[n]ctis.A4.Iapars. Secundapars:Commissameapavescoa4. 5.32v36rHeumihiDomine4v.Palestina Modernedition:PalO,11:814. Secundapars:Animameaturbataesta4. 6.36v40rAdtelevavioculosmeos4v.Palestrina Modernedition:PalO11:205. Secundapars:MisererenostriDominea4. 7.40v42brAddominu[m]cu[m]tribularer4v.Palestrina Modernedition:PalO11:2630. Secundapars:Sagittaepotentisa4. Thenumber"42"isappliedtotwoconsecutivefolios. 8.42bv43rSicutcervus4v.Palestrina Modernedition:PalO11:424. Prodefu[n]ctisPrimaPars.Palestrina.A4 9.43v45rSuperflumina4v.Palestrina Modernedition:PalO11:146. DetemporeA4. 10.45v46rQuiavidistimeThoma4v.Palestrina Modernedition:PalO11:369. InfestoS.S.ThomeApostoli. 11.46v48rMagnussa[n]ctusPaulus4v.Palestina Modernedition:PalO3:537. IndieS.PauliApostoli. 12.48v49rVenispo[n]saChristi4v.Palestrina Modernedition:PalO3:1325.
Page200
Communevirrginu[m]. EscSL2,52v53r. 13.49v50rNosaute[m]gloriari4v.Palestrina Modernedition:PalO13:826. InfestoS.CrucisA4. 14.50v51rNativitastua4v.Palestrina Modernedition:PalO3:7882. Infestonativitatis,etpresentationis,etco[n]ceptionis.B.Mariæ. A4.DePalestrina.AñoDe1604 15.51v52rExaudiDomine4v.Palestrina Modernedition:PalO3:1357. IndedicationetempliA4. 16.52v53rVeniSpo[n]saChristi4v.Palestrina Modernedition:PalO3:1325. EscSL2,48v49r. 17.53v54rGaude[n]tincoelis4v.Palestrina Modernedition:PalO13:1214. CommuneMartyru[m] 18.54v55rTolliteiugu[m]meu[m]4v.Palestrina Modernedition:PalO3:10912. A4.Delcomu[n]delosApostoles. 19.55v56rBeatusvirquisufferttentationem4v.Palestrina Modernedition:PalO3:12932. InfestovniusMartyrisA4. 20.56v57rIsteestquianteDeum4v.Palestrina Modernedition:PalO3:1259. InfestoconfessorumA4 21.57v58rVivoego4v.Ildefonsuslobo Modernedition:APS1:769. DetemporeA4. 22.58v59rExaudiatDominus4v.Zaballos Modernedition:LSH1:ser.la,sig.XVI,1068. InDominicisdiebusperannu[m].A4.
Page201 v
r
23.59 60 DapacemDomine6v.PhelippeRogier Modernedition:RogO2:1513 24.60v62rIesusjunxitsediscipulissuis4v.Palestrina Modernedition:PalO3:2630. InResurrectioneDomini 25.62v64rLoqueba[n]t[ur]variisli[n]guis4v.Palestrina Modernedition:PalO3:348. IndiePentecostes 26.64v66rEgosumpanisvivus4v.Palestrina Modernedition:PalO11:3942. InfestoCorporisChristi 27.66v67rExaudiDomine4v.Palestina Modernedition:PalO3:1357. Indiededicationibushuiustempli EscSL2,51v52r. 28.67v70rHeumihiDomine5v.PhelippeRogier Modernedition:RogO2:1537 Prodefu[n]ctisA.5 29.70v71rIustusesd[omi]ne5v.PhelippeRogier Modernedition:RogO2:15761 Devocesiguales 30.71v72rDescenditAngelus5v.PhelippeRogier Modernedition:RogO2:1614 InnativitateB.IoanisBaptistaeA.5. 31.72v73rVerbameaurib[us]percipe5v.PhelippeRogier Modernedition:RogO2:1647 A.5Prodefunctis. 32.73v74rVenitlume[n]tuu[m]5v.PhilippeRogier Modernedition:RogO2:16870 IndieEpiphaniæA.5. 33.74v75rOAltitudodivitiaru[m]5v.DiegodelCastillo Modernedition:LSH1:ser.2a,sig.XVI,1713.
Page202 v
r
34.75 76 Quisenimcognovit5v.[Diegodel]Castillo Modernedition:LSH1:ser.2a,sig.XVI,1659. 35.76v77rDapacemdomine5v.Alfonso]ferrabosco[theelder] Modernedition:CMM96(1):p.136. InDominicisdiebusperAnnu[m]. 36.77v78rRespiceinme5v.PhelippeRogier Modernedition:RogO2;16870 37.78v79rCantated[omi]noca[n]ticu[m]novu[m]5v.PhelippeRogier Modernedition:RogO2:1748 38.79v80rIustusesdomine5v.PhelippeRogier Modernedition:RogO2:17882 39.80v81rPereatdies5v.Phelipperogier Modernedition:RogO2:1835 Prodefu[n]ctisA5. 40.81v94rKyrie6v.Palestrina Modernedition:PalO15:16190. A6dePalestrina.missaPascelagionamia.[sic] MissaNascelagioiamia. NYorkH861,84v102r.
42.96v97rAspergesme4v.[GinésdeBoluda] Modernedition:IglesiasPol,311.
Page203
EscSL3 ELESCORIAL.RealMonasteriodeSanLorenzoelRealdeElEscorial.BibliotecayArchivodeMúsica.MS3. 3Credos,33motets=36 Aguilar—1,MigueldeGuerau—2,FranciscoGuerrero—3,AlonsoLobo—1,CristóbaldeMorales—4,GiovanniPierluigidaPalestrina—24,PedroPeriáñez—1 ii+77paperfolios,813×560.Manyfolioscomprisetwolargesheetsofpaperpastedtogethertoformonelargefolioofdoublethickness.Originalinkfoliation,1 77.Originalcoversoflightbrowntooledleatheroverwoodenboards.Originalindexonfol.1vlistsfirsttheCredosettings,thenmotetsa5inalphabeticalorder,then motetsa6inalphabeticalorder,thenMarianmotetsandamoteta7.AnAveMarialistedintheindexisnottobefoundintheMS.Staffheight:rangesfrom25to 35.Redinkemployedfortitles,initials,rubrics,anddoublelineborders.Rubricsspecifydaysuponwhichthemotetsweretobesung. Early17thcentury.CopiedattheEscorial,possiblybyFrayPedrodeEstremera,whowasactiveattheEscorialfrom1587untilhisdeathin1632.(SeeDHM10(1): 2246andDHM10(2):351.) APS:Tp(1:927);BeniCAM:L;CenCat:(1:20910;4:367);LSH:Tp(1:ser.2a,sig.XVI,197201);MME:M(13:25);NewG:M(17:700);NooneLib:F(41); RubCat:DLC(1:913)Ip(2:79) [Index] Index
aeinhoclibrocontinentur.A5.yA6
A5. CredoA4.de
lobo.
2
Credoconel
llanoRomano
6
Credoconel
llanoordinario
9
Alleluiatullerunt.
12
AndreasChristifamulus.
32
pars.
33
BeatæMariæMagdalene.
38
Beatus
43
peruenissetBeatsAndreas.
75
Page204
18
subijt
20
. Disposuitpauperibus.
34
Egosumpanisviuus
16
Manustuæ
.me.
75
OluxetdecusHispaniæ.
27
Ocruxauespesvnica
37
O
46
virum
Puerquinatusestnobis.
29
Sanctificauit
25
Tradentenimvos
23
VenitMichaelarchagelus
31
Verbum
35
etdolosum
14
Overa
A6 dumcomplerenturdies.
52 40
O
49
IesuChriste
SolueiuuenteDeo Viditurbam ViriGalilei
50 .
41 44
s
6.vocib a
AscenditDeus.S .pars.
45
Dumergoessetdiscipuli.
55
Motetesde
señora
Hodiebeatavirgo
57
Hodienataest
61
Suscipeverbumvirgo
59 s
Quampulchrisuntgress
63
Auevirgosanctissima
68
Trahemepostte.
65
A7.Mariavirgo.
70
AueMaria.78hojasA.5
Finis.
TesummaDeusTrinitas.
Collaudetomnisspirits
Quospercrucismysterium.
Saluasregepersæcula.
Amen.
Page205
EscSL3
4.11v13rAlleluiatuleru[n]tDominu[m]5v.IoannesdePalestrina Modernedition:PalO5:3540. DominicaResurrectionis. 5.13v15rOvera,su[m]masempiternaTrinitas5v.Palestrina Modernedition:PalO5:503. InfestoSa[n]ctissimeTrinitatis ThisisthesecundaparsofthemotetObeata,etbenedicta. 6.15v17rEgosu[m]panisvivus5v.Palestina Modernedition:PalO5:548. DeSanctissimoSacramento 7.17v19rCruce[m]sa[n]cta[m]5v.Palestina Modernedition:PalO5:414. InfestoS[ancta]crucis.A5
Page206 v
r
9.22 24 Trade[n]tenimvos5v.Palestrina Modernedition:PalO8:7580. CommuneApostoloru[m]etEvangelistarum. 10.24v26rSanctificavitd[omi]n[u]s5v.Palestrina Modernedition:PalO8:804. IndedicationeEcclesiæ 11.26v28rOLuxetdecusHispaniae5v.Palestrina Modernedition:PalO8:5761. InfestoS[ancti]IacobiHispaniaePatronis. 12.28v30rPuerquinat[us]est5v.IoannesPetraloisijPrenestini Modernedition:PalO5:648. InfestoS[ancti]IoannisBaptistae 13.30v31rVenitMichaelArcha[n]gelus5v.Palestrina Modernedition:PalO5:948. deS[anctus]Michaele 14.31v33rAndreasChristifamulus5v.Christophorusmorales Modernedition:MoralesO2:15765. InfestoS[anctus]Andreae Secundapars:VidensAndreas.
16.34v36rVerbu[m]iniquumetdolosu[m]5v.Morales Modernedition:MoralesO2:12231. Indieb[us]dominicis. 17.36v37rOCruxave5v.Morales Modernedition:MoralesO5:1036. DecruceA5. 18.37v39rBeataeMariaeMagdalen[a]e5v.palestrina Modernedition:PalO5:6973. InfestoB.MariaeMagdalen[a]e
Page207 v
r
19.39 40 Haecdies6v.Palestrina Modernedition:PalO8:14850. InfestoresurrectionisD[omi]ni. 20.40v42rViditurba[m]magna[m]6v.Palestrina Modernedition:PalO5:1749. Infestoomniu[m]sanctoru[m]A6. 21.42v43rBeatusLaure[n]tius5v.Palestrino Modernedition:PalO5:7983. 22.43v45rViriGalilei6v.Paalestrina Modernedition:PalOV,1414. InascensioneDomini Secundapars:AscenditDeus. 23.45v48rOBeatu[m]viru[m]5v.Palestina Modernedition:PalO5:8893. Infestisconferu[m] 24.48v49rODomineIesuChriste6v.Palestrina Modernedition:PalO5:1935. Feria6.inParas[ceve]. 25.49v51rSolveiube[n]teDeo6v.Palestrina Modernedition:PalO5:1658. InfestoB.PetriApostoli 26.51v56rDvmcomplere[n]tur6v.Palestina Modernedition:PalO5:14953. InfestoPentecostes Secundapars:Dumergoessent 27.56v58rHodieBeatavirgoMaria5v.Palestina Modernedition:PalO5:204 InfestopurificationisB.Mari[a]e ThisisthesecundaparsofthemotetSenexpuerum. 28.58v60rSuscipeverbu[m]5v.Palestrina Modernedition:PalO5:259. InfestoAnnu[n]tiationisB.Mari[a]e
Page208 v
r
29.60 62 HodienataestBeatavirgoMaria5v.Palestrina Modernedition:PalO5:838. InNativitateB.Mari[a]e 30.62v64rQvampulchrisu[n]t5v.IonnesPalestina Modernedition:PalO5:12630. InAssumptioneB.Mariae. 31.64v67rTrahemepostte5v.Franciscus.Guerrero Modernedition:GuerreroO3:8591. DeBeataMaria. 32.67v69rAvevirgosanctissima5v.FranciscusGuerreroHispale[n]sis Modernedition:GuerreroO3:726. Inomnib[us]festis.BeatissimaevirginisMariae. 33.69v72rMariavirgocœlosasce[n]dit7v.Palestina Modernedition:PalO5:2128. InAssumptioneB.Mari[a]evirginis ThisisthesecundaparsofthemotetVirgoprudentissima. 34.72v74rManustu[a]eD[omi]nefeceru[n]tme5v.ChristophorusMorales Modernedition:MoralesO8:904. Prodefunctis 35.74v76rCvmperuenissetBeatusAndreas5v.Palestrina Modernedition:PalO5:13540. InfestoB[eatus]Andreae 36.76v77rAveDominamaria5v.Deperíañez Modernedition:LSH1:ser.2a,sig.XVI,197201. EscSL4 ELESCORIAL.RealMonasteriodeSanLorenzoelRealdeElEscorial.BibliotecayArchivodeMúsica.MS4. 5Masses,1Kyrie,1Credo,7Lamentations,15motets=29
Page209
BernalGonçález—1,GinésdeBoluda—1,RodrigodeCeballos—1,Cozar—1,FabrizioDentice—2,MigueldeGuerau—4,AlonsoLobo—1,Cristóbalde Morales—4,GiovanniPierluigidaPalestrina—3,JuanGinésPérez—1,MiguelSánchez—1,FrayJuandelaTorre—1,TomásLuisdeVictoria—2,Martínde Villanueva—6,anonymous—1 ii+86paperfolios,750×455.Newpencilfoliation,186.Originalinkfoliation,1104withinconsistencies.Betweenfols.74and75thebuttsonlyof17folios remain.Originalcoversoftan,tooledleatheroverwoodenboards.Originalindexonfol.1vlistspiecesfirstforMaundyThursday,thenforGoodFriday,thenthe MassesfollowedbytheMisereresettings,andfinallytheremainingpieces.Staffheight:averageof28.Rubricsspecifythedaysuponwhichthepiecesweretobe sung.Redinkfrequentlyemployedfortitles,initials,andrubrics. Early17thcentury.CopiedattheEscorial,possiblybyFrayPedrodeEstremera,whowasactiveattheEscorialfrom1587untilhisdeathin1632.(SeeDHM10(1): 2246andDHM10(2):351.) APS:Tp(1:6772,11521,13953,15866,17880,21820,26873);BeniCAM:L;CenCat:(1:210;4:367);FillFray:D(8991)Dis(914,2734)T(5371); MME:M(11:57);NewG:M(17:700);RubCat:DLC(1:1316)Ip(2:223) [Index] Tabladelascosasquecontieneestelibro Feria5.incoena
lectioprima.deGuerau
1
Feria5.incoena
lectioprimadeFabricio
12
Feria6.inParascebelectio.i.defraymartíndev.nueba17 Feria6.inParascebeovos
deVictoria
MissaferialdeGinésdeVoludaa4
33 7
MissaferialdePalestrinaa4
70
MissadeBeata
50
ReginadeMoralesa4
MissademilleRegretzA.6deMorales
39
MisereremeiDeusdefrMartindevillanueba
30
MisereremeiDeusdeCozarA4
25
MisereremeiDeusA3chorosdeGinesperez
20
Ovosomnesqui
33
Pueri
deMorales
dePalestrinaA4
10
ChristusfactsestdefrayMartindevillanueba
29
Christusfactusest.defr.Ioandelatorre
24
ChristusfactusestdeSanchezA4.
63
Page210
PositusIesusinagoniadefr.martin
32
Verelangores
34
devictoria
Ieectioi.SabbathodefrMartinA4
36
Ave
46
deVernalA4
Vespere
sabbathideGuerauA4
49
Inter
etaltaredeZaballos
62
llanoRomanodelobo
64
OratioHieremiedefrMichaledeGuerau
93
Credoconel
Versosdelas
.Morales
NosautenGloriarideGuerau.Feriasinçena Motete:A5,paraelmiercolesdeZeniza EscSL4 1.1v5rINcipitlamentatioHieremiae4v.FrayMigueldeGuerau Modernedition:APS1:11521(partialedition). FeriaQuintainCoenaD[omi]ni.I.Lectio
4.8v9rKyrie3v.FrayMartindevillanueba Conelca[n]tollanodeFrayMartindevillanueba MontsM750,29v30r. 5.9v10rPveriHebreorum4v.Palestrina Modernedition:PalO11:724. Dominicainramispalmaru[m]interdistribue[n]dosRamos. EscSL5,1v2r;NYorkH278,2v6r. 10v11rBlankopeningruledwithstaves.
103 92 100
Page211
7.16v19rTethCogitavitDominus4v.FrayMartindeVillanueva Modernedition:APS1:15866. Feria6inparascebeadmatutinu[m]lectioprima. EscSL4,35v38r(samemusic);NYorkH278,51v58r.
11.28v29rChristusfactusest4v.frayMartíndevillanueba Modernedition:APS1:17880. MontsM750,27v29r;NYorkH278,81v83r.
Page212 v
r
14.32 33 Ovosomnes4v.[TomásLuisdeVictoria] Modernedition:VicO2:1719. EscSL7,56v59r;MontsM750,25v27r;NYorkH288,97v99r. 15.33v35rVErelanguores4v.[TomásLuisdeVictoria] Modernedition:VicO2:1416. Feria6.inparascebea4. NYorkH278,42v45r.
17.38v46rKyrieeleison6v.Morales Modernedition:MoralesO1:23873. ChristophorusMorales.MilleRegretz. LacksCredoandBenedictus. NYorkH871,33v55r. 18.46v48rAVesanctissimum4v.DeBernal Modernedition:APS1:268273. Adelevatione[m]corporisD[omi]ni. 48v49rAGnusDei.6v.[Morales]. SeeNo.17above. 19.49v50rQVaelucescitinprima4v.Fr.MigueldeGuerau Modernedition:APS1:21820. 20.50v56rKyrieeleison4v.ChristophorusMorales Modernedition:MoralesO3:131. BeataesCoeloru[m]Regina.A4. ThisistheMissaBenedictaescaelorumregina. LacksBenedictus,tripletimeOsanna,Credo,andfinalAgnus.TextOsannainexcelsisisunderlaidinallvoicestothelastmusicalphraseofthePleni. NYorkH861,102v117r. 56v57rBlankopeningruledwithstaves.
Page213 v
r
21.57 62 Kyrieeleison4v.Palestrina Modernedition:PalO5:8496. MissadeferiaA4 LacksGloria,Credo,andBenedictus. EscSL2,22v28r;EscSL4,70v74r. 22.62v63rINtervestibulu[m]etaltare4v.RodericusZaballos Modernedition:APS1:6772. FeriaIIII.Cinerum EscSL7,52v53r. 23.63v64rCHRistusfact[us]est4v.MiguelSanchez Modernedition:APS1:13943. NYorkH278,65v69r.
69v70rBlankopeningruledwithstaves. 25.70v74rKyrieeleison4v.Palestr[in]a Modernedition:PalO5:8496. Missaa4 ThisistheMissadeferia.ItlacksGloria,Credo,Benedictus,andAgnusII. EscSL2,22v28r;EscSL4,57v62r. 74v75rBlankopeningruledwithstaves.
Page214 v
r
28.81 84 Emendemusinmelius5v.[CristóbaldeMorales] Modernedition:MoralesO8:738. Motete,a5,paraelMier[col]esdeZen[i]za. EscSL7,45v52r.
EscSL5 ELESCORIAL.RealMonasteriodeSanLorenzoelRealdeElEscorial.BibliotecayArchivodeMúsica.MS5. 2Masses,1Sanctus,2Passions,6motets=11 GinésdeBoluda—1,MigueldeGuerau—1,ManueldeLeón—1,EstebanLimido—1,CristóbaldeMorales—1,JanNasco—1,GiovanniPierluigidaPalestrina—2, TomásLuisdeVictoria—1,anonymous—2 76paperfolios,740×455.Originalinkfoliation,175beginningonsecondfolio.Betweenfols.73and74,buttsonlyof16foliosremain.Originalcoversoftan, tooledleatheroverwoodenboards.Noindex.Staffheight:2728.Redinkemployedforcapitals,rubrics,titles,anddoublelineborders(except53v54rand69v 75r).Somefoliostrimmedbeforebinding.Rubricsspecifydaysuponwhichthepiecesweretobesung. Early17thcentury.CopiedattheEscorial,possiblybyFrayPedrodeEstremera,whowasactiveattheEscorialfrom1587untilhisdeathin1632.(SeeDHM10(1): 2246andDHM10(2):351.) APS:Tp(1:1038);BeniCAM:L;CenCat:(1:21011;4:368);NewG:M(17:700);RubCat:DLC(1:168)Ip(234);TSM(Apr/May1944):Tp(3841)
Page215
2.1v2rPVeriHebr[a]eoru[m]4v.Palestrina Modernedition:PalO11724. Dominicainramispalmaru[m]interdistribuendosramos EscSL4,9v10r;NYorkH278,2v6r. 3.2v4rPVeriHebraeorum4v.[TomásLuisdeVictoria] Modernedition:VicO4:13. Dominicainramispalmaru[m] Interdistribuendosramos. MontsM750,4v7r. 4.4v6rGlorialaus5v.[Anonymous] Modernedition:APS1:103108. A.5.GlorialausDominicainramispalmaru[m]. NYorkH278,6v10r. 6v8rTwoblankopeningsruledwithstaves. 5.8v9rVigilateetorate4v.[CristóbaldeMorales] Modernedition:MoralesO8:434. Dominicainramispalmarum. Adelevatione[m]corporisDomini.A4 EscSL1,21v22r;EscSL7,33v36r;MontsM750,20v22r;NYorkH278,34v36r. 9v10rBlankopeningruledwithstaves. 6.10v36rPAssioDomini4v.[JanNasco] Modernedition:ValleTrad,187208 LapassiondeValençia MontsM751,1v56r;NYorkH288,[0]v56r.
Page216
11.74v75rDomineIesuChriste4v.[FrayManueldeLeón] Modernedition:TSM(April/May1947),3841. MontsM750,22v24r. 75v76rBlankopeningruledwithstaves. MontsM750 MONTSERRAT.BibliotecadelMonestir.MS750. 1Mass,1Kyrie,1setof9fabordónes,2Passions(turbapartsonly),7motets=12 GinésdeBoluda—1,MigueldeGuerau—1,ManueldeLeón—1,CristóbaldeMorales—1,TomásLuisdeVictoria—3,MartíndeVillanueva—4,anonymous—9 ii+41+ivpaperfolios,400×280.Newpencilfoliation,1;originalinkfoliation,241.Originalcoversofdarkbrownleatheroverboards,tooledingoldwith ornamen
Page217
taldesigns.Originalindexonfol.1listspiecesinorderofappearance(onepiecelistedoutoforder).Staffheight24.Largeplaininkedinitials.Redinkemployedfor doublelineborders.4 Early17thcentury.CopiedattheEscorial,possiblybyFrayPedrodeEstremera,whowasactiveattheEscorialfrom1587untilhisdeathin1632.(SeeDHM10(1): 2246andDHM10(2):351.).AcquiredatanunknowntimebytheRealConventodelasSeñorasdelaEncarnacióninMadrid.Passedfromtheretothe BenedictinemonasteryatMontserratsometimeinthe1930s. CenCat:(2:175,4:442);OlivCM:DL(1667);SnowRC:DpLpIpDis(323,7981) [Index] INDEXOMNIVMQVAEINLIBRO MissaFerialconquatrovoces
Foli.1
LaturbadelDomingodeRamos
8
LaturbadelviernesSancto
16 5
Pueri VigilateparaeldomingodeRamos
21 23
PossitusIesusinagoniaesdevoto
25
Ovosomnesparaelviernes
26
s
Christusfact estparalas3nochesdespuesdeladisciplinaaescuras
28
Kyriesferialesconelcantollano.
30
Missereremeimuydevoto
31 37
Fabordonesconelmesmo TesummaDeusTrinitas,
Collaudetomnisspiritus:
Quospercrucismysterium,
Saluas,regepersæcula.Amen.
4MuchofthisandthefollowingparagraphhasbeentakendirectlyfromCenCat2:175.
Page218
MontsM750
2.4v7rPVerihebreorum4v.[TomásLuisdeVictoria] Modernedition:VicO4:13. Dominicainramispalmarum. Interdistribuendosramos. EscSL5,2v4r. 3.7v15rNoninDiefesto4v.[TomásLuisdeVictoria] Modernedition:Cramer2:928. Dominicainramispalmarum.
5.20v22rVigilateetorate4v.[CristóbaldeMorales] Modernedition:MoralesO8:434. Dominicainramispalmarum. EscSL1,21v22r;EscSL5,8v9r;EscSL7,33v36r;NYorkH278,34v36r.
Page219
8.25v27rOVosomnes4v.[TomásLuisdeVictoria] Modernedition:VicO2:1719. Feria6.inParasceve EscSL4,32v33r;EscSL7,56v59r;NYorkH288,97v99r. 9.27v29rChristusfactusest4v.[FrayMartíndeVillanueva] Modernedition:APS1:17880. 3anocte EscSL4,28v29r;NYorkH278,81v83r. 10.29v30rKyrieeleison4v.[FrayMartíndeVillanueva] Comienzayacabaelcantodeorgano EscSL4,8v9r.
12.36v41rDixitDominus4v.[Anonymous] Modernedition:HSMS6:202. Fabordonesconelcantollano.A4 ComosecantanenS[an]lorencio.Puedenyrporqualquierpsalmo ysonmuyacomodados. Asetofninefabordónformulaeforpsalms. SeeSnowRC,323,7981foradiscussionofhisattributiontoCeballos. NYorkH253a,9v13r. 41v42rBlankopening.
Page220
MontsM751 MONTSERRAT.BibliotecadelMonestir.MS751. 2Passions FrayMigueldeGuerau—1,JanNasco—1 92paperfolios,400×280.Originalinkfoliation,190(newpencilfoliation''48b","48b1").Originalcoversofdarkbrownleatheroverwoodenboards,tooledin gold.Originalindexonfol.1rlistspiecesintheorderinwhichtheyappearintheMS.Staffheight:24.Redinkemployedfordoublelineborders. Early17thcentury.CopiedattheEscorial,possiblybyFrayPedrodeEstremera,whowasactiveattheEscorialfrom1587untilhisdeathin1632.(SeeDHM10(1): 2246andDHM10(2):351.)AcquiredatanunknowntimebytheRealConventodelasSeñorasdelaEncarnacióninMadrid.PassedfromtheretotheBenedictine monasteryatMontserratsometimeinthe1930s.5 OlivCM:DL(167) [Index] Indexquaeinvoluminehoc PassioDomini
.1
Passio
fol57 deloq;seadehacer
Estaesmera
lavozdeltexto,handeestariuntos
loscantoresenellugardose çinco
eleuangeliohadeauer
porq[ue]digaelChristosolasuvozholgada
,yandeserdiestrosylamismaletrabadiçiendo dondeandeandarmasomenosduravnquarto dehoramasquelaordinaria,escosade tadsise
mages
enelChoro.
sisepuedehaçer. 5.IremainindebtedtotheArchivesforRenaissanceManuscriptsattheUniversityofIllinois,UrbanaChampaign,formuchoftheinformationgivenhere.
Page221
MontsM751 1.[1]v56rPassioDomini4v.[JanNasco] Modernedition:ValleTrad,187208 passioDomininostriIesuChristisecundumMatteum. DominicainRamisPalmarum. EscSL5,10v36r;NYorkH288,[0]v56r.
NYorkH253a NEWYORK.TheHispanicSocietyLibrary.MS**HC392/253a. 1Mass,1motet,1setof8fabordónes,1doxology=4 FranciscoGuerrero—1,MartíndeVillanueva—1,anonymous—9 18unboundpaperfolios,584×370(lastfolio:512×324).Nofoliation.Redinkemployedforsomeunderlaidtextanddoublelineborders.Noindex.Staffheight: 28. Early17thcentury.CopiedattheEscorial,possiblybyFrayPedrodeEstremera,whowasactiveattheEscorialfrom1587untilhisdeathin1632.(SeeDHM10(1): 2246andDHM10(2):351.)Onceownedbythecomposer,organist,historian,andbibliophileDonFedericoOlmedadeSanJosé(18651909)ofBurgos.Sold ca.1911byLeipzigantiquariandealerKarlHiersemanntoArcherMiltonHuntington(18701955),HispanicscholarandfounderoftheHispanicSocietyofAmerica, towhoselibrarytheMSpassedin1956fromHuntington'sprivatecollection. FillFray:Dis(3542)T(71);HierseKat392:D(56);HierseKat419:D(72);NewG:M(17:701)
Page222
NYorkH253a
2.2v8vKYrieeleison4v.[MartíndeVillanueva] Modernedition:NooneFel,46080 Missaden[uest]raseñoraconelca[n]tollanodeToledo comoseca[n]taenSanLorençioelReal.A4 BreaksoffatversoofopeningofSanctus. NYorkH861,18v27v. 3.9v13rDIxitDominus4v.[Anonymous] Modernedition:HSMS6:202. Fabordonesconelcantollanocomosecanta[n]en.S.Lore[n]çio. comovanpordixitD[omi]n[us],puede[n]yrportodoslospsalmos Asetofeightfabordones:oneeachforTonesI,II,III,IV,V,VI,VII,andVIIIandonefor8otonoirregular.Arranged,accordingtothetonenumber,twosettings toanopening. Foradiscussionofthesesettings,seeSnowRC,323,7981. MontsM750,36v41r.
Page223
NYorkH278 NEWYORK.TheHispanicSocietyLibrary.MS**HC392/278. 1Sanctus,1psalm,1processionalhymn,3Lamentations,2Passions,6motets=14 GinésdeBoluda—1,JuanBautistaComes—1,MichaeldeGuerau—1,CristóbaldeMorales—1,GiovanniPierluigidaPalestrina—1,MiguelSánchez—1,Tomás LuisdeVictoria—1,MartíndeVillanueva—5,anonymous—2 ii+83+ipaperfolios,450×290.Originalinkfoliation(fol.11missing).Originalcoversofbrownleatheroverheavycardboard.Lightlytooledingoldandembossed withthecoatofarmsoftheDukeofLerma.Originalindexonfol.[ii]rlistspiecesintheorderinwhichtheyappearintheMS.Onepiecelistedinindexisnottobe foundintheMS.Staffheight:2428.Rubricsspecifydaysuponwhichthepiecesweretobesung.Redinkemployedforsomerubrics,initials,andthefewdoubleline borders. Early17thcentury.CopiedattheEscorial,possiblybyFrayPedrodeEstremera,whowasactiveattheEscorialfrom1587untilhisdeathin1632.(SeeDHM10(1): 2246andDHM10(2):351.)BroughttothecollegiatechurchofS.PedroinLermabyGabrielDíazbefore1616,whenitwasinventoriedthere(CerVSP,2013).It appearedlistedinsubsequentS.Pedroinventoriesuptoandincluding1747.Onceownedbythecomposer,organist,historian,andbibliophileDonFedericoOlmeda deSanJosé(18651909)ofBurgos.Soldca.1911byLeipzigantiquariandealerKarlHiersemanntoArcherMiltonHuntington(18701955),Hispanicscholarand founderoftheHispanicSocietyofAmerica,towhoselibrarytheMSpassedin1956fromHuntington'sprivatecollection. CenCat:(2:260);HierseKat392:D(60);HierseKat419:D(73);KirkChurM(55,64,76,83,8990,105);NewG:M(17:701) [Index] Index FerialesSanctus.1 PueriHebreorum.3 Glorialausethonor.7 LaturbdelDomingo.12 Vigilateethorate.35 Laturbadelviernes.37 Verelangores
43
Page224
LaprimeralamentaçiondelJueues46 Laprimera
delViernes.52.
LaprimeralamentaciondelSabado.59 Christsfactusestpronobisde2tiples.66. MisereremeiDeus.70 Christusfactusestpronobisdevocesnaturales82. PositusIesusinagonia.84 NYorkH278
2.2v6rPVerihebreore[m]4v.Palestrina Modernedition:PalO5:1723. Dominicainramispalmarum interdistribue[n]dosramos.Palestrinaa4 EscSL4,9v10r;EscSL5,1v2r. 3.6v10vGlorialaus5v.Anonymous Modernedition:APS1:1038. TheverseIsraelestu(9v10v)isscoredforfourvoices. EscSL,5,4v6r. Fol.11missing. 4.12r34rNOnindie6v.[JuanBautistaComes] Modernedition:ValleTrad,189208 EscSL1,13v21r;NYorkH288,99v124r. 5.34v36rVigilateetorate4v.[CristóbaldeMorales] Modernedition:MoralesO8:434. Posteleuatione[m]corporisD[omi]ni. A4.co[n]voçessençillas EscSL1,21v22r;EscSL5,8v9r;EscSL7,33v36r;MontsM750,20v22r.
Page225
7.42v45rVerelanguores4v.[TomásLuisdeVictoria] Modernedition:VicO2:146 EscSL4,33v35r.
10.58v65rDelame[n]tationeHeth4v.[MartíndeVillanueva] Modernedition:APS1:15866. Sabbatho.lectio.i. EscSL4,16v19r;EscSL4,35v38r(samemusic).
Page226 v
r
13.81 83 CRistusfactusest4v.[MartíndeVillanueva] Modernedition:APS1:17880. EscSL4,28v29r;MontsM750,27v29r.
NYorkH288 NEWYORK.TheHispanicSocietyLibrary.MS**HC392/288. 3Passions,1motet=4 JuanBautistaComes—2,JanNasco—1,TomásLuisdeVictoria—1 i+124+1paperfolios,410×285.Twodistinctivepapertypes:thefirst(uptoandincludingfol.55)islight,andthesecond(fol.56toend)isheavier.Originalink foliation,1101(fol.12isnumbered"22,"fol.13ismarked"23,"andthefoliobetweenfols.61and62isnotnumbered).Originalcoversofblackleathercovered boards.Originalindexonfol.[125]rliststhefirstthreepiecesintheorderinwhichtheyappearintheMS.Staffheight:23.Almostallfoliosfromfol.1tofol.55are framedbyadoublelineborderinredinkandhaveinitialsinredink.Initialson[0]v1rarewatercolored.ThisMScompriseswhatoriginallyweretwoseparateMSS (fols.[0]v99randfols.99v[125]r),whicharenowboundtogether.Folios[0]v99rarewritteninchoirbookformatandfols.[106]v[124]rarewrittenoutassix consecutiveparts. Early17thcentury.CopiedattheEscorial,possiblybyFrayPedrodeEstremera,whowasactiveattheEscorialfrom1587untilhisdeathin1632.(SeeDHM10(1): 2246andDHM10(2):351.)BroughttothecollegiatechurchofS.PedroinLermabyGabrielDíazbefore1616,whenitwasinventoriedthere(CerVSP,2013).It appearedlistedinsubsequentS.Pedroinventoriesuptoandincluding1747.Onceownedbythecomposer,organist,historian,andbibliophileDonFedericoOlmeda deSanJosé(18651909)ofBurgos.Soldca.1911byLeipzigantiquariandealerKarlHiersemanntoArcherMiltonHuntington(18701955),Hispanicscholarand founderoftheHispanicSocietyofAmerica,towhoselibrarytheMSpassedin1956fromHuntington'sprivatecollection. HierseKat392:D(645);KirkChurM(55,64,83,8990,105);NewG:M(17:701)
Page227
[Index] Index Dominicainramis PassioDomininostriIesuChristiSec dum Mathum,Cumquatuorvocibusfolio.I. Feria.6inParasceue Passio .57 motetes Ovosomnesqui
perviam.98.
NYorkH288 1.[0]v56rPAssioD[omi]ninostri4v.[JanNasco] Modernedition:ValleTrad,187208 Estapassio[n]entregoelduq[ue]deCalabria alaiglesiaCathedraldeValençiaporcosarara. EscSL5,10v36r;MontsM751,1v56r.
3.97v99rOVosomnes4v.[TomásLuisdeVictoria] Modernedition:VicO2:1719. EscSL4,32v33r;EscSL7,56v59r;MontsM750,25v27r. 99v101rTwoopeningsruledwithstaves. 101vRuledwithstaves. 4.[102]r[124]rNonindiefesto6v.[JuanBautistaComes] Modernedition:ValleTrad,189208 LaTurbadelapassiondeValençia
Page228
NineteennumberedturbapartsofthePassionlaidoutinpartsinfollowingorder:TenorI,Altus,TenorII,TipleI,TipleII,Bassus. EscSL113v21r;NYorkH278,12r34r. Thefollowingfoliosareblank:[105]v,[109]v,[110]v[111]r,[113]v,[117]v,[120]v,[124]v,[125]r. NYorkH861 NEWYORK.TheHispanicSocietyLibrary.MS**HC380/861 6Masses,1RequiemMass,1Credo=8 AlonsoLobo—1,CristóbaldeMorales—1,GiovanniPierluigidaPalestrina—3,MartíndeVillanueva—1,anonymous—2 i+117+ipaperfolios,550×400.Originalinkfoliation,2117.Originalcoversofdarkbrownleatheroverheavycardboard,tooledwithgoldandembossedwith thecoatofarmsoftheDukeofLerma.Originalindexonfol.[1]rlistsfirsttheMassesa4,thentheMassesa5.TheLoboCredoisnotlistedseparately.Staffheight: 25and37.Redinkemployedfortitles,initials,rubrics,somedoublelineborders,andsomeunderlaidtext. CopiedattheEscorialin1604(fol.50v:"AñoDei1604"),possiblybyFrayPedrodeEstremera,whowasactiveattheEscorialfrom1587untilhisdeathin1632. (SeeDHM10(1):2246andDHM10(2):351.)FirstinventoriedatthecollegialchurchofS.PedroinLermain1682(KirkChur50,65,2213),whereitappeared listedinsubsequentinventoriesof1708and1747.Onceownedbythecomposer,organist,historian,andbibliophileDonFedericoOlmedadeSanJosé(18651909) ofBurgos.Soldca.1911byLeipzigantiquariandealerKarlHiersemanntoArcherMiltonHuntington(18701955),HispanicscholarandfounderoftheHispanic SocietyofAmerica,towhoselibrarytheMSpassedin1956fromHuntington'sprivatecollection. CenCat:(2:261);FillFrayD(92)Dis(914,3542);HierseKat380:D(203);KirkChurM(56,65,8990,1056,2213);NewG:M(17:701);NooneFel:FTDis (45380);NooneLib:F(425);StevnsnSCM:DLDis(1267,265,331)
Page229
[Index] TABVLAMISSARVMQVAEINHOCLIBRO
A4 Missadeduplicibusmaioribus.conel MissadeBeataMariaconel
lla
no
1
llano.
19
Missadeisteconfesor.Palestrina. MissadeBeataes
51 103
Regina.demorales
Missaprodefunctisconel
llano A6.
30
Missadevt,re,mi,fa,sol,la.Palestrina.
66
Missadepascelagionamia.Palestrina
85
Nerecorderis
Te
Liberame
46
Inmemoriaeterna
49
DeusTrinitas,Collaudetomnis,
Spiritus:QuospercrucismysteriumSal uas,regepersæcula.Amen. NYorkH861
fol.45
Page230 v
r
15 18 SAnctus.4v.[MartíndeVillanueva]. Conelca[n]tollanodelosdoblesmaiores.A4 SanctusandAgnus(17v18r)movementsoftheMasstowhichKyrieandGloriaofNo.1belong.TheBenedictusisnotset. NYorkH253a,18r;NYorkH861,28v29r(Agnusonly). 3.18v29rKYrieeleison4v.frayMartindevillanueba Modernedition:NooneFel,46080 Missaden[uest]raSeñora.conelcantollano.A4. TheBenedictusisnotset. NYorkH253a,2v8v;NYorkH861,17v18r(Agnusonly).
5.50v65rKYrieeleison4v.Palestrina Modernedition:PalO15:7288. Missaisteconfesor.dePalestrina.A4. EscSL2,[1]v11r. 6.65v84rKYrieeleison6v.Palestrina Modernedition:PalO5:21653. MissadePalestrinaA6.v.re.mi.fa.sol.la. NYorkH871,1v33r. 7.84v102rKYrieeleison4v.Palestrina Modernedition:PalO15:16190. ThisistheMissaNascelagioiamia.ItlacksOsannaandAgnusI. EscSL2,81v94r.
Page231 v
r
8.102 117 KYrieeleison4v.ChristophorusMorales Modernedition:MoralesO3:131. Beataescoeloru[m]Regina ThisistheMissaBenedictaescaelorumregina.TheBenedictusisplacedaftertheAgnusDeiandthetripletimeOsannaislacking. EscSL4,50v56r. NYorkH869 NEWYORK.TheHispanicSocietyLibrary.MS**HC380/869 16Magnificats CristóbaldeMorales—16 107paperfolios,580×410.Originalinkfoliation,irregular(fol.8vnumbered''9,"fol.9rnumbered"10,"fol.9vnumbered"11,""12"appliedtobothfolios10and11, twoconsecutivefoliosnumbered"38,"foliationproceedsdirectlyfrom"86"to"89").Originalcoversofgoldtooledleatheroverheavycardboard.Tooledcrestsat centreoffrontandbackcovershavebeencutout.Originalandcompleteindexonfol.1rlistspiecesintheorderinwhichtheyappearintheMS.Staffheight:29. RubricsspecifythetoneofeachMagnificat.Themusicofnearlyeveryfolioiswrittenwithinaredinkeddoublelineborder. Early17thcentury.CopiedattheEscorial,possiblybyFrayPedrodeEstremera,whowasactiveattheEscorialfrom1587untilhisdeathin1632.(SeeDHM10(1): 2246andDHM10(2):351.)Copiedbefore1632,whenitwasfirstinventoriedatthecollegialchurchofS.PedroinLerma(KirkChur,220).Itappearedlistedin subsequentS.Pedroinventoriesof1682,1717,1734and1747(KirkChur,63).Onceownedbythecomposer,organist,historian,andbibliophileDonFederico OlmedadeSanJosé(18651909)ofBurgos.Soldca.1911byLeipzigantiquariandealerKarlHiersemanntoArcherMiltonHuntington(18701955),Hispanic scholarandfounderoftheHispanicSocietyofAmerica,towhoselibrarytheMSpassedin1956fromHuntington'sprivatecollection. CenCat:(2:2612);CrawSC:LpCp(1712);HierseKat380:D(209);KirkChurM(54,63,834,8990,105,220);KirschQM:LCI(1512);KrautH:LpCp (27:271);NewG:M(17:701);StevnsnSCM:DL(128);YouL:LpCp(7489)
Page232
[Index] CanticumB.Mariæ.ChristophorimoralesHyspalensis. Tono
Foli.
Tono
Foli.
1
Animamea.
1
1
Etexultauit.
51
2
Animamea.
8
2
Etexultauit.
58
3
Animamea.
15
3
Etexultauit.
65
4
Animamea.
21
4
Etexultauit.
72
5
Animamea
27
5
Etexultauit.
78
6
Animamea
33
6
Etexultauit.
85
7
Animamea
38
7
Etexultauit.
94
8
Animamea
45
8
Etexultauit.
101
NYorkH869 1.1v7rANimamea4v.Christophorimorales Modernedition:MoralesO4:17. CantusAnimameaDominumItoni NYorkH870,1v7r;PastraMs.s,2v8r. Oddnumberedversesonly. 2.7v14rANimamea4/5v.Morales Modernedition:MoralesO4:1724. 2otono.Morales NYorkH870,7v13r;PastraMs.s,9v15r. Oddnumberedversesonly. 3.14v20rANimamea4v.morales Modernedition:MoralesO4:3440. morales.3o.tono. Oddnumberedversesonly. NYorkH870,13v19r;PastraMs.s,15v21r. 4.20v26rANimamea4v.morales Modernedition:MoralesO4:506. 4.tono.demorales NYorkH870,19v25r:PastraMs.s,21v27r. Oddnumberedversesonly.
Page233 v
r
5.26 32 ANimamea4v.morales Modernedition:MoralesO4:6574. 5otono.a4 NYorkH870,25v32r;PastraMs.s,27v34r. Oddnumberedversesonly. 6.32v38rANimamea4v.morales Modernedition:MoralesO4:8490. 6.tono.demorales. Oddnumberedversesonly. NYorkH870,32v38r;PastraMs.s,34v40r. 7.38v44rANimamea4v.morales Modernedition:MoralesO4:1008. 7.tono.demorales. NYorkH870,38v44r;PastraMs.s,40v46r. Oddnumberedversesonly. 8.44v50rANimamea4v.morales Modernedition:MoralesO4:11925. Octauotono.demorales. NYorkH870,44v50r;PastraMs.s,46v51r. Oddnumberedversesonly. 9.50v57rETexultauit4/6v.morales Modernedition:MoralesO4:816. Io.tono.demorales. NYorkH870,50v57r;PastraMs.s,51v58r. Evennumberedversesonly. 10.57v64rETexultauit4/6v.morales Modernedition:MoralesO4:2533. 2o.tonodemorales. NYorkH870,57v64r;PastraMs.s,58v65r. Evennumberedversesonly. 11.64v71rETexultauit4/6v.morales Modernedition:MoralesO4:419. 3o.tonodemorales. NYorkH870,64v71r;PastraMs.s,65v72r. Evennumberedversesonly.
Page234 v
r
12.71 77 ETexultauit4/5v.morales Modernedition:MoralesO4:5764. 4otonodemorales. NYorkH870,71v77r;PastraMs.s,72v78r. Evennumberedversesonly. 13.77v84rETexultauit4/6v.morales Modernedition:MoralesO4:7583. Quintotonodemorales. NYorkH870,77v84r;PastraMs.s,78v85r. Evennumberedversesonly. 14.84v93rETexultauit4/6v.morales Modernedition:MoralesO4:919. 6o.tonodemorales. Evennumberedversesonly. NYorkH870,84v91r;PastraMs.s,85v92r. 15.93v100rETexultauit4/6v.morales Modernedition:MoralesO4:10918. 7o.tonodemorales NYorkH870,91v98r:PastraMs.s,92v99r. Evennumberedversesonly. 16.100v107rETexultauit4/6v.morales. Modernedition:MoralesO4:12632. 8o.tonodemorales. NYorkH870,98v105r;PastraMs.s,99v106r. Evennumberedversesonly. NYorkH870 NEWYORK.TheHispanicSocietyLibrary.MS**HC380/870. 17Magnificats,1canticle,2psalms,2motets,1responsory,1versicle=24 RodrigodeCeballos—5,CristóbaldeMorales—16,PhilippeRogier—1,anonymous—2 i+125+ipaperfolios,590×400.Originalinkfoliation,1123(omitsonefoliobetweenfols.119and120;"123"appliedtoeachoflasttwofolios).Originalcovers of
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blackleather,tooledingoldoverheavycardboard.Originalindexonfol.[0] listspiecesintheorderinwhichtheyappearintheMS(onepieceislistedoutoforder). Staffheight:28.Rubricsspecifythetoneofeachpiece.Initialonfol.1visilluminatedwithgold,brown,green,andredinks.Redinkisemployedforattributions, initials,rubrics,anddoublelineborders. 1608(dateatendofindex).CopiedattheEscorial,possiblybyFrayPedrodeEstremera,whowasactiveattheEscorialfrom1587untilhisdeathin1632.(See DHM10(1):2246andDHM10(2):351.)Copiedbefore1632,whenitwasfirstinventoriedatthecollegialchurchofS.PedroinLerma(KirkChur,220).It appearedlistedinsubsequentS.Pedroinventoriesof1682,1717,1734,and1747(KirkChur,63).Onceownedbythecomposer,organist,historian,andbibliophile DonFedericoOlmedadeSanJosé(18651909)ofBurgos.Soldca.1911byLeipzigantiquariandealerKarlHiersemanntoArcherMiltonHuntington(18701955), HispanicscholarandfounderoftheHispanicSocietyofAmerica,towhoselibrarytheMSpassedin1956fromHuntington'sprivatecollection. CenCat:(2:262);CrawSC:LpCp(1712);HierseKat380:D(209);KirkChurM(54,63,835,89,1056);KirschQM:LpCpIp(151);KrautH:LpCp(27:271); MME:DL(17:4950);NewG:M(17:701);PennHS:MFp(380,392);SnowRC:MLpCpIp(31,735);StevnsnSCM:DL(128,306);YouL:LpCp(7489) [Index] INDEXOMNIVMQVÆINHOC LIBRO PrimusTonus.
Magnificat.Animamea.
Fol.1.
SecundusTonus.
AnimameaDominum.
Fol.8.
TertiusTonus.
Animamea
Fol.14.
QuartusTonus.
AnimameaDominum.
Fol.20.
QuintusTonus.
AnimameaDominum.
Fol.26
SextusTonus.
Animamea
Fol.33.
SeptimusTonus.
AnimameaDominum.
Fol.39.
OctauusTonus.
Animamea
Fol.45.
PrimusTonus
Etexultauitspiritusmeus
Fol.51.
Etexultauitspiritusmeus
Fol.58.
TertiusTonus
Etexultauitspiritusmeus
Fol.65.
QuartusTonus
Etexultauitspiritusmeus
Fol.72.
QuintusTonus
Etexultauitspiritusmeus
Fol.78.
SextusTonus
Etexultauitspiritusmeus
Fol.85.
Tonus
.
.
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SeptimusTonus
Etexultauitspiritusmeus
Fol.92.
OctauusTonus
Etexultauitspiritusmeus
Fol.99.
Ad
Quihabitatinadiutorio
Fol.110.
OctavusTonus
Ecce
Fol.113.
TertiusTonus
tuum
TertiusTonus
InmanustuasDomine
Fol.120.
TertiusTonus
SaluanosDomine
Fol.123.
InpurificationeB.Mariæ.
adreuela.
Fol.124.
InSabbathoSo.Octauustonus.Animamea
Fol.106.
TesummaDeusTrinitas
Fol.11.
Collaudetomnisspiritus.
Quospercrucismysteriu*
Saluasregepersæcula
Amen.MDCVIII
NYorkH870 1.1v7rANimamea4v.morales Modernedition:MoralesO4:17. iotono.Sigue[n]selas16magnificasdemorales. NYorkH869,1v7r;PastraMs.s,2v8r. Oddnumberedversesonly. 2.7v13rANimamea4/5v.Morales Modernedition:MoralesO4:1724. Morales2tono NYorkH869,7v14r;PastraMs.s,9v15r. Oddnumberedversesonly. 3.13v19rANimamea4v.morales Modernedition:MoralesO4:3440. 3.tonomorales NYorkH869,14v20r;PastraMs.s,15v21r. Oddnumberedversesonly. 4.19v25rANimamea4v.morales Modernedition:MoralesO4:506. morales4tono NYorkH869,20v26r;PastraMs.s,21v27r. Oddnumberedversesonly.
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5.25 32 ANimamea4v.Morales Modernedition:MoralesO4:6574. 5otono.Morales NYorkH869,26v32r;PastraMs.s,27v34r. Oddnumberedversesonly. 6.32v38rANimamea4v.Morales Modernedition:MoralesO4:8490. 6otono.Morales. NYorkH869,32v38r;PastraMs.s,34v40r. Oddnumberedversesonly. 7.38v44rANimamea4v.Morales Modernedition:MoralesO4:1008. 7tono.Morales. NYorkH869,38v44r;PastraMs.s,40v46r. Oddnumberedversesonly. 8.44v50rANimamea4v.Morales Modernedition:MoralesO4:11925. 8.tono.Morales. NYorkH869,44v50r;PastraMs.s,46v51r. Oddnumberedversesonly. 9.50v57rETexultauit4/6v.Morales Modernedition:MoralesO4:816. MoralesprimiToni. NYorkH869,50v57r;PastraMs.s,51v58r. Evennumberedversesonly. 10.57v64rETexultauit4/6v.Morales Modernedition:MoralesO4:2533. MoralesSecu[n]diToni NYorkH869,57v64r;PastraMs.s,58v65r. Evennumberedversesonly. 11.64v71rETexultauit4/6v.Morales Modernedition:MoralesO4:419. MoralesTertiiToni NYorkH869,64v71r;PastraMs.s,65v72r. Evennumberedversesonly.
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12.71 77 ETexultauit4/5v.Morales Modernedition:MoralesO4:5764. MoralesQuartiToni. NYorkH869,71v77r;PastraMs.s,72v78r. Evennumberedversesonly. 13.77v84rETexultauit4/6v.Morales Modernedition:MoralesO4:7583. MoralesQuintiToni. NYorkH869,77v84r;PastraMs.s,78v85r. Evennumberedversesonly. 14.84v91rETexultauit4/6v.Morales Modernedition:MoralesO4:919. MoralesSextiToni NYorkH869,84v93r;PastraMs.s,85v92r. Evennumberedversesonly. 15.91v98rETexultauit4/6v.Morales Modernedition:MoralesO4:10918. MoralesSeptimiToni. NYorkH869,93v100r;PastraMs.s,92v99r. Evennumberedversesonly. 16.98v105rETexultauit4/6v.Morales Modernedition:MoralesO4:12632. MoralesOctauiToni. NYorkH869,100v107r;PastraMs.s,99v106r. Evennumberedversesonly.
108v109rBlankopening.
Page239
20.118v119brNVncdimittis4v.zaballos ZaballosA4. Seefacsimileoffol.119rinPennHS,392.
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NYorkH871 NEWYORK.TheHispanicSocietyLibrary.MS**HC380/871. 3Masses=3 CristóbaldeMorales—2,GiovanniPierluigidaPalestrina—1 i+89+ipaperfolios,562×400.Originalinkfoliation,irregular(omitsonefoliobetweenfols.26and27;"38"appliedtotwoconsecutivefolios).Originalcoversof blackleatheroverheavycardboard,tooledingold.Originalandcompleteindexonfol.[1]rlistspiecesintheorderinwhichtheyappearintheMS.Staffheight:26 35.Redinkemployedfortitlesandvoicedesignations. Early17thcentury.CopiedattheEscorial,possiblybyFrayPedrodeEstremera,whowasactiveattheEscorialfrom1587untilhisdeathin1632.(SeeDHM10(1): 2246andDHM10(2):351).BroughttothecollegiatechurchofS.PedroinLermabyGabrielDíazbefore1616,whenitwasinventoriedthere(CerVSP,2013). Onceownedbythecomposer,organist,historian,andbibliophileDonFedericoOlmedadeSanJosé(18651909)ofBurgos.Soldca.1911byLeipzigantiquarian dealerKarlHiersemanntoArcherMiltonHuntington(18701955),HispanicscholarandfounderoftheHispanicSocietyofAmerica,towhoselibrarytheMSpassed in1956fromHuntington'sprivatecollection. CenCat:(2:2623);HierseKat380:D(20910);KirkChurM(55,64,83,8990,1056);NewG:M(17:701);StevnsnSCM:DL(126) [Index] Missadevt,re,mi,fa,sol,la,A6.fol.i MissaLhomearme,a5.folio.33. Missamilleregretz.A6,folio55. Ad
Dei.
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NYorkH871 1.1v33rKYrieeleison6v.Palestrina Modernedition:PalO6:21653. Missade,vt,re,mi,fa,sol.la. NYorkH861,65v84r. 2.33v55rKyrieeleison5v.Christophor[us]Morales Modernedition:MoralesO1:193237. LhomeArmeA5. LacksAgnusIIandAgnusIII. 3.55v87rKyrieeleison6v.ChristophorusMorales Modernedition:MoralesO1:23873. MilleRegretz. EscSL4,38v46rand48v49r. LacksAgnusIIandAgnusIII. PastraMs.s PASTRANA.MuseoParroquial.MSs.s 16Magnificats,1GloriaPatri=17 FranciscoGuerrero—1,CristóbaldeMorales—16 ii+107+iiipaperfolios,559×396.Originalinkfoliation,1106(''49"appliedtotwoconsecutivefolios).Originalcoversoflightbrownleatheroverheavy cardboard,tooledfrontandbackwithidenticaldecorativedesigns.Originalindexonfol.2rlistspiecesintheorderinwhichtheyappearintheMS.Staffheight:28. RubricsspecifythetoneofeachMagnificat.Largeplaininkedinitialsinredorblack;reddoublelineborderframeseachpage.Edgesoffoliosgilded.6 CopiedattheEscorial,possiblybyFrayPedrodeEstremera,whowasactiveattheEscorialfrom1587untilhisdeathin1632.(SeeDHM10(1):2246andDHM 10(2):351.) CenCat:(3:401);MarCat:DL 6IremainindebtedbothtotheArchivesforRenaissanceManuscriptsattheUniversityofIllinois,UrbanaChampaignandtoCarlosMartínezGilformuchoftheinformationgiven
here.
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[Index] CAnticumBeataeMariaevirginisperoctomodusdispositum.auctoreChristophoroMorales Hispalensi 1
Animamea
1
Etexultauit
1
57
2
Animamea
10
Etexultauit
2
59
3
Animamea
16
Etexultauit
3
66
4
Animamea
22
Etexultauit
4
73
5
Animamea
28
Etexultauit
5
79
6
Animamea
35
Etexultauit
6
86
7
Animamea
41
Etexultauit
7
93
8
Animamea
47
Etexultauit
8
100.
Tesumma
Gloriatibi,
DeusTrinitas
Domine,Qui
Collaudetom
natusesdeVirgi
nisspiritus.Quos
ne,CumPatre,et
perpercrucismys
SanctoSpiritu,In
terium.Saluas,rege
sempiternasaecu
persaecula,Amen.
la.Amen.
PastraMs.s [i]r[ii]vBlankflyleaves 1r1vBlankflyleaves 2rOriginalindex 1.2v8rANimamea4v.morales Modernedition:MoralesO4:17. 10tonodemorales NYorkH869,1v7r;NYorkH870,1v7r. Oddnumberedversesonly.
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r
3.9 15 ANimamea4/5v.morales Modernedition:MoralesO4:1724. 2.tonodemorales NYorkH869,7v14r;NYorkH870,7v13r. Oddnumberedversesonly. 4.15v21rANimamea4v.morales Modernedition:MoralesO4:3440. 3.tonodemorales NYorkH869,14v20r;NYorkH87013v19r. Oddnumberedversesonly. 5.21v27rANimamea4v.morales Modernedition:MoralesO4:506. 4.tonodemorales NYorkH869,20v26r;NYorkH870,19v25r. Oddnumberedversesonly. 6.27v34rANimamea4v.morales Modernedition:MoralesO4:6574. 5.tonodemorales NYorkH869,26v32r;NYorkH870,25v32r. Oddnumberedversesonly. 7.34v40rANimamea4v.morales Modernedition:MoralesO4:8490. 6.tonodemorales NYorkH869,32v38r;NYorkH870,32v38r. Oddnumberedversesonly. 8.40v46rANimamea4v.morales Modernedition:MoralesO4:1008. 7.tonodemorales NYorkH869,38v44r;NYorkH870,38v44r. Oddnumberedversesonly. 9.46v51rANimamea4v.morales Modernedition:MoralesO4:11925. 8.tonodemorales NYorkH869,44v50r;NYorkH870,44v50r. Thenumber"49"isappliedtotwoconsecutivefolios. Oddnumberedversesonly.
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10.51 58 ETexultauit4/6v.morales Modernedition:MoralesO4:816. 1.tonodemorales NYorkH869,50v57r;NYorkH870,50v57r. Evennumberedversesonly. 11.58v65rETexultauit4/6v.morales Modernedition:MoralesO4:2533. 2.tonodemorales NYorkH869,57v64r;NYorkH870,57v64r. Evennumberedversesonly. 12.65v72rETexultauit4/6v.morales Modernedition;MoralesO4:419. 3tonodemorales NYorkH869,64v71r;NYorkH870,64v71r. Evennumberedversesonly. 13.72v78rETexultauit4/5v.morales Modernedition:MoralesO4:5764. 4tonodemorales NYorkH869,71v77r;NYorkH870,71v77r. Evennumberedversesonly. 14.78v85rETexultauit4/6v.morales Modernedition:MoralesO4:7583. 5tonodemorales NYorkH869,77v84r;77v84r. Evennumberedversesonly. 15.85v92rETexultauit4/6v.morales Modernedition:MoralesO4:919. 6.tonodemorales NYorkH869,84v93r;NYorkH870,84v91r. Evennumberedversesonly. 16.92v99rETexultauit4/6v.morales Modernedition:MoralesO4:10918. 7.tonodemorales NYorkH869,93v100r;NYorkH870,91v98r. Evennumberedversesonly.
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r
17.99 106 ETexultauit4/6v.morales Modernedition:MoralesO4:12632. 8tonodemorales NYorkH869,100v107r;NYorkH870,98v105r. Evennumberedversesonly. 106v107rBlankopening,106vruledwithstaves. [107]v[109]vThreeblankflyleaves. IndexofCompositions Inthisindex,compositionsareindexedaccordingtothefollowingscheme: A.MassOrdinaries 1.Cycles 2.Sections B.Magnificats 1.Polyphonyforevennumberedverses 2.Polyphonyforoddnumberedverses 3.Doxology C.Miscellaneousliturgicalgenres 1.Antiphons 2.CanticleofZachary 3.Lamentations 4.Passions 5.Psalms 6.Other D.Motets MassOrdinaries 1— Cycles Misadelosdoblesmaioresa4,MartíndeVillanueva,NYorkH253a,fol.18r;NYorkH861,fols.1v8r,fols.15v18r;NYorkH861,28v29r MisadenuestraSeñoraa4,MartíndeVillanueva,NYorkH253a,fols.2v8r;NYorkH861,fols.18v29r Missaa4,Anonymous,EscSL5,fols.69v73r MissaBenedictaescaelorumreginaa4,CristóbaldeMorales,EscSL4,fols.50v56r;NYorkH861,fols.102v117r
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r
Missabrevisa4,GiovanniPierluigidaPalestrina,EscSL2,fols.11 22
Missadeferiaa4,GiovanniPierluigidaPalestrina,EscSL2,fols.22v28r;EscSL4,fols.57v62r;EscSL4,fols.70v74r Missaferiala4,GinésdeBoluda,EscSL4,fols.6v8r;MontsM750,fols.1v4r MissaIsteconfesora4,GiovanniPierluigidaPalestrina,EscSL2,fols.[1]v11r;NYorkH861,fols.50v65r MissaL'hommearméa5,CristóbaldeMorales,NYorkH871,fols.33v55r MissaMilleregretza6,CristóbaldeMorales,EscSL4,fols.38v46r;48v49r;NYorkH871,fols.55v87r MissaNascelagioiamiaa6,GiovanniPierluigidaPalestrina,EscSL2,fols.81v94r;NYorkH861,fols.84v102r MissaSineNominea6,GiovanniPierluigidaPalestrina,EscSL5,fols.54v69r MissaUtremifasollaa6,GiovanniPierluigidaPalestrina,NYorkH861,fols.65v84r;NYorkH871,fols.1v33r RequiemMassa4,Anonymous,NYorkH861,fols.29v50r 2— Sections Kyriea4,MartíndeVillanueva,EscSL4,fols.8v9r;MontsM750,fols.29v30r Liberamea4,[JuandeAnchieta],NYorkH861,fols.45v48r Nerecorderisa4,[FranciscodelaTorre],NYorkH861,fols.44v45r Patremomnipotentema5,MigueldeGuerau,EscSL3,fols.5v8r Patremomnipotentema5,MigueldeGuerau,EscSL3,fols.8v11r Patremomnipotentema4,AlonsoLobo,EscSL3,fols.1v5r;EscSL4,fols.64v69r;NYorkH861,fols.8v15r Sanctusa4,GinésdeBoluda,EscSL5,fols.[0]v1r;NYorkH278,fols.[0]v2r Magnificats 1— PolyphonyforEvenNumberedVerses Etexultavita4/6,CristóbaldeMorales,NYorkH869,fols.50v57r;NYorkH870,fols.50v57r;PastraMs.s,fols.51v58r Etexultavita4/6,CristóbaldeMorales,NYorkH869,fols.57v64r;NYorkH870,fols.57v64r;PastraMs.s,fols.58v65r Etexultavita4/6,CristóbaldeMorales,NYorkH869,fols.64v71r;NYorkH870,fols.64v71r;PastraMs.s,fols.65v72r Etexultavita4/5,CristóbaldeMorales,NYorkH869,fols.71v77r;NYorkH870,fols.71v77r;PastraMs.s,fols.72v78r Etexultavita4/6,CristóbaldeMorales,NYorkH869,fols.77v84r;NYorkH870,fols.77v84r;PastraMs.s,fols.78v85r Etexultavita4/6,CristóbaldeMorales,NYorkH869,fols.84v93r;NYorkH870,fols.84v91r;PastraMs.s,fols.85v92r
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v
r
v
r
Etexultavita4/6,CristóbaldeMorales,NYorkH869,fols.93 100 ;NYorkH870,fols.91 98 ;PastraMs.s,fols.92 99 . Etexultavita4/6,CristóbaldeMorales,NYorkH869,fols.100v107r;NYorkH870,fols.98v105r;PastraMs.s,fols.99v106r 2— PolyphonyforOddNumberedVerses Animameaa4/5,Anonymous,NYorkH870,fols.105v108r Animameaa4,CristóbaldeMorales,NYorkH869,fols.1v7r;NYorkH870,fols.1v7r;PastraMs.s,fols.2v8r Animameaa4/5,CristóbaldeMorales,NYorkH869,fols.7v14r;NYorkH870,fols.7v13r;PastraMs.s,fols.9v15r Animameaa4,CristóbaldeMorales,NYorkH869,fols.14v20r;NYorkH870,fols.13v19r;PastraMs.s,fols.15v21r Animameaa4,CristóbaldeMorales,NYorkH869,fols.20v26r;NYorkH870,fols.19v25r;PastraMs.s,fols.21v27r Animameaa4,CristóbaldeMorales,NYorkH869,fols.26v32r;NYorkH870,fols.25v32r;PastraMs.s,fols.27v34r Animameaa4,CristóbaldeMorales,NYorkH869,fols.32v38r;NYorkH870,fols.32v38r;PastraMs.s,fols.34v40r Animameaa4,CristóbaldeMorales,NYorkH869,fols.38v44r;NYorkH870,fols.38v44r;PastraMs.s,fols.40v46r Animameaa4,CristóbaldeMorales,NYorkH869,fols.44v50r;NYorkH870,fols.44v50r;PastraMs.s,fols.46v51r 3— Doxology Gloriapatria4,FranciscoGuerrero,NYorkH253a,fols.1v2r;PastraMs.s,fols.8v9r MiscellaneousLiturgicalGenres 1— Antiphons AveMariaa4,AntonioSoler,EscSL1,fols.46v47r Christusfactusesta4,MiguelSánchez,EscSL4,fols.63v64r;NYorkH278,fols.65v69r Christusfactusesta4,JuandelaTorre,EscSL4,fols.23v24r Christusfactusesta4,MartíndeVillanueva,EscSL4,fols.28v29r;MontsM750,fols.27v29r;NYorkH278,fols.81v83r ConfitebortibiDominea4,AntonioSoler,EscSL1,fols.45v46r Lumenandrevelationema4,Anonymous,NYorkH870,fols.123v123br Nosautemgloriarioporteta5,MigueldeGuerau,EscSL4,fols.75v77r PueriHebraeoruma4,GiovanniPierluigidaPalestrina,EscSL4,fols.9v10r;EscSL5,fols.1v2r;NYorkH278,fols.2v6r PueriHebraeoruma4,TomásLuisdeVictoria,EscSL5,fols.2v4r;MontsM750,fols.4v7r Quaelucescitinprimaa4,MigueldeGuerau,EscSL4,fols.49v50r
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2— CanticleofZachary Nuncdimittisa4,RodrigodeCeballos,NYorkH870,fols.118v119br 3— Lamentations Alepha5,CristóbaldeMorales,EscSL4,fols.84v86r DelamentationeJeremiaea4,Anonymous,EscSL4,fols.5v6r Incipitlamentatioa4,Anonymous,NYorkH278,fols.45v51r IncipitlamentatioHieremiaea5,FabrizioDentice,EscSL4,fols.11v16r IncipitlamentatioHieremiaea4,MigueldeGuerau,EscSL4,fols.1v5r IncipitoratioHieremiaeProphetaea4,MigueldeGuerau,EscSL4,fols.78v81r TethCogitavitDominusa4,MartíndeVillanueva,EscSL4,fols.16v19r;EscSL4,fols.35v38r;NYorkH278,fols.51v58r;NYorkH278,fols.58v65r 4— Passions Helilamasabactania4,Anonymous,EscSL1,fols.54v55r Hicdixita4,Anonymous,EscSL1,fols.50v51r JesumNazaremuma4,PedrodeValladolid,EscSL1,fols.9v13r JesumNazarenuma4,MigueldeGuerau,EscSL1,fols.26v29r;NYorkH278,fols.36v42r;MontsM750,fols.15v20r JesumNazarenuma6,MigueldeGuerau,EscSL1,fols.22v26r JesumNazarenuma4,MartíndeVillanueva,EscSL1,fols.47v50r Nonindiefestoa6,JuanBautistaComes,EscSL1,fols.13v21r;NYorkH278,fols.1234;NYorkH288,fols.[102]r[124]r Nonindiefestoa4,PedrodeCastellón,EscSL1,fols.29v32r Nonindiefestoa4,TomásLuisdeVictoria,MontsM750,fols.7v15r Nonindiefestoa4,MartíndeVillanueva,EscSL1,fols.1v9r PassioDominia4,MigueldeGuerau,EscSL5,fols.36v53r;MontsM751,fols.56v90r PassioDominia4,[JanNasco],EscSL5,fols.10v36r;MontsM751,fols.[1]v56r;NYorkH288,fols.[0]v56r PassioDominia4,JuanBautistaComes,NYorkH288,fols.56v97r Ubivisparemusa4,MigueldeGuerau,EscSL1,fols.32v35r 5— Psalms DixitDominusa4,Anonymous,MontsM750,fols.36v41r;NYorkH253a,fols.9v13r Eccenunca4,RodrigodeCeballos,NYorkH870,fols.116v118r Misereremeia4,Cozar,EscSL4,fols.24v28r Misereremeia4,JuanGinésPérez,EscSL4,fols.19v23r Misereremeia4,MartíndeVillanueva,EscSL4,fols.29v32r;MontsM750,fols.30v36r;NYorkH278,fols.69v81r Quihabitata4,RodrigodeCeballos,NYorkH870,fols.109v117r
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6— Other Aspergesmea4,[GinésdeBoluda],EscSL2,fols.96v97r Custodinosa4,RodrigodeCeballos,NYorkH870,fols.121v122r Inmanustuasa4,RodrigodeCeballos,NYorkH870,fols.119bv121r Vidiaquama4,Anonymous,EscSL2,fols.94v96r Motets AccepitergoJesuspanesa4,JuandeCastro,EscSL1,fols.41v43r AssumpsitJesusa4,JuandeCastro,EscSL1,fols.37v39r AdDominumcumtribularera4,GiovanniPierluigidaPalestrina,EscSL2,fols.40v42br Adtelevavioculosmeosa4,GiovanniPierluigidaPalestrina,EscSL2,fols.36v40r AlleluiatuleruntDominuma5,GiovanniPierluigidaPalestrina,EscSL3,fols.11v13r AndreasChristifamulusa5,CristóbaldeMorales,EscSL3,fols.31v33r AveDominaMariaa5,Periáñez,EscSL3,fols.76v77r Avesanctissimuma4,BernalGonçalez,EscSL4,fols.46v48r Avevirgosanctissimaa5,FranciscoGuerrero,EscSL3,fols.67v69r BeataeMariaeMagdalenea5,GiovanniPierluigidaPalestrina,EscSL3,fols.37v39r BeatusLaurentiusa5,GiovanniPierluigidaPalestrina,EscSL3,fols.42v43r Beatusvirquisufferttentationema4,GiovanniPierluigidaPalestrina,EscSL2,fols.55v56r CantateDominocanticumnovuma5,PhilippeRogier,EscSL2,fols.78v79r Crucemsanctama5,GiovanniPierluigidaPalestrina,EscSL3,fols.17v19r CumpervenissetBeatusAndreasa5,GiovanniPierluigidaPalestrina,EscSL3,fols.74v76r DapacemDominea5,AlfonsoFerrabosco[theelder],EscSL2,fols.76v77r DapacemDominea6,PhilippeRogier,EscSL2,fols.59v60r Descenditangelusa5,PhilippeRogier,EscSL2,fols.71v72r Dispersitdeditpauperibusa5,Aguilar,EscSL3,fols.33v34r DomineJesuChristea4,ManueldeLeón,EscSL5,fols.74v75r;MontsM750,fols.22v24r Dominequandovenerisa4,GiovanniPierluigidaPalestrina,EscSL2,fols.28v32r DuctusestJesusa4,JuandeCastro,EscSL1,fols.35v37r Dumcomplerentura5,FranciscoGuerrero,EscSL3,fols.19v22r Dvmcomplerentura6,GiovanniPierluigidaPalestrina,EscSL3,fols.51v56r Egosumpanisvivusa4,GiovanniPierluigidaPalestrina,EscSL2,fols.64v66r Egosumpanisvivusa5,GiovanniPierluigidaPalestrina,EscSL3,fols.15v17r Emendemusinmeliusa5,CristóbaldeMorales,EscSL4,fols.81v84r EratJesuseiiciensdaemoniuma4,JuandeCastro,EscSL1,fols.39v41r
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ExaudiDominea4,GiovanniPierluigidaPalestrina,EscSL2,fols.51 52 ;EscSL2,fols.66 67 ExaudiatDominusa4,RodrigodeCeballos,EscSL2,fols.58v59r Gaudentincoelisa4,GiovanniPierluigidaPalestrina,EscSL2,fols.53v54r Glorialausa5,Anonymous,EscSL5,fols.4v6r;NYorkH278,fols.6v10r Haecdiesa6,GiovanniPierluigidaPalestrina,EscSL3,fols.39v40r HeumihiDominea4,GiovanniPierluigidaPalestrina,EscSL2,fols.32v36r HeumihiDominea5,PhilippeRogier,EscSL2,fols.67v70r HodieBeatavirgoMariaa5,GiovanniPierluigidaPalestrina,EscSL3,fols.56v58r HodienataestBeatavirgoMariaa5,GiovanniPierluigidaPalestrina,EscSL3,fols.60v62r Intervestibulumetaltarea4,RodrigodeCeballos,EscSL4,fols.62v63r IsteestquianteDeuma4,GiovanniPierluigidaPalestrina,EscSL2,fols.56v57r Jesusjunxitsediscipulissuisa4,GiovanniPierluigidaPalestrina,EscSL2,fols.60v62r JustusesDominea5,PhilippeRogier,EscSL2,fols.79v80r JustusesDominea5,PhilippeRogier,EscSL2,fols.70v71r Loquebanturvariislinguisa4,GiovanniPierluigidaPalestrina,EscSL2,fols.62v64r MagnussanctusPaulusa4,GiovanniPierluigidaPalestrina,EscSL2,fols.46v48r ManustueDominea5,CristóbaldeMorales,EscSL3,fols.72v74r Mariavirgocoelosascendita7,GiovanniPierluigidaPalestrina,EscSL3,fols.69v72r Nativitastuaa4,GiovanniPierluigidaPalestrina,EscSL2,fols.50v51r Nosautemgloriaria4,GiovanniPierluigidaPalestrina,EscSL2,fols.49v50r Oaltitudodivitiaruma5,DiegodelCastillo,EscSL2,fols.74v75r OBeatumviruma5,GiovanniPierluigidaPalestrina,EscSL3,fols.45v48r OCruxavea5,CristóbaldeMorales,EscSL3,fols.36v37r ODomineJesuChristea6,GiovanniPierluigidaPalestrina,EscSL3,fols.48v49r OluxetdecusHispaniaea5,GiovanniPierluigidaPalestrina,EscSL3,fols.26v28r Overa,summasempiternaTrinitasa5,GiovanniPierluigidaPalestrina,EscSL3,fols.13v15r
Ovosomnesa4,TomásLuisdeVictoria,EscSL4,fols.32v33r;MontsM750,fols.25v27r;NYorkH288,fols.97v99r OmnesinDominoa5,Anonymous,NYorkH253a,fols.13v17r Pereatdiesa5,PhilippeRogier,EscSL2,fols.80v81r PositusJesusa4,MartíndeVillanueva,EscSL4,fols.31v32r;MontsM750,fols.24v25r;NYorkH278,fol.83v Puerquinatusesta5,IoannesPetraloisijPrenestini,EscSL3,fols.28v30r QuiavidistimeThomaa4,GiovanniPierluigidaPalestrina,EscSL2,fols.45v46r Quisenimcognovita5,DiegodelCastillo,EscSL2,fols.75v76r Quampulchrisunta5,GiovanniPierluigidaPalestrina,EscSL3,fols.62v64r Respiceinmea5,PhilippeRogier,EscSL2,fols.77v78r Salvanosa4,PhilippeRogier,NYorkH870,fols.122v123r SanctificavitDominusa5,GiovanniPierluigidaPalestrina,EscSL3,fols.24v26r
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Sicutcervusa4,GiovanniPierluigidaPalestrina,EscSL2,fols.42bv43r SolveiubenteDeoa6,GiovanniPierluigidaPalestrina,EscSL3,fols.49v51r Superfluminaa4,GiovanniPierluigidaPalestrina,EscSL2,fols.43v45r Suscipeverbuma5,GiovanniPierluigidaPalestrina,EscSL3,fols.58v60r Tolliteiugummeuma4,GiovanniPierluigidaPalestrina,EscSL2,fols.54v55r Tradentenimvosa5,GiovanniPierluigidaPalestrina,EscSL3,fols.22v24r Trahemeposttea5,FranciscoGuerrero,EscSL3,fols.64v67r Turbamultaa4,JuandeCastro,EscSL1,fols.43v45r VenisponsaChristia4,GiovanniPierluigidaPalestrina,EscSL2,fols.48v49r;EscSL2,fols.52v53r Venitlumentuuma5,PhilippeRogier,EscSL2,fols.73v74r VenitMichaelArchangelusa5,GiovanniPierluigidaPalestrina,EscSL3,fols.30v31r Verbameauribuspercipea5,PhilippeRogier,EscSL2,fols.72v73r Verbuminiquumetdolosuma5,CristóbaldeMorales,EscSL3,fols.34v36r Verelanguoresa4,TomásLuisdeVictoria,EscSL4,fols.33v35r;NYorkH278,fols.42v45r Viditurbammagnama6,GiovanniPierluigidaPalestrina,EscSL3,fols.40v42r Vigilateetoratea4,CristóbaldeMorales,EscSL1,fols.21v22r;EscSL5,fols.8v9r;MontsM750,fols.20v22r;NYorkH278,fols.34v36r ViriGalileia6,GiovanniPierluigidaPalestrina,EscSL3,fols.43v45r Vivoegoa4,AlonsoLobo,EscSL2,fols.57v58r IndexofComposers Aguilar Dispersitdeditpauperibusa5,EscSL3,fols.33v34r JuandeAnchieta Liberamea4,NYorkH861,fols.45v48r Anonymous Animameaa4/5,NYorkH870,fols.105v108r DelamentationeJeremiaea4,EscSL4,fols.5v6r DixitDominusa4,MontsM750,fols.36v41r;NYorkH253a,fols.9v13r Glorialausa5,EscSL5,fols.4v6r;NYorkH278,fols.6v10v Helilamasabactania4,EscSL1,fols.54v55r Hicdixita4,EscSL1,fols.50v51r Incipitlamentatioa4,NYorkH278,fols.45v51r
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Lumenadrevelationema4,NYorkH870,fols.123 123b Missaa4,EscSL5,fols.69v73r OmnesinDominoa5,NYorkH253a,fols.13v17r RequiemMassa4,NYorkH861,fols.29v50r Vidiaquama4,EscSL2,fols.94v96r BernalGonçalez Avesanctissimuma4,EscSL4,fols.46v48r GinésdeBoluda Aspergesmea4,[GinésdeBoluda],EscSL2,fols.96v97r
Missaferiala4,EscSL4,fols.6v8r;MontsM750,fols.1v4r Sanctusa4,EscSL5,fols.[0]v1r;NYorkH278,fols.[0]v2r PedrodeCastellón Nonindiefestoa4,EscSL1,fols.29v32r DiegodelCastillo Oaltitudodivitiaruma5,EscSL2,fols.74v75r Quisenimcognovita5,EscSL2,fols.75v76r JuandeCastro AccepitergoJesuspanesa4,EscSL1,fols.41v43r AssumpsitJesusa4,EscSL1,fols.37v39r DuctusestJesusa4,EscSL1,fols.35v37r EratJesuseiiciensDaemoniuma4,EscSL1,fols.39v41r Turbamultaa4,EscSL1,fols.43v45r RodrigodeCeballos Custodinosa4,NYorkH870,fols.121v122r Eccenunca4,NYorkH870,fols.116v118r ExaudiatDominusa4,EscSL2,fols.58v59r Inmanustuasa4,NYorkH870,fols.119bv121r Intervestibulumetaltarea4,EscSL4,fols.62v63r Nuncdimittisa4,NYorkH870,fols.118v119br Quihabitata4,NYorkH870,fols.109v117r JuanBautistaComes Nonindiefestoa6,EscSL1,fols.13v21r;NYorkH278,fols.1234;NYorkH288,fols.[102]r[124]r PassioDominia4,NYorkH288,fols.56v97r
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Cozar MisereremeiDeusa4,EscSL4,fols.24v28r FabrizioDentice IncipitlamentatioHieremiaea5,EscSL4,fols.11v16r AlfonsoFerrabosco(TheElder) Dapacemdominea5,EscSL2,fols.76v77r MigueldeGuerau JesumNazarenuma4,EscSL1,fols.26v29r;MontsM750,fols.15v20r;NYorkH278,fols.36v42r JesumNazarenuma6,EscSL1,fols.22v26r IncipitlamentatioHieremiaea4,EscSL4,fols.1v5r IncipitoratioHieremiaeProphetaea4,EscSL4,fols.78v81r Nosautemgloriarioporteta5,EscSL4,fols.75v77r PassioDominia4,EscSL5,fols.36v53r;MontsM751,fols.56v90r Patremomnipotentema5,EscSL3,fols.5v8r Patremomnipotentema5,EscSL3,fols.8v11r Quaelucescitinprimaa4,EscSL4,fols.49v50r Vbivisparemusa4,EscSL1,fols.32v35r FranciscoGuerrero Avevirgosanctissimaa5,EscSL3,fols.67v69r Dumcomplerenturdiesa5,EscSL3,fols.19v22r Gloriapatria4,NYorkH253a,fols.1v2r;PastraMs.s,fols.8v9r Trahemeposttea5,EscSL3,fols.64v67r ManueldeLeón DomineJesuChristea4,EscSL5,fols.74v75r;MontsM750,fols.22v24r EstebanLimido SepultoDominoa5,EscSL5,fols.53v54r AlonsoLobo Aspergesmea4,EscSL2,fols.96v97r Patremomnipotentema4,EscSL3,fols.1v5r;EscSL4,fols.64v69r;NYorkH861,fols.8v15r Vivoegoa4,EscSL2,fols.57v58r
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CristóbaldeMorales Alepha5,EscSL4,fols.84v86r AndreasChristifamulusa5,EscSL3,fols.31v33r Animameaa4,NYorkH869,fols.1v7r;NYorkH870,fols.1v7r;PastraMs.s,fols.2v8r Animameaa4/5,NYorkH869,fols.7v14r;NYorkH870,fols.7v13r;PastraMs.s,fols.9v15r Animameaa4,NYorkH869,fols.14v20r;NYorkH870,fols.13v19r;PastraMs.s,fols.15v21r Animameaa4,NYorkH869,fols.20v26r;NYorkH870,fols.19v25r;PastraMs.s,fols.21v27r Animameaa4,NYorkH869,fols.26v32r;NYorkH870,fols.25v32r;PastraMs.s,fols.27v34r Animameaa4,NYorkH869,fols.32v38r;NYorkH870,fols.32v38r;PastraMs.s,fols.34v40r Animameaa4,NYorkH869,fols.38v44r;NYorkH870,fols.38v44r;PastraMs.s,fols.40v46r Animameaa4,NYorkH869,fols.44v50r;NYorkH870,fols.44v50r;PastraMs.s,fols.46v51r Emendemusinmeliusa5,EscSL4,fols.81v84r Etexultavita4/6,NYorkH869,fols.50v57r;NYorkH870,fols.50v57r;PastraMs.s,fols.51v58r Etexultavita4/6,NYorkH869,fols.57v64r;NYorkH870,fols.57v64r;PastraMs.s,fols.58v65r Etexultavita4/6,NYorkH869,fols.64v71r;NYorkH870,fols.64v71r;PastraMs.s,fols.65v72r Etexultavita4/5,NYorkH869,fols.71v77r;NYorkH870,fols.71v77r;PastraMs.s,fols.72v78r Etexultavita4/6,NYorkH869,fols.77v84r;NYorkH870,fols.77v84r;PastraMs.s,fols.78v85r Etexultavita4/6,NYorkH869,fols.84v93r;NYorkH870,fols.84v91r;PastraMs.s,fols.85v92r Etexultavita4/6,NYorkH869,fols.93v100r;NYorkH870,fols.91v98r;PastraMs.s,fols.92v99r Etexultavita4/6,NYorkH869,fols.100v107r;NYorkH870,fols.98v105r;PastraMs.s,fols.99v106r ManustueDominefeceruntmea5,EscSL3,fols.72v74r MissaBenedictaescaelorumreginaa4,EscSL4,fols.50v56r;NYorkH861,fols.102v117r MissaL'hommearméa5,NYorkH871,fols.33v55r MissaMilleregretza6,EscSL4,fols.38v46r;NYorkH871,fols.55v87r OCruxavea5,EscSL3,fols.36v37r Verbuminiquumetdolosuma5,EscSL3,fols.34v36r Vigilateetoratea4,EscSL1,fols.21v22r;EscSL5,fols.8v9r;MontsM750,fols.20v22r;NYorkH278,fols.34v36r
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JanNasco PassioDominia4,EscSL5,fols.10v36r;MontsM751,fols.[1]v56r;NYorkH288,fols.[0]v56r GiovanniPierluigidaPalestrina AdDominumcumtribularera4,EscSL2,fols.40v42br Adtelevavioculosmeosa4,EscSL2,fols.36v40r AlleluiatuleruntDominuma5,EscSL3,fols.11v13r BeataeMariaeMagdalenea5,EscSL3,fols.37v39r BeatusLaurentiusa5,EscSL3,fols.42v43r Beatusvirquisufferttentationema4,EscSL2,fols.55v56r Crucemsanctama5,EscSL3,fols.17v19r CumpervenissetBeatusAndreasa5,EscSL3,fols.74v76r Dominequandovenerisa4,EscSL2,fols.28v32r Dumcomplerentura6,EscSL3,fols.51v56r Egosumpanisvivusa4,EscSL2,fols.64v66r Egosumpanisvivusa5,EscSL3,fols.15v17r ExaudiDominea4,EscSL2,fols.51v52r;EscSL2,fols.66v67r Gaudentincoelisa4,EscSL2,fols.53v54r Haecdiesa6,EscSL3,fols.39v40r HeumihiDominea4,EscSL2,fols.32v36r HodieBeatavirgoMariaa5,EscSL3,fols.56v58r HodienataestBeatavirgoMariaa5,EscSL3,fols.60v62r Jesusjunxitsediscipulissuisa4,EscSL2,fols.60v62r IsteestquianteDeuma4,EscSL2,fols.56v57r Loquebanturvariislinguisa4,EscSL2,fols.62v64r MagnussanctusPaulusa4,EscSL2,fols.46v48r Mariavirgocoelosascendita7,EscSL3,fols.69v72r Missabrevisa4,EscSL2,fols.11v22r Missadeferiaa4,EscSL2,fols.22v28r;EscSL4,fols.57v62r;EscSL4,fols.70v74r MissaIsteconfesora4,EscSL2,fols.[1]v11r;NYorkH861,fols.50v65r MissaNascelagioiamiaa6,EscSL2,fols.81v94r;NYorkH861,fols.84v102r MissaSinenominea6,EscSL5,fols.54v69r MissaUtremifasollaa6,NYorkH861,fols.65v84r;NYorkH871,fols.1v33r Nativitastuaa4,EscSL2,fols.50v51r Nosautemgloriaria4,EscSL2,fols.49v50r OBeatumviruma5,EscSL3,fols.45v48r ODomineJesuChristea6,EscSL3,fols.48v49r OluxetdecusHispaniaea5,EscSL3,fols.26v28r Overa,summasempiternaTrinitasa5,EscSL3,fols.13v15r Puerquinatusesta5,EscSL3,fols.28v30r
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PueriHebraeoruma4,EscSL4,fols.9 10 ;EscSL5,fols.1 2 ;NYorkH278,fols.2 6
r
QuiavidistimeThomaa4,EscSL2,fols.45v46r Quampulchrisunta5,EscSL3,fols.62v64r Sanctificavitdominusa5,EscSL3,fols.24v26r Sicutcervusa4,EscSL2,fols.42bv43r SolveiubenteDeoa6,EscSL3,fols.49v51r Superfluminaa4,EscSL2,fols.43v45r Suscipeverbuma5,EscSL3,fols.58v60r Tolliteiugummeuma4,EscSL2,fols.54v55r Tradentenimvosa5,EscSL3,fols.22v24r VenisponsaChristia4,EscSL2,fols.48v49r;EscSL2,fols.52v53r VenitMichaelArchangelusa5,EscSL3,fols.30v31r Viditurbammagnama6,EscSL3,fols.40v42r ViriGalileia6,EscSL3,fols.43v45r JuanGinésPérez MisereremeiDeusa4,EscSL4,fols.19v23r Periáñez AveDominaMariaa5,EscSL3,fols.76v77r PhilippeRogier CantateDominocanticumnovuma5,EscSL2,fols.78v79r DapacemDominea6,EscSL2,fols.59v60r Descenditangelusa5,EscSL2,fols.71v72r HeumihiDominea5,EscSL2,fols.67v70r JustusesDominea5,EscSL2,fols.79v80r JustusesDominea5,EscSL2,fols.70v71r Pereatdiesa5,EscSL2,fols.80v81r Respiceinmea5,EscSL2,fols.77v78r Salvanosa4,NYorkH870,fols.122v123r Venitlumentuuma5,EscSL2,fols.73v74r Verbameauribuspercipea5,EscSL2,fols.72v73r MiguelSánchez Christusfactusesta4,EscSL4,fols.63v64r;NYorkH278,fols.65v69r AntonioSoler AveMariaa4,EscSL1,fols.46v47r ConfitebortibiDominea4,EscSL1,fols.45v46r
Page257
FranciscodelaTorre Nerecorderisa4,NYorkH861,fols.44v45r JuandelaTorre Christusfactusesta4,EscSL4,fols.23v24r PedrodeValladolid JesumNazaremuma4,EscSL1,fols.9v13r TomásLuisdeVictoria Nonindiefestoa4,MontsM750,fols.7v15r Ovosomnesa4,EscSL4,fols.32v33r;MontsM750,fols.25v27r;NYorkH288,fols.97v99r PueriHebraeoruma4,EscSL5,fols.2v4r;MontsM750,fols.4v7r Verelanguoresa4,EscSL4,fols.33v35r;NYorkH278,fols.42v45r MartíndeVillanueva Christusfactusesta4,EscSL4,fols.28v29r;MontsM750,fols.27v29r;NYorkH278,fols.81v83r JesumNazarenuma4,EscSL1,fols.47v50r Kyriea4,EscSL4,fols.8v9r;MontsM750,fols.29v30r Misadelosdoblesmaioresa4,NYorkH253a,fol.18r;NYorkH861,fols.1v8r,fols.15v18r;NYorkH861,28v29r MisadenuestraSeñoraa4,NYorkH253a,fols.2v8r;NYorkH861,fols.18v29r Misereremeia4,EscSL4,fols.29v32r;MontsM750,fols.30v36r;NYorkH278,fols.69v81r Nonindiefestoa4,EscSL1,fols.1v9r PositusJesusa4,EscSL4,fols.31v32r;MontsM750,fols.24v25r;NYorkH278,fol.83v TethCogitavitDominusa4,EscSL4,fols.16v19r;EscSL4,fols.35v38r;NYorkH278,fols.51v58r;NYorkH278,fols.58v65r
Page259
Appendix2— BiographicalNotesonEscorialMusicians Thisappendixcomprisesbiographicalsketchesofthe89JeronymitemusiciansknowntohavebeenactiveattheEscorialsometimeduringtheperiod1563to1700. Inthesebiographicalsketches,noattempthasbeenmadetoreportalltheavailableinformation.Rather,thesketchesarerestrictedtoinformationthatbearsdirectly upontheconcernsofthepresentstudy.Foreachmusician,thefollowingdata,whereknown,aregiven:themonk'snameinreligion,theyearofhisbirth(b.)orifthatis notknown,theyearofhisbaptism(bap.),theyearinwhichhewasinvestedwiththeJeronymitehabit(h.),theyearofhisdeath(d.),andtheprincipalmusicalactivities thatqualifyhimforinclusioninthisappendix.Theearliestyearforwhichthemonk'spresenceattheEscorialisreportedisgiveninparenthesesafterhisname.The namebywhichamonkwasknownbeforehejoinedtheJeronymiteOrderisgiven,whereitisknown,withinparentheses.Foreachmonk'sname,astandard orthography,takenfromtheindexoftheMemoriassepulcrales,hasbeenadopted.1Theentriesarelistedinachronologicalsequenceaccordingtothedateappearing inparenthesesafterthemusician'sname.Thesedatessignifytheyearofthemonk'searliestrecordedpresenceattheEscorial.Ifthedateistheresultofdeductionoris anapproximation,itisfollowedbyaquestionmark. FrayDiegodeToledo(1569) (d.1608) singer,organist FrayDiegodeToledowasoneofthefirstmembersoftheEscorialcommunity.HereceivedtheJeronymitehabitandwasfirstprofessedinthemonasteryofSan JerónimoelRealinMadrid.Asachild,hepossessedagoodvoiceandplayedtheorganalittle.HewasprofessedattheEscorialon5January1569anddiedtherein 1608atover90yearsofa*ge.2 1
Therearethreeexceptionstothisrule.First,whereamonkwasanauthorwhowaspublishedduringhislifetime,theearliestpublishedformofhisnameispreferredoverany other.Second,themodernform''JosédeSigüenza"hasachievedsuchcurrency,becauseofthismonk'ssingularimportance,thatnothingcouldbegainedbyasingleauthor's doggeddeterminationtoreturntoanarchaicversionofhisname.Third,exceptinthetranscriptionofdocuments,diacriticalmarkshavebeensilentlyaddedtoallpropernames andtheforms"Gerónimo"and"Hierónimo"havebeensuppressedinfavorof"Jerónimo." 2SeeMBN,FondoBarbieri,MS14084,718(foratranscription,seeBarbieri,Biografías,
(footnotecontinuedonnextpage)
Page260
FrayHernandodeCiudadReal(1570?) (d.1575) singer,composer,keyboardplayer FrayHernandodeCiudadRealwasfirstprofessedinthemonasteryofGuadalupe,whereheservedtwotermsasprior.Hewasoneofthefirstgroupofmonkswho cametoliveattheEscorial,wherehelaterheldtheprioratefrom1571to1575.HewasascholarofLatin,Greek,Hebrew,mathematics,geometry,arithmetic,and bothpracticalandspeculativemusic.Heplayedkeyboard,sang,andcomposed.AccordingtoSigüenza,FrayHernando'sproposaltointroducethecustomsof GuadalupetotheEscorialwasopposedbymanymembersoftheyoungcommunity.3Afteraprotractedillness,hediedon18April1575.4 FrayLorenzodeSevilla(1571) (d.1573) (LorenziodeSevilla) keyboardplayer FrayLorenzodeSevillawasfirstprofessedintheJeronymitemonasteryofGuadalupeintheprovinceofCáceres.HispresenceattheEscorialasearlyasJune1571 isconfirmedbyJuandeSanJerónimo.5AccordingtotheobituarynoticewrittensoonafterhisdeathinDecember1573,hewas"agoodkeyboardmusician."6 FrayJerónimodeZaragoza(1572?) (d.1573) organist ThepriestFrayJerónimodeZaragozawasfirstprofessedintheJeronymitemonasteryofElParralinSegovia.Hewasagoodorganist,havingbeenoneofthebest studentsofAntoniodeCabezón.HediedinOctober1573andwasthefirstmonktobeburiedattheEscorial.7 (footnotecontinuedfrompreviouspage) 474);A.deLarreaPalacín,"CatálogodemonjesmúsicosenElEscorial,"RevistadeArchivos,BibliotecasyMuseos,71(1963):376;Familiareligiosa,fol.17r(foratranscription, seeL.Hernández,MúsicaycultodivinoenelrealmonasteriodeElEscorial(15631837),DHM10(1):347)andtheMemoriassepulcrales,fol.234r(foratranscription,see DHM10(1):347). 3Sigüenza,FundacióndelMonasteriodeElEscorial,545. 4
ThisdateisgivenintheMemoriassepulcrales,fol.34bisv(fortranscriptionsseeDHM9(2):910andDHM10(1):20910),butFamiliareligiosa,fol.1r1vgives19April1576.See alsoMBN,MS14084,213(foratranscription,seeBarbieri,Biografías,141);Sigüenza,Fundación,5355,42;LarreaPalacín,"Catálogodemonjes,"375;MemoriasdeFr.Antoniode Villacastín,(ed.)J.ZarcoCuevas,inDHM1:50,note21;Familiareligiosa,30v;Barrado,CatálogodelarchivomusicaldeGuadalupe(Badajoz,1945),15;andF.J.Camposy FernándezdeSevilla,UnmanchegoenlosoríginesdeElEscorial. 5
SanJerónimo,LibrodememoriasdestemonasteriodeSantLorencioelReal,68.
6SeeMBN,MS14084,647(foratranscription,seeBarbieri,Biografías,451);Familiareligiosa,fol.30v;SanJerónimo,Librodememorias,68;Memoriassepulcrales,fol.218r(fora
transcription,seeDHM10(1):337);andLarreaPalacín,"Catálogodemonjes,"375. 7SeeMBN,MS14084,765(foratranscription,seeBarbieri,Biografías,508);ZarcoCuevas,
(footnotecontinuedonnextpage)
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FrayGaspardeLeón(1574) (b.ca.1528,d.1605) bass,correctormayordelcanto ThepriestFrayGaspardeLeón,whowasfirstprofessedintheJeronymitemonasteryofSanJéronimoinGranada,cametotheEscorialin1574andmadehissecond professiontherein1577.Hewasagoodsingerwithadeepbassvoice.AttheEscorialhewasappointedtotheofficeofcorrectormayordelcanto,apositionhe hadalreadyheldinthemonasteryofhisfirstprofession;itwassaidthat,takentogether,hespentalmost50yearsinthesetwopositions.Amongthosesingerswho performedpolyphonybeforePhilipIIduringfirstVespersofChristmasDayin1575,GasparissingledoutbythechroniclerSanJerónimo.8Thesamehistoriantellsof Gaspar'ssingingofthePassiononPalmSunday,1577,withthesingersFrayBartholomédeSantoDomingoandFrayMatheodeAvila,againintheKing'spresence.9 Inaddition,heisreported,togetherwithMartíndeVillanueva,BartholomédeSantiago,andPedroMarín,singingpolyphonicPassionsinHolyWeekattheEscorialin 1587.10Gasparheld,foranumberofterms,theofficesofnovicemasterandvicar.Hediedattheageof77on15July1605.11 FrayPedrodeNavarra(1574) (h.1574,d.1606) correctordelcanto FrayPedrodeNavarrawasoneofthefirsttoreceivethehabitattheEscorialon15September1574.Amongotheroffices,heheldthatofcorrectormayordel cantoformanyyears.Hediedon11August1606.12 (footnotecontinuedfrompreviouspage) LosJerónimosdeSanLorenzoelReal,46andMemoriassepulcrales,fol.234r(foratranscription,seeDHM10(1):372). 8SanJerónimo,Librodememorias,156. 9Ibid.,186. 10Ibid.,419. 11
SeeAME,MSLIII34(foratranscription,seeDHM10(2):34951);MBN,MS14084,4878(foratranscription,seeBarbieri,Biografías,285);Memoriassepulcrales,fol.146r146v (foratranscription,seeDHM10(1):2413);FranciscodelosSantos,Quartaparte,694;SanJerónimo,Librodememorias,86,144,156,186,190,215,227,350,410,419,428;Larrea Palacín,"Catálogodemonjes,"376;LBL,MSAdd.28,347,Item63,fol.123;andLBL,MSEgerton2,047Item134,fol.319b.Familiareligiosa,fol.18rmentionsaFrayGómezdeLeón whowasprofessedinthemonasteryofArmedillaon4March1567.Inallotherparticulars,includingthedateofdeath,thedetailsgivenbyFamiliareligiosaagreewiththosegiven byothersourcesforFrayGaspardeLeón. 12SeeMBN,MS14084,566(foratranscription,seeBarbieri,Biografías,354);Familiareligiosa,fol.32v;Memoriassepulcrales,fol.186bisr(foratranscription,seeDHM10(1):257);
andSanJerónimo,Librodememorias,187.
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FrayMiguelRomero(1574) (d.1576) organist,singer ThispriestwasfirstprofessedintheJeronymitemonasteryofSantaEngraciainZaragoza.Althoughhewasanablesinger,hewasbroughttotheEscorialasan organist.HewasprofessedasecondtimeattheEscorialin1574,butdiedsoonafteron14January1576.13 FrayGaspardelaTorre(1574) (h.1574,d.1587) alto ThesonofMigueldelaTorreandCatalinadelasPeñas,FrayGaspardelaTorrewasborninGuadalajaraandreceivedthehabitattheEscorialon10June1574. Hehadareasonablealtovoiceanddiedon10February1587.14 FrayAndrésdeSanLorenzo(1575) (h.1575,d.1608) carillonneur AndrésreceivedtheJeronymitehabitasalaybrotherattheEscorialon1March1575.HewasaFlemingandthesonoftheoneoftheKing'sservants;hischief contributiontotheEscorialcommunitywasplayingthecarillonandkeepingthemonasteryclocks.Hediedon17January1608atanageexceeding60years.15 FrayFranciscodeSantaAna(1575?) (d.1580) keyboardplayer FrayFranciscodeSantaAnawasborninAlgete,intheprovinceofMadrid,andwasfirstprofessedinthemonasteryofSanJerónimoinSeville.Hewasprofesseda secondtimeattheEscorial.Heplayedthekeyboardmoderatelywellanddiedin1580.16 13SeeMBN,MS14084,590(foratranscription,seeBarbieri,Biografías,418);Familiareligiosa,fol.17r;Memoriassepulcrales,fol.186bisr(foratranscription,seeDHM10(1):
28081);andLarreaPalacín,"Catálogodemonjes,"375. 14
SeeMBN,MS14084,727(foratranscription,seeBarbieri,Biografías,476);AGP,MSPruebasdelimpiezadesangredelosJerónimoslaurentinos;Familiareligiosa,fol.32v;and Memoriassepulcrales,fol.106r(foratranscription,seeDHM10(1):350). 15SeeMBN,MS14084,619(foratranscription,seeBarbieri,Biografías,431);Memoriassepulcrales,fol.346r(foratranscription,seeDHM10(1):299);LarreaPalacín,"Catálogode
monjes,"3767;andVanderStraeten,LaMusiqueauxPaysBas,8:347. 16SeeMBN,MS14084,616(foratranscription,seeBarbieri,Biografías,439);Memoriassepulcrales,fol.234r(foratranscription,seeDHM10(1):303);andFamiliareligiosa,fol.18r.
Page263
FrayBartholomédeSantoDomingo(1575) (d.1580) alto FrayBartholomédeSantoDomingowasknownbythenicknameelnegrillo,areferencetohisshortstatureanddarkcomplexion.Hewasfirstprofessedinthe monasteryofSanMigueldelMonteandmadehissecondprofessionattheEscorialon29May1577,wherehebecameknownforhisampleandclearaltovoice. AmongthosesingerswhoperformedpolyphonybeforePhilipIIduringfirstVespersofChristmasDayin1575,FrayBartholoméissingledoutbyJuandeSan Jéronimo.17ThesamechroniclertellsofSantoDomingo'ssingingofthePassiononPalmSunday,1577,togetherwiththesingersGaspardeLeónandMatheode AvilainthepresenceofPhilipII.18 FrayAgustíndeValencia(1575) (fl.1575) alto FrayAgustíndeValenciawasfirstprofessedintheJeronymitemonasteryofCotalba,nearGandía,beforebeingbroughttotheEscorialonaccountofhisfinealto voiceandmusicalskill.HeismentionedbySanJerónimoasoneoffourJeronymitesingerswhosangpolyphonyatfirstVespersoftheNativityinDecember1575in thepresenceofPhilipII.19HemadehissecondprofessionintheEscorialon29June1579andsometimelaterleftthecommunityincuriouscirc*mstances.According toRodríguez,"Hedefeatedtheenemyandsenthimfleeing."20 FrayMatheodeAvila(1576) (d.1625) bass ThismonkwasborninBonilladelaSierra,intheprovinceofAvila.HewasprofessedfirstinthemonasteryofSanJerónimo,Espeja,intheprovinceofSoria.Hewas oneofthefirstmonkstoinhabittheEscorialandtookhissecondprofessionthereon30November1576.Hehadagooddeepbassvoice(contrabasso),sangwell, andwasagoodchorister.MatheodeAvilaisnamedbySanJerónimoamongthose 17SanJerónimo,Librodememorias,156. 18SeeLarreaPalacín,"Catálogodemonjes,"376;Familiareligiosa,fol.18randMemoriassepulcrales,fol.226r(foratranscription,seeDHM10(1):325). 19SanJerónimo,Librodememorias,156. 20"Vencióleelenemigoymarchófugitivo,"Familiareligiosa,fol.18v.SeealsoMBN,MS14084,730(foratranscription,seeBarbieri,Biografías,484);Memoriassepulcrales,fol.515r
(foratranscription,seeDHM10(1):358);LarreaPalacín,"Catálogodemonjes,"376;andSanJerónimo,Librodememorias,156.
Page264 21
22
singerswhoperformedthePassiononPalmSunday,1577,inthepresenceofPhilipII. HediedattheEscorialon8September1625. FrayPedroMarín(1579) (d.1606) bass,correctordelcanto
FrayPedroMarínwasfirstprofessedintheJeronymitehouseofSanMigueldelosReyesinValenciaandwasoneofthefirstreligioustojointheEscorialcommunity. HemadehissecondprofessionattheEscorialon29June1579.Accordingtothewriterofhisobituarynotice,hepossessedaverygoodbassvoice,andforthis reasonhewasbroughtfromValenciaandforsomeyearsheldtheofficeofcorrectordelcantoattheEscorial.TogetherwithMartíndeVillanueva,Bartholoméde Santiago,GaspardeLeón,andPedrodeAlcalá,hesangthePassionsduringHolyWeekin1587.23Amongthemoreimportantnonmusicalofficesheheldwerethose ofnovicemasterandvicar.Hediedon28May1606.24 FrayPedrodeBuendía(1580) (h.1580,d.1585) organist,singer FrayPedrodeBuendía,thesonofAlonsoMartínezdeBuendíaandMaríadeOrrente,wasborninMoratillaintheprovinceofGuadalajara.25On1May1580,he receivedthehabitand,asafamiliar,taughttheseminarianstosing.Hewasalsoanorganist.26 21SanJerónimo,Librodememorias,186.Thismonkisnamedbythesamesourceinanothercontext,seeibid.,411. 22SeeMBN,MS14084,90(foratranscription,seeBarbieri,Biografías,50);SanJerónimo,Librodememorias,186,411;Familiareligiosa,fol.18r;MemoriasSepulcrales,fol.226r(for
atranscription,seeDHM10(1):199200);andLarreaPalacín,"Catálogodemonjes,"98. 23
SanJerónimo,Librodememorias,419.
24SeeMBN,MS14084,518(foratranscription,seeBarbieri,Biografías,311);Familiareligiosa,fol.18v;Memoriassepulcrales,fols.162r162v(foratranscription,seeDHM10(1):
24850);AGP,MSPruebasdelimpiezadesangre;LarreaPalacín,"Catálogodemonjes,"376;Santos,Quartaparte,7223;andSanJerónimo,Librodememorias,411,419. 25Thestatement(Familiareligiosa,fol.39v)thathewasborninBuendíaisprovenincorrectbyAGP,MSPruebasdelimpiezadesangre. 26SeeMBN,MS14084,1534(foratranscription,seeBarbieri,Biografías,1023);AGP,MSPruebasdelimpiezadesangre;Familiareligiosa,fol.39v;Memoriassepulcrales,fol.250r
(foratranscription,seeDHM10(1):2034);andSigüenza,Fundación,449.
Page265
FrayNicolásdeSanLorenzo(1582) (h.1582,d.1632) singer ThesonofPedroNicolásdeSanLorenzoandCatalinadeSancho,FrayNicolásdeSanLorenzowasborninVercial.Hisobituarynoticestatesthat"on18August 1582,hewasgiventhehabitforhisabilities:heknewsinging,hadagoodvoice,agoodhand,goodunderstanding,andmanyothergoodqualitieswithwhichhewas abletoservethisholycommunity."Hediedin1632,whileholdingtheofficeofvicar.27 FrayDiegodelaConcepción(1583) (h.1588,d.1590) (DiegodeMedina) keyboardplayer,organist DiegodeMedina,thesonofJuandeMedinaandGuiomardeRozas,wasborninCompásdelasHuelgas,intheprovinceofBurgos.In1583hewasadmittedtothe Escorialseminary,andasafamiliar,accordingtoSigüenza,hetaughttheseminarianssingingandplayedkeyboardalittle.Havingcompletedhisstudyofgrammar,he traveledtoValladolid,wherehefurtheredhiskeyboardstudies.HereturnedtotheEscorial,receivedthehabiton19March1588,andwasprofessedin1589. Althoughhisorganplayingwasnotdistinguishedbylearning,itwasappreciatedbytheJeronymitecommunity.28Hediedon2August1590.29 FrayPedrodeOrche(1585) (h.1585,d.1590) (PedrodelRey) keyboardplayer,organist FrayPedrodeOrchewasborninOrche,intheprovinceofGuadalajara,toFranciscodelReyandMaríaGarcía.On1March1585,hereceivedthehabitatthe Escorialanddiedasayoungdeacononlyfiveyearslater,on12October1590.Heplayedkeyboardaswellasotherinstruments.30 27SeeMBN,MS14084,617(foratranscription,seeBarbieri,Biografías,4301);AGP,MSPruebasdelimpiezadesangre;Memoriassepulcrales,fol.70r(foratranscription,see
DHM10(1):3001);andLarreaPalacín,"Catálogodemonjes,"377. 28SeeSigüenza,Fundación,44950. 29SeeMBN,MS14084,222(foratranscription,seeBarbieri,Biografías,149);AGP,MSPruebasdelimpiezadesangre;Familiareligiosa,fol.45v;Memoriassepulcrales,fol.242r(for
atranscription,seeDHM10(1):2123);LarreaPalacín,"Catálogodemonjes,"378;Stevenson,SpanishCathedralMusic,302,n.3;Sierra,"LamúsicaenElEscorial,"5178;andZarco Cuevas,LosJerónimos,46. 30SeeMBN,MS14084,413(foratranscription,seeBarbieri,Biografías,261);LarreaPalacín,
(footnotecontinuedonnextpage)
Page266
FrayCarlosdeLila(1586) (h.1586,d.1631) (CarlosDesponcheaulx) organist CarlosDesponcheaulx,thesonofClaudioDesponcheaulxandIsabelBlouque,wasbornintheFlemishtownofLille,wherehisfatherwasemployedasorganistinthe churchofSt.Pierre.Hereceivedthehabiton17April1586andwasprofessedthefollowingyear.HewasoneoftheveryfewnonSpanishmembersoftheEscorial community.Asanorganist,heservedthecommunityformanyyearsuntilhisdeathon13May1631.31 FrayMartíndeVillanueva(1586) (d.1605) singer,organist,correctormayordelcanto,composer MartíndeVillanueva,firstprofessedintheJeronymitemonasteryofSanJéronimoinGranada,wasamongthefirstreligioustobebroughttotheyoungEscorial communityin1586specificallybecauseoftheirmusicalskills.32BeforeenteringtheOrder,FrayMartínhadsometraininginmusicandkeyboardaswellasinLatin andGreek.Asaskilledsinger,heperformed,togetherwithGaspardeLeón,PedroMarín,BartholomédeSantiago,andPedrodeAlcalá,polyphonicPassionsinthe HolyWeekof1587.AttheEscorial,on29October1589,FrayMartínwasprofessedasecondtime.Forsomeyearsheservedthecommunityascorrectormayor delcanto,andhewasafineorganist.Inaddition,heheldtheofficesofarchivistandkeeperoftherelics.FrayMartínbecameaconfidantofPhilipII,evenattending tothemonarchonhisdeathbed.Infact,PhilipIIheldFrayMartíninsuchhighesteemthatherememberedhiminhiswill.33Thecomposer'sdeath,whichwas mournedbyPhilipIII,hisQueenDoñaMargarita,andtheircourtiersandministers,occurredon2June1605intheJeronymitemonasteryofNuestraSeñoradel PradoinValladolid.NinesettingsofLatinliturgicaltextsattributedtoVillanuevaareextant.34 (footnotecontinuedfrompreviouspage) "Catálogodemonjes,"377;Familiareligiosa,fol.43r;andG.deAndrés,"InventariodedocumentosdelsigloXVIsobreElEscorialqueseconservanenelArchivodelInstituto 'ValenciadeDonJuan'(Madrid),"CD194:542. 31SeeMBN,MS14084,495(foratranscription,seeBarbieri,Biografías,2878);AGP,MSPruebasdelimpiezadesangre;Familiareligiosa,fol.44v;Memoriassepulcrales,fol.330r
(foratranscription,seeDHM10(1):2456);LarreaPalacín,"Catálogodemonjes,"378;andVanderStraeten,Lamusique,8:3446. 32
Santos,Quartaparte,693b.
33Santos,Quartaparte,693bandMemoriassepulcrales,fol.515v516v(foratranscription,seeDHM10(1):36871). 34SeeAME,MSLIII34(foratranscription,seeDHM10(2):34951);Memoriassepulcrales,
(footnotecontinuedonnextpage)
Page267
FrayPedrodeAlcalá(1587) (fl.1587) singer Nothingisknownofthismonk'slife,apartfromthefactthatintheHolyWeekof1587hesangpolyphonicPassionstogetherwithMartíndeVillanueva,Bartholomé deSantiago,PedroMarín,andGaspardeLeón.35 FrayAlonsodeBaeza(1587) (d.1587) bajonista Verylittleisknownofthisyoungmonk,whowasapriestprofessedinthemonasteryofSanJéronimoatYuste.He"playedthebajónandotherinstruments,"andit waspossiblyasaninstrumentalistthathetraveledtotheEscorialforthefeastofSt.Lawrencein1587.36Hefellillsoonafteranddied.37 FrayPedrodeEstremera(1587) (b.ca.1552,h.1587,d.1632) (PedroLópez) correctormayordelcanto,bass,scribe PedroLópez,thesonofPedroLópez[sic]andJuanaDíaz,wasborninEstremera,intheprovinceofMadrid.Asanadult,hereceivedtheJeronymitehabiton2May 1587attheEscorialandwasprofessedon14Augustinthesameyear.Hewasalargemanwhopossessedalargevoicewithwhichheservedthecommunitybothas singerandascorrectormayordelcanto.Inadditionhecopiedpolyphonicchoirbooksinhiscell.ThosebooksthatwereinuseattheEscorialonhisdeathwere copiedbyhim.Hefellillon14November1632anddiedfivedayslateratalittlelessthan80yearsofa*ge.38 (footnotecontinuedfrompreviouspage) fol.515v516v;MBN,MS14084,7567(foratranscription,seeBarbieri,Biografías,501);Familiareligiosa,fol.19v;S.Rubio,"Lacapilla,"115;Santos,Quartaparte,693b694,724; SanJerónimo,Librodememorias,419;Rubio,Catálogodelarchivodemúsica,6501;LarreaPalacín,"Catálogodemonjes,"378;NewG19:775;Stevenson,SpanishCathedral Music,330,n.34;LBL,MSAdd28,423,No.153,fol.384r;Estal,''FelipeIIysuarchivohagiográficodeElEscorial,"2258;andFillingham,"FrayMartíndeVillanueva." 35SeeMBN,MS14084,28(foratranscription,seeBarbieri,Biografías,9)andSanJerónimo,Librodememorias,419.Heistobeconfusedneitherwiththehom*onymousmonkto
whomZarcoCuevas,LosJerónimosreferson72,norwiththePedrodeAlcalálistedinLarreaPalacín,"Catálogodemonjes,"375whodiedin1575.Neitherishelikelytohavebeenthe monkreferredtoinFamiliareligiosa,fol.19ror31v. 36
LarreaPalacín,"Catálogodemonjes,"376givesthedateinerrorasthefeastofSt.Jerome.
37SeeMBN,MS14084,91(foratranscription,seeBarbieri,Biografías,55)andLarreaPalacín,"Catálogodemonjes,"376. 38SeeAME,MSLIII34(foratranscription,seeDHM10(2):34951);MBN,MS14084,
(footnotecontinuedonnextpage)
Page268
FrayBartholomédeSantiago(1587) (d.1630) alto,correctormayordelcanto FrayBartholomédeSantiagoreceivedthehabitattheJeronymitemonasteryofNuestraSeñoradelaPiedadatBaza,intheprovinceofSigüenza,on1March1577. Hewasprofessedtherein1579.AsoneofthefirstreligioustojointheEscorialcommunity,heisfoundin1587singingthePassionsduringHolyWeektogetherwith MartíndeVillanueva,PedroMarín,andPedrodeAlcalá.39AmongtheofficesheheldattheEscorialwerethoseofsacristan,masterofceremonies,novicemaster, andkeeperoftherelics.Inaddition,heheldtheofficeofcorrectormayordelcantoformorethantwentyyears,forseventeenofwhichhewasalsovicar.Hedied on13July1630.40 FrayGinésdeOlmedo(1589) (d.1608) tenor,organist FrayGinésdeOlmedowasborninOrihuela,intheprovinceofMurcia,andwasfirstprofessedintheJeronymitemonasteryofLaMurtainValencia.Hehada "reasonabletenorvoiceandplayedtheorganalittle,"andbecauseoftheseabilitieswasbroughttotheEscorial,wherehemadehissecondprofessionon29October 1589.AttheEscorialheheldtheofficeofrectoroftheseminaryseveraltimes.Hediedon31October1608.41 (footnotecontinuedfrompreviouspage) 305(foratranscription,seeBarbieri,Biografías,204);MBN,FondoBarbieriMS14028109(foratranscription,seeBarbieri,Biografías,204);AGP,MSPruebasdelimpiezade sangre;Familiareligiosa,fol.45r;Memoriassepulcrales,fol.434r(foratranscription,seeDHM10(1):2246);Rubio,"Lacapilla,"117;Santos,Quartaparte,7478;ZarcoCuevas, LosJerónimos,77;LarreaPalacín,"Catálogodemonjes,"378;andC.IglesiasdelaVega,"AlgunosartistasJerónimosdeElEscorial,"RevistadeArchivos,BibliotecasyMuseos, 71(1963):305. 39
SeeSanJerónimo,Librodememorias,419.
40SeeAME,MSLIII34(foratranscription,seeDHM10(2):34951);MBN,MS14084,6389(foratranscription,seeBarbieri,Biografías,441);Santos,Quarteparte,7236;San
Jerónimo,Librodememorias,419;LarreaPalacín,"Catálogodemonjes,"377;andMemoriassepulcrales,fol.29r(foratranscription,seeDHM10(1):30916). 41SeeMBN,MS14084,570(foratranscription,seeBarbieri,Biografías,358);Familiareligiosa,fol.19v;LarreaPalacín,"Catálogodemonjes,"376;Memoriassepulcrales,fol.242r
(foratranscription,seeDHM10(1):2578);andEstal,"FelipeIIysuarchivohagiográficodeElEscorial,"22840.
Page269
FrayDiegodeSantaMaría(1590?) (h.1595,d.1627) tiple,alto FrayDiegodeSantaMaríawasborninAuñón,intheprovinceofGuadalajara,andwasadmittedtotheEscorialbecausehewasoneofthebeststudentsofhistime, andbecausehehadagoodtiple(lateralto)voice.Hereceivedthehabiton11February1595.Forsometimeheservedassecondcorrectordelcantoandheheld otheroffices,includingthatofrectorofthecollege.Hediedon16September1627.42 FrayJuandelaFuente(1593) (h.1593,d.1632) bass,keyboardplayer,correctordelcanto FrayJuandelaFuente,thesonofJuandelaFuente[sic]andMaríadeLeón,wasborninAzrijos,intheprovinceofSoria.43HereceivedthehabitintheEscorialon 11February1593andwasprofessedon26February1594.Althoughofsmallstature,hepossessedalargebassvoice,withwhichheservedthecommunityformany yearsascorrectormayordelcanto.Hediedon17July1632.44 FrayFranciscodeAlcalá(1597) (h.1599,d.1611) singer,playerofvihueladelarco,scribe FrayFranciscodeAlcaláwasborninCabanillasdelCampo,intheprovinceofGuadalajara,in1584,andhereceivedtheJeronymitehabiton20March1599.An ableandgracefulsinger,heplayedthevihueladelarcoandwaswellversedinliturgicalmatters.Hepossessedagoodknowledgeofchoirbooks,whichhehandled withskill.Hewasgiftedwithexcellentpenmanship,whichheputtogooduseinhiscareoftherelics.Hediedattheageof28on30September1611.45 42SeeFamiliareligiosa,fol.49v;LarreaPalacín,"Catálogodemonjes,"379;andMemoriassepulcrales,fols.274r274v(foratranscription,seeDHM10(1):305). 43HisbirthplaceisgiventhusinAGP,MSPruebasdelimpiezadesangre.TheMemoriassepulcrales,however,referstohimasa"naturaldeEscariche"intheprovinceof
Guadalajara.Thisisrepeatedbythefollowingsubsequentsources:Santos,Quartaparte,744;ZarcoCuevas,LosJerónimos,79;andLarreaPalacín,"Catálogodemonjes,"379. 44SeeAME,MSLIII34(foratranscription,seeDHM10(2):34951);MBN,MS14084,326(foratranscription,seeBarbieri,Biografías,217);Familiareligiosa,fols.48r48v;Zarco
Cuevas,LosJerónimos,79;LarreaPalacín,"Catálogodemonjes,"379;AGP,MSPruebasdelimpiezadesangre;Rubio,"Lacapilla,"116;Santos,Quartaparte,744;andMemorias sepulcrales,fol.362r(foratranscription,seeDHM10(1):2312). 45SeeMBN,MS14084,267(foratranscription,seeBarbieri,Biografías,9);LarreaPalacín,"Catálogodemonjes,"379;Familiareligiosa,fol.51v;AGP,MSPruebasdelimpiezade
(footnotecontinuedonnextpage)
Page270
FrayJuandelaCruz(1598) (bap.1586,h.1604,d.1612) (JuanGarcíadeAlharilla) organist JuanGarcíadeAlharilla,thesonofJuanGarcíadeAlharilla[sic]andMaríaGutiérrez,wasborninMeco,intheprovinceofMadrid,andwasbaptizedthereon12 April1586.HeenteredtheEscorialin1598,receivedthehabiton30October1604,andwasprofessedon6November1605.Afterhisnovitiatehewassenttothe abbeyofPárraceswherehediedon4October1612.46 FrayPedrodeHuéscar(1602?) (bap.1587,h.1605,d.1631) (PedrodeSola) tiple,bajonista PedrodeSola,thesonofHernandodeSolaandAnaMartínez,wasborninHuéscar,intheprovinceofGranada,andwasbaptizedinthatcityon23November 1587.HewasencouragedtoentertheEscorialseminarybyFrayBartholomédeSantiagoand,asatiple,heoccupiedoneofthetwoplacesthattheKinghadset asideforthoseproficientinpolyphonyandabletoassistinthechapel.Thedeclarationoflimpiezadesangre,whichwasrequiredbeforehecouldentertheEscorial seminary,wasmadeinHuéscarbeforethenotaryLuisGarcíaon24August1601.SincethedeclarationwasapprovedbytheEscorial'svicarandhisdelegateson4 October1601andon18May1602,itislikelythatPedroenteredtheseminarysoonafterthisdate.Hereceivedthehabiton5November1605.47Helearnedthe bajónandplayeditwithskill.Inordertopracticehispreaching,hetraveledtwicetoAndalucía.Heneverreturnedfromthesecondjourney,dyingon6February 1631.48 (footnotecontinuedfrompreviouspage) sangre;Memoriassepulcrales,fol.378r(foratranscription,seeDHM10(1):1924);andEstal,"FelipeIIysuarchivohagiográficodeElEscorial,"2323,2945. 46
SeeMBN,MS14084,255(foratranscription,seeBarbieri,Biografías,1689);AGP,MSPruebasdelimpiezadesangre;andLarreaPalacín,"Catálogodemonjes,"380.
47ZarcoCuevas,LosJerónimos,80gives"1620"buttheMemoriassepulcrales,fols.525r525v(foratranscription,seeDHM10(1):2345)clearlystates"1605."Without
substantiation,ZarcoCuevasstatesthatFrayPedrodeHuéscarwasthefirstmaestrodecapillaoftheEscorialandthisisrepeatedinJoséSubirá,"Uninsignemúsicoescurialense: FrayAntonioSoler,"647.ZarcoCuevas,LosJerónimos,ibid.,statesthatFrayPedrodeHuéscar"composedsomethings"butnoevidencetosupportthisclaimhascometolight. 48SeeMBN,MS14084,416(foratranscription,seeBarbieri,Biografías,261);ZarcoCuevas,LosJerónimos,80;LarreaPalacín,"Catálogodemonjes,"380;Familiareligiosa,fol.55v;
AGP,MSPruebasdelimpiezadesangre;andMemoriassepulcrales,fols.525r525v(foratranscription,seeDHM10(1):2345).
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FrayCristóbaldeSanJerónimo(1603?) (d.1606) organist,composer FrayCristóbaldeSanJerónimowasborn,accordingtoonesecondarysource,inBudía,intheprovinceofGuadalajara.49Anothersecondarysourcetellsusthathe wasan"excellentorganistcomposeroftheseventeenthcentury,"andthathisparentswereFranciscoAtuyandAnaGarcía,bothofTrillo.50Hemadeadeclarationof limpiezadesangreinordertobeprofessedinApril1605.Fourvillancicosandthreeworksfororgan,allattributedtoCristóbaldeSanJerónimo,arepreservedin theEscorialarchive.51 FrayFaustinodeSantorcaz(1603) (b.1581,h.1603,d.1639) singer,bajonista FrayFaustinodeSantorcazwasborninSantorcaz,intheprovinceofMadrid.HereceivedthehabitattheEscorialon26March1603andwasprofessedthe followingyear.Helearnedpolyphonyandthebajónandservedforsometimeinthechapel.HeheldmanyotherofficesattheEscorial,mostnotablythatofnovice master,whichheheldforseveralterms.Hediedon26April1639.52 FrayJuandelaCruz(1604?) (d.1605) singer,keyboardplayer,bajonista FrayJuandelaCruzwasfirstprofessedatthemonasteryofSanJerónimoelRealinMadrid.Hewasmarriedandcommittedamurderasaresultof"amisfortune characteristicofmarriage,"possiblymeaninghiswife'sinfidelity.Followingthemurder,hesoughtrefugeattheEscorialand"wasacceptedforhiskeyboardskillsand becauseheplayedthebajón."Hewishedtobeordained,andwasgrantedPapaldispensationtodoso,butalongillnessintervened,andon31August1605,he died.53 49LarreaPalacín,"Catálogodemonjes,"380. 50ZarcoCuevas,LosJerónimos,912. 51SeeRubio,Catálogodelarchivodemúsica,454. 52SeeMBN,MS14084,666(foratranscription,seeBarbieri,Biografías,442);LarreaPalacín,"Catálogodemonjes,"3801;andMemoriassepulcrales,fol.106r109r(foratranscription,
seeDHM10(1):31825). 53SeeMemoriassepulcrales,fol.314r(foratranscription,seeDHM10(1):2134).
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FrayJuanBaptista(1605) (b.ca.1583,h.1605,d.1653) (JuanBautista) correctormayordelcanto,singer,composer,maestrodelamúsica FrayJuanBaptista,thesonofDiegoBadilloPinillaandAnaPérez,wasborninHorche,intheprovinceofGuadalajara,inabout1583.54HereceivedtheJeronymite habitattheEscorialon23April1605andwasprofessedon6May1606.Hepossessedalarge,fullvoice,andformanyyearsheservedtheEscorialcommunityas secondcorrectordelcanto,correctormayordelcanto,andmaestrodelamúsica.55OneofhisprincipalcontributionswashissingingofthePassionsduringHoly Week.Asinnkeeper(hospedero)andrectoroftheseminary,hetaughtoverahundredseminarianswholaterdispersedtomonasteriesthroughoutthepeninsula.Five ofhiscompositionsareextantandareheldintheEscorialarchive.56IfhecanbeidentifiedwiththePadreFrayJuanBaptistaaboutwhomFranciscodelosSantos writes,57thenhewasalsoanexcellent"scribeofchoirbooks"whoexercisedthisabilityinmanyhousesoftheOrder,includingSanBartoloméinLupiana,SanMiguel delosReyesinValencia,andSantaMaríaLaMejoradanearOlmedo.HediedatthevillageofYebeswhileonajourneytohishometownatabout70yearsofa*gein 1653,andwasburiedinthenearbyJeronymitehouseofSanBartoloméatLupiana.58 FrayBaltasardeFuenlabrada(1609) (h.1609,d.1651) (BaltasarAparicio) singer,correctordelcanto BaltasarAparicio,thesonofDomingoAparicioandCatalinaGonzález,wasborninFuenlabradaintheprovinceofMadrid.HereceivedthehabitattheEscorialon 10 54Hewas"about70"athisdeathin1653accordingtotheMemoriassepulcrales,fols.530v531r(foratranscription,seeDHM10(1):2002). 55
VillalbaMuñoz,"ElarchivodemúsicadelmonasteriodeElEscorial,"CD51(1900):499,wasthefirsttosuggestthatthetermmaestrodelamúsicainthiscontextwasequivalentto maestrodecapillaandotherwritershavefollowedhislead,mostnotablyRubioin"Lacapilla,"934.HoweveritisclearfromAlmela,Descripción,70,thatthemaestrodelamúsica taughttheseminarianstosingandthatthepositionwasestablishedasearlyas1592. 56SeeRubio,Catálogodelarchivodemúsica,2234. 57Santos,Quartaparte,420. 58SeeMBN,MS14084,99100(foratranscription,seeBarbieri,Biografías,57);Rubio,Catálogodelarchivodemúsica,643;VillalbaMuñoz,"Elarchivodemúsica,"497501;Zarco
Cuevas,LosJerónimos,74;LarreaPalacín,"Catálogodemonjes,"380;MBN,MS140754;Santos,Quartaparte,420;Familiareligiosa,fol.55r;andMemoriassepulcrales,fols.530v 531r(foratranscription,seeDHM10(1):2002).
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October1609andwasprofessedon1November1610.HewaseducatedattheEscorialandlaterattheJeronymitehouseofCotalba.Onaccountofhisfinevoice, hewasappointedtotheofficeofcorrectordelcanto.Hewaselectedvicarandpriorofvariousmonasteries,andservedaspriorattheEscorialforsixyears(1642 1648).HeretiredtothemonasteryofPárracesanddiedthereon25October1651.59 FrayFranciscodeGuadalupe(1610?) (d.1614) composer TheJeronymitemonkFrayFranciscodeGuadalupeundertookhisearlystudiesattheEscorialcollegebeforejoiningthecommunityoftheJeronymitemonasteryat Talavera.Aswellasbeingapreacherofnote,hewasamathematicianandadistinguishedmusician.Asacomposer,hewasresponsiblefortheplainsongofficesofthe VisitationoftheVirginMaryandofSt.JamestheApostle.HediedinTalaveraon6October1614.60 FrayPedrodeAntequera(1612) (h.1612) (PedroSánchezdeAntequera) tiple PedroSanchezdeAntequera,thesonofAntonRamírezdeAntequeraandGregoriaHerbás,wasborninOcañaintheprovinceofToledo.Hereceivedthehabiton9 March1612andwasprofessedon17March1613.Asacastrato,hisprincipalmusicalcontributiontothecommunitywashistiplevoice.61 FrayPedrodeBalconete(1612) (h.1612,d.1661) (PedrodeNoviercas) singer,correctordelcanto ThesonofPedrodeNoviercasandFranciscadeJuanLorenzo,FrayPedrodeBalconetewasborninBalconete,intheprovinceofGuadalajara.Hereceivedthe 59
SeeAME,MSLIII34(foratranscription,seeDHM10(2):34951);MBN,MS14084,325(foratranscription,seeBarbieri,Biografías,216);Memoriassepulcrales,fol.527v(fora transcription,seeDHM10(1):231);AGP,MSPruebasdelimpiezadesangre;Familiareligiosa,fols.3r,57r57v,81v82r;andSantos,Quartaparte,7936. 60SeeMBN,MS14084,385(foratranscription,seeBarbieri,Biografías,241);andLarreaPalacín,"Catálogodemonjes,"377. 61SeeMBN,MS14084,634(foratranscription,seeBarbieri,Biografías,38);LarreaPalacín,"Catálogodemonjes,"381;andFamiliareligiosa,fol.59r(foratranscriptionfromMBN,
MS13419seeDHM10(1):197).
Page274
habiton14December1612andwasprofessedon15December1613.Asagiftedsinger,heservedtheEscorialformanyyearsandheldtheofficeofcorrector.He diedon14May1661.62 FrayPedrodeTafalla(1614) (bap.1605,h.1622,d.1660) (PedroHuarte) tiple,organist,composer ItisprobablethatPedroHuartewasborntoMartíndeHuarteandMaríaRoderoin1605,andthathewasbaptizedon4SeptemberthatyearinTafalla,inthe provinceofNavarra.Attheageofnine,PedrowastakenbyanuncletoAvilawiththeintentionthattheyoungboyapplytojointhecathedralchoirthereasatiple. Ontheway,theyvisitedtheprioroftheEscorial,FrayJuandePeralta,towhomtheywererelated.Asaresultofthisvisit,PedrowasofferedaplaceattheEscorial where,inadditiontogrammarandLatin,hestudiedtheorganandcomposition.On1April1622Pedroreceivedthehabitandhewasprofessedon25May1623.He becamewellknownthroughouttheOrderandlivedinseveralJeronymitehouses,whereheprobablytaughttheorganandcounterpoint.Amonghisstudentsmustbe countedsuchimportantEscorialmusiciansasJoséphdelValle63andManueldelValle.64SoonafterthedeathofTafalla'sfatherinabout1632,theEscorialchapterset asidelivingquartersforhismotherintheEscorialandpaidhertravellingexpensesfromNavarra.65Eventodaythatroomisknownas"LaTafalla."In1618thechapter votedTafalla'smotheradailyfoodration66andin1648thisassistanceinkindwasreplacedbyadailycashallowanceofonereal,67whichwaslaterdoubled.68 AssertionsbyRotondo,Madrid,andBarbierithatPedrodeTafallaheldtheofficeofmaestrodecapillaarenotsupportedbyanyoftheprimarysources.69By1654, TafallawaslivinginthemonasteryofPárracesintheprovinceofSegovia.Hediedon6March1660atthe 62SeeMBN,MS14084,97(foratranscription,seeBarbieri,Biografías,556);LarreaPalacín,"Catálogodemonjes,"381;Familiareligiosa,fol.59v;andAGP,MSPruebasde
limpiezadesangre.Fols.443r463roftheMemoriassepulcrales,whereanentryforthismonkwouldhavebeenwritten,arenowmissing. 63
SeeMemoriassepulcrales,fols.98v99r(foratranscription,seeDHM10(1):35962).
64SeeMemoriassepulcrales,fols.274v276r(foratranscription,seeDHM10(1):36467). 65SeeAC1,fol.201r(foratranscription,seeDHM10(1):420). 66SeeAC1,fol.216r(foratranscription,seeDHM10(1):422). 67SeeAC1,fol.280v(foratranscription,seeDHM10(1):427). 68SeeAC1,fol.282r(foratranscription,seeDHM10(1):427). 69SeeRotondo,DescripcióndelaGranBasílicadelEscorial,219;IgnaciodeMadrid,"Tafalla"inDiccionariodehistoriaeclesiásticadeEspaña,4:2,516andMBN,MS14084,709.
Theseassertionsappeartobebased,inthefirstinstance,upontheratherelaboratebutflawedreasoningofVillalbaMuñoz,"Elarchivodemúsica,"499501.
Page275
ageof54andhisbodywastransferredforintermenttotheEscorial.Some34LatinliturgicalworksattributedtoTafalla,togetherwiththreeworksfororgan,are preservedintheEscorialarchive.70 FrayMigueldeTalavera(1614) (b.1602,h.1618,d.1656) (MiguelLópezdelaLlave) tiple MiguelLópezdelaLlave,thesonofFranciscoLópezdelaLlaveandMaríadePeralta,wasborninPueblanueva,intheprovinceofSegovia,on9October1602, andwasbaptizedthereon17October.Miguellearnedtoread,towrite,andtosingintheparishchurchofPueblanueva.HesoughttoentertheEscorialseminary,and wasadmittedon28November1614.Intheseminaryhesangpolyphonyasatiple,eventuallyreceivingthehabiton10November1618.HediedinAstorgaon24 June1656atabout54yearsofa*ge.71 FrayPedrodeCastellón(1615?) (d.ca.1659) composer,singer,organist FrayPedrodeCastellón,Santostellsus,72wasanativeofthecityofGandía.Fromhischildhood,Pedrodedicatedhimselftotheserviceoftheliturgyandthestudyof musicinthecollegiatechurchofGandía.HetookthehabitinthenearbymonasteryofSanJerónimoinCotalba,butwaslatersentbyhissuperiorstothecollegeofthe Escorial,wherehepassedbrilliantly.HereturnedtothemonasteryofCotalba,wherehewasnamedvicar,anddedicatedhimselftothestudyofsacredscripture, Greek,andHebrew.HewaslaterappointedpriorofthemonasteryofValdehebrón(nearBarcelona)andservedaspriorinhisownmonasteryofCotalba.Fray Pedrowassofondoftheliturgyandsomodest,wearetold,thathefrequentlylefthisplaceintheprior'sstallinordertosing,toconduct,ortoplaytheorgan,forhe wasaccomplishedinalltheseskills.Hewas,inaddition,acomposerofpolyphony,andwhenSantos 70SeeMBN,MS14084,70612(foratranscription,seeBarbieri,Biografías,4712);Memoriassepulcrales,fols.402v403r(foratranscription,seeDHM10(1):3445);AC1,fols.
201r,216r,280v,282r(fortranscriptions,seeDHM10(1):420,422,427);ZarcoCuevas,LosJerónimos,98;LarreaPalacín,"Catálogodemonjes,"382;Rubio,Catálogodelarchivo demúsica,6489;AGP,MSPruebasdelimpiezadesangre;Madrid,"Tafalla";andFamiliareligiosa,fols.68r68v. 71SeeMBN,MS1408460(foratranscription,seeBarbieri,Biografías,472);AGP,MSPruebasdelimpiezadesangre;LarreaPalacín,"Catálogodemonjes,"381;Familiareligiosa,
fols.65v66r;andMemoriassepulcrales,fols.532r532v(foratranscription,seeDHM10(1):34547). 72ThesolesourceforthisbiographicalsketchisSantos,Quartaparte,3779.
Page276 73
waswriting,manyofhisMassesandmotetswereheldinmanuscriptinthemonasteriesoftheEscorialandCotalba,amongothers. HediednearValenciaattheage of63,havingwornthehabitfor46years.Santosissilentaboutthedateofhisdeath,althoughthepositionoftheshortbiographywithinthechronologicalplanofhis booksuggeststhathediedbeforeabout1659.Hisdateofbirththen,maybeapproximatedas1595.FrayPedrowasburiedinthemonasteryofSanMigueldelos ReyesinValenciainthepresenceoftheDukeofGandíaandviceroyDonFranciscodeBorja. FrayFranciscodeColmenar(1618) (b.ca.1588,h.1618,d.1668) (FranciscoBallestero) singer,scribe FranciscodeBallesterowasborntoPedroBallesteroandAnaRobreñoinColmenardeOreja,intheprovinceofMadrid.Hereceivedthehabiton5June1618at theageofabout30years,andwasprofessedon6June1619.Heservedthecommunitywithhis"beautifulvoice"untilhisdeathon6January1668.Hispenmanship wasconsideredremarkable.74 FrayMartíndelaCruz(1619) (bap.1593,h.1619,d.1668) (MartíndeBurdalo) bass MartíndeBurdalo,thesonofJuanSánchezdeBurdaloandMaríaBlazquez,wasborninAbertura,intheprovinceofCáceres,andwasbaptizedon1August1593. Hereceivedthehabitat26yearsofa*geon30October1619andwasprofessedinNovember1620.Hepossessedaverylargeandsonorousbassvoice,withwhich heservedthechoirformanyyears.Hediedon18January1668.75 73Today,onlyonepieceascribedtoCastellónisextantattheEscorial,aPassioninEscSL1,fol.29v32. 74SeeMBN,MS14084,214(foratranscription,seeBarbieri,Biografías,148);AGP,MSPruebasdelimpiezadesangre;Familiareligiosa,fol.64v;andMemoriassepulcrales,fol.109
(foratranscription,seeDHM10(1):21112). 75SeeMBN,MS14084,257;MBN,MS14026251(fortranscriptions,seeBarbieri,Biografías,169);AGP,MSPruebasdelimpiezadesangre;Familiareligiosa,fol.66v;andMemorias
sepulcrales,fol.115(foratranscription,seeDHM10(1):2145).
Page277
FrayDiegodeColmenar(1620?) (d.1634) singer,bajonista NothingisknownofthisordainedmonkotherthanthathewasfirstprofessedintheJeronymitemonasteryofSantaCatalinainTalavera,thathesangandplayedthe bajón,andthathediedon28March1634.76 FrayJuandeSanMiguel(1620) (b.1588,h.1620,d.1658) (JuanRegildeAguerre,JuanRegildeAguinaga) singer JuanRegildeAguerrewasborntoVictorRegildeAguinagaandCatalinadeAguerreinVillava,intheprovinceofNavarra,in1588.Hereceivedthehabitatthe Escorialon25May1620.Becauseofhisgoodpreparationingrammarandhisexcellentvoice,hewaswelcomedbyallthereligious.Hediedon23April1658.77 FrayManueldeArteaga(1622) (h.1622,d.1667) alto FrayManueldeArteagawasborn,inabout1605,toPedrodeArteagaandCatalinadePalomaresinSegovia.HetookthehabitattheEscorialon18May1622and wasprofessedon5June1623.HelivedinseveraloftheOrder'shousesandwasknownforhisfinealtovoice.AfterreturningtotheEscorial,heservedofficesuntil hisdeathon10September1667.78 FrayManueldeLeón(1623) (h.1623,d.1632) (ManueldeLeón) maestrodecapilla,composer FrayManueldeLeónwasthesonofJuandeLeónandMaríaOrtegaandtheyoungerbrotherofJuandeLeón,sometimemaestrodecapillaofthecathedralof Segovia. 76SeeLarreaPalacín,''Catálogodemonjes,"379,wherethedateofhisdeathisgivenincorrectlyas"28mayo,"andMemoriassepulcrales,fol.474r. 77
SeeMBN,MS1408454(foratranscription,seeBarbieri,Biografías,432);LarreaPalacín,"Catálogodemonjes,"381;Familiareligiosa,fol.67r;andMemoriassepulcrales,fol.533r 533v(foratranscription,seeDHM10(1):3012). 78SeeMBN,MS14084,85(foratranscription,seeBarbieri,Biografías,48);LarreaPalacín,"Catálogodemonjes,"3812;AGP,MSPruebasdelimpiezadesangre;andMemorias
Sepulcrales,fol.306v(foratranscription,seeDHM10(1):1989).
Page278
ManueldeLeónreceivedthehabitattheEscorialon4December1623,havingalreadydevotedconsiderabletimetothestudyofmusic,andwasprofessedon19 December1624.AccordingtoSantos,79whoalsoheldtheoffice,FrayManueldeLeónwasappointedmaestrodecapillaattheEscorial.Hediedon23August 1632.80 FrayMigueldeSantiago(1629) (bap.1611,h.1629,d.1674) (MiguelGonzález) organist MiguelGonzález,thesonofPedroGonzálezandCatalinaCalvo,wasborninTurruncún,intheprovinceofLogroño,andwasbaptizedon18October1611.He receivedthehabitattheEscorialon2July1629andwasprofessedon25July1630.Havingshownevidenceofsomemusicalability,hewassenttothemonasteryof SanBartoloméatLupianawherehelearnedtoplaytheorgan.OnhisreturntotheEscorial,heservedthecommunityasanorganist.Inadditionhetookcareofthe maintenanceandtuningoftheorgans,aswellasservinganumberofotheroffices.Hediedon16December1674attheageof63.81 FrayMigueldeSantaMaría82(1630?) (bap.1622,h.1635,d.1658) (QuirinoHernández) singer,correctordelcanto QuirinoHernández,thesonofMelchorHernándezandLuisaHernández,wasborninBarbolla,intheprovinceofSegovia,andwasbaptizedon24August1622.He wasadmittedtotheEscorialseminary,wherehelearnedplainsongandsomepolyphony.HereceivedtheJeronymitehabiton21November1635attheEscorialand, because 79Santos,Quartaparte,745. 80SeeMBN,MS14084,492(foratranscription,seeBarbieri,Biografías,286);Rubio,"FrayManueldeLeón";Santos,Ibid.;Rubio,"Lacapilla,"923;Rubio,Catálogodelarchivode
música,646;ZarcoCuevas,LosJerónimos,83;LarreaPalacín,"Catálogodemonjes,"382;AGP,MSPruebasdelimpiezadesangre;Familiareligiosa,fol.69r69v;Stevenson, SpanishCathedralMusic,340n.143;andMemoriassepulcrales,fol.378v(foratranscription,seeDHM10(1):2445). 81SeeMBN,MS14084,6401(foratranscription,seeBarbieri,Biografías,441);LarreaPalacín,"Catálogodemonjes,"382;Rubio,"Lacapilla,"10910;andMemoriassepulcrales,fol.
80v81(foratranscription,seeDHM10(1):31618). 82ThismonkisnottobeconfusedwithanotherFrayMigueldeSantaMariawhodiedin1603.ReferencestothelatterwillbefoundinSantos,Quartaparte,692b;SanJerónimo,Libro
dememorias,411;andFamiliareligiosa,fols.1v,17v,51v,53v.
Page279
hehadagoodvoiceandbecauseofhisdiligenceinplainsongandpolyphonyandhisgoodknowledgeoftheliturgy,hewasappointedthirdandthensecondcorrector delcanto.Hediedon13February1658.83 FrayFranciscodeSalvatierra(1634) (b.ca.1616,h.1634,d.1696) (FranciscoFlóresGirón,FranciscoFlórezGirón) correctordelcanto,scribe FranciscoFlóresGirón,thesonofGonzaloFlóresGirónandMaríaLópezVallejo,wasborninMercadillo,84intheprovinceofAvila,inabout1616.Hereceivedthe habitintheEscorialon27October1634andwasprofessedon1November1635.Heservedintheofficeofcorrectordelcantoforsome29years,afterwhichhe occupiedhimselfintherestorationofthelargechoirbooks.Sincehewascorrectordelcanto,itislikelythatthesechoirbookscontainedplainsongratherthan polyphony.Hediedon20February1696.85 FrayMigueldeVadillo(1634) (b.ca.1617,h.1634,d.1690) singer,correctormayordelcanto FrayMigueldeVadillo,thesonofMiguelVelázquezandCatalinaJiménez,wasborninVadillodelaSierra,intheprovinceofAvila,inabout1617.Hewaseducated intheJeronymitemonasteryofGuadalupe.HereceivedthehabitattheEscorialon27October1634andwasprofessedinthefollowingyear,beingadmittedthento theEscorialcollege.Hepossessedaclearandsonorousvoice,withwhichhesangbothplainsongandpolyphony,andformanyyearsheservedascorrectormayor delcanto.Otherofficesheoccupiedincludedthoseofnovicemaster,rectorofthecollege,priorofthemonasteryofElParral,andvicarattheEscorial.Hedied,at theageof73,on1January1690.86 83SeeMBN,MS1408452(foratranscription,seeBarbieri,Biografías,4401);Familiareligiosa,fol.79v;andMemoriassepulcrales,fol.532v533r(foratranscription,seeDHM10
(1):3078). 84AccordingtoMBN,MS14084,635,hewasborninLaHorcajada. 85
SeeMBN,MS14084,635(foratranscription,seeBarbieri,Biografías,426);LarreaPalacín,"Catálogodemonjes,"383;IglesiasdelaVega,"Algunosartistas,"308;AGP,MS Pruebasdelimpiezadesangre;andMemoriassepulcrales,fol.36r(foratranscription,seeDHM10(1):2835). 86SeeMBN,MS14084,729(foratranscription,seeBarbieri,Biografías,483);LarreaPalacín,"Catálogodemonjes,"383;Familiareligiosa,fol.75v;andMemoriassepulcrales,fol.82r
82bisv(foratranscription,seeDHM10(1):3568).
Page280
FrayFranciscodelaPuebla(1635) (bap.1621,h.1639,d.1647) (FranciscoRodríguez) cantorcillo,harpist FrayFranciscodelaPueblawasborntoFranciscoRodríguezandIsabelGarcíadeFloreson22February1621inHorcajodelaSierra,intheprovinceofMadrid. Hewasbaptizedon28February1621.87FranciscoandhismotherlaterestablishedthemselvesinSantaCruz,intheprovinceofTalavera,wheretheyliveduntil1635. On21Mayofthatyear,FranciscomadeadeclarationoflimpiezadesangrebeforethenotaryAlonsodeVillanuevainLaPeraleda(intheprovinceofCáceres)in ordertobeadmittedtotheEscorialseminary.Thedeclarationwasapprovedon27June1635andhewasadmitted.Franciscowas"broughtupintheEscorial seminarywhere,inadditiontoplainchant,helearntpolyphonywellandservedasatipleinthecapilla."88Hereceivedthehabiton21May1639andwasprofessed on27May1640.Inorderbettertoservethecommunity,helearnedtoplaytheharpunderthetutelageofaPortuguesemonkwhowastemporarilyresidentatthe Escorial.Hediedon9October1647.89 FrayFranciscodelosSantos(1635) (b.ca.1617,h.1635,d.1699) (FranciscodelaPlaza) maestrodecapilla,composer FranciscodelaPlaza,thesonofNicolasdelaPlazaandPetroniladeCuellar,wasborninthevillageofLosSantosdelaHumosa,intheprovinceofMadrid.When hewasoldenough,hisparentssenthimtotheJeronymitemonasteryofSanBartoloméatLupianaintheprovinceofGuadalajara.Therehelearnedgrammarand, underthetutelageoftherenownedchapelmasterFrayBenitodeNavarra,hewasinstructedintherudimentsofmusicandinsinging.HethentraveledtotheUniversity ofAlcaládeHenaresforfurtherstudies.HereceivedthehabitattheEscorialon20April1635andwasprofessedon11May1636.Afterdistinguishinghimselfin philosophyandtheologyinthecollege,hewasappointedmaestrodecapilla.TheKingwasanxious,however,thatFrayFrancisconotbedistractedfromsacred lettersbythedutiesofthechapelmastership,andconsequentlyhereturnedtothecollege,wherehewaselectedtothechairofsacredscripture.Hewasthenelected priorofthemonasteryofNuestraSeñorainBornos,intheprovinceofSigüenza.Mindfulofhisliteraryskills, 87AGP,MSPruebasdelimpiezadesangregivestwodatesofbaptism:1621and1620. 88Memoriassepulcrales,fol.338r338v(foratranscription,seeDHM10(1):264). 89SeeMBN,MS14084,575(foratranscription,seeBarbieri,Biografías,386);Memoriassepulcrales,loc.cit.;Familiareligiosa,fol.79r;andLarreaPalacín,"Catálogodemonjes,"
3834.
Page281
theGeneralChapteroftheJeronymitesappointedhimhistorianoftheOrderandimposeduponhimtheobligationofcontinuingtheworkbegunbyJosédeSigüenza. ThefruitofthiscommissionwashisQuartapartedelahistoriadelaOrdendeSanJerónimo(Madrid,1680).HewasthenelectedpriorofthemonasteryofSan JerónimoatBenaventeandlaterVisitorGeneralofCastilleandLeón.In1681,theyearfollowingthepublicationofhishistory,PhilipIVnamedhimpriorofthe Escorial.Itwasduringhisthirdterminthisofficethathediedon11July1699,beingthenover82yearsofa*ge.AlikenessofSantosispreservedinClaudioCoello's painting,theSagradaForma,whichwascompletedin1690.90 FrayPedrodePrado(1636?) (bap.1622,h.1640,d.1689) (PedrodeSepúlveda) singer Pedro,thesonofLorenzoGonzálezdeSepúlvedaandAguedaGarcíaPlaza,wasborninthevillageofPrado,intheprovinceofMadrid,andwasbaptizedthereon 24January1622.IntheEscorialseminaryhestudiedgrammar,plainsong,andsomepolyphony;hepossessedafinevoice.Hereceivedthehabiton13April1640 andwasprofessedinthefollowingyear.Heheldnoofficeotherthanthatofcantor;hediedon1July1689.91 FrayJuandelBarco(1639) (b.ca.1621,h.1639,d.1705) (JuanCantillo) organist,composer FrayJuandelBarco,thesonofthepriestJuanLópezCantilloandhismaidservantMaríaFernándezdelaCabezuela,wasborninLaHorcajada,intheprovinceof Avila,wherehewasbaptizedon30October1621.Inaroyalwarrantdated3December1625,PhilipIVliftedtheimpedimentofhispatrimonyand,inspiteofbeing 90SeeMBN,MS14084,6716(foratranscription,seeBarbieri,Biografías,442);Memoriassepulcrales,fol.70v72(foratranscription,seeDHM10(1):3268);LarreaPalacín,
"Catálogodemonjes,"383;ZarcoCuevas,LosJerónimos,956;Familiareligiosa,fol.76v;GregoriodeAndrés,"AlhajasymejorasquepercibióestarealcasadeS.Lorenzo";L. Rubio,"LoshistoriadoresdelRealMonasteriodeSanLorenzo";C.Monedero,"LafiguradelP.Fr.FranciscodelosSantos";andMadrid,"Laquartapartedelahistoriadela OrdendeSanJerónimodefrayFranciscodelosSantos.'' 91SeeMBN,MS14084,574(foratranscription,seeBarbieri,Biografías,384);AGP,MSPruebasdelimpiezadesangre;Memoriassepulcrales,fol.45v46r(foratranscription,see
DHM10(1):2623);andLarreaPalacín,"Catálogodemonjes,"384.
Page282
acastrato,hewasinvestedwiththeJeronymitehabiton26April1639.Hewasprofessedon1May1640.Aswellasbeingafineorganist,hewasacomposer;the twoworksascribedto"JuandelVarco"thatsurvivetodayintheEscorialarchiveareprobablyhis.Hediedon1September1705attheageof84.92 FrayJuandeLeón(1639) (bap.1623,h.1639,d.1694) (JuanFernándezdeLeón) singer,correctordelcanto ThesonofJerónimoFernándezdeLeónandMarceladeZeballos,JuanFernándezwasborninMadridandwasbaptizedintheparishofSanAndréson23March 1623.InordertoseekadmissiontotheEscorialseminary,hemadeadeclarationoflimpiezadesangrein1635.On12October1639,hereceivedthehabitandwas professedthefollowingyear.Hewasknownforhisgoodvoice,andformanyyearsheldtheofficeofcorrectordelcanto.Hediedon4March1694.93 FrayHermengildodelAguila(1640) (bap.1630,h.1649,d.1693) (JuandelAguila) singer,correctordelcanto JuandelAguila,thesonofLorenzodelAguilaandAnadelaPazdeHaro,wasborninToledoandwasbaptizedinthecathedralthereon4October1630.Asa youngboy,JuandelAguilawasadmittedtotheEscorialasacantorcillo.On20April1649,hereceivedthehabit,andwasprofessedon6May1650.Forsome yearsheheldtheofficeofcorrectordelcantoHepublishedthreeSpanishsonnets,threeLatinepigrams,andsomeotherliteraryworks.94Hediedinthevillageof Castilblancoon24October1693.95 92SeeMBN,MS14084,1025(foratranscription,seeBarbieri,Biografías,589);Memoriassepulcrales,fol.116r(foratranscription,seeDHM10(1):2023);ZarcoCuevas,Los
Jerónimos,73;AGP,MSPruebasdelimpiezadesangre;Familiareligiosa,fol.79r(foratranscriptionfromMBN,MS13419,seeDHM10(1):203);Rubio,Catálogodelarchivo demúsica,6089,6423;andLarreaPalacín,"Catálogodemonjes,"383. 93SeeMBN,MS14084,4901(foratranscription,seeBarbieri,Biografías,2856);Memoriassepulcrales,fol.89v90r(foratranscription,seeDHM10(1):2434);andFamiliareligiosa,
fol.79v(foratranscriptionfromMBN,MS13419,seeDHM10(1):244). 94SeeSantaMaría,Octavasagradamenteculta,5960,67,801,99,116. 95SeeMBN,MS14084,4(foratranscription,seeBarbieri,Biografías,23);Memoriassepulcrales,fol.557r557v(foratranscription,seeDHM10(1):189);AGP,MSPruebasde
limpiezadesangre;Familiareligiosa,fol.86v(foratranscriptionfromMBN,MS13419,seeDHM10(1):190);ZarcoCuevas,LosJerónimos,77;andLarreaPalacín,"Catálogode monjes,"385.
Page283
FrayMateodeTrujillo(1640) (h.1640,d.1668) (MateoRodríguezAdan) singer MateoRodríguezAdan,thesonofJuanRodríguezAdanandMencíaAlfonso,wasborninLogrosán,intheprovinceofCáceres.Hereceivedthehabitin1640and wasdescribedbyFranciscodePaulaRodríguezasa"perpetualchorister."96Hediedon29September1668.97 FrayJuandeDurango(1642) (bap.1632,h.1650,d.1696) (JuandeDurango) singer,maestrodecapilla,harpist,scribe,composer JuandeDurango,thesonofAndrésdeDurangoandYsabeldelosArcos,wasborninFalces,intheprovinceofNavarra,wherehewasbaptizedon14September 1632.Asachild,helearnedmusicandsangwithsuchagoodvoicethathewasadmittedtotheEscorialasacantorcillointhechapel.Hereceivedthehabiton5 March1650andwasprofessedon25March1651.Asaharpist,hewaseulogizedbyFrayLuísdeSantaMaría.98Hewasactiveasamusiccopyist.99Some90 worksbyDurangoareextantintheEscorialarchive.Hediedin1696.100 FrayJoséphdelValle(1643?) (b.ca.1630,h.1647,d.1692) (PadreBenedicte) organist,composer,maestrodecapilla,tiple FrayJoséphdelValle,thesonofJoséBenedicteandMaríaAgusejo,wasborninabout1630inFalces,intheprovinceofNavarra.Asachildwhohadalready studiedmusicandgrammar,PedrodeTafallarecommendedhimforadmissiontotheEscorialasacantorcillo.Havingbeenadmitted,hewastaughtmusicandthe organbyTafalla,andon13August1647,hereceivedthehabit.On15August1648,hewasprofessed. 96Familiareligiosa,fol.80r(foratranscriptionfromMBN,MS13419,seeDHM10(1):355). 97SeeMBN,MS1408481(foratranscription,seeBarbieri,Biografías,480);Memoriassepulcrales,fol.323r(foratranscription,seeDHM10(1):355);LarreaPalacín,"Catálogode
monjes,"384;AGP,MSPruebasdelimpiezadesangre;andFamiliareligiosa,loc.cit. 98SantaMaría,Octavasagradamenteculta,33. 99Laird,"TheVillancicoRepertory,"1:24349. 100SeeMBN,MS14084(foratranscription,seeBarbieri,Biografías,17981),2806;ZarcoCuevas,LosJerónimos,77;LarreaPalacín,"Catálogodemonjes,"385;Rubio,Catálogodel
archivodemúsica,644;AGP,MSPruebasdelimpiezadesangre;Familiareligiosa,87v;andMemoriassepulcrales,fol.123r(foratranscription,seeDHM10(1):217).
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Aswellasservingthecommunityasanorganist,heheldtheofficeofmaestrodecapillaforsomeyears.WhenFrayAntonioAgustínwasnamedbishopof Albarracín,hetookwithhimFrayJoséphdelValle,whor*turnedtotheEscorialafteranabsenceofsixyears.Hediedon27March1692.Itisnotknownwhat numberofthemanyextantworksattributedto"Valle"andpreservedintheEscorialarchivewascomposedbythisFrayJoséphdelValle.101 FrayLuperciodeArcos(1646) (bap.1627,h.1645,d.1695) (LupercioSesé) cornettist FrayLuperciodeArcos,thesonofthenotaryLupercioSeséandFranciscadeArcos,wasborninHíjar,intheprovinceofTeruel,wherehewasbaptizedon28 February1627.AccordingtoRodríguez,hewas"thecornettistofgreatestsweetnessandskillknowninthosetimes."102On27January1645,hereceivedthehabit, andhewasprofessedon1March1646.Asamusician,aswellasinotheroffices,heservedthecommunityuntilhisdeathon2October1695.103 FrayMartíndeEsparza(1646) (bap.1626,h.1646,d.1683) (MartíndeEsparza) tenor,correctordelcanto,bajonista,carillonneur MartíndeEsparza'sparentswereFranciscodeEsparzaandMaríaRipa,bothofFalces,intheprovinceofNavarra.ItwasinthisvillagethatMartínwasbornand,on 28July1626,baptized.HereceivedthehabitattheEscorialon16April1646andwasprofessedon16June1647.Attheageof11or12,theyoungMartínjoined theEscorialchapelasatiple.HelearnedgrammarattheEscorialandsoughttheJeronymitehabitwhenhehadcomeofa*ge.Thishewasgrantedwithgreatpleasure bythecommunity"onaccountofhisnaturalsingingabilityandthegoodtenorvoice 101SeeMBN,MS14084(foratranscription,seeBarbieri,Biografías,486),7334;LarreaPalacín,"Catálogodemonjes,"3845;ZarcoCuevas,LosJerónimos,111;AGP,MS
Pruebasdelimpiezadesangre;Familiareligiosa,fol.84v;andMemoriassepulcrales,fol.98v99r(foratranscription,seeDHM10(1):35962).Forabriefdiscussionofthe problemsinattributingMSSascribedto"Valle,"seeRubio,Catálogodelarchivodemúsica,64950. 102Familiareligiosa,fol.83r. 103Memoriassepulcrales,fol.253r(foratranscription,seeDHM10(1):198);MBN,MS14084,74(foratranscription,seeBarbieri,Biografías,43);LarreaPalacín,"Catálogode
monjes,"384;Familiareligiosa,fol.83r(foratranscriptionfromMBN,MS13419,seeDHM10(1):198);andAGP,MSPruebasdelimpiezadesangre.
Page285
withwhichheservedascantor,correctordelcantoandbajonista."HealsoplayedtheorganodelascampanillasthatMarianadeAustriaorderedtobemadein Flanders.Hediedon19June1683.104 FrayJoséphdeSanJerónimo(1646) (bap.1630,h.1646,d.1693) (JoséphSánchezGarcía) singer,correctordelcanto ThesonofLuisSánchezGarcíaandofDoñaFranciscaSánchezOcampowasborninMadridandwasbaptizedon15April1630.HereceivedtheJeronymitehabit attheEscorialon29September1646andwasprofessedinthefollowingyear.Hepossesseda"sonorousvoice"andservedforsomeyearsascorrectordelcanto. Hediedon25July1693.105 FrayManueldelValle(1651?) (b.1638,h.1655,d.1676) (ManuelSimóndelValle) maestrodecapilla,organist,composer FrayManueldelValle,thesonofJuanSimondelValleandCasildadelValle,wasborninthevillageofCiempozuelos,intheprovinceofMadrid,on25December 1638andwasbaptizedon10January1639.HewasadmittedtotheEscorialhostelryandthentotheseminary.Hereceivedthehabiton10June1655,andwas professedon11June1656.HestudiedorganandcounterpointwithPedrodeTafalla,andsometimeafterTafalla'sdeathwasappointedmaestrodecapilla.Hedied on7March1676.106 104SeeMBN,MS14084,2967(foratranscription,seeBarbieri,Biografías,1878);Memoriassepulcrales,fol.115r115v(foratranscription,seeDHM10(1):2178);LarreaPalacín,
"Catálogodemonjes,"384;Familiareligiosa,fol.84r;andAGP,MSPruebasdelimpiezadesangre. 105SeeMBN,MS14084,621(foratranscription,seeBarbieri,Biografías,429);Familiareligiosa,fol.69r;andMemoriassepulcrales,fol.187v(foratranscription,seeDHM10(1):296
7). 106SeeMBN,MS14084,73950(foratranscription,seeBarbieri,Biografías,4869);Rubio,Catálogodelarchivodemúsica,739;Rubio,"Lacapilla,"1012;LarreaPalacín,"Catálogo
demonjes,"3856;ZarcoCuevas,LosJerónimos,102;AGP,MSPruebasdelimpiezadesangre;Familiareligiosa,fol.89v;Memoriassepulcrales,fols.274v276r(foratranscription, seeDHM10(1):3647);andSantaMaría,Octavasagradamenteculta,61,117,1612.HeisnottobeconfusedwithanotherFrayManueldelValle(17271775),whowasalsomaestro decapillaattheEscorial.
Page286
FrayGregoriodelaEstrella(1652) (bap.1635,h.1652,d.1687) (FranciscoRubio) tiple/bass,correctormayordelcanto,organist FranciscoRubio,thesonofPedroRubiodeTerrerosandMaríaPérez,wasbaptizedon2June1635inthevillageofSanAsensio,intheprovinceofLogroño.Atthe Escorial,hereceivedthehabiton30April1652andwasprofessedon3May1653.Asacantorcillointhechoir,FrayGregoriowasgreatlyvaluedforhistiple voice,whichdidnotbreakuntilhiseighteenthornineteenthyear.Whenhisvoicechanged,hesangtenorinthefirstchoir,andheheldtheofficeofcorrectormayor delcanto.Hisvoicelatersettledintoabass,whichwasparticularlysonorouswhenhesanginthePassionsandresponsesofLimido.107Helearnedtoplaytheorgan, whichheaccomplishedwithskill;hediedon4September1687.108 FrayJoséphdeSanBartholomé(1652?) (b.1639,h.1656,d.1684) (JoséJiménez,JosédeMorata,LectorMorata) singer,composer,playerofbajón,bajoncillo,chirimia,andvihuela JoséJiménez,thesonofPedroJiménezandJuanaRuiz,wasborninthevillageofMoratadeTajuña,intheprovinceofMadrid,on4February1639.Atanearlyage, hewasadmittedtoaplaceasacantorcillointheEscorialhostelry,wherehestudiedgrammarandmusicaswellasthebajón,bajoncillo,chirimia,andvihuela.He becameanaccomplishedcomposer.Hewasinvestedwiththehabiton24August1656andservedthecommunityasbothinstrumentalistandcomposer.Hewassent totheEscorialcollege,wherehecompletedcoursesinartsandtheologywithveryhighdistinction.Hewaslaterappointedtofacultychairsinthecollege.Hediedon2 June1684.109 107Núñez,Quintaparte,1387.ThisisprobablyareferencetotheResponsoriosdelaSemanaSantaofEstebanLimido,whichispreservedintheEscorialarchive.SeeRubio,
Catálogodelarchivodemúsica,3767. 108SeeMBN,MS14084,3024(foratranscription,seeBarbieri,Biografías,2034);MBN,MS14028108(foratranscription,seeBarbieri,Biografías,2034);MemoriasSepulcrales,fol.
339r339v(foratranscription,seeDHM10(1):220);ZarcoCuevas,LosJerónimos,77;LarreaPalacín,"Catálogodemonjes,"385;Familiareligiosa,fol.88v(foratranscriptionfrom MBN,MS13419,seeDHM10(1):220);andNúñez,Quintaparte,138794. 109SeeMBN,MS14084,60713(foratranscription,seeBarbieri,Biografías,4278);AGP,MSPruebasdelimpiezadesangre;MemoriasSepulcrales,fol.152r(foratranscription,see
DHM10(1):28693);andNúñez,Quintaparte,1401.
Page287
FrayAgustíndeSanJerónimo(1652?) (bap.1640,h.1658,d.1677) (AgustíndeRevilla) alto AgustíndeRevilla,thesonofDomingodeElguejaandMaríaRevilla,wasbaptizedon25November1640inQuintanadelPidio,intheprovinceofBurgos.He travelledtotheEscorialtorequestthehabit,butbecauseofhisyouththerequestwasdenied.Onaccountofhisgoodvoice,however,hewasadmittedtothe seminaryasacantorcillo.Havinglearnedgrammarandmusic,hewasappointedtotheofficeofcantorintheseminary,wherehetaughtthechildrenbothplainsong andpolyphony.Thisofficehecarriedoutforsomeyearsuntilhewasoldenoughtorequestthehabit.Hereceivedthehabiton18September1658andwasprofessed inthefollowingyear.Hewasthensenttothecollege,wherehepursuedanecclesiasticalcareer.Hediedon25December1677.110 FrayJuandeAlmagro(1655) (b.1636,h.1655,d.1679) (JuandeRamos) singer,harpist,composer,correctordelcanto FrayJuandeAlmagrowasborninAlmagro,intheprovinceofCiudadReal,andwasbaptizedthereonSaturday14June1636.HisparentswereJuanRamosand MaríaRamírez,bothofAlmagro.Hereceivedthehabiton12January1655andwasprofessedon6February1656.Hisinterestinmusicwasenthusiastic;he composed,playedtheharpwellandservedassecondcorrectordelcantoforaperiodunspecifiedinthesources.Hediedon28September1679.111 FrayFranciscodeNájera(1655) (bap.1639,h.1659,d.1680) (FranciscodePuras) tiple,tenor ThesonofBartolomédePurasandMaríadelaCalleja,Franciscowasbaptizedon4October1639inBelorado,thevillageofhisbirth,intheprovinceofBurgos.In Belorado,hestudiedgrammar,Latin,andmusic,andwaslateradmittedtothe 110
SeeMBN,MS14084,623(foratranscription,seeBarbieri,Biografías,429);AGP,MSPruebasdelimpiezadesangre;Familiareligiosa,fol.82v;Memoriassepulcrales,fol. 251r252r(foratranscription,seeDHM10(1):2945);andLarreaPalacín,"Catálogodemonjes,"386. 111SeeMBN,MS14084,33(foratranscription,seeBarbieri,Biografías,11);LarreaPalacín,"Catálogodemonjes,"385;Familiareligiosa,fol.89r;AGP,MSPruebasdelimpiezade
sangre;andMemoriassepulcrales,fol.166v167r(foratranscription,seeDHM10(1):1956).
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Escorialasacantorcillobecauseofhisfinetiplevoice.Hespentfouryearsinthefirstchoirbeforebeinginvestedwiththehabiton13December1659.Hewas professedon23January1661.Hisvoicelatersettledintoasonoroustenorregister,andthereafterhesangtheprincipalpartsofthefirstchoir.Hediedon7 September1680.112 FrayAntoniodeSanJoséph(1655) (b.ca.1642,h.1659,d.1684) (AntonioBalbín) singer,bajonista,correctormayordelcanto AntonioBalbín,thesonofLucasBalbínandDoñaMaríadeOlivares,wasborninMadridin1642or1643.In1655,attheageof12or13,hewasadmittedtothe seminaryoftheEscorial,wherehelearnedgrammarandplainsong.Havingcompletedthefouryearsofseminarytraining,hewasgiventhehabiton6February1659 andwasprofessedon8February1660.Heappliedhimselftothestudyofpolyphonyandthebajón,andwiththeseabilitiesheservedboththecommunityandthe chapelforsomeyears.Moreover,heservedthecommunityforatimeasthirdcorrector,formorethan12yearsheservedassecondcorrector,andforalmost3 yearshewascorrectormayordelcanto.Hediedon4February1684.113 FrayJaímedeValencia(1656) (bap.1637,h.1656,d.1660) (JaímeMascaros) maestrodecapilla,composer JaímeMascaros,thesonofMiguelMascarosandYsabelFlor,wasborninAlcora,intheprovinceofValencia,andwasbaptizedon2May1637.Hereceivedthe habitattheEscorialon11October1656andwasprofessedon14October1657.Almostimmediately,hewasnamedmaestrodecapillabecauseofhisskillin composition.Accordingtothewriterofhisobituarynotice,hecarriedoutthistask"excellently."Hediedsuddenly,beforebeingordained,on19August1660.One workattributedtoJaímedeValencia,aBeatusvira8,ispreservedintheEscorialarchive.114 112SeeMemoriassepulcrales,fol.347r347v(foratranscription,seeDHM10(1):2567);MBN,MS14084,567(foratranscription,seeBarbieri,Biografías,354);Familiareligiosa,
fol.93v(foratranscriptionfromMBN,MS13419,seeDHM10(1):257);andLarreaPalacín,"Catálogodemonjes,"386. 113SeeMBN,MS14084,622(foratranscription,seeBarbieri,Biografías,42930);Memoriassepulcrales,fol.187r187r(foratranscription,seeDHM10(1):2978);andLarreaPalacín,
"Catálogodemonjes,"386. 114SeeMBN,MS14084,7312(foratranscription,seeBarbieri,Biografías,485);AGP,MSPruebasdelimpiezadesangre;Familiareligiosa,fol.91v;Memoriassepulcrales,fol.427r
(foratranscription,seeDHM10(1):3589);andLarreaPalacín,"Catálogodemonjes,"386.
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FrayAndrésdeFalces(1661) (bap.1642,h.1661,d.1700) (AndrésMartínez) tenor,correctordelcanto FrayAndrésdeFalceswasborninFalces,intheprovinceofNavarra,toPedroMartínezCastellanoandMaríadeAyala.Hewasbaptizedon30November1642. HereceivedthehabitattheEscorialon20July1661andwasprofessedinthefollowingyear.Asaverygoodmusicianandasatenorwithanexcellentvoice,he servedthemonasterychapelformanyyearsandwascorrectordelcantountilhisdeathin1700.115 FrayVicentedeYllescas(1665) (b.1649,h.1665,d.1683) (VicentedePiña) tenor,bajón VicentedeYllescaswasborninIllescas,intheprovinceofToledo,wherehewasbaptizedon10February1649.HisparentswerePablodePiñaandIsabelde Licea.Hetookthehabitin1665andwasprofessedon1April1666.Hewasrenownedforhisverygoodtenorvoiceandhisgreatabilityinplayingthebajón.He diedon23March1683.116 FrayEusebiodeToledo(1666) (b.1651,h.1666,d.1737) (EusebioJiménezdeNotal) bajonista,cornettist EusebioJiménezdeNotal,thesonofJuanJiménezdeNotalandLuisadeSosaVillaquirán,wasborninToledoon27April1651.Wheninvestedwiththehabitatthe Escorialon12February1666,hewasalreadyanaccomplishedplayerofthebajónandcorneta.Hediedon10June1737.117 115SeeMemoriassepulcrales,fol.219r(foratranscription,seeDHM10(1):226);MBN,MS14084,306(foratranscription,seeBarbieri,Biografías,206);LarreaPalacín,"Catálogo
demonjes,"387;andFamiliareligiosa,fol.94r(foratranscriptionfromMBN,MS13419,seeDHM10(1):226). 116Memoriassepulcrales,fol.299(foratranscription,seeDHM10(1):238);Familiareligiosa,fol.96v(foratranscriptionfromMBN,MS13419,seeDHM10(1):238);LarreaPalacín,
"Catálogodemonjes,"387;andMBN,MS14084,425(foratranscription,seeBarbieri,Biografías,264). 117SeeMBN,MS14084,7134(foratranscription,seeBarbieri,Biografías,4745),Memoriassepulcrales,fol.11(foratranscription,seeDHM10(1):348);Familiareligiosa,fol.97
(foratranscriptionfromMBN,MS13419,seeDHM10(1):348);andLarreaPalacín,"Catálogodemonjes,"387.
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FrayDiegodeTorrijos(1668) (b.1653,h.1668,d.1691) (DiegoDíazdeCastro) organist,composer,harpist,maestrodecapilla,cantorcillo DiegoDíazdeCastro,thesonofPedroDíazdeCastroandDoñaMaríadeVillalobos,wasborninTorrijos,intheprovinceofToledo,on6April1653.Hewas admittedtotheEscorialasacantorcillo,andsubsequentlystudiedtheharp,organ,andcomposition.Hereceivedthehabiton30December1668andwasprofessed on1January1670.Forsomeyearshewasmaestrodecapillaandtaughtmusictothechildrenofthehostelry.Hediedon30October1691.Over80Latinliturgical pieces,villancicos,andworksfororganbyTorrijosareextantintheEscorialarchive.118 FrayJoséSoler(1675) (b.1651,h.1675,d.1678) harpist On17December1651,JoséSolerwasborntoFranciscoSolerandBlasaGramacheinBélgida,intheprovinceofValencia.Around1663,heisfoundplayingthe harpinoneofValencia'schapels.Becausehewasanexcellentharpist,hewasgiventhehabitwhenhepresentedhimselfattheEscorialasanaspiranttothemonastic life.Sincehehadspentsometimeplayingtheharpasamemberofatheatrecompany,however,adispensationfromtheGeneraloftheOrderwasrequired.Oncethe dispensationwasgranted,hewasinvestedwiththehabiton21March1675.Hemadehissolemnprofessionon13Aprilofthefollowingyear.Hisassociationwiththe theatricalcompanywasseenonceagainasanimpedimentrequiringspecialdispensationwhenhesoughtordination.Hediedfromalongstandingillnesson23 November1678.119 118SeeMBN,MS14084,71920(foratranscription,seeBarbieri,Biografías,478);Memoriassepulcrales,fol.20v21(fortranscriptions,seeVillalbaMuñoz,"Unmanuscritode
músicadelarchivodelEscorial,"3423andDHM10(1):35052);ZarcoCuevas,LosJerónimos,100;Rubio,Catálogodelarchivodemúsica,649;LarreaPalacín,"Catálogode monjes,"387;Hudson,''Torrijos,Diegode,"19:834;Familiareligiosa,fols.84vand99v;andLaird,"FrayDiegodeTorrijosandtheVillancicoatSanLorenzodelEscorial,1669 1691."HeisnottobeconfusedwithanotherFrayDiegodeTorrijos,whodiedin1592. 119Memoriassepulcrales,fol.399v(foratranscription,seeDHM10(1):343);Familiareligiosa,fol.103(foratranscriptionfromMBN,MS13419,seeDHM10(1):344);andMBN,MS
14084,7015(foratranscription,seeBarbieri,Biografías,4601).
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FrayFernandodelaTrinidad(1675) (b.1660,h.1675,d.1739) (FernandodeLudeña) correctormayordelcanto,maestrodecapilla,organist,composer,bajonista FernandodeLudeñawasborntoJuandeLudeñaandMaríaCarreñointhevillageofToboso,intheprovinceofToledo,in1660.Hewasbaptizedon29Mayofthe sameyear.HereceivedthehabitattheEscorialon16May1675andwasprofessedon31May1676.ThiswelllovedmonkmaintainedafriendshipwithMarianaof Neuberg,CharlesII'ssecondwife.Inadditiontoholdingthepostsofcorrectormayordelcantoandmaestrodecapilla,heplayedtheorganandthebajón.He diedon25March1739.ARequiemMassbyFernandodelaTrinidadisextantintheEscorialarchive.120 FrayJuandelaCalle(1679) (b.1654,h.1671,d.1730) correctormayordelcanto,maestrodecapilla,playerofbajón,bajoncillo,andchirimía JuandelaCalle,sonofGerónimodelaCalleandJosefaLópezRico,wasborninMués,intheprovinceofNavarra,in1654.HereceivedtheJeronymitehabitin 1671inthemonasteryofSanJuandeOrtega,wherehewasprofessedinthefollowingyear.Hemadehissecondprofessionon31May1676.Hisfameasaplayerof bajón,bajoncillo,andchirimíawassogreatthatin1679or1680CharlesIIrequestedhemovetotheEscorial,wherehewassoongrantedanannualpensionfrom theKing'sownpocket.Thisfamousmonkmusiciandiedon24February1730.121 FrayGabrieldelRío(1677) (b.1660,h.1677,d.1698) (GabrieldeRiofrío) correctormayordelcanto,singer,organist GabrieldeRiofríowasbornon30December1660inTorrijos,intheprovinceofToledo.Hisfather,afterwhomhewasnamed,wasGabrieldeRiofrío,andhis mother 120SeeMBN,MS14084,7214(foratranscription,seeBarbieri,Biografías,4789),Memoriassepulcrales,fol.55(foratranscription,seeDHM10(1):3534);LarreaPalacín,
"Catálogodemonjes,"388;andFamiliareligiosa,fols.1034(foratranscriptionfromMBN,MS13419,seeDHM10(1):3545). 121SeeMBN,MS14084,15860(foratranscription,seeBarbieri,Biografías,108);Memoriassepulcrales,fol.82(foratranscription,seeDHM10(1):204);Familiareligiosa,fol.20(for
atranscriptionfromMBN,MS13419,seeDHM10(1):204);andNúñez,Quintaparte,9.
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wasAndreadeRibera.HereceivedthehabitattheEscorialon25April1677andwasprofessedon1May1678.TheMemoriassepulcralestellusthathewasvery skilledinplainsong,andthatheplayedtheorganandsangwell.Hediedon9February1698.122 FraySebastiánSerrano(1686) (b.1663,h.1686,d.1706) (SebastiánMansilla) alto SebastiánSerrano,sonofPedroRodríguezSerranoandMaríaMansilla,wasbornin1663inTamurejo,intheprovinceofBadajoz.Hewasbaptizedon4November 1663.Havinglearnedtosingintheparishofa*gudointheprovinceofCiudadReal,hewasadmittedasoneoftheseisesatToledocathedralin1679.Hethenmoved tothemonasteryofGuadalupeandlatertotheEscorial,wherehewasinvestedwiththehabiton1March1686andprofessedon19March1687.Hewasregarded asoneofthemostrenownedaltoswhohadeversunginthemonastery.Hediedon2September1706.123 FrayVicentedeSanFrancisco(1686) (b.1663,h.1686,d.1742) (VicenteRamís) cornettist ThesonofVicenteRamísandLucíaSalva,VicentedeSanFranciscowasborninPedreguer,intheprovinceofAlicante,on12October1663.Becauseofhisability inplayingthecornetahewasadmittedtotheEscorial.Hewasinvestedwiththehabiton1March1686,hewasprofessedon19March1687andhediedon18 February1742.124 122SeeMBN,MS14084,599(foratranscription,seeBarbieri,Biografías,4034);Memoriassepulcrales,fol.331(foratranscription,seeDHM10(1):27980);LarreaPalacín,
"Catálogodemonjes,"388;andFamiliareligiosa,fol.106(foratranscriptionfromMBN,MS13419,seeDHM10(1):280). 123SeeMBN,MS14084,643(foratranscriptionseeBarbieri,Biografías,450);Familiareligiosa,fol.111v(foratranscriptionfromMBN,MS13419,seeDHM10(1):337);andLarrea
Palacín,"Catálogodemonjes,"388. 124Memoriassepulcrales,fol.101v(foratranscription,seeDHM10(1):293);Familiareligiosa,fol.111v(foratranscriptionfromMBN,MS13419,seeDHM10(1):293);Larrea
Palacín,"Catálogodemonjes,"388;andMBN,MS14084,625(foratranscription,seeBarbieri,Biografías,428).
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FrayAndrésdelEspírituSanto(after1686) (h.1686,d.1711) composer,maestrodecapilla,organist NúñeztellsusthatAndrésdelEspírituSantowasborninasmallvillagefourleaguesdistantfromSigüenza.Hewascastrated,itappears,astheresultofanaccident whenhewasachild.Becausehehadafinetiplevoice,hewastakentothecathedralofSigüenza,wherehelearnedmusicandbecameagoodcomposer.Avisiting monkmusicianfromPortugalwassoimpressedbyEspírituSanto'sabilitiesthatheluredhimawayfromSigüenza.OnthewaytoPortugal,thepairstoppedbyatthe JeronymitemonasteryofSantaCatalinainTalavera,whereEspírituSantoimpressedthecommunitywithhissingingoftheLitanyoftheVirgin.EspírituSantodecided torequesttheJeronymitehabit.Hewasinvestedwiththehabiton28April1686andwasprofessedon11June1687.InthemonasteryofSantaCatalinahetaught musictotheseminariansandorganizedthechapel.AttherequestoftheKing,hewastakentotheEscorialwhere,foranunspecifiedperiod,hesanginthechapel. Aftersometime,however,hereturnedtothemonasteryofSantaCatalina,wherehefilledthevacantpostoforganistandwhereheeventuallydied,on30September 1711.125 FrayMateodeMorata(1687) (b.1665,h.1687,d.1730) (MateoBarranco) harpist,organist,carillonneur MateodeMoratawasborninthevillageofArganda,intheprovinceofMadrid,on21September1665,andwasbaptizedon3Octoberinthesameyear.His parentswereBernabéBarrancoandMaríaCaballero.MateoreceivedthehabitattheEscorialon19April1687andwasprofessedon20April1688.He accompaniedthechoirwithboththeharpandtheorgan,andheplayedthecarillon.Hediedon3April1730.126 125Núñez,Quintaparte,1174;LarreaPalacín,"Catálogodemonjes,"388;MBN,MS14084,299301(foratranscription,seeBarbieri,Biografías,203);andMBN,MS14028105. 126Memoriassepulcrales,fol.143v(foratranscription,seeDHM10(1):252);Familiareligiosa,fol.112v(foratranscriptionfromMBN,MS13419,seeDHM10(1):2523);Larrea
Palacín,"Catálogodemonjes,"389;MBN,MS14084,5568(foratranscription,seeBarbieri,Biografías,348);andDHM10(1):203,10(2):485.
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FrayFelipedeSantaMaría(1690) (b.1675,h.1690,d.1736) (FelipeGarcía) correctormayordelcanto On17November1675,FelipedeSantaMaríawasborntoAndrésGarcíadelOlmoandSabinaCruzadoinCasardeTalamanca,intheprovinceofGuadalajara.He receivedthehabitattheEscorialon28September1690andwasprofessedayearlater.Hewasadmiredforhisclearandfullvoicewhich,togetherwithhismusical knowledge,qualifiedhimtobenamedfirstascorrectorsegundodelcanto,andthenascorrectormayordelcanto,inwhichcapacityheservedthecommunityfor manyyears.Hediedon1October1736.127 FrayAndrésdeSanLorenzo(1690) (b.1671,h.1690,d.1708) (AndrésVinacha) organist,alto AndrésdeSanLorenzowasborntoLuisVinachaandFranciscaNoguéson27May1671inAlcudiadeCarlet,intheprovinceofValencia.Hereceivedthehabiton 28September1690andwasprofessedon23March1692.Heservedthecommunityasorganistandaltoanddiedon20April1708.128 FrayJuandeAguirre(1690) (b.1668,h.1690,d.1727) (JuanMartínezdeAguirre) singer JuanMartínezdeAguirrewasborninErénchun,intheprovinceofAlava,toJuanMartínezdeAguirreandCatalinaMartínezdeOcariz.Hewasbaptizedon21 October1668withthenameJuanBaptistaandreceivedthehabiton20November1690.Althoughhisvoicewasnotverygood,hesanginthecapilla.Hediedon3 August1727.129 127Memoriassepulcrales,fol.120v(foratranscription,seeDHM10(1):306);Familiareligiosa,fol.116(foratranscriptionfromMBN,MS13419,seeDHM10(1):306);Larrea
Palacín,"Catálogodemonjes,"389;MBN,MS14084,636(foratranscription,seeBarbieri,Biografías,440);andDHM10(2):191,464. 128Memoriassepulcrales,fol.315v(foratranscription,seeDHM10(1):299300);Familiareligiosa,fol.116(foratranscriptionfromMBN,MS13419,seeDHM10(1):299300);Larrea
Palacín,"Catálogodemonjes,"389;andMBN,MS14084,618(foratranscription,seeBarbieri,Biografías,431). 129LarreaPalacín,"Catálogodemonjes,"389;Memoriassepulcrales,fol.557(foratran
(footnotecontinuedonnextpage)
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FraySebastiándeVictoria(ca.1693?) (b.ca.1683,h.1699,d.1756) (SebastiándeEmparan) tenor SebastiándeEmparanwasborninAzpeitiaintheprovinceofGuipuzcoatowealthyandnobleparents,FranciscoYgnaciodeEmparanandCatalinaArque,inabout 1683.IntheEscorialseminaryhelearnedgrammarandplainsong,hereceivedthehabiton19February1699,andwasprofessedinthefollowingyear.Becauseofhis sweettenorvoice,hewasdirectedtostudymusicandtosinginthemonasterycapilla.HerosethroughimportantpostsattheEscorialtobecomepriorandwas eventuallyepiscopallyordainedasBishopofUrgel.Hepublishedatleastfourbooks,anddiedintheepiscopalpalaceofGuisonaon2October1756.130 FrayDiegodelCasar(1698) (b.1680,h.1698,d.1735) correctormayordelcanto DiegodelCasarwasborntoDiegoVivarandMaríaSerranoon19June1680inCasardeTalamanca,intheprovinceofGuadalajara.Hewasanexcellentsinger whoservedascorrectormayordelcantofor18consecutiveyearsuntilhebecameseriouslyill.Itwashewhowasresponsibleforplacingreddotsattheendof antiphonsintheEscorialplainsongchoirbookstoindicatethetoneuponwhichthefollowingchantwouldbegin.Hediedon20April1735.131 FrayJosédeBuendía(before1696) (b.1675,h.1696,d.1746) (JoséDomínguez) organist,carillonneur JosédeBuendíawasbornon16August1675inBuendía,intheprovinceofCuenca.HisparentswereJuanDomínguezandMaríaBermejo.HeservedtheEscorial communityasanorganistbeforetakingthehabiton5November1696.Hewasprofessedinthefollowingyearandcontinuedtoplaytheorganand,attheinvitationof (footnotecontinuedfrompreviouspage) scription,seeDHM10(1):1901);MBN,MS14084,1617(foratranscription,seeBarbieri,Biografías,5);Familiareligiosa,fol.116v(foratranscriptionfromMBN,MS13419,see DHM10(1):191,361). 130LarreaPalacín,"Catálogodemonjes,"390;MBN,MS14084,7534(foratranscription,seeBarbieri,Biografías,4967);andZarcoCuevas,LosJerónimos,105. 131Familiareligiosa,fol.125v(foratranscriptionfromMBN,MS13419,seeDHM10(1):2078);LarreaPalacín,"Catálogodemonjes,"390;MBN,MS14084,17880(fora
transcription,seeBarbieri,Biografías,132);andDHM10(1):110,127).
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MateodeMorata,thecarillon.Hediedon2November1746.ItisnotknownwhetherthetwovernacularpiecesattributedtoBuendíawhichsurviveinthemonastery archivewerecomposedbythismonk.132 FrayFernandodeSantaCruz(1698) (b.1675,h.1698,d.1745) (GildeRemacha) bajonista FernandodeSantaCruzwasborntoMarcialdeRemachaandAguedaCalvoinMonteagudo,intheprovinceofSoria,wherehewasbaptizedon10September 1675.HecametotheEscorialasanadultandanaccomplishedbajonista.Hereceivedthehabiton27May1698andwasprofessedayearlater.Hewasskilledin makingreedsforthebajónevenafterhehadgivenupplayingtheinstrument.HisreedswereinsuchdemandbothwithintheEscorialandinothermonasteriesofthe Orderthathewasabletosellthemattworealeseach.Hediedon16May1745.133 132LarreaPalacín,"Catálogodemonjes,"389;MBN,MS14084,152(foratranscription,seeBarbieri,Biografías,102);Memoriassepulcrales,fol.124(fortranscriptions,seeRubio,
Catálogodelarchivodemúsica,643,andDHM10(1):203);Familiareligiosa,fol.123v(foratranscriptionfromMBN,MS13419,seeDHM10(1):203,436). 133Memoriassepulcrales,fol.143(foratranscription,seeDHM10(1):3034);Familiareligiosa,fol.123(foratranscriptionfromMBN,MS13419,seeDHM10(1):304);Larrea
Palacín,"Catálogodemonjes,"389;andMBN,MS14084,6145(foratranscription,seeBarbieri,Biografías,43940).
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Appendix3— TranscriptionsofDocuments Thisappendixcontainsextractsfromprimarysources,bothmanuscriptandprinted,whicharetoolongtobeplacedinfootnotes.Intheseextracts,theorthographyof thesourceshasbeenretained. Document1 LibrodelosActosCapitularesdesteMonesteriodeSanctLorencioelReal,elqualcomiençadesdelaprimeraFundaçióndeldichom*onesterio(AME,MS s.s)1,fol.125v. 1608 [Margin:]Quesesuppliquean[uest]rop[adr]egeneralsobrelaguardadelascostumbres. ItemestediadecretoelConventoqueatentoqueenlacartadevisitaproximaquedomandadoseguardessenlascostumbresq[ue]estanenlaceldaPrioralyse leyessenenelRefectorioyq[ue]leidasyconsideradastienencosasdemasiadamenterigurosaspordonde(segunafirmoelp[adr]efr[ay]Juandequemada)quandoel p[adr]efr[ay]JuliandeTricioPrior,ayudadodelp[adr]efr[ay]GaspardeleonyfrayGomezdeleonProcuradorycorrectormayorquefueronlassacoaluz, negociaronlosReligiososdelconventoquesumag[esta]dmandassesesuspendiesselaexecuciondeellas,hastayrexperimentandoloquemejorestuviesse,yse suspendieronhastaagorayagorahaparicidonoconvenirporelbiendelapazqueseexecutenyPratiquenYSepidaan[uest]rop[adr]egeneralavozdeconvento quesuP[aternida]dR[everendissi]masuspendalaexecuciondelacartadeVisitaenquantoaestepuncto,enloqualvinon[uest]rop[adr]equeesaquientocabael executarlosmandadosdelaVisita. [Margin:]QueseVayanhaciendocostumbresnuebas Ypararemediodeestasdifficultadessediopoderyfacultadeneld[ic]hoCapitulo,paraqueseVayatratandodeponerenescriptolascostumbres,paraqueel ConventolasVayaaprobando,yansilastraeron,parayrlasproponiendodeaquiadelantepuesyaesta(porlamayorp[art]e)dadoasientoenlascosasdeDotacion yreparosdeestacasayfabricayserafacildeyrhaciendocostumbresayudadosdelasqueestanmandadasguardarydeelasientoqueestadadoen(lasmasde) lascosasdelacasa.
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Document2 Memoriassepulcrales(AGP,MSlegajo1791),fol.198v. FrayJuandeSanGeronimo Sepulchre62 [Margin:]Año1591 Enestasepultura,núm[ero].62,estásepultadoelP.Fr.JuandeS.Gerónimo,sacerdotedelosprimerosprofesosdestacasaelquevinoaquíconelP.Fr.Juandel Colmenar,primerVicariodella,ambosprofesosdeGuisando.UngransiervodeDios,almasanta,hombreapacible,sencillo,amoroso,bienocupado,devoto, cuidadosoenescribirlosprimerosprincipiosdestacasayfábrica,comopareceporunlibroescritodesumanoquehadeestarenlalibrería.Tuvocienofficios,enlos quemásduróhastalamuertefuélalibrería,yenellatrabajómuchoconlaayudadelbuenAriasMontano.TuvoelarchivoylasReliquiasyentodohizomuchocon grandepazysosiegoycontenertodosestostresofficiosjuntosdababuenacuentadellos,quedespuéshasidomenesterácadaunounfraile.QuísolemuchoSu. Mag[esta]d.yélerasucapellányelqueledecíaMisaensuoratorioeltiempoqueestabaenestacasa.DeprendióGriegoyHebreodelmismoAriasMontano, aunquepoco.SabíailuminaryentendíalaperspectivaprácticayhizoloslienzosdeyerbasyanimalesqueestánenelaposentodeSuMagestad.Losdelasyerbas sonfingidasycompuestasdeunamuchas,ydemuchasuna:deojahacíaarbol,dearbolraiz,desuertequenotienensinoaparienciaypudieranservirdemuchosise encuadernaranenunvolumenporqueeranlosoriginalesdelasyerbasdelasIndiasdequecompusoelD[oct]or.Fran.coHernándezloslibrospreciososqueestánen lalibrería.N[uest]ro.Fr.Juantomóestetrabajopordargustoásumagestad,queseholgódeverlosquesehicierondelasavesyanimalesdelasIndiasqueestánen estos,ytambiénportemorqueestandosueltosestospapelesseperderíanfácilmente.Hizotambiéndostablasdelamortificación,estániluminadasdeaguadasenla celdadelMaestrodeNovicios.MuriócomounS[an]to.deunacólicaen3deJunioaño1591. Document3 Quadernosdelascostumbres(AGP,MSlegajo137),fols.60r60v. ElTeDeumlaudamussedizeconmedianocompasynomuyapresuradosegunlafiesta,ylasantiphonasdelaslaudessedizenmasapriesaquelasdelosnocturnas, ycasialcompasdelosResponsosylospsalmosdellasyranatalcompasquesuseculorumvayanalcompasquevanlasAntiphonas.LadeBenedictussedizeal dobledespacioquevanlasLaudesaunquelaRepeticionsedizealgomasapriesa. LasAntiphonasdePrima,Tercia,Sexta,ynonaquandosecantansedizenaldobledespacioquefueelSeculorum,delosd[ic]hosPsalmos,saluoladeTerciaode
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lahoraquesedizeantesdemissamayor,q[ue]estapordezirsemasdespacioq[ue]losPsalmos,sediraalcompasdelseculorumDellos. LasAntiphonasdelasuisperasyranalmismoco[m]pasquefuereelseculorumdelosPsalmosyelSeculoru[m]alcompasdelasAntiphonasyestomesmose guardaraenlasAntiphonas,yPsalmosdelascompletas. LaAntiphonadeMagnificatenlosdobles,vaalgomasdespacioquelasAntiphonasdeuisperas,yalarepeticionvaalgomasandadaquesecommenço. LasAntiphonasdelofficiodefinados,assilasdeuisperascomolasdelosNocturnos,ylaudes,uanaunmismocompasquelosSeculorumdelosPsalmosylos responsosuanlamitadmasapresurado,q[ue]lasAntiphonas,yseculorumdelosPsalmosexceptoelresponsoLiberameDomine,QuelosTresuersosdeluanmas despacio. Document4 Librodelascostumbres,(AGP,MSlegajo137),110. Officiodiuinocantadoyrezado Doblesmayores [margin]:maytinescantadas PrimeramenteescostumbreenestacasadesantlorençoelReal,q[ue]enlosdoblesmayorespreçipuoscomolastrespasquas,Circuncision,Epiphanía,Ascension, trinidad,corpuschristi,ylasfiestasmayoresden[uest]raseñora.Purificacion.Annunciacion,Assumption,Natiuidadyconception,SanJu[an]bap[tis]ta,SantPedroy santPablo,Sanctiago,santlore[n]ço,SantBartholome,n[ues]rop[adr]es[an]HieronymoTodosSanctos,SantAndres,ylosnoprecipuos,como,Transfiguracion, sanctaugustin,santlucas,latranslacionden[uest]rop[adr]es[an]Hieronymo,secantansolennementelosmaytinesylaudes,yestamosenlosprecipuostreshoras,y enlosnoprecipuosdosymediapocomas/omenos, [margin]:maytinesdenauidad PerolanochedeNauidadestamosenlosmaytinesymissaprimeradelgallodesdelasdiezq[ue]nosleuantamoshastalastres. [margin]:horascantadas Itemsecantalaprima,ylaterciaylanonayrezaselasexta,massiesdiadeayuno,dizeselaterciarezadaenacabandolaprimacantada,ycantaselasextaantesde la
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missa,yrezaselanonadespuesdelamissa.Itemlasvisperasprimerasysegundasylascompletassecantan,ytodolodestosdiassedizeconpausaysolennidad. Itemporq[ue]enestosdíasordinariamentesuelenconcurrir,procession,sermon,comunion,profession,oalgunasvezestodojunta,ElReloxeroyelcorrectortienen quentaconeltiempoycompas,enmaneraq[ue]lacomidaycena,ydormirentrediaenveranovenganasutiempoqua[n]tocomodamentepudiereser. Doblesmenoresdeguardar. Enlosdoblesmenoresdeguardar,comosonSantphilippeysanctiago,laIuenciondelasanct[issi]macruz,SantBernabe,Sanctaana,laMagdalena,SantMatheo. SantMigueldeseptiembre,Santfran[cis]co,santSimonyJudasylasfiestasmenoresden[uest]raseñora,comolaPresentacion,laexpectacion,ladescension,la Visitacionylafiestadelasnieues,Elosdoblesmenoresnodeguardarq[ue]cahenendomingosecantanmaytinesylaudes,primayterciayrezaselasextaynona,y siesayunorezaselatercialuegodespuesdeprimacantadaycantaselasextayrezaselanona,lasvisperasycompletassoncantadas. [margin]:doblesmenores Itemenlosdoblesmenoresq[ue]nosondeguardarhicahenendomingo,losmaytinessediganrezados,ylaslaudes,tercia,visperasycompletascantadas,yrezase sextaynona. [margin]:semidobles Itemenlosdiassemidobles,ysolennes,yoctauassolennes,ysimplesq[ue]ayofficiomenorden[uest]raseñoraenelChoro,todosedizerezadoexceptolamissa, visperasycompletasmayoresq[ue]siempresinoenloscasosq[ue]seexceptara[n]sedizencantadas. [margin]:octauarios Itemenlosoctauariosq[ue]secelebranamaneradesemidobles,ynoayden[uest]raseñoraenelchorocomoeldenauidadyresurection,Penthecostes,corpus christi,SantLorenço,maytinesytodaslashorassedizencantadas,exceptolasextaynonaquantonoesayuno,yquandoloes,laterciaynonanosedizenrezadas. [margin]:sabbados Itemenlossabbadoshazemosden[uest]raseñorasinocaheenellosalgund[sic]doble/ootrafiestaq[ue]seayadecelebrarentonces,yhazemoselofficiocomo doble
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menornodeguardar,exceptoquealaslaudesnobaxaelebdomadarioatomarcapaalasacristia,niseincensaelaltar,sinoq[ue]alaan[tifon]adebenedictus.se visteenalchorolacapaq[ue]elsacristanallileapareja,ylekalendariolesirueellibroenelfacistorcontoallaparalaor[aci]on.yellucernariolelleualalucerna. Dichodeusdetnobissuampacem,desnudaseallisindezir.Auestellamatutina,niotraan[tifon]adeN[uest]raSeñora.Masqua[n]doenlossabbadosaylaudes feriales,dizenserezadaslasden[uest]raseñora. [margin]:dominicas ItemenlosDomingosquandohazemosdelad[omi]nica/odesanctosemidoble/osolenne,todoelofficioesrezado,exceptolamissa,tercia,visperasycompletas mayoresq[ue]soncantadas. [margin]:missamayorcantada Itemlamissamayordeldia/oladeRequiem/o/otravotiuaq[ue]sedizeensulugardeladeldiasiempreescantada,Hazeseemperodiferenciaenlasolennidad segundlafiestaycelebridadlorequiere. [margin]:missaderequie[m] Itemporq[ue]entreañosedizendiuersasmissasdeRequiemcantadas,algunassedizenconministros,enlugardelamissamayordeldia,comosonlasdelos anniuersariosq[ue]estacasaesobligada,ylasq[ue]sedizenporfrayledecasadefu[n]ctoeldiadeladeposicion,oquandoaycuerpodepersonadequalidady concurrepueblo,lamissamayor,siesdoblemenordizeseentonoenacabandoprima,osiaymuchasoccupacionesdizeserezadaenvnacapilla,Elasotrasmissas derequiem,comoladeltercio,septimo[]ycabodeaño,porfrayledecasa/ohermandad,/oporlospadresymadresdelosfrayles,oporlosfraylesdefunctosdela orden,/opor/otraspersonas,oporotrarazonalgunadizesemientralamissamayorenlacapillabaxa,yofficianladiez/odozefraylesq[ue]embiaelvicariodel choro. [margin]:missadereq[ui]emporlosfundadores ItemenlafundaciondestacasaseordenoporSuMag[es]t[ad]q[ue]cadadiaperpetuamente,allendedelamissamayordeldia,ydelas/otrasmissasconuentuales deorden,sedigaenelaltarmayorvnamissacantadadeRequiemporelEmperadorDonCarlosquinto,yporlaemperatrizsumugerDoñaysabeldePortogalpadres desuMag[es]t[ad]degloriosamemoria,yporsuMag[es]t[ad]yporlaPrincesadeportogalsuprim[er]amugermadredelPrincipedonCarlosdeaustriasuhijoy herederodestosReynos,yporlasserenissimas.DoñaLeonordeaustriaReynade
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francia,yDoñaMariadeaustriaReynadeungria,hermanasdelEmperadorytiasdesuMag[es]t[ad]cuyoscuerposestanaquisepultados,yporlosReyescatholicos deespañaprogenitoresdesuMag[es]t[ad]yporsuintencion,laqualmissadeRequiemsedizeconministros/ordinariamentedestamanera.Loprimerasehechapor tablacadasabbadoalq[ue]lahadedezirlasemanasiguiente,yalquecabelamissaderequiem,vacadadiadeaquellasemanaaprima,yatiempocompetentesale deprima,yvaseavestiralasacristia,yhallaalliyavestidosaldiachonoysubdiachonoyacolitos,yenacabandolaprima/olaterciaq[ue]sedizeluegodespuesde primalosdiasdeayuno,losq[ue]estanenelchoroq[ue]alomenoshandeserdiezyocho/oveyntefrayles,comiençanlamissadeRequiem, [margin]:Responsocadadia laqualacabada,cantanallienelchorounresponsoybaxadelaltarmayorelq[ue]dixolamissaylosministrossobrelassepulturasdelemperadory emperatriz...exceptansedeaquilosdomingosyfiestasdeguardar,ylosdiasq[ue]ayanniversarioporlosmismosReyes,[]enestosdiasnosedizelamissade Requiemenelaltarmayorsinoenlacapillabaxa,yofficianlaloscollegiales,fraylesyseglaresantesdelamissamayor;porq[ue]puedanyrloscollegialesalchoro comoescostumbreyrlostalesdiasdefiestayanniversariosporlosReyes,yalcabodelamissadizenelresponsocantadoenlamismacapillabaxadelamaneraque sedizearribalos/otrosdias,conlasor[aci]onesyversoscomodichoes, [margin]:Responsorezado Itemtodoslosq[ue]dizenmissaenlacapillamayor,yenlascapillasdelayglesia,quandoacabanlamissa,antesq[ue]vayanalasacristiadizenresponsorezado,y echanaguabendictasobrelassepulturasdelemperadoryemperatrizformandolaintencionportodoslossobredichosdefunctos.Exceptansedeaquilosprelados,y losq[ue]ensulugarcelebranlasmissaslosdoblesprecipuos,q[ue]nobaxanaquellosdiasadezirresponsorezadosobrelassepulturas,porlacelebridaddelafiesta. Itempresupuestoq[ue]p*rn[uest]ro/ordinariodela/orden,laterciapartedelasxxiiiihorasdeldiaauemosdeemplearenelchoro,yconsideradalasumptuosidad destacasayconuento,yq[ue]estanenestayglesiasepultadoslosmasaltosprincipesdelmundo,porquiensehazenlosofficios,lossacrificiosadios, [margin]:off[ici]odiuinoconreposo escostumbreenestacasaq[ue]elofficiodiuinosehazecongrauedadysolennidad,yreposo,yconpausanotable,ymuybienpronunciado,yconsumenseenellas ochohoras,q[ue]eslaterciapartedeldiacumplidamente.Ondeenlosmaytinesdelosdoblesmayoresprecipuos,estamospocomas/omenostreshoras,yenlos delosnoprecipuos,ylosdemasq[ue]secantan,doshorasymedia,yenlasdominicaslomismo,yenlosdoblesmenoresq[ue]nosecantan,yenlossemidobles, solennesysimples,y
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ferias,doshorasantesmasq[ue]menos,yenlaprimaestamossinelintervalo,mediahora,ysisedizeluegotercia,tresquartos,enterciaymissaysexta.olosdias deayunoensexta,missaynona,doshoras,yquandoaysermon/oprocession,ocommunion/oprofession/otodojunto,estamostresymasloq[ue]esmenester, yenlanonasinelinterualo,mediahora,Eenlasvisperasvnahorasinelinterualo,yenlascompletas,tresquartospocomas/omenos,yelreloxeroentañer,yel correctorenlleuarelcompassegundeltiempoyocupacio[n]estienencuydadodeordenarentalmaneraelofficiodiuino,q[ue]sehagaycumplaconmedio templado,ysolennidad,yq[ue]noseatediosonidesconciertaalconuento,paralasotrasocupacionesyexerciciosordinarios. [margin]:or[aci]onenelchoro Itemperpetuam[en]teayenelchorocadadiadehazienda,or[aci]onmentaldemediahoraantesdevisperas,ytañeelreloxeroalostiemposydelamaneraq[ue]se dizeensusreglas,yvantodoslosdesocupadosq[ue]notienenofficios/oocupacionnecessariaespecialmenteenlaquaresma,ysialgunodelosdesocupadosfalta sinlicencia,dizelaculpaenrefect[ori]oysicontinuaahazerfaltasagrauialeelpriorlapenitencia,ylosdiasdeayunoenacabandolaor[aci]ontañeelreloxeroarriba acollacion,Exceptuanselosdiasq[ue]ayvigiliacantadaporalgundefuncto.oquandoaynocturnoylaudesdedefunctos.aentoncesdezimoslavigilia/oelnocturno enlugardelaor[aci]onmental.Exceptuansetambienalgunosdiasq[ue]niayor[aci]onnivigilianinocturnoy[]nosetañeor[aci]oncomopareceenelofficiodel Reloxero/. Document5 Librodelascostumbres,(AGP,MSlegajo137),858. [Margin:]Officiodeltañedordeorganos [margin:]organosetañe Itemenlastrespasquas,Natiuidad.Resurrectionyspir[itu]sanctoalasprimerasysegu[n]dasvisperastañeelorganotrespsalmos,primeroyterceroyquinto,sino eslaudatedom[inu]mo[mn]esgentes,yelcanticodeMagnificatybenedicamusd[omi]no:Ealascompletastañeelprimerpsalmo,yelQuihabitatyEccenunc benedicite,yinmanus.Nuncdimittisyalgunospedaçosdelaan[tiphon]aden[uest]ras[eñor]aconalgunabuenabozq[ue]cantaconelorgano.ealosmaytines,el hymnoacabadoelinvitatorio,yeltedeumlaudamus,yelhy[m]nodelaslaudesyelbenedictusybenedicamus.EalamissatañeKirios,Gloriaaversos,Elgradual, offertorio,sanctus,ydespuesdealçar,yagnus,yaldeogra[cia]sdelItemissaest. Itemenlosdoblesmayoresprecipuostañealasvisperasprimerasysegundas
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dosps[alm]osylodemas,yalascompletasdesdequihabitat.yalosmaytineselhymno,eltedeu[m]laudamus,yalaslaudeselhymnoyb[e]n[edictu]sy benedicamusd[omi]no. Itemenlosdoblesnoprecipuos,tañealasvisperasvnpsalmoylamagnificatyelhymnoybenedicamusd[omi]no,yalascompletaselhymno,yinmanus.ynunc dimittis,yalosmaytineseltedeumlaudamusyelhymnoyelbenedictusybenedicamusd[omi]noyenlamissaloskiriosylaGloriaaversos,elgradual,offertorio. sanctus,ydespuesdealçaryagnusyeldeogra[cia]s. Itemenlosdoblesmenoresdeguardarydenoguardar,yenlossabbadosq[ue]hazemosden[uest]raseñora,tañealasvisperasprimerasysegundaselhymnoy magnificatybenedicamus.Ealaslaudeselhymnoybenedictusybenedicamus.yalamissaloskirios,ygloriaaversos.yelgradual,offertorio,sanctusydespuesde alçaryagnus. Itemenlasfiestassemidoblesyinfraoctauassemidobles,comoladenauidad.Epiphania,Resurrection,Penthecostes,corpuschr[ist]iassumptionynatiuidadden [uest]raseñora,ydesantlorenço,yden[uest]rop[adr]es[an]Hieronymo,setañealaslaudesmissayvisperasloquesetañeenlosdoblesmenores,exceptoel gradual. Itemenlasdominicasdetodoelañosetañealamissa,loskiries,gloriainexcelsisaversos,sanctusydespuesdealçaryagnusaunq[ue]enellassehagadesancto solenne,odeinfraoctauasolenne,exceptansedeaquilasdeaduientoylasvisperasdelossabbadosaellasprocedentes,ydesdelaseptuagessimahastala resurrectionq[ue]noayorganos,exceptolaannunciacionq[ua]n[d]ocaheantesdelad[omi]nicainpassioneq[ue]losay. ItemenlavigiliadelaEpiphaniaydePenthecostes,yelsabbadosancto,tañealagloriaylodemascomolosdomingos,yelsabbado,tañealamagnificatq[ue]se dizeantesdeacabarlamissa. Itemenlasprocessionessolennesentornandoelconuentoalayglesia.yacabadalaan[tiphon]aden[uest]raseñora,sinoayplegaria,eltañedorcomiençaatañer, hastaq[ue]secomiençaelintroitudelamissa,MasquandolaprocessionesconTedeumlaudamus,enentrandoelconuentoenlayglesia,tañeelorganistavnverso, yelconuentocantaotrohastaqueseacaba. [Margin:]organicoorealejo Itemeldiadecorpuschristiandaelorganicopequeño/orealejoenlaprocessionytañeendacaestacionelhymnoq[ue]allisecantadisposiciondelcorrectordel canto/. [Margin:]cantodeorg[an]o Itemenestacasanoseacostumbracantarcantodeorganoniauercapilladello,porq[ue]assiloordenoseMag[es]t[ad]delReydonphilippen[uet]rofundadory
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señorporlosrespectosq[ue]elhasidoseruido,peropermittesecontrapuntear,ydiscantarlosq[ue]tienenbocesyabilidadybuenagra[cia]paraelloassienla psalmodiacomoenlodemasq[ue]cabecontrapu[n]to. [Margin:]nosetañeorg[an]o Itemenotrostiempos,nienelofficiodiuinonienlosinterualos,aunq[ue]vengantañedores/o/otraspersonas,nosetañeelorganosinespeciallicenciadelprelado. Document6 SanJerónimo,J.de.''LibrodememoriasdesteMonasteriodeSantLorencioelReal,"ColeccióndeDocumentosInéditosparalaHistoriadeEspaña,Vol.7 (Madrid,1845),1478. En26dejulliodeldichoañode1575diadeSanctaAna,teniendoconsideracionnuestropadrepriorfrayJuliandeTricioalgrandetrabajoquelospadresdestacasa habiantenidoenlasvelas,disciplinas,procesionesyoracionesquesehabianhechoporlasaluddelPríncipeD.FernandonuestroSeñor(dequeelconventoestaba fatigadoycansado)mandósupaternidadquetodoeldichoconventosaliesejuntoysefueseálaHerreríadeFuenteLámparasáespaciaryregocijar.Lacualsalida comofuéconjustaconsideracionyconelmiramientocristianoyreligiosocualentalcasoeranecesarioetc.,salierondecasatreintafrailesentreviejosymozosconel alegríayconformidadnecesaria:loscualessalieronporlasescalerasdelosnichosdeljardin,queestáálapartedemediodia,ynosalieronporlapuertaprincipaldela casaporsalirconmenosnotadelosoficialesygentedelaobraetc.Yluegocomollegaronálaspuertasdelosdichosnichos,lospadresmúsicoscantaronencanto deórganoelantífonaAttoliteportasconlahonestidad,nodecantoressinodereligiososvirtuosos,dequetodoslosdemaspadresrescibieronparticular contentamiento.Pasaronconestohastalahuertadelmonesteriodondeestabaelbatannuevamentehecho,yallícomenzaronlasegundavezácantarlosdichos cantoresunasvillanescashonestasyregocijadasqueparesciaquesehabianhechoparaaquellugar.Ydendeeldichobatanfuerontodoslosdichospadressincamino álahermitadelaHerreríadeFuenteLámparaspasandoporlosarroyosybarrancosyporlaespesuradelasjaras,fresnosyroblesyotrasmalezasqueenellahay, enlacualhermitaestabaunhermitañoviejoyflaco,aunquesano,elcualabriólapuertadeladichahermitadondeestabalaimágendenuestraSeñora,yentrandolos dichoscantorescomenzaronácantarenfabordonlaSalveRegina,quenosolamentealdichohermitaño,peroátodoslosdemaspadresqueallísehallaronmovióá tantadevocionqueloshaciallorar;ydespuesdelaSalvesecantaronotroscantosánuestraSeñoradedevocion.
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Document7 J.ZarcoCuevas,"CartadefundaciónydotacióndeSanLorenzoelReal,"DHM2(Madrid,1917),102. 38.Yencuantoálasotrasmisas,yhoras,yoficiosdivinosqueeneldichom*onasteriosehandehacerycelebrarcontinuamente,queremosqueaquéllossedigany celebrensiysegúnyconformeálosqueenlasConstitucionesycostumbredelaOrdenestáordenado,quecercadeestonoesnuestraintenciónnivoluntadmudarni alterarcosaalguna,sinoqueaquéllassediganycelebrenconlasolemnidad,ceremoniasyformayauctoridadqueseacostumbre,conquequeremosyexpresamente ordenamosquesediganycelebrenencantollanoenohayaenningunamanera,nienningúndía,nifiesta,cantodeórganoyqueenlodemássedigaycelebreconla mayordevociónypausaquefuereposibleecomoenlaparteemonasteriodelaOrdendondemejorsehaceseacostumbra,yqueremosqueeneldíadeSanct Lorenzo,ácuyadedicaciónynombreeldichom*onasterioestáfundado,secelebreyhagasufiestaenlosoficiosdivinosyentodolodemásconlasolemnidady segúnyporlaformaqueseacostumbrahacerenlasfiestasmássolemnesyprincipalesecomoescostumbredehacerenlasfiestasdelossanctosencuyonombrey dedicaciónsonfundadaslasiglesias. Document8 M.delaVera,Instruc[c]ióndeeclesiásticos(Madrid,1630),195. BolvioseotravezaintroduzirelcantodeorganoiporlosmismosinconvenienteslebolvioaquitarelPapaIua[n]XXII.porlosañosde1316peroconesta moderacion,quealgunasvezes,principalmenteenlosdiasfestivos,enlasMissassolenes,ienlosdivinosoficios,sepuedaecharcontrapunto,sobreelcantollano perodemodo,queseconservesinlesio[n]laintegridaddelmismocantollano,sinmudarcosadelamusica,queenelbuenusoestàyarecebida,principalme[n]te, porqueestasconsonanciasalaga[n]losoidos,provocanladevocion,inodexanentorpecerlosanimosdelosquecantan. EstemododecantarseusaenlasfiestasenelcorodesanLorençoelReal,ainstanciadeFilipeSegundo,queporquelosReligiososnocesassendeladivina alabança,mientraslosmusicoscantavan,iporquitarlosinconvenientesdichos,tuvogustodequesobreelca[n]tollano,quecantaelcoro,seechassenotrasvozes,i assicantassentodos,isalioestofelizmente,porquecomoelcoro,ilaIglesiasontangrandes,itantaslasvozesiecos,quelasresponden,nosepuededezirquanbien salgaesto,imasenlosfabordonesco[n]q[ue]secanta[n]losSalmos.
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Document9 M.delaVera,Instruc[c]ióndeeclesiásticos(Madrid,1630),1956. Perobolviendoalaestravagante,note[n]seaq[ue]llaspalabras,enq[ue]sepermiteelcontrapuntoatitulodeq[ue]estegenerodemusicadagustoaloido,iprovoca adevocion,iexcitalosanimos,dondeseveclaroconcedelasantaIglesia,sepuedenbiencompadecerelgustoquedàlamusicaenloscantosEclesiasticos,conla devocion;iquenosolonolaestorva,sinoqueprovocaaella,cantandoseconladevidamodestia;ipie[n]so,queporesto,noobstantelasobredichaconstitucion,se abueltoaintroduzirelcantodeorgano,conalgunasmasensanchas,porqueanjuzgadolosPerladosdelaIglesia,viendolo,iaprovandolossumosPontifices,es muchomejorquitarlosinconvenientes,imoderarloscantores(comosiempreseprocura)quequitarestamusicadelasdivinasalabanças,porquequitandolas,se quitanalosfielesmuchosprovechosespirituales,ielconsueloqueporellareciben,iporelmalusodepocosnoesjustoprivardetantoprovechoatodos;iasiel CeremonialdelosObispos,deCleme[n]teOtavo,dondetratadelorgano,idelamusica,enco[n]formidaddestodize:enlosDomingos,ifiestasdeentreaño,q[ue] so[n]deolgar,(ienotrosdiasq[ue]alliseñala)esdecente,q[ue]enlaIglesiaayaorgano,ica[n]todemusicos.Estoquitatodaslasdificultades,porq[ue]laautoridad delaIglesiaesmuchomayor,q[ue]lademuchosSantos,idespuesponelacaucion,q[ue]enelusodestodeveaver:Asedetenerrecato(dize)enq[ue]elso[n]del organonosealascivo,onolimpio,iq[ue]co[n]elnoseca[n]tecosaq[ue]nopertenezcaaloficioq[ue]sehaze,imuchomenoscantosprofanos,oderisa,ojuego, niseañadanotrosinstrume[n]tosfueradelorgano.Lomismoguarde[n]losca[n]toresimusicosq[ue]co[n]laarmoniadelasvozes,q[ue]estàordenadaparaaume [n]tarlapiedadidevocio[n],nosemezclealgunacosaq[ue]desuyosealiviana,olasciva,iq[ue]antesretraigalosanimosdelosoye[n[tesdelaco[n]te[m]placio[n] delascosasdivinas,peroseasuvozdevota,distintaiintelegible:todasso[n]palabrasdelCeremonial,noadmiteotrosinstrumentosmusicales,masq[ue]elorganoen lasalabançasdivinas,bienqueyaDiosestavaacostumbradoenlaLeiViejaaversecelebrar,ifestejarconotrosmuchos,ivariosinstrumentos,comoconstadelos SalmosdeDavid,iotroslugares,ienlaNueva,sisehiziesseconmodestia,sedieraporbienservidodestemodo;perolasantaiprudentissimaIglesiaapuestolimite enesto;lounoporserinstrumentosocasionadosparalosinconvinientesdequehuye,imenosaptosquelosorganosparaexcitaradevocion;ilootropordifere[n] ciarseenestodelaSinagogaqueparece,quecomolosfinesquepretendiaeranmasdelatierra,losinstrumentosparacelebraraDios,era[n]masmateriales,ienla Iglesialoquesepretendeesladevocion,iservorenelamordeDios:iasitomalosmasacomodadosaestefin,laschirimias,flautas,orlos,ilosdemasinstrume[n]tos, quepertenecenalosmenestriles,sereduzenalosorganos,iporessoelusodellosnoescontralodispuestoenelCeremonial.
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Document10 F.delosSantos,DescripcióndelRealMonasteriodeSanLorenzodelEscorial,únicamaravilladelmundo(Madrid,1681),fols.21r21v. [Margin:]OrganosdelCoro. Enmediodelasvnas,ydelasotras,enlosdosCoroscorrespondientes,assientanencimadelasSillasdosCaxasdeOrganos,quehazenmuchoadornoàestaPieça, conBalconesdeBro[n]zedorado,quevuelansobrevnosCanes,quesacanmasafueralaCornija,paraquepuedanponersealliàcantarlosMusicos.Tienenestas Caxasàveinteyseispiesdeancho,ypocomenoslosBalcones.EncadavnadellassonquatroColunasdeordenCorintolasquehazenlosClaros,òPuertas,enque sevènlosCañones,dosàloslados,dequadrado,yladeenmedioenArco,querompeelAlquitraue,yCornija,porquelosCañoshanmenestertodoaquellargo.La materiadelasColunas,ydetodalaCaxahastaelremateesdeescogidamaderadePinodeCuenca,todaestofada,ycubiertadeorobruñido,denotablelucimiento. [Margin:]OrganosdelaIglesia. Sinestos,porquelodigamosdevnavez,ayotrosdosOrganosadmirables,ygrandesenmediodelCuerpodelaIglesia,enlostesterosdelaNaueprincipal,que cruzadesdeMediodiaalNorte,encimadelTransitodelostreintapies;tienendeanchocinquenta,yquarentadealto.EnellossonseislosPedestales,enque assientanotrastantasColunasdelmismoordenCorinto;yassisonlosClaros,òPortadasdelosCañonescinco;ladeenmediorompetambienelAlquitraue,ytoda laCornija,haziendodesdeallivnArco,queocupatodoelTablerodelFrontispicio,quesonmuygrandeslosCañones,ylohanmenestertodo.Estàntambienestas Caxashechasvnaascuadeoro,ycomosontandilatadas,ycrecidas,quedanconellasaquellosdostesterosmuyllenos,adornados,yalegres,conBalconesde Bronze,quecorrendeparteaparte. LasdiferenciasquesehazenenestosOrganosdemixturas,ycombinaciones,ylosinstrumentosqueimitan,comoTrompetas,Chirimias,Dulçaynas,Clarines,Orlos, Cornetas,Flautas,yotrascienmildeCañossencillos,yLenguetas,yvozeshumanas,serianuncaacabarelcontarlaspormenudo.Bastedezir,quetienecadavno destosOrganosgrandes,treintaydosregistros;yquetodovnOrganistadepies,ymanossepuedeocuparenellos,porquefueradedosordenesdeTeclas,quetiene paralasmanos,tienetambienotroparalospies.LosdeelCoronotienentantosregistros,nidiferencias,perosonexcelentes,ydevnmismoMaestro,quesellamaua Masegil,FlamencodeNacio[n],elmejordestegenerodeinstrumentos,queseconociaenaquellostiempos,nipiensoqueaorasehallaràsemejante. [Margin:]Realejos HizotambienotrostresRealejos,queestànrepartidosentresBalconesdelaIglesia,demuylindasvozes;desuerte,quedentrodellaparacelebrarlasFiestas,aysiete
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Organos,yotrodeplatatodo,quesesacaàlasProcessionesdeldiadelCorpus,detantadulçura,comoprecio,yvalor,quetienemucho.Esdegrandissimaalegria oirlasvozesdestosOrganos;comosontanfuertes,ygrandes,retumbanportodalacapacidaddesteTemplo,ylellenandesuauidad,ymasquandolostocanjuntos, comoàlaGloriadelSabadoSanto,yenotrasocasiones;esverdaderamentevnaGloriaoirlos.LosdelCoro,dequiencomençamosàhablar,sonlosquemasvezes setocan,acompañandolaMusica,ylosFauordones,quecantanlosReligiososconordenada,yafectuosamultituddevozes,queestodovnasuspension. Document11 M.delaVera,Instruc[c]ióndeeclesiásticos(Madrid,1630),242. DifineS.Tomas,quequalquierdeleitemitigaqualquierdolor,isiendoeldelamusicatangrande,igozandoseconta[n]taspotencias,iteniendotantaconvenienciacon nuestraalmaicuerpo,noesmuchoquealivie(yaquenolosquitedeltodo)losdoloresdelcuerpo,imuchomaslosdelalma,iq[ue]causeennosotrosotrosmuchosi singularesefectos;iaunquequalquiermododeca[n]tocausadeleitacion,perolamudançaqueennuestrosafectoshaze,sedivideentresmodos,otonos.Porel Dorio,queeselprimeroissegundotono,comodizeS.Tomas,seinmutaelafectoparatenerfirmezaiconstancia.PorelFrigio,q[ue]eselterceroiquartosemueve asuavidadidulçura.IporelIpolidio,queesquintoisextotono,semueveacosasaltasisolenesiotrostonosseaninventadocomoelseptimoioctavo,mistos destostresparavariosefectos;paraelprimeroseacomodanlastibias,oflautas,isemejantesinstrumentos;paraelsegundo,lalira,oarpa,ilaviguela;iparael terceroelsalterio,icitara. Ta[m]biensedeveadvertir,q[ue]unasvezessecantaletrasola,otrasinstrume[n]tossolo;iotrasvezesseca[n]taletraco[n]losinstrume[n]tos:laletrasolaesmasa propositoparalaenseña[n]ça,losinstrume[n]tosparamoverlosafectos,ilaletrajuntaconlosinstrumentosparaenseñarimover:losinstrume[n]tossoloslos repruevaAristotelesdeltodoaexemplodeMinerva,porquenoenseñan,ijuntosconlaletraimpidenlaenseñança,iporestacausausadellospocolaIglesia,delo quemasusaesdelamusicadesolasvozes,porquedestasacamasutilidades. ElmismoS.Tom[as]enellugarcitado,seobjeta,porq[ue]avie[n]dotomadolaIglesiaelca[n]todelusodeltestame[n]toViejo,noatomadoelcantodelosinstrume [n]tos;irespondeloprimero,q[ue]aquellosinstrume[n]tosera[n]figurativos,inuestrosca[n]tossonmoralesidotrinales;ilosegundo,porq[ue]aquellosinstrumentos ocupanmuchoelanimo,imuevenmasacorporaldeleitacion,queadevocio[n],iadisponerbie[n]elalma,iporessosoncontraloq[ue]sepretendeenelnuevo Testamento;peroenelViejoeraelusodestosinstrume[n]tosmascomunporq[ue]aquelpuebloeramasduro,icarnal,iconvinoacomodarseco[n]el,imoverlecon estosinstrumentos,comofueta[m]bienconvenie[n]temoverleconpromesaste[m]porales,idepresente,inosoloconlasespirituales,ifuturas.Deadondelesigue,q [ue]aoraparalosvaronesespirituales,iReligiosos,quesonmasfaciles,paraq[ue]
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enellossedespierteladevocionisedisponga[n]bie[n],nosolonosonnecessariosestosinstrumentos,sinoqueanteslosestorvan;iassinoparecequesonta[n]co [n]gruentesparaloscorosdelosReligiosos;peroparadespertaralosseglares,iparaatraeralaIglesiaamuchospocosdevotos,inomenosdurosq[ue]losIudios sindudalosorganos,iministriles,lasca[m]panas,iotrascosassemeja[n]tesconq[ue]sedeclaraelregozijoq[ue]tienelaIglesiaencelebrarlosdivinosmisterios,i aquelgozoespiritual,ialegriaco[n]quereverenciaaDiosensusSa[n]tos,sondemuigra[n]deutilidad,iprouecho;iassi(bienqueenlacapilladelPapanolosai)se usacasientodalaIglesia,iprincipalmenteenlasCatedrales,iColegialesdestosinstrumentos,mayorme[n]teenlasfestividadesmasprincipales,idemasalegria, acomoda[n]doseenestoco[n]losflacos,iq[ue]anmenesterestasayudasporsurudeza,opocoespiritu,porq[ue]seàco[n]todocomomadrepiadosissima,acudie [n]doalremediodetodos,segunlacapacidaddecadauno.Ta[m]bie[n]losGe[n]tilesusaro[n]demusicaenonradesusDioses. Document12 F.delosSantos,DescripcióndelRealMonasteriodeSanLorenzodelEscorial,únicamaravilladelmundo(Madrid,1681),fols.144r144v. Acabadaestaaccion,fueronensumismoorden,caminandotodoslosdelaProcession,hastalaSacristia;yalpassarcercadelosTumulos,suMagestad,acadavno delosCuerpos,hizovnreuerenteacatamie[n]to,venerandolasCenizas,àquiendeuiòelardordesupecho;ymostrandoenlasumission,sumuchorespetoàtanaltas Magestades. SubieronlosReligiososalCoroadàrprincipioalOficiodeDifuntos.LaComunidaddeelSeminario,sequedòrepartidaenlosquatroPilaresdelaIglesia,juntamente conlosColegialesdeBeca,acompañandolosTumulos. SuMagestadporPalaciosubiòalBalconquesalealCoro,adondeconChristiana,yexemplarassistencia,estuuohastalovltimo,animandoladeuociondetodos,con suconstantezelo. TomaronSillasentrelosReligiosos,losGrandes.EntraronseisCantoresconCapas.PreuinieronlosdelaCapillalaMusica;yviendoàsuMagestadenelBalcontan puntual,queparecequeleponianalassusafectos;haziendoelPriorseñal,secomençaronlasVisperas,cuyacelebridadfuegrande.AlquintoPsalmosaliòconlos quatroAcompañados,àvestirseparadezirlaOracion;yàessemismotiemposubiòlaComunidaddelSeminarioparaentrarensuacompañamiento.Entraronàla mitaddelaMagnificat,congraueordenacion,ypausa;primerolosSeminariosendosCoros,luegolosAcolitos,yAcompañadosconelCelebranteenmedio;y quedandoselosNiñosdesdelasSillasàlaReja,àvnaparte,yàotra,passaronlosdemàshastaelcentrodelCoro.VieronseallijuntasonzeCapas,lasseisdelos Cantores,ylascincoqueentraronnueuamente,queencorrespondenciahazianagradableaspecto,ymucha
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autoridad.AcabòselaMagnificat,conhartapenadequienlaatendia,yescuchaua,quelaconsonanciadelosInstrumentos,ydiuersasvozes,quejuntasenfauordon, resuenan,ysalendiuinamenteenesteTemplo,teniasuspendidoelespiritu,ymasenelCielo,queenlatierra,porquesegozaenèltanclaralaharmoniadelaMusica, comosihuuieraaquellosVasosdeMetal,quevsauanlosAntiguosensusTheatros,paraqueseoyessendistintamentelasvozesdelosquecantauan,ytañian. CantaronlaAntiphonavltima,ydixoelPriorlaOracionporlosDifuntosReyes;yacabadaslasVisperas,sesaliòconelmismoacompañamiento,yostentacionque auiaentrado. EmpeçòseluegoelOficiodetresNocturnos,quesecantòconlasolemnidadquepediaactotangraue,yassiduròhastalassietedelanoche. AlanonaleccionbaxarontodosàlaIglesiaàdezirelResponsovltimo;yalllegarsuMagestad,conelacompañamiento,sepusieronenprocession,delamisma suerte,quealprincipio;yguiandolaCruzporlaNauedeMediodia,fueronsiguiendolatodoshastaladelOccidente;ydandolavueltaàlaPrincipal,cogieronen mediolosTumulos,estendiendoseàloslados,portodasucapacidad.QuedòseelReyàlapartedelaRejadelPueblo.ElPresteconlosMinistros,llegòdonde estauaelAngel,conelLibrodelasOraciones.LaCapillasepusojuntoalAguila,àestapartedelArboldelasLuzes,ycomençandoàcantarelLiberameDomine demorteaeterna,fuecontantasuspension,ysentimiento,queseenternecieraelcoraçonmasdurooyendolo.IncensòelPriorlosCuerposRealescongrauedad,y distincion,discurriendoportodosgradualmentedesdeelEmperador,embiandoalCieloenelsimbolodeaquellosAromas,loshumosdeladeuocion,queencendida enlacaridaddelospresentes,estauapidiendoàDiosmisericordiosospremiosparaaquellosPrincipes.HizotambienlasAspersionesconelAguaBendita;y voluiendoàsulugar,dixolaOracioncompete[n]te;yacabòdespueslaCapillaelOficioconelRequiescantinpace,llenodesuspension,yternura,àque respondierontodosconigualesvozes,yafectos,Amen. Document13 F.delosSantos,QvartapartedelahistoriadelaordendeSanGerónimo(Madrid,1680),1878. Acabadaestaaccio[n],caminòlaProcessionàzialaSacristia,desdedondelosReligiosossesubiero[n]alChoroàdarprincipioalOficiodeDifuntos;laComunidad delosSeminarios,yColegialesdeVecasequedaronàbaxoenlaIglesiaàloscostadosdelosTumulos;losGra[n]des,ySeñores,tomaronenelChorosillasentre losMonges,ysuMagestadporPalaciosubiòalBalconq[ue]salealmismoChoro.CelebraronselasVisperasdeDifuntoscongrandissimaSolemnidad,yMusicade laCapillaReal,àqueacompañaronlosCantoresdelConuento;yluegosesiguierontresNocturnos,yduròtodohastalassietedelatarde:animandomuchosu Magestadladeuociondetodosconsuexemplarassistencia.Alanona,yvltimaLecciondelosNocturnos,
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baxaronàlaIglesiaàdezirelvltimoResponso,yalllegarelReyconelacompañamiento,partieronenProcessionconluzes,ylibrosenlasmanosdelamaneraque antes,hastallegaràponerseenlaNaueprincipal,cogiendoenmediolosTumulos.ElpresteconlosMinistrosllegòdondeestabaelAngelconelLibrodelas Oraciones;laCapillasepusojuntoalAguila,ysuMagestadalPueblo,comoalprincipio.Començaronàca[n]tarelResponso:LiberameDominedemorteaeterna; yfuecontantasuspension,ysentimiento,queseenternecieraelcoraçonmasdurooyendolo.AlPaternoster,llegòelPriorhastalosTumulosacompañadodelos Ministros,yhizolasaspersionesconelaguabendita,yincensòlosCuerposRealescongrauedad,ydistincion,discurriendoportodosdesdeeldelEmperador; embiandoalCieloenelSimbolodeaquellosAromasloshumosdeladeuocion,queencendidaenloscoraçonesdelospresentes,estabapidiendoàDios misericordiosospremiosparaaquellosPrincipes.Voluiòdespuesdeestoàsulugar,yacabòlaCapillaconelRequiescantinpace,llenodesuspension,yternura;à querespondierontodosconigualesvozes,yafectos,Amen. Document14 F.delosSantos,"HistoriadelaSantaForma,"DHM6(Madrid,1962),125. Estápintadaenella[thepainting]elconcursoyprocesiónbravísimayostentosaquehuboysehizoenlaprimerafunción,especialmentealllegaralasacristía.Al primertérminosemuestra,aunlado,alaltarconsusadornosycandeleros,ysobrelagradaalfombrada,elPriorcelebrante,queentonceseraacompañadodelos DíaconosyMinistros,teniendoenlasmanoslacustodiadelaSantaForma,comovueltoalpuebloparaecharlabendición.AlotroladoestáelReynuestroSeñoren sitialrico,hincadoderodillas,convelaencendidaenlamano,ydetráselséquitodegrandesyseñoresquelesiguieronenaquellaocasión.Luego,enelsegundo término,yenlosdemásdelpavimento,sevenlosmonjesensusdoslíneasprocesionalesylosniñosseminariosconsusroquetesycandelerosdeplata;elpalioaun lado,elorganillodeCarlosVenmediodeloscantoresalcompásdelMaestrodeCapilla,cantandoytocandovariedaddeinstrumentos;ymuchomásalolejos,en disminución,otrospersonajesdesconocidosmirandoatentosaesteacto,conmuchapropiedadenlashabitudesymovimientos.Sontodosretratosdelnaturalcuantos seven,yeldelReyparecidísimo,queaunpintadohacerespetoycausaamoryveneración.
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Appendix4— DynasticTableofSpanishRulers,1474–1665
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Appendix5— MusicalTranscriptions NotesontheMusicalTranscriptions 1— MartíndeVillanueva,MisadeLosDoblesMaiores(Kyrie,Gloria,andSanctus) ThepolyphonicpassagesofthisalternatimMasshavebeentranscribedfromtheuniquesource(NYorkH861,fols.1v8r,15v18r).Theplainchanthasbeen transcribedfromtheEscorialCantoralMSS1,fol.16r(Kyrie),fol.39v(Gloria),andfol.71v(Sanctus).Theplainsonghasbeentranscribedasblacknoteheads;the singleappearanceofthepuntocondosplicas(intheintonationtotheGloria)isindicatedbyasmallhorizontallineabovethenotehead.Sincethesourcedoesnot specifyanalternationpatternfortheKyrie,thetranscriptionoffers,foreachofthethreeinvocations,theplainsongfollowedbyVillanueva'spolyphony.Inthisway,the editionseekstoavoidimposingoneofthemanypossiblealternatimpatternsuponthemovement. 2— PedrodeTafalla,Magnificat TheuniquesourceisEscorialMS1894.Itconsistsof14oblongformatpaperpartbooksforthefollowing:Tiple,tiple,andharp(Choir1);tiple,alto,tenor,bass, andorgan(Choir2);tiple,alto,tenor,bass,andorgan(Choir3);andaguión.Thefivepartsforchoir3duplicatethoseofChoir2.Themanuscriptcontainsasetof psalmsandcanticlesforVespersandComplineaswellasaMass.TheMagnificatversesleftunsetbyTafalla(verses1,3,7,and10)werepresumablysungin plainsong,mostlikelythe8thtone.SinceTafallaemployschiavetteclefs,thepiecehasbeentransposeddowna4th.
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Misadelosdoblesmaiores MartíndeVillanueva KYRIE
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GLORIA
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SANCTUS
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Magnificat PedrodeTafalla
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SelectedBibliography ManuscriptSources Spain ArchivodelaRealBibliotecadelMonasteriodeElEscorial(AME) MSSC.I.17,C.III.3,e.I.17,g.I.1,&.II.7,&.II.15,&.II.19,&.II.20,&.II.22,&.III.6,&.III.19,&.IV.7,H.I.9,H.I.10,H.III.6,K.I.7,L.I.13,Z.IV.3 DeclaracióndelosórganosqueayenelMonasterio,MS8.III.6 DirectoriodelCorrectordelCantodeesteRealMonasteriodeS.Lorenzo,MSL.III.35 DirectoriodelCorrectorMayordelCanto,MSL.III.34 IgnacioRamoneda,ÍndicedelainsignelibreríadelcorodeesteRealMonasterio,MSH.III.26 LibrodelosActosCapitularesdesteMonesteriodeSanctLorencioelReal,elqualcomiençadesdelaprimeraFundaçióndeldichom*onesterio,MSs.s InthefollowingcitationsofdocumentscataloguedinG.deAndrés,''InventariodedocumentossobrelaconstrucciónyornatadelMonasterio,"Romannumeralsrefer tothecajaandArabicnumeralsrefertothefolletanumber:I20,I79a,II4,II7,II144,II171,III3,III4,III61,III62,IV5,IV10,IV11,V14,VrVI16, VI17,VI23,VI24,VI35,VI37,VI38,VI39,VII10,VII13,VII17,VII18,VII19,VII21,VII32,VII34,VII36,VII38,VII39,VII45,VIII1, VIII9,VIII11,VIII12,VIII13,VIII21,VIII22,VIII24,VIII25,VIII26,VIII27,VIII28,VIII29,VIII31,VIII32,IX2,IX3,IX4,IX10,IX12, IX13,IX16,IX18,IX22,IX25,IX27,X3,X6,X8,X11,X12,X13,X15,X18,X19,XI2,XI6,XI11,XI16,XI18,XI19,XI30,XI34,XI 38,XI39,XII8,XII12,XII15,XII18,XII19,XII26,XII28,XII29,XIII8,XIII19,XIII21,XIII24,XIV1,XIV3,XIV6,XIV8,XIV11,XIV13, XIV20,XIV23,XIV30,XIV33,XIV34,XIV39,XV1,XV11,XV19,XV28,XV31 ArchivoMusicaldelaRealBibliotecadelMonasteriodeElEscorial(AME) MSS472476,11231130,14501453,18641894,21862187 MSSCC(Coleccionesencuadernos)2,710 MSSLP(Librosdepartituras)3,12,13,26,27,29,30 LF(Librosdefacistol)110(=EscSL1EscSL10) MSS15112 MuseoParroquial,Pastrana CristóbaldeMorales,CanticumbeataeMariaeVirginis,MSs.s. ArchivoGeneraldelPalacioReal,Madrid(AGP) Patronato.S.Lorenzo,legajos1,2,3,4,5,7,31,33,34,35,36,37,38,39,40,41,42,44,45,46,99,136,137,149,1,686,1,690,1,816,1,995 Cédulas,2
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ApuntacionesparaelmejorgoviernoyInstruccióndeelP.Vicario,legajo1804 DirectoriodelCorrectorSegundo,legajo1,804 LibroymemorialdelosreligiososhiiosproffesosdeestemonasteriodeS.LavrencioelReal,legajo1,791 Madrid,BibliotecaNacional(MBN) C.J.deBenito,CatálogodelarchivodemúsicadelEscorial,M464,M468,M1281,M1283,M1939,M4106 FondoBarbieri,MSS13419,13997,13998,14017,14018,1402047,14059,14060,14067,1406814,069,14072,14075,14072,14081,14084 MSS1724,13591,13592 ArchivoGeneraldeSimancas Casaysitiosreales,legajos258261;275,279281,302,321,322,326,358,364,366,367 England BritishLibrary,London(LBL) AdditionalMSS.(Add.)8,691,10,236,10,245,14,014,16,176,28,341,28,347,28,355,28,423,28,425,28,707. EgertonMSS.(Eg.)335,350,1,822,2,047. Slo.MSS1,572,3,610. Harl.MS3,569. USA HispanicSocietyofAmerica,NewYork(NYorkH) PaulaRodríguez,Franciscode.FamiliareligiosadeElRealMonasteriodeS.Lorenzo.Distribuidaporsusclasses,MSH380/527 NYorkH253a(=MS**HC392/253a),NYorkH278(=MSHC392/278),NYorkH288(=MSHC392/288),NYorkH861(=MS**HC380/861),NYorkH 869(=MS**HC380/869),NYorkH870(=MS**HC380/870),NYorkH871(=MS**HC380/871) BibliographicalWorks Adams,H.M.CatalogueofBooksPrintedontheContinentofEurope15011600inCambridgeLibraries.2vols.(Cambridge,1967). AgullóyCobo,M."LibrosespañolesdelossiglosXVIyXVIIenbibliotecasdeCambridge(UniversityLibrary,King'sCollege,St.John'sCollegeyTrinity College)."CuadernosBibliográficos32(1975):4162. AlonsoTurienzo,T."LaCiudaddeDios,archivodedocumentosescurialenses."InMonasteriodeSanLorenzoelReal:ElEscorialenelcuartocentenariodesu fundación,15631963(ElEscorial,1964),807907. ———.LaCiudaddeDios.Indices18911960(ElEscorial,1961).
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Waterhouse,W."Bassoon."InTheNewGroveDictionaryofMusicandMusicians.EditedbyS.Sadie(London,1980),2:26479. Watson,R.TheHistoryoftheReignofPhiliptheSecond,KingofSpain.2vols.(London,1777). Weber,E."L'intelligibilitédutextedanslacrisereligieuseduXVIesiècleIncidencesduConciledeTrente."ÉtudesGrégoriennes24(1992):195202. Weissman,R."TakingPatronageSeriously:MediterraneanValuesandRenaissanceSociety."InPatronage,Art,andSocietyinRenaissanceItaly.EditedbyF.W. KentandP.SimonswithJ.C.Eade(CanberraandOxford,1987),2545. Weise,G."ElEscorialcomoexpresiónesencialartísticadeltiempodeFelipeIIydelperíododelaContrarreforma."InElEscorial,15631963:IVoCentenario. Vol.2(Madrid,1963),27395. Wilkinson,C."TheCareerofJuandeMijaresandtheReformofSpanishArchitectureunderPhilipII."JournaloftheSocietyofArchitecturalHistorians33 (1974):12232. ———.JuandeHerrera,ArchitecttoPhilipIIofSpain(London,1993). ———."JuandeMijaresandtheReformofSpanishArchitectureunderPhilipII."InActasdelXXIIICongresoInternacionaldeHistoriadelArte.Vol.2 (Granada,1973),4437. Woodward,G.PhilipII(NewYorkandLondon,1992). Wright,C.MusicandCeremonyatNotreDameofParis,5001550(Cambridge,1989). Wyly,J."ThePreRomanticSpanishOrgan:ItsStructure,Literature,andUseinPerformance."(DMAthesis,UniversityofMissouri,KansasCity,1964). Ximénez,A.DescripcióndelRealMonasteriodeSanLorenzodelEscorial(Madrid,1764). Yanko,A.ElEscorialesotéricoyhermético(Madrid,1992). Youens,L."MusicfortheLutheranMassinLeipzig,Universitätsbibliothek,MSThomaskirche49/50."(Ph.D.diss.,IndianaUniversity,1978). ZarcoCuevas,J."CartadefundaciónydotacióndeSanLorenzoelReal."InDocumentosparalaHistoriadelMonasteriodeSanLorenzoelRealdeEl Escorial.Vol.2(Madrid,1917),63138. ———."FelipeIIyelarte."ReligiónyCultura,núm.14(1931):17995. ———."LoshistoriadoresdeSanLorenzoelReal."LaCiudaddeDios107(1916):2006. ———.LosJerónimosdeSanLorenzoelRealdeElEscorial(ElEscorial,1930). ———.ElMonasteriodeSanLorenzoelRealdeElEscorial(ElEscorial,1924). ———.OraciónfunebredeFelipeII(Madrid,1917). ———."ElP.Fr.JerónimodeSepúlveda:monjeehistoriadordeSanLorenzoelReal."LaCiudaddeDios111(1917):35864. ———.PintoresespañolesenSanLorenzoelRealdeElEscorial(Madrid,1931). ———.LospintoresitalianosenSanLorenzoelRealdeelEscorial15751613(Madrid,1932). ———,ed.DocumentosparalahistoriadeSanLorenzoelRealdeElEscorial.4vols.(Madrid,19161924). ———,ed."SucesosdelreinadodeFelipeII(historiainéditadelP.Fr.JerónimodeSepúlveda,religiosodelaOrdendeSanJeronimoenelmonasteriodeSan LorenzoelReal)."LaCiudaddeDios111(1917):35864,488500;112(1918):5462;114(1918):12737,30015;115(1918):12236,20236,20213, 294306,46478;116(1919):22744,396412;117(1919):10112;119(1919):1428,10424,198211,290304;128(1922):3347,10011,20817, 25970,33853,41321;129(1922):3240,95105,17584,25362,41321;130(1922):1525,17485,34656. ZuazoUgalde,S."AntecedentesarquitectónicosdelMonasteriodeElEscorial."InElEscorial,15631963:IVoCentenario.Vol.2(Madrid,1963),10554.
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Index A Actascapitulares,10; (1582),67n.98; (1601),123; (1608),123 Aguila,Cristóbalde,66(Tab.2.4),67n.98 Aguila,frayHermengildodel,149(Tab.5.1),151(Tab.5.2),168(Tab.6.1),177,178(Tab.6.2),180(Tab.6.3),282 Aguerre,JuanRegilde,277 Aguila,Juandel,282 Aguinaga,JuanRegilde,277 Aguirre,frayJuan[Martínez]de,178(Tab.6.2),294 Alaejos,frayMiguelde,60,64,101 Alcalá,dukeof,80 Alcalá,frayFranciscode,104,106(Tab.3.1),107,108(Tab.3.4),122(Tab.4.1),124,125(Tab.4.4),269 Alcalá,frayPedrode,91,104,106(Tab.3.1),267 Alcázar(Madrid),palace,129,146,188 Alegre,Manuel,115 Alharilla,JuanGarcíade,270 Almagro,frayJuande,149(Tab.5.1),151(Tab.5.2),155(Tab.5.5),157(Tab.5.6),159,178(Tab.6.2),180(Tab.6.3),184(Tab.6.6),185(Tab.6.7),287 Almela,JuanAlonsode,2,1034,123,171 Ana,queenofFrance(daughterofPhilipIII),111 Anglés,H.,69,72,73,74,75,76,77,80,90 AnnaofAustria,41(Tab.2.1) AnnaofAustria,queenofSpain,55 Anonymouscompositions: Enlanocheserena,112 MissaSapiensaedificavit,101 Oadmirabilecommercium,172 Ohinefablesacramento,173 Antequera,frayPedrode,121,122(Tab.4.1),273 Aparicio,Baltasar,272 Aquinas,saintThomas,133 Aragon,frayJuande,37n.26 archlute,175,176 Arcos,frayLuperciode,152,154,155(Tab.5.5),167,168(Tab.6.1),182,184(Tab.6.6),284 Aristotle,130,133 Arteaga,frayManuelde,149(Tab.5.1),178(Tab.6.2),277 Augustine,saint,130 Avila,cathedralof,capilla,55,105 Avila,frayMat[h]eode,54,66(Tab.2.2),104,106(Tab.3.1),122(Tab.4.1),149(Tab.5.1),263 B Baeza[Vaeza],frayAlonsode,107,108(Tab.3.4),124,267 bajón,60,107,108(Tab.3.4),123,1245,125(Tab.4.4),154,166,167,168(Tab.6.1),16970,177,179,182,184(Tab.6.6),188 bajoncillo,167,168(Tab.6.1),177,179,182,184(Tab.6.6) Balbín,Antonio,288 Balconete,frayPedrode,122(Tab.4.1),124(Tab.4.2),149(Tab.5.1),151(Tab.5.2),273 Ballestero,Francisco,276 Baptista[Bautista],frayJuan,122(Tab.4.1),123,124(Tab.4.2),125,125(Tab.4.5),149(Tab.5.1),151(Tab.5.2),154,157(Tab.5.6),272 Barbieri,FranciscoAsenjo,11,148n.64,169 Barca,Calderóndela,128 Barco[Varco],frayJuandel,153(Tab.5.4),157(Tab.5.6),158,168,168(Tab.6.1),169,182,183(Tab.6.5),185(Tab.6.7),2812 Barranco,Mateo,293 Bassompierre,Mariscalde,119 Becquart,P.,72,112 bells,118,141,146.Seealsocarillon Benedicte,Padre,2834 Benedictines,36 Bonmarchais,Jean,77 Bordas,C.,16970 Borromeo,cardinalCarlo,187 Bosch,H.,9 Bourligueux,G.,7 Branvila,F.,62 Breviarium(Zaragoza,1499),35n.16,84 BreviaryofPiusV(1568),35,456,187 Brown,Jonathan,5,13,128,165 Buendía,frayJoséde,182,183(Tab.6.5),295 Buendía,frayPedrode,66(Tab.2.2,2.4),264
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BuenRetiro(Madrid),palace,128,129,146,188 Burdalo,Martínde,276 BustodeVillegas,Sancho,bishopofAvila,55 C Cabezón,Antoniode,71,73,74,75,77,78; Obrasdemúsica,73,75,78 Cabezón,Hernandode,73,75,86 CabreradeCórdoba,Luis,10,23,25,60,71,73,102,113,116,118,130 Cáceres,frayAntoniode,164 Calle,frayJuandela,167,168(Tab.6.1),178(Tab.6.2),179,180(Tab.6.3),181(Tab.6.4),182,184(Tab.6.6),291 Calvert,A.F.,3 Cantillo,Juan,2812 cantor,44,134,168(Tab.6.1) cantorales.Seeplainsongchoirbooks capillareal(Lisbon),86 capillareal(Madrid),8,3940,55,601,75,76,77,87,88,95,102,104,105,111,1134,119,129,132,1413,1745,1767; capillaflamenca,76,77 Capitán.SeeRomero,Mateo Cardona,frayMarcosde,35 carillon,66(Tab.2.5),67,104,105,108(Tab.3.4),113,124,125(Tab.4.4),1434,173,182,184(Tab.6.6) Carlos,don,39 Carlos,don(sonofPhilipIII),119 Casar,frayDiegodel,180(Tab.6.3),295 Castellón,frayPedrode,122(Tab.4.1),123,124(Tab.4.3),153(Tab.5.4),157(Tab.5.6),2756 Castillo,Diegodel,61 castrato,121,158,179 Castro,DiegoDíazde,290 Castro,Juande,120 Castro,cardinalRodrigode,79 Catherine(daughterofPhilipII),86 Cayetano,Camillo,100,101 Ceballos,Rodrigode,120 Cerone,Pedro,87,111,132 CerveradelaTorre,A.,121 CharlesII,king(sonofPhilipIV),16186passim,187,1889; Escorialduringthereignof,16186; interestinmusic,167,179; presenceatEscorial,1616,1737 CharlesV,emperor(fatherofPhilipII),4,18,19,20,22,26,27,28,29,30,31,38,39,41(Tab.2.1),71,72,73,75,76,77,83,187 Checa,Fernando,45,81,83 chirimía(shawm),154,167,168(Tab.6.1),176,177,179,182,184(Tab.6.6) CiudadReal,frayHernandode,37,38,42,66(Tab.2.2,2.4),67,260 clarines,146,147,175,176 ClementVIII,pope,131,133 Coello,Claudio: LaSagradaForma,12,1617,172,189 Collet,H.,112 Colmenar,frayDiegode,122(Tab.4.1),149(Tab.5.1),155(Tab.5.5),277 Colmenar,frayFranciscode,122(Tab.4.1),148,149(Tab.5.1),178(Tab.6.2),276 Colmenar,frayJuandel,34,35 Colonna,AngeloMichele,128 comedia,114,117 Concepción,frayDiegodela,66(Tab.2.4),67,106(Tab.3.3),265 Córdoba,frayFranciscode,37n.26 corneta(cornetto),60,107n.132,152,154,166,167,168(Tab.6.1),169,184(Tab.6.6) correctordelcanto44,45,46,48,50,51,66(Tab.2.3),67,92,104,105,106(Tab.3.2),108,123,124(Tab.4.2),134,148,151(Tab.5.2),168(Tab.6.1),171, 179,180(Tab.6.3) correctordelaletra,45,134 CouncilofTrent,4,24,27,42,45,84,164 counterpoint,improvised,935,99100 Crespo,José,186 Cruz,frayJuandela(d.1605),123,124,124(Tab.4.3),125(Tab.4.4),271 Cruz,frayJuandela(d.1612),123,124(Tab.4.3),270 Cruz,frayMartíndela,122(Tab.4.1),148,149(Tab.5.1),178(Tab.6.2),276 Cruz,frayMigueldela,34,35 Cuéllar,frayFranciscode,36,37n.26 Cuenca,Franciscode,130 Cuenca,frayJoande,123 Cusick,S.,79 D danza(dance),96,114 DellaGata,Giovanni,79 DescalzasReales(Madrid),convent,88,116; capillaof,88
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Desponcheaulx,Carlos,266 Directoriodelcorrectordelcanto,171 Directoriodelcorrectorsegundo,171 discant,934 Domínguez,José,295 Dominicans,99,116 Dorico,Valerio,79 Dumas,Alexandre,23 Durango,frayJuande,147,148,149(Tab.5.1),153(Tab.5.3),155(Tab.5.5),157(Tab.5.6),158,168(Tab.6.1),177,178(Tab.6.2),181(Tab.6.4),182,184 (Tab.6.6),185(Tab.6.7),189,283 Dürer,Albrecht,9 E Eire,C.,4,5,121 Eleanor[Leonora],queen(sisterofCharlesV),20 Eleanor,[queen]ofFrance,39,41(Tab.2.1) ElGreco,74,82 ElizabethofValois,41(Tab.2.1) Elliott,J.H.,13,128 Emparan,Sebastiánde,295 Escorial,El,Jeronymitemonastery: abilitytosinginselectionofnovices,1223; Basilica,ofSanLorenzoelReal,115; description,569,100; firstuse,5961,88; dedication,60,64; consecration,64,1002; centenaryoffoundation,1457,159; college,21,107; customsandliturgicalobservances,4051,41(Tab.2.1); endowments,108; establishmentofformalcapillaat,1134,1223,143,146,147,14852; exemptionfromepiscopalrule,90; foundation,1632; function,312; inarchitecturalwritings,45; inceptionofcommunity,348; inliterature,25; Pantéon,119,129,139,140,188; completion,140; consecration,1404; Párraces(annexedtoEscorial),103; population,1024; receptionofroyalremains,3940,64,117; relics,101,1178,1624; secularmusiciansat,148,152,154,188; seminary,21,67,1034,107,114,123,177 Escorial,frayAlonsodel,36 Escorial,villageof,201,367,100 Esparza,frayMartínde,149(Tab.5.1),151(Tab.5.2),155(Tab.5.5),178(Tab.6.2),180(Tab.6.3),184(Tab.6.6),2845 Espinar,frayJuandel,36,37n.26 EspírituSanto,frayAndrésdel,17982,181(Tab.6.4),183(Tab.6.5),185(Tab.6.7),293 estilodesornamentado,100 Estrella,frayGregoriodela,148,149(Tab.5.1),151(Tab.5.2),153(Tab.5.4),168,168(Tab.6.1),169,177,178(Tab.6.2),179,180(Tab.6.3),183(Tab.6.5),185 (Tab.6.7),286 Estremera,frayPedrode,104,105,106(Tab.3.1,3.2),120,122(Tab.4.1),124(Tab.4.2),149(Tab.5.1),151(Tab.5.2),267 F fabordón,53,53n.71,65,67,89,945,117,1356,144,174,177 Falces,frayAndrésde,149(Tab.5.1),151(Tab.5.2),168(Tab.6.1),169,178(Tab.6.2),180(Tab.6.3),289 Fenlon,Iain,2,79 FerdinandIII,emperor,138 Fernando,don(infant),39 Fernando,don(sonofPhilipIII),119 FernandoofAragón,1 Ferrer,fray,186 Fillingham,David,8 FlóresGirón,Francisco,279 Franco,Cirillo,133 Franco,GeneralísimoFrancisco,5 Freis,Wolfgang,79n.39 Fry,R.,3 Fuenlabrada,frayBaltasar,122,122(Tab.4.1),124(Tab.4.2),149(Tab.5.1),151(Tab.5.2),272 Fuenllana,Miguelde,78 Fuente,frayJuandela,104,105,106(Tab3.1,3.2,3.3),122(Tab.4.1),124,124(Tab.4.23),149(Tab.5.1),151(Tab.5.2),153(Tab.5.4),152,269 Fuentes,Carlos,vi,34,5,33,478,69
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G Gafurius,Franchinus,75 García,doctor,36 García,Felipe,294 Gautier,Théophile,2 Gonzaga,dukeGuglielmo,2,81 González,Miguel,278 Gracián,Antonio,84 Granada,cathedral,1 Granada,Jeronymitemonastery,54,92,98 GregoryXIII,pope,79,85 Guadalupe,frayFranciscode,273 Guadalupe,Jeronymitemonastery,21,37,38 Guerau,Miguelde,120 Gueron,Guillaume,93 Guerrero,Francisco,1,8,78,79,99,120,125; Cancionesyvillanescas(Venice,1589),79 CanticumBeataeMariae(Louvain,1563),78 Missarumlibersecundus(Rome,1582),79 Motectalibersecundus(Venice,1589),79 Guisando,Jeronymitemonastery,34 Gundersheimer,W.L.,80 Guttiérez,frayJuan,164 H harp,147,152,154,156,158,168(Tab.6.1),175,182,184(Tab.6.6) Hèle,Georgesdela,77,78; Octomissae(Antwerp,1578),78 Hernández,Luis,6,8,11,87 Hernández,Quirino,2789 Herrera,Juande,5,82,100 Honguero,Luis,112 Hopkins,GerardManley,3 Hudson,B.,167 Huarte,Pedro,2745 Huéscar,frayPedrode,122,122(Tab.4.1),1245,125(Tab.4.4),149(Tab.5.1),155(Tab.5.5),270 Huete,frayJuande,34,35 I infanta(d.1603,daughterofPhilipIII),117 Infantas,Fernandodelas,78,85; Sacrarumvariistylicantionum(Venice,1578&1579),78 instruments,otherthantheorgan: prohibitionof,1323 propertiesof,133 Isabel,doña,infanta(daughterofPhilipII),60,86,91 Isabel,doña,queen,39 Isabel[la],doña,queenempress(wifeofCharlesV),18,20,39,41(Tab.2.1)77 J Jambou,L.,7 Jerome,saint,writingsof,130 Jesuits,116,128 Jiménez,José,286 JiménezdeNotal,Eusebio,289 JoãoIV,kingofPortugal,132n.21 JohnXXII,pope,Doctasanctorumpatrum,99100,1302 Josephson,N.,99 Juan(infant),39 JuandeAustria,don,55 Juan,Honorato,73 Juana,doña(regentandsisterofPhilipII),28,77 Justi,Carl,3,5,81 K KenyondePascual,B.,16970 Knighton,T.W.,1 Kubler,G.,4,13,40 L Laird,P.,7,167,169,1823 LaMejorada,Jeronymitemonastery,35 León,frayAndrés[Andreas]de,35,37n.26,64 León,Fernándezde,282 León,frayGasparde,54,66(Tab.2.2,2.3),912,104,106(Tab.3.12),122(Tab.4.1),124(Tab.4.2),164,261 León,frayJuande,149(Tab.5.1),151(Tab.5.2),168(Tab.6.1),178(Tab.6.2),180(Tab.6.3),282 León,frayManuelde,120,148,153(Tab.5.3),156,157(Tab.5.6),158,2778; Miserere,158 Leoni,Leone,81 Leoni,Pompeo,81 Leonora,queen.SeeEleanor Lerma,FranciscoGómezdeSandovalyRojas,dukeof,112,1146,119,1878 Lhermite,Jehan,103,121 Librodelascostumbres(1567),12,42,43,46,4852,93,99,105,134,138 Libroymemorialdelosreligiosos.SeeMemoriassepulcrales
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Lila,frayCarlosde,66(Tab.2.4),104,106(Tab.3.3),124,124(Tab.4.3),153(Tab.5.4),266 Llave,MiguelLópezdela,275 Loaysa,frayGarcíade,164 Lobo,Alonso,1,8,11,98; CredoRomano,98 Lolo,B.,88,167,169 LópezCalo,J.,1,14 Loth,D.,77 Ludeña,Fernandode,291 Lupiana,Jeronymitemonastery,37 Lyons,cathedral,DominicanchapelofNôtreDamedeConfort,99 LyonsContrapunctus,98 M Madrid,frayAlonsode,36,37n.26 Madrid,frayJuande,164 Madrid,I.de,148n.64 Madrigal,frayBartoloméde,34,35 maestrodecapilla,135,143,146,147,148,152,153(Tab.5.3),156,158,159,1656,167,168(Tab.6.1),169,179,181(Tab.6.4),182 Manchicourt,Pierrede,77 Manns,Carl,8 Mansilla,Sebastián,292 MargaretofAustria,queen(wifeofPhilipIII),1123,114,118,119 María,doña(princess),39 María,doña,empress(sisterofPhilipII),77,80,116,117 María,infanta(daughterofPhilipIII),119 MarianaofAustria,queen(wifeofPhilipIV),13840; asqueenregent,164 MarianaofNeuberg,queen(wifeofCharlesII),173; visittoEscorial,1737,179 Mariana,Juande,1289 Marín,frayPedro,66(Tab.2.2),67,91,104,106(Tab.3.1,3.2),122(Tab.4.1),124(Tab.4.2),264 Martínez,Andrés,289 MaryofHungary(sisterofCharlesV),41(Tab.2.1) MaryofPortugal(firstwifeofPhilipII),20,41(Tab.2.1) MaryTudor,41(Tab.2.1) Mascaros,Jaíme,288 Masegil(=GillesBrevos),145 MaximilianII,emperor,83 Mediavilla,B.,172 MedicianGradual.Seeunderplainsong Medina,Diegode,265 Memoriassepulcrales,9,11,43,54,158,166,177,179 Mirabal,frayAntoniode,37n.26 MissalofPiusV(1570),456,187 Mitelli,Agostino,128 modes,propertiesof,133 Monserrate,frayLorenciode,37n.26 Montaña,Fernández,73 Morales,Cristóbalde,1,76,79,99,120,125,188; Missarumliberprimus(Rome,1544),79 Morata,frayMateode,183(Tab.6.5),184(Tab.6.6),293 Morata,Joséde[LectorMorata],286 Morley,Thomas,93 motet,96 Moro,Antonio,9 Mulcahy,Rosemarie,4,13,81,82 Muñoz,frayFrancisco,54 MúsicaenelMonasteriodelEscorial,symposium(September1992),6 N Nájera,frayFranciscode,149(Tab.5.1),177,178(Tab.6.2),179,287 Navarra,frayPedrode,66(Tab.2.2),104,106(Tab.3.1,3.2),122(Tab.4.1),124(Tab.4.2),261 Navarro,Juan,11 Nebrija,Antoniode,45 Noviercas,Pedrode,273 Núñez,frayJuan,179n.53 O ObregónyCerezada,Antoniode,112 Officiumetcaeremoniaeaddedicationem(1595),101,117 Olivares,donGasparGuzmán,countdukeof,128,129 Olmedo,frayGinésde,104,105,106(Tab.3.1,3.3),122(Tab.4.1),124,124(Tab.4.3),268 Orche,frayPedrode,66(Tab.2.4),106(Tab.3.3),265 organsandorganists,8,38,44,51,60,61,65,66(Tab.2.4),67n.98,88,89,90,93,104,1057,106(Tab.3.3),108,113,118,119,124,124(Tab.4.3),1312, 134,1368,
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139,1447,152,153(Tab.5.4),156,158,159,160,1656,167,168(Tab.6.1),169,1702,1737,182,183(Tab.6.5) Organ,countof,117 Orso,S.,13,128 OrtegayGasset,José,5 OstenSacken,C.vonder,13,72 Oviedo,frayDiegode,34,35 P Palencia,Martínde,36 Palestrina,GiovanniPierluigida,1,77,78,81,85,99,120,125,188; Missarumlibersecundus(Rome,1567),78; Missarumlibertertius(Rome,1570),78 Patiño,Carlos,129,172; Oadmirabilecommercium,172 Payen,Nicolas,77 Perret,Pedro,24,25 PhilipII,king,1109passim; advicetoson(PhilipIII),289; collectorofrelics,1624; contactwithFrancoFlemishmusic,72,75,76; deathandfuneralrites,102; education,73; Escorialplainsongchoirbooks,845; Escorialduringthereignof,1109; foundationofEscorial,169,26; interestinliturgicalmusicbooks,835,86; interest,skill,andtasteinmusic,6972,78,8690,121; lastwillandtestament,22; MedicianGradual,856,187; musicalpublicationsdedicatedto,78; organpresentedto,171; patronageofart,74,80,813; patronageofmusic,6986; prohibitionofpolyphonyatEscorial,8,53,72,8790,92,94,121,123,132,187; prohibitionofsecularandsalariedmusiciansatEscorial,89; supportforCouncilofTrent,24,27 PhilipIII,king(sonofPhilipII),289,47,60,80,91,92,101,102,103,11125passim,187,188; death,119; Escorialduringthereignof,11125; interestandtasteinmusic,1112; marriage,112; presenceatEscorialasking,1123,114,116,1189; regulationsconcerningthecapillaatEscorial,1223 PhilipIV,king(sonofPhilipIII),12860passim,187,188; comparedwithPhilipII,129; completionofPanteón,1403; deathandfuneralrites,15960; Escorialduringthereignof,12860; interestinmusic,1289,158; marriage,1389; patronageofarts,1289; presenceatEscorialasking,13840 Pierson,P.,26,27 Piña,Vicente,289 Pisador,Diego,71,73,78 PiusV,pope,35,45,133 plainsong,34,35,38,46,55,84,87,88,89,90,945,108; choirbooks(cantorales),7,8,35,38,59,84,108,120,1456,187; MedicianGradual,88; mannerofperformanceof,46,55,1346,1412; "OldJeronymite"Tonarium,134; Toledanchant,134 Plato,130 Plaza,Franciscodela,2801 Pliego,countof,117 polyphony,38,3940,526,60,645,67,72,912,93,94,956,989,108,117,118,121,132,133,1348,139; choirbooks,8,9,90,92,968,105,11920,125; formassandofficeofthedead,95,121,138; generalprohibitionof,8,53,72,8790,92,94,121,123,132,187 Prado,frayPedrode,149(Tab.5.1),168(Tab.6.1),177,178(Tab.6.2),281 Prescott,William,3 prior,34,37,38,42,47,52,60,64,65,84,88,90,101,116,152,164 Pruebasdelimpiezadesangre,10 Puebla,frayFranciscodela,149(Tab.5.1),154,155(Tab.5.5),280 Puras,Franciscode,287
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Q Quadernosdelascostumbres,12,43,46,134,138 Quevedo,Franciscode,128 Quiroga,Gaspar,archbishopofToledo,55 R Rabanal,V.,7 Ramírez,Cristóbal,35 Ramís,Vicente,292 Ramoneda,frayPablo,186 Ramos,Juande,287 Remacha,Gilde,296 Revilla,Agustínde,287 RevueltaSomalo,J.,14 Rey,Pedrodel,265 Reyes,frayAndrésdelos,149(Tab.5.1) Ribera,Bernardinode,99 Río,frayGabrieldel,168,168(Tab.6.1),177,178(Tab.6.2),180(Tab.6.3),183(Tab.6.5),291 Riofrío,Gabrielde,291 Robledo,L.,72,77 Rodríguez,Francisco,280 Rodríguez,FranciscodePaula,10,158,166,167 Rodríguez,Melchor,170 RodríguezAdan,Mateo,283 Rogier,Philippe,72,77,78,120,125,188; Missaesex(1598),78 Roldan,Diego,152,154,169 Roldan,Francisco,154 Romarin.SeeRomero,Mateo Romero,M.,170 Romero,Mateo,77,129 Romero,frayMiguel,66(Tab.2.2) RotondoyRabasco,A.,148n.64 Rubens,PeterPaul,128 Rubio,Francisco,286 RubioCalzón,Luciano,18 RubioCalzón,Samuel,6,7,8,76,88,90,152,167,172 S Salamanca,Antoniode,79 Salamanca,bishopof,117 Salvatierra,frayFranciscode,151(Tab.5.2);168(Tab.6.1),177,179,180(Tab.6.3),279 SanBartholomé,frayJoséphde,149(Tab.5.1),154,155(Tab.5.5),177,178(Tab.6.2),182,184(Tab.6.6),185(Tab.6.7) SanBartholoméelReal,Jeronymitemonastery,54 Sandoval,P.de,29 SanFrancisco,frayVicentede,182,184(Tab.6.6),292 SanJerónimo,frayAgustínde,149(Tab.5.1),177,178(Tab.6.2),287 SanJerónimo,frayCristóbalde,123,124(Tab.4.3),125,125(Tab.4.5),271 SanJerónimo,frayJoséphde,149(Tab.5.1),151(Tab.5.2),168(Tab.6.1),178(Tab.6.2),180(Tab.6.3),285 SanJerónimo,frayJuande(i),10,16,34,35,36,37,40,42,43,45,52,53,55,84,93,945 SanJerónimo,frayJuande(ii),36 SanJerónimo,Madrid,Jeronymitemonastery,102 SanJoséph,frayAntoniode,150(Tab.5.1),151(Tab.5.2),155(Tab.5.5),178(Tab.6.2),180(Tab.6.3),184(Tab.6.6),288 SanJuandeOrtega,Jeronymitemonastery,179 SanLorenzo,frayAndrésde(d.1608),66(Tab.2.5),104,105,108(Tab.3.4),124,125(Tab.4.4),262 SanLorenzo,frayAndrésde(d.1690),178(Tab.6.2),183(Tab.6.5),294 SanLorenzo,frayNicolásde,66(Tab.2.2),104,106(Tab.3.1),122(Tab.4.1),150(Tab.5.1),265 SanMigueldelMonte,Jeronymitemonastery,54 SanMiguel,frayJuande,122(Tab.4.1),150(Tab.5.1),277 SánchezdeAntequera,Pedro,273 SánchezGarcía,Joséph,285 SanctaMaría,frayJuande,37n.26 SantaAna,frayFranciscode,66(Tab.2.4),262 SantaCruz,frayFernandode,182,184(Tab.6.6),296 SantaMaría,frayDiegode,106(Tab.3.1),122(Tab.4.1),150(Tab.5.1),269 SantaMaría,frayFelipede,180(Tab.6.3),294 SantaMaría,frayGarcíade,164 SantaMaría,frayLuisde,10,1467,159 SantaMaría,frayMiguelde,150(Tab.5.1),151(Tab.5.2),2789 Santiago,frayBart[h]oloméde,91,104,105,106(Tab.3.1,3.3),122(Tab.4.1),124(Tab.4.2),150(Tab.5.1),151(Tab.5.2),268
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Santiago,frayMiguelde,153(Tab.5.4),182,183(Tab.6.5),278 SantoDomingo,frayBartholoméde,54,66(Tab.2.2),263 Santorcaz,frayFaustinode,122(Tab.4.1),124,125(Tab.4.4),150(Tab.5.1),155(Tab.5.5),271 Santos,frayFranciscodelos: aschronicler,1,2,10,13,156,17,312,42,56,61,67,100,113,1189,127,140,141,1435,158,1612,1656,171,1737; asmusiciancomposer,152,153(Tab.5.3),157(Tab.5.6),168(Tab.6.1),181(Tab.6.4),182,185(Tab.6.7),2801 Schiller,Friedrich,3 scribes,36,104,105,186 secularmusiciansatEscorial,154,169 Selma,Antoniode,170 Selma,Bartoloméde,170 Sepúlveda,frayJerónimode,10,45,60,61,64,91,95,96,105,114,116,117 Sepúlveda,JuanGinésde,73 Sepúlveda,Pedrode,281 Serrano,fraySebastián,177,178(Tab.6.2),292 Sesé,Lupercio,284 Sevilla,frayAlonsode,37n.26 Sevilla,frayLorenzo[Lorenzio]de,37n.26,66(Tab.2.4),260 Sevillano,PedroMartín,152 Sigüenza,frayJoséde: aschronicler,2,4,6,10,16,23,30,345,36,39,40,42,45,55,60,61,83,889,92,956,101,102,103,104,143,164,171; asmusician,106(Tab.3.1),122(Tab.4.1) Sierra,José,6,7,88 Siliceo,JuanMartínez,73 SimóndelValle,Manuel,285 SixtusV,pope,90 Solá,frayRafael,37n.26 Soler,Antonio,6,120 Soler,frayJosé,184(Tab.6.6),290 sopranist(tiple),105,106,121,122(Tab.4.1),150(Tab.5.1),178(Tab.6.1),179 Soto,Franciscode,73,77 Stein,L.K.,13,69,90 Stevenson,R.,8,69,72,778,79,80,90,98,1112,112n.7,132 StirlingMaxwell,W.,161 Stradling,R.A.,128 succentor,44,134 Sullivan,E.,13,161,165,167 Suriano,Michele,26 Sutherland,D.,99 Symonds,JohnAddington,3 T Tafalla,frayPedrode,13,122(Tab.4.1),123,124,124(Tab.4.3),125,125(Tab.4.5),148,148n.64,150(Tab.5.1),152,153(Tab.5.3,5.4),154,156,157 (Tab.5.6),158,159,168,1723,188,2745; Magnificat,33055 Ohinefable[?admirable]sacramento,1723 Talavera,frayMiguelde,122(Tab.4.1),123,150(Tab.5.1),275 Taylor,René,3 tecla(keyboard),66(Tab.2.4),105,106(Tab.3.3),1234,124(Tab.4.3),152,153(Tab.5.4),182.Seealsoorgansandorganists Thomás,Esteban,154,169 Tinctoris,93 Tintoretto,9,82 Titian,9,71,82 Toledo,frayAlonsode,37n.26 Toledo,archbishopof,55,114 Toledo,cathedralof,capilla,55,105 Toledo,frayDiegode,66(Tab.2.2,2.4),104,106(Tab.3.1,3.3),122(Tab.4.1),124,124(Tab.4.3),259 Toledo,frayEusebiode,167,168(Tab.6.1),184(Tab.6.6),289 Toledo,JuanBautistade,16,34,82 Toledo,frayLuisde,164 TormoyMonzó,E.,14 Torre,frayGaspardela,66(Tab.2.2),106(Tab.3.1),262 Torres,Juande,172; Oadmirabilecommercium,172 Torrijos,frayDiegode,167,168,168(Tab.6.1),179,181(Tab.6.4),182,183(Tab.6.5),184(Tab.6.6),185(Tab.6.7),189,290 TrevorRoper,H.,82 Tricio,frayJuliánde,52
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Trinidad,frayFernandodela,167,168,168(Tab.6.1),178(Tab.6.2),179,180(Tab.6.3),181(Tab.6.4),182,183(Tab.6.5),184(Tab.6.6),185(Tab.6.7),291 Trujillo,frayMateode,150(Tab.5.1),168(Tab.6.1),178(Tab.6.2),283 Turnhout,Gérardde,77 U Unamuno,Miguelde,2,3,5 UrbanVIII,pope,133 V Vadillo,frayMiguelde,150(Tab.5.1),151(Tab.5.2),168(Tab.6.1),177,178(Tab.6.2),180(Tab.6.3),279 Vaeza,frayAlonsode.SeeBaeza Valencia,frayAgustínde,54,66(Tab.2.2),67,263 Valencia,frayJaímede,152,153(Tab.5.3),157(Tab.5.6),159,288; Beatusvir,160 Valle,frayJoséphdel(i),152,153(Tab.5.3,5.4),156,157(Tab.5.6),1589,168,168(Tab.6.1),181(Tab.6.4),183(Tab.6.5),185(Tab.6.7),189,2834 Valle,frayManueldel(i),146,147,148,152,153(Tab.5.3,5.4),156,157(Tab.5.6),159,181(Tab.6.4),183(Tab.6.5),185(Tab.6.7),189,285 Valle,frayManueldel(ii),159 Valenzuela,Fernando,164 Varco,frayJuandel.SeeBarco Vega,Lopede,128 Velázquez,128,165 Vera,frayMartíndela,12,87,88,94,99100,107,121,1308,188 Verdi,Giuseppe,3 Verjat,L.,169 Veronese,9,82 Victoria,fraySebastiánde,178(Tab.6.2),179,295 Victoria,TomásLuisde,1,8,78,7980,99,1112; Missae,Magnificat,motecta,psalmietaliosquamplurima(Madrid,1600),1112; Missaprovictoria,112; Missarumlibriduo(Rome,1583),78; Motecta(Rome,1583&1589),79; Officiumhebdomadaesanctae(Rome,1585),79 vihuela,71,104,177,182,184(Tab.6.6) vihueladelarco,104,107,108(Tab.3.4),124,125(Tab.4.4) Villacastín,frayAntoniode,10,30,35,36,37n.26,38,117 Villalba,frayFranciscode,42 villancico,7,87,95,96,111,1167,132,134,140,146,147,154,158,159,174,1757,1826,188 villanesca,53,65,67 Villanueva,frayMartínde,8,13,78,90,912,93,95,97,98100,104,105,106(Tab.3.1,3.2,3.3),107,108(Tab.3.5),120,122(Tab.4.1),124(Tab.4.2,4.3), 125,125(Tab.4.5),164,187,266 Misadelosdoblesmaiores,97,98,99,31629 MisadeNuestraSeñora,78,98 Passio(StJohn),92,95 Passio(StMatthew),92,95 TethcogitavitDominus,92 violin,154,175,176 violone,176 Vivanco,Sebastiánde,8,11,99 W Wagner,L.,72 Wilkinson,C.,5,13,812,100 Wollick,Nicolaus,93 Wright,Craig,93 Y Yllescas,frayVicentede,178(Tab.6.2),184(Tab.6.6),289 Yuste,Jeronymitemonastery,18,2930,38,107 Z Zaragoza,frayJerónimode,66(Tab.2.4),260 ZarcoCuevas,J.,14,88,90 Zoilo,Annibale,85 Zuccaro,Federico,82 Zúñiga,donJuande,73,85 Zurbarán,128
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