Abstract
Scant biographical information comes down to us on Francisco Correa de Arauxo. Such as it is, it proceeds from two principal sources, the composer’s monumental Facultad Orgáinica and a lawsuit in which he was involved, in 1630.
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References
Important biographical information on Correa de Arauxo is given in S. Kastner’s edition of the Facultad Orgdnica, in Monumentos de la Mtisica Espanola,VI (1948) and XII (1952). Cf. also W. Apel, Geschichte der Orgel-and Klaviermusik bis iryoo (1967), 513–25.
Only the tower is left of the old Church of San Salvador, i.e., the building in which Correa played. The present structure was built in the late eighteenth century (1774–92)
The last phrase “Maestro en la Facultad” perhaps should be translated as “teacher in the Faculty”, i.e., in the University of Seville, founded in 1502.
The niggardliness of the Cabildo of San Salvador may further be seen in a notice in the archive of the church, dated October, 1643 — by which time Correa had left San Salvador —, which reads: “quitage al maestro organista por no aver taiiido a vnas vysperas” (deduction [from the salary of] the master organist for not having played some vespers). During the lawsuit, the following comment was written on the packet containing the relevant papers: “Este organista se orden6 de sacerdote con el salario del 6rgano y gracia deste cabildo, y fué ingrato a la gracia que el Cab.° le hizo.” (This organist was ordained as a priest with the salary from the organ [post] and generosity of this Cabildo, and he was ungrateful for the grace the Cabildo showed toward him.) Cf. Kastner edition, I (= Monumentos,VI), 15, 12.
Evidently it was Enriquez whose pay was docked in 1643; cf. fn. 6. The Cabildo at San Salvador continued to have problems with its organists; in the Actas Capitulares (vol. LX, fol. 6r) of the Cathedral of Seville for January 3,, 1652, we find the following entry: “Ayuda de costa a un ayudante de organista de San Salvador para suplir la falta de los organistas de la yglesia que esthn enfermos…” (Payment for an organist’s assistant for San Salvador, in order to counteract the absence of the organists of the church, who are
The date, 1663, given in a number of scholarly studies, seems based upon information in the papers of F. Asenjo Barbieri (Madrid, Biblioteca Nacional, MS Legajo 14084, fol. 243). Kastner (op. cit., I, 12) treats it with the greatest reservation. It may be fair to assume that, in the absence either of documentation to cover the date or of any reference to Correa following 1636, the date, 1663, is an error, perhaps a typographical one caused by reversing the last two digits of 1636.
Cf. W. Apel, The Notation of Polyphonic Music 900–1600 (4th ed., revised, 1953), 47–53.
Cf. G. Saldivar, “Una Tablatura Mexicana,” in Revista Musical Mexicana, II, no. 2 (July 21, 1942), 36–39; no. 3 (August 7, 1942), 65–66; no. 5 (September 9, 1942), ZIO-III.
Cf. Jacobs, op. cit., 15–18, and C. Jacobs (ed.), Luis de Milan: El Maestro (1971).
Cf. my unpublished Ph.D. dissertation, The Performance Practice of Spanish Renaissance Keyboard Music (New York University, 1962), Ch. 2 (vol. I, pp. 99–109.)
No hold is indicated, but it must certainly have been used for the third and fourth notes. In his most interesting article, “The Performance of Sesquialtera and Hemiolia in the r6th Century,” in Journal of the American Musicological Society, XVII (1964), 5–28, M. Collins suggests that triplet groups of notes, when performed against duple groupings in other voices of a composition (“two against three”), should be performed in duple rhythm, i.e., that J JJ
Correa, in thus following Glareanus’ Dodecachordon (Basel, 1547), rather than Zarlino’s Istitutioni harmoniche (Venice, 1558) — in which a more modern attitude toward the modes is expressed, shows that, at least as regards the modes, he was a conservative. Perhaps he was unaware of Zarlino’s work, inasmuch as, on fol. iii, he claims that he is following “los Mo-demos” in his modal classification. Cf. G. Reese, Music in the Renaissance (rev. ed., 1959), 185–86, 377.
Cf. my edition of Cabezbn’s works, I (New York, 1967), 25–28.
Cf. my edition, II, (1972), 61–64 and 66–72.
Cf. M. S. Kastner (ed.), Manuel Rodrigues Coelho: Flores de Musica,II (= Portugaliae Musica, Série A,III, 1961), 165–172 204–211; my review of this edition appeared in The Musical Quarterly,XLIX (1963), 105–110.
Cf. M. Bukofzer, Music in the Baroque Era (1947),174. Also, W. Apel, “Spanish Organ Music of the Early 17th Century,” in Journal of the American Musicological Society,XV (1962), 174–181, especially pp. 275–78; also, Apel, Geschichte, 519.
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© 1973 Martinus Nijhoff, The Hague, Netherlands
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Jacobs, C. (1973). Francisco Correa de Arauxo. In: Francisco Correa de Arauxo. Springer, Dordrecht. https://doi.org/10.1007/978-94-015-0640-3_1
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