APPROVED:

Jesse Eschbach, Major Professor Christoph Hammer, Minor Professor Pamela M. Paul, Committee Member Steven C. Harlos, Chair of the Division of

Keyboard Studies James C. Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate

School

JOSÉ ANTONIO GÓMEZ´S VERSOS PARA ÓRGANO (SECTION I):

A PRACTICAL GUIDE FOR PERFORMANCE

Laura A. Carrasco Cur íntzita, B.M., M.M.

Dissertation Prepared for the Degree of

DOCTOR OF MUSICAL ARTS

UNIVERSITY OF NORTH TEXAS

August 2013

Carrasco Curíntzita, Laura A. José Antonio Gómez´s Versos para órgano (Section I): A

Practical Guide for Performance. Doctor of Musical Arts (Performance), August 2013, 90 pp., 2

tables, 7 figures, bibliography, 89 titles.

José Antonio Gómez is an important figure in Mexican music history and his works are

considered representative of the beginning of Mexico´s Independent era. Some musicians are

familiar with Gómez´s choral output but his organ music is rarely considered. Due to the lack of

an edition of Gómez´s Versets for Organ, a practical guide was found needed to aid its

performance. This study is based on performance, analysis, and direct work on the only known

source for it. The first chapter, Introduction, presents the argument for an edited version of the

first part of the manuscript as a performance guide. The second provides biographical

information on the composer. The third chapter discusses the background for the original

performance of the Versets for Organ. Chapter 4 provides performance considerations for the

works. The edition of the manuscript is included in chapter 5.

Copyright 2013

by

Laura A. Carrasco Curíntzita

ii

ACKNOWLEDGEMENTS

I have to thank Monsignor Carlos Suárez, auxiliary bishop of Morelia, Michoacán,

México and Mr. Rafael Martínez, head of the musical archive at the Catholic Cathedral in that

city for granting me access to the first half of the manuscript. I hope this work will encourage

joint efforts of musicians and the church for the study of the sacred art.

Also, my most sincere thanks to my main professor, Dr. Jesse Eschbach, and the other

two members of my advisory committee, Dr. Pamela M. Paul and Prof. Christoph Hammer, for

their patient and knowledgeable guidance and encouragement for getting the whole process to a

good end.

iii

TABLE OF CONTENTS

Page

ACKNOWLEDGEMENTS .......................................................................................................... iii PART I CRITICAL ANALYSIS ................................................................................................... 1

Chapter 1 Introduction ....................................................................................................... 2

Chapter 2 On José Antonio Gómez .................................................................................... 4

Chapter 3 Musical Background to Gómez´s Versets for Organ ........................................ 7

On Music in General in Mexico .............................................................................. 7

On Church Music .................................................................................................... 8

On the Organs ....................................................................................................... 11

Chapter 4 Performance Considerations ............................................................................ 13

On Registration ..................................................................................................... 13

On Ornamentation ................................................................................................. 18

On Performance .................................................................................................... 22

Chapter 5 Editorial Method .............................................................................................. 23

Chapter 6 Conclusion ....................................................................................................... 24

Appendix A Additional Figures ....................................................................................... 25

Sections of the Manuscript of Gómez´s Versets for Organ .................................. 25

Sections of Other Manuscripts of Works by Gómez ............................................ 26

Appendix B Registration Tables ...................................................................................... 27

Bibliography ...................................................................................................................... 30 PART II EDITED SCORE .......................................................................................................... 36

Critical Notes and Additional Commentaries ................................................................... 37

Versets for Organ by Maestro D. José Antonio Gómez .................................................... 44

iv

PART I

CRITICAL ANALYSIS

1

Chapter 1

Introduction

Interest in the Mexican organ tradition has increased much in recent years due to the

restoration of instruments and new editions. However, Mexican compositions for the organ are

still rarely heard outside that country. Furthermore, Mexican organ music from the period prior

to the Revolutionary War1 is scant. Among the works already in print there are the Libro que

contiene onze obras para organo de registros partidos del M. Dn. Joseph de Torres2 [Book that

contains eleven works for organ of divided stops by M. Dn. Joseph de Torres] and the Cuaderno

de tonos de maitines de Sor María Clara del Santísimo Sacramento3 [Notebook of psalm tones

for matins of Sister Maria Clara of the Most Holy Sacrament] which comprises verses found in a

notebook former property of a nun, now in the archives of the cathedral in Oaxaca.

Given that José Antonio Gómez is considered an important figure in the establishment of

the Mexican 19th century culture4, recent research has been done on the compositions located

under his name: Dr. John G. Lazos has studied his life and work and analyzed and transcribed his

choral music located in Chiapas5; Rosa Zavala has worked on his vocal pieces extant in Mexico

City and Hidalgo (R. Zavala, personal communication, September 11, 2012); and Lidia

1 The Mexican Revolutionary War started in 1910. 2 Felipe Ramírez Ramírez, ed., El libro que contiene onze obras para órgano de registros partidos del Dr.

Dn. Joseph de Torres (Mexico, D.F.. Mexico: CENIDIM, 1993). 3 Calvert Johnson, ed., Cuaderno de tonos de Maitines de Sor María Clara del Santísimo Sacramento

(Colfax, NC: Wayne Leupold Editions, 2005). 4 Rosa Cristina Zavala Soto, “José Antonio Gómez: Músico mexicano del siglo XIX,” in II Coloquio de

musicología (Morelia, Michoacan, Mexico: 2011), without page number. 5 John G. Lazos, “José Antonio Gómez and the music-politics of nineteenth-century Mexico,”

<http://www.academia.edu/647767/Jose_Antonio_Gómez_and_the _music-politics_of_nineteenth-century_ Mexico> ( 4 November 2012).

2

Guerberof has searched for his chamber music and performed it6. However, even though the

existence of the manuscript of the Versos para órgano por el Maestro D. José Antonio Gómez7

[Versets for organ by maestro Don José Antonio Gómez] in the musical archives of the catholic

cathedral in Morelia, Michoacan, Mexico, has been known to scholars and performers for several

years, its content is rarely performed. It is of special interest because of the detailed registration

it provides, a rare finding in Mexican organ repertoire of the time.

Gómez´s Versets for Organ are not often performed due to several factors: lack of an

edition; the work written for a type of instrument not readily available at this time; use of an

older style of Spanish registration; and lack of familiarity with performance practice issues such

as ornamentation. A practical guide covering those essential points was found necessary in

order to minimize the challenges posed by the document, thereby encouraging the study of the

works in the collection. By providing this material, the author expects to promote the inclusion

of those pieces in the repertoire of contemporary organists not only in liturgical settings but also

in recitals.

6 Lidia Guerberof Hahn, “Una gran obra de la Independencia en el Archivo de Música de la Basílica de Guadalupe,” Boletín guadalupano 10, no. 117 (September 2010), 9-11.

7 José Antonio Gómez, Versos para órgano (Mexico: [manuscript], 19th century).

3

Chapter 2

On José Antonio Gómez

José Antonio Gómez Olguín´s career, to whom the verses are attributed, developed in the

beginning of Mexico´s Independent era8 and he was a renowned musician (organist, composer,

teacher, publisher, and conductor) in his own time9. Born in Mexico City on April 21, 1805, he

started his musical studies with his father, José Santos Gómez, organist10, composer and choir

director. He studied piano, harmony, and composition with Manuel Izquierdo and Magín

Ginesta, and after, he became a disciple of Manuel Corral.11

In his childhood, Gómez was a soloist of the Children´s Choir of the Collegiate Church of

Guadalupe. Since he was twelve, he worked as pianist of solo singers and joined the Spaniard

tenor Manuel García´s opera company in 1827 as accompanist and conductor. In 1830 he

established the Repertorio Mexicano [Mexican repertoire], one of the first publishing houses in

Mexico. That same year he started to teach privately piano and singing and time after, in 1839,

he opened his studio as part of the Segunda Sociedad Filarmónica Mexicana [Second Mexican

philharmonic society]. That society also founded an orchestra which was conducted by Gómez.

In 1842 he started to publish El Instructor Filarmónico [The philharmonic instructor] a musical

newspaper where he included several of his own works. In 1854, he was one of the committee

members to select the current Mexican anthem.

8 The Independence War with Spain started in 1810 and lasted until 1821. 9 Zavala, op. cit., without page number. 10 Gabriel Pareyón, Diccionario en enciclopédico de la música en México (Zapopan, Jalisco, Mexico:

Universidad Panamericana, 2007), 435. 11 Ibid., 436.

4

Still in his adolescence, Gómez joined the staff at the Catholic Cathedral in Mexico City

as third organist.12 Few years later he was raised to the position of second organist and by 1836

he appeared installed in the capacity of main organist.13 In 1862 he was vested as maestro de la

capilla musical.14 15 However, at that point the music chapel had been dissolved for some

decades and the designation did not relate to the actual duties he performed.16 Having alluded to

health problems during most of his tenure at the Cathedral, Gómez resigned from that post in

1865. However, at the same time he appeared as holding the position of organist at the Catholic

Cathedral of the recently erected diocese of Tulancingo17, Hidalgo, place where he died on July

7, 1876.18

Gómez got married three times and widowed twice, and Dr. Lazos mentions a son of his,

Alejandro, who was a composer himself19. Among José Antonio Gómez´s relevant students

were the singer Manuela Gómez, and the composers Melesio Morales and Aniceto Ortega.20

Gómez´s output includes nearly a hundred works, mainly salon music of light and

pleasing character for the piano and voice and piano, church music21, and his publication of

12 John G. Lazos, “José Antonio Gómez’s Ynvitatorio, Himno Y 8 Responsorios: Historical Context and Music Analysis of a Manuscript ; José Antonio Gómez Y Olguín, Ynvitatorio, Himno Y 8 Responsorios, Orchestral Score” (PhD diss., University of Montreal, 2011), 60.

13 Lazos, “José Antonio Gómez’s Ynvitatorio…”, 64. 14 Pareyón, op.cit., 436. 15 Traditionally, the maestro de la capilla musical was the person in charge of the whole musical activity in

the religious establishment whose duties included playing the organ, composing, conducting the instrumental and vocal ensembles, and teaching the choirboys.

16 Lazos, “José Antonio Gómez’s Ynvitatorio…”, 73. 17 John G. Lazos, “Dice José Antonio Gómez, célebre profesor de forte-piano: ´¿Y es esto todo lo que hay

que tocar de más difícil?´," Anuario Musical, no.67 (January-February 2012): 198. 18 John G. Lazos, “José Antonio Gómez’s Ynvitatorio…”, 55. 19 John G. Lazos, “A Young Bishop, Eleven Music Manuscripts, and a Remote Cathedral Archive: A

Mexican Musical Legacy Comes to Light," Latin American Music Review 32, no.2 (Fall-Winter 2011): 248. 20 Pareyón, op. cit., 436.

5

pedagogical works. Among them, the best known nowadays are his Variaciones sobre el jarabe

mexicano [Variations on a Mexican dance] for the piano (1839); La Independencia [The

Independence] (1842), a scenic cantata; and the Gramática razonada musical [Reasoned musical

grammar] (1832) 22.

Dr. John Lazos states Mexican music from early nineteenth-century remains almost

unknown, and José Antonio Gómez´s contribution is an important factor to understanding the

music style that was written and performed during that period.23 Dr. Lazos also maintains that

Gómez is an important and central music figure in the spheres of religious and secular contexts

in the least studied years of Mexican music history. 24 Gómez´s works are representative of the

period and should not be considered simply derivative from the Italian operatic tradition but

rather a reflection of the social commotion of that time25. Dr. Gabriel Pareyón considers much

of Gómez´s output was written in a style derived from that of Rossini but at the same time it

always evidenced nationalistic interests.26 After describing the outstanding work of Gómez,

Jorge Velazco posits the question in his De música y músicos: “Wouldn´t his work deserve to be

heard again?”27

21 Including numerous works for the organ (possibly the Versos) according to the documents dated 1832 in the Archivo del Cabildo Catedral Metropolitano de México. John G. Lazos, “José Antonio Gómez’s Ynvitatorio…”, 73.

22 Modified version of the work published by Federico Moretti y Cascon (Spain, 1821). John G. Lazos, “Dice José Antonio Gómez…", 201.

23 John G. Lazos, [Abstract on] “Mexican Musical Identity in the Nineteenth-Century: A Contextual Appreciation of José Antonio Gómez,” <http://h11.cgpublisher.com/proposals/275/index_html#author-0> (November 5 2012).

24 Lazos, “José Antonio Gómez and the music-politics…” 25 Lazos, “José Antonio Gómez’s Ynvitatorio…”, V. 26 Pareyón, op. cit., 436. 27 Jorge Velazco, De música y músicos (Mexico City, Mexico: Universidad Nacional Autónoma de México,

1983), 522.

6

Chapter 3

Musical Background to Gómez´s Versets for Organ

On Music in General in Mexico

Academic music in Mexico is an inheritance of Europe, established through 300 years of

Spanish domination, and its development in this continent has been importantly linked to the

changes beyond the Atlantic. During most of the 19th century, academic music was mostly

promoted and sponsored by a group of cultivated people that were in a position of starting

diverse artistic projects, due to being part of or having a relation with the government.28 This

was facilitated by the fact that at that moment, after the Independence War, the high spheres in

culture and politics strived to provide identity to the country. Music was part of that identity,

and a new model was sought in what was taking place in Europe in other parts aside from

Spain.29 Opera seria was the most popular genre in Europe at that time, and the elites and the

government decided to support it in Mexico aiming to be updated and avant- garde.30 On the

other hand, different genres such as the comic opera, the zarzuela, chamber and symphonic

music, were not favored.31 Furthermore, not all opera seria was heard, the interest was centered

mainly only on that Italian.32

Throughout the 19th century, Mexico was visited by numerous foreign opera companies

of different nationalities but, by the second half of the century, Italian companies were

28 Olivia Moreno Gamboa, Una cultura en movimiento: La prensa de la ciudad de México (1860-1910) (Mexico, D.F., Mexico: UNAM, 2009), 135.

29 Ibid.,135. 30 Ibid.,137. 31 Ibid.,138. 32 Ibid.,138.

7

preferred.33 This could be due to the ease to listen to that music because of the predominance

the melody had over its harmony; also because of the similarity of the Italian and Spanish

languages, what made easy to understand and sing it; or, perhaps, the thematic of its libretti, most

of them love stories where passion confronted honor and were attractive to the bourgeois

ideology (Casini 1999, 77-104 as cited in Moreno 2009, 47). Their repertoire included mainly

works by Bellini, Donizetti, Mercadante, Rossini, and Verdi. Memorable sections of them (for

example, arias and overtures) were important part of what was performed at wealthy people´s

gatherings (tertulias), recitals and philharmonic societies concerts in different versions such as

transcriptions for voice and piano, piano four-hands, or elaborated as fantasias for the piano. 34

On Church Music

Music in the New Spain was initially obviously mainly Spaniard, being in the mid-

sixteenth century Palestrina, Tomás Luis de Victoria (Saldívar, vii as as cited in in Lazos “José

Antonio Gómez’s Ynvitatorio…”, 49), Cristóbal de Morales and Francisco Guerrero among the

composers whose works were sent to and performed at the Mexico City Cathedral35. Hernando

Franco, Spaniard (1532-1585), arrived at a young age to America and developed his important

career in what are now Guatemala and Mexico36. The Cathedral in Mexico City was not only an

important liturgical but also musical center at the time, and the maestro de capilla position was

very prestigious. Among the musicians that held that important post and whose music had a

33 Ibid., 46. 34 Ibid., 47. 35 Lazos, “José Antonio Gómez’s Ynvitatorio…”, 256. 36 Ibid., 258.

8

decisive role in the development of music in Mexico were Francisco López Capillas, Manuel de

Sumaya, and Antonio de Salazar.

By the end of the 17th century, Spain underwent political changes with the arrival to the

crown of the Bourbon family.37 Sumaya was one of the first musicians in what now is Mexico

to use the Italian style of composition. It received renewed strength by mid-eighteenth century

when Fernando VI and Barbara de Braganza in the crown of Spain were favoring Farinelli38 and

Domenico Scarlatti among many Italian musicians. Francisco Fernández de la Cueva, viceroy

of the New Spain, imported the European musical fashions, mainly the enjoyment of the opera.39

At that point Ignacio de Jerusalem, a Neapolitan composer, arrived along with various other

Italians to work at the Coliseo Theater in Mexico City. He was hired as maestro de capilla of

the Cathedral in 1749. Jerusalem was a major champion of the Italian style in all the aspects of

music making in the New Spain.4041

Later, in the nuances of the grand romantic Italian opera style entered church

compositions as well. El Cronista Musical [The musical chronicler], an important music

periodical of the time, complained on the fact that secular music was performed in churches,

such as salon music and opera arias, instead of pieces of religious character (Alcérreca 1887, p.1

as cited in Moreno 2009, p.120). Very illustrative are the stipulations of the Chilean Episcopate

37 Yolanda Moreno Rivas, El encanto de la Buena música: La música mexicana (Mexico, D.F., Mexico: Promexa, 1981), 30.

38 Farinelli lived in Spain for almost 25 years, in which he was director of the royal theaters and established the Italian opera in that country.

39 Moreno, op.cit., 30. 40 Julio Estrada, ed., La música de México. Historia. Período virreinal (Mexico, D.F., Mexico: Universidad

Nacional Autónoma de México, 1984), 68. 41 Beethoven was well known in Mexico before the Independence and often performed by the maestros de

cailla of Mexico City, Puebla, Oaxaca, and Morelia. In 1797, his music was prohibited by the viceroy because of being “unpleasant and dangerous for the stability of the kingdom of New Spain” (Sordo 577 as cited in Lazos, “José Antonio Gómez’s Ynvitatorio…”, 85).

9

of 1884 -reprinted in Mexico years later- in regards to the application of the regulations

established by the Sacred Congregation of Rites in Italy that very same year as a reaction to

contemporary church music practice.

1st article- In Mass and other liturgical offices, chant or unison singing will be preferred, as Church has established (…); 6th article- It is expressly prohibited in every church any vocal music composed on motives or with reminiscences secular or of the theater, and that which could be composed very lightly, as a Cavatina or the recitatives that are very vivacious, in the theatrical style, etc., etc. (…); Article 13- The organ is the most suitable instrument for the House of the Lord and the Church prefers it in the Sacred Liturgy. Therefore, parish churches, those of the religious orders, and public Chapels in general, as much as their resources allow it, should try to have an organ according to their size and importance; Article 14- It is strongly prohibited to perform at Church even the shortest part of a play, dance excerpts of any nature, such as Polka, Waltz, Mazurka, Schottische, Varsovian, Quadrille, Gallop, Country-dance, Polonaise, etc. secular pieces such as national anthems; popular, love, or comical songs, romanzas, etc.; (…) Article 16- It is prohibited to improvise attending fantasia, as it is called, on the organ to those that do not know how to do that properly, so they respect the rules of the musical art, and also those that protect the piety and collection of the believers.42

Gómez was an admirer of the bel canto (in particular Rossini, Bellini, and Donizetti43) and most of

his compositions show that influence.44

42 “Art. 1o.- En la Misa y demás oficios litúrgicos tendrá el canto llano o unísono el lugar de preferencia que le ha dado la Iglesia (…); Art. 6º.- Se prohíbe expresamente en la iglesia toda música vocal compuesta sobre motivos o reminiscencias teatrales o profanas, y aquella que sea compuesta, demasiado ligero o muelle, como las “Cavatinas” o los recitados demasiado vivos a la manera teatral, etc., etc. (…); Art. 13.- El órgano es el instrumento más adecuado para la casa del Señor y el que la Iglesia prefiere en la Sagrada Liturgia. Por lo cual, las iglesias parroquiales, las de las casas religiosas y las Capillas públicas en general, en cuanto sus recursos lo permitan, han de procurar tener órgano adecuado a su extensión e importancia. Art. 14. Está severamente prohibido ejecutar en la Iglesia ni la más pequeña parte de una obra teatral, trozos de baile de cualquier especie, como Polka Vals, Mazurka, Schotich, Varsoviana, Cuadrilla, Galopa, Contrzdanza, Polonesa, trozos profanos, como Himnos Nacionales, cantos populares, amorosos o bufones, romanzas, etc (…) Art. 16- Se prohíbe improvisar a fantasía, como suele decirse, en el órgano a aquellos que no saben hacerlo convenientemente, es decir, de manera que respeten no sólo las reglas del arte musical, sino las que protegen la piedad y el recogimiento de los fieles.” José M. Orrego et al., “Carta Pastoral Colectiva del Episcopado Chileno,” in Memoria del Primer Congreso Interamericano de Música Sacra, ed. Fernando Bravo Paredes (Tulancingo, Hidalgo, Mexico: Comisión Central de Música Sacra de México, 1949), 171-72.

43 Lazos, “José Antonio Gómez’s Ynvitatorio…”, 181. 44 Ibid., 181.

10

On the Organs

In Mexico, the organ building trend continued being Spanish baroque well after the

Independence War and even into the 20th century. By the 18th century, specific features

characterized the Spanish instruments:

• Pedal board generally of short compass, some times chromatic. Usually pull-downs but at times with independent stops45 (mainly stopped wooden pipes46).

• Commonly only one manual47 with a range from 45 keys with short first octave (CDEFGA - c3) to 54 keys (C-g3).48

• Half-keyboard stops. Usually, left side stops ran C–c1, and right side c sharp 1-c3.

• Slider chests divided into bass and treble (note: different from the usual division in C and C# chests).49 These were set at different heights for easy access and tuning.50

• Mechanical simplicity. A light action due to the divided wind-chest with narrow channels and low wind pressure. (Approx. 2 to 3 1/2 inches depending on the size of the instrument.51)

• Clarity and body of the foundation stops.

• Importance of the mutations and mixtures emphasizing harmonics of the fundamental 8’ (or the 4’ if the instrument was small).

• Sometimes low and high mixtures are combined in a single stop.52

• Considerable amount of horizontal reeds (eclipsing all the other parts of the instrument)53.

45 James Wyly, “The Pre-Romantic Spanish Organ: its Structure, Literature, and Use in Performance” (DMA diss., University of Missouri, 1964), 62-3.

46 Peter Williamsand Barbara Owen, The Organ (New York, NY: Norton, 1988), 125. 47 Calvert, Johnson, ed., Historical Organ Techniques and Repertoire: Spain 1550-1830 (Colfax, NC:

Wayne Leupold Editions, 1994), 12. 48 Wyly, op. cit., 71. 49 Williams, op. cit., 125. 50 Ibid., 125. 51 Ibid., 125. 52 Wyly, op. cit., 307. 53 José Ayarra, History of the Organ in Seville Cathedral (Nebraska: J. W. Hasker, 1992), 207.

11

• Usually no manual couplers were available54, however knee and feet levers were sporadically found for quick registration changes55. (Echo boxes operated by a pulley and a rope through a pedal lever.56)

• Frequent use of toy stops57 such as bells, bagpipe, birds, drums, canards, rattles, etc.

• Sometimes there were small chair organs placed behind the performer (division which never became important in this school58) and other times inside the instrument. (Examples can be found in the two organs installed in 1695 and 173559 at the Catholic Cathedral in Mexico City.)

• Frequent double facade60. Flat facades are favored61 and used to fill-in the space between architectural archs.62

• Multifold bellows generally operated by hand.63

In general, the quality of the sounds emanating from the Spanish instruments has been described

as restrained from the principals (of narrow scale), gentle from the flutes, and expansive when

coming from the reeds. The amount of empty space inside the cases absorbs partials and

contributes to the mild sound of some choruses.64

Many of these diverse features are showcased in Gómez´s organ versets. The present

edition of Gómez´s works will add to the understanding of the type of the organ repertoire in

Mexico at a time when most of it was still improvised.

54 Williams, op.cit.,125. 55 Johnson, Historical…, 17. 56 Williams, op.cit., 122. 57 Johnson, Historical…, 16. 58 Williams, op.cit., 122. 59 Gustavo Delgado Parra, Los órganos históricos de la catedral de México (Mexico, D.F., Mexico:

Universidad Nacional Autónoma de México, 2005), 15. 60 Johnson, Historical…, 18. 61 Ayarra, op. cit., 204. 62 Williams, op. cit., 127. 63 Ibid., 125. 64 Ibid., 127.

12

Chapter 4

Performance Considerations

On Registration

The organs used in 19th century Mexico were constructed in the 18th century Spanish

tradition. That could imply that their registration would have common points with that of

Spain´s Golden Era. However, in the 19th century the composers could only be familiar with

very few of the Spanish organ works of the previous centuries.65

Pablo Hernández, a student of Hilarión Eslava (Museo orgánico español [Spanish organ

museum], 1854) elaborates as follows on the registration principles laid by his professor in his

own Método teórico-práctico de órgano [Theoretical and practical organ method]. He provides

a summary of contemporary possibilities on the afore mentioned type of organ and makes it

evident that organists were fond of contrast.66

Homogeneous combinations are those in which both hands have the same sound quality

and continuous scale throughout the keyboard:

• The flautado violón with the tapadillo gives a soft and dark sound of good effect in moments of great silence such as during the Adoration.

• The flautado de 13 and the octava…form a fuller sound than the previous combination and have a graver character.

• The flautado de 26 with or without the flautado de 13 and the octava give a full and rich sound of an extremely grave and majestic character.

• The two said flautados, the octava, quinzena, and diezinovena… form the lleno, whose sounds are stronger than the previous combinations. Its character is less grave…and more brilliant. For this reason, the lleno is frequently used in place of the reeds on less solemn days.67

65 Wyly, op. cit., 150. 66 Ibid., 153 67 Ibid., 151.

13

Semi-homogeneous combinations are given by two different stops of the same family (one on

each hand).68 Heterogeneous combinations have contrasting registers on each side of the

keyboard:

• That with stops with different pitch (for example, a 16´stop on the right hand to be accompanied by an 8´on the left).

• That with unequal strength.

• That with diverse quality or of stops of different families.69

Analysis of other registration sources such as Román Jimeno´s Método completo teórico-

práctico de órgano [Complete theoretical and practical organ method] from mid-19th century

reinforces the fact that the Spanish organists preferred strongly colored combinations, and that

these were always made with the smallest possible number of stops.70 Gómez´s manuscript is at

this point a unique source in regards to providing information on the ways baroque Spanish stops

were combined in Mexico in the 19th century aesthetics. An alphabetical short description of the

stops included in Section I of the manuscript follows. It is important to keep in mind that

registration translation do not imply both stops are the same. It just points to approximate

equivalencies and, due to the difference in national schools, the actual sound of the stops

involved may be importantly dissimilar.

Campanas- Bells.

Clarín en 15ª (Clarín en quincena)- Horizontal trumpet 2´ (on an organ with main

principal at 8´). Only available for the left hand and usually on the façade of the instrument.71

68 Ibid., 153. 69 Ibid., 152. 70 Ibid., 164. 71 Joaquín Saura Buil, Diccionario técnico del órgano en España (Barcelona, España: Consejo Superior de

Investigaciones Científicas, 2001), 123.

14

Clarínes- Trumpets of various kinds72. Reed choir (Miguel A. Madrigal, Mexican

restorer, personal communication, March 2, 2013).

Corneta magna- Cornet. Compound solo stop of three to nine ranks without breaks73 of

wide-scale pipes which necessarily contains a tierce,74 (for example: 8´, 4´, 2 2/3´, 2´, and 1

3/5´). Found only for the right hand. In the 17th century it became common to place the main

Corneta of the main division mounted on its own chest above the level of the main one.75 “One

of the strongest and most brilliant registers on the organ” (Tafall, Arte completo, 479 as cited in

Wyly 283).

Corneta de ecos- Echo cornet. A compound stop almost always of five ranks: 8´, 4´, 2

2/3´, 2´, 1 3/5´ placed in a box or a small enclosed division.76

Flautado- Principal. Flautados have an exceedingly gentle tone77 and are almost as soft

as the flutes78. The name of the main Flautado of each particular organ is given with the length

of the longest pipe in palmos79 (about 8¼ inches80). Being of 8´, it is expected to be suitable to

be used by itself, to accompany other stops, and to combine adequately with a tremulant for soft

improvising.81 Flautado can also mean the flue choir including principals and flutes.82

72 Peter Williams and Barbara Owen, "Organ stop," Grove Music Online, ed. Deanne Root <www.oxfordmusiconline.com> (accessed 17 March 2012).

73 Saura, op. cit., 144. 74 Wyly, op. cit., 283. 75 Metal tubes carried the wind to its small chest set well above the rest of the pipework of the division, and

toward the front of the case. Wyly, op.cit., 283. 76 Saura, op. cit., 148. 77 Wyly, op. cit., 292. 78 Ibid., 318. 79 Ibid., 291. 80 Ibid., 313. 81 Ibid., 292. 82 Saura, op. cit., 223.

15

Flautado mayor- Considered Principal 8´ in the document in question. Mayor can be

translated in English as main or largest. It is the fundamental stop in the instrument, regardless

of its range.83

Flautado 26- Principal 16´. Lowest pipes made of wood, higher of metal. Not common

but in large instruments.84

Lleno en el bajo- Low pitched mixture composed of principal-scaled pipes.85 According

to Pablo Nassarre a Lleno in an organ based on a 16´principal should have a rank of 1 1/3´, two

or three of 1´, and one or two of 2/3´.86

Pajaritos [Little birds]- Stop that imitated the sound of the birds by means of four to six

small pipes with irregularly cut ends, bent over, and partly immersed in a small water reservoir.87

Tambora [Large membrane drum]- Stop that imitated the sound of the drums by means

of two large pipes with slightly different pitches sounded at the same time . The effect could be

continuous upon pulling the stop-knob, or rhythmical if a pedal-lever is available. 88 89

Tolosana (Corneta tolosana)- Small version of a Cornet, usually of only three ranks: 2

2/3´, 2´, 1 3/5´ (currently 3 1/5´, 2 2/3´, 2´on the gospel organ at the Catholic Cathedral in

Mexico City90). Sometimes extended through the whole keyboard.91

83 Ibid., 225. 84 Ibid., 229. 85 Wyly, op. cit., 298. 86 Ibid., 299. 87 Ibid., 313. 88 Saura, op. cit., 446. 89 On an organ without such stop, a cluster on C and C sharp of a 16´open wood pedal stop could be a

suitable solution. Barbara Owen, The Registration of Baroque Organ Music (Bloomington, Indiana: Indiana Music Press, 1997), 133.

90 Delgado, op. cit., 59. 91 Wyly, op. cit., 285.

16

Trompa magna (Trompeta magna)- Horizontal trumpet 16´. Traditionally placed in the

front of the organ. For the right hand only. Often the loudest reed in the organ.92

Trompa real (Trompeta real)- Trumpet 8´. Of moderate power and scale, always

placed inside the organ. Designed to blend with the flues and to add power to their ensemble93.

Violines- Horizontal regal 4´.94 8´narrow-scale reed the gospel organ at Mexico City

Cathedral.95

Violón (Tapado)- Bourdon 8´. Stopped flute.96

8ª (Octava)- Principal 4´.

8ª Clara (Octava clara)- Principal 4´. Usually clara, or “bright”, was used as opposed to

the tone quality of the open or stopped flutes.97

8ª Nazarda (Octava nazarda)- Flute 4´. Flue pipe wider than Flautados.98

12ª (Docena)- Twelfth, usually a 2 2/3´ principal-scale pipes unless stated nazarda

(flute).99

15ª (Quincena)- Fifteenth, Principal 2´.100

17ª (Diezisetena)- Tierce, 1 3/5´.101

19ª (Diecinovena)- Nineteenth, 1 1/3´ principal-scale pipes unless stated nazarda.102

92 Ibid., 320. 93 Ibid., 320. 94 Ibid., 322. 95 Delgado, op. cit., 63. 96 Wyly, op. cit., 317. 97 Saura, op. cit., 326. 98 Wyly, op. cit., 307. 99 Ibid., 286. 100 Ibid., 214. 101 Ibid., 286. 102 Ibid., 286.

17

22ª (Veintidozena)- Twenty-second 1´.103

On Ornamentation

It is interesting to note that the ornamental figures that appear in Gómez´s manuscript are

the same as those found in its almost contemporary notebook of psalm tones found in Oaxaca.

The grace notes were mostly written out in this keyboard score as was also the case at the time

with vocal embellishments104. Explanation of the performance of the signs in the manuscript

follows.

• The short leaning-note (acciaccatura)- It is a small short note written with a stroke

through its stem and tail, which precedes a longer note at the interval of a tone or semitone105. It

does not have an appreciable duration106 and it does not affect the value of the note that follows

it. It is to be performed on the beat107 as fast as possible in order to give to a marked accent to

the note that follows it108. This embellishment is found in Versets of the 1st tone, No.1; and

Versets of the 4th tone, Nos.5, 8 and 9.

• The mordent- In various sources contemporary to Gómez´s manuscript, this term

denotes two (at times called double acciaccatura) or three notes which precede in scalar fashion

103 Ibid., 321. 104 William Shakespeare, The Art of Singing: Based on the Principles of the Old Italian Singing-Masters,

and Dealing with Breath-Control, Production of the Voice and Registers, Together with Exercises, Part 3 (Boston: O. Ditson, 1898), 2.

105 Mathilde Marchesi, Art of Singing: opus 21, book 1 (Boston: O. Ditson, 1884), 40. 106 Giovanni Battista Rubini et al., Twelve Lessons in Modern Singing for Tenor or Soprano. (New York:

Schirmer, 1906), 12. 107 Auguste-Mathieu Panseron, Method of Vocalization for Soprano and Tenor, Part I (New York: G.

Schirmer, 1898), 15. 108 Shakespeare, op. cit., 2.

18

a melody-note. The ornamental notes are to be performed on the beat109, very rapidly and

distinctly110. This embellishment appears in Verset of the 4th tone, Nos.1 and 2.

• The turn (grupo)- This ornament of three or four notes is indicated both written out as

well as with the curlicue symbol. Spanish late eighteenth-century sources do not explain how to

perform it111. Some sources contemporary to Gómez´s state they are to be performed on the

beat112, while others call for their time of performance to be placed in the value of the note

preceding it113. It is stated as a general rule that if the higher interval is a tone, then the lower

one would be a semitone, being the reverse valid as well114. Notes are to be played in a gentle

manner and allowing all of them to be clear115. This embellishment is found in Versets of the 1st

tone, No.2; Versets of the 2nd tone, No.7; and Versets of the 4th tone, No.5.

• The trill- This ornament, consisting of the alternation of the main note and its upper

auxiliary, appears very rarely in the manuscript. Important reference books for Spanish

performers since mid-eighteen century describe the trills as starting on the main note116. Gómez

includes examples of the performance of the ornament in such way in the voice method he

published and several sources contemporary to him coincide in that fact117 unless there is a

written out start.

109 Panseron, op. cit.,15. 110 Marchesi, op. cit, 40. 111 Johnson, Cuaderno…, xxxii. 112 Panseron, op. cit., 15. 113 Rubini, op. cit., 22 114 Shakespeare, op. cit., 5. 115 Panseron, op. cit., 16. 116 Such as Pablo Nassarre in his Escuela música, según la práctica moderna [Music school, according to

modern practice, 1723-24]. Johnson, Cuaderno…, xxxii. 117 Marchesi, op.cit., 40.

19

Figure 1. J. A. Gómez, example and performance of the trills in El inspirador permanente [The permanent inspirer].118

However, in the piano method Gómez published, he gives several examples of trills and

most start on the upper note.

Figure 2. J. A. Gómez, example and performance of the trills in Instructor filarmónico [Philharmonic instructor].119

Ending with different types of turns120 is not only a possibility but expected even if there

is no indication in the music itself.121 122 Gómez states:

In order for the trill to produce a more grateful sound to the ear, it should be prepared and with an ending. It is prepared with the note or sound that precedes the trill on a held note with a fermata, although without its effect (…) and will be ended with the preceding note, the one above, and at the end the note that had the trill, this done with velocity and evenly.123

118 José Antonio Gómez, El inspirador permanente: gran método de música vocal (Mexico: Imprenta de la Hesperia: 1844), 60.

119 José Antonio Gómez, Instructor Filarmónico. Nuevo Método para Piano, No. 3, Tomo 1º, 1ª Parte (Mexico: José Antonio Gómez y Socios: 1842-3), 9.

120 Mathilde Marchesi, Elementary Progressive Exercises: for the Voice, op. 1 (New York: G. Schirmer, 1881), 29.

121 Ibid., 30. 122 Shakespeare, op. cit., 6. 123 “Para que el trino produzca un sonido mas grato al oído, deberá prepararse y terminarse. Se preparará

espresando la nota ó sonido que antecede al trino por un punto de suspensión, el cual se espresa como el calderón, aunque no produce se efecto, pues estando sobre una nota no produce detención de tiempo indeterminado y se terminará repitiendo la nota que le antecede, la que le precede, y últimamente la misma nota trinada, también se deberá hacer con toda velocidad é igualdad.” Gómez, Instructor…, 9.

20

Figure 3. J. A. Gómez, example and performance of the trills with preparation and ending.124

In section I of Gómez´s manuscript the trill is found in Versets of the 4th tone, No.9.

• The cadenza- A solo line fioritura without accompaniment figures that is placed after

a fermata and allows a great variety of interpretation depending on ability and good taste125. It

is expected to be performed ad libitum126 or a piacere127. This embellishment appears in Verset

of the 4th tone, No.10. Gómez explained the performance of the fermata or calderón:

…it will be of determinate length if placed over a rest, the performer should stop somewhat more than the value of the figure; it will be of indeterminate length when over a note (…) the performer can freely play the most appropriate passages to the character of the piece.128

Figure 4. J. A. Gómez, example and performance of the fermatas.129

The pieces in the manuscript do not seem to require additional ornamentation to that

already included. However, some extra notes such as turns, trills, and passing notes could be

added easily with good taste in a natural manner.

124 Gómez, Instructor…, 9. 125 Rubini, op. cit., 49. 126 Mathilde Marchesi, Twenty-four Vocalises for Soprano: op. 3 (New York: G. Schirmer, 1900), 30. 127 Max Spicker, Masterpieces of Vocalization: for Soprano (Melville, N.Y.: Belwin Mills, 1900), 19. 128 “…será de tiempo determinado cuando esté dicho Calderón puesto sobre alguna pausa, pues entonces

solo se detendrá un poco ms que el valor correspondiente a esta, sera de tiempo indeterminado, cuando esté sobre alguna nota, pues entonces demuestra que el Autor ha dejado al arbitrio del que ejercita el hacer los pasages mas convenientes al caracter de la pieza.” Gómez, Instructor…, 8 verso.

129 Gómez, Instructor…, 8 verso.

21

On Performance

Gómez´s versets are short-scale works arranged in suite fashion intended for alternatim

practice. In the 15th century, alternatim practice was popular in the liturgy of the Roman

Catholic Church. Not only liturgical texts that were responsorial in character, but also psalms,

canticles, hymns, sequences and the ordinary items of the mass were frequently performed with

alternating distinct forces (organ and choir; chant and polyphony; etc.) each one line or verse.

The use of organ was introduced in alternatim practices in the 14th century and led to the

composition of an important body of liturgical organ music in Italy (versets), Spain (verses) and

France (mass settings) mainly during the 16th and 17th centuries130.

130 Edward Higginbottom, "Alternatim," Grove Music Online, ed. Deane Root. <www.oxfordmusic online.com> (October 2 2012).

22

Chapter 5

Editorial Method

The source is a manuscript of 12.5 x 10 inches, cover plus 56 pages of music, written

with black ink on both sides. A total of 6 sets of versets is included. This study presents a

performer´s guide to the works in the first section of the document: I. Versets in the first tone

(Entrada [introduction], four versets, and finale), II. Versets in the second tone (Entrada and

nine versets), and III. Versets in the fourth tone (Entrada, ten versets, and finale).

A legible version of the pieces is provided improving features such as alignment of notes

and reconfiguration of pages so as to avoid unnecessary page turns. Repetitions indicated with

signs other than repeat bars are written thoroughly. The original values of the notes, bar lines,

key and time signatures have been maintained unless marked. The titles have been translated to

English, the original ones are included in italics. A suggested equivalency for the registration

has been included along the original one, which is printed in italics. Cautionary and obviously

missing accidentals that may clarify possible ambiguities have been placed in parentheses.

Dashed slurs or ties indicate they are additions. All other editorial additions of what seem to be

missing items in the score such as notes, implied accidentals, changes of clefs, dynamics,

agogics, keyboards and hands distribution are placed in square brackets. Alterations to the

material in the source are identified by numbers in the critical notes and additional

commentaries.

23

Chapter 6

Conclusion

A review of the literature on Mexican music reveals agreement amongst scholars that

insufficient research has been done on the contributions of José Antonio Gómez. The lack of an

edition of his Versets for Organ had been a major factor in the neglect of his music. The author

of this project hopes that a guide for performance will encourage organists to include these

pieces from a major figure in Mexico´s musical history in their recital or liturgical repertoire.

24

Appendix A

Additional Figures

Sections of the Manuscript of Gómez´s Versets for Organ

Figure A.1. J. A. Gómez, Versets for Organ, title page131.

Figure A.2. J. A. Gómez, Versets for Organ, page 15132.

131 Gómez, Versos…, 1. 132 Ibid., 1.

25

Sections of Other Manuscripts of Works by Gómez

Figure A.3. Fragments of manuscripts of organ parts from works by Gómez.133

133 Lazos, “José Antonio Gómez’s Ynvitatorio…”, 17.

26

Appendix B

Registration Tables

Table B.1

Summary of the stops indicated in Gómez´s manuscript

Left hand Right hand Flautado 26 Flautado mayor Flautado mayor Flautado Flautado Violon 8ª (Octava) 8ª clara 8ª nazarda 12ª (Docena) 15ª (Quincena) 15ª 17ª (Diecisetena) 17ª 19ª 22ª (Veintidocena) Corneta magna Corneta de ecos Lleno Tolosana Trompeta magna Trompeta real Clarín Clarín Violines Clarín en 15 Accessory stops:

Campanas

Pajaritos Tambora

27

Table B.2

Current specification of the Gospel organ at the Metropolitan Cathedral, Mexico City (José Nasarre, 1735) Left hand C,D-c1

Main organ (manual II): Right hand c1#-d3

Flautado 26 Flautado 16 Flautado mayor 13 Flautado mayor 13 Flautado nave 13 Flautado nave 13 Octava clara Octava clara Quincena clara Quincena clara Diezynovena Diezynovena XXIIa clara - Lleno Lleno Simbala (III, originally IV)134

Simbala (II, originally III)135

Sobresimbala (II, originally III)136

Sobresimbala (III, originally IV)137

Violón Violón Octava nasarda Octava nasarda Espigueta Espigueta Doecena nasarda Docena nasarda - Docena nasarda Quincena nasarda Quincena nasarda Espigueta - Diezysetena nasarda Diezysetena nasarda - Diezysetena nasarda - Tolosana - Corneta magna (VII) - Corneta (VII, in echo box) - Flauta travesera(II) Trompeta real (interior) Trompeta real (interior) - Trompeta magna - Clarín campaña - Clarín campaña - Clarín claro - Chirimía - Obue Bajoncillo -

134 Delgado, op.cit., 54. 135 Ibid., 54. 136 Ibid., 54. 137 Ibid., 54.

28

Orlo - Clarín en quincena - - Bajoncillo - Clarín claro - Obue Clarín claro - Clarín quincena - Chirimía - Positiv (manual I): Violón Violón - Flautado mayor - Octava nasarda - Docena clara Diezysetena clara Diezysetena clara Diezynovena clara - XXIIa clara - Lleno Lleno - Tolosana Rückpositiv (manual II) Octava clara Octava clara Quincena clara Quincena clara - Diezynovena clara XXII clara - - Corneta magna (5 ranks) “Ecos” (Manual III to the right of the others, c1-d3) Violón Docena clara Quincena clara Chirimía Violines Pedals (CC, DD, EE, FF,

BB):

Contras Bajoncillos Accessory stops: Tambores (1st ) Tambores (2nd ) Pajaritos138 139

Original tuning: unknown140 Current tuning: Chaumont141

138 Guy Bovet. Orgues du Mexique (recordings), Donneloye, Switzerland: GALLO, 1987. 139 Sergio Zaldívar G., ed., Voces del arte: catálogo de órganos tubulares mexicanos (Mexico, D.F.,

Mexico: SEDUE, 1989), 118. 140 Delgado, op.cit., 67.

29

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PART II

EDITED SCORE

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Critical Notes and Additional Commentaries

All the original texts in the manuscript are listed in italics along with suggested

equivalents in English. The following system is used to identify the height of the pitches: C, c,

c1, c2, c3, where middle c is identified as c1. Appearing both Flautado mayor and Flautado in

the indication of registration, the author has decided to translate the first as Principal 8´ (1st), and

the latter, understood as a second diapason stop, as Principal 8´ (2nd).

Versos de 1er. Tono Versets of the 1st tone Preludio o Entrada Prelude or Introduction Clarines I: Reed choir 1. Manuscript: e2-b2-a2-g2 No.1 Flautado mayor Tromp[et]a magna y 15ª. Flautado mayor Tromp[et]a real y 22ª (Right hand) I: Principals 8´(1st), 2´, Horizontal trumpet 16´ (Left hand) II: Principals 8´(1st), 1´, Trumpet 8´ And[an]te 1. Ms.: d2-f2 bichord 2. Ms.: c# leaning-note only on the second and third eighths of mm.30-40 3. Measure 38 added to match m.11 4. Ms.: sixteenth rest No.2 Violon y Violines Flautado mayor Violon y 15ª (R.h.) I: Bourdon 8´, Reed (L.h.) II: Principals 8´(1st), 2´, Bourdon 8´ Maestoso 1. Ms.: g1-b1 bichord 2. Ms.: f2, d2 3. Ms.: turn symbol on each beat until the first of m.18 4. Ms.: f#2 5. Ms.: a2 6. Ms.: g2 7. Ms.: e flat 2 8. Ms.: e natural 2

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9. Ms.: c3-b2 10. Ms.: f 11. Ms.: f2 No.3 Pajaritos 15 ª, 17 ª, 19ª en el tiple Violon, 15ª, 22ª y lleno en el bajo Little birds (R.h.) I: Principals 2´, 1 3/5´, 1 1/3´ (L.h.) II: Bourdon 8´, Principals 2´, 1´, Low mixture 1. Ms.: f only 2. Ms.: quarter note, no rest No.4 Flautado mayor 26 y Corneta magna Violon Clarín en 15ª y 22ª (R.h.) I: Principals 16´, 8´(1st), Cornet (L.h.) II: Bourdon 8´, Principal 1´, Trumpet 2´ 1. Ms.: a2 Sigue el final después del Gloria Patri The finale comes after the Gloria Patri Finale Vivo Clarines I: Reed choir 1. Ms.: l. h. on the lower staff the following four beats. 2. tono Versets of the 2nd tone Entrada Introduction No indication of stops. Clarines would be appropriate as in the other two sets. I: Reed choir No.1 Corneta de ecos Flautado y Violon (L.h.) I: Principal 8´(2nd), Bourdon 8´ (R.h.) II: Echo cornet Adagio 1. Ms.: f (sharp) 2-a2, d sharp 2-f (sharp) 2 bichords 2. Ms.: e

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3. Ms.: g2-b2, e2-g2 bichords 4. Ms.: b-d2, g sharp 1-b1, b1-d2, g1-b1 bichords No.2 Flautado y Corneta magna. Flautado y Tromp(et)a real (R.h.) I: Principal 8´(2nd), Cornet (L.h.) II: Principal 8´(2nd), Trumpet 8´ Mod[era]to 1. Ms.: d2 2. Ms.: b natural 3. Ms.: e1-f (sharp) bichord 4. Ms.: a1 would be a more appropriate note No.3 Violon 17ª 19ª Violon 15ª 22ª y Lleno (R.h.) I: Bourdon 8´, Principals 1 3/5, 1 1/3 (L.h.) II: Bourdon 8´, Principals 2´, 1´, Low Mixture And[an]te 1. Ms.: g flat instead of f sharp all the measure 2. Ms.: B instead of c on the l.h. 3. Ms.: quarter note chord No.4 Flautado y 15ª Violon 15ª y 12ª (R.h.) I: Principals 8´(2nd), 2´ (L.h.) II: Bourdon 8´, Principals 2 2/3´, 2´ 1. Ms.: d natural 2. Ms.: 8as. [8ves.] indicated above e, f, and g 3. Ms.: a 4. Ms.: g instead of f sharp No.5 Clarines I: Reed choir Marcial[e] 1. Ms.: a instead of b 2. Ms.: plus a quarter rest with fermata on both hands No.6 8ª Nasarda y Fla(uta)do Flautado Violon 12ª 15ª y 8ª (R.h.) I: Principal 8´(2nd), Flute 4´ (L.h.) II: Principals 8´(2nd), 4´, 2 2/3´, 2´, Bourdon 8´

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And[anti]no No.7 Flautado y Trompa magna. Flautado y Clarín de 15ª. (R.h.) I: Principal 8´(2nd), Horizontal Trumpet 16´ (L.h.) II: Principal 8´(2nd), Horizontal Trumpet 2´ Adagio 1. Ms.: f sharp instead of a 2. Ms.: only two b1 sixteenth notes 3. Ms.: a instead of f sharp 4. Ms.: con 8a…….. [with 8ve…..] until the first beat of m.16 5. Ms.: e instead of c sharp 6. Ms.: turn symbol 7. Ms.: ends with an eight-note rest with fermata on both hands No.8 Clarines / Flautados I: Reed choir II: Flue choir (principals and flutes) Cantabile 1. Ms.: r.h. - Violines y Flautados [some reeds and principals]; l.h. - Ms.: Flautados 2. Ms.: dotted half notes, no rest on the left hand 3. Ms.: left hand always on lower staff 4. Ms.: Clarines 5. Ms.: Flautados 6. Ms.: missing bass clef 7. Ms.: G instead of A sharp 8. Ms.: g sharp instead of g No.9 Flautado 26 y mayor Violon 8ª 12ª 15ª 17ª (R.h.) I: Principals 16´, 8´(1st) (L.h.) II: Bourdon 8´, Principals 4´, 2 2/3´, 2´, 1 3/5´ Allegro 1. Ms.: g sharp, a sharp 4º tono Versets of the 4th tone Entrada con clarines Introduction I: Reed choir

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No.1 Clarines I: Reed choir, Drums 1. Ms.: Se toca la tambora en cada parte del compas [Drums to be used on each beat of the measure] 2. Ms.: Con gracia [Gracefully] 3. Ms.: no lower notes in this measure 4. Ms.: d sharp 2 5. Ms.: e instead of f 6. Ms.: with e2 at the top No.2 8ª Nasarda y Clara Violon y 15ª (R.h.) I: Principal 4´, Flute 4´ (L.h.) II: Bourdon 8´, Principal 2´ And[an]te 1. Ms.: c sharp 1 2. Ms.: b 3. Ms.: f sharp 4. Ms.: g sharp 1 No.3 Clarines y campanas I: Reed choir, Cymbelstern 1. Ms.: d sharp 1 2. Ms.: B 3. Ms.: e2 instead of d2 No.4 Flautado y Corneta magna. Flautado y Tromp(et)a real (R.h.) I: Principal 8´(2nd), Cornet (L.h.) II: Principal 8´(2nd), Trumpet 8 All[egr]o mod[era]to 1. Ms.: treble clef missing 2. Ms.: missing e1 but g sharp written out of place to the right as leaving blank space for it No.5142 Flautado Principal 8´(2nd) Mod[era]to

142 The author thanks Christopher Dougherty, organ student at UNT, for calling her attention to the remarkable similarity of the melody of this piece with that of the hymn called God of Mercy and Compassion/Au sang qu'un Dieu va reprandre traditionally attributed to Giovanni B. Pergolesi.

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1. Ms.: g Sharp 1-b1 bichord 2. Ms.: G sharp and A on eight-notes 3. Ms.: b on both staves No.6 Flautado 26 Violon 8ª Nasarda y 17ª Flautado Violon 8ª y 15ª 22ª (R.h.) I: Principals 16´, 1 3/5´, Bourdon 8´, Flute 4´ (L.h.) II: Principals 8´(2nd), 4´, 2´, 1´, Bourdon 8´ 1. Ms.: d3, c3 instead of b2, a2 2. Ms.: also c2, b flat 2 3. Ms.: f flat 2 4. Ms.: d sharp 2-b sharp 2 bichord 5. Ms.: a, c1 6. Ms.: C instead of E No.7 Violon y Tolosana Violon y Clarín de 15ª (R.h.) I: Bourdon 8´, Small Cornet (2 2/3´, 2´, 1 3/5´) (L.h.) II: Bourdon 8´, Horizontal Trumpet 2´ 1. Ms.: F instead of E No.8 Clarines I: Reed choir All[egr]o 1. Ms.: three sixteenth-notes 2. Ms.: f sharp 3. Ms.: a1 instead of b flat 1 No.9 Flautado y 8ª Nasarda Flautado y 15ª (R.h.) I: Principal 8´(2nd), Flute 4´ (L.h.) II: Principals 8´(2nd), 2´ 1. Ms.: g1 2. Ms.: e No.10 8ªs. Nasarda y Clara Violon y 15ª (R.h.) I: Principal 4´, Flute 4´ (L.h.) II: Bourdon 8´, Principal 2´ 1. Ms.: e1 sixteenth-note on the r.h.; e on the l.h. 2. Ms.: b2-e2 bichord

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3. Ms.: half-notes, quarter-note rest on the r.h. Para después del Gloria Patri Following the Gloria Patri Finale Clarines I: Reed choir 1. Ms.: e1-a1-c2 chord 2. Ms.: g (sharp)-b1-f sharp 2 chord

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Versets for Organ by Maestro D. José Antonio Gómez

(SECTION I)

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