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| Latest update: | 06-04-2024 |
Juan García de Basurto
1477 - 1547
Spain
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| J. Garcia de Basurto |
Juan García de Basurto (1477 - 10/1547) was a Spanish composer and cantor of the Cathedral of Tarazona; born in Calahorra / diocese, Spain. He was active at the time the Flemish Chapel included Pierre de Manchicourt and Philippe Rogier. Garcia de Basurto first appears as a singer heard during the Holy Week festivities April 1517.
| Source: | http://en.wikipedia.org/wiki/Juan_Garc%C3%ADa_de_Basurto |
Juan Garcia de Basurto (c.1480 - 10/1547), a Spanish composer and maestro of the chapel in 1543, who had worked before in the Pillar of Zaragoza. He died four years later and was succeeded by Pedro de Pastrana, who was chaplain of the Emperor from 1527.
| Author: | Pepe Rey |
If we put together the names of composers that were at some time or other in the direct service of Philip II, we will find the Spaniards Juan García de Basurto and Pedro de Pastrana, as well as the Flemish Pierre de Manchicourt and Philippe Rogier.
| Author: | Pepe Rey |
Missa in agendis mortuorum
| Period: | Early Renaissance |
| Composed in: | 1525c |
| Musical form: | mass |
| Text/libretto: | Latin mass |
This requiem is mentioned in:
Russell E., The Missa in agendis mortuorum of Juan García de Basurto: Johannes Ockeghem, Antoine Brumel, and an Early Spanish Polyphonic Requiem Mass. "TVNM" (29) 1979, p. 1–37
Russell E., The Missa in agendis mortuorum of Juan García de Basurto: Johannes Ockeghem, Antoine Brumel, and an Early Spanish Polyphonic Requiem Mass. "TVNM" (29) 1979, p. 1–37
It has been noted in the recent literature that the scribe who copied Ockeghem's requiem mass into the Chigi Codex left blank openings after the offertory, possibly to accommodate a 'Sanctus', an 'Agnus Dei', and a 'communion', none of which was subsequently entered in the manuscript. No other Mass for the Dead surviving from the period lacks these three movements.
Since it is inconceivable that any liturgical service at which the Requiem was sung would have concluded with the offertory, several commentators (including this one) have assumed that either Ockeghem's 'Sanctus', 'Agnus Dei', and 'communion' were somehow unavailable to the scribe of the Chigi Codex and are now lost, or else the composer meant for them to be sung in plainchant. However, the style of Ockeghem's Requiem, as well as that of other Masses for the Dead composed not long afterwards, suggests alternative possibilities. Stylistic traits found in the so-called Missa in agendis mortuorum, for example, a compilation of movements for the requiem mass assembled by the Spanish musician Juan García de Basurto that includes the opening duo of the tract of Ockeghem's Requiem, tend to support such inferences.
Since it is inconceivable that any liturgical service at which the Requiem was sung would have concluded with the offertory, several commentators (including this one) have assumed that either Ockeghem's 'Sanctus', 'Agnus Dei', and 'communion' were somehow unavailable to the scribe of the Chigi Codex and are now lost, or else the composer meant for them to be sung in plainchant. However, the style of Ockeghem's Requiem, as well as that of other Masses for the Dead composed not long afterwards, suggests alternative possibilities. Stylistic traits found in the so-called Missa in agendis mortuorum, for example, a compilation of movements for the requiem mass assembled by the Spanish musician Juan García de Basurto that includes the opening duo of the tract of Ockeghem's Requiem, tend to support such inferences.
| Author: | Richard Wexler |
NB. In the above mentioned source Basurto is called as the compiler of the Missa in agendis mortuorum. However, being a composer it is very likely that he contributed to this mass.
The requiem ascribed to Basurto is a composite work, incorporating movements from the settings by Ockeghem and Brumel; but it is unclear precisely which movements (if any) originate with Basurto himself.
| Author: | Steven Chang-Lin Yu |