ABSTRACT
This chapter focuses on three impressive compositions preserved only in sixteenth-century sources, probably because they were not written by the time Segovia was copied, that show Juan de Anchieta’s later approach to the challenges of large-scale sacred music. Anchieta is almost the only Spanish composer named in the manuscript, and his music stands out as more sophisticated and energetic than the Spanish sacred anonymi around it, but also as perhaps a bit pale and generic in comparison to Segovia’s northern contents by composers like Jacob Obrecht, H. Isaac, and des Prez Josquin. Tarazona 2/3—so numbered because from the late sixteenth century until a restoration in 2003 it was divided into two sections—contains some 117 compositions, including all but three of Anchieta’s surviving sacred works, plus most of the known church music of his Spanish contemporaries.
