Juan Gutierrez de Padilla


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Juan Gutierrez de Padilla
Música de la Catedral de Puebla de los Ángeles

Ars Longa de la Habana






1. A LA JÁCARA JACARILLA Jácara a 4. Año de 1653


2. OYE NIÑO HERMOSO Gitanilla a 3. Año de 1655


3. ¡AH, SIOLO FLASIQUIYO! Negrilla a 6. Año de 1653




Gaspar Fernández


5. PUES EL CIELO SE VIENE A LA CHOZA A 3 y a 6. Año de 1653


6. LÁGRIMAS DE UN NIÑO A 3 y a 6. Año de 1657


7. TAMBALAGUMBÁ Negrilla a 6. Año de 1657


8. PARA QUÉ SE VISTE FLORES A 4. Año de 1657


9. VENGAN, NO SE DETENGAN A 4. Año de 1657




Gaspar Fernández


11. LAS ESTRELLAS SE RÍEN Juego de cañas a 6. Año de 1655


12. NIÑO RENDÍO SÁ Negrilla a 4. Año de 1655


13. ¡AY! QUÉ CHACOTA A 3 y a 6. Año de 1657


14. EN LA NOCHE MÁS BUENA Jácara a 4. Año de 1655


15. VOCES LAS DE LA CAPILLA A 6. Año de 1657


16. DE CARÁMBANOS EL DÍA VISTE Calenda a 4. Año de 1653



The Three Christmas Songbooks - Juan Gutierrez de Padilla

The Early Music Consort Ars Longa, conducted by Teresa Paz, performs another selection of pieces from Puebla Cathedral, composed during the seventeenth century. In particular, the ensemble was much inspired by the music of Gaspar Fernandes (born in Portugal, c. 1565-70, died in Puebla, 1629), who was chapel master at the Cathedral of Puebla de los Ángeles.


For this recording they perform works by Fernandes’ successor, Juan Gutiérrez de Padilla (Málaga, c. 1590 Puebla, 1664), who, like his predecessor, moved from the Iberian Peninsula to the New World. The starting point for this new recording, Tres cuadernos de Navidad (three Christmas Songbooks), will be of particular interest to those wanting to rediscover the music of South America. It was published by the Vicente Emilio Sojo Foundation and the Venezuela National Council for Culture in 1988. The modern edition was prepared by editor Mariantonia Palacios, assisted by Aurelio Tello and the transcription team of Nelson Hurtado, Patricia Alonso and Ricardo Henríquez. Their source was a copy in microfilm of the sacred music archives at the Cathedral of Puebla de los Ángeles. The copy was taken in 1985 by Dr Lincoln Spies and Thomas Stanford, and is kept today at the library of the Central University of Venezuela.


The Three Christmas Songbooks, from 1653, 1655 and 1657, were written for the Christmas celebrations in Puebla. Each songbook consists of an introductory chant (Christus natus est) and nine villancicos.


The composer Gutiérrez de Padilla, was chapel master at the Spanish cathedrals of Jerez de la Frontera (1613) and Cádiz (1616), before moving to Puebla. There, he is documented to have worked from 1622 as a singer and assistant to the chapel master, Gaspar Fernandes. Padilla adopted the role of chapel master after Fernandes’ death in 1629.


During Padilla’s time, the Cathedral of Puebla became one of the most important cultural centers of the New World. The arrival of the Bishop and Viceroy Juan de Palafox y Mendoza increased the speed of construction of the new cathedral, which became to be known as “el mayor y más sumptuoso Templo que se conoce en estos Reynos de la América” (the largest and most sumptuous temple known in these Kingdoms of America). There were several talanted musicians in residence there, including the boy soprano and future chapel master Juan García de Zéspedes, and the dulcian player, organist and composer Francisco López Capillas. Aside from his work as a chapel master, Padilla owned workshop of woodwind instruments that were renowned even in Guatemala. A document from a notary in Puebla, dated 1641, certifi es that Padillas’s workshop sold “twenty big dulcians, twenty small soprano dulcians, seventeen sets of three shawms and two recorders”. It is most likely that the instruments played at Puebla Cathedral were also from this workshop. Woodwinds were essential to the interpretation of Padilla’s eight-voiced contrapuntal and polychoral constructions, where they usually accompanied the singers.


In February 2005, at precisly the right time, a collection of shawms, dulcians and sackbuts became available to Ars Longa, and the ensemble were therefore able to perform Padilla’s music in accordance with the magnifi cant instruments from his workshop in Puebla. One of the two pieces without text from the Musical Songbook of Gaspar Fernandes, used as instrumental pieces on this recording, was played by Ars Nova’s new wind ensemble. Th e performance was part of a collaboration with the ensemble Doulce Mémoire during the 3rd Early Music rd Festival Esteban Salas, and in Le Couvent, Centre International des Chemins du Baroque, France.


Gutiérez de Padilla was chapel master at Puebla for 34 years, during which time he produced a large collection of music. Th is has been divided into six categories by the musicologist Robert Stevenson: masses, motets, Maian antiphons, lamentations, passions, and villancicos. Aurelio Tello, in his prologue to the edition of the Th ree Christmas Songbooks, considers the villancicos to be “one of the most singular and original contributions of the South American Baroque”.


Miriam Escudero