El archivo musical del Conservatorio de las Rosas. Past, Present, Future

8/14/2019 El archivo musical del Conservatorio de las Rosas. Past, Present, Future

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El archivo musical

del Conservatorio de las Rosas

pierluigi ferrari


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n. 164

Annimo,

Montes y valles

mid of 18th century


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past18th Century


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The Colegio de Santa Rosa de Santa Mara was

founded in august 1743.

Bishop don Pablo Matos Coronado

Previously the building was the convent of nuns

Dominicas who moved to a bigger

establishment in 1738 (Templo de Las Monjas,

avenida Madero).


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The Colegio was in charge of protecting

exclusively spanish women: rosas de Castilla,

sin mezcla de otras flores, the roses of Castilla,

away from other wild flowers


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The Colegio provided them basic education in

order to prepare them to get married or become

nuns, as they were seldom orphans and

consequently poor and, at that time, more

helpless than men.

Musical education was part of their formation.


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The insurgent movement and independent

government left the church without privileges,thats why the function of the Colegio decreased

by the mid of 19th century.


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In 1861 the governor of Michoacn, Gral. Epitacio

Huerta, ordered the enclosure of the institution

and the nuns and collegiates was forced to leavethe building.

In 1863 the Colegio was reopened by Jos deUgarte, when the french-belgian army of

Emperor Maximilian ocupied the city of Morelia.

Finally, in 1870 the Colegio was definitely closed.


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We have no idea of the apeareance of the building

before the end of 19th century:

Mariano de Jess Torres, Colegio de Santa Rosa de

Santa Mara, leo, 1876, Museo Regional

Michoacano.


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past20th Century


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In 1939 Don Miguel Bernal Jimnez discoveredthe

musical archive of the Colegio and began toinvestigate its history.

In a fews months he transcribed and prepared some

compositions that were performed in an

unforgettable concert.

The recenthistory of the archive had begun.


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Also in 1939 Bernal Jimnez published a Catlogo

(nowadays considered in fact an inventory) of the

archives music.


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With the help of some of his students, Bernal

Jimnez continued the musical transcription andpublished an essay about the musical life of

Valladolid.


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When Bernal Jimnez unexpectedly died in 1959,

the investigation about the archive died also.

During the 90s some researchers visited the

archive but none managed to reactivate the

investigation.

However not even we, the teachers of

Conservatorio, were permited to take a look ofthe documents that was protected in a security

box in a bank of Morelia.


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present21th Century


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In 2002 something happens.

A fact that seemed extremely positive: on

november 20th in the Church Las Rosas where

performed some of the compositions preserved in

the archive.

The concert was part of the XIV Festival

Internacional de Msica de Morelia and theconcurrence was of course amazed and pleased.


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However only in 2004 the direction of

Conservatorio allowed us to access to the

archives documents. In november Mercedes de

Len, Pierluigi Ferrari and the students ofMusicology restarted the investigation.


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One of the firsts commissions was confronting the

material itself with the Catlogo of BernalJimnez and the most recent inventory

(burocratic, not musicological inventory) made in

1984.

The result of this confrontation was amazing: some

composition had disapeared, including some verywell known, but at the same time someothers

aparentely not registered before had also apeared.


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OBRAS QUE YA NO SE ENCUENTRAN EN EL

ARCHIVO DE LAS ROSAS

OBRAS RELIGIOSAS COMPLETAS: 8

Dos licenciados gorrones.Villancico a 6 Al Nacimiento de Ntro. Seor.Moratilla, 1729.

Vengan, vengan Pastores Amantes Cantada de Noche Buena a 8 sinviolines.

Valla, valla de msicasDo para coloquios de Noche Buena. Un violn y unbajo.

Venid pastores Quatro vozes y vaxo. De un monte en lo encumbrado.Do con acompaamiento a Ntra. Seora

de los Dolores. Mtro. Mora.

Nios, nios a BethlemVillancico a do sin violines al Nacimiento de Ntro.Redentor Jesu Christo.

Retrato en quien copia Villancico a 4 con 2 violines y vaxo a la Pursima. Mi dulce Dueo Cantada a Do con violines Al Nacimiento de Ntro. Redentor

Jesu Christo. Joseph Gavino Leal, 1761.


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OBRAS RELIGIOSAS INCOMPLETAS: 7

Felix Nanque esMotete con violas y cornos.

Tota pulcra Motete a 4 con acompto.

Filie regum Aria a dos con clarinete obligado y bajo.

No ms, no ms penasCantata.

A 4 voces y violines. Recit. a solo y a do

Sobre el pan de los cielosVillancico a 7 con violines y sin ellos al.Santsimo. Gregorio Remacha.

Missa a 4con violines, oboes y trompas. Echeverra.


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OBRAS PROFANAS: 9

Los AtahonerosSaynete a siete con violines, flautas, trompetas y bajo. SanVicente, 1782.

Boleras a Do. Boleras nuevas a do con acomp. de dos guitarras obligadas. Jos M.

Aldana.

Overtura a pur Stromenti N.Jomelli Alle Damecon violines, violas, oboes y cornos. B. Galuppi. Dir che fida seiAria con violines. B. Galuppi. Da che e morta manma ma.Aria con due violn, due viola et Basso.

G.B. Borghi. Obertura con Violn, Viola, oboe, Trombe Obligatti, e Basso. Antonio Rodil. Oberturacon Violini, Viola, Oboe, Trompas e Basso. Antonio Sarrier.


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M.B.J. Completas Incompletas Fragmentos Total actual

Villancicos 38 18 18 9 45

Misas 18 4 18 9 31

Motetes 18 2 1 - 3

Areas 16 8 7 13 ** 28

Cantadas 11 6 1 6 13

Duos 11 3 5 9 17

Trecetos* 6 3 - - 3

Coloquios* 6 3 - - 3

Loas 4 5 1 - 6

Salves 4 1 3 1 5

Total M.B.J. 132 53 54 47 154


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We were given the archive in the same security box

that until now keeps the documents: the best

solution for protecting them against robbery but

the worst to protect them against time waste.


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We were very concerned about the preservationscondition: it was evident that many documents

have suffered the effects of very unproper

conservation.


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Luckely we were relieved when a group of restorers

of the Escuela Nacional de Conservacin,Restauracin y Museografa Manuel del Castillo

Negrete, Magdalena Castaeda Hernndez,

Diana Medelln Martnez y Alejandra OdorChvez, checked the documents and gave a

profesional advice.


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The diagnosis showed that the documents havesuffered different kind of damage, but

considering their age the general condition could

be considered as positive.


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The damages were the most commun for this kind of

ancient documents.

1) Biological damage

2) Chemical damage

3) Fisical damage

4) Ink related damage


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insects


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foxing


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foxing


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Waxs spots


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Dobleces causadas por la guarda


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Dobleces por parches pegados


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strapping


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oxid ink


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Planned actions for future conservation:

a) Fisical cleaning (in order to remove dust and other

materials in the surface);

b) Changing bags that permit a better opening of thepapers (the old ones were very small and made of

acid paper);

c) Changing the container to allow a better preservation

of the documents so that they can be kept open,

ordered and separated, not overpositioned.


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In order to get funds for the mentioned actions we

organized a concert where were performedcompositions newly transcripted by the students

and their teachers of Musicology.


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Sadly this was not enough at all. Not even to begin

the most important steps.

The investigation continued for sure, beginning

with the catalogation acording the rules of RISM(Repertorio internacionales de las fuentes

musicales) and with the transcription of other

works.


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We learned to prepare new bags of Mylar, an inertplastic material proper for the preservation of

paper documents.


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Last november we could buy a new container,much more proper than the security box, and a

Data Loggerin order to check humidity and

temperature.


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Finally in february we began a digital photographic

register (even if not profesional it will help us tocontinue the investigation avoiding the direct

contact with the document)

The digital register has more than four thousand

images and takes a remarkable space: more than

10 Gb


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To conclude some examples of these activities


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To conclude, some examples of these activities.

A document not very important musically due to itincompleteness (only one page), but very

important considering its author: a autograph of

Ignacio de Jerusalm, chapelmaster of MexicoCity Cathedral and one of the most important

composers of Colonial Time.


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El archivo musical del Conservatorio de las Rosas. Past, Present, Future

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Transcript of El archivo musical del Conservatorio de las Rosas. Past, Present, Future