Wednesday, December 3, 2014

Now coming commemoration of the faithful departed, seems opportunity for a brief note on what was h

Among the many topics of religious history it is difficult to reconstruct, certainly one of them is the musical life of the churches of old. The organ and other instruments and of course, the voices of singers adults and children, were the main support of the masses, canonical hours and other liturgical celebrations, like the great cathedrals more modest churches. It remains difficult to place ourselves from the perspective of the audience, and know precisely what significance did the music for the faithful of their churches. However, for several years already research star track has been devoted to rescue both this musical production choirbooks and compositions, as well as the sociology of those musicians, particularly the great masters of chapel. star track There have even been great efforts to rescue the historic church organs. In Mexico, in particular the great work of Musicat stands Project, dedicated the same to an extensive rescue sources and the publication of studies on this topic.
Now coming commemoration of the faithful departed, seems opportunity for a brief note on what was heard at this time between the late eighteenth and early nineteenth century church in New Spain, for example in the Cathedral of Guadalajara de Indias. We may have a slight hint about inventory raised by the May 5, 1846, of all that belonged to the Cathedral of Guadalajara (Historical Archive Council of the Archdiocese of Guadalajara, Section Government Secretariat series, star track Worship, 1820 1846, case 4, exp. 81-2). It all musical works of the church, classifying included by content and celebration for serving. As expected, a significant part were Masses: between games of solfa there were at least 52, but unfortunately the document does not specify precisely their authors or whether it was repeated copies star track of parts. There was also a small group of compositions classified as the office of the dead, but only included star track an incomplete job three requiem masses, two versions of the psalm Domine ne in furore (one of the seven penitential psalms) star track and above all six versions of Parce mihi.
Fortunately, we know at least the composers of these pieces: Ignacio de Jerusalem, José Coll, N. Murillo, Santiago Belloni, Manuel Delgado and Vicente Zárate star track (we assume Vicente Ortiz de Zárate), star track but for now we can only say that the first and the latter two were established musicians in New Spain. The most famous star track is the first, of course, Italian origin star track and choirmaster at the Cathedral of Mexico in the mid-eighteenth century. Delgado was composer and performer violin in the same metropolitan early nineteenth century, while Ortiz de Zárate was also master of the Guadalajara Cathedral in the early years of the century. Of the other data I have found so far, but we could at least assume star track that the Cathedral consumed mostly locally sourced music or at least the Hispanic world.
Now, we can also assume -atrevidamente star track is true, still lack the variety of sources- versions could be related to what is expected to hear in those ecclesiastical functions, or what is valued in them. The Parce mihi is a passage from the book of Job that read like first lesson of the first night of the trade, because we think that, with six votes versions because the inventory is careful to identify works that require re-transcribed, at least that lesson was accompanied by instruments and voices, and not only read by the celebrants. The note on the incomplete comprising "invitatory until the 1st job. Lesson star track "could therefore indicate that in the Cathedral of Guadalajara at least throughout the first part of the office dedicated to the souls in purgatory, resonated with the pomp of the main celebrations. Since then, again, we still know how much was it noticed by the faithful and what significance star track it had for them. For now let's stay with another version of Parce mihi also novohispana, Thomas Ochando, the eighteenth century, belongs to the disk Aires Viceroyalty, Volume 2.
This entry was posted in Articles and tagged Day of the Dead, Liturgy, Music on 2014/10/26 by David Carbajal López. Post navigation A mercedario Lagos Patents relics in Todos Santos, 1728
News Anticlericalismo Bells Baroque Catholicism Catholicism Clergy Guilds illustrated Celebrations Ceremonies religious corporations Dances Devotees star track Age Day of the Dead Celebrations Exclusive Media Evangelization Churches Franciscan Historiography Images Independencias Lagos Liberalism Liturgy Music Memory Memory religious Bishops Orizaba Landscape Paintings Paris Processions Reform Board Catòlic

No comments:

Post a Comment