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Intimate Distance: Andean Music in Japan by Michelle Bigenho (review)

identification of copyists present. This is followed by a general study of the cathedral’s repertory, not only the surviving works but also those recorded in an inventory of 1589 and the eighteenth-century lists. The discussion of genres thus leads to Marín’s identification of local polyphonic tradition, especially in the Holy Week items, the Office of the Dead, and Vespers psalms. His characterization of the Mass, Magnificat, hymn, and motet repertories as being partially international (essentially sixteenth-century Spanish) and partially local seems absolutely accurate. One case study of local reception and creation is a discussion of Francisco López Capillas’ imitation Masses (on his own and others’ works) with their odd Latin inscriptions. In any early modern cathedral, the corpus of Vespers items (Magnificats and hymns) is obviously important, and Marín goes to some pains to discuss this repertory in its relationship to the printed cycles by Morales, Guerrero, Sebastián Aguilera de Heredia (a copy of which is book 6 in the Museo Nacional del Virreinato collection), and Duarte Lobo, along with a host of Spanish cathedral manuscripts. There is a similar treatment of the hymns, another genre that reflects both local taste and international models, and the introduction finishes with a list of occasions for polyph ony in the church in the eighteenth century, and a complete transcription of four music inventories, one from 1589 and the others more than a century later. Because the author has thought carefully and logically about polyphony’s role in the cathedral’s ritual life, the book is thus clearly much more than just a catalog. Scholars have approached New Spain’s repertory in a number of ways, and this publication will be helpful to all of them. But it also sheds light on the transmission and use of music by some very important composers working in Europe, from Morales to Victoria. In the largest sense, it is a local study in the best sense of the term, analyzing the choices made in acquisition, copying, and performance by a series of chapel masters and musicians in one of the most important cathedrals of “global” Spain. Thus it is an important contribution to the study of early modern sacred music (and the extreme conservatism of repertorial choices into the eighteenth century justifies the use of this term, far more than “Renaissance”). This book should be on the shelves of any institution with graduate instruction in music before 1800, and also on those of any center dealing with Latin American music.