A  B  C  D  E  F  G  H  I  J  K  L  M  N  O  P  Q  R  S  T  U  V  W  X  Y  Z 
Mateo Romero
c.1575 - 1647
Belgium / Spain
No picture
M. Romero
Mateo Romero -born as Mathieu Rosmarin, called maestro Capitán- (ca.1575 - 10/05/1647), a Spanish singer and composer of Flemish origin, born in Liege. Mateo Romero came to Spain to hold the head musicians' post in the line of Gombert. His music shows some Baroque traits, including some continuo in the songs.
Author:Theo Willemze
Mathieu Rosmarin [Mateo Romero] was born in Liege (Low Countries) in about 1575. After the dead of his father the young Rosmarin was sent to Madrid to become a young chorister. From 1586 up to 1593 the young Romero was singer, royal choirboy to the court-chapel of Philip II in Madrid, before joining to the Capilla Flamenca. With Philippe Rogier (c1561-1596), but certainly with Romero the last representative in Spain the long line of Flemish chapel-masters serving at the Spanish court, initiated by Nicolas Payen (c.1512-1559) and Pierre de Manchicourt (c.1510—1564), approached its end. After the death of Philip II in 1598 a change was quick to occur in the royal chapel. In 1596 Philip IV joined the famous Capilla Flamenca and the Capilla Española to one Chapel Royal.
In 1598 up to 1633 Romero and not another Fleming Géry de Ghersem (c.1574-1630), succeeded Philippe Rogier as the head, "Maestro Capitán" of the new formed Capilla Rea,l the Royal Chapel in Madrid during the reigns of Philip III and IV. De Ghersem returned in 1604 to Brussels as chapel-master at the court there.
Romero was ordained a priest in 1609 and served as chaplain to Philip III in 1605, and also held a non residential post of chaplain to the court of John IV [Jao IV] of Portugal from 1644. Romero was highly regarded in his time as a composer of sacred and secular vocal music; many of his works are no longer extant and unfortunately did not survive. Romero was the most important composer at the Spanish court around 1616, the year of Cervantes's death. As composer from the Low Countries he introduced and mixed up the Italian Stile Nuevo with the Spanish popular music. The rediscovered Requiem for two choirs, dedicated to Cervantes, has to be considered as one of Romero's best works. It is very solid and the vocal writing is impeccable! The two choir technique was very fashionable at the main musical centres in Europe and especially at St Mark's Basilica in Venice.
His works shows the transition between the Renaissance and the Baroque, for example in using the basso continuo. The imitative polyphony disappears and Romero searches for new idioms of sound and other way of expression. More sonority, the text is given more impact. And of course as already mentioned more elements with basso continuo. Of course Romero composed music to Spanish texts. He followed the tradition of the popular Villancico. Forty Villancico’s from his pen survived. The resignation of Romero in 1633 signalled the end of the supremacy of so much Flemish musicians among others as Maestri de Cappella of the European rulers and Maecenases.
Author:Wim Goossens
Officium Defunctorum
Period:High Renaissance
Musical form:motets
Text/libretto:Latin officium defunctorum
In memory of:Cervantes (1547-1616)
Label(s):Lauda Musica LAU002
Three motets of Officium Defunctorum:
01. Convertere domine, Domine ne in furore tuo (06:52)
02. Manus tuae fecerunt me (01:17)
03. Domine, quando veneris (02:24)

♫ 01. Convertere domine, Domine ne in furore tuo
© Lauda Musica LAU002

♫ 02. Manus tuae fecerunt me
© Lauda Musica LAU002

♫ 03. Domine, quando veneris
© Lauda Musica LAU002
This music is written to a Responsorium taken out of the Officium defunctorum more specific Ad matinum and is written for four voices (SATB) and is set in homophonic Polyphony. ). The Domine, quando veneris is an old Responsorium, Respond and still published in the old Liber Usualis page 1787 and is sung after Lectio III. This motet Domine quando veneris was found in Burgos, Cathedral, Libro de Polifonia, no.1, ff 128v-129r. And is even by Romero indicated as a “Motete de Difuntos”.
Author:Wim Goossens
The text of Domine quando veneris:
Domine quando veneris judicare terram,
ubi me abscondam a vultu irae tuae?
Quia peccavi nimis in vita mea.
Commissa mea pavesco, et ante te erubesco:
dum veneris judicare noli me condemnare.
Requiem aeternam dona eis Domine:
et lux perpetua luceat eis.

O Lord, when Thou shalt come to judge the earth,
where shall I hide from the face of Thy wrath?
For I have sinned greatly.
I dread my judgement and I am ashamed before Thee.
When Thou shalt come to judgement do not condemn me.
Grant them eternal rest, O Lord,
and let perpetual light shine upon them.

Contributor:Wim Goossens
Libera me, Domine
Period:Late Renaissance
Musical form:motet à 8 vocibus
Text/libretto:Latin from the Exsequiarum Ordo de Officium Defunctorum
Eufoda 1161
Voom 799

♫ Libera me, Domine
© Lauda Musica LAU002
A motet from Responsum Officii Mortuorum for two choirs and instruments, sung by monks during the funeral.
The Libera me, Domine de morte is a motet from the Exsequiarum Ordo more specific a Responsorium and sung during the final blessing of the coffin on its catafalque. This Libera me. (there are more (4) plain-chant variations known) is an old Responsorium out of the In Exsequis and sung in the part Absolutio super tulum and is published in the old Liber Usualis pages 1763 – 1771. The Libera me, Domine, de morte aeterna is written by Romero in a homophonic polyphony for eight voices (SATB-SATB) double Choir and basso continuo, likewise in his Missa pro Defunctis. In this Libera me Romero is clearly searching for new idioms of sound and other way of expression. Sonority by two Choirs in Venetian style. By doing so the text is given more rhetorical impact and of course the basso continuo used in this compositions is new. Romero’s work shows the transition between Renaissance and Baroque.
Author:Wim Goossens
Missa pro defunctis - Requiem para Cervantes
Period:Late Renaissance
Composed in:1616c
Musical form:mass
Text/libretto:Latin mass
In memory of:Miguel de Cervantes Saavedra (1547-1616)
Label(s):Lauda - LR23434
Lauda Musica LAU002
A requiem mass for 8 voices. In memory of Miguel de Cervantes Saavedra (1547-1616).
Author:Todd M. McComb
The found mass movements of this Missa de Requiem de Dos Baxos à 8 are:
01. Introitus: Requiem aeternam
02. Kyrie Christe Kyrie
03. Graduale: In memoria eterna
04. Tractus: Absolve, Domine
05. Sequentia: Dies Irae 06. Offertorium: Domine Jesu Christe
07. Sanctus
08. Agnus Dei I, II, III
09. Communio: Lux aeterna
Source:booklet of cd Lauda Musica LAU002

♫ 01. Introitus: Requiem aeternam
© Lauda Musica LAU002

♫ 02. Kyrie Christe Kyrie
© Lauda Musica LAU002

♫ 03. Graduale: In memoria eterna
© Lauda Musica LAU002

♫ 04. Tractus: Absolve, Domine
© Lauda Musica LAU002

♫ 05. Sequentia: Dies Irae
© Lauda Musica LAU002

♫ 06. Offertorium: Domine Jesu Christe
© Lauda Musica LAU002

♫ 07. Sanctus
© Lauda Musica LAU002

♫ 08. Agnus Dei I, II, III
© Lauda Musica LAU002

♫ 09. Communio: Lux aeterna
© Lauda Musica LAU002

This Missa de Requiem by Romero is partially found in 1995 in Burgos, Cathedral archive, sign. 55/13. This Requiem is composed by Romero for two Choirs (SATB-SATB) and a basso continuo. We red in this nineteenth century score “Violon & Arpa”, but they are both located on one stave. In that notation I saw only the Bass/Violon note which I red as and transformed into a basso continuo. This Requiem mass is set for two low choirs, “de dos Baxos”. Only the movements mentioned before are set polyphonically. Due to the Lisbon inventory sources of 1649 this Requiem by Romero had been considered lost until it was found. Unfortunately this is not that original source out the 17th century, but this is a nineteenth-century source, whose inaccurate liturgical order and lack of stylistic uniformity suggest that it was compounded from sections by different composers. This was let say a common practice at the period. The movements mentioned above are considered to be composed by Romero. Surely not the found Dies Irae in the Cathedral archives. The found Dies Irae movement in this nineteenth century manuscript source must have been written by a nineteenth-century composer and was even relegated to the end of the manuscript. The same applies for found shorter versions of two movements - Requiem aeternam and Te decet hymnus - in the same manuscript. See for instance Judith Etzion in AIM-109. Of course the two choir technique is imposing – first seen in a Requiem Mass - but was fashionable at the main musical centres in Europe especially at the famous St. Mark’s Basilica in Venice. Of course the known Missa pro defunctis by Lobo set in 1621 is from later date and set for one eight-part choir.
Author:Wim Goossens
Miguel de Cervantes