Sephardic Journey / La Rondinella
Spain and the Spanish Jews

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Dorian DOR 93 171
octubre de 1998
St. John's Episcopal Church, Ellicott City, Maryland






Sephardic Journey
Spain and the Spanish Jews


SEFARDÍ · Sephardic Songs

01 - Tres hermanicas eran   [2:54]
02 - Alta, alta, va la luna   [1:56]

03 - Paxarico tú te llamas   [3:16]

04 - Poco le das, la mi consuegra   [5:03]
05 - Durmo la nochada   [3:12]

06 - Yo era niña de caza alta   [2:13]

07 - Una noche al bodre de la mar   [1:50]
08 - A la uno nací yo   [2:21]

09 - Morenica sos   [2:48]

10 - El Dio alto   [2:10]
11 - Avrix mi galanica   [2:33]

12 - El paso del mar rojo   [3:49]


RENACIMIENTO · Spanish Renaissance

13 - Juan del ENCINA (1468-c.1530). Antonilla es desposada   [2:01]
14 - Claros y frescos ríos   [2:23]

15 - Diego ORTIZ (c.1510-c.1570). Recercada sobre 'O felice occhi miei'   [1:45]
16 - Diego ORTIZ. Recercada ottava   [1:46]

17 - Luis VÉLEZ DE GUEVARA (fl.1500). Ay luna que reluzes   [2:00]

18 - Juan PONCE (c.1480-after 1521). Torre de la niña   [1:42]

19 - Mateu FLETXA. Vella de vos   [4:29]

20 - Alonso MUDARRA (c.1510-1580). Fantasia   [1:36]
21 - Alonso MUDARRA. Romanesca. O guardame las vacas   [1:39]

22 - Juan del ENCINA. Pues que mi triste penar   [2:08]
23 - JOSQUIN. In te, Domine, speravi   [2:12]

24 - Luis MILÁN (c.1500-c.1561). Fantasía   [2:03]

25 - Alonso MUDARRA. Canción. Claros y frescos ríos   [1:53]

26 - Francisco de PEÑALOSA (c.1470-1528). El triste que nunca os vio   [1:43]

27 - El cervel   [2:09]






La Rondinella
Alice Kosloski, alto
Paul Bensel, recorders, crumhorn
Howard Bass, lute, guitar, harp, percussion
Tina Chancey, bass viol, rebec, kamenj, lyra, recorder, percussion

Guest artists:
Barbara Hollinshead, mezzo-soprano
Scott Reiss, recorder, percussion

The similarities in language between the Sephardim and the Spanish Renaissance composers are clear, and on this recording, with just a few exceptions, we have used the same instruments to play both repertoires.   But the two repertoires differ in significant ways. Although the Sephardim as a distinct culture are much diminished since the end of World War II, theirs is a living tradition, conveyed orally from generation to generation.   In the early part of the 20th century, the music began to draw the attention of folklorists, who transcribed the tunes and words as they heard them.   Much of this music was played in the home, not presented in concert, and how the songs were sung and played was probably as varied as the people who performed them over several centuries.   Spanish court music, on the other hand, was written down, published or preserved in manuscripts, and since the late 15th and early 16th century, frozen in form.   Though direct links to performance practices have not survived, much can be understood or inferred from the writings of the composers and theoreticians of the Renaissance.

- Howard Bass