Ferdinand V. Francisco de Peñalosa was probably born around 1470 in Talavera de la Reina, near Madrid – an era that coincided with Spain's rise to world power and the conquest of Granada. During the Golden Age, the Spanish musical scene flourished under the influence of the International Flemish style, and Peñalosa was considered one of the most important composers before Morales.[2]
The earliest record of Peñalosa's work dates from May 11, 1498, when he was employed as a singer in the chapel of Ferdinand V of Aragon. From 1511, he worked for the king's grandson and remained in this position until Ferdinand's death. His stays in Rome and his long-standing association with Seville Cathedral were marked by recurring difficulties, but these conflicts did not impede his musical productivity. Despite papal support, disputes repeatedly arose in Seville, but these did not hinder his artistic development.[2]
Peñalosa primarily composed sacred music, which adopted the standard forms of his time and distinguished itself through a clear, expressive style. The influence of Josquin Des Prez is particularly striking, reflected in the originality and versatility of his works. His masses are mostly based on secular models and exhibit remarkable expressiveness. In addition to his compositional work at the Aragonese court, Peñalosa was also active as a singer in Rome.[2]
With the mass Ave Maria peregrina, Peñalosa combined the Cantus Planus Ave Maria and the Salve Regina into a compelling unity. The clarity and independence of his compositions lend his work a distinctive musical identity. Furthermore, the inclusion of villancico motifs demonstrated his compositional sophistication and creativity.
As an outstanding representative of Renaissance music, Peñalosa left behind a body of work that continues to fascinate with its sonic diversity and artistic ambition.