South American Christmas

Available in Audiophile 96kHz/24bit

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Album Name Length Format Sample Rate Price
South American Christmas 44:49 $17.98
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# Track Title Length Format Sample Rate Price
1 Dennos licencia senores (Cachua) 3:12 96/24 Album only
2 Nino il mijor quey logrado (Cachua) [Latin America, 18th to 19th Century] 1:29 96/24 Album only
3 Convidando esta la noche 2:52 $2.49 Buy
4 Mi nino dulce y sagrado 4:11 96/24 Album only
5 Ay, andar! 3:05 96/24 Album only
6 Desvelado dueno mio 5:14 96/24 Album only
7 A este sol peregrino 5:36 96/24 Album only
8 Dame albricia mano Anton 3:51 $2.49 Buy
9 Los coflades de la estleya 4:04 96/24 Album only
10 Eso rigor e repente 2:52 96/24 Album only
11 Vaya de gira 4:38 96/24 Album only
12 Eso rigor e repente 3:45 96/24 Album only

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© ℗ 2002 by K&K Verlagsanstalt


Grupo Canto Coral Buenos Aires

El Sol Claro y Luciente
He Is the Brilliant and Luminous Sun

South American Christmas is an album choral-music from the baroque era, performed by Grupo Canto Coral Buenos Aires (Chamber Choir and Baroque-orchestra) and conducted by Nestor Andrenacci.

A concert recording from the church at abbey Maulbronn, June 1st 2002.

Program Notes:

Except for specialists, very little is known about the musical aspects of colonial Latin America. Following the arrival of conquerors and colonizers, an extremely important cultural symbiosis slowly begins to take shape. This process extended all the way to the end of the 18th century and, in some regions, it lasted up to the early 19th century along with the wars of independence.

This period witnessed the development of a large and rich heritage in architecture, painting, sculpture, and literature. A similar process took place with music. Just as the University of Salamanca was the model for New World institutions of higher learning, the Music Chapel of Seville Cathedral became the paradigm for those to be established in the key cities of viceroyalities overseas. They received important musicians, printed music or manuscript copies, instruments and theoretical writings. Nearly the entire corpus of this music can be found in ecclesiastical repositories and are associated with the church and its celebrations. However, few examples of secular works remain.

Several researchers have devoted themselves to explore these centuries. At the same time they have started a search for documents of the period: data written down by priests in church-books, listings of church expenditures which includes singers and interpreters, instruments acquired an celebrations in which they took part. Their study and analysis, as well as the chronicles of priests and travelers, teach us about the norms that ruled music in American chapels, their composers and the bulk of their repertoire. In Mexico, Lima, Sucre or Cuzco, the Chapel Master guided his schola, controlling its daily practices while simultaneously composing new works for successive festivities. We should recall that most choral singers, singing and dancing choir boys, and interpreters as well as composers were indigenous, and in Brazil, mulattoes.

The repertoire on this recording includes a variety of sources: books printed in and regularly received from Europe, the works of resident maestros, often of great value, and later on, works of native composers formed in Latin America. We can identify three key musical periods. The first period in Mexico, with a capella polyphony which recalls Spanish Renaissance. there we can find Liturgical works and Christmas carols, as well as toys, melodies and picturesque ballads.