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Aldomar, Pedro Juan [Pere Joan]locked

  • Isabel Pope
  • , revised by Tess Knighton

(fl 1506–9). Iberian composer. A native of Barcelona, he became maestro de capilla at the cathedral there on 19 January 1506. By 1 March 1508 he was appointed singer in the Aragonese royal chapel of Ferdinand V. He appears to have stayed there less than six months and in summer 1509 he succeeded the theorist Juan de Espinosa as ‘master of music’ at Toledo Cathedral; he held this position for only about a year, after which his name disappears from the records. Three villancicos by him appear in the Cancionero Musical de Palacio. It is interesting that these songs are copied in close proximity to two pieces by Pedro de Lagarto, another composer active at Toledo Cathedral. At least one of Aldomar's songs, ¡Ha Pelayo, qué desmayo!, enjoyed considerable popularity: a four-voice version is found in a collection printed in Venice in 1556. His song style is typical of that of the villancico in about 1500: melodious and essentially chordal in texture.

Works

En las sierras donde vengo, 3vv, ed. in MME, x (1951), no.252

¡Ha Pelayo, qué desmayo!, 3vv, ed. in MME, v (1947), no.89 (4-voice version in 1556³0)

Di pastorico, pues vienes, 3vv, E-Bbc 454

Si mi señora m’olvida, 3vv, ed. in MME, x (1951), no.297

Bibliography

  • R. Mitjana and J. Bal y Gay, eds.: Cancionero de Upsala (Mexico City, 1944)
  • J.M. Gregori i Cifré: ‘Els mestres de cant de la seu de Barcelona en la Renaixement’, Recerca Musicològica, 4 (1984), 19–79
  • T. Knighton: Music and Musicians at the Court of Fernando of Aragon, 1474–1516 (diss., U. of Cambridge, 1984)
  • F. Reynaud: La polyphonie tolédane et son milieu: des premiers témoignages aux environs de 1600 (Paris, 1996)
R. Stevenson: Spanish Music in the Age of Columbus (The Hague, 1960/R)
Barcelona, Biblioteca de Catalunya, Seccíon de Música
[flourished]