Manuel de Sumayas En Mara la Gracia:

A Choral Villancico from Eighteenth-Century Mexico

by
J. Spud Schroeder
Senior Project
for a Bachelor of Arts degree in Music,
California Polytechnic State University,
San Luis Obispo, California
November, 2009
Manuel de Sumayas En Mara la Gracia:
A Choral Villancico from Eighteenth-Century Mexico
Table of Contents
Regarding the Manuscript i
Regarding Villancicos iv
Regarding the Composer v
Translation of the Text vii
Endnotes viii
Bibliography of Sources x
Concert Programs xiii
San Luis Obispo, January 24, 2009
UC Riverside, January 30, 2009
Music: Performing Edition of En Maria la Gracia 1-11
Regarding the Manuscript
The autograph of En Mara la gracia resides in the Archivo Musical de la Catedral
Metropolitana de Mxico (The Musical Archive of the Mexico City Cathedral), listed under the call
number 71)20 of the Estrada Collection. There exist separate parts for six vocalists, divided into two
choirs (a duet and a quartet), a part for accompaniment; the coplas consist of one part for solo tenor
with accompaniment that appear on the verso side of the tenor and accompaniment parts (that is,
the ip side of the estribillo). Though the acompanamiento is only a single bass line, performance
practice of the era suggests this part would be realized into full chordal accompaniment by a small
group, quite typically harp and guitar joined by a melodic bass instrument such as the cello or bassoon.
Also, the organ was frequently utilized.
1
Choir 1 consists of a tenor and a bass; Choir 2 is comprised of
a soprano (identied as a tiple), alto, tenor, and bass. The title page identies the work as: Villancico a
6. A la limpia _ / Concepcion de nra Seora, / En Maria la gracia. / 7 papeles / S
r
, M
o
D
n
, Manuel de
Sumaya / Ao de 1728 (Villancico in six parts for the Immaculate Conception of Our Lady, In Mary
the Grace ..., with 7 different sheets, by Seor Maestro Don Manuel de Sumaya, in the year 1728). The
individual sheets measure approximately 15 cm by 22 cm; each sheet is folded in the middle, but once
each booklet opens up for performance, one reads across the fold, with the staves running continuously
across this larger sheet (now measuring 30 cm by 22 cm). Each page is labeled to indicate what part
it is, and all but the page containing the coplas bear his autograph, S
r
M
o
Sumaya or M
o
Sumaya.
The music is written in a facile hand, in mensural notation.
2
The stems are consistently drawn on the
right side of the note head (whether they be up or down) instead of on the left for downward stems as is
common practice today. The clefs and incipits appear as follows:
-i-
-ii-
For several decades this villancico was privately held in the Estrada Collection (and therefore
unavailable to researchers) but was restored to the Mexico City Cathedral Archive in the year 1998.
3
Its
modern premiereby the Cal Poly Early Music Ensemble under the expert direction of Dr. Tom Davies
in 2009marked its rst performance in roughly two and a half centuries. In this performance, I was
part of the ensemble and sang the bass part in Choir 1. An archival recording of this performance can
be obtained at the Kennedy Library web site at Cal Poly (under the citation for my senior project) or
through requesting a copy from the Cal Poly Music Department.
In order to facilitate performance by modern ensembles, I have transposed the piece down a 4
th

(from C major to G major) and added gurings to the accompanimiento (basso continuo) as well as my
own humble offering of a harmonic realization. The facsimiles of the original manuscripts that I have
been so fortunate to work with were generously provided to me by Dr. Craig H. Russell.
-iii-
Regarding Villancicos
A villancico is a sacred piece written for festival days in the church when celebrations reect a
secular avor. As such, the villancico is sung in the vernacular as opposed to Latin, and the song style
imitates folk forms. In some instances, Sumaya takes this quaint form and explodes it into a grand
latticework of baroque polyphony.
4

In many modern songs, such as Blowin in the Wind, the verse or Dylans questions get the
most weight and are more substantially developed: the refrain, on the other hand, is shorter. With the
villancico it is turned around. Instead of the verse being the heavier section, it is the refrain or estribillo
that is gives the depth or intensity. The refrain gets grand polyphonic treatment, and the coplas (or verses)
are in a simpler homophonic style.
-iv-
Regarding the Composer
Manuel de Sumaya, one of Mexicos great composers of the colonial era, was born circa 1680
at Mexico City and died in 1755 in the Mexican town of Antequerra.
5
He entered into the service of the
Mexico City Cathedral as a choirboy around 1690, where his talent quickly earned him a reputation.
Sumayas rst documentation dates from May 25, 1694, in a letter from the Cathedral Chapter,
who had granted him some money because his father had died and his family was in nancial straits. The
document mentions the nancial help and also delves into his musical talents, and suggests that he begin
instruction at the organ and in composition. Additionally, it was recommended that he not take the vows
to become a friar in order to give him ample time to develop his musical talents.
6

He wrote a theatrical work, Rodrigo (1708), in celebration of the birth of Prince Luis of Spain;
most likely it had musical accompaniment which Sumaya would have composed.
7
In the same year he
achieved the position of Second Organist at the Mexico City Cathedral. In 1710, Chapel Master Antonio
de Salazar realized his failing eyesight wouldnt allow him to continue to fulll his duties as a teacher at
the escoleta (public school) and named his pupil Sumaya as his successor.
8
Salazars announcement came
much to the chagrin of Francisco de Atienza, who was senior to Sumaya in the hierarchy of the Cathedral,
having served in its third most prominent position (behind Chapel Master and Principal Organist) since
1695. Atienza objected vehemently, but to no avail.
9
In 1711, Mexico got a new viceroy who became
enthralled with Sumaya and employed him at his court, commissioning him to translate Italian librettos
and also write original ones. The viceroy commissioned Sumaya to write the opera Partenope which
premiered at the viceregal palace on May 1, 1711.
10
This was the rst opera written by a composer who
had been born in the New World.
11
The original libretto for Partenope that Sumaya translated was had
only recently been penned by Silvio Stampiglia for a 1699 production of Partenope in Naplesinspiring
several subsequent productions in the rst decade of the eighteenth century, suggesting the possibility
that Sumaya actually traveled to Italy in the early 1700s.
12
He was promoted to Principal Organist at the
Cathedral in 1714. In 1715 he competed with his old rival Francisco de Atienza for the position of Chapel
Master and thoroughly trounced him.
13

-v-
Sumaya spent twenty-three years as Chapel Master and then in 1738 followed his dear friend
Toms Montao to Oaxaca Cathedral (where Montao had been named Archbishop), a move that
demonstrated how much Sumaya valued his personal relationships over any kind of material success or
social standing, because it was a step down the ladder in status. The position of Chapel Master at the
Mexico City Cathedral was a prestigious job and Oaxaca was a backwater by comparison. Rather than be
the big, famous composer at an urban center he elected to work at the less prestigious post in Oaxaca in
order to be near his friend, doing so in spite of insistent correspondence from Cathedral Chapter that he
return to his duties in Mexico City. He did eventually rise to the position of Chapel Master at Oaxaca, but
not until 1745. Sumaya remained at Oaxaca until his death in 1755.
14

Among Sumayas musical achievements are the expansion of the orchestras in each of the
cathedrals where he worked. He was a prolic composer who wrote a wealth of both sacred and secular
music including several operas, about eighty villancicos, thirty a capella Latin works, and at least
three complete masses.
15
Stylistically, he spanned two eras, in that he wrote pieces reminiscent of
the Renaissance style, but was equally at home in the High Baroque. He employed a bold harmonic
vocabulary that made frequent, effective use of augmented, diminished, and secondary dominant
chords. Sumaya was a master whose works were as elegant and inspired as those of any of his European
contemporaries.
-vi-
Translation of the Text
-vii-
Estribillo
En Maria la Gracia,
fue privilegio.
que ella sola le goza
desde ab eterno.
Coplas
1. No fue vencer al Pecado,
sin duda el mayor tropheo:
Sino el cantar la Victoria,
sin ver el semblante al riesgo.
2. Ay en el lucido Empireo,
se preserv este Portento
antes de ponerse en fuga,
el Matutino Luzero.
3. Armando funestas tropas,
al proponerle este objeto
como possible; aun entonces,
no perturb tu sosiego.
4. Porque el Poder, y el Amor
hermosa Aurora este tiempo
con Sabidura hizo,
feliz tu instante Primro.
5. Tu sola romper pudiste,
el comun, precisso yerro
haziendo mares de Gracia,
de la culpa los estrechos.
Refrain
In Mary, grace
was a privilege
that she alone enjoys
since the beginning of time.
Couplets
It was not victory over sin,
without a doubt the better trophy;
rather it was singing of her victory
without seeing the resemblance to
that danger.
There in the starry heavens,
they preserved this portent,
even before the bright morning star
was set in ight.
Armored, baneful troops,
proposed this object to you
as possible; even though they did not
upset your harvesting.
Because Power and Love,
beautiful Dawn, in this time
brought about with wisdom
joyousyour rst instant.
You alone could have broken
the common, precise mistake
thus making oceans of Grace
out of the guilt of the straits.
En Maria la gracia
Manuel de Sumaya
Endnotes
1
Robert Stevenson, Mexico City Cathedral Music: 1600-1750, reprint from The Americas, vol. 21,
no. 2 (Washington, D.C.: Academy of American Franciscan History, 1964), pp. 111-35. See also Craig
H. Russell, From Serra to Sancho: Music and Pageantry in the California Missions (New York: Oxford
University Press, 2009), pp. 46-47, 162-63.
2
For a complete description of mensural notation, consult Willi Apels The Notation of Polyphonic
Music: 900-1600, fth edition (Cambridge, Massachusetts: The Mediaeval Academy of America, 1953).
3
Javier Marn Lpez, Una desconocida coleccin de villancicos sacros novohispanos (1689-1812):
El Fondo Estrada de la Catedral de Mxico, from La msica y el Atlntico: Relaciones musicales entre
Espaa y Latinoamrica, Mara Gembero Ustrroz and Emilio Ros-Fbregas, editors (University of
Graenada, Spain, 2007), pp. 311-58.
4
For a lucid denition of the villancico, consult: Paul R. Laird, Towards a History of the Spanish
Villancico (Warren, Michigan: Harmonie Park Press, 1997), p. 70; Paul R. Laird, Dulcsimo Dueo by
Sebastin Durn: A Poster Child for the Baroque Villancico, in Encomium Musicae: Essays in Memory
of Robert J. Snow, David Crawford and G. Grayson Wagstaff, editors, Festschrift Series, No. 17 (Hillsdale,
New York: Pendragon Press, 2002), p. 495; and Paul R. Laird and Isabel Pope, Villancico, from The New
Grove Dictionary of Music and Musicians, Stanley Sadie, editor (New York: Grove, 2001), vol. 26, pp.
621-28. These same sources provide detailed discussions of the villancico, its various structural features,
and its historical development.
5
Craig H. Russell, Zumaya (Sumaya), Manuel de, from The New Grove Dictionary of Music and
Musicians, Stanley Sadie, editor (New York: Grove, 2001), vol. 27, pp. 880-81.
6
Stevenson, Mexico City Cathedral Music, p. 130.
7
Jos Mariano Beristin de Souza, Biblioteca Hispano Americana Septentrional o Catlogo y noticias
de los literarios que o nacidos o educados, o orecientes en la Amrica septentrional espaola, 6 vols.,
-viii-
3 ed., (Mexico City: Ediciones Fuente Cultural, n.d.?), vol. 5, p. 201. See also Russell, Zumaya, New
Grove.
8
Russell, Zumaya, New Grove.
9
Russell, Zumaya, New Grove.
10
Beristin de Souza, Biblioteca Hispano Americana, vol. 5, p. 201. The printed libretto for the
Partenope production, including the translation of the text into Spanish (presumably by Sumaya himself),
is found in the Biblioteca Nacional de Mxico under the call number: Fondo Reservado. 1. R M862.1
PAR.f.
11
This claim must have the disclaimer, however, that Sumayas Rodrigo might have been an opera,
not merely a staged work, in which case the rst opera would be his Rodrigo of 1708, not Partenope of
1711.
12
For more information on the early productions of Partenope, consult Robert Freeman, The Travels
of Partenope. Studies in Music History: Essays for Oliver Strunk, Harold Powers, ed., (Princeton, New
Jersey: Princeton University Press, 1968), pp. 356-85.
13
Jess Estrada, Msica y Msicos de la poca Virreinal, pologue, revision and notes by Andrs Lira
(Mexico City: Secretara de Educacin Pblica, 1973), esp. pp. 108-13.
14
Aurelio Tello, introduction to Manuel de Sumaya, Cantadas y Villancicos de Manuel de Sumaya,
revised, edited, and transcribed by Aurelio Tello, 3rd publication of the Archivo Musical de la Catedral de
Oaxaca, and vol. 7 of Tesoro de la Msica Polifnica en Mxico (Mexico City: CENIDIM, 1994), pp. 14-
15.
15
These gures were arrived at by adding the works listed in Russells New Grove article with those
listed in Javier Marn Lpez Una desconocida coleccin de villancicos sacros, pp. 311-58.
-ix-
Bibliography
Apel, Willi. The Notation of Polyphonic Music: 900-1600. Fifth edition. Cambridge, Massachusetts: The
Mediaeval Academy of America, 1953.
Beristin de Souza, Jos Mariano. Biblioteca Hispano Americana Septentrional o Catlogo y noticias
de los literarios que o nacidos o educados, o orecientes en la Amrica septentrional espaola,
han dado a luz algn escrito, o lo han dejado preparado para la prensa. 1521-1850. La escriba el
Dr. D. Jos Mariano Beristin de Souza de las Universidades de Valencia y Valladolid, Caballero
de la Orden de Carlos III. Y Comendador de la Real Americana de Isabel la Catlica, y Den de
la Metropolitana de Mxico. 6 vols. 3 ed., tomada de la segunda. Amecameca, Mxico, 1883.
Revisada conforme a la primera, Mxico, D.F. 1816-1821. Mexico City: Ediciones Fuente
Cultural, n.d.? A copy of this rare book is available at the Sutro Library in San Francisco under the
call number Z1420 .B47. The entry appears as no. 3456, ZUMAYA (D. Manuel) in vol. 5, p. 201.
Estrada, Jess. Msica y Msicos de la poca Virreinal. Prologue, revision, and notes by Andrs Lira.
Mexico City: Secretara de Educacin Pblica, 1973.
Freeman, Robert. The Travels of Partenope, in Studies in Music History: Essays for Oliver Strunk.
Harold Powers, editor. Princeton, New Jersey: Princeton University Press, 1968. Pp. 356-85.
Laird, Paul R. Dulcsimo Dueo by Sebastin Durn: A Poster Child for the Baroque Villancico, in
Encomium Musicae: Essays in Memory of Robert J. Snow. David Crawford and G. Grayson
Wagstaff, editors. Festschrift Series, No. 17. Hillsdale, New York: Pendragon Press, 2002. Pp.
493-507.
Laird, Paul R. Towards a History of the Spanish Villancico. Warren, Michigan: Harmonie Park Press,
1997.
-x-
Laird, Paul R. and Isabel Pope. Villancico, from The New Grove Dictionary of Music and Musicians.
Stanley Sadie, editor. New York: Grove, 2001. Vol. 26, pp. 621-28.
Lpez, Javier Marn. Una desconocida coleccin de villancicos sacros novohispanos (1689-1812): El
Fondo Estrada de la Catedral de Mxico, from La msica y el Atlntico: Relaciones musicales
entre Espaa y Latinoamerica. Mara Gembero Ustrroz and Ros-Fbregas, editors. Granada,
Spain: University of Granada, 2007. Pp. 311-58.
Russell, Craig H. From Serra to Sancho: Music and Pageantry in the California Missions. New York:
Oxford University Press, 2009.
Russell, Craig H. Manuel de Sumaya: Reexamining the a Cappella Choral Music of a Mexican Master,
from Encomium Musicae: Essays in Memory of Robert J. Snow. David Crawford and G. Grayson
Wagstaff, editors. Festschrift Series, No. 17. Hillsdale, New York: Pendragon Press, 2002. Pp.91-
106.
Russell, Craig H. Zumaya (Sumaya), Manuel de, from The New Grove Dictionary of Music and
Musicians. Stanley Sadie, editor. New York: Grove, 2001. Vol. 27, pp. 880-81.
Stevenson, Robert. Mexico City Cathedral Music: 1600-1750. Reprint from The Americas. Vol. 21, no. 2.
Washington, D.C.: Academy of American Franciscan History, 1964. Pp. 111-135.
Tello, Aurelio. Introduction to Manuel de Sumaya, Cantadas y Villancicos de Manuel de Sumaya.
Revised, edited, and transcribed by Aurelio Tello. 3rd publication of the Archivo Musical de
la Catedral de Oaxaca. Vol. 7 of Tesoro de la Msica Polifnica en Mxico. Mexico City:
CENIDIM, 1994.
-xi-
V
?
&
&
V
?
&
?
#
#
#
#
#
#
#
#
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
Accompto.
Choro Primero
Choro Segundo

En Ma
!
!
!
!
!
.
.
.

ri a la

.
J

En Ma
!
!
!
!

.
J

Gra cia

ri a'la
!
!
!
!

fue pri vi

Gra cia fue
!
!
!
!

le gio, fue

.
J

pri vi le
!
!
!
!

pri vi

gio, fue
!
!
!
!

- - - - - - - -
- - - - - - -
J. Spud Schroeder, 2009
En Maria la Gracia
Villancico a 6
Manuel de Sumaya (ca. 1680-1755)
edited by J. Spud Schroeder
6 7
V
?
&
&
V
?
&
?
#
#
#
#
#
#
#
#
Acc.
1 Choro
2 Choro
7

le
.

pri vi le
!
!
!
!
7

7
.

6
4
7
5
3
.

gio,
.
gio,
!
!

En Ma
!

.
J
n
4
2
!
!

En Ma
!

ri a la
!

!
!

ri a la
!

gra cia

.
J

En Ma

!
!

gra cia

En Ma

.
J

fue pri vi

.
J

ri a la

!
!
.
J

fue pri vi

ri a la

le gio,
n
.
j

gra cia fue

n

- -
- - -
- - - - -
- -
- - - - - -
- - -
2
En Maria la Gracia
V
?
&
&
V
?
&
?
#
#
#
#
#
#
#
#
Acc.
1 Choro
2 Choro
13
!

fue
.

le gio

gra cia fue

fue pri vi

pri vi
13

13

.
j

fue pri vi
#

pri vi

pri vi

pri vi

le

le

7
5
3
#

#
le
.
le

le

le
.
.
.
.

#
.
4 3
#
.

gio,
.

gio,
.
gio.
.
gio
.
gio
.
gio
.
.
.

.
j

fue pri vi
.

fue pri vi
!
!
!
!

#
le

le
!
!
!
!

#
.
gio,

gio,
.
j

fue pri vi
.

fue pri vi
.
J

fue pri vi
.

fue pri vi

6
- - - - - -
- - - - - -
- - - - - -
- - - - - -
- - - - - - - -
- - - - - - - - -
3
En Maria la Gracia
V
?
&
&
V
?
&
?
#
#
#
#
#
#
#
#
Acc.
1 Choro
2 Choro
20
!
!

le
.
j

le

#
le

le
20

#
20

#
!
!
.

gio,
.

gio,
.
gio,
.
gio,

.
j

fue pri vi
. n
j

fue pri vi
.
J

fue pri vi
. n
j

fue pri vi
.
J

fue pri vi
.
n
J

fue pri vi

le
n

le

le
. n
j

le
.

le
n

le

.
J
n
gio, qu'e lla
.
gio,
.

gio,
.

gio,
.
gio,
.
gio,
.
.
.

.
j

so la le

.
J
n
qu'e lla
!
!
!
!

.
.
.

.
J
n

.
J

go za des

.
j

so la des
!
!
!
!

n
.
.
.

6
3
#
.
6
j

- - - - - - -
- - - - - - - - -
- - - -
- - - -
- - - -
- - - -
4
En Maria la Gracia
V
?
&
&
V
?
&
?
#
#
#
#
#
#
#
#
Acc.
1 Choro
2 Choro
27

deab ae

deab ae
!
!
!
!
27

27

6
5
n

ter no,

ter no,
!
!

qu'e lla

.
J

qu'e lla

3
#

!
!

qu'e lla

qu'e lla

so la le

.
J

so la le

!
!
#
.

so la le

. n
j

so la le

go za

n
go za des

4
2
#
n
6
!

.
J

qu'e lla

go za des

go za

des deab ae

de

4
2

qu'e lla

.
J

so la le

deab ae

des deab ae

ter no,

ab ae

- - -
- - - -
- - - - -
- - - - -
- - - - - -
- - - - - -
5
En Maria la Gracia
V
?
&
&
V
?
&
?
#
#
#
#
#
#
#
#
Acc.
1 Choro
2 Choro
33
#
.

so la le

n
go za des

ter no,

n



ter

qu'e lla

ter no,
33

n
33

7
5
3
#

3
n

go za des

deab

.
J

qu'e lla

no,

so la le

ab ae

7
n

deab ae

ae ter

so la le

qu'e lla

go za des

ter no,

.
ter

no,

go za,

.
j

so la le

deab ae




qu'e lla

no,

so la le

des de ab ae
.

go za, des

ter no,
#

so la

#
6
5

- - - - - - - -
- - - - - - -
- - - - - -
- - - - - - -
- - - - - -
- - - - -
6
En Maria la Gracia
V
?
&
&
V
?
&
?
#
#
#
#
#
#
#
#
Acc.
1 Choro
2 Choro
38

.
J

qu'e lla
#

go za

ter

deab ae

qu'e lla

le go
38

38

4
2
#

6
#




so la le

des deab
.
no

ter no,

so la le

za

4
2
#

6
#

go za des

ae ter no,

des


des
#
.
J

go za, des

des de

7
5
3
#

deab ae

ab ae

deab ae

deab ae

deab ae

ab ae

ter
.

ter
.
ter
.
ter

ter
.

ter
.
.

4 3
.

no.
.

no.
.

no.
.
no.
.

no.
.
no.
.
.
.

U
.

U
.

U
.
U
.

U
.
U
.
.
.

U
.

U
- - - - - - -
- - - - - - -
- - - -
- - - - -
- - - - - -
- - - -
7
En Maria la Gracia
V
&
?
#
#
#
4
3
4
3
4
3
Tenor
Accompto.

1.No
2.A
fue
ya'en
ven
el

6
4

cer
lu
al
ci
Pe
do Em

ca
pi
do,
reo,
sin
se

du
pre
da'el
ser
ma
vo'es

6
5

-
-
- -
-
-
-
-
-
- -
-
-
V
&
?
#
#
#
T
Acc.
49

yor
te
tro
Por
phe
ten
49

49

.
j

7

7
3
#

o:
to,

.
j

6
5
!

7
3
#

Si
an
no'el
tes
can
de

6
#
4
3
-
-
- - - -
- - - - -
-
En Maria la Gracia
J. Spud Schroeder, 2009
Coplas solas
8
V
&
?
#
#
#
T
Acc.
54

tar
po
la
ner
Vi
se en
54

54

cto
fu
ria,
ga,
sin
el

ver
Ma
al
tu
sem
ti

#
6
5

bla
no
nte al
Lu

.
J

- -
- -
- - -
-
-
-
- -
V
&
?
#
#
#
T
Acc.
58
.



.

ries
ze
58

58

go.
ro.

6
!

7
4 3
!
.
.
.

- - - -
- - - - -
En Maria la Gracia
9
V
&
?
#
#
#
4
3
4
3
4
3
Tenor
Accompto.

5.Tu
4.Por
3.Ar man
que'el
so
do
Po
la

6
4

fu
der,
rom
nes
y'el
per
tas
A
pu

tro
dis
mor
pas,
te,
al
el
her

co
pro
mo
po
mun,
sa"u
ner
pre
ro

6
5

-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
V
&
?
#
#
#
T
Acc.
66

ci
le'es
ra'a'es te
sso
te'ob
tiem
ye
je
66

66

.
j

7

7
3
#

rro
po
to

.
j

6
5
!

7
3
#

co
con
ha
mo
Sa
zien
pos
bi
do

6
#
4
3
-
-
- -
- - - -
- - - -
- - - - -
-
-
-
-
-
En Maria la Gracia
J. Spud Schroeder, 2009
Coplas solas
10
V
&
?
#
#
#
T
Acc.
71

si
du
ma res
ble;
ri
aun en
a
de
71

71

ton
hi
Gra
zo,
cia,
ces, no
fe
de

per
liz
la
tur
tu
cul
in
pa

#
6
5

bo
stan
los
tu
te
so
Pri
es

.
J

-
-
- -
-
- -
-
-
-
-
-
-
- - -
-
V
&
?
#
#
#
T
Acc.
75
.



.

sie
me
tre
75

75

go.
ro.
chos.

6
!

7
4 3
!
.
.
.

- - - - -
- - - - -
- - - -
11
En Maria la Gracia