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Missa Mexicana, une messe baroque CD, Import

5.0 étoiles sur 5 2 commentaires client

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Détails sur le produit

  • Compositeur: Juan Gutierrez de Padilla
  • CD (26 septembre 2002)
  • Nombre de disques: 1
  • Format : CD, Import
  • Label: Harmonia Mundi
  • ASIN : B000068327
  • Autres versions : CD  |  Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 552.225 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Sanctus
  2. Cumbees
  3. Agnus Dei
  4. Guaracha

Descriptions du produit

Una messa barocca di Juan Gutierrez de Padilla, Villancicos di Francisco Escalada, Santiago de Murcia, Francisco de Vidales, Joan Cererols, Juan Garcia de Zéspedes. The Harp Consort

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Par KANTATEN TOP 1000 COMMENTATEURS le 19 mai 2014
Format: CD
Cette « Missa Mexicana » de Juan Gutiérrez de Padilla est une bonne surprise musicale qui permet d'accéder à l'univers encore peu connu, mais riche et coloré, du baroque sud-américain (et d'Amérique centrale) alors sous influence et domination principalement espagnole et par la même catholique. On connaît les douleurs subies par les populations autochtones.
AL King et le talentueux « The Harp Consort » sont là à leur affaire.
Ils savent intimement mêler la liturgie catholique, la musique occidentale et les spécificités de la musique Amérindienne.
L'intellect espagnol et les colorations sensuelles et corporelles de la musique locale forge ici une œuvre originale et d'une incontestable beauté musicale où le plaisir reste sous-jacent.
Une réussite forcement recommandé...et qui vous procurera bien des plaisir au delà du sujet traité.
Bonne et joyeuse écoute.
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Format: CD Achat vérifié
La missa creola est connue, la missa mexicana l'est beaucoup moins et pourtant, elle mérite de l'être. L'alternance entre musiques traditionnelles et compositions liturgiques surprend mais les deux se répondent. De très beaux choeurs chargés d'émotion et de passion
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: 4.7 étoiles sur 5 15 commentaires
27 internautes sur 27 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A joyous 17th century multicultural jam session! 28 janvier 2004
Par Joy Fleisig - Publié sur Amazon.com
Format: CD
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.

'Missa Mexicana' is music-making of the highest integrity and not to be missed. In addition to adventurous classical music lovers, I would also recommend this disc to people coming from the 'other side', that is those who may not be particularly fond of classical music but who like more 'traditional' Mexican and Latin American sounds. Either way, this is one of the most original, imaginative, and fun discs I've heard in a long time, and it deserves to be a huge bestseller.
11 internautes sur 11 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 17th Century (ravishingly beautiful) World Music 18 octobre 2002
Par Amazon Customer - Publié sur Amazon.com
Format: CD
The Harp Consort are always pretty amazing (c.f. their earlier CD "Spanish Dances: Selections from Ruiz de Ribaya's 'Luz y Norte'") but they are perhaps at their finest here. A powerful brew of sacred and profane: the liturgical music of the Latin mass, Renaissance Spanish/Mexican courtly and popular dance and song, and the music of the African slaves brought to Mexico: all these things come together with magnificent results. Wonderful melodies (you'll walk round all day with the Marizapolas variations in your head, you'll want to dance to the Jacaras); exquisite strings (Andrew Lawrence-King's baroque harpwork as delicate AND muscular as ever), and a teasing use of unusual percussion which adds depth and texture to many tracks. And then there are the singers: what's especially impressive here is the way that these strong, vibrant, often sexy voices work together so well as an ensemble, and also, one by one, emerge to offer beguiling, idiosyncratic solo performances (especially the rich mezzo-sopranos). I can't recommend this CD enough.
9 internautes sur 9 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Historically implausible but vivid interpretations 22 mai 2005
Par Maddy Evil - Publié sur Amazon.com
Format: CD
Interest in New-World [Hispanic] music from the Baroque period has experienced something of a renaissance in recent years, resulting in the release of several excellent recordings. In this particular case, Andrew Lawrence King and The Harp Consort present a vividly atmospheric programme which centres around the 'Missa Ego Flos Campi' for double four-part choir by Juan Gutiérrez de Padilla (c.1590-1664), the maestro de capilla at Puebla Cathedral from 1629 and one of the leading Spanish New World composers of the period. Padilla's Mass is complemented with examples of secular music by his contemporaries - villancicos, jácaras, etc. The programme is very inventive, and the level of musicianship is consistently excellent throughout.

From a historical perspective, however, several aspects of this programme are problematic, and it is difficult to know just how representative of 17th-century New Spain (Mexico) it really is. Padilla's 42-part choir, for example, is reduced to a handful of soloists (one-per-part), and whereas the 'tiple' (soprano) parts would originally have been sung by boys or male falsettists, here they are taken by women (although their singing is far superior, in my view, to that which any treble choir could achieve). In addition, whilst the use of a continuo group of organ, dulcian (bajón), violón and harp is well documented in capitular acts and other sources, it remains more speculative to assume that such an ensemble also performed solo organ music (such as the 'Corrente Italiana' by Juan Cabanilles [track 6]), especially since percussion is needlessly (and anachronistically) added to the mix here. Similar liberties are taken with the Santiago de Murcia pieces (tracks 3 and 9), which were originally intended for guitar(s). 'Cumbées' (track 9), for example, is arranged here for harp (which takes the 'punteado' [solo guitar] passages), guitars and African percussion, before being interspersed with pseudo-African scat-syllabic vocal improvisations, thus rendering the notated 'golpes' (percussive guitar hand strikes) practically inaudible. The underlying emphasis on an exotic sound world on this recording perhaps also explains why strange ficta and rhythmic changes are employed in Joan Cererols 'Serafin que con dulce harmonia' (track 13). Lastly, some of the interpretations are probably on the polite and stately side - the jácara, for example, was derived from an energetic urban dance, lascivious in character, and the term is defined in the 'Diccionario de Autoridades' (Madrid, 1737) as "high-spirited people who walked around at night making racket and singing in the streets."

Nevertheless, in spite of these points, such musicological quibbles perhaps loose their significance given the strength of the performances. The interpretations are full of flair and panache, and the personnel line-up comprises some of today's leading exponents of early music (Ellen Hargis, Paul Hillier, Julian Podger...etc).

Incidentally, if you've enjoyed this recording, you should also explore similar ones by Jordi Savall & Hesperion XXI [Villancicos y Danzas Criollas, Alia Vox AV9834] and Gabriel Garrido & Ensemble Elyma if you can get hold of them [in particular Fiesta Criolla (Bonus Dvd), K617139 and Juan de Araujo: L'Or et l'Argent du Haut-Pérou, K617124].
8 internautes sur 8 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 A unique and exhilirating piece of music 5 décembre 2002
Par Chris Ingalls - Publié sur Amazon.com
Format: CD
I first heard an excerpt from this disc on a Harmonia Mundi sampler I received over the summer. It took me a while to warm up to it, probably because it seemed like an odd combination to me -- a mass with a Latin sound. But once I took the plunge and bought the entire album, I was hooked.
This is joyful, exhuberant music. The upbeat sections are teeming with life and transport the listener to a truly blissful level. The slower, more meditative sections are peaceful and enchanting. An interesting aspect of Missa Mexicana is that it tends to defy expectations across the board. After I lent the aforementioned sampler to my sister, she said it was one of her favorite pieces on the disc.
I should also mention that the sound quality is flawless.
If you have even a passing interest in Latin-oriented music, and love to hear good music played well, pick up this disc. The critics are right. It's fantastic.
3 internautes sur 3 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 One of the most interesting and best recorded Early Music programs available 26 septembre 2006
Par Russ - Publié sur Amazon.com
Format: CD
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.
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