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Susana Muñoz, ympressora de los libros de musica, and Diego de Bruceña’s Libro de canto de misas y magnificas y motetes y una salue (Salamanca, 1620)

2020; Spanish National Research Council; Issue: 75 Linguagem: Espanhol

1988-4125

Michael Noone,

Early Modern Spanish Literature

espanolEntre sus muchos tesoros, la Catedral de Miranda do Douro en el distrito de Braganca en Portugal alberga el unico ejemplar conocido del libro de polifonia de Diego de Brucena (Salamanca: Antonio Vazquez, 1620). Este libro de coro conserva el conjunto mas significativo de las obras de un compositor cuyas composiciones se pensaba que estaban casi completamente perdidas. El estudio detenido del libro de coro nos permite elaborar una comprension mas detallada y matizada de la impresion de la musica sacra, y especialmente de los libros de coro polifonicos, en la Salamanca de las primeras decadas del siglo XVII. Un papel central en la impresion del libro de coro lo desempeno Susana Munoz, una emprendedora mujer de negocios que, a traves de sucesivos matrimonios estrategicos con figuras clave del floreciente comercio de la imprenta de Salamanca, mantuvo una imprenta que en el periodo 1602-1625 emitio mas de 120 titulos. Este articulo aprovecha el 400 aniversario de la produccion del libro de coro para introducir esta coleccion de Brucena en el contexto mas amplio de la impresion musical en Salamanca en el periodo 1607-1620, y para esbozar los contornos mas amplios de la contribucion de Susana Munoz y sus tres maridos. EnglishAmong its many treasures, the Cathedral of Miranda do Douro in the district of Braganca in Portugal houses the only known exemplar of Diego de Brucena’s book of polyphony (Salamanca: Antonio Vazquez, 1620). This choirbook preserves the most significant body of the works of a composer whose compositions were thought to be almost entirely lost. Close study of the choirbook allows us to construct a more detailed and nuanced understanding of the printing of sacred music, and especially the printing of polyphonic choirbooks, in Salamanca in the first decades of the 17th century. A central role in the printing of the choirbook was played by Susana Munoz, an enterprising business woman who, through successive strategic marriages to key figures in Salamanca’s thriving printing trade, built a firm that in the period 1602 to 1625 issued more than 120 titles. This article seizes the occasion of the 400th anniversary of the choirbook’s production to introduce Brucena’s choirbook within the wider context of music printing in Salamanca in the period 1607-1620, and to sketch the broader contours of the contribution of Susana Munoz, the three husbands with whom she worked, and all of whom she survived.