jueves, 26 de noviembre de 2009

John Dowland (1563−1626): Can she excuse my wrongs

From The First Book of Songs or Ayres (1597).



Can she excuse my wrongs with Virtue's cloak?
Shall I call her good when she proves unkind?
Are those clear fires which vanish into smoke?
Must I praise the leaves where no fruit I find?
No, no; where shadows do for bodies stand,
That may'st be abus'd if thy sight be dim.

Cold love is like to words written on sand,
Or to bubbles which on the water swim.
Wilt thou be thus abused still,
Seeing that she will right thee never?
If thou canst not o'ercome her will,
Thy love will be thus fruitless ever.

Was I so base, that I might not aspire
Unto those high joys which she holds from me?
As they are high, so high is my desire,
If she this deny, what can granted be?
If she will yield to that which reason is,
It is reason's will that love should be just.

Dear, make me happy still by granting this,
Or cut off delays if that I die must.
Better a thousand times to die
Than for to love thus still tormented:
Dear, but remember it was I
Who for thy sake did die contented.

Sting canta a John Dowland (1563-1626)





Tomás Luis de Victoria ( Ávila 1548 - Madrid 1611): Pueri Haebreorum



Pueri Hebraeorum vestimenta prosternebant in via et clamabant dicentes:

Hosanna Filio David, benedictus qui venit in nomini Domini.


Los niños de los judíos extendían sus vestidos en el camino y gritaban diciendo:

¡Alegría por el Hijo de David; bendito el que viene en el nombre del Señor!

Tomás Luis de Victoria: O magnum mysterium





O magnum mysterium et admirabile sacramentum, ut animalia viderent Dominum natum jacentem in praesepio.
O beata Virgo, cujus viscera meruerunt portare Dominum Jesum Christum. Alleluia!


O great mystery, and wonderful sacrament, that the animals should see the new-born Lord lying in a manger. Blessed is the Virgin whose womb was worthy to bear Christ the Lord. Alleluia


O Gran Misterio, y Maravilloso Sacramento,
Que los animales hayan visto Al Señor recién nacido yacer en un pesebre. Alabada seas, o Virgen, pues tu Vientre mereció llevar a Jesús Cristo, nuestro Señor, ¡Aleluya!

Orlando di Lasso (1532 - 1594): Surrexit Pastor bonus




Surrexit Pastor bonus. Qui animam suam posuit.
Pro ovibos suis et pro grege suo mori. Dignatus est. Alleluja.

Thomas Morley (1557 - 1603): Now is the month of maying




Lyrics:
Now is the month of Maying,
When merry lads are playing,

Each with his bonny lass,
Upon the greeny grass,

The Spring, clad all in gladness,
Doth laugh at Winter's sadness,

And to the bagpipe's sound
The nymphs tread out their ground,

Fie then why sit we musing,
Youth's sweet delight refusing?

Say dainty nymphs and speak,
Shall we play barley break?

Thomas Morley: Sing we and chant it.

English composer, Thomas Morley, was a staunch proponent of Italian music. He used his treatise, A Plaine and Easie Introduction to Musicke (1594) to extol the virtues of newer Italian composers and their techniques.

Morley was obviously taken with a collection of balletti by Mantuan composer, Giovanni Gastoldi, published in 1591. He borrowed tunes from and modeled Sing We and Chant It directly after Gastoldi's balletto, A Lieta Vita (To Happy Life).

Though set to voices, the Italian balletto was designed to be danced to at either courtly ceremonies or theatrical entertainments; hence, its bright and playful rhythmic qualities. It is unclear whether the English adaptations were also meant for choreographic use. Nevertheless, they retain the flavor of their Italian prototypes.

The "fa-la-la" refrains are typical of the form -- inviting imagination -- as are the homophonic settings; the repeating stanzas, strophically set to music; and the lighthearted nature of the text.






Sing we and chant it, while love doth grant it,
Fa-la-la...
Not long youth lasteth, and old age hasteth;
Now is best leisure to take our pleasure.
Fa-la-la...

All things invite us now to delight us,
Fa-la-la...
Hence, care, be packing, no mirth be lacking;
Let spare no treasure to live in pleasure.
Fa-la-la...

Thomas Morley: April is in my mistress face

English composer, Thomas Morley, chose mainly to compose lighter forms of music. A more serious type of vocal music was the madrigal. This seriousness was reflected in the type of poetry chosen and the manner in which it was set to music.

While Morley rarely delved into the world of the ultra-serious, his madrigal, April is in my Mistress' face, is a remarkable example of his concisely elegant and refined style.

In the text, one month from each season of the year is used metaphorically to describe the characteristics of the poet's "mistress." The text is a translation of Nel vis'ha un vago Aprile, composed by Orazio Vecchi from his Book of Canzonets à 6, though Morley did not use Vecchi's music.

The turn from sweet, tertian duets used for April and July to minor, melancholic subdominant and mediant harmonies for September and "cold" December is an effective means of depicting the dual-faceted nature of the lady in the poem, and perhaps of love itself.









April is in my Mistress' face,
And July in her eyes hath place.
Within her bosom is September,
But in her heart, a cold December.

Abril está en la cara de mi señora
Y Julio en sus ojos tenía lugar
dentro de su pecho es Septiembre
pero en su corazòn, un frío Diciembre.


William Byrd: Ave Verum Corpus

William Byrd: Ave verum Corpus (also anthem: "O Lord, God of Israel"), motet for 4 voice.


Juan del Enzina (1468-1529): Cu cu cucu

Composed by Juan del Enzina, from "The King's Singers, Madrigal History Tour, The Spain".




Compadre, debes saber,
que la más buena mujer,
rabia siemprehi por deser,
Harta bien la tuya tú.

Cucú, cucú, cucucú,
Guarda no los seas tú.

Compadre, has de guardar,
para nunca encornudar,
si tu mujer sale a mear,
sal junto con ella tú.

Cucú, cucú, cucucú,
Guarda no los seas tú.

Juan del Enzina (1468-1529): Hoy comamos y bebamos

Villancico (Égloga 6)
Interpretación: "Juan del Enzina, Romances & Villancicos", 1991.
Hespèrion XX, Jordi Savall.






Texto de la Égloga:

Hoy comamos y bevamos,

y cantemos y holguemos,
que mañana ayunaremos.

Por honra de San Antruejo
parémonos hoy bien anchos.
Embutamos estos panchos,
recalquemos el pellejo:
que costumbre es de concejo
que todos hoy nos hartemos,
que mañana ayunaremos.

Honremos a tan buen santo
porque en hambre nos acorra;
comamos a calca porra,
que mañana hay gran quebranto,
Comamos, bevamos tanto
hasta que nos reventemos,
que mañana ayunaremos.

Beve Bras, más tu Beneito.
Beva Pedruelo y Lloriente,
Beve tú primeramente;
quitarnos has desse preito,
En bever bien me deleito:
daca, daca, beveremos,
que mañana ayunaremos.

Tomemos hoy gasajado,
que mañana vien la muerte;
bevamos, comamos, huerte,
vámonos carra el ganado.
No perderemos bocado,
que comiendo nos iremos,
y mañana ayunaremos.

TRANSLATION:

Today let us eat and let us drink,
Let us sing and let us rejoice,
For tomorrow we will fast.

In honour of St. Carnival
Let us today loosen our belts,
Let us fill up our stomachs
Let us strecht the skin of our bellies:
It is a local custom
That today we should be replete
For tomorrow we will fast.

Let us honour then a saint so good
So that he may assuage our hunger;
Let us eat and let us gaily gorge,
For tomorrow there will be great restraint.
Let us eat and drink so much
That it will finally make us burst
For tomorrow we will fast.

Drink then, Bras, and you more, Beneito.
Drink Pedruelo and you Lloriente.
And you drink first;
Let us all agree.
To drink for me is a great delight;
Give here, let us drink,
For tomorrow we will fast.

Le us take pleasure today,
For tomorrow comes death;
Let us drink, let us eat heartily,
And then let us return to our flock.
Let us not lose a mouthful,
For we will go off eating,
And tomorrow we will fast.



The majesty of Renaissance Dance

You can learn the dance steps used by the royal courts of the Renaissance.