Esteban Daza

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Esteban Daza (* around 1537 in Valladolid ; † around 1591 ibid) was a Spanish vihuelist and composer of the Renaissance .

Live and act

The family chapel, founded by Esteban's grandmother, still stands in the monastery church of San Benito el Real in Valladolid. Around 1537 the family belonged to the upper middle class in this city. Esteban Daza was the oldest of the 14 children of Tomás Daza († 1569) and his wife Juana († 1585). He himself and three of his brothers studied at the University of Valladolid, six other siblings entered an order. Contrary to his father's wishes, he did not study to a master's degree. Although the family led a modest life, it appears that Esteban did not have a job and instead lived on investment income. Contrary to convention, he did not take on the usual duties of an eldest son, but left this to his brother Baltasar.

The family was critical of the musical activities of Esteban Daza. This attitude obviously changed after the publication of his Vihuela book. In June 1575 Daza got the license to publish his work Libro de música . The work was printed by Diego Fernández de Córdoba . The contract between the two parties, signed on January 13, 1576, stipulated an edition of 1500 copies at a price of 1575 reales ; printing was completed on April 12th. The work is dedicated to Hernando de Hálabos de Soto , a family friend and lawyer in the Real Chancillería , who was also a member of King Philip II's supreme council .

After the death of his mother, Esteban lived with his unmarried siblings for a certain time in a house that they had inherited from their uncle Gaspar, and from 1589 until at least December 1590 in his brother's house just outside the city. After 1591 no more information about Esteban Daza is available.

meaning

Esteban Daza was one of the last composers for the Vihuela. This instrument was more and more replaced by the guitar at the end of the 16th century . His above-mentioned three-volume work places high demands on the skills of the player. Many of the pieces in Book 1 with his Fantasies clearly show that Daza was familiar with similar works from Alonso Mudarra's Tre libros de música en cifra para vihuela (Seville 1546) . The polished style of the imitative fantasies adheres closely to the theoretical teachings of Tomás de Santa María and has balanced formal proportions. The intabulations contained in the 2nd and 3rd book are based on vocal models, of which less than half has survived.

Works

Front pages of the Libro de música, intitulato el Parnasso

Literature (selection)

  • J. Ward: The Vihuela de mano and It's Music (1536–76) , dissertation at New York University 1953
  • John Griffiths: The Vihuela Book ›El Parnaso‹ by Esteban Daza. In: Studies in Music No. 10, 1976, pp. 37-51
  • Same: The Vihuela Fantasia: A Comparative Study of Forms and Styles , PhD thesis at Monash University, Clayton / Australia 1983
  • The same / WE Hultberg: Santa Maria and the Printing of Instrumental Music in Sixteenth-Century Spain. In: Livro de homenagem a MS Kastner, edited by MF Fernanda Cidrais Rodrigues and others, Lisbon 1992, pages 345-360
  • John Griffiths: Esteban Daza: a Middle Class Musician in Renaissance Spain. In: Early Music No. 23, 1995, pp. 437-449

Web links

swell

  1. ^ The Music in Past and Present (MGG), Person Part Volume 5, Bärenreiter Verlag Kassel and Basel 2001, ISBN 3-7618-1115-2
  2. ↑ Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 2: C - Elmendorff. Herder, Freiburg im Breisgau a. a. 1979, ISBN 3-451-18052-9 .
personal data
SURNAME Daza, Esteban
ALTERNATIVE NAMES Daça, Esteban
BRIEF DESCRIPTION Spanish vihuelist and composer of the Renaissance
DATE OF BIRTH around 1537
PLACE OF BIRTH Valladolid
DATE OF DEATH around 1591
Place of death Valladolid