medieval.org
EMI "Reflexe" 7 63145 2
1989
LP original (1977): EMI "Reflexe" 1C 063 30 939 Q
I. ROMANCES Y DANZAS DE MOROS Y MORAS
01 - Pedro GUERRERO · s. XVI. La perra mora ·
baile [1:38]
02 - Diego PISADOR · d. after 1557. La mañana de San
Juan (1552) [4:02]
Romance de Abindarráez
03 - Alonso MUDARRA · ?-1580. Fantasía y Gallarda
(1546) [3:25]
04 - Luis de NARVÁEZ · s. XVI. Romance del Rey moro
que perdió Alhama [3:42]
05 - Tres morillas m'enamoran [1:37]
Cancionero de Palacio · instr.
II. ROMANCES Y MADRIGALES CORTESANOS
06 - Alonso MUDARRA · ?-1580. Conde Claros ·
romance, instr. [2:01]
07 - Juan VÁSQUEZ. Los braços traygo cansados
(1560) [2:37]
Romance de Don Beltrán
08 - Pues non me queréis [1:04]
intb. Venegas de Henestrosa, Romance I
09 - Francisco PALERO. Mira, nero de Tarpeya [1:50]
intb. Venegas de Henestrosa, Romance II
10 - Francisco GUERRERO · 1527-1599. Dexó la venda
· madrigal [1:54]
III. VILLANCICOS AMOROSOS
11 - Juan VÁSQUEZ · m. d. 1560. Quien amores tiene
(1560) [1:32]
12 - Juan de ANCHIETA · s. XVI. Dos ánades madre
[1:28]
13 - Al rebuelo de una garça (1557) [1:33]
intb. Venegas de Henestrosa
14 - ORTEGA · s. XVI. Pues que me tienes, Miguel
[2:59]
15 - Pedro RIMONTE · c. 1600. Madre, la mi madre (1614)
[3:15]
IV. DANZAS Y BAILES PARA CANTAR Y TAÑER
16 - Diego ORTIZ · c.1510-?. Folia VIII (1553) ·
instr. [1:50]
17 - Mateo FLECHA, m. 1553. La Gerigonza · baile cantado
[1:24]
intb. Miguel de FUENLLANA, 1554
18 - Antonio MARTÍN Y COLL · s. XVII. El villano
[1:55]
19 - De tu vista celoso · seguidillas de eco, cancionero
de Sablonara, c.1600 [1:58]
20 - Antonio de SANTA CRUZ · s. XVII. Jácaras
[2:41]
21 - Mateo ROMERO · m. 1647. A la dulce risa del alva
· folía [2:11]
22 - Antonio MARTÍN Y COLL · s. XVII. Danza del hacha
[1:40]
23 - Juan ARAÑÉS · ?-?. A la vida bona
· chacona (1624) [1:44]
Hespèrion XX
Jordi Savall
Montserrat Figueras, Gesang
Jordi Savall, Renaissance-Diskant- und Baßgamben
Hopkinson Smith, Vihuela de mano, Renaissance-Gitarre
Ariane Maurette, Renaissance-Tenorgambe
Christophe Coin, Renaissance-Baßgambe
Lorenzo Alpert, Renaissance-Flöten, Schlaginstrumente
Gabriele Garrido, Schlaginstrumente
Aufgenommen:
10.-16.IX.1976, Kirche, Séon (CH)
Produzent: Gerd Berg
Tonmeister: Johann-Nikolaus Matthes
(P) 1977 EMI Electrola GmbH, D-5000 Köln
Digital remastering (P)1989 by EMI Electrola GmbH
SONGS AND
DANCES FROM THE TIME OF CERVANTES (1547-1616)
The time of perhaps the most famous Spanish poet, Miguel de Cervantes,
creator of the immortal Don Quixote, marked the cultural and political
golden age of Spain. It was the era of the severe and austere Habsburg
king Philip II (1556-98), his religious wars in Europe and his struggle
against heterodox people, especially the Turks. And in the famous
Battle of Lepanto (1571), which guaranteed Spain predominance in the
Mediterranean again, the poet and soldier Cervantes lost his left hand.
Spain responded to the religious controversies of the time with the
Inquisition, which rigorously watched over literature and faith. During
this period the famous Spanish mystic literature of Santa Teresa de
Jesús and San Juan de la Cruz was written, out of deep religious
belief. These were also the years in which Spain achieved her greatest
territorial expansion and in which the immense riches from her overseas
colonies streamed in; yet, apart from the luxurious but wasteful
ornaments of a few splendid cathedrals and palaces, extreme poverty
abounded, not only among the lower classes but also among the gentry,
who often led a threadbare existence because they disdained manual work
(as we can see from the picaresque novels of the time).
That was the official Spain of Cervantes. It is obviously reflected in
the construction of the Escorial, the synthesis of palace and cloister,
situated in the barren highlands opposite Madrid, which Philip II had
founded and where he lived. But this rather harsh picture of Spain is
incomplete if we forget the other, cheerful and popular Spain, with her
manners and customs, her dances and songs.
Cervantes once said, "There is no Spanish woman who was not born to be
a dancer". (Gran Sultana, III) And in the second book of Don
Quixote (II, 622) the poet gives us a clear idea of the passion for
dancing of the ladies at court. They whirl round the knight until he
sits down in the middle of the hall, exhausted and heaving the
memorable sigh. "Fugite, partes adversae".
The most popular dances of noble society were the almaña
and gallarda, which were stepped rather than danced, in
strained grace to the sound of instruments, with the gentleman leading
the lady by gloves or a handkerchief.
In popular dance the vivid baile accompanied by castañuelas
(castanets) dominated and displaced the solemn figurative danza
more and more. Examples of purely popular dances are the caponia,
danced by a single person, and the rastreado, which was
distinguished by a furious tempo and vivid gesticulations. Much ink was
spilt on the latest craze — the sarabande, whose "devilish sound"
(as it is described in Cervantes' novella El celoso extremeño),
was something new. According to some other reports it was invented in
1588 by an ill-reputed lady of Seville. The zarabanda was
usually accompanied by amorous and satirical comic songs and was danced
in this way at weddings and similar occasions. The castanets, guitar,
timbrel, tambourine and bagpipe were the most important accompanying
instruments. For the danza de cascabeles little jingles were
worn at the ankle. Other dances, for instance the folías
danced by travelling students and the seguidillas and serranillas,
were accompanied by lyrics called by the same name. Besides these
dances countless other forms of dances are recorded, all of which may
be considered as popular spontaneous variations.
Every church festival was also an occasion for dancing. People even
danced in church, in front of the altar. In this way festivals got
their festive and happy character. It is quite natural, for example,
that Cervantes' Gitanilla (little gipsy), in the short novel of the
same title, should dance a villancico religioso — a
religious dancing song — in front of the picture of St Anne to
the sound of castanets and bells. And the countless processions held in
honour of patron saints, on canonizations and beatifications, on
transportations of relics or consecrations of monasteries and churches,
especially every year at the feast of Corpus Christi, were not
infrequently interrupted by frantic dances, while cannon-fire and
fanfares accompanied the procession and liturgical singing alternated
with instrumental music.
Besides these dances for individuals there were also the group dances
of the guilds and professional dancers. The silk weavers danced the danza
de los palillos, in which they carried small rods adorned with
coloured ribbons. In the danza del cordón each of
sixteen dancers who had formed a circle held a coloured ribbon which
was fastened to a rod in the centre decorated with flowers held by a
seventeenth dancer. There was the dance of swords — danza de
las espadas — which involved a mock fight. Fancy-dress dances
were also popular: such national events as the liberation from Moorish
domination were represented choreographically. Last but not least among
the group dances are the allegorical dances, with their didactic but
amusing character. It is beyond doubt that the medieval Spanish art of
dancing during the era of the Habsburgs was influenced by Arabic
customs and traditions, though our knowledge in this area is still
incomplete. But the English morris dances show how far north
Spanish-Moorish forms of dancing advanced.
The Spanish comedia — the popular theatre of the golden
age — used interpolated dances. In the opinion of some experts
the folk-dances generally used were actually the centre of attraction
on the Spanish stage. The noisiness and frenzy of these dances were
actually the main reason for their being banned (nearly resulted in the
ruin of the theatres). Finally, the baile also developed from
dancing in the comedia into an independent dramatic dancing
play. It is a kind of interlude with words completely or partly sung.
Dance cannot be separated from song and sound because folk-music was
nearly always either song or dance accompaniment. The guitar was the
most popular domestic and folk instrument and a wealth of lyric poetry
in short verses was set to music.
Besides the guitar, the harp, mandolin, timbrel and bagpipe were the
most popular instruments. Composers, who were chapel singers,
choirmasters or even chamber musicians at court, set to music the lyric
poetry of famous and anonymous poets alike (Góngora, Lope de
Vega, Quevedo and Figueroa among them) romances, seguidillas,
novenas, sestines, canciones and décimas. Well-known
comic songs and love songs were sung and played not only at court but
also by middle-class families and in the streets, according to a
valuable song manuscript which a German prince took home from Spain
(compiled between October 1624 and March 1625 by Claudio de la
Sablonara for the Court Palatine and Duke Wolfgang Wilhelm von Neuburg,
it is now in the Staatsbibliothek in Munich).
The use of common dance-song forms in the literature from the early
16th century shows us their increasing popularity. Cervantes' short
novel La ilustre Fregona gives a perfect example: here a
classical sonnet is accompanied by harp and vihuela, a professional
musician sings a popular romance (the Spanish form of the ballade) and
— a typical expression of song — there is spontaneous
dancing. Dance, song and sound combine in popular as well as court
music of the time, and they can only be adequately understood in terms
of each other.
Ursula Vences
In Spanish music of the 16th and 17th centuries, Miguel de Cervantes is
an inexhaustible source of references to the musical taste and life of
the Spanish people. It is not only in Don Quixote but also in
much else of his work that music constitutes an essential component (El
celoso extremeño, La Gitanilla, La ilustre Fregona), whether
as colour or to intensify the action (as in El Quijote, El
rufián viudo, Persiles y Segismunda), or as an independent
element used to link the different scenes (as above all in the comedias
and interludes).
Cervantes takes music to be for the most part ennobling: many of his
characters are musicians or in some way concerned with music. Let us
quote the famous sentence Sancho Panza addresses to the duchess:
"Madam, where you hear music, there cannot be any evil!' (Part 2, chap.
XXXIV). Or Don Quixote's remark: "I want you to know, Sancho, that all
or nearly all knights errant of bygone days were great poets and great
musicians." (Part 1, chap. XXIII). Or Altisidora: "We will have to put
down the lute for Don Quixote undoubtedly wants to make a music that
cannot be bad since it comes from him!' (Part 2, chap. XLVI). So it
becomes evident that Don Quixote also was a musician and perhaps had a
talent for extemporising.
As to the diversity of Cervantes' style, we must also emphasize the
musicality of his vocabulary, above all as far as important things are
concerned. So, for example, Don Quixote calls his horse by the name of
Rocinante, "in his opinion a majestic and melodious name", and his lady
is called Dulcinea del Toboso, "to his mind a musical and miraculous
name".
In all his works Cervantes gives us proof of his profound musical
knowledge and, above all, his sympathetic musical understanding, which
comes to the fore in the fascination the human voice exerts upon him:
we often find that it sounds like a "bewitching chant", there is often
"a voice singing in such a wonderful and lovely harmony that it fills
you with amazement and makes you listen till the end." The best example
is the character he created towards the end of his life: the singer
Feliciana de la Voz, so called because she had "the best voice in the
world" and astonished all her listeners when letting her voice take its
course and singing" (Persiles y Segismunda, Vol. III, Chap. IV
and VI).
Also most interesting are the descriptions Cervantes gives of musical
instruments and their combinations. These are the string and keyboard
instruments he mentions: rabel, guitar, vihuela, lute, harpsichord,
psaltery, organ; wind instruments: flute, pifano, shawms (chirimia,
albogue, dulzaina, churumbela), whistle, panpipe, gaita zamorana,
trumpet, hunting-horns, trombone, bugle, trompeta bastarda,
horns (cuerno, bocina, trompa de París); percussion
instruments: tambourine, drum, pandero, jingle, tambor,
castanets, cow-bells, ratchets etc. The musical works mentioned by
Cervantes also give a great deal of information about the musical
tastes of his time.
As to the numerous romances he mentions, the romances del Conde de
Montalbán, Don Beltrán concerning the famous battle
of Roncesvalles and the Moorish romance Abindarráez y Jerifa
are included in this recording. Romances of the latter type were very
popular and, for this reason, suppressed (like, for example, the Romance
of the Moorish King who lost Alhama), to prevent the Moors from
revolting.
Of the villancicos and songs Cervantes mentions, Madre, la mi madre and
Tres ánades, madre are sung here.
Cervantes gives us a good description of the folk- and court-dances
which were in fashion at the time, among them the
folía, canario, chacona, gallarda, jácara, moresca,
seguidilla, villano, zarabanda and perra mora. Perra
mora is the name of a dance which adopted the opening words of its
original text for all later variations. A variety of the villano
(literally "country dance") was also cultivated at court, as we may
conclude from Cervantes' works. The folía (literally
"mad, wild dance") as well as the zarabanda, seguidilla and chacona
had been very wild dances in his time, but grew to be rather slow and
moderate in the course of the 17th century, when they became popular
almost throughout Europe (with the exception of the seguidilla, which
was soon quite forgotten).
In trying to give a general view of the fascinating diversity of the
secular music of Cervantes' time we have chosen pieces of great
importance in this writer's work, not only by reason of their musical
quality and historical significance, but also because of their
evocative power and representative character. As regards the
performance of these pieces, we have made allowance for the different
historical, technical and stylistic elements typical of the period: not
an easy task with music which was cultivated more than three centuries
ago.
These are fundamental questions given the fact that these romances,
songs and dances are the expression of the soul of a people of bygone
days; as such they are a lasting expression which we today should be
able to experience and understand not as a historical event, but as a
reflection and crystallisation of a music that has no like or equal.
Jordi Savall