Bernadette Nelson

Pure Gold: Golden Age Sacred Music in the Iberian World. A Homage to Bruno Turner, ed. Tess Knighton / Bernadette Nelson. Series De musica 15, Kassel: Reichenberger, 2011.

|| ABSTRACT:  This collection of essays was conceived as an homage to Bruno Turner who has done so much to promote knowledge of sacred music of the Golden Age Iberian world. As choral director, editor and broadcaster, Turner brought this music to the attention of the wider musical public and made it available to choirs all over the world through his specialized publishing firm, Mapa Mundi. Scholars of Iberian sacred music are equally indebted to him for his research, especially on sources, plainchant and liturgy of the Iberian Peninsula and the New World; indeed, he can be considered the eminence grise of musicology in this field.
The essays by seventeen scholars, all of whom have been influenced by and are indebted to his life’s work, bring together the latest research and thinking on wide-ranging aspects of sacred music by Iberian and Hispanic American composers in three main areas: sources and repertories; music and liturgy; motets and musical tributes. These contributions, which enrich and deepen current knowledge of Iberian music of the sixteenth and seventeenth centuries, are framed by a Prelude by the composer Ivan Moody and a Postlude that takes the form of an interview between Turner and the writer, critic and translator Luis Gago.
|| CONTENTS:
• A heart of pure gold / Tess Knighton
• Ayo visto lo Mappamundi : working with Bruno Turner / Ivan Moody
• A sixteenth-century manuscript choirbook of polyphony for vespers at Toledo Cathedral by Andrés de Torrentes / Michael Noone
• Manuscripts Oporto, Biblioteca Pública Municipal, MM 40 and MM 76-79 : their origin, date, repertories and context / João Pedro D'Alvarenga
• The unica in MS 975 of the Manuel de Falla Library : a musical book for wind band / Juan Ruiz Jiménez
• A tale of two queens, their music books and the village of Lerma / Douglas Kirk
• The vicissitudes of some printed fragments of polyphony / Juan Carlos Asensio
• Music prints by Cristóbal de Morales and Tomás Luis de Victoria in surviving Roman inventories and archival records / Noel O'Regan
• Two post-Tridentine lamentation chants in Eastern Spain / Greta Olson
• Juan de Esquivel's "Ave Maris Stella" (a 4) : observations on the Spanish polyphonic hymn repertory / Michael B. O'Connor
• A polyphonic hymn cycle in Coimbra / Bernadette Nelson
• Performance contexts for the Magnificat in the Iberian Peninsula in the sixteenth century / Eva Esteve
• "Jesu Redemptor" : polyphonic funerary litanies in Portugal / Owen Rees
• Music for the dead : an early sixteenth-century anonymous requiem mass / Tess Knighton
• Unedited motets by a little known composer : Alonso Ordóñez / Cristina Diego Pacheco
• A sixteenth-century ostinato motet for Barcelona's patroness saint Eulalia / Emilio Ros-Fábregas
• Musical tributes to an attributed apparition of the Virgin in Spain and in Mexico / Robert Stevenson
Pure passion : a conversation with Bruno Turner / Luis Gago.

ABSTRACT: One of the most important and indeed earliest sets of documents concerning musical and liturgical practice in the Portuguese royal chapel is contained in King Duarte’s Livro dos Conselhos and Leal Conselheiro drawn up in the early fifteenth century, which precedes the majority of sets of ordinances for other court chapels in the Iberian Peninsula and elsewhere in northern and southern Europe. Comprised of an Ordenança or Regimento for the chapel and its officers, this source offers instructive insight into polyphonic ensemble singing and vocal production, as well as, uniquely, directives for the optimum length of liturgical services, both with and without musical elaboration. A description of recommendations and instructions in the royal chapel Ordenança of D. Duarte forms the basis of this paper, with a discussion of some of the more specific details concerning performance questions and liturgical integration included in it.                 
RESUMO: Uma das mais importantes e na verdade mais antigas séries de documentos relacionadas com a prática musical e litúrgica na Capela Real portuguesa encontra-se no Livro dos Conselhos e no Leal Conselheiro de El-Rei D. Duarte, redigidos no início do século XV, os quais são anteriores à maioria dos conjuntos de ordenanças para outras capelas de corte da Península Ibérica e da Europa do Norte e do Sul. Consistindo numa Ordenança ou Regimento da Capela e dos seus funcionários, esta fonte oferece-nos uma informação instrutiva acerca do canto polifónico de conjunto e da produção vocal, assim como, de modo único, directivas relativas à duração ideal dos serviços litúrgicos, com ou sem participação musical. Uma descrição das recomendações e instruções na Ordenança da Capela Real de D. Duarte constitui a base deste ensaio, com uma discussão de alguns dos pormenores mais específicos relacionados com questões de execução e de integração litúrgica que ela contém. [Escola de Música da Sé de Évora. Conferências, org. Eborae Musica, pp. 55-79]
[English version, ‘Cantar bem’: King Duarte’s Ordenança or Regimento and musical practice in the Portuguese royal chapel in the early fifteenth century', Escola de Música da Sé de Évora. Conferências, org. Eborae Musica, pp. 81-104, available in proofs version on request]

Published in: Companion to Music in the Age of the Catholic Monarchs, ed. Tess Knighton (Leiden/ Boston: Brill, 2017), pp. 205-241. || ABSTRACT: In contrast to music and musicians at the Spanish courts of the Catholic Monarchs, Ferdinand and Isabel, musical life at the courts of the Portuguese kings Afonso V, João II, through to the early reign of Manuel I has to date received only relatively little attention in music histories. This is largely owing to the dearth of musical sources from or connected to this period, and the lack of information about singers and composers at the Portuguese court and chapel at that time. This chapter aims to reddress this by drawing together information from a range of historical and other source material, including musical and literary sources, contemporary chronicles and other types of documentation (some emanating from northern European courts), all helping to paint a picture of music, musicians, ceremonial and other cultural activities at the Portuguese court, and to delineate numerous close musical connections between the Iberian courts. It draws attention to liturgical celebrations in the chapel and other religious festivities, to the role of singers, heraldic and chamber musicians and dancing at important occasions, including marriage between the daughters of the Catholic Monarchs and Portuguese royalty, and other significant historical events that have been overlooked, at least from the musical point of view. It also lists names of chapel singers, including a few who also appear on the rosters of the Spanish chapels, and other musicians who travelled to Portugal, thus setting the stage for the markedly international court of Manuel I when singers and players from Spain, northern Europe and elsewhere joined the ranks of musicians there.

Published in: Musical Exchanges, 1100-1650: Iberian Connections, ed. M.P. Ferreira. Iberian Early Music Studies 2 (Kassel: Reichenberger, 2016), pp. 89-116.
||ABSTRACT: Urrede’s four-voice setting of the ‘Pange lingua’ was one of the most extensively performed and imitated polyphonic pieces in Iberian musical history. Curiously, perhaps, all sources of this setting are likely to be posthumous, and in the earliest known surviving source, Barcelona 454, it is copied without attribution; the first source with an attribution to Urrede, Tarazona 2/3, dates only from about the 1520s onwards. There are about 35 sources extant containing this work, but only one of these is Portuguese. However, close scrutiny of other (anonymous) settings in Portuguese sources often reveals subtle thematic and structural connections with Urrede’s setting, strongly indicating that whilst no early sources actually survive, it was clearly known in Portugal during the first half of the 16th century. This essay attempts to establish what it was in Urrede’s setting that caught the imagination of composers in Portugal and to have influenced their own settings of this Corpus Christi hymn. It also attempts to demonstrate that, where there is no or only scant source evidence, there may be more exacting ways in which repertory transmission and influence during an early period can be measured beyond a focus on just the actual surviving sources of a given piece.

Published in:  Heinrich Isaac and Polyphony for the Proper of the Mass in the Late-Middle Ages and Renaissance, eds D.J. Burn and S. Gasch (Turnhout: Brepols, 2011), pp. 60-80. See also (JOURNAL ARTICLE): 'The Leiria Fragments: Vestiges of Fifteenth-Century Northern Polyphony in Portugal'

Published in 'Pure Gold: Golden Age Sacred Music in the Iberian World. A Homage to Bruno Turner', eds Tess Knighton and Bernadette Nelson (Kassel: Reichenberger, 2011), pp. 167-205.

For edition of two hymns in P-Cug MM 221, see (on this page, below): 'Two Polyphonic Hymns: "Nardi Maria" & "Tibi Christe splendor"'

Published in "New Music", 1400-1600: Papers from an International Colloquium on the Theory, Authorship and Transmission of Music in the Age of the Renaissance (Lisbon-Évora, 27-29 May 2003); eds João Pedro d’Alvarenga and Manuel Pedro Ferreira (Lisboa: Casa do Sul, 2009), pp. 171-92

Published in: Cristóbal de Morales: Sources, Influences, Reception, eds Owen Rees and Bernadette Nelson (Woodbridge: Boydell Press, 2007), pp. 85-108.
||ABSTRACT: The Corpus Christi hymn, ‘Pange lingua’ (in the ‘more hispano’ version), became one of the most popular sources of inspiration to Iberian composers from c. 1500 onwards. Polyphonic settings were especially associated with a four-part setting by Juan de Urreda, Flemish chapel master at the court of the Catholic Monarchs in the late 1470s to early 1480s. It was widely circulated in Iberian sources right up to the early 19th century, and became the inspiration for further vocal and instrumental (notably organ) settings. The majority of these settings were performed in alternatim sequences involving various combinations of chant, polyphony and organ or instrumental music. Curiously, despite his known settings of hymns for the liturgical year (principally recorded in Toledo 25), little is known about Morales’s contribution to the ‘Pange lingua tradition’ beyond a fragment encountered in a Barcelona partbook and a ‘si placet’ part added to Urreda’s setting in the ‘Falla codex’. However, a previously unknown source for Urreda’s ‘Pange lingua’ (Montserrat Arxiu de Música 2991) also includes an anonymous four-part setting of the verse ‘Tantum ergo’, which demonstrates close stylistic parallels with the writing of Morales. Moreover, this ‘Tantum ergo’ appears to have been a model for a setting by Rodrigo de Ceballos, a follower of Morales working in Andalucia, thus suggesting a likely origin and previous circulation of this anonymous setting.

Published in: Cinco Siglos de Música de Tecla Española | Five Centuries of Spanish Keyboard Music. Actas de los Symposia FIMTE 2002-2004 | Proceedings of FIMTE Symposia 2002-2004, ed. Luisa Morales (Garrucha: LEAL, 2007), pp. 47-69. || ABSTRACT: Franco-Flemish sacred and secular repertories formed an extremely important role in music interpreted at the courts of Charles V and Philip II. In Spain, this resulted in a plethora of vocal works transferred for performance on the keyboard and the vihuela, including among them songs by members of the royal chapel (including Gombert and Crecquillon), Parisian composers (Sermisy and Sandrin, among others), as well as music by masters of the previous generation – in particular Josquin, whose famous “Mille regretz” circulated under the title “La canción del Emperador” in an arrangement for vihuela by Luys de Narváez. The majority of music in keyboard tablatures and glosado arrangements of songs, especially by Crequillon and Clemens non Papa, were by the royal court composer, Antonio de Cabezón – the keyboard master who also accompanied Prince Philip to England in 1554-56 on the occasion of his marriage to Mary Tudor. Whether the presence of Cabezón at the English court could have exercised any influence on his contemporaries such as Thomas Tallis, Shepperd or Blitheman remains uncertain. However, it is almost certainly the case that the visits of Charles V to England in 1520 and 1522 would have inspired at least some of the new musical works associated with the Tudor court. For example, similar arrangements of Franco-Flemish polyphony and a work entitled “The emperorse pavyn” may be encountered in some English keyboard sources. This article explores one part of the musical repertories found in both English and Iberian sources, with the intention of situating it in a more general pan-European perspective, which was inspired by the aesthetic of the Habsburgs.

Published in:  Fuentes musicales en la Península Ibérica (ca. 1250—ca. 1550) | Fonts musical a la Península Ibèrica (ca. 1250—ca. 1550). Actas del Coloquio Internacional, Lleida, 1-3 abril 1996 | Actes del Col-loqui Internacional, Lleida, 1-3 abril 1996, ed. Maricarmen Gómez and Màrius Bernadó (Lerida, 2001), pp. 219-52

Published in: Revista Portuguesa de Musicologia, NS 6/1 (2019), pp.113-56

ABSTRACT || The series of about a dozen Salve Regina settings (some fragmentary) copied in sixteenth-century polyphonic manuscripts preserved in Coimbra University Library has thus far not received detailed investigation. With the exception of just two settings attributed to composers at the royal Augustinian monastery of Santa Cruz in Coimbra, all are anonymous. However, analysis of the styles and textual variants found in a small handful of settings has not only revealed concordances of Salve Regina settings by Anchieta and Guerrero but also one or two more that were likewise clearly imported from Spain, whilst the remainder would appear to be of (local) Portuguese origin. It is likely that these Spanish settings would originally have been intended for performance at the special Salve services, which were a distinctive feature of Marian devotion at such major institutions as Seville and Palencia Cathedrals as well as the Castilian royal chapel from around the last two decades of the fifteenth century onwards. This study focuses especially on an anonymous alternatim setting copied with a fragment of Anchieta's Salve into the manuscript P-Cug MM 7, which demonstrates close connections with some of the very earliest Spanish settings, including those of Anchieta, Rivaflecha and Escobar. It is a cantus firmus setting seemingly based largely on the Sevillian version of the chant as recorded in the later (1565) Breve instrucción (the only known source for the Salve Regina chant used at Seville cathedral in the sixteenth century).

RESUMO || As cerca de doze Salve Regina polifónicas, algumas fragmentárias, copiadas em manuscritos do século XVI preservados na Biblioteca Geral da Universidade de Coimbra não mereceram até hoje investigação pormenorizada. Com excepção de apenas duas obras atribuídas a compositores do Mosteiro de Santa Cruz de Coimbra, todas são anónimas. No entanto, a análise dos estilos e das variantes textuais deste pequeno grupo de obras revelou, além de concordâncias das Salve Regina de Anchieta e Guerrero, que uma ou duas outras foram claramente importadas de Espanha e que as restantes parecem ser de origem portuguesa, ou local. As obras espanholas terão sido originalmente destinadas principalmente para a execução nos Ofícios especiais da Salve, uma particularidade da devoção mariana em importantes instituições como as catedrais de Sevilha e Palencia e a capela real de Castela a partir das duas últimas décadas do século XV. Este estudo centra-se especialmente em uma Salve Regina anónima concebida para ser executada em alternância com o cantochão, copiada junto com um fragmento da Salve de Anchieta no manuscrito P-Cug MM 7, que revela estreitas relações com algumas das Salve Regina espanholas mais antigas, incluindo as de Anchieta, Rivaflecha e Escobar. Trata-se de uma obra com cantus firmus aparentemente baseado, em grande parte, na versão sevilhana do cantochão, como aparece na Breve instrucción (1565), única fonte conhecida para a melodia da Salve Regina em uso na catedral de Sevilha no século XVI.

Published in: Revista de Musicología, 39/1 (2016), pp. 77-115.
||ABSTRACT||
Bermudo's Declaración, published in 1555, is one of the most important testimonies to teaching methods for keyboard players in mid-sixteenth-century Spain. Besides learning from the best teachers and players, Bermudo considered that becoming acquainted with vocal polyphony was a sine qua non for instrumentalists. The rigour demanded of him ensured that students would get to know large quantities of both national and imported polyphonic repertories by playing them on the keyboard. His explanation of a system of scoring-up and intabulating this music («poner obras») provides considerable insight into this didactic process. Emphasis throughout is on learning to play and understand the music of the great Franco-Flemish masters such as Josquin, Gombert and others, besides that of Morales and other Spanish composers. It is clear that Bermudo had access to a large number of collections of masses and motets that included the early prints of Antico, Petrucci, later Italian collections, and the mass books of Morales, a number of which are revealed in his work. His knowledge of mensural music (canto de órgano) was also obtained from the profound study of copious treatises, including the works of Gaffurius and Glarean. In addition, he gives the names of famous keyboard players of the time whom he saw as «excellent» masters. This study concludes with a survey of repertories in the two main surviving keyboard collections—Venegas de Henestrosa’s Libro de cifra nueva (1557) and Cabezón’s Obras de música (1578), both of which provide ample evidence of how vocal polyphony was intabulated and rearranged for keyboard performance.

Published in: Revista Portuguesa de Musicologia, NS 2/2 (2015), pp.  193-214
(http://www.rpm-ns.pt/index.php/rpm/article/view/275).  || 

ABSTRACT || Morales’s Magnificat settings were among his most popular and important sacred works. The main series, loosely associated with his ‘Roman’ period (c. 1534-45) appeared in print from 1542 onwards and also survive in some fifty manuscripts sources preserved in Europe, including in Portugal, and the New World. As is not commonly known, these were not his only settings: others dating from before his time in Rome are also to be found in Iberian sources. Two important Portuguese codices dating from the late 16th-17th centuries— Oporto MM 40 and the Arouca Codex—preserve copies of a selection of the printed Magnificats by Morales. These sources also contain a few anonymous Magnificats integrated with settings by Morales that are analogous in thematic content and style to both his ‘Roman’ series and those surviving only in manuscript. Through analysis supported by musical examples, this study explores the possibility of Morales’s authorship of these anonymous Magnificat settings.  || RESUMO || Os Magnificat contam-se entre as obras sacras mais importantes e conhecidas de Morales. O conjunto principal, associado de forma imprecisa ao período ‘romano’ do compositor (c.1534-45), surge em fontes impressas a partir de 1542 e sobrevive ainda em cerca de cinquenta fontes manuscritas preservadas na Europa, incluindo Portugal, e nas Américas. Apesar de o facto não ser geralmente conhecido, estes não são os únicos Magnificat compostos por Morales: outros, datados do período anterior à estadia em Roma, podem também encontrar-se em fontes ibéricas. Dois importantes códices portugueses de finais do século XVI e inícios do século XVII, o MM 40 da Biblioteca Pública Municipal do Porto e o Códice de Arouca, preservam cópias de uma parte dos Magnificat impressos. Estas fontes contêm igualmente alguns Magnificat anónimos integrados com os de Morales, semelhantes no estilo e no conteúdo temático tanto aos da série ‘romana’ como a outros transmitidos apenas em manuscrito. Através da análise com o suporte de exemplos musicais, o presente estudo explora a possibilidade de ser Morales o compositor destes Magnificat anónimos.

Full title: 'A Little Known Part-Book from Toledo. Music by Morales, Guerrero, Jorge de Santa María, Alonso Lobo and Others in Barcelona, Instituto Espanõl de Musicología, Fondo Reserva, Ms. 1'. 
Published in: Anuario Musical 65 (2010), pp. 25-56. || ABSTRACT. A part-book preserved in the Instituto Español de Musicología, Barcelona, contains over fifty items of sacred music by composers associated with both the Cathedral and the Colegio de los Infantes in Toledo during the sixteenth and early seventeenth centuries. These composers range from Morales and Guerrero, to Francisco de Tapia and Jorge de Santa María—both Masters at the Colegio in the later sixteenth century—and Alonso Lobo, chapelmaster at the cathedral, 1593 to 1603. The majority of the music is unique to this source, and it also includes works by Morales that were revised for publication when he was in Italy. The part-book is very largely copied for second or first superius, and there are indications that much of the repertory was intended for high voices; but there is also the occasional piece for a lower voice part. The manuscript contains a wide range of Latin-texted sacred music that includes mass settings, Magnificats, motets and psalms. In addition to about a dozen items by Morales, the part- book includes rare settings of calendas by Santa Maria, examples of mass propers in contrapunto style by Francisco de Tapia, and a sequence of music for the Christmas Misa del gallo (midnight mass).

Journal of the Royal College of Organists, 2001/2 (published in 2003), pp. 56-65. || ABSTRACT:  This article addresses the question of the integrative role of the organ during Mass, focussing on the alternatim ‘organ mass’ as encountered in 18th-century Spanish sources. The earliest complete organ masses are to be found in 17th-century manuscripts – the first known examples are by Joan Cabanilles and Jerónimo de la Torre: a ‘Missa per annum’ and a ‘Missa Dominicals’. Supporting documentary evidence relates to prescriptions in ceremonials and related ecclesiastical texts concerning an organist’s role and duties during Mass. Varying patterns of alternatim performance can be seen through analysis of surviving musical evidence. A summary list of about one hundred late 17th- to late 18th-Century organ masses and isolated mass movements are included in an appendix, demonstrating how many of these may be correlated with plainchant cycles.

Published in: Anuario Musical 50 (1995), pp. 75-85. || ABSTRACT: José Elías (c.1687-after 1755), probably the most outstanding of Joan Cabanilles’s followers and pupils, began his career as organist in Barcelona. The weight of his reputation rests principally on his experiments in tonal writing and design, which had a great influence on Antonio Soler who claimed that as a student he had learnt 24 pieces by Elías in all the major and minor keys. He is especially renowned for his ‘Obras de Organo, entre el Antiguo y Moderno estilo’ (1749), written during his time as organist at the Royal Descalzas Reales Convent in Madrid, but much other music by him survives.
This article discusses a collection of  ‘Pange lingua’ settings for organ by Elías (dated 1729) preserved in a fascicle in Montserrat, which are still unpublished. They demonstrate stylistic elements and figuration associated with keyboard sonatas, and include important insight into organ registration practices in 18th-century Catalonia.

Published in: Cortejo Triunfal con Girafas: animais exótios ao serviço do poder | Triumphal Procession with Giraffes: Exotic Animals in the Service of Power, coord. Jessica Hallett (Lisbon: FRESS/CHAM, 2009), chapter 5, pp. 57-64 (incl. illlus.). || ABSTRACT: This essay focuses on the musical elements in three tapestries woven in Tournai in the early 16th century, which were probably commissioned for the court of King Manuel I of Portugal. In keeping with the documented themes of known commissions to this important workshop from the courts of Philip the Handsome and Manuel I - "tappiserie à la manière de Portugal et de Indie", or "tappis de l'histoire indienne à oliffans e jeraffes" – these tapestries show a significant number of exotic and extra-European elements. They depict parades with giraffes and other animals such as were regularly imported to Lisbon by King Manuel, accompanied by a large and diversely attired crowd, including Africans, Arabs, gypsies and Mamluks, many of whom play different wind instruments, drums and other percussion. A few instruments may be identified with those used for court and civic functions in the Renaissance.
[Publication for exhibition at the Museu de Artes Decorativas Portuguesas, Fundação Ricardo Espirito Santo Silva, Lisbon, 5 June to 30 August 2009.]

NOTE: please ask if you would like a copy of this essay

Published in: The Ashmolean 21 (1991), pp. 12-14. || ABSTRACT: John Ruskin, Slade Professor at the University of Oxford (1869-78), developed an intense interest in medieval illuminated manuscripts and was an avid collector. He also made numerous copies, e.g. from those in the British Museum, often in the company of the painter Millais. One of his greatest treasures was the 'St Louis Psalter’, now in the Fitzwilliam Museum in Cambridge, which was, however, one of several he desecrated and dismantled – either for his own purposes (for collages) or to be presented to friends and the Drawing School in Oxford. They were used in his lecture series, and he encouraged students to make copies of them in order ‘to feel what Gothic design means’.

BOOK REVIEW: Juan José Carreras and Iain Fenlon (eds.), Polychoralities: Music, Identity and Power in Italy, Spain and the New World, DeMusica (Kassel, Edition Reichenberger, 2013), vol. 19. Published in Revista Portuguesa de Musicologia n.s. 5/1 (2018), pp. 161-66

BOOK REVIEW:
Gheerkin de Hondt. A singer-composer in the sixteenth-century Low Countries, by Véronique Roelvink, (Utrecht: Donaas Projecten 2015). ISBN 9789082376807. Mus. exx., 704 pp. || Published in: Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, Vol. LXVI-1/2 (2016), pp. 193-98.

BOOK REVIEW:
'The Treasury of Petrus Alamire: Music and Art in Flemish Court Manuscripts, 1500-1535',ed. Herbert Kellman. Ghent: Ludion, distrib. Univ. of Chicago Pr., 1999. || Review published in:
'Notes', Second Series, 57/3 (Mar., 2001), pp. 623-625.

REVIEW of three books/ editions: (1) Nelly Van Ree Bernard (book), Interpretation of 16th Century Iberian Music on the Clavichord (1989); (2) Clavert Johnson (ed.), Historical Organ Techniques and Repertoire [...] i: Spain, 1550-1830 (1994); (3) J. Climent (ed.), 'Musici organici', Johannis Cabanilles, 1644-1712, vii (1992). || Review published in: 'Early Music' 23/3, "Iberian Discoveries III" (Aug. 1995) pp. 507-509.

REVIEW of five CDs: (1) Armoniosi Concerti: 'Valderrábano: Silva de Sirenas' (Harmonia Mundi, 2005); (2) Al Ayre Español: 'La cantada española en América' (Harmonia Mundi, 2005); (3) Chariviari Agréable: 'Esperar, sentir, morir' (Signum, 2004); (4) La Grande Chapelle: 'Entre aventuras y encantamientos: música para don Quijote' (Laida, 2004); (5) United Continuo Ensemble: 'Fiesta española' (Raumklang, 2003). || Review published in: Early Music 35/1 (Feb. 2007), pp. 141-144  [see also: EM 36/2 (May 2008), p. 351]

REVIEW of CD series, 'El órgano histórico español' (rec. 1991): 10 CDs. || ABSTRACT. This series demonstrates newly restored Spanish organs by way of a varied repertory of Iberian organ music from the 16th century onwards. Each disc is devoted to two or three instruments played by international organists. Advisers for the series were headed by Lionel Rogg. Review considers 8/10 discs in the series, discussing organology, presentation of material, choices of repertories and performance questions. Organs include those in: Salamanca Cathedral ('Salinas' organ; 1744 Pedro Echararría); Madrigal de las Altas Torres; Villalón de Campos; El Salvador, Seville; Ateca; Montblanch; Sa Pobla (Mallorca); Abraca de Campos; Frechilla; Labastida; Villabuena. || Review published in: 'Early Music' 21/1 (Feb. 1993), pp. 143-47.

REVIEW of CD: 'Francisco Correa de Arauxo: FACULTAD ORGANICA' (rec. 1992), played by Odile Bailleux on two mid to late 18th-century organs buit by Jordi Bosch and Gabriel Thomas in churches in Mallorca, restored by Gerhard Grenzing. The 'Santanyi organ' (Bosch, 1762) was originally built for a Dominican Convent in Palma, and dismantled and partially rebuilt in 1835 in the church of Santanyi. || Review published in: 'Early Music' 20/4, "Iberian Discoveries I" (Nov. 1992), p. 689.

Published in: ‘Morales’s Contribution to the Pange Lingua Tradition, and an Anonymous Tantum Ergo’, by Bernadette Nelson.
(Book) Cristóbal de Morales: Sources, Influences, Reception, ed. Rees/ Nelson (Boydell & Brewer, 2007)  at pp. 106-108.

Edition of two polyphonic hymns in P-Cug MM 221: 'Nardi Maria & Tibi Christe splendor (anon. fl. c.1530-1540)'. Series 'Pure Gold: an occasional collection in honour of Bruno Turner on his 80th birthday', no. 3 (Lochs: Mapa Mundi, 2012).
See article, 'A Polyphonic Hymn Cycle in Coimbra', by B. Nelson, in 'Pure Gold: Golden Age Sacred Music in the Iberian World. A Homage to Bruno Turner', ed. Tess Knighton and Bernadette Nelson (Kassel: Reichenberger, 2011), pp. 167-205.