Missa Mexicana

Editorial Reviews
Amazon.com
"New Spain" comes roaring to life on Missa Mexicana. The disc's mainstay is a Mass setting by Juan Gutiiérez de Padilla, who was appointed maestro de capella at Mexico's Puebla Cathedral in 1629. Although Padilla was born in Andalucía, his work came to embrace Mexico: the rhythms of its dances, the exuberance of its song, and the textures of its popular instrumental ensembles (complete with guitars, percussion, and shawms). Padilla was not a pioneer in this regard; at the time, Spain's sacred music was also greatly influenced by secular sounds. But perhaps the greatest draw of this repertoire, as Andrew Lawrence-King shows off so well, is the tight interweaving of European, Native, and African cultures in Padilla's Mexico, and how he and his contemporaries utilized all of these cultural streams in their own work. Bolstered by an array of other compositions of the age, Lawrence-King makes a strong case for 17th-century Mexico as a cultural crossroads, not merely as a remote outpost of Spanish influence. One prime example is Santiago de Murcia's "Cumbées," with its call-and-response vocals, delicate, mbira-like instrumental interlude, and earthy drumbeat recalling West African music. Another is Padilla's own Christmastime negrilla, "A siolo flasiquiyo," which invites worshipers to dance the guacambe, canario, and villano to celebrate the Messiah's coming. As on his other recordings, harpist and conductor Andrew Lawrence-King has brought together a host of today's most respected early music specialists for this trip to Mexico, including soprano Ellen Hargis, bass Paul Hillier, and gamba player Hille Perl. Lawrence-King himself performs on the Spanish harp, organ, and psaltery. As one might expect from such a gathering, the ensemble is top notch, in both technical expertise and musicianship. The singers (and instrumentalists) are equally comfortable in both Missa Mexicana's religious and earthly spheres, moving from a Gloria to a bawdy song with ease. --Anastasia Tsioulcas

Tracks:

Villancico: Canten dos jilguerillos (Francisco Escalada)
Kirie: [Missa Ego flos campi] (Juan Gutiirrez de Padilla)
Jacaras de la costa (Santiago de Murcia)
Xaacara: Los que fueren de buen gusto (Francisco de Vidales)
Gloria: [Missa Ego flos campi]
Corrente Italiana (Juan Cabanilles)
Xacara: A la xacara xacarilla (Juan Gutiirrez de Padilla)
Credo: [Missa Ego flos campi]
Cumbies (Santiago de Murcia)
Negrilla: A siolo flasiquiyo (Juan Gutiirrez de Padilla)
Sanctus [Missa Ego flos campi]
Marizapalos a lo humano: Marizapalos bajs una tarde (Anonymous: 17th-century Peru)
Marizapalos a lo divino: Serafin que con dulce harmonma (Joan Cererols)
Diferencias sobre marizapalos (Miguel Pirez de Zavala)
Agnus Dei [Missa Ego flos campi]
Guaracha: Convidando esta la noche (Juan Garcma de Zispedes)

Amazon.com

"New Spain" comes roaring to life on Missa Mexicana. The disc's mainstay is a Mass setting by Juan Gutiiérez de Padilla, who was appointed maestro de capella at Mexico's Puebla Cathedral in 1629. Although Padilla was born in Andalucía, his work came to embrace Mexico: the rhythms of its dances, the exuberance of its song, and the textures of its popular instrumental ensembles (complete with guitars, percussion, and shawms). Padilla was not a pioneer in this regard; at the time, Spain's sacred music was also greatly influenced by secular sounds. But perhaps the greatest draw of this repertoire, as Andrew Lawrence-King shows off so well, is the tight interweaving of European, Native, and African cultures in Padilla's Mexico, and how he and his contemporaries utilized all of these cultural streams in their own work. Bolstered by an array of other compositions of the age, Lawrence-King makes a strong case for 17th-century Mexico as a cultural crossroads, not merely as a remote outpost of Spanish influence. One prime example is Santiago de Murcia's "Cumbées," with its call-and-response vocals, delicate, mbira-like instrumental interlude, and earthy drumbeat recalling West African music. Another is Padilla's own Christmastime negrilla, "A siolo flasiquiyo," which invites worshipers to dance the guacambe, canario, and villano to celebrate the Messiah's coming. As on his other recordings, harpist and conductor Andrew Lawrence-King has brought together a host of today's most respected early music specialists for this trip to Mexico, including soprano Ellen Hargis, bass Paul Hillier, and gamba player Hille Perl. Lawrence-King himself performs on the Spanish harp, organ, and psaltery. As one might expect from such a gathering, the ensemble is top notch, in both technical expertise and musicianship. The singers (and instrumentalists) are equally comfortable in both Missa Mexicana's religious and earthly spheres, moving from a Gloria to a bawdy song with ease. --Anastasia Tsioulcas

Customer Reviews:

One of the most interesting and best recorded Early Music programs available.......2006-09-26

This program performed by Andrew Lawrence-King and the Harp Consort is built around Juan Gutierrez de Padilla's (c. 1590-1664) Missa Ego flos campi. Padilla served as maestro of the Puebla Cathedral in Mexico from 1629 until his death, the choir of which was considered to be finest in all of Spain's colonies.

On this release, Andrew Lawrence-King has paired each of the Mass' five movements with one or more dance pieces either composed by Padilla or another contemporary composer. This purpose of this approach is to bring together Padilla's vibrant Mass, which itself is permeated with dance elements, with the actual dance pieces (ex: villancicos) that influenced Padilla. In addition to impacting the style of Padilla's sacred works, such dance pieces were actually included on church programs in 17th-century Mexico. Church authorities were a bit ambivalent about the inclusion of such dance pieces on church programs, as they were seen as being "excessively arousing" by some, but others noted that such pieces brought people into church which would not otherwise attend.

Despite being relatively unknown today, Padilla was obviously a first-rate composer. What makes his music remarkably fascinating is how naturally he combines Spanish and Italian stylistic elements with the harmonies and rhythms of the New World, in addition to African music brought to Central America by slaves. Padilla's "Negrilla" (Track 10) for instance, incorporates African rhythms and drums with elements of the European Renaissance. The end result is mesmerizing, especially the complicated and thrilling conclusion. The "A la xácara xacarilla" (Track 7) combines native percussion instruments with a bajón (precursor to the bassoon) and guitars in an intoxicating dance melody. The vocalists in particular do an outstanding job in breathing life into this piece through their enthusiastic and characteristic singing. The final piece on the program, the "Guaracha," itself alone is worth the price of the CD. More than being "excessively arousing" this piece, employing virtually every music instrument known, is downright exhilarating.

The ensemble performing this music is incredibly varied, and includes a large contingent of Mexican baroque guitars, a sackbut, a shawm, a Spanish harp and a percussion section consisting of all types of drums, a rainstick and even a conch shell. The vocalists and instrumentalists provide very enthusiastic and characteristic performances. The sound quality here is audiophile quality.

In short, this disc belongs in any collection of Early Music, but those out there who are not fans of the genre would find much to like here as well. This is fantastic music, which is marvelously performed and recorded. A winner on all accounts.

Highest recommendation!!

TT: 69:11

***
As a side note, those who are enthusiastic about this CD should also check out the Villancicos y Danzas Criollas released by Alia Vox and Moon, Sun & All Things released by Hyperion.

Ridiculously fine recording.......2006-09-18

At the risk of exposing myself as a true music dork I'm happy to say that I am inspired by the amount of scholarship behind this recording! More important however is that the music making on this disc cannot be accused of being too dry. No, Andrew Lawrence-King and his Harp Concert et.al. are obviously excited about this program. Their enthusiasm is contagious. The balance between sacred, secular and instrumental provides a great overview of 17th century Spanish music of the New World. This is the type of recording you can listen to from start to finish and then repeat. Highly recommended.

Superb - if idiosyncratic - performances!!.......2005-05-23

New-World [Hispanic] music from the 16th-18th centuries has experienced something of a renaissance in recent years, and a number of excellent recordings have been released, of which this is indeed a superlative example. Andrew Lawrence-King and the Harp Consort present a vividly atmospheric programme which is centred around the Missa Ego Flos Campi by one of the leading composers of the period, Juan Gutierrez de Padilla (c.1590-1664), the maestro de capilla at Puebla Cathedral. Padilla's Mass is complemented with examples of secular music by his contemporaries - villancicos, xacaras, etc.

In truth, it is perhaps difficult to know how representative of 17th century Mexico this recording is, and for the purist there are certain issues which may raise a few eyebrows...[Padilla's 42-part choir is reduced to a handful of soloists; Santiago de Murcia's 'Cumbees' - primarily intended for guitar - are arranged for harp and interspersed with pseudo-African scat-syllabic improvisations, rendering the notated 'golpes' practically inaudible; Juan Cabanilles' 'Corrente Italiana' - originally for organ - is transfered to a continuo group of harp, bajon, guitars and percussion; etc....]

Yet given the strength of the performances, these musicological quibbles perhaps loose their significance. These are truly stylish interpretations combining flair with panache, and the line up includes some excellent (and well-known) exponents of early music.

Incidentally, if you've enjoyed this recording, you should also explore similar (if not even better - if that's possible!) ones by Jordi Savall & Hesperion XXI ['Villancicos y danzas criollas', Alia Vox AV9834] and Gabriel Garrido & Ensemble Elyma [in particular 'Fiesta Criolla', K617139 and 'Juan de Araujo - L'Or et L'Argent du Haut-Perou', K617124].

Fabulous, exciting Baroque music.......2005-02-02

The title says it all. I cannot add to the other laudatory reviews. Pay no attention whatsoever to the negative review. The writer obviously has no comprehension of what music is about. This is fabulous Baroque music with Latin and African flavoring. We who love Baroque music are indebted to to Mr. Andrew Lawrence-King for making this music available to us. I truly love the European Baroque and own a great many CDs of it, including some of the lesser known names. But it is truly wonderful to expand one's horizons into a hitherto little known area of Baroque music. I am enriched by it and I know you will be also.

A joyous 17th century multicultural jam session!.......2004-01-28

With 'Missa Mexicana' Andrew Lawrence-King and The Harp Consort provide one of the most joyous and thought-provoking discs of early music around. For an album that is 'crossover' in the best sense of the word, they take a 17th century mass by a Mexican composer and juxtapose it with the popular music that inspired it. All of this music is gorgeous, earthy, elegant, sensuous and passionate. Not surprisingly considering that many of the pieces are dances, it will undoubtedly set your toes tapping as well as have you humming. In addition to the standard harps, gambas, bass viols, etc., that one would expect from music of this period, The Harp Consort also includes Mexican guitars, bajons, and even a conch and a rain stick! The playing and the singing are superb, and Lawrence-King not only directs the ensemble but provides wonderful accompaniment on the harp and psaltery. The sheer joy everyone brings to the performance makes it seem like a particularly successful jam session, even though it is obvious just how much hard work and research has been put into it.

Mexico in the 1600s was a rich mixture of ethnic groups and cultures, and its music reflects this. The main influence is Spanish Renaissance polyphony (Spain at this time was in its musical golden age - the 'siglo d'oro'), but there is also help from Portuguese immigrants, Native Mexicans (Mayan), and Africans from the Ivory Coast, Guinea, and Puerto Rico. As well, there is constant tension between the sacred and secular worlds.

The core of this recording is a 'parody mass' (that is, the polyphony has been reconstructed from previously written motets) by Juan Gutierrez de Padilla, a Spanish composer who emigrated to Mexico and became the choir director of the Cathedral in Puebla in 1629. This work is radiant and lighthearted and although more formal than the other music on this disc, is still heavily influenced by dance rhythms. Unlike in many mass settings, phrases such as 'bonae voluntatis', 'credo' and 'confiteor' are repeated as refrains. The accompaniment is also rather spare, relying primarily on guitars with occasional percussion. Each section of the mass is surrounded by popular songs and dances of the time which have lyrics based on religious themes, as was often done at the time to delight the worshipers - and assure their church attendance!

Two tenors sing of goldfinches singing softly to the infant sun in 'Canten los jilguerillos', the vilancico (popular dance) that begins the CD. We later hear examples of one of the most popular musical forms of this time - the xacara, a particular type of vilancico normally in D minor and sung in backstreet Madrid dialects. 'Jacaras de costa', which includes the aforementioned conch shell and rain stick, is an instrumental variation in a major key and has the same theme as the vocal 'Los de queren de bon gusto' which it leads into. Like 'A la xacara xacarilla', this xacara, with the singers egging each other on ('vaya, vaya!' or 'vaya pues!') to keep dancing and adding more verses, is as much about the pleasure of making music ('Look at my nice new xacara which I will sing in Bethlehem!') as it is about the religious symbolism expressed within.

Another common style was the Marizapalos, a romance which could have either a secular or sacred theme. 'Marizapalos a lo humano', a bawdy song about a priest's niece who goes to meet her lover, is full of sexual innuendo, but elevates physical love into something holy. In contrast 'Marizapalos a lo divino' speaks of the divine harmony of the seraphim and has a melody very reminiscent of the main theme from Joaquin Rodrigo's 'Fantasia alla gentilhombre' - I wouldn't be surprised if it was one of Rodrigo's sources! There is also a lovely instrumental variation ('Diferencias sobre marizapalos') on this theme.

Some of the most interesting music on this disc doesn't have obviously 'Hispanic' origins. The 'Corriente Italiano', a broad, elegant and courtly instrumental dance of Italian origin, is made Spanish by syncopation, and is my favorite track on the disc. From Africa come 'Cumbees', a call and response (variations on the word 'cumbe') puctuated by heavy drums, and the negrilla, 'A siolo flasiquiyo' depicts a group of African musicians who are celebrating the baby Jesus, but have to be careful to not play so loud that they wake Him! Some of the lyrics here are admittedly a bit too 'minstrel show' for 21st century audiences, but the music is still gorgeous, particularly the exuberant refrain 'Tumbucutu, cutu, cutu'.

The CD comes to a breathtaking finish with the guaracha 'Convidando esta noche', where the final, ecstatic 'Ay, ay, ay!' will linger long after it ends.

The thick booklet is illustrated with skeletons to recall the Mexican 'Day of the Dead' tradition, and contains full Latin and Spanish texts and English and French translations, as well as websites if you want other languages. Lawrence-King contributes an essay detailing the historical background and structure of the music and lyrics. There is also a CD insert that indicates which musicians are playing in which selections, although it is a pity they do not identify the actual INSTRUMENTS played, as each musician plays several.