555314-16 bk Monteverdi EU

TRISTAN’S HARP
Arthurian Medieval Music
Capilla Antigua de Chinchilla • José Ferrero
Tristan’s Harp
Arthurian Medieval Music
1 Alfonso X el Sabio (1221-1284): O que a Santa Maria – Cantiga 35
4:04
2 Anonymous Italian (14th century): Lamento di Tristano – Contrafactum
(Text: Tristant muste sonder danc by Heinrich von Veldeke, 1150-c.1190)
4:49
3 Anonymous English (13th century):
“Dance of the forest of no return” – Stantipes I (Instrumental)
4 Thibaut de Champagne (1201-1253): Deus est ensi comme li pellicanz
5 Anonymous English (12th century): Redit aetas aurea
6 Richard I, Cœur-de-Lion (1157-1199): Ja nuls homs pres
7 Anonymous French (c.1190): Pange melos lacrimosum
8 Anonymous French (13th century): Quarte Estampie Royale (Instrumental)
9 Le Châtelain de Coucy (c.1165-1203): La douce voiz du louseignol sauvage
2:28
5:28
3:51
6:03
3:21
4:17
6:23
0 Anonymous English (13th century):
“Dance of the forest of no return” – Stantipes II (Instrumental)
! Bernart de Ventadorn (c.1130-1200): Can vei la lauzeta
@ Alfonso X el Sabio: Des quando Deus sa madre – Cantiga 419 (Instrumental)
1:25
7:31
2:41
# Anonymous English (13th century):
“Dance of the forest of no return” – Stantipes III (Instrumental)
$ Alfonso X el Sabio: Dereit’ é de ss’ end’ achar – Cantiga 108
1:59
6:56
Capilla Antigua de Chinchilla
Luisa Maesso, Castanets 1, Voice 2 5-7 9 $, Tambourin à Cordes 3 8 0 #
Juan Francisco Sanz, Darbuke 1 @ $, Tambour 3 5 7 8 0 #, Voice 4-7, Bendir 6, Drum 9, Riqq @
José Ferrero, Harp 1 4 6 9 ! @, Simphonie 2 3 5 7 8 #,
Voice 5 6 ! $, Anglo-Saxon Lyre 0, Psaltery $
Ana María López-Pintor, Rabel 1-4 6 8-0 @-$, Fiddle 5 7
Sergio Alonso, Tenor Rabel 1 2 4 5 7 9 @ $, Tromba Marina 1 @, Viol 3 6 8 0 ! #
Alfonso Sáez, Medieval Flute 1 3 6 8 9 @-$, Tenor Medieval Flute 2 !, Chalumeaux 4,
Glastonbury Pipe 5 7, Organetto 5 0, Gaita $, Horn $
José Ferrero, Director
8.572784
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Tristan’s Harp
Arthurian Medieval Music
“I know well how to play the harp and rote
and how to sing in key”
Folie Tristan (Oxford version)
Ever since they first began to spread across Europe in the
Middle Ages, the tales of King Arthur and his knights have
inspired creativity in all spheres of artistic expression,
music being no exception. At the same time as the literary
works of Chrétien de Troyes or Geoffrey of Monmouth
were appearing, bards and troubadours too were drawing
on the tales for lyrical inspiration. By the thirteenth
century, the songs of troubadours, trouvères and
Minnesänger had brought the stories of Arthur, Merlin,
Percival, Tristan and Iseult et al. (not to mention the Holy
Grail) to audiences far and wide. This album takes a
journey through the twelfth-, thirteenth- and fourteenthcentury Arthurian musical traditions of Germany, Spain,
France and England. The chivalric feats, enchanted
forests and love potions of the chronicles suited the
courtly love aesthetic to perfection. It comes as no
surprise, therefore, that music, adventure and love should
go hand in hand, or that Tristan should be a skilled harpist
who teaches Iseult to play. Music becomes an
indispensable element in the development of the
Arthurian legend.
The so-called “Matter of Britain” also reached the
Iberian Peninsula, travelling along the “Camino de
Santiago” to inspire poetry in the Galician-Portuguese
language. Tristan’s Harp opens with one of the Cantigas
de Santa Maria (Canticles of the Virgin Mary) which were
produced during the reign of Alfonso X, some of them
written by the king himself, and which as a whole
constitute the most significant song collection of medieval
Spain. Cantiga No. 35, O que a Santa Maria (He who to
the Virgin Mary) 1, like most of the poems, tells the story
of a Marian miracle, but also mentions King Arthur, as
does No. 419, Des quando Deus sa Madre (Since God his
Mother) @. Merlin, meanwhile, appears in No. 108, Dereit’
é de ss’ end’ achar (It is right therefore) $, in which he
3
argues with a Jewish sage about the doctrine of
Incarnation.
Thibaut de Champagne, also known as Theobald I of
Navarre and Theobald the Chansonnier, was born in
Troyes in 1201 and died in Pamplona in 1253. He was a
prolific writer and created works in a variety of genres,
including the political song or serventois featured here,
Deus est ensi comme li pellicans (God is like the
pelican) 4 . This is thought to reflect the dispute that
lasted from 1236 to 1239 between the Church, in the
shape of its head, Pope Gregory IX, and the German
emperor Frederick II, over where those preparing to fight
in the Sixth Crusade should be sent (Palestine or
Constantinople). It includes an allusion to the wisdom of
Merlin, and grows in intensity as Thibaut accuses the
Church of abusing its position.
Redit aetas aurea (The age of gold returns) 5 is an
anonymous English two-part conductus in the style of the
Notre Dame School. It belongs to the Old St Andrews
Music Book (W1) and was normally performed as a
processional piece. Written for the coronation of Richard
the Lionheart, it was also used for those of some of his
successors.
Richard himself wrote the song Ja nuls homs pres
(No man imprisoned) 6 while he was being held prisoner
in Dürnstein as part of his eventful journey home from the
Third Crusade in 1192. Captured near Vienna by Leopold
V, Duke of Austria, he was then handed over to the
German emperor, Henry VI. Richard wrote this song in
both the langue d’oc and langue d’oïl – the more
frequently performed and better-known version is the
latter, in the language of northern France (medieval
French), and we have therefore chosen to perform it in the
langue d’oc, or Occitan, on this album. The lyrics of this,
perhaps one of the most beautiful songs of the entire
medieval period, tell of his unhappiness at having to wait
for his ransom to be paid.
Pange melos lacrimosum (Compose a sorrowful
song) 7 is another anonymous two-part conductus of the
8.572784
Notre Dame School. It appears to refer to the death in
1190 of the German emperor Frederick Barbarossa when
he was on his way to fight alongside Richard in Palestine.
Barbarossa, like Arthur, was to become the subject of
numerous myths and legends.
A common musical form in the Middle Ages was that
of the contrafactum, in which a text was adapted to a
piece of music that suited its metre, so that musicians
simply needed to learn new words for tunes they knew
well. We include here a text by Heinrich von Veldeke,
Tristrant muste sonder danc (Tristran was involuntarily
faithful) 2, set to the music of an anonymous fourteenthcentury Italian piece entitled Lamento di Tristano.
A further mention of Tristan is to be found in Can vei
la lauzeta (When I see the lark) !, one of the best-known
songs of the troubadour repertory. Its author, Provençal
poet and composer Bernart de Ventadorn, served at the
court of Eleanor of Aquitaine (Richard the Lionheart’s
mother) in England, then returned to Aquitaine – firstly to
the court of Narbonne and then to that of Raymond V of
Toulouse. On the latter’s death in 1194, Bernart became a
monk at the Abbey of Dalon, where he later died.
Trouvère Le Châtelain de Coucy compares himself to
Tristan grieving for his lost love in his song La douce voiz
du louseignol sauvage (The sweet voice of the wild
nightingale) 9. A highly tragic tale grew up around Le
Châtelain de Coucy, inspiring a number of books on the
subject: legend had it that after his death, the poet’s heart
was fed to his lover, the Dame de Fayel, by her jealous
husband…
The Stantipes (or Estampies) I, II and III 3 0 # are
anonymous thirteenth-century English dances, to which
we decided to add a subtitle befitting this album’s
Arthurian slant. In common with other estampies, such as
the well-known piece entitled Tre fontane (Three
fountains), they can also be seen as abstract instrumental
works. Our chosen subtitle, “Dances of the forest of no
return”, is a nod to a reference in the Vulgate Cycle to the
knights and ladies compelled to dance for ever in the
“Forest Perdue”.
José Ferrero
English version: Susannah Howe
Capilla Antigua de Chinchilla
Founded in 2002 for the study and revival of early music, the Capilla Antigua de Chinchilla is directed by its founder, the
tenor José Ferrero. The ensemble has participated in festivals and concerts throughout Spain, including the Hellín
Early Music Festival, the 2005 Liétor Organ Festival and Festivals of the Early Music of Chinchilla in 2006 and 2007,
and at the Musical October of Carthage in Tunisia in 2008. Recordings include music from the Cancionero of Alfonso X
and the Sung Passion of Chinchilla, works by Ginés de Boluda, who served at the cathedrals of Cuenca and Toledo in
the sixteenth century, with a third recording devoted to works by Rogier, Victoria, Morales and Guerrero, among others,
performed with the historic organ of Liétor. In 2007 another recording was devoted to the medieval music of pilgrims
and sephardim. Their most recent recording of sephardic music, Endechar: Lament for Spain, was released on Naxos
8.572443 in 2010: the music has been performed at major festivals throughout the world.
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Luisa Maesso
The mezzo-soprano Luisa Maesso Martínez was born in Úbeda (Jaén) and studied at the
Conservatorio de Madrid. She made her début at the Teatro de la Zarzuela in Madrid in 1994.
She appears regularly with the Capilla Antigua de Chinchilla and collaborated with the Capilla
and the Banchetto Musicale in 2006 in the revival of Johann Sebastiani’s St Matthew Passion
under Pere Ros. She participated in the Naxos recording of Cavalli’s Gli amori di Apollo e
Daphne under Alberto Zedda (8.660187-88).
Juan Francisco Sanz
The countertenor Juan Francisco Sanz was born in Albacete, where he began his musical
studies, and from childhood he participated in choral singing. His technical training was with
the tenor José Ferrero and he received help from the countertenor José Hernández Pastor.
He had further vocal training with Robert Expert, Ana Luisa Chova, Lola Bosson and Carmen
Subrido, among others. He directs the choir Concentus Torrejón y Velasco de Albacete and
the choir of the Escuela Universitaria de Magisterio of Albacete.
Ana María López-Pintor
Born in Campo de Criptana (Ciudad Real), where she started her musical training, the violinist
Ana María López-Pintor continued her studies in Ciudad Real and Alicante, where she
obtained her Título Superior de Violín. She has a degree in music education from the
University of Castilla-La Mancha. Since 2007 she has collaborated with the Capilla Antigua
de Chinchilla, with which she recorded Io son un pellegrin. She is a member of the Albacete
Orquesta Sinfónica, and professor of violin and chamber music at the Albacete Conservatorio
Profesional de Música Tomás de Torrejón y Velasco.
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8.572784
Sergio Alonso
A native of Sigüenza (Guadalajara), Sergio Alonso studied at the conservatories of
Guadalajara and Madrid, qualifying in harmony and violin. He also graduated in mathematics
at the Madrid Universidad Complutense and in musicology at the Universidad de la Rioja. He
is professor of harmony at the Albacete Conservatorio Tomás de Torrejón y Velasco and has
been associate professor at the Albacete Faculty of Education. As a violinist he appears with
the Orquesta de Albacete and also with the Capilla Antigua de Chinchilla, with which he plays
various instruments.
Alfonso Sáez Docón
Born in Liétor (Albacete), Alfonso Sáez Docón began his musical studies at the Albacete
Conservatorio, with courses in piano and saxophone. He went on to study the organ at the
Valencia Conservatorio Superior de Música under Vicente Ros, continuing at the Salamanca
Conservatorio with Luis Dalda and finally with Javier Artigas in Murcia. He serves as organist
at the Church of St James the Apostle and is a member of the Capilla Antigua de Chinchilla,
with which he has made various recordings. He is professor of organ at the Murcia
Conservatorio Profesional de Música.
José Ferrero
Born in Albacete, the tenor José Ferrero studied singing in Valencia with Ana Luisa Chova
and has appeared as a soloist with distinguished conductors and colleagues, performing in
Europe’s principal theatres and festivals. His interest in early music led to the foundation in
2002 of the ensemble Capilla Antigua de Chinchilla, also recorded on Endechar (Naxos
8.572443). He participated in the Naxos recording of Cavalli’s opera Gli amori d’Apollo e di
Dafne under the direction of Alberto Zedda (8.660187-88).
Photographs by Juan Rodríguez
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El arpa de Tristán
Música medieval artúrica
“Sé tocar el arpa, la rota y la cítara
y cantar como los pájaros.”
Tristán (Oxford)
Las leyendas artúricas han sido fuente de inspiración
para todo tipo de artes desde su aparición en la Edad
Media y la música no es una excepción. Casi
paralelamente a la creación de las obras de Chrétien de
Troyes o de Geoffrey de Monmouth, los trovadores y
bardos comenzaron a inspirarse en las leyendas artúricas
para la creación de sus obras.
Temas como el Rey Arturo, el Grial, Merlin, Perceval,
o Tristán e Isolda ya son famosos en el siglo XIII y se
ponen en boca de toda la gente, sea de la clase social
que sea, gracias a las creaciones de trovadores, troveros
y Minnesänger.
Este album hace un recorrido a través de las
tradiciones musicales artúricas de los siglos XII, XIII y
XIV de Alemania, España, Francia e Inglaterra que se
inspira en la literatura artúrica. En la estética del Amor
Cortés, las epopeyas caballerescas, los bosques oscuros
y perdidos, los filtros amorosos de las leyendas artúricas
encajan perfectamente. Por ello no nos extraña que la
música, la aventura y el amor vayan unidos y que Tristán
sea un gran arpista que enseñe a Isolda a tocarla. La
música es un elemento que se hace indispensable en el
desarrollo de los acontecimientos artúricos.
El Camino de Santiago supuso la vía de acceso de
las leyendas artúricas en la Península Ibérica, al igual
que de intercambio cultural entre el norte y sur de Europa.
La música de nuestro disco El arpa de Tristán comienza
con una de las Cantigas de Santa María de Alfonso X, el
Sabio, que reflejan la influencia de la Materia de Bretaña.
En la Cantiga 35, O que a Santa Maria 1, aparece el
nombre del Rey Arturo mezclado con el milagro de la
Virgen María. En la Cantiga 419, Des quando Deus sa
madre @, aparece otra vez el nombre del Rey Arturo en la
narración, mientras que el protagonista de la Cantiga 108,
7
Dereit’ é de ss’ end’ achar $, es el mago Merlín, que
recrimina la actitud contra la Virgen de un judío.
Thibaut de Champagne, también conocido como
Teobaldo I de Navarra o Teobaldo el “chansonnier”, nació
en Troyes en 1201 y murió en Pamplona en 1253. Fue
trovero muy reconocido por sus poesías políticas. Deus
est ensi comme li pellicans 4 es una canción, un
serventois, en protesta contra la Iglesia y el Papa
Gregorio IX por alargar la Sexta Cruzada (1236-1239). En
esta canción Merlín y su brujería están presentes junto a
la Iglesia. Es una canción que va creciendo en intensidad
conforme va recriminando a la iglesia sus extralimitaciones.
Redit aetas aurea 5 es un conductus anónimo inglés
a dos voces al estilo de la Escuela de Notre Dame.
Pertenece al Old St Andrews Music Book (W1) y era
normalmente usado en las procesiones. Compuesto para
la coronación de Ricardo Corazón de León como Rey de
Inglaterra, fue usado posteriormente para la coronación
de otros reyes Plantagenet.
Ricardo Corazón de León compuso su canción Ja nuls
hom pres 6 estando preso en Dürnstein tras un accidentado
regreso de la Tercera Cruzada en 1192. Después de ser
apresado por Leopoldo V, Conde de Austria, cerca de Viena,
fue llevado a presencia del emperador de Alemania, Enrique
VI. Esta canción la escribió en langue d’oc y en langue d’oïl,
pero la versión más interpretada y conocida es la de langue
d’oïl, es decir la del norte de Francia o francés medieval, por
eso hemos optado por interpretar en nuestro CD la de
langue d’oc u occitano. En esta canción se lamenta de como
ninguno de sus reinos ni aliados viene en su ayuda. Quizá
estamos frente a una de las canciones más bellas
compuestas en el medievo.
Pange melos lacrimosum 7 es otro conductus a dos
voces de compositor anónimo de la Escuela de Notre
Dame; parece referirse a la muerte del emperador
Federico Barbarroja cuando iba al encuentro de Ricardo
Corazón de León en 1190. En Alemania Barbarroja,
antiguo Rey del Sacro Imperio Romano-Germánico, tiene
un entorno de leyenda parecido al del Rey Arturo.
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De Heinrich von Veldeke podremos escuchar un
contrafactum hecho con su texto Tristrant muste sonder
danc 2 y la música de la pieza instrumental anónima
italiana del siglo XIV Lamento di Tristano. Esta fórmula
del contrafactum, es decir coger un texto y adaptarlo a
una música que le fuera bien métricamente, era muy
común en la Edad Media y los músicos medievales lo
hacían hábilmente, simplemente memorizando los
nuevos textos a las ya sabidas melodías.
Bernart de Ventadorn, trovador provenzal, estuvo
unido un tiempo a Leonor de Aquitania (madre de Ricardo
Corazón de León) y su corte, pero regresó a Aquitania a
la corte de Narbona y finalmente a la corte de Raimundo
V de Toulouse. Al morir éste en 1194, Bernart se hizo
monje en la abadía de Dalón, donde murió. Su canción
Can vei la lauzeta ! es una las mas celebradas del
repertorio trovadoresco. En ella aparece de nuevo el
nombre de Tristán.
El trovero Le Châtelain de Coucy se compara con
Tristán, lamentando un amor perdido, en su canción La
douce voiz du louseignol sauvage 9. La historia de la
vida de Le Châtelain de Coucy es una de las más tristes y
conocidas del medievo. La leyenda de que el marido
celoso de la Señora de Fayel le hizo comer el corazón de
su amante, nuestro trovero, después de haber
descubierto el romance entre ambos, se hizo muy
famosa, llegando a escribirse varios libros en torno a esta
historia.
Las Stantipes I, II y III 3 0 # son danzas anónimas
inglesas del siglo XIII, a las cuales les hemos querido dar
un subtítulo adecuado al ambiente artúrico del disco. Al
igual que otras estampies como Tre Fontane pueden
tener una interpretación abstracta; eso es lo que hemos
querido hacer aquí con las Stantipes, por tanto los hemos
llamado Danzas del bosque sin retorno. Elegimos este
nombre porque el que entra en el bosque y escucha la
música no puede parar de bailar, así aparece en la Suite
Merlín (Vulgata).
José Ferrero
8.572784
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Also available
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8.572784
TRISTAN’S HARP
Playing Time
61:16
Arthurian Medieval Music
4:04
4:49
2:28
4:17
6:23
1:25
7:31
2:41
8.572784
 & 훿 2012 Naxos Rights International Ltd.
Booklet notes in English • Comentarios en español
8.572784
A detailed list of tracks and artists can be found on page 2 of the booklet
The sung texts and English translations can be accessed at www.naxos.com/libretti/572784.htm
Recorded at Iglesia de San Antón, Chinchilla de Montearagón, Albacete, Spain,
from 29th August to 3rd September, 2011 • Producer: José Ferrero • Engineer: Pascual Lorenzo González
Editors: Pascual Lorenzo González and José Ferrero • Booklet notes: José Ferrero
Publishers: La música de las cantigas de Santa María del Rey Alfonso X el Sabio
(Higinio Anglés, Barcelona, 1943 (Diputación Provincial)) (tracks 1, 2, 14);
Trouvères et Troubadours (Pierre Aubry, Paris; Félix Alcan, Editeur, 1909) (tracks 3-13)
Cover: Tristan sings a love song for Isolde, King Marke appears from Le Livre de Tristan et la reine Yseult
de Cornouaille et le graal (Illumination, French, 14th century) (Bibliothèque Nationale, Paris / akg-images)
Made in Germany
Capilla Antigua de Chinchilla • José Ferrero, Director
www.naxos.com
1:59
6:56
3
5:28
3:51
6:03
3:21
Quarte Estampie Royale
La douce voiz
du louseignol sauvage
0 Dance of the forest
of no return
! Can vei la lauzeta
@ Des quando Deus
sa madre
# Dance of the forest
of no return
$ Dereit’ é de ss’ end’ achar
8
9
47313 27847
O que a Santa Maria
Tristrant muste
sonder danc
3 Dance of the forest
of no return
4 Deus est ensi comme
li pellicanz
5 Redit aetas aurea
6 Ja nuls homs pres
7 Pange melos lacrimosum
1
2
TRISTAN’S HARP: Arthurian Medieval Music
DDD
7
TRISTAN’S HARP: Arthurian Medieval Music
The feats of King Arthur and his Knights have inspired artistic creation in many art forms. In this
disc we hear how troubadours spread their stories and we journey through twelfth-, thirteenth- and
fourteenth-century Europe to encounter the Arthurian musical traditions of Germany, Spain,
France and England. Full of allusions to legend, and also to contemporary events, the songs are
masterpieces of their time. The composers include Alonso X el Sabio of Spain and Richard the
Lionheart, whose Je nulls homs priz is one of the most beautiful of all medieval songs.