Juan de Triana (fl. 1460 – 1490, died 28 January 1494) was a Spanish composer of the Renaissance period, active in the second half of the 15th century during the reign of the Catholic Monarchs. Pope Sixtus IV issued a bull on 9 February 1478 that listed De Triana as Prebendary of the Cathedral of Sevilla for at least a year before. He later moved to the Cathedral of Toledo, where it was recorded that in 1483 he was a teacher of six children in the Cathedral, with a salary of 18,000 maravedíes, a significant quantity at the time. Possibly Triana held this position until 1490, when he was replaced by Pedro de Lagarto.[1] He died in Seville on 28 January 1494, and was buried near the gate of the chapel of the Virgen de la Antigua. In his will, he left a bequest to endow a chaplaincy to sing twenty-five masses a month for his soul at the altar of San Juan Bautista, near his place of burial.[2]
Twenty works by Triana have been preserved, all in the Cancionero de la Colombina. Four of the works are religious and the remaining are secular. Three of them also have replicas in the Cancionero de Palacio. One of the religious pieces is a fragment of the Song of the Sibyl in Castilian, and the others are liturgical texts in Latin. The compositions have features that are common to the Iberian musicians of the generation before.[3] [4]
| Nº | Work | Voices | Musical form | Sources | Recordings | Comments |
|---|---|---|---|---|---|---|
| Religious works | ||||||
| 1 | Benedicamus Domino | 3 | song-motet | CMC(80) | TRI | |
| 2 | Benedicamus Domino | 3 | song-motet | CMC(81) | TRI | |
| 3 | Juste Judex Jesu Christe | 3 | song-motet | CMC | TRI | |
| 4 | Juysio fuerte sera dado | 4 | song | CMC | TRI, UMB, SIB | Brief fragment of Canto de la Sibila. |
| Secular works | ||||||
| 5 | Aquella buena muger | 3 | carol | CMC, CMP | TRI | |
| 6 | Con temor vivo ojos tristes | 3 | carol | CMC | TRI | |
| 7 | De mi perdida esperança | 3 | carol | CMC | TRI | |
| 8 | Deus in adiutorium | 3 | rondó | CMC | TRI | |
| 9 | Dinos madre del donsel | 3 | rondó | CMC | BER, TRI, COL, MAG, ISA | |
| 10 | La moça que las cabras cria | 4 | carol form | CMC | TRI | |
| 11 | Maravillome del syno me del santiguome | 3 | carol | CMC | HMC, TRI | |
| 12 | No consiento ni me plaze | 3 | carol | CMC | TRI | |
| 13 | No puedes quexar amor | 3 | CMC | TRI | ||
| 14 | O pena que me combates | 3 | carol | CMC | TRI | Incomplete |
| 15 | Pinguele rrespinguete | 3 | rondó | CMC | ARE, TRI, COL | |
| 16 | Por beber comadre | 3 | carol | CMC, CMP | TRI | |
| 17 | Querer vieja yo / Non puedo dexar / Que non se filar | 3 | CMC | TRI, ARE, COL | Each voice sings a different text, an unusual arrangement for the period. | |
| 18 | Quien vos dio tal señorio | 4 | CMC | TRI, COL | ||
| 19 | Señora qual soy venido | 3 | carol | CMC, CMP | ARE, COL, SFM, TRI | In the CMC version, the name Juan Cornago appears next to the treble, and Juan de Triana next to the bass. The CMP version is listed as anonymous, but the musicologist Higinio Anglés, attributes the manuscript to Cornago. (Text from Íñigo López de Mendoza, 1st Marquess of Santillana). |
| 20 | Ya de amor era partido | 3 | carol | CMC | ARE, TRI | |
These works are found in the following sources: