Catalogue


A New-World collection of polyphony for Holy Week and the Salve service : Guatemala City, Cathedral Archive, music MS 4 /
edited with an introduction by Robert J. Snow.
imprint
Chicago : University of Chicago Press, 1996.
description
1 score (xi, 475 p.) : facsims. ; 32 cm.
ISBN
0226767442
format(s)
Score
Holdings
More Details
imprint
Chicago : University of Chicago Press, 1996.
isbn
0226767442
general note
Chiefly for 4- or 5-part chorus; one work for 3-part and one for 6-part chorus.
Words printed as text with English translations in commentary.
Works by Pedro Bermúdez, Francisco de Peñalosa, Juan de Carabantes, Santos de Aliseda, Francisco Guerrero, Giovanni Pierluigi da Palestrina, Cristóbal de Morales, Alonso de Trujillo, Hernando Franco, Antón de España, anonymous composers.
abstract
"Perhaps the most luxurious edition of Latin American colonial music to date, the volume describes in detail life in the Guatemala cathedral (1524-1606), presents an inventory of Guatemalan choirbooks, and reviews the liturgical and musical background for Holy Week music and music for the Salve Service and Compline. In addition to presenting transcriptions of Guatemalan Cathedral MS 4, each composition is given an individual commentary. Among composers represented are Santos de Alissseda, Antón de España, Pedro Bermúdez, Juan de Carbantes, Hernando Franco, Francisco Guerrero, Cristóbal de Morales, Giovanni Pierluigi da Palestrina, Francisco de Peñalosa, and Alonso de Trujillo. An overview of this topic can be seen in Robert Snow's article 'Guatemala' (Revista de Musicología 16:3, 1993, p. 1209-1215)"--Handbook of Latin American Studies, v. 58.
language note
Latin words; introd. and commentary in English.
catalogue key
7150829
 
Includes bibliographical references (p. 79-87) and indexes.
A Look Inside
Summaries
Main Description
Following the conquest of Mexico by Cort 9s and much of Central America by Alvarado, cathedral churches were established throughout the region, all with European-style polyphonic choirs. Among the most important of these early centers of Spanish culture was the cathedral of Guatemala City, where polyphony was already in use in the 1540s. Shortly after 1600, the organist and choir director of the cathedral collected, organized, and copied into choirbooks all of the then-extant music used by the choir. The manuscript presented here in modern edition, one of at least five choirbooks prepared at the time, contains a number of otherwise unknown works by such major Old World composers as Francisco Guerrero and Crist 3bal de Morales. Significant works by Hernando Franco and Pedro Berm adez, choirmasters of the Guatemala City Cathedral, are also included. The manuscript presents a unified repertory for Holy Week and for the Salve services in Lent, including four settings of the Passion, for which the Spanish were famous throughout Christendom. Some of the works predate the sixteenth-century reform of the Roman Breviary and Missal, among them the original versions of several Vespers hymns and Magnificat settings by Guerrero that are otherwise known only in later versions found in Spanish sources. An extensive historical introduction by Robert J. Snow discusses the formation of the cathedral's musical repertory and illuminates both Ol
Main Description
Following the conquest of Mexico by Cort s and much of Central America by Alvarado, cathedral churches were established throughout the region, all with European-style polyphonic choirs. Among the most important of these early centers of Spanish culture was the cathedral of Guatemala City, where polyphony was already in use in the 1540s. Shortly after 1600, the organist and choir director of the cathedral collected, organized, and copied into choirbooks all of the then-extant music used by the choir. The manuscript presented here in modern edition, one of at least five choirbooks prepared at the time, contains a number of otherwise unknown works by such major Old World composers as Francisco Guerrero and Crist bal de Morales. Significant works by Hernando Franco and Pedro Berm dez, choirmasters of the Guatemala City Cathedral, are also included. The manuscript presents a unified repertory for Holy Week and for the Salve services in Lent, including four settings of the Passion, for which the Spanish were famous throughout Christendom. Some of the works predate the sixteenth-century reform of the Roman Breviary and Missal, among them the original versions of several Vespers hymns and Magnificat settings by Guerrero that are otherwise known only in later versions found in Spanish sources. An extensive historical introduction by Robert J. Snow discusses the formation of the cathedral's musical repertory and illuminates both Old and New World practices of sixteenth-century Spanish liturgical music.
Main Description
Following the conquest of Mexico by Cortés and much of Central America by Alvarado, cathedral churches were established throughout the region, all with European-style polyphonic choirs. Among the most important of these early centers of Spanish culture was the cathedral of Guatemala City, where polyphony was already in use in the 1540s. Shortly after 1600, the organist and choir director of the cathedral collected, organized, and copied into choirbooks all of the then-extant music used by the choir. The manuscript presented here in modern edition, one of at least five choirbooks prepared at the time, contains a number of otherwise unknown works by such major Old World composers as Francisco Guerrero and Cristóbal de Morales. Significant works by Hernando Franco and Pedro Bermúdez, choirmasters of the Guatemala City Cathedral, are also included. The manuscript presents a unified repertory for Holy Week and for the Salve services in Lent, including four settings of the Passion, for which the Spanish were famous throughout Christendom. Some of the works predate the sixteenth-century reform of the Roman Breviary and Missal, among them the original versions of several Vespers hymns and Magnificat settings by Guerrero that are otherwise known only in later versions found in Spanish sources. An extensive historical introduction by Robert J. Snow discusses the formation of the cathedral's musical repertory and illuminates both Old and New World practices of sixteenth-century Spanish liturgical music.
Table of Contents
Foreword
Acknowledgments
Illustrations from Guatemala Cathedral Music MS 4
Introduction
Guatemala City and the Cathedral, 1524-1606 The Episcopacy of Francisco Marroquín, 1537-1563 Sede vacante, 1563-1564 The Episcopacy of Bernardino Villalpando, 1564-1570 Sede vacante, 1570-1574 The Episcopacy of Francisco Gómez Fernández de Córdoba, 1574-1598 Sede vacante, 1598-1601 The Episcopacy of Juan Ramírez, 1601-1606
The Extant Guatemalan Choirbooks and Their Contents Appendix: Inventories of the Guatemala Choirbooks
Liturgico-Musical Aspects of the Works for Holy Week Asperges me Gloria, laus, et honor Mass Ordinary Items Et incarnatus est Adjuva nos Motets Passions Miserere mei Lamentations Vexilla Regis
Music for the Salve Service and Compline Spanish Liturgical Use of Salve Regina The Spanish Chant Version ofSalve Regina The Independent Salve Service The Emergence of the PolyphonicSalve Regina The Settings ofBenedicamus Domino Compline
Concordance and Commentary
List of Sources and Bibliography
Manuscripts and Prints of Polyphonic Music
Liturgical Manuscripts and Printed Books
Literature and Modern Editions
Sound REcordings
Abbreviations of Frequently Cited Works
Commentaries on the Individual Compositions
The Edition Editorial Principles The Transcriptions
Missa de feria - Pedro Bermúdez
Adjuva nos (Anon.)
Et incarnatus est (Anon.)
Missa de feria (Anon.)
Gloria, laus, et honor (Anon.)
Ave sanctissima Maria (Anon.)
Sancta Mater, istud agas (Francisco de Peñalosa)
Missa de feria (Anon; = Pedro Bermúdez?)
Et incarnatus est (Anon.)
Gloria, laus, et honor (Anon.)
Passio secundum Matthaeum [Pedro Bermúdez]
Passio secundum Lucam - Pedro Bermúdez
Passio secundum Joannem [Pedro Bermúdez]
Passio secundum Matthaeum - Juan de Carabantes
Miserere mei (Anon.)
Miserere mei - Pedro Bermúdez
Incipit Lamentatio Jeremiae Prophetae Santos de Aliseda
Incipit Lamentatio Jeremiae Prophetae Francisco Guerrero
Incipit Lamentatio Jeremiae Prophetae Giovanni Pierluigi da Palestrina (?)
Incipit Lamentatio Jeremiae Prophetae (Anon.)
Incipit Lamentatio Jeremiae Prophetae - Pedro Bermúdez
De Lamentatione Jeremiae Prophetae - Pedro Bermúdez
De Lamentatione Jeremiae Prophetae - Cristóbal de Morales
Asperges me - Alonso de Trujillo
Benedicamus Domino (Anon; = Hernando Franco?)
Index of Composers
Index of Co
Table of Contents provided by Publisher. All Rights Reserved.

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