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Catedral de Cuzco, Perú

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Regarding polyphonic choirbooks in Cuzco Cathedral, Stevenson (1970), p. 30, wrote the following: "In contrast with the abundance of surviving plainchant books [45] (Quito and Ayacucho = Guamanga Cathedrals have the same oversupply), Cuzco cathedral nowadays boasts no spectacular polyphonic treasure. In 1958 the only vestiges of sixteenth-century polyphonic treasure found with the plainchant books were a battered copy of Philippe Rogier's Missae sex (Madrid: Ex Typographia Regia, 1598 [pages 206-236 containing Géry de Ghersem's Missa Ave virgo sanctissima a 6 parody Francisco Guerrero's likenamed motet]) bound with Philippe de Monte's Missa ad Modulum Benedicta es sex vocum (Antwerp: Christophe Plantin, 1579). Why the loss of so much Renaissance music known to have reached Cuzco Cathedral from inventories? The earliest inventory, dated February 21, 1553 (copied in the Libro de auctos capitulares 1549-1556 at folio 44), already mentions Cristóbal de Morales's two books of printed Masses, plus six other polyphonic collections. At the end of the colonial era the Libro de inventarios que se han hecho de todos los bienes Año 1802 still vouches at folios 42v and 83v for the presence in that year of nueve Atriles, including Misas, que es Libro fornado [=forrado] de Baqueta negra, su Autor Francisco Guerrero, y es de Canto figurado. (Whether these were Guerrero's 1566 Masses printed in Paris or his 1582 [Rome] is anyone's guess until the book turns up again. Rubén Vargas Ugarte suggests what has happened to so much polyphonic treasure when on page 1 of his above mentioned article ["Un archivo de música colonial en la ciudad del Cuzco", Mar del sur. Revista Peruana de Cultura, V/26 (March-April, 1953), 1-10] he deplores the loss from the library of the Mercedarians at Cuzco of the Fray Gregorio de Zuola manuscript that found its way to the Ricardo Rojas museum in Buenos Aires.)".

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Displaying 1 - 2 of 2

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Birth date: 
16/4 (?)
Death date: 
17/2 (?)
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Biography: 

Oganist at Cuzco Cathedral since 16 August 1611. The three-voice Hijos de Eva tributarios in RA-BUmrr "Codex Zuola" is the only known piece attributed to him; it is most likely the extant oldest polyphonic piece composed in Peruvian territory.

Submission’s author: 
fl. Cuzco, Perú, after 1611

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Birth date: 
17/2 (?)
Death date: 
18/1 (1709)
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Biography: 

According to Stevenson (1968), pp. 306-312: "...Fray Gregorio de Zuola [was] a Franciscan who, after serving some dozen years at Cochabamba in what is now Bolivia (1666-1678), was transferred to the doctrina (Indian mission) of Urquillos near Cuzco and thence, in the 1690's, to the Cuzco motherhouse, where he died on November 28, 1709. He left his 500-page commonplace book to his cousin-in-law, Matías Ramos Delgado of Cuzco, who rose from being a captain to a general (d. 1725). For that matter, all Zuola's Cuzco relations were gentry (in his commonplace book he noted the deaths of two ladies of quality at Cuzco, one of whom was his niece, the other his cousin)". The "Codex Zuola" (RA-BAmrr "Codex Zuola) contains eighteen pieces (17 in Spanish and 1 in Latin); according to Stevenson, at least the latter one, a Credo Romano, could have been composed by him.

Submission’s author: 
fl. Cochabamba, Bolivia, after 1666 — d. Cuzco, Perú, 28-XI-1709

Bibliography

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Journal volume and issue: 
2/2
Range of pages: 
1-25
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Music books: 
1980

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Range of pages: 
vol. 6, 274-275
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1999-2002

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Range of pages: 
vol. 10, 1216
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Type of publication: 
1999-2002

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Range of pages: 
147-179
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Type of publication: 
2006

How to cite

Emilio Ros-Fábregas, "Catedral de Cuzco, Perú", Books of Hispanic Polyphony, ed. E. Ros-Fábregas (accession date: 24 Nov 2020), https://hispanicpolyphony.eu/taxonomy/term/7398