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Los Sonidos De Leonardo Da Vinci En La Música De Su Tiempo

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Los Sonidos De Leonardo Da Vinci En La Música De Su Tiempo 1 Los sonidos de Leonardo da Vinci en la música de su tiempo. 2 Traducción del librillo redactado en japonés: Anónimo (c. 1500) Programa Gesegnet sey die frucht Pues que jamás olvidaros Oswald von Wolkenstein (c. 1377-1455 Juan del Encina (ca. 1469 - 1529) (Campanas de Vinci) La Doune Cella Claudin de Sermisy (ca. 1515) Textos Lo Ballo dell´ Intorcia (En cursiva, las partes cantadas en el disco) Antonio Valente (ca.1520 - 1581?) Adoramoste Señor (Folía) Et la la la Francisco de la Torre (c. s.s. XV-XVI Et la, la, la Gar wunnikleicht hat si mein herz besessen Faites lui bonne chière Oswald von Wolkenstein (ca. 1377-1455) M´y levai par un matin La fraiche matinée Song of Agincourt M´en entrai en no´ jardin Melodía popular inglesa, s. XV Pour cueillir girouflée La, la, la, la, la, la Le foresi di Narcetri (Canto Carnascialesco) Faites lui bonne chière Letra de Lorenzo el Magnífico A la belle bergère Música de autor anónimo (S. XV) M´en entrai en no´jardin Pour cueillir girouflée Pavana del Re y Saltarello Là trouvai le mien ami Anónimos (s. XVI) Qui l´avait amassée La, la, la, la, la, la ¿Quién te traxo, cavallero? Faites lui bonne chière Juan del Encina (ca. 1469 – 1529) A la belle bergère Pavana con sus glosas Y la, la, la Antonio de Cabezón (1510-1566) Dadle buena acogida. Me levanté una mañana Wach auff mein hort Fresca madrugada. Oswald von Wolkenstein (c. 1377-1455) Entré en nuestro jardín Para coger alhelíes. Et la la la La, la, la, la, la, la, Ninot le Petit (c. 1500 - 1520) Dadle buena acogida A la bella pastora. Pavana Bittre Reue (Mille regrets) Entré en nuestro jardín (Canción del Emperador) Para coger alhelíes. Josquín des Prèz (c. 1445 - 1521) Allí encontré a mi amigo 1 y 3: versión de anónimo, ed. de Tielman Que lo había amasado. Susato La, la, la, la, la, la 2: Canto, versión original de Josquin. Vihuela, Dadle buena acogida glosa de A la bella pastora Luis de Narváez, Delphin de Música", 1538) La Shy Mize Pues que jamás olvidaros Anónimo (S. XVI) Pues que jamás olvidaros Al alba venid, buen amigo no puede mi coraçón, si me falta galardón, 3 ¡Ay qué mal hice en miraros! que pronto se verá el fin de mis días Será tal vista cobrar gran dolor y gran tristura. Canto delle foresi di Narcetri Será tal vista penar si me fallece ventura. Lasse´in questo carnovale noi abbiam donne smariti Mas si vos por bien amaros tutti a sei nostri mariti; queréis darme galardón e senz´es si stiam pur male no dirá mi coraçón Questi frutti saran vostri, ¡Ay qué mal hice en miraros! Que son dolci e non fan male Di Narcetri noi siam tutte l´arte nostra´es ser forese ¿Quién te traxo, cavallero? Abandonadas en este Carnaval, ¿Quién te traxo, caballero las seis mujeres hemos perdido a questa montaña escura? a nuestros maridos; ¡Ay pastor que mi ventura y sin ellos estamos mal. Jur´al cuerpo de San Polo Estos frutos serán vuestros, que estoy asmado de ti! que son dulces y no hacen daño Somos todas de Narcetri Yo cuidé qu´eras Bartolo nuestro arte es ser campesinas un pastor d´Estremadura c´aprisca en aquella altura Noi cogliemmo certe frutte ¿Quién t´arribó por aquí belle come dà´l paese tan animoso y tan solo? Se vi è niunna si cortese ci´nsegni mariti nostri Triste de mi desdichado Questi frutti saran vostri, Sin ventura soy perdido Que son dolci e non fan male Que me tiene despedido Di Narcetri noi siam tutte Quien me tiene cautivado l´arte nostra´es ser forese Quiero ya tener cuidado De buscar la sepultura Recolectamos estos frutos Pues mi mal es sin mesura bellos como del país Si hay alguna tan amable Duéleme tanto tu mal que nos enseñe nuestros maridos En ver tu pena tan dura Estos frutos serán vuestros Que estoy sin semejadura Que son dulces y no hacen daño Somos todas de Narcetri Por tu ser a mi me place Nuestro arte es ser campesinas Desta noche estar contigo Aunque de cierto te digo Citriuoli abbiamo e grossi Que muy duro se me hace Di fuor pur ronchiosi e strani; Paion quasi pien di cossi, Pues el placer me desplace Poi sono apritivi e sani Y mi muerte se apresura Ei si piglian con due mani Ya mi vida no es de tura Di fuor leva un po´ la buccia Apri ben la bocca e succia; Chi s´avvezza, e´non fa male. Pavana Bittre Reue (Mille regretz) (Canción del Emperador) Tenemos citrones, y gruesos Por fuera rugosos y raros Mille regrets de vous abandoner Parecen llenos de manchas Et d´elonger votre face amoureuse Luego son laxantes y sanos J´ai si grand dueil et peine douloureuse Y se cogen con las dos manos Qu´on me verra brief mes jours déffiner Levanta un poco la cáscara Abre bien la boca y chupa; Mil pesares por abandonaros Que (uno) se acostumbra y no hace daño. y alejar vuestra faz amorosa. Tengo tal duelo y dolorosa pena Mellon c´è co gli altri insieme. 4 Quant`è una zucca grossa; Tengo que soportar más de lo que puede una Noi serbiam questi per seme, mujer. Perch`assai nascer ne possa: Fassi lor la lingua rossa, Debo partir. Me hieres como una espada L´alle e´piè, pare un drago Porque no puedo quedarme. A vederlo, o fiero mago; El dolor de la separación me entristece, Fa paura e non fa male. el deseo de tu boca roja me atormenta, ni la amarga muerte podría abatirme más. Noi abiam con noi bacelli Toda esperanza me abandona. Lunghi e teneri da ghiotti; Ed ababiam ancor di quelli Duri e grossi; e son buon cotti, Eda far de´sermargotti, Se la coda in man ti tieni; Comentarios Su e ´ngiù quel guscio meni E´minaccia, e non fa male. El repertorio seleccionado para este Queste frutte oggi è l´usanza disco pretende ilustrar de forma rigurosa a la Che si mangin dietro a cena vez que agradable una parte representativa de A noi pare un`ignoranza; los géneros musicales que se practicaban en la A smaltirle è poi la pena. Europa de la segunda mitad del siglo XV y Quando la natura è piena; principios del XVI, en su doble vertiente Dee bastar: pur fate voi instrumental y de canto solista, adaptándolo a Dell usarle innanzi o poi; un conjunto modelado para el mismo en el que Ma dinanzi non fa male. sobresalen algunos de los instrumentos preferidos por Leonardo cuando no Queste frutte, come sono, directamente surgidos de sus conocimientos en (Se i mariti ci ´nsegnate) la materia y capacidad inventiva. En aquella Noi ve ne faremo un dono: época, existía una fluida relación entre las Noi siam pur di verde etate distintas escuelas nacionales: las peninsulares Se lor fien persone ingrate, italianas, la franco-flamenca, la aragonesa de Troverem qualch´altro modo, Nápoles, o la de la Corte de los Reyes Católicos, Che ´l poder non resti sodo; por citar sólo las más importantes. El vacío Noi vogliam far Carnasciale dejado por el abandono del Ars Nova, desde los primeros decenios del Quattrocento, por parte de gran parte de los músicos italianos es Wach auff, mein Hort colmado por una pléyade de músicos extranjeros que convierten al país en uno de los Wach auff, mein hort! es leucht dort her escenarios más abiertos para la creación von orient der lichte tag. musical: no se trata ya sólo de rendir un Plick durch die prow, vernin den glanz, homenaje de ámbito europeo al genio florentino, wie gar vein plaw des himels kranz sino también de hacer patente una realidad que sich mengt durch graw von rechter schanz. vivió personalmente en su entorno a lo largo de Ich fürcht am kurzlich tagen. su vida: Agrícola, Brant, Brith, Bruhier, Brumel, Carpentras, Compère, Conseil, Dufay, Festa, Ich klang das mort, des ich nich ger Ghiselin Isaac, Jacotin, Josquin, Marbrianus, de man hört die voglin in dem hag Orto, Martín, Obrecht, Pisano, Silva, Nicolo Tedesco, Weerbeke, Willaert y los españoles Despierta, mi tesoro, ya luce Juan del Encina y Francisco de Peñalosa son desde Oriente el luminoso día. algunos de los grandes nombres que Entreabre tus ojos y mira el resplandor contribuyeron desde Italia al sin par tan azul que el horizonte del cielo florecimiento musical del siglo de se mezcla con el gris que nos fue propicio. Leonardo. El XV es también el siglo de muchas Tengo miedo de que pronto amanezca. recopilaciones musicales como el Cancionero de Palacio y de las importantes Lamento, ah, lo que no deseo: ediciones realizadas en Venecia por Petrucci Se oye cantar los pájaros con una amplia visión que trasciende en mucho ruidosa y alegremente en la espesura. el mero ámbito peninsular, a las que seguirían ¡Oh ruiseñor! tu canto maravilloso las de Atteignant en Paris y Susato en Amberes me trae dolor, no te lo agradezco. y Lovaina 5 canciones monódicas y polifónicas de gran altura. Wach auff, mein hort es una canción amorosa a dos voces que fue muy popular en su Pues que jamás olvidaros y tiempo, apareciendo en distintas recopilaciones ¿Quién te traxo, cavallero? de la época; escrita en notación gregoriana, Gesegnet sey die frucht, una plegaria monódica Juan del Encina para implorar la bendición divina y Gar wunnikleicht hat si mein herz besessen un dúo Nacido en Salamanca en 1468 y muerto ca. instrumental en forma de canon, género que 1530, se incorpora a los dieciséis años como tuvo un gran florecimiento en el s.
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