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Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Francisco Correa de Arauxo: how little does the name evoke for most
musicians? Yet, this composer wrote music equal in interest and
beauty to that of such better-known composers of his time as Bull,
Titelouze, Gibbons, Sweelinck, and Frescobaldi. Unfortunately,
Correa's music was published in a notation which, though excellent,
was little-known beyond Spain. Only within the last twenty years
has a complete -though regrettably deficient - edition of Correa's
music become available. Cabezon, Correa de Arauxo's most
significant immediate predecessor on the Hispanic musical scene (at
least among keyboard composers whose music survives to any extent),
figures among the greatest and most influential Renaissance
composers. In Cabezon's works, the ricer- car (known as tiento in
Spain) and variations forms reached full de- velopment. Manuel
Rodrigues Coelho, Correa's Portuguese contemporary, al- though
working well into the seventeenth century, did not venture beyond
the formal boundaries established by Cabezon. On the other hand, a
number of late sixteenth-century Spanish composers - Francisco
Peraza, and others whose works seem irretriev- ably lost -
apparently were writing music that incorporated into the
contrapuntal flow of the tiento toccata-like episodes. The result,
for- mally, was similar in many respects to toccatas of
late-Renaissance Italy. Formal sectionality also appears in the
late sixteenth-century Italian ricercar, particularly in those
known as canzone francese. This formal trait is present in music by
composers of Naples, then under Spanish dominion, and Venice.
Correa could not have been working in cultural semi-isolation.
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