One
doesn't immediately associate Latin
America with 'early music'. It is amazing,
though, how large is the repertoire
spanning the 16th to the 18th century.
It can be found preserved in archives,
libraries and local churches all over
the continent, from Mexico to Argentina.
What is even more astonishing is that
parts of this repertoire are still played
and sung by people there - often of
native origin - and the fact that they
still use instruments from the baroque
era as if nothing has changed since
those days. Exploration of this repertoire
began only about a decade ago. One of
the pioneers in this field is the Argentine
Gabriel Garrido, who with his ensemble
Elyma has made a number of recordings
with music from Latin American sources,
mostly on the French label K617. The
quality of this repertoire and its popularity
among European audiences is such that
other ensembles and musicians are also
looking into this kind of music. One
of them is Jeffrey Skidmore, who recorded
two discs with Latin American music.
This disc is the second of them.
The
music of the European renaissance and baroque came into Latin
America in the wake of the colonisation of the continent by
Spain. Some Spanish composers went to the New World, but it
isn't always known exactly why. One of the earliest was Hernando
Franco, also represented on this disc. But the emigration of
Spanish composers was mostly connected in one way or another
to the process of christianisation which went hand in hand with
colonisation. The key role in this process was played by the
Jesuits. For them music has always been an important means to
further the dissemination of the Christian faith. As they travelled
in the New World America they took with them music they used
to perform at home. Some composers were Jesuits themselves,
like Domenico Zipoli. And the role of music in the activities
of the missionaries also meant there were opportunities for
composers to find employment. Local people were instructed to
sing and play, and also to compose themselves in their own language.
As the Catholic church always made use of local traditions and
culture to bring people closer to the faith, we find several
villancicos here, which are described by contemporary writers
as "sacred entertainment for the masses".
"The
structure of the programme follows that of the Vespers Service,
with the opening Response, three polyphonic Psalm settings (...),
a Hymn and Magnificat. The plainchant antiphons are those set
for the feast of St Ignatius Loyola, the founder of the Jesuit
Order. In between these liturgical works I have placed popular
villancicos with Spanish texts and sacred motets with texts
in Nahuatl, the language of Aztecs", Jeffrey Skidmore writes
in the booklet. The music on this disc spans almost two centuries:
the earliest was composed by Hernando Franco - mentioned above
- and Francisco Hernández, the latest by Manuel de Sumaya. This
results in large differences in style: the setting of 'Dixit
Dominus' by Juan de Araujo is for two choirs, like the 'Laudate
Dominum' by Francisco López Capillas, the first Creole composer
- descendant of European immigrants, but born in Latin America.
This shows the influence of the Venetian polychoral style, which
was imitated in Spain from the end of the 16th century. But
the music of Domenico Zipoli is quite different: his compositions
are set for voices with two violins and bc, the style which
was dominating in Italy at the end of the 17th century.
It
is understandable that Jeffrey Skidmore has turned his interest
to this repertoire, and his report in the booklet about the
preparation for this recording shows he has invested a lot of
time and energy in this project. That is admirable, and the
recording leaves no doubt that he has been able to pass on his
enthusiasm to the singers and players of Ex Cathedra. The result
is well worth listening to, in particular the liturgical sections
of the programme. I wonder, though, if the plainchant should
be sung so slowly as in this recording. In regard to the villancicos
I feel these interpretations fall a little short of what one
may expect them to sound like in the throats and hands of native
Latin Americans. Just as the Italians have given a wholly different
perspective to the way Italian baroque music should be interpreted,
I can well imagine performances by Latin American musicians
would reveal the true character of this repertoire and unleash
its emotional impact. It isn't just that the performances are
a little too distant - only in the last villancico, '¡Ay, andar!'
by Juan de Araujo, all musicians involved let their hair down
-, but also it is to do with the colour of the voices, which
are 'whiter' than Latin voices.
These
reservations don't hold me back from recommending this disc. The
repertoire is fascinating and often exciting, and the interpretation
by Ex Cathedra is good enough to convince the listener that it
is worth exploring further. One has to hope we will see and hear
Latin American performers taking on their own music in the future.
Johan van Veen
Ex Cathedra/Jeffrey Skidmore 
