ENCOMIUM MUSIC ays in Memory of Robert J. Snow We ‘ G.Graysun Wags, Asst Hor FESESCHIRIFT SERIES No 17 PENDRAGON PRESS HLtSbaLe, we 2002, ohn Grigichs ‘THE TRANSMISSION OF SECULAR POLYPHONY IN RENAISSANCE SPAIN: Esteban Daza and Rodrigo de Ceballos otaig ts ac andes of ea puphony cps in sistenthcentury Spain for use in ts reat cathedrals and oer religious ‘tablish 1 iindeed surpsmg tht 59 lil secular polyphony Bas Survived. Whoieter te vase for hs, i appeats thal tbe camposton, tranemission and perormance of sseuiar polyphony in Spain wae far Tore widespread thn the nub of surviving Sours would imply. is iso remarkable that very Hes known aboue the place of music in Renaissance Spanish secular society. The pioneering documentary sty ‘of musie-at the court of Charles V by Hino Angles provided the _roudvork fora deepened tnovledge of the cole of music inthe daly Kes of the oyalhouseoi, bat ite sluanatesrasteal activity inthe ‘ours 9f Spanish noble farntes, it aloue tie educated professional ‘lsses Despite ce growth of study concerning the social Sontxt, this ‘Sone ara that lagely remain a enigma ‘Standing lk mong the secular sources ofthe mid-century is MS 13230 ofthe former ibraty of the Dukes of Medinacet whose secu oniea’s were published ix 1919 by Mfigvel Querol and comers lawn asthe Concionera de Medinaceli= The paraigm of 2 trdion, ‘ont th existence of a Spanish secular repertory composed BY soe ‘fhe lesding naive composers whose profstoaal bvslibood came done lc Cal. Con a pasa dl Lire de permet x la ieee cl ipa te Bin Bar, ‘Sule snc ao seas, 35.98) Te ee hs a st Gis palit carly Spanish ira EASA tone the wigs an Be ma ee Uric of elbuma end Syed em ‘Soo rome ho ermm JOHN GRIFFITHS from chuch employment and who set texts ofthe courly-popular and contemporary ierrytadons ina sie tht relies both tbe strong legacy of Fanco-Flemish polyphony ae wel ar an svarenes: of reset reopen nan ear ne, May fhe gests sound fhe crcunmanes and dee incentives forthe pction of is {ory remain unumewered, but the number of Sonsordam courses Sppmcaly stl nt exhaustive—in boinpolyphone manent sod ‘Xrumental tabulations points to widespread ciculion, MoM 6829 ths appears acto conan ¢rpertory tha asthe excive domain oF {ts paten, but an anthology Of secular polyphony that wes sown ia ‘middleclass cles aswel 2s win he Coury echelons of Spat so- ‘ety. Compared to bth France ond aly. where he muse pring rae tia nore hlhly developed, the eperoryreprescated By the Rad ‘59 maneserpt ams ave crclaed in manascrp copies, Oe pe farbook of such a colecion has recently beep located in te Museo {emo Geldan in Madea by Aleandeo iglesias. Ata cade lee hte owing shee bt heen which polyphonic musie‘ieulated in siicenthccntury Spain nt ‘our Of my owm archival resereh ito muscle Vallodoain te Sood half ofthe shtcemh century,» numberof documents have a: ese ht ae lee et, ate fhe kl Rocked a wide variety of imported an phony. Te tsk ing of tee is 21871 inventory of Jeénimo Roll 9 merchant of pre. Suimably French origin hat shows © stock of multpe copies of mas books of all genest Valued at over fity thousand maroveds the 135, snd vlan. che alfa napolana, fiteen volumes of Pench chanson, four books of polyptonie dance music, nine volumes of French tblures for le, guitar and citer, and four volumes of French keyboard wblature ‘Amang the berer known eompouers are Yolumes by Cadea Certon Clemens non Papa, Colin, Contino, Fleino, Gomber, Goudie, ache, Lambert, LassusyTokannes Lapus, Mail, Manchicour, Mouton, Pc ot, Richafor, Cipsano de Ror, Roussel, Ruff, Seamisy, and Witace 4 less compechensve inventory dating from 1593 1s tat of Ana Bele. scribed a2 = printer and bookseller andthe widow of Bartolome. de Stato Domingo, that insides fry ses of polyphonie partbooks in ni ton fo copies of Montangs,dvve de misicu toric» bracheg (Valladc id, 1387) and Fuenlana's Orphinico Lyra (Seville, 1554)° Books of polyphony are also found among the possessions of private indivduas. 2Rel sf sgn. 4, led Conroe por Croton Rigo Or etree i ene nn "THE TRANSMISSION OF SECULAR POLYPHONY 33 11596 inventory ofthe irary of Mai de Zia, ite of on Pesto de {tao even ten voles of he wos of Onan Las, the motets ‘of Gherso, and five volumes of Franco-lemish cansos og 2 ‘ond colston of books Latin, Span alan, and Geran Beyond reece nah hse a ree bo oing trade in muse Doks and te domestic consumption of peypbony, the reper coded in pre strona abaucta contems 2 thoce wdspread circulation of secular muse than the polyphonic ‘Surces repent The wuss hates pte nthe second aa the Skceth Cen, Padors Libro do mica (1582), Fuelan's Ors ‘nies Eyre (1589) and Dan's Bi Paras (1376) al cade sign ean ftumbes of artmgements of Speish seulat vocal works. Whi Foenlona wars prfaononal matcan employed in bath te Carin tnd Poragose cours, Pade and Duos were both amet misiant ‘hore anboogiereflest te mal tates of he Spanish profesional "sues in Salamanca and Vaal, two of he mast prosper a Porat cer of the etim. As {have argued claves te simpy of Sielstablotre the fact that i pemitedsopstcsed mute fo be plyed witout equing extensive rior musi ining sad te sizeof {Es editon a whichis pane al sue that tw probly ae the pnocpal way in whieh te musical untrained Dougie Was She qe conigh thew maicl enpeence sifin the domeste evan: Daza's book has particular relevance inthe petet context 2 it foci iablions of Seven werk soncordaat wh MadM 6839, tluding four by Rodrigo de Cebalon. Wah regard to Ceballos, Robert Snow indirect acknowledges the probable fie of any sureer of Spans secular polyphony. The sever surviving sale wore, he com: ‘ent, “surely conatte bus small portion of tone whieh Ceballos ‘rot, end he laments ta sere eikely at nsiicant amber ‘of edditonal secular works by him wil ever be ieahied event they ae xtant because most ofthe preserved sect and any sevestecnty nary cenconerosarcay have bse sued in deta and published” Sethe epoca cen to him hat not ony are many sources ely to hve teen inercrbly lor br so dat somo sear wort a Spanish ‘anuseripis maybe the work of prominent composets suck as Ceballos, tcl probably never be eatied sa uch In ew of tithe purpose ‘tte present study io examin in dtl wo secur wrk by Coo fost survove tm Entcben Dazss vhusla tablature 0 coty his foxabulavon echague and, ont bass, to reconstvct Cebabes"mad- {a Pues yo ls cloras fuerte: foe wigs no complete polyponi vesen Survives, Ths later task made simple by the conservaton of he ist pl of Pues alas clara fuentes sarver a Galiano Te4lc€ 15 TT Se eee i cs germs Bema athmccemacte sees34 JouN GRIFFITHS 1 Pornasso was compiled by Esteban Daza in Valladli during {he pesod immediately preceding fs publication in (376. Some, but het Ail, Of Daza's sources can be determined forthe forty voel works it feat ifthe ten moje bacon wer ns am Sie Bojems Moreno mnquam hactean impress (Veni, lege carespondence worn Daens iabulatons and he 1544 pene ‘takes tly tat Dasa hn sows to acopy ofthe Bayan eon and {at be worked dey om While ve concordnces have ben io ‘hed forte emaring seven masts tr compa apes to have ‘een eects an provides fev ccs he sources upon wih he de ‘Dass secular athalogy of twenty-seven works compels soe romance, tircen Spanish magi, levee vinci, and eva Fresch Sansone by Crscqllon and Cimcon noo Pape The madrigals alin four oes, ae soe imo vo exten texan et pe three Span stings precede the ten vlenseas it set tat of dee forma’ The vilanioe are presented wits the des for thee woes pe eding toe fur par, Armong te veny-veitbultons of 280 int Spaish woes, leven are anonymous, aed ourtees appear slo be hich Ther ae four works aserbed to Ceblion tee geh y Jona ‘Navara and Francoco Guar, ano by Pero Ordonez, ‘A’siuation pail o that ofthe Boyle motets poeibly per. tans tot ent one group of Daas sos tabulation, an tay have Souder rmifictons conceming the sculstion of manic Of sec lar moss mn Spun, Eight works Ef Parnano ae concordant ith Gaidina 1541, atven with MsdM 6829, abd ix sre commen to he ‘Soe soutces, Comparing EY Parnas with Galiano TSAI we fd hat ‘not only ar the vert of the dpe pats veal teaical in their Sal and etal content, bi they ota nbs ure n che proxi: fy. amon asa contguown group This coincidence appears sufient pose that Dasa mist bate workee om a mann souce doze) Felted to Galiano 15411; ki unkely Gat he worked deal fom te Galiano mansserp gvea hae mincribvton of Eslarpide Jaro to Willa we Cotes att to Frasciaco Guero in Gldang 1541-5 "The eight preceeoonur between Flos 77" and 94 of El Por. aso and beeen Hea and 30 of Gadane T5411, Orda for ‘na rel is spanted in EY Parasso fom the oer works st et {Senet bt eter, te group fom number 41°, te enly Da {ntbulation vt i Galan 14011 i umber 44 Adlon treba by Franco Gurr. Table | shows thes concordance andthe source foliasen togetber with those fom Mab 699. Spratt ec ete aaa organs et ore Ee goeeediacavenn eames Fic oe rec Nis Pret cor 16 4 opty Come Nese inde Si wo Coc Sse apa nk, 169) THE TRANSMISSION OF SECULAR POLYPHONY sas “esr tom te opt tee crete tr Sista oie sea Sarasa mies auc raen tbo geeaciiat ia tabiesaas ity cancel aio iniraae eco ie gh Res ebm dead petted rahe Scrat aR ce ace a Seemann! uenacnraae ay armas ceaverma em ates Sexes aed wore nee Sane teitayauad beaepre Boe stent mea ey SO ney ieee unnnestey Shee See it ees ieeep as fetced Daza's hands n Valais" Notmtitanding er ee 0 america archos Seno Bae oa be eae mt tine seenmeamit estan long ongataer awe ache tae i S Table, 1, Concordances between £l Parasso, Galiano 14 5, Ga 11, and FE Pars rata opener atta | Maat as reat [69 vee & foo | fio ao [D8] 7 |p ra cl Oren FET [20] 817 | Quin enavenaradn Colon ar EE [Prado verde florid, F Goereas [an eaea8 [SO] C Et | Psp ay lara om, Cob [TE 9] 85° [cn venura, Revere >| sti SLE [ever amon Rea pe Terr 6h 90 Eslarecda Ines, F Gacrero [30g [a71 91+ [Duro mal rile lo, Cebalet 7 [a3 151193 [Dine manzo weno, Ceballos iar [5.136 ota a eater rt