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• MISA CRIOLLA
• THE ORIGINAL PHILIPS DIGITAL DUTCH PRESSING WITH ARIEL RAMIREZ
• TAS-LISTED
• AUDIOPHILE
• Ariel Ramirez
• Misa Criolla
• Navidad Nuestra
• Jose Carreras

When Ariel Ramirez recorded his Creole Mass in October 1964 in Buenos Aires one could sense it was a work of universal appeal, but no one could have foreseen its enormous success. The original recording, released in 40 countries, sold more than three million copies and the score was published in the United States by Lawson-Gould Music Publishers Inc.,in Canada by the Ministry of Culture, and in Argentina by Pigal-Lagos. The first public performance, conducted by the composer, was in the Rheinhalle, Dusseldorf, on March 12, 1967.

The Mass, sung to a Castilian text approved in 1963 by the Liturgical Commission for Latin America, is a striking combination of the composer’s own melodies and traditional Argentinian and Hispano-American regional forms and rhythms. The forces involved are a soloist (or vocal duo), a choir of at least 40 mixed voices, organ (or piano), and an instrumental ensemble featuring the charango (a five-stringed guitar), quena (a rustic flute), siku (Bolivian panpipes), and a wide variety of regional percussion instruments.

The Kyrie, in the Andean rhythm of the baguala-vidala, suggests in the solo part the vastness, solitude, and aridity of the high plateaux. The Gloria uses the carnavalito yaravi (in 2/4 and a minor key), the Argentine variety of the carnaval, one of the most widespread dances of the high plains of northwest Argentina, Bolivia, and Peru. The obsessive rhythm of the Credo is the chacarera trunca, from Santiago del Estero, a province of northern Argentina. The carnaval returns in the Sanctus, but this time it is the Bolivian type, in the triple rhythm and major key typical of Cochobamba. The prayer for peace in the Agnus Dei is in the lyrical estilo pampeano (style of the pampas).

“Navidad Nuestra” and “navidad en Verano” were also composed in 1964 in collaboration with the poet Felix Luna. The former is a cantata-like series of songs in which Ramirez gives each episode of the Nativity story a regional flavour. Each of the six songs is characterized by a different rhythm or dance type, varying from the tender grace of the chamame for the Annunciation (No.1) to the jubilant rhythm of the chaya riojana for the arrival of the shepherds (No.4), or the concluding vidala tucumana, which depicts, in elegiac fashion, the flight of the mother and Child into Egypt. Traditional Argentinian instruments are used, notably the charango, the leguero drum (made with the skin of an animal stretched over a cylinder of willow-bark), and the accordion. Despite the cycle’s obvious Hispano-American flavour, both the music and the subject have a universal appeal, as is borne out by the fact that three of the songs (Nos. 1, 2, and 5) have been recorded several times.

“Navidad en Verano,” scored for tenor solo and a mixed choir of five voices, evokes a southern Christmas, without Christmas trees or smoking hearths. It is a plea for “peace on Earth, where the earth is warm and where it is covered with snow.”

Plainly Put :

• One of the best classical recordings of all time !!!
• This 1988 release, long held in high regard on my favorite list.
• If you are a forgiving listener, this is one fine record.
• Don’t miss this Exquisite and legendary recording, you will ever hear……………………………….......................................
• A vinyl treasure, among the very, very best !!!

LABEL     : Philips

NUMBER : 420 955-1

Original Made in Netherlands !!!

RECORDS CONDITION : EXC+ to NM

COVER CONDITION      : EXC+

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POSTAGE:

Holland: 7 euros

To Europe excl. Russia : from GBP 8 / 9.50 euro/ US $12 to GBP 10.50 / 12.50 euro / US $16

Rest of world excl. Russia : US $24 / GBP 16

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