The 43rd annual Christmas Revels in celebration of the winter solstice
at Harvard University's Sanders Theatre | December 13-27, 2013
directed by Patrick Swanson ·
George Emelen, music director
Road Trip
Jack Kerouac, in his beat novel On the Road,
was not the first to acknowledge that the journey can be every bit as
interesting and significant as the destination. As an existential theme
in human life, the journey is perhaps the most obsessively referenced
source for philosophers, novelists, playwrights, composers, poets,
psychologists, teachers and all manner of religious instructors. The
structure is appealing – a journey demands a beginning, a middle
and an end, just like life, and just about every culture throughout
history has adopted some version of the theme.
A particularly overt example of the structure is the late15th-century morality play Everyman,
which uses the journey from birth to death to offer common-sense advice
on, amongst other things, keeping your books in order, choosing your
companions, putting a value on your actions, and achieving salvation.
In the 18th century, Bunyan's Pilgrim's Progress
developed this theme with the central character reborn as "Christian,"
who is subject to an even more detailed moral advice than Everyman as
to how to survive the perils and temptations of the world and secure
admission to the "heavenly city." Alternatively, Geoffrey Chaucer's Canterbury Tales
has an entirely different tone. Like Jack Kerouac he had the insight to
use the structure to examine the personalities of the pilgrims
themselves, giving us a generous cross section of life in the 14th
century in all its sweaty and entertaining detail.
In a uniquely Spanish iteration of the theme, Cervantes gave us Don Quixote,
the iconic “sad knight” riding out on his quest with his
faithful squire Sancho Panza by his side and an image of his muse
Dulcinea clutched to his breast. After a series of adventures in which
he tilts at windmills and battles imaginary enemies, Don Quixote, at
the end of the road, must pitch his romantic idealism against the cold
reality of the Mirror Knight in a fight to the death.
In the realm of psychology, Carl Jung places the concept of the Quest
in a prominent place in the hierarchy of psychological archetypes. The
story of the hero engaged in an epic journey overcoming a series of
obstacles in order to achieve his destiny has been a familiar theme
throughout history from Greek myth to the action movies that are the
big revenue earners in Hollywood today.
Pilgrimage is a refined version of the theme in which the purpose of
the journey is to attain some form of enlightenment. In the
1400’s, Compostela was the most popular destination for pilgrims
after Rome and the Holy Land. Since then the Camino has inspired
hundreds of thousands of pilgrims and travelers to walk “The
Way.” After a period of relative obscurity, there is currently a
revival of interest in the pilgrimage, and in the summer months the
route is well populated with travelers of every persuasion making the
journey on foot, on bicycle and on horseback. The 33rd (and last)
station of the Camino is the cathedral town of Santiago de Compostela
in the heart of the Galician countryside. Upon entering the cathedral
the pilgrims traditionally approach a stone column and place a hand
into the deeply worn indent created by the thousands of hands that
preceded them. Next they ritually bang their heads against a sculpture
of San Matteo, the architect of the cathedral, in order to receive his
knowledge and wisdom before ascending the steps to the tomb of Santiago
and completing their journey.
For some, however, there is another stage. Galicia has a strong Celtic
heritage and for the Celts and the itinerant Roma (the Gypsy people
whose culture has so influenced Spain) there is a coda to the Christian
pilgrimage, a road from Santiago to the coastal village of Finisterre
– “the end of the earth.” Here there is a lighthouse
dating to the Roman empire and the remnants of a temple dedicated to Ara Solis,
the sun god. Here, in the Pagan view of the world, the sun, after
traversing the heavens, ended his journey in a fiery descent into the
underworld, before rising in the East and beginning the journey all
over again.
Patrick Swanson, 2013
Music of the Camino
“Barbarians and people who live in all corners of the earth come
to this place, fulfilling their vows in thanksgiving to God and taking
away with them the rewards of their prayers.” (from the Codex
Calixtinus, 12th century)
The remarkable document known as the Codex Calixtinus
bears witness to the enormous historical popularity of the Way of St.
James, the medieval pilgrimage route traveled by countless European
pilgrims – whether devout Christians or “barbarians”
(non-believers). The Codex, an early version of our modern tour guides,
offers both spiritual guidance and down-to-earth advice to all those
who would undertake the arduous pilgrimage to Santiago de Compostela.
Most importantly, it includes a valuable set of chants and polyphonic
music, much of it in veneration of St. James, along with vivid
descriptions of performances. This strongly suggests that Compostela
pilgrims were exposed to, and even participated in, a range of
high-quality vocal and instrumental music. One passage depicts a large
ensemble of singers and players celebrating the feast day of St. James
in the cathedral, including flutes, fiddles, shawms, trumpets and
drums. What an impressive welcome this must have been for weary
pilgrims. As if to corroborate this Codex account, a magnificent
façade at the west entry of the Santiago Cathedral portrays 24
white-robed and golden-crowned “elders,” all holding
different musical instruments. Even though the passage from the Book of
Revelations on which this scene is based clearly states the elders all
held citharas (harps), the
12th-century sculptor exercised his artistic license by giving them
instruments such as fiddle, psaltery, harp, organ, recorder, pipe and
tabor, shawm, crumhorn and, at the top of the arch, a two-man
hurdy-gurdy.
In complete contrast to these sacred works, we also find in the Codex Calixtinus
seven intimate and sensuous love songs by the troubadour Martín
Códax in which a young woman sits on a hillside overlooking the
ocean, imploring the sea to return her lover. These extraordinary
Cantigas de Amigo are among the earliest examples of secular music in
Europe. It is easy to imagine that our pilgrims heard and even learned
to sing these beguiling songs in their travels.
In addition to these historical testaments pointing to the importance
music on the Camino, we have a fascinating 13th-century musical and
pictorial collection called the Cantigas de Santa Maria.
Many of these 420 hymns to the Virgin Mary tell of miracles –
some of them occurring along the Camino – in which she invariably
intercedes in human foibles and astounds us with wondrous acts. The Cantigas
were written in Galician, which at the time was the favorite language
of Spanish lyric poets, and are significant for being the earliest
surviving manuscript in the Galician language.
Today there is a new wave of pilgrims on the Road to Compostela, and
they are sure to hear a rich mix of music as they make their way
westward along the Camino, just as their 13th-century counterparts did.
In the taverns and on the streets they will hear the ubiquitous gaita
as it accompanies a lively dance or leads a procession for a local
festival. In the village churches they can hear some of the rich sacred
Spanish choral music from ages past. And when they arrive at their
ultimate destination, if their timing is good, they will stand in awe
to hear the ethereal voices of the Santiago Cathedral choir intoning a
Renaissance motet or a spirited Baroque villancico.
We too, in our 2013 Christmas Revels, are on a musical journey through an ever-changing landscape. Like the distinctive pasaporte
stamps (seen throughout this program book) representing stops along the
way, each musical piece offers a fresh and distinctive experience. The
music of the Camino continues to this day to be as appealing and
compelling as ever. The pilgrim – even the barbarian – who
takes the time to listen will return home with a heart full of song, a
soul renewed and a life changed forever.
George W. Emlen, 2013
Actors
Jay O'Callahan,
Billy Meleady,
Angélica Aragón,
Henry Bassett,
David Coffin – songleader
The Pilgrim Band
Christa Patton — gaita, harp, recorder, shawm
Salomé Sandoval — voice, guitar
David Coffin — voice, recorder, shawm
Laura Gulley — violin
John Browne — guitar
Emily Troll — accordion
Joshua Schreiber Shalem — viola da gamba
James Mailhot — bass clarinet
The Coro de Compostela
Liz Adams,
Adam Bailey*,
Sabine Bartlett,
Cynthia Bencal,
Nat Coolidge,
Tamsen W. Evans
Chelsea Rose Funk Shenker*,
Alexander Hall*,
Jonny Hankins,
Amy Horsburgh,
Simon Horsburgh,
Jamie Jaffe*,
Lucas Cmok Kehoe,
Christopher Lewis*,
James Mailhot,
Sarah K. May*,
Andres Molano Sotomayor,
Mary Neumann,
John B. Newhall,
Jake Nunes,
Jennie O'Brien*,
Meghan Ann O'Connell*,
Haris Papamichael*,
Nell Pepper,
Jessica Raine,
Carolyn Ramm,
Ana Rito,
Michael Roper,
Jenna Rounds,
Daniel Sheldon*,
Nora Susana Sotomayor,
Sara Molano Sotomayor,
David W. Torrey*,
Martin Tulloch,
Anneliese Vogt*,
Gerard Vogt*
(* Finisterre Dancers)
The Niños Del Camino
Ilaria Rose Bardini,
Clio Bildman,
Amelia Keenan,
Liam Cmok Kehoe,
Macy Maurer Levin,
Maggie MacPhail,
Séamus McGlennon,
Luis McGuill-Scott*,
Sophie O'Keefe,
John Recroft*,
Ian Roper,
Jane Rounds,
Lily Sills,
Marian Rookey,
Shana Wolckenhaar,
Jordan Young,
(*Boy Archer, alternating)
The Mummers
Liz Adams — Presenter |
Martin Tulloch — Turkey Knight |
Jake Nunes — Dragon |
Simon Horsburgh — Mirror Knight
The Pinewoods Morris Men (rotating)
Jamie Beaton,
Jerry Callen,
Mike Chase,
David Conant
Bill Cronin,
Michael Friedman,
Fred Gerhard,
Shag Graetz,
Alex Groher-Jick,
Dan Groher,
Peter Kruskal,
Tom Kruskal,
Joe Kynoch,
Justin Morrison,
Mel Novner,
Chris O'Brien,
Dave Overbeck,
Sam Overbeck,
Steve Roderick,
Greg Skidmore,
Nathaniel Smith,
Brian Wilson
Cambridge Symphonic Brass Ensemble
Ken Pullig — trumpet
Greg Hopkins — trumpet
Richard Hudson — horn
Philip Swanson — trombone
Greg Fritze — tuba
Abe Finch — timpani & percussion
Artistic Staff
Stage Director: Patrick Swanson |
Music Director: George Emlen |
Set Design: Jeremy Barnett |
Costume Design: Heidi A. Hermiller |
Lighting Design: Jeff Adelberg |
Sound Design: Bill Winn |
Choreography: Gillian Stewart |
Puppets: Sara Peattie |
Children’s Music Director: George Emlen |
Assistant Music Director: Mary Neumann
Program Notes: George Emlen & Patrick Swanson with Gillian Stewart & Steve Roderick.
Script written by Patrick Swanson.
All musical arrangements by George Emlen except where noted.
Full texts and translations can be found at Revels.org
The Road to Compostela
Correspondences
x — CD
X. NAME — concerts
1
26. HYMN OF THE ANCIENT GALICIAN KINGDOM
Christa Patton & Daniel Meyers, gaitas · Abe Finch, snare drum ·Jonathan Hankins, bass drum
This stirring march is like a second national anthem for many Galicians.
2
24. ¡FUM, FUM, FUM!
The Niños del Camino · The Coro de Compostela · Cambridge Symphonic Brass Ensemble
Also known as “Veinticinco de Diciembre” (The 25th of
December) in Spanish, this 16th-century Catalan carol is widely known
throughout the world. Arranged
here by George Emlen.
3
---
4
11. A BELÉN VINDE PASTORES (COME TO BETHLEHEM, SHEPHERDS)
Salomé Sandoval, voice & Baroque guitar · Daniel Meyers, castanets · Abe Finch, tambourine
This distinctly Galician carol comes to us by way of singer Mercedes
Hernández and the Galician early music ensemble Resonet, based
in Santiago de Compostela.
5
22. AGUINALDO
The Niños del Camino · The Coro de Compostela · The Pilgrim Band
In Galicia, Three Kings’ Day (Epiphany) is celebrated with
festivity and pageantry. It is thought that the Reis Magos (Wise Men)
bring gifts for children, so the holiday is much anticipated. Aguinaldo
here refers to the custom of giving bonuses and gifts at this time of
year and has similar versions in other countries.
6
10. PASODOBRE DE MALLOU
The Finisterre Dancers · Christa Patton & Daniel Meyers, gaitas · Abe Finch & Jonathan Hankins, percussion
The pasodobre (or pasodoble in Spanish) is a “double step”
dance that has its origins in the music played at bullfights. Although
these kinds of close partner dances have become common in Galicia only
in the past few centuries, the pilgrims on El Camino would have brought
dances from throughout southwestern Europe, including Spanish-style
couple dances such as this. Mallou is a town in the westernmost part of
Galicia.
7
9. A RIANXEIRA
David Coffin · The Niños del Camino · The Coro de Compostela · The Pilgrim Band
An important Galician tradition in the coastal town of Rianxo is the
annual procession and festival of the Virgin of Guadalupe, who is said
to walk the beaches near the town. The custom of venerating the Virgin
of Guadalupe, one of three Black Madonnas in Spain, originated in
Extremadura in western Spain and is also observed in Mexico and the
Philippines. The words to the song were written in Buenos Aires by
Xésus Fiero, based on many different 19th-century Galician folk
songs celebrating the Virgin of Guadalupe. The music was composed by
Anxo Romero in 1947. Born in Rianxo, Romero is one of a significant
Galician emigrant population around the world. The song, invariably
sung at events and parties throughout Galicia, has taken on a symbolic
role for all Galician people, both at home and abroad, especially with
its strong maritime theme.
8
31. ONDAS DO MAR DE VIGO (WAVES OF THE SEA OF VIGO)
Jamie Jaffe · The Pilgrim Band
In addition to a large quantity of religious poetry written in the 13th
century in old Galician, much secular poetry from that time has been
preserved as well. This love poem by Martín Códax is one
of the most famous of the genre.
9
7. A LA NANITA NANA
The Niños del Camino · The Pilgrim Band
A well-known Spanish lullaby. The English verse is by Fred Goff.
10
12. ¡ AY, CÓMO SUENA LA GAYTA GALLEGA! (OH, HOW IT SOUNDS, THE GALICIAN BAGPIPE)
David Coffin & Salomé Sandoval · The Coro de Compostela · The Pilgrim Band
This boisterous villancico (carol) was written by the Catalan Baroque
composer Juan Barter (c. 1648–1706). The carol glorifies the
Galician bagpipe and tells of the pleasure it gives all Galician
people, perhaps even delighting the infant Jesus as well.
11
2. ALBORADA DE VEIGA
Christa Patton & Daniel Meyers, gaitas · Abe Finch & Jonathan Hankins, percussion · Cambridge Symphonic Brass Ensemble
An alborada is a “dawn song,” usually played on the gaita
as the first piece of music to start a holiday or festive occasion.
Composed by Pascual Veiga in 1880, the piece has attained an iconic
status among Galician people.
12
4. MUIÑEIRA DE CHANTADA
The Finisterre Dancers · Christa Patton, gaita · The Pilgrim Band
A muiñeira is a lively traditional Galician tune in 6/8 time.
This one is in every gaitero’s repertoire. The quintessential
Galician folk dance, a muiñeira is led by the first man, who
chooses the steps as he goes. Chantada is a town in central Galicia.
13
13. ESTA NOITE DE NATALE (ON THIS JOYOUS CHRISTMAS NIGHT)
Salomé Sandoval, voice & Baroque guitar · Christa Patton, harp
A villancico from the singing of Mercedes Hernández of the
Galician ensemble Resonet. “By the time Joseph returned from
searching for firewood, Mary had already given birth.”
14
8. CAROL OF THE BIRDS
The Niños del Camino · The Coro de Compostela · The Pilgrim Band
Christmas song from Catalonia (“El Cant dels Ocells” in
Catalan), made famous around the world by cellist Pablo Casals. Our
English translation is the one by Joan Baez from her Christmas
recording Noël.
15
18. OS REIS DO CAUREL (THE KINGS OF CAUREL)
Salomé Sandoval · Las Damas de Compostela
Galician lullaby arranged for women’s voices by Shira Kammen of
California Revels, from the singing of Maite Dono. “From village
to village go the Kings, singing,” goes the refrain.
16
19. ALBORADA DE OURENSE
Christa Patton & Daniel Meyers, gaitas · Abe Finch, snare drum · Jonathan Hankins, bass drum · The Finisterre Dancers
Another “dawn song.” The city of Ourense, in south-central
Galicia, is known for its hot springs and gold in Roman times. Here,
the monks welcome the pilgrims with a playful send-up line dance
created from steps from traditional Portuguese, Italian, French,
Spanish, and German dances.
17
---
18
28. NADAL DE LUINTRA (LUINTRA NATIVITY)
The Coro de Compostela · The Pilgrim Band
A Galician version of the posadas ritual, reenacted in Mexico and other
Latin countries, in which Mary and Joseph are turned away as they seek
shelter for the night but are finally recognized and welcomed in. In
this version Mary consoles her anxious husband Joseph with the promise
of the new life she is carrying in her womb. Luintra is in southern
Galicia in province of Ourense.
19
21. ESPAGNOLETTA
Christa Patton, harp · Salomé Sandoval, Baroque guitar
This graceful dance form, similar to a sarabande, was popular among
European Baroque era composers. Our version blends a harp piece by
Lucas Ruiz de Ribayaz with one for guitar by Gaspar Sanz. The
harp-guitar combination was a very common pairing at the time.
20
30. REY A QUIEN REYES ADORAN (KING WHOM KINGS ADORE)
Salomé Sandoval &
David Coffin · The Coro de Compostela · The Pilgrim Band
· Cambridge Symphonic Brass Ensemble
An anonymous Spanish villancico from the 16th century, published in
Cançionero de Upsala. The famous botafumiero (incense-burner) in
the cathedral at Santiago is over six feet tall.
21
27. SANTA MARÍA, STRELA DO DÍA (SAINT MARY, STAR OF GOD)
The Coro de Compostela · The Pilgrim Band
The Cantigas de Santa Maria is a collection of 420 songs, with musical
notation, of praise and wondrous tales relating to the Virgin Mary,
written in Galician-Portuguese during the reign of Alfonso X “El
Sabio” (The Wise), king of Castile, León and Galicia
during the 13th century.
22
33. EN BELÉN NACEU UN NENO (IN BETHLEHEM A BABE WAS BORN)
Salomé Sandoval, voice and Baroque guitar · The Coro de Compostela · The Pilgrim Band
A Galician villancico from the singing of Mercedes Hernández and Resonet.
23
3. TRAVELERS’ CAROL
The Coro de Compostela · The Niños del Camino · Cambridge Symphonic Brass Ensemble
A traditional Catalan carol, arranged by George Emlen with English words by Susan Cooper.