¹ McMullan, G., ‘Introduction’, in McMullan, G. and Smiles, S. (eds.), Late Style and its Discontents: Essays in Art, Literature, and Music (Oxford, 2016CrossRefGoogle Scholar).

² Stevenson, R., Spanish Cathedral Music in the Golden Age (Berkeley and Los Angeles, 1961; repr. Westport, CT, 1976), pp. 345–480Google Scholar. For a revised version of the section on Victoria, see Stevenson, R., ‘Tomás Luis de Victoria (c. 1548–1611): Unique Spanish Genius’, Inter-American Music Review, 12 (1991), pp. 1–100.Google Scholar An error-prone Spanish translation appeared as La música en las catedrales españolas del Siglo de Oro (Madrid, 1993), pp. 403–546.

³ Great-grandson, on the paternal side, of Pope Alexander VI and great-grandson, on the maternal side, of Ferdinand II of Aragon, Borgia was the fourth Duke of Gandía and first Marquis of Lombay. On his close relationship with the women of the Habsburg court, see Sebastián Lozano, J., ‘Francisco de Borja, de criado a maestro espiritual de las mujeres Habsburgo’, in Company, X. and Aliaga, J. (eds.), San Francisco de Borja, grande de España: Arte y espiritualidad en la cultura hispánica de los siglos XVI y XVII (Lérida, 2010), pp. 67–90Google Scholar.

⁴ See Mínguez, V. and Rodríguez, I. (eds.), La piedad de la Casa de Austria: Arte, dinastía y devoción (Gijón, 2018)Google Scholar.

⁵ Rees follows Samuel Rubio in rejecting the suggestion of a number of scholars that Victoria's Requiem may not have been heard at some, or indeed any, of the exequies celebrated in 1603. See Rubio, S., Tomás Luis de Victoria: Officium defunctorum a seis voces (Avila, 2000), p. 14Google Scholar. Daniele Filippi follows Stevenson in suggesting that a more likely occasion for the premiere would have been the Jesuit exequies in April 1603. See Stevenson, Spanish Cathedral Music in the Golden Age, p. 370 and Filippi, D. V., Tomás Luis de Victoria (Palermo, 2008), p. 50Google Scholar.

⁶ de Vicente, A., Tomás Luis de Victoria: Cartas (1582–1606) (Madrid, 2008Google Scholar), and A. de Vicente, El mayordomo de Tomás Luis de Victoria y otros documentos de Victoria, Cuadernos Tomás Luis de Victoria, 2–3 (Avila, 2015).

⁷ Sánchez, M. S., The Empress, the Queen, and the Nun: Women and Power at the Court of Philip III of Spain (Baltimore and London, 1998Google Scholar).

⁸ Filippi, Tomás Luis de Victoria, p. 167.

⁹ Libro de las honras que hizo el colegio de la compañia de Iesus de Madrid, à la m(agestad) c(æsarea) de la emperatriz doña María de Austria, fundadora del dicho colegio, que se celebraron a 21. de abril de 1603 (Madrid, 1603). For a modern edition with facsimiles of the emblems, see Bernat Vistarini, A., Cull, J. T. and Sajó, T., Book of Honors for Empress Maria of Austria Composed by the College of the Society of Jesus of Madrid on the Occasion of her Death, 1603, Early Modern Catholicism and the Visual Arts Series, 5 (Philadelphia, 2011Google Scholar).

¹⁰ See Filippi, Tomás Luis de Victoria, p. 167 and Tavole, p. v.

¹¹ See Walter, R., Tomás Luis de Victoria: Missa pro defunctis cum responsorio Libera me domine, 1605, 6 gemischte Stimmen a cappella, Musica Divina, 15 (Regensburg, 1962), p. iiGoogle Scholar.

¹² Philippe Rogier, Missae sex (Madrid, 1598) [= RISM R1937] and Alonso Lobo, Liber primus missarum (Madrid, 1602) [= RISM L2588].

¹³ See Rome, Biblioteca Nazionale Vittorio Emanuele II, MS 130. Other tantalising, yet opaque, evidence of the composer's concern for the quality of his printed pages is presented and commented upon in de Vicente, Tomás Luis de Victoria: Cartas, pp. 84–9.

¹⁴ Pettas, W., A History and Bibliography of the Giunti (Junta) Printing Family in Spain, 1526–1628 (New Castle, DE, 2005), pp. 67–73Google Scholar.

¹⁵ The contract signed in 1620 by Diego de Bruceña and Susana Muñoz for the printing of a book of 300 pages with a print run of forty is instructive and precise: it specified the production of two folios (four pages) per day. At this rate, Victoria's Officium defunctorum would have been printed in about fifteen days. See A. Luis Iglesias, ‘El maestro de capilla Diego de Bruceña (1567/71–1623) y el impreso perdido de su Libro de Misas, Magnificats y Motetes (Salamanca: Susana Muñoz, 1620)’, in Crawford, D. (ed.), Encomium Musicae: Essays in Honour of Robert J. Snow (Hillsdale, NY, 2002), pp. 435–69, at p. 464Google Scholar.

¹⁶ The copy in the Staatliche Bibliothek, Neuburg an der Donau brings the total to eighteen.

¹⁷ Butt, J., ‘The Seventeenth-Century Musical “Work”’, in Carter, T. and Butt, J. (eds.), The Cambridge History of Seventeenth-Century Music (Cambridge, 2005), pp. 27–54CrossRefGoogle Scholar, at p. 35.

¹⁸ Kirkman, A., The Cultural Life of the Early Polyphonic Mass: Medieval Context to Modern Revival (Cambridge, 2010Google Scholar).

¹⁹ In a paper entitled ‘Piracy or Parody? The exordium of Tomás Luis de Victoria's Versa est in luctum’ read at the Medieval and Renaissance Music Conference, Utrecht University, 1 July 2009. Dolorosi martir was first published in Marenzio's Il primo libro de madrigali a cinque voci (Venice, 1580).

²⁰ Obsessive list makers will want to add Tovey and Slonimsky to the hat rack roll-call.

²¹ Pedrell, Felipe, Thomae Ludovici Victoria Abulensis Opera omnia ex antiquissimis, iisdemque rarissimis, hactenus cognitis editionibus in unum collecta, atque adnotationibus, tum bibliographicis, tum interpretatoriis, 8 vols (Leipzig, 1902–913Google Scholar); reprinted by Gregg Press, Ridgeway, NJ in 1965 in a reduced format and in four volumes.

²² Anglès, H., ‘A propósito de las ediciones originales de Victoria’, Ritmo, 11 (1940), 79–101Google Scholar and Stevenson, Spanish Cathedral Music in the Golden Age, p. 464.

²³ McCarthy, K., Liturgy and Contemplation in Byrd's Gradualia (New York and London, 2007Google Scholar).

²⁴ A. de Vicente, ‘Libros de música en la librería del Colegio jesuita de Ávila’, Historical soundscape, 2019, ISSN: 2603-686X, DL: GR107-2018, http://www.historicalsoundscapes.com/evento/1001/avila/es and Stevenson, , Spanish Cathedral Music in the Golden Age, p. 353Google Scholar.

²⁵ For a reproduction of the letter, together with a commentary, see de Vicente, Tomás Luis de Victoria: Cartas, pp. 110–15.

²⁶ For a facsimile, transcription and translation of Victoria's autograph letter, together with a wider discussion, see Filippi, D. V., ‘Carlo Borromeo and Tomás Luis de Victoria: A Gift, Two Letters and a Recruiting Campaign’, Early Music, 43 (2015), pp. 37–51CrossRefGoogle Scholar. See also Fenlon, I., ‘From Print to Public: The Milanese and Dillingen Editions of Victoria's Motets’, in Suárez-Pajares, J. and Sol, Manuel del (eds.), Estudios. Tomás Luis de Victoria. Studies, Colección Música hispana, textos, estudios, 18 (Madrid, 2013), pp. 27–36Google Scholar.

²⁷ Crook, D., ‘Proper to the Day: Calendrical Ordering in Post-Tridentine Motet Books’, in Rodríguez-García, E. and Filippi, D. V. (eds.), Mapping the Motet in the Post-Tridentine Era (London, 2018), pp. 16–35CrossRefGoogle Scholar, at p. 16.

²⁸ O’Regan, N., ‘Historia de dos ciudades: Victoria como mediador musical entre Roma y Madrid’, in Vicente, A. de and Tomás, Pilar (eds.), Tomás Luis de Victoria y la cultura musical en la España de Felipe III (Madrid, 2012), pp. 279–300Google Scholar, at p. 299; N. O’Regan, ‘Tomás Luis de Victoria's Cum Beatus Ignatius in the Context of Rome's Jesuit Colleges’, unpublished paper read at the Medieval and Renaissance Music Conference, Barcelona, July 2011. I thank the author for sharing with me a copy of this paper. See also A. Giardina, ‘Tomás Luis de Victoria: Le premier livre de motets. Organisation et style’ (Ph.D. diss., University of Geneva, 2009).

²⁹ For a reproduction of the letter, together with a Spanish translation and commentary, see de Vicente, Tomás Luis de Victoria: Cartas, pp. 62–7 and Filippi, Tomás Luis de Victoria, pp. 37–8, 43–4, and Tavole, p. vii.

³⁰ Tejero Robledo, E., ‘Tomás Luis de Victoria (Ávila, 1548 – Madrid, 1611) y su linaje converso’, in Sabe Andreu, A. (co-ord.), Tomás Luis de Victoria 1611–2011: Homenaje en el IV centenario de su muerte (Avila, 2011), pp. 33–69Google Scholar.

³¹ Maryks, R. A., The Jesuit Order as a Synagogue of Jews: Jesuits of Jewish Ancestry and Purity-of-Blood Laws in the Early Society of Jesus (Leiden and Boston, 2010Google Scholar).

³² Sánchez Hernández, M. Leticia (ed.), Mujeres en la corte de los Austrias: Una red social, cultural, religiosa y política (Madrid, 2019). See also A. de Vicente, ‘El entorno femenino de la dinastía: El complejo conventual de las Descalzas Reales (1574–1633)’, in de Vicente and Tomás (eds.), Tomás Luis de Victoria y la cultura musical en la España de Felipe III, pp. 197–246Google Scholar.