The Spanish Habsburgs, Charles V (king of Spain, 1516-1556) and his son Philip II (reigned 1556-1598), were generous patron of the arts. They made sure that Spain's creative excellence – including musicians and composers - was widely known throughout Europe. The Habsburgs employed the best talents. The Roman Catholic Church benefited from these talents immensely.
The most prominent Spanish composers at that time were Cristóbal de Morales, Antonio de Cabezón and Tomás Luis de Victoria.
Cristóbal de Morales
Cristóbal de Morales (c. 1500-1553) trained as a schoolboy in Seville, the capital of Andalusia. Under the influence of the rich musical life, he became of one of Spain's most expert church musicians. His baritone voice and compositional talent caught the attention of Pope Paul III and the Pontiff invited him to join the Spanish singers of the Sistine Chapel choir of Rome.
For seven years, between 1536 and 1543, he traveled the cities of Western Europe with the Pope's patronage. The papal tours gave Morales the chance to introduce his music to the great cathedrals. Compositions at that time were greatly acknowledged. In 1545, he returned to take up the post of choirmaster at the Spanish cathedral of Toledo.
His last years were not as happy since the cathedral tradition focused on organ music but his expertise was composition of unaccompanied music for Mass. His greatest legacy was his two pupils who became known as the finest Christian composers of their generation: Francisco Guerrero and Juan Navarro.
Antonio de Cabezón
Antonio de Cabezón (1510-1566) was a blind keyboard-player, composer and organist of the Renaissance. He was acclaimed as the most favored musician of the Spanish King Philip II. His post as organist of the King's private chapel took him in the king's company to Italy, Germany, the Netherlands and England. The expressiveness of this blind performer and composer encouraged all kinds of new creative ideas of the younger musicians who heard him.
Cabezón made a profound contribution to organ music. Some of these formed the contrapuntal ingenuity of a known melody such as a hymn. The tientos were colourful and free fantasias.
Tomás Luis de Victoria.
Tomás Luis de Victoria (1548-1611) came from a family with strong Jesuit connections. He was trained from early age by the Maestros de capilla at Avila Cathedral near Madrid. At 18, he went to Jesuit College in Rome with official duties as a singer. Later, he became organist and chorister also at a church in Rome. His stay there developed his reputation as composer of a capella choral pieces which he published in many volumes. In 1587 he returned to Spain when King Philip II offered him to be chaplain to Empress María, in retirement in a Madrid convent.
Like Morales before him, Victoria's music was primarily vocal music for the liturgy. His style was direct, and they simply expressed the ideals of the Catholic Reformation. Some of his most solemn works were published in Rome. His Lamentations and Crucifixion of Jesus, motets, and his hymns are moving, and deserve attention.
Villancicos
Literally, the word villancico means "peasant" given to a popular song with a refrain, with connection to the music of the Andalusian Arab invaders. They were popular for entertaining aristocratic audiences during the 15th century.
The reformers encouraged the introduction of the villancico into worship especially on feast days. Later, well-known tunes were given new texts, or wholly new songs created, which the older guards found uncomfortable. Villancicos continued for another 200 years.
Related Links:
Sources:
Sadie, Stanley (editor). The Grove Concise Dictionary of Music. London: MacMillan, 1994
Wilson-Dickson, Andrew. The Story of Christian Music. Oxford: Lion Publishing, 2003
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