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These are a collection of 11 polyphonic songs from Argentina, Bolivia, Brazil, Peru and the Caribbean. Kaluyo, tonada, tango with text, Chacarera, waltz, and rumba are musical styles which were not into tomes one and two. The first two songs are rhythmic canons intended to be performed by five and three voices. “Dulce Jesus Mio” is one of the only unaccompanied polyphonic works from the Biblioteca boliviana. There are Spanish and Chiquitano versions. The other songs are based on popular melodies with Spanish or Portuguese texts except for “Verano Porteño” by Asto Piazzolla composed of onomatopoeias.
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The fourth tome of Latin American polyphonic songs is composed of arrangements and original songs. The editorial line is the same that the other tomes. There are easy songs like “Domine Jesu,” “Vidala Palomarqueña,” and “La vicuñita” as well as difficult ones. This tome also includes the most difficult songs of all the tomes; “Dolor llanero,” “Volver,” “Capullito De Aleli”. |
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Marc Honegger gathered, reproduced and gave commentaries 15 polyphonic songs for three to five mixed voices.
There are songs like psalms and chorals composed by Claude Goudimel, Claude Le Jeune and Georges Migot. This is a glimpse of the incredible richness of this musical genre.
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Bernard Gagnepain gathered polyphonic songs intended to be sung in unison.
“Quinze vaudevilles ou rondes de table” was published by Christophe Ballard between 1700 and 1702. Those Bacchic parodies are written in a bawdy way which was popular in the 18th century. Musical style melodies are one aspect of the three-voiced chorus, and melodies of carols are the other aspect. Enjoy!
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