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128:. In 1599 he received an organ appointment in Seville, but became embroiled in a lawsuit with rival Juan Picafort, which delayed confirmation of this appointment for six years. In 1608, he was ordained as a priest. He maintained the post at Seville until 1636. Several times he applied unsuccessfully for other positions, and once again in 1630, he became embroiled in lawsuits which culminated in a brief period of imprisonment. In 1636, he left Seville and took up a post at Jaén Cathedral. In 1640, he was appointed as a prebendary at
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184:) in his works to a much greater extent, often at the expense of contrapuntal development; after the initial exposition, restatements of the theme are rare, and thematic development and use of contrapuntal devices such as inversion or augmentation are almost non-existent. Correa's harmonic language, while not devoid of tonally suggestive progressions, is quite distinctly modal and represents a continuation of the idiom established by
148:, published in 1626. This publication serves not only as a book of compositions, but as a treatise on music theory and performance practice, and it is one of the most important works of its kind to emerge from Spain in the 17th century. Correa's compositions take advantage of all the devices available to Spanish organists of the time, most notably the
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The dates given here are those given by Ayarra and the New Grove and are regarded as authoritative; but the reader should be aware that earlier sources, even authoritative ones such as Apel's textbook on early music, may have differing dates for Correa's birth and death which are now regarded as
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Correa de Araujo was born in
Seville. Like most Spanish organists from this era, details of his life are clouded by obscurity. For some time even the years of his birth and death were disputed. His musical background is unclear; he claimed to have learned theory by studying the works of
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The music of Correa is not devoid of innovation. Correa makes use of many devices unique to
Spanish organ music of this period: unusual sonorities such as the augmented triad, unusual rhythmic groupings, and a notable dissonance which he vigorously defends, referred to as
223:, and such devices as the divided keyboard. Modern-day recording technology, coupled with an increased interest in studying ancient organs and building newer instruments to replicate them, has made these works more readily accessible to both performer and listener.
176:(that is, fantasias), ordered by increasing levels of difficulty - an indication that the purpose behind this work was at least partly pedagogical. By way of contrast with the works of his Portuguese contemporary,
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or divided keyboard, an innovation unique to the
Iberian peninsula which appeared towards the end of the 16th century, while his theoretical writings give great insight into his ideas of
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and a book on music theory), that were not published yet by that time; however, all his surviving works are contained in a single publication entitled
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180:, Correa's works are considerably shorter and show a stronger tendency towards monothematicism. He employs virtuosic figurations (the so-called
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Orden y sentido en los tientos o discursos prácticos de
Francisco Correa de Arauxo. La Facultad orgánica (Alcalá, 1626) en contexto
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Correa in the New World: The
Complete Organ Works of Francisco Correa de Arauxo. Robert Bates, organist. Loft, 2017.
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Cathedral, and remained there for the last fourteen years of his life. He died in
Segovia in abject poverty.
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trans. and rev. by Hans
Tischler. Bloomington: Indiana Univ. Press, 1972. (Originally published as
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Libro de tientos y discursos de mĂşsica practica, y theorica de organo intitulado
Facultad organica
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Correa's organ music was inspired by the unique tonal qualities of
Spanish organs,
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ed. by Alison Latham. Oxford Music Online, (accessed April 16, 2010).
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Ch. 6: "Spain and
Portugal" (Robert Parkins). London: Routledge, 2004.
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Libro de tientos y discursos de musica practica y theorĂca de organo
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Francisco Correa de Arauxo. Organista Sevillano del Siglo XVII.
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Organ works. Bernard Foccroulle (1992 Auvidis / Valois. V 4646)
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Correa's writings make reference to two other publications (a
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A complete edition of Correa's works has been compiled by
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Burial of Correa de Araujo in the Cathedral of Segovia.
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325:. Madrid: Sociedad Española de MusicologĂa, 2017.
243:Francisco Correa de Araujo: Facultad organica.
295:Geschichte der Orgel- und Klaviermusik bis 1700
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361:International Music Score Library Project
357:Free scores by Francisco Correa de Arauxo
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32:This article includes a list of general
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291:The History of Keyboard Music to 1700.
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170:contains 69 works, of which 62 are
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