SPANISH MUSIC IN THE AGE OF COLUMBUS

ROBERT STEVENSON

University of California Los Angeles

SPANISH MUSIC IN

THE AGE OF COLUMBUS

• .

SPRINGER-SCIENCE+BUSINESS MEDIA, B.V. 1960

Copyright 1960 by Springer Science+Business Media Dordrecht Originally published by Martinus Nijhoff, The Hague, Netherlands in 1960

Softcover reprint of the hardcover rst edition 1960

All rights reserved, including the right to translate or to reproduce this book or parts thereof in any form

ISBN 978-94-011-8648-3 ISBN 978-94-011-9438-9 (eBook) DOI 10.1007/978-94-011-9438-9

I have seen dawn and sunset on moors and windy hills Coming in solemn beauty like old tunes of Spain.

jOHN MASEFIELD (Beauty)

Contents

List of Musical Examples

Preface

Preface to the rg64 reprint

Political Synopsis

Spanish Orthography

Ancient and Medieval Beginnings

Iberian Music in Antiquity I - Isidore of Seville (c. 57o-636): "Father" of Hispanic

Music 2 - Isidore's Sources 5 - Musical Instruments Mentioned in the Etymologies 6 -

Isidore's References to "Contemporary" Pra.ctices 8 - Music in the Visigothic Church

(589-711) 9 - Mozarabic Music (711-1089) IO - The Antiphoner of Le6n (1069) I3 -

Music in Mobammedan Spain (712-1492) I7 - The Cantigas of Alfonso X 24 - Thir­

teenth-Century Secular Monody 30 - The Beginnings of Polyphony in the Spanish

Peninsula 33 - Llilwe Vermeil 39 - Nascent "Spanish" Style 44 - Instruments in

Fourteenth-Century Usage 44 - Music and Learning in Medieval Christian Spain 47

Foundations of Spanish Musical Theory: I4IG-I535

Vernacular versus Latin Treatises 50 - Fernand Estevan (fl. 1410) SI - Ars mensurabi­lis et immensurabilis cantus (c. 1480) 53 - Bartolome Ramos de Pareja (fl. 1482) 55 -Domingo Marcos Duran (fl. 1492) 63 - Guillermo Despuig (fl. 1495) 73 - Crist6bal de

Escobar (fl. 1498) 83 - Alonso Spail.on (fl. 1500) 85 - Diego del Puerto (fl. 1504) 85 -Bartolome de Molina (fl. 1506) 87 - Gonzalo Martinez de Bizcargui (fl. 1508) 88 -Francisco Tovar tfl. 1510) 9I - Juan de Espinosa (fl. 1514) 92 - Gaspar de Aguilar

(fl. 1530) 93 - Juan Martinez (fl. 1532) 94 - Matheo de Aranda (fl. 1533) 96 - Sum­mary IOO

Liturgical Music: I4JG-I530

Early Liturgical Imprints Containing Music I02 - Missale Caesaraugustanum (Sara­

gossa, 1485) I03 - Missale Oscense (Saragossa, 1488) I04 - Antiphonarium et graduale ad usum ordinis S. Hieronymi (Seville, 1491) I04 - Processionarium ordinis praedicato-

IX

XI

XIII

XVII

XIX

I

so

!02

VIII Contents

rum (Seville, 1494) I04 - Manuale Toletanum (Seville, 1494) I05 - Missale Auriense (Monterrey, 1494) ro6 - Missale Caesaraugustanum (Saragossa, 1498) ro6 - Missale Toletanum (Toledo, 1499) I07 - Missale Giennense (Seville, 1499) I08 - Missale Tarra­conense (Tarragona, 1499) and Benedictum (Montserrat, 1499) I09 - Processionarium ordinis S. Benedicti (Montserrat, 1500) I09 - Hymnorum Intonationes (Montserrat, 1500) IIO - Missale Abulense (Salamanca, 1500) IIO - Musical Variants in Spanish Liturgical Incunabula (Roman Rite) II2 - Missale Mozarabe (Toledo, 1500) II5

CathedTal Polyphony in the Fifteenth Century II9 - Johannes Cornago (fl. 1466) I2I -Bernardo Icart (fl. 1480) I24 - Johannes de Yllianas (fl. 1492) r26 - Juan de Anchieta (c. 1462-1523) I27 - Francisco de Peiialosa (c. 147o-1528) I45 - Other Composers of Liturgical Music r62 - Juan Almorox (fl. 1485) I64 - Alonso de Alva (d. 1504) r64 -PedTo Dfaz (fl. 1484) r67 - PedTo de Escobar (fl. 1507) I67 - Juan Escribano (d. 1557) I74 - PedTo Fernandez [de Castilleja] (d. 1574) I76 - Juan Illario I77 - [Juan Fernandez de] Madrid (fl. 1479) I77 - Antonio Marlet (fl. 1506) I79 - [Fernand Perez de] Medina (fl. 1479) IBo - Alonso de Mondejar (fl. 1502) I83 - [Pietro] Oriola I83 -Alonso de la Plaja I84 - Juan Ponce (fl. 1510) I84 - Quixada I89 - Antonio de Ribera (fl. 1514) r89 - Martfn de Rivafrecha (d. 1528) I90 - Juan de Sanabria I93 - Juan de Segovia I93 - [Alonso Hemandez de] Tordesillas (fl. 1502) I93 - Francisco de la Torre (f!. 1483) I94 - [Juan de] Triana (fl. 1478) I95 - Summary I99

Secular Polyphony during the Reigns of Ferdinand and Isabella Peninsular Sources 20I - Manuscript and Printed Sources of Foreign Provenience 202-"Versos fechos en loor del Condestable" (1466) 204

Cancionero de la Biblioteca Colombina 206 - J. de Triana 208 - J. Cornago zr8 - J. Urrede 225 - Belmonte 227 - Enrique 23I - [Juan Perez de] Gij6n (fl. 1480) 232 -Hurtado de Xeres 232 - Juanes 235 - Pedro de Lagarto (fl. 1490) 235 - J. de Le6n 237 - Juan Fernandez de Madrid 240 - Moxica 242 - J. Rodrlguez 243 - F. de la Torre 244 - Anonymous Spanish Songs in the Colombina Cancionero 245

Cancionero Musical de Palacio 249 - Composers in the Palace Songbook 253 - Juan del Encina (1469-1529) 253 - Francisco Millan (fl. 1501) 272 - Gabriel [Mena] (fl. 1511) 276 - Pedro de Escobar 279 - F. de la Torre 28r - J. Ponce 284 - Other Composers in the Cancionero Musical de Palacio 285 - Anonymous Spanish Songs in the Palace Songbook 297 - Concluding Remarks concerning the Palace Songbook 302

Bibliography

Index

20!

307

321

List of Musical Examples

Alfonso X Cantiga VI: A que do bon rey Dauide 29 Cantiga CCXXVI: Assi pod' a V irgen so terra 30

Alonso de Alva Missa[sine nomine] Christe eleison a 3 [excerpt] 167

J uan de Anchieta C onditor alme siderum a 3 139 Domine ] esu Christe a 4 142 Domine, ne memineris a 4 140 En memoria d'Alixandre a 4 246

Anonymous A los baiios del amor a 4 301 Lealtat, o lealtat a 4 205 M ariam matrem a 3 42 Nuevas te traygo, Carillo a 3 270 Olvyda tu perdifion a 3 247 Que me quereis, caballero a 3 298 Que me quereys [el] cauallero (Francisco Salinas) 298

Matheo de Aranda Counterpoint a 4 98

Belmonte Pues mi dicha non consiente a 3 229

J ohannes Comago Missa mappamundi: Kyrie I a 3 123 PMque mas sin duda a 3 224 Qu'es mi vida preguntays a 4 (Jean Ockeghem) 220

X List of Musical Examples

Guillermo Despuig Exempla proportionum a 2 8o

Domingo Marcos Duran Cum Sancto Spiritu a 3 72

1 uan del Encina Levanta, Pascual a 3 267 M ortal tristura me dieron a 4 269 Nuevas te traigo, Carillo a 3 271 Qu' es de ti, desconsolado a 3 247

Hurtado de Xeres No tenga nadie speranya a 3 233

Pierre de la Rue Missa Nunqua fue pena maior: Kyrie I a 4 162

[J uan F emandez de] Madrid Et in terra pax a 3 178 Sienpre crefe mi serviros a 3 [excerpt] 241

[F emand Perez de] Medina Salve Regina: Et J esum a 5 182

Francisco de Pefialosa Missa Ave M aria: Qui tollis a 4 [ excerpt] 154 Missa Nunca fue pena mayor: Kyrie I a 4 163 V ersa est in luctum a 4 159

Plainsong Benedicite omnia opera (Mozarabic) II8 Deo ac Domino nostro (Mozarabic) II9 Domine, ne memineris (Gregorian) 139 Exultet iam angelica turba (7 versions) II3

1uan Ponce Salve Regina a 3 186

Bartolome Rarnos de Pareja Circular canon a 4 62

1 ohan Rodrigues Benedicamus a 2 38

Francisco de la Torre Dime triste corayon a 4 244

[J uan de] Triana No consiento ni me plaze a 3 2II Non puedo dexar quer er a 3 216 Quien vos dio tal senorio a 4 214 J uste ] udex, J esu Christe a 3 197

1ohannes Urrede Nunca fue pena mayor a 3 228

Carlo Verardi V iva el gran Rey a 4 248

Preface

FOR AID in preparing the present resume of Spanish music to 1530 I am indebted to so numerous a company of friends that I must content myself in this preface with no more than a token alphabetical list. In an earlier article - "Music Research in Spanish Libraries," published in Notes of the Music Library Association, sec. ser. X, i (December, 1952, pp. 49-57) - Richard Hill did kindly allow me to itemize my indebtednesses to the Spanish friends whose names make up two-thirds of the following list. The reader who has seen that article already knows how keenly felt are my gracias.

Fernando Aguilar Escrich, Norberto Almandoz, H. K. Andrews, Higinio Angles, Jesus Bal y Gay, Robert D. Barton, Gilbert Chase, R. Thurston Dart, Exmos. Sres. Duques de Medinaceli, Charles Warren Fox, Nicold,s Garcia, ]ulidn Garcia Blanco, Juan Miguel Garcia Perez, Santiaga Gonzdlez Alvarez, Francisco Guerrero, Perreal Herndndez, Ma­cario Santiaga Kastner, Adele Kibre, Edmund King, Luisa de Larramendi, Pedro Longds Bartibds, M arques de Santo Domingo, M arques de Villa-Alcdzar, J uan M ontejano Chico, B. Municio Crist6bal, Ricardo Nuiiez, Clara L. Penney, Carmen Perez-Ddvila, Gustave Reese, Francisco Ribera Recio, Bernard Rose, Samuel Rubio, Adolfo Salazar, Francisco Sdnchez, Graciela Sdnchez Cerro, Manuel Sdnchez Mora, Alfredo Sixto Planas, Denis Stevens, fase Subird, Earl 0. Titus, ]. B. Trend, ]ahn Ward, Ruth Watanabe, ]. A. Westrup, Franktin Zimmerman.

Miss Mary Neighbour, who had placed me under obligation by preparing the type­script of two previous books (Music Before the Classic Era [London: Macmillan and Co., 1955 and 1958]; Shakespeare' s Religious Frontier [The Hague: Martinus Nijhoff, 1958]) again graciously returned to my aid when I asked her to undertake the much more difficult typescript of the present volume.

Finally, I thank the Del Amo Foundation (1952), the Ford (1953-54) and Carnegie

XII PreftUe

(1955-56) Foundations, the American Philosophical Society (1956}, and the Comisi6n Fulbright de Intercambio Educativo in Peru (1958) for generous financial aid while not only Spanish Music in the Age of Columbus but also its companion studies- "Crist6-bal de Morales: A Fourth Centenary Biography" (Journal of the American Musicological Society, VI, i [Spring, 1953]), "Crist6bal de Morales" (Grove's Dictionary of Music and Musicians, Fifth Edition [1954]), "Crist6bal de Morales" (Die Musik in Geschichte und Gegenwart}, La Musica en la Catedral de Sevilla: I478-I6o6 (Los Angeles, 1954), Cantile­nas V ulgares puestas en M U5ica por varios Espanoles (Lima, 1958), J uan Bermudo (Lima, 1958), and Spanish Cathedral M usic in the Golden Age - were in preparation.

United States Educational Commission in Peru Lima, Peru February I, I959

R. s.

Preface to the 1964 reprint

THE "MECHANICAL" reprint of this book so soon after first publication affords oppor­tunity to correct a few of the more obvious misprints but not to alter or augment the original text. In the interim since I959 several new articles and books have become available that can be mentioned herein only the baldest summary.

FüR "Ancient and Medieval Beginnings" the most important recent additions to the bibliography have again been made by the illustrious Monsefior Higinio Angles, whose book-length Estudio critico and Las melodias hispanas y la monodia lirica europea de los siglos XII-XIII form parts I and 2 of Volume 111, La Musica de las Cantigas de Santa Mariadel rey Alfonso el Sabio (Barcelona: Biblioteca Central, I958, 674 pp. + 98-page musical appendix). Part I contains Hans Spanke's posthumaus study, Die Metrik der Cantigas (pp. I89-235). As one reviewer has weil said, Angles's exhaustive Volume 111 "distils the wisdom of a lifetime spent among medieval Spanish sources." The rhythmic results obtained in his transcriptions of the cantigas continue to win admiring assent from such scholars as Wendelin Müller-Blattau (Die Musikforschung, XV/2 [April­June, I962], pp. 202-203) and from such eminent conductors as Noah Greenberg (sec Fraucis J. Burkley's review of the Decca recording [DL 94I6], Spanish Medieval Music [New York Pro Musica], appearing in Musical Quarterly, XLIX/2 [April I963], pp. 259-263). However, Angles's rhythmic interpretations of the Calixtine repertory ("Die Mehrstimmigkeit des Calixtinus von Compostela und seine Rhythmik" in Festschrift Heinrich Besseler [Leipzig: VEB Deutscher Verlag, I96I], pp. 9I-IOO) are another matter. His solution of so famous a test-piece as Congaudeant catholici, for example (Festschrift, p. 96), agrees neither with the Friedrich Ludwig transcription reproduced in the New OX/ord History of Music, II, 305, nor with the highly spirited and likable version recorded by the New York Pro Musica virtuosi [Decca DL 94I6]. Denis Ste­vens's notes accompanying this recording [LC Cat. R 62-!053] throw fresh light on the

XIV Preface to the I964 reprint

Calixtine repertory; the accompanying translations by Stevensand Joel Newman may prove useful to listeners with little Latin.

Angles's long-awaited transcription of De cantu organico, discovered by him more than forty years ago in the Barcelona Cathedral archive "and identified as an eight-leaf treatise" copied on paper "in Catalonia and perhaps in Barcelona itself shortly before I350" forms the piece de resistance of his article "De cantu organico: Tratado de un autor catalan del siglo XIV" published in Anuario Musical, XIII [I958], pp. 3-24. An accompanying facsimile of fol. 3 shows the section in "De valore semibrevium" that permits identilication of the treatise as Catalonian and also the phrase that suggests the I330-50 dating (AM, XIII, 21). Since the anonymous theorist's excerpt from Pierrede la Croix's Aucun ont trouve differs so materially from the version in Montpellier (Y. Rokseth's Polyphonies du XIIJe siecle II936], III, 8I-84), the Catalonian method with semibreves may weil have been no less idiosyncratic than the Annuntiantes tenor.

In The Sacred Bridge (London: Denriis Dobson, I959, p. 392), Eric Wemerreaffirmed his belief that Aegidius Zamorensis ( = Juan Gil) in the Ars musice printed by Gerbert (Scriptores, II, 377a) "took over the Arab theories in their entirety." This is the same position that he assumed in his important article, "The Pliilosophy and Theory of Music in Judaeo-Arabic Literature," for the Hebrew Union College Annual, XVI (Cin­cinnati, I94I, pp. 25I-3I9). At p. 277 he had contended in I94I that

The Christian theorists of the thirteenth and fourteenth century, perhaps even earlier, adopted Judaeo-Arabic concepts to such an extent that a considerable influx of semitic theory into the medieval world cannot be denied. As an important translator from the Arabic, we have already mentioned Gundissalinus. We give one other example by quoting a passage of Aegidius Zamo­rensis, an author of the thirteenth century [Scriptores, II, 377a, lines 2-I9, translated into English].

MATHEODE ARANDA forms the subject of the lengthy study by the leamed C6nego Dr. Jose Augusto Alegria prefacing a facsimile edition of Aranda's Tractado de ciito llano, I533 (Lisbon: Ramos, Afonso & Moita, I962 [Vol. II of Rei Musicae Portugaliae Mo­numenta]). Already before December I3, I52I, Manuel I had provided for the support of professional singers at Evora, which cathedral Aranda served from at least I528-I544· In I537 Cardinal Affonso's V isita da Se formally obligated him as M estre de Capela to spend three hours every working day in teaching all interested canons, chapter members, and university graduates - besides eight choirboys - how to sing plainsong and polyphonic music.

ISABEL POPE's definitive essay, "The Secular Compositions of Johannes Comago, Part I," appeared in Vol. II of the Misceldnea en homenage a Mons. Higinio Angtes (Barce­lona: Consejo Superior de Investigaciones Cientificas, I958--6I, pp. 689-706). Herlist at p. 69I can be compared with the list at p. I24 in the present volume, and her tran­scription at pp. 70I-705 with Qu'es mi vida preguntays at pp. 220-223. In Journal of the American Musicological Society, XVI/I (Spring I963), page 9I, note I, she identified Oriola's 0 vos homines, mentioned below at p. I83, as "set to an amorous parody in Italian of the sacred text."

Preface to the I964 reprint XV

Santiaga Kastner contributed an invaluable essay, "Palencia, encrucijada de los organistas espafioles del siglo XVI," to Anuario Musical, XIV (1959), pp. rr5-164, in which he suggested that Garcia de Baeza, Palencia cathedral organist 1520-1560, may well have composed the three anonymaus tientos in Luys Venegas de Henestrosa's LiMo de cifra nueva (1557) transcribed in MME, II, at pp. 47-51. At all events, the Palencia cathedral inventory for 1535 lists two bound manuscript books- one of organ music by Garcia de Baeza, the other of Masses by Rivafrecha. In 1536 Garcia took a four-months leave of absence to visit Flanders where he hoped to collect a bequest. The probable uncle of Antonio de Cabez6n was Esteban Martinez de Cabez6n, canon at Burgos Cathedral 1497-1520. On August 22, 1520, he became vicar-general at Palencia. Because Bisbop Ruiz de la Mota (titular of the see) stayed away, Martinez de Cabez6n enjoyed all "honors, respect, and obedience due a bishop" hirnself (AM, XIV, 128). Only after a new bishop willing to reside was enthroned, J uly 7, 1524, did the uncle of the famous blind organist return to his former canonry at Burgos. Luis de Zapata in his Misceldnea referred to this uncle, who bore bishop's responsibilities at Palencia, when he wrote that the youthful organist vivia antes que con el rey con un obispo de Palencia (1520-1524/5: AM, XIV, 133-134). During the quadrennium 1520-1524, Garcia de Baeza trained up the lad in the best Spanish organ traditions of the epoch.

JUSTO SEVILLANO gives the Pedro de Escobar items listed as nos. rro and 1II at p. 123 in Angles's La Musica en laGarte de los Reyes Cat6licos, I (1941, second edition, 1960) the following titles in his "Catalogo musical del Archivo Capitular de Tarazona" (A nuario Musical, XVI [1961], p. 153): Regina coeli laetare a 4, and Beatus es a 4· These can therefore be added to the Iist in the present book at p. 172.

For Juan de Triana (below, pp. 195-199) and for the Cancionero de la Biblioteca Co­lombina, reference may be had to Robert Clement Lawes's 388-page Ph.D. dissertation accepted at North Texas State College, Denton, Texas, in 1960: "The Seville Cancio­nero: Transcription and Commentary." Catalogued under LC Card No. Mic. 6o-6163, this useful study is summarized in Dissertation Abstracts, XXI/9 (Ann Arbor, Michigan, March 1961) at pp. 2739-2740. Jose M. Alvarez Perez identifies Belmonte- a hitherto shadowy Colombina composer (see below, pp. 207, 227-231)- as the Alonso de Belmonte who was appointed director of music (cantor in the fifteenth century = maestro de capilla in the sixteenth) at Le6n Cathedral as early as January 14, 1458, and who remained there still in 1467. His teaching obligations resembled those imposed on Aranda at Evora in 1537. Identification of Belmonte ("La polifonia sagrada y sus maestros en la catedral de Le6n," Anuario Musical, XIV [1959], p. 40), makeshim seemingly the eldest Peninsular in the Colombina Cancionero.

Isabel Pope (]AMS, XVI/I [Spring 1963], p. 93) offers welcome additional infor­mation concerning the early printing of Spanish secular music, and in particular of Palacio items:

Spanish pieces, some of them known from CMP and others belonging to its period, appear in the Petrucci and other early Italian prints. The most important is a set of nine of which Pues

XVI Preface to the I964 reprint

que jamas olvidaros (CMP, no. 30 [see pp. 204 and 263159 in the present book]) by Encina is one. These appear in two prints: Frottole libro secondo (1516; Florence, Bibl. Marucelliana [Sign. 4· A. VIII. 1692]); and in a print in Florence, Bibl. Naz., Collezione Landau-Finlay, bound in with two other frottole prints. The title page is missing. The colophon reads: "Impresso in Roma per Iacomo Mazochio - MDXIIX." Four of these pieces have not yet been found elsewhere ... Three others [by Encina] aretobe found in CMP. They are: Los sospiros no sossiegan (CMP, no. 163), .. . Pues que iamas olvidaros, already mentioned, and Nonquiera que me consienta, a hitherto unknown piece by Encina. It is one of the pieces missing from CMP, for it is listed in the original index. The complete text appears in the Cancionero de ]uan del Encina (1496). Ofthelast two pieces, one, Sospiros no me dexeys (CMP, no. 345), is by Badajoz "el musico." The other piece, Amores tristes crueles, is probably also by Badajoz, for the text appears attributed to him in the Cancionero General (15II), fol. CXLIX.

Die Musik in Geschichte und Gegenwart includes too many pertinent articles for complete listing here. The following add information or bibliography not in the present book: Alta (Besseler), Domenicus Gundissalinus (Rüschen), Escorial-Liederbücher (Besseler), Esteban (Angles), Hoquetus (Rusmann), In seculum (Dittmer), Isidor von Sevilla (Rü­schen), Neapel (Hucke [IX, 1312-1315]), Ramos (Palisca).

[ 'niversity of C alifornia, Los A ngeles August I2, I963

R.S.

C. 500 B.C.

210 197 1st cent. A.D.

409 A.D.

419-507

507-7II 568-586 587 672-677

7II-J15 718-737

756-1031 777 791-842

1037 1085

Political Synopsis

First Punic and Greek colonies. P. Comelius Scipio dispatched to drive out the Carthaginians. Spain divided into two Roman provinces, Citerior and Ulterior. Seneca (3 B.c.), Lucan, Martial, Quintilian, Trajan, Hadrian bom in Spain. Spanish provinces overrun by V andals, Suevi, and Alans. Visigothic Kingdom of Toulouse, incorporating Spain during Euric's reign (466-485). Visigothic Kingdom of Spain, with capital at Toledo. Reign of Leovigild. Visigothic power reaches its summit. Reccared I converted fromArianism to Roman orthodoxy. Rules ti116or. Wamba strengthens the state against the growing menace of the Sara­cens. Moslem conquest. Pelayo, a Goth, preserves Christian independence in the mountains of Asturias. Omayyad dynasty at Cordova. Charlemagne's invasion. Routing of his rear guard at Roncesvalles (778). Reign oi Alfonso li (the Chaste), King of Asturias and Le6n. Erection of the first church at Santiaga de Compostela over the reputed bones of St. J ames the Apostle. Abdurrahman III, during whose caliphate the Omayyads reach their zenith. Cordova (population 50o,ooo) becomes the leading European intellectual center. Ferdinand I of Castile conquers Le6n. Alfonso VI of Castile recovers Toledo from the Moslems.

XVIII

1086

1087-1099

II37

II44-1225 II58-1214

II79 1217-1252

1232-1315 1252-1284 1213-1276

1454-1474

1474 1479 1492 1504

1506

1509-15II 1515 1516 1516-1556 1519 1520-1521 1521-1529

Political Synopsis

Almoravids, a Berber dynasty, invited from Africa to subdue rising Christian forces. Alfonso defeated at Zallaka. The Cid (Rodrigo [Ruy] Diaz of Bivar) fights on one side and another, eventually becoming the ruler of Valencia. (Cantuar de mio Cid, c. II40.) Union of Catalonia and Aragon under Ram6n Berenguer IV, Count of Barcelona. Almohades, dynasty at Cordova. Reign of Alfonso VIII, Kingof Castile (married to Eleanor of England). After various preliminary defeats at the hands of the Almohades, he triumphs at the decisive battle of Las Navas de Tolosa (1212). Portugal recognized by Pope Alexander III as an independent kingdom. Ferdinand III, Kingof Castile and Le6n (1230-1252). Recovers Cordova (1236), Jaen (1246), and Seville (1248). Ram6n Lull, foremost Catalonian intellect of the Middle Ages. Alfonso X (the Savant), King of Castile. James I (the Conqueror), Kingof Aragon. Reconquest of Valencia and Murcia. Addition of Balearic Islands. Peter the Cruel, of Castile, struggles with his bastard half brother, Henry of Trastamara. Allies hirnself with Edward the Black Prince, 1363-1367. John of Gaunt (1340-1399), Duke of Lancaster, conquers Galicia in pursuit of his title to the Castilian crown. Retires to England two years later. Alfonso V (the Magnanimous), Kingof Aragon. His conquest of Naples (1435) recognized by the pope (1442). Italian Renaissanceideals control his court. At his death, Naples passes to his son Ferrante (1458-1494), Aragon to John II (1458-1479). Henry IV of Castile, whose reign is marked by prolonged civil disorder. Isabella, his stepsister and heir, marries Ferdinand, heir to Aragon, 1469. Isabella succeeds to the throne of Castile. F erdinand becomes king of Aragon. Fall of Granada. Discovery of America. Ea iudios a enfardelar. Death of Isabella, who is succeeded by Joanna (consort of Philip the Fair, Archduke of Austria). Philip's death, followed by Joanna's retirement to Tordesillas, 1509 (d. 1555). Ferdinand takes control of Castile. Campaigns in Africa, organized by Cardinal Ximenez de Cisneros. Spain annexes Navarre. Death of Ferdinand. Regency of Cisneros. Charles I (b. 1500), son of Philip and Joanna, king of Spain. Charles elected Holy Roman emperor. Revolt of the Comuneros in Castile. War between Spain and France. Francis I captured at battle of Pavia (February 24, 1525) and forced to sign Treaty of Madrid, the terms of which he at once breaks on being released.

Spanish Orthography

No present-day European tongue, when purely spoken, shows a more logical correlation between uttered and written forms than Spanish. Butthis regularity did not yet prevail during the centuries under survey in this book. Not only did usage fluctuate with the passing of time, but spellings conflicted within even the same decade. When the fricative consonants z and s;, s and ss, j and x, were differently pronounced in r578 at centers so close tagether as Avila and Toledo, it is not surprising that spellings took equally various forms throughout las Espaiias during the Age of Expansion.

Because of these variants, some such introduction as Ram6n Menendez Pidal's "El lenguaje del siglo XV I" (Cruz y Raya, September I5, I933) will well repay the attention of students seriously interested in Spanish Renaissance music set to vernacular texts. Among the books that can serve as guides, J aime Oliver Asin' s or Rafael Lapesa' s Historia de la Lengua espaiiola (Madrid, I94I and I942), may prove as useful as any.

Several courses are open to a musical historian. He can imitate Asenfo Barbieri, who in his r89o edition of the Palace Songbook normalized the spellings of his c. rsoo source to conform with modern usage and added accents throughout. Or he can take Isabel Pope's I954 transcriptions of the Spanish song-texts in Monte Cassino MS 87I N for his model, diplomatically reproducing the originals. Or he can steer Higinio Anglis's middle course (Mon urnentos de la Musica Espaiiola, V and X), adding accents but not attempting to modernize the spelling.

The Solomon's fudgment which we have adopted has been to follow Anglis insofar as Palacio is concerned, but to omit accents and to strive for diplomatic fidelity in copying all other texts. For place-names we prefer the English forms (Saragossa for Za.ragoza, Cordova for C6rdoba). For other well-known names (Ferdinand and Isabella) and titles (Duke of Alva) we likewise prefer traditional English usage.