Search - Chanticleer :: Mexican Baroque Music

A voice teacher and early music fan

George Peabody | Planet Earth | 07/06/2009

(5 out of 5 stars)

"ELEGANT AND BEAUTIFUL AND QUITE UNIQUE!



While British Colonists were composing their rugged 'fugueing tunes' in the British colonies, Chapel Masters in Mexican cathedrals were composing concerted vocal music of great beauty and elegance that was widely performed throughout 'New Spain' from Gautemala to the south and California Missions to the north.



In eighteenth century New Mexico the name of MANUEL DE ZUMAYA(1678-1755) and IGNACIO DE JERUSALEM (1710-1769) stand out. Zumaya's music became the epitome of the Baroque style in the New World. He was an extremely original composer, his works rivaling in quality those of his European contemporaries. The works on this recording reflect the many sides of Zumaya's talents and styles.



His music draws from the huge tome of polyphony and shows his skilled mastery of the older Rennaissance style. The LAMENTATIONS(1717)makes use of coloration and ligatures contemporaneas with Handel's early operas. He authored the charming SOL-FA DE PEDRO(1715) during the grueling exams used to choose the Chapel Master at the Mexico City Cathedral. It is a 'sol-fa', or solfeggio piece, where solfeggio syllables are sung to specific notes (what we call sight-singing). Zumaya's exciting CELEBRAN, PUBLIQUEN demonstrates his ability to handle the large polychoral sound of the high Baroque. The rich textures and instrumental writing reflect the 'modern' style, and are at the opposite end of the spectrum from his anachronistic Renaissance settings.



IGNOCIO DE JERUSALEM very quickly established quite a reputation as a composer and a virtuoso violinist. His style differs from Zumaya's style. Whereas Zumaya reveals a mastery of the high Baroque, Jerusalem propels the Mexico City Cathedral into the 'modern' world of the 'galante' style. Although he opted for homophonic texture, his contrapuntal abilities were adequate.



The DIXIT DOMINUS and MASS IN D have graceful and easily followed fugues. The RESPONSORIO DE SS JOSE reveals another side of Jerusalem-that of the high Baroque. Of all his pieces, this is the one that most captures the spirit of Bach rather than Mozart.



If you have listened to 'The virgin of Gaudalupe'matins Jerusalem also recorded by Chanticleer, you have a good idea what this music sounds like. It is indeed very attractive music and enjoyable to hear; however, just as the music of Broaday may wear'thin' after too many listenings,so can this music. But I definitely would not want to have it unavailable when I'm in the 'mood' to hear it.



Chanticleer is perfection in performance, very similar to their British contemporaries 'The King's Singers'. They sing everything from Renaissance to Jazz. Incidentally, the name 'Chanticleer', is taken from the clear-voiced rooster in Chaucer's Canterbury Tales. The all-male personnel changes from time to time, but usually includes: four countertenors divided into two sopranos and two altos, three tenors and four basses, give or take a few. But they are all skilled singers, and the recordings are of a superior quality."