¡Feliz Navidad!

Spanish Christmas Music form the Middle Ages

Program

Laudemus virginem
Splendens ceptigera 		Llibre Vermell (14th century)
O virgo splendens
Instrumental
Vox resonet
Portum in ultimo
Instrumental 		Codex Calixtinus (12th century)
Veni, redemptor gentium Codex de Las Huelgas (13th century)
Mariam matrem
Imperayritz 		Llibre Vermell
Mater patris et filia Codex de Las Huelgas
INTERMISSION
Santa Maria, strela do dia Cantiga de Santa Maria (13th century)
Benedicamus Domino
Salve porta Regis
Castrum pudicitie
Benedicamus Domino
 Codex de Las Huelgas
Virga de Jesse Cantiga de Santa Maria
Cuncti simus
King Nimrod and King Alfonso
instrumental 		Llibre Vermell
En o nome de Maria
Des oge mais 		Cantiga de Santa Maria

Notes

Medieval Spain was a crossroad of different cultures. Most of the peninsula was ruled by the Muslim caliphates. Its proximity to North Africa brought a steady stream of travelers from Arab countries -- scientists, philosophers, poets, and musicians with their instruments. The Arab rulers welcomed their Jewish counterparts, who had often been expelled from Christian lands in the North.

Northern Spain, still in the hands of Christian Kings, was home to two of the most famous Christian pilgrimage sites ñ Santiago de Compostela in the Northwest, and Montserrat in the Northeast. An equally steady stream of Christian pilgrims came from all over Europe to worship at these shrines (to St. James in Santiago and to the Virgin Mary in Montserrat). For the most part all these different groups coexisted peacefully, exchanging knowledge and art. Musically speaking, this resulted in a wealth of styles and influences, unparalleled in other countries.

I have chosen music from four manuscripts to illustrate that richness.

-- From Santiago de Compostela the 12th century Codex Calixtinus, which features some of the earliest examples of European "more-part" writing, or polyphony. There are clear connections to the centers in France that were developing the same sort of compositions, especially with the Abbey of St. Martial Limoges, home to a style now known as Aquitanian Polyphony. (Vox resonet, Portum in ultimo)

-- The 13th century Codex de Las Huelgas from the royal convent of the same name (situated near Burgos, a famous resting place for the more affluent and noble pilgrims). This collection was probably sent as a thank-you gift by some of the Parisian clergy, and contains examples of the new forms practiced in Paris. Besides newly composed settings of liturgical texts, motets were the rage of the day: mostly three-part pieces, based on plainchant, in which several texts are sung simultaneously. (Veni redemptor gentium, Mater patris et filia, Benedicamus Domino, Salve porta Regis, Castrum pudicitie)

-- From the 13th century Court of King Alfonso X, also known as El Sabio (the Learned One) the collection of Cantigas de Santa Maria, songs to the Blessed Mary. Alfonso employed at his Court musicians and poets from all over Europe, but also Moorish and Jewish artists, to compile and compose this great legacy: over 400 songs in praise of the Virgin. (Santa Maria strela do dia, Virga de Jesse, En o nome de Maria, Des oge mais)

-- From the monastery of Montserrat, north of Barcelona, the 14th century Llibre Vermell, a tiny book, now bound in red leather, hence its name (Red Book). Compared to the other manuscripts it is very small - it contains only ten songs. However, it manages to include three languages (Latin, Catalan and Occitan) and several different forms : rounds, a motet, a conductus, dance songs with refrains, and a strophic song about the seven joys of Mary. (Laudemus virginem, Splendens ceptigera, O virgo splendens, Mariam Matrem, Imperayritz, Cuncti simus)

~Margriet Tindemans