Hieronymus Bosch Follower, Concert in an egg, ca. 1550
Lille, Palais des Beaux-Arts

Workshop with Larry Lipnik
I attended a recorder workshop led by Larry Lipnik in Rochester, New York, last weekend, called Spanish Spice. This was a full day of music, both old and newer: Victoria, Flecha, Zipoli, Villalobos, and Piazzola. The workshop was put on by the Rochester American Recorder Society chapter. 
The work that stands out in my mind is El Fuego, by Flecha. The text reads like a something out of the Inquisition---putting out the fire of sin within us, and quenching it with water from the holy virgin. Larry read the translation with lots of gusto...


Some information about Flecha from the wiki article:

Mateo Flecha (Catalan: Mateu Fletxa) (1481-1553) was a composer born in Catalonia, in the region of Prades. He is sometimes known as "El Viejo" (the elder) to distinguish him from his nephew, Mateo Flecha "El Joven" (the younger), also a composer of madrigals. "El Viejo" is best known for his ensaladas, published in Prague in 1581 by the same nephew.

Mateo Flecha directed the music at the cathedral of Lleida (Sept. 1523 - Oct. 1525). From there he moved to Guadalajara, in the service for six years of the Duke, Diego Hurtado de Mendoza. From there he went to Valencia where he assumed direction of the chapel choir of the Duke of Calabria. While thus employed, three of his works were included in songbooks associated with that chapel, including the Cancionero de Uppsala. In 1537 Flecha moved to Sigüenza where he served as maestro di cappella for two years. From 1544 to 1548 he lived in the castle at Arévalo as teacher of the Infantas Maria and Joanna, daughters of Philip II of Spain (1527-1598). Toward the end of his life Mateo Flecha became a monk of the Cistercian Order, living in the Monastery at Poblet, where he died in 1553.

Mateo Flecha's music was published in part by Fuenllana in his Orphenica Lira. The majority of his works can be found in the Cancionero of the Duke of Calabria (Venice, 1556), also known as the “Cancionero de Uppsala.” Flecha is best known as composer of the "ensalada" (literally "salad"), a work for four or five voices written for the diversion of courtiers in the palace. The ensalada frequently mixed languages: Spanish, Catalan, Italian, French, and Latin. In addition to the ensalada, Flecha is known for his villancicos, or Christmas carols.

In 1581 Flecha's ensaladas were published by his nephew, Mateo Flecha "El Joven" (the younger), in Prague. Of the eleven ensaladas, complete versions remain of only six, El jubilate, La bomba, La negrina, La guerra, El fuego, andLa justa. Four of the others are missing a voice. El cantate is lost because Flecha's nephew did not publish it, considering it to be too long.

Various Spanish vihuelists, like Enríquez de Valderrábano, Diego Pisador, and Miguel de Fuenllana, adapted Flecha's works for the vihuela.

Branle de la Torche, by Praetorius, performed by Richard Rand on all parts.
Richard uses a device (Boss RC-2 Loop Station) that allows him to record each part on top of the next one. 

The Guidonian Hand

The Division Flute
Thanks to Amalia Weinberg, who brought up this subject a few weeks ago. Here is some background on both the music, by John Walsh, and the terms "ground" and "division."
First, the score is available here:
The Division Flute

From the Wiki article:
The term 'Flute' at this date in England referred to the instrument known today as the recorder (Ger. Blockfloete), as opposed to the transverse or 'German' flute.

Division in music refers to a type of ornamentation or variation common in 16th and 17th century music [1] in which each note of a melodic line is "divided" into several shorter, faster-moving notes, often by a rhythmic repetition of a simple musical device such as the trill, turn or cambiata on each note in turn, or by the introduction of nonchord tones or arpeggio figures.

The word was used in this sense to describe improvised coloratura ornamentation as used by opera singers of the day, but it made a ready way of devising variations upon a theme, and was particularly cultivated in the form of the "division on a ground" - the building of successively higher and faster parts onto a repeating bass-line. Examples of "divisions on a ground" were written by, among others, John Jenkins and Christopher Simpson[2]. Simpson gives a lengthy explanation of the art of free improvisation over an ostinato bass-line in his book The Division Viol.

And from a related article from Wikipedia on ostinato:

In music, an ostinato (derived from Italian: "stubborn", compare English: obstinate) is a motif or phrase which is persistently repeated in the same musical voice. An ostinato is always a succession of equal sounds, wherein each note always has the same weight or stress. The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself. Strictly speaking, ostinati should have exact repetition, but in common usage, the term covers repetition with variation and development, such as the alteration of an ostinato line to fit changing harmonies or keys.

As a very accessible frame that allows improvisation, the ostinato was heavily used in the Baroque epoch. For about a century and a half (starting around 1770), the technique was almost abandoned. 

A piece for SATB by Francisco Correa de Arauxo (1583-1654), edited by Eric Haas: Tiento XXIII de 6* tono por fe fa ut


Correa de Arauxo