Enríquez de Valderrábano

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Enríquez de Valderrábano (* around 1500 probably in Peñaranda de Duero , possibly in Peñacerrada near Vitoria-Gasteiz ; † after 1557 in Spain) was a Spanish vihuelist and composer of the Renaissance . In 1547 he published a seven-volume work with compositions for the Vihuela .

Live and act

Music-historical research ( including the extensive research by vihuela researcher Emilio Pujol ) has so far only been able to determine a few details about the life of Enríquez de Valderrábano . Neither the day of his birth nor that of his death are known exactly, his place of birth is not certain and the place of his death is completely unknown. François-Joseph Fétis states in his biography Universelle “Penacerrada” as the place of birth. In his main work Libro de Música… Silva de sirenas he calls himself a resident of the city of Peñaranda de Duero in the province of Burgos in the dedication text . This was the residence of the fourth Duke of Miranda del Castañar, Francisco de Zúñiga, to whom this work was dedicated. Based on this information, the composer Juan Bermudo suspects in 1555 that Valderrábano was in the service of the duke; but there is no evidence of this. Both Bermudo and the encyclopedia Cristóbal Suárez de Figueroa (1571 – after 1644) (1615) have named Valderrábano as one of the leading vihuela players of his time. After 1557 there is no more information about him.

meaning

Valderrábano's main work has a prominent position among contemporary publications of music for Vihuela . As far as the seven books of this work contain original compositions by himself, these are characterized by a very individual style and by the use of a freely developed, seamless and non- imitative counterpoint . His compositionally most demanding pieces are the 33 fantasies (including 19 parodies of lute works by Francesco da Milano ), the duets for 2 vihuelas and the cycles of variations . The latter are based on the types Pavana (folia), Pavana real , Guárdame las vacas (Romanesca) and Conde claros and are ended with an improvisational movement in which a second vihuela performs a simple accompaniment. The duo pieces are remarkable because they are the only known tablatures for two vihuelas. One part is printed upside down so that the notes can be read from opposite sides of the table.

Works

Valderrábano's main work, Libro de Música Silva de Sirenas
  • Libro de Música de Vihuela, intitulado Silva de Sirenas (Book of Music for Vihuela, titled “Forest of the Sirens”), Valladolid 1547, in seven books, which are graded according to degree of difficulty with a total of 171 compositions. Edition: Emilio Pujol , Barcelona 1965, Reprint Geneva 1981 ( Monumentos de la música española, Vol. 22 and 23). At the beginning the work contains 3 pages with theoretical explanations.
    • Book 1: Works for Solo Vihuela
    • Book 2: Arrangements that can be played solo or as accompanied songs for tenor or bass , text in Latin, Castilian and Italian
    • Book 3: Arrangements to be sung by the Vihuela player in falsetto ; here the part for the singing voice is notated on a separate staff
    • Book 4: 16 duets for two vihuelas.
    • Book 5: Works for Solo Vihuela
    • Book 6: Works for Solo Vihuela
    • Book 7: Works for Solo Vihuela

At the beginning of each piece in this collection, Valderrábano indicates the respective level of difficulty and gives an indication of the choice of the correct tempo by means of scale marks . Almost half of all compositions consist of intabulations of mass movements , motets , Italian madrigals , Spanish villancicos and romances by Jacobus Arcadelt , Loyset Compère , Nicolas Gombert , Lupus Hellinck , Jacquet de Mantua , Josquin , François de Layolle , Cristóbal de Morales , Juan Vásquez , Philippe Verdelot and Adrian Willaert .

Literature (selection)

  • Juan Bermudo: Libro llamado declaración de instrumentos musicales. Osuna 1555, Reprint Kassel 1957 (= Documenta musicologica. Volume 11).
  • J. Ward: The Use of Borrowed Material in 16th-Century Instrumental Music. In: Journal of the American Musicological Society. No. 5, 1952, pp. 88-98.
  • J. Ward: The Vihuela de mano and Its Music (1536-76). Dissertation at New York University 1953.
  • C. Jacobs: Tempo Notation in Renaissance Spain. Brooklyn 1964.
  • HM Brown: Instrumental Music Printed Before 1600: a Bibliography , Cambridge / Massachusetts 1967
  • John Griffiths: The Vihuela Fantasia: a Comparative Study of Forms and Styles , PhD at Monash University 1983
  • G. Braun: The Spanish Vihuela Songs in the 16th Century , Dissertation at the University of Heidelberg 1993
  • John Griffiths: The Vihuela: Performance Practice, Style, and Context. In: Lute, Guitar and Vihuela: Historical Performance and Modern Interpretation, edited by V. Coelho, Cambridge 1997, pp. 158-179
  • O. Schöner: The Vihuela de mano in Spain in the 16th century , Frankfurt am Main 1999 (= European University Papers No. 198)
  • D. Becker: Formes et usages en société des pièces chantées chez les vihuelists du XVIe siècle. In: Música y literatura en la España de la Edad Media y del Renacimiento, edited by V. Dumanoir, Madrid 2003, pp. 21–53
  • John Griffiths: The Two Renaissances of the vihuela - Los dos renacimientos de la vihuela. In: Goldberg 33, April 2005, pages 34-43

Web links

See also

  • Luis Milán (approx. 1500–1561), Spanish vihuelist and contemporary of Valderrábano
  • Miguel de Fuenllana (approx. 1500–1579), Spanish vihuelist and composer and contemporary of Valderrábano
  • Luis de Narváez (approx. 1500-after 1549), Spanish vihuelist and composer and contemporary of Valderrábano

swell

  1. ↑ See also Siegfried Behrend (Hrsg.): Old Spanish Lute Music (= Old European Lute Music for Guitar. Book 3). Freely edited and ed. by Siegfried Behrend. Music publisher Hans Sikorski, Hamburg 1959 (= Edition Sikorski. No. 527), p. 6 ("Enriguez de Valderrabano born in Penacerrada near Victoria").
  2. ^ The Music in Past and Present (MGG), Person Part Volume 16, Bärenreiter Verlag Kassel and Basel 2006, ISBN 3-7618-1136-5
  3. ↑ Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 8: Štich - Zylis-Gara. Herder, Freiburg im Breisgau a. a. 1982, ISBN 3-451-18058-8 .
  4. ↑ Frederick Noad: The Renaissance Guitar. (= The Frederick Noad Guitar Anthology. Part 1) Ariel Publications, New York 1974; Reprint: Amsco Publications, New York / London / Sydney, UK ISBN 0-7119-0958-X , US ISBN 0-8256-9950-9 , p. 39.
  5. ^ François-Joseph Fétis: Biography Universelle des musiciens et bibliographie générale de la musique . Paris 1867, Volume 8, p. 292
  6. ^ Frank Koonce: The Renaissance Vihuela & Guitar in Sixteenth-Century Spain , Mel Bay, Pacific 2008, p. 105
  7. ^ Frank Koonce: The Renaissance Vihuela & Guitar in Sixteenth-Century Spain , Mel Bay, Pacific 2008, p. 105
  8. ^ Maurice Esses: Dance and Instrumental Diferencias. In: Spain during the 17th and early 18th Centuries , Volume 1, Pendragon, Hillsdale 1992, p. 314
personal data
SURNAME Valderrábano, Enríquez de
ALTERNATIVE NAMES Valderrábano, Enríque de; Valderrábano, Anríquez de; Valderrávano, Enríquez de
BRIEF DESCRIPTION Spanish vihuelist and composer of the Renaissance
DATE OF BIRTH around 1500
PLACE OF BIRTH Peñaranda de Duero (unsure)
DATE OF DEATH after 1557