BEATIFICATION OF ARCHBISHOP ROMERO,
MAY 23, 2015
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The music of
the liturgy for Blessed Oscar Romero consisted of a large body of songs of traditional
spirituality set in contemporary arrangements, tinged with three particular
accents: (1) a modern suite tending toward jazz; (2) a folkloric set adapted to
the regional post-conciliar liturgy and (3) a pinch of music tailored for the
occasion. The resulting blend made the event, which was televised by 14
international broadcasters, a real hemispheric culture happening.
Most of the
songs were spirtualist music, but from post-conciliar composers who emphasize
people's participation in the banquet of the Eucharist, with the modern
arrangements of the international liturgies of the Church. These included songs
that are well-known across the continent such as “Pescador de Hombres” (in a melodic-blues-jazz arrangement) and “Que Alegría Cuando Me Dijeron” (with a lively
Latin rhythm). [At the bottom of this post is a list of all the songs that were played, along
with links to the video of the ceremony to be able to play each song.] Interwoven
into this matrix were the three elements mentioned above.
The most
cutting edge component consisted of a couple of songs with jazzy overtones,
including perhaps the most prominent of all those heard, Psalm 71 (“Tu Reino es Vida”) which resonated during
the beatification rite. Commentators have described the style as even “Broadway”-sounding in its arrangement.
Another song that was also imbued with a touch of jazz was “Alrededor de tu mesa” during the
entrance, but less than Psalm 71, which really strikes the listener for its hyper
modern sound, very competently executed.
The indigenous
sounds of the popular masses were also interjected. Given the history of Archbishop
Romero with the reforms of the Second Vatican Council, this component is
fascinating because it implicates the action of Romero. [More: Archbishop Romero’s liturgical style.] The liturgical
constitution «Sacrosanctum Concilium» of 1963
established that the celebrations of the Church must carry the flavors of the
local culture to embody the realities of believers. “In certain parts of the world, especially mission lands, there are
peoples who have their own musical traditions, and these play a great part in
their religious and social life,” the document prays. “For this reason due importance is to be attached to their music, and a
suitable place is to be given to it, not only in forming their attitude toward
religion, but also in adapting worship to their native genius.”
Taking up these
guidelines, liturgists in Latin America developed liturgical music that
accompanied not only the great liturgies of the Church but also sought to
decisively accompany the Latin American peoples in their hopes and joys. A
pioneer of the liturgical movement was Mexican Bishop Sergio Mendez Arceo, who
developed mariachi Masses in the 50s and produced the first “Misa Panamericana” which later gave rise
to the popular masses that were heard in the liturgy of beatification of Archbishop
Romero . In fact, Bishop Mendez approached Archbishop Romero during the meeting
of CELAM in Puebla in 1979, and the two exchanged ideas. Archbishop Romero later
commissioned the “Salvadoran Popular Mass” whose notes echoed during the
beatification ceremony.
During the
procession of the bishops we heard “Vamos
todos al banquete” from the Salvadoran Popular Mass. During the offertory, “Te ofrecemos padre nuestro” from the Nicaraguan
Popular Mass was heard. Both songs worked in the use of native instruments like
the marimba, which served not only to add authenticity but also an intensely festive
flavor to the occasion. The instrumentation and the lively and upbeat
arrangements of other songs (like “Venimos
con alegría”) reinforced that sense. The “Santo”
from the ‘Spanish Mass’ was borrowed and used, with its vocal harmonies sounding
almost medieval in their finesse and simplicity.
Special orders
for the occasion were two songs: the “Himno
a Mons. Romero” of
Carmen González Huguet, and the “Himno a
Nuestra Señora de la Paz” by Bishop Juan Antonio Dueñas y Argumedo. The Romero hymn was easy and majestic
with emotional and pining lyrics; the hymn to the Virgin patron saint of El
Salvador regal and imperious, with an original arrangement of the Italian Giovanni
"John" Aberle, responsible for the Salvadoran national anthem.
The resulting
mixture of distinctly contemporary music (even to innovative levels), native
sounds, and arrangements tailor-made for the occasion against a background of
conventional contemporary liturgical music profiled the ceremony as a first-rate
world class event. However, this combination was not the result of cold
calculations, but an organic selection process. First, conductors Alfredo
Andino, Lito Aranda, Jose Santamaria Lagos, and Julio García developed a long list
of 40 or more songs that they proceeded to weed out in subsequent discussions.
The church and its liturgists only gave them three special orders: “Vamos todos al banquete” from the
Salvadoran Popular Mass commissioned by Archbishop Romero; “Tu reino es vida” to provide the touch
of justice of the prophets of the Old Testament appropriate to the occasion;
and “Himno a Nuestra Señora de la Paz”
to praise the national patroness and the region where her icon is venerated, which
is also the land of Archbishop Romero.
The performance
by the four-part choir consisting of 125 singers was high quality. “They sang like angels descended from heaven,”
commented one user on a social network.
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| Conductors Salvador Marroquín, José Santamaría and Alfredo Andino. |
The
organization of the choir was a minor miracle, made possible because the
coordinators started working after Pope Francis approved the martyrdom of
Archbishop Romero on February 4, 2015. Between the announcement of the date on
March 11 and the beatification on May 23, there were only two and a half months
of preparation. Within this time frame, the coordinators selected the songs;
hundreds of volunteers showed up to audition to compete for a place in the
choir; and after being selected rehearsed three days a week to learn
twenty-eight numbers. Only one out of five knew how to read music; even fewer
had ever sung in a national choir before.
Choir members faced practical challenges posed by the short time and the needs of staging an event of such dimensions: work-related conflicts, family issues, and countless personal sacrifices. Conductor Alfredo Andino had to miss his son's fifteenth birthday party when he was summoned to the first organizing meeting with only a day's notice. One member had her husband hospitalized up through the day of the ceremony; another member was injured and had to attend rehearsals with a broken foot; another had a fender bender and needed continuous help getting to and from the rehearsals. Transportation problems were widespread: Typical was the member who came from Los Planes de Renderos in the hills outside of San Salvador, and had to home by public transport when the rehearsals ended at nine o'clock at night, in a city where gang members extort money from bus drivers, and recently imposed a system-wide shutdown.
Choir members faced practical challenges posed by the short time and the needs of staging an event of such dimensions: work-related conflicts, family issues, and countless personal sacrifices. Conductor Alfredo Andino had to miss his son's fifteenth birthday party when he was summoned to the first organizing meeting with only a day's notice. One member had her husband hospitalized up through the day of the ceremony; another member was injured and had to attend rehearsals with a broken foot; another had a fender bender and needed continuous help getting to and from the rehearsals. Transportation problems were widespread: Typical was the member who came from Los Planes de Renderos in the hills outside of San Salvador, and had to home by public transport when the rehearsals ended at nine o'clock at night, in a city where gang members extort money from bus drivers, and recently imposed a system-wide shutdown.
On top of these
daily inconveniences for the members, which many viewed as diabolical attacks
against their project, there were also collective challenges. During the
rehearsals, there was an epidemic wave of the flu that struck many of the choir
members. Perhaps more dramatic still, the members of the orchestra had all
their musical instruments stolen from the house where they practiced at one
point. “Neither death, nor life, nor angels, nor principalities, nor present,
nor future, nor any other creature separated Romero from Christ and his Gospel
of love, of justice, of fraternity, of mercy, of forgiveness,” Cardinal
Amato said in his homily. Similarly, no challenge, big or small, could overcome the
determination of this little great choir. (See list of members.)
The songs of the
beatification of Archbishop Romero bear out the old adage that “to sing is to
pray twice” as they give glory to God not only through the music but also through
the sacrifices accepted and challenges overcome that led the vision to become a
reality.
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| Priest distributing Holy Communion to the choir members during the ceremony. |
APPENDIX
“A” (List of Songs)
I. ENTRANCE PROCESSION
#1: “Venimos con alegría” (“We come in joy”)
Author:
Cesáreo Gabaráin
Conductor: Alfredo
Andino
Sample
(Spanish): “Vienen con
alegría, Señor; cantando vienen con alegría, señor; los que caminan por la
vida, Señor, sembrando tu paz y amor”.
Sample translation: They come joyfully oh Lord; they come joyfully singing oh
Lord; those who walk through life oh Lord, sowing your peace and love.
Observations:
Same author as #18, “Pescador de Hombres”. This song began the entrance procession of
the priests. Although not part of a folk mass, its typically Latin sound
(accordions and lively rhythms) gave a festive start to the ceremony.
#2: “Que alegría cuando me dijeron” (Salmo
121) (“What joy when they told me”—Psalm 121)
Author:
Miguel Manzano Alonso
Conductor: José
Santamaría
Sample
(Spanish): “Que alegría
cuando me dijeron ‘Vamos a la casa del Señor’.
Ya están llegando nuestros pies a tus puertas, Jerusalén’”.
Sample translation: How happy I was when they told me ‘Let us go to the Lord’s
house.’ Our feet are now reaching your
doors, Jerusalem.
Observations:
Same author as #6, “Tu reino es vida”. The words of Psalm 121 are among the most fitting
to begin a Mass and therefore are frequently used. The song was repeated to
fill up the long entrance procession of 1,300 priests which lasted nearly half
an hour.
#3: “Alrededor de tu mesa” (“Around your
table”)
Author: Francisco
Palazón
Conductor: José
Santamaría
Sample (Spanish): “Alrededor de tu mesa venimos a recordar que
tu palabra es camino, tu cuerpo fraternidad”.
Sample translation: Around your table we gather to remember that your word is
a way and your body is brotherhood.
Observations:
Same author as #7, “Gloria,” and #17,
“Acerquémonos todos al altar”. The first indication of a modern, almost
experimental sound during the beatification ceremony, would have been the
synthesizer-produced notes of this song.
#4:
“Vamos todos al banquete” (“Let us
all go to the banquet”)
Author: Guillermo
Cuellar (from the Misa Popular
Salvadoreña)
Conductor: Alfredo
Andino
Sample
(Spanish): “Vamos todos al
banquete, a la mesa de la creación; cada cual con su taburete tiene un puesto y
una misión”.
Sample translation: Let’s all go to the banquet, to the table of creation,
everyone with their own stool has a place and a mission.
Observations:
Part of the Mass commissioned by Archbishop Romero but never heard by him. It
evokes a famous homily by Fr. Rutilio Grande, which compares the Kingdom with “a great banquet on tables with long
tablecloths, with plenty for everyone. And nobody will be left out without
their stool and fair share.” Cardinal Amato looked very cheerful and upbeat
in the entrance procession with this song.
II. INTRODUCTION
#5:
“Señor ten piedad” (“Lord have
mercy”)
Author:
From the “Misa de Juventud Hosanna”
Conductor: José
Santamaría
Sample
(Spanish): “Señor ten
piedad de nosotros, Cristo ten piedad de nosotros”.
Sample translation: Lord have mercy on us, Christ have mercy on us
Observations:
The Mass was composed in 1968 as part of the liturgical renewal by the Mexican
Jesuit Miguel Aguayo and Spanish musician Carlos Camacho who was active in
Mexico. The recording they made was certified silver for the number of copies
sold. Same author as #11, “Vino y Pan en
Oblación”.
III. BEATIFICATION RITE
#6:
“Tu reino es vida” (Salmo 71) (“Your
kingdom is life”—Psalm 71)
Author: Miguel
Manzano Alonso
Conductor: Julio
García
Sample
(Spanish): “Tu reino es
vida, tu reino es verdad, tu reino es justicia, tu reino es paz”.
Sample translation: Your kingdom is life, your kingdom is truth, your kingdom
is justice, your kingdom is peace.
Observations: Same
author as #2, “Que alegría cuando me dijeron”. The
lyrics dovetail well with the language of the beatification decree, which refers to the Blessed Romero as a
“Heroic witness of the Kingdom of God, Kingdom
of justice, brotherhood and peace.”
#7: “Gloria” (“Glory”)
Author: Francisco
Palazón
Conductor: José
Santamaría
Sample
(Spanish): “Porque solo Tú
eres Santo, solo Tú Señor, solo Tú Altísimo, Jesucristo. Con el Espíritu Santo,
en la gloria de Dios Padre. Amén.”
Sample translation: Because You alone are Holy, only You Lord, only You
almighty Jesus Christ, with the Holy Spirit in the glory of God the
Father. Amen.
Observations:
Palazón, the great master of the “Schola
Cantorum” and the Conciliar Seminary of Madrid and the Musikhochschule of Munich, is the same autor as #3, “Alrededor de tu mesa,” and #17, “Acerquémonos todos al altar”.
IV. LITURGY OF THE WORD
#8:
“Salmo 125” (“Psalm 125”)
Author: Josué
Blanco A.
Conductor: Alfredo
Andino
Sample
(Spanish): “Los que
sembraban con lágrimas cosechan entre cantares”.
Sample translation: Those who planted in tears now reap among singing.
Observations:
Sung beautifully by conductor José Benjamín Santamaría Lagos.
#9: “Canta Aleluya al Señor” (“Sing Alleluia
to the Lord”)
Conductor: Alfredo
Andino
Sample
(Spanish): “Canta Aleluya
al Señor”.
Sample translation: Sing Alleluia to the Lord
Observations:
This is a little more than a refrain to introduce the gospel.
#10:
Proclamation of the Gospel
Observations:
Movingly sung by Deacon Marcelino García, who earned a municipal recognition
for his performance.
V. EUCHARISTIC LITURGY
#11: “Vino y Pan en Oblación” (“Bread and Wine
in Oblation”)
Author: Carlos
Camacho
Conductor: José
Santamaría
Sample
(Spanish): “Vino y pan en
oblación esperan el milagro del Señor”.
Sample translation: Bread and wine in oblation await the miracle of the Lord.
Observations:
Also from the “Misa de Juventud Hosanna”
(see #5, “Señor ten piedad”)
#12: “Te presentamos el vino y el pan” (“We
present you the bread and wine”)
Author: Juan
Antonio Espinosa
Conductor: José
Santamaría
Sample
(Spanish): “Te presentamos
el vino y el pan; bendito seas por siempre, Señor”.
Sample translation: We present to you the bread and wine; Blessed be you
always, Lord.
Observations:
Author Espinosa is one of the great exponents of the New Liturgy in Spain, with
an emphasis on music about social justice music stemming from his several years
working with farmers in Peru and Colombia.
#13:
“Te ofrecemos padre nuestro” (“We
offer your, our Father”)
Author: Manuel
Dávila (from the Misa Popular
Nicaragüense)
Conductor: José
Santamaría
Sample
(Spanish): “Te ofrecemos
padre nuestro, con el vino y con el pan, nuestras penas y alegrías, el trabajo
y nuestro afán”.
Sample translation: We offer you, our Father, with the bread and with the
wine, our woes and joys, our work and our hopes.
Observations:
The Nicaraguan Folk Mass was composed by Fr. Jose de la Jara and Manuel Davila
in 1968, as a pioneer popular Mass in Latin America in the spirit of Vatican
II. Not to be confused with the Misa
Campesina Nicaragüense of Carlos Mejia Godoy (1975).
VI. EUCHARISTIC PRAYERS
#14:
“Santo” (“Holy”)
Author: Alfonso
Luna (de la Misa Española)
Conductor: Alfredo
Andino
Sample
(Spanish): “Hosanna en el
cielo, Hosanna en el cielo, bendito es el que viene en nombre del Señor”.
Sample translation: Hosanna in the highest, Hosanna in the highest, blessed is
He who comes in the name of the Lord.
Observations:
The Spanish priest and composer Alfonso Luna-Sanchez promoted a style based on
the harmonies and counterpoint of classical baroque music, but using a modern
musical language appropriate for a multicultural liturgy.
#15: “Cordero de Dios” (“Lamb of God”)
Author: Alejandro
Mejía
Conductor: José
Santamaría
Sample
(Spanish): “Cordero de
Dios que quitas el pecado del mundo, ten piedad de nosotros”.
Sample translation: Lamb of God that takes away the sins of the world, have
mercy on us.
Observations:
Same author as #19, “Señor a quién iremos”. Mejia is a Mexican Marist religious, director
of the Colegio Mexico, liturgist, musician and composer. He is the author of the
Misa Festiva (also known as the “Misa Ranchera”).
VII. COMMUNION
#16:
“Himno a Mons. Romero” (“Archbishop Romero Hymn”)
Autora: Carmen
González Huguet
Conductor: Salvador
Marroquín
Sample
(Spanish): “Profeta de
pecho herido, siervo de la luz quemante, en el altar donde fuiste sacrificio y
celebrante”.
Sample translation: Wounded breasted prophet, servant of the burning light, on
the altar on which you were both sacrifice and celebrant.
Observations:
Carmen González Huguet wrote the lyrics and Salvador Marroquín the music of
this tribute in the 1980s and it had been almost forgotten by history until it
was revived for the beatification ceremony.
(This was the only beatification song credit to a woman.)
#17:
“Acerquémonos todos al altar” (“Let
us all draw near to the altar”)
Author: Francisco
Palazón
Conductor: Alfredo
Andino
Sample
(Spanish): “Siempre que
comemos de ese pan recordamos la Pascua del Señor”.
Sample translation: Whenever we eat this bread we recall the passion of the
Lord
Observations:
Same author as #3, “Alrededor de tu mesa,”
and #7, “Gloria”.
#18: “Pescador de Hombres” (“Fisher of Men”)
Author: Cesáreo
Gabaráin
Conductor: Alfredo
Andino
Sample
(Spanish): “Tú has venido
a la orilla, no has buscado ni a sabios ni a ricos. Tan solo quieres que yo te
siga”.
Sample translation: You have come to the shore, you have sought neither wise men
nor rich men. You only ask for me to
follow you.
Observations:
It was composed in 1979 by the Spanish composer and priest Cesáreo Gabaráin (same
author as #1, “Venimos con alegría”).
Its lyric was inspired in the Gospel passage from Luke in which Jesus calls
Simon Peter to be a “fisher of men,” and he and his companions leave everything
to follow Him. The song was favored by John Paul II.
#19:
“Señor a quién iremos” (“Lord, whom
will we turn to”)
Author: Alejandro
Mejía
Conductor: Alfredo
Andino
Sample
(Spanish): “El que viene
al banquete de mi cuerpo en mi vive y yo vivo en él. Brotará en él la vida
eterna, y yo lo resucitaré”.
Sample translation: Whomsoever comes to the banquet of my body lives in me and
I in them. Eternal life will flow within
them and I will resurrect them.
Observations:
Same author as #15, “Cordero de Dios”.
VIII. CONCLUSION
#20: “Himno a Nuestra Señora de la Paz” (“Hymn
to Our Lady of Peace”)
Author: Msgr.
Juan Antonio Dueñas y Argumedo
Conductor: Alfredo
Andino
Sample
(Spanish): “Salve oh Reina
de Oriente ensalzada, de tus hijos escucha el clamor; nuestra dulce patrona
aclamada, tuyo siempre será El Salvador”.
Sample translation: Hail O exalted Queen of the East, hear your children’s
clamoring; our sweet acclaimed patron, El Salvador will always be yours.
Observations:
Msgr. Dueñas, composer of the lyrics of this tribute to the Patroness of El Salvador,
was the Bishop of San Miguel who called the boy Oscar Romero to the seminary at
age 13; additionally, the young Fr. Romero was in charge of caring for the icon
of the Virgin.
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| CD of the songs available from Asociación Lumen 2000 in El Salvador. |
APPENDIX “B” (Credits)
CONDUCTORS
Rafael Aranda Urbina, General Conductor, Orquesta y Coro
José Alfredo Andino Rivas, Titular Conductor (Peña Coral)
José Benjamín Santamaría Lagos, Titular Conductor (Coro de Cámara)
Juan Carlos Berríos Alvarado, Assistant conductor (UCA)
Julio Enrique García Polanco, Assistant conductor (Coro Nacional)
Salvador Armando Marroquín Marroquín, Assistant conductor (Corazón
de María)
ORCHESTRA
Javier Aquiles Aranda Guevara, Percussion
Romeo Antonio Esquivel Maldonado, Guitar
Juan Carlos Garcia Melgar, Guitar
Rafael Aranda Guevara, Strings
Angel Humberto Hernandez Gutierrez, Synthesizer
Jorge Lara, Percussion
Omar Ernesto Reyes Peraza, Piano
José Daniel Valladares Andino, Strings
CHOIR
-Bass Singers-
Manuel Enrique Alfaro Menjívar (from La Resurrección)
Luis Eduardo Alfaro Montoya (from La Resurrección)
Ricardo Ernesto Ayala Barahona (from La Resurrección)
Ambrosio Berrios Ortiz (from coro Siman)
Oswaldo Stalin Campos Melara (from coro Siman)
Luis Alberto Campos Melgar (from Coro de Cámara)
David Rafael Cárcamo López (UCA)
Luis Antonio Carrillo Martínez (Seminario)
German Del Cid (from coro
Siman)
César Emilio Domínguez (UCA)
Ricardo Adolfo Escalante Quiteño (from coro Corazón de María)
José Antonio Guevara (from coro Siman)
Mario Roger Hernández Calderón (Peña Coral)
Jimmy William Martinez García (from coro Siman)
José Mario Mejía González (Seminario)
Wilber Alexander Melara Mejía (Seminario)
Luis Eduardo Mendoza Muñoz (from coro San José de La Montaña)
José Antonio Nasser Chahín (Peña Coral)
Juan Francisco Peraza Najarro (from coro Corazón de María)
Erick Alexánder Posada García (Seminario)
Julio German Reyes Reyes (Peña Coral)
Edgar Edmundo Vallecillos Arévalo (from coro Nta. Sra.
Presentación)
Carlos Eduardo Viche Lemus (from coro Cristo Redentor)
-Contraltos-
Roxana Patricia Abrego Granados (Peña Coral)
Silvia Melissa Aguilar Fernández (from coro Salvador del Mundo)
Mariella Carolina Aguirre Candray (from coro Corazón de María)
Andrea Paola Anastas Lara (Peña Coral)
Rina María Elena Castellanos Castro (Peña Coral)
Linda Beatriz Castellanos Chavarría (from coro Corazón de María)
Karla María Jubiz de Esquivel (from coro Cristo Redentor)
Andrea Sofía Hernández Gómez (from coro Nta. Sra. Presentación)
Elsa Vilma Hernández Reyes (from coro San José de La Montaña)
Sofía Alejandra Hernández Reyes (from coro San José de La Montaña)
Wendy Gabriela Martínez González (from Coro de Cámara)
Olivia Beatriz Villalta de Martínez (from coro Salvador del Mundo)
Marta Alicia Mejía de Mayer (from coro Salvador del Mundo)
Sandra Doris Meléndez Rodríguez (from Coro de Cámara)
Grisel Guadalupe Muñoz de Mendoza (from coro San José de La
Montaña)
Ligia Eugenia Orellana de Merlos (from Coro de Cámara)
Sonia María Monterroza (from coro Salvador del Mundo)
Adriana María Ordóñez Portillo (from coro San José de La Montaña)
Andrea Leticia Ordóñez Portillo (from coro San José de La Montaña)
Laura Victoria Palencia de Peraza (from coro Corazón de María)
Rosario Del Pilar Romero Rivas (from Coro de Cámara)
Guadalupe Mejía de Santamaría (from Coro de Cámara)
Iris Anabell Tejada Fuentes (UCA)
Geovanna Geraldine Ulloa García (from coro San José de La Montaña)
Flor de María Rodas Abarca de Vallecillos (from coro Nta. Sra.
Presentación)
Flor de María Vallecillo Rodas (from coro Nta. Sra. Presentación)
-Sopranos-
Sandra Corina Castaneda de Alfaro (from La Resurrección)
Eunice Panama de Andino (Peña Coral)
Maria Elena Guevara de Aranda (from coro Corazón de María)
Saira Johanna Barrera (UCA)
Sonia Elizabeth Barrera García (from coro Siman)
Alba Gabriela Hernández de Benítez (from coro Siman)
Ana Virginia Marina Menéndez de Bracamonte (from coro Cristo
Redentor)
Mabel Cristina Rivas de Callejas (from coro Corazón de María)
Priscila Lucía Corpeño Mejía (from coro Corazón de María)
Roxana Lorena Cortez Ruiz (from coro San José de La Montaña)
Suria Marceny Rivas de Cortez (from coro Corazón de María)
Norma Alicia Coto Armas (from coro La Resurrección)
Helen Edith Chávez Escobar (from coro San José de La Montaña)
Beatriz Isabel Escobar Garcia Prieto (from coro Corazón de María)
Silvia del Carmen Orellana de García (from La Resurrección)
Katya Yanira González Castaneda (from coro Siman)
Wenddy Mitchell Guerrero Abrego (Peña Coral)
María Gladys Hernández (from coro San José de La Montaña)
Evelyn Aminta Hernández Monge (from La Resurrección)
Rosa María Lara Urrutia (Peña Coral)
Florence Ana Esther Orozco de Jiménez (from coro Salvador del
Mundo)
Martha Elizabeth Alvarez de Majano (from coro Salvador del Mundo)
Ana Gladys Alvarado de Marcenaro
(from coro San José de La Montaña)
Wendy Beatriz Martínez Barrera (UCA)
Elsa Yanira González de Martínez (from Coro de Cámara)
Ana Karina Mónchez Interiano (from coro Salvador del Mundo)
Irma Yanira Morales Peñate (from coro Siman)
María Eugenia Romero de Muñoz (Peña Coral)
Gloria Estela Portillo de Ordóñez (from coro San José de La
Montaña)
Natalia María Pocasangre Escobar (from coro Corazón de María)
Ligia Patricia Villalta de Ramírez (from coro Cristo Redentor)
-Tenors-
Carlos Enrique Abrego Granados (Peña Coral)
Jonny Alfredo Alvarenga Hernández (from coro Siman)
Carlos Jacobo Bracamonte Pacheco (from coro Cristo Redentor)
Luis René Campos Centeno (from Coro de Cámara)
David Alexander Castellón Aldana (from coro San José de La
Montaña)
David Castellón García (from coro San José de La Montaña)
Walter Omar Córdova Murcia (Seminario)
José Gustavo Cuellar Albeño (from coro Siman)
Kevin Andrés Guevara Melara (from coro Salvador del Mundo)
Luis Eduardo Gutiérrez Ponce (from Coro de Cámara)
Miguel Alexander Hernández Marroquín (from La Resurrección)
René Francisco Martínez González (from coro San José de La
Montaña)
Pedro Edmundo Martínez Martínez (from coro San José de La Montaña)
Eliseo Isaías Mayorga Hernández (Seminario)
Cristóbal Edmundo Merlos Guardado (from Coro de Cámara)
Diego Esteban Nasser Machuca (Peña Coral)
Ivo Osegueda Costte (from coro Corazón de María)
Ricardo Alfredo Pacas Aguirre (from coro Salvador del Mundo)
Max Antonio Pocasangre Abrego (Peña Coral)
Rogelio Enrique Rebollo López (Peña Coral)
Maximino Romero Orellana (from Coro de Cámara)
Salvador Francisco Saade Murcia (from coro Corazón de María)
Salvador Abraham Saade Salazar (from coro Corazón de María)
Cesar Emilio Valladares Morales (Peña Coral)
Edgar José Vallecillo Rodas (from coro Nta. Sra. Presentación)
Douglas Orlando Vides Ortega (from coro San José de La Montaña)
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