Estilos musicales en el umbral de la Independencia. Consideraciones a propósito del villancico El Juego del Hombre de Diego Llanos (Arequipa, 1824)
Fecha
2019-08-22
Autores
Título de la revista
ISSN de la revista
Título del volumen
Editor
Universidad Nacional de Música
Resumen
El villancico religioso tuvo a finales del siglo XVIII un notorio declive en su uso e importancia, y se ha documentado su progresiva desaparición en las catedrales del mundo hispano a partir de 1750. No obstante, su presencia en la liturgia no cesó abruptamente ni desapareció en todos los lugares por igual. Es posible encontrar villancicos compuestos en fechas tan tardías como el primer tercio del siglo XIX, y observar en estos una serie de elementos provenientes de usos y estilos diversos, tanto textuales como musicales, que se conservaron y mantuvieron vigentes en las capillas musicales y en el gusto de las audiencias, lo que daba al repertorio una sensación de estabilidad ante los cambios políticos y sociales que tuvieron lugar durante el proceso independentista. El presente estudio aborda el caso de un villancico de Diego Llanos, El Juego del Hombre, compuesto en la Navidad de 1824 probablemente para la catedral de Arequipa (Perú) —en el mismo mes y año en que se dio la batalla de Ayacucho—, como un ejemplo de pervivencia del género y de las diferentes corrientes estilísticas que estuvieron en boga en las capillas peruanas durante las guerras de independencia.
The religious villancico had, at the end of the 18th century, a noticeable decline in use and importance and its progressive disappearance has been documented in the cathedrals of the Hispanic world since 1750. However, its presence in the liturgy did not cease abruptly, nor did it disappear in all places equally. It is possible to find villancicos composed as late as the first third of the 19th century and to observe in many examples a series of elements from diverse textual and musical uses and styles that were preserved and maintained in the activities of musical chapels and the taste of the audience. This gave the repertoire a sense of stability in the face of the political and social changes that took place during the Independence process. The present study addresses the case of a villancico by Diego Llanos, El Juego del Hombre that was composed in Christmas 1824 probably for the cathedral of Arequipa, Peru, (in the same month and year that the battle of Ayacucho took place), as an example of the survival of the genre and the different stylistic currents that were in vogue in the Peruvian musical chapels during the War of Independence.
The religious villancico had, at the end of the 18th century, a noticeable decline in use and importance and its progressive disappearance has been documented in the cathedrals of the Hispanic world since 1750. However, its presence in the liturgy did not cease abruptly, nor did it disappear in all places equally. It is possible to find villancicos composed as late as the first third of the 19th century and to observe in many examples a series of elements from diverse textual and musical uses and styles that were preserved and maintained in the activities of musical chapels and the taste of the audience. This gave the repertoire a sense of stability in the face of the political and social changes that took place during the Independence process. The present study addresses the case of a villancico by Diego Llanos, El Juego del Hombre that was composed in Christmas 1824 probably for the cathedral of Arequipa, Peru, (in the same month and year that the battle of Ayacucho took place), as an example of the survival of the genre and the different stylistic currents that were in vogue in the Peruvian musical chapels during the War of Independence.
Descripción
Palabras clave
Villancico, Siglo XIX, Música en la Independencia, Música peruana, Música catedralicia, Música peruana neoclásica
Citación
Vega Salvatierra, Z. (2019). Estilos musicales en el umbral de la Independencia. Consideraciones a propósito del villancico El Juego del Hombre de Diego Llanos (Arequipa, 1824). Antec: Revista Peruana De Investigación Musical, 3(1), 15–41. https://doi.org/10.62230/antec.v3i1.63
