Composer: Various Latin American composers
Works: The Jungle Book of the Baroque
Performers: Ensemble Villancico, Peter Pontvik
Label: Caprice Records CAP 21658
Recording Date: January 2000
Duration: 55:48
In The Jungle Book of the Baroque, we are invited into a vivid tapestry of sound that emerges from the confluence of Iberian and indigenous musical traditions in colonial Latin America. This recording, performed by the Ensemble Villancico under the direction of Peter Pontvik, showcases a selection of vibrant and intriguing works from the 16th and 17th centuries—an audacious musical dialogue that speaks to the cultural exchanges that transpired during the age of conquest.
The historical context of this music is as rich as its sound. The arrival of Spanish conquistadors not only heralded an era of colonization but also introduced a wealth of European musical forms, which were soon interwoven with the indigenous musical practices of Mesoamerica. The result was a distinctively hybrid art form that is both reflective of the Baroque idiom and distinctly local in flavor. The works presented on this disc exemplify this synthesis, allowing listeners to experience the genesis of what we might now refer to as “world music.”
Among the standout pieces is “Vachonloj ibankinal,” which commences with a lively strumming of the guitar, accompanied by the spirited rhythm of a tambourine. The introduction of a Maya dialect vocal line, sung almost a cappella, establishes an immediacy that is both engaging and evocative. The interplay between the solo voice and the chorus that follows captures the celebratory spirit of the music, reminiscent of rural festivities where community and ritual converge. The rhythmic vitality and catchy melody here exemplify the seamless blend of polyphonic structures with the syncopated rhythms characteristic of indigenous music.
Another notable track, “Las estreyas se rien,” reveals the ensemble’s adeptness at handling more complex textures. This piece, featuring a double chorus, begins with a traditional sacred sound, yet soon evolves into a spirited contest between the choruses, echoing the competitive nature of the knights’ tournament it depicts. The musical dialogue is captivating, as the two groups engage in a playful exchange that mirrors the jubilant themes of the text, celebrating both the birth of Christ and the exuberance of life itself. The performers deftly navigate the intricacies of the polyphonic lines, bringing out the contrasting colors and dynamics that breathe life into the work.
The unnamed “Instrumental piece,” scored for gamba, guitar, and percussion, reveals a more introspective side of this repertoire. The gentle, flowing lines of the gamba are underpinned by a steady, almost meditative thump of percussion—a delightful homage to the gamba sonatas of the 16th century. This juxtaposition of instrumental timbres creates a rich tapestry of sound, with the percussion accentuating the subtle rhythms without overwhelming the melodic content.
The engineering quality of this recording is commendable, capturing the clarity and resonance of the ensemble’s performance within the acoustically pleasing environment of the Petrus Church in Stockholm. The balance of voices and instruments has been handled with care, allowing for both individual lines and the overall texture to shine through. The result is a sonic landscape that is both inviting and immersive.
Historically, this music is significant as it represents some of the earliest examples of a truly syncretic musical form emerging from the colonial experience. The works featured here are largely overlooked in the broader canon of Baroque music, and this recording serves as both an introduction and a celebration of these forgotten voices. The performance by Ensemble Villancico is both spirited and nuanced, effectively conveying the festive and energetic nature of this repertoire.
In conclusion, The Jungle Book of the Baroque stands as a vital contribution to the understanding of early Latin American music. Through its exploration of the intercultural exchanges between European and indigenous traditions, it reveals a vibrant and dynamic musical landscape that is as historically significant as it is artistically compelling. For those with an interest in the origins of world music and the Baroque idiom, this recording is a treasure trove of discovery.
