J A C O B S S C H O O L O F M U S I C

Oy Hasemos FiestaMusic from 16th-century Guatemala for voices and winds

Ensemble Lipzodes with The Pro Arte Singers

Oy Hasemos Fiesta - Music from 16th-century Guatemala for voices and winds[01] Pabanilla – Anonymous – Santa Eulalia M. Md. 2, 7v 20:57[02] Cuentas a Santa Maria – Anonymous – Santa Eulalia M. Md. 12, 37v 1:36[03] Maria de solo un buelo – Anonymous – Santa Eulalia M. Md. 8, 65r 1:13 (Soloists: Angelique Zuluaga, soprano, and Tim Chenette, tenor) [04] Christe redemptor omnium 3:28[05] Kyrie – Anonymous – Santa Eulalia M. Md. 5, 12v 1:21[06] Gloria – Anonymous – Santa Eulalia M. Md. 5, 29v 3:35[07] Archangele Michael 2:51[08] Istadiorum – Anonymous – Santa Eulalia M. Md. 8, 20v 1:46[09] Psalm 147 – Anonymous – Santa Eulalia M. Md. 3, 11v 3:46[10] Credo – Anonymous – Santa Eulalia M. Md. 5, 13v 5:03[11] Angelus Domini – Anonymous – Lilly Guat. Mus. MSS 8, 23v 1:33[12] Sanctus – Anonymous – Santa Eulalia M. Md. 5, 19v 1:00[13] Y tech nepa – Anonymous – Santa Eulalia M. Md. 7, 8v 2:27[14] Romance – Anonymous – Santa Eulalia M. Md. 2, 1v 0:39[15] Pange lingua – Anonymous – Santa Eulalia M. Md. 3, 13r 3:55[16] Pange lingua (instrumental) – Anonymous – Santa Eulalia M. Md. 9, 24v 0:53[17] Agnus dei – Anonymous – Santa Eulalia M. Md. 5, 20v 1:11[18] Salamanca – Anonymous – Santa Eulalia M. Md. 8, 30v 0:51[19] Fahuana – Anonymous – Santa Eulalia M. Md. 7, 23v 1:20[20] Dominus regnavit – Anonymous – Santa Eulalia M. Md. 8, 42v 1:09[21] Primero tonos – Anonymous – Santa Eulalia M. Md. 8, 31v 1:08[22] Ave maris stella – Anonymous – Santa Eulalia M. Md. 3, 12r 2:03[23] Gaude mater ecclesia 2:24[24] Mulier quit prolas – Anonymous – Santa Eulalia M. Md. 8, 19v 1:55[25] Untitled – Matéo Fernandes – Santa Eulalia M. Md. 8, 54v 1:40[26] Aparejad ballesteros – Anonymous – Santa Eulalia M. Md. 3, 20v 1:27 (Soloists: Thomas Heuser and Jaime Barton, alto; Sean McCarther and Alan Dunbar, bass) [27] Hic solus - Anonymous – Santa Eulalia M. Md. 8, 21v 0:36[28] Audi benigne conditor 2:38[29] Quantelcta – Anonymous – Santa Eulalia M. Md. 2, 3v 0:51[30] Oy hasemos fiesta todas – Anonymous – Santa Eulalia M. Md. 1, 29v 1:38 (Soloist: Angelique Zuluaga, soprano) Total playing time: 56:54

Ensemble LipzodesJuan Carlos Arango: shawmC. Keith Collins: shawm, dulcian, recorderAnna Marsh: shawm, dulcianKathryn Montoya: shawm, recorderWolodymyr Smishkewych: voice, percussion

GuestsLucia Alves Melo: recorderNurit Blum: recorderAdam Bregman: sackbutJonathan Oddie: organWilliam Hudson: voice

The Pro Arte SingersJohn Poole, director; Carolina Gamboa Hoyos, guest conductorSopranoElizabeth AshantivaArwen MyersAddie Peyronnin*Sara RadkeMary RoosmaValerie Vinzant*Angelique Zuluaga*

AltoJamie BartonAngela Broker*Chris Cole*Yasuhiko HaradaThomas Heuser*Kateri InskeepMeghann Vaughn

TenorTim Chenette*Craig LemmingNathan ProctorJoey Purifoy*Daniel SpawMatthew Wells*

BassAlan Dunbar*Steven HrycelakGabriel LubellSean McCarther*David SimsJeong-Hoon Song

* Denotes Chamber Choir Jonathan Oddie, rehearsal accompanist

All rights reserved: The Trustees of Indiana University, 2009.Sponsored by the Lilly Library and the Early Music Institute at Indiana University. This project was made possible with the generous assistance of a Mendel Fellowship fromthe Lilly Library at Indiana University.Cover photograph: Angel with dulcian (detail from painting in Cocucho, Mexico, c. 1680). Photo © Robert Starner. Used by permission. Ensemble photograph by Sung Lee/Wolodymyr Smishkewych.Back cover photograph: Courtesy, the Lilly Library, Indiana University, Bloomington, Ind.Artistic direction: Ensemble Lipzodes. Executive producers: Anna Marsh, Michael McCraw, Paul Elliott. Assistant producers: Juan Carlos Arango, Nurit Blum, Adam Bregman, Paul Elliot, Bernard Gordillo, Anna Marsh, Angelique Zuluaga.CD design: Priscilla Borges, Jacobs School of Music Office of Marketing and Publicity. Recorded in Auer Concert Hall, Bloomington, Ind., 2007-2008.Recorded, edited, and mastered by students and faculty of the Jacobs School of Music Department of Recording Arts: Wayne Jackson, Alex Loew, and Konrad Strauss.

Choral Music and Chant

This preservation of the European Renaissance choral music canon can be seen foreshadowed by the devotion of the indigenous population as described in early seventeenth-century geographies, such as the one by Antonio Vázquez de Espinosa:

In all Indian villages throughout the Indies, both in New Spain, Honduras, Nicaragua, the Kingdom of Grenada, and Peru, no matter how small the villages may be, they have distinguished cantors and choirmasters, who officiate with great seriousness and piety at the Mass; they sing vespers to polyphony, and celebrate saints’ days much better than Spaniards do. Every day, they repair with as much exactitude as if they were monks or canons, to their choir in the church to repeat the office of Our Lady, and they never fail to do this every day with great solicitude and devotion.

Antonio Vásquez de Espinosa, Compendium and Description of the West Indies, trans. by Charles U. Clark, Smithsonian Miscellaneous Collections, Vol. 102 (Washington, D.C.: Smithsonian Institution, 1942), p. 223.

Interestingly, for the three centuries after the copying of these manuscripts, it was pure-blooded Indians in Guatemala rather than ladinos and descendants of conquistadores who most carefully respected the legacy of European Renaissance music brought over by the missionaries. Doubtless, in the sixteenth century, they must have marveled at the music of masters such as Mouton and Morales, as demonstrated by the copying of choirbooks from the Mexican and Guatemalan cathedrals and the eager sharing of the same with maestros throughout the region. This repertory fused with the musicians’ native language in coplas and villancicos, and its use continued until the end of the colony. As the practice of singing the

Notes and Translations

Ensemble Lipzodes and Focus Recordings/IU Music care about the environment as well as about offering you, the listener, an enjoyable and informative listening experience. In order to conserve the use of paper, the complete program notes, texts, translations, and performer biographies can be found on the Ensemble Lipzodes Web site (lipzodes.org) as well as on the IU Music Marketplace Web site(indiana.edu/~mrktpl).

The Lilly Library Guatemalan Manuscripts

By remarkably good fortune, the western central corner of Guatemala is the origin of a collection of manuscripts that bears witness to the amazing importation of European choral music into the “New World.” The Spanish colonists brought a variety of tools to the New World to convert the native peoples they encountered to Christianity. Music proved a strong selling point in an indigenous culture that held its own musicians in very high esteem.

In the 1960s, several manuscripts from the sixteenth century were found in a remote section of Guatemala. The music preserved in them offers a glimpse of what must have been common in small villages far-removed from the power centers of the Spanish colonists.

The collection of choral music and plainsong in the Lilly Library Collection of Guatemalan Music Manuscripts adds substantially to the evidence that gives Guatemala a place beside other large urban centers such as Mexico City, Cusco, Oaxaca, and Bogotá in the history of Renaissance music in the Spanish colonies.

liturgy, the repertory, and even the instruments brought to Guatemala. The caxa de flautas grandes purchased for cathedral use on April 2, 1549, calls to mind similar sets of flautas bought at Seville during Francisco Guerrero’s regime. As such, we can expect that not only were the polyphonic pieces an inheritance of the Sevillian capilla, but also that the chant, singing style, and language employed by the chantres demonstrated that city’s musical legacy as the mouthpiece from which musical influence upon performers and repertory flowed to the New World colony.

The Instruments

“The majority [of Indians] are good singers and expert in all sorts of musical instruments, shawms, flutes, sackbuts, curtals, and organs which they make out of numerous reeds very cleverly and ingeniously joined together; they use these to celebrate the divine service with great solemnity …”

Antonio Vásquez de Espinosa. Compendio y descripción de las indias occidentales. (An early seventeenth-century description of the music in the Diocese of Guatemala.)

In our interpretation of this music, we use many of the instruments mentioned by Antonio Vásquez in the quote above. Certainly, there is ample evidence for the use of instruments in Spanish cathedrals: an important document dated 1548 from the León cathedral describes very specifically when the instruments should play; a similar account from 1580s Seville, dictating when and where a given shawm of the consort is permitted to ornament, is particularly enlightening.2 That these practices were carried to the colonies is also supported by Vasquez’s account.

Other instruments used in this recording that were also mentioned by Vásquez as having been in use in Guatemala during the period the manuscripts were compiled include organ, recorders, and sackbut.

choirbooks’ music declined, the manuscripts became, in and of themselves, objects of devotion, attesting to their high status amongst the indigenous population.

The music contained in the Lilly Library’s manuscripts forms a miscellaneous collection. Chant and polyphony appear on adjacent pages; lengthy masses and short fabordones turn up in a single manuscript fascicle; and Latin motets, vernacular villancicos, and textless fragments showcase the range of material found throughout the manuscripts. Many are anonymous works, some of which are surely written by native Guatemalans. They exemplify the diversity and flexibility of musical form and style characteristic of motets written around the turn of the sixteenth century.

A number of languages appear among the texts in the Lilly Library manuscripts. Spanish is, of course, encountered most frequently. Within the other manuscripts, Spanish texts occasionally turn up interspersed with the more predominant Latin texts. French makes an appearance among those compositions but only as text incipits; most of the Spanish texts are villancicos. Although musicologist Sheila Raney Baird states that Nahuatl is the language of the three non-European language works in MS 7, only five other compositions in the entire manuscript group have non-European language texts;1 none of these others is Nahuatl (they may, however, be in Jacaltec-Chuj, another indigenous language from the area). On this recording, Ensemble Lipzodes and Pro Arte perform the Nahuatl communion responsory Y tech nepa (7/9).

The question of what chant was used for celebration of the office can be discerned without much difficulty. The choirbook inventory at Guatemala cathedral taken May 9, 1542, while Martin Vejarano was chantre, listed—amongst other items—five Sevillian missals on paper and one on vellum; two more Sevillian missals were added on April 2, 1549. These examples illustrate that, as elsewhere in Spanish New World cathedrals until late in the century, Sevillian use dictated the

The Instrumental Music

Most of the music in the manuscripts is texted or at least marked with a title or incipit. A few pieces are completely textless, while others are quite clearly dances: the titles Pabanilla and Fahuana are found and are probably Mayan attempts at spelling pavanilla and pavana. (Orthography in the manuscripts is always problematic as the native languages of the region often lack phonemes common in Spanish.) The apparently non-European title of one untexted pavane-like piece, Quantelcta, remains untranslated. Contrafacta of early sixteenth-century Parisian chansons, including the famous song Tant que vivray by Claudin de Sermisy, are also instrumentally viable. Finally, the Spanish tradition of falsobordón—while normally used to sing a Psalm in a very simple homorhythmic, multi-voice texture—is sometimes employed in compositions for instruments. Of the various polyphonic pieces without underlain text—and which the ensemble has chosen to perform as instrumental pieces—Mulier quit prolas, Istadiorum, Hic solus, Super Flumine, and Angelus Domini are all lengthy motets, each with a series of varied sections constructed on differing points of imitation that alternate with portions in chordal homophony. These pieces exemplify some of the finest music from the Old World, which the Guatemalan scribes chose to include in their collections.

End Notes

1 Sheila Raney Baird, “Santa Eulalia M. MD. 7: A Critical Edition and Study of Sacred Part Music from Colonial Northwestern Guatemala.” Denton, Texas: North Texas State University, 1961. (M.M. Thesis)

2 Kenneth Kreitner, “The Repertory of the Spanish Cathedral Bands.” Early Music 37 No. 2 (2009): p. 267.

Ensemble Lipzodes

Ensemble Lipzodes is a unique group of performers that came together in 2004 in Bloomington, Ind., whose members were students completing degrees in the Early Music Institute and the Jacobs School of Music at Indiana University. The ensemble combines voice, shawms, dulcians, recorders, and percussion to bring to life the rarely performed music of sixteenth-century Guatemala. In addition to this singular repertoire, the ensemble also explores new directions in Early Music utilizing voices and winds. In 2004, Lipzodes was a finalist in Early Music America’s Renaissance and Medieval Performance Competition. In 2006, the ensemble was selected as a winner in the IU Latin American Music Center’s Competition in Performance of Music from Spain and Latin America. The ensemble has performed throughout the United States and in Latin America, featured at festivals and series such as the Bloomington Early Music Festival, the Chicago Latino Music Festival, the

Festival Juiz de Fora, and the National Gallery of Art Concert Series. In 2007, it was featured on a CD recording by the University of North Texas, Christmas Vespers in Cusco: Music from an Incan Baroque City, with the University of North Texas Collegium Singers and Instrumentalists. Oy hasemos fiesta is Lipzodes’ first CD release as an ensemble with Focus Records.

The ensemble’s name comes from a creative misinterpretation of the writing on the flyleaf of MS 1, Santa Eulalia, from the Guatemalan Music Manuscripts (printed on the CD label of this recording). What at first glance seems to say “Lipzodes,” actually is the first part of a passage which continues:

“LibRodeSancta olaya Puyumatlan. Este libro de canto hize yo francº de Leon maestro deste pueblo de sancta olaya. hizelo En el año De mill y quinientos y ochenta y dos annos. Francº De Leon.” In an orthographic transformation typical of the region, the letters “b” and “p” became exchanged, and the “R” lost its vertical bar, to become what appeared to be a Z.

Program notes compiled by C. Keith Collins, Anna Marsh, and Wolodymyr Smishkewych from the following works, except as noted: Sheila Raney Baird, “Santa Eulalia M. MD. 7: A Critical Edition and Study of Sacred Part Music from Colonial Northwestern Guatemala.” Denton, Texas: North Texas State University, 1961. (M.M. Thesis) Robert Stevenson, “European Music in 16th-Century Guatemala.” The Musical Quarterly 50 No. 3 (July 1964): p. 341-52. Paul William Borg, “The Polyphonic Music in the Guatemalan Music Manuscripts of the Lilly Library.” (Volumes I and II). Bloomington, Ind.: Indiana University, 1985. (Ph.D. Thesis)

Ensemble Lipzodes wishes to thank:

• Breon Mitchell and the Bernardo Mendel Fellowship Committee for the award of a Mendel Fellowship, which underwrote the preparation and recording of this CD. • The Lilly Library at Indiana University for access to the manuscript, with special thanks to Zach Downey for assistance in digitizing the manuscript images. • Dr. Paul Borg for his assistance and for his 1985 thesis, which contains editions of much of the music that Ensemble Lipzodes used for this recording. • Sheila Raney Baird for editions of music from these manuscripts and Carolina Gamboa Hoyos for her revised editions of much of the choral music. • Michael McCraw, Paul Elliott, and the Early Music Institute at Indiana University for their support in the production and postproduction of this recording. • The Jacobs School of Music for the use of facilities and instruments for the recording. • Wayne Jackson, Konrad Strauss, and students of the Recording Arts Department at the Jacobs School for their assistance and perseverance. • Priscilla Borges, Linda Cajigas, and Alain Barker at the Jacobs School’s Office of Marketing and Publicity for assistance with design and postproduction. • Linda Shortridge for her constant support and encouragement and for the loan of her tenor dulcian. • John Poole, Ricardo Lorenz, and Bernardo Illari for their support. • Jake Belser from Farm Fresh Studios. • Juan Carlos Conde, Pablo García, and Diane Fruchtman for assistance with paleography and translations. • Erick Carballo and Wolodymyr Smishkewych for final editing and proofreading of program notes. • Robert Starner for generously permitting the use of his angel with dulcian photograph. All images of the Guatemala Music MSS are courtesy of the Lilly Library, Indiana University, Bloomington, Ind.

InstrumentsSoprano and alto shawms by Joel Robinson (New York, USA) Tenor dulcian by Guntram Wolf (Kronach, Germany) Bass dulcian by Bernhard Junghänel (Gütersloh, Germany) Positiv organ by Gerhard Brunzema (Ottawa, Canada) Tenor sackbut after S. Hainlein (1632) by Rainer Egger (Basel, Switzerland) Tamboril (side drum) and conchas (shells) by Wolodymyr Smishkewych (Bloomington, USA) Pandereta (tambourine) by Anxo Varela (Galicia, Spain) Soprano, alto, tenor, and bass recorders by Ture Bergstrom (Copenhagen, Denmark)

Oy Hasemos FiestaMusic from 16th-century Guatemala for voices and winds

Ensemble Lipzodes with The Pro Arte Singers

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[01] Pabanilla 0:57[02] Cuentas a Santa Maria 1:36[03] Maria de solo un buelo 1:13[04] Christe redemptor omnium 3:28[05] Kyrie 1:21[06] Gloria 3:35[07] Archangele Michael 2:51[08] Istadiorum 1:46[09] Psalm 147 3:46[10] Credo 5:03[11] Angelus Domini 1:33[12] Sanctus 1:00[13] Y tech nepa 2:27[14] Romance 0:39[15] Pange lingua 3:55[16] Pange lingua (instrumental) 0:53[17] Agnus dei 1:11

[18] Salamanca 0:51[19] Fahuana 1:20[20] Dominus regnavit 1:09[21] Primero tonos 1:08[22] Ave maris stella 2:03[23] Gaude mater ecclesia 2:24[24] Mulier quit prolas 1:55[25] Untitled(MatéoFernandes,fl.1570) 1:40[26] Aparejad ballesteros 1:27[27] Hic solus 0:36[28] Audi benigne conditor 2:38[29] Quantelcta 0:51[30] Oy hasemos fiesta todas 1:38

Total playing time: 56:54

Allrightsreserved:TheTrusteesofIndianaUniversity,2010.SponsoredbytheLillyLibraryandtheEarlyMusicInstituteatIndianaUniversity.ThisprojectwasmadepossiblewiththegenerousassistanceofaMendelFellowshipfromtheLillyLibraryatIndianaUniversity.Artisticdirection:EnsembleLipzodes.RecordedinAuerConcertHall,Bloomington,Ind.,2007-2008.Recorded,edited,andmasteredbystudentsandfacultyoftheIUJacobsSchoolofMusicDepartmentofRecordingArts:WayneJackson,AlexLoew,andKonradStrauss.

Oy Hasemos FiestaMusicfrom16th-centuryGuatemalaforvoicesandwindsEnsembleLipzodeswithTheProArteSingers

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########################################################2 Kenneth Kreitner. “The Repertory of the Spanish Cathedral Bands” Early Music 37 no. 2 (2009): 267. 3 Robert Stevenson, Music in Aztec and Inca Territory (1968) 223. 4 Charles McNett, “The Chirimía: A Latin American Shawm” Galpin Society Journal. 1960. 5 Beryl Kenyon de Pascual, “El bajón español y los tres ejemplares de la Catedral de Jaca,” Nasarre: Revista Aragonesa de Musicología, II, 2, 1986. pp. 21-34. 6 Maggie Kilbey. Curtal, Dulcian, Bajón: A History of the Precursor to the Bassoon. 2002. p. 47.

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########################################################7 Stevenson, Christmas Music from Baroque Mexico. 1974. p. 6. 8 Kilbey, ibid. p. 45. 9 Bernardo Illari, personal communication, 2003. 10 Ibid. 11 Eduardo Bermúdez, “The Ministriles Tradition in Latin America: Part One: South America,” Historical Brass Society Journal 11 (1999) pp. 149-162. 12 Stevenson, Music in Aztec and Inca Territory (1968) p. 206.

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D7*-&4/#,.#/2'7*-M#g%&#.%,'#$**#.%,'#+07*/#D$(#20')*$1-#52$4/&=##V&&8#,0%#*7B&4#.%&,.#471M#U&*8#04#,1#,0%#3$"##Z1/7*#3$/#*$4/#4&i&404#Q1-#%&b,75.,%&B&%=##W%$74/,#6,-#/2g$/2&%M#U,1,%#/,#/2?,1M#Q1-#71#/2U,*"#?87%7/#D$"#/2+*,%"#)/&-=#Q'&1=###,+-7#$/+.#*$#33'#2&+$#6$0-'$/&%#&55*&47$M#*&/$'#$+&14#'&',%7$'##S0,B%,*74#+$0-7$##'7//74#$-#5&*7#50%7$'##W%&-75$/,%0'#,%-7174#]0J&/#8$/&%#-,'717504M#'01-7#7$'#.0*+&/#/&%'7104#57B74#&..&5/04#5&*7504=##C$%174#*7)&%&%#+$4/0*,##5&*7#8,/7/0%#6*,%7$#8%,#8$08&%/$/74#571+0*,##

4/,*$#-,/$/0%#%&+7$X##g%$#+%$/7$4M#$-,%#-/0'0*,#50'#B7%/0/0'#.%&S0&1/7$#5*$'$/#8%,#C2%74/7#.$'0*,#40''7#%&+74#'$+1$*7$##>%71,#]&,%0'#47'8*757#*$04M#2,1,%M#B7%/04M#+*,%7$M#S0&'#1,4#8$%5-7+1757#-05$/#$-#5&*7#+$0-7$##,+-7#$/+.#*$#33'#2&+$!"#$%&'()*(+,'-,.)$/$#P&b,75&M#43&&/#D,/2&%#C20%52M##!&$%71+#$#2$88"#'&',%"#!&5$04",0#4&1-#/2b,"4##N.#1&3#,..48%71+#/,#/2,0%/#,.#2&$B&1=###>2*&$-&%#$1-#.$/2&%##N.#/2,4/#,.#8%&$52&%4M#],'7175M##Q*%&$-"#4271&4#$/#/2&1-#,.#/2&$%/2M##U$B71+#)&&1#'$-$#2&$B&1*"#57/79&1=###:'$1578$/,%#,.#3,%*-*"#),1-4M#U$5S07%&-#U&$B&1a4#6*,%"X#E14/&$-#,.#274#)&*/#,.#8,B&%/"#U$4#+%$1/&-#/2%,),.#%,"$*/"=###67B71+#/2$1(4#$1-#8%$74&B&1#01/,#/2+%$B&M#

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5,15&-&M#47'8*&J#Z17/$4M#0/#.%05/0,4$#471/#/074#7&7017,%0'#'01&%$=#Q'&1=##JQO8A$SIP8,PI$5DPO8!DC$!"#$%&'()*(+,'-,.)$/$#U&$%M#N#D&%57.0*#C%&$/,%M#N0%#',0%1.0*#8%$"&%M#Q55&8/#/2W,04#5%7&4#3%$74E1#,0%#.$4/#,.#.,%/"#-$"4=##P&B7&3&%#,.#,0%#2&$%/4#$1-#4,0*4T##N0%#.%$7*/"#74#(1,31#/,#",0X#Z1/,#/2,4/2$/#/0%1#/,#",0#67B$)01-$1/*"#,.#",0%#8$%-,171+#+%$5&=##N0%#4714#$%+%&$/X#r&/#48$%#71#",0%#'&%5"#Q1-#.,%#/2,1,%#,.#r,0%#1$'!%71+#,0%#.$71/71+#4,0*4#)$5(#/,#*7.&=#$6%$1/#04#/2&*.K5,1/%,*##>,#-74578*71/2,0/3$%-#/271+4M#>2$/#71#.$4/71+M#37/2#$#5*&$%#'71-#

##D($"+2#/62$>.+$.67+2$#\U_,"#2$4&',4#.7&4/$#/,-$4#Q#*$#B7%+&1#?$1/$#:0*$*7$#R7%+&1#&1#S07&1#\2_,"#4$**$#L,#S0&*#&B$1+&*7,#/&4/$##Q)%$4&*#%&"1,#-&*#57&*,#$#*$#%&"1$#-*$#+*,%7$#80&4#'$*&57,#$5$#&1#&*#40&*,#/$*#5,%,1$#-B75/,%7$=##:4/$#.0$#-*$4#5715,#p0&*#&B$1+&*7,#1,4#50&1/$#p0$+0$%-$)$1#$*#&48,4,#r#$#*$#&48,4$#4,)&%$1$=##\U_,"#*,4#$1+&*&4#*$#**&B$1#i01/,#\$_*#5,%\$u_,1#&*#$*'$F`#L*&B$#R75/,%7$#-$*'$#r#40#27b,#*$#8%&4&1/$1=##!67+($:#$:&''$+''$3#'#)*+.#$#>,-$"#3%**#$**#5&*&)%$/>2B7%+71#?$71/#:0*$*7$M#

########################################################13 The MS appears to read “Junto el core con el alma.”

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Q--7/7,1$*#7'$+L75&1471+k5%&-7/4T##2//8Tkk&1=37(78&-7$=,%+k37(7kg7*&TD7*8$y71yp0752&y60$/&'$*$=iW6##2//8Tkk5,'',14=37(7'&-7$=,%+k37(7kg7*&T?$1yD$/&,yEJ/$/O1yj=b8+##.,%#$**#L7**"#D?#7'$+&4T#C,0%/&4"M#>2L7**"#L7)%$%"M#E1-7$1$#Z17B&%47/"M#!*,,'71+/,1M#E1-7$1$=##g,%#L789,-&4y8%,',y82,/,=b8+T#W2,/,#)"#?01+#L&&k