| Little practical information is available to the contemporary performer about the performance practice of sacred polyphony in colonial Mexico, 1523-1650. Through an overview of the history of this period and an investigation of documentary evidence, important observations about the nature of vocal performance in both European and Neo-Hispanic Renaissance traditions can be made. A study of liturgical and para-liturgical musical presentations in New World Cathedrals and monastic churches reveals practices which challenge present-day conceptions of Renaissance performance conventions: extremely large numbers of singers (Cathedral choirs often boasted over forty vocalist) and the liberal use of large instrumentaria to accompany choral works. Performance practice issues which are addressed include: vocal production and singing styles of the AmerIndians, size and makeup of performing forces, genres of choral music that were performed, and the use of accompanimental instruments in vocal performance. Special prominence is given to the variety of instruments that were employed, how instruments supported the vocalists, and what circumstances prescribed the use of particular instruments in performance. Examples illustrating principles of performance practice from the study are included in full score format: Two works by Tomas Luis de Victoria--his double choir motet, In Festo Sancti Ildephonsi (1600), and a six-voice Responsorium from Officium defunctorum (1605); a Salve Regina by Francisco Guerrero from Liber Vesperarum (1584); and two Holy Week Alleluias by Mexican composer, Francisco Lopez Capillas. |
