(Según Henrietta Yurchenco, quien preparó el comentario que acompaña el disco (Philips: Stereo PCC 623) "Misa Flamenca and Misa Mozárabe." De éste dice en la portada: "the authentic Spanish Catholic Mass dating back to the time of theArab conquest. Performed by the choir of the Seminary of Toledo and the "Colegio de Infantes" ' Directed by P. Alfonso-M. A. Frechel; Orchestra of Ancient Instruments directed by Jose Torregrosa. All selections: Version of P. Gonzales Barron " Por dentro dice lo siguente:
"One of the four main branches of Western liturgy, the Mozarabic developed early in Spain's Christian history. Even after the Moorish Conquest, the Mozarabes (Christians living in Moorish-controlled provinces) continued to practise their traditional rites.
The Mozarabic chant was later endangered by Rome's determination to impose a universal liturgy throughout Christendom. Upon the Spanish reconquest of Toledo (1085/6), the Castillian King Alfonso VI ordered the immediate adoption of the Roman liturgy, but was defied by an aroused populace. Toledo became the center of resistance to Roman authority. Passions ran high. Finally the issue was submitted to trial by fire. Mozarabic and Roman liturgical books were thrown into the blaze. Miraculoursly, the Mozarabic was unscathed, but the stubborn King refused to relent. A placating Pope came to the rescue, giving permission for six churches of Toledo to retain their traditional rites. Despite this new lease on life, the ancient Spanish rites apparently died out by the end of the 13th century.
Late in the 15th century the famous Cardinal Jimenez de Cisneros tried to revive the Mozarabic chant. Under his direction new versions were inscribed in three cantorales. However, the original medieval notation could not be deciphered and so the Cardinal's work was regarded as questionable.
Fortunately, scholarly research has recovered some of the treasures of the past: Twenty genuine Mozarabic melodies were deciphered from 12th century manuscripts. Even Cisneros' books have been used to good advantage. By eliminating extraneous material from the songs, some of the loveliest liturgical melodies were revealed. Hopefully, more will come to light with further research. Quite apart from hisorical details, however, the Mozarabic chant in the version presented here is living music, and from a purely esthetic viewpoint, a magnificent work of art.
The Misa Mozarabe includes portions of the "Proper" and the "Ordinary" Mass with special sections of its own. The Mass is sung in unison by a men's choir and a boy's choir accompanied by an orchestra of ancient instruments and a harpsichord."
Conviene tener en cuenta también lo ocurrido en Granada a finales del siglo XV. No sé si puede decirse que había desaparecido del todo la misa mozárabe cuando Fray Hernando de Talavera, primer obispo de Granada (1493-507), nombró clérigos que supiesen hebreo y árabe, sustituyó la música litúrica católica por la música e instrumentos árabes y cambió la misa del español al árabe (así como se negó a las conversiones forzadas, cosa que pudo resistir hasta 1503). Fue precisamente quien salvó a Fray Hernando.
MISA MOZARABE: Introito - Officium - Gloria (6:51) Psallendo - Sacrificium- Pacem Meam (6:43) Sanctus-Credo-Paternoster (6:30) Accedentes- Post Communion (1:51).
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