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The Book of the Quest
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Catalina's Songs
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| Por Antequera Suspira For my first Entertainment piece for the quest I chose to perform Por Antequera Suspira from El Cancionero Sevillano de la Hispanic Society ms. Ca. 1568 found in Spanish Romances of the 16th century by Thomas Binkley and Margit Frenk. Por Antequera suspira, el rey Chico de Granada, porque tiene dentro en ella las cosas que mas amava. Suspiros da sin Consuelo, qu'el alma se le arrancava. No suspire el por su teirra, qu'en otra major estava. suspira por una mora la flor de toda Granada, blanca, ruvia a maravilla, sobre todas agraciada.** (Llorando de loss us ojos, desta manera hablava: "!O, Alma del alma mia!, ?di si estas aprisionada? Yo seria en turresgate en dar por ti a Granada, Y si esto no bastare, dare toda el Alpuxarra") For Antequera he sighs the young king of Granada, Because in it he has the things he loves the most. He heaved disconsolate sighs, his soul was torn from him. He did not sigh for his lost realm, for he was in another better: He sighs for a Moorish Girl, the flower of all Granada, White of skin and marvellously faire, well favoured above all others * (Tears streamed down from his eyes, as he spoke these words: "Oh, soul of my very soul, tell, are you now a captive? I would, for your ransom exchange Granada for you, And if this were not enough I would give all the Alpujarra.") Notes **This line was added to complete the quatrain by a version published by Juan Timoneda in his Rosa de Amores, Valencia 1573, each part being four lines and the 3rd and 4th lines omitted in the original () I didn't sing the final two stanzas in performance feeling the song was long enough for my first solo. Historical and Musical Background This ballad among many others are actually listed as anonymous, orally passed on from one generation to the next since at least the 14th century being finally published around the 16th century. Many of these ballads dealt with an episode in history such as epic poetry, while others were to inform of current events or were just taking from romantic and legendary stories. Most ballads were originally set out in non-syllabic long lines but progressed to the eight syllable "hemistitch" by the 15th century, with occasional variations. Personal comments about my performance: I am quite proud that I was able to perform the piece considering my history of severe stage fright. I also learned I go higher when I am nervous, (at least in this instance) which caused some problems for the accompanist who was set to play at a certain range, which I accidentally sang above. I should practice in my garb if it is at all restrictive; nearly running out of breath on each line cause my bodice was snug (mastering diaphragmatic breathing would probably also help). Much thanks to Cynewulf for helping me learn the song, and Gwyneth for harp Accompaniment. |
De Antequera sale un moro For my second entertainment piece for the quest I chose to perform De antequera sale un moro written by Cristobal de Morales and arranged by Fuenllana found in Spanish Romances of the 16th Century by Thomas Binkley and Margit Frenk and Music of the Spanish Renaissance by Shirley Ramsey. De Antequera sale el moro, De Antequera aquesa villa Cartas llavava en su mano, cartas de mensajeria. Ante el rey, cuando la halla, tales palabras decia: Mantegna Dios a tu alteza, salve Dios tu senoria. Las nuevas que, rey, sabres no son nuevas de alegria: Que ese infante don Fernando cercada tiene tu villa. Los moros que esteban dentro, cueros de vaca comian, Si no soccores, el rey, tu villa se perderia. A moor rides out from Antequera, from that town of Antequera He carried letters in his hand, letters which tell a tale When he stood before the King, he said these words to him "May God keep your Majesty, God save you, my liege lord. "The news, King, you must know are not news of good cheer, for the prince Don Fernando holds your town in siege. "The Moors who were caught inside, eat cowhide for their food If you do not aid them, King, your town will be lost." Historical and Musical Background Many of these ballads deal with an episode in history such as epic poetry, while others were to inform of current events or were just taking from romantic and legendary stories. Most ballads were originally set out in non-syllabic long lines but progressed to the eight syllable "hemistitch" by the 15th century, with occasional variation. |
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