As research into the Mexican Baroque continues to expand, forgotten composers and their works are garnering deserved attention. Miguel Mateo Dallo y Lana (c. 1650--1705), who served as maestro de capilla [chapel master] at the Puebla Cathedral from 1686 to 1705, belongs to the tradition of polychoral composition inherited from musicians of the Spanish Renaissance. His liturgical settings, specifically Domine ad adjubandum me festina/Dixit Dominus and Beatus Vir, contain traits indicative of the Baroque period as well. These works reveal the Dallo y Lana's compositional techniques, which include homophonic declamation of text intermingled with polyphonic episodic material, layered above basso continuo. He worked in a time just before Mexican composers fully embraced Italian models, placing him at the end of the mostly autonomous Mexican tradition.
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机译：随着对墨西哥巴洛克式艺术的研究不断扩大，被遗忘的作曲家及其作品正受到关注。米格尔·马特奥·达洛·拉娜（Miguel Mateo Dallo y Lana，约1650--1705年）在1686年至1705年期间担任普埃布拉大教堂的首席大师（礼拜堂大师），属于多文化合唱的传统，继承自西班牙文艺复兴时期的音乐家。他的礼仪环境，特别是“ femine” /“ Dixit Dominus”和“ Beatus Vir”，也具有指示巴洛克时期的特征。这些作品揭示了达洛·拉纳（Dallo y Lana）的构图技术，其中包括在贝索连续音之上分层混合了与复音情节材料混合的文本的谐音。在墨西哥作曲家完全接受意大利模特儿之前，他就曾工作过，这使他处于墨西哥大部分自治的传统中。
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