Miguel de Aguilar
Miguel de Aguilar
Genres: spanish, 17th century
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About Miguel de Aguilar
Miguel (de) Aguilar (Valderrobres, c. 1612 -? ; fl. 1635-1644) was a Spanish chapel master. There is very little known about his life. Before his master's degree in Daroca, it seems that in 1622 he was an infant of the choir in La Seo de Zaragoza. In Daroca he succeeded in the position of chapel master to Íñigo F. Camargo, occupying the master's degree since June 1635. At that time he is already mentioned as a "licensee." During his stay at the Collegiate of the Sacred Corporals he coincided with Pablo Bruna, "the Blind of Daroca", undoubtedly one of the great organists and composers of Spanish music of the 17th century, master of masters. On July 1, 1635 he received the inventory of the organ singing books of the collegiate church of Daroca, Inventory of the organ singing books, inserted in a section of the Inventory of lascosas of the factory of the Major Church of Our Lady of Corporals of the City of Daroca [...] of 1603. The fact shows that Aguilar came to know the works of authors included in the inventory, among which Spanish, Portuguese, Italian and Franco-Flemish composers are mentioned, such as Pedro de Escobar, Jean Richafort, Jacquet de Mantua, Cristóbal de Morales, Vicente Lusitano, Melchor Robledo, Giovanni Pierluigi da Palestrina, Francisco Guerrero, Tomás Luis. In September 1636, after the third disappearance of maestro Mateo Calvete, the dean of the Cathedral of Huesca commissioned the first organist Bartolomé Ximénez to write to the master of Daroca, Miguel de Aguilar at the time, and the cornet of the Collegiate Church of Calatayud to offer them a place in the metropolitan area. Aguilar accepted and was appointed chapel master on October 17 of that same year. On November 4, the chapter acts mention that Aguilar had permission "to go to his land to bring his house and his dishes for twenty days." In November 1636, just a month after his arrival in Huesca, he applied for the oppositions for the master's degree of La Seo de Zaragoza, which had become vacant due to the death of Gaspar Cueto.2 The council of Zaragoza had taken a year to seek to occupy the position of master of chapel for unknown reasons. It is not known how the responsibilities were carried out during this time, but the chapel seems to have worked well enough. The edicts were published on September 22, 1636, in which they gave time until November for the musicians to present themselves, and three examiners were defined, Francisco Salazar, Jusepe Ximénez and the chapel master of El Pilar. The oppositions lasted seven days, until November 26, 1636, when the result was announced. Since 1635, the cathedral of Huesca was facing a severe crisis, which led to the places of dismissed ministers being vacant and occasionally occupied with musicians passing through the city. Little by little the situation improved and by 1640 the positions of the chapel had doubled. Master Aguilar is known as a chapel master of the Pilar de Zaragoza by several carols consulted and a letter from 1641 to 1644, but there is no security in the dates, since the volume of the corresponding chapter acts has not been preserved. Pedro Ximénez de Luna dedicated the Zagalejos Christmas of the valley "To Miguel de Aguilar teacher of Chapel of our Lady of the Pillar that god g.de / Mo. R / Çaraga.» He had to occupy the position until 1644 or 1645; in 1645 he was already in the master's degree. In 1642 the court of Philip IV was in the city and the master Aguilar writes "the court is in Zaragoza, so the Christmas carols must be taken care of as much as possible." So he should have coincided with the master of the Royal Chapel, Carlos Patiño, and perhaps also with his predecessor, Matthew Romero, the "master Captain". The aforementioned letter, addressed to the master of Sigüenza, Pedro Fernández Buhc, gives a glimpse of the lively exchange of musical information at the time. The teacher's subsequent career is unknown and neither the date nor the place of his death is known. In the archive of the Collegiate Church of Alquézar two works of Aguilar are preserved: Oh how well it is, God bless me!, a five-voice response, and Seeing in the arms of the dawn, an eight-voice romance. Laudate Dominum, a nine-voice psalm, is preserved in Zaragoza Cathedral; most of his work is preserved in the archive of the cathedrals of Zaragoza. In that of Albarracín is preserved Dixit Dominus, a psalm with eight voices, and in El Escorial is preserved Dispersit dedit pauperibus, a work with five voices. In the Royal College Seminary of Corpus Christi in Valencia there are two 4-voice motets, O vos omnes and Inter vestibulum et altare, and a 12-voice psalm, Qui habitat.
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