Cantoría El Jubilate National Centre for Early Music Friday 18 March 2022 7.00pm - The National Centre For Early Music
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Cantoría
El Jubilate
National Centre for Early Music
Friday 18 March 2022 7.00pmThis concert comes at the end of Cantoría’s week-long EEEMERGING+ residency at the NCEM. It celebrates the 2022 Early Music Day and will be streamed online. During their time in York, Cantoría has worked with student singers at the University of York, met UK promoters online, filmed short performances in historic buildings in the city and worked on new repertoire. The online streaming will be available on demand until Tuesday 26 April; tickets are available until Tuesday 19 April: https://www.ncem.co.uk/events/cantoria-online/ Cantoría is supported by EEEMERGING+, a Europe-wide funding programme for young up-and-coming ensembles in the field of early music funded by Creative Europe. eemerging.eu
Cantoría
El Jubilate
Sus, sus, sus (from ‘La Trulla’) Bartomeu Càrceres
(Las Ensaladas de Flecha, 1581) (fl. mid-16th century)
Recercada Quarta sobra La Folía Diego Ortiz
(Trattado de Glosas, 1553) (c.1510–c.1570)
Riu, riu, chiu Anonymous
(Cancionero de Uppsala, 1556)
Verbum caro factum est Anonymous
(Cancionero de Uppsala)
Dadme albricias hijos d’Eva Anonymous
(Cancionero de Uppsala)
El Jubilate (fragments) Mateo Flecha ‘El Viejo’
(Cancionero de Medinaceli, c.1569) (c.1481–c.1553)
******
Diferencias sobre ‘el Canto llano Antonio Cabezón
del Caballero’ (c.1510–1566)
(Música para Tecla, arpa y vihuela, 1578)
Oy comamos y bebamos Juan del Encina
(Cancionero Musical de Palacio, c.1505–20) (1468–c.1529)
Más vale trocar Juan del Encina
(Cancionero Musical de Palacio)¡Cucú, cucú! Juan del Encina
(Cancionero Musical de Palacio)
******
La Justa (fragments) Mateo Flecha ‘El Viejo’
(Las ensaladas de Flecha)
******
Diferencias sobre ‘Guárdame Luys de Narváez
las vacas’ (fl. 1526–1549)
(Los seys libros del Delphín, 1538)
Soleta so jo ací Bartomeu Cárceres
(Cancionero de Uppsala)
Teresica hermana Mateo Flecha ‘El Viejo’
(Cancionero de Uppsala)
Yo me soy la morenica Anonymous
(Cancionero de Uppsala)
******
La bomba (fragments) Mateo Flecha ‘El Viejo’
(Las ensaladas de Flecha)Gossip and sensationalism, social conventions and rumours, promises and betrayal – the fifteenth and sixteenth centuries in Iberia was a time full of uncertainty. Good and evil battled in the human soul, and the cosmic fight between God and the Devil was mirrored in the lives of individuals. The victory of one or the other went far beyond life and, after death, into eternity. This conflict between desire and purity was also the basis of the social order. When passions went too far, individuals had to struggle with religious teaching and the expectations of society so this conflict was both internal and external. Cantoría’s programme is full of colour and vocal nuances, with contrasts in the text that reflect this struggle as the emotions, the stories and the feelings are, without doubt, the protagonists. It shows us how people from the past expressed these experiences through music and reminds us that in a world inhabited by demons and saints, people had the same feelings that we have today. We meet the social manners of a time when low passion and religious vocation were transformed into art. In addition to the high-spirited joy of Mateo Flecha’s ensaladas the programme focusses on three subjects: firstly, the Christmas- themed Cancionero de Uppsala from the Renaissance; secondly, works belonging to the Cancionero Musical de Palacio of the great Juan del Encina, poet, musician and playwright of the Spanish Renaissance at the time of the Catholic monarchs; and, thirdly, part of the Cancionero de Uppsala with works centered on the lives of women, or comic situations where the protagonists are revealed to be women. Mateo Flecha ‘El Viejo’ composed his famous ensaladas in the sixteenth century. These very popular songs, inspired by Janequin’s pieces, mix different texts often in different languages with popular songs. The ensaladas were usually sung at
Christmas to celebrate life and contained small religious and
moral stories, garnished with jokes and social and political news:
the battle of Pavia, the siege of Vienna, the conquests in the New
World, and the Ottoman wars. Flecha evokes a Spanish victory
in ‘La Justa’ where the legions are compared to the knights in a
tournament and a great party celebrates the Emperor’s triumph
– a triumph reminiscent of the birth of Christ at Christmas, news
that traveled all over the world.
‘La Bomba’, finally, is an adventure story in which four sailors
are shipwrecked and pray to all the saints they know, promising
to become monks if they are saved.
Mateo Flecha was a true pioneer of his time, painting in music
the meaning and the emotions of the poetry and the stories, from
different sources, but with a single goal: to communicate and
create a special link with the listener.
With this programme, after a pandemic year with many losses
in a lot of ways, but also of self-discovery, Cantoría decided not
to run away from the suffering but to face it through music, by
celebrating the joy of Mediterranean culture. Cantoría offers a
renovating musical experience inviting us to laugh, cry, thrill
and feel the joy of life enjoying art together. As the title of the
programme indicates, ‘El Jubilate’ celebrates much-needed joy
in these times.
Jorge LosanaSus, sus, sus Get up, sleep no more
¡Sus, sus, no mas dormir! Get up, sleep no more!
Cantemos aquí And let us here sing
loores sin par of the unequalled virtue
de quien meresció of the one who has deserved
tal Hijo parir, to give birth to such a son,
que el daño de Adán who has come to remedy
vino a remediar, the fault of Adam, of the one who,
que, sin ygual soberana, a queen without equal, was so
fue tan gentil y galana lovely and so gentle that God fell
que a Dios supo enamorar. in long with her.
-Reyna sagrada: ‘Holy Queen:
pues pariste al Redemptor since you have borne the
que en braços tenéis, redeemer who you hold in your
dezidnos ¿cómo concebistes, arms, tell us: how did you
pues madre y virgen conceive him, since you remain
permanecéis? Mother and Virgin?’
-Como el sol por la vidriera ‘Like the sun passing through a
lo veis passar, de tal manera window, so God has taken flesh in
tomó en mí carne el Dios que veis. me as you see’.
-¿Como podeis siendo criatura, ‘How, being human, could you,
señora, parir al que es Criador, Madam, give birth to one who is
pues siendo vos su propia the Creator? For him you were
hechura el os es Padre y superior? created, he is your Father and
Superior.’
-La divinal inmensidad ‘Divine infinity makes in me
hizo en mi tal novedad something so strange, to treat me
por me hazer tan gran favor. with such great favour.’
¡Sus, sus, no mas dormir!.... Come on, sleep no more!
We have all sung,
all, as much as we can.
No, not the Mother of the child,
who has always listened to us.
So sing up, Queen of the world,
to complete the celebration,
with your joyful son
who has freed us from our woes.Riu, riu, chiu Riu, riu, chiu
Riu riu chiu, la guarda ribera; Riu, riu, chiu, the river bank
Dios guardo el lobo de nuestra protects it,
cordera, Dios guardo el lobo de As God kept the wolf from our
neustra cordera. lamb.
El lobo rabioso la quiso morder, The rabid wolf tried to bite her
Mas Dios poderoso la supo But God Almighty knew how to
defender; Quisola hazer que no defend her. He wished to create
pudiese pecar, Ni aun original her impervious to sin. Nor was
esta Virgen no tuviera. this maid to embody original sin
Este qu’es nacido es el gran He who’s now begotten is our
monarca,Christo patriarca, de mighty Monarch, Christ, our Holy
carne vestido; hanos redimido con Father, in human flesh embodied
se hacer chiquito, a un qu’era He made himself humble and so
infinito, finito se hiziera. redeemed us: He who was infinite
became finite.
Muchas profecias lo han Now we have gotten what we
profetizado, Ya un nuestros dias were all desiring,
lo hemos al consado Go we together to bear him gifts:
Adios humanado vemos en el Let each give his will to the God
suelo, Yal hombre nelcielo who was willing
porquel le quistera. To come down to Earth man’s
equal to be.
Verbum caro factum est The Word made Flesh
Verbum caro factum est Verbum caro factum est
Porque todos os salveys. For all of you to be safe
Y la virgen le dezia And the Virgin was telling him
Vida de la vida mia, Life of my own life,
Hijo mio que os haria, My son, what should I do to you
Que no tengo en que os hecheys. As I don’t have place for you to lie
Por riquezas terrenales,
.. For earthly wealth
No dareys unos pañales, You will not give swaddling
A Jesus que entre animales, clothes
Es nasçido según veys. To Jesus, who among animals
Has been born, as you can see.Dadme Albricias hijos d’Eva Give me a reward for my tidings,
Sons of Eve
Dadme albricias hijos d’Eva; Give me reward for my tidings,
dí, ¿de qué dártelas han? sons of Eve! Tell us, why should
Que es nascido el nuevo Adán. we reward you?
¡Oh y de Dios y qué nueva! Because the new Adam is born.
Oh, Son of God, what news!
Dádmelas y haved placer, Give me my reward and sing for
pues esta noche es nascido joy,
el Mexías prometido, For tonight is born the promised
Dios y Hombre, de muger. Messiah, God and man, born of a
Y su nascer nos relieva woman,
del peccado y de su afán, And his birth redeemed us
pues nasció el nuevo Adán. From sin and from its torments.
The new Adam is born!
El Jubilate Jubilate
Jubílate Deo omnis terra, Shout for joy to the Lord, all the
cantate et exultate et psallite. earth, burst into jubilant song with
music.
Mil plaseres aca estén.¡Amén! A thousand pleasures are here,
Y ansí lo digo yo amen!
por el Niño que nació And so I say of the Child that was
esta noche en Belén. born this night in Bethlehem,
¡Oh gran bien! Oh great tidings!
por quien se diría: About whom it would be said:
"para mi me lo querría, ‘For me I would want him,
madre mía, mother of mine,
¡para mí me lo querría!" for me I would want him!’
¿Por dó veniste bien tal? Where does such good come from?
Por la Virgen preservada Through the Immaculate Virgin
la qual dixo en su llegada who, at His birth,
al pecado original: said to original sin:
‘Poltron françoys, ‘Poltron françoysLassame andare lasáme andare,
que soy infantina que soy infantina
de bel maridare’. de bel maridare’.
El diablo que lo oyó, se temió The devil, who heard her,
porque no pudo creer was afraid, as he could not believe
que lo que mujer perdió that the thing which woman had
lo cobremos por mujer, lost could be recovered for us by a
‘que sí puede ser, señor bachiller, woman.
¡que sí puede ser!’ ‘Yes, it can be, mister know-all!
It can be!’
El banastón me espanta The great serpent frightens me,
que traga con su garganta as it swallows down its throat
los padres primeros. the first parents.
¡Oh! groseros Oh, you fools!
¿no veys que la Virgen santa Can’t you see that the Holy Virgin
dixo contra Lucifer: said against Lucifer:
‘Non fay el cavaller, ‘Don’t do it, knight,
non fay tal vilanía don’t do such evil,
que fillola me soy as I am a daughter
de Dios de Abrán, of the God of Abraham,
señor de la jerarchía? Lord of Lords,
¡L’ánima mía!’ Oh, my soul!’
El maldito replicó: The damned one replied:
¡nunca más paporreo! ‘No more flogging the Devil!’
¡Assí, assí, cuerpo de nos! Thus, by our body,
aquí veré yo como baylareis here I will see
vos a la girigonça. how you shall dance
‘Saltar y bailar to this girigonça.
con voces y grita’ ‘Jump and dance with
y vos renegar voices and shouts!’
serpiente maldita, And you renege, damned viper!
la Virgen bendita The Holy Virgin
os hará baylar a la girigonça! will make you dance
to this girigonça.
‘Et ipsa conteret caput tuum, ‘Et ipsa conteret caput tuum,
alleluia, alleluia!’. alleluia, alleluia!’Oy comamos y bebamos Today let us eat and drink Oy comamos y bebamos Today let us eat and drink Y cantemos y holguemos, and sing and and enjoy life, Que mañana ayunaremos. for tomorrow we fast. Pon onrra de Sant Antruejo In honour of Saint Antruejo Parémonos oy bien anchos. let us do ourselves proud, Que costumbr’es de conçejo Let us fill our stomachs, Que todos oy nos hartemos, let us empty the wine-skin: Que mañana ayunaremos. it is the general custom Enbutamos estos panchos, that we all sate ourselves today Recalquemos el pellejo, for tomorrow we fast. Que mañana ayunaremos Honremos a tan buen santo, Let us honour the good saint Porque en hambre nos ocorra; because he comes to us hungry; Comamos a calca porra, let us eat our fill, Que mañana ay gran quebranto. for tomorrow is a great falling off. Comamos, bebamos tanto, Let us eat, let us drink Hasta que nos rrebentemos, as much as we can Que mañana ayunaremos for tomorrow we fast. Beve, Bras, más tú, Beneyto Drink, Bras, more for you Beneito Beva Pidruelo y Llorente Drink Pedruelo and Lloriente. Beve tú primeramente, Drink first; before you go. Quitarnos has deste preito. Drinking is my delight: En beber bien me deleyto; come, we shall drink Daca, daca, beberemos for tomorrow we fast. Que mañana ayunaremos. Más vale trocar It is better to exchange Más vale trocar It is better to exchange plazer por dolores pleasure for pain que estar sin amores. than to live without love. Donde es gradecido If you are thankful es dulce el morir; it is sweet to die; bivir en olvido, to live in oblivion aquel no es vivir; is not to live at all; mejor es sufrir It is better to endure
passión y dolores passion and pain que estar sin amores than to live without love. Es vida perdida It is a wasted life bivir sin amar to live without love y mas es que vida it is better living saberla emplear; to know how to use it; mejor es penar It is better to grieve sufriendo dolores suffering pain que estar sin amores. than to live without love. La muerte es vitoria Death is victory do bive aficion where affliction lives que espera aver gloria hoping for glory quien sufre passion; whoever suffers passion. mas vale presion It is better to have the pressure de tales dolores of those pains que estar sin amores. than to live without love. El ques mas penado Whoever grieves the most mas goza de amor enjoys love the most quel mucho cuydado since much care le quita el temor: takes fear away; asís ques mejor So it is better amar con dolores to love in pain que estar sin amores. than to live without love. No teme tormento No one fears torment quien ama con fe, loving with faith si su pensamiento if his thinking sin causa no fue; had no cause; aviendo por que having a reason why mas valen dolores it is better to suffer pain que estar sin amores. than to live without love. Amor que no pena Love that has no pain no pida placer should not claim pleasure pues ya le condena Since it is condemned su poco querer; by its little loving; mejor es perder It is better to lose plazer por dolores pleasure for pain que estar sin amores. than to live without love.
¡Cucú, cucú! Cuckoo, Cuckoo! ¡Cucú, cucú! Cuckoo, cuckoo! Guarda no lo seas tú. Make sure it’s not you. Compadre, debes saber, Friend, you must know que la más buena mujer that the best of women, rabia siempre por hoder, is always crazy to screw, harta bien la tuya tú. tire out yours well. ¡Cucú, cucú! Cuckoo, cuckoo! Guarda no lo seas tú. Friend, you must take care, Compadre, has de guardar, never to be cuckolded, para nunca encornudar; if your wife goes out to pee, Si tu mujer sale á mear go out with her. sal junto con ella tú. ¡Cucú, cucú! Cuckoo, cuckoo! La Justa The Joust Oíd, oíd los vivientes Listen, listen, all living people, una justa que se ordena a joust has been declared! y el precio d’ella se suena And its prize seems to be que es la salud de las gentes. the salvation of all people! Salid, salid a los miradores Come out to the lists para ver los justadores, to see the jousters, que quien ha de mantener for the defender es el bravo Lucifer will be the brave Lucifer por honra de sus amores. for the honour of his loves. ¿Quién es la dama que ama? Who is the lady he loves? ¿Y quién son los ventureros? And who are the challengers? Sólo son dos caballeros. There are only two knights. La dama Envidia se llama. The lady is called Envy. Diz que dize por su dama Reveal what he says, for his lady’s al mundo como grossero: sake, so coarsely to the world: ‘para tí la quiero, ‘I want to have her. noramala, compañero, Confound it, companion; ¡para tí la quiero!’. I want to have her’. Paso, paso sin temor Make way, make way, don’t fear, que entra el mantenedor, here comes the defender.
pues toquen los atabales, Beat the kettledrums. ¡ea, diestros oficiales! Hey, skilled officers, Llame el tiple con primor: Sound the little guitar with grace: Tin tin tin. ¡Oh, galán! tin, tin, tin. Oh, splendid! Responda la contra y el tenor: Let the contra and the tenor reply: Tron, tron... ¡Sus! Todos: tron, tron,tron, tron, tron, tron ‘Ti pi tipi tin, pirlin...’ All together! ‘Cata el lobo do va, Juanilla, ‘Go and see where the wolf is ¡cata el lobo do va!’. going, Juanilla’; La soberbia es el padrino, The defender is fierce. una silla es la cimera, Be quiet, keep awake, oh, qué pompa y qué manera another is coming to the lists. escuchad que el monte es fino: Who is the challenger? ‘Super astra Dei exaltabo solium Adam, the first father, meum et símilis ero Altissimo’. surrounded by the prophets. El mantenedor es fiero Look out! On your toes, my callad y estemos en vela friend, que otro viene ya a la tela. the trumpets are calling! ¿Quién es el aventurero? Fan, frelerele, raron fan. Adán padre primero, Fan fan, fan fan… rodeado de prophetas. For whom is our Adam jousting? ¡Ojo! ¡Alerta compañero, For Eve and Paradise. que ya tocan las trompetas! Viva! Viva! Viva! ‘Fan, fre-le-re-le-ran fan, fan’ His Patrons, who are they? ¿Por quién justa nuestro Adán? The Holy Fathers, por la gloria primitiva. who stand around him ¡Viva! ¡Viva! ¡Viva! singing a noble song Sus padrinos, ¿quién serán? in honour of their loves: Los Santos Padres que y van ‘They are sounding the alarm, puestos a sus derredores Juana! cantando un cantar galán Hey, they are sounding the por honra de sus amores: alarm’. ‘Si con tantos servidores Give him his lance, give him his no poneis tela, señora, lance! no sois buena texedora’. The trumpet is now saying: Alhajas trae por devisa Here, go! Here, go! Here, go! con que os finareis de risa. Tup, tup, tup, tup, tup, tup. Y ¿qué son? ¡Una pala y açadón Run, run without delay!
y la letra desta guisa: Blind him, St Anthony! ‘Laboravi in gemitu meo, Protect him, St Blas! lavabo per singulas noctes lectum Tropele, tropele, tras. meum’. Oh, what a terrible clash! Ea, ea, que quieren romper Adam has fallen! las lanças de competencia Sinners, now you must seek la de gula Lucifer another to heal your suffering, Adán la de ignocencia, ‘for there is no love mas de ver su gran patientia towards all men’. no hay quien no cante de gana: Make way, all of you, make way! ‘¡Que tocan alarma, Juana, Who comes? Tell us about him. hola que tocan alarma!’ A new knight, ¡Dale la lança! ¡Dale la lança! God of Israel. El trompeta dice ya: Watch out, watch out Lucifer! ¡Helo va! ¡Helo va! ¡Tub, tub! ‘You’re going to have a bad night, Corran corran sin tardança. Don Lucifer, ¡Ciégalo tu, Sant Antón despite being such a know-all Guárdalo Señora! ¡San Blas! and man of letters.’ ¡Tropele, tropele, tras! Give him the lance, give him the ¡Oh, qué terrible encontrón! lance, Adán cayó para atrás. there it goes, there it goes, Buscad d’hoy más, all our hope! peccadores Tras, tras, tras… quien sane vuestros dolores. Shout, shout and cry, ‘Que no son amores Lucifer is fallen! para todos hombres’. Vade retro, Satanas! ¡Aparte, todos aparte! Lucifer is ousted. ¿Quién viene? ¡Dezid-nos d’él! On him! On him! Un cavallero novel, He’s groggy and sluggish. Dios de Israel. Get back, he’s getting up! ¡Guarte, guarte, Lucifer! Let’s tear from him a piece ‘Mala noche haveis de haver of his bum and his spleen, don Lucifer, the cords of his spine, aunque seáis más letrado y and hit his forehead with a mallet, bachiller’. and put worms in his hands. ¡Venga, venga’l gran Señor! Háganle todos el buz. Su cimera es una cruz
su padrino el Precursor And to you, Christians, que da voces con hervor: Merry Christmas and Happy New ‘Ecce qui tollit peccata mundi’. Year, the deception is over. ¿Y por quién ha de justar? Por la que no tiene par. Laudate Dominum, ¿Quién sería? ‘Virgo María, omnes gentes: caelorum via, laudate eum, de los errados la guía’. omnes populi. ¿Y el mote? Cual no se vió: ‘Sitio, sitio’. Denles las lanças de guerra, a Cristo la de justitia y a Luzbel la de cobdicia. No yerra de caer muy presto en tierra ¡Dale la lança, que ya va nuestra bienaventurança! ¡Tras, tras, tras, grita y alarido que Lucifer ha caído! ¡Vade retro, Satanas! Muy corrido va Luzbel, ¡a’ él, a él, que trae fardel! ¡Vaçia, que ya enhastía! Scantémosle un pedaço del taço yv el baço las cuerdas del espinaço y en la frente con un maço y en las manos gusanos, y a vosotros los cristianos: ¡Buenas Pascuas y buen año que es deshecho ya el engaño! ‘Laudate Dominum omnes gentes laudate eum omnes populi’.
Soleta so jo ací I am alone here
Soleta so jo ací, I’m alone here,
si voleu que us vaja obrir, if you want me to open
ara que n’és hora, now it’s time
si voleu venir. if you want to come.
Mon marit es de fora. My husband is away.
On?: a Montalvá, Where? In Montalva,
demà bé serà migjorn and he won’t be back
abans que no tornarà. before noon tomorrow.
E jo que ho sabia pla, And I know for sure
que tostemps ho fa així, he always does it like this,
ara que n’és hora, now it’s time
si voleu venir. if you want to come.
Teresica hermana Little Teresa, sister
Él: He:
Teresica hermana Little Teresa, sister;
de la fararirira delafararirira
Hermana Teresa. Sister Teresa.
Si a ti pluguiesse What if I implored you
una noche sola that for a single night
contigo durmiesse with you I might sleep?
de la fararirira. delafararirira
Ella: She:
Una noche sola One single night
yo bien dormiría I would well sleep (with you)
mas tengo gran miedo but I am terribly afraid
qu m´empreñaría. that I might fall pregnant.
Narrador: Narrator:
Llama a Teresica y no viene (He) calls little Teresa but she
tan mala noche tiene won’t show up;
llámala su madre y ella calla. so bad a night she has, her mother
Juramento tiene hecho de matarla calls her but she keeps silent.
¡Qué mala noche tiene! (Her mother) made an oath that
she would kill her.
Oh, what a bad night she has!Yo me soy la morenica I am the little dark one Yo me soy la morenica, I am the dark little one, yo me soy la morena. the dark one am I. Lo moreno bien mirado, Darkness was really que nunca fue hallado Sin’s fault, ni jamás se hallará, and sin was never found in me fue la culpa del pecado. and never shall be. Yo me soy... I am the dark little one ... Soy la sin espina rosa I am thornless rose que Salomón canta y glosa. That Solomon sang and glossed: Nigra sum sed formosa Nigra sum sed formosa; Y por mi se cantará. and they sang about me. Yo me soy... I am the dark little one ... Yo soy la mata inflamada, I am the burning brush, ardiendo sin ser quemada aflame yet not burning away, ni de aquel fuego tocada not even been touched by the fire que a las otras tocará. that would get other girls. Yo me soy... I am the dark little one ... La Bomba The Pump ¡Bomba, bomba, y agua fuera! Pump, pump, out with the water! ¡Vayan los cargos al mar Push the barrels into the sea, que nos ymos anegar! for we are flooding ¡Do remedio no se espera! and expect no remedy! ¡A l’escota socorred! Help that sailor belay! Help him! ¡Vosotros id al timón! You men, go to the wheel! ¡Qué espacio! ¡Corred, corred! What a situation! Run, run! ¿No veis nuestra perdición? Can’t you see we’re lost? Essas gúmenas cortad Cut those cables, porque se amaine la vela. loosen the sail. ¡Hazia acá contrapesad! To this side, make a ¡Oh, que la nave se asuela! counterweight! ¡Mandad calafetear Oh, the ship is running aground! que quizá dará remedio! Order someone to caulk it, ¡Ya no ay tiempo ni lugar, perhaps that will help! que la nau se abre por medio! Time’s run out,
¿Qué haremos? the ship is breaking up! ¿Si aprovechará nadar? What shall we do? ¡Oh, que está tan bravo el mar, It is worth trying to swim? que todos pereçeremos! Oh, the sea is so rough Pipas y tablas tomemos. that we shall all die. Mas, triste yo, ¿que haré? Casks and planks, let’s take hold Que yo, que no sé nadar, ¡moriré! of them. Virgen madre, yo prometo But alas, what shall I do, Rezar con tino tus horas. since I can’t swim? Si, Juan, tu escapas, hiermo moras. I shall die! I shall die! Monserrate luego meto. Virgin mother, I promise Yo, triste, ofrezco también, to praise you always. en saliendo deste lago, If you escape, Juan, ir descalço a Santiago, as a hermit you shall live. eu yendo a Jerusalén. I’ll go to Montserrat. ¡Oh gran socorro y bonança! I, miserable one, offer also, ¡Nave viene en que escapemos! if I get out of this lake, ¡Allegad, allegad que to walk barefoot to Santiago. pereçeremos! I, to run to Jerusalem. ¡Socorred, no aya tardança! Oh great help and good! ¡No sea un punto detenido, A ship is coming to save us! señores, esse batel! Come near, we perish! ¡Oh, qué ventura he tenido, Help, do not delay! pues que pude entrar en él! Help, help! ¡Ea, ea, sus, empecemos! Let it not be just a stationary dot, Empieça tú, Gil Piçarra, gentlemen, that boat! A tañer con tu guitarra Oh what luck I have had, Y nosotros te ayudaremos. I managed to get on it! Esperad que esté templada. Let’s sing with joy, Tiemplala bien, hi de ruin. all of us for Your help. Dendén, dendén, dindirindín. Ea, ea! Now let’s begin! ¡Oh, como está destemplada! You start, Gil Piçarra, ¡Acaba, maldito, ya! strumming your guitar, Dendén, dendén, dindirindín. we will help you. ¡Es por demás! Wait until it is tuned. Sube, sube un poco más. Tune it well, you bastard! Dendén, dendén, dindirindín. Denden, denden… ¡Muy bien está! Dindirindin…
Ande pues, nuestro apellido, Oh, how badly out of tune!
el tañer con el cantar Finish, damn you, now!
concordes en alabar Denden, denden…
a Jesús rezién nacido. Dindirindin …
Dindirindín, dindirindín. Enough, is enough!
Bendito el que ha venido Up, up a little bit more!
A librarnos de agonía dindindin, dindin…
bendito sea este día denden, denden…
que nasció el contentamiento. It’s fine now!
Remedió su advenimiento Off we go then,
mil enojos. our shouting, playing and singing
Dindirindín, dindirindín join to praise
Benditos sean los ojos Jesus, the new-born.
Que con piedad nos miraron Dindirindín, din…
Y benditos, que ansí amansaron Denden, dendenden…
Tal fortuna. Blessed be the one who has come
to deliver us from suffering.
Blessed be this day
when contentment was born.
His arrival remedied
a thousand miseries.
Blessed be the eyes
that with pity looked on us,
and blessed be those
who thus appeased fate.Cantoría Ines Alonso soprano Oriol Guimerà countertenor Jorge Losana tenor & director Valentin Miralles bass with Jeremy Nastasi vihuela Marc de la Linde viola da gamba Joan Seguí organ Cantoría Members of Cantoría met in the early music department of the Escola Superior de Música de Catalunya and the ensemble made its debut in the summer of 2016 at the International Festival of Early Music in Sierra Espuña. In 2018 Cantoría won the Audience Award in the EEEmerging Festival in Ambronay and was selected for the EEEmerging programme. Thanks to this, the ensemble is building an international career with concerts in Italy, Germany, France, Poland, United Kingdom, Belgium, Croatia, Lithuania, Spain and the Netherlands. In the same year, it was selected for the residence programme at La Cité de la Voix in Vézelay and invited to be part of the MuSAE project of Juventudes Musicales España, performing in the National Library of Spain and the Prado Museum. In 2019 the group won the FestClásica Early Music Prize, which led to a concert tour all over Spain, debuted on German radio (WDR 3), and was appointed resident ensemble at the Ghislieri Musica Foundation in Pavia. Cantoría’s repertoire is based on the vocal music of the Spanish Golden Age. Along with research into historically informed interpretation and the vocal techniques of Renaissance Iberia,
the ensemble also explores and exploits the theatrical nature of music of the period. Cantoría is supported by Acción Cultural Española, the National Institute of Performing Arts and Music, the Counsellor of Culture of the Community of Madrid and the Institute of Cultural Industries and Arts of the Region of Murcia. cantoriamusic.com Jeremy Nastasi Born in Milan where he began studying classical guitar, Jeremy Nastasi’s growing interest in early music led him to the lute, taking part in classes with Nicolas Achten, Hopkinson Smith and Paul O’Dette. He was admitted to the Conservatoire National Supérieur de Musique et de Danse in Lyon in 2018 to study with Rolf Lislevand. In 2019 he performed in several international festivals including Mars en Baroque in Marseille, in Urbino with the FIMA Ensemble, in Florence with I Musici del Gran Principe for the Da Vinci Baroque Festival and in the Valletta Baroque Festival, Malta with the Canova Chamber Orchestra. Last year, Jeremy Nastasi took part in the EEEmerging+ Academy in Ambronay with the ensemble Ibera Auri. He now studies at the Schola Cantorum Basiliensis with Hopkinson Smith and with Rolf Lislevand at the Staatliche Hochschule für Musik in Trossingen, Germany. Marc de la Linde Marc de la Linde was born in Barcelona and began to study viola da gamba with Clara Hernández at the age of eight and, in 2016, went to the Netherlands to study at the Koninklijk Conservatorium of The Hague. In 2018 he joined the Jove Capella Reial de Catalunya, directed by Jordi Savall and Lluís Vilamajó, with which he continues to play. He received his
master’s degree in 2020 at the Conservatoire Nationale Supérieur de Musique et Danse, Paris, and in the same year was selected for the Ambronay Academy. In July 2019, he won, with harpsichordist Daniel Trumbull, the first prize of the Maurizio Pratola competition in Aquila (Italy). He has works with many ensembles, including Hespèrion XXI, Vox Luminis, Ensemble Mare Nostrum, Les Lunaisiens, In Nomine, Cantoría, Le Concert d’Apollon, The Ministers of Pastime and BZM Barcelona. Joan Seguí Mercadal Joan Seguí Mercadal was born in Barcelona and entered the Escolania de Montserrat, at the age of nine, studying organ, singing and violin. During his time at the Escolania, he accompanied the renowned boys choir as organist in concerts and services throughout Europe. He continued his keyboard studies at the Conservatori del Liceu and in 2017 he was awarded an EU Erasmus exchange grant to study at the Universität der Künste Berlin. In 2018 he graduated with distinction from the Escola Superior de Música de Catalunya.. In November 2022 he was appointed principal organist of the historical instrument in the Basilica de Santa Maria del Mar in Barcelona. His many awards include first prize at the 2020 Concurso Nacional de Órgano in Burgos. His first solo CD, BachGround, was recorded on the Metzler organ in Poblet Monastery, Tarragon, with the support of Palau de la Música and Catalunya Música.
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