Is It Really Just Baroque? an Overview of Latin American Colonial Choral Music
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Is It Really Just Baroque? An Overview of Latin American Colonial Choral Music Cristian Grases Cristian Grases Assistant Professor of Choral Music, USC Th ornton Conductor of the USC Th ornton Concert Choir Ethnic and Multicultural Repertoire & Standards Chair for Western ACDA Division [email protected] 24 CHORAL JOURNAL Volume 55 Number 2 When discussing choral repertoire of Latin Ameri- A similar issue occurs with the music of earlier peri- ca, general presumption leads us to think of music that ods, commonly referred to as Latin American Baroque. is up-tempo, festive, rhythmically complex, and with Certainly much of the repertoire of this prolonged pe- instrumental accompaniment (generally percussion riod is stylistically akin to the European output of the instruments). Sure enough, much of the repertoire from Baroque period. After all, the connection between both this region contains a combination of these elements. continents was as strong and dynamic as it could be at This neglects to include, however, the large body of the time. The music of early Latin America, however, Latin American repertoire, both sacred and secular, followed a slightly different path and contained other that is unaccompanied, slower in tempo, and more ingredients not present in Europe; so when referring to harmonically or melodically driven. Moreover, this this body of repertoire, using the word “baroque” might preconceived idea overlooks the fact that the major- be insuffi cient, misleading, and too limiting. Perhaps ity of Latin American composers have a very eclectic a more appropriate label is the word “colonial,” for compositional output in terms of style and diffi culty. it allows us to embrace the music of the period as a Concomitant with this, because Latin America (includ- whole, with all its styles and genres. A brief explora- ing the Caribbean) is a geographic region encompass- tion of the historical background of Latin America will ing forty-two independent nations, all with different shed some light on this issue in order to help us fully cultures and heritages, using generic descriptions to comprehend its scope. defi ne its music is too limiting.1 CHORAL JOURNAL Volume 55 Number 2 25 Is It Really Just Baroque? Under Moorish rule that began in negros or negrillas, and some composers barrier and initiated the communica- the year 711, the Spaniards initiated the in Spain started to incorporate similar tion process. Music already played an reconquest of their land around the rhythmic complexities in secular music important role in native societies, so tenth century. This long historical pro- written in Europe. Spain’s compositional the presence of the new instruments, cess is known as the Reconquista, which technique evolved similarly to what was melodies, and dances brought by the ended in the fi rst half of 1492, when the happening in the rest of Europe. What Spaniards opened a new dimension for Moors were fi nally expelled from their truly set it aside, however, were the the local cultures.6 last bastion in Granada.2 This year was an development of rhythmic textures and But Europeans and Native Americans important one for Spain, given that later the freedom to write in the vernacular.4 were not the only contributors in the on, on October 12, Columbus arrived in the New World. This initiated a historical reversal of roles, in which the conquered Spaniards now became a conquering The Catholic priests rapidly force that dominated an enormous discovered music as a tool to territory for over three hundred years. Columbus traveled three more times, connect with and convert the and after came a multitude of trips natives, for it efficiently broke the led by other captains, which allowed language barrier and initiated the Spain and the colonies to be closely connected throughout this extensive communication process. period. The Spanish court was the main infl uence over the colonies in the New World, but it was certainly not the only one. The Catholic Church played One of the most important secular cultural scene. The traffi c of slaves re- a fundamental role in the battle against forms of the time was the Villancico, mained constant throughout the entire the Moors during the Reconquista and which originated as a series of Christmas colonial period and ended circa 1870, remained intimately connected to the songs (much like carols). They gained when most Latin American nations had Spanish Court. Thus, it also traveled to popularity when sacred texts were set, already fought the Spanish Empire and the New World to expand and grow.3 which made the villancicos become part won their independence. The interaction Musically, Spain was already a rich of the church service during Christmas between European, Native American, and diverse culture, often considered a celebrations. These were then called and African cultures established a new source of exotic melodies, harmonies, Sacred Villancicos. Many other forms platform upon which a completely and instrumentation. The Moorish cul- became popular, among which are En- original repertoire was eventually cre- ture was not the only one present in saladas, Juguetes, Jotas, Jácaras, and Gaitas. ated. Thus, a particular blend of each of the Iberian Peninsula alongside the Eu- Also popular was the Tono Humano, these cultures can be found in much—if ropean infl uence. Also present were the equivalent to the Aria, which was used not all—of the secular music created Sephardic and Ladino traditions, which mainly in theatrical productions.5 during the colonial period. Each secular survived the persecution of the Moors. song represents a particular hue in Later on, much of the music created in an ever-changing and intrinsically rich the New World came back to the pen- A Blended Heritage kaleidoscope of sounds, which forms insula and became a strong infl uence in the secular colonial repertoire in Latin the musical scene of the time, especially Upon arrival in the New World, this America. This unique mixture of cultures for secular music. A good example of exceptionally diverse Iberian musical represents the fi rst fundamental ele- this was the music based on the highly heritage began to interact, and eventu- ment that separates this body of works rhythmic tunes that traveled with African ally blend, with the local cultures of the from the European repertoire. slaves brought to the colonies, which Native Americans. The Catholic priests But music was not only an effective were based on the Bantu and Yoruba rapidly discovered music as a tool to way to overcome cultural and language traditions of Africa. Songs that included connect with and convert the natives, barriers; it was also a key element of the such local color were often known as for it effi ciently broke the language Catholic service. Music was needed on 26 CHORAL JOURNAL Volume 55 Number 2 An Overview of Latin American Colonial Choral Music a daily basis, so the church as an institu- the political and economic signifi cance called New Spain, centered in Mexico tion became responsible for the training of the town or city in which it was City. In the south, the Inca Empire was of the singers and instrumentalists that located.7 spread throughout a vast extension of could provide this service under the the Andes. The center of this empire was leadership of the Chapel Masters or located around what is now Perú and Maestros de Capilla (MdC). Initially, the Establishing A Bolivia. Here, the second Viceroyalty was MdC were musicians born and trained Political Center established and called the Viceroyalty in Europe who traveled to the New of Perú. This political entity grew both World, but eventually this prestigious In the most important cities of Latin north and south to a point in which position was assigned to locally born America, the Spanish court established it became too big to be governed ef- musicians who were trained by the older Viceroyalties, serving as political cen- fi ciently from one location, leading to masters. As cathedrals were built in each ters and links to the Spanish kingdom. its division in the sixteenth century into city, music schools were also established. They were located in areas in which three independent Viceroyalties: Perú The importance and development of pre-Columbian societies existed. The (centered in the city of Lima, Perú); La each of these schools was intimately Mayan and Aztec empires in what is Plata (centered in the city of La Plata, related to the size and relevance of each now southern Mexico, Guatemala, and Bolivia); and Nueva Granada (centered cathedral, which in turn depended on Belize gave way to the fi rst Viceroyalty in the city of Bogotá, Colombia).8 N ORT H W ESTER N U N I V E R SITY Bienen School of Music Director of Choral Organizations Donald Nally 2014–15 Season Repertoire J. S. Bach, Cantata 140, Wachet auf, ruft, uns die Stimme Eriks Esenvalds, Seneca’s Zodiac Michael Gordon, David Lang, and Julia Wolfe, Lost Objects Ted Hearne, Partition Thomas Jennefelt, Music for a Big Church: For Tranquility Felix Mendelssohn, Psalm 42, Wie der Hirsch schreit Santa Ratniece, horo horo hata hata Maurice Ravel, Daphnis et Chloé Kile Smith, Vespers (with Piffaro in residence) Igor Stravinsky, Symphony of Psalms Toivo Tulev, And then in silence there with me be only You Major Choral Ensembles Bienen Contemporary/Early Vocal Ensemble University Chorale Donald Nally, conductor University Singers Emily Ellsworth, conductor The Bienen School of Music offers · Conservatory-level training combined with the academic flexibility of an elite research institution · MM and DMA degrees in choral conducting · Close proximity to downtown Chicago’s vibrant cultural landscape · A new 152,000-square-foot facility to open in summer 2015 847/491-3141 The Bienen School’s new facility will include the Mary B.