La Romanesca Monodies 1 Istanpitta Ghaetta (anonymous, 14th century) 8’52” 2 Lo vers comenssa (Marcabru, fl. 1127-1150) 6’44” 3 Lo vers comens can vei del fau (Marcabru) 5’15” 4 Saltarello (anonymous, 14th century) 4’16” 5 L’autrier jost’ una sebissa (Marcabru) 5’04” 6 Bel m’es quant son li fruit madur (Marcabru) 9’15” 7 Istanpitta Palamento (anonymous, 14th century) 7’40”

Cantigas de amigo (Martin Codax, 13th century) 8 Ondas do mar de Vigo 4’28” 9 Mandad’ ei comigo 3’58” 10 Miña irmana fremosa iredes comigo 3’15” 11 Ay Deus, se sab’ ora o meu amigo 3’30” 12 Quantas sabedes amar amigo 2’02” 13 Eno sagrado Vigo 3’07” 14 Ay ondas que eu vin ver 2’11”

Hartley Newnham – voice, percussion Ruth Wilkinson – recorder, , tenor Ros Bandt – recorder, , , , percussion John Griffiths – , guitarra morisca Monodies La Romanesca

P 1982 / 2005 Move Records expanded edition of Medieval Monodies – total playing time 70 minutes move.com.au he poet-musicians Marcabru and Uncompromising are his attacks on false of Lo vers comens can vei del fau, similarly Martin Codax occupy important lovers who debase the integrity of true love. derived from a later contrafactum version in Tplaces in the history of medieval Undisguised is his criticism of the excesses manuscript Paris, Bib. Nat. f. lat. 3719. secular song. Marcabru is the earliest southern of the nobility whom he served. Such is his Of much safer attribution, Bel m’es quant French whose music survives, and venom that one of his biographers comments son li fruit madur is the most sophisticated Martin Codax’s songs are the oldest relics of that “he scorns women and love”. Marcabru of Marcabru’s surviving melodies. Its text Iberian secular music. More than a thousand is a realist, constantly measuring his idealism delivers yet another moralistic attack on false kilometres and perhaps a hundred years against social reality. The paired songs Lo love and insincerity and does so with pungent separate them, yet their works are branches vers comenssa and Lo vers comens can vei images and great richness of language. These of the same tree. Each poet is an articulate del fau are both fine examples of Marcabru’s qualities are accentuated in La Romanesca’s observer of his own world, a commentator biting tongue. In the first, he speaks of wisdom performance by the freely declamatory vocal on social values, and a deft painter of human gained through the experience of life and style and the use of the incisive sounding character and emotion. courtly society and laments the falseness of lute identified in contemporary Spanish Marcabru was active in the second quarter the nobility and the debasement of love with writings as a guitarra morisca to provide the of the twelfth century. Records indicate him a tone of complete desperation. Even though accompaniment. to have been active between 1127 and 1150. he admits only to dealing with his theme in By comparison, the pastorela, L’autrier Of the two biographical vidas included in the most generalised fashion (“It’s true that jost’ una sebissa initially appears a light- troubadour manuscripts, one describes him I’m not being explicit/ at present nor shall I, hearted romp. Marcabru, however, turns the as a Gascon, the son of a poor woman; the / nor should I”), he contrasts it sharply with tables on the pastorela genre to offer a poem other calls him a foundling. His earliest the optimistic view of a world in which love in which the dialogue between a fast-talking known patron was Guillaume X (†1137), duke is respected and venerated. The same theme is knight and feisty shepherdess does not lead to of Aquitaine and son of the earliest known reiterated in Lo vers comens can vei del fau the customary successful seduction, in which troubadour William IX of Aquitaine. Marcabru but the references are more specific. Marcabru man exerts power over woman, and nobility was widely travelled, having enjoyed the places himself among the most morally over peasantry. Although the earliest known patronage of royalty and nobility throughout courageous of , he praises Poitou example of its genre, it too makes mockery southern France and Spain, notably at the court and its people, and makes specific references of tradition. Set in habitual dialogue mode, of Spanish emperor Alfonso VII of León. More to corruption in Rome and to the roughneck it tells of an encounter ‘beside a hedge,’ both than forty of Marcabru’s poems survive –all culture of his neighbouring Angevins. a morally shady place as well as the pastoral written in Occitans– but only a handful of his Scholarly opinion is divided concerning the neutrality of Arcadia. The shepherdess turns melodies. Four of these are undisputedly the authenticity of both these melodies. In the case the tables on the knight’s well rehearsed poet’s own compositions, but not all scholars of Lo vers comenssa, it was the scholar Hans amorous repartee, cutting him to size and agree on the total number. Spanke who drew attention to the unusually revealing herself not as a naïve country girl The dream world of courtly love is not close poetic similarities between this song and but as a strong, real character who ‘with grim Marcabru’s world. The writers of the vidas the anonymous trouvere song Costume et us humour and stabbing shrewdness demolishes point to his terse and merciless poetry, to in the Cangé and suggested its her lover’s Arcadian fantasy as a romantic its moral tone. Above all, Marcabru is a melody perhaps to have been derived from falsehood’. In the performance, the dialogue is critic of falseness, particularly of false love. Marcabru. Similar doubts surround the melody accentuated by the alternation of baritone and countertenor registers of voice. The melody Gallician-Portuguese, the literary language of The songs make up a symmetrically has been interpreted rhythmically according medieval Spain the songs are set in the town of constructed cycle depicting the girl’s love from to the character of the text, although the Vigo on the north-west coast, possibly Codax’s different angles. Songs 1, 4, and 7 lament her troubadour manuscripts give no indication of home. They probably date from the first part loneliness and desperation. No 2 is optimistic rhythm in the way the melodies of the songs of the thirteenth century, Cantigas de amigo while no 6 is a bailada or dance song. In songs are notated. Vielle and psaltery improvise a express women’s love and are a feature of 3 and 5 our lover engages others to help share heterophonic web around the vocal line. Gallician-Portuguese repertory. They belong her anxiety. Within this context, the various The most sophisticated instrumental to the family of European courtly love poetry, performance options are determined, including music that survives from the is but are strongly influenced by native Spanish the choice of rhythmic or free treatment of associated with dance. Of the few known popular verse. They use refrains and a system the melodies, instrumentation, and the style sources, the most extended and challenging of paired stanzas where the second line of of the improvised accompaniments. These are pieces are preserved in a fourteenth-century each stanza becomes the first line of the next strongly intuitive realisations firmly guided by manuscript of Italian origin, now in the British pair. This technique produces economical historical research. The melody used for the Library, MS. Add. 29987. These pieces are poetry, unified by a subtle transmutation and sixth song is adapted from one of the Cantigas cast in the rondo-like form of the istanpitta development of ideas. Although nearly 1700 de Santa María of Alfonso X, ‘the Wise’ (r. and with long extending melodies that Spanish love lyrics are extant, the melodies 1252-1284). The practice of contrafactum, the incorporate frequent repetition of the opening of six of Codax’s seven songs are the sole adaptation of an existing melody to a new text, refrain. As with La Romanesca’s performances survivors of the entire musical tradition. The has been shown to apply to cantigas de amigo of medieval song, these pieces are played here Codax manuscript, now in New York, was and other medieval Spanish song. in a way that attempts to recreate plausible discovered in Madrid a century ago used as a JOHN GRIFFITHS readings of music about whose performance flyleaf in an eighteenth-century binding of a we know incredibly little. Following the fourteenth-century Cicero manuscript. evidence of literary and pictorial sources, our The Cantigas de amigo of Codax are versions use simple instrumental groupings undoubtedly among the most beautiful of the and the performances attempt to strike a Gallician-Portuguese repertory. They are also balance between contemporary expectations typical of it: they are cast in conventional and our view of medieval musical reality. forms and draw on conventual imagery and Evidence points to the prominence of bowed vocabulary. Their persistent reference to the string instruments in early instrumental sea reflects the maritime life of the region, music and song accompaniment. Istanpitta and adds a dimension of unknowable eternity. Palamento is performed in this manner with They deal with a woman’s loneliness, her lute and percussion, while the Istanpitta frustration by the absence of her lover, and Gaetta uses recorder over plucked drones, place her sensual love in a religious setting. and the Saltarello is performed on lute with a She waits in the church in Vigo overlooking simple drummed accompaniment. the sea, asking the unceasing waves if they Martin Codax is known to us only by his bring news of her absent lover. Her tragedy is seven Cantigas de amigo. Composed in left unsaid. 2 Marcabru Lo vers comenssa Mout pretz m’en aia I greatly prize 3 Marcabru d’amor que no mesfai, the dominion of love Lo vers comens can vei del fau Lo vers comenssa The vers begins qu’es ver’ e gaia which does no wrong, a son veil sen antic. on its age-old tune. contra.l ver amic gai, for it is merry and joyful Lo vers comens can vei del fau I begin the vers when I see the top Segon l’entenssa, In accordance with the saying, tant cant vol braia towards a merry joyful friend. ses foilla lo cim e.l branquill, and the branches of the beech without de so qu’ieu vei e vic, I have wisdom lausengiers et abai, Let the slanderer bray or bark as much as c’om d’auzel ni raina non au leaves, n’ai sapienssa: from what I see and have seen, qu’ieu sai on jai he likes, for I know where lies the love ni grondill, when people hear neither birdsong don ieu anc no.m jauzic! though I have never benefitted from this. l’amors que no s’esmaia which is not dismayed ni fara jusc’al temps soau nor the frog’s croak there, Greu puosc abric I can hardly find shelter de lor sermo. by stupid speech. qu.el nais brondill. nor will they until the sweet season, trobar ses malvolenssa, and not ill-will Qui ses bauzia Anyone who wishes without deceit when the hazel shoots appear. mais en baro! –except in a lord! vol amor albergar, to shelter love E segon trobar naturau According to the natural art of Tant creis durenssa Hard-heartedness is so much on the increase de cortesia must strew his home port la peira e l’esca e.l fozill, c’alegr’ en son li ric; that the rich rejoice at it; deu sa maion jonchar. composition, with courtliness. mas menut trobador bergau I carry the flint and tinder and steel, avols cossenssa base connivance Get fors feunia Let him sweep away entrebesquill, fai sobremontar tric; makes trickery soar; e fol sobreparlar. but petty troubadours, resentment and foolish garrulousness. mi tornon mon chant en badau silly and muddled sofren sofrenssa tolerating sufferance Pretz e donar He must have worth and generosity en fant gratill. esdevenon amic they become friends. deu aver en bailia, under his protective authority, make my song pointless al ver afic, Truly, ses ochaio. and not make excuses. and an object of mockery. segon la penedenssa according to their repentance C’amors s’embria Pretz es vengutz d’amont aval n’auran perdo. they will receive pardon. For love grows in the place Worth has come down from high to low on conois son par. where it recognises it equal, e casegutz en l’escobill, and fallen into the dirt, No.n sai que faire, I don’t know what to do about it, blanch’ e floria white and blossoming puois avers fai Roma venau; since wealth makes Rome venal; tant fort sui entrepres, I am so perplexed, e presta de granar, and ready to give seed; ben cuig que cill I do indeed believe that those who are qu’entorn l’araire for around the plough the peasants ses fellonia it acts in such a way no.n jauziran, qui son colpau guilty will not profit from si fant villan cortes, are putting on courtly airs, fai contr’ amic a usar. as to behave without treachery towards e’aquest perill. this wrong-doing. e.il just pechaire and the just men make themselves Ops l’es que.is gar its friend. The one guided by noble love de so qu’en lor non es. out to be guilty of what is not down to them. cel cui bon’ amors guia, needs to guard against Avoleza porta la clau Baseness carries the key si m’ajut fes, By my faith, de mespreiso. committing any fault. e geta proez’ en issil; and casts integrity into exile; greu parejaran mais igau tals mil en auzetz braire you can hear a thousand of such men braying Jovens someilla, it will be hard henceforth for fathers and c’anc res non fo. that it was never thus. Youth slumbers; paire ni fill! sons to measure up to their fathers, greu prendra mais revel, it is unlikely to take part que non aug dir, fors en Peitau, Ges no m’esclaire, It’s true that I’m not being explicit e par qu’espeilla for I do not hear it said outside Poitou in revelry again; and it seems to mirror c’om s’en atill. that anyone applies himself to it. ni o farai d’est mes, at present nor shall I, lo seignor Daucadel. Lord ‘High-and-Mighty’. ni o dei faire nor should I, Tot jorn conseilla All day long it has whispering conversations Li plus d’aquest segle carnau Most people in this carnal world pels fills que fant laides: because of the sons who commit outrages ab son dous Caut Morsel! with sweet Lord Cautious-Face; ant tornat joven a nuill, trop tem maltraire —I have too much to put up with Prop del tessel have changed youthfulness into close to its cheek qu’eu non trob, de que molt m’es mau, bickering, per atendre sordeis! to go looking for worse. malvestatz li pendeilla wickedness hangs on qui maestrill Mout nais espes Wickedness is spawned al capairo. for I can find no one –and it pains me to its hood. cortesia ab cor leiau, greatly– malvestatz de sa maire thick and fast from its mother, Dolors m’esveilla que noi.s ranquill. senes razo. without reason. Grief awakens me who masters de fresc e de novel, afresh and anew. courtliness with a true heart Lo cors m’esglaia, I won’t conceal the fact cals meraveilla What wonder that I find hardly anyone without it going lame. ja non o celarai, that my heart is full of dread: que greu trob qui m’apel! calling me to service! amors veraia true love Malvestatz treilla Wickedness puts out its tendrils, Passat ant lo saut vergondau They have crossed the shameful ravine; trob’ar greu fin assai, now hardly finds a noble enterprise, e jois torn’en paissel, and joy turns into a climbing-pole for it; ab semblan d’usatge captill! just as with the custom of acapte qu’en lieis no.n aia without there being in it al plus isnel as fast as it can it bends tot cant que donant fant sensau, they tax everything they give, c’a falsedat retrai! that which people ascribe to falsity. fer tal vetz lonc l’aureilla joy’s ear time and again plen de grondill, full of surliness, Contra.l savai Towards a base man qu’el non ditz no. without it saying no. e non prezon blasme ni lau and about praise or blame un gran de mill. es leu amors savaia love is readily base, D’aquest flagel they don’t care a jot. e ben’ al bon. and good to the good one. And about this plague, Marcabrus si coreilla Marcabru complains, ses compaigno. A lone voice. Cel prophetizet ben e mau He prophesied well and ill “Don fetz ela, qui que’m sia, “Sir,” she said, “whatever I may be, si’m fariatz homenatge, If you were to do me homage que ditz c’om iri’ en becill, he who says that man would go to wrack and ben conosc sen e ; I can tell sense from folly; Seigner, so’m dis la vllana; Lord,” said this peasant girl, seigner sers e sers seignorau, ruin – peasant-like lords and lordly peasants –, la vostra pareillaria, your companionship mas ieu, per un pauc d’intratge, “but I, for a small entrance fee e si fant ill, and indeed they are, Seigner, so’m dis la vilana, Lord,” said this girl, non vuoil ges mon piucellatge, am not going to cash my virginity que.i ant fait li buzat d’Anjau, for in this respect the buzzards of Anjou lai on se tang si s’estia, “should stay where it belongs camjar per nom de putana.” for the reputation of a whore.” cal d’esmerill. for one like me, thinking things are have demonstrated a merlin’s fighting spirit. que tals la cuid’ en ballia “Toza tota creatura “Girl, every creature Si amars a amic corau, tener, no’n a mas l’ufana.” under control, reverts to its nature. If lust has a true lover, finds they are out of her reach.” revertis a sa natura: miga nonca m’en meravill I should not be at all surprised pareillar pareilladura We should prepare for s’il se fai semblar bestiau if it behaves like a beast towards him “Toza de gentil afaire, “Girl of noble ways, devem, ieu e vos, vilana, our romp, you and I, al departill, at the moment of parting; cavaliers fon vostre paire your father was a knight a l’abric lonc la pastura, in the shelter of the bushes beside the field, greu veiretz ja joc comunau you will be hard put to discover a fair game que’us engenret en la maire, who begot you of your mother, car plus n’estaretz segura where you will feel more at ease al pelacill. of pelacill! car fon corteza vilana. because she was a noble peasant. per far la cauza doussana.” to do the sweetest thing. The more I look at you, the more Marcabrus ditz que no.il en cau Con plus vos gart m’etz belaire, “Don, oc; mas segon dreitura “Sir, yes; but according to justice Marcabru says it does not matter to him e per vostre joi m’esclaire, beautiful you seem, qui quer ben lo vers e.l foïll if anyone searches the vers closely with a cerca fols sa follatura, the fool seeks his folly, que no.i pot hom trobar a frau si’m fossetz un pauc humana!” and I would shine with your joy, a courtier, his courtly adventure, fine-tooth comb, if you were to be a bit kind to me.” cortes cortez’ aventura, mot de roïll! for no one will be able to find hidden in it e’il vilans ab la vilana; and a peasant, to be with his peasant girl: intrar pot hom de lonc jornau a rusty word; “Don tot mon ling e mon aire “Sir, all my family and my ways en tal loc fai sens fraitura on such an occasion is this law broken, en breu doïll. a man can gather in the harvest after a long vei revertir e retriare go back to, and recall on hom non garda mezura, where a man loses his moderation; day’s work in a brief moment! al vezoig et a l’araire, the sickle and the plough, so ditz la gens anciana.” that’s what the ancients say.” Lord,” this peasant said to me, Seigner, so’m dis la vilana; “Toza de vostra figura “Girl, I never saw mas tals se fai cavalgaire “and he who calls himself a knight a face more wicked than yours, ought do likewise and work non vi autra plus tafura c’atrestal deuria faire ni de son cor plus trefana.” nor one more treacherous in her heart.” los seis jorns de la setmana.” six days of every week.” 5 Marcabru “Don, lo cavecs vos ahura “Sir, that owl makes you a prophecy: L’autrier jost’ una sebissa * “Toza, fi’m ieu, gentils fada, “Girl,” I said, “A noble fairy that one of us stares at appearances, endowed you at birth que tals bad’ en la peintura vos adastret, quan fos nada, qu’autre n’espera la mana.” while the other waits for manna.” d’una beutat esmerada with a resplendent beauty L’autrier jost’ una sebissa The other day beside a hedge, sobre tot’ autra vilana; above all other peasant girls, The text of this song is given here in trobei pastora mestissa, I met a lowborn shepherdess, e seria’us ben doblada, and twice so would you be if I saw you its complete form. Stanzas marked de joi e de sen massissa, Full of joy and wit, si’m vezi’ una vegada, underneath, with me on top.” * have been omitted in the recorded si cum filla de vilana, and like the daughter of a peasant, sobira e vos sotrana.” performance. cap’ e gonel’ e pelissa cape and cloak and fur vest e camiza treslissa, she wore, and a shirt of drill, * “Seigner, tan m’avetz lauzada, “Lord, you have praised me so much sotlars e caussas de lana. shoes, and woollen stockings. que tota’n seri’ enveiada; that any girl would envy me, pois en pretz m’avetz levada, for you have raised my worth, *Ves lieis vinc per la planissa: In her direction I crossed the plain: 6 Marcabru Seigner, so’m dis la vilana, Lord,” this peasant said to me, Bel m’es quant son li fruit madur “Toza li’m ieu res faltissa, “Girl:” I said, “pretty thing, per so n’auretz per soudada “for that you will get your reward dol ai car lo freitz vos tissa.” I am saddened, for the cold stings you. al partir: bada, fols, bada, as we part: ‘Stare, fool, stare,’ “Seigner, so’m dis la vilana, “Lord,” this peasant girl said to me, Bel m’es quant son li fruit madur I am happy when the fruits are ripe e la muz’ a meliana.” and await in vain for the whole E reverdejon li gaim And the fields are green again with their merce Dieu e ma noirissa, “thanks be to God and my childhood nurse; afternoon.” auc m’o pretz si’l vens m’erissa it means naught to me if the wind blows my E l’auzeill, per lo temps escur autumn growth, qu’alegreta sui e sana.” hair, “Toz’ estraing cor e salvatge “Girl, a shy and wild heart Baisson de lor votz lo refrim, And the birds, in this more sombre season, for I am happy and healthy.” adomesg’ om per uzatge. is tamed by intercourse. Tant redopton le tenebror Lower the sound of their singing Ben conosc al trespassatge Well do I know that, passing by, E mos coratges s’enansa In fear of the approaching darkness; “Toza fi’m ieu cauza pia, “Girl,” I said, “sweet thing, qu’ab aital toza vilana a man can offer a girl like you Qu’ieu chant per joi de fin amor, And my heart flies up, destors me sui de la via I came out of my way pot hom far ric compaignatge precious companionship, E vei ma bon esperansa. For I sing from the joy of sincere love, per far as vor compaignia; to offer you my company, ab amistat de coratge, with profitable friendship, And I see my hope becoming fulfilled quar aitals toza vilana and a peasant girl like you si l’us l’autre non engana.” if we don’t deceive one another.” no deu ses pareill paria shouldn’t be without a suitable companion Fals amic, amador tafur, False friends and treacherous lovers pastorgar tanta bestia looking after so many cattle, “Don, hom coitatz de follatge “Sir, a man desirous of folly Baisson Amor e levo’l crim, Debase Love and provoke crime. en aital terra, soldana.” alone, in a place like this.” jur’ e pliu e promet gatge: swears, pledges and promises security. E no’us cuidetz c’Amors perjur, Yet do not believe that Love declines, C’atrestant val cum fetz al prim, For it is just as valid as in the beginning; Martin Codax, 13th century 10 Miña irmana fremosa iredes comigo Totztemps fon de fina color, It was ever pure in hue Cantigas de amigo Et ancse d’una semblansa, And ever the same in worth. Miña irmana fremosa iredes comigo My beautiful sister, come with me Nuils hom non sap de sa valor No man knows, concerning its power, 8 Ondas do mar de Vigo a la igreija de Vigo u é o mar salido, to the church in Vigo where the sea rages, La fin ni la comensansa. The end or even the beginning. Waves of the sea of Vigo e miraremo-las ondas and we shall watch the waves. Ondas do mar de Vigo, have you seen my friend? My beautiful sister, come with pleasure Qui’s vol si creza fol agur, He who wishes, let him believe insane auguries, se vistes meu amigo? O God, may he come soon! Miña irmana fremosa iredes de grado Sol Dieus mi gart de revolim, But may God alone preserve me from thus wavering! a la igreija de Vigo u é o mar levado, to the church in Vigo where the sea foams, e, ay Deus, se verrá cedo! and we shall watch the waves. Qu’en aital amor m’aventur For I am embarking on such a love Waves of the raging sea e miraremo-las ondas On non a engan ni refrim, As contains no deceit or empty words. Ondas do mar levado, have you seen my lover? A la igreija de Vigo u é o mar salido To the church in Vigo where the sea rages Qu’estiu et invern e pascor Summer and winter alike, and at the Easter season se vistes meu amado? O God, may he come soon! e verra i, madre, o meu amigo, he will come, mother, my friend, Estau en grand alegransa, I am in a state of great gladness, e, ay Deus, se verrá cedo! e miraremo-las ondas and we shall watch the waves. Et estaria en major And would be in an even greater Have you seen my friend, Ab un pauc de seguransa. If only I had a little reassurance. A la igreija de Vigo u é o mar levado To the church in Vigo where the sea foams Se vistes meu amigo, the one I sigh for? he will come, mother, my lover, o por quem eu sospiro? O God, may he come soon! e verra i, madre, o meu amado. Ja non creirai, qui que m’o jur, I shall never believe, whoever may swear it, e miraremo-las ondas. and we shall watch the waves. Que vins non iesca de razim, That wine does not issue from the grape, e, ay Deus, se verrá cedo! Et hom per Amor no meillur; And that a man does not grow better for Love; Have you seen my lover, C’anc un perjurar non anzim, For we have never heard of one growing worse, Se vistes meu amado, the one I care for? Qu’ieu vaill lo mais per la meillor, And I myself am of the highest worth because of the por quem ay gran cuidado, O God, may he come soon! Empero n’ai doptansa, best of women; e, ay Deus, se verrá cedo! Qu’ieu no’m n’aus vanar, de paor Nevertheless I have in uncertainty, 11 Ay Deus, se sab’ ora o meu amigo De son don ai m’esperansa. For I dare not boast openly of this, for fear Of losing that in which all my hope lies Ay Deus, se sab’ ora o meu amigo O God, if my friend only knew como eu senlhiera estou en Vigo, how alone I am in Vigo Greu er ja que fols desnatur, It will always be hard for a fool to change his ways 9 Mandad’ ei comigo e vou namorada and I am in love. Et a follejar non recim, And not revert to folly, Ay Deus, se sab’ ora o meu amado O god, if my lover only knew E folla que no’is desmesur; And for a foolish woman not to transgress; Mandad’ ei comigo I have a message como eu en Vigo senlhiera manho, how I am so lonely in Vigo E mals albres de mal noirim, And an evil tree grows from evil soil, ca ven meu amigo: that my friend is coming, e vou namorada and I am in love. De mala brancha mala flor From an evil branch comes an evil flower, e, irey, madre a Vigo. and I shall go, mother, to Vigo. E fruitz de mala pesansa And the fruit of evil thoughts Como eu senlhiera estou en Vigo How alone I am in Vigo Revert a mal outratl pejor Returns to evil, beyond the worst, Comigo ei mandado A message I have e nulhas guardas non son comigo, and no guardian do I have with me Lai on jois non a sobransa. Wherever Joy is not supreme ca ven meu amado: that my lover is coming e vou namorada and I am in love. e, irey, madre a Vigo. and I shall go, mother, to Vigo. De l’amistat d’estraing atur Affection of unnatural kind, Como eu senlhiera en Vigo manho How I am so lonely in Vigo Falsa de lignatge Caim False, in the tradition of Cain, Ca ven meu amigo That my friend comes, e nulhas guardas migo non trago, and no guardian accompanies me Que met los sieus a mal ahur Drags its devotees down into misery, e ven sano e vivo: that he comes well and alive, e vou namorada and I am in love. e, irey, madre a Vigo. and I shall go, mother, to Vigo. Car non tem anta ni blastim, For it fears neither shame nor blame, E nulhas guardas non son comigo And no guardian do I have with me Los trai d’amor ab sa doussor, And lures them from true Love with its seduction; Ca ven meu amado That my lover comes, ergas meus olhos que choran migo, except my eyes which weep with me Met lo fol en tal erransa It leads the fool into such deep error e ven vivo e sano: that he comes alive and well, e vou namorada and I am in love. Que non remanria ab lor That he would shun the company even of those e, irey, madre a Vigo. and I shall go, mother, to Vigo. Qui’l donava tota Fransa. Who offered him all France as his reward. E nulhas guardas migo non trago And no guardian accompanies me Ca ven sano e vivo That he comes well and alive, ergas meus olhos que choran ambos, except my eyes which both weep e del rey amigo: befriended by the King, e vou namorada and I am in love. e, irey, madre a Vigo. and I shall go, mother, to Vigo. Ca ven vivo e sano That he comes alive and well, e del rey privado: esteemed by the King, e, irey, madre a Vigo. and I shall go, mother, to Vigo. 12 Quantas sabedes amar amigo Quantas sabedes amar amigo All you who have loved a friend iredes comigo a lo mar de Vigo come with me to the sea at Vigo e banhar-nos hemos nas ondas and let us bathe in the waves Quantas sabedes amar amado All you who have loved a lover iredes comigo a o mar levado come with me to where the sea rages e banhar-nos hemos nas ondas and let us bathe in the waves Iredes comigo a o mar de Vigo Come with me to the sea at Vigo e veeremo-lo meu amigo and we shall see my friend e banhar-nos hemos nas ondas and let us bathe in the waves Iredes comigo a lo mar levado Come with me to where the sea rages e veeremo-lo meu amado and we shall see my lover Recorded at Ormond College Chapel, e banhar-nos hemos nas ondas and let us bathe in the waves University of Melbourne, 15-18 February 1982 (Tracks 5-6, 8-14) 13 Eno sagrado Vigo Move Studios, Melbourne, Eno sagrado Vigo In the holy town of Vigo 8-10 April 2005 (Tracks 1-4, 7) bailava corpo velido I danced with my fair body. amor ey! O love! En Vigo no sagrado In Vigo most holy Engineers: bailava corpo delgado I danced with my slender body. Martin Wright, amor ey! O love! Andrew Earle, Bailava corpo velido I danced with my fair body que nunca ouvera amigo that has never known a friend. Vaughan McAlley amor ey! O love! Bailava corpo delgado I danced with my slender body que nunca ouvera amado that has never known a lover. Cover design: Joe Griffiths amor ey! O love! Artwork: Martin Wright Que nunca ouvera amigo That has never known a friend Photography: ergas no sagrado Vigo except in holy Vigo. amor ey! O love! Ponch Hawkes (group members) Que nunca ouvera amado That has never known a lover Barry Burton (beach) ergas en Vigo no sagrado except in Vigo most holy. Front cover: Martin Codax fragment, amor ey! O love! Pierpont Morgan Library, New York 14 Ay ondas que eu vin ver O waves that I have come to see, All translations by La Romanesca Ay ondas que eu vin ver, if you could only say se me saberedes dizer why my friend lingers without me? except tracks 2-3: From Marcabru: porque tarda meu amigo sen mi? O waves at whom I have come to gaze, a Critical Edition. Ed Simon Gaunt, Ay ondas que eu vin mirar, if you could only tell Ruth Harvey and Linda Paterson. se me saberedes contar why my friend lingers without me? porque tarda meu amigo sen mi? Woodbridge: D.S. Brewer, 2000. Used by permission … track 6: Graham Halligan

LA ROMANESCA is an ensemble which has made its mark on both in Australia and internationally. Formed in 1978, La Romanesca has built its reputation on a performance style that integrates virtuosity and imagination with scholarship and research. The ensemble has toured widely throughout Australia playing at many major national festivals as well as tours to Europe, the United States, and Asia. Countertenor Hartley Newnham is one of Australia’s finest singers, also known for the works written for him by composers such as Ross Edwards and Anne Boyd and his own compositions. Ruth Wilkinson specialises both in recorders, and related early strings. She performs with a number of ensembles including Capella Corelli and Consort Eclectus and is one of Australia’s most distinguished teachers of early instruments. Ros Bandt, in addition to her work in early music is also known worldwide for her work in experimental and environmental music. She has received major composition awards such as the Don Banks Award (1991), and has published both many books and recordings. John Griffiths is a leading figure internationally in the world of Recordings by La Romanesca Ruth Wilkinson Ros Bandt Iberian Triangle La Romanesca Music of the Countess of Sandwich Glass and Clay early plucked instruments, both as scholar and Via Frescobaldi La Romanesca Handel and Telemann Stargazer performer, and is Professor of Music at the as member of Capella Corelli Footsteps The music of the 14th Century La Prima Stravaganza Sonic Archaeologies University of Melbourne. Two Gentlemen of Verona as member of Capella Corelli Stack Every Delight and Fair Pleasure Quivering String I am Music John Griffiths as member of Back to Back A Florentine Annunciation Echo of Orpheus The Scent of time The present recording includes material first as cross cultural collaboration with Dang Kim Hien released in 1982 on La Romanesca’s recording On the Wings of a Butterfly with Le Tuan Hung Medieval Monodies, and has been extended Phoenix Songs as composer here by new recordings of instrumental music and further songs by Marcabru. Full details at www.move.com.au