Work and Influence
Franco wrote 20 motets which survive, as well as 16 Magnificat settings and a setting for four voices of the Lamentations of Jeremiah. He seems to have written no masses, an unusual omission for a composer who headed a Spanish chapel choir, but it is possible that much of his music has been lost. Some hymns in the Nahuatl language by a composer of the same name (Hernando don Franco) are now presumed to be the work of a native composer who took Franco's name, as was the custom, on his conversion to Christianity and baptism (if so, they may be the earliest extant notated music in the European tradition by a Native American composer).
Franco's style is related to that of other Spanish composers of the period, though more conservative, treating dissonance carefully, avoiding chromaticism and virtuosity; indeed tending towards austerity. His settings of the Magnificat were influenced by those by Cristóbal de Morales. The voice range of his works is limited, and may reflect the singing abilities of his choirs, which were not up to the musical standards of those in Europe.
Franco is the earliest known composer in Guatemala; his two pieces in the archives of the Guatemala cathedral, a Lumen ad revelationem and a Benedicamus Domino, are the earliest surviving manuscripts from the area. Other composers preceded him in Mexico, but he was considered by his contemporaries to be the finest of the 16th century there.
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