Juan Vásquez

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Juan Vásquez , also Juan Vázquez , (* around 1500 in Badajoz , † after 1560 probably in Seville ) was a Spanish Renaissance - composer , cantor , conductor and Roman Catholic priests . He wrote vocal works of great simplicity and beauty. He is reckoned with Francisco Guerrero , Cristóbal de Morales , Juan Navarro Hispalensis and others in the Andalusian School of Composers .

Life

Early phase

Badajoz Cathedral, where Vásquez worked from 1530

Vásquez was born in Badajoz in the first decade of the 16th century. Very little biographical data of Vásquez are known from this period. In particular, one does not know the date of birth, his family background or the circumstances and scope of his musical education. Vásquez's name appears for the first time in the records of the choir of the Cathedral of Plasencia , into which he was inducted on October 27, 1511. Contra-alto is given as the pitch , which indicates that he was still a child at the time. From then on, Vásquez's trail is lost for twenty years. His name reappeared in the books of the cathedral in his hometown Badajoz in 1530. Here he was accepted as a singer in the cathedral chapel on April 22, 1530 with an annual salary of 15,000 maravedíes. According to the same document, he was appointed teacher for the cathedral boys on September 30, 1530 with the obligation to give these daily lessons in Gregorian chant , figural and counterpoint . The conductor of the Badajoz Cathedral in those years was Juan Salcedo. He appointed Vásquez on June 26, 1535 instead of Francisco Grageras as the cantor of the cathedral. This suggests that he had a very good voice. This position was combined with that of the singing teacher for the children. In the summer of 1538 Juan Vásquez left his hometown Badajoz, to which he did not return until 1545.

Middle phase

The Cathedral of Palencia, where Vásquez worked from 1539

From 1538 Vásquez, like most Spanish composers of his time, went through various cathedral chapels. In 1539 he joined the chapel of Palencia Cathedral as a singer and came into contact with Castilian chapels and noble musicians. Vásquez 'works were also known to Castilian vihuelists . Some of these musicians, such as Enríquez de Valderrábano , Diego Pisador and Miguel de Fuenllana , transcribed Vásquez's works for vihuela and vocals . On April 19, 1541, at the request of the Archbishop Kapellmeister of Toledo , Juan Pardo de Tavera, the council of the Cathedral of Palencia gave him permission to travel to Madrid . In October 1541 Vásquez joined the chapel of the Archbishop of Madrid , Cardinal Tavera, as cantor . Vásquez only stayed a short time in Madrid because he is not going to Toledo with Cardinal Tavera. In 1545 Vásquez returned to Luis de Quiñónez as Kapellmeister at the Cathedral of Badajoz and remained in this position until the summer of 1550. His salary was 30,000 maravedíes . In a document from 1549, Vásquez is addressed for the first time as a clergyman ( presbyter ). In 1556 he was ordained a priest. In 1548 Vásquez moved to the neighboring Portuguese Vila Viçosa to the court of the Dukes of Braganza. The Badajoz Cathedral maintained close mutual cultural exchanges with this court.

Late phase and death

In 1551 Vásquez moved to Seville, Andalusia . He found a job with the nobleman Antonio de Zuñiga, to whom he dedicated his publication Villancicos y canciones (' Villancicos and Chants'). In this aristocratic environment he established relationships with musicians such as Francisco Guerrero, Cristóbal de Morales , Juan Navarro and Juan Bermudo . In 1556 he published his Agenda defunctorum in Seville and entered the service of Juan Bravo. The royal permission to print this book explicitly mentions that Vásquez is a priest and comes from Badajoz. Finally, in 1560 Vásquez published his famous book Recopilación de Sonetts y villancicos a cuatro ya cinco voces ('Compilation of Sonnets and Songs with Four and Five Voices'), which he dedicated to his patron Don Gonzalo de Moscoso y Cáceres Peña, in his house in Seville he served from 1560.

It was generally accepted in musicology that Vásquez stayed in Seville until his death after his last book was published in 1560. However, recent research indicates the possibility that Vásquez held the position of Master of the Chapel of the Dukes of Medina-Sidonia around 1571/1572 , so the exact date of Vásquez's death remains unknown. In particular, the musicologist Lola de la Torre asserted that Vásquez was still in the service of the most powerful noble in Spain in 1572, in the service of Alonso Pérez de Guzmán , the seventh Duke of Medina-Sidonia.

Works

Transcription of the Villancico ¿Con qué la lavaré? by Juan Vásquez for vihuela and vocals from the book Lyra de Miguel by Miguel de Fuenllana

All the works that came to us from Juan Vásquez were published in Andalusia. Specifically, these are the following works:

  • Villancicos y canciones a tres ya cuatro voces (1551)
  • Agenda defunctorum (1556)
  • Recopilación de Sonetts y villancicos a cuatro ya cinco voces (1560)

Vásquez may have written other works that did not come down to us. This is suggested by the sonnet by Alonso de Barrera , which praises Vásquez and his music most highly.

"Y deste, imaginar y concertalla
Juan Vásquez tanta parte y tal alcanza,
qual muestran muchos libros que ha compuesto."

Surprisingly, not a single work by Vásquez was found in the form of a handwritten source. Even the works that he wrote as Kapellmeister of Badajoz Cathedral are not even in the archives of this cathedral.

The profane work: canzons, villancicos and sonnets

Vásquez's works with secular themes can be found in the Villancicos y canciones a tres ya cuatro voces and in the Recopilación de Sonetts y villancicos a cuatro ya cinco voces . They contain pieces in the Spanish language mainly in the form of villancicos , i.e. in the form of three or four-part songs for popular secular or sacred singing.

In contrast to other composers who were also priests such as Francisco Guerrero, Vásquez published his profane works, including the works that dealt with the theme of "love", in a way that did not raise these songs into a divine sphere. Some of the texts of his works come from well-known contemporary poets and writers such as Juan Boscán , Garcilaso de la Vega , Gil Vicente or the Comendador Escrivá . Other songs, however, are based on poetic folk texts and popular sayings. In addition, many of his Villancicos are based on popular melodies.

In the compositions with profane themes, Vásquez continues the tradition of popular villancicos and romances of the late fifteenth century as popularized by Juan del Encina and Francisco de la Torre . However, he initiated a gradual development towards the Italian madrigal . In volume 4 of his work Declaración de instrumentos musicales, the music theorist Juan Bermudo reports the extraordinarily high quality of these Vásquez pieces of music, which should be studied, such as the works of Josquin des Prés , Adrian Willaert , Cristóbal de Morales or Nicolas Gombert .

The first of Vásquez's songbooks Villancicos y canciones a tres ya cuatro was published in 1551 in the print shop of Juan de León in Osuna . It was dedicated to his then patron Antonio de Zúñiga . It consists of 26 villancicos and canzons. Unfortunately, only a copy of one part has survived, so that only one part of the works is originally available. The Real Academia de la Historia opposes this well-known statement by Samuel Rubio and José María Llorens with the statement that the part books of all four voices are available in the Biblioteca de la Fundación Bartolomé March in Palma de Mallorca .

The second surviving collection of the Recopilación de Sonetts y villancicos a cuatro ya cinco voces is more important . It was published in Seville in 1560 by the printer Juan Gutiérrez. It was dedicated to Don Gonzalo de Moscoso y Cáceres Peña , who belonged to a noble family from Extremadura . The work comprises a total of 77 pieces, including villancicos, canzons and madrigals. Some of these pieces were already included in his first book from 1551. Some of the works included were first published as intabulations for Viuhela by the vihuelists Enríquez de Valderrábano, Diego Pisador y Miguel de Fuenllana. A total of 82 different compositions have been preserved in the two song publications and passed on to posterity.

The sacred work: The Agenda defunctorum

The Agenda defunctorum is the only sacred work of Vásquez that has come down to us. It was printed in 1556 by the printer Martín Montes de Oca in Seville. It is dedicated to Juan Bravo de Morata , the son of Martín Bravo Morata , an established family from Lorca . So far, two copies of the book have been found, one in the library of the Diputación de Barcelona and one in the archives of the Cathedral of Valladolid.

The work is a monumental mass for the dead, indeed the most extensive mass for the dead of all Renaissance polyphonists and Renaissance composers. Vásquez composed the entire office of the dead musically in a uniform and coherent way.

The Agenda defunctorum consists of a total of 27 parts: 18 for the Officium defunctorum , the actual office for the dead and 9 for the Missa pro defunctis , the funeral mass. The Officium defunctorum itself consists of an introduction with a psalm, nine antiphons, a responsory, the chant of Zacharias and the Requiescant in pace . The actual structure of the Agenda defunctorum is laid out as follows:

  • Officium defunctorum (office of the dead):
    • Ad Matutinum (for morning prayer):
      • Invitatorio with a psalm
      • In Primo Nocturno (first night): 3 antifone and 3 readings
      • In Secundo Nocturno (second night): 3 antifons and 1 reading
      • In Tertio Nocturno (third night): 3 antifons, 1 reading and 1 responsory
    • Ad Laudes (for prayer): 2 pieces: The Song of Zacharias and the Lament Requiescant in pace. Amen
  • Missa pro defunctis (funeral mass): 9 pieces

Most of the pieces are composed for four voices, some for three and others for 5 voices. With the exception of the readings, all pieces are set as polyphonic melodies alternating with Gregorian melodies.

The transcriptions for the Viuhela

As already mentioned, some Castilian vihuelists have transcribed works by Vásquez for vihuela and solo voice. These are exactly nineteen adapted works by Vásquez, which were published in the following three Vihuela collections:

From the printing years of these Vihuela collections it can be seen that Vásquez's pieces of music were made known to the public by the Vihuelists mentioned before the publication of his own music books. For example, Valderrábano published the piece Quién me otorgase señora in 1547 thirteen years before the actual Vásquez publication took place.

Complete list of works by

All known works by Juan Vásquez are listed below. The abbreviations in the "Sources" column are given below the table. The abbreviations in the “Recordings” column are listed in the “ Discography ” section .

№ plant be right Musical. shape swell Sound carrier recordings Comments
Secular works
1 Abaxa los ojos, Casada 3 VIL
2 Agora que sé d'amor me metéis monja 5 REC ECJ
3 Agora que soy niña 4th Villancico REC
4th A, hermosa, abrime cara de rosa 4th Villancico REC GIS, COL, OAK, ZYR
5 Allá me tienes contigo 3 VIL
6th Cupid falso 3 VIL
7th Amor, virtud y nobles pensamientos 5 So nice REC LAD
8th Ay, ay, ay, ay, que ravio y muero! 4th Canzone REC KOL, CYR
9 Ay, que no oso mirar 3 VIL, ORP
10 Bendito sea el day, punto y ora 5 So nice REC
11 Buscad, buen amor 4th REC COL, SEC
12 Cavallero, queraysme dexar 5 Villancico REC GIS, ECJ
13 Como queréis, madre 3 Dirge VIL, ORP OLY 3
14th ¿Con qué la lavaré? 4th Villancico REC, SIL , ORP GIS, COL, OLA, NEF, ATR, DAN, ZYR, LSA, SEC, CAB 1 , OLY 3 , RAL 3 , COS 3 , JMM 3 , LAD 3 In addition to the two transcriptions of this Vásquez work for Vihuela by Enríquez de Valderrábano and Miguel de Fuenllana, there is also an anonymous version with the same text in the Uppsala songbook and another version by the vihuelist Luis de Narváez in his book Los seys libros del Delphin .
15th Covarde cavallero 3-4 VIL (3), REC (4), ORP UMB, LAD, RME 3
16 D'aquel pastor de la sierra 4th REC
17th De dónde venís, amores 4th Villancico REC, SIL GIS, OAK, VIC 1 , TBE 1 , CGO 1 , GBR 1 , MOR 1 , CAB 1 , SIN 1
18th De las dos hermanas, do sé 4th Villancico VIL, REC GIS, LAD
19th De los álamos vengo, madre 4th Villancico VIL, REC, ORP GIS, TRU, COL, LAW * , AST, HOG, ZYR, AST, CLE, SEC, CGO 3 , VIC 3 , GBR 3 , OLY 3 , CAB 3 , RAL 3 , SEN 3 , RME 3 }, COS 3 It is one of the most famous villancicos by Juan Vásquez. Even in modern times, composers such as Joaquín Rodrigo and Manuel Palau have created their own versions of this festival song.
20th Del rosal sale la rosa. ¡O qué hermosa! 5 Villancico REC ZYR, LAD
21st Descendid al valle, la niña 4th Villancico REC GIS
22nd Determinado amor a dar contento 5 So nice REC CYR The text is by Juan Boscán .
23 Dexa ya tu soledad 4th REC NOT
24 Dizen a mí que los amores é 4th REC
25th Duélete de mí, Señora 3 VIL, ORP VIC 3 , CGO 3 , GBR 3 , OLY 3 , MOR 3
26th El que sin ti bivir ya no querría 5 lyrical sextet REC, ORP ECJ The text is by Juan Boscán .
27 En la fuente del rosel 4th Villancico REC, VIH GIS, COL, CIR, ORL, FLA, TBE, GER, LSA, GBR, MOR, CAB, RAL 1 , LAD 2
28 Gentil señora mía 5 verse VIL, REC ECJ, AMA
29 Gracias al cielo doy 5 So nice VIL, REC CHA
30th Hermosíssima María 5 Canzone REC
31 Lágrimas de mi consuelo 5 REC ECJ, CON, FAG
32 La mi sola Laureola 3 VIL, ORP SIN
33 Lindos ojos aveys, señora 4th Villancico VIL, REC GIS
34 Llamaysme villana 4th REC
35 Los braços traygo cansados 4th romance REC HES, SAV * , TER, ZYR, LAD
36 Los ojos de Marfida hechos fuentes 5 So nice REC TRU
37 Mi mal de causa es y aquesto es cierto 5 So nice REC ECJ, LAD
38 Morenica, lady un beso 3 VIL, ORP VIC, CAM, CGO, OLY 3 , CAB 3 , ARM 3 , ALF * 3 , JMM 3
39 Morenica m'era yo; Dizen que sí 5 REC TRU, LAD
40 No me firays, madre 4th REC LAD The text comes from the Portuguese poet Gil Vicente .
41 No me habléys, conde 3 VIL, ORP UMB
42 No me llaméys sega la erva 4th REC SEC
43 No pensé qu'entre pastores 4th Villancico REC GIS
44 No puedo apartarme 4th Villancico REC SEC
45 No sé qué me bulle 3 VIL, ORP OLY 3 , RME 3
46 No tengo cabellos, madre 4th REC
47 O dulce contemplación 4th REC COL
48 Ojos garços á la niña 4th Villancico REC GIS, LAD The literary theme is traditional and was also used by Juan del Encina . There is also an anonymous version with a different melody in the Uppsala songbook.
49 Ojos morenos, ¿quándo nos veremos? 5 Villancico REC GIS, ECJ, CON
50 ¿Para qué busca el morir ...? 4th Villancico REC GIS, SEC
51 Perdida traygo la color 3 VIL
52 Por amores lo maldixo 4th VIL, REC SEC, LAD
53 Por mi vida, madre 4th Villancico REC GIS
54 ¿Por qué me besó Perico? 3 VIL
55 Por una vez que mis ojos alçé 4th REC, VIH
56 Por vida de mis ojos 4th Villancico REC GIS, ZYR, LSA, WAV, SEC
57 Puse mis amores 3 VIL
58 ¿Quándo, quándo? 4th Villancico REC
59 ¡Qué bonica labradora, Matadora! 4th REC
60 Que no me desnudeys 4th REC
61 ¿Qué razón podeys tener…? 5 REC LAD
62 ¿Qué sentís, coraçón mío? 4th Canzone REC GIS, SEC The text is from Commander Escrivá.
63 Que yo, mi madre, yo 5 REC ECJ, LAD
64 Quien amores tiene, ¿cómo duerme? 4th Villancico VIL, REC GIS * , ZYR, TRU, CAM, HES, CLE, SEC, LAD
65 Quien dize quel'ausencia 3 VIL CON
66 Quién me otorgase señora 5 REC, SIL ZYR, ARM 1 , LAD 1
67 Quiero dormir y no puedo 3 VIL, ORP UMB, RME 3
68 Salga la luna, el cavallero 4th REC LAC, SEC
69 Serrana, ¿dónde dormistes? 5 REC LAD
70 Si el pastorcico es nuevo 4th Villancico REC GIS, SEC
71 Si me llaman, a mí llaman 4th Villancico REC, VIH SEC, RIV 2 , LAD 2 In addition to the transcription of this work by Diego Pisador in his vihuela music book, the vihuelist Alonso Mudarra also used the melody and text of this work for his piece for solo voice and vihuela in his work Tres libros de música en cifra para vihuela . Some musicologists assume that Mudarra's work is not based on Vásquez Villancico.
72 Si n'os uviera mirado 4th Villancico REC GIS, COL, SEC, LAD It is a madrigalesca canzone . The first verse reads like the beginning of a poetry by Juan Boscán , although the Vásquez version is taken from the work of Luis Vivero .
73 Si quereys que dé a entenderos 5 REC LAD
74 Soledad tengo de ti 4th Villancico REC GIS, COL, SEC, LAD The text comes from the Portuguese poet Gil Vicente and belongs to the tragic comedy "Don Duardos".
75 Tales ollos como los vosos 4th REC SEC
76 Torna, Mingo, a 'namorarte 4th REC COL
77 Un cuydado que la miña vida ten 4th REC
78 Yo sé que mi mal es honra 3 VIL
79 Vós, hermosa sin ygual 3 VIL
80 Vós me matastes, Niña en cabello 3-5 Villancico VIL (3), REC (5), ORP SIN, TRU, TBE, OLY 3
81 Ya florecen los árboles, Juan REC LAD *
82 Zagaleja de lo verde 5 Villancico REC GIS, SAQ, RON, SEC The text was included with some variations in the "songbook Flor de Enamorados" published by Juan Linares in 1576 . The violist Esteban Daza used the same text for one of his pieces for solo voice and vihuela.
Religious works
Agenda defunctorum
Officium defunctorum
(Oficio de difuntos)
Ad Matutinum
(Maitines)
1 Regem cui omnia vivunt, venite adoremus 4 (SATB) Invitatory DEF BER, PEÑ Psalm 94
(In Primo Nocturno)
(Primer nocturno)
2 Conductor, Domine Deus 4 (SATB) Antiphon DEF BER, PEÑ Antiphon I. Psalm 5 follows: Verba mea (Gregorian chant)
3 Convertere Domine 4 (SATB) Antiphon DEF BER, PEÑ Antiphon II. Psalm 6 follows: Domine ne furore (Gregorian chant)
4th Nequando rapiat 4 (SATB) Antiphon DEF BER, PEÑ Antiphon III. Psalm 7 follows: Domine Deus in te esperavi (Gregorian chant)
5 Parce mihi domine 4 (SSAT) reading DEF BER, PEÑ Reading I: Job 7, 16-21
6th Taedet animam meam vitae meae 4 (SATB) reading DEF BER, PEÑ Reading II: Job 10, 1-7
7th Manus tuae fecerunt me 4 (SATB) reading DEF BER, PEÑ Reading III: Job 10, 8-12
(In Secundo Nocturno)
(Segundo nocturno)
8th In loco pascuae 4 (SATB) Antiphon DEF BER Antiphon IV. Psalm 22 follows: Dominus regit me (Gregorian chant)
9 Delicta juventutis 4 (SATB) Antiphon DEF BER Antiphon V. It follows Psalm 24: Ad te Domine (Gregorian chant)
10 Credo videre 4 (SATB) Antiphon DEF BER Antiphon VI. It follows Psalm 26: Dominus illuminatio mea (Gregorian chant)
11 Respond mihi 4 (SATB) reading DEF BER Reading IV: Job 13, 22-18
(In Tertio Nocturno)
(Tercer nocturno)
12 Complaceat tibi domine 4 (SATB) Antiphon DEF BER Antiphon VII. Psalm 39 follows: Expectans expectavi Dominum (Gregorian chant)
13 Sana, domine 4 (SATB) Antiphon DEF BER Antiphon VIII. Psalm 40 follows: Beatus qui intelliget (Gregorian chant)
14th Sitivit anima mea 4 (SATB) Antiphon DEF BER Antiphon IX. It follows Psalm 41: Quemadmodum desiderat (Gregorian chant)
15th Alcohol meus 4 (SATB) reading DEF BER Reading VII: Job 17, 1-3, 11-15. This is the only part of the office of the dead that is not based on a Gregorian melody.
16 Libera me, domine 1–5 (SAATB) Responsory DEF BER Five-part polyphony alternates with cantus planus.
Ad laudes
(laudes)
17th Benedictus Dominus Deus Israel 1–4 (SATB) Song of Zacharias DEF BER, PEÑ Luke 1, 68-79. This is sung in continuation of the Gregorian antiphon Ego sum resurrectio
alternately in four voices with cantus planus.
18th Requiescant in pace 4 (SATB) Responsory DEF BER, ZYR, CHE, PEÑ
Ad Missam - Missa pro defunctis
(Misa de difuntos)
19th Requiem aeternam 4 (SATB) Introitus DEF ZYR, CHE, PEÑ A polyphonic version of Psalm 64 follows: Te decet hymnus Deus in Sion
20th Kyrie-Christe-Kyrie 4 (SATB) Kyrie DEF ZYR, PEÑ
21st Requiem aeternam 1-3 (ATB) Graduals DEF ZYR, CHE, PEÑ The Graduale Requiem aeternam is Gregorian chant and the following verse In memoria aeterna erit justus is polyphonic in three voices.
22nd Sicut cervus 4 (SATB) Tract (prayer) DEF
23 Domine Jesus Christe 1–4 (SATB) Offertory (sacrificial song) DEF ZYR, PEÑ
24 Sanctus. Benedictus 4 (SATB) Sanctus, Benedictus DEF ZYR, PEÑ
25th Sana me domine 4 (SSAT) motet DEF ZYR, PEÑ
26th Agnus Dei I-III 4 (SSAT) Agnus Dei DEF ZYR, PEÑ
27 Graduate. Domine 4 (SSAT) Antiphon DEF ZYR, PEÑ
* Instrumental version
1Transcription for voice and vihuela by Enríquez de Valderrábano in Silva de Sirenas
2Transcription for voice and vihuela by Diego Pisador in Libro de música de vihuela
3Transcription for voice and vihuela by Miguel de Fuenllana in Orphénica Lyra
Abbreviations of the works referred to

The following abbreviations for source works are used in the table above and mean:

Discography

The following recordings were used in the table.

  • [ALF] Valderrabano y los vihuelistas castellanos. Alfred Fernández. Unacorda UCR0012000. 2000.
  • [AMA] The Book of Madrigals. Secular Vocal Music of the European Renaissance. Amarcord ensemble. Room Klang 10106. 2007.
  • [ARM] Armada: Music from the courts of Philip II and Elizabeth I. Fretwork . Michael chance . Virgin Classics 90722. 1988.
  • [ARM] Valderrábano. Silva de Sirenas. Armoniosi Concerti . Juan Carlos Rivera. Carlos Mena . Harmonia Mundi. 2005.
  • [ARS] La música en la corte española de Carlos V. Ars Musicae de Barcelona . Enrique Gispert. MEC 1004.
  • [AST] Le souvenir de vous me tue. Medieval Chansons from the court of Philip the Good. Duo Asteria. Asteria AMCD 0404. 2004.
  • [ATR] Villancicos - Chansons populaires espagnoles des XVe et XVIe siècles. Atrium Musicae de Madrid . Gregorio Paniagua . Harmonia mundi "Musique d'Abord" HMA 190 1025. 1979.
  • [BER] Vasquez: Ex Agenda Defunctorum Officium. Coro de Cámara de la Universidad de Salamanca. Bernardo García-Bernalt. Radio Nacional de España 640036. 1991.
  • [BRI] Gentil Señora Mía. 16th-century songs and villancicos. Quink Vocal Ensemble. Brilliant Classics. 2013.
  • [CAB] Songs Of The Spanish Renaissance. Volume 1. Montserrat Caballé , Manuel Cubedo. RCA - 74321758582. 2003.
  • [CAM] Songs and dances from the Spanish Renaissance. Camerata Iberia. MA Records MA 035A. 1995.
  • [CGO] A Spanish Songbook. John Constable, Jill Gomez. Conifer. 1995.
  • [CHA] Music for Philip of Spain and his four wives. Charivari agréable . Nicki Kennedy, Rodrigo del Pozo. Signum 006. 1997.
  • [CHE] All Souls' Vespers. Requiem Music from Córdoba Cathedral. Orchestra of the Renaissance . Richard Cheetham . Virgin Veritas 45203. 1995.
  • [CIR] Music from the Spanish Kingdoms. Around 1500 ensemble. CRD 3447. 1987.
  • [CLE] Music for Don Quixote. Songs and Dances of Renaissance Spain. Concordia. Mark Levy, Ana-Maria Rincon. Dervorguilla. 1993.
  • [COL] Canciones, Romances, Sonetos. From Juan del Encina to Lope de Vega. La Colombina . Accent 95111. 2005.
  • [CON] The Victory of Santiago. Voices of Renaissance Spain. The Concord Ensemble. Dorian 90274. 1999.
  • [COS] Music for vihuela. La vihuela en las Cortes Reales Españolas. Dolores Costoyas. 2001.
  • [DAN] El Cancionero Musical de Palacio. Music from the time of the Catholic Kings in Spain, 1450-1550. Ensemble Danserye. Preiser Records 90028. 1989.
  • [ECJ] Canciones y Ensaladas. Chansons et pièces instrumentales du Siècle d'Or. Ensemble Clément Janequin . Dominique Visse . Harmonia Mundi HMC 90 1627. 1997.
  • [FAG] All the King's Men. Henry VIII & the Princes of the Renaissance. I Fagiolini. Robert Hollingworth. Concordia. Mark Levy. Metronome 1012. 1996.
  • [GBR] Trois Siecles de Melodies Espagnoles. Isabel Garcisanz, Jean-Patrice Brosse. Arion. 1993.
  • [FLA] Rubbra / Britten: The Complete Recorder Works. The Flautadors. Laurence Cummings. Dutton Laboratories 7142. 2003.
  • [GER] Linda Amiga. Love Songs of the Sephardim and Renaissance Spain. The Gerard Edery Ensemble. Sefarad Records Corp. 1996.
  • [GIS] Canciones y Villancicos de Juan Vasquez. Coro Alleluia. Enrique Gispert. MEC 1005.
  • [HES] Canciones y Danzas de España. Songs and dances of the Cervantes period (1547–1616). Hespèrion XX . Jordi Savall . EMI "Reflexe" 7 63145 2nd 1976.
  • [HOG] Music from the Armada Years. Academy of Ancient Music. Christopher Hogwood . Hespèrion XX . Jordi Savall Folio Society FS 1003 / 1004. Edición en CD con otras grabaciones en: Entremeses del Siglo de Oro . Lope de Vega y su tiempo: 1550 - 1650. 1978.
  • [JMM] Canto del Cavallero. José Miguel Moreno . Glossa GCD 920101. 1993.
  • [KOL] The Most beautiful madrigals. Collegium Vocale, Cologne. Wolfgang Fromme. CBS Odyssey M2K 45622 (2 CD). 1980.
  • [LAC] Roncevaux: Échos d'une bataille. Ensemble "Lachrimae Consort", Ensemble vocal "La Trulla de Bozes". Philippe Foulon. Mandala MAN 4953. 1998.
  • [LAD] Si no os hubiera mirado. Juan Vasquez. Seville -1560-. Los Afectos Diversos. iTinerant Early 003. 2016.
  • [LAW] Luis Venegas de Henestrosa: El arte de fantasía. Harp Consort. Andrew Lawrence-King . Harmonia Mundi USA 907316. 2004.
  • [LSA] El Fuego. Les Sacqueboutiers. Naive - ambroisia. 2008.
  • [MOR] Claros y Frescos Rios. José Miguel Moreno, Núria Rial. Glossa. 2000.
  • [NEF] Music for Joan the Mad. Spain 1479-1555. La Nef. Sylvain Bergeron. Dorian Discovery 80128. 1992.
  • [NOT] El Fuego. Musique polyphonique profane di Siècle d'Or. Música de la Corte. Eduardo Notrica. Voice of Lyrics VOL BL 703. 2003.
  • [OAK] Lanterns of Fire. Love and the Mystic in Renaissance Spain. Live Oak and Company. Centaur 2316. 1997.
  • [OLA] Mudejar. Begoña Olavide. MA Records MA 042A. 1996.
  • [OLY] Fuenllana: Libro de música para vihuela intitulado Orphénica Lyra. Orphénica Lyra. José Miguel Moreno, Carlos Mena, Nuria Rial. Glossa. 1999.
  • [ORL] Medieval Gardens. The Rose, the Lily & the Whortleberry. The Orlando Consort . Harmonia Mundi HMU 90 7398. 2005.
  • [PEÑ] Vásquez: Agenda Defunctorum. Capilla Peñaflorida . Josep Cabré . Almaviva 0122. 1996.
  • [RAL] Al alva venid. Música profana de los siglos XV y XVI. Ensemble La Romanesca. José Miguel Moreno, Marta Almajano , Paolo Pandolfo . Glossa 920203. 1995.
  • [RIV] Tañer de gala. Juan Carlos Rivera . Cantus Records C 9631. 2003.
  • [RME] Lágrimas corriendo. Canciones de Alonso Mudarra y Miguel de Fuenllana. Carlos Mena y Juán Carlos Rivera . Junta de Andalucía. DS-0131. 2001.
  • [RON] A Song of David. Music of the Sephardim and Renaissance Spain. La Rondinella. Dorian Discovery DIS-80130. 1995.
  • [SAQ] L'Art de la Saqueboute et du Cornet à Bouquin. Les Saqueboutiers de Toulouse . Jean-Pierre Canihac. Arion ARN 60 464. 1979.
  • [SAV] Homenatge al Misteri d'Elx. Drama sagrat per la Festa de l'Assumpció de la Verge. La Vespra. La Capella Reial de Catalunya . Jordi Savall . Alia Vox AV 9836. 2004.
  • [SEC] Salga la luna. Recopilación de Sonetos y Villancicos. Secretum. Binario. 2014.
  • [SEN] A la Música. Canciones del Renacimiento. Dúo Sentí. Dúo Sentí 1. 2000.
  • [SIN] Spanish Renaissance Music. Ancient Consort Singers. Ancient Instrumental Ensemble. John Alexander. Ron Purcell. Tuxedo music TUXCD 1039. 1973.
  • [TBE] Old Spanish Songs. Spanish songs from the Middle Ages and Renaissance. Teresa Berganza , Narciso Yepes . Edición en CD con otras grabaciones en: Canciones españoles . 1974.
  • [TER] ¡Baylado !. Music of Renaissance Spain. The Terra Nova Consort. Dorian 90298. 2001.
  • [TRU] Seville circa 1560. Secular Polyphony of the Andalusian School. La Trulla de Bozes . Carlos Sandua. Passacaille 936. 2002.
  • [UMB] Chacona. Renaissance Spain in the Age of Empire. Ex Umbris. Dorian 93207. 1999.
  • [VIC] Victoria de los Ángeles. Spanish Songs of the Renaissance. Victoria de los Ángeles . Ars Musicae de Barcelona . José María Lamaña. Edición en CD acoplado con otros discos en: Victoria de los Angeles - Songs of Spain . 1960.
  • [WAV] ¡Iberia !. Spanish & Portuguese music of the Golden Age. The Waverly Consort. Collegium. 2003.
  • [CYR] Juan Vasquez. La music en la era del Descubrimiento IV. Taller Ziryab. Dial Discos CAL-5020. 1992.

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Web links

Individual references and comments

  1. ↑ The article was created on the basis of the article of the same name on the Spanish language Wikipedia. The Spanish-language article as of September 7, 2019, including its version history, is integrated into the version history of the German-language article as a basis. The statements not substantiated in the Spanish article were mainly verified through the article Juan Vázquez of the Real Academia de la Historia.
  2. ↑ a b c d e f g Emilio Ros-Fábregas. 2016: Juan Vásques.
  3. ↑ a b Riemann Music Lexicon. 1975. Juan Vásquez.
  4. ↑ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak Real Academia de la Historia: Juan Vázquez.
  5. ↑ a b c Gran Enciclopèdia Catalana. Juan Vásquez.
  6. ↑ a b c Gran Enciclopèdia de la Música. Juan Vásquez.
  7. ↑ Both the Real Academia de la Historia and Emilio Ros-Fábregas in MGG2 consider the identity of the person proven in Plasencia in 1511 with the Renaissance composer Juan Vásquez as not proven and probably not given. This means that reliable biographical data on Juan Vásquez would only be available from 1530 .
  8. ↑ Real name: Dolores de la Torre Champsaur.
personal data
SURNAME Vásquez, Juan
ALTERNATIVE NAMES Vazquez, Juan
BRIEF DESCRIPTION Spanish Renaissance composer, cantor, bandmaster and Roman Catholic priest
DATE OF BIRTH around 1500
PLACE OF BIRTH Badajoz
DATE OF DEATH after 1560
Place of death unsure: Seville