Program: #18-43 Air Date: Oct 16, 2018
Jordi Savall is back, this time with another revelation: 18th century mestizo culture and music in Peru.
But let us return to the 21st century. In 2006 another providential meeting took place. Following an invitation from the Festival Cervantino de Guanajuato to perform a concert with a Mexican ensemble as part of a tribute to Catalonia, I proposed a programme in conjunction with the Tembembe Ensamble Continuo. I happened to be familiar with the work of this group thanks to some recordings I had received from a film producer who wanted me to provide the soundtrack for a film set in Mexico during the Baroque period. It was through the involvement of these extraordinary musicians and their expert knowledge of folk traditions, and the ensemble that they formed with the soloists of La Capella Reial de Catalunya and Hespèrion XXI, that I began to envisage the possibility of performing the pieces in the Codex, because they guaranteed the works’ essential spirit and style, which is both popular and refined, historical and yet very much alive in the present.
In 2010 we started to work on the whole collection with a view to performing it in concert. A few years later in 2013 (Providence steps in once more!), I received from the musicologist and musician Adrián Rodríguez van der Spoel, as a personal gift – and I would like to take this opportunity to express to him my warmest thanks and congratulations – a copy of the volume containing his extraordinary research on the Codex Trujillo. His book Bailes, Tonadas & Cachuas · La Música del Códice Trujillo del Perú en el siglo XVIII (published by deuss music, The Hague in 2013) is a meticulous and well-documented study that I wholeheartedly recommend to anybody wishing to acquire a deeper understanding of the work and its period.
Adrián Rodríguez’s study on the Codex Trujillo, which showcases all the existing knowledge about the music in this extraordinary collection, has enabled us to further our own research on the original manuscript, which has provided the basis for our study and performance. Finally, in January 2015, we performed our first complete version of the collection during various concerts given at the Festival de Cartagena de las Indias in Colombia on the theme “The Music of the New World”. A year and a half later, in July 2017, we again performed the concert at the Festival de l’Abbaye de Fontfroide in France and the Styriarte Festival in Graz, Austria, when we also made the present recording thanks to the artistry of our sound engineer, Manuel Mohino.
The music of the Codex Trujillo, preserved thanks to the recompilation overseen by Bishop Baltasar Jaime Martínez Compañón, an illustrious representative of that “enlightened despotism” which characterised the reign of King Charles III of Spain, constitutes a magnificent example of the artistic and human strength of a people who, despite ruthless colonial exploitation and centuries of suffering (which in some cases still persists to this day) sought to salvage their dignity and a ray of hope through the joy of music and dance.
The inexhaustible energy and exotic charm of the rhythms and age-old melodies featured in “Fiesta mestiza en el Perú” are undeniable proof that the creative impulse of ordinary people never fails to produce wonderful music whose beauty, emotion and joy continue to speak to us today with all the vitality and poetry of the living moment.—Jordi Savall
Jarabe Tixtleco. Son trad. de la región de Guerrero en México.
2. Cachua a voz y bajo Al Nacimiento de Christo Nuestro Señor, E 177 (2) 2’36
Dennos lecencia Señores
3. Tonada La Donosa a voz y bajo, para bailar cantando, E 182 (8) 5’00
A ti donoza te quiero
4. Tonada El Tupamaro, E 188 (14) 4’28
Quando la pena en el centro
5. Bayle del Chimo a violín y bajo, E 179 (4) 2’21
6. Tonada El Diamante de Chachapoias para baylar cantando, E 187 (13) &
Tonada El Tuppamaro de Caxamarca, E 191 (18) 4’06
Infelizes ojos mios & De los baños donde estuve
7. Tonada La Lata a voz y bajo, para bailar cantando, E 181 (7) 3’57
Oficiales de marina
8. Cachua a Duo y a quatro, con violines y bajo Al Nacimiento de Christo N.S, E 176 (1) 3’10
Niño il mijor quey logrado
9. Tonada El Conejo a voz y bajo, para bailar cantando, E 183 (9) 2’41
Señor Don Feliz de Soto
10. Cachua La Despedida de Guamachuco, E 191 (17) 3’31
De bronse devo de ser
11. Tonadilla, llámase El Palomo, de Lambayaque, para cantar y bailar, E 185 (11) 3’53
12. Tonada para cantar llamadase La Selosa, del pueblo de Lambayeque, E 184 (10) 3’12
Allá voi a ver si puedo
13. Tonada de El Chimo a dos voces, Bajo y tamboril, para baylar cantando, E 180 (6) 5’33
Jaya llûnch, Jaya llôch (texto en mochica)
14. Tonada El Congo a voz y bajo, para baylar cantando, E 178 (3) 3’28
A la mar me llevan sin tener razón
15. Tonada La Brujita para cantar de Guamachuco, E 190 (16) 3’23
Desengañado esta ya
16. Tonada El Huicho de Chachapoyas, E 189 (15) 3’08
Ymapacrach urpi (Texto en quechua y castellano)
17. Cachuyta de La Montaña llamadas el vuen querer, E 193 (20) 1’38
De qué rígida montaña nacistes
18. Lanchas para baylar, E 186 (12) 3’33
19. Cachua Serranita, Nombrada El Huicho nuevo, E 192 (19) 4’41
Que cantaron y baylaron “8” pallas del Pueblo de Otusco a Nuestra Señora del Carmen
No ay entendimiento humano
20. Variaciones e improvisaciones sobre Cachua Serranita, E 192 (19) (instr.) 3’27