Pascual Barea, Joaquín.

Separata Exlibris. Has a section dealing with music, Mudarra and Fuenllana especially. Author’s summary from http://usuarios.lycos.es/jpascualbarea/ariasquiros.htm translated into English by JG 6/10/2019:

By 1572, Benito Arias Montano writes that Juan de Quirós "was a refined poet and a chaste priest." He had been around 1546-1547 his poetry teacher in Seville, and who taught him the poetic and supernatural value of the Psalms.

Quiros had written in 1545 two laudatory epigrams inspired by Martial for the Imperial History of Pedro Mexía, dedicated to Prince Philip, and in the 1547 edition there is also an epigram and a sonnet of Montano, who since 1548 accuses a similar influence of the Bilbilitano in the epigrams written during his studies in Alcalá de Henares. Two other Latin poems by Quirós are known to us by Montano's quotes in his Rhetorica.

Montano, who considered Quirós as the best poet of Andalusia (Rhet. 3,259-260), had written a laudatory sonnet for the Christpathy (Toledo, 1552) of his teacher, to whom he will give the same Latin title as his own work on the same argument for the salvation of the human race: Humanae monumenta salutis (Rhet. 3,268).

Around the middle of the century, both composed biblical paraphrases imitating the new poetry of Boscan and Garcilaso in Italian meters. Both wrote two poems for Miguel de Fuenllana's music book in 1554, and paid great attention to Music both in his poems and singing sacred psalms and hymns or playing vihuela.

Montano was solemnly honored as a poet in the literary fair of Alcala de Henares on June 22, 1552; and his teacher, who wore the laurel wreath in a portrait printed in January of that same year, was a judge in the Hispanic fair of June 29, 1558.

In essence, the spirituality of Montano responds to the same religious conception typical of Christian humanism that encourages the Christpathy of his teacher, following the Bible as the main and almost only source of inspiration and truth. This was the common basis for reconciling all Christians within the Church, which allowed them to maintain an ecumenical doctrine and a tolerant attitude towards Protestants, based on the common goal of regenerating doctrine, spirituality and morality as to the model of primitive Christianity.

These and other coincidences between teacher and disciple, as well as the differences related to these same literary and religious attitudes, are developed in the present work.

Composer MUDARRA, FUENLLANA

Instrument VIHUELA

Century

Region SPAIN

Medium

Music genre

Research field