1600) into a fabricated ideal Spanish chapelmaster
devoted to music and his religious career, a precocious genius even greater than Palest dna.
The final two essays in this section, however, do not follow in the same vein: one focuses on the Netherlands and makes no mention of Spain, while the other is little more than a "life and works" of Charles V's chapelmaster
, Nicolas Payen.
He joined the choir at the Duomo and became chapelmaster
there in 1520.
Only lack of full information concerning the Mexico City Cathedral chapelmaster
Hernando Franco (1532-1585), from whom Don Hernando Franco copied his name, previously permitted confusion of the two.
He was probably a contemporary of Clemens, and was associated with the chapel of the Emperor Charles V for a period of some ten or more years from 1540, for some of the time as chapelmaster
Finally, Cristina Diego Pacheco analyzes motets by the little-known composer Alonso Ordonez, a chapelmaster
at the cathedrals of Santiago de Compostela and Palencia.
He was born around 1560 in Ciudad Rodrigo, a small city near the Portuguese border, and educated at the cathedral there; in 1581 he became the chapelmaster
at Oviedo cathedral; in 1585 he took a similar position at Calahorra; and in 1591 or thereabouts he returned to Ciudad Rodrigo and his home church, where he served till his death, sometime after 1623.
5, by the Roman chapelmaster
Bonifazio Graziani (1604/5-1664 [Rome: Vitale Mascardi, 1653]), who is represented by only two hymns in volumes 14 and 16 (for an overall study of this repertory, see Rainer Heyink, I vespri concertati nella Roma del Seicento, Studi, cataloghi e sussidi dell'Istituto di bibliografia musicale, 4 [Rome: Istituto di bibliografia musicale, 1999]).
He then launches into a compla int against the chapelmaster
, Antonio Guinati, who has stopped Raynero's salary.
Also for sale were manuscript copies of sacred and secular music by the Spaniard Bias de Laserna (tonadillas); the Mexican Jose Manuel Aldana (a symphony, a concerto, twelve minuets with contradanzas, and a duet), and Italian-born Mexico City chapelmaster
and Coliseo violinist and music director Ignacio de Jerusalem (a set of versos).
She affirms the composer's importance by noting Vasquez's citation in Juan Bermudo's Declaracion de instrumentos musicales (Osuna: Juan de Leon, 1555) and that Mateo Romero, chapelmaster
of the Real Capilla under Phillip III, used one of Vasquez's villancicos in a parody Mass composed several decades after the composer's death.
They preserve, alongside copies of works imported from the Old World, substantial repertories of music by chapelmasters
of the Cathedral, notably (in chronological order) Hernando Franco (d.