Composer: Orgue
Works: Historique de Tlacochahuaya
Performers: Dominique Ferran – Organ
Recording: Recorded on the historic organ of the Convent of San Jerónimo at Tlacochahuaya, Province of Oaxaca, Mexico, 18-20 October 1994
Label: K617049
The recording “Historique de Tlacochahuaya” presents a unique insight into 17th-century Iberian organ music, played on the recently restored historic organ from the Convent of San Jerónimo in Tlacochahuaya, Mexico. This project, which coincided with a festival celebrating the organ’s restoration after decades of neglect, highlights the importance of this instrument not only as a musical artifact but as a cultural touchstone reflecting the confluence of Spanish and indigenous influences in the Americas. The organ itself, a modest one-manual instrument with no pedals, is a testimony to the craftsmanship of the period, and the music selected for this recording aligns well with the historical context of its creation.
Dominique Ferran’s performance reveals a deep understanding of the idiomatic characteristics of the music and the instrument. The repertoire, drawn from notable Iberian composers such as Antonio de Cabezón, Francisco Correa de Arauxo, and Juan Cabanilles, showcases the rich palette of colors available on this uniquely tuned instrument. Ferran’s playing is marked by clarity and precision, particularly in the more elaborate passages where the right hand utilizes the organ’s distinctive reeds en chamade. For instance, in Correa de Arauxo’s “Tiento de medio registro de tiple de 4o tono,” the interplay between the dexterous right-hand lines and the sustained left-hand harmonies illuminates the texture of the piece, evoking the exuberance of the Spanish Baroque.
The recording quality is commendable, capturing the vibrant sound of the organ within its resonant surroundings. The mean-tone tuning, preserved from the pre-1913 silencing, adds a layer of authenticity to the performance. It allows for a nuanced exploration of the harmonic language typical of the time, which favors certain keys and creates coloristic effects that enhance the expressiveness of the music. The engineering strikes a balance between clarity and warmth, enabling listeners to appreciate the delicate interplay of the various stops, such as the charming Pajarito, which emulates bird calls, thus linking the music to its pastoral roots.
While the program may not exhibit the same stylistic diversity found in the works of North European contemporaries like Sweelinck and Buxtehude, it offers a focused examination of a specific tradition that warrants attention. The inclusion of pieces like the anonymous “Baile del Gran duque” provides a delightful contrast, reminiscent of the playful spirit found in its North European counterparts. Ferran’s interpretation makes each brief work resonate with significance, showcasing the organ’s distinctive voice while respecting the brevity and character of the pieces.
This recording stands as a commendable endeavor, both in its historical significance and musical execution. Ferran’s attention to the idiomatic qualities of the repertoire, combined with the evocative sound of the restored organ, creates a rich listening experience that rewards repeated hearings. This disc offers a valuable perspective on an often-overlooked facet of Baroque music, making it a noteworthy addition to the discography of early Iberian organ music.
