Roque Ceruti (1683-1760) - Magnificat

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Published on December 16, 2018 4:20:51 PM ● Video Link: https://www.youtube.com/watch?v=R3pN7oensJU

Duration: 18:16

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Autor: Roque Ceruti (1683-1760)
Obra: Magnificat
Intèrprets: Camerata Barroca i Renacentista de Carácas

Pintura: Henri Chatelain (1684-1743) - Carte Tres Curieuse De La Mer Du Sud Contenant

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Roque Ceruti
(Milan, 1683 - Lima, 7 December 1760)

Italian composer, active in Peru. He arrived in Lima in 1707 and entered the service of the viceroy Manuel de Oms y Santa Pau, the Marquis de Castelldosríus. It seems likely that Ceruti accompanied the viceroy to France, and that he was ambassador to the King of Spain at Versailles. The mythological opera El mejor escudo de Perseo, performed in 1708 and printed in Lima in the same year, is attributed to Ceruti, the viceroy having written the libretto. Other minor dramatic works for the court, now lost, are attributed to Ceruti, including a serenata, a pastorale and incidental music for plays by Pedro Peralta. Ceruti left the court in 1720 and from 1721 to 1728 he held the post of maestro de capilla at Trujillo Cathedral, Peru. After the death of Torrejón y Velasco in 1728 he was invited by the authorities of Lima Cathedral to replace Torrejón y Velasco as maestro de capilla. He was appointed on 1 August 1728 and continued to work at the cathedral until old age and ill-health forced him to retire in 1757. While there he instigated an increase in the salaries of the musicians and created the post of violinist in 1732. He married on 8 April 1736 and had four children. In 1743 he returned to the royal chapel on his appointment as special musician by the viceroy, the Marquis de Villagarcía. He made his will in Lima on 6 December 1760 and died the next day. As well as his musical activities he published the Latin poem Carmen Panegyricum in honour of Viceroy Caraccioli (Bermudez, 1717). Ceruti was responsible for the introduction of Italian musical traditions to Peru: the use of obbligato violins, recitativo secco, the da capo aria and functional tonality. A source of 1792 describes him as a composer for whom the harmonic line took precedence over the melody.