De músico de un virrey a sochantre en la Catedral de Lima: Cristóbal de León (fl. 1561-1608) y otros clérigos-músicos de su tiempo
Fecha
2022-12-29
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Universidad Nacional de Música
Resumen
Pese al incremento en las últimas décadas de nuestro conocimiento de la música virreinal, quedan importantes vacíos en relación con ciertos períodos y lugares. De todos ellos, Lima es quizá el más llamativo porque, pese a tratarse de una sede virreinal, sabemos relativamente poco sobre su vida musical. Este vacío, sin embargo, es aún más marcado con anterioridad a 1612, año en el que se promulgan las constituciones de la capilla de música de la Catedral de Lima. A partir de entonces existe más información, al menos en esta institución, pero para el período anterior solo tenemos datos fragmentarios. Con el objetivo d contribuir a subsanar esta carencia, el presente trabajo estudia a un músico prácticamente desconocido llamado Cristóbal de León. Por medio de fuentes de archivo, se demostrará que este sujeto desarrolló una actividad musical relevante en Lima de 1561 a 1608, que incluyó la composición de chanzonetas y otras obras; además, consiguió entrar al sacerdocio en gran medida gracias a su oficio musical, tal como hicieron otros clérigos-músicos en la época, y pudo estar relacionado con la interesante actividad musical de los monasterios de monjas limeños durante el siglo XVII.
Despite the increase in recent decades in our knowledge of colonial music, significant gaps remain about specific periods and places. Lima is perhaps the most striking of all of them because, despite being a colonial seat, we know relatively little about its musical life. This gap, however, is even more marked before 1612, when the constitutions of the music chapel of Lima Cathedral were promulgated. Since then, there is more information, at least in this institution, but we only have incomplete data for the previous period. Intending to help to remedy, in part, this lack, this paper studies a virtually unknown musician named Cristóbal de León. Through archival sources, we shall see that this subject developed a relevant musical activity in Lima from 1561 to 1608, which included the composition of chanzonetas and other works. In addition, he managed to enter the priesthood largely thanks to his musical profession, just as other cleric musicians did at the time. And he was probably related to the relevant musical activity of the monasteries of nuns in Lima during the 17th century.
Despite the increase in recent decades in our knowledge of colonial music, significant gaps remain about specific periods and places. Lima is perhaps the most striking of all of them because, despite being a colonial seat, we know relatively little about its musical life. This gap, however, is even more marked before 1612, when the constitutions of the music chapel of Lima Cathedral were promulgated. Since then, there is more information, at least in this institution, but we only have incomplete data for the previous period. Intending to help to remedy, in part, this lack, this paper studies a virtually unknown musician named Cristóbal de León. Through archival sources, we shall see that this subject developed a relevant musical activity in Lima from 1561 to 1608, which included the composition of chanzonetas and other works. In addition, he managed to enter the priesthood largely thanks to his musical profession, just as other cleric musicians did at the time. And he was probably related to the relevant musical activity of the monasteries of nuns in Lima during the 17th century.
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Lima, Siglo XVI, Siglo XVII, Cristóbal de León, Músico, Catedral, Monasterios
Citación
Vera Aguilera, A. (2022). De músico de un virrey a sochantre en la Catedral de Lima: Cristóbal de León (fl. 1561-1608) y otros clérigos-músicos de su tiempo. Antec: Revista Peruana De Investigación Musical, 6(2), 12–29. https://doi.org/10.62230/antec.v6i2.141
