This Mexican composer of Spanish birth was a choir master of Puebla Cathedral in 1679 and by 1688 was the master of the chapel at the Cathedral of Mexico City. He organized the archives, supervised the building of a new organ and was a noted teacher. The majority of his vocal works demonstrated a keen sense of counterpoint and the works for choruses were often scored for two choirs. Rarely did he employ the use of imitation and gave his compositions a wholeness through recurring motifs derived from plainsong. Other than composing strictly sacred music for choruses Salazar was well known for his villancicos and chanzonetas. The former were often set in nine different cyclical sections with a great deal of instrumental coloration. It is thought that Salazar composed approximately twenty villancico cycles with most of the textual data derived from the poet Juana Ines de la Cruz. ~ Keith Johnson, Rovi

Villancico: Al Salir el Sol - Antonio de Salazar.
Atención que si copia la pluma- ANTONIO DE SALAZAR~Baroque Music for Our Lady of Guadalupe (S.XVIII)
Antonio de Salazar - Tarará, que yo soy Antón
Vengan corriendo- ANTONIO DE SALAZAR ~Dúo al Santísimo Sacramento (Mexican Baroque Music)
Tarará Qui yo soy Anton (Antonio de Salazar) - Orquesta Sonora Barroca
Tarará qui yo soy Anton- ANTONIO DE SALAZAR~ Negro Music in the New Spain (Mexican Baroque)
O Sacrum Convivium, a 8- ANTONIO DE SALAZAR~Polychoral Music in the New Spain (Early 18th Century)
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