Fiesta Barroca

The Codex Martinez Compañon is a nine-volume manuscript edited by the Bishop of Trujillo. It illustrates the vitality of 18th-century vocal music in South America, and more specifically, Peru. The themes are both religious and secular and are elaborated with great fantasy and invention. They are based on texts in Spanish, but sometimes incorporate indigenous languages, thereby adding a touch of exoticism. Leonardo García Alarcón invites us to discover these festive Baroque creations issued from the encounter between Spanish rhythms and indigenous traditions. Leonardo García Alarcón invites us to discover these festive Baroque creations issued from the encounter between Spanish rhythms and indigenous traditions.

Between the religious and the secular

During the eighteenth century, taxonomists and naturalists were seeking to classify people, facts and events. In his Codex, Bishop Jaime Baltasar Martínez Compañon applies these same principles to music, classifying and identifying the most significant contributions of Baroque music to the oral tradition in Northern Peru. In order to understand how music evolved and developed from the time of the Incas to present day, we can turn to Spanish chronicles written at the end of the sixteenth century and the beginning of the seventeenth century. As for the growth of Afro-Creole music, we have examined studies on eighteenth-century documents and observed how the form, instrumentation and performance style of the music described in the chronicles has evolved today.

Programme

Yyaî Jesuchristo (Dulce Jesús mío)
Anonymous (ca.1740) / Archivo misional jesuítico de Chiquitos – Bolivia

Sonata “Pastoreta Ychepe Flauta” for flute, strings and continuo
Anonymous (ca.1740) / Archivo misional jesuítico de Chiquitos – Bolivia

Vaya de Xacara amigos
Raphael Antonio Castellanos (Antigua Guatemala, 1765 – Ciudad de Guatemala, 1791)

Codex “Baltasar Martínez Compañón”
Anonymous (ca.1785) / Diócesis de Trujillo – Peru

Cachua al Nacimiento, a voz y bajo
Tonada “La lata”
Tonada “El palomo”
Tonada “El tupamaro”
Baile de danzantes
Baile del Chimo
Tonada “El conejo”
Tonada “El diamante”
Pastoreta Ychepe Flauta
Tonada “El tuppamaro” de Caxamarca
Tonada “La Brugita” para cantar, de Guamachuco
Tonada para cantar llamadase “La Selosa”
Cachua a duo y a cuatro
Tonada del Chimo

Alleluia
Anonymous (18th century) – Santiago de Guatemala

No duermas
Carlos Patiño (Cuenca – Spain / 1600-1675)

Codex “Baltasar Martínez Compañón”

Tonada “El huicho” de Chachapoyas
Tonada “La donosa”
Andante “Cachuita de la Montaña” llamádase El vuen Querer
Cachua serranita, nombrada el “Huicho Nuevo”

Lamentatio Jeremiae
Tomás de Torrejón y Velasco (1644 – 1728)

Codex “Baltasar Martínez Compañón”

Lanchas para baylar
Tonada “El Congo”
Cachua “La despedida” de Guamachuco

See our other productions

Artists

Mariana Flores, soprano
Francisco Mañalich, tenor

Leonardo García Alarcón, conductor

Cappella Mediterranea
Master’s students from Geneva’s Conservatoire populaire de musique, danse et théâtre

Fiesta Barroca

Between the religious and the secular

Prochaines dates

Programme

Artists

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