Manuel de Zumaya or Manuel de Sumaya (c. 1678 - 21 December 1755) was perhaps the most famous Mexican composer of the colonial period of New Spain. His music was the culmination of the Baroque style in the New World. He was the first person in the western hemisphere to compose an Italian-texted opera, entitled Partenope (now lost). Similar to Antonio Vivaldi, Zumaya was also a life-long, active Roman Catholic priest.
Manuel de Zumaya was born in Mexico City. (Born around 1678; died in Antequerra, Valle de Oaxaca, on December 21, 1755). The exact date of his birth has not been conclusively determined. The only certainty is that he was baptized on January 14, 1680, as recorded in the baptismal records found in the Book of Baptisms for mestizos, blacks, and mulattos, as well as in the Book of Baptisms for Spaniards, both located in the Archive of the Metropolitan Sacristy in Mexico City.
Manuel de Zumaya was a Mexican composer and organist. He likely began his service at Mexico City Cathedral around 1690, quickly gaining recognition for his prodigious talent. His name first appeared in a document dated May 25, 1694, when the cathedral chapter provided financial assistance following his father's premature death. They arranged for him to study organ under organist José de Ydiáquez, and composition under composer and maestro de capillaAntonio de Salazar.[1]
Zumaya's play Rodrigo in honor of the birth of Crown Prince Luis was performed on August 25, 1707, possibly with his own music. In 1908 he was named second organist at the cathedral and in 1710 was named interim maestro de capilla, even though he was still studying composition. He was also hired by the viceroy, Fernando de Alencastre, 1st Duke of Linares, as a composer and translator. Linares commissioned the opera Partenope, which premiered in 1711. On June 20, 1714, Zumaya was promoted to principal organist at the cathedral and was named maestro de capilla when Salazar retired in 1715. Between 1734 and 1736, he added additional musicians to the cathedral's orchestra.[1]
In 1738, Zumaya moved to Oaxaca, hoping to become the maestro de capilla at Oaxaca Cathedral, but the post was not actually vacant. Zumaya became personal chaplain to the archbishop, Dean Tomás Montaño. On November 16, 1742, in spite of a lack of training or suitabnle experience, he was appointed interim curate of the cathedral parish. Zumaya was eventually named maestro de capilla on January 11, 1745. Zumaya expanded the orchestra and mentored several promising musicians.[1]
Manuel de Zumaya died on December 21, 1755, in Oaxaca, where he had resided since 1738.
Style
His works are a multiplicity of his talents and styles. He was a master of the older Renaissance style and of the newer Baroque style.
Zumaya, an exceptional composer from the New Spain in the 18th century, demonstrated versatility in both pseudo-Renaissance vocal polyphony and Baroque stylings. While his Latin motets and hymns often featured free imitative counterpoint, his Alma Redemptoris mater creatively paraphrased plainchant, and his Lamentations for Holy Saturday incorporated the Spanish Lamentation tone. What distinguishes Zumaya is his bold harmonic exploration, particularly in his use of augmented and diminished chords, as well as secondary dominants. His Baroque compositions are marked by energetic motivic activity, intricate instrumental figuration, and lively harmonic progressions. In the villancico Celebren, seemingly unassuming motifs emerge in the accompaniment, gradually intertwining in complex ways to generate a sense of continuous advancement.[1]
In 1711, the new Viceroy of New Spain, Don Fernando de Alencastre Noroña y Silva, Duke of Linares, a devotee of Italian opera, commissioned Zumaya to translate Italian libretti and write new music for them. The libretto of the first, La Parténope survives in the Biblioteca Nacional de Mexico in Mexico City, though the music has been lost.
Zumaya authored the charmingly jolly Sol-fa de Pedro (Peter's Solfeggio) in 1715 during the examinations to select the Chapel Master at Mexico City's cathedral.
Zumaya's other famous piece, Celebren Publiquen, shows his ability to handle the polychoral sound of the high Baroque era. With his distribution of the choral resources into two choirs of unequal size, he copied the style that was favoured by the Spanish and Mexican choral schools in the early 18th century. The rich textures and instrumental writing reflect Zumaya's "modern" style and are at the opposite end of the spectrum from his anachronistic Renaissance settings.
Zumaya's recessional Angelicas Milicias presents his ability to superbly combine the Baroque orchestra and choir to create a sublime and stately piece in honor of the Virgin Mary. The interludio, Albricias Mortales, is done in much the same style as Angelicas Milicias.
Saldívar, G. (1987). Historia de la música en México. Gernika.
Stevenson R. (1952). Music in mexico: a historical survey. Crowell.
Stevenson, R. (1964). Mexico City Cathedral Music: 1600-1750. The Americas, 21(2), 111-135. doi:10.2307/979056
Stevenson, R. (1965). La música en la Catedral de México: 1600-1750. Revista Musical Chilena, 19(92), 11-31.
Sumaya, M. de, & Tello, A. (1994). Archivo Musical de la Catedral de Oaxaca. Cantadas y villancicos de Manuel de Sumaya. CENIDIM.
Zumaya, Manuel de, in The New Grove Dictionary of American Music.
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