medieval.org
Jaro 4206-2
1996
1998: Sonifolk/Lyricon (Jaro) 21115
"Canciones Sefardíes de la tradición hispanoárabe en la España medieval"
1999: Dorian Recordings DOR-93190
"Ballads of the Sephardic Jews"
Sepharad
— Vladimir Ivanoff
Sarband
Without
the fundamental research, collections and publications of Léon Algazi,
Higini Anglés, Samuel G. Armistead, Hanoch Avenary, Amer Bahat, Eugène
Sorrel, Judith Cohen, José Antonio de Donostia, Judith Etzion, Edith
Gerson-Kiwi, Garcia Gómez, Alberto Hemsi, A. Z. Idelsohn, Israel J.
Katz, Isaac Levy, Leo Levy, Benjamin M. Liu, Manuel Manrique de Lara,
Michael Molho, Eduardo Martínez Tomer, Ramon Menéndez Pidal, James T.
Monroe, Joaquín Rodrigo, Edwin Seroussi, Almon Shiloah, Joseph H.
Silverman, Samuel Miklos Stern, Susana Weich-Shahak, David Wulstan,
Henrietta Yurchenco, Rodrigo de Zayas, to mention just some of the
scholars, our journey through the history of Sephardic song, which is
meant to be a creative reinvention based on the numerous source studies
which have been undertaken over the past hundred years, would not have
been possible. Our special thanks go to Dr. Eckhard Neubauer.
1. [4:53]
a. Ea Judios — Spain
b. Yo en estando — Morocco, Tetuan
c. Yo m'estava reposando — Juan del ENCINA (1468-1529), Cancionero musical de Palacio 77
Both
songs tell the story of a young man who cannot sleep for his desire of a
woman who is married to an old man. The historical Spanish version in
the "Cancionero musical de Palacio", set to music by Juan del Encina,
contains only the first four lines of the account, while in the
Sephardic version from Morocco the entire story has been preserved. The
two versions are basically different in melody and structure, but
exhibit several corresponding melodic elements.
2. Calvi, Calvi / Rey Don Alonso / Kol libi [3:03]
Spain, 14th century
In the 10th century, the lyric-musical genre known as muwashshaḥa became increasingly popular among Arabs, Christians and Jews alike. The last verse (kharja)
was generally written in Spanish or Hispano-Arabic. The short text
fragment "Calvi vi Calvi," mentioned by the Archbishop of Hita, Juan
Ruiz, in his "Libro de buen amor" in the 14th century, and recorded by
Francisco de Salinas as incipit in his "De musica libri septem"
(Salamanca 1577), is most likely a verse of this kind, a so-called kharja, In Arabic spelling,
"Calvi vi calvi calvi aravi" becomes: "Qalbī bi-qalbī qalbī ’arabī".
An
increasing number of Muslims were forced to convert under Christian
supremacy. Many of these moriscos met secretly in the dark hours of the
night to sing songs and dance. These nighttime meetings were called zambra/zamr or leila
(night). In the 16th century a text sung during the zambras appears in
Luis Vélez de Gómara's comedy "La hermosura de Raquel": The dance of the
moriscos, a crude parody.
The kharja "Calvi vi Calvi,"
concerned with the secretly kept "Arabic heart," might have been sung on
these occasions. in the Hebrew print "Baqaßoth" (Constantinople,
ca.1525) the melody appears as a contrafact with a Hebrew text, adopting
the "heart" from the Arabic text and imitating the Arabic phonetically:
'Kol libi, kol libi, kol libi le-avi'.
Beginning in the 16th century, the melody was frequently quoted as Baile del Rey Don Alfonso in Spanish plays;
even today it is sung in Spain as a folk song: 'Rey don Alonso, Rey mi Señor'
3. Caldibì Castigliano [2:15]
Joan Ambrosio DALZA. "Intabulatura de Lauto, Libro Quarto," Venice 1508
The
Venetian lutenist J. A. Dalza used the "Calvi, Calvi" melody as a
treble tenor for the variation which preludes his collection
"Intabulatura de Lauto."
4. Porke yorach [11:37]
Morocco, Turkey, Bosnia, Greece
The
Sephardim also sing the religious song "Odekha Ki Anitani" to the
melody of this romance. The text brings together the threads of four
different stories, known at least since the late Middle Ages. Only two
of them appear in the most widely known version of the song:
– The
Conde de Irlos leaves his young wife to seek adventure in the New World.
If he does not return within seven years, his wife can marry any man
whom her husband's clothing fits.
– The mother curses the ship on which her son leaves her.
5. Cados, Cados [1:19]
Chansonnier Sevilla (F-Pn nouv. acq. fr. 4379), late 15th century
The
three-part motet "Cades, cados" contains conglomerate of Arabic, Latin,
Greek, Hebrew and pseudo-Hebrew words. Elements of the hymn "Alma
Redemptoris Mater" as well as motifs from Hebrew piyuttim can be heard in the melody.
A
similar text is part of the medieval Easter pageant of Innsbruck (1330)
in which the Jews are crudely parodied: "Tunc Judae cantant Judaicum
... Chodus, chodus adonay, sabados sissim sossim ... chochum yochum ..."
6. Ayyu-hā s-sāqī / Qum Yêdīd nafsī [6:49]
Lyrics:
· Abū Bakr ibn Zuhr al-Ḥafīd (1113-1198): Arabic muwashshaḥa
· Don Todros ben Yehudah ha-Levi Abū'l-’Afia (1247-ca. 1306): Hebrew kharja
Music: traditional
Both
Arabic and Jewish poets used the lyrical and musical muwashshaḥa form
extremely popular in medieval Spain. The poet Don Todros was one of the
most well-known artists and scholars at the court of Alfonso the Wise
(1252-84): he was el rab de la corte.
7. Yā ğawhar al-ğalālī [2:34]
Lyrics: Ibn Quzmān (c.1086-1160)
Music: Cantiga de Santa Maria 47, late 13th century
The
tall, blond Ibn Quzman was descended from an old Arabic family of noble
lineage. In his often cynical, often erotic poetry, he combined
classical Arabic (gharib) with the local Andalusian dialect as well as Spanish expressions.
8. Hal darà [8:30]
Lyrics: Ibn Sahl (-1251)
Music: traditional
Ibn
Sahl, a Jew converted to Islam, was a legendary poet and musician in
Almohadian Seville. He was one of the last masters of the muwashshaḥa.
Ibn Sahl drowned in the River Guadalquivir: "... and the pearl returned
to its origins."
9. Una tarde de verano [8:20]
Morocco, Fez – Spain
The
story of this romance is based on the German epic poem "Kudrun" from
the early 13th century. This song was probably transported from the
Arabian Peninsula to Spain during the crusades. It tells of the rescue
of Kudrun by her brother Ortwin and Prince Herwig, following thirteen
years of humiliating captivity. Numerous forms of the story are
contained in the oral traditions of Spain, Morocco, Greece and Turkey
(including "Don Bueso y su hermana" / Don Bueso and his sister). The
octosyllabic version selected for this recording is probably more
recent, presumably "re-imported" to Spain from Morocco by way of
Andalusia.
The
Sepharad sphere of influence was initially only embodied in the word of
the Bible. Its geographical location was as yet undefined when Genesis
pointed the way and the Israelites left the land of their fathers. Over
the centuries, the term "Sepharad" gained in cultural, religious and
historical significance. Since then, in addition to a place of exile,
"Sepharad" has held a promise of a religious conviction and of cultural
self-determination.
Over two thousand years ago the Jews fled
from Nebuchadnezzar and the ruins of the Jewish empire and gradually
crossed the Mediterranean. Since Roman times there has been evidence of
Sephardic Jews in the Iberian peninsula. In the year 589 Christianity
was declared the official state religion by the ruling Westem Goths.
Exercising repression in the form of forced baptism and death threats,
these new Christians forced thousands of Jews to leave the Iberian
peninsula. As a result, those Jews who remained behind viewed the
Islamic conquest of Spain in the year 711 more as a liberation than a
threat. In the Muslim state order Jews had the opportunity to rise to
high positions in the government and administration. The Jewish
communities in medieval Spain were therefore strongly linked with the
Muslim emirates and especially with the caliphate of Cordoba. The
Hispano-Arabic Middle Ages represent an important chapter of Judaic
history. Having participated in the golden age of classical Arab culture
in the Near East, Jews played an important role in Spain as mediators
between Arab and Christian culture, and Jewish poetry and music
consequently reached a new pinnacle. In the 13th and 14th centuries Jews
were also musicians at the Castilian court. Along with Arab musicians
they played an important role in the performance of the "Cantigas de
Santa Maria" (eleven of which tell of Jewish life and culture in Spain),
compiled by King Alfonso el Sabio (1252-84). At the court of Sancho IV,
along with thirteen Christian and fifteen Arab musicians, the Jew
Ismaël played the rota and accompanied his wife when she danced.
The
14th century[sic], when the Catholic reconquest of Spain made
considerable progress, brought the harmonious co-habitation of Spanish
Christians, Jews and Muslims to an end. The pogroms and persecutions of
1391 led to mass conversions of Jews and Muslims. The mid-15th century
saw the establishment of the Inquisition, which accused many conversos
(those who had converted from other religions) of practicing their original beliefs in secret
The
exodus of Hispanic Jews began on August 2, 1492. In the course of just a
few months it is believed that over 160,000 Jews were forced by the
Catholic monarchs Ferdinand and Isabella to leave Spain and all Spanish
sovereign territories in a most undignified manner. Many Sephardic Jews
fled to French Provence. Hispanic Jews who had converted to Christianity
also settled as late as the 17th century in Bordeaux, Marseilles and
Bayonne, after they too had been forced to leave Spain and Portugal.
Many Sephardim sought to start a new life on the North African coast.
The majority however, 60,000 or more in number, found a haven in the
sovereign territories of the Ottoman Empire: in Constantinople,
Thessaloniki, Smyrna, Adrianople (Edirne), Gallipoli, Ankara, in Egypt,
Syria, Palestine and the Balkan states. As Sultan Bayezit remarked on
the exodus of the Sephardim: "It is said that King Ferdinand, King of
Castille and Aragon, is a clever man, but by driving the Jews from his
own country, he is impoverishing his empire and enriching mine."
Sephardic communities were also established in Italy (Ferrara, Livorno),
after the end of Spanish role in the Netherlands (Amsterdam), in
Germany, Austria and the New World.
Sephardic music: stories and histories
In
the Diaspora Hispanic Jews handed down their medieval Spanish past:
customs, music and language. The traditional songs characteristic of the
Sephardic Jews were and still are to this day the romanzas in the Jewish-Spanish tongue — judezmo — which is today sometimes misinterpreted as ladino (a term which actually refers to translations from Hebrew into Spanish: ladinar) and corresponds to djudiyo in the Levante and baketiya
in the Maghreb. The lyrics of these songs recount the lives of Spanish
Jewry and tell of Spanish history. Only a few written examples of this
music have survived from the Spanish Middle Ages. However, in addition
to the descriptions of Sephardic musical practice taken from medieval
sources, the Sephardim's oral heritage provides a guide to this
immensely rich musical culture.
The development of Sephardic
music is inexorably linked to the history of Spanish Jews following
their expulsion. After leaving Spain and Portugal the Sephardim settled
in numerous communities in the Mediterranean region. There they sang
their songs brought from Spain and sought to maintain their Spanish
culture. In the new environment, usually far from Spanish influence,
they lived in crowded communities, defiantly continuing to speak their
Spanish mother tongue and glorifying their Spanish past.
Since
the repertoire of songs was and to some extent still is a significant
element of Sephardic community life, it was possible to preserve those
songs over five centuries. This living tradition, in which the exiles
handed down old Spanish epic stories in late medieval Castilian, was
greatly influenced by the various languages and musical cultures of the
countries in which the Sephardim lived. The Sephardic way of life
gradually blended with local traditions in their host countries. As
early as the Middle Ages Spanish Jews had worked closely with musicians
from other cultures, and this tradition was continued without
interruption after the exodus. Not only were melodies integrated into
the performance of sacred and secular poetry, but many musical elements
too, such as the modal system, rhythmic and metric characteristics,
melodic embellishments and cadential formulas, all flowed into the
traditional repertoire. In addition, numerous new songs developed which
make up the main body of the repertoire still sung today. By the
beginning of the 18th century at the latest, the Sephardic colonies of
the western and eastern Mediterranean (Ottoman Empire) formed two
clearly distinguishable and independent cultures. Due to its
geographical proximity, the western or North African was able to
maintain its ties to the Iberian peninsula, while the eastern camp was
exposed to new influences to a great extent.
It is therefore
possible to define two main traditions within the Sephardic song
culture, with regard to repertoire, melodic structures and performance
practice: that of the eastern Mediterranean, mostly under Turkish and
Balkan (generally Ottoman) influence and that of the western
Mediterranean, significantly influenced by Moroccan and Spanish
elements. With Europe's increasing political and economic impact on the
Middle East due to colonization, western musical influences increased,
especially in Northern Africa.
Any formal comparison of songs
from the western and eastern repertoires, that is, from two independent
music traditions which enjoyed only a minimum of mutual contact, reveals
the fact that, quite independently of one another, both traditions have
handed down some of the repertoire and characteristics of the medieval
Sephardic romance heritage of Spain.
Some Sephardic Jews
continued their emigration from Thessaloniki and Constantinople, the two
central colonies in the Ottoman Empire, to Jerusalem, where an
important Sephardic community developed which even today is still an
amalgam of Palestinian, Turkish and Balkan elements. This accounts for
the many corresponding features in the lyrics and tunes of Palestinian
and Balkan songs. The female voice is dominant in traditional Sephardic
musical performance. Many of the topics featured in the songs are
represented from a woman's point of view, since it was the women who, in
the Diaspora, passed on the Sephardic traditions to their daughters.
Today the singers further develop the living tradition, accompanying
themselves on the frame drum (pandeiro). The Spanish monk Andrés
Bernáldez was an observer of the Jews' expulsion from Spain and left the
following lines, documenting the important role of women in the
Sephardic song tradition: "They left the country in which they were
born. Great and small, young and old, on foot, donkeys or in carts, each
followed the path to his or her chosen destination. Some stopped at the
wayside, some collapsed from exhaustion, others were ill, yet others
dying. No fellow creature could have failed to have pity on these
unhappy people. All along the way there were constant appeals for them
to accept baptism, but their rabbis instructed them to refuse and
implored the women to sing, beat their drums and to uplift their souls."
Later, in the Diaspora, the Sephardic romances were adapted by
professional male musicians and performed in coffee houses and taverns.
In the same way, sacred texts were — and still are — set to romance
melodies.
The Romance
As
early as the late Middle Ages and the Renaissance, the romance or
ballad was a very popular song-form in Spain. It originally survived as
folk song and was not introduced to the Spanish court until near the end
of the 15th century. Like most Sephardic romances, especially those
handed down through the eastern tradition, the 15th century romance, as
notated in various sources including the "Cancionero musical de Palacio"
and in the tablatures of 16th century vihuelists (there it described as
a romance viejo), has a poetic structure of sixteen syllables
with assonant rhymes and a musical form with four phrases of equal
length. The first musical phrase often has an arched, rising and then
descending melodic contour; sometimes we encounter a purely ascending
melodic line. The second melodic phrase is usually higher and touches
the melodic high point. These two melodic lines are seldom identical.
The third melodic section then descends stepwise to the lower cadence
note. The fourth phrase often ends the melody in a cadential downward
movement.
Many of the melodies are based on a descending chromatic tetrachord which is also characteristic of the musiqà andalusiyya. In the eastern Mediterranean region melodies can often be attributed to the modes (makamât)
of Islamic musical culture; the Hüsseynî, Ushâk, Bayâti, Hicâz,
Hicâzkâr, Pûselik, Nihâvent and Ferahfeza modes are frequently
encountered. In the western Mediterranean, especially in Morocco, the
diatonic principle was often applied to the melodies, probably under
later European influence, and they were made to conform with major/minor
key tonality.
In the rhythmic-metric performance of the
romances, metric and non-metric sections are often interwoven. The
eastern tradition reveals a strong tendency towards a performance devoid
of metric constraints, while in the western/Moroccan repertoire the
abrupt shift from the binary to the ternary meter is popular.
The
Judaic musical culture attained great significance through its
preservation and dynamic modification of medieval Spanish romances on
the one hand, and of the Arabic-Andalusian muwashshaḥat and kharjas
on the other. This is demonstrated in the second section of our journey
through time and cultures by means of the different compositional
genres. It is our aim to create a living aural picture of the former
symbiosis of medieval story-telling of northern Spanish, Andalusian or
Hispanic-Jewish origin with oriental melodies from Asia Minor or the
Balkans: the sphere of influence of "Sepharad."
SARBAND
Vladimir Ivanoff
Fadia El-Hage (Lebanon): Voice
Belinda Sykes (Great Britain): Voice, Shawms, Bagpipes
Mustafa Doğan Dikmen (Turkey): Ney (flute), Kudüm (kettle drums), Voice
Ahmed Kadri Rizeli (Turkey): Kemenge (fiddle), Percussion
Ihsan Mehmet Özer (Turkey): Kanun (psaltery)
Mehmet Cemal Yesşilçay (Germany, Turkey): Ud (lute), Cura (longnecked lute), Percussion
Vladimir Ivanoff (Germany, Bulgaria): Percussion, Ud, Renaissance lute
with guest
Axel Weidenfeld: Renaissance lute (track 3)
The
name Sarband stems from Persian and Arabic, and denotes the improvised
joining of two parts of a musical suite. Vladimir Ivanoff founded the
ensemble Sarband in 1986 and has been pursuing an archaeology of complex
connections ever since. Above all, Sarband endeavors to point out
possible links between European music and the Islamic and Jewish musical
cultures. With sensitivity and intensity, Sarband celebrates the
symbiosis of Orient and Occident. The continuous musical collaboration
among the members of the ensemble ensures that a dialogue on equal terms
is maintained. It is the exchange of practical musical experience
between musicians from different cultures that make the performances of
Sarband fascinating, lively and extremely authentic.
In their
performance of European and Oriental medieval music, the Turkish,
Italian, English, Bulgarian, Arab and German musicians participating in
this project draw upon the colorful palette of instruments, vocal and
instrumental techniques and the art of improvisation which are still to
be found in Islamic culture today. Sarband's unique repertoire has won
them wide acclaim internationally. Over the past few years Sarband has
performed at numerous international festivals of varying orientations
ranging from Early Music to Avant-garde.
Sarband's musicians do
not regard their work as something sporadic but as an expression of
being and life. Just as religious, economic, cultural and political
differences between the Orient and the Occident play a predominant role
in today's society, Sarband's work endeavors to show that music has
always served as a medium of reciprocal respect, and can continue to do
so today: a model for peace.
Fadia El-Hage (born in 1962
in Beirut) started her professional performing career as a pupil, with
the orchestra of the brothers Rahbani. From 1978-79 she performed as a
singer and actor in several TV productions in Lebanon and Jordan. From
1980-81 she performed as a soloist in two Lebanese opera productions.
From 1978-81 she produced several recordings of traditional Lebanese
music. From 1980-84 she studied psychology at the Lebanese University.
From 1985-90 she studied voice with Professor Felix Rolke at the
Richard-Strauß conservatory in Munich with further studies in opera from
1990-92. Since 1989 she has performed as a soloist with Sarband and Vox
in international concerts and CD productions. She lives with her family
in Beirut and teaches at the Lebanese University.
Belinda Sykes
(born in 1966) studied voice with Bulgarian folk singers, going on to
collect songs from Bulgaria, Morocco, Spain, Hungary and India. As an
instrumentalist, she studied oboe and recorder at the Guildhall School
of Music, and won the 1990 Reichenberg award for Baroque Oboe. She has
performed with The New London Consort, Red Byrd, Tragicomedia, The Harp
Consort, The King's Consort, The Orchestra of the Age of Enlightment,
The English Consort, L'Orient Imaginaire and Sarband. She teaches at the
Guildhall School of Music, Exeter University and the Welch College of
Music, and has given workshops at the Birmingham Conservatory, Royal
Academy of Music and Bremen Academy of Early Music.
Mustafa Doğan Dikmen
was born in Ankara in 1958. Between 1975 and 1978 he played the kudum
for Ankara State Radio and from 1979-83 studied at the Istanbul
Conservatory. In 1992 he became a soloist for TRT Istanbul. With
Professor Alaeddin Yavasça and Professor Kani Karaca he has worked on
Ottoman art music and now teaches at various schools of music in Turkey.
He is a member of the groups Ferahfeza, Emre, L'Orient Imaginaire and
Sarband.
Ahmed Kadri Rizeli was born in Istanbul in 1959. He was
still at school when he first learned to play the violin. He later
studied Turkish art milsic with Sadi Hosses and the theory of music and
the kanun with Necdet Varol. He has been a soloist with TRT since 1981.
Between 1981 and 1983 he was also a soloist with the Istanbul University
Ensemble. He is a member of the groups Ferahfeza, Emre, L'Orient
Imaginaire and Sarband and works as a record producer for Turkish art
music.
Ihsan Mehmet Özer was born in Istanbul in 1961.
From 1978-82 he studied at Istanbul Conservatory and with Ruhi Ayangil.
He has performed with Demirhan Altug, Tülün Korman, Metin Örser, Ergen
Korkmaz and Haydar Sanal. He is a soloist with TRT Istanbul, and the
orchestras of Istanbul University and the Turkish Ministry of Culture.
In recent years he has also become known as a composer of modern and
traditional Turkish art music. He performs as a soloist with the Ahmet
Özhan group for historical Turkish music and is a member of the groups
Ferahfeza, Emre, L'Orient Imaginaire and Sarband.
Mehmet Cemal Yeşilçay
was born in Istanbul in 1959. From 1976-1982 he studied Islamic music
with Seyyid Nusreddin Yesilcay in Istanbul. From 1980-85 he studied the
ud and composition with CinuSen Tanrikorur in Ankara. In 1985 he founded
the groups Sadaraban and Ferahfeza, with which he performs in Turkey
and abroad. He also works as a composer of contemporary and traditional
Turkish art music. His works have been performed at the Munich Biennale.
He is the musical director of the ensemble Emre, a founding member of
Sarband and a member of L'Orient Imaginaire.
Musical direction: Vladimir Ivanoff
Recording: Jochen Scheffter & Vladimir Ivanoff, Beirut / Istanbul / Munchen, 1994
Post production: Friedrich Thein & Vladimir Ivanoff, Bremen 1994
Producer: Vladimir Ivanoff Executive producer: Ulrich Balß
Translations: Judith Rosenthal: English - Vladimir Ivanoff: Deutsch - Shlomo Israeli: Hebrew
Cover picture adapted from: Jerusalem, centre of the world
Worldmap by Heinrich Bunting. 1585.
Coverdcsign by Rank
[DORIAN: Catalog No. DOR-93190
Booklet Copyeditor: Katherine A. Dory
Graphic Design: Kimberly Smith Co.
Cover: Jewish Musicians at Mogador, Eugène Delacroix (1798-1863), Louvre, Paris, France
Courtesy of Giraudon/Art Resource NY (501142899)]
Thanks