Sony Vaio Magic Gate Driver

MUSICAL HERITAGE AND TRADITION

chilote In the musical heritage , has not been possible so far to find scores to record the musical repertoire of the island communities during the period of the Jesuit missions, since the founding of the church to Achao expulsion order, which occurred in 1767. So it is likely that these writings have never existed, because the missionary strategy adopted by the Ignatian order was different from the Indian system of reductions performed in the Amazonian region of Paraguay and Bolivia. In Chiloé, evangelizing activity is handled through the called "missions circular" , which consisted of visits periodic evangelistic communities located on each island. Thus, the great temples, such as Achao, only to Christianity met on the occasion of certain festivals of the liturgical year.

Considering this situation, the establishment Achao a permanent chapel and school musicians singing and instruments was not appropriate in the circumstances. As a counterpart, we developed a varied musical practice religious oral tradition, which has been preserved and enriched until today, without having suffered a discontinuity. Therefore, it can be argued that in Chiloé are facing a case of religious musical heritage, historically continuous since its genesis, which still can see the link with the European traditions brought by the missionaries.

are mainly outlined issues which have motivated us to make this festival, where they meet the music of Christian devotion, Mary and patron saints with academic interpretations of old colonial music. Note that invited this year sets this code with a special dedication to the Jesuit legacy. Therefore, file the center of these musical practices in the historical and heritage of the church of Santa Maria di Loreto is a Achao other appropriate action to necessary.

is also important to emphasize the direct involvement of children and young musicians belonging to different communities of Chiloé, who have federated their will and efforts to recreate one of the most representative repertoires, and, while unique in the world, the meeting spiritual and musical between European Christians and the indigenous Americans. From here we also thank the teachers and parents of these children, that with effort and enthusiasm have been able to understand, appreciate and engage with the cultural and spiritual development of their children.

also appreciate the effort and dedication by the community engaged Parish of Saint Mary of Loreto Achao, and especially its Cultural Enterprise Centre and Museum of Evangelization, with those who plan, organize and develop this wonderful project.

As last year, this version of the festival has made a digital phonograph record "in situ" of the activities taking place during the five days of the festival. So thanks to the Municipality of Achao and Carabineros de Chile - Achao deputy commissioner, who have given us their special collaboration to ensure an appropriate acoustic environment to record the sound of these performances. Likewise, we urge collaboration which can provide the public and the residents of the Parish of Achao, avoiding noise and activities in the surrounding streets that could hinder a proper sound recording. Thus, this beautiful music will be even more memorable.

Sergio Candia

Study Director MusicAntigua
Pontificia Universidad Católica de Chile

******************* ************************************************** ************************************************** *********************

What Does Pain By Belly Button Mean

CHILOÉ RELIGIOUS PROJECTS AND STUDIES RELATED TO THE FESTIVAL

The origin of the idea of \u200b\u200bthis festival has been the intention of supporting and consolidating the work of the study, preservation and dissemination of religious and musical heritage of Chiloé, and work for several years Cultural Enterprise Centre at the Museum of Evangelization Parish Achao.

Therefore, during the first version of the festival began planning actions aimed at achieving the medium term that the valuable collection of audiovisual material treasured by the Parish of Achao can have a proper documentation that allows it known to the academia and scholars of the cultural heritage of peoples, both nationally and internationally.

Associated with this objective, three Chilean musicologists have made contributions that should be mentioned here.

Sebastian and Ursula San Cristóbal Gallardo carried out the project entitled "Cataloging and digitization of audiovisual and sound of the parish of Santa Maria de Loreto Achao" (funded by the Online Music Promotion Research in Music National 3CL13113200865326 Folio). Its main objectives were:

1. contribute to the preservation music records of oral tradition, through the development of a catalog of audiovisual material preserved in the archives of the Church of Our Lady of Santa Maria de Loreto Achao.
2. promote the dissemination of religious and cultural heritage of oral tradition, through the publication of the catalog on the network.

existing audiovisual material in the Church of Our Lady of Santa Maria de Loreto Achao is composed mainly by sound and audiovisual recordings of religious celebrations, meetings and festivities in which members of the community Achao and different islands of the archipelago of Chiloé. Within the framework festive music reappear linked to ritual practices of the early community of European colonization and evangelization in Chiloé, which still have symbolic meaning, religious and aesthetic of the early Jesuit missionaries. Despite their relationship, it would be naive to say that these songs have remained intact throughout the history: their present existence is strictly possible by reworking chilotas communities have made on them over time. The aesthetic stamp that human groups from different eras have been printed on multiple pieces holiday-music-now in force, allows us to postulate the patrimonial character of the music. Hence the importance of preserving this cultural property through specific actions for the classification and recording of information, which indicate, first, the creation of a catalog. This initiative comes Achao community, which has expressed its desire to install a system of organization of material heritage preserved in the Church of Our Lady of Santa Maria de Loreto, which allows easy access to it, both for the community chilota as researchers from different areas to show interest in local oral heritage.

Creating a catalog is a first step towards the creation of a file, which, no doubt, contribute to the unveiling of new horizons in the field of music research (for example, the association study between the documented and devotional music colonial music), and establish new points of convergence between the different disciplines interested in the subject, among which are counted Musicology, History, Folklorología, anthropology, aesthetics, and more.

The musician, historian and musicologist Victor Rondon, meanwhile, has worked with the festival by an adaptation his edition of Mission Song "Chilidúgú" especially dedicated to the implementation on children's voices and instruments chilotes, whose family origins refer specifically to meet the original cultures of the archipelago of Chiloé and Hispanic cultural matrix.

extracts reported here an account of the Rondon research, conducted by musicologist Rodrigo Torres and published in the Revista Musical Chilena, Santiago V.52 n.190 July 1998:

"The evangelical fervor of the Society of Jesus was the main driver of its business in the kingdom of Chile (1593-1767), and this win to the church, the souls of the natives of the New World was the crusade he joined the Bavarian priest Bernard of Havestadt (1714-1781), in the heyday of the Jesuit missions in the colony.

The intense experience, encounters and clashes with the Indians he visited, the loss of his equipment and even the very strong blow dealt to his head by a young missionary Pehuenche probably trigger an intention to conduct a work that it took many years to complete and several more to post. Is this your Chilidúgú sive tractatus Linguae Chilensis, written in the Araucanía (approx. 1752-1756) and Santiago (1756-1765) after many vicissitudes and published shortly before his death in Westphalia in 1777. To date, the book is the only known source where missionaries are songs with texts in Mapudungun and music "solfa start." Notes

Chilidúgú Rondón that is, in essence, a work for teaching and learning of the Mapuche language, but above all we feel is an attempt to install the core of the Mapuche culture, within their language, Mapudungun, the basic categories of conceptual and ideological apparatus that supported the company evangelical, ecclesiastical and imperial at the same time representing the latest attempt Jesuit-domain strategy before his exile, one of the indigenous peoples most refractory to this process across the continent.

This publication is a sound and documented missionary theme installation in local musicological agenda. On the one hand provides valuable information on this source of musicology and music Jesuit missionary in Chile and, secondly, provides the initial fruits of laborious research in this area. Rondón moving beyond purely descriptive elucidation of the primary sources with which it works, build relationships and interpretations that complicate the phenomenon renovadoramente missions, connect with their ethnic and cultural environment, and suggests an interesting opening to the past and the present projection, an issue that is only suggested but will be undoubtedly an important line of research to develop future work. "

* ************************************************** ************************************************** **********************************************

How Many Calories In My Chicken Chow Mein

MUSICOLOGISTS ACTORS MUSIC FESTIVAL THIS SECOND

Musicians and ensembles participating

Boys Choir of Molulco Huilliches
Dir: Gabriel K. Coddou

The Boys Choir Huilliches Chiloé was created by Gabriel Coddou Mirror in 1993 under the aegis of the Development Fund for Culture and Arts of the Ministry of Education. This small choir consists of students from the Rural School "Molulco" in the commune of Quellón, the southernmost of the Isla Grande de Chiloé. This school is one that has more students in existing Huilliche Community in Chiloé and her students attend several rural localities.

One of a kind, this special feature choir is to sing songs translated into universal choral repertoire huilliche, with the aim of raising awareness of this beautiful native language, dialect mapuzungun, almost forgotten in Chiloé have been banned for more than two hundred years, like most of this ancient culture. Why huilliche songs and not translated into actual songs such huilliches? Because there are no suitable huilliches songs to be sung by a choir of children, the few who know are more of a ritual or have text in English and all are named after the "discovery" of America.

In these 15 years, where they have spent several generations of children, the Choir has a rich musical outreach work giving concerts and performing in Chiloé, Puerto Montt, Puerto Varas, Osorno, Concepción, Valdivia , Valparaiso and Santiago.

In January 1998 the choir recorded a CD together with the Joint Syntagma Musicum of the University of Santiago with the work "Chilidugú" also called Cancionero Jesuit Mapuche, the German Jesuit missionary Bernardo de Havestadt. In January 2000 phonographic recording made with a selection of songs in the book "Learning singing some of the beautiful language of Huilliches" under the same name, to be distributed in schools and community colleges Huilliche of Chiloé and in others rest of the country.

In 1998 the Rural School "Molulco" Art School was designated by the Ministry of Education and has had access to special projects and touring within and outside the country (Bariloche, Argentina).

Under the leadership of its current director, after the sudden death of its founding director in January 2004, the Choir has performed on numerous occasions among which are: the XXVI International Book Fair of Santiago in October 2006. A Tour of the X region in December 2006 under a project funded by the National Artistic Schools (FNEA). Two important actions in the VI and VII International Festival of Baroque Music of Latin American Calera de Tango 2007 and 2008 respectively. In March 2008, conducted a tour of the cities of Puerto Montt, Valdivia, Concepción, Bariloche - Argentina, and the final concert of this project funded by the National Fund for Artistic Schools was held at the headquarters of Compu Huilliche Cacica - Molulco . Along with its many performances in which he has offered the "Cancionero Jesuit" in several versions, the choir also performs choral repertoire songs translated into Huilliche universal, and most recently is working on a new repertoire: "Poetry in song." Unpublished texts most of which are part of the workshop literature Molulco School and are translated and put to music.

Liceo Orchestra Children's Island and Villa Quinchao Achao
Dir: Oscar Andrés Zapata

This group was founded with the support of the Municipal Corporation of Quinchao as part of the workshops of the school day full Achao Island High School and the School of Rural Villa Teresa Cárdenas Quinchao mid 2006.

After a learning period, both schools made different presentations of the results of their workshops, which include a presentation on the day of Special Education, in 2007, the Municipal Gymnasium Achao to which has continued in 2008, a concert at the Lyceum units Achao Island, presentation on the commemoration of Navy Day in the Municipal Gym of Achao and a presentation ceremony at the Library Literary Case Public Achao and participated in ceremonies own school.

In early 2008, both workshops are attached for an educational concert rural school Quinchao Villa Teresa Cárdenas. In December of that year, these children make their first Christmas concert and children's orchestra, presenting the community with the name of Liceo Orchestra Children's Island and Villa Quinchao Achao in the Church of Santa Maria de Loreto Achao.

The presentation of this band near the Boys Choir of Molulco Huilliches this Festival is a new milestone in the development and strengthening of educational and cultural work of this group, which has also involved the active participation of parents and guardians of participating children.

MusicAntigua Study
Pontificia Universidad Católica de Chile

Founded in 1993 at the Music Institute of the Catholic University of Chile, this vocal and instrumental group has been engaged in research and interpretation repertoires of the Middle Ages, Renaissance and Baroque periods, focusing its work in recent years on projects of interpretation of Baroque music led by Gina Allende and Sergio Candia. The interpretations and artistic productions of all incorporated frequently work with artists of the theater and dance, investigating the links between representation, codes of gesture and the musical styles of the period.

A significant part of this research are oriented to artistic expressions of baroque secular but religious inspiration, they constitute a rich source for finding the Hispanic collective musical imagination. The consideration of cultural and aesthetic codes that establish pathways of continuity between past and present American joins the constant search for new meaning, or renewed, in the interpretation musical repertoire presented in its concert programs and recordings.

Since its founding, the group has made records, TV recordings and concerts in Chile, Peru, Bolivia, Argentina, Paraguay, Colombia, Ecuador, Costa Rica, Germany, Holland and France. He has released four CDs: "Pour la Flute" (1996), with works for flute by French Baroque composers, "A play, sing, Bayle" (2003), with 19 works included in the "Anthology of Music Colonial South America "by Samuel Claro," Bird at dawn. Prince Music Songbook Esquilache "(2006) and" Passion. American Music Mysticism Baroque to the oral tradition "(2008). These latest productions have had under the auspices of the Research and Graduate Studies at the Catholic University of Chile, the FONDART and Cultural Council of State of Chile.

world premiere in May 2004, "Zuipaquî. Santa Maria ", a game of the Virgin Vespers and Mass of the eighteenth century Jesuit missions in Bolivia is an important milestone in the production of this set. With this realization MusicAntigua Study concluded the International Music Festival and Renaissance Baroque "Misiones de Chiquitos" in Bolivia, being hailed by the press, the public and critics Bolivia and Chile.

Singers and Prayer Makers of Chiloé

"Being the devout is a job for them, but does not charge rezador or FLa Novenera. In these times, if you have to go look in the vehicle, will and paid for, because the devout is a special person.

If you are prosecutors or patterns (among other qualities is that they know how to pray) go to your community and participate actively in the organization of the Feast. But usually rezadores are "wanted" to novena for the dead, funerals, praying the Month of Mary in their communities, the ninth of the test pattern. This is not necessarily what should the Prosecutor or pattern of the chapel.

In some cases they are "begging" especially, but when it comes to the wakes they become a duty, if the sector, to assist and pray the rosary, which is not the same as the ninth. In this case, "the owner" of the late ninth or feel the duty to provide goods and privileges to the devout and deliver a contribution in money, "what is your will," because they do not charge. Moreover, the "owner" is a must in providing maximum comfort. Otherwise, for owner has no validity.

They, as the place from which they come, join the family from the agony to end the ninth, when the person buried. If inclement weather the priest can not reach the island, give burial.

For wakes, are the latest charges made by the deceased or deceased. And when it is for Anniversary or "reminder" has the same meaning as God commands to remember loved ones.

But I think I have taken many detours. This is what I know, researchers do not know what to say, but this is a simple look that does not have chilota academic influences.

(Bernardita Oyarzun, Achao) "

************************************ ************************************************** ***********************************

Email Confidentiality Clauses

OLD RELIGIOUS MUSIC OF THE GARDEN OF CHRISTIANITY

Chilidugú the Jesuit Mission Song Bernardo Havestadt
(1714-1781)

(Letters to the concert on January 12-13)

is well known that music , And especially the song, was one of the most effective strategies for the evangelization of native peoples during the colonial period. All religious orders implemented a repertoire of songs whose text (the commandments, prayers and other major catechetical content) was set by the Council of Lima in the late sixteenth century, for all territories of the Archbishop of Peru, which were suffragan the Chilean bishops of Santiago and La Imperial, while the melodic material, ever changing, coming from the individual's own missionary tradition.

In Chile we have several sources Jesuits of the seventeenth and eighteenth containing such material, with varying degrees of explicitness about their musical content, but none as exceptional as that bequeathed us the Jesuit, of German origin, Havestad Bernardo (1714 - 1781), who, in his Tractatus sive Chilidugu chilensis tongue (1777), includes a collection of nineteen songs Mapudungun language.

Havestadt missionary experience in southern Chile in the mid eighteenth century, on either side of the Andes, made him a connoisseur of the Araucanian language, which allowed him to develop his monumental treatise began in Mapuche land, developed it in his retirement at school Order in Santiago, and ended up in exile in their homeland, where he returned after the expulsion order in 1767.

Havestadt catechetical texts adapted to the melodies he had learned during his childhood and youth in Cologne (Germany) home. These melodies have different origin: from medieval Gregorian hymns, congregational songs to German of the seventeenth and early eighteenth centuries. In this corpus is also called "melody or tone of Paraguay" that was used by Jesuit missionaries in the famous towns and Guarani reductions that the order remained in the territory Andes. Stand in this code are also two songs whose function is related to parliaments or huepines between winka and Mapuche leaders, evidencing the interest of the Jesuits in the Araucanía achieve a peace that would enable them to carry reductions ahead with plans that ultimately never materialized.

This code was applied to both the mainland and the island huilliche Mapuche in the Archipelago of Chiloé, where the result was so successful evangelist who became known as "the garden of Christianity" . Although designated as an instrument Havestadt accompanying these songs a keyboard instrument, organ and harpsichord, the truth is that, in practice, this code will be accompanied with instruments that were at hand. Already by the end of the first third of the seventeenth century, had reached the islands the Jesuit brother, and viola da gamba performer, Louis Berger with the special request of the superiority of introducing the music and the teaching of stringed instruments. This leads us to assume that a version like that on this occasion is presented could be possible. In general, these songs have a limited melodic range, which with short sentences, symmetrical and regular rhythm, make them easy to learn and group singing. There are, however, one or two songs that are beyond the mold, forming a material that can be addressed by more experienced soloists.

The Chilidugu song, as it is known today, is the only colonial catechetical directory in the Americas, which has been preserved in its melodic and textual components. After its premiere and recording in 1997, by a chorus of children in the community huilliche of Compu, Quellón, chaired by the late musician Gabriel E. Coddou along the entire Syntagma Musicum Usach of these songs have been covered and recorded in various latitudes. However, it is a repertoire closely associated with those children singing, as the current Molulco Huilliche choristers and children violinists Quinchao commune have been, perhaps always, the main audience and most genuine performers.

Víctor Rondón
Mission Song Musicologist Chilidugú editor

**************************** ************************************************** ************************************************** **********************

Roshan Prepaid Calling Card

COLONIZATION OF SOULS MUSIC PROGRAM

The music of the Jesuit missionaries in the Old and New World

(Notes about the concert on 14-15 January)

This presents a tour concert sound the stage musical imagination of a Jesuit of the eighteenth century.

production sonatas, concertos and recercares, by then part of the musical practices of European church environments, allows us to recompose the scene aesthetic experienced by many of the Jesuits who were to develop Company missions on American soil.

A case of particular relevance is the organist and harpsichordist Domenico Zipoli, which in Italy had been a disciple of the great Pasquini. This, in turn, shared musical aesthetic and the precepts that were minted in the Roman Arcadia environments, Upper Room in which he participated along with composers such as Arcangelo Corelli and Alessandro Scarlatti.

Such influences are felt in the vocal and instrumental music performed by the Jesuits in the new American concert. Indeed, in these works is easy to recognize the formal matrix of the sonata, cantata concert and Italian. Applications and duties assigned to this code imposed on American soil, without doubt, the use of text adaptation, instrumentation, and even forms. All this was in the missionary context, a tool eloquent, persuasive and "sweet" to achieve what the historian Fernando Mires has been called "the colonization of the souls."

The latter idea is what inspires the title of the concert. It brings together on one stage, that of his own Church of the Counter-echoes and glimpses of the rich European musical life in the memory of the missionaries, and far from their homelands. A double contrast with the message of salvation and prayer set to music is produced by comparing the repertoire Jesuit contemporary forms of music practiced in America but away from the missions, cathedrals and monasteries of the great metropolis of the colony, Lima, Quito, Santa Fe de Bogota, Guatemala and New Spain. But once again sounded, and even harder-fashion echoes and distant Europe: Corelli in Mexico, Ceruti in Peru ...

close this concert with a final twist in the infinite movement of the imagination across geographies and different times, Europe and America, Yesterday and Today: Songs of Father catechetical Havestadt, invented and taught Mapuche land in southern Chile. After the recall (from memory of the missionary melancholy perhaps, to show how new and inventive, do not know ...) and end up scoring in the Jesuit College in Santiago, Chile. Years later, in 1777, would be published in final retreat, back in his native Germany.

This concert program is also a musical tribute to the memory of evangelist and project Jesuit missionary in the colony. This goal stands especially in the presentation of a small part of the work of Father Havestadt, emerging a surprising link with the history of Achao, his home church and the Jesuit tradition chilota mission. This priest made an unprecedented musical "circular Trans mission." In fact, between October 1751 and March 1752, the mission traveled with a portable altar and on mules, more than 600 miles in mountainous areas in Chile and Argentina, between the river Maule and Villarrica volcano, north and south araucana mission of Santa Fe is likely that there has started to mint its project of making a catechism in indigenous languages \u200b\u200bwith European melodies. Noting

in key historical force in the musical traditions of Catholic devotion of the people and the renewed chilote practice of "round missions" under the initiative of the Parish of Achao, perhaps we can move a point in the understanding of the purposes stated this "missionary movement" with his Chilidúgú: "network to get through it souls."

H. Sergio Candia

************************************************ ************************************************** ************************************************** **************

Exsotic Mamal Breeder

*********************************** ************************************************** *************************************************

White Victorian Nightgown

Monday 12-Parish Achao / 20:00 hrs.
Tuesday 13 - Parish Dalcahue / 20:00 hrs.

********

Music in the Garden of Christianity
Chilidugú the Jesuit Mission Song Havestadt Bernardo (1714-1781)

Boys Choir of Molulco Huilliches
Dir: Gabriel K. Coddou Nicol

Andrade - Gustavo Aguila Guenteo - Barbara Antiman - Camila Bravo Camila
Antiman Nahuelquin - Loreto Cuyul \u200b\u200b- Roxana Cuyul \u200b\u200b- Camila Díaz - Valentina Diaz Jenifer
Guenteo - Jonathan Guenteo - Yaritza Kalbun - Jimena Lincom
Pedro Pablo Loncuante - Kasandra Mardones - Carolina Marquez Cunil
Remolcoy Macarena Navarrete - Hector Necul Levipani - Jessenia Jessica Sanhueza Olivera-Silva Araceli
know - Tabitha Velasquez Cuyul \u200b\u200b



Achao Island High School and Villa Quinchao
Dir: Oscar Andrés Zapata Tapia Barbara

Balladares - Camila hough hough - Carolina Llancao
Diego Oyarzun Aguilar Barraza - Felipe Hermosilla Rivera - Francisca Acosta Vargas Gabriela Bustamante
Curguan - Adrián Javier Barria Macarena Gallegos
Ralil - Marcia Villegas
Hueicha

Program:

1. Quiñe God - 2. Cume to che Ñi

3. God or votm - 4. Vill DGU mo

5. Duamtumn Vill - 6. Ventenlu

7. Quiñe God - 8. Duamtumn

9. Huet Che - 10. A Lord God

11. Aiúbige - 12. Ayueimi

13. Jesus cad - 14. Holy Angel

15. Acui - 16. Mari Mari

17. Vau Vau mlei - 18.Cad búrenieve

19. Ufchigepe

*****************

(See program notes al )

**** ************************************************** ************************************************** ************************************************** ************************************************** ************************************************** ***********

Wednesday 14 - Parish Achao / 20:00 hrs.
Thursday 15 - Parroquia de Castro / 21:00 hrs.

********

Music Colonization souls
The music of the Jesuit missionaries in the Old and New World

MusicAntigua Study
Pontificia Universidad Católica de Chile

Soprano: María José Brañes

Viola da Gamba

: Gina Allende
- Humberto Orellana - Consuelo De Cea

Violin: Raúl Orellana


Flutes: Sergio Candia
- Elke Zeiner

Harpsichord: Brandi Camilo

theorbo and Baroque guitar: Eduardo Figueroa

Programa

I
Ecos de Rome

Bernardo Pasquini (1637-1710)
Search by Thunder - Rome, ca. 1700

Arcangelo Corelli (1653-1713)
Concerto Op.6 / 8 "Made for the Christmas Eve"
Vivace - Grave - Allegro - Largo / Pastoral

Domenico Zipoli, SJ ( 1688-1726)
II Sonata en Sol menor - Rome, 1716
Prelude. Off-current. Allegro, Sarabande. Long-Giga. Allegro

II Echoes beyond American Jesuit provinces

SANTIAGO DE MURCIA (? - Ca. 1732)
Parade and works (Corellian pieces for guitar) - Mexico, ca. 1732 Prelude
grave - Giga.

ANONYMOUS
Canzona two accompanied
File Seminar San Antonio Abad, Cuzco

III
Sounds on stage of the American mission

José de Anchieta SJ (XVI century)
"Come to sigh with loved Jesu" - Missions in Brazil / Cancionero de Elvas, Portugal

SJ Domenico Zipoli Pastoral
organ (forgery for harpsichord and violins / Studio MusicAntigua)

F. SPEE (siglo XVII)
"Als in Jappon" - "Im grünen Wald"

Attributed to Domenico Zipoli SJ
"Zuipaquî, Santa Mary "- Misiones de Chiquitos, Bolivia, ca. 1750

ANONYMOUS

Morenito child - Misiones de Chiquitos, Bolivia, ca. 1750
Litany to St. Cecilia - Guarani Misiones, Bolivia, ca. 1750

ANONYMOUS (probably MARTIN SCHMIDT SJ)
Pastoreta "Ychepe Flute" - Misiones de Chiquitos, Bolivia, ca.
1750 Adagio - Allegro - Vivace - Allegro

BERNARDO DE Havestadt SJ (1714-1781)
Chilidúgú Songbook,
Jesuit Missions in the Araucanía, ca. 1756 / Posted in Westphalia, 1777
"Duamtumn" - "Jesus cad" - "Cad burenieve"

****************

(see program notes)

********************************* ************************************************** ************************************************** ************************************************** ************************************************** *******************************

Friday 16 - Parish Achao / 20:00 hrs.

********

closing Liturgy Music Festival: Day
collective chants and prayers code
religious communities existing in Chiloé

religious ceremony is a procession of parade entry, introduction to the gospel songs that will be proclaimed and requests prayers interspersed with songs, as well as action Joys graces through characteristic of the places of origin of participants. As usual in Chiloé, all of these songs are performed rezadores accompanied by the assembly gathered at the temple.

Intentions

1. vocations for service and maintenance of the legacy of the missions circular.
2. For the maintenance of local heritage alive and humanity.
3. for the souls of the worshipers singing, prayers and musicians chilotes.
4. In memory of those who cleared the forests, carved wood and built temples and homes of the archipelago.
5. By Jesús Nazareno (devotion chilote Village) and San Jose (devotion of carpenters).

Holdings

• Quinchao Banda's Parade: Culún Antonio Carlos Culún, Jose Alvarez, Marcia Alvarez, Melisa Legue, Francisco Culún participate in the procession.
• Jorge Mayorga, master of the image of San Antonio in the Chapel of Our Lady of Mount Caramel Chulín. Singing the Joys of Our Lady of Carmen and San Antonio. Also recites a poem to Jesus of Nazareth.
• Nahuelquin and Hector Pascual, prayers of Lelbun, Queilen. They sing the joys of Sponsorship Our Lady, patroness of the chapel Lelbun.
• Dorila Humberto Paredes and Miranda, Llingua. Singing the Joys of Our Lady of the Dawn, a festival was revived in 2008, after 100 years with no place for the removal of the last fiscal Chono, Don Carmen Ainol Caicompay. Our Lady of Aurora was the council of the natives.
• and Lucrecia Torres Candelaria Ojeda, Achao. They sing the joys of San Jose

Singers - Prayer Makers of Chiloé

• Jorge Mayorga, Chulín
• Nahuelquin Pascual, Lelbun / Queilen
• Héctor Nahuelquin, Lelbun / Queilen
• Dorila Miranda Llingua
• Humberto Paredes, Llingua
• Candelaria Torres, Achao
• Lucrecia Ojeda, Achao

Quinchao Banda de Parade

Culún Antonio Carlos Culún, Jose Alvarez, Marcia Alvarez, Melisa Legue, Francisco Culún

******************

Publish Post

(See notes on the performers)

*********************************** ************************************************** ************************************************** **************************************************