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Spanish: Recitativo
¿Qué es esto dulce dueño de mi vida? Tu cuerpo y sangre brindas en comida, a vista pues de gracia tan notoria, nada pido Señor, más que la gloria. |
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Aria
Voy buscando a mi cordero que partido y siempre enteroen un suave manjar sabe darme todo un Dios. Oh mi dueño soberano El favor de tu alta mano, No le niegues a tu siervo Que se abraza hoy en tu amor. Oh mi dueño soberano El favor de tu alta mano No le niegues a tu siervo Que se abraza hoy en ardor. |
English:
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Recitative
What is this sweet dream in my life? |
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Aria
I am looking for my lamb that, split and always whole in a soft delicacy God gives me everything. Oh my sovereign owner The favour of your high hand, Do not deny your servant He embraces you today in your love. Oh my sovereign owner The favour of your high hand Do not deny your servant Today is embraced with ardour. |
2. Main features and analysis (recitative and aria):
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The original scores are preserved at the historical archive of Arquidiocesano in Guatemala.
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The score is dated on 1764 and was composed for La Festividad del Corpus.
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It is composed in two parts: recitative and aria.
-The Recitative is a small piece for soprano, violins (I and II), harp, and bass.
-The harmony is quite simple. Starting with an instrumental introduction in C Major and soprano starts with a short beginning in bar 4 in D minor and continues from bar 7 where it contains an augmented 6th in 1st inversion which give more colour to the recitative (expl. 1)
-Chords mainly in fundamental and 1st inversion and modulations are made to neighbour tonalities.
-The Aria (largo, allegro, largo) starts with a small introduction in A minor (part A). Opening with an instrumental introduction as well as the recitative and the soprano starts on bar 7.
- The tonality changes almost per bar, giving more colour to the piece.
-From bar 10, starts a dialogue between voice and instruments creating the continuity of the musical speech. After from bar 12 till 17 the violins do a unison with the voice.
-The common use of fermatas and cadenzas in this entire composition give intensity and drama. On bar 36 the piece suddenly stops with a fermata and starts the largo in D minor with a different form of the previous largo. The voice is cut every three words with small silences that gives intensity and tension to the music.
Spanish:
Pascual está aquí señores,
bosando gusto y solaz:
Que como el tiempo es de Pascua,
Pascual viene muy pascual.
¿Qué es esto Pascual amigo?
¿tanto bueno por acá?
A cantar una Tonada
me vengo sin más ni más.
¿La Tonada estará buena?
pues, ¿por qué no lo ha de estar?
Cántala Pascual con brío,
que si es buena ello dirá.
Tonadilla
Esta Noche a medianoche,
se abrió el cielo par en par,
lo que quiera que ello fuese,
mañana parecerá.
Mas ya pareció
porque ya se ve, porque
claro está,
era un sol divino
¡y qué si no!
que al suelo se vino
por cuerpo solar.
Allegro
Se porta Pascual,
con todas las voces
más gusto ha de dar.
Esta Noche a medianoche
el cielo se vino abajo,
porque hasta a Dios vio bajar;
y a nuestros campos vinieron
los ángeles a holgar.
Mas ya pareció…
Donde el rey, está la corte,
y hoy es la corte, un portal:
Sirve de trono un pesebre,
que da mucho que pensar.
Mas ya pareció…
Dos personas le acompañan,
que hacen con él Trinidad;
por lo humano, están al lado,
y por lo divino atrás.
Mas ya pareció…
Dos brutos al niño helado,
se ejercitan en templar:
Si con ellos con-templamos,
probamos lo racional.
Mas ya pareció...
English:
Pascual is here gentlemen,
Boasting pleasure and solace:
The time is Easter,
Pascual comes very paschal.
What is this, my friend Pascual?
so much good here?
To sing the Tonata
I come without expectations
Will the Tonada be good?
Well, why shouldn't it be?
Sing it Pascual with vigour,
that if it is good that will say.
Tonadilla
Tonight at midnight,
the sky opened wide,
whatever that was,
tomorrow it will appears.
But it already appreared
because you can see it, because
of course,
it was a divine sun
and what if not!
that fell to the ground
per solar body.
Allegro
Pascual behaves,
with all the voices
he has to give more pleasure.
Tonight at midnight
the sky fell down,
because he even saw God coming down;
and to our fields they came
the angels to rest.
But it already seemed...
Where the king is the court,
and today is the court, a portal:
A manger serves as a throne,
which gives a lot to think about.
But it already appeared...
Two people accompany him,
What do they do with it Trinity?
Humanly, they are next to each other,
and for the divine behind.
But he already appeared...
Two brutes to the frozen child,
they exercise in tempering:
If we contemplate with them,
we prove the rational. But it already appeared..
2. Main features and analysis:
-This villancico for 9 voices, tiple solista and two choirs with tiple, alto, tenor and bass and with accompaniment of harp, 2 horns, 2 violins, bajón, violon and double bass that are preserved at Archivo Arzobispal de Lima and was composed for Christmas festivities.
-The main tonality of this piece is F Major.
- It begins with an instrumental solo introduction with ¾. The violins in unison play the solo that the tenor will play on bar 3.
- On bars 7-8 and 10-11 the composer wrote a major 7th from a tonic chord giving a new colour to the melody, being this of common use in Spanish music.
-A tempo change to 3/8 in bar 22 with the estribillo andante, introduces a new section which is the chorus itself. This begins with an instrumental introduction in F major, as in the first introduction. The use of dots and rhythms with sixteenth notes remind us a dance. In this section the vocal theme is articulated in dialogue (question-answer) between the tenor (theme A) and the solo soprano voice (theme A').
-In bar no. 79, the dialogue form (question-answer), this time between the two choirs and the solo soprano voice. After a brief instrumental link, a brief exposition of the chorus starts in measure 92.
-From bar no. 95 a new development begins in a contrapuntal way, with staggered entries to the soprano, contralto, tenor and bass.
-In measure 98, the culminating point in the key of C Major over a diminished fifth chord and from there, the climax decreases and cadences end in the main key (F Major). In bar 126 begins the tonadilla in Lento, a section with a new time signature change to ¾. This section with rhythms in eighth notes and quarter notes of the instrumental accompaniment indicates a decrease in speed and the beginning of a new moment. The soprano begins in measure 128 with long phrases.
-A cadential section begins in bar no.141 that leads us to the conclusion in bar 159 with the tonic in F major.
- On bar 160, with a tempo marking of 3/8 and the dynamic indication of Allegro, places us in a short ritornello (coming back) that prepares the entrance of all the voices with a small instrumental introduction. In this section, the dialogue form (question-answer) used in the chorus is used again, this time between the two choirs and the solo soprano voice.
- From bar 182, next section repeats tonadilla al unisono, but this time with all the voices in unison as the title indicates.
-From bar 216, coplas in Lento repeats the same music of the tonadilla.
3. The form of this villancico is:
Introduction /Estribillo / Tonadilla / Tonadilla al unisono/Coplas.
Spanish:
Estribillo
A la lid, al arma tocan,
al arma, a la batalla.
A la lid, al arma tocan
en los fuertes de David,
al arma esforzados campeones,
a la batalla, a la lid.
Ya la señal se escucha,
ya hace seña el clarín,
el parche infunde bríos
Todos y herido incita a herir.
En el Pan hay esfuerzos,
en el vino hay ardid,
que el Señor que los víveres pone,
las fuerzas da en ellos
para combatir.
A la lid, al arma tocan,
al arma, a la batalla.
A la lid, al arma tocan
en los fuertes de David,
al arma esforzados campeones,
a la batalla, a la lid.
Coplas:
No hay que temerle soldados,
al enemigo malsín,
que en municiones de boca
consiste toda la lid.
Con un bocado el contrario,
nos pudo a todos rendir,
y en un bocado tenemos
la victoria más feliz.
Lo que temerse pudiera,
fuera la sangre verter,
sangre a Dios costó la lucha,
y no quedó que salir.
English:
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Estribillo
Fight, weapon touched, weapon, battle. Fight, weapon touched in the strongholds of David, to the weapon mighty champions, battle, fight. The signal is already heard, the clarion is already signalling, the patch infuses energy Everyone and wounded incites to wound. In the Bread there are efforts, in the wine there is trickery, that the Lord who provides the provisions, the forces gives to them to combat. Fight, weapon touched, weapon, battle. Fight, weapon touched in the strongholds of David, weapon mighty champions, battle, fight.
Couplets:
There is no need to fear soldiers, to the evil enemy, than in muzzle ammunition the whole fight consists. With a bite the opposite, He was able to render us all, and in one bite we have the happiest victory. What could be feared, out the blood pour, blood to God cost the fight, and there was nothing left to do. |
2. Main Features and analysis:
This villancico for two tiples, alto and tenor, accompanied by a harp, two bugles, two violins, a violone and a double bass is preserved in the Archbishop's Archive of Lima. The score is dated 1762 and was written for the Corpus Christi festivity. The main key of this is D major. This villancico is also described as a villancico de batalla (fight Christmas Carol) and to show that the composer used the bugles, instruments also commonly used in battles. It begins with an instrumental introduction in which the rhythmic aspect is the main protagonist; the repetition of the same note with figuration of sixteenth notes is an elements that imitate military marches. The alternation of quarter notes and sixteenth notes in unison, played by the bugles and occasionally by the violins, makes these instruments identify with drums, a military instrument or instruments used in battles, and reference is made to the fights of the Old Testament with moralizing intent by the composer. This type of accompaniment appears in the aria Al lampo dele`arm if rom Haëndel's opera Julius Caesar in Egypt. The whole piece is an allegory or metaphor with warrior character to exalt the Eucharist.
-From bar no.20 indicate a change in the instrumental treatment and a second section, playing the winds as mere harmonic and rhythmic support.
-The singers begin in measure 35 with vertical counterpoint and a note per syllable for all voices and from bar 62 the military rhythm from the beginning come back in combination with the voices.
-In bar 64 starts b part and bar no. 78, the culminating point where all the voice sing together shortly before returning to the main key with a link begins on bar 85 with dots leads back to the main key.
-A change of time signature to 2/4 takes us to the coplas. The treatment of the voice is different from the other sections; two-note melismas and ornaments give the melody. In bar 142 and 144 there is an augmented second and to end the villancico, the chorus is repeated again.
Spanish:
Estribillo
Hoy amor a los hombres,
promete alivios
con el pan que del cielo
ha descendido.
Ay, qué alegría, qué regocijo
que este pan alimenta las almas
en el más peligroso camino.
Gracias instruyen y beneficios,
espigas sacras, hermoso trigo.
Ay, qué alegría, qué regocijo
que este pan alimenta las almas
en el más peligroso camino.
Hoy amor a los hombres,
promete alivios
con el pan que del cielo
ha descendido.
Copla
Campo fértil el templo,
reduce peregrino,
espigas misteriosas,
con qué amor nos convida
más propicio;
Ay, qué alegría, qué regocijo
que este pan alimenta las almas
en el más peligroso camino.
Hoy amor a los hombres,
promete alivios
con el pan que del cielo
ha descendido.
English:
Estribillo
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Today love to men, promises relief with the bread that comes from heaven that has fallen. Oh, what joy, what rejoicing that this bread feeds the souls on the most dangerous path. Thanks instruct and benefits, sacral spikes, beautiful wheat. Oh, what joy, what rejoicing that this bread feeds the souls on the most dangerous path. Today love to men, promises relief with the bread that comes from heaven It has fallen.
Couplet
Fertile field the temple, reduces pilgrim, mysterious spikes, with what love he invites us more propitious; Oh, what joy, what rejoicing that this bread feeds the souls on the most dangerous path. Today love to men, promises relief with the bread that comes from heaven It has fallen. |
2. Main features:
-This Christmas carol, for two tiples, contralto and tenor, with accompaniment of two violins, harp and double bass is preserved in the Archive of the Monastery of El Escorial, Madrid. The main key of this Christmas carol is E m. It begins with an instrumental introduction that serves as an exposition of the musical theme played by the violins where modulate to the relative major and the return to the main tone when the vocal part starts.
-The singers, which start on bar 8 with the estribillo, corresponds to a theme sung by all the voices in vertical counterpoint of 1 note per syllable, except for the cadences, in which a small two-syllable melisma appears that coincides with the cadential 6/4 chord (bars 9, 13 and 16). The treatment of the violins tends to be more independent and although it is supportive, it translates into faster rhythm.
-Theme b begins in D M in the pick up of bar 18. The treatment of the voices is different from the chorus. The theme is begun by the first tiple and counterpointed by the other voices in steps to a distance of a descending fifth, ending the last entry of the tenor in the key of C M.
-In measure 23 the treatment of the instrumental and chorus parts returns to vertical preparing the beginning of a musical repetition of a' on bar 25. In bar 31, an instrumental link of four bars introduces to theme c. This part gives a point of colour and at the same time a new treatment of the voices; this time solo, with question-answer starting with the contralto in measure 35 and continuing the first tiple on bar 38.
-From bars 41 to 43 in the key of B m prepares the most tense climax of the work. From bar 43, all the voices sing again in vertical counterpoint the theme b', which goes through the keys B m, A M, E M and G M.
-With the perfect cadence of bars 64 and 65 the chorus concludes and a new short instrumental introduction of three measures prepares the entry of the coplas in the main tonality, beginning the theme c'. The treatment of the voices is solo, in question-answer and voices somehow more ornated than in c, using some rhythmic figurations with sixteenth notes that coincide with small melismas. In measure 81 re-enter theme b''.
-Bars 85-86 of instrumental bridge prepare the cadence in E m for the last repetition of the chorus.
3. The structure is:
ABA’ // C // B’A // C’ // B’’A
