medieval.org
Catsprey Music CST 1103
2004
1. CSM #100 [2:12] Santa Maria Strela do Dia
CSM 100
2. CSM #100 dance [1:48]
CSM 100
3. CSM #346 [7:31] Com' a grand' enfermidade en sar muito demora
CSM 346
4. Los Set Goyts-Estampie [6:13]
LV 5
5. Alle Psallite Cum Luya [2:43] Manuscrit de Montpellier
6. CSM #42-instrumental [4:02] A Virgen mui groriosa
CSM 42
7. CSM #322 [6:46] A Virgen, que de Deus Madre éste, Filla e criada
CSM 322
8. Mariam Matrem/CSM #1-instrumental [3:24] Des oge mais quer' eu trobar
LV 8 /
CSM 1
9. CSM #166 [4:51] Como poden per sas culpas os omes seer contreitos
CSM 166
10. Cuncti Simus-instrumental [3:36]
LV 6
11. CSM #159 [4:47] Non sofre Santa Maria de seeren perdidosos
CSM 159
12. CSM #159 dance [2:16]
CSM 159
13. Inperayritz-instrumental [3:56]
LV 9
14. Mariam Matrem [7:16]
LV 8
15. CSM #167 [7:18] Quen quer que na Virgen fia e a roga de femença
CSM 167
Istanpitta
Medieval Music Ensemble
Al Cofrin — oud, saz, bagpipes, shawms, vielle, percussion, recorder, backup vocals
Kathrine Wallace — soprano
Judith Overcash — soprano
Eden MacAdams-Somer — vielle
Mark Johnson — percussion
Jay Kruz — percussion
Abby Green — backup vocals
Alesha Herrera — backup vocals
EJ Jones — bagpipes
Therese Honey — medieval harp
"Pilgrimage
to the Shrine of Saint Mary" is a collection of songs about Saint Mary
and the Miracles she performed in Spain. It is told by travelers making
their way to the annual Christian celebrations in various parts of Spain
dedicated to the Blessed Virgin. Many stories of miracles performed by
Holy Mary were exchanged among these travelers during the middle ages.
Istanpitta
was formed by Al Cofrin during the summer of 1994 as a means to perform
interpretations of medieval dance music developed as part of a college
thesis project at the University of Texas. Eventually the ensemble was
performing regularly across the United States at venues geared towards
early music. The main core of the group comprises the use of the
medieval lute, vielle, bagpipes, recorder, percussion and voice.
Their
performances present the music in a manner that medieval musicians (who
were somewhat low on the social scale) might have played them when
performing for their next meal as they traveled from place to place
across Europe. This includes incorporating many Arabic styles that were
possibly familiar to the Medieval ear due to the occupation of southern
Spain by the Moors from the 8th century through the 15th century, and
the interaction with Middle Eastern culture
during the Crusades.
The
theory here is that these musicians, like modern day jazz players,
would not have limited themselves to the written or learned version of a
tune but would have modified it in ways to make it their own. Many
times this was done accidentally because many musicians were illiterate,
and variations of a dance or song were recalled differently from one
performer to another.
Istanpitta's interpretations of these songs
and dances are meant to represent not the static literary versions (the
words and music most likely transcribed onto parchment by a monk or
nun) but the dynamic historical reality of the "musician in the field"
(the piece of dirt who actually played it).
Istanpitta has
previously produced two CD' s. "C'est la fin" which is a collection of
French and Italian songs and dances from the 13th and 14th centuries;
and "Chevrefoil," the story of Tristan and Isolde and their ill-fated
love. "Pilgrimage to the Shrine of Saint Mary" is Istanpitta's latest
recording effort encompassing songs from two of the most famous Medieval
Spanish manuscripts woven together in a tapestry of music and tales of
the Blessed Virgin.
During
the mid-13th century, King Alfonso X ruled over large portions of
Spain, which he had recaptured from the Moorish nations. By the time
Alfonso inherited the thrones of Castile and Leon in 1252, he was
already considered a wise scholar. His court became a centre for
research, knowledge, and the arts, which was characterized by a rare
open-minded fusion of three existing cultures in Spain: Christian,
Jewish, and Islamic. Although a devout Catholic, Alfonso relied heavily
on his Jewish advisors, and employed Moorish musicians known as
mudejars. Alfonso's best known legacies to history are the written
collections of knowledge in areas of astronomy, astrology, games, and
music, as well as numerous other minor works. Of these collections, the
most famous is the Cantigas de Santa Maria, a compilation of 427 songs
in honour of the Virgin. Although Castilian was the official language at
the time, the Cantigas were written in Galician, or Gallego-Portuguese,
which was considered a more courtly language and better suited for
artistic poetry. The subjects of the Cantigas range from songs of
praise, historical incidents, and moralistic stories, to numerous tales
describing miracles performed by Holy Mary. The miracles recorded are
not exclusive to Christians, but also involve both Moors and Jews alike
and many are pointedly satirical in nature.
Many of the songs are
believed to be the product of a process known as "contrafacta", which
involves taking a pre-existing melody and providing it with new words. A
good example of this process is the early American song, The Battle
Hymn of the Republic, and uses the melody from a song called John
Brown's Body (and later went through another transformation to become
the high school favourite Glory, Glory, Hallelujah, Teacher hit me with a
ruler). Some scholars believe that many of the melodies used for these
Cantigas were more than likely Moorish folks songs commonly sung by
Islamic Moors who chose to stay in Christian-occupied Spain. The
Cantigas are beautiful and lyrical and provide an excellent example of
combining the Christian and Islamic traditions. We hope you enjoy
listening to this recording as much as we enjoy performing this music.
Al Cofrin
Sources:
CSM - Cantigas de Santa Maria Manuscripts
— No. 10069 de la Biblioteca Nacional de Madrid (Toledo Codex)
— Bano Rari 20, Biblioteca Nazionale of Florence - Escorial T.I.1 (Rich Codex)
LV - El Llibre Vermell, Biblioteca de la Abadía, Montserrat
MC - Montpellier Codex, Bibliotheque Nationale, Paris
Dance Arrangements - Sleep deprived hypnotic states after watching 12-hour Stargate marathon on the Sci-Fi channel
Instruments use in this recording:
Medieval Harp — David Brooks, USA
Arabic Lute — Viken Najarian, California
13th century Vielle — Halden Chase, California
13th century Spanish Vielle — Owen Morse-Brown, England Medieval Bagpipes in D — Joel Robinson, NY
Medieval Bagpipes in G - Paul Beekhuisen, Den Haag, Netherlands Border Pipes in A - Hamish Moore
Saz — Atakan, Turkey
Durbeke — unknown, Turkey
Soprano and Alto Shawms - Bob Cronin, California
Renaissance Recorders — Peter Kobliczek, Taunusstein
Large Tabor — Ben Harms, Massachusetts
Frame Drum - Pat Cooperman, Vermont
Cover art: MS "Cantigas de Santa Maria", Cantiga #167, El Escorial
Tierra Recording Studio Houston, TX 2005
Recording Engineer: Mario Cardenas
Producer and CD design: Al Cofrin
All transcriptions and arrangements: Al Cofrin
http://www.istanpitta.com