Francisco de Peñalosa

Francisco de Peñalosa (* 1470 in Talavera de la Reina, † April 1, 1528 in Seville) was a Spanish cleric, singer and composer of the Renaissance.

Singer ...

The exact date of birth Francisco de Peñalosas is not known; he 's probably got about 1470 in Talavera de la Reina to the world. Also about his education is not known, nor when he was admitted to the Royal Spanish chapel. However, the award of a Kanonikats 1505 by the Spanish king witnessed its first climax of appreciation Peñalosas by the royal family. Since 1511 Peñalosa also worked as a music teacher for the heir to the throne Ferdinand I.; his service as a singer in the Spanish royal chapel he knew to the death of the king in 1516. Temporary Peñalosa worked in Burgos.

In late summer 1517 that Pope Leo X. him. At the papal chapel in Rome, again as a singer Peñalosa held that post at least until the death of Leo X in 1521; . different sources, even to 1523 He returned to Seville, where not only him - not re-occupied at the request of the Pope! - Canonicate expected with household and income; Peñalosa was already two years later, in 1525, awarded the Office of the Treasurer of the chapel. Three years later, on April 1, 1528, Francisco de Peñalosa died; He was buried in the cathedral of Seville.

And composer ...

While other Spanish composers of the Renaissance in Italy, not only the local compositional style appropriated, but there also gave her grades in print, Francisco de Peñalosa has not made use of this possibility. This is often called - seen evidence that he began composing seriously after his return to Seville - unused. Thus, in the manuscripts of the papal chapel is none of his works called or is listed in the directories listed works, as is until today no proof has been found, as would emerge the that only one of the works Peñalosas would have been printed during his lifetime.

A few years after Peñalosas death posterity recognized the quality of his compositional work: in one of the most important Iberian manuscripts, e- Tz Ms. 2/3, most are listed by Peñalosas sacred works, reflecting his great appreciation in the time of origin of this manuscript.

Compositional style

Quite often you will find at Peñalosa in the Renaissance style usual means: a three - or four-part composition over a given melodic theme. In choosing this topic Peñalosa attacked in equal measure on melodies from his native Spain to how impressive the example of the well-known to Peñalosas time villancicos " Nunca fue pena mayor " is is in the same trade, as well as on melodies in the Franco- Flemish music room were better known, such as the famous and used by a significant number of composers of the Renaissance melody of " L' homme armé " that a mass setting Peñalosas is based also.

Also in relation to the sonority of his works is Peñalosas music a bridge between Spanish sonority and the Franco- Flemish- embossed, layered contrapuntal style of music of that era. What sometimes sounds almost brittle at Johannes Ockeghem or Josquin des Prez, affects Peñalosa often much softer, almost delicate, which is largely based on the principle of double Bizinien: two voices singing in the third, sixth, or Dezimabstand a tune with the same rhythm while the other two votes, with each in turn sing with the same rhythm, one to the first contrapuntal melody that is largely based on parallel thirds, sixths or tenths also. As a particularly outstanding example of this is the motet "Deus qui manus tuas ".

By contrast, found that just in the villancicos often very central rhythm models such as clocks with five beats in Francisco de Peñalosas body of work little influence.

Works

Peñalosa mainly composed several masses, some settings of the Magnificat, a whole range of spiritual, almost invariably linked with the Passion theme motets and some hymns. On secular works eleven compositions are preserved or unequivocally attributed Peñalosa today.

The motet " Sancta mater ISTUD agas " is falsely in a source Iusquin ' attributed, so Josquin (often called " Josquin des Prez " ), which documented both Peñalosas compositional relationship to that as well as the high quality of his work.

Measuring and measuring parts:

• Missa " Adieu mes amours"
• Missa " Ave Maria Peregrina "
• Missa " El ojo "
• Missa Ferial ( torso, consisting of Kyrie, Sanctus and Agnus Dei )
• Missa " L' homme armé "
• Missa " Nunca fie pena mayor "
• Missa por la mar
• Mass of unknown name ( torso, consisting of Gloria and Credo)
• 5 Kyrie settings of

Liturgical works:

• 6 Magnificat settings of
• Lamentations 3
• 5 hymns

Motets:

• Adoro te, Domine
• Ave regina caelorum
• Ave Christe cause caro
• Ave vere sanguis Domine
• Ave verum corpus
• Deus qui manus tuas
• Domine Jesu Christe qui neminem
• Domine, secundum meum actum
• Emendemus in melius
• In passione positus
• Ne reminiscaris
• O decus virgineum
• O dominatrix sanctissima
• Pater noster
• Precor te, Domine
• Sancta Maria, sucurre miseris
• Sancta mater ISTUD agas (see above)
• Transeunte Domino
• Tribularer si nescirem
• Unica est columba mea
• Versa est in luctum

Secular Works:

• Alegraos, males esquivos
• A tierras agenas
• De mi Dicha no se spera
• Lo mucho qui se Desea
• Los braços traygo
• Niña, ergiudme los ojos
• Por las sierras de Madrid
• Pues en vivo perder la vida
• Que dolor más me doliera
• Tú que viens de camino

Considered lost works:

• Ave Maria
• Credo
• Magnificat
• Vide Domine

In addition, still exist some works whose authorship currently could not be established beyond doubt.

Sheet music

In addition to a Spanish musicological edition notes exist some works in the International Music Score Library Project on the Internet and the editions of the Scottish music publisher " mapa mundi ". Despite the compositional quality, the richness of ideas and the sonic beauty of music Peñalosas no publisher has been busy with a total output; among other things, probably therefore ekes Peñalosas music still more of a niche.

Music

To get back to snatch Francisco de Peñalosa oblivion, in 1996 a vocal ensemble founded, not only in many of his concerts works of Francisco de Peñalosa lists, but has also taken its name: The Peñalosa ensemble.

Recordings

• " Missa el Ojo ": In addition to the eponymous exhibition in premiere recording can be heard eight motets by Peñalosa.