Composers and Texts

Francisco López Capillas (ca. 1615 – Jan. or Feb. 1673) was a Mexican composer born in Mexico City. He was chapelmaster of Mexico City Cathedral from 21 April 1654, until his death. He was the most prolific composer of Baroque masses in Mexico.

Alleluia! Dic Nobis Maria – Capillas (1605-1673) The Easter sequence, attributed to Wipo of Burgundy (died c.1048), it is sung at Mass on Easter Sunday and through its Octave as well as incorporated into medieval religious dramas performed at Easter. Tell us, Mary, what did you see on the way? I saw the tomb of Christ the living, and the glory of the risen one. Tell us, Mary, what did you see on the way? I saw the angel witnesses, the sheet and clothes. Tell us, Mary, what did you see on the way? Christ, my hope is risen: He will go before you into Galilee. Alleluia We know that Christ has truly risen from the dead. Have mercy upon us, Thou triumphant King. Amen. Alleluia

Aufer a nobis – Capillas (1605-1673) Take away from us our sins, So that worthy, we may sing you a song of glory. We unworthy, with all praise Hail you, most worthy.

Cui Luna, Sol et Omnia – Capillas (1605-1673) He that the Moon, the Sun, and all things serve at all times, by the outpouring of heavenly grace was born of a virgin.

Juan del Encina

Aliases: Enzina, Juan dell; del Encina, Juan; del Enzina, Juan; de la Encina, Juan

Born: 12 July 1468 Died: 1529

Biography

Born in Salamanca, Spain, in July 12, 1468, his original name was "Juan de Fermoselle", taking "del Encina" in 1490

(perhaps his mother's last name). In the Universidad de Salamanca (Salamanca University) he studied Law achieving his doctorate. Despite his father being shoemaker, some of del Encina's brothers received a good education and reached important positions; one of them (probably the oldest one), Diego de Fermoselle, was cathedratic of music in Salamanca

University and one of his works remains in the "Cancionero Musical de Palacio" (Palace's Music Songbook).

In 1490, del Encina became Choir's Chaplain at Salamanca's Cathedral, job that he lost for not becoming a priest, serving instead (1492-1502) to some aristocratic courts (in ex.: the Duke of Alba). In the meanwhile del Encina tried to become the main singer at the Cathedral, but in vain, because the position was given to his coleague (and some kind of Nemesis, for some people), Lucas Fernández. But what del Encina didn't find in Spain he found in Rome. In 1502 Alessandro VI

(Pope) finally gave him the position at the Cathedral. The favor that del Encina had at Rome (the Vatican) still continued under the next Pope: Julius II, who gave to him the position of "Arcediano" at the Cathedral of Malaga.

In 1519, del Encina was finally ordered as priest and decided to celebrate his first mass in Jerusalem. From 1519 to his death, del Encina was Prior of the Cathedral of Leon.

The exact date of his death remains unknown, but it could have been late in 1529 or in the beginning of 1530, because his

Last Will document was open on January 14, 1530, and his position as Prior in Leon was transferred to other on January,

10.

Del Encina not only was a great composer, but a good poet as well. Today we have just 61 of his music works (it's not known how much is lost).

¡Cucu, Cucu! – Encina (1464-1529)

Coo-coo, coo-coo! Make sure it's not you.

Mate you must know, that the best of women, is always crazy to screw, tire out yours well.

Mate you must take care, to never be cuckolded, if your wife goes out to pee, go out with her.

Fata la Parte – Encina (1464-1529) The text is a funny mix of Spanish and Italian, either on purpose to obtain a comical effect, or because it has been copied by someone who did not understand what he was writing. The story is clearly an issue of cuckoldry and can be more or less made sense, though it is not clear what "fata la parte" means exactly. http://www2.cpdl.org/wiki/images/5/50/Enc-Fata2.pdf - (verses 2 and 4 are additional) Tell it, tell it everywhere Mister Cotal's wife is dead! Because he found her with a Spaniard alone in the house, so he killed her he himself escaped, by force and by cunning Tell it, tell it everywhere Mister Cotal's wife is dead! I say so, since I saw him -O, help me Christ- biting his finger Screaming and weeping: "Spaniard, watch out!" Tell it, tell it everywhere Mister Cotal's wife is dead! Watch out if I get you, Don Spaniard! Over my bed I will teach you a lesson such that if it were written, the letters would weep Tell it, tell it everywhere Mister Cotal's wife is dead! Mister, it seems to me, thanks to her and to me Let me be and do not worry it seems bad enough to be, having cuckolded you Tell it, tell it everywhere Mister Cotal's wife is dead!

Mateo Flecha (Catalan: Mateu Fletxa) (1481–1553) was a composer born in Kingdom of Aragon, in the region of Prades. He is sometimes known as "El Viejo" (the elder) to distinguish him from his nephew, Mateo Flecha "El Joven" (the younger), also a composer of madrigals. "El Viejo" is best known for his ensaladas, published inPrague in 1581 by the same nephew.

Mateo Flecha directed the music at the cathedral of (September 1523 – October 1525).[1] From there he moved to Guadalajara, in the service for six years of the Duke, Diego Hurtado de Mendoza. From there he went to where he assumed direction of the chapel choir of the Duke of Calabria. While thus employed, three of his works were included in songbooks associated with that chapel, including the Cancionero de Uppsala. In 1537 Flecha moved to Sigüenza where he served as maestro di cappella for two years. From 1544 to 1548 he lived in the castle at Arévalo as teacher of the Infantas Maria and Joanna, daughters of Philip II of Spain (1527-1598). Toward the end of his life Mateo Flecha became a monk of the Cistercian Order, living in the Monastery at Poblet, where he died in 1553.

Flecha's ensaladas influenced the madrigals of Joan Brudieu. Flecha is best known as composer of the "ensalada" (literally "salad"), a work for four or five voices written for the diversion of courtiers in the palace. The ensalada frequently mixed languages: Spanish, Catalan, Italian, French, and . In addition to the ensalada, Flecha is known for his villancicos, or Christmas carols.

Dindirindin 16th century anon. Thought by many to be the work of Mateo Flecha el Viejo. The language really is not quite Spanish, but in some kind of (Mediterranean) Lingua Franca Dindirin danya, dindirindin. I arose one fine day and spent the morning in the meadow; I heard the nightengale singing on the bough, din-di-rin-din. Dindirin danya, dindirindin. I heard the nightingale singing on the bough, Nightingale, oh nightingale, do this errand for me, din-di-rin-din. Dindirin danya, dindirindin. Nightingale, oh nightingale, do this errand for me, tell my lover that I am already married! Din-di-rin-din. Dindirin danya, dindirindin.

Villancicos de Navidad a quarto bozes No.3 Verbum Caro Factus Est from Cançionero del Upsala RISM 1556 – anon. (possibly Mateo Flecha el Viejo) The Word was made flesh So you all may be saved, So you all may be saved.

And the Virgin said: Life of my life My son, what I would not do for you, But I anything on which to lay you down?

The Word was made flesh So you all may be saved, So you all may be saved.

O Earthly riches, Will you give not some swaddling clothes to Jesus, born among animals, as you can see?

The Word was made flesh So you all may be saved, So you all may be saved.

Villancicos de Navidad a quarto bozes No.9 E la don, don Verges Maria from Cançionero del Upsala RISM 1556 – anon. (possibly Mateo Flecha el Viejo) She is our Lady, the Virgin Mary. and "don don", bright pale are the feet that dance for us, and she is our Lady.

1. O lads! On this night a virgin gave birth to a fine boy without equal in this world.

2. "Say who told you so, that a virgin gave birth, for we've never heard the like."

3. "The angels said so singing in loud voices 'Gloria in excelis Deus', and he is to be found in Bethlehem."

Villancicos de Navidad a quarto bozesNo.10 Riu Riu Chiu - anon. (possibly Mateo Flecha el Viejo)

The villancico is attributed by some sources[1] to Mateo Flecha the Elder, who died in 1553; it has also been described as anonymous.[2] The song also bears a strong resemblance to another villancico, Falalanlera, by Bartolomeu Càrceres, a Catalan composer.[3] It is known from a single source, the Cancionero de Upsala, published in 1556 in Venice; a unique copy is preserved at the library of the University of Uppsala. The song appears as the fortieth song of that collection.[4] Daniel R. Melameddescribed the song as "redoutable", and mentions it as a contender for the best known piece of Renaissance music.[5]

The nonsense syllables ríu ríu chíu are often taken to represent the song of a nightingale,[6] but are more appropriately heard as the predator call of a kingfisher.[7]

Cristóbal de Morales (c. 1500 – between September 4 and October 7, 1553) was a Spanish composer of the Renaissance. He is generally considered to be the most influential Spanish composer before Victoria.

Ad tantae Nativitatis – Morales (1500-1553) This great Christmas invites such joy and joyous singing with the army of angels.

Salve Regina – Morales (1500-1553) Salve Regina are the opening words of one of the four Breviary anthems of the Blessed Virgin Mary. It is said from the First Vespers of Trinity Sunday until None of the Saturday before Advent.

The traditional ascription to Hermannus Contractus (1013-54) is now rejected by scholars.

Liturgical use: It is one of four Marian antiphons appointed to be sung at the end of Compline during various seasons of the Church year, "Salve Regina" being sung during the "ordinary time" between Pentecost and Advent. Hail, Holy Queen, Mother of mercy, [Hail] our life, our sweetness and our hope! To thee do we cry, poor banished children of Eve, to thee do we send up our sighs, mourning and weeping in this valley of tears. Turn, then, most gracious advocate, thine eyes of mercy toward us, and after this, our exile, show unto us the blessed fruit of thy womb, Jesus. O clement, O loving, O sweet Virgin Mary.

Per Tuam Crucem By your cross, Save us, O Christ the Redeemer: that our death dying down, rising again and restore life.

Have mercy on us, Jesus kindly, he graciously suffered on the cross for us rising again and restore life.

Juan Gutiérrez de Padilla (ca. 1590 – 1664) was a Spanish composer in what is modern Mexico.

He was born in Málaga, Spain but moved to Puebla, Mexico, in 1620 to compose music in the New World. At the time New Spain was a viceroyalty of Spain that included modern day Mexico, Guatemala, the Philippines and other parts of Central America and the Caribbean. Padilla is one of the more important composers represented in the manuscripts at Puebla, Mexico and the Hackenberry collection in Chicago, Illinois. He worked at Puebla de Los Angeles, Mexico, which in Baroquetimes was a bigger religious center than Mexico City itself. He was appointed maestro de capilla of Puebla Cathedral in 1628.

Stabat Mater – Padilla (1590-1664) At the cross her station keeping, stood the mournful mother weeping, close to Jesus to the last.

Through her soul, of joy bereaved, bowed with anguish, deeply grieved, now at length the sword hath passed.

Tristis est Anima Mea – Padilla (1590-1664) The second responsory for Tenebrae of Maundy Thursday. Non standard setting of the text. Matthew 26:38-39

38 (Tunc ait illis:) Tristis est anima mea usque ad mortem: sustinete hic, et vigilate mecum.

39 Et progressus pusillum, procidit in faciem suam, orans, et dicens: Pater mi, si possibile est, transeat a me calix iste: verumtamen non sicut ego volo(, sed sicut tu.)

“Then He said to them:” My soul is deeply saddened to the point of death: Stay here and keep watch with me.

And He progressed beyond them, and fell on his face praying, and said, Father, if it is possible, let this cup pass from me: However, it is true that it is not as I will (but as You will.)

Usually the second half is:

Now you shall see the mob that will surround me. You shall take flight, and I shall go to be sacrificed for you. Tomás Luis de Victoria (sometimes Italianised as da Vittoria; c.1548 – 27 August 1611) was the most famous composer in 16th-century Spain, and was one of the most important composers of the Counter-Reformation, along with Giovanni Pierluigi da Palestrinaand Orlando di Lasso. Victoria was not only a composer, but also an accomplished organist and singer as well as a Catholic priest. However, he preferred the life of a composer to that of a performer.[1] He is sometimes known as the "Spanish Palestrina" because he may have been taught by Palestrina.[2]

O Quam Gloriosum Est Regnum – Victoria (1548-1611) 1572 motet, 1583 mass All Saints, Second Vespers, Antiphon to the Magnificat; cf. Apocalypse 7:9

O how glorious is the kingdom in which all the saints rejoice with Christ, clad in robes of white they follow the Lamb wherever he goes.

O Magnum Mysterium – Victoria (1548-1611) 1572 motet 1592 mass Fourth of the nine responsories for Matins of Christmas Day

O great mystery and wonderful sacrament, that animals should see the new-born Lord lying in a manger! O blessed is the Virgin, whose womb was worthy to bear Christ the Lord. Hail Mary, full of grace: the Lord is with you. Blessed is the Virgin whose womb was worthy to bear Christ the Lord. Alleluia!

Jesu Dulcis Memoria – attr. Victoria (1548-1611) first published 1844 Jesus, sweet remembrance, Granting the heart its true joys, But above honey and all things Is His sweet presence.