Notes on the Program
Shedding light on the life of Jesuit missionary Eusebio Francisco “Padre” Kino (1645-1711), our program this evening highlights early music from the Pimería Alta—modern-day Sonora in Mexico and southern Arizona in the United States—that has been preserved in mission, cathedral, and convent archives. While Padre Kino would not himself have heard all of this music, he would have been familiar with it through aspects of his mission work and the teaching of western classical music across the Americas, and connected to it through musicians of Italian background, and composers, musicians, and teachers that he would have inspired or encountered working in the Sonoran desert region.
Padre Kino was a Jesuit missionary, explorer, cartographer, and scholar born in northern Italy. Like several of the composers you will hear tonight, he came to New Spain after studying in Europe. Kino traveled tens of thousands of miles on horseback across modern-day southern Arizona, northern Mexico, and Baja California, founding more than twenty missions and building relationships with the Tohono O’Odham, Sobaipuri and other Upper Piman communities who inhabited the expansive desert region.
Kino proved that Baja California was not an island, but rather a peninsula, and drew multiple maps, including in 1701, Paso por tierra a la California y sus confinantes nuevas Naciones y Misiones nuevas de la Compañía de JHS [Jesús] en la América Septentrional (“Overland Passage to California and its Contiguous New Nations and New Missions of the Society of Jesus in Northern America”), which became the definitive early 18th century map of New Spain. And Kino strongly opposed the Spanish enslavement of native peoples sent to work in the silver mines, testifying that “the treatment of the Natives in the Pimería has been very unjust—leading as it has to mistreatment, torture and murder.”1
The most important site associated with Kino’s work in the modern-day United States is Mission San Xavier del Bac, just south of Tucson, Arizona, which he founded in 1691 upon celebrating the first Catholic Mass on the site. The beautiful mission church was completed a few years after Kino’s death. Tonight you will hear audio recordings of the recently restored bells from this very active church community. San Xavier del Bac holds a bit of significance for Tonos: our very first concert poster featured a photo of this church.
Kino’s activities also linked the frontier missions of the Sonoran Desert to the larger intellectual world of colonial Mexico. In 1680, while Kinos’ ship to the Americas was delayed, he spent the time writing a scientific observation about Kirch’s Comet, Exposición astronómica de el cometa. The comet was later the subject of a sonnet by Sor Juana Inés de la Cruz, who corresponded with Kino during his travels and whose poetry and dramatic works circulated widely in New Spain. You can hear some of Sor del la Cruz’s marvelous texts in the arguments between two acolytes this evening, in Roque Ceruti y Mesa’s setting of Escuchad Dos Sacristanes.
In his broader circles, Padre Kino would have heard other Jesuit mission music—also represented on our program—mostly from anonymous (and likely local) composers, with instrumental music and works for the whole ensemble. Our program this evening also includes music of other Italians who traveled to New Spain, albeit a bit later than Padre Kino: a Symphony by Ignacio Jerusalem (special thanks to Drew Edward Davies for our performing edition), and a villancico by Manuel de Sumaya. Because Padre Kino had regular contact with some of the convents in Northern Mexico during his travels, it seemed fitting as well to include a piece from Puebla’s Santísima Trinidad convent, the stunning Corazón del Dolor, in a return to Tonos’s partnership with Cesar Favila and Paul Feller from BLEMF 2023.
So tonight, Tonos is interpreting the theme of Early Music in Early America in two important and interconnected ways—early music from what will become the United States, and early music in the greater Americas—linking frontier settlements, Indigenous communities, and the urban centers of the Spanish colonial world through the broader musical networks of Padre Kino’s world. Framed by the bells of the Mission Xavier del Bac, we aim to give you a sonic glimpse into the rich soundscape of that world.
~ Sarah Cranor
Texts & Translations
La Salve para Virgen (c. 1700) - Anonymous
Santa, Santa Maria
Holy, holy Mary
ainqui, ainqui zoi chacu
Pray, pray for us all
Nipaquî tostij Tupas,
Mother of God
ainqui, ainqui zoi chacu
Pray, pray for us all
Nipaquî tostij Jesu christo
Mother of Jesus Christ
ainqui, ainqui zoi chacu
Pray, pray for us all
Santa, Santa Mara
Holy, holy Mary
ainqui, ainqui zoi chacu
Pray, pray for us all
Nipaquî tona qui Eza roñij
Mother of our Keeper
ainqui, ainqui zoi chacu
Pray, pray for us all
Nipaquî tonjaqui itai zimino oñij
Mother that saves us
ainqui ainqui zoi chacu
Pray, pray for us all
Santa Maria, Zoipaquî
Holy, holy Mary
ainqui, ainqui zoi chacu
Pray, pray for us all
Yriatu unama Angeles
Queen of the Angels
ainqui, ainqui zoi chacu
Pray, pray for us all
Yriatu unama Patriarcas
Queen of the Patriarchs
ainqui, ainqui zoi chacu
Pray, pray for us all
Escuchad dos Sacristanes - Roque Ceruti y Mesa (c. 1683-1760)
Introducción
Introduction
Escuchad dos sacristanes,
Listen now to two sacristans
que disputan y argumentan
who quarrel and contend:
si es la Niña de qua natus,
whether the Maiden is of whom He was born,
o es la Niña gratia plena.
or the Maiden is full of grace.
Recitado
Recitative
Oigan atentos,
Attend well,
no se queden a asperges
do not linger idly
de la palestra!
at the holy lists!
Estribillo
Refrain
— ¡Sachristane!
— Sacristan!
— ¡Sachristane!
— Sacristan!
— ¡Exi foras!
— Go outside!
— ¡Vade retro!
— Go back! Begone!
— Laus tibi Christe.
— Praise be to you, Christ.
— Deo gratias.
— Thanks be to God.
— Mecum arguas…
— With me dispute…
— Mecum tendas…
— With me contend…
— hoc notandum:
— Mark this well:
— hoc assertum:
— This I affirm:
— de qua natus.
— of whom He was born.
— gratia plena.
— full of grace.
— Pastores, hablando en romance, ¡juzgad la contienda!
— Shepherds, speaking in your rustic tongue, judge this contention!
Digo que la Niña como Mater nascitur,
I say the Maiden, as Mother newly born,
será de qua natus.
must be the one of whom He is born.
— Zagales, dejando latines,
— Lads, leave off the Latin,
¡juzgad la palestra!
judge the matter plainly!
Digo que la Niña como oritur venera,
I say the Maiden, when she first appears in honor,
será gratia plena.
must be full of grace.
— Mi ingenio es más grande...
— My wit is the greater…
— Mayor es mi ciencia…
— My learning the deeper…
— y así pastorcillos…
— So then, little shepherds…
— y así, zagalejos…
— So then, young herdsmen…
— oíd mis razones.
— Hear now my reasons.
— oíd mis respuestas.
— Hear now my answers.
En pocos latines,
In but a little Latin
divinas palestras.
lie these divine debates.
Coplas
Verses
1ª Sepa el sacristán Benito
1 Let sacristan Benito know
que mejor que gratia plena,
that better than “full of grace”
es María de qua natus,
is Mary from whom He was born,
por que nace Madre excelsa.
for she is born the Mother most exalted.
2ª Sepa el sacristán Llorente
2 Let sacristan Llorente know
que Ana, que es gratia,
that Anne, who is grace,
la engendra; y mejor que el de qua natus
conceives her; and better than of whom He was born
le conviene el gratia plena.
the title “full of grace” suits her.
— ¡Certa dixi!
— I have spoken surely!
— ¡Dixi vera!
— I have spoken truth!
— ¡Male probas!
— You prove it poorly!
— ¡Male negas!
— You deny it badly!
— Mater Christi…
— Mother of Christ…
— primogenita…
— firstborn…
— ab initio…
— from the beginning…
— ante saecula…
— before the ages…
— de qua natus.
— of whom He was born.
— gratia plena.
— full of grace.
3ª Píntala un liber nacida
3 A book portrays her born
de padres de gran nobleza,
of parents noble and renowned,
y el genuit que los enlaza
yet the engendering that binds them
la omite por Madre exenta.
it omits, for she stands Mother unbound.
4ª Ese es Lazo de la Culpa
4 That is the Bond of Guilt
y su gratia, aunque le acecha,
and though grace lies in wait for it,
et ipsa caput conteret,
and she herself shall crush the head,
le quebró lazo y cabeza.
she shatters both its knot and head.
— ¡Certa dixi!
— I have spoken surely!
— ¡Dixi vera!…
— I have spoken truth!…
Corazón del dolor (c. 1710) - Anonymous
Estribillo
Refrain
Corazón de dolor traspasado,
The heart, pierced by pain,
en tiernos motetes
celebrates the pain
festeja el dolor.
with tender motets.
A llorar con gran primor,
It comes to obtain
a este dolor inflamado
this swollen pain
llega a tenerlo.
in order to cry with great care.
No temas, que a su dueño
Do not fear, since the heart
inmaculado gima
is to wail and weep
y llore el corazón,
for the immaculate lord,
que ya contrito llorando,
for it is already contritely weeping,
corazón de dolor traspasado.
this heart pierced by pain.
Coplas
Verses
Virgen, la más dolorosa
Virgin, the most sorrowful one
que entre los hombres se vio,
that has ever been seen among men,
pues es tu dolor medido,
for your pain is measured,
alta mano de tu amor.
a high hand of your love.
Tórtola más solitaria,
Most lonely turtle dove,
cuyo sagrado candor,
whose sacred candor,
te elevas aún con las penas,
even with your sorrows you raise yourself
viendo padecer a un Dios.
while you watch a God suffering.
Si tus tormentos alivia
If human compassion
una humana compasión,
alleviates your torments,
admite por compañero
accept my pain
de tus penas mi dolor.
as a fellow to your sorrows.
Si son los elementos - Manuel de Sumaya (1680-1755)
Introducción
Introduction
Si son los elementos del orbe consonancia,
If the elements of the world are harmony,
a la música vengan con su tocata
let them come to music with their Tocata [melody].
Responsión
Response
¡Vengan, vengan, venga, que será gracia!
Come, come, come, for it shall be grace!
Coplas
Verses
Pájaros y flores da la tierra con que acompaña
The earth gives birds and flowers,
a con acordes matices,
accompanying them with harmonious tones,
O en fragrances consonancias,
or fragrant harmonies,
Y así al aplauso viene con su tocata.
and just like that, the Tocata returns in applause.
El agua sus ninfas aidiestra y sus Sirenas que cantan
The water trains its nymphs and Sirens,
aunque líquidas canciones con instrumentos de plata
who sing liquid songs with silver instruments,
Y así aplauso viene con su tocata.
and just like that, the Tocata returns in applause.
Del aire las aves dulces, trinando en voces aladas,
From the air, sweet birds trill with winged voices,
En volantes facistoles hacen a Joseph la salva.
in flying gestures, they salute Joseph,
Y así aplauso viene con su tocata.
and just like that, the Tocata returns in applause.
El fuego en templados metros acordes hace
The fire, in tempered rhythms,
sus llamas en el oloroso so Fénix
harmonizes its flames with the Phoenix’s fragrant song,
O en la ardiente sala madra,
or in the blazing maternal hall,
Y así al aplauso viene con su tocata
and just like that, the Tocata returns in applause.
Estribillo
Chorus
Buenas mixtiones son, mas basta, basta
Good mixtures they are, but enough, enough,
Que con irse en paz más suaves cantan, más suaves cantan.
for as they depart in peace, they sing softer, sing softer.
A quien no mueve [a] dolor (c. 1710) - Anonymous
1. A quien no mueve a dolor
1. Who is not moved to pain
ver a Christo allí clavado
seeing Christ there nailed
y de Espinas Coronado
and with Thorns Crowned
dando a Dios satisfacción
giving God satisfaction
2. Mira allí a tu Redemptor
2. Look there at your Redeemer
su sacro cuerpo llagado
his sacred body in sores
que con su vida a pagado
that with his life he paid
siendo tú el Justo deudor
as you are the just debtor
3. Llégate con contrición
3. Arrive with contrition
y mira que su costado
and look at his side
es franca puerta que a dado
the frank door that is given
a los que lloran su herror
to those who lament their error
4. Llora que su espiración
4. Weep that with His exhalation
aspira con gran cuidado
He aspires with great caution
a que huyas del pecado
that you run away from sin
solicitando el perdón
asking for forgiveness
5. Llega la muerte Ay dolor
5. Death has arrived, what pain
y la cuenta da cuidado
and gives consideration
más si de esto no as tratado
Yet if you have not tried
llora tu Condenación
cry your Condemnation
Yyaî Jesuchristo (from AMCh 370, c. 1710) - Anonymous
Yyaî Jesuchristo,
Lord Jesus Christ,
azcuayopini, ta ninahîtî zobi
have mercy on me, it is my sin,
oxoos iñemo.
and it grieves my heart so deeply.
Chemaucopi ninahîti zobi,
Unwittingly I committed this sin,
chemaucopi.
without meaning to.
Translations by Sarah Cranor,
except Corazón del dolor, translated by Paul G. Feller-Simmons
and Si son los elementos, translated by Drew Edward Davies
Artist Bios
Tonos is comprised of historically-informed musicians who are passionate about sharing Baroque-era music from the Americas, especially lesser-known music in indigenous languages and by indigenous and anonymous composers. Directed by Sarah Cranor, Tonos’ recent performance highlights include include the Bloomington Early Music Festival 2025, and “Lamentatio y Alegría” and “Our Song is Missing” (an interactive children’s concert) for Sacred Music at Second Presbyterian, Indianapolis. Tonos has also performed at the Latin American Music Festival at the University of Illinois Chicago, “Music from New Spain Convents” from convent archives in Puebla, Mexico for the 2023 Bloomington Early Music Festival, “María del Pueblo” to close the 2022 Bloomington Early Music Festival, guest ensemble with Christ Church Cathedral Indianapolis’ Chamber Music Series, and virtually through The Americas Society/Council of the Americas, and at the Berkeley Music Festival as part of the Young Performer’s Festival with Early Music America.
Violinistand artistic director Sarah Cranor is passionate about sharing historical and contemporary music with live audiences. Sarah directs Tonos, championing works by lesser-known, indigenous, and anonymous composers from baroque-era Latin America. Sarah performs with Chaski Quartet, bringing diverse repertoire to incarcerated individuals and public communities in Colorado and New Mexico, and she performs regularly with the Indianapolis Baroque Orchestra, Sphere Ensemble, Phoenix Symphony, Omaha Symphony, and Arizona Bach Festival. She has led historically-informed projects with the West Texas Symphony, Sphere Ensemble, and the Omaha Chamber Music Society. A passionate educator, Sarah leads the Bloomington Early Music Immersion for middle schoolers and 2025 & 2026’s “Growing up Baroque”, a bilingual program through the Indianapolis Baroque Orchestra. Sarah was a guest artist in residence at the Academia de Música Antigua de Medellín in Colombia and Grand Valley State University, and has presented lectures at EAFIT in Colombia, the UNAM in Mexico, University of Nebraska at Omaha, and Indiana University. Sarah holds a Doctor of Music from Indiana University in historical performance and modern violin. She runs ultra-marathons, and always looks forward to exploring new trails.
Tenor Blake Beckemeyer is known for his vivid, text‑driven interpretations of Baroque and Classical repertoire, with a particular focus on the music of J. S. Bach. He has appeared as Evangelist and aria soloist in Johannes-Passion with the Indianapolis Baroque Orchestra and Arizona Philharmonic, and served as the Virginia Best Adams Tenor at the 2024 Carmel Bach Festival. Beckemeyer performs regularly with leading ensembles including Seraphic Fire, Washington Bach Consort, Apollo’s Fire, The Thirteen, and True Concord. His discography includes featured work on Monteverdi Vespers of 1610, The Apple Tree, and the Opus Klassik–nominated Alexander’s Feast with Vox Orchester. Equally at home in chamber and liturgical settings, he brings clarity, narrative focus, and stylistic fluency to repertoire spanning Buxtehude to modern works.
Shannon Beckemeyer has interests spanning historical performance, vocology, and choral singing. She can be heard as a soloist with Alchymy Viols, Bloomington Bach Cantata Project, and Tonos. She has also performed with the Indianapolis Baroque Orchestra, Sphere Born, and Incantare. She has toured to Hereford Cathedral, Salisbury Cathedral, St. George’s Chapel-Windsor, Notre Dame de Paris, La Madeleine, and the Thomaskirche (Leipzig), Georgenkirche (Eisenach), and Stadtkirche (Weimar). She holds degrees in voice and a certificate in vocology from Indiana University-Jacobs School of Music and degrees in voice and biochemistry from DePauw University. Beckemeyer works in project management for a multinational drug development company and lives with her husband in Brownsburg, Indiana.
Chicago-born cellist Dr. Kevin Flynn enjoys an active career as a teacher and performing artist, firmly believing that each informs the other. Flynn is Visiting Assistant Professor at the Michael and Anne Greenwood School of Music at Oklahoma State University, Assistant Principal Cello in the Oklahoma City Philharmonic, Acting Principal Cello in the Oklahoma Baroque Orchestra, and the Sajo and Chiqui Fellow of the International Chamber Orchestra of Puerto Rico. He is cellist in the groundbreaking historically-informed chamber ensemble Tonos and the prize-winning Cercis String Quartet. Highlights of Flynn’s 2025-26 season include a CD recording, tour, and video production of Vivaldi’s Four Seasons Concerti with Emilio Colón and the Colón Cello Quartet, concerts with the Brightmusic Society of Oklahoma, BEMI & BLEMF2026 with Tonos, and musical collaborations with cellists Sterling Elliot and Sophie Shao. violinist Jeff Myers, pianist Dr. Tomomi Sato, and clarinetist Wendy Bickford.
Phoebe Gelzer-Govatos, historical and modern violinist, resides in Ann Arbor, Michigan, and performs with a number of orchestras and chamber ensembles throughout the state, including the Ann Arbor, Lansing, Adrian, and Kalamazoo symphony orchestras. As a historical player, Ms. Gelzer-Govatos is a core member of period instrument ensembles l’Invenzione and Ensemble Affect, and plays frequently with early music groups across the country, as well as coaching high school and college students in historical style and technique. Recent highlights include performances with Early Music Michigan, Tonos, and Audivi. At home in Ann Arbor, Phoebe maintains a private violin and viola studio, teaches chamber music at the Rudolf Steiner High School, and likes to involve herself in creative endeavors of all kinds.
Danur Kvilhaug is active as a lutenist and vocalist, performing regularly throughout North America. Recent engagements include the Newberry Consort, Les Delices, Bourbon Baroque, Tonos, and the Bloomington Symphony Orchestra. Additionally, he has performed at the Madison Early Music Festival, the Bloomington Early Music Festival, and with the Red River Lyric Opera. He received his MM in Musicology from The University of Oklahoma, and an MM and Performance Diploma in historical performance at Indiana University under the tutelage of Nigel North. He is pursuing a doctorate in historical performance practice at Case Western Reserve University.
Brian McNulty is excited to be performing with Tonos at BLEMF 2026. Brian can be heard performing timpani and percussion with a number of early music organizations, including the Indianapolis Baroque Orchestra, Charlotte Bach Festival, and Bloomington Bach Cantata Project. Brian also serves as principal timpanist of the Terre Haute Symphony Orchestra and principal percussionist of the Columbus (Indiana) Philharmonic. He holds a DM in percussion from Indiana University, an MM in percussion from The Ohio State University, and undergraduate degrees in percussion and mathematics from Penn State University. He has studied organ extensively with Colin Andrews and is a church organist and handbell choir director based in Bloomington, Indiana.
Howell Petty (they/them) is a historically trained soprano who specializes in Italian Baroque monody. Originally from Eugene, OR, Howell earned their B.A. at the University of Oregon and sang with the Oregon Bach Festival from 2013-2018. Howell earned their M.A. from Indiana University Bloomington, and has performed frequently at the Bloomington Bach Cantata Project and the Bloomington Early Music Festival. Now based in NYC, Howell has sung at Trinity Wall Street, St. Thomas on Fifth Avenue, and Juilliard, as well as on the GEMS concert series. Howell performs regularly with the Yale Consort under the direction of James O’Donnell; and with Theotokos, under the direction of Doug Balliett. International appearances include the Tafelmusik Baroque Summer Institute in Toronto, Canada; and the prestigious Corneille Competition for baroque singing in Rouen, France. Howell is also half of Duo Tarasque, which specializes in troubadour and trecento repertoire.