ARCHIVO DE Music from the Cathedral Archive CASTELLANOS • DURÓN • GARCÍA DE ZÉSPEDES QUIROS • TORRES El Mundo • Richard Savino 1 2 4 6 ! @E % l M&undo 1 2 4 6 0 @ % & ARCHIVO DE GUATEMALA Jennifer Ellis Kampani – , Nell S1n 6ai 8da ^s & – , Soprano Music from the Guatemala City Cathedral Archive Ryland Angel, Tenor 7 ^ & 1 2 4 6 8P a9u !l S % hip&per, Bass 1 2 4 6 8 9 ! % & R1afael Antonio CASTELLANOS (fl. 1725–1791) S0ebastián DURÓN Adam LaMotte – 1 2 –4 ,6 L i8sa 9 G ! rod&in 7 –0 , Violin Pastoras alegres (1778) 3:10 Vaya pues rompiendo el ayre (c. 1700) 5:04 William Skeen, Cello – 1– 2, V6i o8la % da& gamba 2 Paul Shipper, Percussion – Gitanillas vienen (1775) 4:04 J!oseph de TORRES (c. 1670–1738) Cantada al Santísimo: Continuo 1 6 8 @ % & #$ 7 Gaspar SANZ (1640–1710) Sosiega tu quebranto (1733) 9:48 3 Richard Savino, guitar – – – , E1ar6ly 8 cla!s %sic guita2r 4 5 ,9Th @e o^r b& o , Director Folías (original version pub. 1675) 3:01 John Schneiderman, Baroque guitar 2 4 6 @, L % ute& Manuel Joseph de QUIROS (?–1765) @ Cheryl Ann Fulton, Harp 1–2 6 8 9 ! % & Rafael Antonio CASTELLANOS Clarines suaves (c. 1750) 4:29 4 Corey Jamason, Harpsichord 4 – Ángeles del cielo (1789) 3:41 Paul Shipper, Baroque guitar J#uan Antonio VARGAS Y GUZMÁN (fl. c. 1700) A5NONYMOUS, 18th c. Guitar Sonata No. 8 in B minor Settings and arrangements by Richard Savino Violin Sonatas Nos. 26–27 – – Andante (pub. 1776) 2:12 2 4 7 9 @ % 3 6 ! ^ & 1 4 5 8 0 # $ Cantabile – Allegro 3:59 $ Recorded: 15 , 16 and 17 August 2018 Guitar Sonata No. 9 in D major at Skywalker Ranch, Nicasio, California, USA R6afael Antonio CASTELLANOS – Allegro (pub. 1776) 2:41 Producer: Susan Napodano DelGiorno Al demonio – Si perfecciona el Altísimo (1782) 5:17 Engineer: Leslie Ann Jones M%anuel Joseph de QUIROS Mastering: David Merrill S7ebastián DURÓN (1660–1716) Jesus, Jesus, Jesus, y lo que subes (1743) 5:38 Ay de mí, que el llanto y la tristeza (c. 1700) 4:27 Sources Rafael Antonio CASTELLANOS ^ Archivo Musical de la Catedral de Guatemala (‘Music Archive from the Guatemala City Cathedral’): Rafael Antonio CASTELLANOS Negros de Guaranganá (1788) 3:27 1 2 4 6 7 8 0 ! 8 MS 127 , MS 118 , MSS 98 and 147 , MS 289 , MS 157 , MS 261 , MS 669 , Vaya de jácara amigos (1785) 4:09 @ % ^ MS 721 , MS 712 , MS 179 Juan GARCÍA DE ZÉSPEDES (1619–1678) 3 & Instrucción de Música sobre la Guitarra Española, Book 2 ‘De Cifras sobre la Guitarra Española’ Arcangelo CORELLI (1653–1713) Convidando está la noche 5 9 Museo Nacional de Antropología MS Copy, Mexico, 18th century , Sonata da camera a 3 in G major, Op. 2, No. 12 (transcr. Robert Murrell Stevenson, 1916–2012, 9 ed. John Christopher Pepusch, London, 1728 ‘Ciacona’ (pub. 1685) 3:42 for four voices and chamber ensemble) (c. 1660) 3:53 # $ Archivo General de la Nación MS Copy, Mexico, Gallery 4, Virreinato, Secretaría de Cámara, Box 349 & Private Library of Gabriel Saldívar y Silva, Guanajuato, Mexico, 17th century

With special thanks to Dr Dieter Lehnhoff, Dr Alfred Lemmon, Dr Felix Treviño (translations), Father T. Frank S.J. (d. 2016), the Audrey M. Schneiderman Trust, and Ray and Judith McGuire. Archivo de Guatemala – Music from the Guatemala City Cathedral Archive Throughout the 17th and 18th centuries, the Spanish Royal Chapel in Madrid. Torres’ cantata Cantada al Without question the Italian composer who exerted pieces are reminiscent of Domenico Scarlatti’s colonies throughout Central and emerged as Santísimo: Sosiega tu quebranto is especially noteworthy the greatest influence on and Latin America was harpsichord sonatas and provide a glimpse into the wellsprings of cultural activity. Latin American cathedrals, for its virtuosic violin part which, alongside the other violin Arcangelo Corelli. Not only did his string music circulate emerging Spanish Classical style. missions and courtly life demanded a vibrant and varied parts contained within the archive, suggests a highly widely throughout these cultures, selected movements I would personally like to thank my friends and musical scene, and indigenous populations were frequently sophisticated instrumental environment. from his Violin Sonatas, Op. 5 were transcribed for the colleagues Drs Dieter Lehnhoff and Alfred Lemmon for attracted to the arts and participated in their production. The The guitar is certainly considered the quintessential guitar by the great Santiago de Murcia, and found in his their pioneering work with the Guatemala archivo , as well musical result was a style bearing the imprint of folk music – ‘Spanish’ instrument – both in folk and fine art music. collection Passacalles y obras (1732). 1 This is not an as with preliminary translations. To Dr Felix Treviño for his even in sacred compositions. Using different guitars, harp, More importantly, in the 17th century, the guitar, often in isolated example of a Spanish or Latin American source further refinement of these translations, and to the percussion and the varied dance rhythms of Spanish, multiples and combined with harp, and viola da gamba, containing the string music of Corelli. In the Mexico City memory of Father T. Frank Kennedy (d. August 2016), African, and New World origin, artists created a sound produced the essential continuo and theatre accompaniment guitar manuscript MS 1560, one can find a transcription of former head of The Jesuit Institute at Boson College and unique to this region and still flourishing to this day. band. Certainly, this is not to suggest the harpsichord Corelli’s La folia , also from his Op. 5 . Consequently I felt it noted musicologist who enlightened me to much of this In particular, the Guatemala City Cathedral is of played a slight role, but it is important to recognise the fitting to include his Ciacona , a dance believed to be of repertoire. Also, a most heartfelt thanks to all of my El special interest; it fostered a sophisticated musical culture, uniqueness of this ensemble and its importance to New World origin, on this recording. Mundo colleagues who endured insane schedules and and its archive contains hundreds of high quality musical Spanish Baroque repertoire. So it is not surprising that the While much of the music we present could be defined very late night meals. And a very special thanks to the compositions by both Spanish and native composers. Two Guatemala archivo also contains some guitar intabulations as ‘Baroque’, the latter part of the 18th century is also a Audrey M. Schneiderman Trust and Ray and Judith stand out by the quality and number of their works: Manuel with cifers (numerical tablature indications) and alfabeto , portal to the Classical epoch, and to one of the more McGuire without whom this recording would not have Joseph de Quiros (Manuel José Quiroz), who served as the latter being a harmonic notational device unique to the important, yet neglected composers of this era: guitarist been possible. muestra de capella of the Cathedral from 1738 to 1765, Baroque guitar. Juan Antonio Vargas y Guzmán, who began his life in and his nephew, Rafael Antonio Castellanos (fl. 1725– A name often associated with the Spanish Baroque Cádiz, Spain, where he assembled a guitar tutor dated Richard Savino 1791), a native son of Guatemala and eventually Quiros’s guitar legacy is Gaspar Sanz, who in 1674 published a 1773. Within this tutor he often quotes Murcia’s treatise of successor. As with many Latin American composers, they treatise and collection of guitar compositions in Zaragoza. 1714, Resumen . Guzmán eventually settled in Veracruz, were well versed in 16th-century polyphony, but they also Sanz was forever memorialised when Joaquín Rodrigo Mexico where an identical copy of this manuscript, dated 1 These pieces by Corelli that were transcribed by incorporated dance music into their sacred compositions. (1901–1999) quoted his Canarios in the Fantasía para 1776, was later found. This latter copy contains twelve Santiago de Murcia (1682–1732) can be heard on my More than any other dance, musicians co-opted the gentilhombre . His Folías , which is one of the most cited of additional sonatas for guitar and basso, a common setting recording Danza y Diferencias . (Koch International xácara for these purposes. all Spanish variation forms, is a concise and exquisite found in late 18th-century Spanish guitar music. The Classics, 1998). Originally a secular musical setting used in Spanish example of this revered dance, and it’s important to note theatre productions, featuring ‘petty ruffians’, the xácara that numerous copies of his works have been found in the has a characteristic rhythm and harmonic pattern New World. We can also see direct connections between bordering on the hypnotic. Castellanos’ Vaya de xácara Sanz and Italy. While studying for the priesthood in Rome, [jácara] amigos remains an excellent example of this he received musical training from violinist and composer ‘religious appropriation’. Another xácara on our recording Lelio Colista. is Vaya pues rompiendo el ayre by Spanish composer In addition to its holdings in the New World, Spain also Sebastián Durón, albeit with a secular text. ruled over much of southern Italy for over 400 years, and Beyond Quiros and Castellanos, the Guatemala City the influence of Spanish music on Italian composers is Music Archive also contains numerous works by many of obvious. Their repertory is filled with ciaconnas, the most noted Spanish composers of the 17th and 18th passacaglias, zarabandas, folías and romanescas, all of centuries. Among these are Juan Iribarren, who served as which are dance/variation pieces that began as works for muestra de capella at the Salamanca and Malaga the Spanish guitar. Within this context, it is also important to cathedrals, Sebastián Durón, and Joseph (José) de note that numerous Italian musicians, such as Domenico Torres. These latter two composers held positions at the Zipoli and Roque Ceruti, migrated to the New World. morenica del sol más hermoso. dark skinned, beauty of the most beautiful sun 1Rafael Antonio CASTELLANOS (fl. 1725–1791) R1afael Antonio CASTELLANOS (fl. 1725–1791) la gala le cantan, la gloria le dan, they pleasingly sing, glory they give, Pastoras alegres Joyful shepherds que bailan airosas, they gracefully dance, que cruzan briosas, lively they move, estribillo: refrain: que cantan graciosas and pleasingly sing Pastoras alegres, prosiga el cantar, Joyful shepherds, continue singing, a son y a compás with rhythms and swing, y adoren al niño, con toda humildad. and worship the child in all humility. chás, chás, chás, chás. chas, chas chas, chas. Vengan a entonar los dulces acentos Come, to sing the sweet accents, que el amor os da. which love gives you. copla: verse: Gitanico hermoso, Niño celestial, Beautiful gypsy boy, heavenly Child copla: verse: Hijo de la aurora que su sol nos da. son of the daybreak who gives us her sun. Vamos al portal, con pecho leal, Let’s go to the portal, and with a loyal heart, 4 4 cantemos, bailemos que esperando estan. Let’s sing, dance, and they wait. Ángeles del cielo Angels of heaven Los tres reyes que tambien vienen a ver la deidad. The three kings who also come to see the deity. estribillo: refrain: Ay la la li lay la, li la li lay la, Ay la la li lay la, li la li lay la, Ángeles del cielo, Angels of heaven, chiquito mio, ahora si que te quiero, mi bien, My little one, now I really love you, my darling, decidle a mi bien, Tell my beloved ahora si que te quiero mi amor. Now I really love you, my love. que pues sola me deja, That if he leaves me yo me iré trans él. I will follow him. Aliente el fervor, y diga el amor, Encourage the fever, and speak the love, que triunfa, que vence, tanta majestad that triumphs, conquers all majesty, copla: verse: y sepan que el mismo dios, toma nuestra humanidad. and know that my God takes on our humanity. Viviendo en el mundo Living in the world gusto no tendré, I will have no joy Ay la la li lay la, li la li lay la, Ay la la li lay la, li la li lay la, pues sin él no hay cosa For without him there is nothing chiquito mio, ahora si que te quiero, mi bien, My little one, now I really love you, my darling, que me dé placer. That could give me pleasure. ahora si que te quiero mi amor. Now I really love you, my love. Que aunque pan se queda Although the bread remains 2 2 y se da a comer Gitanillas vienen Little gypsies come and he gives himself to eat donde yo le pruebo where I taste him, y él prueba mi fé. estribillo: refrain: and I give him a taste of my faith. Gitanicas vienen, gitanicas van Little gypsies come, little gypsies go Como cara a cara As face to face A adorar al Niño, y a ver a portal. To adore the child, and to see the cradle. no le puedo ver I cannot see him tal estoy de amor I am so in love Qué hermosas salen todas a bailar, How beautifully they all start to dance, que de mí no sé. that I am lost in myself. cómo suenan las castañitillas How their castañets sound 6 6 que repican las gitanillas As the gypsy girls play them, Al demonio To the Devil y en dulce armonía las hacen hablar. and in sweet harmony make them talk. Al demonio unas vayas darle quisiera, I would like to scoff the devil Lazos forman, trenzas hacen; They form lines and braids in their dance; que las pintas que tiene todas son negras. because his looks are all dark. con el mismo primor que des hacen With the same delicacy they dissolve Vaya, vaya de vaya, Go, scoff him, go, las trenzas y lazos a son y a compás, their lines and braids in rhythm and swing, digamos algo de las we will say something y a la Madre del Niño gracioso, and to the mother of the gracious child impropiedades de su retrato. of the improprieties of his appearance. Si perfecciona el Altísimo He is the highest perfection Pues, nunca el que llega Well, never the one who arrives llorando y se entrega Crying and surrendering estribillo: refrain: contrito y humilde Constrained, and humble Si perfecciona el Altísimo, He is the highest perfection desprecia mi Dios. Despise my God. de la boca de los párvulos, and from the mouths of children, su alabanza hoy en esdrújulos he is praised today Aunque soy indigno, Although I am unworthy, entonan a Pedro cánticos. in verse they sing to Peter. tu rostro benigno, Your benign face, mi dueño, no apartes My owner, do not leave copla: verse: de mi corazón; From my heart; Vaya pues honorífico júbilo, Go then, with honour and joy tu rostro benigno, Your benign face, y al supremo Pontífice máximo, Heroically celebrate mi dueño, no apartes My owner, do not leave de los sacros apóstoles príncipe, the supreme Pontifice de mi corazón; From my heart; con ánimo heróico celébrenlo, apláudanlo. Prince of the holy apostles. Ni quites airado Do not angrily remove Hoy, sagrado Pedro, tímidos Today, Holy Peter, timidly tu espíritu, amado, Your spirit, beloved, os pedimos magnánimo We ask you to magnanimously del alma afligida Of the distressed soul acepteis la humilde víctima Accept the humble victim que pide perdón. He asks for forgiveness. de este rudo pueril tráfago. Of this rude childish drudgery recitado: recitative: Quisiéramos más armónicos We wish to harmoniously Mas, ¡ay!, But alas! imitar los dulces pájaros, imitate the sweet birds, que aunque el dolor mi aliento excede, That though the pain my breath exceed, y aún para estos cantos débiles, and still with these simple songs, nadie el perdón asegurarme puede, No one can forgive me, padecemos muchos tártagos. we suffer many stutterings pues sabiendo la causa porque lloro, Well knowing the cause because I cry, si está borrado mi delito ignoro, If my crime is cleared I do not know, S7ebastián DURÓN (1660–1716) S7ebastián DURÓN (1660–1716) y como temerosamente espero, And as I fearfully hope, Ay de mí, que el llanto y la tristeza Woe is me, that crying and sadness con temor y esperanza vivo y muero. With fear and hope I live and die. recitado: recitative: R8afael Antonio CASTELLANOS R8afael Antonio CASTELLANOS Ay de mí, que el llanto y la tristeza Woe is me, that crying and sadness Vaya de jácara amigos Go dance the xacara friends no, no ablanda mi dureza. No, it does not soften my hardness. criad, Señor, en mí piedad, usando Pray, Lord, in my piety, using estribillo: refrain: un limpio corazón, humilde y blando, A clean heart, humble and soft, Vaya de jácara amigos, Go dance the xacara friends, y para que respiren mis sentidos, And so that my senses may breathe, y sin gastar arrumacos. and without using sticks. dad gozo y alegría a mis oídos. Give joy and joy to my ears. Oygan, escuchen, atiendan listen, listen closely, and pay attention que es el corridillo aseado: it is a clean path: aria: aria: En nombre de Dios comienzo, In the name of God we begin, Consiga afligido, Get distressed vaya el diablo para diablo. to chase the devil back to hell. mi afecto rendido My devoted affection la gracia que el alma The grace that the soul Aquel don Adán valiente That one brave Sr. Adam infelice perdió, Unfortunate, lost, a quien todo lo criado, whom all the created afligido, vendido, Distressed, rendered, vasallaje le rendía rendered obedient la gracia que el alma The grace that the soul obediente a sus mandatos, to his mandates. infelice perdió. Unfortunate lost, monarca del paraíso King of the Paradise S0ebastián DURÓN S0ebastián DURÓN le gozaba alegre cuando he happily enjoys when he’s finished Vaya pues rompiendo el ayre Let it go, tearing through the air acabó con todo el mundo with all the world con solamente un bocado. with only one bite. estribillo: refrain: Vaya pues rompiendo el aire Let it go, tearing through the air, Torpe quebrantó el precepto Awkwardly disrupted the precept la jacarilla de garbo This jaunty little Jacara quién dijera en este daño If someone could say of this wreckage que como nacida viene As if just born, it comes que fuera de un hombre fuerte that out of a strong man a la noche por lo guapo, In the night for the handsome one, toda su culpa ser flaco. all his guilt be skinny. a la salud del Rey niño For the health of the babe king, Pero yo me lo dixera But I said to myself que al hielo está tiritando. Who shivers in the icy cold, arrimándome al adagio Coming in to the refrain that Silencio, atención, aplauso, Silence, attention, applause! de que la soga más fuerte ‘the strongest rope ¡ay, Jesús!, que de risa me caigo Oh Jesus, how I fall down in laughter quiebra por lo más delgado. breaks with the thinnest thread.’ y hasta el sol está tiritando. For even the sun is shivering. No chisten, callen, Do not grumble, be quiet, copla: verse: silencio, atención, aplauso. Silence, attention, applause! Príncipe nació y a penas The Prince was born and the pain el veneno le ha tocado has touched him copla: verse: cuando por ruin obediencia when by ruined obedience Jácara va de lo bravo, Jacara goes bravely se miró el príncipe esclavo. the slave prince looked at himself. de ese jayán formidable Like that formidable one La divina providencia The divine providence que pegará fuego al mundo Who will set the world on fire que tuvo todo previsto el caso that had everything planned el día que se enojare, On the day of his wrath, amparar al enemigo protected the enemy ese que hace creer He who makes us believe elige por acertado. and was successfully chosen. que hoy es el día que nace, That today is the day he is born, cuando sabemos que tiene When we know that he is Obligados y ofendidos Forced and offended tanta edad como su padre. As old as his father. Dios y el hombre se miraron God and man looked at each other del hombre Dios ofendido man offended God Su madre es una señora His mother is a lady de Dios el hombre obligado. God obligated the man. de prendas muy singulares, of very unique garments, Deponiendo los enojos Deposing the anger y hace a todos confesar and makes everyone confess sale al empeño mostrando goes out to show que es mucho más que su madre. That is much more than his mother. cómo han de ser los amigos how should friends be (together) Esposa es de un carpintero, Her husband is a carpenter, en los mayores trabajos. in the greatest works. hombre de fama admirable An admirable man of fame y aún por eso tiene and that’s why they Que baje el Verbo a la tierra May the Word come down to earth un barreno semejante. are from similar humble origins. es el único reparo it is the only repair y a gran daño gran remedio and great harm great remedy Los reyes y los pastores The kings and shepherds da lo divino a lo humano: It gives the divine to the human. dicen deben adorarle, say that they should worship him Pagar por el hombre quiere Pay for the man wants porque cayados y cetros because he can raise up con que de la culpa el daño with that of the damage él los hace y los deshace. and then shatter crooks and scepters; a un mejor está que estaba, it’s even better than he was, Con unos es un león fuerte, With some he is a ferocious lion, pues a feliz se ha pasado. well, happy has happened to you. con otros cordero afable, with others a friendly lamb @ @ y aquesto es como le cogen, and this is how they catch him, Clarines suaves Soft tones ya le irriten, ya le agraden. they irritate him, then they please him. Clarines suaves entre harmonias Soft tones mixing with harmonies trinan la gloria, que se admira, oy Sound the glory admired today Joseph de TORRES (c. 1670–1738) Joseph de TORRES (c. 1670–1738) ! ! triumfen los cielos gima lel The heavens will triumph and the abyss moan Cantada al Santísimo: Sosiega tu quebranto Cantata to the Blessed Sacrament: Calm your fears abismo al oir el Triumpho mas superior. On hearing of the supreme triumph. aria: aria: Quando del oriente When in the east Sosiega tu quebranto, Calm your fears, del aurora mexor The bright star is seen hermosa navecilla beautiful little ship. ad miro ha da vaya Then it is time to go que ya estas a la orilla, You are now con luzes superiores el mexor. To the great light de el que es asilo santo on the shore of he de nuestra salvación. who is the holy refuge of our salvation. Tira para al umbras Shed your shade De un dios que en pan encierra, He is the god con vero brillar With true brilliance la gloria de la tierra, whose domain includes the glory tymbre que le son al sol suspension A sound that is suspended in the sun y del abismo espanto, of the earth and the dreadful abyss. vaya pos que triumfal su luz celesial Go to the triumph of the celestial light es luz que eterna brilla He is the light that brilla superior nuevo candor. that shines with new honesty en nuestro corazon. shines eternally in our hearts. M%anuel Joseph de QUIROS (?–1765) M%anuel Joseph de QUIROS (? –1765) recitado: recitative: Jesus, Jesus, Jesus, y lo que subes Jesus, Jesus, Jesus, you rise Ya el enemigo infiel de los mortales, The infidel enemy of the mortal race que juzgó eterna en fe de las señales, has decreed the estribillo: refrain: la esclavitud del hombre; eternal slavery of man; Jesus, y lo que subes dorando, Jesus, you rise illuminating, sentirá la tormenta que le asombre, Man will feel the terror of his torment sien das de plata de las nubes giving a temple of silver clouds, cuando del mar pirata when the pirate pues sobre los que nubes ya te dilatas. and above the clouds you swell. su negra nube el pielago dilata. covers the sea in his black cloud. copla: verse: aria: aria: Subir en divinas luces Rise in divine lights De airados vientos la unión, The union of the wrathful winds y’en alo de esplandor, and in a halo of splendour, combatiran el poder, de quien will combat the power of him who sought o’es ca no un sol el que sube is it not a sun that rises but God, sobre el aquilón su trono quiso poner. to erect his throne on the North wind. o le da la a los, o le da los alos Dios. who gives them the halo. Sera su estrago fatal, His ruin will be final. que en el viril y el cristal raya It will outshine his ambition, Es quien sube luz eterna It is he that rises, the light everlasting, contra su ambición sitial en que ha de venzer. which must be vanquished. de aquel divino candor, of that divine whiteness, que de encumbrado por alto, that, lofty atop, se le passa al mismo Dios. passes even through God.

Sube con alas de fuego He rises with wings of fire, animadas de su amor, alive with love, por que su espiritu haze, because his spirit creates, con el fuego en que subió, with the fire in which it rose, porque su espiritu baje, because its spirit falls, en que con el fuego, en que subió. with the fire in which it rose. ^Rafael Antonio CASTELLANOS R^afael Antonio CASTELLANOS J&uan GARCÍA DE ZÉSPEDES (1619–1678) J&uan GARCÍA DE ZÉSPEDES (1619–1678) Negros de Guaranganá Negros of Guaranganá Convidando está la noche Inviting is the night estribillo: refrain: estribillo: refrain: Negros de Guaranganá Negros of Guaranganá. Convivando esta la noche Inviting is the night, tan de pocos conocidos Known by so few aqui de musicas varias. to those who with varied kinds of music al son de sus largas uñas To the rhythms of their long fingernails Al recein nacido infante to the newborn child así le cantan al Niño. They sing to the child canten tiernas alabanzas. sing sweet praises.

Tenga su mecé May your excellence copla: verse: eta fieta en pá have this feast in peace ¡Ay! que me abraso ¡ay! Oh, how I burn, ay, que agora venimo Because here we come divino dueño ¡ay! divine Lord re Guaranganá. from Guaranganá. en la hermosura ¡ay! in the beauty de tus ojuelos ¡ay! of your fair eyes, ay! Chitó en boca Hush your mouth porque empiezan ya Because they are beginning ¡ay! como llueven ¡ay! Oh, how they rain down con su media lengua In their half tongue ciendo luçeros ¡ay! like stars, ay, a refunfuñar. To mumble rayos de gloria ¡ay! the rays of glory, rayos de fuego ¡ay! the rays of fire, ay! copla: verse: O tío Antoño re mi vira Oh Uncle Antoño of my life ¡Ay! que la gloria ¡ay! Oh, how the glory Qué quere tata Gazpá? What do you want, Tata Gazpa? del portaliño ¡ay! of the beautiful manger, ay, Vamono con toro priesa Let us go in a hurry ya vista rayos ¡ay! is surrounded with rays, ¿Para dónde? But where? si arrojayalos ¡ay! strewing them about, ay! A ro portá, To the manger que vamo recí a su Magetá: to tell his majesty: ¡Ay! que su madre ¡ay! Oh, how his mother como en su espero ¡ay! as in a mirror, ay, Tengo su Mecé May your excellence mira en su lucencia ¡ay! sees in the reflection eta fiesta en pá have this feast in peace sus crecimientos ¡ay! how he grows, ay! que agora benimo Because here we come re Guaranganá. from Guaranganá. All texts anonymous, and edited from manuscripts dating from the 17th and 18th centuries.

English translations by Richard Savino and Felix Treviño El Mundo

El Mundo is a chamber group dedicated to the performance of 16th- to 19th-century Latin American, Spanish and Italian chamber music. Under the direction of guitarist/lutenist Richard Savino, El Mundo was formed in 1999 and comprises some of today’s finest period instrument performers. As an ensemble, El Mundo has recorded eight albums on the Koch Records, Dorian Recordings and Sono Luminus labels. These include the premiere of Sebastián Durón’s 17th-century zarzuela Salir el Amor del Mundo and The Kingdoms of Castile , which received a 2012 GRAMMY Award nomination in the Best Small Ensemble category.

Ryland Angel

Richard Savino

With an extensive discography of over 35 commercial albums as soloist, director or principal performer, Richard Savino’s recordings have received a 2012 GRAMMY Award nomination, a Diapason d’Or and ‘10 du Rèpertoire’ recognition in Repertoire magazine, where his Boccherini recordings were also listed as ‘Great Discoveries’. He has been featured on numerous international television and radio programmes and has three times been chosen as the Global Hit on the PRI programme The World. Savino has collaborated with some of the world’s most important ensembles and performers including Joyce DiDonato, Christine Brandes, Paul Hillier and Monica Huggett. In addition to directing his own ensemble El Mundo, he has also guest-directed the Aston Magna Music Festival, the Santa-Fe Chamber Music Festival, Ensemble Rebel and Milano Chamber Orchestra. From 1986 to 1998 Savino directed the Summer Arts Guitar and Lute Institute. www.richardsavino.net Spanish colonies in Central and South America emerged as wellsprings of cultural activity throughout the 17th and 18th centuries. The meeting of indigenous populations with Latin American cathedrals and courtly life resulted in styles bearing the imprint of folk music, even in sacred compositions. The sophisticated musical culture of Guatemala City Cathedral is represented in an archive of hundreds of works, several of which are recorded here. The guitars, harp, voices and percussion of acclaimed ensemble El Mundo bring to life the vibrant and at times hypnotic dance rhythms of Spain, Africa and the New World, creating a sound unique to this region, and one that still flourishes to this day. ARCHIVO DE GUATEMALA Music from the Guatemala City Cathedral Archive 1 0 Rafael Antonio Castellanos: Durón: Vaya pues rompiendo 2 Pastoras alegres 3:10 ! el ayre 5:04 3 Castellanos: Gitanillas vienen* 4:04 Joseph de Torres: Cantada al Gaspar Sanz: Folías 3:01 @ Santísimo: Sosiega tu quebranto 9:48 4 Manuel Joseph de Quiros: 5 Castellanos: Ángeles del cielo* 3:41 Anon., 18th c. Mexico: Violin Sonatas # Clarines suaves* 4:29 Juan Antonio Vargas y Guzmán: 6 Nos. 26–27 – Cantabile – Allegro 3:59 $ Guitar Sonata No. 8 – Andante 2:12 Castellanos: Al demonio – Vargas y Guzmán: Si perfecciona el Altísimo* 5:17 7 % Guitar Sonata No. 9 – Allegro 2:41 Sebastián Durón: Ay de mí, Quiros: Jesus, Jesus, Jesus, que el llanto y la tristeza 4:27 8 ^ y lo que subes 5:38 Castellanos: Castellanos: 9 Vaya de jácara amigos* 4:09 & Negros de Guaranganá* 3:27 Arcangelo Corelli: Sonata da Juan García de Zéspedes: camera a 3 ‘Ciacona’ 3:42 Convidando está la noche 3:53 *W ORLD PREMIERE RECORDING El Mundo • Richard Savino, Director A detailed track list and full recording details can be found inside the booklet. The sung texts and translations are included in the booklet, and may also be accessed at www.naxos.com/libretti/574295.htm Settings and arrangements by Richard Savino • Booklet notes: Richard Savino With thanks to Dr Dieter Lehnhoff, Dr Alfred Lemmon, Dr Felix Treviño, Father T. Frank, the Audrey M. Schneiderman Trust, and Ray and Judith McGuire Cover photo: Guatemala City Cathedral by Diego Grandi ( www.shutterstock.com ) ൿ Ꭿ & 2021 Naxos Rights (Europe) Ltd • www.naxos.com