Obras

Información de la obra y contexto de creación

Conditor alme siderum by Gracia Baptista, appears in the Libro de cifra nueva, for keyboard, harp and vihuela, by Luis Venegas de Henestrosa, f. 56v) published in Alcalá de Henares in 1557. In this way, it becomes the first work by a female composer published in the Iberian Peninsula and in Europe. The works of Maddalena Casulana (1540-1590) do not appear published until 1566.

Other organists or key players (and presumably composers) from the 16th century, in the Iberian Peninsula, are Paula Vicente (key player for Queen Doña Catalina, wife of Joao III, in the Kingdom of Portugal), Antonia Pabon (wife of the organist Cipriano de Soto and keyboard player of Princess Juana of Austria, daughter of Carlos I and Isabel of Portugal), Blasina de Mendoza (nun Clarissa, mother of the organist Francisco Peraza II, mentioned as "great keyboard music" ), Bernardina Clavijo del Castillo (Dominican nun, daughter of the organist Bernardo Clavijo), Fátima de Rami (probable organ maker of the Zaragoza workshop, with her husband Mahoma Moférriz Jr.) and Sor Luisa de la Ascención (granddaughter of Antonio de Cabezón). As explained in the biography, it must have been customary for nuns who knew how to play keyboard instruments to accompany the office songs themselves in their convents and monasteries, and surely they also composed pieces for this purpose.

Gracia lived in Ávila, which is why it is speculated whether she could have been related to Santa Teresa de Jesús (1515-1582).

As successors of this compositional activity and interpretation with keyboard instruments, the French Elisabeth-Claude Jacquet de la Guerre in the Baroque stands out. In later historical periods, his legacy was continued by a multitude of brilliant composers and pianists, among whom we can highlight figures such as Clara Schumann and Fanny Mendelssohn in the 19th century, or Nadia and Lili Boulanger already in the 19th century. xx.

Indicaciones

It is a recopilation of the cantus firmus of the Advent hymn Conditor alme siderum/aeterna lux credentium for three voices, in which the Renaissance contrapuntal principles are revealed. This work can be used in Secondary Education to explain the procedure for creating polyphonic works starting from a pre-existing melody, normally a Gregorian chant. This theme can be introduced both at the end of the Middle Ages and in the musical Renaissance. One can also comment on the importance of convents and monasteries as spaces for musical creation, both by monks and nuns, as is the case of Gracia Baptista.

Gregorian melody, It could also be used in the initial courses of piano, guitar, Renaissance lute, harpsichord, etc.

At the University, in Teacher Training, in those subjects with competences in Music

Documentos