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在 Zen Virtual Piano 探索 Cristóbal De Morales 的钢琴琴谱。 There is no doubt that Morales was born in Seville, yet the date of his birth and the details of his early musical training are not recorded. Of his family, all that is known is a sister and a father who died before her 1530 wedding. Josquin was a particular influence, and even Morales's masses built on plainsong refer often and subtly to that great Franco-Flemish master. A composer whose birth date and teachers are not recorded, yet whose music keeps referring to Josquin, suggests that his training can be read mainly through the scores he left. He was chapelmaster at Plasencia cathedral from 1527 to 1529. His entry into the Papal Choir in Rome as a singer, in 1535, fell on the very day Pope Paul III hired Michelangelo to paint the Sistine Chapel wall. Two books printed in Rome by Valerio and Luigi Dorico in 1544 contained no fewer than sixteen of his masses. A Spanish singer joining the papal choir in the same year as a famous commission places his career within Rome's grand musical and artistic setting. Rome offered many advantages, yet in 1545 he went back to Spain as maestro de capilla at Toledo cathedral. Two years later he departed, spent a time at Marchena serving the duke of Arcos, and in 1551 took the maestro de capilla post at Málaga. He appears to have been a difficult man, conscious of his exceptional gift, who drove his singers hard and put off his employers. A move home from Rome and a string of posts held for short spells hints at a career marked by restlessness and by friction with those who employed him. No Spanish composer before him had written magnificats in all eight church modes, and these pieces, widely reprinted, were the most popular of his works in the sixteenth century. His late style is sober and heavily homophonic, though he was always a careful craftsman who held the expression and clarity of the text to be the highest artistic aim. A Requiem mass, the Missa pro defunctis, is also his; how it was transmitted and how unfinished its editing looks suggest it could be his last work. After he died his reputation kept rising, and his music reached cathedrals as distant as Cuzco in Peru. A craftsman who put the clarity of the text first, and whose Requiem may have been his last piece, hints at a composer who simplified his style toward the end of his life.
在 Zen Virtual Piano 探索 Cristóbal De Morales 的钢琴琴谱。
There is no doubt that Morales was born in Seville, yet the date of his birth and the details of his early musical training are not recorded. Of his family, all that is known is a sister and a father who died before her 1530 wedding. Josquin was a particular influence, and even Morales's masses built on plainsong refer often and subtly to that great Franco-Flemish master. A composer whose birth date and teachers are not recorded, yet whose music keeps referring to Josquin, suggests that his training can be read mainly through the scores he left.
He was chapelmaster at Plasencia cathedral from 1527 to 1529. His entry into the Papal Choir in Rome as a singer, in 1535, fell on the very day Pope Paul III hired Michelangelo to paint the Sistine Chapel wall. Two books printed in Rome by Valerio and Luigi Dorico in 1544 contained no fewer than sixteen of his masses. A Spanish singer joining the papal choir in the same year as a famous commission places his career within Rome's grand musical and artistic setting.
Rome offered many advantages, yet in 1545 he went back to Spain as maestro de capilla at Toledo cathedral. Two years later he departed, spent a time at Marchena serving the duke of Arcos, and in 1551 took the maestro de capilla post at Málaga. He appears to have been a difficult man, conscious of his exceptional gift, who drove his singers hard and put off his employers. A move home from Rome and a string of posts held for short spells hints at a career marked by restlessness and by friction with those who employed him.
No Spanish composer before him had written magnificats in all eight church modes, and these pieces, widely reprinted, were the most popular of his works in the sixteenth century. His late style is sober and heavily homophonic, though he was always a careful craftsman who held the expression and clarity of the text to be the highest artistic aim. A Requiem mass, the Missa pro defunctis, is also his; how it was transmitted and how unfinished its editing looks suggest it could be his last work. After he died his reputation kept rising, and his music reached cathedrals as distant as Cuzco in Peru. A craftsman who put the clarity of the text first, and whose Requiem may have been his last piece, hints at a composer who simplified his style toward the end of his life.
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