A este sol peregrino (SSAT)

Tomás de Torrejón y Velasco was a Spanish composer that spent most of his life in Peru, emigrating from Spain when he was 23 years old and spending the next 61 years of his life there. His music straddles the line between sacred and secular, with a large number of deeply religious works and also an extensive collection of secular works which include the first opera composed and performed in the Americas, La púrpura de la rosa. “A este sol peregrino” is a vailete, a fast-paced work with characteristic dotted rhythms often used in celebrations that include dancing. This piece was performed frequently for the feast of Saint Peter, on June 29, an important celebration in coastal communities in Peru since he is considered the patron saint of fishermen in the Catholic tradition. The constant reference to the sun in this piece also contributed to its popularity, since it correlates the indigenous worship of Inti, the Inca sun deity with elements of Christianity.

This performing edition is based on how Border CrosSing often performs this work and includes the various dynamics, ornamentation, instrumental arrangements, and other interpretative decisions that we make when performing this piece. Editions that reproduce only the notes and rhythms as they appear in the manuscript preserved in the Cuzco Seminary Archive are freely available and in the public domain. Works in this genre usually have a contrasting “Coplas” section, separate from the rest of the piece. There are many ways to perform coplas; in some cases each copla alternates with the main body of the work while in other cases, they may be performed as a single block at the end, or in the middle; it really all depends on the desired length and circumstances of the performance. In most Border CrosSing performances, we perform all the coplas as a contrasting middle section, with the main body of the work before and after the coplas. There exists one additional copla verse that has been omitted from this edition and from most Border CrosSing performances.

Because of this work’s origin in the festive celebrations for Saint Peter and its relation to dance, our interpretation is fast- paced, raucous, and—most important— fun! We incorporate improvised percussion into the main body of the work, usually through the use of a maraca or tambourine playing constant sixteenth notes and highlighting the multiple cross-rhythms and accents in the piece. This also helps hold the ensemble together where rhythmic precision is needed. We also alternate between soloists and full ensemble throughout to vary the texture and dynamics, and to allow singers to sing freely in the more virtuosic sections. Some suggestions on how to do this have been incorporated into the edition.

The instrumentation is flexible. While a harpsichord or organ would both be historically-appropriate harmony instruments, guitars or harp are also great options. The keyboard realization is a suggestion and performers are encouraged to create their own; we have provided chord symbols throughout to make this more accessible. Various bass instruments can be used, including cello, bassoon, or double bass; for Border CrosSing performances, our most commonly used instrumentation is double bass, harpsichord, and maracas.