DOCSLIB.ORG

Music in the Cathedral (Part II) Fernando Alvarez De Castillo Organ: Detall

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Voices of Mexico/April • June, 1992 31 Music in the Cathedral (Part II) Fernando Alvarez de Castillo Organ: detall. Francisco López Capillas: February 7, 1673. His musical legacy build a second organ, known as the organist and choirmaster is of the utmost importance; it Gospel or the Mexican organ, and to Uncertainty surrounds Francisco López includes eight masses, a group of modify the Epistle organ, which was Capillas's birthplace: some say it was excellent magnificats kept in built in 1696, so that it would be Andalucia and others Mexico between manuscript form in the Cathedral identical to the new one. José de Nasarre 1612 and 1615. He was probably a archives, and an excellent choirbook completed his masterpiece in October student of Juan de Riscos, choirmaster which he sent to Spain and is now in 1776, and it was inaugurated on of Jaen. Once he had been ordained as the National Library of Madrid. He December 3, 1776. a priest, he began work as an organist often composed for four voices but In 1817, the Gospel organ was and fagotist in the city of Puebla on never for a double choir. His music, modified once more. Both organs were December 17, 1641, often replacing so beautifully fresh and elegant, kept restored between 1975 and 1977 by the resident organist Pedro Simón. to conservative structures. Flentrop, a Dutch company, because In May 1648 he went to Mexico they had been badly damaged by a City. He may have been encouraged José de Nasarre: tire on January 18, 1967, caused by a in this venture by Fabién Ximeno, the the cathedral organ maker short circuit. resident organist at the Metropolitan In 1730, the organ maker José de Cathedral who had just paid an Nasarre, who had apparently built the Antonio de Salazar: official visit to Puebla. López Capillas Guadalajara Cathedral organ, was choirmaster and teacher presented the Cathedral authorities with commissioned to extend the ránge of Antonio de Salazar is the last a choirbook containing his own the Epistle organ, which was at the composer we shall mention here. He compositions and when Ximeno died east end of the choir. Once he had was born around 1650 in Seville. The he was appointed to the two posts of completed this task in 1734, the little that is known about his life may Cathedral organist and choirmaster. Chapter then commissioned him to be found in archives in Guatemala Though he was exceptional in both posts and even had the opportunity to VVVV VVVVVVVVVY VVVIITYVVVYYVVY VVYVVVVVVVYVVVVYV compose the music for the consecration of the new Cathedral, he Many of the musical scores composed by constantly requested to be relieved of the talented choirmasters at the one. It was not until 1668, 34 years after his appointment, that his request metropolitan cathedral lie buried in the was granted. Joseph Ydiaquez was employed as organist. archives. Only when they have been dug up The date of López Capillas's and performed in their original setting -if death is also uncertain, but it is known that he died between January 18 and not their original context- can the true * Sub-director of the Library of Mexico. quality of composition be appreciated. Voices of Mexico/April • June, 1992 where he was choirmaster before his blind, for which reason he handed over appointment to the same post in Puebla some of his responsibilities to Manuel on July 11, 1679. He held that post for de Zumaya. No record remains of the nine years. date of his death, but it is known that In 1688, Salazar was one of five he died before May 27, 1715. candidates for the post of choirmaster Salazar's contrapuntal texture is of the Metropolitan Cathedral, but his free-flowing, but bis style is rivals offered little opposition and he conservative in its long phrases, open began his new job on September 3. spaces and subtle contrasts. Some of As a musical expert, his work his choral works were written to be was not restricted to composition and accompanied by instruments. Even the direction of the choir. He also took though he composed a great number on the tasks of ordering the Cathedral of works very few were preserved for music archives and of supervising the posterity. installation of the first Great Organ In the eighteenth century Juan -built in Madrid- at the east end of Tellez Girón, Juan Pérez Zamora and the choir in the Cathedral. José Suárez were the resident organists He was recognised by one and all in the cathedral which housed José de as an excellent teacher. Atnong his most Nasarre's magnificent organ. Organ and choir. outstanding students were Pérez de Guzmán in contrapuntal composition, The maintenance of the organs he was advised that he should leave a who became the choirmaster of Oaxaca The Chapter was quite aware of the surety to guarantee the quality of his Cathedral, Francisco de Atienza y importance of these new instruments work and that all minor repairs would Pineda and the famous Manuel de and sought a specialist who would have to be done at his own risk and Zumaya, who not only held the post of keep them in tune and in a perfect state. cost, since the Cathedral would only choirmaster at the Metropolitan José de Nasarre recommended José pay for major repairs. Cathedral and laten at Oaxaca Cacela, who had worked on the Now that the Metropolitan Cathedral but was also the composer construction of the Valladolid organ, Cathedral had such magnificent of the first opera written in America. but the Chapter chose Francisco organs, the musical repertoire grew Around January 1710, Salazar Pelaez since he had previously been considerably. Manuel de Zumaya, placed his state of health on record, the cathedral tuner. He was given a Ignacio Jerusalén y Stela, Mateo pointing out that he was ill and almost salary of 400 pesos a year. However, Tollis Della Rocca and Antonio de Juanas, the last choirmaster before Independence, left a fine musical legacy of organ scores, which are still in the archives. It is for this reason that the organists play Spanish music in the concerts given on these Great Organs. Many of the choral works of the Mexican colonial period remain buried in the archives. The analysis and preparation of these scores would make sense only if the performance bringing them back to life does justice to them. Cathedral music of the colonial period should be seen within the context of centuries of colonial life, but we have z to look beyond the celebrations of the o discovery of the Americas to appreciate Organ: detall. their true worth. .
Recommended publications
  • Guadalajara's Travel Guide

    Guadalajara's Travel Guide

    Guadalajara Tlaquepaque, Zapopan, Tonalá, Lago de Chapala, Tequila, Costalegre.... Maps & Tourist Information www.visitmexico.com Welcome to Tourist Atlas of Mexico The "Tourist Atlas of Mexico" is the systematic recording of all public property, natural and cultural resources that may become national attractions, places of interest and in general all those areas and territorial areas of tourism development. These tourist guides can be downloaded and used in PC, PDA, MP3, iPhone, iPad, Ebook, Smartphone, Mobile or Cellular Phone. Promotions & Special Offers e-Travel Solution offers one of the most powerful affiliate programs and easy to use. The main purpose of the Affiliate Program e-Travel Solution is to provide all those who own a website related to Travel in Mexico the opportunity to enhance their sales and become highly profitable sites. INDEX 1 – General Information. Misión Guadalajara Hotel. Fiesta Inn Guadalajara Expo Hotel. 2 – Cultural traditions hold strong in Guadalajara. Charrería. Mariachi. 3 – Cultural traditions hold strong in Guadalajara. Tequila. México Travel Channel. 4 – José Cuervo Express. 5 - Festivities in Guadalajara. International Mariachi Fair. Romería de la Catedral Metropolitana a la Basilica de Zapopan (Pilgrimage from the Metropolitan Cathedral to the Basilica of Zapopan) Anniversary of the City. 6 – May Cultural Festival. Guadalajara International Book Fair. Octoberfest. 7 – Authentically Mexican: The Cuisine of Jalisco. AMEVH. 8 – Shopping in Guadalajara. Instituto de la Artesanía Jalisciense. 9 – Meetings & Conventions in Guadalajara. City Express Hotel. City Junior Hotel. 10 – Expo Guadalajara. 11 – Historic City Center. Historic Buildings & Other Attractions in Guadalajara´s Historic Center. 12 – Historic City Center . Churches. 13 – Historic City Center.
  • The Zaragozan Organ Builder Joseph Francisco Nassarre Cimorra (1701-1737): Contributions Towards a Biography

    The Zaragozan Organ Builder Joseph Francisco Nassarre Cimorra (1701-1737): Contributions Towards a Biography

    NASSARRE, 30 2014, pp. 91-109 ISSN: 0213-7305 The Zaragozan organ builder Joseph Francisco Nassarre Cimorra (1701-1737): contributions towards a biography EDWARD CHARLES PEPE Resumen: No hay duda de que Joseph de Nassarre era uno de los constructores de órga- nos más importantes para trabajar en la Nueva España. Así, en primer lugar, el artículo se inicia con un breve resumen de los pormenores de sus dos órganos en la catedral de México, construidos entre 1734 y 1736. A continuación, se ha tenido en consideración la biografía de Nassarre, empezando por el análisis de lo escaso publicado hasta la fecha, complementándo- lo con la publicación de los documentos en los que se basó dicha información, y, finalmente, agregando nuevas noticias de gran importancia halladas en archivos españoles. Como re- sultado de esta nueva investigación podemos decir que la familia de Joseph Nassarre vivía en Zaragoza (España), entre 1694 y 1712, y que el organero nació en el año de 1701. Para concluir, basándonos en un vínculo previamente desconocido entre las familias Nassarre y Sesma, sugerimos la capacitación de Joseph Nassarre en el taller de Francisco de Sesma, lo cual podría abrir nuevos caminos para el estudio de los órganos de Nassarre en la catedral de México. Palabras clave: Francisco de Sesma, Joseph Nassarre, México, órgano, Zaragoza. Abstract: There can be no doubt that Joseph Nassarre ranks as one of the most impor- tant organ builders ever to have worked in New Spain. Since some readers might be unfa- miliar with his life and work, this article will briefly review the circumstances surrounding his organs built from 1734 to 1736 in Mexico City Cathedral.
  • Canterbury Christ Church University's Repository of Research Outputs Http

    Canterbury Christ Church University's Repository of Research Outputs Http

    Canterbury Christ Church University’s repository of research outputs http://create.canterbury.ac.uk Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. Swadley, J. (2014) The Villancio in New Spain 1650-1750: morphology, significance and development. Ph.D. thesis, Canterbury Christ Church University. Contact: [email protected] The Villancico in New Spain 1650–1750: Morphology, Significance and Development by John Swadley Canterbury Christ Church University Thesis submitted for the Degree of Doctor of Philosophy 2014 Abstract ........................................................................................................................ 3 List of Abbreviations and Acronyms ............................................................................. 4 List of Figures ............................................................................................................... 5 Preface .........................................................................................................................
  • 2. the Politics of Catholic Worship in Nineteenth-Century Mexico

    2. the Politics of Catholic Worship in Nineteenth-Century Mexico

    Religion and Globalization Edited by Ronald A. Simkins and Zachary B. Smith 2. The Politics of Catholic Worship in Nineteenth-Century Mexico Cornelius Conover, Augustana University Abstract Worship at the Mexico City cathedral from the 1840s to the 1890s was intentionally local, national, and universal. Canons actively promoted holy figures to convey messages of defiance to a reforming state, global Catholic solidarity, constancy under persecution, loyalty to the papacy, and solace to parishioners. The Roman Curia, too, demonstrated special consideration for afflicted Mexican parishioners by authorizing an unusually large number of devotional privileges. When radical liberals prevailed after fifty years of internecine wars, prelates proposed to win the peace by constructing an expiatory temple dedicated to San Felipe de Jesús, where the country might atone for sins committed in the violence of the nineteenth century. Keywords: Mexico City, Catholic Church, saints, Pius IX, Reforma 16 Religion and Globalization Introduction “In our times, a new war has been declared against public religious devotion,” wrote El Ilustrador Católico Mexicano in 1847. The Mexico City newspaper longed for “the pomp with which feasts are celebrated, the abundance of lights, the song of the psalms, the sound of the bells, and the spectacle of the processions.” Modernizing reformers alleged that the Catholic Church exercised unnatural influence in Mexican society and vowed to free the Mexican populace mired in such medieval superstition (Hale: 110-40; Fowler: 189-94). By the 1860s, reformers had hacked up statues of saints, melted down adornments, and forbidden outdoor religious processions. The defense and attacks on ecclesiastical adoration were so important exactly because both sides believed that the issues at stakes were nothing less than the loyalty of Mexico’s people, the country’s future, and perhaps the eternal fate of souls.
  • 08 De Junio De 2011

    08 De Junio De 2011

    14D GUADALUPE SHRINE MEXICO PILGRIMAGE DAY 1 : KUALA LUMPUR - AMSTERDAM Assemble at KLIA KLM check in counter at 8.30 pm Flight departs at 11.50 pm to Mexico via Amsterdam. DAY 2 : AMSTERDAM / MEXICO CITY Arrive Amsterdam at 5.55 am (Transit 8 hrs 40 mins). Flight departs for Mexico at 2.35 pm Arrive Mexico at 7.25 PM After immigration and custom clearance, transfer to hotel. Check in & overnight stay for 5 nights. NOTE: 1) Due to the long transit time at Amsterdam Airport, we have planned for stay/rest at a hotel near the airport including breakfast and return bus transfer at no extra cost. DAY 3 : MEXICO – TEOTIHUACAN (B/ L/D) Buffet breakfast at hotel. Departure to downtown and visit Metropolitan Cathedral and Zocalo Square: ➢ Megalopolis such as Mexico City is formed by the gradual fusion of several cities and towns. The roots of Mexico's capital lie in the so-called Historic Center, an area which occupies the original core of the city which the Aztecs set out like a celestial map, aligned according to the four cardinal points. Mass at Church. ➢ The Metropolitan Cathedral (Catedral Metropolitana) in Mexico City is the oldest and largest cathedral in all of Latin America. Begun in the late 16th century, the cathedral is a medley of styles and dominates the city's huge plaza, the Zócalo. When Cortes and his Spanish missionaries converted the Aztec in the 16th century, they 1 tore down their temples and used much of the stone to construct a church on the site.
  • A History of Architectu Twentieth Edition

    A History of Architectu Twentieth Edition

    SIR BANISTER FLETCHER'S A HISTORY OF ARCHITECTU TWENTIETH EDITION EDITED BY DAN CRUICKSHANK Consultant Editors ANDREW SAINT PETER BLUNDELL JONES KENNETH FRAMPTON Assistant Editor FLEUR RICHARDS ARCHITECTURAL PRESS \ CONTENTS ! List of Contributors ix I Sources of Illustrations xi I Preface xxiii I Introduction xxv I Part One The Architecture of Egypt, the Ancient Near East, Asia, Greece and the Hellenistic i Kingdoms 1 1 1 Background 3 I 2 Prehistoric 29 I I 3 Egypt I 4 The Ancient Near East I 5 Early Asian Cultures 6 Greece 153 I 7 The Hellenistic Kingdoms I 4 I Part Two The Architecture of Europe and the Mediterranean to the Renaissance 1 8 Background - 9 Prehistoric 10 Rome and the Roman Empire 11 The Byzantine Empire h I 12 Early Russia 13 Early Mediaeval and Romanesque 1 14 Gothic vi CONTENTS Part Three The Architecture of Islam 15 Background 16 Seleucid, Parthian and Sassanian 17 Architecture of the Umayyad and Abbasid Caliphates 18 Local Dynasties of Central Islam and Pre-Moghul India 19 Safavid Persia, the Ottoman Empire and Moghul India 20 Vernacular Building and the Paradise Garden Part Four The Architecture of the Pre-Colonial Cultures outside Europe 2 1 Background 22 Africa 23 The Americas 24 China 25 Japan and Korea 26 Indian Subcontinent 27 South-east Asia Part Five The Architecture of the Renaissance and Post-Renaissance in Europe and Russia 28 Background 29 Italy 30 France, Spain and Portugal 31 Austria, Germany and Central Europe 32 The Low Countries and Britain 33 Russia and Scandinavia 34 Post-Renaissance Europe Part
  • Guadalajara Is a Sweet Surprise Guadalajara

    Guadalajara Is a Sweet Surprise Guadalajara

    GUADALAJARA IS A SWEET SURPRISE Athena Lucero | Return GUADALAJARA, MEXICO — My guide Gus Melor and I are thoroughly entertained watching Roberto, a diminutive but energetic gardener, move like a ninja photographer while taking our picture at the huge Minerva roundabout. “Roberto also looks out for tourists crossing the street,” says Melor. Indeed, the proud caretaker of La Minerva exhibits the friendliness of the Tapatios, as people from Guadalajara are called. Inaugurated in 1956, the dramatic monument honours the Roman goddess of wisdom, war, trade and the arts (her Greek counterpart is Athena). Minerva’s powerful presence at the entrance to Guadalajara, Mexico’s second largest city and the capital of the state of Jalisco, is a great photo op — if you can get across the swirling traffic. A block away from Minerva we see Los Arcos (The Arches) erected in 1942 to commemorate the 400th anniversary of Guadalajara’s founding in 1532. Its neo-classical style models the triumphal arches around Europe. On one side an inscription reads, “Guadalajara, a hospitable city,” and on the other side, “A pleasant stay is a guarantee of return.” Above: Mexico's second largest city is a place filled with lots of regal squares like Plaza de la Liberacion. It doesn’t take long for my husband and I to see why vibrant Guadalajara is considered Mexico’s most culturally rich city and Latin America’s social centre. After all, it hosts the world’s largest Spanish language book fair, is the birthplace of tequila — Mexico’s potent liquor made from the indigenous blue agave plant — and where the country’s mariachi music first started.
  • Spanish-Colonial Architecture in Mexico

    Spanish-Colonial Architecture in Mexico

    >* 111 111 11 I 111 SPANISH COLONIAL ARCHITECTURE IN MEXICO. THIS GOMEZ DE MORA EDITION OF SPANISH-COLONIAL ARCHITECTURE IN MEXICO IS LIMITED TO ONE HUNDRED AND FIFTY NUMBERED AND REGISTERED COPIES OF WHICH THIS IS NUMBER *3 SPANISH-COLONIAL ARCHITECTURE IN MEXICO BY SYLVESTER BAXTER WithPhotographicPlates by HENRY GREENWOOD FEABOEV andPlans by BERTRAM GROSVENOR GOODHUE BOSTON Published by J.B.MILLET. MCMI Copyright, 1902, By Art Library Publishing Company, J. B. Millet, Proprietor. TO THE MEMORY OF FREDERIC EDWIN CHURCH AND OF CHARLES DUDLEY WARNER THIS BOOK IS AFFECTIONATELY DEDICATED. TABLE OF CONTENTS. CHAPTER PAGE I. ARCHITECTURAL CHARACTER i I. Colonial Architecture in North America 2 II. Organic Character ; Concentration of Ornament 5 III. Spanish Qualities and their Relation to Local Environment ... 6 IV. Mexico a Land of Domes 10 V. Glazed Tile in Polychrome Decoration of Surfaces 14 VI. Character of Ornament 14 VII. The Indigenous Influence; Native Artist-Artisans 18 VIII. Construction and Style 23 IX. The Renaissance in Mexico 24 X. TheTwoDominantStvi.es; Spanish Baroque and the Churkigl krksquk 26 XI. The Churrigueresque — Magnificent, though Debased, It has Decided Merits 2S XII. A Mexican Appreciation of the Churrigukresque 31 XIII. Various Characteristics, General and Specific 36 XIV. The Architects of Mexico 4° II. DECORATIVE SCULPTURE 43 III. DECORATIVE PAINTING 60 I. The Earlier Painters 63 II. A Decadence 69 III. The Influence of Murili.o 72 IV. Last Masters of the Mexican Schooi 77 IV. THE CATHEDRAL OF MEXICO AND THE SAGKARIO MFTROPOLITANO 87 I. The Cathedral Interior 94 II. The Sagrario Metropoi.itano 102 V.

  • 10 Reasons to Go to Guadalajara

    DESTINATIONS HOTELS NEWS CRUISES MORE GUADALAJARA TRAVEL GUIDE Overview Top Experiences Neighborhoods Things To Do Restaurants Hotels Travel Tips Gallery 10 Reasons Why Guadalajara Is Mexico’s Most Underrated Cultural Destination Molly McLaughlin | April 20, 2018 START PHOTO:Ttinu | Dreamstime.com Guadalajara (along with its up-and-coming suburbs of Zapopan and Tlaquepaque) is an artistic hub with a long history of creativity and trade. Some skeptical Guadalajara transplants might tell you there’s not much to see in this sprawling state capital. The historic center of the city isn’t necessarily spectacular, the cathedral not particularly grand, and the number one tourist destination lies just over an hour’s drive to the west in Tequila. But for travelers willing to look beyond appearances, Guadalajara (along with its up-and-coming suburbs of Zapopan and Tlaquepaque) is an artistic hub with a long history of creativity and trade. PHOTO:Diegograndi | Dreamstime.com 1 OF 10 Hospicio Cabañas Criminally undervisited, this World-Heritage-listed historical hospital complex is home to stunning murals by renowned Jaliscan artist José Clemente Orozco. It was founded in 1791 and functioned as a hospital until 1980 when the space was transformed into a home for the Cabañas Cultural Institute. The murals in the chapel were painted by Orozco in the early 20th century and combine dramatic motifs from Mexican indigenous culture with the history of Spanish conquest. Also incorporating rotating exhibitions of paintings, drawings, and sculpture, as well as activities for kids and historical displays, Hospicio Cabañas is Guadalajara’s premier artistic destination. PHOTO:Egomezta | Dreamstime.com 2 OF 10 Rotunda of the Illustrious People of Jalisco The Rotonda de Los Jaliscienses Ilustres is a monument in the historic center that tells the city’s history through its most distinguished sons (and, recently, a couple of daughters).

  • Holy Corn. Interdisciplinary Study of a Mexican 16Th-Century Polychrome Maize Stem, Paper, and Colorín Wood Sculpture

    heritage Article Holy Corn. Interdisciplinary Study of a Mexican 16th-Century Polychrome Maize Stem, Paper, and Colorín Wood Sculpture Diego Quintero Balbas 1,* , Esteban Sánchez-Rodríguez 2 and Álvaro Zárate Ramírez 3 1 National Institute of Optics, CNR (CNR-INO), Largo Enrico Fermi, 6, 50125 Florence, Italy 2 Laboratorio de Análisis y Diagnóstico del Patrimonio-COLMICH, Calle Cerro de Nahuatzen 85, Fraccionamiento Jardines del Cerro Grande, La Piedad 59370, Mexico; [email protected] 3 Seminario-Taller de Restauración de Escultura Policromada, Escuela de Conservación y Restauración de Occidente, Calle Analco 285, Analco, Guadalajara 44450, Mexico; [email protected] * Correspondence: [email protected] Abstract: Maize stem sculptures, produced during the 16th and 17th centuries in New Spain (today, Mexico) are a clear example of the convergence of the artistic traditions from the American indigenous populations and European influence. This typology of sculptures is not limited to the Americas, as the examples found in European countries have shown. Therefore, a detailed technological investigation is required to correctly classify them. This work presents the interdisciplinary and multianalytical investigation of a 16th-century sculpture made with a maize stem preserved in Guadalajara city, Mexico. We used a set of techniques, such as CT, SEM-EDX, µ-FTIR, and µ-Raman, to study, from a macro to a micro level, the structure, the polychromy, and the modification of the sculpture. The results showed the use of maize stems, paper, and wood in the construction of the sculpture and the use of the traditional polychromy, as well as the numerous modifications that changed its appearance Citation: Quintero Balbas, D.; Sánchez-Rodríguez, E.; considerably resulting in its misclassification.

  • The Splendor of Mexican Matins: Sonority & Structure in Jerusalem’S Matins for the Virgin of Guadalupe CRAIG H

    The Splendor of Mexican Matins: Sonority & Structure in Jerusalem’s Matins for the Virgin of Guadalupe CRAIG H. RUSSELL At a time when Bach, Handel, Purcell, and Alessandro Scarlatti were writing their choral masterpieces in Europe, another corpus of magnificent choral music was being composed in the Spanish viceroyalties of Peru and Mexico, in genres now largely misunderstood and ignored. Most notably, the Matins service was the most ambitious and prestigious category of composition in the late seventeenth and eighteenth centuries in the Spanish New World. Any aspiring composer who wanted to establish himself as a worthy artist delved into this genre. In Naples or Venice the road to achieving superstardom would have been opera; in Mexico City, Puebla, and Oaxaca, however, it was Matins. Structurally, a Matins service has a collection of prefatory items, analogous to a prologue, followed by three nocturns (roughly equivalent in scale to the three acts of a play or opera).1 The three nocturns are themselves divided into items that occur in threes: three antiphons (melodic snippets) that frame three monophonic Psalms, three lessons (a Scripture reading or homily divided into three sections), three blessings, and—most importantly in Baroque settings—three responsories for voices and orchestra. In short, the whole service is a collage of “threes.” The one notable rupture occurs in the third nocturn where the last responsory (what would have been responsory 9) is replaced by a grand setting of the Te Deum or Hymn of Thanksgiving (see appendix 1) Many composers composed Matins settings where vernacular-texted villancicos in a popular style were substituted for the more formal elevated style of the Latin responsories.2 Mexican cathedrals are chockfull of impressive Matins compositions that contain a complete set of the required responsories or villancicos.
  • The Cathedral “Passionate, Erudite, Living Legend Lecturers

    The Cathedral “Passionate, Erudite, Living Legend Lecturers

    “Pure intellectual stimulation that can be popped into Topic Subtopic the [audio or video player] anytime.” History Medieval History —Harvard Magazine The Cathedral “Passionate, erudite, living legend lecturers. Academia’s best lecturers are being captured on tape.” —The Los Angeles Times The Cathedral “A serious force in American education.” Course Guidebook —The Wall Street Journal Professor William R. Cook State University of New York at Geneseo Professor William R. Cook has taught thousands of students over the course of more than 35 years at the State University of New York at Geneseo, where he is Distinguished Teaching Professor of History. Professor Cook is an expert in medieval history, the Renaissance and Reformation periods, and the Bible and Christian thought. The Medieval Academy of America awarded Professor Cook the CARA Award for Excellence in the Teaching of Medieval Studies for his achievements. THE GREAT COURSES® Corporate Headquarters 4840 Westfields Boulevard, Suite 500 Chantilly, VA 20151-2299 Guidebook USA Phone: 1-800-832-2412 www.thegreatcourses.com Cover Image: © Sites and Photos Photographer: Samuel Magal. Course No. 7868 © 2010 The Teaching Company. PB7868A PUBLISHED BY: THE GREAT COURSES Corporate Headquarters 4840 Westfi elds Boulevard, Suite 500 Chantilly, Virginia 20151-2299 Phone: 1-800-832-2412 Fax: 703-378-3819 www.thegreatcourses.com Copyright © The Teaching Company, 2010 Printed in the United States of America This book is in copyright. All rights reserved. Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording, or otherwise), without the prior written permission of The Teaching Company.