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The music of medieval Iberia, from the province of Andalusia or al-Andalus, has survived in oral traditions from all three of its constituent groups, Arab, Jewish, and Christian. This opens up possibilities for reconstructing quite a large body of music, although of course the uncertainties increase along with the variety of information. This release by the Spanish early music group Capilla Antigua de Chinchilla focuses on Sephardic vocal music in the Ladino language. The word "endechar" means to lament, and the concept as applied to the program here seems to indicate not only the actual funeral songs (there are only two, designated "endecha sefardí" in the tracklist), but also the tint of melancholy that seems to pervade the whole. The two endechas are quite unusual; Muerte que a todos convidas (Death who invites us all, track 5) comes from the perspective of a dying nobleman gathering loved ones about him and describes this scene in some detail, while Ya crecen las hierbas (Now the plants are growing, track 7) is a brief, intense lament for the passage of time. There is also a cradle song, a pretty sexy wedding song, and pieces called romance sefardí or canción sefardí, describing matters of courtly love in a way that would have seemed familiar to French listeners of the time. Are these more melancholy than comparable examples from other medieval cultures? They have been shaped over the centuries by Jewish and Arabic traditions that make them sound "minor," but this doesn't close the case, and the "Lament for Spain" subtitle of the disc is purely an abstract notion rather than a description of the contents. Reconstructors of this music can choose from among various emphases: not only Jewish, Arabic, or Christian, but also eastern and western Mediterranean, for these songs migrated eastward after the Jewish expulsion from Spain in 1492. Listeners whose interest is in Jewish music specifically will find that these performances don't sound Jewish in the modern sense. That's because the performers have relied on sources from modern Morocco, where these songs survived with Arabic lyrics; these lack the heavy ornamentation characteristic of the eastern basin. Nor are the instruments specific to the Jewish world; they are, as director José Ferrero points out in his notes, mostly characteristic of Christian Europe, a procedure for which he cites documentary evidence. One hears flutes, medieval harps, shawms, and most remarkably a beautifully played psaltery, along with Arab viols and a variety of percussion instruments including "nackers," which are castanets. The performances are all lively and give a sympathetic introduction to this still rather neglected phase of the Iberian medieval repertory. The booklet, in English and Spanish, needed a final round of editing. For texts in Ladino and English, the listener is obliged to go online.
© TiVo
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Arvolicos d'almendra (Morocco) (arr. J. Ferrero)
Traditional, Composer - Anonymous, Lyricist - Jose Ferrero, Composer, Conductor - Capilla Antigua de Chinchilla, Ensemble
2000 Naxos 2000 Naxos
Hija mia mi querida (Tetuan) (arr. J. Ferrero)
Traditional, Composer - Anonymous, Lyricist - Jose Ferrero, Composer, Conductor - Capilla Antigua de Chinchilla, Ensemble
2000 Naxos 2000 Naxos
Esta montana d'enfrente (Bulgaria) (arr. J. Ferrero)
Traditional, Composer - Anonymous, Lyricist - Jose Ferrero, Composer, Conductor - Capilla Antigua de Chinchilla, Ensemble
2000 Naxos 2000 Naxos
Una matica de ruda (Balkans) (arr. J. Ferrero)
Traditional, Composer - Anonymous, Lyricist - Jose Ferrero, Composer, Conductor - Capilla Antigua de Chinchilla, Ensemble
2000 Naxos 2000 Naxos
Muerte que a todos convidas (Larache) (arr. J. Ferrero)
Traditional, Composer - Anonymous, Lyricist - Jose Ferrero, Composer, Conductor - Capilla Antigua de Chinchilla, Ensemble
2000 Naxos 2000 Naxos
Por que llorax blanca nina? (Sarajevo) (arr. J. Ferrero)
Traditional, Composer - Anonymous, Lyricist - Jose Ferrero, Composer, Conductor - Capilla Antigua de Chinchilla, Ensemble
2000 Naxos 2000 Naxos
Ven querida (Morocco) (arr. J. Ferrero)
Traditional, Composer - Anonymous, Lyricist - Jose Ferrero, Composer, Conductor - Capilla Antigua de Chinchilla, Ensemble
2000 Naxos 2000 Naxos
Cuatro anos d'amor (Balkans) (arr. J. Ferrero)
Traditional, Composer - Anonymous, Lyricist - Jose Ferrero, Composer, Conductor - Capilla Antigua de Chinchilla, Ensemble
2000 Naxos 2000 Naxos
Ya crecen las hierbas (Larache) (arr. J. Ferrero)
Traditional, Composer - Anonymous, Lyricist - Jose Ferrero, Composer, Conductor - Capilla Antigua de Chinchilla, Ensemble
2000 Naxos 2000 Naxos
Paxaro de hermosura (Salonica) (arr. J. Ferrero)
Traditional, Composer - Anonymous, Lyricist - Jose Ferrero, Composer, Conductor - Capilla Antigua de Chinchilla, Ensemble
2000 Naxos 2000 Naxos
Nani, nani (Morocco) (arr. J. Ferrero)
Traditional, Composer - Anonymous, Lyricist - Jose Ferrero, Composer, Conductor - Capilla Antigua de Chinchilla, Ensemble
2000 Naxos 2000 Naxos
En la mar hay una torre (Salonica) (arr. J. Ferrero)
Traditional, Composer - Anonymous, Lyricist - Jose Ferrero, Composer, Conductor - Capilla Antigua de Chinchilla, Ensemble
2000 Naxos 2000 Naxos
Calvi arabi - Kol libi - Rey don Alfonso (arr. J. Ferrero) (Anonymous)
Anonymous, Composer - Jose Ferrero, Composer, Conductor - Capilla Antigua de Chinchilla, Ensemble
2000 Naxos 2000 Naxos
Durme, durme hermozo hijico (Turkey) (arr. J. Ferrero)
Traditional, Composer - Anonymous, Lyricist - Jose Ferrero, Composer, Conductor - Capilla Antigua de Chinchilla, Ensemble
2000 Naxos 2000 Naxos
Avrix mi galanica (Salonica) (arr. J. Ferrero)
Traditional, Composer - Anonymous, Lyricist - Jose Ferrero, Composer, Conductor - Capilla Antigua de Chinchilla, Ensemble
2000 Naxos 2000 Naxos
El rey Nimrod (Turkey) (arr. J. Ferrero)
Traditional, Composer - Anonymous, Lyricist - Jose Ferrero, Composer, Conductor - Capilla Antigua de Chinchilla, Ensemble
2000 Naxos 2000 Naxos
Album review
The music of medieval Iberia, from the province of Andalusia or al-Andalus, has survived in oral traditions from all three of its constituent groups, Arab, Jewish, and Christian. This opens up possibilities for reconstructing quite a large body of music, although of course the uncertainties increase along with the variety of information. This release by the Spanish early music group Capilla Antigua de Chinchilla focuses on Sephardic vocal music in the Ladino language. The word "endechar" means to lament, and the concept as applied to the program here seems to indicate not only the actual funeral songs (there are only two, designated "endecha sefardí" in the tracklist), but also the tint of melancholy that seems to pervade the whole. The two endechas are quite unusual; Muerte que a todos convidas (Death who invites us all, track 5) comes from the perspective of a dying nobleman gathering loved ones about him and describes this scene in some detail, while Ya crecen las hierbas (Now the plants are growing, track 7) is a brief, intense lament for the passage of time. There is also a cradle song, a pretty sexy wedding song, and pieces called romance sefardí or canción sefardí, describing matters of courtly love in a way that would have seemed familiar to French listeners of the time. Are these more melancholy than comparable examples from other medieval cultures? They have been shaped over the centuries by Jewish and Arabic traditions that make them sound "minor," but this doesn't close the case, and the "Lament for Spain" subtitle of the disc is purely an abstract notion rather than a description of the contents. Reconstructors of this music can choose from among various emphases: not only Jewish, Arabic, or Christian, but also eastern and western Mediterranean, for these songs migrated eastward after the Jewish expulsion from Spain in 1492. Listeners whose interest is in Jewish music specifically will find that these performances don't sound Jewish in the modern sense. That's because the performers have relied on sources from modern Morocco, where these songs survived with Arabic lyrics; these lack the heavy ornamentation characteristic of the eastern basin. Nor are the instruments specific to the Jewish world; they are, as director José Ferrero points out in his notes, mostly characteristic of Christian Europe, a procedure for which he cites documentary evidence. One hears flutes, medieval harps, shawms, and most remarkably a beautifully played psaltery, along with Arab viols and a variety of percussion instruments including "nackers," which are castanets. The performances are all lively and give a sympathetic introduction to this still rather neglected phase of the Iberian medieval repertory. The booklet, in English and Spanish, needed a final round of editing. For texts in Ladino and English, the listener is obliged to go online.
© TiVo
Details of the original recording : 57:31 - DDD - Enregistré du 16 au 20 juillet 2009 à Iglesia de San Antón, Chinchilla de Monte-Aragón, Albacete (Espagne) - Notes en anglais et espagnol
About the album
- 1 disc(s) - 16 track(s)
- Total length: 00:55:17
- 1 Digital booklet
- Main artists: Capilla Antigua De Chinchilla
- Composer: Various Composers
- Label: Naxos
- Genre: Classical
2000 Naxos 2000 Naxos
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