Notes and Editorial Reviews
LOS MINISTRILES IN THE NEW WORLD
•
Piffaro
•
NAVONA NV5875 (69:19)
Selections by
ANON, FERNANDES, MURCIA, CABEZÓN, ORTIZ, ARAÑES, MURILLO, BLAS DE CASTRO, LOPEZ CAPILLAS, FRANCO, MORALES, RIBAYAZ, BLASCO, GUTIÉREZ DE PADILLA
This disc presents a compilation of instrumental dance music and arrangements of songs, drawn from manuscript archives in Central and South America. In addition to the extraordinarily prolific Señor Anonymous,
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there are three names likely to command immediate recognition from readers of these pages. The great blind Spanish organist Antonio de Cabezón served at the court of Emperor Charles V and his consort, Queen Isabella of Portugal. Cristóbal de Morales was the most important Spanish composer before Tomás Luis de Victoria. He held numerous positions in Italy and Spain, which appears to have been a testimony as much to an exceptionally difficult personality as to musical prowess. Juan Gutiérez de Padilla was a Spanish emigrant to Mexico who served as
maestro de capilla
of the cathedral church of Puebla de los Ángeles, the most prestigious musical post in New Spain during the 16th and 17th centuries, from 1628 to his death. The most important musical personage in the Western Hemisphere before the 19th century, he was extremely prolific, with a legacy of more than 700 surviving compositions.
For the others there is very little information available. Juan Arañes hailed from Catalonia and was the
maestro de capilla
of the Spanish Embassy in Rome. Francisco Lopez Capillas, born in Mexico of Spanish parents, was successively
maestro de capilla
of the cathedral church of Puebla de los Ángeles 1641–48 (where he served as an assistant to Gutiérez de Padilla) and then of the cathedral church in Mexico City from 1654 until his death. Several of his Masses and motets have been recorded. The Spanish singer and composer Juan Blas de Castro successively served in the courts of the notorious Duke of Alba and of King Philip III. He is known to have been a friend of the poet and playwright Lope de Vega. Santiago de Murcia was a Spanish guitarist and composer who was born and also died in Madrid. He is known to have served as master of guitar to the Spanish Queen Maria Luisa Gabriela de Savoy from about 1702 to 1714. Lucas Ruiz de Ribayaz was also a Spanish guitarist of some note, of whom nothing more appears to be known. The Portuguese singer, organist, and composer Gaspar Fernandes (or Fernández) made his career successively in the cathedrals of Santiago de Guatemala and Puebla de los Ángeles. Hernando Franco was a Spanish immigrant to Mexico who, after a stint at the cathedral church of Santiago de Guatemala, served as
maestro de capilla
of the cathedral in Mexico City from 1575 to 1582. He is the earliest known musical figure to have made a career in the New World. Little is known of the Spanish composer Diego Ortiz other than that he served for some years in the courts of the Spanish Viceroy of Naples and King Philip II. Unsurprisingly, I could locate no further information regarding either Don Francisco or Fr. B. Murillo. The likewise utterly obscure Manuel Blasco listed here is not to be confused with the later and far better-documented organist-composer Manuel Orlandi Blasco de Negra.
Unfortunately, the brief and sketchy booklet notes provide no information about either the composers or the individual pieces, except to state that while music composed in the Spanish colonies in general closely resembled that imported from the Iberian peninsula, it was enriched by contact with the musical cultures of both aboriginal Native Americans and imported African slaves. Exactly how is not further specified, which given the album concept is a serious and distressing omission. Instead, twice as much space is given to touting the extensive credentials of Piffaro, something this estimable ensemble scarcely needs. Needless to say, this justly renowned Renaissance band of more than 30 years’ standing, based in my present home city of Philadelphia, offers yet another in its unfailingly outstanding series of discs devoted to the music of a particular geographic locale. Having already covered France, Germany, Italy, Spain, Flanders, and England, it here strikes out farther afield geographically, but with undiminished stylishness, vigor, and panache. If you already own its previous discs, you know that you will want this one as well; if you don’t, delay no longer in making the group’s acquaintance.
FANFARE: James A. Altena
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Works on This Recording
1.
Tañe Gil du tamborino by Gaspar Fernandes
Performer:
Annette Bauer (Dulcian),
Annette Bauer (Recorder)
Period: Renaissance
Venue: Concert Hall of Drew University, Dorothy
Length: 3 Minutes 30 Secs.
2.
Folias gallegas, for guitar by Santiago de Murcia
Performer:
Annette Bauer (Recorder),
Annette Bauer (Dulcian)
Period: Baroque
Venue: Concert Hall of Drew University, Dorothy
Length: 1 Minutes 35 Secs.
3.
Diferencias sobre el canto llano del "Caballero" by Antonio De Cabezón
Performer:
Annette Bauer (Dulcian),
Annette Bauer (Recorder)
Period: Renaissance
Written: 16th Century; Spain
Venue: Concert Hall of Drew University, Dorothy
Length: 2 Minutes 34 Secs.
4.
Diferencias sobre "La Milanesa" by Antonio De Cabezón
Performer:
Annette Bauer (Dulcian),
Annette Bauer (Recorder)
Period: Renaissance
Written: 16th Century; Spain
Venue: Concert Hall of Drew University, Dorothy
Length: 1 Minutes 23 Secs.
5.
La Dama le demanda by Antonio De Cabezón
Performer:
Annette Bauer (Dulcian),
Annette Bauer (Recorder)
Period: Renaissance
Venue: Concert Hall of Drew University, Dorothy
Length: 3 Minutes 21 Secs.
6.
Recercada quarta: Recercada No. 4 "La gamba" by Diego Ortiz
Performer:
Annette Bauer (Recorder),
Annette Bauer (Dulcian)
Period: Renaissance
Venue: Concert Hall of Drew University, Dorothy
Length: 1 Minutes 39 Secs.
7.
Un sarao de la chacona by Juan Arañés
Performer:
Annette Bauer (Recorder),
Annette Bauer (Dulcian)
Period: Baroque
Written: by 1624; Spain
Venue: Concert Hall of Drew University, Dorothy
Length: 1 Minutes 58 Secs.
8.
Niña, con tus libres modos by Bernardo Murillo
Performer:
Annette Bauer (Recorder),
Annette Bauer (Dulcian)
Period: Baroque
Venue: Concert Hall of Drew University, Dorothy
Length: 2 Minutes 9 Secs.
9.
Sale la blanca aurora by Juan Blas de Castro
Performer:
Annette Bauer (Dulcian),
Annette Bauer (Recorder)
Period: Baroque
Venue: Concert Hall of Drew University, Dorothy
Length: 1 Minutes 39 Secs.
10.
Ay, ay, ay by Anonymous
Performer:
Annette Bauer (Recorder),
Annette Bauer (Dulcian)
Venue: Concert Hall of Drew University, Dorothy
Length: 1 Minutes 56 Secs.
11.
Elegit eum Dominus by Gaspar Fernandes
Performer:
Annette Bauer (Dulcian),
Annette Bauer (Recorder)
Period: Renaissance
Written: 1612; Mexico
Venue: Concert Hall of Drew University, Dorothy
Length: 2 Minutes 11 Secs.
12.
Ego enim accepi (Sanctissimae Eucharistiae Sacramentum) by Francisco López Capillas
Performer:
Annette Bauer (Dulcian),
Annette Bauer (Recorder)
Period: Baroque
Venue: Concert Hall of Drew University, Dorothy
Length: 2 Minutes 51 Secs.
13.
Sobre vuestro canto llano (de San Jerónimo) by Gaspar Fernandes
Performer:
Annette Bauer (Dulcian),
Annette Bauer (Recorder)
Period: Renaissance
Venue: Concert Hall of Drew University, Dorothy
Length: 1 Minutes 20 Secs.
14.
Villano by Anonymous
Performer:
Annette Bauer (Recorder),
Annette Bauer (Dulcian)
Period: Baroque
Venue: Concert Hall of Drew University, Dorothy
Length: 2 Minutes 43 Secs.
15.
Turulu neglo by Anonymous
Performer:
Annette Bauer (Dulcian),
Annette Bauer (Recorder)
Venue: Concert Hall of Drew University, Dorothy
Length: 1 Minutes 54 Secs.
16.
Dios Itlaco nantzine by Hernando Franco
Performer:
Annette Bauer (Dulcian),
Annette Bauer (Recorder)
Period: Renaissance
Venue: Concert Hall of Drew University, Dorothy
Length: 2 Minutes 27 Secs.
17.
Oy, descubre la grandesa by Gaspar Fernandes
Performer:
Annette Bauer (Recorder),
Annette Bauer (Dulcian)
Period: Renaissance
Venue: Concert Hall of Drew University, Dorothy
Length: 2 Minutes 8 Secs.
18.
Ah, de abajo! by Gaspar Fernandes
Performer:
Annette Bauer (Recorder),
Annette Bauer (Dulcian)
Period: Renaissance
Venue: Concert Hall of Drew University, Dorothy
Length: 4 Minutes 2 Secs.
19.
Dulce Jesús mío (Yyaî Jesuchristo) by Anonymous
Performer:
Annette Bauer (Recorder),
Annette Bauer (Dulcian)
Venue: Concert Hall of Drew University, Dorothy
Length: 1 Minutes 7 Secs.
20.
Monstra te esse matrem by Hernando Franco
Performer:
Annette Bauer (Recorder),
Annette Bauer (Dulcian)
Period: Renaissance
Venue: Concert Hall of Drew University, Dorothy
Length: 1 Minutes 35 Secs.
21.
Missa "Si bona suscepimus": Gloria by Cristóbal de Morales
Performer:
Annette Bauer (Recorder),
Annette Bauer (Dulcian)
Period: Renaissance
Written: circa 1544
Venue: Concert Hall of Drew University, Dorothy
Length: 4 Minutes 59 Secs.
22.
Zarambesques, for traditional ensemble by Lucas Ruiz de Ribayaz
Performer:
Annette Bauer (Recorder),
Annette Bauer (Dulcian)
Period: Baroque
Venue: Concert Hall of Drew University, Dorothy
Length: 1 Minutes 56 Secs.
23.
Christianos by Anonymous
Performer:
Annette Bauer (Recorder),
Annette Bauer (Dulcian)
Period: Baroque
Venue: Concert Hall of Drew University, Dorothy
Length: 1 Minutes 19 Secs.
24.
Senhora del mundo by Anonymous
Performer:
Annette Bauer (Recorder),
Annette Bauer (Dulcian)
Period: Renaissance
Written: Portugal
Venue: Concert Hall of Drew University, Dorothy
Length: 3 Minutes 14 Secs.
25.
Pabanas, for guitar or harp (from Luz y norte musical) by Lucas Ruiz de Ribayaz
Performer:
Annette Bauer (Recorder),
Annette Bauer (Dulcian)
Period: Baroque
Written: 1677
Venue: Concert Hall of Drew University, Dorothy
Length: 2 Minutes 20 Secs.
26.
Canarios by Anonymous
Performer:
Annette Bauer (Dulcian),
Annette Bauer (Recorder)
Period: Renaissance
Venue: Concert Hall of Drew University, Dorothy
Length: 2 Minutes 38 Secs.
27.
Seguidillas manchegas by Santiago de Murcia
Performer:
Annette Bauer (Dulcian),
Annette Bauer (Recorder)
Period: Baroque
Venue: Concert Hall of Drew University, Dorothy
Length: 3 Minutes 3 Secs.
28.
Versos (5) al órgano en duo, para chirimías by Manuel Blasco de Nebra
Performer:
Annette Bauer (Recorder),
Annette Bauer (Dulcian)
Period: Classical
Venue: Concert Hall of Drew University, Dorothy
Length: 1 Minutes 10 Secs.
29.
Deus in Auditorium by Juan Gutiérrez de Padilla
Performer:
Annette Bauer (Recorder),
Annette Bauer (Dulcian)
Period: Baroque
Venue: Concert Hall of Drew University, Dorothy
Length: 1 Minutes 58 Secs.
30.
Untitled CD-ROM Track by Unspecified
Period: Modern
Sound Samples
Folias Gallegas (arr. G. Herreid)
Obras de musica para tecla, arpa y vihuela: Diferencias sobre el canto llano del caballero
Obras de musica para tecla, arpa y vihuela: Diferencias sobre la Gallarda milanese
Obras de musica para tecla, arpa y vihuela: Diferencias sobre el canto de la dama le demanda (arr. C. Patton)
Trattado de glosas: Recercada No. 4, "La gamba"
Una sarao de la chacona, "A la vida bona"
Nina, con tus libres modos
Ay, ay, ay, tres veces ay ...! [Spain, 17th Century]
De San Jeronimo a 5 Sobre vuestro canto llano
Villano [17th Century] (arr. for chamber ensemble)
Turulu neglo [16th Century]
Yyai Jesuchristo [Bolivia, 17th Century]
Monstra te esse matrem a 4
Missa, "Si bona suscepimus": Gloria
Luz y norte musical: Zarambeques
Christianos [Bolivia, 17th Century]
Dulce Jesus mio [Bolivia, 17th Century] (arr. G. Herreid)
Senhora del mundo [Portugal, 16th Century] (arr. for chamber ensemble)
Luz y norte musical: Pabanas
Seguidillas manchegas (arr. G. Herreid)
Versos al organo en duo para chiririmias
Deus in adiutorium meum a 8
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