Star Shining on the Mountain / Trio Live Oak
Music of Mediæval and Renaissance Spain
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Mnemosyne Mn/2
1982
SIDE A [18:40]
1. Stella splendens [1:06]
LV 2
2. Una sañosa porfia [4:24] Juan del ENCINA
3. Jançu, janto [1:59] Cancionero musical de Palacio
4. La tricotea Samartín la vea [1:52] Cancionero musical de Palacio
5. Pajarito, pajarito [2:13] Castillian folksong
6. Isabel, perdiste la tu faxa [1:44] Alonso MUDARRA
7. Fantasía no. 10 [1:54] Alonso MUDARRA
“Fantasía que contrahaze la harpa en la manera de Ludovico”
8. Scalerica de oro [3:28] Sephardic wedding song, Salonika
SIDE B [19:17]
1. Cantigas [2:03]
CSM 296 &
CSM 36
Quen a a Virgen Santa & Muit amar devemos
2. La loba parda & La loba merina [3:10]
3. Ay, que viene Dios [2:09] Soleá
4. Niña y viña [1:34] Cancionero musical de la Colombina
5. En la cueva de la mora [3:11] Castillian folksong
6. Si la noche haze oscura [2:56] Cancionero de Upsala
7. ¡Ay! Linda amiga [2:27]
8. Falalan [1:47] Cancionero de Upsala
Recorded in September 1980 in St. John's Chapel, The Groton School, Groton, Massachusetts.
Recording engineer & production director: Ralph Dopmeyer.
Jacket design & typography: Philidor Press, Boston.
Cover painting: detail of a mural depicting the Passion by Juan Oliver, 1330. Courtesy of the Museo de Navarra, Pamplona.
Photograph of the Trio: Clemens Kalischer.
Translation of the song texts: Nancy Knowles.
℗ & © 1982, Titanic Records
Mnemosyne Records is a division of Titanic Records, 43 Rice Street, Cambridge, Massachusetts 02140.
Trio Live Oak
John Fleagle — tenor, cornetto, 'ud, bombard, dumbek
Nancy Knowles — soprano, flutes, tenor viol
Frank Wallace — baritone, vihuela de mano, vihuela de arco, bagpipe
TRIO
LIVE OAK'S performances of early Spanish music have been hailed in Spain
for their "hondo sentido artístico y cultural" ("deep artistic and
cultural understanding") — A B C, Madrid; and in the United
States for their "delightful spontaneity " — The New York Times.
The
group's familiarity with the music, the instruments, and the culture
had been developing for many years before its founding in 1976.
Frank
Wallace (B. M., San Francisco Conservatory of Music), baritone and
vihuelist, was a skilled performer of classical guitar and taught at the
New England Conservatory from 1976 to 1980.
Nancy Knowles, soprano and
player of early winds and strings, began performing early music in 1971
and is fluent in Spanish, having lived in Peru, Mexico, and Spain.
John
Fleagle, early in his career, performed as a drummer, jazz string bass
player, and folk fiddler. In 1973 he turned his attention to Mediæval
and Renaissance music. He sings, plays a wide variety of strings and
winds, and builds early stringed instruments.
Members of the
group have performed with other ensembles in New England, such as
Alexander's Feast, Nova Gaudia, and the Quadrivium, and have recorded on
Woodbine, Encina, and Revels records. All members have Studied
Mediæval and Renaissance music with Marken Montgomery in Boslon, voice
with Marcy Lindheimer in New York, and early Spanish culture in
Catalonia and Castile.
Trio Live Oak tours regularly in Spain and throughout the United States.
The Iberian Peninsula,
prior to the Roman conquest in the first century A. D., comprised
diverse cultures (Basque, Iberian, Lusitanian, Celtic, Phœnician,
Carthaginian, and Greek), some having been there since the beginning of
the Iron Age (ca. 1100 B.C.). During the period of Romanization, the
peninsula was unified under a single State, called Hispania, and Latin
served as the basis for future regional languages. With the
establishment of the Visigothic kingdom, ca. 414, the role of music on
the peninsula becomes perceptible, particularly through extant
theoretical treatises, musical instruments, and liturgical music. The
Christian religion was established during this period, when the
Visigothic king Recarred converted to Christianity in the year 587.
Beginning with the first Moslem invasion and throughout the subsequent
domination by the Moors, lasting until 1492, the liturgical music
practices of the Visigothic era were perpetuated as "Mozarabic" under
Moslem rule. By the year 1080, the Roman rite was restored throughout
Spain, except for certain churches in Toledo where the Mozarabic rite
was retained. From Phœnician times, there had been Jewish settlements
in Spain. Spanish society, from the tenth through fifteenth centuries,
was indeed an amalgam of Jewish, Christian, and Islamic cultures.
SIDE A (18:40)
1. Stella splendens in monte (1:06)
The
famous fourteenth-century manuscript from the Shrine of Our Lady at
Montserrat (in Catalonia) was given the name Llibre Vermell ("Red Book")
in the nineteenth century, when it was bound in red velvet. It
comprises ten musical items, to whose folk-like tunes the pilgrims set
their poems. Stella splendens in monte is in duple meter and may
be identified as a modified virelai. Isabel Pope identified it, along
with Mariam matrem virginem of the same manuscript, as the
earliest example of a polyphonic villancico. The instrumental
performance given here adheres to the formal scheme A A' B B A A'.
[Text: "Star shining on the mountain, shining on Montserrat . . . all
the people gather and rejoice, rich and poor, great and small. . ."]
2. Una sañosa porfía (4:24)
This
romance juglaresco refers to the War of Granada (ca. 1486-1489).
The juglar ("entertainer," "minstrel") relates the sentiments of
the last Moorish king, Boabdil (reigned 1482-1492), as the Christians
attacked Granada from the west. Juan del Encina ("Juan of the live
oak"), the composer of this four-part setting, was perhaps the greatest
poet-musician of the early Spanish Renaissance. He is considered the
father of the Spanish theatre, and bears the esteem of the present
group, which has taken his name. Encina's setting follows a quatrain
strophic pattern, with cadential melismas on the second and final
phrases.
3. Jançu janto (1:59)
The
meaning of this anonymous three-part canción from the
Cancionero musical de Palacio (late fifteenth - early sixteenth
century) has remained an enigma to musicologists, undoubtedly due to its
incomplete text. Writ, ten in Basque, with Castillian elements, it
alludes, in a somewhat vulgar manner, to a man born in Artajona. It may
well have been a tavern song, the sort sung by soldiers.The first two
lines are sung as the opening, internal, and closing refrains. [Sec text
enclosed.]
4. La tricotea Samartín la vea (1:52)
This
anonymous three-part canción is also from the Cancionero
musical de Palacio mentioned above. It is clearly a drinking song,
for it mentions the wineskin and the full bottle, and ends with a brag:
"I am a monarch of great nobility... Lady, for love... Lady, I would see
you." The text, though mostly gibberish, contains a smattering of
Italian,Catalan, and Castillian. Other versions of La tricotea
exist in French.
5. Pajarito, pajarito (2:13)
This
Castillian folksong is widely known. The theme of the "little bird" as a
personification of the singer's beloved is common through-out Spain and
Latin America. It may also be sung as a lullaby (canción de
cuna).
6. Isabel, perdiste la tu faxa (1:44)
This
canción by Alonso de Mudarra (d. 1580) appears in the third book
of his Tres libros de música en cifras para vihuela (Seville,
1546). The settings in the third book, containing all of Mudarra's vocal
works with vihuela accompaniment, are among the best of the accompanied
solo songs of the High Renaissance. Mudarra's accompaniment is highly
contrapuntal. The song begins with an instrumental introduction and is
replete with interludes.
7. Fantasía no. 10 (1:54)
Mudarra's
Tres libros de música... represents one of seven major Spanish
publications of sixteenth-century vihuela music. Vihuela is a generic
term for various stringed instruments of the lute type. One such is the
vihuela de mano, an instrument whose six double-course strings of
gut are plucked by the fingers. Tuned like the lute, the vihuela
resembles it in tone owing to the lightly strung strings. The vihuela
was employed mainly in Spain, where it played a prominent role in
courtly society. The Fantasía no. 10 carries the title
Fantasia que contrahaze la harpa en la manera de Ludovico ("a
fantasia that imitates the harp in the manner of Ludovico"). Ludovico
was employed as a harpist at the court of King Ferdinand in the early
sixteenth century.
8. Scalerica de oro (3:28)
This Sephardic
wedding song is a precious example from the Judeo-Spanish song
repertoire of the eastern Mediterranean, particularly, Salonika. The
oral tradition of this area has been preserved by Lion Algazi in his
Chants Sephardis (Paris, 1958). Although it is difficult to trace
either the text or tune to the pre-expulsion era of the Spanish Jews,
i.e., before 1492, the song is thought to date from that time. The
vigorous field research undertaken in the past two decades within
Sephardic communities from the eastern and western Mediterranean has
yielded a rich harvest of liturgical and secular songs that will
ultimately provide the basis for a detailed Study of the Jewish poetic
and musical traditions of the Iberian Peninsula.
SIDE B (19:17)
1. Quen a a Virgen Santa & Muit amar devemos (2:03)
The
instrumental renditions of these two cantigas, the triple-meter
Quen a a Virgen Santa and the duple-meter Muit amar devemos,
arc reminiscent of early paired dances. These are but two musical gems
from Spain's most cherished collection, Las Cantigas de Santa
Maria (thirteenth century), comprising 427 monophonic songs, mainly
in virelai form, compiled under the patronage of King Alfonso X, the
Learned (1252-1284).
2. La loba parda & La loba merina (3:10)
Two
versions of the rustic Castillian ballad of the she-wolf are combined,
one spoken, the other sung. The ballad represents a classic
confrontation between man and beast, trading taunts and testing each
other's courage.
3. Ay, que ya viene Dios (2:09)
The
soleá (pl. soleares) is a gypsified version of
soledad ("solitude"). As a genre of song, the soleá plays a
central role in flamenco, and the soleares are, in fact,
considered to be the backbone of all the flamenco sub-genres. The
instrumental version attempts to capture the essence of an intensely
dramatic text, the spontaneous outpouring of a singer's emotions. The
text from Felipe Pedrell Cancionero musical popular español
(Barcelona, 1958), is as follows:
¡Ay, que ya viene Dios,
que ya viene Dios!
Pa recibirlo,
la mare é mi arma,
la mare é mi arma.
¡ Jincarse é roiyas,
que ya viene Dios!
4. Niña y viña (1:34)
The
anonymous three-part Niña y viña is among the ninety-five
musical settings in the Cancionero musical de Colombina
(fifteenth century). All range in style from elaborate polyphonic to
simple homophonic settings, much like the Cancionero musical de
Palacio.
5. La pobre mora (3:11)
The
cave encountered in this folksong can still be seen on the road from
Portillo to Cuéllar in Castile. The group learned this song from Sra.
Julia Sanz Vaca de Capa of Arganda del Rey, in the southern part of the
province of Madrid, who played in this cave as a child.
6. Si la noche haze escura (2:56)
According to
Jesús Bal y Gay, this three-part villancico is the pearl of the
Cancionero de Upsala, which was discovered in the library of the
renowned medieval university in Sweden. The Cancionero, printed
in Venice in 1556, contains fifty-four villancicos of two to five
voices.
7. Ay, linda amiga (2:27)
This
sad love song is of unknown origin. It was given as a gift to the group
by the choirmaster in Cardona, in the northwestern part of the province
of Barcelona.
8. Falalalanlera (1:47)
This
anonymous four-part villancico from the Cancionero de Upsala
bears traits closely akin to works by Juan del Encina. In fact, it could
be a twin to Encina's villancico Yo soy desposado. The text,
which describes the Lenten exploits of a shepherd, shares the tune with
the well-known Christmas villancico, Riu riu chiu ( no.
46), from the same cancionero. In this rendition, only the first
and third stanzas are sung.
— Dr. Israel J. Katz, York College and Graduate Center, C U N Y