Cristobal de Morales, composer, biography, discography

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	Cristobal de Morales





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Morales, Cristobal de


	CRISTOBAL DE MORALES

By Michael Noone

«No Spanish composer of the sixteenth century», proclaims the distinguished North American music scholar Robert Stevenson, «was more lauded during his lifetime and for two hundred years after his death than Morales.» To the music theorist Juan Bermudo (c. 1510-c. 1565), and later the composer Juan Vasquez (c. 1510-c. 1560), Morales stood as nothing less than «the light of Spain in music» [«la luz de España en la música»]. Martín de Tapia (fl. 1559-1570) dubbed him «the singular and most celebrated Cristóbal de Morales, [«el singular y muy celebrado Christóbal de Morales»] while Pedro Cerone (1566-1625) listed him among a compositional élite whom he advised all others to emulate. Indeed, such composers as the Sevillian Francisco Guerrero (1528-1599) and the Toledan Diego Ortiz (c. 1510-c. 1570) eagerly acknowledged their indebtedness to Morales in print. Among Italian theorists, Morales’s works were cited and admired by Ludovico Zacconi, Francesco Doni, Artusi, Baccusi, De Grandis, Bonini and Pietro Cerone and in Portugal by Antonio Fernandes, João Álvarez Frouvo and Manuel Nunes da Silva. Pedro Thalesio had no hesitation in naming Morales «Prince among musicians of his age». In his Declaración de instrumentos musicales (1555), the music theorist Juan Bermudo suggested that only the most advanced students of music should attempt to intabulate or arrange the music of Morales for their instruments because of its complexity:

In the masses of the eminent composer Cristóbal de Morales you will find much music to arrange for your instrument, with so many and with such good qualities that not even I could presume to explain them adequately. Whoever applies himself to this music will be rewarded with wisdom, and will become devoted to it. Few are the composers you will find who observe the subtleties of the text. But among those few, the author mentioned above is numbered.

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