8:00 p.m.

Parish Church of the Asunción (old Dominican convent)


Jorge Enrique García Ortega, director


A chapel master in the insurgent Mexico: Antonio Juanas (1767-ca. 1822)


The name of the composer from Soria (Spain) Antonio Juanas, chapel master of the Cathedral of Mexico between 1791 and 1816, has been invariably linked with the idea of crisis by associating his music with the influence of Italian music and by developing his activity in one of the darkest and most convulsive moments of Mexico: the insurgent period. Beyond historiographic clichés and a priori views, the present concert is part of the recent efforts to restore his figure and recover part of his immense legacy, in this case from a sample of his four-voice polyphony.


Antonio Juanas (1762/63-1822?)
Motet Vidi Dominum sedentem al Padre Eterno (4vv)1

Motet Veni Sponsa Christi (4vv) (1806)1

Lumen ad revelationem for Purification day (4vv)1

Regnum Mundi for the feast day of María Magdalena, Santa Ana and Santa Teresa (4vv) (1794)1

Antiphon Salve regina (4vv) (1805)2

Regina caeli, for Easter (4vv) (19 February 1792)2

Ave maris stella, at Vespers of the Virgin (4vv) (1794)2

Descendent Dominus sicut pluvia, for the feast day of the Expectation of the Virgin (4vv)1

In Vesperis Conversione S. Pauli apostoli
Invitatory Deus in adiutorium, anonymous4

4-voice reconstruction without instruments (23 January 1793)3
Antiphon Ego plantavi
Psalm Dixit Dominus
Antiphon Libenter gloriabor
Psalm Confitebor tibi Domine (with “varillas”)
Antiphon Gratia Dei
Psalm Beatus vir (plainchant and Domenico Zipoli’s organ verses)
Antiphon Damasci, praepositus gentis
Psalm Laudate pueri (fabordón)
Antiphon Ter virgis caesus sum
Psalm Laudate Dominum

Capitulum Saulus adhuc spirans

Hymn Egregie Doctor Paule2
Verse Tu es vas electionis

Antiphon Sancte Paule Apostole

Canticle Magnificat

Prayer for collection Deus, qui universum

Benedicamus Domino, anonymous4

Duration: 60’

Archivo del Cabildo Catedral Metropolitano de México, Música, A2036 (olim AM1809) [1]; A0230 (olim AM0204) [2]; y A0270 (olim AM0243) [3].
Códice del Convento del Carmen, México D.F. [4]

Musicological project: Javier Marín López



Jorge Enrique García Ortega, counter-tenor and director
Félix Iván Martínez Ortega, tenor
Manuel Jiménez Canto, tenor
Daniel Muñoz Morán, baritone
Arnau Coma Cunill, Baroque bassoon
Anibal Soriano Martín, plucked string
Sandra Massa Santos, organ

La Real Capilla. It is a satellite group of Conjunto Vocal Virelay (the Cádiz Cathedral choir) and sprung out of the interest in performing the Hispanic repertoire from a historical point of view, both in terms of the “facistol” polyphony as well as the so-called “a papeles” pieces, using only male voices. Although the members have been working together for several years as part of Virelay’s research work, it is only now, after a painstaking process of preparation, that La Real Capilla has been formally constituted as a group in its own right.