What did the Composer Antonio de Ribera Learn from Alonso Pérez de Alba at Seville Cathedral? A New Look at Ribera’s Missa Sine Nomine and Devotional Motets
Abstract
This article examines the sacred output of Antonio de Ribera (d. 1527?) in relation to the music of Alonso Pérez de Alba (d. 1504). The two composers crossed paths at Seville Cathedral. Alba entered Seville Cathedral as a singer in 1482 and later became chapelmaster and master of the choirboys, departing in 1497; Ribera is recorded as a young singer at the cathedral in the years 1496-8. The scarcity of documentation hinders the understanding of the exact nature of their relationship. However, given Alba’s more advanced career position when they met, it can be safely presumed that he influenced Ribera.
The analysis of Ribera’s surviving sacred music (a Missa sine nomine and two devotional motets) supports this hypothesis. The style of the two composers is remarkably similar as regards contrapuntal language and compositional details. However, the restricted size of the sample and the specific functionality of the extant pieces prevent us from further determining the extent to which the similarities come from direct guidance from Alba or from the overall influence of the musical tradition at Seville Cathedral.
As a context for the analysis, the article revises the historiography of Ribera’s biography and the various attributions (and misattributions) to his pieces, also clarifying some instances where the music is most probably by the later composer Bernardino de Ribera.
