Manuel de Zumaya
Encyclopedia
Manuel de Zumaya or Manuel de Sumaya (c. 1678 – 1755) was perhaps the most famous Mexican
composer of the colonial period of New Spain
. His music was the culmination of the Baroque
style in the New World
; of Spanish, French, Dutch, British, and Portuguese colonial composers, none stand out as much as Zumaya did. He was the first person in the western hemisphere
to compose an Italian-texted opera
, entitled Partenope
(now lost).
and was a mestizo
(of mixed Native American and European descent).
In 1715, he was appointed chapelmaster of Mexico City
's cathedral
, and was one of the first Americans to become one. He served there until 1738 when he moved to Oaxaca
, where he followed his close friend Bishop Tomas Montaño against the vigorous and continuous protests of the Mexico City Cathedral Chapel Council for him to stay.
Manuel de Zumaya died on December 21, 1755, in Oaxaca, where he had resided since 1738.
style and of the newer Baroque style.
In 1711, the new Viceroy, Don Fernando de Alencastre Noroña y Silva. Duke of Linares, a devotee of Italian opera, commissioned Zumaya to translate Italian libretti and write new music for them. The libretto of the first, La Parténope survives in the Biblioteca Nacional de Mexico
in Mexico City
, though the music has been lost.
The Hieremiae Prophetae Lamentationes is a Gregorian
-style antiquated notational piece.
Zumaya authored the charmingly jolly 'Sol-fa de Pedro' (Peter's Solfeggio) in 1715 during the examinations to select the Chapel Master at Mexico City's cathedral.
Zumaya's other famous piece, Celebren Publiquen, shows his ability to handle the polychoral sound of the high Baroque era. With his distribution of the choral resources into two choirs of unequal size, he copied the style that was favoured by the Spanish and Mexican choral schools in the early 18th century. The rich textures and instrumental writing reflect Zumaya's "modern" style and are at the opposite end of the spectrum from his anachronistic Renaissance settings.
Zumaya's recessional Angelicas Milicias presents his ability to superbly combine the Baroque orchestra and choir to create a sublime and stately piece worthy of the Virgin Mary herself (to which it is dedicated).
The interludio, Albricias Mortales, is done in much the same style as Angelicas Milicias.
Mexico
The United Mexican States , commonly known as Mexico , is a federal constitutional republic in North America. It is bordered on the north by the United States; on the south and west by the Pacific Ocean; on the southeast by Guatemala, Belize, and the Caribbean Sea; and on the east by the Gulf of...
composer of the colonial period of New Spain
New Spain
New Spain, formally called the Viceroyalty of New Spain , was a viceroyalty of the Spanish colonial empire, comprising primarily territories in what was known then as 'América Septentrional' or North America. Its capital was Mexico City, formerly Tenochtitlan, capital of the Aztec Empire...
. His music was the culmination of the Baroque
Baroque music
Baroque music describes a style of Western Classical music approximately extending from 1600 to 1760. This era follows the Renaissance and was followed in turn by the Classical era...
style in the New World
New World
The New World is one of the names used for the Western Hemisphere, specifically America and sometimes Oceania . The term originated in the late 15th century, when America had been recently discovered by European explorers, expanding the geographical horizon of the people of the European middle...
; of Spanish, French, Dutch, British, and Portuguese colonial composers, none stand out as much as Zumaya did. He was the first person in the western hemisphere
Western Hemisphere
The Western Hemisphere or western hemisphere is mainly used as a geographical term for the half of the Earth that lies west of the Prime Meridian and east of the Antimeridian , the other half being called the Eastern Hemisphere.In this sense, the western hemisphere consists of the western portions...
to compose an Italian-texted opera
Opera
Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. Opera incorporates many of the elements of spoken theatre, such as acting, scenery, and costumes and sometimes includes dance...
, entitled Partenope
Partenope (Zumaya)
Partenope is an opera in three acts by composer Manuel de Zumaya. Zumaya adapted the libretto himself from a Spanish translation of Silvio Stampiglia’s Italian libretto which was first set for performance in Naples during 1699 with music by Luigi Mancia...
(now lost).
Life
Manuel de Zumaya was born in MexicoMexico
The United Mexican States , commonly known as Mexico , is a federal constitutional republic in North America. It is bordered on the north by the United States; on the south and west by the Pacific Ocean; on the southeast by Guatemala, Belize, and the Caribbean Sea; and on the east by the Gulf of...
and was a mestizo
Mestizo
Mestizo is a term traditionally used in Latin America, Philippines and Spain for people of mixed European and Native American heritage or descent...
(of mixed Native American and European descent).
In 1715, he was appointed chapelmaster of Mexico City
Mexico City
Mexico City is the Federal District , capital of Mexico and seat of the federal powers of the Mexican Union. It is a federal entity within Mexico which is not part of any one of the 31 Mexican states but belongs to the federation as a whole...
's cathedral
Cathedral
A cathedral is a Christian church that contains the seat of a bishop...
, and was one of the first Americans to become one. He served there until 1738 when he moved to Oaxaca
Oaxaca
Oaxaca , , officially Estado Libre y Soberano de Oaxaca is one of the 31 states which, along with the Federal District, comprise the 32 federative entities of Mexico. It is divided into 571 municipalities; of which 418 are governed by the system of customs and traditions...
, where he followed his close friend Bishop Tomas Montaño against the vigorous and continuous protests of the Mexico City Cathedral Chapel Council for him to stay.
Manuel de Zumaya died on December 21, 1755, in Oaxaca, where he had resided since 1738.
Style
His works are a multiplicity of his talents and styles. He was a master of the older RenaissanceRenaissance
The Renaissance was a cultural movement that spanned roughly the 14th to the 17th century, beginning in Italy in the Late Middle Ages and later spreading to the rest of Europe. The term is also used more loosely to refer to the historical era, but since the changes of the Renaissance were not...
style and of the newer Baroque style.
In 1711, the new Viceroy, Don Fernando de Alencastre Noroña y Silva. Duke of Linares, a devotee of Italian opera, commissioned Zumaya to translate Italian libretti and write new music for them. The libretto of the first, La Parténope survives in the Biblioteca Nacional de Mexico
National Library of Mexico
The National Library of Mexico is located in Ciudad Universitaria, the main campus of the National Autonomous University of Mexico in Mexico City. It was first established on October 26, 1833....
in Mexico City
Mexico City
Mexico City is the Federal District , capital of Mexico and seat of the federal powers of the Mexican Union. It is a federal entity within Mexico which is not part of any one of the 31 Mexican states but belongs to the federation as a whole...
, though the music has been lost.
The Hieremiae Prophetae Lamentationes is a Gregorian
Gregorian chant
Gregorian chant is the central tradition of Western plainchant, a form of monophonic liturgical music within Western Christianity that accompanied the celebration of Mass and other ritual services...
-style antiquated notational piece.
Zumaya authored the charmingly jolly 'Sol-fa de Pedro' (Peter's Solfeggio) in 1715 during the examinations to select the Chapel Master at Mexico City's cathedral.
Zumaya's other famous piece, Celebren Publiquen, shows his ability to handle the polychoral sound of the high Baroque era. With his distribution of the choral resources into two choirs of unequal size, he copied the style that was favoured by the Spanish and Mexican choral schools in the early 18th century. The rich textures and instrumental writing reflect Zumaya's "modern" style and are at the opposite end of the spectrum from his anachronistic Renaissance settings.
Zumaya's recessional Angelicas Milicias presents his ability to superbly combine the Baroque orchestra and choir to create a sublime and stately piece worthy of the Virgin Mary herself (to which it is dedicated).
The interludio, Albricias Mortales, is done in much the same style as Angelicas Milicias.