Analysis and Evolution of the Liturgical Repertoire in the New Cathedral of Cuenca

Abstract

This article presents a detailed analysis of the evolution of the liturgical repertoire in the New Cathedral of Cuenca, Ecuador, exploring the transformations and adaptations that have taken place since its opening to the present day. With a rich history that reflects both Cuenca's cultural heritage and global ecclesiastical reforms, the musical repertoire of the New Cathedral constitutes a fundamental aspect of the city's liturgical and cultural identity. Through a qualitative approach, the study draws on historical documents, scores, testimonies of chapel masters and other key actors, allowing for an exploration of how the repertoire has been influenced by historical, social and religious contexts.
The study emphasizes the influence of the Second Vatican Council, an event that profoundly transformed liturgical music around the world. In the New Cathedral, post-conciliar reforms promoted the use of the vernacular and the integration of accessible melodies, replacing the exclusive use of Latin and Gregorian chant, with the aim of encouraging greater participation of the faithful in the liturgy. This change resulted in a more inclusive musical selection, which resonated with the daily life of the Cuenca community and facilitated a more intimate connection with the liturgy.
The article also highlights the role of the chapel master in this process of transformation, taking as a particular case Jhoffre Mora, one of the last exponents of this figure in the New Cathedral. Over the years, Mora not only preserved the traditional repertoire, but enriched it with compositions and arrangements adapted to liturgical changes and local cultural sensitivities. Their work illustrates how chapel masters have been instrumental in the adaptation of sacred music, acting as bridges between tradition and the new demands of the religious community.