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The Book of the Quest
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Cynewulf's Songs
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| Rodrigo Martinez This song is found in the manuscript Cancionero Musical del Palacio (1490 - 1520), an early 16th century collection of mostly anonymous pieces representing the court repertory at the time of Ferdinand and Isabella. Most Cancioneros are written for three or four voices - this piece is written for only two. In form Rodrigo Martinez is a simple villancio, a folk song descended from the Spanish-Arab zejal of the Mediterranean. There are over 300 villancios in the Cancionero Musical del Palacio. This form consists of several stanzas (coplas) linked by a refrain (estabillo) It was originally derived from mediaeval dance lyrics and associated with rustic or popular themes (as is this example). The villancio form was elaborated on in polyphonic form in the late 15th & 16th centuries, as this anonymous example has been. However it still retains its simple form and themes. The text of this song is about Rodrigo Martinez, a madman who believes his geese are oxen. The English translation is as follows: Refrain 1 Rodrigo Martinez, He's after the geese again, Hey! He thinks they are his Oxen, So he whistles at them, Hey! Stanza Rodrigo Martinez, what a gay caballero! Refrain 2 With his flock of goslings, To the river side they go, Hey! He thinks they are his oxen, So he whistles at them, Hey! Stanza Rodrigo Martinez, what a dashing fellow! Refrain 2 (Repeated) With his flock of goslings, to the riverside they go, Hey! He thinks they are his oxen, so he whistles at them, Hey! Stanza Rodrigo Martinez, what a gay caballero! Performance style: Having its roots in folk song I consider that despite its later polyphonic refinements, this song is still a folk song at heart, and as such must be sung with some energy. I have added percussion both to contribute to the energy of the piece, and because of the form's strong connection to dance music, with a strong beat. Although originally written with two parts, as these are fairly simple harmonies, either will work as a melody, thus I alternate between the two parts for interest. Being a folk song in form I feel that this piece can work equally as well with or without instrumental accompaniment, the addition or lack of such simply changing whether the style is more akin to folk music or court music. References: Notes appearing on manuscript MacMillan Publishers (1994) The Grove Concise Dictionary of Music, The MacMillan Press Ltd, Bath. |
Tant Con Je Vivrai Music performance with Hieronymous and Gwyneth Tant Con Je Vivrai - Adam de la Halle (b 1245/50 - d 1285/8?) This piece is an example of polyphonic music written by a French trouvére1 (poet and composer). Adam de la Halle served as a musician and poet in the courts of Robert II, Count of Artois, and Charles of Anjou in Italy, and possibly in England at the knighting of Edward, Prince of Wales (Later Edward II). Unusually, he wrote both monophonic and polyphonic music. The harmonies in this polyphonic song represent those of his time, although sounding unusual to modern ears. The Text: Tant con je vivrai N'a me rai autrui que vous. Ja n'en partirai Tant con je vivrai Ains vous servirai Loiaument mis m'l sui tous. Tant con je vivrai N'a me rai autrui que vous. Translation: As long as I live I will not love one but you. I will not you leave As long as I live You I will always serve I have given myself to you. As long as I live I will not love one but you. References: Sadie, S (ed) (1994) The Grove Concise Dictionary of Music, The MacMillan Press Ltd, Bath. |
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