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Hello, Cristóbal. Nice to meet you.

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Hello, Cristóbal.

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Hello.

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Okay, let's start with the interview. Are you ready?

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Yes, I am.

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To start, where were you born?

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I was born in the 16th century, but this is not sure the exact year.

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And in which country and city did you born?

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I was born in Sevilla, in Spain.

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Wow, that's a beautiful city. What other work experiences have you had?

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I have been working as a priest, chapelmaster, composer and singer.

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How many pieces of music have you composed?

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Well, it is difficult to remind.

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So, have you composed a lot?

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Yes, 22 masses for 4, 5 and 6 voices, 81 motets, 16 magnificas, 11 hymns, 5 sets of lamentations, some songs and other profound pieces.

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Wow, that's a lot. Do you remember the name of at least one?

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Well, not in this moment.

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moment and what type of music have you used in your compositions well I have

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been composing both secular and religious music but I have written more

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religious work and from Renaissance various with religious vocal polyphony

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movement all right how did you start composing this music of course I spent

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all my childhood in Seville but I was in 1526 when I met Nicolas Gombert who was

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a compositor that helped me to be chosen Magisterio de Avila in 1526. That was

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where I showed my potential to the world. Now we are going to talk about places

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and for whom you have worked. First, when you were a kid did you do something

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related to music? Yes, I did. I was a singer in the choir of the Cathedral of Seville with

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the poet and master of the chapel, Pedro Fernández de Castilleja, and the famous Francisco de

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Peñalosa, who is the importer of code technique. Well, do you know what does people think about

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you? Society agrees that I was the first Spanish composer of international renown. My work

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were widely distributed in Europe and many copies made a journey to the new world. Many music writers

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and theorists in the hundred years after my death considered my music to be among the most perfect

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of the time. So, did you know why you were so famous? Yes, my fame was due in part to numerous testimonials

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of those around me. The Spanish theorist Juan Bermudo declared myself the light of Spanish music

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while in 1559 a Mexican choir, who were Spanish polyphony in particular, was quickly

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quick to reach the new world, sang my music at a service converting the death of Charles V the

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previous year. My fame held strong on into the 18th century when Andrea Dami, double sena,

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biographer of many papal musicians, praised me as the papal chapel's most important composer

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Josquin de Prez and Palestrina. And when you were older what did you do? It was a continual coming

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and going from one cathedral to another looking for the best position and salary. In 1536 I worked

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as a chapel master in Ávila and in 1529 in Plasencia. After a documentary gap of two years

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in 1534 I was to applying to Fernando de Silva, count of Cisbuentes, imperial ambassador to the

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Holy See. In 1535, I sang as a tenor in the papal chapel, and in 1540, I returned to Spain

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only for health problems. When I traveled to Rome, I met the Pope Paul III. He took care of getting

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me into the main choir in Rome. While I was working for him, I composed Luvillimo's Omnis Terra,

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which achieved wide and lasting popularity. It was written to celebrate the nice truth

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between France and Spain. I also composed Gaude et laetere ferrariense cavitas, executing the

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cathedral of Ferrara on the occasion of the cardinal of Hippolytus II of Estes in 1539.

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Both were very popular in France, Germany, Italy and especially in Venice.

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That's very good help from his part to let you enter in his choir. When did you return to Spain?

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When they threw me out of the choir. I tried to find another job in Italy, close to where he lived, but it was super difficult and I didn't find anything.

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I decided to return to Spain and after several years looking for a place to work, I started as a choir master at the Cathedral of Toledo in 1545

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where I replaced Andrés de Terrente.

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Oh, very interesting. Can you tell us something else about this topic?

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Yeah, of course. The last place I have been working, it was in Malaga Cathedral, since 1551.

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And in 1553 I asked to be considered for the post of Chapel Master of Cathedral of Toledo,

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where I had previously worked, but I died before, so I couldn't get it.

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Did you have some plans for life before you died?

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Yeah, I was sad because I wasn't able to fulfill my intention to return to Toledo.

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What instruments have you used throughout all your life?

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I don't like using instruments, only use the voice.

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Wow, how curious, I agree with you.

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Cristobal, all you have told us is very interesting.

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However, we will call you to tell if you have got the job.

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do you have any question no that's all right thank you have a nice afternoon goodbye