Love & Reconquest: Music from Renaissance Spain - CD Booklet by Delphian Records

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Love f,\,n� f<econ'l.!1est

Music from Renaissance Spain

fires of love

1 Rodrigo Martine,· ,mon. (C«nc<oncro Musical de Pal«cw, prc.1520) 2 Ay, luna que rclu:c, • anon. (Cancioncro de Upp,al<1. printcd Vcn1cc 1556) 3 Paseava e - Luys de Nardc: (fl. 1530-50) 4 Cancion dd empcrador • Luys de Narvàc: 5 Levanta, Pascual • Juan del Encina (1468-1529) 6 De Antcquera sale d moro • Mig11d de Fucnllana (c.1500-c.l 566) 7 Rcccrca,b primera • Diego Orti: (c.1510-c. l 570) 8 iQu'es de ri, desconsolndo 1 - Juan Jd Encina 9 Fantasia de pasos largos para dcscnholvcr las manos • Alonso Mudarra (c.1508-15 0) 10 l,racl, mira eus monte, - Alonso Mudarra 11 Con amorcs - Juan de Anchicta (1462-1523) 12 Madona mia - Miguel de Fucnllana 13 Fanra,ia de rcdoblcs - Miguel de Fucnllana 14 Farn la parte - Juan del Encina 15 A quand' a quand' - Adrian Willaert ( 1490-1562), arr. Diego Pisador (c.1509-c.l 557) 16 ilia y ,·i1'1a • anon. (CMP) 1 7 Fantasia 110.8 • Luis Milàn (c.1500-c.1561) 18 Durand:mc - Luis Milàn 19 Hoy comamos y bebamos • Juan del Encina 20 Fantasia que contraha:c la harpa en la mancra de Ludovico • Alonso Mudarra 21 Gentil Cavallero • Alonso Mudarra 22 Mille regrctz • Josquin Dcsprc: (c.1440-1521) and Luys de arv:ic: 23 Que bonito nil'io • ,111011. (CMP) 24 \/irgen digna de honor • anon. (Canc,oncro Colombma, pre-1490) 2 5 A lo, rnayrine, cra - anon. (CMP) 26 Calab.1:a, no ,é - :mon. (CMP)

2.26 4.26 2.50 3.16 2.42 2.53 1.53 2.52 1.45 3.22 3.02 2.32 1.56 2.4 7 3.39 2. 17 2.44 5.09 1.52 3.32 2.42 2.45 2.33 2.58 2.17 0.45

Fires of Love F ranccs Cooper • soprano GorJon Ferries • vihucla and guitar Jonathan Hugh-Jones • bass and recordcrs Marcus Claridge • percus ion 2

Se\'1lle, cmwdcd \\'ith .1d\'enturer, hopcful of fortune, 111 the Amcrk.is. A hisrory of the 11mc couId hc \\'ritten ,1round rhe rexrs of its ,nng,. Many of tlw,c-,omc in prinr, rnost in n,anu..,cnpt-an: prl.'.'�crn:d in n group of songhook!-1 or cm1Cwm·ros. The mo�t fomous is the colo",11 Cancioncro Mu,irnl de Palacio (CM P), the nuclcu, of which \\'as probably compiled ar Alba de Tonnes, the palace of the Duke;, of Alba out,ide Sabmanca. lt was complercd .,round 1520, redbco\'cted in 1870 and originally conraincd more than 500 songs, 90o( which arc now losr.

The Reconquest of Granada 1 n 1492 the b,t Moori,h Ut\ of Granada w.h rcupturcd aftc•r ,1 ncar-800 ycar ,rrugde. the k,ngdom\ Jew"h popul.mon "'•" cxpclled and A,m:ma"'·" 'd1,l0\Trcd': l1y ,111) mea,urc, it was .1 ) C,1r of 1m1"u,1I ,1gn1hcance for Spam. Ir may he rcg,1r,h:d '" u,h,•rmg the H,gh Renaissance 1111n the Penm,ular. Rut the concept of a Golden Agc-oltcn med to dc,cnbc the decades that foll,mcd-" a ,hpper, and p,ll�nant one: ,lippe ri, h<.'c,1t"e whil<.' the l'<.'st Span1sh sccular m1"1c d.ue, frum c.1490 m l 5ï0, the 'golden' cpoch of ltt<.'r.11ure. th.:,llrc ,md painting com<.', l.11<:r, c. 1600 and afr.:r, when Vclasque:, C'enantè,, Lope de Vega and Calderon wcrc 111 thcir prime; and poignant hcc:w,c the defcat of the Moor, ,md th.: ).:wi,h .:xpuls1ons rurned an 111tdlenu,1lli n\'1d, Afro--European soc1ctv 11110 ,1 forc,hly homogcnou, one, while the heady op11m1,m of l·erdin.rnd and bahella (the CatholiL M,,narth, who complered the Renmqu,·st) w.1s ,uon cru;,hed by the Imperia! hurdcn we1ghing on their Mllccs,or;, Charles V .,nJ Philip Il. ln li11lc more than one hunJrcd \L',1r,, Sp.1111 ,1cqu1rcd ,111 Amcncnn empire and lo,1 a European one, anJ the country ro;,c ro anJ thcn (dl from 11' po,1t1on .1;, a super-power '"th .1 ,pccJ wh1d1 a,ton"hcJ ail obsen·crs, none more ,o tl1.1n the Sp.1111ards them,elnc,s.

Fronterizos - songs of Reconquest Many song, o( the timc relate the highlights of thc la;,t ca111p.1igns on the bord ers ofGranada, a genre known a;, fronrenzos. Frequently it is the Moorbh sidc of the ,mri• that is rold. rhe Moors being porrrayed with sympathy, c,·cn adrniranon. This has led sorne to daim that ,uch text;, wcre composcd by rnoriscos or Christianized Moor,, whilc other scholars ;cc thcm ,imply a, ,ympromatic o( Renaissance hum.1111�r tolerance. One of the most fomous (rr.1mla1ed hy. among,r other,, Lord Byron) is Paseavase. po;;,ihly a Moorish mdody rc--scr hy ,e,·cr.11 composers mcluding Luys de Nan•,1e:. lt tdl, of the t.1k1ng of the mwn o( Alhama. the 'g,11ew,1y to Granada' \\'hose ;,tarti mg capture hy the M,,rque, of C:1d1: in 1482 wa, the hcgmning o( the end for blam,c

ln 1500, hm,c,·cr, the confidence and L',utement 111 ,p.11n must ha\'è becn palpable, ahm•è .111 111 u11c, like GranaJa and e,pccially

Sp.1111. The ,oni.: h.1d ,ud1 111 ,•rno11onal 1mp,1ct for the Moor, of (,r.111.1,l.1 tl1,11 alter the Rcconqlh..'\t 1t wa't for a tlllll' hannl't..l hec....n1,è tt provokcd rioh-,1<, Nanilez, horn 111 (.Jran,1d;1 would have known.

D,· Antcqucr.i ,.ile cl moro rdcr, b.1ck to 'Il :c ut that town 111 1 41 O. ,\m,·qucr,1 "•" the tir,t �l'"""h tmtrc" ol the K1ngdo111 of tir.111,1d.1 tu f,111 to the Rcconque,t (reputcdly the l1N 1111pnrt.111t u,e of gunpo\\ Jer 111 Sp,1111). ,Qu'<:s de ti, dc,consolado? by Juan del En, 111,1 "a ,omcwh,11 ,mug t,ill 10 the IJ,t detc.ncd l-.1onn,h kmg Bo.1bdil to rurn !rom l,l.1111 to Chn,11,1111[). L1kc 111,111\ mu,ic1.111, 111 the roy�1I èntour,lL!C, Enc111.1 wirncs�ed the c,1pt11re of Gr.111,1J,1, and a numbcr of h" ,ong, retlcct th,, kei evènt. The\ are frankly propacan,b: a, c.1rl) ·" 1-162. the Crown wa, con1m1""'ion1ng fronten�os to ,vhip up cnth11>1,1>m for thé Retonque,t.

The Chri,nan, ,,t\\' the Rcrnnquc.,t (and then the conquc,t of the AmericJ,) a, a C'ru,ade, and the o,rcn"hly B1blical Israel, mira tus montes neatly clidc, the strugglcs of the Hchrcws \\'lth tho,c of the Sp.1111ard, 111 ir dcpicrion of noble Chn;,n,111 krnghb dead on the field of hattlc. ln 154 1 Charles V had continued the Crusadmg enterprise bi sending hi; armic; inro Africa ro ,ci:c Al"ier,. But the attackmg Spaniards wcrc ,oundly bcaten and Alomo Mudarra's son!! (publi hed 1546) may allude ro the dc(cat.

Love in the Orchards

From the CMP come, Lcvanta, Pascual by rhc compo,cr most ofren fcaturcd in the collection, Juan dd Encma. lt is a dialogue betwccn rwo cxdted ,hcpherds who set C>ff ro sec a wondcr that has come ro pass. Thesc hickering pa,roralist, arc not lsraclite,, howcvcr: they ,1re guardtan, of the vast Mcrino flocb that, with royal liccn,è, tra,·cr,cd mèJ1cv.1I Sp :11n Jc\'()llrtng :,ny gr�cnCf)' in their path. And thcy go ro \'icw, not the Infant )e,u,, but rhc ncwly conqucred Alhambra to man·cl ar rhc glorie, of .1 Moon,h cpoch that i, ahout ro be 1crn1111,11ed. Cunou,ly, thi, i, the only ,ong in the cn11re CMP that refcr, spcc1hc.1lly Ill Cir,1naLL1', ;.urrender.

The ,urrendcr nfGran,1d,1's Alhambra p,1l.1cc w.1� witnc"cd by Christopher Columbu,, who wn, thcrl..' p l'.tit1oning rhc Crown co ;ub,1di,e ,1 mky and highly ;peculati\'c sca \'O)'age. l li, ,ucce»ful Atlantic cro ing chat ,ame icar "cchocd in ,1 cunmh linle piccc in the CMP. The c.1l.1b,1>h (pumpkin, ,quash) wa, one o( the ew Wnrld troph,es brought b,1ck w Europe hi Columbu, anJ h" fnllo\\'crs. lt \\':ts an 1m.tant ,ucce;,-the ;un- dned rom,110 of 11s cpod1-,111d \\'a, ctilti\'ateJ .tll .,round the Med11crrancan. And it wa, ,non cdebratcd 1n mu'1c Calabaza, no se is ,1 lo\'e ,ong ,1ddre,,ed m .1 pumpkin and dates The garden b th,· from hcfore 1520.

Virgin bmh. Many 11llanc1rns ha,·c a cxquisitc p<ll',c, norably Ay luna que reluccs, wh1ch comc, f rom the cxtcn,i\·c ,tnd usuall1 :1ff1orou� rcpcrtotrc nt the serrana or 'mouncain pa,toral'. Othcr, ,1re gloriously trivial; what is one to ,ay of Rodrigo Martines, a handsomc young chap who cannot tell the diffcrencc bcrwecn a cowand a goo�e?

prcfcrred sc,ual arcna of the 11mc: wc mcct tt acain 111 Nina y ,·ii\a, whcrc a girl "bcratcd (it would us11,1ll1 he hy her mothcr) for crecptng out 10 ,lawn ,1,'1gnanon,. Mc.111wh1le, the knight (mm Sev1llc who ptck, lcmons in the con\'cnt garden in Gentil cavallero, and the Pnorc1s who heg, him for a k1", h1111 at a ocial pmblcm 1h.11 the dernut Qucen Isabella qruggbl wuh for much of hcr rc1gn: the ,hockmg mnr,11 l.u,11y of the church. The Quccn's rcform programme, met with mixcd 1ucœss. Rarhcr than gi"c ttp thcir concubine , ,omc four hundred clenc, converted ro Islam and decampcd to onh Afnca.

Fata la parte is a jokc of a r,Hhcr diffcrcnt sort. Juan dd Encina was for a cime cmploycd by the Duke of Alba, who was \/iceroy of the Kingdom of aplcs, a Spanish possession. The song is an examplc of ch11ppurado or 'broken' text, a bi:arrc mixture of fifrccnth ccnrury Aragoncsc and ltalian, sung by an outragcd Neapoliran husband who has in a fury murdercd his wifo, having becn cuckolded by a craft)· (and doubtlcss very macho) Spaniard. ln orhcr words, it's a Spanish jibc ac the cxpcnsc of rhc locals. lt 1s also thoroughly rheatrical; Encina, a lcarncd and wirry man, achicvcd famc in his own day as a dramarisr.

Songforms Calaba:a, no sé, Nina y vii\a ,1nd othcr songs arc 111 the ,hort popular ,·er,c form known as the 11llan(ICO, or ' pca1am song'. The term wa; ltN u,ed c.14 50 hut rhe form probably dcnw, from older Cordoban-Arab modcls; ccxr, ,un'l\'C from the clcventh œntury us1ng Arabie for the WN�, and a ,outhern panish dialect for the rcfratth. Some nllann,01 arc rdigious and wtth ttme the form becamc ,ynonymous wtth hmrn1.1, carol,, ccrtam of wh 1 ch are ,rill popular 111 Sp.11n todJ\. Virgen digna de honor and A los maytines era arc ryp1cal of rhc uncompltcated hcauty of thcsc piccc,. lt is not ditfiw!t to 1111ag111c them ,ung .1t a crowdcd p<.1pular fc,tt\',11 "hcre ,trier .1dhcrcnce co the Go,pd, w.1, pcrhap, not an "suc; Que bonito nii\o tntrnducc, two mtdw1ve, at the

Besicles the 11lltrncico, a maior vcn,c fon11 wa, the romance, dcrivcd from thar knighrly tradition ,oon ro hc mcrcilcssly tnkcn apart by Ccrvanrcs in Don Q111xo1e. Th<.: carlier romances wcrc bascd on fragm<.:nts of ancient hcroic cpic,, prc,cn•ed and ckvdopcd and u�cd rcpcatcdly as rhc bash for music of a courtly varié!)'. The romanœs fn:qucnrly dealr with the campatgns against 1hc Moor,,

alrhough ohcn 111 ,1 nthcr ni Durandarte b a k111gh1 ""net I me, r, l!ardcd a, synonymou, w1rh Roland of the llattlc of Ronccv,1lle, (anno 786). ln the crc,1t hcmh Chanson cl� Uoland wh.u \\'J' 111 re,tltty ., fii:ht bctwecn Charlem.1gnc's rcarg11,1rd and tlw local Basques is dcp1c1cd ,h ,rn cpic ,rrugl!le with the Moor,. 'Durandal' (the word su!œc,t, hardncss, endurance) was ac111ally the namc of Roland', sword, widcly regnrdcd as having supcrnatural powcrs uch a5 the nbiliry to chop an cncmy and hi5 hor-<: in hall nt a single swipe. Herc, the ,word is rransmogrifled inro a knight in his own right. The rival lo\'er could pcrhaps be Waiforius, Duke of Acp.titainc, killcd in 769; the namc 'Gniforo,' occur tn several pocms in which hc is usually having a wiki cime in Paris, leaving his nnxious wifc 111 Spain ,urroundcd byMoorish suitor,. Courtly verse was ne,·cr cspccially fasridious about mere facr,, nml the claborate rhymes in Durandarte (cighr cndings tn '-ado') suggc,t that the poct was more intcrcstcd in virruosiry than historical reportage. The hcroic knight was ro renppcar in one of the mo,r fanrastical but rouching passages of Don Q111xo1e, the Cn\'C ofMontesinos.

nn li t I rn t 1t1on. 11 cl MP t tlkmu,o, ,1re mn th III tlucc· pMh, w1th sun,c 1n tour r,1rt, ,Hl 1 '\'l'r\' tCw dw:h; the rrd,lc· .1lm,"t alw,11, le,1,k Many ,He hawdv ,111d \'c·r. hwh Ry contr,1,1, dll" rom,rnù'' ,1rt� more ;.1u\Cerè ,h ,u11, the ,cr,e l<1rm, ,1 qu,ttr,ttn "1th ltne, muai!\ of c1ch1 ,yll,,hlc,. The mt"tc i:ener.1ll1 place, ,1 wcll-dcftnc,I l111c ut mclocly ag,1111,1 each lmc of te>.t. The cflect LIil be sombre, and the fnrm \\'a, 1de,1l for the more melanchol} /ronten�os.

A broad social background The music 111 1h1, rccordtng r.rngc:, (rom folk tunes to rcflned 111,rrumcnt,11, and chivalrou, amour , from pscudo-popttlar prc-Lentcn !duttony 111 Hoy comamos y bebamos (actually "nttcn by Encin.1 for a palace cntat,11nment) ro courtly allegorte,. Simibrly, rhc composcrs of ,1xtecn1h-ccntury Spain c.,mc from a w1de ,prc,1d of social background,. The royal family wcre then,... dve" great lon:r" of n,u"1c-Quccn Isabella c,p1:c1,tlly-and cerr.11n compo,er, were of noble f.11111ly. The 11h11de1 ma,rer Luy, Mil.in \\ ,1s ., culttvaœd Vnlcnc1.1n an,tocr.11 and wrote El Cortes11110, a handhook of courtl1 lifc rc,cmhling Ca5tid1onc\ /1 Cor11g1e1no. Hi work mclude, ,ong, of the Rcconque,t but also ofTrny, .md scmng, of lt,1!1.111 poc1> such as Pcrr,uch.

Musically, the 1•ill1111cicos and the rom1111œs arc markcdly diffcrcnr. Many nf rhc former, with chcir roor, in folk tunes, arc simple. The voc,tl range i, comtr.1incd and rhc v,ht m,tJOrity arc in duplc time: mplc rime i, r.trc, though ,1 handful arc qu111111plc, and mid-strenm t1me change, occur. Mclod,c phr,1,c, .1re u,u.,lly

plecrrum strumming gave way to an claboratc plucked technique. Just one (oversized) actual ,1 ih1ula has sun·ivcd i modern versions arc reconstructcd largcly from prints and descriptions in treatises. The ,,ihuela repcrtoire chat we ha,·e is contained in just scven publications dating from 1536 (Lui Milàn) to 1576 (E&eban Daza). Forms range from loose and quasi-improvisatory meditations to variations on strophic villancicos, from courtly dances to insrrumcnral renditions of sacred works. Much of this printed music is intcndcd for instruction, as is indicatcd by rhe ride of Mudarra's Fantasia de pasos largos para desenbolver las manos ('with wide steps to loosen the hands'), or chat of Luis Milân's volume, El Maestro. Works sucl1 as Mil:in's Fantasias arc of a contemplative rcfinement thmsuggests some very sophisticared pupils.

A minor noblcman of rhc prc\'iou gcncrarion was juan <le Anchiera, who sang in lsabcllù chape! choir and was thw, possibly anothcr who, with the Quccn, witnes,cd the fall of Granada. Anchieta was closdy rclatcd ro Ignatius Loyola; in 1514, bcforc acq.1iring more saincly virmcs, 'Ignacio' beat up his musical cousin in a family financial dispute. Primarily a composer of sacred music, Anchiera wrote a fcw exquisite ,11llancicos such as Con amores, with its vcry con<lcn ed anJ subtle little verse. Composers of humbler background included Juan del Encina-son of a shoemaker-an<l Luys de Narvàez, the supremcly professional musician cmployed by both Charles V and Phillip Il who was, said his contemporarics, the fincst instrumcnralist of the age, able to extemporise in four parts over four given parts at sight, sucl1 that it was 'a wonder ro those that Jid nor u nJerstand music, and an even g:reater wonder to chose that did'.

Instrumental music Many of rhe lighœr or more 'popular' sangs are accompanieJ hcre on the four-course Renaissance guitar, a much smallcr prccursor of the moJcrn instrument. But the chosen in<rrument of ';,erious' composer, ,uch as Narvkz wa, the 1 ,huela, :.uperficially like a guitar but in facr a doser relation of the lute, douhlc-strung an<l identically tuned. The lute (al ud) wa� of Arab origin and had cnrercd Spain wtth the Moori;h invasion. With rime, Arab

A celcbratcd and intriguing piece is Mudarra's Fantasia que contrahazc la harpa en la manera de Ludovico, 'imitating the harp playing of Ludovico', who was a famous bli nd musician at the royal court. Perhaps apprehensive of the reccption of the dissonances (falsas) in the lasr section, Mudarra writes in the printcd score chat 'it will sound goo<l if it is wcll played'. F<1ls<1S were a virruoso cffcct rhat allowcd musicians to show off their skili in gcrting out of harmonie difficultics! For thcir quiet, modcsr linle in,rrument, the dltuela masrers crcatcd a repcrroirc that is amongst the most pcrfectly

wrot1ght of the Renaissance. lt 1> ,oJ'lmtic. rcd and ofren technirnlly ver, dcmandin" 11111 , one reason why the 11/niela gave way w tlw strummable guitar. Iron,cally, in Nurth .\, , 1 the Arab lute continues to be ,rrummeJ, and chrives ro this day.

n su dosdy chat rhcy can he n Ir meou,ly, a, rhc\ ,ire hcn,. T w rnllcu ion entitlcd Orpl1c!111ca Lyra hy Miguel de Fucnll,111a ( 1554) rnntains-apart from hi, own compmitions l,ke the Fantasia de rcdoblc,-many pieccs hy forcigncrs such a, ClauJin Je Scrmby anJ J.1cqucs ArcaJclt that Fucnll,111a ha, 'span1Shcd' for uh11d<1. Our example is Madona mia by the lralian Viccnm Fontana, which was also rc-workcd by Las;.us. A quand' a quand' is anocher well travelleJ piecc. The lrnlian original is by rhc Nethcrlan<lcr Adrian Willaert, who in 1527 was appointcd maestro d, cappella at t Mark',, Venicc. Our version is by Diego Pisador of Salamanca who includcd it in his Libro de miis1rn of 1552 alongsidc sections of a Mass by Josquin enrabulated for ,·1h11el<1. ln Naplc , Diego Oni:-brought from Toledo to Iraly by the Spanish viceroy-was taking popular mu ·ic and turning it into recercadas, originally for the viol. These wcre published in 1553 in simulrancous ltalian and Spanish cditions. Hi- ources included wdl-known songs by Arcadclt and Pierre Sandrin, and popular ltalian dance tunes as in the Rccercada primera. From simple beginnings, Ortiz crcated somc of the livcliest and mosr i,wcntivc insrrumcnral mu,ic of the :igc.

Foreign matter The l'ihuela collections show thar Spain was increasingly open to rhc resc of Europe. The earlier cancioneros rcveal rclarivdy li nie forcign influence, although a Josquin song, a fcw ltalian /rorwlc and even a picce by an Englishman (Robert Morton) sncak into the CMP. But Spanish composers had begun ro travcl widcly: Encina, Mudarra, Anchicta, Ortiz and othcrs ail wcnt abroad; Narv:iez is thought to have rcached England with the future Phillip ll's wooing of Mary Tudor. Thé Kingdom of Naples had bccn sci:cd by the Aragoncsc prince Alfonso 'the Magnanimous' in 1442, opening an important cultural link wirh ltaly, but ir was the arrivai of the Hapsburg monarchs in Spain in 1516 that broughr thé greatest influx oi ltalian and Nctherlandish tasrcs and musicians to the Pcninsular. Narv,icz' Cancion del emperador is an daboration of a famous chanson by Josquin, Mille regrctz, apparently a favourite of rhc Hapsburg Charb V. The Narv:\ez version gives a vcry different, Spanish fcel to the music, but it follows the structure of

Chn,ll,111 court,. Thus. rhcre arc many dec1,1ons to hc· made bdore one can srarr ro play. The tnthm rhat no rwo performance; of mu,1c arc the ,:nnc could not be more truc than hcre. Comhinc that with the charming tllne,, the high craft;mansh1p and the vi\'id lyric;, and you ha\'e a rno,t enjoyablc form of music making. We hopc wc'vc comcyed ,omcrh ing of that enjoyment.

Ali th" opcnnc" m.il..c, it doubl1 ,ad rhat, in near-pan1c at the d1,covcry of ncsh of Luthcran, 111 Valladolid and cv1lle in 155 . a ncw ami 1molernnt polity wa, 111'tllutcd. Fmci�n hooks wcre hanned, Spaniard, barred from ,tudying ahroad. The reg1mc .memptcd to clo,c the door, of the country.

ln our<m n age, a rap1dly modcrnhtng Spam has ,ccmcd m be rchabil11atcJ m the cyes of the rest of Europe. and Spani,h culrnrc happily rcstorcd m f.wour. The Bl.1tk LcgcnJ. the C1,·il W-tr and poliurnl rcpre"1on ,uddcnly sccm dim mcmone, as all thing, H1,pan1C ha\'C becomc f.1'h10nahle. from film to dance to cars. No cultural f 1cld h.1, hcncfltcd more than music norahl\ d1at of the Span1,h Renaissance: Twenry-f1\'e 1car, .1gn, rccordmg, wcrc lirnired to a h.rndful of rathcr dry mu:.icological r('con-,truction:-,; no longer.

H,· rnu><J his i,h, r11,m/1<1S 1o si,unJ, 111<11 1he .\fo n of the plam< and of (ir111i.1d« m,�h1 hectr 0, my ,\lham,1'

Ay, luna que rcluzes

Jonathan Hugh-Jones

Ay, luna que rclu:e,, roda la nochc ,ne alumbrc,. Ay, luna t,111 bcll.1, alumhres me a la '>icrr,1. l'or do ,-.1ya y \'cnga.

Levanta, Pascual Le\'anra, Pascual, le, anta, aballcrno, a Gr.111,1d,1, que ..,l.' ,uc;n.l qu'c� tom,\Ja. Le-.rnta to,tc pn,1do, toma tu p..:rro y çurrùn, ru çam.ura y �,1m,urnn. ru, alboguc, \ cayado. VanHh \èr d g,1,.,pJo d',1quclla c1udad nombr,1d,1, l)llC �c "ith:n�, qu'e!'I tomad.1.

Lo,·dy shmrng moon, l1gh1 me ail nigl11 llS I comc and go through 1he mo11111<1111s.

Paseavase Rodrigo Martines Pase:h·asc cl rcy moro por la ciudad de Granada. Cartas le fucron \'cnida, como Alhama cra tomada. iAY, mi Alh,1111,1!

Rodrigo Martine, a la, an arcs, jahe ! pcn,;;ando qu'cr:1n vnca,;; silv:ivalas, jhe! Rodrigo Martine, at:\n garrido. Lo, ru, an;arino,, liévalos cl rio, Pcmando qu'cran vaca,, silvavalas. Rodrigo Mnrrine, at:\n locano. Uh tu, am.arinm liévalm �I vado, pcnsando qu'cran ,·aca�. ;ilv:ivalas.

For mu,1cian,, thcre arc many pleasures in rcJ1,rnvering the u111c1011<'fos and the 11h11ela not lea,t th(' challcngl' to one's own ingcnuir/ TI,c p,1ge, of the 'MP, for instance, g1w pcrh.1p, tlirce barc lmc, of mu,1t wi1hour any 1nd1c1tHH\ of 1n-.,trumen1,111on or clcar 1n,1ructmn a, lO "h1ch of the hm�, werc tntend-,d Ill be ,ung, ,,nd w11h a h1ghly crranc lllklerl.11 of tnt, wh1l-, rhcrc ,, much ,cholarly unccn.11nt) ·" t,, lum mud1 mtlucncc l--1oorbh pcrfnrm,111cc ,t,lc, .1uu,1ll1· had on rhe

Rodni:o M11r1111,s uh11tl-,, tolus gcese rlunkmg 1hat 1lwy <1re cous. R0<.lngo M,1r1mc1 ,s I cr, lwndsomc. He le11Js lus i:c,1, to the TJH'f uhmlrng to 1hem, 1l11nkmg tluu 1hey're cous. Rodr1J,!O Marllnt.'l I} .so t n·auou.s. He l,aJs 1111 i:eese 10 1hc forJ, uh1S1l111i:, thmkmg 1h<1t tltL')'rc cous.

;Am10 cu1d,is que te creo! Juro .1 m11 que me chufca,. Si ru mucho lo de"ea, Sonca�. yo rn,1, lo de"eo. M.1, ., Li mie té no vco apcro de r,11 mapd.1. Que ,c ,ucna qu'e, mmada.

Mandù tocar su, trompetas, sus ai\afile, de plata porque le 01gan w, mori,cos los de la ,·eg., y Granada. jAy, mi Alhama 1

Hora jpew .1 ,lie: conngo! S1èn1pn..� p1en,,h que tl' micnto. Ahota, que m'arrep1ento porque ,t t1 n.1d.1 te d1go. And".u:;.t, n�tè connugo, no te r.irde, m.h rardad.i, que"" ...ucn., qu'è.., tonia,.t,.

The Moomh kmg ,wlked 1hro111:h 1he Cil) of Gw1111d11. Lcrrers rnmc ro lum 1ell111.� 111111 All111nw um 1t1ken. 0, my Alhm1111!

jQuê con,uclo \ que connortc \'èr por 1orrc:-. y g,trit,h alçar la, crmc, bcnd11a,! ;O qué pl.1:cr y dqmrtc! Y cntraba tocla l.1 n>rtc a 1111bgro arav,ad,1. Que ;c ;.ucna qu'e, ro111ad,1. U1,. l'asc,wl, Ier', h111l) ro Gran/Ida, nou du') 1-tl) dw1 u's wken. U/> c1111ckl y, 1akc )Our dog and po11ch, )Ollr shee/,sk,m, l,001, and crook. Ler', sec 1he ,e101cm�s of 1h,n [<11ncd CIi), nou 1hey say rlw1 n's 1aken. You 1hmk I l,cl,e,c 1ha1! I su car )OU're pull mg 111) leg. Yo11 HW) u11111 n grcar/:), bur nol more 1h<111 /. F/111h , l',e lwd enough of rl11s wck and slwe/>[old, nou 1h,') Stl) 1ha1 n's wken.

De Antcqucra sale cl moro

iQu'es de ti, dcsconsolado?

Con amorc�

De Anrequcra sale d moro, Je Antcqucr.1 ,c ;alia, carra, llcv,1ba en ;u 111.1110, c.1rtJs de mcn�agcria.

iQu'es de ti, dc,comol.1do? ;Qu'c de ti, rcy de Granada' ;Qu'c!) de tu ricrra y tus moros? ;Déndc ricnc, ru morada?

Enconrrado ha con d n·y que dd Alhambra salia. ;Que nucvas mè tracs � al moro de Anrequcra 1111 villa'

Rcnicga ya de Mahoma y de su scta malvada, que ,·i,·ir en rai locura c, una burla burlada.

Con .unPrl·,. m1 m,h.lrè, con amure� m'..h.lnrnu A,i dormrda ,ona,,1 lo qltc.:'I cor.1çün \'da,·a, Quc'I amor me comola,·,1 con m:h bien que mèrcç i. Adormcçiùme d f,l\·m Qu'..unor me diô con an1or; Diô de,camo a mi dnlnr La fc con que le servi.

De di:1 le dan combare, de nochc haœn la mina. i no socorres - al rey ru ,·illa ,e perderia.

Holl' [ares i1, unha/1/ry one, King of Grnnacla 1 \Vha1 of your land, your Moors! Where is )'Our cltl'dling 1Turn /rom Mol,ammed 11 ne/ lus u icked ,ec1. To li1•e in such nuulness 1s a mockc.'!l)'.

The Moor lef1 A111eq11era rnT'l)mg leucrs and d1spmches m h1s hand. He mer u nh the Kmg commg {rom the Alhamhra, uho smd, 'Whm 11e11·s do )OU hrmg me /rom fll)' tou·n of Antequi:ra!' The Moor told /11m, 'Lly Jay 1h cy a11ack, l,y n1gh1 1hc') drg mines. If )OU don'r hcl/1 111, )Our rou 11 11 ,Il be los1.'

You'II be <OIT) \cm alu ll)S 1hmk l'm lymg. / re�rye1 1/wr / >llid ctn)lhmg ro )OIi. Coml' tnth mt.\ don 11 Ier's del,1), nou rh ey S<t'\ tluu rr's wkcm. W'h,n com/or1, 1..!1111 consol,rnon tO �l't.' the bcutfü'il of 1ht! rOSl h1�/1 on 1he wu er., and 111rret; 0 u lwr JO) anJ pb1>11re 1 And al/ 1he co11r1 rnr,.,-cJ 1<on,l.-1full) aJornrd nou dtl""i )il)' 1hat 1t " wkl'n.

Frllecl 1111h lo,e, my mo1her, 1 Illy clou 11 10 sleep. b111 e,en <IS / sle/H I clremned, 11 /11le m) hcan kept much. for lote H"tlS consolm,e: m� mou dwn 1 clesen e. l0t t!'s ,1.rrace cenc.l'-'TI) sent me 10 sleep 111 a swte of lo,e and my fa11hful co1is1<111cy gat � me respHi! [rom my pain.

Israel, mira tus montes Israel, mira ru::i monte:, con,o \!Stan cns:1ngrcr,1do� de b :-.angn.: de ru::i noble!> y e,for1·ados. Ay dolor como cayeron v�uonc!) tan cscimndo::i.

Madona mia Madona 1111,1, la ,·osrra bclle:a avan:a quda de b bdla aurora, vi dico ancora que ncl bd vo�tro v1�0 1111 par wdcr aperro cl paradiso.

/srnd, s,•e )Our hrlls dre11d1ed 111 1/ie bloocl of )Ottr 110'7/es and t•tilumt rnen 1 l011 />111[11/ 1lw1 ,ud, fmned k111gl11s slwulcl lull'e f,dlcn.

M) 1ml), your 101 dm�ss surJwslïes thct hre1uc1fid dawn. And / rdl )OIi, 1hm 111 )Our lo,el) face 1t seems that I src Jmracl1sc open.

Fata la parte

Mo 1111 crcdcv,, ..,t,unc lnntcnto c rrovo1111 le m:rni picn d, ,·cnro.

1,11.1 la parte tuu'ognt cal, qu\,, mort., 1., muller de n111·cr Cor,11. Porqm' l'h.1y troh,110 wn un e,pal'\olo en :-.li t,h,1 "'olo, luq!O l',1y m,u;ato. Lui ,c l',1 ,•,c,,p,llo por fnr,.1 y por anc. j(,u.mb ,e 11 p,llo, Don bp.tnolew, Supra dd 1111 lc10, te faro un martillo 1al qu'en e-.m ,lin p1,11lgeran le carte!

Once I lwcl II neighbo11r Who lookcd l1ke 1he mornmg s1ar Diana. You',•c seen her, Yo11'w wlkecl 1111'1 her, Yo11're l11cky ,f yo11'..r k,ssccl het Shc mil) looked l,ke a ,111ecn, and co11ld make anyonc 101 e hcr. When shc arose m the 111orning Phoebus ui1hdreu for sha111e. }11s1 u·hcn / 1ho11g/u J uns llll/>/>Y J found myself e111pl)•handed.

Tdl rt m etL·n ,trl.'et 1h,11 Cowl's ,;,fe 11 d«1d. / c,111�h1 h,·r u 11h II SpanwrJ a/one 111 1he ho11,,·, ,md sleu· her. He üûlf>,:J I') foru· ,mJ c11nnmg. Yo11 J11s1 uc11ch 11, /11dc Don Da�o'

Nina y vina

If J (<ll(h ,011 nc11r Ill) b,_,J /'/1 RH, )OIi 111,h u ,hmshmg 1h, /><1�<1 u ,/1 ueep IO rd/ of 11'

A quand' a quand' A qu,111d' a qu.md' hawva una vicina d1\:r.1 ., 1 c,lcre 1., srella D i ana. Tu, ru la l'Cdcv,, Tu, w 1, parlavi, Bea10 te ,e l.1 ba,c1.w1 tu. C'ht' ,·crl1n1cntc pan� una rcg1na ogn'uno ne fana 1namor,uc. Che qu,rnd,, ,c le,-.1va la manna Ph\.·h,l pcr ,conH> ,c ne rnornava.

Ni1ia y di\a, pcral y havar, malo c; de guardar. Lcvanrémc, o padrc*, mai\anira frida, (uy a corrar la ro a, la rosa florida. Lcvnntéml!, o padn!, ma11anirn clara, foy a corrar la rosa, la ro,a granada. Vi1iadcro malo prcnd,1 me pcdia d,le yo un cordonc th: la mi c1mis.1. V1iiadcro malo prcntb me demanda; yo chic una unta de la 111ll\ ddg,1d.1. 1• 'nuulre' m or1g11111I)

D11ran.!,ir1,·, g0<kl f>ro1C·n k111gh1, rern,·rnb,.,r 1he gmkl 1111101 />«Il uhcn u11h /me do1hn ,mcl wnùlll )OIi Jed<1rcJ 1h01c ct1rc1 )Ott 1101< d1so11n. Tdl me, uh1 hm e you f>ri:011cn me!

G,rl<, l'111e1, />ecm "'"' bC<1ns nnpomb/c IO kce/> 1/icm iafe' / J:OI 11/1, Fmhcr, Ill die clt1t1'1l c/1111,

,md U'Cnl to eut roses.

1 go1 up 111 1/w clear cl/lll'll 10 cu1 1hc f111cs1 rose. A u 1ckcd garcb1cr J1estcrc:d nu•, and I g,n·e hun li 1hrcad [rom Ill) blouse. H� bcggcd me, and / R<ll e /um li fine r1bbon.

You Jla11,-r )OHrsdf, Me1cla111, consrJcrm,i: )OUT mdm,1110,H. Jf I um ahcreJ, li 11 )0llr ,lom�. You /o,cd G,u{eros "h,le I 1n1s b,muhcJ R111h,-r 1rutn !>., 1h11s nuuhcJ, J'/1 die 111 J.:spa1r

Durandarte Hoy comamos y bcbamos

Ourandartc, Durandartc, bucn cavallcro provado acordarsere dcvria da quel bucn ricmpo passade quando en galas y invençioncs publicava, tu cuydado agora dèsconocido di porque me ha� olvidado

Hni com,111111, y h:bamo, y cantemo, \ holguemn, que mai\ana ayun,ucmm. Por onrra de ,anr-Anrrucio P,1rr�mono, oy bien ancho,. Enburamo, e,t<h p.,ncho,. rccalquemrn, d pell..,jo. Que costumhrc, de conçcjo que rodo, nm oy h,,rtcmo,. que m.11i.111,1 ,l)Unaremo,. Honrrl•n10-, ._1 t.Hl bu�n ::,anro Porquè en h,1mbr1: nm ,iccor,1; comanllh a calca porra, què mali.111.1 ,l\ gr.in quèbranto. Com.1mo:-i, bcb,ln\o-, t:tnto, H,1sra que no, rrcbcnrcmo,, Que mail.111,1 a)un,1remo,.

Palabras ,on li;onjcra,, Sc,iora, dé vue,rro grado que si yo mudança hi:e havey,mclo ,·o, causado. Pue� arn.1ste, a G,11 fonh quando yo (ui dc,terrado y por no ,ufr,r ulrr,1ge morirc Jc,c,pcr,1do.

Gentil cavallcro

Ben: Br.1,, m.h rù Bcnql<l, h,•,,1 Pcdrudo y LlorcntL'. Bc,c tu pnmcr.1rncmc. qu1t.uno"" h,h di:,tc: pn:tt(>. l:.n hL·hcr h,cn me ddcyt,1. I),,l,l, d,1e,1, hebercmo,, l(lll' m.11"\;in.1 ayunarl'tlHl'-. Nll pt:1.lc:n..·nllh lx)(;h.hl, que com1c11Jo m.).., 1rt'l1Hl' que: mall.1ru .wunarc:nlll'.

Gen11l c,l\'.1llero, dé·de,me hora un be,n. ;iquier.1 por d dnï10 que me '"'cys hccho. Vcnia d rnvallcro, vcnia Je Sevilla;cn hucrrn Je monp, 1 i O'H.>ncs cogia y la priorcsa prcnda la pcdia, «s1quiera por d dal'10 que me a,·.:ys hccho.•

T1><l<1) Id, Ctll & drmk, ,m� 11nJ m11kc sport, for wmorrou uI! /eut. ln /wnour of S1.C,m11111I Ici\ Jo o,melt es /1ro11J, Id, ,111ff OIIT i:1111 1111 1/w ,km me1chr1 \\ ·,,c.." cu,rom decrees ch,u c.."11.,·ryorh.' gQT�i.• 1oJc1), /or (Olll()TTOII Il< /LIii L.1\ /10no11r such <1 gooJ ""'" ,o 1h,11 hr'll help 111 111 11me of /11mR<'T. L.ù 1111// oursd, es, for wmorrou• lmn�, iorrou. L.-i\ e111 ,111J drmk 1111 ue l11m1, Jor romorrou 1.tt: [lHt Drmk. /Jr.11. and ,011, Bcn,-.io r,Jmdo <1nJ JOU,·uowll<' • Dnnk u/> nou, J,,pd 1hc �loum. l>nnk " m, Jd,�h1 Go on, Ids drmk, for wmorrou ut: /'151 \\'c ,h,m'1 nrns cl muu1h/ul, 1.,/ll l'm as Ut.' �o. for romorrou U'l' faH

Genile kmg/11, kiss me 11011• ,f onl) for ihe ham1 yuu'w done me. The kn1gh1 came from Sedlle; m ihe mms' garden he p,cked lemons and ihe pnoress asked him for a ioken, '1 f only for ihe hann )Otù·e clone me.'

Mille regretz Mille rcgretz Je \'(>U; hahandonncr er Jc;Jongcr vostrc fachc amoun:LhC. J,1)' ,i grand deuil et painc doulourcu;c, 4uon me \'Cra hricf mes jour, ddiner.

A ihousand regreis 111 lec11•111g you and par1 1ng from )OUT 101111g anger. 1 hat e suc/, greai sorrou ,111cl grief 1h 11t dearly m y days 1ull no1 /,e Ion�.

S,wJdled m /,,nllh 1/u1t u crc not lll� ihe 1,,,f,,, ut1, 1,, cl m ,1 m,111�cr The V1r.i:111 \lem l,ke ,1 l111le mwcl 1cndcrh uwpp«i ihe 111/11111 mu do1h. An_i:d, m H,·,ncn ,uecily s,m�, 'Glona m ncdsi< D.:o', ,1u1c1m� ihc .:h11d

Que bonito nifio iQuè bon,to N,no ch1qu1co! Pariendo la vir\!cn, dth buenas mugcrc, ;ervi,111 al parro )' foûanlc plazere, al ni110. Dc,quc lo ovo parido la virgcn con prudent ia luego lo adoraron, J:indolc rre,·crençia al nii\o. E lrn, pa11izudn; que no son de sirgo, en un pesebrcjo cnbùclvdo la ,·irgo al nii\o. L1 Virgcn Maria con10 cra moçuda, cii\ôlo cucr,lamente con una faxuela al ni110. Àngclcs dd cicln rnuy dulçe c;ntavan ,Gloria in cxcclsi� Dco,. füy lo acallavan al nii\o.

Virgen cligna de honor V,rgen d1gna de h11nor, Je n naç1û cl S.1h ador. El dia Je Na,iJaJ en mda b Cmt1.rnd.1d fa:en granJ ,olcmpn,d.,d ,11 tu h,10 con grand loor. V1r,�m uorth..., of honour,

of ,ou Il (15 hom 011r "'" IUIIT

On Cltns1mc1S da, 1hrou�ho111 Chmr",·ndom )Ollr Son 1s honouwl u uh grt.1ar solemnicy.

A los maytincs A l,h mayune< er.1 ,1nte, era Jd alba que la Virgen para dia \\.'rtflcara.

\Vhm II lmd> ch,IJ 1 \Vhen 1/,e Virg111 gm e l11r1/,, tuo good uomcn ,h�l�ll't.l and sooihed 1/w 111f,1111. When ihe V1rgm gme l1111h, tlH.ry aclorttd H11n 111 h't l'rl'Ut'l'.

Uc..�\'è llH.�"'tC"' ..t\'),1

que la V1rgen ,agr,1d.1 .11 su hijn tra)·a en d ..,cno cnçcrr.11..l,1.

Rccording: Cnchton Colki:iatc Chtm.:h, �i"l101h1,tn, �cotl,md, 3-4 & 10 Februan 2001 Pnx1uccr: Kc..·\·in Fi1h.ll.tn Rcl:ord1nc [ng1nccr: P.rnl Baxœr Tr,,n,l.u1on, b\· J.l lugh-Jonc'.', \\ 1th the a,..,i:-.t,HKc of Dr.J .G.Cummmi.:'.', Thanb to Pcœr fcrguson-Smyth anJ the Crilhton Church T ru,1.

Pc,quc fuc alk·ga,la k or.1 dd c,pcrnn(a pariù ,,n dudan,·a al qu'd mundo kicr,1. 11 Hd\ ter. l'Clrh, h.:jor..• tlt.iu. n

dwt the \i,r�m •.. "' t1<<ompli,hcd. Nm, 111C1nt/l\ dtc Ho!, \'1rgm h11tl c11mctl hcr ,on cime.: m hcr u omh. Nou the lwur of Hope h<1d <om,. Shc �en c birth to th.: One u ho m11Je Ihc u ·orlJ.

Vi ...1t fin�, of Lo\'t:: on the "ch: ,vw\.\·.t1rc,oflc.wc.co.uk ®2001 Oclphian Record, Ltd If 2001 Ddph1an Rcrnrtl, LtJ Photography : rt Gordon Tcrrî!-t Group p horo: © Jun� Kcnles Etch111g from Orphénic,1 Lyra r�produccd courtc">y of EJuonal Alpucm,, ,.a.,MaJrid.

Calaba:a, no sé Calab,i:a, no,�. hucn amor, qm· te fag,1. Non te pucdo mù, façcr por rr,»ùn del h,cn querer qu'èn la hllCa tê merer Î_!!ualmcntc con 1111 raça. Qu'd Sc1l<lr que te criù tan hruf11da te ;acù qu'en Il ,ula no dcjù un pclo n, una rr,1ça.

Dclphian Record, LcJ PO Box 17179 Edmburgh EH 12 5YD www.Jd ph1ann:corJs.co.uk

Oh, Jcar pumJ,km, u h,11 IO Jo! For .1hccr l0te, I m11.11

f>1H �ou to my moudt

11long" uh "" wp. Hou ,moorh GoJ lws made ,011 "uh nor II lwir or bknmh. •