Cantigas de Santa Maria
/ Zespół Muzyki Dawnej 'Scandicus'
XIII w. / 13th c.
scandicus.art.pl |
cdaccord.com.pl
Accord ACD 285
2021
[62:39]
1. Prologo - Porque trobar [4:36]
Prologo B
voice AM SW, oud SW, medieval fiddle TD, symphonia JK, recorder PF, bendir SW
2. Como poden [3:46]
CSM 166
voice AM, oud SW, medieval fiddle TD, recorder PF, bendir JK
3. Madre de Deus [6:30]
CSM 422
voice AM, Romanesque harp PF, oud SW, symphonia JK
4. Dized', ai trobadores [2:45]
CSM 260
voice AM, citole PF, medieval fiddle TD, bendir SW
5. Aquela que a seu Fillo [6:09]
CSM 258
voice JK SW, oud SW, medieval fiddle TD, recorder PF, bendir AM
6. Alegría, alegría [5:02]
CSM 425
voice AM, oud PF, medieval fiddle TD, bendir SW
7. Ontre toda las vertudes [6:15]
CSM 323
voice AM, Romanesque harp PF, medieval fiddle TD, oud SW
8. Santa María amar [5:29]
CSM 7
voice AM TD, Romanesque harp PF, oud SW, symphonia JK
9. Miragres fremosos [3:40]
CSM 37
voice AM, oud PF, medieval fiddle TD, bendir JK, riq SW
10. Ai, Santa Maria [2:38]
CSM 79
voice AM, citole PF, symphonia JK, bendir SW
11. Rosa das rosas [5:53]
CSM 10
voice AM, oud PF, symphonia TD, bendir SW
12. Santa Maria, valed', ai Sennor [4:20]
CSM 279
voice AM, citole SW, medieval fiddle TD, recorder PF, bendir JK
13. Quantos en Santa Maria [5:29]
CSM 66
voice SW, Romanesque harp PF
Zespół Muzyki Dawnej /
Early Music Ensemble
Scandicus
artistic direction: Piotr Flis
Agnieszka Mucha — voice (1-4, 6-12), bendir (5)
Tymoteusz Dorda — voice (8), medieval fiddle (1, 2, 4-7, 9, 12), symphonia (11)
Jakub Kabus — voice (5), bendir (2, 9, 12), symphonia (1, 3, 8, 10)
Piotr Flis — Romanesque harp (3, 7, 8, 13), recorder (1, 2, 5, 12), oud (6, 9, 11), citole (4, 10)
Slawomir Witkowski — voice (1, 5, 13), oud (1, 2, 3, 5, 7, 8), citole (12), bendir (1, 4, 6, 10, 11), riq (9)
Recorded in the Church of St Martin in Tarnowskie Gory, 27-31.08.2018
Recording producer, editing, mastering: Piotr Grabowski
Editor: Agnieszka Kurpisz
English translations: Tomasz Zymer
Photos: Jakub Kabus
Graphic design: Natalia Binda-Kiszczak, Anna Kanclerz
ACD 285 © 2018 Zespół Muzyki Dawnej SCANDICUS ℗ 2021 CD
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Cantigas de Santa Maria
Alfonso X the Wise, king of Castile and Leon (1221-1284), went down in
history as a great patron of learning and art. It is under his reign
that the more than 400 songs jointly referred to as Cantigas de Santa Maria were written. They offer an extraordinary glimpse of the medieval cult of Mary, as reflected in music and poetry.
The songs have been preserved with music notation in several richly
decorated and illustrated codices, one of which contains numerous
scenes from tales which are narrated in the cantigas.
Another manuscript shows musicians playing various instruments whose
reconstructed versions can be heard on our CD. The singers are
accompanied here by a medieval fiddle, oud, Romanesque harp, citole,
symphonia, recorders, as well as percussion instruments. Some of the
compositions on this album have been in the ensemble's repertoire for
years, while others have been specially selected and prepared for this
recording, in order to represent the multiplicity of musical and
literary forms among the cantigas.
The entire collection of Cantigas de Santa Maria
is preceded in one of the codices by a prologue whose author explains
what knowledge and skills a person wishing to praise Mary in songs
needs to possess. Such persons entrust themselves and their work to God
and express their hope to become troubadours worthy of His Mother.
Some of the songs have been attributed to Alfonso X himself. In Santa Maria, valed', ai Sennor
(Cantiga 279), the king beseeches the Virgin: "Holy Mary, come to my
rescue and help your troubadour, for I have fallen ill and suffer
greatly!" Being cured from an illness is a very frequent motif in the cantigas.
Cantiga 37 tells the story of a man whom extreme pain led to cut off
his own foot. All aching, he fell asleep in front of Mary's altar. She
cured him. On waking up, he rejoiced and hastened to spread the news of
the miracle. Similarly, in Cantiga 166 we read about a person who was
healed, repented and compensated for the wrongs done by offering
precious wax to the church.
Another story, in Cantiga 7, exemplifies Mary's interventions at a
repentant sinner's request. An abbess broke her chastity vows and got
pregnant. Other nuns inform the bishop about it, but she avoids
consequences since in her sleep angels headed by Mary assist in the
baby's delivery and take it to another place to be brought up.
In Ontre toda las vertudes
(Cantiga 323), a father running away from a Moorish invasion to save
his life leaves behind the body of his deceased son whom he had no time
to bury. On his return to the village, he finds his household intact
among the charred ruins, and it turns out that the boy has been
resurrected. Aid in a hopeless situation is also the subject of Cantiga
258, where during a famine a woman shares the remnants of bread dough
with the poor, but Mary miraculously multiplies the dough.
In Ai, Santa Maria (Cantiga
79) we meet a careless girl named Musa, who saw Mary attended by
beautiful maidens in her dream and wished to join them. She was
promised that she would be admitted to Mary's retinue in thirty days'
time if she changed her life and overcame her pride. The parents were
astonished by the change in their daughter's behaviour. Soon afterwards
she fell ill and died when her appointed time came. Mary then came to
summon her to join the holy maidens.
Every tenth of the songs is a cantiga de loor
or hymn of praise, extolling Mary's virtues. As in the courtly
troubadour songs, Cantiga 10 compares Mary to a rose of perfect beauty,
while in Cantiga 260 the subject asks: "Tell me, troubadours, why do
you not praise the Lady of all Ladies?"
Among the numerous songs, there are also cycles dedicated, for
instance, to Marian feast days, whose themes differ slightly from the
rest. For instance, Cantiga 422 implores Mary for her intercession on
Judgment Day, whereas Cantiga 425, from the series of songs for
holidays dedicated to Jesus, is an Easter song which refers to Gospel
scenes following Christ's resurrection.
The collection also comprises hagiographical motifs, as in Cantiga 66,
in which Mary appears to Saint Bonitus. That holy bishop receives the
gift of a vestment in which he can celebrate the Holy Mass, attended by
Mary and an entire procession of the saints.
Piotr Flis
Early Music Ensemble 'Scandicus'
Music Ensemble 'Scandicus' specialises in medieval, mostly vocal music.
Its repertoire comprises both sacred and secular songs from such
various collections as the Laudario di Cortona, Cantigas de Santa Maria, and Llibre Vermell.
The instruments include medieval fiddle, recorders, Romanesque harp,
citole, lute, symphonia, as well as percussion: riq and bendir.
The ensemble gives concerts in Poland and abroad. It has taken part in
such events as the 'Salve Regina' International Sacred Music Festival
in Wigry, the 4th International Martin Agricola Festival in Swiebodzin,
and the 4th International Grzegorz Gerwazy Gorczycki Early Music
Festival in Bytom. The musicians also perform in museums and at
celebrations of historical events.
HoM Theatre's spectacle La Rosa,
featuring 'Scandicus' ensemble, received an honourable mention for its
musical setting at the 37th Tychy Theatrical Encounters (2010).
In 2008 the Multikulti label released 'Scandicus' CD Laudario di Cortona. Their second album, Bryd one brere,
came out in 2013 under the Folkers label and comprises 13th-century
secular songs. Their recordings have been presented by radio
broadcasters in Poland.