Alonso Mudarra (c. 1510 – April 1, 1580) was a Spanish composer and vihueli… Read Full Bio ↴Alonso Mudarra (c. 1510 – April 1, 1580) was a Spanish composer and vihuelist of the Renaissance. He was an innovative composer of instrumental music as well as songs, and was the composer of the earliest surviving music for the guitar.
The place of his birth is not recorded, but he grew up in Guadalajara, and probably received his musical training there. He probably went to Italy in 1529 with Charles V, in the company of the fourth duke of the Infantado, Íñigo López de Mendoza, marqués de Santillana. When he returned to Spain he became a priest, receiving the post of canon at the cathedral in Seville in 1546, where he remained for the rest of his life. While at the cathedral, he directed all of the musical activities; many records remain of his musical activities there, which included hiring instrumentalists, buying and assembling a new organ, and working closely with composer Francisco Guerrero for various festivities. Mudarra died in Seville, and his sizable fortune was distributed to the poor of the city according to his will.
Mudarra wrote numerous pieces for the vihuela and the four-course guitar, all contained in the collection Tres libros de musica en cifras para vihuela, which he published on December 7, 1546 in Seville. These three books contain the first music ever published for the four-course guitar, which was then a relatively new instrument. The second book is noteworthy in that it contains eight multi-movement works, all arranged by "tono", or mode.
Compositions represented in this publication include fantasias, variations (including a set on La Folia), tientos, pavanes and galliards, and songs. Modern listeners are probably most familiar with his Fantasia X, which has been a concert and recording mainstay for many years. The songs are in Latin, Spanish and Italian, and include romances, canciones, villancicos, and sonnets. Another innovation he used was separate signs for different tempos: slow, medium, and fast.
The place of his birth is not recorded, but he grew up in Guadalajara, and probably received his musical training there. He probably went to Italy in 1529 with Charles V, in the company of the fourth duke of the Infantado, Íñigo López de Mendoza, marqués de Santillana. When he returned to Spain he became a priest, receiving the post of canon at the cathedral in Seville in 1546, where he remained for the rest of his life. While at the cathedral, he directed all of the musical activities; many records remain of his musical activities there, which included hiring instrumentalists, buying and assembling a new organ, and working closely with composer Francisco Guerrero for various festivities. Mudarra died in Seville, and his sizable fortune was distributed to the poor of the city according to his will.
Mudarra wrote numerous pieces for the vihuela and the four-course guitar, all contained in the collection Tres libros de musica en cifras para vihuela, which he published on December 7, 1546 in Seville. These three books contain the first music ever published for the four-course guitar, which was then a relatively new instrument. The second book is noteworthy in that it contains eight multi-movement works, all arranged by "tono", or mode.
Compositions represented in this publication include fantasias, variations (including a set on La Folia), tientos, pavanes and galliards, and songs. Modern listeners are probably most familiar with his Fantasia X, which has been a concert and recording mainstay for many years. The songs are in Latin, Spanish and Italian, and include romances, canciones, villancicos, and sonnets. Another innovation he used was separate signs for different tempos: slow, medium, and fast.
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Fantasia X
Alonso Mudarra Lyrics
No lyrics text found for this track.
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
@albertomacaya1663
Gorgeous interpretation. The phrasing is rather expressive but always under fine control, the notes been played with remarkable sensibility and beautiful timbre so the whole melody flows naturally with subtle elegance, singing delicately and sweetly like telling an ancestral story,... that you want to hear again and again. Lovely piece. BEAUTIFUL PERFORMANCE, BRAVO.
@ArnavSingh-ce4cq
About the phrasing -- I 100 percent agree. Towards the beginning, when the notes slowly dissolve into an appregio, (I just know that I spelled that wrong) it sounds both expressive and controlled.
@blackdogxx
I had a lump in my throat hearing this man's interpretation of this well known piece. It is so dreamy and clean that it awakens the melody.
@carlossantana8207
Una de las mejores interpretaciones que he escuchado de esta pieza. Excelente!!
@Raldonado
Estoy de acuerdo: excelente interpretación y sonido.
@michaelgorman6214
Very beautiful rendition. Your trills (0:14, 0:37, & 0:56) add a nice touch, not overdone at all. Your arpeggios (1:06 & 1:53) remind me not to quit my day job.
@RobertoMartinez-kv5tp
Muy buena interpretación 👍
@rareword
A true musician. Excellent interpretation.
@equisoide
After watching several videos on Youtube I think nothing compares to this interpretation, it was legendary played.
@LeonardoRozasVillegas
Gorgeous rendition, Fernando! It's quite interesting to realize that you don't use the 3rd string tuned to F# but you left it in its modern tuning of G. I think that's the key to the campanella fingerings you use. I think those fingerings emphasize the "harp effect" of this piece, hence producing an amazing result. Bravo!