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Juan Gutiérrez de Padilla was a Mexican of Spanish birth who served as chapel master at Puebla, Mexico from 1629 until his death. Born in Málaga in 1590, Padilla emigrated to Mexico in 1622, where he served the community of Pueblo from that year to the year of his death, 1664. His case is emblematic of Iberoamérica’s maestros peninsulares: like virtually all composers of the time, Padilla re ceived his earliest music training in the choir of the local cathedral; like many, he takes on his first assignment as maestro in a Spanish or Portuguese Cathedral, but at some point early in his career, comes to the Américas, commits to a place to work, and never looks back. By any reckoning, Padilla’s output is part of the musical legacy of México, not Málaga. At the age of 23 he is maestro of the C athedral of Jerez; three years later, of Cádiz Cathedral. By October of 1622 he is already at Puebla Cathedral as singer and co-maestro to the aging Gaspar Fernándes; seven years later he is named full maestro, and maestro he fully proves to be, composing copiously and gloriously in both styles. Much of his sacred music in Latin is for double-choir, and favors two equal voice-disposit ions: SATB-SATB. In this style he writes rather conservatively, but with the flair for pitched battle characteristic of the genre. He was trained and influenced by Spanish attitude; thus his sacred polyphony is basically in the prima prattica except for some Baroque chromaticism, a preference for double choirs, incredibly vital rhythms, and bass lines with strong instrumental characteristics. A consummate master of polyphonic technique s, he employed all devices of counterpoint with skill and grace.