closing movements were combined with a middle movement for a solo voice (analogous to many English anthems).
Almost all Spanish works of this period are unpublished, the MSS.
being widely scattered. Little is therefore known generally of their value. Apparently
notable composers were few. Bare mention may be made of Sebastiano Aguilera de Heredia, choirmaster at Saragossa early in the century, with superior
magnificats (1618) still in use; Carlos Patiño (d. 1683), choirmaster
at Madrid from perhaps 1633, with many works, mostly polychoric, that are
still highly regarded; and Juan Perez Roldan (d. 1722), Patiño's successor,
also with many works (in MS.).
Portugal, on the other hand, enjoyed in the 17th century a
time of decided musical activity, beginning during the Spanish
domination (from 1580), but reaching its height after independence
was recovered in 1640. From that time to this the monarchy
has been in the hands of the House of Bragança, of which
the first king, João IV., was an eager and accomplished musician
("more musician than king," says Von Waxel). Under him
church music was cultivated with assiduity, large numbers of
works for the Catholic service were produced, and talented
composers were encouraged—none of them exerting notable
influence on general progress, but worthy of remembrance
nevertheless.
João IV. (d. 1656), besides writing theoretical treatises (1649-54), collected
an enormous musical library, probably the best in its day, including
rare MSS. from all countries, besides a comprehensive collection of Spanish
and Portuguese works up to that time. Of this a partial catalogue was prepared.
Almost exactly a century later (1755) this library was totally destroyed
in the great earthquake at Lisbon. This catastrophe doubtless wiped
out hundreds of works of which no other copies now exist, and rendered a
thorough survey of Portuguese music impossible.
Of some scores of composers whose names are known and whose works lie hidden in various cathedral archives, the following are important:—
Duarte Lobo (d. 1643), a pupil of the famous music-school of Manoel Mendes (d. 1605) at Evora, was from about 1594 choirmaster at Lisbon. He was an active teacher, with important work (1602-39) in the intricate style of Benevoli.
Manoel Cardoso (d. 1650), also trained at Evora, was choirmaster there and from 1628 at the Carmelite monastery in Lisbon. His works (1613-48) include three collections of masses.
João Lourenço Rebello (d. 1661) was the most eminent composer in the middle of the century. He left many works for large numbers of voices, also madrigals. He was the teacher of João IV.
Felipe da Magalhães studied at Evora and was court-choirmaster at Lisbon and a good teacher (works, 1635-91).
