Thursday, September 17, 2015

The Music of the Romero Beatification



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.
Conductors Salvador Marroquín, José Santamaría and Alfredo Andino.
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.
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.
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.)
Priest distributing Holy Communion to the choir members during the ceremony.
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.

APPENDIX “A” (List of Songs)


#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.
Watch video: Click here (minute 18:08).
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.
Watch video: Click here (minute 22:45 y 30:20 (it is repeated)).
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.
Watch video: Click here (minute 26:01).
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.
Watch video: Click here (minute 39:14). 
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. 

#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
Watch video: Click here (minute 15:35).
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”. 

#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.
Watch video: Click here (minute 36:12 (repeated)).
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.
Watch video: Click here (minute 49:55).
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”. 

#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.
Watch video: Click here (minute 56:38).
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
Watch video: Click here (minute 1:02:30).
Observations: This is a little more than a refrain to introduce the gospel. 

#10: Proclamation of the Gospel
Watch video: Click here (minute 1:04:55).
Observations: Movingly sung by Deacon Marcelino García, who earned a municipal recognition for his performance. 

#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.
Watch video: Click here (minute 1:36:45).
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.
Watch video: Click here (minute 1:39:15).
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.
Watch video: Click here (minute 1:41:20 (repeated)).
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). 

#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.
Watch video: Click here (minute 1:46:45).
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.
Watch video: Click here (minute 1:58:22).
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”).

#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.
Watch video: Click here (minute 2:00:45).
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
Watch video: Click here (minute 2:04:25).
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.
Watch video: Click here (minute 2:11:05).
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.
Watch video: Click here (minute 2:15:55).
Observations: Same author as #15, “Cordero de Dios”. 

#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.
Watch video: Click here (minute 2:47:00).
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. 
CD of the songs available from Asociación Lumen 2000 in El Salvador.

APPENDIX “B” (Credits)



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)




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




-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)




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)




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)




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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