The twenty pieces comprising the musical collection in the Codex Trujillo del Perú are an exceptional case in the history of the indigenous music of the New World. This collection of tonadas, cachuas, tonadillas, bayles, cachuytas and lanchas offers a glimpse of the repertory native to the traditions of the country, as indicated by the text of one of the cachuas sung “al uso de nuestra tierra” (“according to the customs of our land”) and in particular the songs and dances favoured by the popular classes who lived in the “Viceroyalty of Peru” at the end of the 18th century.
Aujourd’hui l’histoire avec Claude La Charité. …
Quand ce petit livre parut, ce fut "un tonnerre d'acclamations". Il fut imprimé plus de quarante fois du vivant même du saint ; il traversa les siècles sans voir son succès diminuer ; aujourd'hui ses éditions dépassent le nombre de mille et l'on ne cesse d'en produire de nouvelles. A quoi tient donc un tel succès ? …
It was only when Carl Philipp Emanuel Bach was appointed Musikdirektor in Hamburg that he started to compose a large amount of religious music. This, of course, was part of his job, but the fact that he had applied for this job is an indication that he didn't see any problem in writing music for the church and for specific occasions. It has taken a long time before the religious repertoire of Emanuel has been taken seriously, and it still doesn't belong to the core of religious music performed by today's choirs and orchestras.