New York, NY (Top40 Charts)
Five Boroughs Music
Festival (5BMF) and GEMAS (Gotham Early Music
Scene / Americas Society) present Corónica, a collective of musicians from Canada, Colombia, Cuba, Argentina and the US, in An EMPIRE of Silver
and Gold on Monday, November 5, 2018 at 7:00pm at St. Ignatius of Antioch Episcopal Church.
Curated and led by Daniel
Zuluaga, the program explores 18th-century vocal and instrumental pieces from Latin American manuscript sources, including works by Juan de Araujo, Andrés Flores, Joseph de Torres, & Juan Franzés Yribarren, and others. Zuluaga reconstructs musical archives from cathedrals in Bolivia, Colombia, Guatemala, Mexico, and Peru, woven together to provide an overview of music in Colonial Latin America.
Additional 5BMF performances in the 2018-19 season include the return of baroque virtuosi, Les Délices, in a new program entitled Songs Without Words on February 23 & 24; the award-winning all female Aizuri Quartet on March 22; a collaboration with pianist Martin
Katz and the Brooklyn Art Song Society in Hugo Wolf: The Complete Mörike-Lieder on April 28, May 3 and 4; and concludes with two special programs celebrating LGBT composers and librettists in collaboration with the New York Festival of Song and the LGBT Community Center ("The Center") on June 11 and 25.
AN EMPIRE OF SILVER AND GOLD
of 18th Century Latin America
DANIEL ZULUAGA, guest director and baroque guitar
JENNIFER ELLIS KAMPANI,soprano
JOEL GONZÁLEZ ESTRADA, tenor
ADRIAN ROSAS, bass-baritone
PRISCILLA HERREID, baroque oboe, recorders
AISSLINN NOSKY, baroque violin
KARINA SCHMITZ, baroque violin
KATIE RIETMAN,baroque cello
SIMON MARTYN-ELLIS, baroque guitar
HEATHER MILLER LARDIN, violone
GRANT HERREID, theorbo
REX BENINCASA, percussion
Monday, November 5, 2018 at 7:00 p.m.
St. Ignatius of Antioch Episcopal Church | 552 West End Ave | New York, NY
Tickets range from $15 to $40 and can be purchased on www.5bmf.org. Tickets are free for students with ID.
Chacona Anonymous / Antonio Martín y Coll (1708)
¡Ay, andar a tocar, a cantar, a baylar! Juan de Araujo (1646 - 1712)
A la mar me llevan Anonymous / Codex Martínez Compañón, ca. 1785
Los impossibles Anonymous / Antonio Martín y Coll (1708)
Quando muere el sol Anonymous / Bogotá, ca. 1700
Los ymposibles por la D Santiago de Murcia (1673 - 1739)
Lágrimas tristes, corred Joseph de Torres (ca. 1670 - 1738)
Xácara Anonymous / Antonio Martín y Coll (1706)
Xácara de fandanguillo Juan Franzés Yribarren (1699 - 1767)
Atención a la fragua amorosa Anonymous / Quito, ca. 1700
Tiento de falsas primer tono Joan Cabanilles (1644 - 1712)
Quando el bien que adoro Tomás de Torrejón y Velasco (1644 - 1728) Zarambeques por la C Santiago de Murcia
La chacona me piden, ¡vaya! Manuel Blasco (ca. 1628 - ca. 1696)
Ynfelizes ojos míos Anonymous / Codex Martínez Compañón, ca. 1785
Lanchas para baylar Anonymous / Codex Martínez Compañón, ca. 1785
Pasacualiyo Anonymous / Cuzco, 1753
Marizápalos Santiago de Murcia
Una noche que los Reyes Joseph de San Juan (d. 1747)
A este Edificio célebre Andrés Flores (1690 - 1754)
Two-time Juno-award nominee (Canadian Academy of Recording Arts and Sciences), Colombian lutenist and guitarist Daniel
Zuluaga has been praised for his "rhythmic vitality and fine sense of color" (Washington Post), and for his "great inventiveness" as an accompanist (San Francisco Classical Voice). Based in Montréal, he performs regularly with leading orchestras in Canada and the United States, including Philharmonia Baroque Orchestra, Les Violons du Roy, L'Harmonie des Saisons, San Diego
Bach Collegium, Baroque Chamber Orchestra of Colorado, and Ensemble Caprice. An avid researcher, Zuluaga has published articles on the early history of the guitar and has won awards for musicological studies, including a Fulbright fellowship. Zuluaga is visiting faculty at the Universidad Central in Bogotá, Colombia, and holds a PhD in musicology from the University of Southern California (2014). He is currently preparing a Baroque guitar recording on the music of Henry François de Gallot.
The ensemble Corónica was born out of a deep interest in historical portraits woven into narrative storytelling, and the desire for a conversation about the complex historical realities and the beauty of music in Colonial Latin America. A collective of musicians from Canada, Colombia, Cuba, and the US, the ensemble takes its name from Felipe Guamán Poma de Ayala's 1615 massive chronicle entitled El primer nueva corónica i buen gobierno, a testimony of events past and guide to social fairness in the viceroyalty of Peru. The glowing reviews of the ensemble's premiere performances, as a project sponsored by the Bach Collegium San Diego, praised the ensemble's joyous, ebullient, and infectious approach, and its ability to achieve "something difficult and rare: transparency without thinness and a substantive sonic presence [...] without obscuring individual lines." (San Diego