Part IV: Uncle Pio
“That’s what one gets by hanging around a theatre and hearing nothing but the conversation of Calderon.”
Pedro Calderon de la Barca (1600 – 1681) was a dramatist, poet and writer of the Spanish Golden Age. During certain periods of his life he was also a soldier and a Roman Catholic priest. His themes tended to be complex and philosophical, and express complicated states of mind in a manner that few playwrights have been able to manage.
Lima celebrated its feast days by hearing a Mass of Tomas Luis da Victoria in the morning.
See Post 1, note  where Victoria was referred to as Vittoria (which he’ll be referred to as again in the next note).
The news finally spread abroad that he had returned with tomes of masses and motets by Palestrina, Morales and Vittoria, as well as thirty-five plays by Tirso de Molina and Ruiz de Alarcon and Moreto.
Giovanni Pierluigi da Palestrina (~1525 – 1594) was an Italian Renaissance composer of sacred music and the best-known 16th-century representative of the Roman School of musical composition. He had a lasting influence on the development of church music.
Tirso de Molina (1579 – 1648) was a Spanish Baroque dramatist, poet and Roman Catholic monk. He is primarily known for writing The Trickster of Seville and the Stone Guest, the play from which the popular character of Don Juan originates.
Juan Ruiz de Alarcon (~1581 – 1639) was a Novohispanic writer of the Golden Age who cultivated different variants of dramaturgy. His works include the comedy La verdad sospechosa, which is considered a masterpiece of Latin American Baroque theater.