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35th SEASON Imaginario: de un libro de música de vihuela Armonía Concertada María Cristina Kiehr soprano Ariel Abramovich vihuela de mano Saturday 5 October 2019 Oak Bay United Church 2019-20 Concert Season Haydn, Beethoven, If Music be the Food of Love von Weber 11 January 2020 Saturday 8pm 26 October 2019 Saturday 8pm Alix Goolden Hall Alix Goolden Hall The Baltimore Consort (USA) Eric Hoeprich classical clarinet London Haydn Quartet (UK) The Four Seasons 22 February 2020 Saturday 8pm Corelli and the Alix Goolden Hall Roman School Concerto Köln (GERMANY) 23 November 2019 Saturday 8pm Shunske Sato violin Alix Goolden Hall Accademia Hermans (ITALY) Vivaldi in Paris Fabio Ciofini 14 March 2020 Saturday 8pm harpsichord and direction Alix Goolden Hall Martin Bernstein recorder (USA) Christmas Anna Marsh bassoon in Colonial Latin America Byron Schenkman harpsichord 21 December 2019 Saturday 8pm St. Andrew’s Cathedral (740 View St.) Plaisirs de la Chambre El Mundo (CALIFORNIA) 18 April 2020 Saturday 8pm Richard Savino Alix Goolden Hall guitar and direction Emma Hannan soprano Victoria Baroque (PACIFIC NORTHWEST) Soile Stratkauskas flute and direction Imaginario: de un libro de música de vihuela O dulce contemplación, a 4 Juan Vasquez (c.1500 – c.1560) Vos me matastes, a 3 Juan Vasquez Por una vez que mis oxos alcé, a 4 Adrian Willaert (1490 – 1562) "De mon triste des Plaisir” Jean Richafort (c.1480 – c.1547) Fantasia de "Mon triste" Francesco da Milano (1497 – 1543) O dolce vita mia, a 4 Adrian Willaert (1490 – 1562) Qué sentís coraçon mío, a 4 Juan Vasquez Ricercar Julio Segni da Modena (1498 – 1561) Chiare fresche et dolci acque, a 5 Jacques Arcadelt c.1504 – 1568) INTERMISSION Si de vos bien me aparto, a 5 Anónimo, Cancionero de Uppsala (pub. 1556). Se per colpa del vostro fiero sdegno, a 4 Jacques Arcadelt Se pur ti guardo, a 4 Adrian Willaert Anchor che col partir, a 4, Cipriano de Rore – Anonymous (Ms Castelfranco Veneto) Fantasia sobre el madrigal “Anchor che col partire” Anonymous (Ms Castelfranco Veneto) Si no os hubiera mirado, a 4 Juan Vasquez De los álamos vengo, madre, a 4 Juan Vasquez Quien dice que l'ausencia causa olvido, a 3 Juan Vasquez Duélete de mi, señora, a 3 Juan Vasquez 3 Texts and Translations O dulce contemplación ¡O dulce contemplación! Oh sweet contemplation! ¡O preciosa fantasía, Oh delightful fantasy, Que me muestras cada día You show me each day Una tan clara visión Such a clear vision Qu’es salud del alma mía! That is the health of my soul! Es tan grande la excelencia The excellence of your beautiful preeminence De tu linda preeminencia, Is so profound Que, por tu gracia escogida, That, by your select grace, Bivo yo de nueva vida, I live a new life, Después de muerto en ausencia. After dying in absence. GARCI SÁNCHEZ DE BADAJOZ, CANCIONERO GENERAL (VALENCIA, JORGE COSTILLA, 1514) Vós me matastes Vós me matastes, You killed me, Niña en cabello. Girl with the long hair. Vós me aveis muerto. You have killed me. Ribera de un río On the river bank Vi moca virgo. I saw the young virgin. Niña en cabello, Girl with the long hair, Vós me aveis muerto. You have killed me. ANONYMOUS (TRADITIONAL) Por una vez que mis ojos alcé Por una vez que mis ojos alcé For having raised my eyes dicen que yo lo maté. They said that I killed him. Ansí, vaya madre, Like that, come on mother, virgo a la veguilla, virgin of the field, como al caballero that gentleman no le di herida. I did not wound him Por una vez que mi ojos alcé For having raised my eyes dicen que yo lo maté. They said that I killed him. ANONYMOUS O dolce vita mia O dolce vita mia, che t’haggio fatto, O my sweet life, what have I done to you, che minacci ogn’ hor, con tue parole, to make you constantly threaten me, with your words, et io mi struggo come nev’ al sole. and I languish like snow in the sun. ANONYMOUS 4 Qué sentís, coraçon mío ¿Qué sentís, coraçon mío? What do you feel, my love? ¿No dezís Don’t you say Qué mal es el que sentís? What sickness you feel? ¿Qué sentistes aquel día, What did you feel that day, Quando a mi señora vistes, When you saw me, my lady, Que perdistes alegría You lost happiness Y el descanso perdistes? And you lost rest? Como a mí nunca bolvistes, As you never returned to me, ¿No dezís Don’t you say Qué mal es el que sentís? What sickness you feel? COMENDADOR ESCRIVÁ, CANCIONERO GENERAL, RECOPILADO POR HERNANDO DEL CASTILLO (VALENCIA, 1511) Chiare, fresche et dolci acque Chiare, fresche et dolci acque, Clear, sweet fresh water ove le belle membra where she, the only one who seemed pose colei che sola a me par donna; woman to me, rested her beautiful limbs: gentil ramo ove piacque gentle branch where it pleased her (con sospir’ mi rimembra) (with sighs, I remember it) a lei di fare al bel fiancho colonna; to make a pillar for her lovely flank: herba et fior’ che la gonna grass and flowers which her dress leggiadra ricoverse lightly covered, co l’angelico seno; as it did the angelic breast: aere sacro, sereno, serene, and sacred air, ove Amor co’ begli occhi il cor m’aperse: where Love pierced my heart with eyes of beauty: date udïenza insieme listen together a le dolenti mie parole extreme. to my last sad words. FRANCESCO PETRARCA, CANZONIERE, 126 5 Si de vos mi bien me aparto ¿Si de vos mi bien me aparto Goodness, if I abandon you, Que hare? what shall I do? Triste vida bivire. Mine will be a sad life. El bien tiene condicion Goodness has the condition De ser de todos querido, Of being loved by everyone. Si alguno lo a perdido Should one lose it, No le faltara passion, He will not be lacking in passion ¿Pues yo con tanta razon Goodness, if I abandon you, Que haré? what shall I do? Triste vida biviré. Mine will be a sad life. ANONYMOUS Se per colpa del vostro fiero sdegno Se per colpa del vostro fiero sdegno, Should, because of your proud disdain, il dolor che me affligge, the pain that afflicts me drag me, Madonna, mi trasporta al alta Stigge: Milady, down into the dark Styx: non havro dol del mio supplicio indegno, I shall feel no pain for that undeserved torture, né del eterno fuoco: nor for the eternal fire, ma di voi, che verret’ a simil loco. but rather for you, who will come down to such a place. Perché soventi in voi mirando fiso Because I’ve embedded in my memory, per virtù del bel viso by virtue of many stares, your beautiful face, pena non fia la giù che al cor mi tocchi, there won’t be suffering down there that could touch my heart, sol’ un tormento avrò, di chiuder gli occhi. — torment will only come when I close my eyes [and see you]. JACOPO SANNAZARO, RIME (NAPLES AND ROME, 1530) Se pur ti guardo Se pur ti guardo If I as much as look at you, Dolce anima mia my sweet soul Tu me ne trai You draw del peto il vivo core caro thesoro my living heart from my breast, dear treasure, Viso mio bello beautiful face. Deh non mi dar tanto martello O, do not give me so much a hammering, ch’io son pur tuo servitore for I am your servant. Deh non mi far morir O, do not let me die. O dolce anima mia. O my sweet soul. Si no os uviera mirado Si no os uviera mirado If I hadn’t looked at you Pluguier’a Dios que n’os viera; It would please God that I hadn’t seen you; Porque mi vida no fuera Because my life wasn’t Cativa de su cuidado. Lacking his care. Mas, pues os é conocido But, as I know you Solamente por quereros, Just by loving you, Quiero más quedar perdido I’d prefer to remain lost Que cobrado por no veros. Than be poorer for not having seeing you. 6 De los álamos vengo, madre, a 4 De los álamos vengo, madre, I come from the poplars, mother, de ver cómo los menea el aire. from seeing the breezes stir them. De los álamos de Sevilla, From the poplars of Seville, de ver a mi linda amiga. from seeing my sweet love, De los álamos vengo, madre, I come from the poplars, mother, de ver cómo los menea el aire. from seeing the breezes stir them. Quien dice que l’ausencia causa olvido Quien dize quel Ausencia causa Olvido He who says that absence causes forgetfulness Merece ser de todos olvidado. Deserves by all to be forgotten. El Verdadero y firme Namorado The only truly and firmly in love Está quando ‘sta ausente, mas perdido. Is, when absent, more at lost. Abiva la Memoria su Sentido. Memory enlivens his senses, La Soledad levanta su Cuydado. Solitude enhances his grief. Hallarse de su Bien tan apartado Being so distant from his beloved Haze su Dessear mas encendido. Inflames his desire the more. No sanan las Heridas en él dadas, The wounds given him are not healed Aun que cesse el Mirar que las causó, Even though the sight that caused them ceases, Si quedan en el Alma Confirmadas. For in his soul it was confirmed. Que si Uno ‘sta con muchas cuchilladas, For if one has many gashes Por que huya de quién le acuchilló Fleeing from the one who slashed, No por esso serán meior curadas.
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  • 57 Escaso Resulta El Cuadro Anterior En Una España Poblada De Buenos Músicos Y Con Abundante Mecenazgo Desde El Poder Polític

    57 Escaso Resulta El Cuadro Anterior En Una España Poblada De Buenos Músicos Y Con Abundante Mecenazgo Desde El Poder Polític

    M ARCO MUSICAL h Escaso resulta el cuadro anterior en una España poblada de buenos músicos y con abundante mecenazgo desde el poder político y la Iglesia. La música Es- pañola renacentista y del primer gótico es un fenómeno cultural de primer orden, la cantidad de músicos nos ha obligado a desechar más nombres que los conte- nidos en ese marco gráfico. Además, para facilitar la visión del mismo, se ha cla- 57 DON TOMÁS “AD LIBITUM ” sificado a los autores, exceptuando a Victoria, en tres niveles que se observan por el tamaño de la fuente, su color y resalte. El criterio de clasificación utilizado posiblemente no sea el mejor, pero si es adecuado para el objeto de esta exposición. Escandalizará a algunos que nombres como de la Torre, Peñalosa, Narváez, Valderrábano, Milán, Ortiz, Mudarra, Ro- bledo, Salinas, Vivanco, Arañés, Cabanilles o Manuel Machado, ocupen posición en un segundo escalón, pero esto sólo es un indicador de la grandeza y relevancia del marco musical que envolvió a nuestro autor. Para un mejor conocimiento de ese marco, permítasenos dar algunas refe- rencias de los autores más resaltables en nuestra opinión. Juan del Encina (1468 – 1529) No hay acuerdo sobre el lugar de su nacimiento, unos opinan que en Fermoselle (Zamora), otros que en Encina de Sansilvestre o La Encina (Sala- manca). Murió en León, aunque está enterrado en Salamanca. Músico, poeta y dramaturgo, estudió en la Uni- versidad de Salamanca, siendo Nebrija uno de sus profesores. En 1484 ingresa en la capilla musical de la Cate- dral de Salamanca, en 1492 entra al servicio del Cancionero de Juan del Encina Duque de Alba, siendo su cometido la elabora- ción de comedias y músicas, en 1498 inicia su estancia romana, donde contó con el apoyo de los Papas Ale- jandro VI, Julio II y León X, que lo incorpora como cantante a su capilla musical.