A  B  C  D  E  F  G  H  I  J  K  L  M  N  O  P  Q  R  S  T  U  V  W  X  Y  Z 
Carlos Patino
1600 - 1675
Spain
No picture
C. Patiño
Carlos Patiño 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).
Author:Wim Goossens
Peccantem me Quotidie
Period:Baroque
Musical form:Motet à 6 vocibus inaequalibus
Text/libretto:Latin from Responsorium de Officium Defunctorum
Duration:4'30
The plainchant Peccantem me Quotidie is an old Responsorium/Respond form Matins of the Dead and is published in the Liber Usualis (ed. 1936 page 1797) after Lectio VII/Lesson VII. The plainchant Peccantem me quotidie is an old Respond more specific the 7th respond at Matins of the Dead. There are about 138 Responsoria known used during centuries in the Office of the Dead and the use vary per region. This motet Peccantem me Quotidie is written by Patiño for six voces CCAATB in a polyphonic counterpoint style.
Patiño uses the general used Respond text but he omitted the belonging Versicle “Deus in nomine tuo”. This motet is set by Patiño in the old counterpoint style added with some lively baroque rhythmic elements. Patiño starts with imitative polyphonic style with two themes. Cantus I, Cantus II and Tenor starts with the same theme like the other parts do with another theme. Cantus I starts followed by Altus I, Tenor, Altus II, Bassus and Altus II. Patiño uses some dissonances and Baroque elements to express his feeling to the text . From bar 35 `Timor mortis` starts with in all following parts the same musical figure based on a semitone e-f-e sometimes repeated with b-c-b. Patiño uses word painting in the words “Miserere mei” in homophonic style ( Bar 66-69, with four parts CI,CII,AII,T) to underline the importance of that text. This motet is closed with a pleading `et salva me, save me´. This total motet consists out of 89 bars and this splendid setting ends in full A. We examined the manuscript with the text `Motete de difuntos`. There are multiple errors in that manuscript. This motet is found in undated sources at Biblioteca nacional de España.
Author:Wim Goossens
Text:
R. Peccantem me quotidie et non penitentem,
Timor mortis conturbat me.
Quia in inferno nulla est redemptio.
Miserere mei, Deus, et salva me.

Translation:
R. Every day I sin and I am impenitent.
The fear of death troubles me:
For in hell there is no redemption.
Have mercy upon me, O God, and save me.
Contributor:Wim Goossens