Craig H. Russell "Manuel de Sumaya: Reexamining The A Cappella Choral Music of A Mexican Master"
Craig H. Russell "Manuel de Sumaya: Reexamining The A Cappella Choral Music of A Mexican Master"
Craig H. Russell "Manuel de Sumaya: Reexamining The A Cappella Choral Music of A Mexican Master"
Russell
1 I would like to express my deepest thanks to Robert Snow for having sent me facsimiles
of the pieces discussed in this article years ago when I first developed an interest in Su
maya and his music. I am indebted to his profound generosity and tireless encourage
ment.
For biographical studies of Sumaya and his work, consult the publications by Robert
Stevenson: "Baroque Music in Oaxaca Cathedral: Mexico's Most Memorable Indian
Maestro," In/er-American Music Review (IAMRJ 1/2 (Spring-Summer, 1972), pp. 179
203, esp. pp. 196-202; "Manuscritos de Musica Colonial Mexicana en el Extranjero," part
I, He/ero(onEa V/25 (July-Aug., 1972), pp. 4-10; "Manuscritos de Musica Colonial
Mexicana en el Extranjero," part 2, He/er%nEa V/26 (Sept.-Oct., 1972), pp. 4-7;" Mexi
can Baroque Polyphony in Foreign Libraries," lAMR IX/I (Fall-Winter, 1987), pp. 55-64,
esp. pp. 59-62; Mexico CilY Ca/hedral Music. 1600-1750, reprint from The Americas
XXI/2 (October, 1964) (Washington, D.C.: Academy of American Franciscan History,
[1964'))); Music in Mexico: A His/orical Survey (New York: Thomas Y. Crowell, 1952),
esp. pp. 149-53; "La Musica en cl Mexico de los siglos XVI a xvm," in La Mz';sica de
Mexico, ed. Julio Estrada, 1. J-fistoria, 2. Periodo Virreinal (J530 a 1810J (Mexico:
UNAM, 1986), pp. 7-74, esp. pp. 55, 66-67; "La musica en la Catedral de Mexico: 1600
1750," Revisla Musical Chilena no. 92 (April-June, 1965), pp. 11-31; and "Manuel de
Zumaya en Oaxaca," He/er%nEa no. 64 (Jan.-Feb., 1979), pp. 3-22.
Recently, the Peruvian scholar Aurelio Tello has added important new findings re
garding Sumaya and his oatput. Consult Tello's: Archivo Musical de la Catedral de Oax
aca: Ca/alogo, Serie Cat<ilogos I ( Mexico City: Centro Nacional de Investigacion,
Documentacion e Informacion Musical [CENlDIM), 1990); Intro. to Manuel de Sumava,
Can/ados y Vil/ancicos de Manuel de Sumava, rev., ed. & trans. by Aurelio Tello, Ar
chivo Musical de 10 Ca/edral de Oaxaca Ill, Tesoro de la Musica Polifonica en Mexico
Craig Russe1l is professor of music at Cal Pol" where he has won numerous
teaching awards-including Outstanding Prolessor of the Cal~lornia State Uni
versity system-and has received major grants from the NEH, NEA, Fulbright
Commission, and Nakamichi Foundation. His original compositions have been
played in Carnegie Ha1l, the Kennedy Center, the Oregon Bach Festival, and
other major venues worldwide.
91
92 Craig H. Russell
VII (Mexico City: CENIDIM, 1994); and his intra. & commentary to Tres Obras de la
Catedral de Oaxaca, Tesoro de la Musica Polif6nica en Mexico III (Mexico City:
CENIDIM, 1983).
A third scholar, Julio Estrada, has contributed significantly to our knowledge of Su
maya. Consult his Musica y musicos de la epoca virreinal. prologue, revision & notes by
Andres Lira (Mexico City: Secretaria de Educaci6n Publica, 1973), esp. pp. 102-21.
2 Robert Stevenson, Music in Mexico, p. 149 and Steven Barwick, Two Mexico City
Choirbooks of 1717: An Anthology of Sacred Polyphony from the Cathedral of Mexico,
transcription and commentary by Steven Barwick (Carbondale, Illinois University:
Southern Illinois Press, 1982), p. xxiii
3 There are three motets in Choirbook VI in the Museo Virreinal de Tepotzotl:'m near
Mexico City that identify Salazar as the composer of the prima pars and Sumaya as the
composer of the secunda pars. They are: Egregie Doctor Paule (ff. 3'-6); Christe Sancto
rum decus (ff. 6 V -7); and Miris modis repel11e liber, (ff. 12v -14). Although Iesu dulcis
memoria (ff. I V-3) does not have a specific ascription for the prima pars, it does label the
composer of the secunda pars as Sumaya. Given the location of this piece in the section
in Choirbook VI of jointly authored motets--and given that the ascription to Sumaya
only occurs halfway through the piece rather than at its beginning-it is likely that Sala
zar is the composer of the prima pars, making this a fourth jointly-authored composition.
Manuel de Sumaya 93
style. It can be safely assumed that the exquisite a cappella vocal settings
authored entirely by Sumaya and recorded in the 1717 choirbooks now
housed at Tepotzothin date from this decade when Sumaya was under the
tutelage of Salazar's artistic pedagogy.4 With the appointment of the new
viceroy (Don Fernando de Alencastre Norona y Silva, Duke of Linares)
in 1711, Sumaya was presented with the opportunity to write an opera to
be performed in the Viceroy's palace on 1 May, 1711. This early date
gives Sumaya the honor of being the first native-born American to have
composed an opera. The Italian text was written by Silvio Stampiglia,
but the published libretto is bilingual (Italian and Castilian), and given
Sumaya's demonstrated skills as a libretto translator, we might assume
that this h'anslation was his doing as well. Unfortunately, the opera score
is lost.
Sumaya continued to pile up distinctions. In 1714 he was promoted
from second organist at the Cathedral-a position which he had held
since 1708-to principal organist. His ascent in the Cathedral's hierarchy
culminated in his appointment as chapelmaster in 1715. The eyesight of
his mentor Salazar had degenerated to the extent that near-blindness
compelled the elder master to relinquish his post. The Cathedral Chapter
announced a competition to determine his successor, and once again the
two principal applicants were Sumaya and his arch-rival Atienza. Thrust
into the public arena of musical combat, the two competed against each
other for several days in exams that probed their abilities, knowledge,
and expertise in nearly every area of music. The contest ot1icially began
on May 27; on June 3--in one of their most demanding trials-each ap
plicant was presented with a villancico text and asked to set it to music.
This was a standard exam of the time, and we can safely assume that
they were given th~ customary time limit of twenty-four hours for the
work's completion.) Sumaya dashed off the jaunty and imaginative SoZ
fa de Pedro for four voices and continuo and summarily was acclaimed
the victor on June 7. The Chapter awarded him the post of chapelmaster
with an annual salary of 500 pesos for his duties in the Cathedral and an
6
additional 200 pesos for teaching daily at the Public Schoo1.
Musical life at the Cathedral flourished under his directorship. One
of his earliest acts was to have the scribe Simon Rodriguez de Guzman
copy out the large choirbooks now housed at the Museo del Virreinato in
Tepotzotlan. Sahagun infoTIns us in his entries in the Gacetas de Mexico
that Sumaya was actively composing vespers and matins services for San
Pedro (1728), the Resurrection (1730), the Assumption (1730), and ex
tensive vespers services for the Congregation of the Oratory (1731, 1732,
1733) during their spectacular festivities each October. 7 He expanded the
size of the Cathedral substantially in 1734 hiring many more string play
ers, and addin~ violins, cellos, basses, trumpets, and other instruments
again in 1736. The Holy Office mounted magnificent spectacles each
September for their patron saint, San Pedro Arbues, and in the mid-1730s
Sumaya continued the long tradition of Cathedral chapelmasters who
composed, rehearsed and perfoTIned with the cathedral choir for the oc
. 9
caSlOn.
5 The records for the contest between Sumaya and Atienza had been misplaced or lost as
early as 1750, for during the subsequent contest for chapelmasler in 1750 there was <1
written request for the details of the Sumaya and Atienza battle-<1nd they were nowhere
to be found. Nevertheless, such contests were commonpl,ace, and there is no reason \0
believe that procedures were substantially different in this specific instance. For a discus
sion of this competition and the general exam process for detern1ining the selection of a
chapelmaster, consult Estrada, MZlsica y mZJsicos de la epoca virreinal, pp. 55, 63-65,
109-14. Also, invaluable infonnation is found in Stevenson, Renaissance and Baroque
Musical Sources in the Americas, p. 105, and his "La musica en el Mexico de los siglos
XVI a XVIII," p. 67.
6 Estrada, Musica y musicos de la epoca virreinal, p. 112-13.
7 Gacetas de Mexico: Castorena y Ursua (l722)-Sahagz'm y Arevalo (1728 a 1742), in
troduction by Francisco Gonzalez de Cossio, Tes/imonios Mexicanos His/oriadores, vol.
4 (Mexico City: Secretaria de Educacion Publica, 1949-1950), pp. 48, 73, 133. 240. 266,
357.
Consult my article, "Rowdy Musicians, Confraternities and the Inquisition: Newly Dis
covered Documents Concerning Musical Life in Baroque Mexico," a paper delivered at
the 15th Congress of the International Musicological Society, Madrid, April 3-10. 1992.
It appeared in Revista de Musicologia XVII5 (1993), pp. 2801-13. The Archivo General
de la Nacion preserves the documents related to the festival of San Arbues. Sumaya signs
the receipts for having received 20 pesos in conjunction with this festival for the years
1733, 1734, 1736, and 1737. For the one intervening year of 1735, Francisco de Castillo
A1anuel de Sumaya 95
signs the receipt instead of Sumaya as being the person who had been in charge of the
musIc.
esp. pp. 19-20; his introduction to Manuel de SlIlI1aya, Canladas y Vi/lancicos de Manuel
de SUll1oya, esp. pp. II, 14-15; and his introduction to Tres Obras de la Caledral de Oax
II Adjllva nos Deus is found in Choirbook IV in the Museo Virreinal de Tepotzotlan, ff.
IVA.
96 Craig H Russell
16
"
SoprMO 1
e! I I
sa-lu - ta ris nos lc.:r.
Soprano 2
"
e!
sa lu
1\
Alto
e!
tcr.
Tenor "
~ sa - Ju - ta - ris nos ler. sa-lu . ta-ri.~ nos
Bass
12 Alma Redemploris Maler is found at the back of Choirbook VI in the Museo Virreinal
de Tepotzoti<in, ff. 18 v -20. Unfortunately, the final folios of the volume have been re
moved from the choirbook; it is clear that the final sections of Alma Redemploris Maler
are missing and we therefore cannot make a final judgement on its structure until the en
tire piece is reconstructed or found.
lvianue! de Sumaya 97
f:xample 2. Symmetry in Ave Regina Cae/arum
13 Thc LomelltaiiollS 0/ Jerelllwh lor 1I0ly Salurday are found III Cholrbook IV 111 the
Muoco VllTclllal de TcpotLotl<in, fT 22"-33 It has been recorded by ChantIcleer on the
compact disk Mexicoll Baroque, MI/sic From Nell' Spain, Series: Das AIle Werke (Ham-
bmg Telclcc, 1994) Teldcc No, 4509-93333-2
5T "
98 Craig H. Russell
14 For an explanation of the Spanish Lamentation tone and its treatment by polyphonic
composers in Europe and the Americas consult Eliyahu A. Schleifer, "Lamentations and
Lamentation Tones in the Mexican Choirbooks of the Newberry Library, Chicago," in A
Birthday Offering to Josef Tal, Israel Studies in Musicology II (Jerusalem: Israel Musi-
cological Society, 1980), pp. 123-39; and also Gunther Massenkeil, "Eine spanische Cho-
ralmelodie in mehrstimmigen Lamentationskomposition des 16. Jahrhunderts," Archivfiir
Musikwissenschaft XVIII (1962), pp. 103-14 and XIX-XX (1962-63), pp. 230-37.
Manuel de Sumaya 99
Plima pars
Motive Motive ..
=foffi'19 lhinf<.7 ,"con" = faffin8 !~i,..{,
0101.1-2 e:f ~lilt" matico Ufwo.ns 0101.7-9 <.7 t~'" ['''I' Uj''''''',[,
Tenor Tenor
I Secunda pars I
Motive .. Motive ..
0101.25-27 O101.32.J3
Alto Alto
sit soes (if hope be strong)," and Sumaya appropriately reverses the me
lodic direction as they too swirl upwqrds in an ascent of musical hope
that nullifies the previous cascading line. Solemn homophony prevails
twice in a row with the double occurrence of the line "Hierusalem," and
momentarily turns from mode 1 to mode 7 in an expression of uplifting
optimism at the concluding hopeful supplication, "Convertere ad Domi
num Deum tuum (Tum to the Lord your God)."
In yet another early work, Sumaya demonstrates splendid control
over structural and musical resources in his motet Aeterna Christi mu
nera. 15 He replicates the cantus firmus in slow, majestic motion in the
soprano voice in the prima pars and then passes the same melody to the
slow-moving tenor in the secunda pars-while the soprano sings a para
phrased version of the tune in diminution. The harmonies produce a
powerful forward drive in measure 13 with one of Sumaya's preferred
m.7
m.8
~~?b~~J~J414A
t i l j / \
Alto
I
I~&;~b~$~~:>~c
Te"O~ I:
1s'!i 1~I~f~~
- ..
Combined voices
- J
harmonic devices, the use of chains of secondary-dominant chords. Su
maya generates more rhythmic activity coupled with consonant passages
in flowing parallel thirds and tenths in the secunda pars, thereby pro
ducing a sense of motion, growth, consonant richness and burgeoning
excitement as the motet unfolds. The entire work is sewn together with a
motivic gesture that recurs in one guise or another throughout the piece.
After an initial rest, the motive falls twice in a row with two descending
intervals of a third (or in some cases the latter interval is a second), after
which the gesture leaps upwards by a perfect fourth of fifth. This me-
lodic thread weaves persistently through the motet.
The importance of the falling third is underscored beginning at measure
7 as each voice enters a third below its predecessor, creating a long chain
of falling thirds beginning on g and making the descent through the six
other diatonic pitches until it finishes off on b-flat, as is illustrated in Ex-
ample 6.
Close scrutiny of the motet reveals the rigorous symmetry be-
tween the two halves of the composition. Each idea and gesture of the
prima pars is meticulously replicated and reflected in the corresponding
location in the secunda pars. Example 7 lays out the musical events of
the prima and secunda pars in parallel columns, illustrating the work's
identical and unfailing symmetry. Example 8 provides the complete
score for this composition.
Rapid ascending scale in one voice (Alto) Rapid ascending scale in one voice (Bass)
energetically drives toward cadence (m..9) energetically drives toward cadence (m..34)
Cadence on open 'F harmony (m..II) Cadence on complete 'F triad (m..36)
102 Craig H Russell
Example 7, cont'd
J rDc.rJ
Cadence on clpen C hannony (IIl.lo) L.:?dence on open C harmony r", 42)
Double Canons: voices grouped (",.13) Double Canons: voices grouped (",.42)
in to pairs, rhythmically & melodically in to pairs, rhythmically &~ melodically
lvlelodically:: the general contour Melodically: the general contour
of all voices spells ou t thini of two voices (A&T) spells out third.
relations that gradually relations that gradually
descend in sequence, step by step descend in sequence, step by step
ca.non by distance of r
B&A stagger a. rhythmicallyactive
r
B&5 stagger a rhythmically'active
canon by distance of
JIJ DJ I JI J prJr I
(B=&Sopr.uto'<c",",JUC r~
Builds from low voices to high
Builds from lew voices to high
(T&B, then A enters, & lastly, 5)
(T&B, then A enters, & lastly, 5)
Cadence on open 'F harmony (",.24)
Cadence on full 'F triad (",.48)
L --"
craft well. It is little wonder that his mentor and teacher, Antonio de Sa-
lazar, had such confidence in the young composer. Reexamining the
contest between Atienza and Sumaya, we are reminded that the middle-
aged Atienza had complained when the blind Salazar chose the younger
Sumaya to be his assistant and probable successor; Atienza felt slighted,
and he demanded a reason for this unacceptable rupture of the seniority
system. Salazar's reply may well have been condensed to one
word-merit. Rarely has a teacher gazed with such lucid clarity into the
future. He had the foresight to see the promise of his brilliant pupil and
envisioned the elegant musical compositions that were to issue forth
from Sumaya's pen. Salazar's eyesight had failed him, but not his vision.
He could see what Sumaya was to become-the greatest American com-
poser of the eighteenth century.
104 Craig H. Russell
,~,."O ~~~~I~t~~~.~~-~-----F-
~ nl'~1~1--I~C-~h~n~S~~~~~lltn~1~~I~~!~~~~~~
"
oj 41- v
ter -n;1 Chris 1I
" rrn
Teno:::-
Sass
Ae-ler-na Chris
,..
1\ 11111
.. . .
----r--J--+ -l-+--F
I I
Ac lcr-na Chris Ac - Icr-lla Chris-Ii
A
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ne
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4
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,
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. 9
f ,. 1"
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mu - llC - fa. A-rO - SIO 10 rum f.'lo n :1111,
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,....,
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Pal-l11~s et h1'll1 nos de
Manuel de Sumaya 105
Example 8, cont'd
X'
=!
@r =i
-
I
-A.-I
~
de
hi
hi
-
-
lOS,
IDS,
1 -1-
~
lac - tIS
-o::::l
ca
lac
.J--j-.'
Il:t
lIS
IllUS
L::I
+-
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men
-
A
~- 1- .. ~
-
men Ii
f='
,"----- --$-
'" '-
Ii hus. p~ -tri si mul que
-
-
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,9-=1
hus. Pa tri
hus. men
II '" +-
_..
hu:-.
I 4,c:.J FI
-. li-o,
I'
0
'n" ,~:,:, '1"' _.
Ci
0
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I
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51 rnul que
._~
-++
=-- I
mul-que h - Ii 0, Pa si-mul que
-~Ori~il1a)ly
In time \
\'~dl..ll~ \~ :1.'>.\ )IC
vc (-!ldt
-.
nlll..:.1
106 Craig H. Russell
Example 8, cont'd
i\. ..-I
tJ l",.o0oi u,..IoJ
per om - ne glo - ri-a, A - men. A men. A - men.
, "
,
- 0
u -,;~ ~ -,; u I I
.) 4- 2 2<1
per om - ne glo fI - a, A - men. A - men.
0
~
- I
ne glo - ri a, A - men.
- , 1""\ 0
I I
! glo ri - a, A """ men. A ""'" men.