Classical Principle Weekly
November 22, 2022
The Classical Principle: Classical music and folk music in Ibero- America: Part 2. 1700-1800
In the first part of this series, we covered classical music in Ibero-America and its interaction with folk music, from its inception in the mid-1500's to the end of the 17th century. Now, in parts 2 and 3, we will examine the tremendous progress over the next two centuries. Part 4 will be on the 20th century.
There are many musical examples in this post. We want to emphasize two things to our readers:
1. European composers incorporated native folk music into their scores. However, that does not mean that everything in the featured recordings is in the score. Modern performances take a lot of liberties in incorporating percussion, flutes etc. It often works, because the music was reaching out to indigenous practices. But if anyone wishes to perform one of these pieces, we recommend looking at the score first. We have eschewed performances that take to many liberties. The interplay between cultures is what matters.
2. There is so much wonderful music, that we apologize for anything left out.
We mentioned in Part 2 that “Hymn to the Virgin” of Guadeloupe may well have been composed by a Mexican student of Hernando Franco, and thus be the first classical work composed by a native Mexican. That, however, is not certain. What is certain, is that after years of European leadership (Bermudez, Fernandes, Padilla), Juan Garcia de Zespedes (1619-1678), who was born in Puebla, became a singer in Juan Padilla's chorus at the age of 11, and, that after Padilla's death in 1664, Zespedes led that same chorus, at that same Cathedral, even though he was not fully trusted with the title of Maestro de Capilla until 1670. This is reminiscent of the process we followed in Russia (see Classical Principle June 1st, 2022). There, Italian opera composers were brought in for 70 years to train and build the chorus. Finally, the Ukrainian-born composer, Dmitro Bortniansky, after a long apprenticeship in Italy, became the first locally-produced musician good enough to lead music for the Czar's Imperial Chapel Chorus.
Zespedes conducted, composed, taught, played the viol, and performed religious functions. His musical compositions ranged from sacred pieces to secular pieces inspired by folk music.
Here is his Villancico, "Convidando está la noche" (Inviting is the night). A Villancico is a religious piece played in a popular style. This is a Christmas song.
1. Convivando está la noche: Juan Garcia de Zespedes
The Guaracha is a comical piece that originates in Cuba. Here is Zespedes' "Ay que me abrazo" If it reminds some listeners of the "Canarios" of Spain's Gaspar Sanz, it's not plagiarism. Composers often used the same progressions.
2. Ay que me abrazo: Juan Garcia de Zespedes
THE 18TH CENTURY
The next century brought an explosion of progress into music. In the Ibero-American part of the New World, that progress combined new levels of play between classical and folk music, as well as the introduction of opera.
We ended Part 1 with Domenico Zipoli (1688-1726). Let us open the 18th century with him. This Adagio is unlike anything we have heard so far. He operated though, in the Jesuit Reductions of Paraguay, controversial institutions that were eventually expelled.
3. Adagio for Oboe, Cello, organ and orchestra: Domenico Zipoli
Santiago de Murcia, an excellent guitarist, probably never set foot in the Americas, but his works were well known there. Here is a popular dance called the Fandango by him from 1730. The dance is probably of Moorish origin. (See Classical Principle on Convivencia Oct 11th).
4. Fandango: Santiago de Murcia
This first opera composed in the New World was in Peru, in the year 1701, by Tomás de Torrejón y Velasco (1644-1728), " La púrpura de la rosa" (The Blood of the Rose). We cannot convey a conception of the opera here. Please join us in delighting in the vocal qualities present in 1701 Peru:
5. From La Purpura de la rosa , Calderón de la Barca - Torrejón y Velasco
The opera includes a movement based on the Fandango
6.La Púrpura de la rosa: La Chácara
José de Orejón y Aparicio (1705-1765)was born in Peru, and studied with the Italian master Roque Ceruti. His "A del dia, A de la Fiesta", also has some of the qualities of a Fandango.
7. A del dia, A de la Fiesta: José de Orejón y Aparicio
Here is a beautiful work by him:
8. Mariposa de sus Rayos: José de Orejón y Aparicio
https://youtu.be/FzcgDAZ_Jwo?list=TLPQMTcxMTIwMjIRDK0u7EeTMA
Manuel de Sumaya (1680-1755) was born in Mexico, and entered the choir of the Cathedral of Mexico City at age 10. Four years later, the chapel master, Antonio de Salazar, recognizing his talents, obtained special leave for Sumaya to travel and study the organ. He composed the first opera in Mexico in 1711, and was appointed chapel master of the large and important Cathedral of Mexico City in 1715. Under his tenure the Cathedral acquired "violins, violas, violincellos, horns, bugles, basses, bass and other wind instruments"; He mastered both "Renaissance" and "Baroque" styles. You can hear that in these two selections. The first, represents a (modern) world premier.
9. Adjuva nos Deos: Manuel de Sumaya
Adjuva nos, Deus salutaris noster,
et propter gloriam nominis tui Domine libera nos.
Et propitius esto peccatis nostris, propter nomen sanctum tuum.
Help us, O God, of our salvation;
and for the honour of thy name deliver us.
O Lord, Be merciful to our sins, for the sake of your holy name.
(The next possibly concerns the story of Saint Peter.)
10. O Muro mas que Humano: Manuel se Sumaya
Sumaya was succeeded at the Cathedral of Mexico City by Ignacio Jerusalem y Stella (1707-1769), who made good use of Sumaya's building of an instrumental inventory.
11. ¡Clarines, Sonad! (Let the trumpets sound): Ignacio Jerusalem y Stella
Raphael Antonio Castellanos (1735-1791) was born in Guatemala, and remained there all his life. He studied under his uncle, and eventually replaced him as chapel master.
12. Dulces Philomenes:Raphael Antonio Castellanos
The Codex Martínez Compañón (c.1782–1785), is a manuscript edited in nine volumes, assembled by the bishop of Trujillo-Peru, containing 1,411 watercolours and 20 musical scores, often called Tonados, documenting life in his diocese. This work was sent to King Charles IV of Spain, who included it in the Royal Library in 1803.
The Chimur culture was wiped out by the Incas before the Spaniards arrived. The Tonado de Chimo is the only work left in their extinct Mochica language. Notice an eerie similarity to Chopin's funeral march from much later.
13. Tonado de Chimo: from the Codex Martínez Compañón
14. Baile de Chimo (Dance from Chimo): from the Codex Martínez Compañón
In closing, though we covered Brazil on August 9th, we will repeat the piece that made Jose Mauricio Nunes Garcia famous in 1790, his Funeral Symphony. I hear the spirits of Haydn and Mozart in this.
15.Sinfonia Fúnebre 1790: Jose Mauricio Nunes Garcia
We hope this may have challenged some of your preconceptions, in a joyous process of discovery. More to come!