Meridian Records

The second installment of La Fontegara México's Arca de Música: Instrumental Music in New Spain covers the second half of the 18th century, and features chamber music by Johann Christian Bach, Carl Friedrich Abel, Franz Xaver Richter, François Devienne, and Luis Misón. These European composers' works were published in New Spain by the Imprenta de Biblioteca Mexicana, which was founded as a book store by Juan José de Eguiara y Eguren, though the operation switched to music publishing under the ownership of Padre José de Jauregui and his nephew, Padre Don José Fernández Jauregui. An 1801 inventory listed the works heard on this program, and left a record of what was performed in Mexico City, the center of cultural activity in the country. La Fontegara México performs these works with a somewhat different combination of instruments than was employed in the first volume, replacing the harpsichord with a fortepiano and adding a Romantic-era guitar, while retaining transverse flute, viola da gamba, Baroque cello, Baroque guitar, and theorbo. The same commitment to period details and expressive warmth that graced the first volume carry over into this follow-up disc, though the restrained Classical idiom dominates throughout, and there is no sense of indigenous Mexican influence; even the anonymous Sonata Quinta del señor Aydem reflects a Baroque sound reminiscent of Domenico Scarlatti, instead of any Mexican characteristics. Even so, this is a satisfying companion to the first disc, and it raises awareness of the advancement of music in 18th century Mexico. © TiVo

The first volume of La Fontegara México's Arca de Música, a survey of instrumental music performed in New Spain, explores early to mid-18th century manuscripts of chamber music by Pietro Locatelli and Santiago de Murcia, which have been preserved in the Códice Saldívar No. 4; works by Antoine Mahaut and Leonardo Leo, from an undated notebook in the collection of the Cathedral of Mexico; and two anonymous pieces held by the library of the National Museum of Anthropology in Mexico City. The group has also transcribed some of the music for its own instrumentation, which consists of recorder, transverse flute, viola da gamba, Baroque cello, harpsichord, theorbo, and Baroque guitar. The music is sophisticated and refined, and the performances are stylistically quite close to what would be expected of any European ensemble of the time, though some of the exotic flavor of the New World is apparent in the anonymous Seguidillas, or the Gaitas from the Códice. The polish and virtuosity of these performances make this disc a charming diversion for casual listeners, though those interested in the historical background will be delighted to discover this seldom-played repertoire and its place in Mexican music history. Meridian's sound is clear and intimate, so the warmth of the playing comes across along with its sparkle. © TiVo