Nevertheless, this is not meant as disrespect for the music, as each of these Ramirez pieces is thoroughly entertaining when listened to separately.Ĭonductor Robert de Cormier and his 16-voice ensemble called Counterpoint (and the additional singers sometimes added to its ranks) produce an ideal sound–folk-like, with sparingly used vibrato, allowing a purity of intonation that prevents congestion and heaviness from setting in. For all the charm of the melodies and the lilt of the accompaniment, the musical substance is not especially deep. As it is, a certain sameness prevails when all three Ramirez works are listened to in order. The whole of the first two pieces and four movements of the latter Mass are included here, and the decision to add an assortment of five short folk-derived choral settings was a good one. In 1980, in his Misa por la paz y la justicia (Mass for Peace and Justice), he used the same style to protest repression by the Argentine military government. Ramirez continued to work in this style, immediately capitalizing with Navidad Nuestra (Our Christmas), which became popular in South America. It wasn’t just the hi-fi friendly percussion that made it popular: the choral writing itself is bright, optimistic, and never stuffy, and there is an attractive, unpretentious spiritual quality. This songful choral music, accompanied by upbeat native percussion and some harmony and melody instruments such as harps and guitars, was immediately popular when it appeared on LP in North America and Europe. He hit big with his 1964 Misa Criolla (Creole Mass, meaning mass in the style of South American cultures that arose in the mixture of Iberian and Indian). 1921) spent his 20s traveling widely in his native Argentina, absorbing various elements of folk music, particularly those that related to popular dance forms. That way, the new faith felt familiar to the indigenous people.This splendidly-performed and -recorded disc offers substantial entertainment and uplift.
![la misa criolla la misa criolla](http://www.m58.net/upimages/product_pic/2020-11/20201121175519.jpg)
When European Jesuits established missions in South America, they fell back on the Native American culture to some extent. This served as the starting point for Argentinian musician Eduardo Egüez and his ensemble La Chimera to connect the traditional music of the Andes in the «Misa Criolla» with music that had blended Christian sacred music with folk music of the American continent centuries before.
![la misa criolla la misa criolla](https://3.bp.blogspot.com/-ZxbToZnZabY/TuCGmxMxwiI/AAAAAAAAAIM/Y-ru3pjNmKY/w1200-h630-p-k-no-nu/Misa+Criolla.jpg)
In the «Misa Criolla» Ramirez combined Christian liturgy (sung in the language of the Spanish conquerors) with rhythms and melodies of Creole folk music. They also confronted Ramirez with the recent history of the society and culture which, half a millennium earlier, had left the Native American and Creole cultures devastated and marginalised when it discovered and conquered the American continent, and converted the population to Christianity by missionary work. Half a century ago, Argentinian musician Ariel Ramirez set out «to compose a religious work that shall express the hope of humankind for a better world.» Written in the 1960s, the «Misa Criolla» was also a means to thank the people who had helped the young musician during his years of travel through Europe some years after the Second World War.