Misa Criolla
1. Kyrie
2. Gloria
3. Credo
4. Sanctus
5. Agnus Dei

Navidad Nuestra
6. AnunciacioN
7. PeregrinacioN
8. El Nacimiento
9. Los Pastores
10. Los Reyes Magos
11. La Huida

Mercedes Sosa 	- Primary Artist, Vocals
Nicolás "Colacho" Brizuela - Guitar
Oscar Giunta - Double Bass
Chango Farías Gómez - Bombo, Percussion
Rubén Lobo - Percussion
Chango Spasiuk - Accordion
Poppi Spatocco - Piano
Jaime Torres – Charango
Carlos López Puccio – Director
Maestro Ricardo Hagman - Arranger, Direction
Mario DeRose – Director
Asociación Coral Lagun Onak - Coro
Estudio Coral de Buenos Aires - Coro

OH MY GOD! I've just listened to this album again and I thought I had to tell the world how great it is. How is it possible that every time I listen to it my heart beats faster and tears roll over my face? There is no way without falling short of words to describe the beauty and heavenly perfection of this opus. Unless you like Britney-like pop, you will instantly fall for this-

Let's go by bits:

THE SONGS. They are all perfect. Ariel Ramirez, who wrote the music, is one of the most talented musicians in the world. Every melody has the power to evoke emotions and feelings almost in a supernatural way. Plus, each song is an example of different styles within argentinean traditional music. Still, the entire opus belts out an incredible integrity that makes you look upon it as a whole.

THE VOICE. Mercedes Sosa: one of (if not the most) powerful voices on Earth. She recorded this album at 65! and still she can pull off outstanding performances with her strong, contralto voice. You have to listen to it at full volume, and you'll get thrills.

THE CHOIR. A perfect set of argentinean voices. They can easily handle the subtleties that this exceptional music requires.

THE ARRANGEMENTS.

Whenever you first listen to this album, you will recognize an outstanding talent. The Misa Criolla was first recorded in the 1970's, and the man who plays the charango in this version is the same old man that did it 30 years ago. Everything was put together so that the result is utterly flawless. --- Marcos Zimermann, amazon.com

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*-01 - Es Sudamerica mi voz.mp3
*-02 - Canta tu cancion.mp3
*-03 - Antiguos dueños de flechas.mp3
*-04 - Pampas del sur.mp3
*-05 - Acercate cholito.mp3
*-06 - Oracion al sol.mp3
*-07 - Sudamericano en Nueva York.mp3
*-08 - Alcen la bandera.mp3

Charango – Kelo Palacios
Contrabass – Oscar Além
Cuatro, Guitar – Santiago Bertiz
Harmony Vocals – Los Arroyeños
Organ – George Kenny (2)
Percussion – Domingo Cura, Enrique Roizner, León Jacobson
Piano, Harpsichord, Directed By, Written-By – Ariel Ramírez
Quena – Raúl Mercado
Requinto Guitar – Gustavo Fernández (2)
Vocals – Mercedes Sosa

Well, long before political correctness and the plethora of female artists there was Mercedes Sosa. She is the perrrenial female artist who sings of Latin America as one.This particular disc is a nice showcase of her extensive vocal talents. Like a wailing Indian voice in the wilderness, Mercedes Sosa laments and sings songs of joy and hope. Her music is filled with a vision of common causes throughout Latin America. Listening carefully to this disc you can hear the echoes and roots of such diverse contemporary female artists as Lila Downs and Alejandra Guzman. Sosa projects the voice of the indigeneous population of America without borders. Her universal appeal has made her legendary to indigenous populations throughout Latin America.This is a beautiful conceptual disc, a classic piece of music that celebrates the common ethnic and spiritual characteristics of South America. The Argentine composers of the music Ariel Ramirez( who also plays piano and clavecin on the disc) and Felix Luna studied extensively to create these authentic manifestations of ancient cultures. On "Oracion al Sol" (Prayer to the Sun) Luna studiing the remnants of Quichua literature and their religious beliefs to create his compositon. This coupled with the use of authentic instruments, such as the Quena(Indian flute),Cuatro(four stringed guitar) ,the Requinto(small guitar)Charango( small guitar made the hide of an armadillo) maracas and various percussion intruments, including the woooden drum,Alauakataki earthenware drum, create a magnificent piece of timeless music. Although the instruments used are beautiful it is Sosa 's voice that solidifies and projects the music deep into your soul. Her voice is full of emotion, gentle but firm, demanding your attention soaring from high and low notes with her feet firmly on the ground. She has a range that can rest on the deep end but the feeling you get from listening to her is the strength of women and in particular the indigeous woman. All eight tracks are beautiful and different. "Canta tu Cancion" is a bossa nova type number that swings in a manner unlike the other songs because the others are more "Indian sounding" because of the instruments used. More typical fare represenative of the disc is "Alcen La Bandera' where Sosa sings to a beat that carries a tune similar to "Guantamera."Mercedes Sosa's wonderful vibe is projected as the earth mother crying out for peace, justice and respect between men and women. She sings of the common roots of South Americans, the Spanish and Indian past and the bridge to the future. She is a visionary who uses her voice to reach out to the multitudes. Her utopian vision of Latin America is heartfelt as her soulful vocals testify.Recommended for those that like indigenous music that has a message of unity, peace and justice for all. ---Enrique Torres, amazon.com

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Misa Criolla:
1. Kyrie (Vidala-Baguala) 
2. Gloria (Carnavalito-Yaravi) 
3. Credo (Chacarera Trunca) 
4. Sanctus (Carnaval Cochabambino) 
5. Agnus Dei (Estilo Pampeano)

Los Fronterizos:
Gerardo López, Eduardo Madeo, Juan Carlos Moreno, Yayo Quesada

Misa Flamenca: 
1. Kyrie
2. Gloria 
3. Credo
4. Sanctus 
5. Agnus Dei 

Pepe "El Culata", Victor Monje "Serranito", Ramón de Algeciras, Los Serranos, 
Raphael Romero, Pericon "Chocolate" De Cadiz, Pepe "El Culata",
Ramón de Algeciras, Choir Maitea, Coro Easo
José Torregrosa - conductor

This album, quite famous at the time of its original release around 1968, is an attempt to produce two masses using authentic folk music and performers.

The Misa Flamenca, like most such fusion attempts, it is not entirely successful, and (despite moments of great beauty) "interesting" is perhaps the best word for the result: this despite the use of top-notch artists such as (in the Misa Flamenca) singers Rafael Romero, El Chocolate, El Culata and Los Serranos, plus guitarists Serranito and Ramón de Algeciras. The sudden lurches from (for example) a genuine Caña to a full church choir are unnerving, to say the least.

In my opinion, the Misa Criolla, which uses Latin American music, is the more felicitous.

The sleeve notes are unusual in being in French alone, and containing no information whatever about the flamenco artists. ---Paul Magnussen, amazon.com

Ariel Ramírez composed the Misa Criolla in 1964 as one of the first masses in the national idiom. Ramírez not only used the language of his country but also the musical rhythms of Argentina, partly played by local instruments.It is a Creole Mass indeed. Creole means: native which is not the same as indigenous. The Argentine Creoles are descendents of many peoples, such as Europeans and Indians. New immigrants are called gringos. The Argentine rhythms and instruments also descend from many places.

The first recording of the Misa Criolla took place in 1964, sung by the choir of the Basílica del Socorro and the folkloric male quartet 'Los Fronterizos', who sang the soloist parts either one by one or together. The first live performance took place in Colón Theatre in Buenos Aires in 1965 (you can read a critic about this concert on the Ariel Ramirez website), the first European performances were in March 1967 in Germany. The score was edited in 1965 in Buenos Aires, together with the score of the Christmas cantata Navidad Nuestra. The Misa Criolla became extremely popular. It was sung all over the world and its recordings were sold in huge amounts. Almost 25 years after its birth, millions of CD's of the piece were sold when the famous classical tenor José Carreras recorded it (1988). At the end of 1998, Ramírez performed the mass in Buenos Aires with the three main folkloric singers that sung the mass in its 35 years of existence: Gerardo López ( Los Fronterizos, he died in 2004), Zamba Quipildor and Javier Rodríguez. The mass was more recently recorded by Mercedes Sosa (1999) and by Javier Rodríguez (2002). ---home.planet.nl

Al compositor José Torregrosa, en colaboración con Ricardo Fernández de Latorre, se debe la creación de una de las primeras misas flamencas grabadas y que, como otras misas populares, es fruto directo del espíritu emanado del Concilio Vaticano II. La obra del alicantino, una suerte de hibridación entre el mundo clásico y el flamenco, tuvo una amplia repercusión al formar parte del elenco de misas populares grabadas por la discográfica Philips. ---revistas.um.es

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1.Gringa chaqueña 
2.Juana Azurduy 
3.Rosarito Vera, maestra 
4.Dorotea la cautiva 
5.Alfonsina y el mar 
6.Manuela, la tucumana 
7.Las cartas de Guadalupe    play
8.En casa de Mariquita       play

Personnel: 
Mercedes Sosa (vocals); 
Ariel Ramírez (piano); 
Hector Zeoli (organ).

Ariel Ramírez (ur. 4 września 1921 r. w Santa Fe w Argentynie, zm. 18 lutego 2010 w Buenos Aires[1]) – argentyński pianista i kompozytor. Światową sławę przyniosła mu napisana w 1964 Misa Criolla (msza kreolska) – msza oparta na motywach ludowych tańców latynoamerykańskich, stworzona wkrótce po decyzji Soboru Watykańskiego II, umożliwiającej odprawianie Mszy Świętej w języku ojczystym.

Mujeres argentinas (Kobiety argentyńskie) to pieśni, które wykonywały najlepsze śpiewaczki argentyńskie, m.in. Mercedes Sosa.

Ariel Ramírez (4 September 1921 – 18 February 2010) was an Argentine composer, pianist and music director. He was considered "a chief exponent of Argentine folk music" and noted for his "iconic" musical compositions. Ramírez is known primarily for his Misa Criolla (1964).[2][3] It allowed him to travel around Europe and Latin America to build his reputation.[3] He had more than 300 compositions during his career and sold millions of albums. In the early 1970s, Sosa released two concept albums in collaboration with composer Ariel Ramírez and lyricist Félix Luna: Cantata Sudamericana and Mujeres Argentinas (Argentine Women).

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Misa Criolla (1964)
Ariel Ramirez (Santa Fé, 1921 – Buenos Aires, 2010)
01. Misa Criolla – Kyrie (vidala-baguala)
02. Misa Criolla – Gloria (carnavalito-yaraví)
03. Misa Criolla – Credo (chacareira trunca)
04. Misa Criolla – Sanctus (carnaval cochabambino)
05. Misa Criolla – Agnus Dei (estilo pampeano)

Missa Luba (sobre temas tradicionais do Congo) (1958)
Padre Guido Haazen (Antuérpia, 1921 – Bonheiden, 2004)
06. Missa Luba – Kyrie
07. Missa Luba – Gloria
08. Missa Luba – Credo
09. Missa Luba – Sanctus
10. Missa Luba – Agnus Dei

Missa Flamenca (1967)
Anônimo
Arr. Ricardo Fernandez de Latorre, José Torregrosa, José María Moreno
11. Misa Flamenca – Kyrie (La Caña)
12. Misa Flamenca – Gloria (Cantes de Málaga)
13. Misa Flamenca – Credo (Cantes Gitanos)
14. Misa Flamenca – Sanctus (Cantes del Campo)
15. Misa Flamenca – Agnus Dei (Cantes de Cádiz)

José Carreras – tenor
Bilbao Choral Society
Members of Coro Easo
Maitea Choir
Muungano National Choir
Andalusian Instrumental Ensemble
Boniface Mganga – conductor
Jose Luis Ocejo – conductor
José Torregrosa – conductor

As part of Philips Choral Collection series, this is the mid-price reissue of one of their internationally best selling recordings- Ariel Ramirez's crossover masterpiece Misa Criolla. Though diagnosed with leukemia only days after these sessions, tenor Jose Carreras is in remarkably good voice and clearly passionate in his role. Included also are two of Ramirez's equally stunning settings- the African inspired Missa Luba and the Misa Flamenca rooted in Spanish Flamenco tradition. ---arkivmusic.com

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