Sadly, the progression of choral music from the pre-Columbian era to the post-conquest era in Chile, and for that matter, pretty much the rest of New Spain, begins with the conquest. Surely, there must have been singing within the numerous tribal cultures, but there is no record of what it was or how it might have sounded.
With the arrival of the Jesuits around 1680, the Moxos and Chiquitos Indians were attracted into the church by the music. The Jesuits were amazed at the high level of vocal proficiency attained by the indigenous population.
Soon, more and more music was brought from Italy and Spain, plus musicians from the old world came to the new with intentions of leading the congregations which were by now accustomed to attending religious services. To the dismay of the Moxos and Chiquitos, on September 4, 1767, the Jesuits were rounded up and expelled.
Throughout the century ahead, the indigenous populations were without any religious guidance, yet they set about copying manuscripts left behind by the Jesuits. Some took it upon themselves to write their own original music, copying the styles and forms they had been taught. Some of this music from indigenous hands adopted a more traditional Spanish Baroque style, while other pieces, such as one titled "Sagrada Inye" began to emerge in a less formal style.
I likely speak for many listeners who remember the work of the San Antonio Vocal Arts Ensemble, better known as SAVAE, when I say how much their live performances are missed. Fifteen years ago, I was able to coax them out of retirement to sing a special concert at the Assumption Seminary. They brought to their whole array of flutes, drums and other percussion instruments, all part of their commitment to the music they performed, much of it from the early colonial period of what is now regarded as Latin America.
At that time, I spoke to Covita and Christopher Moroney from SAVAE about the several indigenous languages they had studied in preparing authentic performances of music from the 17th and early 18th centuries.
“We've had Nawat speakers come up and assume we spoke Nawat and start chattering away,” Covita Moroney said. “We figured that was an indication that, I guess our Nawat was pretty close!”
“Yeah, one man came up to me and he started speaking… and it sounded like maybe it was Spanish, but I couldn't recognize a word, really,” Christopher continued.
“And he did speak English also… and then he said, ‘Oh, I was speaking, Nawat to you, I thought you understood!’ And I said, ‘Did you understand what we sang and spoke?’ ‘Every word, perfectly.’ So, you know, that's been the only indication that we're, you know, doing it correctly!”
I asked the Moroneys if there were any other of the indigenous languages that have found their way into their repertoire.
In the days and weeks ahead, we will continue to explore connections and coincidences between the old and new times in the New World on Momentos Musicales.
PLAYLIST:
Henry Villca Suntura: Improvisation
Florilegium & Bolivian Soloists
Channel Classics 22105
Jose de Campderros: Sagrada Inye
Titiana Palmiero, Capilla de Indias (Chili)
K617147
Anon: Hanacpachap cussicuinin
SAVAE
World Library Publication WLP 2360
