Album insights
Francisco de Peñalosa, born around 1470 in Talavera de la Reina near Madrid, was fortunate to coincide his career as a composer and singer with Spain's Golden Age. This era marked significant events like the conquest of Granada, the expulsion of the Moors, the discovery of the New World, and Spain's rise as a dominant power in the 16th century. Under the influence of the international "Flemish" style, Spanish composers flourished, and Peñalosa stood out as one of the greatest of his time, preceding Morales.
Peñalosa's musical journey began with his role as a singer for King Ferdinand's church in 1498. By 1511, he became the maestro de música for Ferdinand's grandson. Despite facing challenges due to his absences, notably during a Rome visit from 1517 to approximately 1525, Peñalosa maintained his ties with the Seville Cathedral. Upon his return in 1525, he became the cathedral's treasurer until his passing in 1528, buried in the La Virgen de la Antigua chapel near Guerrero's tomb.
His religious compositions span various forms and were likely composed over two decades. While his style incorporated diverse techniques, Peñalosa's pieces were simpler compared to his Franco-Flemish counterparts. Notable for his expressive cadences, his music displayed a unique strength and individuality amidst influences from Josquin Des Prez.
Peñalosa's masses drew inspiration from secular models, evident in works like the Missa L'Homme armé and the Missa Nunca fue pena mayor. The latter, possibly designed to be a "short" mass due to its structure, intricately wove elements of Urrede's villancico throughout its composition.
In Peñalosa's Missa Ave Maria peregrina, he integrated components of Cantus Planus Ave Maria and Salve Regina, showcasing a rich tapestry of melodies and counterpoints. The engagement with Urrede’s villancico material in his Mass reflects a tribute to the Virgin Mary, symbolically aligning his compositions with themes of love and devotion.
Lastly, Peñalosa’s interplay with Urrede’s villancico extends to unique textures, highlighted in pieces such as Kyrie I and Sanctus, where he skillfully intertwines the villancico’s melodic themes within intricate polyphonic arrangements, creating distinct and captivating musical expressions.