Ensemble Accentus

Thomas Wimmer, Director

Cancionero Musical de Palacio

Anon. (15tW16th century): Rodrigo Martinez
Juan de Anchieta (1462-1523): Con mores, mi madre
Juan del Enzina (1468-1529): Pues que jamls olvidaros
Juan del Enzina Si a b r i en este baldres
Anon. (15th116th century): Si d'amor pena sentis
Alonso (f1.1500): Tir'alla, que non quieto
Lope de Baena (c.1460-c.1520): Todo quanto yo semi
[81 Juan del Enzina: Levanta Pascual
Badaj6z (fl.c.1520) Malos adalides fueron
Juan del Enzina: Todos 10s bienes del mundo
Francisco Millin (fl.c.1500): Durandarte
Juan del Enzina: Fata la parte
Juan del Enzina: Pedro, i bien te quiero
Francisco de la Torre (1460-1505): Danza alta
Juan del Enzina: Qu'es de ti, desconsolado?
Alonso: La tricotea
Anon. (15th116th century): Ay triste, que vengo
[Isl Anon. (15tW16th century): So ell enzina
Juan Ponce (c.1480-after 1521): Como est5 sola mi vida
Anon. (15th116th century): 0 voy
Anon. (15tW16th century): Tres morillas m'enamoran
Juan del Enzina: Hoy comamos y bebamos

In the year 711 Arab armies from North Africa crossed into the Iberian
peninsula and in a few decades established there a new Islamic kingdom that
included nearly all present-day Spain. Together with the Arabs came some
50,000 Jews, whose numbers increased during the course of the century. The
opposition to foreign domination began to make itself felt from the thirteenth
century, continuing until 1492 when Granada was taken, the last Moorish

kingdom, and the whole Iberian peninsula passed again under Christian
suzerainty. In the almost eight preceding centuries there had been a mixture
of the three groups of people, Arabs, Christians and Jews, with a consequent
exchange of some cultural elements. In 1492 this stimulating process came to
a sudden end. The fall of Granada was taken as a welcome Gason to exile the
Catholicism
unconverted Tews, and, with the helv of the Inauisition. to im~ose
e
auihors of thi period here &ell aware of the
as a state religion.' ~ o i critical
cultural loss and the spiritual impoverishment that Spain underwent through
these events. The support for Columbus and the subsequent attempts to
establish overseas the Catholic Vice-Regal dominion offered, it seemed, a
more than welcome opportunity away from the particular problems of the
country.
The end of the fifteenth century brought a definite change in art music.
Before this the Spanish rulers had looked for musicians in France, Flanders or
Italy, but the Catholic court, under Ferdinand and Isabella, whose marriage in
1462 had united the kingdoms of Aragon and Castile, with their accession to
the throne in 1474, engaged only Spanish musicians for their orchestra.
Above all it was Ferdinand who, after the death of Isabella in 1504,invited the
best Castilian musicians to his court and founded the royal chapel, one of the
largest in Europe, with 46 musicians. Through this developmentof awareness
of their own culture a style developed different from the Franco-Flemish style
of the early fifteenth century. This new style, strongly oriented towards folkmusic and based on a simpler harmonic structure, brought in no way a
simplification or descent into the banale, but rather an incomparable strength
of feeling and expression. Counterpoint no longer held the main point of
interest, but, instead, the sensitive expression of the text. Rather than looking
back to original Christian Spain, here there are traces of that culture of which
Spain wanted to be rid, that had made such a deep impression on the people,
not only in music. The inner melancholy of the music, the rhythm, the form
and the contents of many songs are evidence of the presence of Jews and
Arabs.

Several so-called Calzcioneros serve us today as sources of the court repertoire,

collections of songs, among which the most important is the Calzcio~zerode
Palacio. This is found in the library of the Royal Palace in Madrid and
originally included 551 compositions, of which, through the loss of 54 pages,
460 are preserved. The origin of this very substantial witness to the musical
life of Spain falls in the last third of the fifteenth century and in the first third
of the sixteenth. It is certain that this collection is not the work of one but
rather of several scribes, who copied the notation very exactly, but made
many mistakes and phonetic changes in the texts. In the original the songs are
not given in score but are, as in the rest of Europe at this period, given in
separate parts, with the text only underlying the discant. The Calzciolzero must
certainly have served at the establishment of the Royal Chapel, although
many poems stem from the entourage of the Duke of Alba.
The songs included are of many different kinds, love stories, political and
historical narratives (among them ever again the theme of the capture of
Granada), religious, knightly and pastoral subjects, light-hearted pieces and
dance music. Castilian is by far the most frequent language, with a smaller
quantity of texts in Italian, Portuguese and even Basque, as well as typical
songs in a mixture of French, Italian and Castilian. The most frequent forms
are those of the villa~zcicoand the ronzance. The former has similarities with the
Italian frottola and the Arab zejel, with its probable origin in the fourteenth
century and continuing in use well into the sixteenth. It is a strophic form,
which always begins with an introductory verse (esfribillo), continuing with
an original strophe (copla) and ending with the vuelta. The ronzarlce, on the
other hand, is in more general narrative style, dealing with stories of love or
knighthood.

The compositional style of the songs is not unified and ranges from fugal
writing to simple homophony and complete expression of the text, from the
three-voice discant-tenor-contratenor technique of the fifteenth century to the
six-voice polyphony of the sixteenth.
All in all the Caitciollero de Palncio shows the flowering of Spanish cultural
life, made possible through a strengthened self-awareness and feeling of
nationhood, developed through ever-growing trade contact with Flanders
and overseas and characterized by simplicity, emotional depth and the
interweaving of court art with the art of the people.
Thomas Wimmer (English version by Keith Anderson)

Ensemble Accentus
The Ensemble Accentus was established in Vienna in 1988 and consists of
no more than thirteen singers and instrumentalists. The group is devoted
particularly to the performance of early Spanish music, with special attention
to the element of improvisation. The repertoire ranges from Sephardic
Romances, through art-music and popular music of the late fifteenth and
early sixteenth centuries to the high polyphony of the latter. Ensemble
Accentus has been active in the recording, broadcasting and television studios
as well as in public concerts and festival appearances.

Ensemble Accentus
Carmen Cano
Bernhard Landauer
Bemd Lambauer
James Curry
Colin Mason

mezzo-soprano
countertenor
tenor
tenor
bass-baritone

Marco Ambrosini
Nora Kallai
Lorenz Duftschmid
Thomas Wimmer
Michael Posch
Riccardo Delfino
Richard Labschiitz
Wolfgang Reithofer

keyed fiddle, gaitita

viola da gamba
viola da gamba, violone
viola da gamba, violone, vihuela d'arco, ud, gaitita
Renaissance recorder
harp, double harp, hurdy gurdy, gaita
vihuela da mano
percussion

Director: Thomas Wimmer

Liedtexte

Texts

Rodrigo Martinez

Rodrigo Martinez

Rodrigo Martinez
Alas insares iAhe!,
Pensando qu'eran vacas,
Silr.&r~alas.
iHe!

Rodrigo Martinez
at the wild geese, he!,
thinking they were cows,
he whistled. He!

Rodrigo Martinez,
Ate11garrido,
Los tus ansarinos
Lier~alosel rio iAhe!
Pensando qu'eran vacas,
Silv6valas. iHe!

Rodrigo Martinez,
so handsome,
your little geese
the river carries arvay, he!,
thinking they rvere cows
he rvhistled at them, he!

Rodrigo Martinez,
Atdn lopno,
Los tus ansarinos
Llevalos el vado iAhe!
Pensando qu'eran vacas,
Silvh~alas.iHe!

Rodrigo Martinez,
so strong,
your little geese
the ford carries away, he!,
thinking they were corvs,
hervhistled at them, he!

Con amores, mi madre

(instrumental)

Con amores, mi madre

(instrumental)

Pues que jamis olvidaros

Pues que jamis olvidaros

Pues que jamis olvidaros

No puede mi corafon,
Si me falta galardon,
iAy, que ma1 hize enmiraros!
Set6 tal vista cobrar
Gran dolor y gran tristura;
Serl tal vista penar,
Si me falle~eventura:
Mas si vos, por bien amaros,
No dira mi coracon
iAy, que ma1 hize en mirar!

Since never can my heart

forget you,
if I have no rervard,
Ay, how terrible to see you!
Such a sight will bring
great pain and great sadness;
such a sight will be torment,
if luck fails me:
but if you, for loving you,
rervard me, my heart will not say:
Ay, horv terrible to see you!

rn

Si abrl en este baldres

Si abr6 en este baldres

iSi abrl en este baldres

Mangas para todas tres?
Tres mocas d'aquesta villa
Tres mocas d'aquesta villa
Desollaban una puta
Para mangas a todas tres.
Tres mocas d'aquesta barrio
Tres mocas d'aquesta barrio
Desollaban un cornudo
Para mangas a todas tres.
iSi abrl....
Desollaban una puta
Desollaban una puta
Y falt6lesuna tira
Para mangas a todas tres.
Y faltdles una tira
Y falt6les una tira
La una a buscalla yba
Para magas a todas tres.
iSi abrb....
Desollaban un cornudo
Desollaban ui cornudo
Y falt6les un pedaco
Para mangas a todas tres.
Y falt6les un pedaco
Y falt6les un pedaco
La una yba a buscallo
Para mangas a todas tres.
iSi abrl....

From this hide you will have

sleeves for all three?
Three girls from this town,
three girls from this town
skinned a rvhore
for sleeves for all three.
Three girls from this quarter,
three girls from this quarter
skinned a cuckold
for sleeves for all three.
From this hide. .. . .?
They skinned a whore,
they skimied a whore
and lacked a strap
for sleeves for all three,
and lacked a strap,
and lacked a shap,
one went to find one
for sleeves for all three.
From this hide. . . .?
They skinned a cuckold,
they skinned a cuckold
and lacked a piece
for sleeves for all three,
and lacked a piece,
and lacked a piece,
one went to find one
for sleeves for all three.
From this hide.. . . .?

rn

Si d'amor pena sentis

Si d'amor pena sentis

Si d'amor pena sentis,

I'or mesuri i por bondat,
Cavalleros, si a hancia is,
Por Gayferos preguntad.
Cavalleros, si a Francia is,
Por Gayferos preguntad,
Y desilde que su amiga
Se l'envian encomendar.
Que sus justas i tornoes
Bien lo supimos acA,
Que salib mis gentilhombre
Para alas damas loar.
Desilde por nueva Gerta
Como me quieten cam:
Maiiana hago mis bodas
con uno d'allende la mar.

If you feel the pain of love,

for good manners and goodness,
gentlemen, if you come to France,
ask for Gayferos.
Gentlemen, if you come to France,
ask for Gayferos,
and tell him that his mistress
has sent you,
that with his jousts and tourneys
held there
he is more of a gentleman
for praise of the ladies.
Tell him again for sure
if he will marry me,
tomorrow I will hold my wedding
with a sailor.

Tir'allb, que non quiero

@/ Tifall$ que non quiero

Tir'alli. que non quiero,

mozuelo Rodrigo.
Mi tiempo perdido todo fast' agora,
por ser namorado de vos, mi sefiora.
Agora que vengo,
dasme por abrigo.

Away, I do not love you,

my lad Rodrigo.
I have wasted my time up to now
by loving you, my lady.
Now that I come,
grant me shelter.

Todo quanto yo semi

(instrumental)

Todo quanto yo semi

(instrumental)

Levanta, Pascual
-Levanta, Pascual, levanta,
aballemos a Granada,
que se suena qu'es tomada.
Levanta toste priado,
toma tu perro y currbn,
tu camarra y camarrbn,
tus albogues y cayado.
Vamos ver el gasajado
d'aquella ciudad nombrada,
que se suena qu'es tomada.
-iAsmo cuidas que te creo?
~JUIO
a mi! que me chufeas
Si M mucho lo desseas
Soncas, yo mis lo desseo.
Mas a la mie f6 no veo
apero de tat majada.
Que se suena qu'es tomada.
-Hora ipese a diez contigo!
siempre piensas que te miento:
Ahotas que me arrepiento
porque a ti nada te digo!
and'aci, vete comigo,
note tardes mis tardada,
que se suena qu'es tomada.
iQue consuelo y qu6 connorte
ver por tortes y garitas
alzar las cruzes benditas!
iO qu6 plazer y deporte!
Y entraba toda la corte
a milagro ataviada.
Que se suena qu'es tomada.

[81 Levanta, Pascual

Up, Pascual, up,
let us go to Granada,
norv they say it is taken.
Up quickly,
take your dog and pouch,
your sheepskin jerkin and coat,
your boots and shepherd's crook.
Let us go to see the rejoicing
of that famous city
that they say is taken.
-Do you think I believe you?
I swear it! You jest
if you want it
any less than I do.
By my faith I see nothing more
of this sheepfold,
now they say it is taken.
-Now, you will be sorry!
You a1rva)rs think I am lying:
you suppose that I am sorry
for telling you lies!
go there, see it with me,
do not delay more,
for they say it is taken.
What comfort, what consolation
to see on the torvers and turrets
rise the blessed crosses!
Oh what pleasure, what delight
And I entered the whole courtyard
rvo~lderfullydecorated,
for they say it is taken.

Por vencer con tal vitoria

10sreyes nuestros seiiores,
demos gradas y loores
a1 eterno Rey de Gloria,
que jamis qued6 memoria
de Reyes tan acabada:
que se suena qu'es tomada.

Malos adalides fueron

To conquer with such a victory,

our royal masters,
we shall give thanks and praise
to the eternal King of Glory,
that the memory of this
act of our kings remain praised for ever:
for they say it is taken.

@j

Malos adalides fueron

Malos adalides fueron

Los ojos que vos miraron,
Qu'entraron y no salvaron
El coraqon que prendieron.
Prendi6 me vuestra beldad
Las fuerqas de mi querer;
Rob6 me la voluntad
A jamas tener plaser.
qierto, ma1 guidados fueron
Por la via que llevaron,
Qu'entraron y no salvaron
EL cora$oii que prendieron.

They were bad leaders,

the eyes that saw you,
who entered a i d greeted not
that heart that welcomed.
Your beauty captured me,
your powet tookmy mind,
robbed me of my will,
with no delight more.
Indeed, they were badly led
that looked up,
entered and greeted not
the heart that welcomed

Todos 10s bienes del mundo

(instrumental)

Todos 10s bienes del mundo

(instrumental)

rn

Durandarte
-Durandarte, Durandarte,
Buen caballero probado,
Yo te ruego que hablemos
En aquel tie~npopassado,
Y dime si se te acuerda
Cuando fuste enamorado,
Cuando en galas 6 invenciones
Publicabastu cuidado,
Cuando venciste 6 10s moros
En campo por mi apluado:
Agora desconoddo,
Di, ipOr qud me has olvidado?
-Palabras son lisonjeras,
Sefiora, de vuestro grado;
Que si yo m u d a m hice,
Vos lo hab6s todo causado,
Pues amastes d Gayferos
Cuando yo fui desterrado;
Que si amor querds comigo,
Teneslo muy ma1 pensado;
Que pot no sufrir ultraje
Morird desesperado.

rn

Durandarte
- Durandarte, Dura~idarte,
good, true knight,
I beg you that we may talk
of that time past
and tell me if you remember
when you were in love,
when in finery and verses
you made known your care,
when you conquered the Moors
in the field of battle to please me.
Norv a stranger,
say, rvhy have you forgotten me?
-Words are flattering,
Lady, of your degree;
If I have changed,
you have caused it all,
since you loved Gayferos
when I was away;
if you want to love me
you are wrong,
so that to avoid more suffering
I die in despair.
(Only the first four verses of this
romance are given in the Cnt~ciotlero.
The rest is from the Cntlcio~lerode
Cnsfillo of 1511)

[iZl Fata la parte

[iZl Fata la parte

Fata la parte
tutt'ogni cal,
qu'es morta la mullet
de nicer Cotal.

Tell it
everywhere
that the rvife of Monsieur Cotal
is dead.

Porque l'hai trosato

con un espaiiolo
en su casa solo,
luedo l'hai mapto.
Lui se l'ha escapato
por forsa y por arte.
Fata la parte...

Because I found her

with a Spaniard
alone in the house,
I killed her.
He, though, escaped
by chance and cunning.
Tell it everywhere. ..

Restava dicendo,
porque l'hovo visto,
- jo vilasme Cristo!,
el dedo mordiendo,
gridando y piagendo:
- jEspalioleto, guarte!
Fata la parte...

He stopped,
for I saw him
-Oh Christ help me!,
biting his finger,
shouting out and rveeping:
-Spaniard, see to yourself!
Tell it everywhere.. .

iGuarda si te pillo,
don espalioleto!
Supra del mi leto
te far6 un niartillo,
tal queen escre\rillo
piangeran le carte.
Fata la parte...

Take care if I catch you,

Little Do11Spaniard!
Over my bed
I will give you such a lesson,
that the pages will weep
to read it, if it is written.
Tell it everywhere. ..

- Micer mi compare,

-Monsieur, it seems to me
thanks to her and you.
-Let me be
and take no care.
-It seems bad enough to me
that he is a cuckold
Tell it everywhere.. .

grada della e de ti.

- Lasa fare a mi
y non te curare.
- Assai ma1 me pare
lui encornudarte
Fata la parte...

Pedro, i bien te quiero

Pedro, i bien te quiero

Pedro, i bien te quiero,

magiiera vaquero.
-As tan bailado,
corrido y luchado,
que m'as anamorado
y d'amores muero.
Pedro, .....
- A la fe, nostrama,
ya suena mi fama,
y aun pues en la cama
soy mui mas altero.
Pedro, ...
-Nose que te diga,
tu amor me fatiga;
tenme por amiga,
sey mi compaiiero.
Pedro,...
- Soi en todo presto,
manoso i dispuesto,
y enver vuestro gesto
mucho mds m'esmero.
Pedro, ...
Quiero que me quieras;
pues por mi t'esmeras,
tengamos de veras
amor verdadero.
Pedro,...
Nostrama, seiiora,
yo naci en buen ora;
ya soy desde agora
vuestro por entero.
Pedro,...

Pedro, I low you,

although you are a cowherd.
-You have so danced,
run and fought,
that you have made me love you
and I die of love.
Pedro. . .
-By my faith, my lady,
my fame is spoken,
yet in bed
I am quite different.
Pedro.. .
- I do not know what to tell you,
love for you tires me;
take me as your mistress,
be my companion.
Pedro.. .
- I am quick in everything,
gentle and ready,
and when I see your look
I take more care.
Pedro.. .
I want you to love me;
since you care for me,
let us hy hue
love indeed.
Pedro. . .
My lady, mistress,
I was born at a lucky hour;
and now I am yours
for ever.
Pedro.. .

Danza alta (instrumental)

Danza alta (instrumental)

Qu'es de ti, desconsolado

Qu'es de ti, desconsolada

iQu'es de ti, desconsolado?

iQu'es de ti, rey de Granada?
iQu'es de tu tierra y tus moros?
iD6nde tienes tu morada?
Reniega ya de Mahoma
y de su seta malvada,
que bivir en tal locwa
es una burla burlada.
Torna, tirmate, buen rey
a nuestra ley consagrada,
porque, si perdiste el reino,
tengas el alma cobrada.
De tales reyes vencida
honra te deve ser dada.
iO Granada noblecida,
por todo el mundo nombrada!
hasta aqui fueste cativa
y agora ya libertada
Perdiirteel rey don Rodrigo
por su dicha desdichada,
gan6te el rey don Fernando
con ventura prosperada,
la reina doiia Isabel,
la m5s temida y amada:
ella con sus oraciones,
y 6l con mucha gente armada.
S e g h Dios haze sus hechos
la defensa era escusada,
que donde el ponde su mano
lo impossibiie es casi nada.

What is it with you, disconsolateman?

What is is with you, Kine, of Granada?
What is it with your landand your Moors?
Where is your dwelling?
Deny no~vMahomet
and his wicked sect,
for to live in such madness
is a mockery.
Turn, turn, good King
to our sacred law,
for, if you have lost your kingdom,
you have saved your soul.
Conquered by such kings,
honour must be given you.
Oh, noble Granada,
famous through the whole world!
Until norv you were captive
and now you are set free.
King Don Rodrigo lost you
through his ill fortune,
King Don Fernando won you
with a successful venture,
the Queen Doiia Isabella,
most respected and loved;
she by her prayers
and he rvith his great army.
Through God he did his deeds,
the defence rvas beaten
for where he raises his hand
the impossible is as nothing.

La tricotea

La tricotea

La tricotea
samartin la vea;
Abres un poc
a1 agua y senalea.
La bota senbra tuleta,
la senal d'un chapire.
Ge que te gus per mundo spesa.
La botilla plena,
dama, qui mayna,
cerrali la vena.
Orli, cerli, trun madama,
cerlicer, cerrarli ben,
votr'ami contrari ben.
Niqui, niquiddn,
formagidtin, formagiddn.
Yo soy monarchea
de grande nobrea.
Dama, por amor,
Dama, be1 se mea;
Dama, yo la vea.

The knitter
today sees her;
you will have
water in the drink.
The wine-ski seems broken,
the sign of a cuckold (?).
You find it everywhere.
The little wine-skin hll,
lady, who commands,
heals the blood.
Orli, cerli, trun madama,
cerlicer, heals it well,
your friend right over there.
Not here, not there,
formagidtin, formagidtil.
I am monarch
of great nobility.
Lady, for love,
Lady, fair one, be mine;
Lady, I see her.
(The original text is in an apparent
mixture of languages, with possible mis.
spellings or phonetic changes, or simply
nonsensewords. The suggested
translation is highly conjectural)

Ay triste, que vengo

Ay triste, que vengo

iAy triste, que vengo

Vencido d'amor,
Maguera pastor!
Mas sano me fuera
No ir al mercado,
Que no que viniera
Tan aquerenciado;
Que vengo cuitado,
Vencido d'amor,
Maguera pastor.
Di jueves en villa
Viera una dofiata;
Quise requerilla,
Y aballb la pata:
Aquella me mata
Vencido d'amor,
Maguera pastor.

How sad I am,

conquered by love,
fair shepherd!
It were better for me
not to go to market,
that I should not come,
so fond am I;
were I to come in sorrOXV,
conquered by lose,
fair shepherd.
On Thursday in totv~l
a girl I swv;
and rvould have
approached her,
but she showed her claws:
she kills me
conquered by love, fair shepherd.

[181 So ell enzina (instrumantal)

[i81 So ell enzina (instrumental)

Como esti sola mi vida

Como estd sola mi vida

Como esti sola mi vida, mi vida

Llena de muchos cuidados,
Lamentando amortePda,
Llora~domales pasados.
Quexase no sabe a quien
Del ma1 que tanto le duele;
Dize que perdib su bien,
No halla qien le consuele.

Horv lonely my life is, my life

full of many cares,
lamenting in death,
weeping over the unlucky past.
There is groaning over I know not whom
for the misfortune that so grieves him;
it is said he has lost his beloved
and finds none to console him.

0 voy (instrumental)

0 voy (instrumental)

Tres morillas m'enamoran

Tres morillas m'enamoran

Tres nori ill as m'enamoran en Jaen:

Axa y Fitima y Marien.
Tres morillas tan garridas
)wan a coger olivas,
y hallivanlas cogidas, en Jaen.
Axa y Fitima y Marien.
Y hallivanlas cogidas,
y torliavan dsmaidas
y las coloresperdidas, en Ja6n
Axa y Fiitima y Marien.
Tres moricas tan locanas
yvan a coger mancanas
y hallivanlas cogidas, en Jaen.
Axa y Fiitima y Marien.

Three little Moorish girls I love in Jaen:

Axa and Fatima and Marien.
Three little Moorish girls so pretty,
went to pick olives,
and found themselves picked, in Jaen.
Axa and Fatima and Marien.
And found themselves picked,
and returned fainting
and pale, in faen.
Axa and Fatima and Marien.
Three Moorish girls so mad
went to pick apples
and found themselves picked, in Jaen.
Axa and Fatima and Marien.

Hoy comamos y bebamos

Hoy comamos y bebamos

Hoy comamos y bebamos,

y catemos y holguemos,
que miuiana ayunaremos.
Por honra de Sant Antruejo
paremonos hoy bien anchos.
Ernbutamos estos panchos,
recalquemos el pellejo:
que costumbre es de consejo
que todos hoy nos hartemos,
que maiiana ayunaremos.
Honremos a tan buen santo
porque en hambre nos acorra;
comamos a calca porra,
que maiiana hay gran quebranto.
Comamos, bebamos tanto

Today let us eat and drink

and sing and have a holiday,
for tomorrow we fast.
In honour of Saint Antruejo
let us be together today.
Let us fill our stomachs,
let us empty the wine-skin:
it is the general custom
that we all sate ourselves today
for tomorrorv rve fast.
Let us honour the good saint
because he comes to us hungry;
let us eat our fill,
for tomorrow is a great falling off.
Let us eat. let us drink

hasta que reventernos,

que maliana ayunaremos.

as much as we can
for tomorrorv we fast.

Beve Bras, miis t13 Beneito.

Beva Pedruelo y Lloriente.
Beve tfi primeramente;
quitarnos has desse preito.
En bever bien me deleito:
daca, daca, beveremos,
que mafiana ayunaremos.

Drink, Bras, more for you Beneito

Drink Pedruelo and Lloriente.
Drink first;
before you go.
Drinking is my delight:
come, rve shall drink
for tomorrow we fast.
Let us be merry today
for to~norrowcomes death;
let us drink, let us eat fruit,
let us eat meat.
We will not lose a mouthful
and tomorrow rve fast.

Tomemos hoy gasajado,

que mafiaiia vien la muerte;
bebamos, comamos huerte,
viimonos carra el ganado.
No perderemos bocado,
que comiendo nos iremos,
y mafiana ayuiaremos.

(English versions by Keith Anderson)

EARLY MUSIC on NAXOS

ADORATE DEUM (Gregorian Chant - Male Voices)
BYRD:
Masses for Four and Five Voices I Infelix ego
Music for Viols, Voices and keyboard
CARDOSO I D. LOBO: Missae pro defunctis
FRENCH CHANSONS
GESUALDO: Complete Sacred Music for Five Voices
GIBBONS: Music for Viols, Voices and Keyboard
IN PASSIONE ET MORTE DOMINI
(Gregorian Chant for Good Friday)
JENKINS: All in a Garden Green
LAMENTATIONS:
(Tallis I White I Palestrinal Lassus I de Britn)
LASSUS: Masses for Five Voices I Infelix ego
LASSUS I PALESTRINA: Masses
da MILANO, Francesco Canova:
Fantasias, Ricercars and Duets
MEDIEVAL CAROLS
MUNDY: Magnificat I Kyrie I TYE: Missa I
Peccavimus I Omnesgentes
MUSIC OF THE ITALIAN RENAISSANCE (Voice and Lute)
MUSIC OF THE SPANISH RENAISSANCE (Voice and Lute)
PALESTRINA: Missa Papae Marcelli I
Missa Aeterna Christi Munera
RENAISSANCE MASTERPIECES
SALVA FESTE DIES
Gregorian Chant Female Voices

VICTORIA: Ave Maria1 Missa 0 magnum mysterium I

Missa 0 quam gloriosum
A. LOBO: Versa est in luctnm

8.853536

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Ensemble Accentus
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Recorded by W'A'R Studio at the Lutheran Stadtpfarrkirche A.B., Vienna,

from 9th to i2th May, 1995.
Engineers: Elisabeth and Wolfgang Reithofer
Music Notes: Thomas Wimrner
(English Translation by Keith Anderson)
Cover Painting: King Ferdinand of Spain by Michiel Sittow (1469 - 1525)
(Archivfiir Kunst und Geschichte)