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Enríquez de Valderrábano

Fantasia 08, remedando a una Magnificat de Morales, que es al primer verso y al tercero

 

Silva de sirenas (1547), fol. 67v

va095

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Source title Esta fantasia va remedando a vna magnificat de Morales y es al primer verso y al tercero. Primero tono. Segundo grado.
Title in contents   Fantasia en el tercero grado remedando a vnos versos de vna magnificat de Morales.
Text incipit


Music

Category abstract

Genre fantasia

Fantasia type Par

Mode 1

Voices 4

Length (compases) 115

Vihuela

Tuning G

Courses 6

Final VI/0

Highest I/9

Lowest VI/0

Difficulty medium

Tempo medium

Song Text

Language

Vocal notation

Commentary

Rubric: “This fantasia recalls a Magnificat by Morales, which is the first verse and the third”.

Parody fantasia, based on the 1st and 3rd verses of a Magnificat by Morales that survives in E-Vc Ms 5, and incomplete in E- Tc18, fols 38˅-39. Valderrábano borrows heavily from the v.1 Anima mea and only in passing from v.3 Quia Respexit: (see table below).

The Magnificat verses used in this piece were identified and analysed by Griffiths (griffiths1983, 273-275) from the incomplete Magnificat in E-Tc, Cristina Diego Pacheco found a complete version of this Magnificat in E-Vc Ms 5 and transcribed it in her dissertation (diego2005) as Magnificat 5. She recognised the relationship with Valderrábano’s work, but did not see the clarity of the relationship between the model and fantasia (diego2005, vol. 2, pp. 353-354). She asserts “L’imagination créative de Valderrábano fait en sorte que la Magnificat soit reconnaissable mais non pas comparable au modèle vocale. En effet, les différences d’écriture entre les deux oeuvres sont telles qu’il faudrait parler des deux versions distinctes, et ce n’est point un hasard si Valderrábano intitule son oeuvre ‘fantasia’”. (Valderrábano's creative imagination makes the Magnificat recognisable but not comparable to the vocal model. In effect, the differences in writing between the two works are such that one would have to call them two distinct versions, and it is no coincidence that Valderrábano calls his work 'fantasia'. Kreitner subsequently identified the same work (kreitner2007) and gives the complete surviving version of this Magnificat as “Magnificat beta”, with a transcription from E-Vc, Ms 5.

Recordings
Song Text

Intabulations
Modern edition(s)

Griffiths, John. “The Vihuela Fantasia: A Comparative Study of Forms and Styles”. Ph.D. diss., Monash University, 1983.

Diego Pacheco, Cristina. “Un nouvel apport à l’étude de la musique espagnol de la renaissance: le manuscrit 5 de la cathédrale de Valladolid et son contexte.” PhD diss. Université de Paris IV-Sorbonne, 2005.

Kreitner, Kenneth. “Two Early Morales Magnificat Settings”. Cristóbal de Morales, ed. Owen Rees and Bernadette Nelson. Woodbridge: Boydell, 2007: 21-61.

Printed source(s)
Manuscripts

[Valladolid] Valladolid, Catedral, Archivo de Música, MS 5.

E-Tc 18 Toledo, Biblioteca Capitular, MS 18.