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the
Descalzas Reales than he would have earned as a cathedral chapelmaster, receiving an annual income from absentee benefices from 1587 to 1611. When the Empress Maria died in 1603, she willed three chaplaincies in the convent, with one going to Victoria. According to Victoria, he never accepted any extra pay for being a chapelmaster, and became the organist rather than the chapelmaster. Such was the esteem in which he was held that his contract allowed him frequent travel away from the convent. He was able to visit Rome in 1593 for two years, attending Palestrina's funeral in 1594. He died in 1611 in the chaplain's residence and was buried at the convent, although his tomb has yet to be identified.
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433:. Cathedral records state that his uncle, Juan Luis, presented Victoria's Liber Primus to the Church while reminding them that Victoria had been brought up in the Ávila Cathedral. Because he was such an accomplished organist, many believe that he began studying the keyboard at an early age from a teacher in Ávila. Victoria most likely began studying "the classics" at St. Giles's, a boys' school in Ávila. This school was praised by
484:, but did not serve long in that capacity as typically deacons became priests soon after. In 1575, Victoria was appointed Maestro di Capella at S. Apollinare. Church officials would often ask Victoria for his opinion on appointments to cathedral positions because of his fame and knowledge. He was faithful to his position as convent organist even after his professional debut as an organist. He did not stay in
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421:. Significantly, during this time of financial insecurity Hernán would break with conventional practice and share his inheritance, ensuring that his siblings received educations and dowries. In Tomás’ case this made possible, along with the support of their uncle the priest Juan Luis de Vitoria, his early music training at Ávila’s cathedral school.
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his eldest son Hernán sold the family home in Ávila and moved to their estate in
Sanchidrián. This was only a temporary setback, and the Victorias would soon regain their footing, becoming more involved in banking, in partnership with their Suárez de la Concha cousins and others based in Castile’s financial capital of the time,
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at Madrid from 1581. In 1591, Victoria became a godfather to his brother Juan Luis's daughter, Isabel de
Victoria. Victoria worked for 24 years at Descalzas Reales, serving for 17 years as chaplain to the Empress until her death, and then as convent organist. Victoria was also being paid much more at
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origins, though there is no hard evidence to support this. The
Victorias lived on Calle de los Caballeros, which was then lined with wool and silk shops, across from San Juan Bautista, their parish church, and just steps away from the main market square of the city. Their house still stands, and the
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Francisco, Tomás’ father, had a lucrative business as a notary in Ávila, and also derived substantial income from rents on the family landholdings and from moneylending; however, he was prone to gambling, which resulted in a decline in the family fortune. As a result of this, upon
Francisco’s death
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The origins of the Luis de
Victoria family are murky on the paternal side. The family can only be traced as far back as Tomás’ grandfather, Hernán Luis Dávila, who makes his first documented appearance in Avila during the opening years of the sixteenth century. It is important to note that the name
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Victoria was a master at overlapping and dividing choirs with multiple parts with a gradual decreasing of rhythmic distance throughout. Not only does
Victoria incorporate intricate parts for the voices, but the organ is almost treated like a soloist in many of his choral pieces. Victoria did not
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has been proposed as another possible birthplace, however it was only later that the
Victorias would settle there, when Tomás’ eldest brother moved to Sanchidrián with his young family and their widowed mother. In Tomás’ youth Sanchidrián was only the site of one of the family’s many rural
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for his melodic phrases and his joyful inventions. His works have undergone a revival in the 20th century, with numerous recent recordings. Many commentators hear in his music a mystical intensity and direct emotional appeal, qualities considered by some to be lacking in the arguably more
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originate the development of psalm settings or antiphons for two choirs, but he continued and increased the popularity of such repertoire. Victoria republished works that had appeared previously, and incorporated revisions into each reissue.
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which are prohibited in the strict application of 16th century counterpoint, such as ascending major sixths, or even occasional diminished fourths (for example, a melodic diminished fourth occurs in a passage representing grief in his
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around this time, though the evidence is circumstantial; certainly he was influenced by the
Italian's style. For some time, beginning in 1573, Victoria held two positions, one being at the German College and the other being at the
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Victoria comes from Hernán’s wife, Leonor de
Vitoria. Following Spanish practice of the time, their children combined their surnames, in the order of their preference, or chose between them. The original spelling Vitoria (from the
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Olmos, Ángel Manuel: "Las obras de Tomás Luis de Victoria en la tablatura para órgano de Pelplin (Polonia), Biblioteka Seminarium, 304–8, 308a (1620–1630)", en Morales, Luisa (Ed.): Cinco Siglos de Música de Tecla Española,
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G. Edward Bruner, DMA: "Editions and Analysis of Five Missa Beata Virgine Maria by the Spanish Composers: Morales, Guerreo, Victoria, Vivanco, and Esquivel." DMA diss., University of Illinois at Urbana-Champaign,
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vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer.
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Olmos, Ángel Manuel: "El testamento y muerte de Tomás Luis de Victoria. Nuevos familiares del músico y posible razón para su vuelta a España", Revista de Musicología, vol. XXXV, nº1 (2012), pp. 53–60
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Victoria was the seventh of nine children born to Francisco Luis de Vitoria and Francisca Suárez de la Concha. His mother's family were affluent wool merchants and bankers of Jewish origin, based in
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Olmos, Ángel Manuel: "Aportaciones a la temprana historia musical de la capilla de las Descalzas Reales (1587–1608)", Revista de Musicología, vol. XXVI, nº 2 2003, pp. 439–489
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rhythmically and harmonically placid music of Palestrina. There are quite a few differences in their compositional styles, such as treatment of melody and quarter-note
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Olmos, Ángel Manuel: "Tomás Luis de Victoria et le monastère des 'Descalzas' à Madrid : réfutation d'un mythe", Le Jardin de Musique, I/2, (2004) pp. 121–128
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602:. However, Stevenson does not believe that he learned everything about music under Cardinal Truchsess's patronage. During the years that Victoria was devoted to
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Hernán Luis Dávila was a prosperous cloth merchant who shrewdly invested his profits into building an expansive real estate portfolio throughout
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of the same name) was to be used by all members of this family with the exception of Tomás himself, who adopted the Latinized “Victoria.”
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https://www.academia.edu/3737302/Roberto_QUIR%C3%93S_ROSADO_G%C3%A9nesis_y_consolidaci%C3%B3n_de_un_linaje_financiero_castellano_los_Victoria
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as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his
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textures, yet seeking rhythmic variety and sometimes including intense and surprising contrasts. His melodic writing and use of
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1711:"היהודי הראשון שחזר לספרד (1492)? / De La Diáspora Hacia Sefarad: ¿ La Primera Carta De Regreso De Un Judio Convertido?"
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In 1587 Philip II honoured Victoria's desire to return to his native Spain, naming him chaplain to his sister, the
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Tejero Robledo, Eduardo, "Tomás Luis de Victoria (Ávila, 1548 – Madrid, 1611) y su linaje converso", pp. 33–70.
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O'Regan, Noel (May 1994). "Victoria, Soto and the Spanish Archconfraternity of the Resurrection in Rome".
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The following are recordings of music by Tomás Luis de Victoria. As in all of his music, the texts are in
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Sabe Andreu, Ana María, "Tomás Luis de Victoria (1611-2011). Homenaje en el IV centenario de su muerte,"
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After his father's death in 1557, his uncle, Juan Luis, became Tomás' guardian. He was a choirboy in
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2292:(Spring 2018). "From Renaissance to Baroque: Tonal Structures in Tomás Luis de Victoria's Masses".
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works for more than one spatially separated group of singers, in the style of the composers of the
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409:. Francisca's great-grandfather, Jacob Galfón, briefly took his family to Portugal following the
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Select recordings of music by Victoria are discussed in an article published in March 2011 by
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Wojcicka-Hruza, Lucy (February 1997). "A Manuscript Source for Magnificats by Victoria".
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Michael: On the History of the Jews in the Diaspora / מיכאל: מאסף לתולדות היהודים בתפוצות
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rather than church music. It has been speculated that Victoria took lessons from
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Victoria claimed that he composed his most creative works under his patron
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Victoria published his first book of motets in 1572. In 1585 he wrote his
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Sabe Andreu, Ana Maria, "Tomás Luis de Victoria, pasión por la música,"
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The Concise Edition of Baker's Biographical Dictionary of Musicians
1603:. Carlos Mena, Juan Carlos Rivera: CD Harmonia Mundi Iberica 987042
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tombs of Tomás’ parents and grandparents are at San Juan.
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1617:. Ensemble Plus Ultra: DGG Archiv CD DDD 0289 477 9747 0 AM 10
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The Contrapuntal and Harmonic Style of Tomás Luis de Victoria
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562:, a collection which included 37 pieces that are part of the
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1967:
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Tomás Luis de Victoria was born around 1548, most likely in
1653:. Ars Combinatoria, Canco López: Musaris. Mars 03-21161/16.
1610:. Musica Ficta, Raúl Mallavibarrena: Enchiriadis CD EN 2006
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is more free than that of Palestrina; occasionally he uses
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1596:. Pro Cantione Antiqua: Deutsche Harmonia Mundi CD GD77056
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of many of his contemporaries, preferring simple line and
468:. He held the positions of chapelmaster and instructor of
2137:(1991). "Tomas Luis de Victoria: Unique Spanish Genius".
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An imaginary portrait by an unknown 19th-century artist
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Tomás Luis de Victoria – a 400th-anniversary profile
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in Spain, and one of the best-regarded composers of
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1140:Quodcumque vinclis (also Petrus beatus catenarum)
697:The number of voices are included in parentheses
530:Victoria is the most significant composer of the
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2030:, by Edward Breen, Gramophone online, March 2011
1639:. The Tallis Scholars: Gimell Records. CDGIM 043
2322:List of compositions by Tomás Luis de Victoria
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1973:
331:) was the most famous Spanish composer of the
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2375:Catálogo de la obra de Tomás Luis de Victoria
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624:Stylistically, his music shuns the elaborate
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1709:Koch, Yolanda Moreno; קוך, י' מורנו (1989).
1646:. Nordic Voices: CHANDOS CHACONNE. CHAN 0763
1601:Et Jesum. Motets, antífonas y partes de miss
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1588:and drawn from the Roman Catholic Liturgy.
675:His most famous work, and his masterpiece,
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587:, whom Victoria admired for their work in
437:and some highly regarded people of music.
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2335:International Music Score Library Project
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2109:, ed. (1993). "Victoria, Tomás Luis de".
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1352:Confitebor tibi Domine (110, 4, 4, even)
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508:Monasterio de las Descalzas de St. Clara
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2326:Digital Image Archive of Medieval Music
2175:10.1093/gmo/9781561592630.article.29298
1708:
1642:Victoria, Gesualdo, Palestrina, White,
1346:Laudate pueri Dominum (112, 4, 6, even)
1340:Confitebor tibi Domine (110, 4, 4, odd)
595:at an early age before moving to Rome.
579:Two influences in Victoria's life were
570:, including the eighteen motets of the
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2069:. New York: Kraus Reprint Corporation.
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523:A copy of a part for Victoria's mass,
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2341:Free scores by Tomás Luis de Victoria
2331:Free scores by Tomás Luis de Victoria
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2015:
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1328:Laudate Dominum omnes gentes (116, 8)
1068:(All 4 voices except Tantum ergo, 5)
648:). Victoria sometimes uses dramatic
3238:Classical composers of church music
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1575:Problems playing these files? See
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896:Gaudent in coelis animae Sanctorum
652:, of a kind usually found only in
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347:and for Holy Week". His surviving
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3243:People from the Province of Ávila
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2076:Journal and encyclopedia articles
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967:Dum complerentur dies Pentecostes
369:Family Background and Early Years
27:Spanish composer (c. 1548 – 1611)
3248:Spanish male classical composers
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2676:Giovanni Pierluigi da Palestrina
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1372:Tenebrae Responsories (Victoria)
1349:Lauda Jerusalem (147, 4, 7, odd)
1319:Super flumina Babylonis (136, 8)
1236:Incipit lamentation Jeremiae (4)
841:Incipit lamentation Jeremiae (4)
337:Giovanni Pierluigi da Palestrina
3253:Musicians from Castile and León
2055:University of Wisconsin–Madison
2049:Kriewald, James Arthur (1968).
1185:(odd or even verses, 4 voices)
878:Doctor bonus amicus Dei Andreas
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621:were not compensated properly.
3268:Spanish Roman Catholic priests
3263:16th-century Spanish composers
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1337:Dixit Dominus (109, 4, I, odd)
1325:Laudate pueri Dominum (112, 8)
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1081:Ave maris stella (even verses)
941:Sancta Maria, succurre miseris
754:Simile est regnum coelorum (4)
13:
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3258:Spanish Renaissance composers
2419:List of Renaissance composers
2253:(Leal, 2007), pp. 87–124
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1358:Nisi Dominus (126, 4, 8, odd)
1334:Ecce nunc benedicite (135, 8)
1084:Ave maris stella (odd verses)
1020:Vadam, et circumibo civitatem
993:Benedicta sit Sancta Trinitas
938:Quam pulchri sunt grassus tui
440:After receiving a grant from
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2345:Choral Public Domain Library
2192:UK public library membership
2067:The Music of Spanish History
1460:
1343:Beatus vir (111, 4, 8, even)
1161:Tibi Christe splendor patris
1047:
600:Otto, Cardinal von Truchsess
480:. Before this he was made a
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2139:Inter-American Music Review
1442:Ecce quomodo moritur Justus
1355:Beatus vir (111, 4, 8, odd)
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1274:Incipit oratio Jeremiae (6)
1137:Quicumque Christum queritis
1090:Christe redemptor omnium II
958:Ascendens Christus in altum
920:O quam gloriosum est regnum
844:Incipit oratio Jeremiae (6)
560:Officium Hebdomadae Sanctae
459:. He may have studied with
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3049:Petrus Phalesius the Elder
2864:English Virginalist School
2369:by the Umeå Academic Choir
2361:Victoria dedicated website
2272:W. W. Norton & Company
2209:(1): 83–90, 93–94, 97–98.
2115:(8th ed.). New York:
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1255:Matribus suis dixerunt (4)
1087:Christe redemptor omnium I
850:Matribus suis dixerunt (4)
718:De Beata Maria Virgine (5)
706:Alma redemptoris mater (8)
444:in 1565, Victoria went to
316:(sometimes Italianised as
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2831:Jan Pieterszoon Sweelinck
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2156:"Victoria, Tomás Luis de"
2099:10.1093/earlyj/XXII.2.279
1563:Recorded live in 2003 by
1466:Lauda Sion salvatorem (8)
1307:
1176:Vexilla Regis prodeunt II
899:Hic vir despiciens mundum
860:
700:
466:Pontifical Roman Seminary
448:and became cantor at the
2363:, in Spanish and English
2268:Music in the Renaissance
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1637:Lamentations of Jeremiah
1472:Veni Sancte Spiritus (8)
1361:Credidi (115, 4, 6, odd)
1268:Misericordiae Domini (4)
1173:Vexilla Regis prodeunt I
1063:
976:O lux et decus Hispaniae
964:Descendit angelus Domini
853:Misericordiae Domini (4)
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514:
329: 20–27 August 1611
2859:English Madrigal School
2215:10.1093/earlyj/XXV.1.83
2167:Oxford University Press
1495:Unus ex discipulis meis
1450:Astiterunt reges terrae
1386:Unus ex discipulis meis
1383:Judas mercator pessimus
1164:Tristes errant apostoli
1152:Tantum ergo sacramentum
1146:Salvete flores martyrum
1102:Exultet caelum laudibus
1008:Quem vidistis, pastores
979:Resplenduit facies ejus
715:Ave regina coelorum (8)
2701:Tomás Luis de Victoria
2505:Oswald von Wolkenstein
2367:Recordings of Victoria
2356:Tomás Luis de Victoria
1513:Caligaverunt oculi mei
1488:
1436:Recessit pastor noster
1428:Caligaverunt oculi mei
1322:Dixit Dominus (109, 8)
1271:Quomodo obscuratum (4)
1252:Cogitavit Domino's (4)
1221:Sexti toni (12 voices)
1158:Te lucis ante terminum
1072:Ad caenam agni provide
950:Vere languores nostros
893:Estote fortes in bello
884:Duo seraphim clamabant
856:Quomodo obscuratum (4)
730:O magnum mysterium (4)
709:Ascendens Christus (5)
646:Sancta Maria, occurred
527:
525:Alma Redemptoris mater
314:Tomás Luis de Victoria
37:
18:Tomas Luis de Victoria
2721:Transition to Baroque
2666:Pierre de Manchicourt
2295:Music Theory Spectrum
2290:Roig-Francolí, Miguel
1622:Tenebrae Responsories
1594:Tenebrae Responsories
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1469:Victimae Paschali (8)
1425:Jesum tradidit impius
1366:Tenebrae Responsories
1331:Laudate sum (121, 12)
1316:Nisi Dominus (126, 8)
1218:Primi toni (8 voices)
1170:Veni creator spiritus
1143:Rex gloriose martyrum
1117:Jesu nostra redemptio
1093:Conditor alme siderum
1037:Domine in virtute tua
1011:Surrexit Pastor Bonus
1002:O Domine Jesu Christe
944:Senex puerum portabet
905:Magi viderunt stellam
902:Iste sanctus pro lege
881:Domine non sum dignus
832:Cogitavit Dominus (4)
745:Quam pulchra sunt (4)
581:Giovanni Maria Nanino
573:Tenebrae Responsories
522:
411:expulsion of the Jews
86:Movements and schools
74:Transition to Baroque
35:
2751:Girolamo Frescobaldi
2558:Cristóbal de Morales
2354:has compositions by
1608:Officium Defunctorum
1414:Animam meam dilectam
1411:Tenebrae factae sunt
1167:Urbs beata Jerusalem
1128:O lux beata Trinitas
1124:Lucis creator optime
1120:Lauda mater Ecclisia
1114:Jesu corona virginum
1105:Hostis Herodes impie
1078:Aurea luce et decore
990:Beata es Virgo Maria
947:Veni, sponsa Christi
887:Ecce sacerdos magnus
760:Trahe me post te (5)
733:O quam gloriosum (4)
721:Dum complerentur (6)
712:Ave maris stella (4)
678:Officium Defunctorum
664:who were working at
566:celebrations in the
425:Education and Career
345:Offices for the Dead
2869:Florentine Camerata
2841:Composition schools
2500:Gaspar van Weerbeke
1974:Wojcicka-Hruza 1997
1477:Selected recordings
1408:Tamquam ad latronem
1312:(Number, voices, )
1239:Et egressus est (4)
1099:Deus tuorum militum
1096:Decus egregie Paule
1026:Versa est in luctum
996:Congratulamini mihi
987:Ardens est cor meum
970:Ecce Dominus veniet
961:Cum beatus Ignatius
911:O decus apostolicum
890:Ego sum panis vivus
838:Et egressus est (4)
532:Counter-Reformation
123:English Virginalist
108:Florentine Camerata
3064:Thomas Vautrollier
3044:Ottaviano Petrucci
3019:Pierre Attaingnant
3009:Hieronymus Andreae
2816:Michael Praetorius
2801:Claudio Monteverdi
2791:Giovanni de Macque
2786:Luzzasco Luzzaschi
2756:Alfonso Fontanelli
2646:Francisco Guerrero
2621:Antonio de Cabezón
2533:Thomas Crecquillon
2515:Middle (1470–1530)
2495:Johannes Tinctoris
2435:Alexander Agricola
2308:10.1093/mts/mty001
2162:Grove Music Online
2107:Slonimsky, Nicolas
2063:Trend, John Brande
1489:
1282:Taedet animam meam
1258:Ego vir videns (5)
1108:Huius obtentu Deus
1053:Benedictus Dominus
1005:O sacrum convivium
973:Gaude, Maria virgo
929:O sacrum convivium
917:O magnum mysterium
835:Ego vir videns (5)
763:Vidi speciosam (6)
615:Philip II of Spain
604:Philip II of Spain
528:
504:Princess Margarita
435:St.Teresa of Avila
38:
3164:
3163:
2761:Giovanni Gabrieli
2588:Philippe Verdelot
2485:Johannes Ockeghem
2427:Early (1400–1470)
2410:Renaissance music
2281:978-0-393-09530-2
2251:978-84-611-8235-0
2190:(subscription or
2184:978-1-56159-263-0
2151:Stevenson, Robert
2135:Stevenson, Robert
1904:, pp. 26–27.
1824:, pp. 12–13.
1795:, pp. 10–11.
1678:, § Introduction.
1565:The Tudor Consort
1558:
1540:
1522:
1504:
1149:Sanctorum meritis
1075:Ad preces nostras
1059:Nunc dimittis (5)
1056:Nunc dimittis (4)
875:Date ei de fructu
872:Benedicam Dominum
869:Beati inmaculatin
757:Surge propera (5)
739:Pro defunctis (6)
736:Pro defunctis (4)
727:Laetatus sum (12)
619:Pope Gregory XIII
341:Orlande de Lassus
335:. He stands with
311:
310:
53:Renaissance music
16:(Redirected from
3280:
3205:
3204:
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3193:
3192:
3191:
3181:
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3179:
3172:
3154:
3144:
3143:
3024:Vittorio Baldini
3001:Music publishing
2776:Hans Leo Hassler
2731:Gregorio Allegri
2686:Cipriano de Rore
2661:Vicente Lusitano
2656:Orlando di Lasso
2611:Jacques Arcadelt
2578:Pierre de la Rue
2573:Josquin des Prez
2553:Clément Janequin
2548:Antoine de Févin
2538:Antonius Divitis
2480:Johannes Martini
2455:Guillaume Du Fay
2403:
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1506:
1505:
1486:
1432:Saturday Matins
1394:Eram quasi agnus
1376:Thursday Matins
1290:de beata Virgine
1207:Septime toni (4)
1192:Secondi toni (4)
1155:Te Deum laudamus
1014:Trahe me post te
935:Pueri Hebraeorum
923:O quam metuendus
908:Ne timeas, Maria
808:septime toni (4)
793:secondi toni (4)
776:Pange lingua (4)
751:Salve regina (8)
742:Pro Victoria (9)
568:Catholic liturgy
540:late Renaissance
419:Medina del Campo
330:
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296:
289:
266:← Medieval music
128:English Madrigal
61:
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3183:Classical music
3177:
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3116:
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3054:Girolamo Scotto
3039:Antonio Gardano
2995:
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2826:Heinrich Schütz
2821:Philippe Rogier
2771:Orlando Gibbons
2723:
2719:
2710:
2706:Giaches de Wert
2696:Christopher Tye
2651:Claude Le Jeune
2641:Claude Goudimel
2636:Nicolas Gombert
2631:Andrea Gabrieli
2626:Jacobus Clemens
2597:
2593:Adrian Willaert
2523:Martin Agricola
2509:
2445:Antoine Busnois
2440:Gilles Binchois
2421:
2412:
2407:
2352:Mutopia Project
2318:
2282:
2234:
2232:Further reading
2229:
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1626:Tallis Scholars
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1446:Saturday Lauds
1400:Seniores populi
1390:Thursday Lauds
1374:
1368:
1310:
1297:
1231:Maundy Thursday
1228:
1210:Octavi toni (4)
1201:Quinti toni (4)
1198:Quarti toni (4)
1183:
1134:Pange lingua II
1066:
1050:
914:O doctor optime
863:
829:
822:sexti toni (12)
811:octavi toni (4)
802:quinti toni (4)
799:quarti toni (4)
773:Dominicalis (4)
748:Quarti toni (4)
703:
695:
662:Venetian school
611:Michele Bonelli
517:
478:Thomas Goldwell
457:Ignatius Loyola
431:Ávila Cathedral
366:
364:Life and career
328:
324:
307:
276:
273:Baroque music →
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3126:Medieval music
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2874:Franco-Flemish
2871:
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2766:Carlo Gesualdo
2763:
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2748:
2743:
2738:
2736:Thomas Campion
2733:
2727:
2725:
2712:
2711:
2709:
2708:
2703:
2698:
2693:
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2681:Costanzo Porta
2678:
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2671:Hans Neusidler
2668:
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2543:Costanzo Festa
2540:
2535:
2530:
2528:Antoine Brumel
2525:
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2511:
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2507:
2502:
2497:
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2487:
2482:
2477:
2472:
2470:Heinrich Isaac
2467:
2462:
2460:John Dunstaple
2457:
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2450:Loyset Compère
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2316:External links
2314:
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2286:
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2264:Reese, Gustave
2260:
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2196:
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2117:Schirmer Books
2103:
2093:(2): 279–295.
2079:
2072:
2071:
2059:
2045:
2038:
2035:
2033:
2032:
2020:
2018:, p. 157.
2008:
2004:Stevenson 1991
1993:
1989:Stevenson 1991
1978:
1966:
1964:, p. 283.
1954:
1952:, p. 164.
1942:
1930:
1928:, p. 163.
1918:
1916:, p. 160.
1906:
1902:Stevenson 1991
1894:
1890:Stevenson 1991
1882:
1878:Stevenson 1991
1870:
1866:Stevenson 1991
1858:
1854:Stevenson 1991
1846:
1826:
1822:Stevenson 1991
1814:
1812:, p. 158.
1797:
1793:Stevenson 1991
1785:
1781:Stevenson 1991
1773:
1769:Stevenson 1991
1761:
1750:
1741:
1732:
1701:
1692:
1690:, p. 279.
1680:
1676:Stevenson 2001
1667:
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1630:Gimell Records
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1456:Sepulto Domino
1454:
1453:Aestimatus sum
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1426:
1423:
1422:Tradiderunt me
1416:
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1404:Friday Matins
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1370:Main article:
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1242:Manum suam (5)
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1211:
1208:
1205:
1204:Sexti toni (4)
1202:
1199:
1196:
1195:Terti toni (4)
1193:
1190:
1189:Primi toni (4)
1182:
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1023:Vidi speciosam
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847:Manum suam (5)
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823:
820:
819:primi toni (8)
813:
812:
809:
806:
805:sexti toni (4)
803:
800:
797:
796:terti toni (4)
794:
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790:primi toni (4)
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395:Ávila province
382:landholdings.
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3133:Baroque music
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2390:
2385:
2384:
2381:
2374:
2373:List of works
2371:
2368:
2365:
2362:
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2353:
2349:
2346:
2342:
2339:
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2305:
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2258:
2255:
2252:
2248:
2243:
2240:
2236:
2235:
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2220:
2216:
2212:
2208:
2204:
2203:
2197:
2193:
2186:
2180:
2176:
2172:
2168:
2164:
2163:
2157:
2152:
2148:
2144:
2140:
2136:
2132:
2128:
2126:0-02-872416-X
2122:
2118:
2114:
2113:
2108:
2104:
2100:
2096:
2092:
2088:
2087:
2081:
2080:
2078:
2077:
2068:
2064:
2060:
2056:
2052:
2047:
2046:
2044:
2043:
2029:
2024:
2017:
2012:
2006:, p. 21.
2005:
2000:
1998:
1991:, p. 13.
1990:
1985:
1983:
1976:, p. 83.
1975:
1970:
1963:
1958:
1951:
1946:
1939:
1938:Kriewald 1968
1934:
1927:
1922:
1915:
1910:
1903:
1898:
1892:, p. 24.
1891:
1886:
1880:, p. 12.
1879:
1874:
1868:, p. 25.
1867:
1862:
1856:, p. 19.
1855:
1850:
1843:
1841:
1835:
1833:
1831:
1823:
1818:
1811:
1806:
1804:
1802:
1794:
1789:
1782:
1777:
1770:
1765:
1759:
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1728:
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1712:
1705:
1696:
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1668:
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1652:
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1631:
1627:
1623:
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1609:
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1566:
1550:
1532:
1514:
1496:
1471:
1468:
1465:
1464:
1455:
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1449:
1448:
1447:
1441:
1438:
1435:
1434:
1433:
1427:
1424:
1421:
1420:
1419:
1418:Friday Lauds
1413:
1410:
1407:
1406:
1405:
1399:
1396:
1393:
1392:
1391:
1385:
1382:
1379:
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1289:
1288:
1287:
1281:
1280:
1279:
1273:
1270:
1267:
1266:
1265:
1264:
1263:Holy Saturday
1257:
1254:
1251:
1250:
1249:
1248:
1241:
1238:
1235:
1234:
1233:
1232:
1220:
1217:
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1200:
1197:
1194:
1191:
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1069:
1058:
1055:
1052:
1051:
1042:
1039:
1036:
1033:
1032:
1031:
1030:Eight voices
1025:
1022:
1019:
1016:
1013:
1010:
1007:
1004:
1001:
998:
995:
992:
989:
986:
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762:
759:
756:
753:
750:
747:
744:
741:
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735:
732:
729:
726:
724:Gaudeamus (6)
723:
720:
717:
714:
711:
708:
705:
704:
698:
690:
688:
687:Empress Maria
684:
680:
679:
673:
671:
667:
663:
659:
655:
651:
650:word-painting
647:
644:
639:
635:
631:
627:
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620:
616:
612:
609:
605:
601:
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594:
590:
586:
585:Luca Marenzio
582:
577:
575:
574:
569:
565:
561:
556:
552:
550:
545:
544:Padre Martini
541:
537:
533:
526:
521:
512:
509:
505:
501:
497:
496:Empress María
494:
489:
487:
483:
479:
475:
471:
467:
462:
458:
455:
451:
447:
443:
438:
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209:
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179:
176:
174:
171:
169:
166:
164:
161:
159:
156:
154:
151:
149:
146:
145:
141:Major figures
138:
137:
129:
126:
124:
121:
119:
116:
114:
111:
109:
106:
104:
101:
99:
96:
94:
91:
90:
83:
82:
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67:
66:
65:
64:
58:
57:
54:
51:
50:
46:
42:
41:
34:
30:
19:
3131:
3124:
3095:Architecture
3029:Jacob Bathen
2746:John Dowland
2700:
2616:William Byrd
2490:Leonel Power
2347:(ChoralWiki)
2302:(1): 27–51.
2299:
2293:
2270:. New York:
2267:
2206:
2200:
2160:
2142:
2138:
2110:
2090:
2084:
2075:
2074:
2066:
2050:
2041:
2040:
2023:
2011:
1969:
1962:O'Regan 1994
1957:
1945:
1940:, p. 2.
1933:
1921:
1909:
1897:
1885:
1873:
1861:
1849:
1839:
1817:
1788:
1783:, p. 8.
1776:
1771:, p. 6.
1764:
1753:
1744:
1735:
1718:
1714:
1704:
1695:
1688:O'Regan 1994
1683:
1671:
1658:
1656:
1650:
1644:Lamentations
1643:
1636:
1621:
1615:Sacred Works
1614:
1607:
1600:
1593:
1583:
1574:
1445:
1431:
1417:
1403:
1389:
1375:
1311:
1285:
1277:
1261:
1245:
1229:
1226:Lamentations
1213:
1184:
1067:
1040:O Ildephonse
1029:
1017:Tu es Petrus
982:
954:Five voices
953:
865:Four voices
864:
827:Lamentations
814:
785:
780:
779:
767:
766:
696:
683:Requiem Mass
676:
674:
645:
626:counterpoint
623:
597:
578:
571:
559:
557:
553:
536:sacred music
529:
524:
490:
439:
428:
424:
423:
415:
404:
392:
384:
372:
368:
367:
348:
317:
313:
312:
271:
264:
232:
202:
72: /
29:
3228:1611 deaths
3223:1548 births
3085:Renaissance
3080:Early music
2976:Netherlands
2956:Elizabethan
2811:Jacopo Peri
2781:Alonso Lobo
2741:John Cooper
2603:Late (1530)
2563:Jean Mouton
2475:Jean Japart
2465:Walter Frye
2202:Early Music
2145:(1): 1–100.
2086:Early Music
1721:: 257–265.
1632:. CDGIM 022
1549:O vos omnes
1531:Amicus meus
1439:O vos omnes
1380:Amicus meus
1300:St. Matthew
1247:Good Friday
1181:Magnificats
983:Six Voices
932:O vos omnes
786:Odd / Even
549:dissonances
488:, however.
452:founded by
379:Sanchidrián
333:Renaissance
325: 1548
318:da Vittoria
221:Major forms
3273:Oratorians
3217:Categories
3110:Philosophy
3105:Literature
3073:Background
2939:Traditions
2915:Magnificat
2905:Intermedio
2849:Burgundian
2165:. Oxford:
2037:References
2016:Trend 1965
1950:Trend 1965
1926:Trend 1965
1914:Trend 1965
1810:Trend 1965
1659:Gramophone
1649:Victoria,
1635:Victoria,
1620:Victoria,
1613:Victoria,
1606:Victoria,
1599:Victoria,
1592:Victoria,
1577:media help
781:Magnificat
666:St. Mark's
658:polychoral
634:dissonance
630:homophonic
461:Palestrina
357:polyphonic
327: – c.
208:Monteverdi
188:Palestrina
93:Burgundian
3195:Biography
2925:Offertory
2854:Colorists
2716:Mannerism
2194:required)
2065:(1965) .
1727:0334-4150
1461:Sequences
1048:Canticles
1034:Ave Maria
999:Nigra sum
654:madrigals
638:intervals
589:madrigals
564:Holy Week
500:Charles V
470:plainsong
442:Philip II
168:Tinctoris
70:Composers
3146:Category
3123: ←
2986:Portugal
2910:Madrigal
2884:Venetian
2266:(1954).
2153:(2001).
1397:Una hora
1303:St. John
1295:Passions
768:Spurious
685:for the
608:Cardinal
593:Escobedo
474:Seminary
399:converso
240:Madrigal
203:Victoria
158:Ockeghem
153:Binchois
118:Venetian
103:Colorist
60:Overview
45:a series
43:Part of
3233:Cantors
3169:Portals
3136:→
2966:Germany
2946:British
2343:in the
2337:(IMSLP)
2333:at the
2324:at the
2223:3128168
2053:(PhD).
1840:Baker's
1567:(1.8Mb)
1286:Litany
1278:Lesson
681:, is a
538:in the
506:at the
493:Dowager
407:Segovia
234:Chanson
183:Zarlino
173:Josquin
163:Busnois
3156:Portal
2981:Poland
2961:France
2951:Cyprus
2930:Pavane
2724:c.1600
2278:
2249:
2221:
2181:
2123:
1725:
1624:. The
1308:Psalms
861:Motets
701:Masses
670:Venice
482:deacon
353:sacred
349:oeuvre
228:Anthem
178:Tallis
148:Du Fay
3207:Music
3100:Dance
2991:Spain
2971:Italy
2900:Carol
2879:Roman
2238:1980.
2219:JSTOR
2042:Books
1664:Notes
1586:Latin
1214:Both
1064:Hymns
815:Both
693:Works
643:motet
617:, or
515:Music
486:Italy
375:Ávila
250:Motet
193:Lasso
113:Roman
2920:Mass
2718:and
2350:The
2276:ISBN
2247:ISBN
2179:ISBN
2121:ISBN
1842:1993
1723:ISSN
583:and
446:Rome
388:city
355:and
339:and
245:Mass
198:Byrd
3090:Art
2304:doi
2211:doi
2171:doi
2095:doi
668:in
454:St.
3219::
2300:40
2298:.
2274:.
2217:.
2207:25
2205:.
2177:.
2169:.
2159:.
2143:12
2141:.
2119:.
2091:22
2089:.
1996:^
1981:^
1829:^
1800:^
1719:יא
1717:.
1713:.
1628::
689:.
672:.
613:,
576:.
551:.
322:c.
320:;
47:on
3171::
2402:e
2395:t
2388:v
2310:.
2306::
2284:.
2225:.
2213::
2187:.
2173::
2129:.
2101:.
2097::
2057:.
1729:.
1579:.
302:e
295:t
288:v
20:)
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