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EX CATHEDRA
Ex Cathedra Baroque Ensemble
Jeffrey Skidmore – conductor
Scroll down for texts and translations
Welcome note
Ex Cathedra has always sought inspiration in the new, and our world-wide reputation is witness to this. Our adventures in the world of contemporary music are an obvious example with many influential world premieres by John Joubert, James MacMillan, Roxanna Panufnik, Sally Beamish, Alec Roth, and Liz Dilnot Johnson. We have also championed the music of Stockhausen, Britten, Sculthorpe and Stravinsky. Roderick Williams, Fyfe Dangerfield, Penelope Thwaites, Gabriel Jackson, Daryl Runswick and Martin Bates have figured prominently.
We have also applied ‘new’ to well-known historic repertoire, searching for meaningful ways to rediscover the masterpieces of the classical canon with music by Lassus, Monteverdi, Charpentier, Vivaldi, Lalande, Handel, Rameau, Bach, Mendelssohn, Beethoven, Bruckner and Elgar. Many projects have led to pioneering recordings.
In the last 25 years, the first quarter of this tumultuous new millennium, we have made a significant contribution to the understanding of the music of Latin America, of the ‘New World’. Crucially this was made possible through several research trips to Mexico, the Mission stations of the Amazon jungle, the surprisingly, spanking-new archive libraries of Bolivia in Sucre, and the beautiful and extraordinarily rich cultural diversity of the southern coast of Brazil, from Curitiba to Salvador by way of São Paulo, Rio de Janeiro and Ouro Preto. Ex Cathedra’s highly supportive Board of Trustees understood the importance of research and development, and the skill, intellect and creative energy of one person in particular, Jill Robinson, (who was a leading singer and soloist in the early years and more recently an influential Trustee) made these trips viable not only through her tenacious and persuasive funding applications but also through her impressive network of international contacts from her ‘day job’ with the City Council. She was a constant inspiration for which I offer my heartfelt thanks. This highly productive period also saw the emergence of a team of expert research assistants (Peter Trethewey, Adrian Horsewood, and Dr Edward Caine) whose typesetting and musicological skills matched the enormous notational complexities and challenges of much of this music, particularly colouration (black notation), which allows the rhythmic complexity and vitality of this toe-tapping repertoire. Dr Jules Whicker at the University of Birmingham provided linguistic expertise and the Curitiba International Festival, Dartington International Summer School and Hyperion Records provided many of the performance opportunities to experiment and maximise the impact of our work. We performed in the USA, Germany, Spain and Finland and our performing material found its way to South America, Australia and India. We have made four award-winning recordings.
Ritual 1631 revisits the vivid colours, the fire and passion of Latin American Baroque music with a newly devised dramatic production around the extraordinary cultural fusion of colonial music in this magical continent. The haunting mantra of the Inca hymn Hanac pachap cussicuinin (published 1631) provides the heartbeat that binds the narrative together. There are four scenes linked by four processions which surround the audience with a slow moving pavane with references to a cachua, a Quechuan circle dance. The processions provide a transition from one region to another.
Enjoy this remarkable journey with us!
Running order
Procession 1: Hanac pachap cussicuinin – Ritual 1631
Scene 1 Mexico
Deus in adiutorium – Juan Gutiérrez de Padilla (1590-1664)
Missa Ego flos campi – Juan Gutiérrez de Padilla
Kyrie
Gloria
Versa est in luctum – Alonso Lobo (c1555-1617)
Sancta Maria è! – Francisco Hernández (1700-1780)
Convidando esta la noche – Juan García de Zéspedes (1619-1678)
Procession 2: Hanac pachap callasanan – Ritual 1631
Scene 2 Bolivian Mission Stations (Amazonian Jungle)
Missa San Ignacio – Domenico Zipoli (1668-1726)
Kyrie
Gloria
Dulce Jesús mío – Anonymous
~ INTERVAL of 20 minutes ~
Procession 3: Canchac raurac, çuma quilla – Ritual 1631
Scene 3 Brazil
Ave Maria – Emerico Lôbo de Mesquita (1746-1805)
Missa Pastoril – José Maurício Nunes Garcia (1767-1830)
Kyrie
Padre nosso – Emerico Lôbo de Mesquita
Missa Pastoril – José Maurício Nunes Garcia
Agnus dei
Gloria – Emerico Lôbo de Mesquita
Procession 4: Çapallaiquin quemicuncai – Ritual 1631
Scene 4 Bolivia – Sucre
Dixit dominus à 11 – Juan de Araujo (1648-1712)
Los coflades – Juan de Araujo
Silencio – Juan de Araujo
¡Salga el torillo hosquillo! – Diego José de Salazar (1660-1709)
¡Ay! ¡Andar! – Juan de Araujo
Programme Note
Ritual formulario was a liturgical guide written in the language of the Incas and published in Lima, Peru in 1631. I first encountered it in a print in the British Library towards the end of the last millennium in 1999. It contains the oldest printed polyphony (Hanac) in the Americas which sets a Sapphic hymn to the mother of God to be sung in procession. Verses from this haunting, slow dance provide a framework for this concert of sacred music from 17th,18th and early 19th century Latin America which fuses European, African and Indigenous people’s cultures. There is music from Mexico, Peru, Bolivia and Brazil sung in Quechua, Nahuatl, Chiquitan, Spanish, Portuguese and Latin in several forms.. You’ll hear a bullfight, an ecstatic Christmas party and three extraordinary Mass movements. Composers with unfamiliar, magical names – Zipoli, Lobo de Mesquita, Nunes Garcia, Zespedes, the great Juan de Araujo – will surprise you with the colour, vitality and quality of their music.
There is a rich array of accompanying period instruments – cornetts and sackbuts, dulcian, recorders, violin, guitar, harp, theorbo, organ and exotic percussion, gifts from South America – pods, hooves, shells and a hairy drum!
Procession 1
Hanac pachap cussicuinin (verses 1 – 5) Ritual 1631
It is not surprising that Hanacpachap cusicuinin is so widely performed throughout Latin America and also seems to capture the imagination of all who hear it outside this captivating and seductive region. The music is noble, magical and haunting. It is set for four voices in Sapphic verse in the Quechua language. The colourful imagery of the sequence of prayers, with its references to stores of silver and gold, life without end, deceitful jaguars and sins of the devil, skilfully mixes Inca and Christian imagery. The singers may sing it ‘in procession entering the church’. What an extraordinarily powerful beginning to any service, concert, or CD! It is surprising that it is so often performed using only the first two of the twenty verses given in the source.
Juan Peréz de Bocanegra, the priest who compiled the liturgical manual, confirms in a rubric the purpose of the hymn:
La Oracion. Que ∫e figue en ver∫o safico, en la lēgua Quechua, hize en loor de lá Virgen fin manzilla: y va compuesta en mu∫ica a quarto vozes, para que la canten los cantors, en las proce∫∫iones al entrar en la Iglesia, y en los dias de nuestra Señor, y ∫us fe∫tinidades.
(I composed the prayer which follows in praise of the Immaculate Virgin. In Sapphic verse, and in the Quechua language, it is set to music for four voices, so that the singers may sing it in processions entering the church and on the days of Our Lord, and on his Feast Days.)
Scene 1 Mexico
Juan Gutiérrez de Padilla was born in Spain in 1590 and moved to Mexico in 1622. In 1629 he became maestro de capilla at Puebla Cathedral where he served until his death in 1664. Puebla had lavish resources at its disposal including a large choir of 14 boys and 28 men. I exchanged many faxes(!) with Robert Stevenson, the 20th century Californian pioneer of this music, who wrote that ‘the musicians sat in double rows of seats facing each other. This arrangement encouraged antiphonal effects and the extensive use of instruments. During Padilla’s time the favoured instruments were the organ, harp and bass viol, forming a continuo; these were supplemented by recorders, chirimias, cornetts, sackbuts and bajóns, frequently used to double or replace voices.’ This is large-scale music. In the depths of the dusty crypt in Puebla’s majestic cathedral Juan Manuel Lara Cardenas introduced me to the giant part books which contained Padilla’s double choir Missa Ego flos campi and the Versicle and Response Deus in adjutorium meum.
It was not only books of plainchant that were sent from Spain but also a colossal amount of polyphony by all the leading composers of the day. Morales and Victoria figured prominently along with Palestrina and Lassus. Alonso Lobo’s famous setting of Versa est in luctum which was performed at the funeral of Philip II, ‘Catholic King of Spain’, is also found in the giant poblano part-books.
By way of contrast Convidando esta la noche is a villancico which features dance patterns of African origin in the form of the guaracha, a dance still popular in Cuba. The synthesis of the sensuous, homophonic, ‘European’ sections and the exuberant cross-rhythm of the dance verses is particularly effective. There is also music in Quechua and Nahuatl, the language of the Aztecs. Sancta Maria, e! is an exquisite miniature set in Nahuatl by the Indian composer Francisco Hernández who as a tribute took his name from Hernando Franco, his famous Spanish teacher.
Procession 2 Hanac pachap callasanan (verses 6 – 10) Ritual 1631
Scene 2 Bolivian Mission Stations (Amazonian Jungle)
Domenico Zipoli was born in Tuscany in 1688 and studied with Alessandro Scarlatti in Naples. In 1716 he joined the Company of Jesus and the following year left for Paraguay with a Jesuit mission. He was an organist and composer in Cordoba until his death in 1726. Much of his musicwas re-discovered only a few years ago and reveals the popularity of Zipoli’s work with the Chiquitos Indians in Bolivia who regularly performed and copied his music. The Jesuit Mission Stations in the jungle of Eastern Bolivia are a string of beautifully restored churches including San Javier, Concepción, San Ignacio, San Miguel, and Santa Ana. They are now a World Heritage site. I attended concerts and masses at all of these and all were packed to the roof-tops with children watching and listening attentively in the doorways and at the windows. An inventory of musical resources from the 17th and 18th centuries shows that some churches had 1, 2 even 3 organs, up to 7 harps, 12 violins, between 3 and 5 violones, 4 trumpets, at least one tromba marina, a bassoon, 2 harpsichords, and bells.
This is happy, optimistic music which reflects the Utopian dream of many of the ‘reductions’. It is our aim to recreate these sounds in Zipoli’s exuberant Kyrie and Gloria from Missa San Ignacio, although the music is notated, typically, for only three high voices (SAT), two violins and continuo.
The mesmerically simple Dulce Jesús mío is also found in the language of the Chiquitos Indians as Yyaî Jesuchristo. It is performed as a recessional piece with all the musicians leaving the stage, one by one.
INTERVAL
Procession 3 Canchac raurac, çuma quilla (verses 11 – 15)
Scene 3 Brazil
My two year Brazilian adventure began and ended in Rio de Janeiro where magnificent prehistoric frigate birds silently fill the warm blue sky high above Ipanema beach which stretches out along the crashing breakers of the Atlantic ocean towards Sugar Loaf Mountain. Christ the Redeemer embraces the whole city and its visitors above the Tijuca rainforest and the biblically serene Lagoon. Captivating! It’s very easy to fall in love with this city, this country.
At the National Library almost the first music I encountered was that of the great José Maurício Nunes Garcia, Father Mauricio, a mixed-race priest who was born in Rio. His Missa Pastoril para noite de Natal was originally written simply for choir and organ in 1808. In 1811 he rewrote the piece now colourfully orchestrated for 2 violas, 2 cellos, 2 clarinets, 2 bassoons, 2 trumpets, 2 horns, timpani and organ. There are nine challenging solo parts for 3 castrati, 2 falsettists, tenor and three basses. Individual names are written against each solo part in the full-score. The hauntingly simple pastoral theme which opens the piece recurs throughout the work, and captures perfectly the sensation of a sunshine-filled Christmas and the gentle message of Christ’s birth. In downtown Rio I was shown the spectacularly gilded church Nossa Senhora do Monte Carmo, the old cathedral which served as the Royal Chapel where this work was no doubt performed on Christmas day over two hundred years ago.
José Joachim Emerico Lobo de Mesquita who was active throughout the gold-mining region and among his many titles was organist and choirmaster of the church Nossa Senhora do Pilar in Ouro Preto. The three prayers Padre nosso, Ave Maria and Gloria offer simple, ‘secret’, expressive devotion and certainly help explain his popularity. They were edited by André Guerra Cota who is currently a professor at the Fluminense Federal University.
Procession 4
Çapallaiquin quemicuncai (verses 16 – 20) Ritual 1631
Scene 4 Bolivia – Sucre (Araujo)
Juan de Araujo has been described by many commentators as the greatest composer of the age. Little is known about the man (he was a disruptive student in Lima and involved in litigation in La Plata), and there is almost certainly more material to uncover. He was born in Spain in 1646 and emigrated at a young age to South America with his parents. He was organist at Lima Cathedral, lived in Panama and Cuzco, where a few of his manuscripts are found, and from 1680 spent the last 32 years of his life as organist at the cathedral of La Plata, now known as the Bolivian judicial capital of Sucre.
I should like to believe that Araujo was a good man. He was certainly a skilled musician, choir-trainer and director. He was at ease in the strict academic style required in liturgical music and equally at home in the foot-tapping style of the villancicos. Several of his pieces have captured our imaginations: ¡Ay! ¡Andar! set at a euphoric dance-party, Los coflades(Negritos a la Navidad del Señor) a processional piece celebrating the Three Magi and perhaps dedicated to the African slaves who survived the mines and established communities in the Yungas to the north east of La Paz, ¡Aquí, Valentónes! addressing the problems of gang-land. Perhaps he was in touch with the grass-roots. Silencio is a double-choir lullaby which offers a complete contrast.
There are few liturgical pieces in Araujo’s output. Here we perform one of the largest pieces, the triple-choir setting in eleven parts of the first, great Psalm for Vespers Dixit Dominus. The majority of his surviving works, however, are non-liturgical pieces in the popular villancicos style. They are now collected together in the Bolivian National Library. Sucre Cathedral was one of the wealthiest musical establishments in the world and Araujo made full use of a large number of skilled professional singers and expert instrumentalists.
One of the most popular pieces from our recordings has been the bull-fighting re-enactment ¡Salga el torillo hosquillo! which appears in the Bolivian National Library in two versions. Just around the corner from Sucre Cathedral is the small chapel Capilla de la Virgen de Guadalupe which was completed in 1625, and which houses the priceless bejewelled statue of the Virgin of Guadalupe with its dazzling diamonds, amethysts, pearls, rubies and emeralds. Annually, on the evening of September 8th the Feast of the Virgin is celebrated. On the following day colourful parades process around the square displaying religious images and silver arches. It must have been a similar celebration for which ¡Salga el torillo hosquillo! was enacted in the 18th century.
Performers
EX CATHEDRA
Ex Cathedra Baroque Ensemble
Jeffrey Skidmore conductor
Birmingham, 09 March
Soprano: Marianne Ayling, Alison Burnett, Ros Crouch, Lizzie Drury, Naomi Hedges, Sophie Henderson, Joy Krishnamoorthy, Margaret Langford, Rebecca Ledgard, Margaret Lingas, Alice Madden, Rebecca Mills, Hannah Rowe, Imogen Russell, Shirley Scott, Rachel Snape, Sally Spencer, Beth Taylor, Katie Trethewey, Maria Willsher
Alto: Sarah Colgan, Gabriella Liandu, Martha McLorinan, Katy Raines-Rami, Andrew Round, Nicola Starkie, Kate Thatcher, Ellie Tomlinson, Laura Toomey
Tenor: Isaac Boulter, Steve Davis, Tony Dean, Alex Dixon, Tom Hawkey-Soar, Dan Marles, James Robinson, James Wells
Bass: Robert Asher, Jeremy Burrows, Christopher Churcher, Richard Green, Tom Lowen, Matt Pandya, Bill Robinson, Peter Scurlock, Josh Thompson, Lawrence White
Cornett: Jamie Savan, Helen Roberts
Sackbutt: Sue Addison, Adam Crighton
Bajon: Bill Lyons
Violin: Liz MacCarthy, Karin Bjork
Cello: Rebecca Truscott
Harp: Joy Smith
Guitar/lute/theorbo: Eligio Quinteiro
Percussion: Simone Rebello
Organ: Chris Bucknall
Hereford, 12 March
Soprano: Lizzie Drury, Margaret Lingas, Alice Madden, Imogen Russell, Katie Trethewey
Alto: Gabriella Liandu, Martha McLorinan, Laura Toomey
Tenor: James Robinson, James Wells
Bass: Tom Lowen, Lawrence White
Cornett: Jamie Savan, Helen Roberts
Sackbutt: Sue Addison, Adam Crighton
Bajon: Bill Lyons
Violin: Lucy Russell, Karin Bjork
Cello: Rebecca Truscott
Harp: Joy Smith
Guitar/lute/theorbo: Eligio Quinteiro
Percussion: Simone Rebello
Organ: Chris Bucknall
London
Soprano: Lizzie Drury, Margaret Lingas, Imogen Russell, Katie Trethewey
Alto: Gabriella Liandu, Martha McLorinan, Laura Toomey
Tenor: James Robinson, James Wells
Bass: Tom Lowen, Lawrence White
Cornett: Jamie Savan, Helen Roberts
Sackbutt: Sue Addison, Adam Crighton
Bajon: Bill Lyons
Violin: Lucy Russell, Liz MacCarthy
Cello: Rebecca Truscott
Harp: Joy Smith
Guitar/lute/theorbo: Eligio Quinteiro
Percussion: Simone Rebello
Organ: Chris Bucknall
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Texts and Translations
Hanac pachap cussicuinin verses 1-5
1. Hanac pachap cussicuinin,
1. The bliss of heaven
huaran cacta muchascaiqui.
I will worship you a thousandfold
Yupairuru pucocmallqui,
Revered fruit of a mature tree
runa cunap suiacuinin.
Long awaited by your people
Callpannacpa quemicuinin,
Protection of spiritual strength
Huaciascaita.
Heed my call
2. Uyarihuai muchascaita
2. Hear my prayer
Diospa rampan Diospamaman
Litter of God, Mother of God
Yurac tocto hamancaiman
White shoot of the lily
Yupascalla, collpascaita
Worshipped, my barren state
Huahuaiquiman suyuscaita
Show me your son
Ricuchillai.
Whom I await
3. Chipchijcachac catachillai
3. Oh brilliant light of the Southern Cross
Punchau pussac quean tupa
Meeting with the bringer of the day
Cam huacyacpac, manaupa
Summon me in my disdain
Queçaiquicta hamuiñillai
Piñascaita quespichillai
Save me from my anger
Susurhuana.
Precious grain store.
4. Ñocahina pim huanana
4. Like me, who will take revenge
Mitanmanta çananmanta
For his time on earth, for his lineage
Tecçe machup churinmanta.
For the sons of his ancestors
Llapa yallec millaimana
Muchapuai yasuihuana
Overcoming all abonimations
Huahuaiquicta.
Your child.
5. Uequecta ricui pinquicta
5. See the tears, see them sparkle
çucai çucai huacachcacman
Weeping profusely
sonco queve putichcacman
Your heart grieving
Cutirichij ñauijquicta
Turn your eyes upon me
Ricuchihuai uyayquicta
Look upon me with your face
Diospamaman.
Mother of god.
Deus in adiutorium – Juan Gutiérrez de Padilla (1590 – 1664)
Deus in adiutorium meum intende:
O God, reach forth to my aid:
Domine ad adiuvandum me festina.
O Lord, make haste to help me.
Gloria Patri, et Filio, et Spiritui Sancto.
Glory be to the Father and to the Son and to the Holy Ghost.
Sicut erat in principio, et nunc et semper,
As it was in the beginning, is now and ever shall be,
et in saecula saeculorum. Amen.
world without end. Amen.
Missa Ego flos campi – Juan Gutiérrez de Padilla
Kyrie
Kyrie eleison,
Lord have mercy upon us,
Christe eleison,
Christ have mercy upon us,
Kyrie eleison.
Lord have mercy upon us.
Gloria
Gloria in excelsis Deo,
Glory to God in the highest.
Et in terra pax hominibus bonae voluntatis.
And on earth peace to men of goodwill.
Laudamus te, benedicimus te,
We praise Thee, we bless Thee,
Adoramus te, glorificamus te
We worship Thee, we glorify Thee.
Gratias agimus tibi
We give thanks to Thee
propter magnam gloriam tuam:
For Thy great glory
Domine Deus, Rex caelestis,
Lord God, heavenly King,
Deus Pater omnipotens.
God the Father almighty.
Domine Fili unigenite, Jesu Christe.
O Lord, the only-begotten Son, Jesus Christ.
Domine Deus, Agnus Dei, Filius Patris:
Lord God, Lamb of God, Son of the Father.
Qui tollis peccata mundi,
Thou that takest away the sins of the world,
miserere nobis;
Receive our prayer.
Qui tollis peccata mundi,
Thou that takest away the sins of the world,
suscipe deprecationem nostram;
Receive our prayer.
Qui sedes
Thou that sittest
ad dexteram Patris,
At the right hand of God the Father,
miserere nobis.
Have mercy upon us.
Quoniam tu solus sanctus,
For Thou only art holy.
Tu solus Dominus,
Thou only art the Lord.
Tu solus Altissimus, Jesu Christe.
Thou only, O Jesus Christ, art most high.
Cum sancto Spiritu:
With the Holy Spirit
In gloria Dei Patris. Amen.
In the glory of God the Father. Amen.
Versa est in luctum Alonso Lobo (c.1555 – 1617)
Versa est in luctum cithara mea,
My harp is turned to mourning
et organum meum in vocem flentium.
And my organ into the voice of those that weep.
Parce mihi Domine, nihil enim sunt dies mei.
Spare me, O Lord, for my days are nothing.
Sancta Maria, e! – Francisco Hernández (1700-1780)
Sancta Maria, e!
Oh, Holy Mary!
in ilhuicac cihuapillé
Oh, Heavenly and noble Lady!
tinantzin Dios
You are the little mother of God,
in titotepantlahtocátzin.
who rules over us all.
Ma huel tehuatzin tópan ximotlahtolti,
If only your worthy person
in titlahtlacohuanime.
would intercede for us, for we are great sinners!
Convidando esta la noche – Juan García de Zéspedes (1619-1678)
(Juguete)
Convidando esta la noche
The night is inviting us
Aquí de músicas varias
here with varied music.
Al recién nacido infante
To the newborn child
Canten tiernas alabanzas.
sing tender praises.
(Guaracha)
¡Ay, que me abraso! ¡ay!
Oh, I’m ablaze,
Divino dueño ¡Ay!
Divine Lord, oh
En la hermosura ¡Ay!
in the loveliness, oh
De tus ojuelos ¡Ay!
of your little eyes, oh!
¡Ay, que su madre ¡Ay!
in the loveliness, oh
Como en su espejo ¡Ay!
as if in her mirror, oh
Mira en (su) lucencia ¡Ay!
gazes at his light, oh
Sus crecimientos ¡Ay!
watches him grow, oh!
(Juguete)
Alegres cuando festivas
Merry and festive,
Unas hermosas zagales,
lovely shepherdesses
Con novedad entonaron
sang wonderful new
Juguetes por la guaracha.
juguetes for the guaracha.
(Guaracha)
En las guarachas ¡Ay!
In our guarachas, oh
Le festinemos ¡Ay!
let us acclaim him, oh
Mientras el niño ¡Ay!
while the boy-child, oh
Se rinde al sueño ¡Ay!
drifts off to sleep, oh!
Paz a los hombres ¡Ay!
Peace to all men, oh
Don de los cielos ¡Ay!
is Heaven’s gift; oh
A Dios las gracias ¡Ay!
So thanks be to God, oh
Porque callemos ¡Ay!
because we’ve finished, oh!
Hanac pachap callasanan verses 6-10
6. Hanac pachap callasanan
6. Ancient lineage of heaven
Canchac punchau tutayachec
Who darkens the shining day
Quilla pacsa raurayachec
Who makes the moon burn bright
Angelcunap cochocunan
The bands of angels
Hinantimpa rirpucunan
So ascend
Cauçac pucyu.
Living source of water
7. Capacmanta mirac suyu
7. Royal kingdom of abundance
Capaccunap capacnimpa
Royalty of the royals
Ñaupamanta huachacninpa
Born of the beginning
Gracia sococ, aclla puyu
Grace of old age, chosen royal crown
Campim suyan tecce muyu
The world has hope in you
Dioscusichec.
God of grace
8. Cori huantu Diospurichec
8. Golden platform that carries the god
Huc simihuan huñilpalla
Who grants favour with a single voice
Dios churicta chaipachalla
To the very Son of God
Uicçaiquipi runacachec
Maker of men in your belly
Ucuiquipi cainacachec,
In your body granting them rest
Runapmarcan.
Protector of men
9. Huaina huallpap cussip marcan
9. Youthful creator, blessed protector
Pucarampa quespi puncun
Translucent door of the fortress
Ahuascaiquim, yupai uncun
Your woven tunic, venerated cloth
Camtam alluecpac acllarcan
It was chosen for you, the warp of your cloth
Quiquijquipitac munarcan
It was desired just for you
Runa caita.
Human existence
10. Usachipuai cauçaita
10. Help me fulfill my life
Purum tazque hupaicuihua
An unformed youth supplicates you
Dios çiçac inquill huihua
Creature nurtured in the flower garden of God
Maimantañach, Acoyaita
Wherefore, oh mother
Ussachijman, cam mamaita
All will become turned into sand
Catachilla
Southern Cross
Kyrie – from Missa San Ignacio Domenico Zipoli (1668-1726)
Gloria
Dulce Jesús mío – Anon
Yyaî Jesuchristo
apoquîrui,
itacu niyucîpî
ninahît’ zobi.
Dulce Jesús mío
My sweet Jesus
mirad con piedad
look with mercy
mi alma perdida
on my soul lost
por culpa mortal.
through mortal guilt.
Canchac raurac, çuma quilla verses 11-15
11. Canchac raurac çuma quilla
11. Shining, burning, beautiful star
Checan punchaupa çecainin
At the break of the pure light of day
Hinantimpa suyacuinin,
My trust in you is this
Cammillacpac choqueilla
The lightning will sully you
Mana yauyac panpaquilla
Universal star that never dwindles
Diospallactan.
City of god
12. Camman Coya? pillam pactan
12. You are equal among princesses
Tucui sanctocunamanta
Of all the saints
Llapa Angelcunamanta
Of all the angels
Çupaipa umanta huactan
He beats the head of the devil
Allpahuan tupucta tactan
His footprint measure the land
Sutillaiqui.
Your name
13. Ñucñu ruruc chunta mallqui
13. Sweet fruit of the chonta palm
Runacunap munai callcha
Fine corn harvest of the people
Pucai pucai çumacpallcha
Fair gentian flower crimson red
Sutarpu tucuchec callqui
Paving stones for the temple
Titu huachec ñauillaiqui
Sustenance from the gaze of your eyes
Quespi huampu.
Translucent wave
14. Cammicanqui Capac tanpu
14. You are the royal storehouse
Mai maicamapas uyaylla
Wherever you are my gaze
Catequeiquipac munailla
Will lovingly follow you
Hatun soncopas hairampu
Great heart, red of the cactus flower
Cumuicoccunapac llanpu
For the meek who bow down before you
Huacchaicuya.
We become orphaned
15. Uichcaicusa cussi muya
15. Enclosed, blessed garden
Capac yayap cainacuna
Place of leisure of the royal father
Yupai tica, acllacuna
Honoured flowers, chosen women
Iesus puricchec uruya
Cable car to carry Christ
Pillco chantac canchac cuya
Precious brightness like the pillco bird,
beloved shining one
Suyacuncai.
My hope
Ave Maria – José Joachim Emerico Lobo de Mesquita (1746-1805)
Ave Maria, cheia de graça,
Hail Mary, full of grace,
O Senhor é convosco.
the Lord is with thee.
Bendita sois Vós entre as mulheres
Blessed art thou amongst women
e bendito é o fruto do vosso ventre, Jesus.
and blessed is the fruit of thy womb, Jesus.
Santa Maria, Mãe de Deus,
Holy Mary, Mother of God,
rogai por nós,
pray for us sinners now
pecadores agora e na hora de nossa morte.
and at the hour of our death.
Amém.
Amen
Missa Pastoril para a noite de Natal José Maurício Nunes Garcia (1767-1830)
Kyrie – Andante sostenuto
Padre nosso – José Joachim Emerico Lobo de Mesquita
Padre nosso, que estais nos céus,
Our Father, who art in heaven,
santificado seja o Vosso nome,
hallowed be thy name,
venha a nós o Vosso reino,
thy kingdom come,
seja feita a Vossa vontade,
thy will be done
assim na terra como no céu.
on earth as it is in heaven.
O pão nosso de cada dia nos dai hoje,
Give us this day our daily bread,
perdoainos as nossas dividas,
and forgive us our trespassers,
assim como nós perdoamos
as we forgive those
aos nossos devedores,
who trespass against us,
e não nos deixeis cair em tentação,
and lead us not into temptation
mas livrainos de mal. Amém
but deliver us from evil. Amen.
Missa Pastoril para a noite de Natal – José Maurício Nunes Garcia
Agnus dei
Agnus Dei,
O Lamb of God,
Qui tollis peccata mundi
that takest away the sins of the world
miserere nobis.
have mercy upon us.
Dona nobis pacem.
Grant us thy peace.
Gloria – José Joachim Emerico Lobo de Mesquita
Gloria Patri et Spiritui Sancto,
Glory be to the Father and the Holy Spirit,
Sicut erat in principio,
as it was in the beginning
et nunc, et semper,
is now and ever shall be
et in saecula saeculorum, Amen.
world without end, Amen.
Çapallaiquin quemicuncai verses 16-20
16. Çapallaiquin quemicuncai
16. Unique one, you are my protection and support
Canqui mama, caipachapi
Here and now, oh my mother
ña huanuptij hucpachapi
At the hour of my death
Cussicuiman tatquicuncai
I will advance to my state of grace
Cochocuiman yaycuicuncai.
I will enter into my reunion with the angels.
Capac puncu.
Great door.
17. Animaita uturuncu
17. My soul, the jaguar
Callu llullmijhuan llullaspa
Lying with deceitful tongue
Pallco cauçaiman pupaspa
Leading to a life of lies
Muyupuan chuncu chuncu
The hoards make my head dizzy
Chaiñam maihuac intuicuncu.
They lovingly surround me
Huantuncampac.
Borne for you
18. Hucha çupai ayquencampac
18. To escape from the sins of the devil
Yanapahuai callpaiquihuan,
Help me with your strength
Hinaspari huahuaiquihuan
So that I
Cai huacchaiquip cainancampac
This orphan of yours
Mana tucoc cauçancanpac.
Will have existence and life everlasting
Athauchahuai.
Bring me fortune.
19. Cori collca, collquechahuai
19. Increase my store of gold and silver
Titu yachac, huacaichanca
Being well provisioned it will be stored up
Capac micui aimuranca
There will be great food harvests
Muchuncaita, amachahuai.
Defend me from famine
Allin caipiça machihuai.
Let me rest well here
Quespincaipac.
For my salvation
20. Gloria cachun Dios yayapac
20. May there be glory for the Lord
Dios churipac hinallatac
And for his son likewise
Sancto Espiritu pac huantac
And also for the Holy Ghost
Cachun gloria, uiñaillapac
May there be glory for all eternity
Cauçaicunap, cauçainimpac
For the life of all sustenance
Cussicachun. Amen.
May there be delight. Amen
Dixit Dominus – Juan de Araujo (1648-1712)
Dixit Dominus Domino meo:
The Lord said to my Lord:
Sede a dextris meis,
Sit thou at my right hand
donec ponam inimicos tuos scabellum pedum tuorum.
until I make thine enemies thy footstool.
Virgam virtutis tuae emittet Dominus ex Sion:
The Lord shall send forth the rod of thy strength out of Sion:
dominare in medio inimicorum tuorum.
rule in the midst of thine enemies.
Tecum principium in die virtutis tuae
Thine shall it be to rule on the day of thy strength
in splendoribus sanctorum:
amidst the glories of the saints;
ex utero ante luciferum genui te.
from the womb before the morning I begot thee.
Juravit Dominus
The Lord hath sworn
et non poenitebit eum
and will not repent.
Tu es sacerdos in aeternum
Thou art a priest for ever
secundum ordinem Melchisedech
after the order of Melchisedech.
Dominus a dextris tuis,
The Lord at thy right hand
confregit in die irae suae reges.
shall strike down kings in the day of his wrath.
Judicabit in nationibus,
He shall be judge in the midst of the gentiles,
implebit ruinas:
he shall fill the ruined places with the dead;
conquassabit capita in terra multorum.
he shall smite heads asunder in the lands of many people.
De torrente in via bibet,
He shall drink of the brook in the way:
propterea exaltabit caput.
therefore shall he lift up his head.
Gloria Patri et Filio, et Spiritui Sancto,
Glory be to the Father and to the Son and to the Holy Spirit:
sicut erat in principio, et nunc et semper.
as it was in the beginning is now and ever shall be.
Et in saecula saeculorum. Amen.
World without end. Amen.
Los coflades de la estleya – Juan de Araujo
Los coflades de la estleya
Fellow brothers of the Star
Vamo turus a Beleya
let us all go to Bethlehem,
Y velemo a Ziola
and we shall see Our beautiful Lady,
Beya con Ziolo en lo poltal
with Our Lord in the manger.
Vamo, vamo currendo ayá
Let’s go, let’s run there.
Oylemo un viyansico
We shall hear a carol
Que lo compondlá Flasico
that Francisco will compose,
Ziendo gayta su fosico,
piping in his little voice,
Y luego, lo cantalá Blasico
and then Blasico will sing it
Pellico, Zuanico i Tomá
with Perico, Juanico and Tomás,
Y lo estliviyo dilá:
And the chorus will go:
Gulumbé, gulumbé, gulumbá,
Gulumbé, gulumbé, gulumbá
Guache, moleniyo de Safala.
Poor boys, black boys from Safala.
Vamo abél que traen de Angola
Let us go and see what they have brought from Angola
A ziolo y a ziola
for Our Lord and Our Lady,
Baltasale con Melchola
Balthasar and Melchior
Y mi plimo Gasipar.
and my cousin Caspar.
Vamo, vamo currendo ayá
Let’s go, let’s run there!
Gulumbé, gulumbé, gulumbá,
Gulumbé, gulumbé, gulumbá
Guache, moleniyo de Safala.
Poor boys, black boys from Safala.
Silencio – Juan de Araujo
Silencio, pacito, quedito, quedo:
Silence, gently, quiet, hush:
que la Infanta María yase durmiendo.
For Mary our princess is sleeping.
Silencio, pacito, quedito, quedo:
Silence, gently, quiet, hush:
y con tiernos arrullos
and with tender cooing
y con dulses gorgeos
and with tender cooing
y con dulses gorgeos
and with sweet warbling
en la región del aire
in the region of the air
Silencio, pacito, quedito, quedo:
Silence, gently, quiet, hush:
que la Infanta María yase durmiendo.
For Mary our princess is sleeping.
Silencio, pacito, quedito, quedo:
Silence, gently, quiet, hush:
y con tiernos arrullos
and with tender cooing
y con dulses gorgeos
and with tender cooing
y con dulses gorgeos
and with sweet warbling
en la región del aire
in the region of the air
se oien sonoros ecos,
melodious echoes are heard,
al compás que los astros
in time with the rhythm the stars
lleban con su continuo movimiento,
beat in their unceasing movement,
formando un rumor dulse,
creating a sweet undertone
que a las voses les sirve
that serves their voices
de instrumento, cuio estrépito blando
as an instrument, whose gentle sound
dise en mudos asentos:
says in silent tones:
a la rro, a la rro, que se duerme mi dueño.
hushabye, hushabye; sleep my lady.
Quedito, pacito, quedo,
Silence, gently, hush:
con dulses suspenciones
with sweet stillness
dormida hase la aurora del sol vello.
She has fallen asleep, the dawn of the lovely sun.
¡Salga el torillo hosquillo! – Diego José de Salazar (1660-1709)
¡Salga el torillo hosquillo!
Let in the little black-faced bull!
¡Ho! ¡Ho! ¡Ho! ¡Ho!
Hah! Hah! Hah! Hah!
¡Que se aguarde!
Hold him back!
¡Que se espere!
Make him wait!
¡Que se tenga!
Keep him there!
mientras me pongo
While I get myself
en cobro, en cobro, yo.
into cover.
¡Que se aguarde!
Hold him back!
¡Que se espere!
Make him wait!
¡Que se tenga!
Keep him there!
¡Ho! ¡Ho!
Hah! Hah!
Mas ¡ay, qué fiero!
But, alas, how fierce he is!
el toro ligero corriendo salió
The swift bull dashed out
tras mi bien.
after my love.
Pero ¡no! ¡Tras mí!
But no! After me!
Yo le vi, al amado
I saw him, my beloved
dueño mío; Yo le vi,
lord. I saw him;
que le está esperando el niño;
for the boy child is waiting for him,
Yo le vi,
I saw him,
ti, ti-ri-ti, tiritando.
shi… shi… shi… shivering.
ti, ti-ri-ti, tiritando,
Shi… shi… shi… shivering,
no de miedo, sino de frío.
not with fear, but with cold.
Pero ¡No!
But no!
¡Que se aguarde!
Hold him back!
¡Que se espere!
Make him wait!
¡Que se tenga!
Keep him there!
mientras me pongo
While I get myself
en cobro, en cobro, yo.
into cover.
¡Que se aguarde!
Hold him back!
¡Que se espere!
Make him wait!
¡Que se tenga!
Keep him there!
¡Ho! ¡Ho!
Hah! Hah!
Coplas
Verses
1. Del vulgo de las nubes,
1. It cleared the square
se despejó la plaza,
of the rabble of clouds,
poblando las estrellas,
filling the windows
del cielo las ventanas.
of Heaven with stars.
2. ¡A fuera todo el mundo,
2. Everyone out!
a fuera y hagan plaza!
Get out and make way!
Que el toro es un demonio,
For the bull is a devil
segun muestra en lasaña.
as his fury reveals.
3. Un Niño, que es muy hombre,
3. A boy child, who is all man,
espera en la campaña,
is waiting in the arena,
y ha de matar el Toro,
and is sure to kill the bull,
que es toreador del hampa.
for he is a dashing toreador.
4. Con la capa del hombre,
4. In the cloak of a man,
el niño entra en la plaza;
the boy child enters the ring;
romperásela el Toro,
the bull will tear it apart,
y en eso el hombre gana.
and thus mankind will win.
5. En un portal le estrecha,
5. In the doorway of the stable,
del bruto la amenaza;
the menacing brute confines him.
a todos nos defiende,
He defends us all,
y de Sí no se repara.
And thinks nothing of himself.
6. Del toreador la muerte
6. The bullfighter’s death
está profetizada;
has been foretold;
mi suerte está en que muera,
my good fortune depends on his dying,
aunque es por mi desgracia.
though he is dying for my misfortune.
¡Ay! ¡Andar! – Juan de Araujo
¡Ay! ¡Andar, andar, andar!
Hey! Come on, come on, come on!
¡A tocar, a cantar, a bailar!
Play, sing and dance!
¡A cantar todo gargüero!
Open your throats and sing!
Que si no quiere cantar,
for he who refuses to sing,
¡por la ley de los folijones,
by the law of the jig,
la garganta perderá!
will lose his throat for ever!
¡Ay! ¡Andar, andar, andar!
Hey! Come on, come on, come on!
¡Ay! ¡Andar a todo pandero!
Hey! Come on shake those tambourines!
Nadie se podrá excusar,
No one has any excuse,
que donde ay mucho concurso,
for wherever there’s a throng
¡muchos panderos habrá!
there will always be plenty of fools!
¡Ay! ¡Andar, andar, andar!
Hey! Come on, come on, come on!
¡A bailar todo Juanete!
Get dancing all you bunions!
Que no podrá disculpar;
or there’s no excuse at all.
¡condenase a sabañones
You’ll be condemned to chilblains
por huir la agilidad!
if you try to dodge the dancing!
¡Ay! ¡Andar, andar, andar!
Hey! Come on, come on, come on!
¡Que toca y retoca y repica Pascual!
Let Pascual play it, play it and play it again!
Que hoy ha nacido una rara beldad.
For a rare beauty has been born today.
¡Que todos y todas y muchos y más,
Let all men and women, many and more,
astillas se hagan a puro bailar!
wear themselves out purely by dancing!
Repite Pascual…cual…cual.
Play it again, Pascual…cual…cual!
¿Cuál será en creciendo aquesta Deidad,
What will this Deity be like when it grows up,
si recién nacida no tiene otra igual?
if, new-born, it is already without equal?
¡Que toca y retoca y repica Pascual,
Let Pascual play it, play it and play it again,
pues hoy ha nacido quien vida nos da!
for this is his birthday who gives life to us all!
Coplas
Verses
1. ¡Repica bien las sonajas,
1. Set the jingles jingling,
porque hoy, haciéndome rajas,
because today, though I wear myself out,
he de bailar con ventajas,
I shall outdo the West Wind
al airoso vendaval!
with my dancing.
¡Que toca y retoca y repica Pascual,
Let Pascual play it, play it and play it again,
pues hoy ha nacido quien vida nos da!
for this is his birthday who gives life to us all!
2. Folijón en español
2. The mother of the sun
quiere la Madre del sol;
desires a Spanish jig;
no tiene en su facistol
Portugal has nothing
otro mejor Portugal.
Better in its facistol.
¡Que toca y retoca y repica Pascual,
Let Pascual play it, play it and play it again,
pues hoy ha nacido quien vida nos da!
for this is his birthday who gives life to us all!
3. Un monaguillo atrevido,
3. A mischievous altar boy,
encaramando el chillido;
raising his high-pitched voice;
da un grito tan desmedido,
gives out such a great shout,
que le quita a un sordo el mal.
that even a deaf man might hear it.
¡Que toca y retoca y repica Pascual,
Let Pascual play it, play it and play it again,
pues hoy ha nacido quien vida nos da!
for this is his birthday who gives life to us all!
4. A otro, dando zapatetas,
4. Another, leaping to kick his heels,
no le valieron las tretas,
couldn’t perform the trick,
que, en lugar de zapatetas,
and instead of kicking his heels
dió el colodrillo al umbral.
fell flat on his back just like that!
¡Que toca y retoca y repica Pascual,
Let Pascual play it, play it and play it again,
pues hoy ha nacido quien vida nos da!
for this is his birthday who gives life to us all!
Meet the… musician
In this programme, we invite you to meet Jill Robinson.
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