Jessica Bäcklund, Annasara Jaensson: soprano
Dan Johansson: countertenor
Peter Pontvik:  countertenor
Love Enström: tenor
Carl-Fredrik Jaensson: tenor
Yamandú Pontvik: barytone
Christian Engquist: bass
Markus Ström: recorders
Karl Nyhlin:  baroque guitar
Magdalena Mårding: viol
Karl Thorsson: percussion
Daniela Valero: baroque dancer
Kaj Sylegård: baroque dancer

conductor: Peter Pontvik

Programme:

Andrés Flores* (1690 - 1764):
A este edificio célebre
(*1)

Anonymus* (ca. 1600):
Codice Sta Eulalia:
Dios es ya nacido / Vachonloj ibankinal
(*1)

Anonymus (ca. 1783):
Codice Martínez Compañón:
Baile del chimo

Anonymus:
Maria, todo es Maria (1713)

Anonymus (ca. 1783):
Codice Martínez Compañón:
Lanchas para bailar (*1) (*2)

Roque Jacinto de Chavarría (1688 – 1719):
Fuera, fuera, háganles lugar
(*1)

Lucas Ruiz de Ribayaz (fl 1677):
Luz y Norte Musical:
Marionas, gaytas y zarambeques
(*3)

Gaspar Fernandes (ca 1570 - 1629):
Negrinho tiray vos la (1610)
(*1)

Juan de Araújo (1646 - 1712):
Salga el torillo
(*1)

Odmor

Anonymus (1657):
Hyhyhy que de riza morremo (Negro a 8):
(*1)

Anonymus:
Moxos Archive:
Señora doña María
(*1)

Manuel Blasco (fl 1682 – 1696):
Codex Ibarra:
La chacona me piden, vaya
(*1)

Lucas Ruiz de Ribayaz (fl 1677):
Luz y Norte Musical:
Xácaras por primer tono
(*3)

Juan Gutierrez de Padilla (1590 - 1664):
Deus in adiutorium meum intende

Lucas Ruiz de Ribayaz (fl 1677):
Luz y Norte Musical:
Gallardas
(*3)

Tomás de Torrejón y Velasco (1644 – 1728):
La Púrpura de la Rosa (1701):
No puede Amor

Joseph Hortuño (17. st):
Codex Ibarra:
Vamos todos a ver
(*1)

Juan García de Zéspedes (1619 - 1678):
Convidando está la noche
(*1)

 (*1) transcription: Peter Pontvik
(*2)  choreography: Magdalena Villarán
(*3) choreography: Daniela Valero/Kaj Sylegård

About the Programme:
As a result of the Indian presence, European settlements and the African influence, a rich multicultural heritage flourishes in the vast Latin America. The Western Renaissance and Baroque tradition that was carried over the Atlantic, that came to take root in the Indian soil and to take on a new form, is a particulary fascinating chapter. However it is difficult to define Latin American renaissance or baroque music, since the many pre-colonial Indian cultures had no unifying cultural heritage. One must therefore seek a common denominator in the (sacred) music that the Europeans, as the dominant ethnic unit, imported to the “new” continent.

After the conquerors came the missionaries, impatient to convert the population of these new territories to Christianity. They soon found that music could help them quickly convince the Indians to join in
Christian daily life and eventually join the faith. It resulted in exciting musical blends: for example compositions written in the formal language of the European renaissance, but incorporating the local Indian languages in the text.

Bio:
Was formed in 1995 for the purpose of performing the renaissance music collection Cancionero de Upsala. Since then, their program has expanded to include other 16th century collections having a historic connection to the Nordic countries. Today, the ensemble performs mainly music from the Latin American baroque period, and is the only Scandinavian ensemble to do so.
Ensemble Villancico has toured Europe and South America giving more than 250 concerts in 26 countries. The ensemble has appeared at several big festivals an has made a number of television appearances and radio recordings. They have released five CDs. In 2001, the ensemble was awarded the “Ivan Lucacic Prize” in Croatia.