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Lyrics & Music The Boston Camerata, Joel Cohen - Nueva España. Close Encounters in the New World, 1590-1690

Posted on 2010-08-03




Name:Lyrics & Music The Boston Camerata, Joel Cohen - Nueva España. Close Encounters in the New World, 1590-1690
ASIN/ISBN:B000005E9V
File size:365 Mb
File Size: 365 MB
File Size: 100 MB
File Size: 35 MB
Other Info: EAC Rip; FLAC, IMG+CUE, LOG; OGG VBR 192 Kbps; Complete Scans
   Lyrics & Music The Boston Camerata, Joel Cohen - Nueva España. Close Encounters in the New World, 1590-1690



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The Boston Camerata, Joel Cohen - Nueva España. Close Encounters in the New World, 1590-1690

Erato 2292 45977-2 (1992) | Baroque

& 8220;

... The Indians (and, shortly thereafter, the African immigrants) were at once drawn to the music they heard from the Spaniards. And the Europeans were fascinated, and often influenced, by the astonishing, new sounds of other cultures.

So enthusiastic was the Indians' response to European polyphony, and to the playing of guitars, harps, flutes, shawms, and sackbuts, that the newly built churches were soon full to overflowing with skilled, enthusiastic native musicians, singing praises to the Christian Lord with every means at hand. The choirmaster/composers generally came from and were trained in Spain (Seville was an especially important left of musical diffusion towards Nueva España.) But most of the performers (and some composers), were born and bred in the New World. They were, in the main, people with brown and black skins. Time and again, visitors from Europe would note, with wonder and admiration, the skill and dedication of the New World's musicians.

Virtually all the surviving repertoire from the colonial period (with the exception of a few guitar tablatures) is sacred religious music. Music of European origin was often performed in the New World -- several such examples are included in our program. Most often, though, when polyphonic music was wanted, the choirmasters of the new cathedrals composed music afresh. There were, generally speaking, two kinds of stylistic models for the new pieces: the contrapuntal, neo-"renaissance" idiom you will hear in the Latin motets, and a more "baroque," vernacular style employed in the villancicos. Both kinds of writing had their roots in Spanish music; both were admitted into church services.

....

Although the music of Nueva España existed in its own, protected sphere, it is by no means "primitive" and technically awkward like the New England anthems of Billings or Read. These composers were solidly trained, skilled, and open minded. The best of them deserve to be ranked with their leading contemporaries in Europe; a neglected master like Araujo could compose circles around any number of Old Country second-stringers.

The music of Nueva España, emerging now after centuries of dormancy and neglect, is a source of pride and joy for Americans North and South, a precious extension of the European and African musical heritage, and a witness to human possibility on our small, turbulent planet. - Joel Cohen

& 8221;


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