Benjamín Juárez Echenique (Conducer) - Angelicum de Puebla (Performer)

En el álbum "México Barroco-Puebla III", del sello Urtext se estrena la Missa sobre el Beatus Vir de Fray Xacinto", de Fabián Ximeno Pérez, una de las joyas musicales del barroco en la Nueva España.

Ignacio Jerusalem, called the musical miracle, was a brillant disciple of the Neapolitan School, he raigned over music in the New World from Mexico City's Cathedral, Opera theater and the University's musical chapel. This lavish CD presents sacred and profane music. Pieces written for Saint Peter's feast day, but also a rare aria di bravura miraculously saved in the cathedral's archives. The superb balance between soloists, choir and orchestra, the solemnity and vivacity of the musical conception, make this record a real accomplishment.

Aunque no se sabe con certeza, se cree que el compositor Manuel Arenzana nació hacia 1762 y murio en 1821, cuando era maestro de capilla de la Catedral de Puebla, cargo que ocupaba desde 1792. De hecho es uno de los primeros compositores propiamente mexicanos, con una obra, incluso la sacra, caracterizada por la frescura, la alegría y el humor y emparentada estéticamente con los comienzos del clásico. Se conservan más de cien obra suyas, todas en la Catedral de Puebla.

This C.D. unveils for us after 340 years of slumber, this magnificent masterpiece by Juan Gutiérrez Padilla, chapel master of Puebla’s cathedral. Written for double choir the grandiose Missa Ego Flos Campi represents the height of Gutiérrez Padilla’s musical productions. This historical performance on period instruments and historical organs is one of many fruits of four decades of musicological research by E. Thomas Standford in the archives of Mexican City and Puebla cathedrals.

Like most Spanish maestros de capilla, Puebla, Mexico, Padilla composed a great number of chanzonetas or villancicos. These charming and melodious works encompass exquisite charm and refined elegance to unabashed humour; they are frequently framed with dance rhythms, often in a characteristic uneven triple time with abundant syncopation. All the words in this gender have melodic instrumental lines and accompaniments with great variety of possibilites: from a solo voice to a full choir.

The instruments were characteristic of Renaissence music: recorders, dulzian, shawms, cornets, voils, organ, crumhorns, etc. In Mexico, villancicos achieved such popularity that they were published even when paper was very scarce, and important works such as some writings of Sor Juana Inés de la Cruz could not be printed.

Like most Spanish maestros de capilla, Puebla, Mexico, Padilla composed a great number of chanzonetas or villancicos. These charming and melodious works encompass exquisite charm and refined elegance to unabashed humour; they are frequently framed with dance rhythms, often in a characteristic uneven triple time with abundant syncopation. All the words in this gender have melodic instrumental lines and accompaniments with great variety of possibilites: from a solo voice to a full choir.

The instruments were characteristic of Renaissence music: recorders, dulzian, shawms, cornets, voils, organ, crumhorns, etc. In Mexico, villancicos achieved such popularity that they were published even when paper was very scarce, and important works such as some writings of Sor Juana Inés de la Cruz could not be printed.

The Tide Is Turning (After Live Aid)" is a song from the 1987 album Radio K.A.O.S., by Roger Waters. Though Waters had offered his services for the Live Aid concert in 1985 and was turned down by organizer Bob Geldof, the event still inspired Waters to write this song. After recording the Radio K.A.O.S. album and having it end with the simulated nuclear attack in the song "Four Minutes", his record company informed him that the album was too bleak and needed a more upbeat ending. Waters then recorded and added "The Tide Is Turning" to give the album a more optimistic finish. Waters also performed the song with Joni Mitchell, Cyndi Lauper, Bryan Adams, Van Morrison with The Band and Paul Carrack and the Rundfunk Orchestra & Choir in the 1990 concert, The Wall Live in Berlin. It was released as a CD single that also included a live version of the Pink Floyd classic "Money" and a non-album track that was recorded but not used for Radio K.A.O.S., "Get Back To Radio" (which is listed as a demo recording, i.e., not a finished track).
From Wikipedia.

Este disco es una selección única del catálogo de la casa discográfica URTEXT. En este viaje a través de América Latina, principalmente México y Argentina, puede encontrarse una gran variedad de ritmos y estilos sinfónicos, sacros y folclóricos. Sin importar el origen de la música, no cabe duda de que la recopilación es una rica herencia cultural, y una excelente introducción para aquellos que desean conocer más sobre esta música llena de historia, sentimientos, ideas y pasión.
This CD is a unique selection from URTEXT, a record company that shows part of its catalogue through this recording. In this musical trip across Latin America, specially Mexico and Argentina, a wide range of symphonic, sacred and folk rhythms and styles can be found. No matter what the musical origin may be, this compilation is a rich and cultural heritage, and an excellent introduction into this music full of history, feelings, ideas and passion.