17thc. & 18thc. Music in 'Nueva España', and 'Brasil Colonial'


“Slaves Carrying a Sedan Chair' (Palaquin), Brazil, c.1760 Spain - Nueva España, and Portugal - Brasil Colonial, introduced European liturgical music for use in churches into their respective South American colonies starting in the early 16thc. Indigenous musicians were converted to Christianity and taught to compose in the European style and to play European instruments, and in the process European style became blended with indigenous music, language, and instrumentation. Martín y Coll, composer and organist, his modern fame rests on four volumes of the Flores de Musica (Musical flowers), a compilation of hundreds of keyboard pieces, nearly all of them without an author:


Gaspar Sanz, 1640 -1710, composer, guitarist, organist and priest. He wrote three volumes of pedagogical works for the baroque guitar that form an important part of today’s classical guitar repertory, and have informed modern scholars in the techniques of baroque guitar playing. Sanz’s manuscripts for baroque guitar are written as tablature.

Baroque Music in Nueva España

Baroque Music in Portugal

Baroque Music in 'Brasil Colonial'

Virginals, Hans Ruckers, 1581 Virginals The collection of the Metropolitan Museum, New York, includes a Virginals, a rectangular harpsichord, dated 1581, by Hans Ruckers – the first of several generations of Flemish harpsichord makers in Antwerp (Belgium) - which had been sent to the Viceroy of Peru in Nueva España from Flanders in the late 16thc. It was discovered in a hacienda chapel in Cuzco, Peru in the early 20th century in remarkably good condition considering its age and the effects of the tropical climate.