Misa Puer Natus Est



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Misa Puer Natus Est
Francisco Guerrero


Capilla Peñaflorida
Conductor: Josep Cabré


Francisco Guerrero (1528-1599)

MISSA "PUER NATUS EST"

Canciones y Villanescas Espirituales

 

1. ¡0 que nueva!  2'08"

 

2. Introitus: Puer natus est  3'44"

 

3. Kyrie eleison  7'42"

 

4. Gloria  4' 15"

 

5. Graduale: Viderum omnes  1'26"

 

6. Niño Dios d'amor herido  1'52"

 

7. Mi fe, vengo de Belén  2'31"

 

8. Credo  7'42"

 

9. Pastores, si nos quereis  3'00"

 

10. Offertorium:Tui sunt caeli '  2'13"

 

11. ¡0 grandes paces!  2'44"

 

12. Sanchís-Benedictus  5'31"

 

13. ¡0 que plazer!  2'50"

 

14. Agnus Dei  5'27"

 

15. Communio: Viderunt omnes  0'45"

 

16. Al resplandor d'una estrella  4' 17"

 

Duración Total 59'03"

 

 


About

FRANCISCO GUERRERO

1528-1599

 

GUERRERO AND THE CULTURE OF SEVILLE

 

"No prince in the world has a city in which, in as small a space as that which runs from the Alcayzería to the Xeres gate (no more than 900 steps), there are to be found so many and such sumptuous buildings and other houses, where so much gold and silver is kept, and such high rents are charged, or that has as its citizens such rich and wealthy merchants, besides many other grand and excellent things , thus Alonso Morgado des­cribed, in 1587, the city of Seville.

During the 16th Century, Seville attained a privileged position in Europe, and became one of the richest cities in Spain. Once the Casa de la Contratación (Trading House) had been established in 1503 to supervise ah trade with the New World, and as the main port for America-bound transport, Seville became a magnet for merchants, artisans and adventurers of various nationalities who contributed to the city's cosmopolitan atmosphere. The nobility and the wealthy bourgeoisie of the city, its churches and convents, and its powerful town council created the condi­tions for the development of diverse musi­cal landscapes, many of which are still to be studied. Of these, the cathedral was the most important centre of musical creati­vity. Its influence was felt everywhere, and was central to die civic life of the city.

Francisco Guerrero was born in Seville in 1528, the son of the painter Gonzalo Sanchez Guerrero and of Leonor de Burgos. After he had begun his musical studies with his brother Pedro, he joined the cathedral choir, where he achieved the position of principal alto. In his youth he had also learned the "seven-stringed vihue­la, the harp and the cornetto as well as seve­ral other instruments", as Francisco Pacheco informs us in his “Libro de des­cripción de verdaderos retratos de ilustres y memorables varones” (Book of Description of True Portraits of Illustrious and Noteworthy men). The young Guerrero also studied with Cristobal de Morales, who recomended his pupil, at die tender age of 18, for his first maestro de capilla post in Jaén cathedral. After just three years there, Seville was to become his home for the greater part of his life. Its spe­cially lively musical environment brought him into contact with the vihuela players Miguel de Fuenllana, who was in the servi­ce of the Marquis of Tarifa and Alonso Mudarra, canon of the cathedral in Seville; the polyphonists Juan Vázquez, Rodrigo de Ceballos and Alonso Lobo (his own pupil), and the organists Gerónimo Peraza, Francisco Peraza and Diego del Castillo, amongst others. It seems equally likely that he had links with broader artistic circles that formed an integral part of the Sevillian cultural world of the time. Amongst these academies, that which was directed by Juan de Mal Lara stood out from the rest. One of its members was canon of the cathedral, Francisco Pacheco, namesake and uncle of the author of the “Libro de Retratos”. The cultural life of the city was organised around these gatherings and academies which were fostered by scholars and aristo­cratic patrons. They attracted humanists and clergymen, writers and painters, the intelectual and artistic elite of the city, and it is reasonable to suppose that the musi­cians portrayed by Pacheco (Francisco Guerrero, Francisco Peraza and the vihue­la players Pedro de Madrid and Manuel Rodríguez) would have taken part. It circles that Gutierre de Cetina and Baltasar de Alcázar, authors of the poetic texts for Guerrero's works in the Romance langua­ge, belonged. The contacts Guerrero had with these poets are clearly described in Pacheco's ‘Retratos’. Of Baltasar de Alcázar he wrote: "he was very skilful in the u-t of music, he composed some madrigals to his own texts, which Maestro Guerrero practi­sed with great pleasure, and held in great steem. The two enjoyed a close friendship through music and poetry... He composed many songs and other works, as he assured me, that he showed to his great friend Gutierre de Cetina".

The impression Guerrero's works cau­sed in Paris, Louvain, Rome and Venice, and his stay in Italy, where he established close ties with musicians such as Gioseffo Zarlino, linked him with the wider European environment. Indeed he had access to one of the best music libraries in Europe, that of Seville cathedral, which in 1552 had added to its collection the inva­luable bibliographical legacy of Hernando Colón.