Francisco de Peñalosa
Born: 1470
Died: 1528
Country: Spain
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Francisco de Peñalosa was the most highly regarded composer among the first generation to bring the Franco-Flemish polyphonic style to Spain and the Iberian peninsula. He was associated with the royal court in Aragon, as well as the Cathedral of Seville; he also had an extended stay in Rome as one of the Pope's most desired musicians. A large number of his works survive in Spanish sources. Peñalosa's style is primarily based on that of Josquin,
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Works
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(El) triste que nunca os vió (1)
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Adoro te, Domine Jesu Christe (1)
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Ave Maria peregrina (1)
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Ave Regina caelorum, 4vv (1)
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Ave vera caro Christi (1)
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Ave vere sanguis Domini (1)
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Ave verum corpus (1)
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Deus, qui manus tuas, 4vv (1)
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Domine Jesu Christe, qui neminem, 4vv (1)
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Domine, secundum actum meum (1)
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Emendemus in melius, 4vv (1)
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In passione positus (1)
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Inter vestibulum et altare (4)
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Jesu nostra redemptio (1)
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Los brazos traygo cansados (2)
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Magnificat (1)
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Missa L'homme armé: Credo (1)
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Missa Nunca fué peña mayor (1)
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Motets: Adoro te, Domine Iesu Christe (1)
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Motets: Inter vestibulum et altare (1)
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Ne reminiscaris, Domine (2)
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Nigra sum, sed formosa (2)
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Nunca fué peña mayor (1)
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O Domina sanctissima (2)
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Pater noster (1)
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Pater noster, 4vv (1)
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Por las sierras de Madrid (2)
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Precor te, Domine (1)
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Precor te, Domine Jesu Christe, 4vv (1)
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Sacris solemniis (1)
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Sancta Maria (3)
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Sancta mater istud agas (1)
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Sancta mater istud agas, 4vv (1)
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Santa amistad que con ligeras alas (1)
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Tribularer, si nescirem (1)
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Unica est columba mea (1)
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Versa est in luctum (2)
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Biography |
by Todd McComb
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| Francisco de Peñalosa was the most highly regarded composer among the first generation to bring the Franco-Flemish polyphonic style to Spain and the Iberian peninsula. He was associated with the royal court in Aragon, as well as the Cathedral of Seville; he also had an extended stay in Rome as one of the Pope's most desired musicians. A large number of his works survive in Spanish sources. Peñalosa's style is primarily based on that of Josquin, however, one finds much tighter formal structures and highly polished gestures leading to an increased emotional expressivity. In this last sense, he represents an important beginning to the Spanish choral style to be exemplified a century later by Victoria. His compositions are entirely sacred in designation, though the wide range of emotionality lends many a character that would later be considered more properly secular in nature. |
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