Misa do mar, for mixed choir

Although the state of Spanish religious music leaves a lot to be desired, there are some initiatives worth mentioning, as they sought a certain quality within a convenient simplicity to make it accessible to amateur choirs. Already reclaimed by the Cecilian movement in the xix century, which sought nobility without excess, in comfortable tessituras, with biensonance and moderation in their lengths. These do not need to reach ‘celestial’ heights, as Schumann used to say. This was what Jesús Fernández-Pareja y Marín was trying to achieve in his mass, with a texture which is primarily vertical polyphony, where the chord and the syllabic simultaneity predominate. It is akin to the classic chorale of German religiosity, but with a different melodic behaviour, which makes it a useful, dignified, and evident vehicle of popular religiosity. Repeating melodic turns establish a cyclic character, which give bonds of unity and affinity to the different pieces. The simple singing in unison with the melody accompanied by the reduction of voices to the organ is very successful (in some cases, a change in tone may be needed). As confessed by the author, he was not looking to emulate the polyphonic medieval masses in Barcelona or G. de Machaut, but as he is familiar with avant-garde techniques, he is right whesuitere he should be. This Misa do Mar (born at the behest of D. Casimiro, from the parish of Mugardos) not only sets the Común parts to music (sometimes slightly glossed) but also includes pieces of free text for the different parts of Propio, so all needs are met. Juan Antonio Moreno Fuentes, music prefect and magisterial canon of the cathedral of Lugo (1904-1987) left a vast amount of his musical works at the cathedral where he worked. The eight songs about texts by Rosalía de Castro being published now were edited by the director from Lugo Fernado Gómez Jácome, and are preceded by a complete study on the life and works of the composer. They also include his complete catalogue, conducted by Prof. Dr. Javier Garbayo. The lyrics were adapted by the linguist and guitarist Isabel Rei Samartim.