Carlos Patiño (1600 - 05/09/1675) was born in Cuenca 1600 and passed away in Madrid 5th of September 1675. He was a Spanish early Baroque composer. In fact Patiño worked between the late Renaissance and the early Baroque. In his youth Patiño was a choirboy at Seville Cathedral where he studied with Alonso Lobo (c.1555-1617). He married in 1622 but his wife's death unfortunately in 1625 led him to his entry into the priesthood. In March 1628 he became maestro de capilla of the Real Monasterio de la Encarnación, Madrid, where he succeeded Gabriel Díaz Bessón (1590–1638). In 1634 Patiño succeeded the South-Netherlander Mateo Romero (c.1575-1647) as maestro de capilla of the Capilla Flamenca. Patiño was the first maestro of the Capilla Flamenca - mainly conducted in generations since the foundation (in 1515) by famous South-Netherlandish composers and Maestros di Capilla - to be born in Spain. In honor of them we mention here the names of the South-Netherlanders who worked in Madrid: Marbriano de Orto (c.1465-1529), Antoine de Bergues, Adrien Thiebault dit Pickart (c.1496-1546), Nicolaas Carlier, Jacques Champion (c.1470-1535), Nicolas Gombert (c.1495–c.1560), Thomas Crecquillon (1505–c.1557), Cornelius Canis (c.1506–1562), Nicolas Payen (1512–1559), Pierre de Manchicourt (c.1510–1564), Jean de Bonmarché (c.1520/25–1570), Gerardus van Turnhout (c.1520–1580), George de la Hèle (1547–1586), Philippe Rogier (c.1561–1596), Géry de Ghersem (c.1574–1630), Mathieu Rosmarin or Mateo Romero (c.1575-1647).
In 1637 the Capilla Flamenca was merged with the Spanish Chapel Royal. In 1660 Patiños request for retirement was denied, but Patiño was provided with two assistants.
Most of his sacred works are polychoral and based on the Venetian School, especially the “In Devotione a8” is very impressive. Several of his secular works were composed for court occasions. Many sacred works were unfortunately lost – as so many others - in the Lisbon earthquake of 1755, but others survived in the New World. The sacred work of Patiño, is mostly religious and centered basically in his masses. It is organized in a big amount of pieces for the Compline, for the Office of the Dead-Officium Defunctorum, for processions and for other religious services or occasions. . In our research and investigations we saw three more Responds out of the Matins of de Dead set by Patiño. The music is not yet available but seen the importance of this composer we only mention quite the exception the three titles here: 4th Respond ad Matins of the Dead, Memento mei Deus (CCAATB+bc); Intervestibulum et altare (CATB) and 1st Respond ad Matins of the Dead, Credo quod Redemptor meus vivit (CCAAT and CATB + bc).