The 2011 discovery that the substantial collection of sixteenth-century printed partbooks preserved in Madrid’s Real Conservatorio Superior de Música originally belonged to an Austrian diplomat, Wolfgang Rumpf, has opened up new perspectives on the formation of early modern music libraries. Employed by the Holy Roman Emperor Rudolf II, Rumpf was also an informant of Philip II of Spain, who rewarded him with induction into the chivalric Order of Santiago. The Order, headquartered at Uclés, received the bulk of Rumpf’s music library after his death. This article uses Rumpf’s library, and the catalogue he commissioned from the Imperial Librarian Hugo Blotius, to shed light on the music book’s place in early modern material culture, and music’s place in an expanding world of knowledge. Rumpf’s partbooks were not, in the first instance, intended for performance; they reflect instead his assiduous efforts to assemble a ‘universal library’ in which music books formed an integral part.
Resum: Aquest article s'insereix dins del conjunt d'investigacions sobre la Cort dels Habsburgs. L'estudi de les acadèmies musicals és poc conegut. A partir d'algunes investigacions sobre acadèmies literàries, l'article focalitzarà en l'acadèmia musical que Joan de Borja i Castro tenia a Madrid. En aquest sentit, si el mecenatge literari cortesà ja és un tema amb múltiples variants, l'aproximació al patrocini d'altres activitats artístiques, com el cas de la música, ho és encara més. En les següents pàgines s'aprofundirà en les diverses facetes erudites de Joan de Borja amb el fil conductor de les acadèmies, com a centre d'intel·lectualitat, de creació i promoció cultural i també personal. Per aquesta acadèmia van passar alguns dels personatges del món musical ibèric més important de l'època com Francisco Guerrero o Tomás Luis de Victoria. Aquest article pretén mostrar la importància d'aquesta acadèmia com un punt neuràlgic del mecenatge musical de les darreres dècades del segle XVI. Paraules clau: Joan de Borja, Borja, acadèmies, Habsburgs, Música, MadridAbstract: This work is part of the research on The Court of Habsburg in Modern Era. The study of music academies is not quite known. From few works on literary academies, this article will focus on the music academy that of Juan de Borja i Castro hold in Madrid. In this way, if the courtly literary patronage is already an issue with multiple variants, the approach to other artistic activities, such as the music, it is even more. In the following pages, it will delve into the various aspects of erudition of Juan de Borja with the thread of the academies, as a centre of intellectual, creative and cultural promotion and personal. Some of the most important composers of the Iberian World of that time, such as Francisco Guerrero or Tomás Luis de Victoria, were involved in this academy. The article aims to show the relevance of this cenacle as a focal point of the musical patronage in the last decades of the 16th century Spain.
Processions for the redemption of Christian captives held for ransom in the eastern Mediterranean and North Africa were of great importance for the outward expression of Christian faith during the early modern period. The city of Valencia, as a major maritime centre in the Mediterranean, mounted many of these highly symbolic processions during the sixteenth and seventeenth centuries. Two main religious orders were dedicated to freeing captives: the Mercedarians and the Trinitarians. This article considers the soundscape of this type of procession in Valencia at that time, and, in particular, analyzes the major role of confraternities based in the churches of the two orders in the realization of processions. Extant documentation of these two religious houses affords insight into the urban ceremonies occasioned by the redemption processions and offers detailed descriptions of the soundscape they created with the singing of psalms, motets, and the Te Deum laudamus. It also provides an interesting account of the dispute between Trinitarians and Mercedarians over control of ceremonial space in the urban complex—both physical and sonic—occasioned by the processions they organized.
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