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Mission Road Chanticleer and Mission Baroque

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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. 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. 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.
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