If you would like to send a donation to Tonantzin Fund:
send a check to Mixcoacalli "Tonantzin Fund"
Bank of America :5270-1345: 95070 38084
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Mixcoacalli and Tonantzin Fund presents:
Tonantzin
Alfredo Villela-music director
Cynthia Powell-conductor
Allison Sniffin-piano
With poet Adelaide Amor,
members of Melodia Women's Choir of NYC
and
The Stonewall Chorale
7:00 p.m. May 20, 2007
The Unitarian Church of Montclair
67 Church St.
Montclair, New Jersey
Performance to honor the mother of the Aztecs
with authentic nahuatl (aztec) instruments
tickets:$15 advanced
$20 at the door (or day of)
$5 children (5-13) free under 5
tickets and info: alfredovillela@mac.com
(973) 930-5902
Proceeds to benefit the children and musical instrument makers of the village of San Juan Tehuixtlán, Mexico.
Tonantzin (to be presented by Alfredo Villela and collaborators on May 20nd at 7:00 at the UU church)
The arrival of Spaniards to Tenochtitlan, the capital of the thriving Aztec empire and the site of present day Mexico City, brought with it a tremendous loss in lives as well as the demise of Aztec civilization. Although European culture dominated over indigenous customs, many aspects of pre-Hispanic beliefs and traditions lived on. The intertwining of both cultures, syncretism, is one of the defining traits of present day Mexicans. Nowhere is syncretism better illustrated than in religion: the success of the Spaniards in converting indigenous communities to Catholicism was in part due to the practice of usurping native deities by replacing them with a cast of Christian characters, in the process, transforming the Catholic religion as well. Tonantzin, the Aztec mother goddess, was converted into the Virgin of Guadalupe, one of various manifestations of the Virgin Mary. The revelation of the Virgin to Juan Diego, a native convert, at the site that Aztecs had used to worship Tonantzin, made both goddess and mother of Christ become one.
In addition to ideology and religion, syncretism happened in all aspects of daily life. One such aspect, which occupied an important place in Amerindian societies, was music. Music played a role in religious ceremonies, with musical instruments representing deities as well as devices used to please the gods. During the years immediately following the Spanish conquest, friars and natives recorded multiple aspects of pre-Hispanic civilization, including music and songs. The sources used to compile these manuscripts include oral tradition passed down through generations as well as pictoglyphic records. Following close scrutiny of native songs, friars aimed to identify heretical elements and modify the lyrics to accommodate for Christian themes but maintaining the original musicality. The exclusion of non-Christian lyrics from the church was soon followed by the exclusion of native instruments. The use of pre-Hispanic musical instruments has continued to this day and in fact has been integrated into Catholic celebrations, but the instruments themselves are played outside of the church.
Alfredo Villela has been studying pre-Columbian music for many years. As a Mexican, he is the result of an amalgam of cultures. Not surprisingly, he has sought to combine his passion for both electronic contemporary composition and acoustic Aztec instruments and the conventions used to play and compose for them. He considers the repetitious polyrhythmic style he employs to be the result of syncretism. In addition to disparate sources used for composition, a second level of syncretism comes about by combining diverse sounds such as those made native acoustic instruments and computers. He sees himself as following in a tradition of Mexican Nationalist composers like Carlos Chavez and Silvestre Revueltas, who intended to maintain a bridge between popular Mexican traditions as well as contemporary composition. In addition, he is heavily influenced by minimalist composers like Steve Reich and Philip Glass. The work he is presenting uses percussive instruments (Huehuetl and Teponaztli) as well as flutes (huilacapiztli and ocarinas), rattles (chicahuatzli), guitar and laptop. Alfredo Villela intends to preserve and continue the musical tradition passed down by pre-Columbian cultures.
Cynthia Powell A graduate of Westminster Choir College. Cynthia has conducted choirs throughout the NY metropolitan area and currently serves as Music Director of Christ Church, Ridgewood NJ, and Organist/Choirmaster of Temple Sinai in Tenafly. As a pianist and organist, she toured the U.S. and Europe with Meredith Monk's opera ATLAS, and Monk's Celebration Service and Quarry at the Spoleto, USA Festival, the Walker Arts Center in Minneapolis and Lincoln Center 2000 Festival. She has been a guest conductor at Sarah Lawrence College, the St. George's Choral Society in NYC and the Festival Internacional des Coros in Havana, Cuba. She has produced recitals and concerts to benefit Bailey House, a residence for homeless people with AIDS, the animals injured in the Exxon-Valdez disaster, and Doctors without Borders. She currently is celebrating her 5th season as Artistic Director of the Stonewall Chorale in NYC, having recently performed with Meredith Monk & Vocal Ensemble at Merkin Hall and will conduct the Chorale at Symphony Space in their annual Pride concert with special guest Marni Nixon. She is also the conductor of Melodia Women’s Choir of NYC and just conducted their May concert, “Shout! Sister, Shout!, Girl Groups from the 12th to 21 centuries” . She is a honored to again collaborate with Alfredo on this Tonantzin concert.
Allison Sniffin's (composer/multi-instrumentalist) interest in sincretism began two years ago with a trip to Mexico City. There she witnessed live Aztec dancing, which led her to the idea of setting poetry of Sor Juana Ines de la Cruz (Mexican Baroque) to the accompaniment of Nahuatl instruments in a composition she was writing (Oyeme con los ojos, commissioned by Melodia Women's Chorus of NYC and scheduled for a New York premiere in November 2006). The daunting problem of finding Nahuatl instruments in Metropolitan New York was resolved through a search leading to Alfredo Villela, who supplied the Nahuatl orchestration, and whose friendship and mutal interest in sincretism have spurred on other collaborations (such as this evening's). Allison tours internationally with The Meredith Monk Ensemble for which she serves as Music Director and arranger/orchestrator/engraver. Work with Monk has led to collaborations with The Western Wind Ensemble, Kronos, Alarm Will Sound, Young People's Chorus of NYC, The New World Symphony and Hamburg Symphony Orchestra.
Barbara Merjan is delighted to be a part of tonight's Tonantzin concert. She has performed in a wide variety of musical contexts including Lea DeLaria at Newport Jazz Festival, Birdland, Smoke, Iridium and Joe's Pub; Jerome Kitzke's Mad Coyote Ensemble at Lincoln Center and Merkin Hall; The Stonewall Chorale and Melodia Women's Choir of NYC at Merkin Hall; Taikoza Japanese Drum Ensemble at Madison Square Garden, Grand Central Station, Symphony Space and Galapagos. On Broadway she has performed in Curtains; 110 in the Shade; Lovemusik; The Apple Tree; Pajama Game; Beauty and the Beast.; Ave. Q; Cabaret; Cats; Big; Annie Get Your Gun; Miss Saigon; Sunset Blvd.; and Dracula
Alfredo Villela-teponaztli, huehuetl, huilacapitzli, chicahuastli and powerbook
Cynthia Powell conducting-vocals
Allison Sniffin piano-vocals
Barbara Merjan-percusionist
Charles Blustein Ortman-Nahua poetry English
Wendy Pantoja-Nahua poetry Spanish
Adelaide Amor- poet
Program:
Tonantzin “our Mother” was worshiped in the hill of Tepeyac by Aztecs.
Teponazcuicatl (Procession of the Drums) Based on the reconstruction of codex Cantares Mexicanos by Christopher Moroney. Recreation of the pilgrimage of Juan Diego, an Indian Nahuatl to whom the Virgin of Guadalupe appeared and left her image on his “tilma” cloak. Following her apparition, she instructed Juan Diego go to the Cathedral and ask the Archbishop to build a shrine in her honor at Tepeyac.
Écatl "wind" huilacapitzli (ocarinas) of all shapes will create a complex harmony inspired by all natural events; wind, jungle, the sea. The use of delay lines, organic clay ocarinas and huilacapitzli with digital signal processing creates a unnatural but familiar sound. It represents all unexplained phenomenons.
Clavecín de Tonantzin "Tonantzin's Clavier" world premier of Villela's piano piece. Nahuatl rhythms are played by Allison Sniffin using the piano as a rhythmic instrument invoking a state of trance. An example of pure Syncretism were the modern and the ancient intersects.
Macochi, Pitentzin "Let the child sleep" traditional song from Ameyatlepec Guerrero, Mexico.
Onauac “dance” represents the active work performed by living creatures. The grinding of the stone “molcajete” sets the pace for creation. The Huehuetl (tree root shaped) follows the rhythm set by the grinding representing human motion.
Nonantzin "My mother" poem by Netzahualcóyotl, music by Salvador Contreras, arrangement by Allison Sniffin.
Ocelotl "Jaguars" (Canción para Curar) healing song from a Huichol shaman.
Allison Sniffin, piano
Alfredo Villela, teponaztli, huehuetl, huilacapitzli, chicahuastli, powerbook
Barbara Merjan, huehuetl and teponaztli
Wendy Pantoja, Nahua poetry (Spanish)
Adelaida Villela Amor, poetry
Naila Aziz
Jyoti Christal, chantsKellie-Jo Ciafolo
Monka Dockendorff
Tina Goldstein
Morgan Russell
Allison Sniffin
Faye Timmer
Kyung-A Yoo
Dancers:
Freddy Londono
Peter Sciscioli
Percusionists:
Alva Bostick
Sam Lazarra
Barbara Merjan
Melodia's guru:
Jenny Clarke
Graphics:
Brendan Ford
I would not be able to make this happen every year if weren't from the love and guidance of Rose Ann Murray, the energy of Camilo Antonio and joy of Alfredo Daniel. I give thanks to them and all the very talented and passionate people I have become friends over the years. To Adelaide Amor who have give so much love and direct responsible of me being here. And last but not least, Cynthia Powell and Allison Sniffin who magically appeared into my life to make it reacher and bold.
Alfredo Villela