Teresa Paz: soprano
Adalis Santiesteban: mezzo-soprano
Yunié Gainza: alto
Roger Quintana: tenor
Michael Jorge: bass
Ainel González:  soprano viol, violin
Arianna Ochoa: tenor viol, violin
Anolan González: bass viol
Elis Regina Ramos: violone
Rodrigo López: shawm
Beatríz López: recorder
Yulmara Vega: bombarde
Oscar Cañizares: bassoon
Abrahan Castillo: bassoon, small bassoon
Aland López: renaissance and baroque guitar
Miriam Escudero: organ, harpsichord

direction: Teresa Paz

Programme:

Anonymus (1600+):
Hanacpachap cussicuinin
(procesijska himna v jeziku quechua, uredil Gerónimo de Contreras, Lima, Peru, 1631. Prva polifonična skladba napisana v Novem svetu / Processional Hymn in Quechua language, edited by Gerónimo de Contreras, Lima, Peru, 1631, First polyphonically piece composed in the New World)

Anonymus (1600+):
Sancta Maria
(jezik Nahuatl, Nahuatl language)

Gaspar Fernandes (1565/1570 - 1629):
Cancionero musical Gaspar Fernandes:
Xicochi, xicochi
(arhiv katedrale v Oaxaci, Mehika / Archive of Oaxaca Cathedral, Mexico)

Juan Gutiérrez de Padilla (ca. 1590 - 1664):
¡Ah, siolo Flasiquiyo!
(arhiv katedrale v Puebla de los Angeles, Mehika / Archive of Puebla de los Angeles Cathedral, Mexico)

Juan Gutiérrez de Padilla (ca. 1590 - 1664):
Niño rendío sa
(arhiv katedrale v Puebla de los Angeles, Mehika / Archive of Puebla de los Angeles Cathedral, Mexico)

Anonymus (1600+):
Letania
(v jeziku Guaraní, arhivi jezuitskega misijona v Boliviji / Guaraní language, Jesuit missions archives, Bolivia)

Anonymus (1600+):
Ane Nupaquìma
(v jeziku Chiquitano, arhivi jezuitskega misijona v Boliviji / Chiquitano language, Jesuit missions archives, Bolivia)

Domenico Zipoli (1688 - 1726):
Chapie, Zuichupa
(v jeziku Guaraní, arhivi jezuitskega misijona v Boliviji / Guaraní language, Jesuit missions archives, Bolivia)

Anonymus (1600+):
Caima, Iyai Jesus
(v jeziku Guaraní, arhivi jezuitskega misijona v Boliviji / Guaraní language, Jesuit missions archives, Bolivia)

Gaspar Fernandes (1565/1570 – 1629):
Cancionero musical Gaspar Fernandes:
Andres, do queda el ganado
(v jeziku Guaraní, arhiv katedrale v Oaxaci, Mehika / Guaraní language, Archive of Oaxaca Cathedral, Mexico)

Gaspar Fernandes (1565/1570 – 1629):
Cancionero musical Gaspar Fernandes:
Negrinho tiray vos
(arhiv katedrale v Oaxaci, Mehika / Archive of Oaxaca Cathedral, Mexico)

Gaspar Fernandes (1565/1570 – 1629):
Cancionero musical Gaspar Fernandes:
Jesos de mi goraçon
(arhiv katedrale v Oaxaci, Mehika / Archive of Oaxaca Cathedral, Mexico)

Anonymus (1700+):
Codice Baltazar Martinez Compañon:
Lanchas para baila
(Transkripcija / Transcription: Bernardo Illari)

Gaspar Fernandes (1565/1570 – 1629):
Cancionero musical Gaspar Fernandes:
Fransiquiya donde vamo
(arhiv katedrale v Oaxaci, Mehika / Archive of Oaxaca Cathedral, Mexico)

Juan Gutiérrez de Padilla (ca. 1590 - 1664):
Tambalagumbá
(arhiv katedrale v Puebla de los Angeles, Mehika / Archive of Puebla de los Angeles Cathedral, Mexico)

About the Programme:

Crossbreed of Latin American Baroque

The convergence of cultures that were given appointment and coexisted in the discovered world for Columbus, indigenous, European and African, gave origin along three centuries, to a new expression, neither entirely western, neither Hispanic, neither purely American.

As sound testimony of that encounter, the files of cathedrals, convents and missions of America store valuable documents of our cultural history. It urges to preserve it and to diffuse it, and even to protect it as Cultural Patrimony of the Humanity.

The music was suitable vehicle for the American evangelism. Dominicans, Franciscans, Jesuit… used it in their missions. We find this way more than 5 000 music papers conserved in the Jesuit missions of Bolivia of whose file is exponents three of the works of this program and the Hanacpachap cussicuinin one of the oldest compositions in America in Quechua language.

Villancicos constitute also one of the more singular and original contributions in the Spanish-American Baroque. That works are bearers of that fusion of cultures that defined the conformation of the Latinity in their American variant. So that, in the reflections and metaphors on the Boy's birth, the mysterious gift that the bread and the wine contain, or the Marian devotion, is alternated by American languages, the Portuguese, the Spanish and the African characteristic Creole.

The Cancionero Musical of Gaspar Fernandes, codex that is considered as the oldest summary of villancicos and chanzonetas of the New Hispanic World, is representative of the Renaissance polyphonic repertoire that was interpreted in America between the last years of the XVII century and the first decades of the following century. This manuscript contains around three hundred polyphonic compositions written by hand and signed mostly by Gaspar Fernandes (Portugal, ca. 1565-70—Puebla, 1629), musician that exercised the chapel master in the Cathedral of Puebla de los Ángeles, Mexico, between 1606 and 1629, and whose earlier works appear dated in 1609.

Juan Gutiérrez de Padilla (Málaga, ca.1590-Mexico, 1664) was the successor of Gaspar Fernandes as master of chapel of the Cathedral of Puebla de los Ángeles. Without doubts, villancicos had a special development in Puebla, as part of the liturgy, and also, as part of significant events of the colonial life, like viceroys' appointment, or the consecration of religious dignities.

In Juan Gutiérrez de Padilla period the Cathedral of Puebla de los Ángeles became one of the most important cultural centers in the New World. The arrival, in 1640, of the bishop and viceroy Juan de Palafox y Mendoza accelerated the construction of the new cathedral that was considered in that epoch «el mayor y más sumptuoso Templo que se conoce en estos Reynos de la América» (the biggest and more magnificent Temple that one knows in these Kingdoms of America). In 1718, appears registered in an inventory of the Cathedral of Puebla a total of 1 589 villancicos.

With this concert we invoke the return of the caravels; this time their cellars don't transport gold and silver, they load get more valuable and immortal treasures, works of the musical art that originated in the European sap acquired an own flavor, the one that Ars Longa will performance from its ownership American culture.

Miriam Escudero