medieval.org
Celestial Harmonies 13091-2
compilation, 2001
1. Bêeyta es Maria [3:25]
CSM 420 — · · · —
Mirror of Light, CSM III #1
2. Rosa das rosas [5:35]
CSM 10 — · · · —
Songs for a Wise King, CSM I #2
3. Da que Deus mamou [4:18]
CSM 77 — · · · —
Songs for a Wise King, CSM I #3
4. Quen bôa dona querra [5:12]
CSM 160 — · · · —
Mirror of Light, CSM III #2
5. Muito devemos varôes [7:37]
CSM 2 — · · · —
Maria Morning Star, CSM II #4
6. Non pod' ome pela Virgen [7:18]
CSM 127 — · · · —
Maria Morning Star, CSM II #5
7. Bêyto foi o dia [5:49]
CSM 411 — · · · —
Gabriel's Message, CSM V #2 [excerpt, 23:40]
8. O que pola Virgen leixa [7:35]
CSM 124 — · · · —
Maria Morning Star, CSM II #6
9. O nome da Virgen Santa [1:56]
CSM 254 — · · · —
Maria Morning Star, CSM II #3
10. Non deve null' ome [4:50]
CSM 50 — · · · —
Pillar of Wisdom, CSM IV #8
11. A madre do que a bestia [3:05]
CSM 147 — · · · —
Pillar of Wisdom, CSM IV #9
12. Assi pod'a Virgen [7:56]
CSM 226 — · · · —
Songs for a Wise King, CSM I #7
13. Santa Maria strela do dia [3:57]
CSM 100 — · · · —
Songs for a Wise King, CSM I #6
14. Virgen madre groriosa [10:08]
CSM 340 — · · · —
Maria Morning Star, CSM I
The Renaissance Players
Winsome Evans
In 13th century Spain, seven hundred years before anyone thought of
using the term "world music", a remarkable king named Alfonso the Wise
was creating it. Alfonso X, King of Castile and Leon, filled his courts
with the finest poets, musicians, artists and scientists he could find,
from all three of the Iberian peninsula's great religions. Christian,
Jews and Muslims worked side by side, creating a body of work that
included groundbreaking scientific and astronomic treatises,
translations of epic poems and scriptures from as far away as India —
and some of the earliest and most sophisticated blends of European and
Middle Eastern/Arabic music. The greatest of these was the enormous
collection of songs in praise of the Virgin Mary now called Cantigas de Santa Maria.
This
collection of performances by the Australian early music ensemble The
Renaissance Players is a colorful and widely varied introduction to the
cantigas — but it is simply that, an introduction. The ensemble has
performed dozens of cantigas in addition to the ones recorded here, and
even that represents just the tip of the iceberg. Alfonso and his
collaborators produced four volumes of music, poetry, and history under
the name of Cantigas de Santa Maria. Three of the manuscripts are
incomplete, but the fourth, the one used by The Renaissance Players,
contains an unparalleled compilation of 427 songs.
"The Cantigas de Santa Maria
represents the largest surviving body of secular music from medieval
Europe", says Winsome Evans, director of The Renaissance Players. The
word secular in this context may bear some explaining: the texts are
mostly religious, but they are not liturgical. This collection of songs
and poems came from the people, not the church. In fact, some of the
texts are quite earthy, even a bit racy at times. "I've always been
interested in folk music", Evans explains; "and that aspect of the
cantigas interested me. Alfonso wanted these songs to be accessible to
everyone, both musically and morally". As a result, the texts were
written not in Latin but in the dialect of poetry, Galician-Portuguese.
And although they are songs about Mary, at least some of the melodies
are certainly derived from Arabic/Moorish and Jewish traditions.
The cantigas are divided into two groups. Most of them are cantigas de miragre,
songs of miracles. These stories tell of the saving power of Mary's
intercession on behalf of sinners (whose various exploits are often
enthusiastically detailed) and even, in one notable example, on behalf
of the ailing Alfonso himself. Every tenth song, however, is a cantiga de loor,
a song of praise. These are addressed to the Virgin Mary and are more
hymn-like. This structure probably served multiple purposes: it may have
represented the format of the rosary, for one thing. The X (Roman 10)
found in the numbering of every tenth cantiga may also have referred to
Christ (X being the first letter in the Greek spelling of the name
Christ) and perhaps even to Alfonso, the tenth king of that name.
The
cross-cultural roots of the cantigas are reflected in the diverse and
often exotic instrumentation used by The Renaissance Players in this
collection. Medieval European instruments, classical Arabic instruments,
and even echoes of the folk traditions of Eastern Europe, all figure in
Winsome Evans' orchestrations. Part of the inspiration for this comes
from the manuscript itself. The cantigas are occasionally accompanied by
an illumination, which often shows musicians playing instruments. "You
have to be really careful with medieval iconography", Evans warns: "you
can't assume the song was played with the instruments illustrated above
it". Still, with every tenth song illuminated, the manuscript contains a
wealth of instrumental suggestions. "Many show string instruments, but
all sorts of other instruments are depicted. And with Spain being such a
melting pot of Christian, Jewish, and Arabic ideas, that gave me the
freedom to use a wide range of instrumental colors".
In addition to instruments like the vielle (a bowed lute), the shawm
(a plangent-sounding reed instrument), and the harp — all of which one
might expect to hear in medieval European performances — The Renaissance
Players also include the Greek bouzouki and the Turkish diwan saz (both types of lutes), the tapan
(a southeast European drum), and a wide range of vocal techniques. "In
approaching the cantigas we had no shortage of ideas", Evans says. "The
hardest part was working with the different approaches to tuning and
ornamentation". In songs like Rosa das rosas, for example, the
vocals are delivered in a style reminiscent of the singing still found
in Moorish, Moroccan Jewish, and flamenco music. Several other songs
feature vocals in a Bulgarian or Balkan style. "It's important to have
ideas", she points out, "but those ideas should be justified by
research". In the case of the Balkan connection, the singing of
southeastern Europe provides a still-ringing echo of the vocal styles of
the Turkish and Persian cultures that were brought to Spain by the
Moors.
Other arrangements are the result of researching the
instrumentation of surviving folk bands like the cobla bands of Galicia
in Spain, and the Andaluzi ensembles of North Africa, as well as the
songs of the Sephardic Jews who settled around the perimeter of the
Mediterranean after their expulsion from Spain in 1492. In each case,
research led the Renaissance Players to arrangements that fit the music
and the text, and, for all their unusual instrumentation, were
musicologically plausible. In fact, the Sephardic connection has proven
to be especially fertile: as a result of researching the roots of the Cantigas de Santa Maria, the Renaissance Players wound up recording the four volume set The Sephardic Experience, a magnificent compendium of Spanish Jewish and Mediterranean music (Celestial Harmonies 13166 - 13169).
This
blend of imagination and musical sleuthing has led to some unorthodox
results. The Renaissance Players' performances of the cantigas may sound
more like a kind of hybrid folk music than conventional classical
music. If so, that's fine with Winsome Evans. "That's been my main
thrust, to bring this music back to people. And that's what Alfonso
wanted. This was music that everyone sang. The tunes are wonderful, and
sometimes we just play them instrumentally, without the singers — just
like in pop music". At certain points, Evans asked the singers to forget
about classical music training and techniques, and to sing "as if they
were Arabs". With some of the instruments occasionally improvising their
parts, it's no wonder that some of the cantigas come off sounding more
like a distant, medieval folk/jazz. Many of the songs, Evans points out,
end with an instrumental section, played as if accompanying a sacred
dance. "It doesn't have to be decorous. It can be ecstatic, almost
chaotic, like a burst of joy".
The cantigas have never been
wholly neglected: many recordings have been made over the years. But
this massive collection, with its tangled musical/cultural roots, its
perplexing instrumentation and performance questions, and its strange
mix of spiritual and worldly sentiments, has never been a comfortable
fit with the classical music world. Only in the last years of the 20th
century, with the surging interest in multiculturalism and world music
traditions, has the broader musical world begun to catch up with the
work that Alfonso and his collaborators were doing in the second half of
the 13th century.
Traditionally, classical music recordings of the Cantigas de Santa Maria
have listed Alfonso as the composer. It seems likely that he did have a
hand in the creation of some of the melodies, and certainly in the
writing of the texts. But more important was his position as a patron of
the arts, and the supporter of a motley crew of talented artists,
musicians, poets and scribes from all corners of Europe and the Arabic
world. Alfonso's intellectual and artistic pursuits were the fruit of a
restless and unusually progressive mind. They were also expensive.
Forced to tax his kingdom heavily, and often, one suspects, distracted
from his more day to day royal duties (tedious little things like wars,
treaties, and insurrections), Alfonso's legacy as a king was
undistinguished. But, as the conduit for so much Arabic culture (and
through that, even farther-flung ideas from Persia and India), and as a
knowledgeable, involved patron of the arts and sciences, his
contributions to the development of European literature and culture
still haven't been adequately assessed. In the Cantigas de Santa Maria, Alfonso left behind an extraordinary poetic and musical legacy that proves he deserved his nickname, El Sabio — Alfonso the Wise.
1. Bêeyta es Maria (Cantiga 420)
Winsome Evans: bells
This
compilation begins with a solo instrumental performance on the bells.
In 13th century Europe, the idea of playing a melody on the bells was
not uncommon. Bells were rung to greet the Virgin Mary, to call
parishioners to prayer, and to end the day with an audible
sign of
peace. The number 420 would normally mean this is a late cantiga; in
fact, it's part of the first set of twelve introductory songs. The
number comes from a much later compilation from all four extant
manuscripts of the Cantigas.
2. Rosa das rosas (Cantiga 10)
Mara Kiek: alto
Llew Kiek: baglama
Winsome Evans: bowed diwan saz
Vocalist
Mara Kiek was trained in the Bulgarian vocal style in Sofia; in this
song, her voice at once recalls the sounds of Eastern Europe, medieval
troubadours, and classical Arabic music. The illumination that
accompanies this cantiga de loor shows a plucked lute and a bowed
vielle; the combination of plucked and bowed strings is maintained
here, although the instruments were also known at the opposite end of
the Mediterranean Sea.
3. Da que Deus mamou (Cantiga 77)
Katie Ward: vielle
Andrew Tredinnick: mandora
Llew Kiek: gittern
Winsome Evans: shawms, gemshorns, organetto, harp
Jenny Duck-Chong: bells
Andrew Lambkin: darabukka
Ingrid Walker: whistle, gemshorn
Barbara Stackpool: castanets, finger cymbals
This
instrumental free-for-all features verses performed by small groups of
matched instruments with a big mixed ensemble in the chorus or refrain.
The idea for this arrangement came from contemporary accounts of the
racket made by pilgrims from around Europe who converged with their
instruments upon the holy Spanish site of Santiago de Compostela.
Plucked strings (mandora, gittern), bowed strings (rebec, vielle), the
gemshorns (recorders made of animal horn), and shawms each take a turn
at the melody, playing in harmony — not an easy feat with some of these
notoriously cranky medieval winds.
4. Quen bôa dona querra (Cantiga 160)
Mara Kiek: alto, tapan
Jenny Duck-Chong: mezzo-soprano
Mina Kanaridis: soprano
Tobias Cole: countertenor
Winsome Evans: treble shawms, bombarde, bells
Katie Ward: vielle
Benedict Hames: rebec
Andrew Tredinnick: ud
Barbara Stackpool: castanets
The
graceful, sinuous melody is doubled throughout by various combinations
of instruments. With its increasing layers of sound and its recurring,
insistent refrain (simply the words "Santa Maria"), Evans sees this
cantiga as "a procession that builds momentum, and erupts into a sacred
dance at the end".
5. Muito devemos varôes (Cantiga 2)
Mina Kanaridis: soprano
Jenny Duck-Chong: mezzo-soprano
Winsome Evans: organetto
Andrew Tredinnick: gittern
Benedict llames: rebec
Katie Ward: vielle
Andrew Lambkin: daireh
Barbara Stackpool: finger cymbals
This is the first of the miracle songs in the Cantigas de Santa Maria,
so Alfonso chose his text carefully. The story tells of how the Virgin
Mary gave a special vestment to Saint Ildefonso (spelled Alifonso or
even Alfonso in the text) in 7th century Toledo. There is little
mistaking Alfonso's intent to suggest that he, like the earlier
religious leader, was a champion of the faith and a protector of the
Church.
6. Non pod' ome pela Virgen (Cantiga 127)
Winsome Evans: harp, psaltery
Andrew Tredinnick: gittern
Llew Kiek: citole
This
lovely melody is played on a variety of string instruments, each of
which not only plays the tune, but also improvises after each stanza.
The tale is an odd one of a boy who, after hitting his mother, finds he
cannot enter his church — until it is suggested that he try lopping off
his own foot. This does the trick, and Mary's intercession restores his
foot.
7. Bêeyto foi o dia (excerpt, Cantiga 411)
Chorus
Winsome Evans: harps, psalteries, bells
Llew Kick: baglama, gittern
Belinda Montgomery: diwan saz
Andrew Lambkin: pandero
Mara Kiek: pandero
Andrew Lambkin: pandero
Barbara Stackpool: bells
This
is merely an excerpt composed by Winsome Evans, based on the original
tune from a sprawling tale that takes close to half an hour to perform
in its entirety. It tells the story of how Mary was conceived. "Her
elderly Jewish parents were terribly upset that God had not blessed them
with children", Winsome Evans recounts. "And they became outcasts until
an angel came to tell them that they were to be blessed — with a quite
wondrous child..." The end of this fragment, full of pealing bells and
glittering strings, mark this as one of the most striking of the
Renaissance Players' arrangements.
8. O que pola Virgen leixa (Cantiga 124)
Mina Kanaridis: soprano
Jenny Duck-Chong: mezzo-soprano
Tobias Cole: countertenor
Andrew Tredinnick: chitarra moresca
Winsome Evans: sinfonye
Andrew Lambkin: daireh
Barbara Stackpool: castanets
This tune almost has the sound of a pop song, and indeed it is in the form known as virelai,
which was quite popular in medieval Europe. The piece contains several
surprises. One is the rudimentary harmony in the vocals produced by the
combination of the melody, a series of drones, and some countermelodic
material. The other is the grisly tale so charmingly presented: a
Christian is captured in Moorish Spain and tortured to death, a process
which is prolonged, apparently, through Mary's unusual idea of mercy, as
she
keeps him alive until he is able to make a final confession.
9. O nome da Virgen Santa (Cantiga 254)
Winsome Evans: whistle
Benedict Hames: whistle
Katie Ward: vielle
Andrew Lambkin: darabukka
Like the preceding work, this is another virelai,
and is rendered here without its Galician-Portuguese text. The melody
is eerily reminiscent of Nordic, Hungarian, and even Celtic folk music
(especially in this arrangement, with its duelling whistles). It serves
as a perhaps unexpected reminder that Galicia was and is to this day a
Celtic region within the Iberian peninsula.
10. Non deve null' ome (Cantiga 50)
Melissa Irwin: soprano
Belinda Montgomery: soprano
Mina Kanaridis: soprano
Andrew Lambkin: pandero
Winsome Evans: pandero
In
the best medieval Marian tradition, Winsome Evans and company use
numeric devices throughout this arrangement. Specifically, the number
three is used to refer to the Holy Trinity, and the number five refers
to the five letters of the name Maria. "The poetic structure", she
explains, "is presented triadically as three groupings of three
elements" (namely, two stanzas and one refrain). In addition, the three
vocalists share the solo line in the stanzas, and then come together to
perform the refrain in a melody-with-drone style that looks to slightly
later organum music — or to slightly earlier North African music. The
addition of the two drummers brings the ensemble to a total of five,
symbolic of the name Maria.
11. A madre do que a bestia (Cantiga 147)
Winsome Evans: bombardes (3)
Andrew Lambkin: bombo, tapan
The
text for this cantiga tells a slightly goofy tale of a wily shepherd
cheating an old woman out of her rightful share of wool. Things are put
right through the intercession of Mary, for whom no task, not even the
equitable distribution of livestock, is too small. (Don't laugh — this
would have been a reassuring, if humorously cast, story to many of
Alfonso's subjects). Evans' arrangement is intentionally rustic, using
the reedy sound of the bombardes to
evoke open fields, distant shepherd's cries, and country dances.
12. Assi pod'a Virgen (Cantiga 226)
Chorus
Jenny Duck-Chong: mezzo-soprano
Mina Kanaridis: soprano
Mara Kiek: alto
Winsome Evans: harps (2)
Andrew Lambkin: daireh
Andrew Tredinnick: chitarra moresca
This
gently rhythmic cantiga has, as Evans puts it, "a watery sound, with
lots of vocals and overdubbed harps. It's based on the legend of the
Cathedral of Ys, which sunk into the sea". This is essentially the same
legend that inspired Claude Debussy's famous piano prelude La Cathédrale Engloutie (The Engulfed Cathedral).
13. Santa Maria strela do dia (Cantiga 100)
Chorus
Jenny Duck-Chong: mezzo-soprano
Mina Kanaridis: soprano
Mara Kiek: alto, tapan
Winsome Evans: bombarde, shawm, bells
Ingrid Walker: whistle
Katie Ward: vielle
Benedict Hames: rebec
Llew Kiek: gittern
Andrew Tredinnick: mandora
Barbara Stackpool: finger cymbals
Once
again, little was left to chance when Alfonso put together this
collection of songs. For cantiga number 100, he chose a ten-part text
with three stanzas (representing the Holy Trinity) and a ten-part
melody. Winsome Evans and the Renaissance Players chose to make a joyful
noise with a sizable chorus in the refrains and then another ten-part
instrumental dance at the end, replete with bells, piercing, nasal
reeds, and thumping drums.
14. Virgen madre groriosa (Cantiga 340)
Mina Kanaridis: soprano
Tobias Cole: countertenor
Winsome Evans: bells
"We
weren't sure how to approach this piece", Evans says. "Suddenly, as we
were preparing for the recording, the singers really found a way into
it. It became a magical piece". This is indeed a magical song, and in
fact it appears twice, returning later in the collection as Cantiga 412.
Its beautiful text is married to what is apparently a kind of
troubadour melody used specifically to welcome the dawn. Mary is called
in this song "alva dos alvores" — the dawn of dawns. The tune is
full of embellishments and ornaments, and is tossed back and forth
between the two singers with occasional interludes from the bells. This
collection of cantigas ends the way it began — with the sound of the
bells calling to prayer, or suggesting a prayer beyond words.
John Schaefer
New Sounds
WNYC-FM
New York City
www.wnyc.org
Produced by Winsome Evans
History of the Map
Executive Producer: Eckart Rahn
All items arranged by Winsome Evans
with the exception of Track 7 which is composed and arranged by Winsome Evans
Recorded at St. Peters (Sydney, Australia)
Engineer: Guy Dickerson (Megaphon Studios)
Digital editing, compiling and mastering engineers:
Oscar Gaono, Wayne Baptist (Sony, Sydney, Australia)
Digitally remastered by Don Bartley (Studios 301, Sydney, Australia)
Published by Celestial Harmonies (BMI)
This compilation
℗ 2001
Celestial Harmonies P.O. Box 30122
Tucson, Arizona 85751-0122
celestial@harmonies.com
www.harmonies.com
Dedicated to Professor Peter Platt and Barbara Stackpool
Front cover illustration:
Catalan World Map (Mallorcan School)
Biblioteca Estense, Modena, Italy
Year: c. 1450
Format: 113 cm in diameter
The
Estense World Map, also knows as the Catalan World Map, is one of two
surviving circular world maps of Catalan origin. It was made in the
Mallorcan school of mapmaking in the fifteenth century during the reign
of Nicholas III.
Historians are still uncertain for whom the map
was made or for what purpose the owner intended to use it. It displays a
strange combination of practical navigational information and
semi-religious speculations about the location of Paradise (in East
Africa) and the landmasses that lie south of Africa and west of Europe.
For example, to the west of Africa and Europe lies a series of islands
called the Islands of the Happy Peoples or the Fortunate Ones. Such
references may suggest that this mappa mundi was not made for use at
sea. The religious motifs, additional Arabic details and the lack of a
legend, title or other identifying marks all contribute to the mystery
of this curious round map and its owner. The map was originally made on
delicate calf hide.