Concierto de Navidad, 24 de diciembre 2009

Gloria, in excelsis Deo!

St. Paul’s Church

Present

Christmas  Concert

Concierto de Navidad

A Christmas Celebration of

Latin-American Baroque Music and Traditional Carols

 Robert Martin, music director

 Camille Ortiz, soprano

Lucia Wiggins, mezzo-soprano

Jose Pietri-Coimbre, violin

Ina Paris, violin

Jin Park, viola

Veronica Parrales, cello

Lis Rubard, french-horn

Adam Schommer, french-horn

Robert Martin, keyboard

Saint Paul’s Church

December 24 , 9.30 pm

Zuipaquî (Ad Mariam)    Domenico Zipoli

             Aria for Soprano, Violin, and Continuo       (1688-1726)

  ed. by Piotr Nawrot, svd

Magnificat        Ignacio de Jerusalem

             For Two Sopranos and Orchestra               (1707-1769) ed. by Manuel Rosillo Segura

Pie Jesu Andrew Lloyd Weber

From Requiem (b. 1948)

Ave Maria Charles Gounod

(1818-1893)

Sextet in E-flat for Two Horns and Strings, Op.81 L.V.Beethoven

II. Adagio (1770-1827)

Suite in B-minor for Solo Keyboard Domenico Zipoli

Preludio (1688-1726) Corrente

Cherubes y Pastores (Villancico) Ignacio de Jerusalem

Recitative and Aria for Alto solo and Orchestra (1707-1769)

ed. by Manuel R. Segura

Señora Doña María Author Anonymous

Villancico for Two Voices ed. by Piotr Nawrot, svd Music from the Archives of Moxos (Bolivia)

Stille Nacht (Silent Night) Franz X. Gruber

(1787-1863)

arr. by Robert Martin

Villancico Yaucano Amaury Veray

(1922-1995)

Jesus’ Lullaby Polish Lullaby

Cantique de Nöel (Oh, Holy Night) Adolphe Adam

(1803-1856)

Grand Christmas Medley Arr. by Robert Martin

The villancico in New Spain (South America) evolved from villancicos and other compositions by Iberian composers.  They have a resolutely unique musical identity, influenced by but independent of European contact.  In the sixteenth century, the villancico in New Spain was clearly a standard form of sacred composition.  Holidays, popular festivals commemorating the saints, and other religious ceremonies required the performance of new music.  The illustrious chapel masters of the cathedrals of New Spain—like Ignacio de Jerusalem (Lecce, Italy 1707-Mexico City 1769)—wrote villancicos for every occasion, with particular emphasis on devotion to the Virgin Mary and in celebration of the Nativity.

Zipoli (Prato, Italy 1688-Cordoba, Argentina 1726) was one of many excellent musicians recruited by the Jesuits between 1650 and 1750 for work in the so-called Paraguay reductions.  His music was much in demand in South America: the viceroy in Lima asked for copies, and as late as 1784 a three-part orchestra-accompanied mass was copied in Potosi and sent to Sucre (Higher Peru, now Bolivia).  Jesuit documents of 1728, 1732, and later note his continuing reputation up to at least 1774 in Yapeyu and other Guarany Indian villages from which Europeans were excluded; at one mission, San Pedro y San Pablo, nine “motets” by Zipoli were listed among the effects left behind after the expulsion of the Jesuits.