Hespèrion XXI & Tembembe Ensamble Continuo
Total Page：16
File Type：pdf, Size：1020Kb
CAL PERFORMANCES PRESENTS Saturday, March 1, 2014, 8pm First Congregational Church Hespèrion XXI & Tembembe Ensamble Continuo Folías Antiguas & Criollas: From the Old World to the New HESPÈRION XXI Xavier Díaz-Latorre theorbo & guitar Andrew Lawrence-King arpa cruzada David Mayoral percussion Jordi Savall treble viol Anonymous Italian, ca. KNJJ seven-string bass-viol by Barak Norman, London KOQP & Direction TEMBEMBE ENSAMBLE CONTINUO Ulises Martínez violin, guitarra de son & voice Enrique Barona huapanguera, leona, jarana jarocha 3a, mosquito, maracas, pandero & voice Leopoldo Novoa marimbol, guitarra de son 3a, jarana huasteca, quijada de caballo & arpa llanera & voice This performance is made by possible with the support of the Departament de Cultura of the Generalitat de Catalunya, the Institut Ramon Llull, and the program México en Escena del Fo ndo para la Cultura y las Artes de Conaculta—México. Cal Performances’ (&')–(&'* season is sponsored by Wells Fargo. CAL PERFORMANCES PROGRAM Folía s Antiguas & Criollas: From the Old World to the New PROGRAM Folías Antiguas Diego Ortíz La Spagna Anonymous ( CMP 121) Folías antiguas (improvisations) Anonymous Folías “Rodrigo Martinez” (improvisations) Gaspar Sanz (song from Tixtla) Jácaras (La Petenera) Ortíz Folía IV — Passamezzo antico I — Passamezzo moderno III — Ruggiero Romanesca VII — Passamezzo moderno II Pedro Guerrero Moresca Antonio de Cabezón Folías “Pavana con su glosa” Juan García de Zéspedes (traditional from Tixtla & improvisations) Guaracha INTERMISSION Celtic Traditions in the New World Regents Rant Traditional Scottish Crabs in the Skillet Ryan’s Mammoth Collection (Boston) Lord Moira’s Hornpipe Ryan’s Collection (Boston) Santiago de Murcia Traditional Jarocho Fandango — El Fandanguillo Antonio Martín y Coll ( & improvisations) Diferencias sobre las Folías Francisco Correa de Arauxo Glosas sobre “Todo el mundo en general” Anonymous Canarios (improvisations) Antonio Valente (improvisations) Gallarda Napolitana — Jarabe Loco (Jarocho) PLAYBILL PROGRAM NOTES FOLÍA S ANTIGUAS & CRIOLLAS : know too little about, it surely influenced the FROM THE OLD WORLD TO THE NEW transmission of music in the colonies. Even amorous romances and lively bailes could be Tunes rescued from long-vanished colonial misinterpreted when performed in public cultures pour forth in early dance-songs and spaces, perhaps filled with new meanings or their traditional incarnations. A variegated magical associations. mixture of sailors and soldiers, nobles and cle - In Folías Antiguas & Criollas: From the Old rics, musicians and merchants, adventurers World to the New , we bring to life the dialogue and African slaves, and all kinds of people ho - among the Llanero and Huasteco oral tradi - ping to get rich quickly, sailed to the New tions, the anonymous mestizo folk repertoires World from Andalusia via the Canary Islands. influenced by Nahuatl and African cultures, In the Caribbean, Mexico, and Latin America, and early modern European and Hispanic the newcomers encountered the astonishingly music preserved in manuscripts and printed rich cultures of the indigenous peoples. collections. This dialogue is tirelessly enga - Fragments of indigenous musical practice can ging, humbling, and ennobling—it is among be heard still today, traced through docu - the most essential of conversations. Musicians ments from the so-called “conquest,” though from both the old and new worlds who belie - many of the original languages disappeared, ved in the power of music enlivened it along with the peoples who spoke them. Some through ingenious improvisation. They conti - songs, dances, tunes, and rhythmic patterns nue to polish it with passion and spirituality survive, however, within hybrid or “Creolized” in our time. This music that has been kept traditional versions. alive for centuries, often in remote regions by Spanish Siglo de Oro writers provide multico - unnamed musicians whose sensitivity and ta - lored references to these well-known tunes and lent has ensured the survival of indigenous dances. In his play El amante agradecido , Lope and culturally significant music from the dis - de Vega described the chacona as a “mulatto- tant past. like” female ambassadress from “the Indies.” Spanish and colonial musicians were espe - For Cervantes, worldly songs and dances of the cially famous for their improvisatory talent. jacarandina sounded in opposition to the de - Our program displays several manifestations corous música divina of sacred polyphony. of this passionate musical “madness,” “frenzy,” Chaconas , folías , canarios , jácaras , and fan - or folía —the practice of making variations or dangos circulated freely and rapidly, forging diferencias on a tune, sounding the tune in the audible bonds between “old” and “new” terri - bass while spinning daring figurations above tories and societies. Even today, they retain an and around it. There are variations on the re - extraordinary mixture of European, Iberian, peated or “ostinato” bass known as folía ; va - and indigenous elements. riations by the late 16th-century Spanish The churches, cathedrals, convents, and mis - organist Antonio de Cabezón, and improvisa - sions were the institutions whose evangelizing tions on early villancicos that preserve the folía practices not only affected which musical in what might be its earliest form. Our impro - repertories would be preserved, but also how visations on “ Rodrigo Martínez ” from the musical history might be recorded and inter - Cancionero musical de palacio (1499 ) are sha - preted. Music was a catechistic art that lent ped by Renaissance conventions of improvi - itself to the evangelizing project in both the sation described by famous practitioners, northern and the southern parts of the including Diego Ortíz himself. Americas. Both material musical forms (writ - In his Trattado de glosas (Rome, 1553 ), Ortíz ten into choir books or psalm books, for exam - included sets of variations with the bass tune ple) and audible, aural ones (musical instruction of the folía , as well as bass patterns with the in European instruments and religious song) Italian labels Romanesca , passamezzo antico , were engaged to bring native mu sicians and lis - and passamezzo moderno . In these, a repeating teners into the cult of the Eucharist. While the ostinato harmonic pattern is played on the suppression of profane music is a story we harp, guitar, or other polyphonic instruments, CAL PERFORMANCES PROGRAM NOTES while the solo viola da gamba player performs castanets, in keeping with the characteristic virtuoso melodic and rhythmic elaborations. sound of Iberian musical practice. Many songs derived from the folía (“ Rodrigo While the Romanesca , passamezzo , pavana , Martínez ,” for example) are included in the and gallarda were high-class dances appro - Cancionero musical de palacio and other ma - priate at aristocratic court balls, other dances nuscript anthologies. Some appear as instru - known as bailes , including zarabandas , chaco - mental intabulations (vocal pieces notated for nas , seguidillas , folías , fandangos , and jácaras , instrumental performance). Luis Venegas de loudly announced their popular origin and Henestrosa’s Libro de cifra nueva (1557 ), an were unrestricted in social class. They danced anthology of music for keyboard instruments, from streets and taverns to printed guitar and harp, or guitars, includes Cabezón’s “Pavana harp anthologies for literate amateurs. These con glosa ,” with its glosas , or elaborations, on were profane, even lascivious dances, as des - the folía . “Pavana con glosa ” is the first set of cribed in legal prohibitions, but their slick po - folía variations to be published in organ ta - pularity allowed them to “squeeze through the blature; its inclusion in the Libro de cifra cracks and even enter the convents” (Cervan - nueva attests to its currency in an epoch fa - tes, La ilustre fregona ). mous for competition among emerging styles. The jácara was a wildly popular urban baile Circulating in Spain and Italy before travel - in the late 17th century across the Hispanic do - ling to the Americas, the Moresca known as “ La minions. Jácaras (also xácaras ) explore the perra mora ” has a strong Arabic flavor in its world of sassy ruffians and lowlife mercenaries characteristic rhythmic design with 5/2 time. in adventurous and sometimes violent fantasy. The version attributed to Pedro Guerrero (fl. The slang-filled jácara strophes relate the my - 1560–1580 in Seville) come s from the thical exploits of underworld heroes dangerous Cancionero de Medinaceli , collected in the late to women. The jácaras and the traditional son 16th century. The term “perra mora ” was a low Huasteco, La Petenera, share similar harmonic insult commonly hurled at Jews, Moors, and structures, melodic motives, and rhythms. La others belonging to marginalized groups. In the Petenera is found in both the flamenco and poem set by Guerrero it refers metaphorically Huasteco traditions, but reaches back to me - by the love-crazed speaker, who regards his dieval Sephardic communities in Andalusia as lover as a “slayer of hearts”: well. The lyrics always tell of a dangerous woman. She is a siren or mermaid in the Di, perra mora, Tell me, filthy [Moorish] Huasteco song La Petenera , the salty lament of bitch, a damned sailor doomed by her seduction. di, matadora, Tell me, murderess, The fandango has brought forth exuberant ce - ¿Por qué me matas, Why do you slay me, lebration on both sides of the Atlantic since