Hernando Franco’s Circumdederunt me: the First Piece for the Dead in Early Colonial America
This article presents a study and edition of the four-part motet Circumdederunt me by Hernando Franco (ca. 1530-1585), a musician born in peninsular Spain who worked as chapelmaster in Portugal, Santo Domingo, Cuba and Guatemala before being appointed to that role at the Cathedral of Mexico (1575-15...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2008 |
| País: | España |
| Institución: | Universidad de Jaén |
| Repositorio: | RUJA. Repositorio Institucional de la Producción Científica de la Universidad de Jaén |
| OAI Identifier: | oai:ruja.ujaen.es:10953/2818 |
| Acceso en línea: | https://www.academia.edu/20081882 https://hdl.handle.net/10953/2818 |
| Access Level: | acceso abierto |
| Palabra clave: | Polifonía mexicana Música de difuntos Edición crítica Catedral Metropolitana de México Hermando Franco |
| Sumario: | This article presents a study and edition of the four-part motet Circumdederunt me by Hernando Franco (ca. 1530-1585), a musician born in peninsular Spain who worked as chapelmaster in Portugal, Santo Domingo, Cuba and Guatemala before being appointed to that role at the Cathedral of Mexico (1575-1585). Although several scholars have long known that settings of Circumdederunt me were freely composed as extraliturgical motets for performance during the mass, they had not recognized them as specific elements of the Liturgy. Nonetheless, this text was performed in Spain and Latin America as an alternative invitatory for the Matins for the Dead, either before or in place of the standard Roman prescribed invitatory, Regem cui omnia vivunt. |
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