Kalenda Maya. Medieval and Renaissance Music
/ Kalenda Maya
Songs and dances from 1200 to 1500. Spain, Italy, France and Germany
medieval.org
Simax PS 1017 (LP)
Simax PSC 1017 (CD)
1985
1. Quena Virgen ben servirá a Parayso irá [3:08]
CSM 103
Cantigas de Santa Maria (ca. 1280)
song, guitarra latina, Turkish long-necked lute, guitar-shaped fiddle, recorder, Turkish drum, cymbals
2. De moi doleros vos chant [3:00]
Gillebert de BERNEVILLE (ca. 1250-80)
song, psaltery, Arab lute, guitar-shaped fiddle, recorder, bells
3. El Rey de Francia [3:19]
Traditional Sephardic song
song, Arab lute, mandora, guitar-shaped fiddle, oval fiddle, Turkish drum
4. La Rotta [1:53]
Anonymous Italian dance (ca. 1390)
rebec, oval fiddle, Arab lute, psaltery, Galician drum
5. Rodrigo Martines [0:48]
Cancionero de Palacio, No. 12 (ca. 1490)
song, wooden spoons, Galician triangle, drum from Salamanca
6. Como poden per sas culpas [3:08]
CSM 166
Cantigas de Santa Maria (ca. 1280)
song, lute, oval fiddle, long-necked lute, Turkish drum, cymbals, choir
7. Mayenzeit one Neidt [2:57]
Neidhart von REUENTHAL (ca. 1230)
song, harp
8. Riú, Ríu, Chíu [2:38]
Cancionero de Upsala, No. 46 (ca. 1520). Attributed to
Mateo FLECHA
4 voices, Galician drum, cymbals, handclap
9. Lavava y suspirava [4:49]
Traditional Sephardic song
song, guitar-shaped fiddle, mandora, recorder, Arab lute, Galician drum, tambourine, harness bells
10. Christ ist Erstanden [2:28]
Hans JUDENKÜNIG (ca. 1525)
song, harp, recorder, portative organ, viol, renaissance violin, bells
11. Como o nome da Virgen [4:38]
CSM 194
Cantigas de Santa Maria (ca. 1280)
song, Arab lute, psaltery, guitar-shaped fiddle, rebab, recorder, choir
12. Saltarello [1:30]
Anonymous Italian dance (ca. 1390)
Arab lute, recorder, lute, tambourine
13. Yo me soy la morenica [1:00]
Cancionero de Upsala, No. 44 (1525)
four voices, drum from Provence, Galician triangle, tambourine
14. Mariam Matrem [3:19]
LV 8
Llibre Vermell (ca. 1400)
song, psaltery, Arab lute, guitar-shaped fiddle, bells, choir
15. Maravillosos e Piadosos [3:50]
CSM 139
Cantigas de Santa Maria (ca. 1280)
song, psaltery, Arab lute, fiddle, bells, choir
Kalenda Maya
Sverre Jensen — ensemble leader, arrangements and instruments
Hans Frederik Jacobsen — musical direction
Sverre Jensen — psaltery, mandora, Arab lute, long-necked lute, portative organ, harp, percussion
Sidsel Brevig — guitar-fiddle, 8-shaped fiddle, violin, rebec
Knut Erik Aagaard — arab lute, Renaissance lute, guitarra latina, bass viol
Tone Hulbækmo — harp, percussion
Hans Frederik Jacobsen — recorders, percussion, Arab lute
Henrik Sinding-Larsen — percussion, rebab, oval fiddle
Why
does a group of young Norwegian musicians spend years of their lives to
unveil the mysteries of a long forgotten art, presenting music from far
away and long ago? Well, the language of music is universal. The
difference between a modern Norwegian and a Spaniard from the Middle
Ages seems vast. The music on this album bridges the old and the modern
world, crosses frontiers and unites peoples of highly dissimilar
traditions.
Additional choir (in 6,11 and 15):
1. Psaltery — 2. Long-necked lute — 3. Arab lute —
4. Guitarra latina — 5. Cymbals — 6. Portative organ — 7. Galician
triangle — 8. Mandora — 9. Bass viol — 10. Rebec — 11. Guitar fiddle —
12. Oval fiddle — 13. Rebab — 14. Norwegian harp — 15. Soprano recorder —
16. Alto recorder — 17. Treble recorder — 18. Drum from Salamanca — 19.
Tambourine — 20. Wooden spoons — 21. Turkish drum — 22. Bells.
The instruments
The instruments are made by:
The music
Kalenda Maya consists of six musicians from
Tolga, Risør and Oslo, who have specialized in medieval and renaissance
music. The repertory covers the main European cultural centres of the
epoch, with an emphasis on Spanish music. The ensemble, founded by
Sverre Jensen (who also makes arrangements and instruments) in 1973, has
retained its present composition and musical profile since 1978.
Several
of the members of Kalenda Maya have had their basic training within the
tradition of Norwegian folk music. This fact confers to the old music a
suitably informal freshness. The aim of this record is to revitalize a
musical form believed by many to be austere, academic and dry. Kalenda
Maya shows how withering parchments can be transformed into accessible
and living music.
Apart from radio and television broadcastings
in Spain and in Norway, Kalenda Maya has conducted nationwide tours in
both countries.
Kristina Brein, Birgit Eika, Ame Haanshus and Kjell Vig
Recorded September 1984 in Gamle Aker Kirke, Oslo, Norway,
with two Schoeps omnidirectional microphones and Sony digital recording equipment.
Produced by Tellef Kvifte
Recorded and edited by Ame Akselberg
Additional choir (in 6,11 and 15):
Kristina Brein, Birgit Eika, Ame Haanshus and Kjell Vig
CD production: Disctronics Ltd, London
Booklet photo: Tor Viken
Drawing and booklet notes: Sverre Jensen
Booklet layout: Kalenda Maya & Pro Musica AS
All rights of the producer and the owner of the work reproduced reserved.
Unauthorized copying, hiring, lending, public performance and broadcasting of this record prohibited without consent.
A Pro Musica Recording
NORWEGIAN GRAMMY 1985
Few
medieval instruments have survived. So in order to equip the ensemble,
its founder, Sverre Jensen, has reconstructed the main types of
instruments on the basis of Romanic and Gothic painting and sculpture.
His versions are the fruit of half a life-time of handicraft and
research.
The musical instruments of the Middle Ages were a
varied lot. Many had been introduced by the Moslems, either by the Moors
in Spain or by the Turks who invaded the south-eastern regions of
Europe.
Most numerous were the stringed instruments. They were of two main types, bowed or plucked. Among the latter the lute was favoured by both Moslems and Christians. There were lutes with short (8) and long (2) necks. The mandora
(8), for instance, was a short-necked lute with a curved peg-box
plucked with a plectrum. All displayed the characteristic shape of a
bowl, often carved out of a single piece of wood. Beside the lutes there
were also plucked instruments with a flat back, such as the guitarra latina (4), probably originating in Europe.
The
bow, also of southern origin, has been known in Europe since the
beginning of the 11th century. At first, it seems, the musicians applied
it to any stringed instrument, but soon the bowed instruments proper
emerged. The pear-shaped rebec (10), for one, descended from the
lutes, only to be replaced a few centuries later by a somewhat distant
and younger relative, the violin. Two types of rebec are featured
on this record, the typical one with a wooden belly (10), and another
with a skin belly (13), like the American banjo. This skin-bellied rebec bears a striking resemblance to the bowed rebab of present-day Morocco.
Of all the instruments of the Middle Ages the most popular one was the fiddle
(11, 12), a bowed instrument with a flat back, the direct ancestor of
the violin. It came in various shapes and sizes, oval (12),
guitar-shaped (11) or, more suitably, in the shape of an 8.
Other stringed instruments include harps (14) and psalteries (1). The psaltery, grandfather of the piano, has a flat resonance box covered with diatonically tuned strings.
There were also wind instruments of various descriptions. This recording features mainly recorders (15, 16, 17), but of equal importance were the reed instruments, such as the bagpipe and the shawm.
In the Middle Ages even the organ was well known, though usually in the form of the portative organ (6). The player held this instrument in his lap, touching the keys with his right hand and wielding the bellows with his left.
The
percussionists had at their disposal an array of instruments still in
use in folk music in various parts of Europe. Most common was the tambourin (19), but bells (22), harness-bells, triangles (7) and cymbals (5) were not unusual. The different drums (18, 21), largely unchanged, still abound in remote European villages and Arab bazaars.
With the renaissance another generation of instruments - this time specifically European - was born. Of these we use the viol (9), the renaissance violin and the eight-course lute.
However, among ordinary people the medieval traditions still lingered
on, thus warranting the use of medieval instruments for early
renaissance music as well.
· Bass viol, Rebec, Rebab, Mandora, Renaissance violin, Guitarra latina, Norwegian harp, Portative organ, Wooden spoons — Sverre Jensen.
· Guitar fiddle — Henrik Sinding-Larsen and Sverre Jensen.
· Psaltery — Ali Dogan, Constantinople.
· Turkish long-necked lute — Semsi Yastiman, Constantinople.
· Arab lute — Anon., Cairo.
· Renaissance lute — Stephen Gottlieb, England.
· Recorders — Moeck, West Germany.
· Provençal drum — Marius Farbre, Barjols, France.
The music on this album originated and was
performed in a manner not unlike that of folk music. Largely the
composer is unknown, and when we do know his name, as likely as not he
has simply picked up a current tune and fitted it with new words.
The
medieval system of notation gives little indication of the
interpretation of the music, and when different manuscripts are
available for the same song the tunes are seldom identical. Our present
folk music can never be learned exclusively from written transcriptions.
The musician in an oral tradition will always have at his disposal a
larger body of knowledge - improvisation, arrangement techniques and
other factors influencing performance. This is also the case with
secular medieval music, except that the carriers of tradition are all
dead. Therefore the tradition must be recreated, if only approximately.
Indeed it is possible to realize fairly reliable interpretations based
on knowledge of notation and instruments - how to make them, play them
and combine them - and also being sensitive to stylistic traits among
relevant cultural groups, such as the Andalusians or the Sephardic
Turcs. Hence, the music of Kalenda Maya is not «guaranteed correct».
There are, of course, no means of complete authentication. The aim -
apart from making live music - is to offer versions that are at least
compatible with the known facts of medieval music. The listener will
hopefully appreciate that the facts are not that few.
1. «Quena Virgen Ben Servirá a Parayso Irá»
Cantigas
de Santa María No. 103.
guitarra latina, Turkish long-necked
lute, guitar-shaped fiddle, recorder, Turkish drum, cymbals.
Alphonse X, the Wise (1226-84), king of Castile and Leon, is famous - among many other things - for the great manuscript «Las Cantigas de Santa María»,
which contains some 400 songs praising the Holy Virgin. This collection
is the most important source of non-liturgic medieval monody. The songs
show how the Virgin intervenes in the everyday life of the common man
and his masters, and they are, in a certain sense, profoundly secular.
Many of the tunes and lyrics must have been brought by pilgrims on their
way to Santiago de Compostela, others are surely the work of the Wise
King himself, who personally supervised the editors. The Cantigas are
written in the Galician language, the poetic idiom of the peninsula at
that time. Cantiga 103 is about a monk praying to the Virgin for a
glimpse of eternity. Suddenly a bird appears, singing so beautifully
that the monk, enchanted by the listens for 300 years, oblivious
to the passing time. On returning to the convent which he has just left,
he is very disturbed to find that no one seems to know him any longer.
2. «De moi Doleros Vos Chant»
Gillebert de Berneville (ca. 1250-80).
psaltery, Arab lute, guitar-shaped fiddle, recorder, bells.
Medieval
France consisted of two separate regions, differing politically,
culturally and linguistically: Provence in the south and France in the
north. The first European poets who wrote in the vernacular were the
troubadours of Provence, singers-writers of courtly poetry that
flourished in the 12th century. A bit later the movement spread to
France through the art of the trouvères. From this tradition comes the
song «De moi Doleros», a story of unhappy love.
3. «El Rey de Francia»
Sephardic song.
Arab lute, mandora, guitar-shaped fiddle, oval fiddle, Turkish drum.
The
Jews of the Iberian peninsula - los sefardíes - were expelled after the
Reconquest. They settled in ghettos in different Mediterranean
countries, notably in Turkey and the Balkans, where they faithfully
retained their Spanish heritage. Sephardic music can often be traced
back to Moslem Spain. Redressing the music with medieval instruments
their songs offer an indirect but interesting approach to Andalucian
Jewish music prior to the Reconquest.
«El Rey de Francia» is the
story of a princess' strange dream interpreted by her mother as a sign
that the princess end up with a royal wedding. This version stems from
Smyrna in Turkey.
4. «La Rotta»
Anonymous Italian dance.
Rebec, oval fiddle, Arab lute, psaltery, Galician drum.
Possibly
the most popular among the medieval dance tunes, «La Rotta» is found in
a late 14th century manuscript containing some 15 dances in the form of
«estampie».
5. «Rodrigo Martines»
Cancionero de Palacio No. 12.
wooden spoons, Galician triangle, drum from Salamanca.
The
manuscript, kept in Madrid, contains about 400 songs from the time of
Ferdinand and Isabella, toward the end of the 15th century. This
two-voiced song is about a goose-keeper who would rather be a cowboy.
6. «Como Poden per sas Culpas»
Cantigas de Santa María No. 166.
lute, oval fiddle, long-necked lute, Turkish drum, cymbals, choir.
Popular
even today, this Cantiga tells the edifying story of a poor sinner who
had been punished with a paralysing disease. After five pious years of
repentance he travelled to Salas, in Asturias, to seek forgiveness in
front of a Virgin image known for its curative powers. Maria was rightly
touched by the prayers of the remorseful sinner, and he returned sane
and saved.
7. «Mayenzeit one Neidt»
Neidhard von Reuenthal (ca. 1230).
harp.
The
Germanic version of the courtly tradition of the troubadours was the
«Minnesänger». Prolific among the «Minnesdnger», Neidhard has left many
songs about the seasons. Mayenzeit praises the pleasures of spring and
the imminent summer.
8. «Ríu, Ríu, Chíu»
Cancionero de Upsala No. 46. Attributed to Mateo Flecho.
4 voices, Galician drum, cymbals, handclap.
This
book of Spanish renaissance songs from the beginning of the 16th
century was printed in Italy around 1550. The only remaining copy is
kept at the University Library of Uppsala, Sweden, hence the name. A
Christmas carol, «Ríu, Ríu, Chíu» is without doubt the most famous song
from this collection.
9. «Lavava y Suspirava»
Sephardic song.
guitar-shaped fiddle, mandora, recorder, Arab lute, Galician drum, tambourine, harness bells.
This
is the tale of the unexpected reunion of a son and his long lost
sister. The story is still sung in Spain under the name of «Don Boyso».
The present version comes from the Sephardic community in Turkey.
10. «Christ ist Erstanden»
Hans Judenkünig (1526).
harp, recorder, portative organ, viol, renaissance violin, bells.
«Christ
resurrected», a well-known hymn, has inspired many a composer. This
two-voiced version is the work of Hans Judenkünig, a famous lutenist
from Vienna. Another version seems to be the English song «Scarborough
fair».
11. «Como o Nome da Virgen»
Cantigas de Santa Marla No. 194.
Arab lute, psaltery, guitar-shaped fiddle, rebab, recorder, choir.
This
Cantiga is about a troubadour performing for the gentry in their
Catalonian castles. One gentleman so envied him his fine horse and
clothes that he contracted two ruffians to rob him on the wayside.
Seized by the mercenaries the troubadour in his despair cried out:
«Maria!», whereupon the criminals literally were paralysed and the
victim managed to escape.
12. «Saltarello»
Anonymous dance from Italy.
Arab lute, recorder, lute, tambourine.
Instrumental dance tune from the Italian 14th century manuscript mentioned above.
13. «Yo me soy la Morenica»
Cancionero de Upsala No. 44.
Four
voices; drum from Provence, Galician triangle, tambourine.
This is
Maria herself singing. The author may have thought of the Virgin found
in Montserrat, over whose breast is written from the Song of Songs 1-5:
«I am black, but comely O ye daughters of Jerusalem».
14. «Mariam Matrem»
Llibre Vermell (15th century).
psaltery, Arab lute, guitar-shaped fiddle, bells, choir.
The
music from the «Red Book» from Montserrat is recommended for the
diversion of the pilgrims, who may use it for dancing or singing. The
tunes may be traditional, but the Latin lyrics seem to have been written
for the occasion. «Mariam Matrem» is a three-voiced song praising the
Virgin.
15. «Maravillosos e Piadosos»
Cantigas de Santa María No. 139.
Song, psaltery, Arab lute, fiddle, bells, choir.
This
beautiful Cantiga is about a Flemish woman who presents her young son
to an effigy of the Virgin in the church. The son offers a piece of
bread to the infant Christ, inviting him to eat. Immediately the boy is
rewarded. He ascends directly to paradise, in a state of bliss, but
dead.
English translation: Knut Erik Aagaard
Simax PS 1017 (LP)