Abstract Almost forty years have elapsed since the Facultad Organica of Francisco Correa de Arauxo first began to appear in a complete edition transcribed into modern notation by Macario Santiago Kastner. Various writings have since appeared and have addressed important aspects of Correa's life and work; while a recent translation and study of the preface to the Facultad Organica by Jon Burnett Holland, written concurrently with and therefore not available to the present author, solves many riddles for the English-speaking reader, additional research and the careful analysis of internal evidence in the music suggest choices of performance practice which are neither as obvious nor as limited as has sometimes been supposed.
The life of Correa, spanning the period from approximately to , saw the evolution of music from the refinement of the High Resaissance to the daring and sometimes tumultuous experiments of the Early Baroque, and this is reflected in his compositional approach.
There is much that is Baroque: the florid virtuosic passage-work, the irrepressible energy of much of the music, and the concern with specific types of registration, all typical features of Baroque keyboard compositional style.
Yet Correa's musical roots lie in the sixteenth century, an era most clearly typified in Spanish music by its rather conservative sacred vocal polyphony; and Correa's relationship to these conservative musical roots shows in the linear chromaticism and inherent mysticism of certain tientos, as well as by his consistent use of modal terminology and references to the genera.
A complete translation of Correa's preface into English is followed by a discussion of his treatment of modality, particularly the seventh mode, which he appears to define more by ambitus than by finalis.
Problems of ornamentation, articulation, rhythmic alteration, and registration are then considered, with both a careful scrutiny of the internal evidence of the musical works and a consideration of Correa's historical position.
Conclusions regarding Correa's historical importance are given at the close of the text, along with appendices giving complete translations of the original lengthy titles of the tientos and a list of errors in Kastner's transcription.
Correa de Arauxo: Tiento de tiple de séptimo tono / Luis Antonio González, organ
Facultad organica. LC Call No. All Rights Reserved. Lash Dissertation.
Almost forty years have elapsed since the Facultad Organica of Francisco Correa de Arauxo first began to appear in a complete edition transcribed into modern notation by Macario Santiago Kastner.
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