Chapter 4 explores tensions surrounding the election of Ignacio Jerusalem (1707-1769), an Italian musician from the world of theater, to serve as chapelmaster
. Chapter 5 then describes how Jerusalem's appointment transformed the music chapel's repertoire and operation and how cathedral musicians found themselves obliged to invoke the ideals of decencia (decency/ respectability) and calidad (social quality) as attributes associated with the imaginaire of lo espanol (the Spanish) upon the emergence of new ambulant music chapels in the city (such as the one led by Antonio Portillo, former member of the cathedral) that competed with the cathedral chapel, itself seen as a musical group representing the ecclesiastical cabildo.
Already in the first century after conquest, in both Mexico and Peru, the position of chapelmaster
could (and sometimes had to) be filled without recourse to the mother country.
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.
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
. His music, secular and sacred, was printed in large quantities from 1543 onwards; and nearly 20 years after his presumed death in 1557 a major retrospective of his motets was published.
Finally, Cristina Diego Pacheco analyzes motets by the little-known composer Alonso Ordonez, a chapelmaster
at the cathedrals of Santiago de Compostela and Palencia.
1600) into a fabricated ideal Spanish chapelmaster
devoted to music and his religious career, a precocious genius even greater than Palest dna.
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).