This collection of essays was conceived as an homage to Bruno Turner who has done so much to promote knowledge of sacred music of the Golden Age Iberian world. As choral director, editor and broadcaster, Turner brought this music to the attention of the wider musical public and made it available to choirs all over the world through his specialized publishing firm, Mapa Mundi. Scholars of Iberian sacred music are equally indebted to him for his research, especially on sources, plainchant and liturgy of the Iberian Peninsula and the New World; indeed, he can be considered the eminence grise of musicology in this field.

The essays by seventeen scholars, all of whom have been influenced by and are indebted to his life’s work, bring together the latest research and thinking on wide-ranging aspects of sacred music by Iberian and Hispanic American composers in three main areas: sources and repertories; music and liturgy; motets and musical tributes. These contributions, which enrich and deepen current knowledge of Iberian music of the sixteenth and seventeenth centuries, are framed by a Prelude by the composer Ivan Moody and a Postlude that takes the form of an interview between Turner and the writer, critic and translator Luis Gago.

CONTENTS

Introduction · Tess Knighton: A Heart of Pure Gold

Prelude · Ivan Moody: Ayo visto lo Mappamundi: Working with Bruno Turner

Sources and repertories · Michael Noone: A Sixteenth-Century Manuscript Choirbook of Polyphony for Vespers at Toledo Cathedral by Andrés de Torrentes (c. 1510-80) — João Pedro d’Alvarenga: Manuscripts Oporto, Biblioteca Pública Municipal, MM 40 and MM 76-79: Their Origin, Date, Repertories and Context — Juan Ruiz Jiménez: The Unica in MS 975 of the Manuel de Falla Library: A Music Book for Wind Band — Douglas Kirk: A Tale of Two Queens, Their Music Books and the Village of Lerma — Juan Carlos Asensio: The Vicissitudes of Some Printed Fragments of Polyphony — Noel O’Regan: Music Prints by Cristóbal de Morales and Tomás Luis de Victoria in Surviving Roman Inventories and Archival Records

Music and liturgy · Greta Olson: Two Post-Tridentine Lamentation Chants in Eastern Spain — Michael B. O’Connor: Juan de Esquivel’s ‘Ave Maris Stella’ (a 4): Observations on the Spanish Polyphonic Hymn Repertory — Bernadette Nelson: A Polyphonic Hymn Cycle in Coimbra — Eva Esteve: Performance Contexts for the Magnificat in the Iberian Peninsula in the Sixteenth Century — Owen Rees: ‘Jesu Redemptor’: Polyphonic Funerary Litanies in Portugal — Tess Knighton: Music for the Dead: An Early Sixteenth-Century Anonymous Requiem Mass

Motets and musical tributes · Kenneth Kreitner: Peñalosa, ‘Precor te’, and Us — Martin Ham: ‘Rex autem’: Another Iberian Lament in Rhau’s Symphoniae jucundae? — Cristina Diego Pacheco: Unedited Motets by a Little Known Composer: Alonso Ordóñez — Emilio Ros-Fábregas: A Sixteenth-Century Ostinato Motet for Barcelona’s Patroness Saint Eulalia — Robert Stevenson: Musical Tributes to an Attributed Apparition of the Virgin in Spain and in Mexico

Postlude · Luis Gago: Pure Passion: A Conversation with Bruno Turner