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Colonial Treasure in the Puebla Cathedral Music Archive

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Colonial Treasure in the Puebla Cathedral Music Archive Colonial Treasure in the Puebla Cathedral Music Archive I N HIS PIONEERING Historia de la música en México article published by Stevenson two years after issue (épocas precortesiuna y colonial) (Mexico City: of his Music in Mexico A Historical Survey (New Editorial "Cvhvra," 1934, Ed. facsimiliar, Biblio­ York: Thomas Y. Crowell, 1952). 1 teca Enciclopédico del Estado de México [ 102), 1981) Whereas Saldívar was the first to draw attention published when he was 25 years of age, Gabriel Sal­ to a colonial codex copied ca. 1599 that comains at dívar [y Silva) ( 1909-1980) preceded ali other inves­ folios 121 '-123 the sole hitherto encountered tigators in hailing the magnificence of the Mexico sixteenth-century polyphony with texts in Náhuatl City Cathedral colonial music archive. However, not (language of the Aztecs), Barwick secured not only to be outdone, Steven Barwick went beyond Saldí• the microfilming of the 18 Puebla choirbooks men­ var in his two-volume Harvard University Ph.D. dis­ tioncd in the preceding paragraph but also of the so­ sertation accepted in 1949, "Sacred vocal polyphony called Códice del Carmen (San Ángel). Deposited in early colonial Mexico." Traveling outside the cap­ like the Puebla microfilms in the Library of Con­ ital at various times during his two-year tenure of a gress Music Division, the microfilm of the Carmen John Knowles Paine Traveling Fellowship, Barn ick Codex (after loss of the codex itself, which was inspected cathedral music archives at Guadalajara, purloined in 1949) served Jesús Bal y Gay for his Oaxaca, a nd Puebla not seen by Saldívar. transcription of its contents that in 1952 [1 953) was True, his two palmary publications, The Franco publishcd as the first volume in the Tesoro de la Codex [Magnificats) of the Cathedra/ of Mexico, música polifónica en México series-a series that in Transcription ond Commentary (Carbondale: 1994 reached a seventh volume (with the publication Southern Illinois University Press, 1965 [xiii, 177 by the Mexico City Centro Nacional de lnvestiga­ pp.]) and Two Mexico City Choirbooks of 1717: on cion, Documentación e Información Musical anthology ofsacred polyphony from the Cathedral of Mexico, 1ranscription and Commentary (same 1 "Sixteenth· and seventeenth-ccntury resources in Mcxico (Pan!)," Fontes artis musicae, 1 (1954), 71-77. Barnick "ho press, 1982 [xlviii + 165 pp.), confine themselves to \i~ited Puebla in 19.JS \\as followed by Alice E. Ray lmarried Mexico City Cathedral sources. On thc othcr hand, name, Catalyne), who after visits in 1950 and 1952 complctcd Puebla Cathedral had benefited crucially from Bar­ a two-volume Univer~ity of Southcrn California Ph.D. di-.~er· wick 's initiative when he obtained funds from the tation, "The Double-Choir l\lu<iic of Juan de Padilla: Library o f Congress Music Division for the micro­ Seventeenth-ccntury composer in Mcxico," chaired by Paulinc filming in April 1949 by George Smisor of the Alderman. Ray confuscd Juan de Padilla baptized at Gibraltar Dccernber I, 1605, who died at Toledo Decembcr 16, 1673. and Biblioteca Benjamín Franklin at Mexico City of 18 ncvcr lefa Spain, \\ith Juan Gu1iérrc1 de Padilla, born at l\lálaga atlas-sized Puebla Cathedral choirbooks. These 18, in about 1590 \\ho emigrated to Puebla m October 1622, and with another pair of Puebla choirbook.s discovered ~erved as Puebla Cathedral chapelma~tcr 1629 to hi~ death at later by Robert Stcvenson, werc catalogued in an Puebla shortly before April 22, 1664. 39 40 INTER-AMERICAN MUSIC REVIEW Ceba [CENIDIM] of Aurelio Tello's transcriptions of the 129.321, 202-203, 258, 273, 306, and 326.26) and in nesc2 cantadas and villancicos by Manuel de Sumaya = his Portuguese Music and Musicians A broad (to Zumaya [dicd Deccmber 21, 1755, at Oaxaca) that 1650) (Lima: Pacific Press, 1966)-were also left for Dieg Tello encountercd in thc Oaxaca Cathedral music itemizing in thc Spicss-Stanford catalogue that has and 1 archive). 2 now devolved entirely upon Stanford.1 reca Stevenson's catalogue published in 1954 of the To review first the concordances with Puebla mem Puebla Cathedral 20 libros de facistol returned to sources itemized in Spanish Cathedral Music and folia print, somcwhat cxpanded, in his Renaissance and repeated in Stevenson's La música en las catedrales Pe Baroque Musical Sources in the Americas (Wash­ españolas del Siglo de Oro (Ma<lrid: Alianza, 1993; J65l ington, D.C.: General Secretariat, Organization of 600 pages): Cristóbal de Morales's Officium Defunc­ Ribe American States, 1970), pagcs 210-221. Howcver, as lorum publishe<l in Felipe Pedrell's Hispaniae Schola ,\fos he noted in the preface at pages 208-209: his surn­ Musica Sacra (Barcelona: Juan Bautista Pujo! y Lda mary list of sorne 375 Masses, Magnificats, motets, Cía., 1894), 1, 1-19, contains thc Venite exultemus ori~ hymns, psalms, lamentations, miscellaneous liturgi­ and Quoniam Deus to be found at folios 36v_37 dicti cal pieces, and a modicum of vcrnacular pieces in the and 37\-38 of Puebla Choirbook m. Ali the rest of Sete Puebla Cathedral repertory, would have grown dra­ Morales's Office for thc Dead continues to concord Alle matically in size, had titles of unascribcd works becn through the Requiem aeternam and Regem cui at boo listcd. But he left t he bulk of the anónimos for folios 41 '-42. Morales's "Spanish" set of Iamenta­ Alle itemizing an<l possible identification in an exhaus­ tions intabulated at folios 77-81 of Miguel de Fuen­ 1ug1 tive catalogue of Mcxican archives thcn in prepara­ llana's Libro de musica para vihuela intitulado at fi tion by Lincoln Bunce Spiess of Washington Orphenica lyra (Seville: Martín de Montesdoca, rhe University, St. Louis (b Hartford, CT, November 1554), but ncver printed in their vocal form, concord of ~ 14, 1913), and E. Thomas Stanford. This Spiess­ with the set of three Lamentations for Wednesday nun Stanford enterprise was to have sequenced their An in Holy Week copied in Puebla Choirbook 11, folios \3lll lntroduction to certain Mexican musical archives 28\-37. On the other hand, the trio of lamentation ven (Detroit: Information Coordinators 1969: 85 pp. + verses a 5 (closing with a "Jerusalem convertere") con 72 of Stanford's music transcriptions and 14 pp. of copied at folios 103' -108 of Puebla Choirbook 1 Puf manuscript facsímiles). concords with nothing in the Festa or Morales cop How numerous are the anónimos can be estimate<l lamentations publishcd at Venice in 1564 by Anto­ Do1 from the at Jeast 70 anonymous liturgical works in nio Gardano and Francesco Rampazetto or in the the only Choirbooks xv1 and xv11 (Magnificats), x11 "Spanish" lamentations intabulated by Fuenllana a Op (hymns), x1 (psalms an<l hymns), and v1 (psalms). dccade earlicr. fav Concordanccs-apart form those mentioned in Francisco Guerrero's Requiem publishe<l at Rome 1 Stevcnson's Spanish Cathedral Music in the Golden in his second hook of Masses (1582) concords with cor Age (Berkeley and Los Angeles: University of the four-voicc Missa Pro Defunctis found in Puebla Sta California Press, 1961), pages 107-108, 128.291, Choirbook 111, folios 6\-28 (the Dies illa published An in Spanish Calhedral Music, page 203, corresponds thf 'Aurelio Tello, the first to discover the true death date of with Puebla Choirbook 111, folio 26 \-27). Pedro me Su maya= Zumaya, published an invaluable catalogue of Oa­ Guerrero's Por do comencaré, a 4, intabulated by cer xaca Cathedraf musical trea~ure: Archi110 Musical de la Ca1edral Fuenllana in 1554 and published in Monumentos A~ de Oaxaca. Catálogo (Mexico City: CENIDIM, 1990). A model de la Música Española, vm, 100-103, turns up in of what such a catalogue shoufd be, this nonpareil volumc Mr Puebla Choirbook x1x, at folios 146~-147. Rodrigo abounds in indispensable musical incipits, 121 for works Ar encountered in Oaxaca Cathedral Cajas 49 and 50, 301 for item\ Ca in the Gaspar FernanJes 280-folio codex (works composed at 1 Promiscd for publication in 1996 (with Stevenson's introduc­ Puehla betwcen 1609 and 1616, mostly with vernacufar lyrics). tion) by the Universidad Anáhuac del Sur-of which university le lnter-American Muste Review, x11/2 (Spring- Summer 1992), Benjamín Juárel Echenique was in 1995 the distinguished Direc­ page 118, contains laudatory reviews of both Telfo's Catálogo tor of Difusión Cultural), this imminent catalogue wilf tabulatc Pa and his Archivo Musical de la Catedral de Oaxaca. An1ologla complete holding~ at Mexico City and Puebla Cathedraf ar­ ex (Mexico City: CENIDIM, 1990, 90 pp., of which pp. 13-89 chives. Oaxaca'~ treasures having been catalogued by Tello, in embody Teffo's music transcriptions [""'Tesoro de la musica GuaJafajara and Morefia cathedraf music will next invite lsi polifónica en Mexico, 1v)). exhaustive attention. 81 Colonial Treasure in the Puebla Cathedral Music Archive 41 Ceballos's Dlme, manso viento classed as a "villa­ heirs, 1582). The copy in the Museo de Arte "José nesca" by Esteban Daza in El Parnasso (Valladolid: Luis Bello y González" at Puebla matches the Diego Fernández de Córdova, 1576), folios 93-94, hitherto unidentified passioner catalogued at the and published (from what was formerly the Biblio­ Newberry Library, Chicago, under the call number: teca Medinaceli 13230 manuscript copy) in Monu­ Case VM 2184.92C36 1582. mentos de la Música Española, IX, 75-77, occupies As Stevenson's catalogues published in 1954 and folios 145'-146 of Puebla Choirbook XIX. 1970 have already made widely known, composers Portuguese Music and Musicians Abroad (to represented by name in the Puebla choirbooks 1650) invited attention to Mário de Sampayo include sorne of thc brightest stars in the European Ribeiro's Sete "Alleluias" inéditos (dum códice do firmament-among them Crecquillon, Janequin, Mosteiro de Arouca) (Oporto: Tip.
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