5. These symphonic versos continue the Spanish and Mexican practice of replacing single lines of a Psalm in plainchant with brief organ interludes in polyphony. Several writers discuss these organ versos, and most of their observations are applicable to the symphonic versos of the eighteenth century. See Bernadette Nelson, “Alternating Practice in Seventeenth-Century Spain: The Integration of Versets and Planchant in Psalms and Canticles,” Early Music 22 (1994): 239-59; Benjamin Lipkowitz, “The Villahermosa Manuscript: An Imported Source of Late Eighteenth Century Spanish Keyboard Music,” in Music in Spain during the Eighteenth Century, ed. Malcolm Boyd and Juan José Carreras (Cambridge: Cambridge University Press, 1998), 207-13; Juan José Rey, “Manuscritos de música para tecla en la Biblioteca del Conservatorio de Madrid,” Revista de musicología 1 (1978): 221-33; José González Valle, “Liturgical Music with Orchestra, 1750-1800,” in Music in Spain during the Eighteenth Century, 53-71, esp. 60-61; and Alfonso de Vicente, “La actividad musical en los monasterios de monjas en ávila durante la edad moderna,” Revista de musicología 23 (2000): 509-62, esp. 521.

6. See Mexico City Cathedral, Legajo C.c.12 / AM0613 & AM0614, and Puebla Cathedral, Legajo 43.

7. For biographical information see my “Hidden Structures and Sonorous Symmetries: Ignacio de Jerusalem’s Concerted Masses in 18th Century Mexico,” in Res Musicae: Essays in Honor of James Pruett (New York: Harmonie Park Press, 2001), 135-59; “Jerusalem, Ignacio de,” in The New Grove Dictionary of Music and Musicians II (London: Macmillan, 2001), 13:15-17; “The Mexican Cathedral Music of Sumaya and Jerusalem: Lost Treasures, Royal Roads, and New Worlds,” in Actas del XV Congreso de la Sociedad Internacional de Musicología, published in Revista de musicología 16 (1993): 99-134. See also Jesús Estrada, Música y músicos de la época virreinal (Mexico City: Secretaría de Education Pública, 1973); Luis González Obregón, México viejo 1521-1821 (Mexico: Editorial Patria, 1945).

8. For a thorough explanation of responsory forms see Hoppin, Medieval Music (note 1), 105-10.

9. The more extended structure, Rab-V-Rb-Dx-Rb, occurs in responsories 3 and 6, which, ending nocturns, include the doxology.

10. See Estrada, Música y músicos, 145-46.

11. With the appearance of Pietro Alessandro Guglielmi in this manuscript we once again see Jerusalem with first-hand knowledge of composers in Mozart’s musical environment. Guglielmi was one of the most admired composers in Vienna, and one of Mozart’s competitors.

12. See “Hidden Structures and Sonorous Symmetries” (note 7).

APPENDIX 1

Order of 18th-Century Matins in Mexico

preparation

Processional (optional)

Domine labia mea (intoned)

Invitatory (concerted—interspersed with chanted Psalm 94)

Hymn (concerted, often a “Pastoral” in 6/8 time)

NOCTURN 1

Antiphon 1 & Psalm (plainchant) *

Antiphon 2 & Psalm (plainchant) *

Antiphon 3 & Psalm (plainchant) *

Versicle, Lord’s Prayer & Absolution (intoned)

Benediction 1 & Lesson 1 (intoned)

Responsory 1 (concerted, with choir)

Benediction 2 & Lesson 2 (intoned, continuation of previous Lesson)

Responsory 2 (often a solo or duet with orchestra)

Benediction 3 & Lesson 3 (intoned, continuation of previous Lesson)

Responsory 3 (concerted with choir, with virtuosity for soloist)

NOCTURN 2

Antiphon 4 & Psalm (plainchant) *

Antiphon 5 & Psalm (plainchant) *

Antiphon 6 & Psalm (plainchant) *

Versicle, Lord’s Prayer & Absolution (intoned)

Benediction 4 & Lesson 4 (intoned)

Responsory 4 (concerted, with choir)

Benediction 5 & Lesson 5 (intoned, continuation of previous Lesson)

Responsory 5 (often a solo or duet with orchestra)

Benediction 6 & Lesson 6 (intoned, continuation of previous Lesson)

Responsory 6 (concerted with choir, with virtuosity for soloist)

NOCTURN 3

Antiphon 7 & Psalm (plainchant) *

Antiphon 8 & Psalm (plainchant) *

Antiphon 9 & Psalm (plainchant) *

Versicle, Lord’s Prayer & Absolution (intoned)

Benediction 7 & Lesson 7 (intoned)

Responsory 7 (concerted, with choir)

Benediction 8 & Lesson 8 (intoned, continuation of previous Lesson)

Responsory 8 (often a solo or duet with orchestra)

Benediction 9 & Lesson 9 (intoned, continuation of previous Lesson)

Te Deum (a “numbers” arrangement with each section of text having its own music as a separate movement: choral sections, duets, solos, etc.)

* During any Psalm short symphonies (called versos) may be inserted. The sonorities then shift back and forth between plainchant and instrumental interludes.

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