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SIGCD006 SIGCD007 SIGCD008 SIGCD009 Music for Philip of Spain Two upon a ground: Jupiter The Fitzwilliam Virginal Book and his four wives Duets and Divisions for two

SIGCD018 SIGCD020 SIGCD026 Sacred Songs of Sorrow The Queen’s Goodnight Music for Gainsborough

SIGCD032 SIGCD041 SIGCD042 SIGCD049 The Sultan and the Phoenix Modus Phantasticus Tallis 9 Harmonia Caelestis

www.signumrecords.com www.charivari.co.uk Available through most record stores and at www.signumrecords.com. For more information call +44 (0) 20 8997 4000 CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer: SignumClassics YELLOW Catalogue No. SIGCD069 BLACK Job Title: Esperar SIGCD069 booklet Page Nos.

ESPERAR SENTIR MORIR Instrumentarium Songs and dances from the Hispanic Baroque Susanne Heinrich a treble (M.D. Attwood, 1993) after Henry Jaye (mid 17C) b bass viol (M.D. Attwood, 1999) after anon. 17C English original Kah-Ming Ng c chamber organ (V.Woodstock, 1996) d harpsichord (A. Garlick, 1977) after I. Ruckers 1638 1. Juan Hidalgo (c.1612–1685) / arr. K-M Ng Esperar, sentir, morir [b, c, e] [4.31] Constance Allanic e triple harp (C.H. Hüttel, 2002) after 17C Italian iconography 2. Kah-Ming Ng & Clara Sanabras Quiero, y no saben que quiero [b, e, h] [9.06] Richard Sweeney f 16-course theorbo (K. Jacobsen, 2002) after various 17C Italian models 3. Lucas Ruiz de Ribayaz (b. 1626) Españoletas [e] [4.58] g 6-course (A. Rutherford, 2000) after Hans Gerle 4. Sebastián Durón (1660–1716) Corazón, causatenéis [b, c, e] [4.32] h 5-course guitar (K. Jacobsen, 1995) after anon. Venetian original 5. Francisco Escalada (fl. 17C) Canten dos jilguerillos [b, d, e] [2.18] Clara Sanabras i 5-course guitar (K. Jacobsen, 1998) after anon. Venetian original 6. Anonymous Solo, triste y ausente [b] [5.00] Rodrigo del Pozo j 4-course guitar (E. Fitzgibbon, 1996) 7. Anonymous Differenzias sobre la Gayta [b, c] [3.38] 8. Clemente Imaña (fl. 17C) Filis yo tengo [b, c, f] [3.32] 9. Anonymous ¡Ay, mi Dios! ¿Qué fuera de mí sin vos? [c, e, h] [3.59]

10. Anonymous, arr. K-M Ng Chacona [d] [2.24] Recorded in St Andrews Church, Toddington, Gloucestershire, 22–24 September 2004 This recording was made possible through the generous support of Abjad Ltd. 11. Juan Barter (c.1648–1706) ¡Hazo, Antón! [d, e, f] [8.29] Production, engineering and editing - Adrian Hunter and the Chilean Ministry for Foreign Affairs. 12. Anonymous San Juan de Lima [e, g, i, j] [6.43] Booklet notes - Kah-Ming Ng 13. Francisco de Santiago (1578–1644) Que se ausenta [b, c] [4.25] Artwork and design - Woven Design Charivari Agréable would like to thank Adrian Hunter (their tenacious producer) and David Bannister (production assistant or general factotum), who, in their 14. Francesc Valls (c.1671–1747) Gilguerillo que el ayre [a, c, e] [7.57] Booklet front cover - V&A Images / Victoria and Albert Museum enthusiasm, would not be dissuaded from introducing rhythmic clapping into the 15. Anonymous Tarambote para duas charamelinhas [e, g] [2.39] CD Inlay - The Dream of Life or El Sueño del Caballero by Antonio de Pereda canarios. Thanks, too, are due to Dr Glyn Redworth for his pruning of purple 16. Kah-Ming Ng Canarios [b, d, e, f, i, j] [4.30] (1611–1678), by kind permission of the Museo de la Real Academia de Bellas prose. We dedicate this CD to Sophia Maria & Haajar. Artes de San Fernando, Madrid Picture research - Kah-Ming Ng P 2005 The copyright in this recording is owned by Signum Records Ltd. Total Time [78.42] Photo credit - Susanne Heinrich & Kah-Ming Ng by Ian Baldwin C 2005 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. Pitch - A=440Hz, keyboards tuned by Kah-Ming Ng in 1/4-and 1/6-comma Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact meantone temperaments Discs constitutes an infringement of copyright and will render the infringer liable to an action Translations - Clara Sanabras by law. Licences for public performances or broadcasting may be obtained from Phonographic www.signumrecords.com Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval www.charivari.co.uk system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording charivari agréable or otherwise, without prior permission from Signum Records Ltd. Directed by Kah-Ming Ng SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK +44 (0) 20 8997 4000 E-mail: [email protected] www.signumrecords.com www.charivari.co.uk - 19 - CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer: SignumClassics YELLOW Catalogue No. SIGCD069 BLACK Job Title: Esperar SIGCD069 booklet Page Nos.

Revelations from the Hispanic Baroque

he Spanish Baroque, roughly spanning the reigns of Felipe (Philip) state of affairs was reported by a singer in the royal chapel Pedro III and V, is supposedly a musically fallow period. The logic is [Pietro] Cerone, one of a select number of Italians working in Spain. simple: the burnish of a Siglo de Oro must be followed by the He noted, in his treatise El melopeo y maestro (Naples, 1613) tarnish of a degenerate age. What goes up must come down. written in Castillian and dedicated to Philip III, that ‘very few Admittedly Spain suffered a collapse of imperial, military and noblemen took pleasure in learning about music … instead many economic might. The discovery of the New World in 1492 heralded banished it from their houses as something contemptible … the beginnings of world power, which was consolidated by a supply solely for clergymen and monks’. But it was the wholesale lack of of American bullion and various dynastic inheritances, not least publishing enterprise, however, which has resulted in musical when the ruler of Austria and the Netherlands, the future Holy degeneration, a perception not reversed until recently. The meagre Roman Emperor Karl V, became, as King Carlos I of Spain in 1516, pickings can be explained by any number of factors: inquisitorial the founder of the Habsburg dynasty which would rule until the censorship, the financially prohibitive cost of printing in Spain, the beginning of the 18th century. But by the mid-seventeenth century, absence of specialist music printers, and bureaucratic curbs on these stupendous legacies had been inexorably eroded by revolts in ‘luxuries’ by way of punitive taxes and draconian licensing laws, all clara sanabras rodrigo del pozo and the wealthy Kingdom of Naples, the secession of designed to make Spain ‘leaner and fitter’, better able to resume Portugal, surrender in the Netherlands, conspiracy in Aragon, its imperial role. As singer and instrumentalist Clara Sanabras performs a wide Rodrigo del Pozo has performed with most of the leading groups insurrection in Andalusia, the financially debilitating Thirty Years repertoire for voice, lute and of the 15th to 18th specialising in the baroque repertoire, including Charivari War, recurrent plagues, treasury bankruptcies, debasement of With the exception of some sacred polyphony, nearly all vernacular centuries, both as a soloist and in collaboration with many Agréable, Concerto Palatino, L’Ensemble Baroque de Limoges, the coinage, corruption, and so on. To rub salt into the wounds, there songs, the so-called tonos humanos, and their sacred counterpart, prestigious international ensembles. Since gaining her diploma at Gabrielibourgeois Consort, gentilhomme Harp Consort, King’s Consort, of the were the scathing observations of the ubiquitous English tourists, the , are preserved only in manuscript. Fate cruelly the Guildhall School of Music and Drama, she has performed with Age of Enlightenment, New York Collegium, Les Arts Florrisants, such as Francis Willughby, who travelled all over Spain in 1664. intervened, causing many a flimsy loose score and part to The Harp Consort, Dufay Collective, Palladian Ensemble, Purcell Apollo’s Fire, and Tafelmusik. Recent stage roles include Le Writing about his experience in 1673, he listed the various ills of disappear over time, with much of what did survive perishing in the the society, including such evils as ‘the tyrannical Inquisition’, ‘the fire at the Alcázar Palace of Madrid in 1734. It is therefore all the Quartet, Theatre of Voices, Charivari Agréable, and as a duo with for the English Bach Festival, Pastore multitude of Whores’, and ‘the barrenness of the Soil’. Warming to more welcome that the last decade of hispanic musicology has the lutenist William Carter. Her versatility and dedication have also (Monteverdi’s L’Orfeo) with Tragicomedia, Arcetro (Peri’s Euridice) his theme, he could not resist taking sideswipes at ‘the wretched begun to unearth untold riches. We are now learning that things enabled her to work for theatre, film and TV: at the new at the Drottningholm Theatre, and Anacréon with Les Musiciens du laziness of the people, very like the Welsh and Irish’. did look up for Spain in the later part of the 17th century. The Shakespeare’s Globe Theatre with Two Noble Kinsmen; in the Louvre.Songs ofRodrigo Sorrow has recorded for Auvidis-Astrée, DG, EMI, Harmonia peace with France plugged the drain on its economic and human filming of Peter Ackroyd’s historical series A Biography of London Mundi, Hyperion and Teldec, as well as BBC Radio 3 and televison Spain’s political masters may have been ineffectual, but her resources. Its population, and thus agrarian production, began its for BBC1; and featuring on soundtrack and screen in the movie and radio stations in America and Europe. His recording of Sacred musicians — and artists and writers — continued to sparkle, even revival in the 1660s, and monetary inflation ended in the 1680s. So version of The Merchant of Venice with Al Pacino. with Charivari Agréable was named ‘Best CD of the if they were faced with insurmountable obstacles to their art. we can but dip our toes in this deep wellspring of music. As such Year’ by International Record Review. Patronage was forthcoming mainly from church and crown. In this recording makes no pretence to being anthological. Instead, it contrast to their noble counterparts in other parts of Western represents a random sampling by a group of musicians gripped by Europe, the Spanish grandes and títulos, despite their wealth and the beauty and romance of Spanish baroque monody. power, displayed a philistine indifference to music. This shocking

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The Spanish baroque received its kick start during the reign of Another song in a similar vein is the anguished tono ‘Filis, yo tengo’ BIOGRAPHIES Philip III. He is generally, if inaccurately, remembered as an by Clemente Imaña, a native of La Rioja who became a choirboy at indolent and pallid king, given to extremes of sanctimonious piety Valladolid cathedral towards the end of the 1670s. Little else about and ostentatious court festivities. It is the latter preference that him is known, apart from some works in manuscript in Latin charivari agréable saw a significant gravitation towards secular tastes, a refreshing and Castillian. departure from his father Philip II’s dour commitment to sacred Charivari Agréable is recognized as ‘one of the classiest . Philip III (himself a singer, viola da gamba player and an Seville Cathedral was the most important musical centre of bands’ (The Observer), and ‘certainly one of the most original and avid dancer) not only displayed a considerable interest in secular southern Spain and the architectural and musical model for Latin versatile groups on the Early Music scene today’ (Hexachord) whose music, but re-nationalized the royal chapel by replacing Flemish America. In the Andalusian capital Sebastian Durón earned his musical ‘intuitions are always captivating’ (Goldberg). The group with Spanish musicians, whom he then called on to participate at spurs as cathedral sub-organist from 1680 to 1685 before moving has been hailed for its ‘thinking musicians who treat music of the court as músicos de cámara [chamber musicians]. He died in his on (via Burgo de Osma and Palencia) to the royal chapel in Madrid, past more creatively’ via their arrangements of music, ‘based on a bedchamber in 1621, apparently asphyxiated by the fumes of a where he eventually became maestro de capilla in 1702. Durón greater knowledge of the historical and social contexts for the charcoal brazier. calls his ‘Corazón, causa tenéis’ a sola, synonymous with music’. They represent ‘a new and very exciting phase of the early tono, and solo humano, and indistinguishable from music revival, one that enriches the existing repertory and can One of the first to congratulate the new king Philip IV on his the in its alternation of estribillos [refrains] with coplas bring us ever closer to the spirit of the original music’ (Gramophone). accession was the Count Palatine of Neuburg — whose wife, like [strophes]. Adding to the semantic confusion by assuming a ‘In tune’, ‘Music Restor’d’, and ‘The Early Music Show’, and has Philip’s mother and grandmother, belonged to the ducal house of semi-sacred guise, it expresses divine love and teases Under the artistic direction of Susanne Heinrich and the musical since recorded live for New York’s WNYC, and numerous European Bavaria — and his state visit in 1624 occasioned grand word-painting effects out of the word suspiráis [you sigh]. Flutes leadership of Kah-Ming Ng, the ensemble specializes in the radio stations, including the European Broadcasting Union. Their celebrations and a royal gift of a manuscript compilation of the are specified, but only one melodic instrumental part is extant. It is ingenious use of period instruments to produce ‘ravishing CDs have been awarded the Diapason d’Or, Gramophone’s ‘Editor’s best tonos sung at court. These were put together by the chief played here by a viol, and accompanied by the preferred chordal sonorities and full-bodied textures’ (Gramophone) with ‘their Choice’, International Record Review’s ‘Best CD of the Year’, and copyist of the royal chapel Claudio de la Sablonara. The resultant instruments of the day, the harp and organ. Durón suffered a powerful cohesion, warm sound, and their eloquent authority’ the Goldberg and BBC Music Magazine’s top star ratings. Cancionero de la Sablonara, as it is now called and which is serious reversal of fortune for supporting the wrong side in the War (Diapason). The group has ‘carved something of a niche for itself located in the Bayerische Staatsbibliothek, comprises songs by the of the Spanish Succession. Fleeing to his exile in France in 1707, in imaginative and well-thought-out programming’; ‘its work is the Apart from hosting an annual summer festival of early music in main composers at court, including the maestro de capilla Mateo he left behind him a prodigious output of sacred and secular fruit of both scholarly research and charismatic musicianship, a Oxford, the ensemble regularly expands into Oxford’s resident Romero and the famous singer, guitarist and theorbo player Juan music, and the distinction of being a composer ‘without equal’ for combination that puts it at the forefront of period-instrument period-instrument orchestra, Charivari Agréable Simfonie. The Blas de Castro. Either one of them could have been the composer the theatre, even though his career as a theatrical composer had ensembles’ (BBC Music Magazine). With a chronological remit orchestra has on-going collaborations with some thirty vocal of the unattributed cancion entitled ‘Solo, triste y ausente’. been brief and he was vilified by his contemporaries for introducing spanning epochs from the Renaissance to the early classical, the groups — choral societies and professional choirs alike — all over Italian features into his music. ensemble appears in many guises, from a continuo band, a viol the UK, and has been conducted by many musicians of renown, Absence, solitude and sweet melancholy were themes that consort, and an Elizabethan mixed consort, to a baroque orchestra including Sir Charles Mackerras. pervaded vocal music of the 16th and 17th centuries, eliciting from Spain’s most prolific and important composer for the theatre, and many other surprising — yet historical — combinations. their composers settings of heartfelt introspection. ‘Que se however, was the harpist of the royal chapel Juan Hidalgo. Best The ensemble has appeared at all prominent venues in ausenta’, an Ascension Day villancico for two tiples [trebles] and known as Philip IV’s chief composer of secular songs and Charivari Agréable [trans. ‘pleasant tumult’, from Saint-Lambert’s London, including Buckingham Palace; recent and forthcoming acompañamiento, is the work of the Carmelite friar Francisco de villancicos, he was also the director of the court’s chamber 1707 treatise on accompaniment] was formed at the University of engagements include major festivals in the UK, and tours to Santiago, one of numerous Portuguese musicians who achieved musicians. His superiority was unchallenged in such genres as the Oxford in 1993, and within the year became prize-winners of an Belgium, the Czech Republic, Finland, Germany, Holland, Hungary, success in Spain. His popularity reached far beyond Seville (where autos sacramentales (allegorical religious plays performed in international Early Music Network (UK) competition, made its debut Slovenia, Spain, Sweden, South East Asia, and the USA. For details he was maestro de capilla at the cathedral): three generations public for Corpus Christi), spoken comedias, , and . at the Wigmore Hall, and recorded the first of many subsequent live of the ensemble’s publications and discography, please refer to after his death a copy of the piece was made for Bogotá Cathedral. Many of these benefited from his partnership with the superlative broadcasts for the BBC. The group also appeared on BBC Radio 3’s www.charivari.co.uk.

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de música No fies de tu hermosura, Do not trust your beauty court dramatist, Pedro Calderón de la Barca. The sublime beauty of harpsichordist, it was not until the accession of Philip V that the En los vanos privilegios, Full of vain privileges Hidalgo’s ‘Esperar, sentir, morir’ is in sharp contrast to the comical harpsichord finally gained a foothold in Spain. This is evinced by Que es perfección sin recato Since your carefree perfection nativity villancico by the Catalan composer Juan Barter. His ‘¡Hazo, the four manuscripts of keyboard music collectively entitled Flores Blanco del atrevimiento. Will be a target for arrogance. Anton!’ is typical of the genre; on one hand devotional, yet on the . Its compiler was the Franciscan monk and theorist other it casts characters from the popular theatre, ranging from Antonio Martín y Coll, organist of the monastery of San Francisco el No jusgues estar seguro Do not trust your strength obtuse peasants to pompous mayors. Mediocre poets thrived on Grande in Madrid. His collection of 1708 includes the harpsichord Por remontarte altanero, To proudly recover time after time the villancico, often delighting in the abusive depictions of ethnic chacona, a salacious (possibly Latin American) dance which by Que es liviandad conocida For it is a well-known frivolity minorities, a reflection, perhaps, of Spain’s diverse racial background. that time had been frenchified and gentrified to suit the decorum Fundar la esperança en viento. To fill your hopes with wind. of the court. In its earlier guise, the chacona was an extremely Happily not all nativity villancicos display such politically incorrect provocative dance which women performed by gyrating their Translations by Clara Sanabras. portrayals. Francisco Escalada’s tender lullaby (c. 1677) for the bodies like windmills. Possibly alluding to tilting of a different kind, newborn Christ by a pair of goldfinches is a pretty unambiguous Miguel de Cervantes gives a vivid account, in one of his novels, of piece of work. Not much is known about Escalada, except that he the chacona danced by twelve mule drivers and kitchen maids, was most probably a contemporary of Barter and died in Mexico. to the frenzied accompaniment of singing and wanton guitar When Barter retired in 1696, Francesc Valls was appointed to strumming. What ensued is perhaps best left to the imagination. succeed him, although it took 13 years finally to confirm him as maestro de capilla of Barcelona Cathedral. Valls, too, used the French music features in another of Martín y Coll’s collection. Dated innocent image of the goldfinch in his ‘Gilguerillo que el ayre’; 1706, it contains ten settings of French minuets, six of which being the bird is represented by a violon, a generic term for a string arrangements of pieces by Jean-Baptiste Lully, Louis XIV’s instrument. Valls is best remembered for the polemics generated by surintendant de la musique de la chambre du roi. Also included in his use of an unprepared dissonance (an accented ninth) in his his collection is a keyboard differencias [divisions or variations] on Missa ‘Scala aretina’ (1702). A pamphlet war ensued, with over 50 a gayta [bagpipe, shawm or hurdy-gurdy], which is etymologically correspondents, including Alessandro Scarlatti, joining the fray. derived from the Celtic gait or ghaid (‘goat’) and originally denoted a bagpipe with a goatskin bag. The gayta seemed to have Valls survived Philip V by a year. The founder of Spain’s Bourbon taken over from the chacona as a perverter of public morals. It was dynasty, and the king who reigned twice, Philip V died of apoplexy referred to in Catalonia as [bag of groans], and in 1746. He had been incapacitated by depression, abdicating in banned in southern Aragon by the bishop of Teruel. He proclaimed, favour of his son Luís [Louis], only to resume the throne when his in 1745, that the gayta player was the devil in disguise, who sought son died of smallpox nine months later. Like his great-grandfather to seduce feeble Christians into taking part in the bayles, nighttime Philip IV, Philip V came to the throne at the age of sixteen. public dances of dubious repute. The gayta evidently had a reputation Proclaimed king of Spain in 1700 by his grandfather, France’s ‘Sun to maintain; it also referred to a dance which mimicked the drunk King’ Louis XIV, he arrived in Madrid in 1701, bringing with him a and the deformed. large posse of French advisers, artistes, and attendants. They were not the first Frenchmen to migrate to Spain. Some had come to No such controversy was attached to the harp, which enjoyed Madrid in 1679 with Marie-Louise d’Orléans, who was sent to marry special treatment in early Spanish music. The instrument of choice Carlos [Charles] II, Spain’s last Habsburg king and the imbecile for accompaniment, even in church, the harp features prominently son of Philip IV. Although Marie-Louise’s entourage included a in diferencias [divisions or variations] beloved of major Spanish

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composers, starting with Alonso Mudarra (1546), and including resulting from total immersion in period performance practice — 13. Francisco de Santiago: Que se ausenta Luis Venegas de Henestrosa, Antonio and Hernando de Cabezón, which ultimately makes an interpretation come to life. The result is Lucas Ruiz de Ribayaz, and Diego Fernández de Huete. The two of our own ‘compositions’. They betoken an artistic revitalization of Que se ausenta y nos dexa sin dueño It departs, becomes absent and leaves us diferencias on the tune ‘San Juan de Lima’ come from a manuscript an idiom which spans many centuries and forms a bridge to the Buscando su centro, mi bien y mi amor. Without guidance, my goodness, my love. of c. 1705, in which all pieces are anonymous, with the exception present generation. Ay! Que dolor, quien será si nos dexa y se parte la luz de los What pains! What will we do if it disappears of two song-settings attributable to Durón. Españoleta is Spanish campos, del mayo la flor. As the light in the fields, the flower of May. for the spagnoleta, which first appeared in Italy in the late 16th Our version of the popular theatre song ‘Quiero, y non saben century as a dance. Its harmonic scheme was later used as a que quiero’ (lyrics by Clara Sanabras) is inspired by a setting Que nos dexa i se parte sin su luz el sol! It is going, disappearing, the lightless Sun! ground for songs and instrumental variations. The version in this contemporaneous with the numerous plays in which it featured. Ay, que se ausenta a los cielos Our Sun vanishes from the sky recording is based on one for guitar or harp from Ruiz de Ribayaz’s The currency of this song is borne out by its appearance in some Señores del mundo el sol Oh Lords of the World! Luz y norte musical para caminar por las cifras de la guitarra half-dozen plays, among them in Act 2 of the ‘revenge and honour’ Dejando el campo sin flores Leaving behind barren fields española y arpa (Madrid, 1677). Not just a tutor but also a comedy Mujer, llora y vencerás [Woman, cry, and you will conquer] Los ruiseñores sin bos and voiceless nightingales. compendium of dances, it translates roughly as ‘A musical beacon (1680) by Calderón; and in Act 2 of Juan Bautista Diamante’s and guide, by which one may be advanced through the music for comedy Amor es sangre, y no puede engañarse [Love is blood, and Pise en buen hora cristales Stepping into timeless crystals the Spanish guitar and harp’, and qualifies as a rare specimen of cannot be deceived] (1674). The pithy song text — just two lines, Logre el amante blazon One lover finds his treasure non-royal patronage. Ruiz de Ribayaz must have exploited his but sufficient to merit its use in other plays, many with Y pague con llanto el alma but his soul pays with tears aristocratic connections, as he was himself a minor noble; an unspeakably well-intentioned titles — is expanded by Clara Tanto amor que le devió. For all the love that it was owed. hidalgo, no doubt, poor but proud. He followed his patron, the Sanabras, and represents yet another level at which performers Count of Lemos, to Peru in 1677. The count’s entourage at the time embrace the practice of the period. included the distinguished theatre composer Tomás de Torrejón y 14. Francesc Valls: Gilguerillo que el ayre Velasco, the finest composer in South America during the 18th The canarios, as might be imagined, comes from the Canary century. South America relied heavily on colonial composers for Islands. It was originally a graceful saltarello. But upon arrival in Gilguerillo que el ayre surcas ligero Little goldfinch is cruising the air lightly music; in Brazil the first colonial works date from mid-eighteenth Spain it adopted such features as foot slapping, jerky movements, Hecha quilla la frente las alas remos His forehead as a prow, his wings as oars; century, which is the presumed date for the anonymous ‘Tarambote’ and stumbling steps. This was a dance clearly not destined for No te eleves incauto deten el buelo Don’t fly away, fearless bird, stop your flight for two ‘charamelinhas’. the court. Our version is a fusion of two strikingly captivating Que en tu belleza traes tú mayor riesgo. Your beauty is enough to be fearful of. harmonic schemes from Luz, y norte (1677) by Ruiz de Ribayaz and No afecten tus armonías Don’t let your harmonies Baroque music shares with the folk tradition two vital elements of Compendio numeroso (1702) by Fernández de Huete. To these we tu mal fundado contento Disguise your weak nature creativity, viz. elaboration (or even alteration) and improvisation. In add layers of metrical twists and turns — including interplay of que es mucho estorvo una embidia For to live with an envy Spanish monody, settings of the same song text rarely show exact syncopation and hemiola — redolent of the Spanish predilection para vivir con sosiego. Is to live without solace. musical concordance. These songs, based on standard harmonic or for rhythmic vitality, and for contrasts of colour and texture. We rhythmic patterns, are usually refinements of pre-existing tunes. hope our listeners derive as much joy from this piece as we did in No por lo libre presumes Do not freely presume In their altered guise, they invite the intervention of the performer creating it. Estar del peligro exempto, To be exempt from all dangers, in completing the compositional process, a thread which runs Que son confiados descuydos As your confident forgetfulness through many genres of early music. This liberating custom has © 2005 Kah-Ming Ng Senda de los escarmientos. Will lead you to your final sentence. had the effect of firing our imagination (as it should, for any performer of early music), whilst conveying our innermost selves to our audiences. It is such freedom of musical expression —

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Primo: Cousin: 1. Juan Hidalgo, arr. K-M Ng: Esperar, sentir, morir Cansado no quielo sel, I do not want to seem insistent your Majesty, Mas quisiela pleguntaye, But I would still need to ask you, Porqué más iras buscas que mi tormento, Why do you seek further grief to my present torment, Si no temiela enojase, And…please do not get angry with me, Si en su siempre callado dolor atento, which in its always silent, Yo propio me castigo lo que me quejo? Attentive form, for my complaints ¿cómo lo camino fue? How did this path get built? Por acentos no pases estos suspiros, punishes me already? Do not mistake Digame vuesa melsé Tell me, your highness, Pues són los postreros áyes que animo, these accents for sighs for I dwell Si ezá muy aplovechado, For I have heard some rumours Bástenme que sean muerte, Remembering the past..And although Que pol acá se ha cantado That say it wasn’t build for free no, no, no sean delito. it isn’t a crime, death will suffice. Que vino lo alcalde rico. But that someone paid the Major a lot of money… Esperar, sentir, morir, adorar… To hope, to feel, to die, to adore… Antón: Antón: Porque en el pesar de mi eterno amor For there is a place in the eternity Muy bien lo alcalde moleno, I only received the right amount, Caber puede en su dolor! Of my loving for all this sorrow! En eza jornada fuela, To built it with, on a given day, Adorar, morir, sentir, esperar… To adore, to die, to feel, to hope Siemple posada hubiela, And as a reward I only received De éste cándido cisne sigo el ejemplo I follow the example of this candid swan Y no dulmela al seleno. Some food to eat and a bed at night Pues mi acorde ansía mi suave acento And the chords I play demand softer accents En lo demás, no zá bueno Anyway, that’s all I can tell you Mezclado en lo que canto va lo que muero… After my song, death follows… El albal ni dal puntada, In any case, I’m now too tired Estas voces que el labio vierte cobarde, The yelling that my cowardly lips produce, Que es cosa muy delicada, To discuss the delicate matter Ya más que por alivio por muestra salen Shows not only signs of relief but De las llamas que dentro del pecho arden! The burning flames from within my soul. El tratal de lo bolsico. Of money and wealth with anyone. Esperar, sentir, morir, adorar… To hope, to feel, to die, to adore… Primo: Cousin: Porque en el pesar de mi eterno amor For there is a place in the eternity Dígame más, pol su vida, I pray thee, tell me true: Caber puede en su dolor! Of my loving for all this sorrow! ¿qué hizielon allá lo reya, What will the Kings do when they get there? Adorar, morir, sentir, esperar… To adore, to die, to feel, to hope y dónde paló la estreya And what about their guiding star Vive tú, muera solo quien tanto siente You must live, for only those que lo guiaba licira? Where will it stop? Que sus eternos males la vida crecen, Who feed from their pains Y no cantamo mentira, And don’t tell me any more lies Y solamente vive porque padece. Live because they suffer. Que selá muy mala cosa, Because that would be a bad thing Si a morir me condenan mis desvaríos If my delirious mind condemns me to die Ser lu alcalde mentilosa, for a respectable major, Y muero a los impulsos de lo que aspiro And I die believing in what I aspire to Y engañal a su plimico. To lie to his little cousin… Mátenme mis afectos, no tus desvíos. Let my affection kill me, not you.

Antón: Antón: Esperar, sentir, morir, adorar… To hope, to feel, to die, to adore… Paló en la casata la estreya, The guiding star will stop on top of the manger, Porque en el pesar de mi eterno amor For there is a place in the eternity Caber puede en su dolor! Of my loving for all this sorrow! Donde ezá lo Niño Diozo, Where they keep the infant God Adorar, morir, sentir, esperar… To adore, to die, to feel, to hope Tan chiquito y tan hermoso, So small and so beautiful he is, Más que la casa más beya. More beautiful than the loveliest house! Apeálonse lo reya, The Kings will kneel down Y a su melsed adoraron, To adore the merciful child Tan de velas que tocalon And they’ll bow so devotedly that Lo suelo con lo hosico. Their noses will almost touch the ground! - 14 - - 7 - CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer: SignumClassics YELLOW Catalogue No. SIGCD069 BLACK Job Title: Esperar SIGCD069 booklet Page Nos.

2. Kah-Ming Ng & Clara Sanabras: Quiero, y no saben que quiero Primo: Cousin: Tá tan glave desde ayer, He is so ill since yesterday Quiero, y no saben que quiero I’m in love, but he does not know it Que pleguntal no atrebemo, that we don’t dare ask, Siento, y no sé lo que siento, I feel, but I do not know what I feel Polque neglo no quelemo because we, ordinary folk Por la duda me ausento, I doubtfully become absent Enojal a su melsé. do not want to infuriate the Major. Solo sé que me muero… All I know is I am dying… Diga si puede sabé Could you tell him Yo solo sé que me muero I only know that I am dying Yo solo sé que me muero. All I know is I am dying. Lo que quielo pleguntal, I need to ask him something Y que no saben que quiero And he doesn’t realise that I love him Pero si se ha de enojal But if he starts to get angry Por eso sé que me muero. That is why I feel I am dying. Antón cayará su pico. Anton will shut his mouth. Muero y prefiero morir I die and much prefer to die A querer saber lo que siento, Than to discover how much I feel, Flasico, un amigo: Flasico, a friend: Mientras espero mi muerte While I await my death Bien podemo, en mi conciencia, My dear friend, I reckon Serán por vos mis anhelos… My longing will be for you. Pleguntar lo que quisiere, you could dare to ask him Solo sé yo, yo yo, yo I only know, I, I, I Y si con respeto fuere, and if you do it respectfully Yo solo sé que me muero. Just know that I am dying. Lo alcalde daremo audencia. He will listen to you. No plegunte impeltinensia, Do not be impertinent Vivo, solo para vós vivo I live, I do live just for you Ni mucho, pues que le escucho, Or ask too much, you fool, Sólo, para amaros respiro I breathe, only in order to love you Que eso de pleguntal mucho For only the rich Y como único alivio My sole relief would be Se queda para lo rico. Can afford to ask too many questions. Señal de amor os pido… A sign from you: Una palabra, un gesto, A word, a gesture, Primo: Cousin: una mirada, un suspiro, A gaze, a sigh, Pues que licencia me da, Since you grant me your approval, que aunque discretos se vean, Even if very discreet it would be Peldone el siñol alcalde, (Forgive me for asking your Majesty), placer será recibirlos! such a pleasure to receive it! Y diga así, Dios li gualde, Pray tell me, if you know the answer, Así serán resguardados This gift of yours will be protected Tanta reya, ¿adónde va? Where are these Kings going? Por mi corazón altivo by my ever proud heart, Tenemo curiosidá We have all grown very curious Pues a pesar de mis penas, as in spite of all my sorrows Lo moleno de sabé, Us simpleminded fools Olvidaros yo no consigo… I can’t seem to forget you. Solo sé que yo… sin… vós All I know is that…without you, No se enoje su melsé To know the answer to this, Yo solo sé que sin vós no vivo. That without you I won’t live. Y diga lo que suplico. And once again, forgive me for asking. Vine, a encontraros yo vine, I came in order to find you, Antón: Antón: Blanca, tal paloma que al vuelo White, like a dove Venimo tres reya maga Three Magic Kings are coming Desplegando las alas Losing herself inside the sky A ver un Reya mayora, To see another King, the holiest of all, Se pierde cielo adentro. With unfolded wings. Que en un pesebrico yora, The infant who lives in a manger Nuestro amor es instrumento Our love is an instrument Polque mayora se haga. Until he becomes a man. De la pasión infinita Of infinite passion De Cambayá y de Vimaga, From Cambayá and from Vimaga, Y entre sus cuerdas resuenan aún and across its strings Besos y caricias… Caresses and kisses can still be heard… Oro traemo y olores, They bring gold and frankincense Pala dal a los siñoles, To give to the infant King Y inzensal lo poltalico. And perfume his manger. - 8 - - 13 - CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer: SignumClassics YELLOW Catalogue No. SIGCD069 BLACK Job Title: Esperar SIGCD069 booklet Page Nos.

Dicha es grande que seamos It is a great blessing that we are Vine a encontraros yo vine When I came to find you… Tan diferentes los dos so different from each other Y fué el hazar o el destino Was it luck or our destiny Mas, ay que el no pareceros But, because we are not similar Quién desde el primer momento That crossed our paths Es ser desdichado yo It is me who suffers most. se cruzó en nuestro camino. From the very first instant? Desde entonces solo sé, Ever since then, all I know… Yo solo sé que a vos quiero. I just know that I love you. 11. Julian Barter: ¡Hazo, Antón! Original text and translation – Clara Sanabras Dialogo entre Antón, su primo,y su amigo Flasico: A dialogue between Antón, his cousin and a friend: 4. Sebastián Durón: Corazón, causa tenéis -¡Hazó, Antón! -How art thou Antón? Tonada sola con flautas para contralto ¿No respondemo? Art thou not answering me? -¡Hazó plimo! -How art thou cousin? Corazón, causa tenéis, Heart, you have a reason si sentís, si suspiráis, if you grieve, if you sigh, ¿Qué tenemo? What’s the matter? -¿Cómo venemo tan glave? si tembláis, si padecéis, if you tremble, if you suffer, Why do I find you so preoccupied? since the God whom you love Ya no sabe, que samo alcalde de est’ año pues el Dios a quien teméis -Oh, you know, I’ve been appointed as this year’s Major es el que injusto agraváis, is the one you unjustly wrong, Y no me amaño a parlar como solía. And I can’t seem to speak as well as I used to. y estrecha cuenta daréis. and you will give an exact rendering. -¡Bueno ezá , pol vida mía! -That’s nonsense, my good man! Corazón, causa tenéis, Heart, you have a reason ¿Y de qué ezá la alcaldía, And… what does your role as major involve, si sentís, si suspiráis, if you grieve, if you sigh, que tiene vusa melsé? “Your Majesty?” si tembláis, si padecéis. if you tremble, if you suffer. -Tenemo la de poné -I have been instructed to lay down Si teméis la estrecha cuenta If you fear the exact rendering Ya no el camino a la reya, The road for the Kings del severísimo juez, of the most severe judge, Polque no caiga cameya, Who are coming from Sheba más del caso es enmendar it is up to you to mend your ways Que venimo de Sabá. So their camels won’t trip over. que gastar tiempo en temer. rather than waste time fearing. Y ya ezá, turo limpio e turo yano And, it’s done, all neat and flat Si lloráis y padecéis, If you weep and suffer, Como palma de la mano, Like the palm of my hand Corazón, causa tenéis. heart, you have a reason. Que podemo en él bailar. So much so, one could use Si padecéis sus pesares, If you suffer his sorrows, No digo tal, this path for dancing, I tell you… el medio mas digno es, the most dignified remedy -No diga tal. -Just because “his Majesty the Major” tells me this, desengañandoos del mundo, is to retire from the world, Que ha de ezar con glavedad Why should I believe him, ‘cause of his serious face? crucificaros con él. crucify yourself with him. Alcalde de lo moleno. -Why not? Si lloráis y padecéis, If you weep and suffer, -¿Cómo no? -Alright then! Show me how it’s done! Corazón, causa tenéis. heart, you have a reason. -Agola velemo cómo se chisca el polvico! Flasico! Play your tambourine El verle crucificado May seeing him crucified ¡Toca Flasico lo tamborilico! And shake it around as much as you can os haga llorar por ver make you weep by seeing ¡Toca, toca y repica, repica de balde! For his majesty the Major is about to dance! quan mal vuestra ingratitud how poorly your ingratitude ¡Que baile el siñol alcalde! paga tan constante fe. repays such constant faith. Si lloráis y padecéis, If you weep and suffer, Corazón, causa tenéis. heart, you have a reason.

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Si sentís el propio error, If you grieve for your own mistakes, 8. Clemente Imaña: Filis yo tengo sentís, corazón, muy bien, you grieve very well, heart, y será eterno vivir and this instant of suffering Filis, yo tengo un dolor Filis, I have a pain momentáneo padecer. will be an eternal life. que no sé como le llame, Which I can’t even name… Si lloráis y padecéis, If you weep and suffer, pues siento acordarme dél For I can easily remember it Corazón, causa tenéis. heart, you have a reason. y siento dél olvidarme, And just as easily I can forget it.

5. Francisco Escalada: Canten dos jilguerillos Débante alivio mis humildades, My humility must owe you some relief y pues eres discreta, lo dicho baste, baste. And since you are discreet, enough said. Canten dos jilguerillos Two little goldfinches sing to the infant sun, Porque los pajaritos al niño acallen So to lull him to sleep they sing. Siento que el alma confusa I can feel how my confused soul Cante, canten suaves canten They sing softly and fill the night en interiores combates, Fights its inner battles. Que esta noche en el cielo sus voces salen With their tuneful voices. cuando ignora es entendida, When ignorant ‘tis understood cuando entiende es ignorante, And when it understands… ‘tis ignorant. Tonight is known as Christmas Eve A esta noche le llaman la Noche Buena for all a joyful evening of relish and glory Para todos de gozo, de gusto, de Gloria An evening of sorrow for God. 9. Anonymous: ¡Ay, mi Dios! Y a Dios de pena.

¡Ay, mi Dios! ¿Qué fuera de mí sin vos? Oh glorious God, what would become of me without you! 6. Anonymous: Solo, triste y ausente Que fuera señor de mi What would happen Solo, triste y ausente, Alone, sad and absent Si fuerades como yo If you were like me acompañado de desdichas vivo Accompanied only by tragedy Y fuera como la mía And if your kind condition al pie de la corriente I live, amidst the crystal currents del cristal deste arroyo fugitivo, Of this fugitive stream that runs Vuestra amable condición Was like mine? que al mar corre sonoro with silver feet towards the golden sands of a sonorous sea. con pies de plata por arenas de oro. Quién pudiera prometerse Who could be forgiven Here, away from daily cares A sus delitos perdón For their sins any more Aquí con mis cuidados I cry for those ills, suffered without cause, Si vuestra piedad tomara If your pity rigorously lloro por males sin razón sufridos, for my badly earned goods Consejos de mi rigor mis bienes mal logrados, Mourned and lost forever. followed my example tan bien llorados como mal perdidos; What good will sorrow bring Y quién pudiere librarme que mal tendrá bonança To my blazing soul, And who could save me De eterna condenación el alma en fuego, en viento la esperança. a hopeful wind? From eternal condemnation Si faltara como en mi If your heart, like mine La misericordia en vós Quando de sombras viste When the melancholy night Lacked compassion? la noche triste, el campo alegra el día wears her gown of shadows, the fields brighten the day. Premios tenéis y castigos viendo cómo es más triste You give many rewards, la etema oscuridad del alma mía; But the darkness inside my soul Pero dáis dulce señor punishments too, sweet Lord, dan mis ojos ardientes Is only lit by blazing eyes that set fire to the breeze and flood Los castigos como padre al aire, fuego, y a los campos, fuentes. the fields. Y los premios como Dios but you punish as a father, you reward as a God. - 10 - - 11 -