Miguel de Fuenllana

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Miguel de Fuenllana (* around 1525 in Navalcarnero near Madrid ; † between around 1590 and 1606) was a Spanish vihuela player, guitarist and composer of the Renaissance .

Live and act

A short biography of Nicolás Antonio appeared about Miguel de Fuenllana in 1672, which stated that his place of birth was the town of Navalcarnero near Madrid; however, the given year (1557) is obviously incorrect. Rather, his year of birth lies between 1525 and 1530. Fuenllana has been blind since his birth; he is possibly identical with a person of this name, who is described by the author P. Luis Zapata in the publication Miscelánea published around 1592 as a famous blind mounted leader ( postillón ) under the reign of Charles V (thus before 1556). The earliest direct evidence of his biography is the printing privilege issued in August 1553 to his work Orphenica Lyra , published in 1554 , which he dedicated to Crown Prince Don Philipp .

At that time Fuenllana was living in Valladolid at the court of the Spanish king. Fuenllana's doctor and father-in-law Juan de Salazar commissioned the printer Martin de Montesdoca to produce this work in March 1554, and the printing of 1,000 copies was completed on October 2, 1554. The following year, Fuenllana appears as a vecino (resident and taxpayer) of the city of Seville ; In this document he gives his servant Juan Ruiz the authority to confiscate pirated prints of the Orphenica Lyra . The fact that he was unable to sign this document himself because of his blindness is considered evidence of his visual impairment against the doubts of some music researchers of the 20th century. In the same year 1555, the composer Juan Bermudo describes Fuenllana as an outstanding vihuelist of his time and that he was in the service of the Marquesa de Tarifa as a musician ; There is no further evidence for this statement so far. In 1559, the Marquesa's husband, the Duke of Alcalá, Pedro Afán de Ribera, was appointed governor of Naples , and Fuenllana may have retired from her service around that time.

From 1560 he worked at the court of Isabella von Valois, the third wife of King Philip II , in the position of chamber musician with an annual salary of 50,000 maravedís and stayed until Isabella's death in June 1569. Some of the following years are not documented ; Fuenllana then served from 1574 to 1578 as a chamber musician with King Dom Sebastian of Portugal with the remarkably high annual salary of 100,000 maravedís. The information that has come down to us is contradictory for his later period. On the one hand, payments to his relatives are documented for the year 1591, which allow the conclusion that the composer had already died at that time; on the other hand, Fuenllana's widowed daughter Catalina claimed in a petition to Philip IV that her father had both Philip II († 1598) and Philip III. served together for over 46 years, i.e. until 1606.

meaning

Miguel de Fuenllana is one of the most important composers for Vihuela. His main work, the Orphenica Lyra collection comprising six books with 175 sheets in Spanish tablature notation , contains 188 compositions, with the first three volumes following a pedagogical plan. The two most numerically strong musical genres are 119 intabulations (transfers of existing pieces of the vocal polyphony of other composers) for Vihuela and 51 Fantasies , which come from himself and are among the most important works of the Vihuela repertoire, which is also played on the guitar. A number of pieces for voice (in mensural notation ) with accompaniment are also included, whereby singing the marked part was not obligatory and could also be taken over by the vihuelist himself.

Most of the pieces are written for the six-string vihuela común ; however, pieces for the five-string vihuela and four-string guitar are also included. In addition to the aforementioned fantasies, the collection also contains eight tientos of himself, arranged according to keys (modes) . The intavolations are based on compositions by Josquin des Préz , Nicolas Gombert , Cristóbal de Morales , Adrian Willaert , Jakob Arcadelt , Philippe Verdelot , Francesco Corteccia , Francisco Guerrero and Juan Vásquez back; there are also tablatures of three complete ensaladas ( quodlibets ) by Mateo Flecha (1481–1553). Fuenllana's intavolations are basically true-to-note transcriptions of the vocal models, which are only slightly embellished in the cadences . The only richly decorated intavulation is his glosa on the piece "Tant que vivray" by Claudin de Sermisy (~ 1495–1562), which follows directly on the non-decorated version. At the end of the collection is Fuenllana's own motet “Benedicamus patrem”.

The fantasies in this collection are for the most part complex imitative compositions based on Fuenllana's strongly rhetorical musical ideal. In them, successive episodes are combined into longer periods, and most fantasies consist of two or three such periods, which in their sequence reveal a sure sense of balance, proportion, and architectural planning. In two fantasies that make use of the parody technique , Fuenllana demonstrates his fundamental understanding of the structure and style of the templates used: Fantasy No. 14 is based on the motet "Ave Maria" by Adrian Willaert and No. 23 on "Veni domine" by Cristóbal de Morales.

In addition to the compositions, the Orphenica Lyra work also includes an introduction to the tablature notation, the modus theory and unusually detailed explanations of the playing practice and playing technique of the vihuela (three different plucking techniques for the strings, advice on striking chords as effectively as possible, hints on special uses of the right thumb, fingerings of the right hand and others).

Works

  • Libro de musica para vihuela, intitulado Orphenica lyra. En el qual se cotienen muchas y diversas obras. Seville 1554. Facsimile reprint: Éditions Minkoff, Geneva 1981.
    • Book 1: two-part compositions, mostly of fairs are removed
    • Book 2: Intavolations of three- and four-part motets by other composers, each with a subsequent fantasy by Fuenllana in the same mode
    • Book 3: Tablatures based on five- and six-part works by the same composer
    • Book 4–6: very diverse material such as intavolations of cantus firmus works , mass movements , falsobordoni and secular Italian and Spanish music ( madrigals , villanescas and romances ), including the ensaladas by Mateo Flecha.

literature

  • Juan Bermudo : Libro llamando declaración de instrumentos musicales. Osuna 1555. Reprint Kassel 1957 (= Documenta musicologica. No. 11).
  • H. Riemann : The lute work of Miguel de Fuenllana 1554. In: Monthly books for music history. No. 27, 1895, pages 81-91.
  • Adolf Koczirz: The guitar compositions in Miguel de Fuenllana's Orphenica lyra (1554). In: Archives for Musicology . No. 4, 1922, pages 241-261, with transfer of 10 pieces.
  • M. Sousa Viterbo: Subsidios para a Historia da Musica em Portugal. Coimbra 1932.
  • Willy Apel : Early Spanish Music for Lute and Keyboard Instruments. In: The Musical Quarterly. No. 20, 1934.
  • H. Anglés: Dadas desconegudes sobre Miguel de Fuenllana. In: Revista musical catalana. No. 33, 1936, pp. 140-143.
  • J. Bal y Gay: Fuenllana and the Transcription of Spanish Lute Music. In: Acta musicologica. No. 11, 1939, pages 16-27.
  • H. Anglés: La música en la corte de Carlos V. Barcelona 1944 (= Monumentos de la música española. No. 2–3).
  • J. Ward: The Vihuela de mano and Its Music (1536-76). Dissertation. New York University 1953.
  • Ch. Jacobs: La Interpretación de la Música Española del Siglo XVI for Instrumentos de Teclado. Madrid 1959.
  • I. Pope: La Vihuela y su música en el ambiente humanístico. In: Nueva revista de filología hispanica. No. 15, 1961, pp. 364-376.
  • HM Brown: Instrumental Music Printed Before 1600: A Bibliography. Cambridge, Massachusetts 1967.
  • John Griffiths: The Vihuela Fantasia: a Comparative Study of Forms and Styles. Dissertation. Monash University 1983.
  • G. Braun: The Spanish Vihuela songs in the 16th century. Dissertation. University of Heidelberg 1993.
  • John Griffiths: The Vihuela: Performance Practice, Style, and Context. In: V. Coelho (Ed.): Lute, Guitar, and Vihuela: Historical Performance and Modern Interpretation. Cambridge 1997, pp. 158-179.
  • O. Schoener: The Vihuela de mano in Spain in the 16th century. Frankfurt am Main 1999 (= European University publications. No. 198).
  • John Griffiths: Miguel de Fuenllana. In: Emilio Casares Rodicio et al. (Ed.): Diccionario de la música española e hispanoamericana. Madrid 2000.

Web links

swell

  1. ^ The Music in Past and Present (MGG), Person Part Volume 7, Bärenreiter Verlag Kassel and Basel 2002, ISBN 3-7618-1117-9
  2. ↑ Marc Honegger, Günther Massenkeil (ed.): The great lexicon of music. Volume 3: Elsbeth - Haitink. Herder, Freiburg im Breisgau a. a. 1980, ISBN 3-451-18053-7 .
  3. ↑ A German translation ( music book for Vihuela, entitled Orphenica Lyra ... ) was provided by Wolf Moser in Guitar & Laute 7, 1985, volume 3, p. 72 f. (Part 1), and Booklet 4, p. 25 (Part 2), and Booklet 6, p. 22 f. (Part 3).
personal data
SURNAME Fuenllana, Miguel de
BRIEF DESCRIPTION Spanish composer and vihuelist of the Renaissance
DATE OF BIRTH around 1525
PLACE OF BIRTH Navalcarnero near Madrid
DATE OF DEATH 16th century or 17th century