Dadme albricias, hijos d Eva

Transcription

1 Dadme albricias, hijos d Eva Anonymous SATB Translation and Pronunciation /dad-m í al-bri-sjas i-xøs d - a/ Dad me albricias hijos d Eva; give me reward sons of eve /di d k dar-t -las an/ dí, de qué dártelas han? tell us why reward you? /k s na-si- w l nw - ø a- an/ Que es nascido el nuevo Adan. Because is born the new Adam /ø i d djøs i k nw - a/ O y de Dios y queé nueva, oh and of God and what news /ø i d djøs i k nw - a/ o y de Dios y qué nueva! Oh and of God and what news /dad-m -las ja- d pla- r/ Dad melas y haved plazer, Give me (my reward) and have pleasure /pw s s-ta nø-tß s na-si- ø/ pues esta noche es nascido because tonight is born / l m -ßi-as prø-m -ti- ø/ el Mexias prometido, the Messiah promised /djøs i øm-br d mu-x r/ Dios y Hombre, de mujer. God and man, of woman /i su na-s r nøs r -l - a/ Y su nascer nos releva And his birth us revealed

2 /d l p -ka- ø i d swa-fan/ del peccado y de su afan, of sin and of its torments /pw s na-siø l nw - ø a- an pues nascio el nuevo Adán. because born is new Adam Dadme albricias hijos d'eva; dí, de qué dártelas han? Que es nascido el nuevo Adán. Oh y de Dios y qué nueva, oh y de Dios y qué nueva! Dádmelas y haved plazer, pues esta noche es nascido el Mexías prometido, Dios y Hombre, de mujer. Y su nascer nos relieva del peccado y de su afán, pues nasció el nuevo Adán. Give me reward for my tidings, sons of Eve! Tell us, why should we reward you? Because the new Adam is born. Oh, Son of God, what news! Oh, Son of God, what news! Give me my reward and sing for joy, For tonight is born The promised Messiah, God and man, born of a woman, And his birth redeemed us From sin and from its torments. The new Adam is born! 1 About the Pronunciation of the text This diction guide is based primarily on the Castilian pronunciation of Spanish that was spoken in the 16 th and 17 th centuries in Spain, and continues to be spoken to this day. There are multiple editions of Dadme Albricias, and many of them scholarly. Side by side comparisons of these scores demonstrate a lack of consistency in orthography (how the words are spelled). I have consulted the facsimile of the Cancionero de Upsala for reference, but have opted for more modernized spellings of the words. Resources for putting this guide together include the following: IPA from Canciones de España Songs of Nineteenth-Century Spain, edited by Suzanne Rhodes Draayer, Scarecrow Press, 2003, 2005, The Linguistics of Spanish from Newcastle University, begun by Ian Mackenzie, professor of Spanish Linguistics at Newcastle: 1 Translation from Dadme Albricias (Anonymous). Choral Public Domain Library. accessed May 20,

3 Recordings o The Waverly Consort - o New York Pro Musica - o Capella de Ministrers - There are subtle differences in pronunciation among the various recordings, which is to be expected. Some of these differences appear to be based on differing interpretations of the original orthography into modern Spanish orthography, others based on the performers understanding of the pronunciation of 16 th Century Spanish. Several words could logically be pronounced in multiple ways, depending on one s interpretation. Below is a list of the words that seem to be interpreted in a variety of ways, along with my decisions on how to pronounce them for this performance. The following words will be pronounced with an /s/ as opposed to / / (which is what we more commonly associate with Castilian Spanish). nascido (in the Cancionera de Upsala as naßçido) nascido (in the Cancionera de Upsala as naçido nascer (in the Cancionera de Upsala as naçer) nascio (in the Cancionera de Upsala as naßçio) However, plazer (in the Cancionera de Upsala as plazer), will be pronounced /pla- r/ (as per New York Pro Musica recording). The h is silent The x of Mexias will be pronounced /ß/ - Rhodes-Draayer suggests that it should be pronounced /ks/, but the word was not performed this way on any of the scholarly recordings that I listened to. The g of muger (in the Cancionera de Upsala as muger) will be pronounced /x/. This agrees with Rhodes-Draayer s suggestion, and aligns with several of the recordings, although at least one recording pronounced the word as /mu-j r/. The cc of peccado (in the Cancionera de Upsala as peccado) will be pronounced /k/. Rhodes-Draayer suggests that it should be pronounced /k /, but the word was not performed this way on any of the scholarly recordings that I listened to.

4 Background The source of Dadme albricias is the Cancionero de Upsala (1556), a collection of primarily anonymous music from Spain including villacicos, plainchant and organum. 2 This particular piece is a villancico, which is A term first applied in the late 15th century to an Iberian vernacular musical and poetic form consisting of several stanzas (coplas) framed by a refrain (estribillo) at the beginning and end, giving an overall ABBA structure. The number of stanzas varied, as did the number of times the estribillo was repeated between stanzas in performance. Originally derived from a medieval dance lyric of the virelai or ballata type and associated with rustic or popular themes, the villancico ("vilancete", in Portugal) was extensively cultivated in secular polyphonic music of the late 15th century and the 16th. In the second half of the 16th century devotional and religious themes gained in importance and the form became used increasingly for sacred compositions in the vernacular which were introduced into the liturgy on feast days. In the 17th century it became more important than the Latin motet, and although its artistic quality rapidly declined in the 18th and 19th centuries it remained popular in both Spain and Latin America. Since then "villancico" has come to mean simply "Christmas carol". 3 Fascimile at IMSLP: Practice Materials You can find parts sung on text here: Soprano Choral Public Domain Library Contributors. Cancinero de Upsala. Choral Public Domain Library. Last edited: 23 June 2017 Web. 20 May Category:Villancicos. Choralwiki, Choral Public Domain Library, 18 Oct. 2005, 6:38, www2.cpdl.org/wiki/index.php/category:villancicos.

5 Alto - Tenor - Bass - Performance Recordings The Waverly Consort - New York Pro Musica - Capella de Ministrers - Analysis Key: F Major Meter: 3/4 (in modern notation) Form: ABBA SECTION MEASURE* EVENT AND SCORING A 1-25 a ms. 1-4 Call, sopranos only ms. 5-8 response from ATB in homorhythmic harmony b ms Call, sopranos only ms polyphonic response tutti voices; heavy use of points of imitation on the text o hí de Dios B c ms S/T call sopranos have melody, tenors harmonize homorhythmically ms tutti chorus responds in homorhythmic harmony with sopranos singing the melody B Identical to with new text A Identical to 1-25 with new text * Measure numbers are based on the New York Pro Musica edition (edited by Noah Greenburg), which lays out all musical events in the order in which they happen. Other editions sometimes use repeats, but the overall structure of ABBA should remain the same in performance.