Mission Road Chanticleer and Mission Baroque

CHANTICLEER 2015/16 SEASON Mission Road Chanticleer and Mission Baroque

Chanticleer has been intimately associated with the revival of the music of the New World missions since the mid-1990’s when Professor Craig Russell brought music to our attention which had not been performed since the mission period in the l8th century. Exhuming hitherto unheard music from archives in the Mexico City Cathedral, Russell became an internationally renowned expert on the subject. Our collaboration with Professor Russell resulted in two recordings in the Teldec “Das Alte Werke” series: Mexican Baroque, and Matins for the Virgin of Guadeloupe. With his help, Chanticleer has continued to perform music from the Mexican archives every four years on our Mission Road Series. This year we are happy to add music from the Bolivian archives, thanks to the invitation of Fr. Piotr Nawrot, SVD to perform at the Festival de las Chiquitas in Bolivia. Our first performances of his editions were in Bolivia in April of 2016; we were happy to join this fascinating and passionate scholar in his quest to make “Jungle Baroque” internationally known. Here is a part of his story:

In 1991, deep in the Bolivian jungle—after questioning him for hours to make sure he could be trusted—elders of the Moxo and Chiquito Indian tribes revealed to musicologist Fr. Piotr Nawrot, SVD, hundreds of centuries-old, Baroque-music manuscripts, many of which had been created by their ancestors.

“I knew my life would change forever,” he said. “I knew that the rest of my life would be dedicated to not only studying this music, but to its performance. This music must come back and be part of liturgy, concerts and the teaching of the history of music.”

What was revealed to him in 1991 and twice more were 13,000 pages of unique music, dating back to the 17th and 18th centuries when Jesuit missionaries wrote it as a means of conversion. They also encouraged the Native Americans Father Piotr Nawrot, SVD to create their own music, written in their own language and performed on their own handcrafted instruments, including violins. Missionaries went into the jungle and sang in local languages. After their conversion the Indians sang also in Latin. Whatever the language, ‘mission baroque’ was always joyful.

After more than twenty-five years of painstaking reconstruction work by Fr. Nawrot and a host of expert volunteers, 36 volumes of this treasure have been published, and selections have been performed in concerts around the world and recorded on CDs. Chanticleer is happy to join the exponents of this unique musical heritage. CHANTICLEER Mission Road

Friday, May 6 | Mission Santa Clara de Asís, Santa Clara, CA Saturday, May 7 | Mission San Francisco de Asís (Mission Dolores), San Francisco, CA Sunday, May 8 | Mission San José, Fremont, CA Friday, May 20 | Mission San Carlos Borromeo del río Carmelo (Carmel Mission), Carmel, CA Saturday, May 21 | Mission Santa Barbara, Santa Barbara, CA Sunday, May 22 | Mission San Miguel Arcángel, San Miguel, CA

Cortez Mitchell, Gerrod Pagenkopf, Kory Reid, Alan Reinhardt, Darita Seth, Adam Ward – soprano and alto Michael Bresnahan, Brian Hinman, Blake Morgan – tenor Eric Alatorre, Matthew Knickman, Marques Jerrell Ruff – baritone and bass

Lisa Nauful, Bassoon Craig Russell, Guitar William Fred Scott, Organist and Music Director

I. Introit Hanacpachap cussicuinin Anonymous (Lima, 1631)

II. Psalms Dixit Dominus Juan de Araujo (1646 - 1712) Miserere mei, Deus Hernando Franco (1532 - 1585) Credidi propter locutus sum Antonio de Salazar (c. 1650 - 1715) Gerrod Pagenkopf, soloist

III. “Villancicos en Honor a San Ignacio de Loyola” Transcribed and edited by Piotr Nawrot, SVD

A major gloria de Dios Araujo Brian Hinman, Blake Morgan, soloists

A los aplausos de Ignacio Anonymous Cortez Mitchell, Alan Reinhardt, Adam Ward, soloists

Mariposa que vuelas con alas de amor Araujo Kory Reid, Adam Ward; Darita Seth, Gerrod Pagenkopf, soloists

Flores y estrellas Anonymous Adam Ward, Brian Hinman; Blake Morgan, Michael Bresnahan, soloists

IV. La Santa Misa O Sacrum Convivium Salazar Missa Ego flos campi Juan Gutiérrez de Padilla (1590 - 1664) Kyrie Gloria Sanctus Agnus Dei

V. Sacred Motets Inveni David Salazar Cum esset Manuel de Sumaya (c. 1678 - 1755) Conceptio Gloriosae Salazar

VI. Benediction Tanscribed by Piotr Nawrot Dulce Jesús mío Anonymous

Program subject to change Please turn off cell phones and electronic devices. Photography, Video or Audio Recording of any kind is prohibited during the performance.

cover: The Mission of San Javier, Bolivia, where Chanticleer performed April 26, 2016

NOTES AND TRANSLATIONS Program notes by Kory Reid, William Fred Scott, Matthew Knickman, and Craig Russell Special thanks to Marcie Stapp for her assistance with Spanish translations

Hanacpachap cussicuinin - Anonymous (Lima, 1631)

In 1631, Juan Pérez Bocanegra, Spanish-born monk, priest, and missionary, published Hanacpachap cussicuinin in his Ritual formulario, which became the first polyphonic choral piece ever printed in the New World. Interestingly, the tune comes from an anonymous composer, but Bocanegra’s fascination with it led him to publish this hymn to function as a processional for Marian feast days in the liturgical calendar of the Catholic Church. The hymn is in Quechua, one of the oldest American languages today and also an official language of Bolivia, Ecuador, and Peru. Due to the imperial conquests of the Inca Empire in sixteenth century and the inclusion of Quechua in Catholic services, Quechua had become one of the most pervasive languages in South America. This choral gem was most likely accompanied by a variety of percussion instruments to invigorate the hearts of the congregation and to call the morning worship to order.

Hanacpachap cussicuinin, O tree bearing thrice-blessed fruit, Huaran cacta muchascaiqui. Heaven’s joy! A thousand times Yupairurupucoc mallqui, shall we praise you. Runacunap suyacuinin. O hope of humankind, Callpan nacpa quemi cuinin, helper of the weak. Huaciascaita. Hear our prayer!

Uyarihuai muchascaita Attend to our pleas, Diospa rampan Diospa maman O column of ivory, Mother of God! Yurac tocto hamancaiman Beautiful iris, yellow and white, Yupascalla, collpascaita receive this song we offer you; Huahuarquiman suyuscaita come to our assistance, Ricuchillai. show us the Fruit of your womb!

Gloria cachun Dios yayapac May there be glory for the Lord, Dios churipac hinallatac and also for his Son, Sancto Espiritu pac huantac and for the Holy Spirit, Cachun gloria, viñaillapac May there be glory forever, Cauçaicunap, cauçainimpac For the life of all sustenance Cussicachun. Amen. May there be gladness. Amen

Dixit Dominus - Juan de Araujo (1646 - 1712)

Juan de Araujo was born in Villafranca de los Barro, a city in western Spain. Very little is known of his life before his move to Lima with his family in the 1660s. Records do show he first became a priest in Lima, Peru at the age of 26. Thereafter, at age 34, he served as maestro de capilla at La Plata (now Sucre) Cathedral in Bolivia until his death 32 years later.

His legacy as South America’s greatest composer of the early to mid-Baroque is well portrayed in Dixit Dominus, one of his relatively few sacred Latin works. Psalm 110 (109, if you are looking it up in the Vulgate) is one of the “Royal Psalms” commonly said or sung at the Roman Catholic office of Vespers.Dixit Dominus was frequently set by composers before and after him. Araujo scores his rendition for eleven voices grouped into three choirs. The first choir is given to higher voices: SAT; the other two, SATB. The thrilling text and its consequential music are a confirmation of the power of an earthly ruler, and his exalted relationship with the Lord. The mention of Melchizedek (the priest who appears in Genesis to bless Abraham) can also be understood as a reference to the prophesied Messiah. The infectiously rhythmic drive, the astonishingly full use of polychoral techniques, and masterful build of tension make for a thrilling and breathtaking ode to the Davidic King. Dixit Dominus Domino meo: The Lord said to my Lord: Sede a dextris meis. Sit at My right hand Donec ponam inimicos tuos, until I make your enemies scabellum pedum tuorum. a footstool under your feet.

Virgam virtutis tuae emittet The rod of your strength Dominus ex Sion: The Lord will send out of Zion dominare in medio inimicorum tuorum. to rule in the midst of your enemies.

Tecum principium in die virtutis tuae To you the power on the day of your strength in splendoribus sanctorum: in holy splendor ex utero ante luciferum from the womb of the morning, genui te. I have begotten you.

Juravit Dominus, et non paenitebit eum: The Lord has sworn, and will not repent: Tu es sacerdos in aeternum You are a priest forever secundum ordinem Melchisedech. according to the order of Melchisedech.

Dominus a dextris tuis, The Lord at your right hand confregit in die irae suae reges. shall destroy kings on the day of his wrath.

Judicabit in nationibus, implebit ruinas: He shall judge the nations, pile up rubble, conquassabit capita in terra multorum. he shall destroy the heads in many lands.

De torrente in via bibet: He shall drink of the storm in the way propterea exaltabit caput. in order to lift his head in triumph.

Miserere mei, Deus - Hernando Franco (1532 - 1585)

Hernando Franco was born in the village of Garrovillas near the Portuguese border, although he was at first thought to be a Creole, born in New Spain. He was the first really notable maestro de capilla in Mexico. As a boy chorister he served at Segovia Cathedral in Old Castile; there he met the brothers de Álamo, who were to lead him first to Guatemala in 1573 (although there are some accounts as early as 1554) and then to Mexico City to become maestro de capilla at the Cathedral. His largest collection of works is the Franco Codex – a choir book containing polyphonic settings in seven tones to the twelve verses of the Magnificat.

Psalm 51 (50 in the Vulgate) was appointed for use in the Sistine Chapel during Matins, as part of the Tenebrae service on Holy Wednesday and Good Friday. It calls to mind King David’s confession of and repentance from his adulterous lust and deceit with Bathsheba (2 Samuel 12:13–14) while she was the wife of Uriah the Hittite. (To complicate matters even further, and to compound his guilt, David actually ordered Uriah to be killed on the field of battle.) In this setting, the stanzas Miserereof mei, Deus begin with a simple unison chant followed by a 4-part polyphonic continuation of the text, serving almost as an “ornamented” musical com- mentary. The first partMiserere ( mei, Deus) asks for deliverance from sin; not just from a past act, but from its emotional, physical, and social consequences as well. The second part (Averte faciem tuam), which begins with the tenors and basses on the unison chant, seeks something more profound than wiping the slate clean: nearness to God. The last two verses (Benigne fac, Domine) express the hope that God’s good will toward those who are cleansed and contrite will prompt him to look favorably upon his people.

Through this, the most famous of the “Penitential Psalms,” people are able to give voice to their sin, their suffering, and their lament. As Franco’s simple chordal progressions unfold, a quiet devotion unlocks the hearts of singers and listeners alike, and draws them up towards an exalted greatness. Miserere mei, Deus: Have mercy upon me, O God: secundum magnam misericordiam tuam. according to your great mercy.

Et secundum multitudinem miserationum tuarum, According to the multitude of your mercies dele iniquitatem meam. take away my offences. Amplius lava me ab iniquitate mea: Wash me thoroughly from my wickedness: et a peccato meo munda me. and cleanse me from my sin. Quoniam iniquitatem meam ego cognosco: For I acknowledge my faults: et peccatum meum contra me est semper. and my sin is ever before me.

Tibi soli peccavi, Against you only have I sinned, et malum coram te feci: and done this evil in your sight: ut justificeris in sermonibus tuis, that you might be justified in your saying, et vincas cum judicaris. and prevail as you judge.

Ecce enim in iniquitatibus conceptus sum: Behold, I was shaped in wickedness: et in peccatis concepit me mater mea. and in sin my mother conceived me. Ecce enim veritatem dilexisti: You require truth in the inward parts: incerta et occulta sapientiae tuae manifestasti mihi. and shall make me understand wisdom secretly. Asperges me hysopo, et mundabor: Purge me with hyssop, and I shall be clean: lavabis me, et super nivem dealbabor. Wash me, and I shall be whiter than snow.

Auditui meo dabis gaudium et laetitiam: You shall make me hear of joy and gladness: et exsultabunt ossa humiliata. and the bones which you have broken may rejoice.

Averte faciem tuam a peccatis meis: Turn your face from my sins: et omnes iniquitates meas dele. and put out all my misdeeds. Cor mundum crea in me, Deus: Make me a clean heart, O God: et spiritum rectum innova in visceribus meis. and renew a right spirit within me. Ne projicias me a facie tua: Cast me not away from your presence: et spiritum sanctum tuum ne auferas a me. and take not your Holy Spirit from me.

Redde mihi laetitiam salutaris tui: Give me the joy of your help again: et spiritu principali confirma me. and establish me with your free spirit.

Docebo iniquos vias tuas: I shall teach your ways unto the wicked: et impii ad te convertentur. and sinners shall be converted unto you. Libera me de sanguinibus, Deus, Deliver me from blood-guiltiness, O God, Deus salutis meae: You are the God of my health: et exsultabit lingua mea justitiam tuam. and my tongue shall sing of your righteousness. Domine, labia mea aperies: Open my lips, O Lord: et os meum annuntiabit laudem tuam. and my mouth shall show your praise.

Quoniam si voluisses sacrificium, If you had desired a sacrifice, dedissem utique: I would have given one to you: holocaustis non delectaberis. Burnt-offerings are not what you crave.

Sacrificium Deo spiritus contribulatus: The sacrifice of God is a troubled spirit: cor contritum, et humiliatum, Deus, a broken and contrite heart, O God, non despicies. do not despise. Benigne fac, Domine, in bona voluntate tua Sion: O be favorable and gracious unto Sion: ut aedificentur muri Jerusalem. build the walls of Jerusalem. Tunc acceptabis sacrificium You will be pleased with the sacrifice justitiae, oblationes, et holocausta: of righteousness, oblations, and burnt-offerings: tunc imponent super altare tuum vitulos. they offer young bullocks upon your altar. Credidi propter locutus sum - Antonio de Salazar (c. 1650 - 1715)

For many years, historians and musicologists have assumed that Salazar was born in Spain, perhaps in Seville, but there are no records of his early life and training. What is sure is this: in 1679, at age 29, he began his tenure as maestro de capilla at the Puebla Cathedral, located halfway between Veracruz and Mexico City. Then in 1688, at age 38, he was appointed to the same position at the Mexico City Cathedral. Puebla Cathedral was the wealthiest and most prominent cathedral in the New World, with a large choir of fourteen boys and twenty-eight men and numerous instrumentalists. Salazar was a great master of contrapuntal technique, unifying his works with recurring motives rather than with imitation. His style is unusually conservative, with transparent textures, subtle contrast, and very few touches of word painting.

Salazar structures Credidi propter locutus sum with a soprano soloist and two SATB choirs. He places special emphasis on the first- person perspective of the psalmist by beginning most verses of text with the soloist, which is then echoed by either one of the choirs, or both simultaneously. Furthermore, Salazar’s usual broad phrasing and even, rhythmic flow is illustrated by never allowing a space of rest (even as little as an eighth rest) to occur between the soloist and the two choirs. The text is drawn from verses 10-19 of Psalm 116 (115 Vulgate), commonly known as a prayer of thanksgiving, in which the psalmist responds to divine rescue from mortal danger and from near despair. The Septuagint (Greek Old Testament) and some other ancient versions have called it “The Martyr’s Psalm” by separating these verses from the rest of the text of Psalm 116. The psalmist (is it the same David who so poignantly and recently asked for Divine mercy?) asks what he can give back to God in return for God’s goodness and salvation. The answer comes in three statements. First, he promises to “lift up the cup of salvation” (Calicem salutaris accipiam). The second answer is simply “to call on the name of the Lord” (et nomen Domini invocabo). Finally, the psalmist will respond to God’s goodness by making his vows known to the entire congregation (Vota mea Domino) not just in the Temple itself (in atriis domus Domini) but publicly and before all people (in medio tui Jerusalem.)

Credidi propter quod locutus sum I believed therefore I have spoken: Ego autem, humiliatus sum nimis. I have been humiliated. Ego dixi in excessu meo: I said in my haste, Omnis homo mendax. All men are liars, Quid retribuam Domino, What shall I render unto the Lord pro omnibus quae retribuit mihi? for all his benefits towards me?

Calicem salutaris accipiam: I will take the cup of salvation: et nomen Domini invocabo. and call upon the name of the Lord. Vota mea Domino reddam I will pay my vows to the Lord coram omni populo eius, now in the presence of all his people, Pretiosa in conspectu Domini Precious in the sight of the Lord mors sanctorum ejus. is the death of his saints. O Domine ego servus tuus: O Lord, I am thy servant: et filius ancillae tuae. and the son of thy handmaid. Dirupisti vincula mea: Thou hast loosed my bonds: tibi sacrifabo hostiuam laudis. I will offer to thee sacrifice of thanksgiving, et nomen Domini invocabo. and call upon the name of the Lord. Vota mea Domino reddam I will pay my vows to the Lord in conspectu omnis populi eius: in the presence of all his people: in atriis domus Domini, in the courts of the Lord, in medio tui Jerusalem. in the midst of thee, O Jerusalem.

Gloria Patri, et Filio, Glory to the Father, and to the Son et Spiritui Sancto. and to the Holy Spirit. Sicut erat in principio, et nunc, et semper, As it was in the beginning, is now and ever shall be, et in saecula saeculorum. Amen. world without end. Amen. “Villancicos en Honor a San Ignacio de Loyola” - Transcribed and edited by Piotr Nawrot, SVD English translations by William Fred Scott

One of the most popular genres of music to come out of the New World between the fifteenth and seventeenth centuries was the villancico. A villancico is a Spanish carol in which the musical form of the composition includes an estribillo (refrain) and one or more coplas (verses). There are often many folk elements embedded in the musical style of the villancico that call for an instrument or continuo to accompany or double a voice part or choral texture. The performing forces for these songs would have varied according to the resources at hand, as well as in response to the musical style of the carol itself. The accompaniment might have been as simple as a single guitar or as extravagant as a cornucopia of continuo instrumentalists. Each choral group, or texture, may have had its own unique accompaniment. These four villancicos belong to a collection edited by musicologist Father Piotr Nawrot, SVD(founder of the Festival de Las Chiquitas in Bolivia) called Villancicos en Honor a San Ignacio de Loyola. They celebrate the Name-Day of St. Ignatius Loyola and would have been sung from early morning worship throughout the day. The amazing missionary zeal of Loyola served as inspiration for the New World colonizers, who were beginning to develop civilized relationships with the Indians.

Nawrot writes, “Amid the true musical pearls that we find in the National Archives and Library of Bolivia (Archivo y Biblioteca Na- cionales de Bolivia), the music for the feast of St. Ignatius Loyola (1491-1556) seems to bring a particular joy. There is an esthetic worthiness and spirituality that seduces even the most casual listener. The virtues and the teachings of the powerful Ignatius, captured in the verses of the villancicos, served to smooth out the rough edges of the colonizers in their treatment of the Indians, on the one hand, and seduce the indigenous folk into accepting the new religion on the other.

“We also know that the music circulated between the big cities and the missions; just as in Moxos and Chiquitos there are compositions that originated in Sucre, there are in Sucre compositions from the outlying churches. It is for that reason that this collection represents music for the feast of Loyola not just as it would have been celebrated in the capital city but throughout the country.”

These four villancicos are buoyant, elegant, and deeply moving as we discover and fathom how the text accentuates the unique symbolism indigenous to these settlers. The excitement of the colonizers, the evangelical nature of the church, and the church withstanding turbulence could be represented by “fire” or “light” that prevails against the austerity, loneliness, or sinful nature of “coldness” or “snow”. The admiration and curiosity of the celestial symbols mentioned (the radiance of the sun, the reflection of the stars, or the glowing moon) also place a significant focus on “light” and an esteem for brilliance that extends through Father Ignatius into the community. A major gloria de Dios – Araujo

Coplas A mayor gloria de Dios “To the greater glory of God,” escúcheme, padre Ignacio, Hear me, Father Ignatius, que quiero cantarle hoy because today I want to sing toda su vida y milagros. all about your life and your miracles.

Cuántas veces fervoroso How many times, fervently entre misteriosos raptos between fits of religious ecstasy, pasó a luz de su llama have you passed sleepless nights las noches de claro en claro. kept awake by the light of your passion?

Y cuántas entre la nieve And how many times has the flame of your calling toleró su celo santo withstood the dark coldness of the snow por apagar los incendios in order to quench the fires de corazones helados. of icy, hardened hearts?

¿Qué diré de tanto pecho What can I say of such fortitude, de su invencible brazo? of your invincible strength? pues aún los mismos peligros From many such dangers le saben poner en salvo. you knew the clue to salvation.

Toleró tantos desprecios Such disillusionments you suffered! y tales que le obligaron Such contempt forced you to search, a buscar para sufrirlos forced you to call forth una paciencia de un santo. the patience of a saint.

Milagroso es el principio Miraculous is the start, pero el milagro no es tanto, but the miracle is not just that, que si llega a darle fin one has to endure until the end no ha de ser mayor milagro. to learn the greater miracle.

Estribillo ¡Atención! ¡Atención! Attention! Attention! que tocan a rebato. The alarm resounds. Al puesto todos, To your posts, todos al muro, everyone to the parapets, al asalto todos, be on the ready, todos al asalto, everyone prepared for assault que de Ignacio la compañia the company of Ignatius viene marchando, is on the march, todos al asalto. everyone prepared for assault.

Salva, al escuadrón de Ignacio, Save the squadron of Ignatius. al muro, al puesto, al asalto, To the walls! To your posts! Ready for battle! que de Ignacio el Castillo From the walls of our “castle” fuego está echando. is coming a holy fire.

¡Atención! ¡Atención! Attention! Attention! que tocan a rebato, The alarm is sounding. que está arrojando fuego The walls of our castle el castillo de Ignacio. are throwing out a holy fire. A los aplausos de Ignacio - Anonymous

Estribillo A los aplausos de Ignacio For the celebration of Ignatius, vengan los astros y estrellas, may the Heavenly Hosts and all the stars come forth, rindanle al fénix Loyola, rendering homage to the Phoenix-like Loyola, rayos, glorias, luces, ciencias rays, haloes, lights, wisdom, que le da hoy su candor on them he bestows his brilliance. al sol, la luna y esferas, Over the sun, the moon and the planets, al sol, la luna y estrellas, over the sun, the moon and the stars, pues Ignacio de Loyola Ignatius of Loyola a todas luces impera. over all shines supreme.

Coplas No es mucho, divino Ignacio, It’s not such a great thing, divine Ignatius, que se te rinda la esfera that our earthly sphere give you homage, cuando el sol de tus alientos when the sun, from your very breath, influye candor de ciencias. draws its brilliance from your wisdom. Y se rinden a tu aplauso, And so they celebrate you: luces, astros, luna y estrellas. Heavenly Hosts, moon and stars.

Con muy reverentes cultos With most reverent homage reciben tu pluma excelsa they receive your inspired writings y la cristiana doctrina and the Christian doctrine, la beben de tu influencia. they soak up from your influence. Y se rinden a tu aplauso, And so they celebrate you: luces, astros, luna y estrellas. Heavenly Hosts, moon and stars.

Aplauda te todo el orbe, Let the whole earth sing praise, Ignacio pues tu grandeza Ignatius, for your greatness fue de Lútero la espada was for Luther the sword, con que destruyó su seta. which destroyed his sect. Y se rinden a tu aplauso, And so they celebrate you: luces, astros, luna y estrellas. Heavenly Hosts, moon and stars.

Mariposa que vuelas con alas de amor – Araujo

Estribillo Mariposa que vuelas Butterfly, fly on con alas de amor with wings of love, prosigue velos al follow the trail incendio de Ignacio, towards the fire of Ignatius: ardiente candor, The ardent heat, prosigue velos follow in its wake con alas de amor with wings of love al blanco splendor toward the pure brightness. que es nieve, que es llama, That is snow on fire, que es hielo y ardor. that is ice, aflame with passion. Coplas Ignacio que se abrasa, Toward Ignatius who is on fire, feliz mariposa, happy butterfly, flamante vuelo mueve go in a blazing flight a la llama de nieve to the white-hot flame of snow. y es que amor lo inflama It is that flame which compels him y arden los imposibles and for the non-believers más que llama. he burns even more.

Es el arco Divino, He is the divine bow, incendio es de arminio, his the arrow of purity, y en su jazmín desmiente and his the sweet jasmine la flecha lo ardiente whose smell belies the sharpness of the arrow strike. y es que amor le estrecha It is love which binds him. y redujo al jazmín, Jasmine fills his al jaba y flecha. basket instead of arrows. Que es nieve, que es llama, That is snow on fire, que es hielo y ardor. that is ice, aflame with passion.

Las alas acelera Speed your flight, y ardiendo en la hoguera and burning as if in a bonfire, los ojos con que mira avert the eyes with which you see al alma retira, and turn inward, y es que amor es calma, it is love which calms you y embebe los sentidos and from which you imbibe the feelings en el alma. of the soul.

En tersos resplandores In glowing splendor, se encienden candores passions are on fire y un estanque nevado and a snow-surrounded lake de hielo abrasado is now scorched ice. y es que Ignacio dio el vuelo It is Ignatius who has taken flight y nieva plumas con que and feathers of snow abraza el hielo. embrace the ice. Que es nieve, que es llama, That is snow on fire, que es hielo y ardor. that is ice, aflame with passion. Flores y estrellas - Anonymous

Estribillo Flores y estrellas Flowers and stars del móvil celeste of the spinning heavens y el campo de gracia, and the gracious earth, despedid reflejos, send out reflections, alentad fragrancias give off fragrance, brillad lucimientos, shine brightly. dibujad tapices Embroider a tapestry de colores varias, of various colors, que Ignacio se eleva because Ignatius has risen a la esfera sacra to the heavens, prestando sus luces lending his light a la alta comarca to the highest regions. y los verdes campos The luxuriant fields ufanos le aclaman vie to acclaim him. porque sus rubíes Rubies and precious jewels las flores le esmaltan. adorn his flowers.

Y en dulce competencia And in gentle competition le hacen graciosa salva they make a gracious salute – flores, estrellas, Flowers, Stars, esferas, comarcas, Planets, Plains, reflejos, rubíes, Reflections, Jewels, esmaltes, fragrancias. Adornments, and Sweet Odours.

Coplas Se eleva el gran padre Ignacio The great Father Ignatius has risen a la esfera tachonada up to the star-spangled heavens, y activos sus lucimientos and his dazzling brilliance a las estrellas apagan. outshines the stars.

Sus reflejos esparcidos His far-flung reflections doran las regiones vagas, gild the wide world, con rayos que al sol dan vida, with rays which give light to the Sun, con luces que al sol dan alma. with light which gives spirit to the Soul.

O Sacrum Convivium - Salazar

O Sacrum Convivium prepares the congregation for the Holy Eucharist as a reminder that when we commemorate the passion of Jesus Christ, he becomes one with the communal elements and we become one with his eternal glory. This ubiquitous antiphon from the Feast of Corpus Christi is attributed to St. Thomas Aquinas (1225-1274), – priest, theologian, Doctor of the Catholic Church, and scholar of Aristotle’s teachings – who wrote an ample number of Latin hymn texts that became widely known because of his balanced approach to philosophy and religion. Polyphonic lyrical phrases contrast with homophonic dotted rhythms as the piece explores subservience and humility before praise and glory. Because most of the harmony is in root position, the harmonic language is predictable and stable. Salazar also employs agogic accents and text painting in this piece to promote textual clarity and syllabic stress, a musical consideration originally put forth by the Council of Trent nearly one hundred years earlier.

O sacrum convivium O sacred banquet, in quo Christus sumitur, in which Christ is received, recolitur memoria passionis ejus, the memorial of his passion renewed mens impletur gratia, the mind is filled with grace, et futurae gloriae nobis pignus datur. and a pledge of future glory is given to us.

Missa Ego flos campi - Juan Gutiérrez de Padilla (1590 - 1664)

The establishment of sophisticated music making in the Spanish regions of the Americas predates the English regions by over a century. As early as 1523, one Pedro de Gante established a school for the Native Americans in Texcuco, and his compatriot Juan Caro was instructing Native Americans in four-part harmony by 1526. By 1530, Native American choirs in Mexico were regularly singing polyphony at Sunday Mass. One dominant figure of this new musical establishment was Juan Gutiérrez de Padilla. Born in Málaga, Spain, he moved to Puebla, Mexico, in the early stages of his career and played a central role in defining the style that was to be adopted by his contemporaries. His masses and motets are all in the prima prattica (first practice) style of the late Renaissance, employing pervasive imitation and no independent instrumental parts.

Padilla’s personal approach to this style can be heard through the use of chromaticism, cross-relations, and expressive word painting. Missa Ego flos campi is the first mass by Padilla to be published in modern times and the source of the work is a manuscript located in Puebla Cathedral. The manuscript was copied in 1663 to preserve and bind five popular masses by Padilla as an encomium, celebratory and admiring, to his great talent. Missa Ego flos campi showcases Padilla’s liberties with choral textures and his astute organization of sacred text as it pertains to a double choir format. This mass is a “parody” mass, a mass in which all movements are based on several or all voice parts deriving from a preexisting polyphonic sacred or secular song. The source material, or motet, has yet to be found, or it did not survive the tests of time. The beseeching sections of the mass (Kyrie, Agnus Dei) feature lush suspen- sions, ample vocal espressivo, and smooth lyrical polyphonic lines that fade seamlessly, one into the next. The Gloria section praises the omnipotence and exaltation of God by accentuating crisp, dotted rhythms and creating an active dialogue between the two choirs using patterns of call-and-response.

Kyrie Kyrie eleison. Lord, have mercy. Christe eleison. Christ, have mercy. Kyrie eleison. Lord, have mercy. Gloria Gloria in excelsis Deo. Glory to God in the highest. Et in terra pax hominibus bonae voluntatis. And on Earth, peace to people of goodwill. Laudamus te. Benedicimus te. We praise Thee. We bless Thee. Adoramus te. Glorificamus te. We adore Thee. We glorify Thee. Gratias agimus tibi propter magnam gloriam tuam. We give thanks to Thee for Thy great glory. Domine Deus, Rex caelestis, Lord God, King of Heaven, Deus Pater omnipotens. God the Father almighty. Domine Fili unigenite, Jesu Christe. Lord, the only begotten Son, Jesus Christ. Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father. Qui tollis peccata mundi, miserere nobis. Thou who take away the sins of the world, have mercy on us. Qui tollis peccata mundi, Thou who take away the sins of the world, Suscipe deprecationem nostram. Receive our prayers. Qui sedes ad dexteram Patris, Thou who sits at the right hand of the Father, Miserere nobis. Have mercy on us. Quoniam tu solus Sanctus. Tu solus Dominus. Only Thou art holy. Only Thou art the Lord. Tu solus Altissimus, Jesu Christe. Only Thou art the most high, Jesus Christ. Cum Sancto Spiritu, With the Holy Spirit, in gloria Dei Patris. Amen. in the glory of God the Father. Amen.

Sanctus & Benedictus Sanctus, Sanctus, Sanctus, Holy, holy, holy, Dominus Deus Sabaoth. Lord God of Hosts. Pleni sunt coeli et terra gloria tua. Heaven and Earth and full of Thy glory. Hosanna in excelsis. Hosanna in the highest.

Benedictus qui venit Blessed is he who comes In nomine Domini. In the name of the Lord. Hosanna in excelsis. Hosanna in the highest.

Agnus Dei Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, Miserere nobis. Have mercy on us. Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, Miserere nobis. Have mercy on us. Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, Dona nobis pacem. Grant us peace. Inveni David – Salazar Inveni David was composed in 1703. The text comes from Psalm 88, which describes David as a figure of fortitude and resilience. Salazar’s six-part motet could be used as Responsary No. 4 for the Common of a Confessor Bishop. The motet follows the custom- ary Responsary structure where one sings the two parts of the Respond (Ra, Rb), then a Verse (V), and then returns to Rb again. Similar to his other sacred works, this motet explores the text through the use of carefully mapped out polyphony, which always seems to “reconcile” itself as the voice parts unite at the end of each section. Duets and vocal imitation often include contrary mo- tion between uniquely selected voice parts.

Respond Inveni David, servum meum, I have found David, my servant; oleo sancto meo unxi eum: with my holy oil I have anointed him. Manus enim mea auxiliabitur ei. For my hand will help him.

Verse Nihil proficiet inimicus in eo, The enemy shall have no advantage over him, et filius iniquitatis non nocebit ei. nor shall the son of iniquity hurt him.

Cum esset - Manuel de Sumaya (c. 1678 - 1755)

Manuel de Sumaya was born in Mexico City, where he also served as a fine organist and immensely talented choirboy for the Mexico City Cathedral. José de Ydiáquez served as his organ teacher and Antonio de Salazar taught the young boy counterpoint les- sons until Sumaya became his assistant at the cathedral. The two would often write new music together; Salazar would start a piece or write the first section, and Sumaya would finish it. The surviving motets not only substantiate their fruitful collaboration and partnership, but also show us how like-minded they were, musically. One might create a musical theme or idea, and then the other would explore and exploit that idea using popular compositional techniques that can be camouflaged in the polyphony. As Salazar grew older, his eyesight failed him. In 1715, Sumaya became his successor and was promoted to Chapel Master of the cathedral. In the same year, Cum esset was written down for posterity. As the newly appointed Chapel Master, he started expanding the instrumental forces in his sacred works, and in 1736, he gradually increased the number of musicians in the cathedral orchestra. Sumaya distinguished himself as a composer for musical theater and was the first native-born American to compose operas.

Cum esset desponsata When Mary, the Mother of Jesus Mater Jesu Maria Joseph, was espoused to Joseph, antequam convenirent inventa est before they came together, she was in utero habens de Spiritu Sancto. found with child, of the Holy Ghost. Conceptio Gloriosae – Salazar

Conceptio Gloriosae exemplifies Salazar’s sophisticated style and dynamic compositional palette. This joyful responsory (the text is passed between different groups of singers), praises the glory of the Virgin Mary and the virtue of her bloodline. This motet is in a double-choir format, where the second choir, more or less, serves as accompaniment in select areas. Light textures, syncopation, and running eighth notes keep the flow of the piece inviting, ecstatic, and vibrant.

Respond Conceptio gloriosæ Virginis Mariæ It is the Conception of the glorious Virgin Mary ex semine Abrahæ. sprung from the seed of Abraham, ortæ de tribu Juda, of the tribe of Juda, clarex stirpe David; of the renowned family of David; Cujus vita inclita Whose illustrious life cunctas illustrat ecclesias. enlightens all the churches.

Verse Hodie concepta est beata Virgo Maria Today the blessed Virgin Mary ex progenie David. was born of the line of David.

Dulce Jesús mío - Anon., transcribed by Piotr Nawrot

Chanticleer closes this program with a very old, engagingly simple, anonymously written recessional. Sung alternately in Quechua and in Spanish, the song pleads for mercy and the security of Jesus. Beginning with a single solo line, the soundscape of the piece becomes more prominent as additional voice parts enter and as the ensemble passes through the church. It is quite possible that a single verse may have been repeated a number of times, allowing singers to explore a number of harmonic alterations or adding chord tones to make the choral texture fuller.

Yyaî Jesuchristo, My sweet Jesus apoquîrui, look with mercy itacu niyucîpî on my soul lost ninahît’ zobi. by mortal sin.

Dulce Jesús mío My sweet Jesus mirad con piedad look with mercy mi alma perdida on my soul lost por culpa mortal. by mortal sin.

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June- Psalm 3-11, 2017

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