Escobar, Pedro de

Other names

Scobar, Escouar

Dates

doc. 1507-1513/14

Notes

Of probable Portuguese origin, he was in Portugal in May 1507, when he was invited to take the post of chapelmaster and master of the choirboys at Seville Cathedral. He disappears from the records at the cathedral in the early months of 1514, with no indication that he had died. Ruiz Jiménez (2007) and especially Villanueva Serrano (2011) provided evidence to refute Stevenson's hypothesis (1960) that Pedro de Escobar and Pedro do Porto could be the same individual. Knighton (2019) suggests possible connections between Escobar and Juan del Encina and Garci Sánchez de Badajoz, and also that Escobar might have left Seville out of personal issues.

Bibliography

Knighton, Tess, “The Polyphonic Songs Attributed to Pedro de Escobar”, Portuguese Journal of Musicology, new series, 6/1 (2019), 183-210 <http://rpm-ns.pt/index.php/rpm/article/view/365>

Ruiz Jiménez, Juan, “‘The Sounds of the Hollow Mountain’: Musical Tradition and Innovation in Seville Cathedral in the Early Renaissance”, Early Music History, 29 (2010), 189-239, at 234

Ruiz Jiménez, Juan, La librería de canto de órgano: Creación y pervivencia del repertorio del Renacimiento en la actividad musical de la Catedral de Sevilla (Sevilla: Junta de Andalucía, Consejería de Cultura, 2007), pp. 84-88

Stevenson, Robert, “Pedro de Escobar: Earliest Portuguese Composer in New World Colonial Music”, Inter-American Music Review, 11/1 (1990), 3-24

Stevenson, Robert, Spanish Music in the Age of Columbus (The Hague: Martinus Nijhoff, 1960), pp. 167-74

Villanueva Serrano, Francesc, “La identificación de Pedro de Escobar con Pedro do Porto: una revisión definitiva a la luz de nuevos datos”, Revista de Musicología, 34/1 (2011), 37-58

External references

BHP

GroveMO

Works in this database

Clamabat autem mulier

Memorare piissima

O Maria, mater pia

Stabat mater

Sub tuum praesidium