Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
III
Salté de los cielos · Gaspar Fernandes (c. 570–629) · LK MN AS OCH TM
Iberia & America: Music of 6th-Century Spain and New Spain
Vaya la princesa · Fernandes · coplas CS
Saturday, April 6, 2005 at 8 pm & Sunday, April 7, 2005 at 3 pm
First Church in Cambridge, Congregational IV
Conditor alme siderum
Saturday’s concert is being recorded for future broadcast on WGBH, 89.7 FM. chant verses , 3 & 5: Toledo Cantoral
verses 2, 4 & 6: Guerrero
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Texts & Translations
Pange lingua Pange lingua gloriosi Sing, tongue, of the mystery Et factum est Et factum est postquam in captivitatem And it came to pass, after Israel was brought into
gloriosi corporis mysterium of the glorious body postquam ductus est Israel: et Hierusalem destructa est: captivity, and Jerusalem destroyed: Jeremiah
Hymn for Corpus sanguinisque preciosi and precious blood Lamentations :-3, etc.; sedit Hieremias flens: et planxit lamentatio- sat weeping, and he mourned and lamented in
Christi and Vespers quem in mundi pretium which, as ransom of the world, first lesson at Matins on nem hanc in Hierusalem: et dixit: Jerusalem, and said:
fructus ventris generosi the fruit of a noble womb, Holy Thursday
rex effundit gentium. the king of all peoples, poured forth. Aleph. Quomodo sedet sola civitas plena Aleph. How doth the city sit solitary, that was
populo: facta est quasi vidua domina gen- full of people: she is become as a widow, she that
Nobis datus nobis natus Given to us, born for us tium. Princeps provinciarum facta est sub was great among the nations. Princess among the
ex intacta virgine from an inviolate virgin, tributo. provinces, she is become tributary.
et in mundo conversatus and residing in the world,
sparso verbi semine he has sown the seed of the Word, Beth. Plorans ploravit in nocte et lachrymae Beth. She weepeth sore in the night, and her
sui moras incolatus ending his sojourn eius in maxillis eius: non est qui consoletur tears are on her cheeks: among all her lovers she
miro clausit ordine. with a miracle. eam ex omnibus charis eius. Omnes amici hath none to comfort her. All her friends have
eius spreverunt eam: et facti sunt ei inimici. dealt treacherously with her, they are become her
In supreme nocte cene On the night of the last supper, enemies.
recumbens cum fratribus sitting with his brothers, Gimel. Migravit Iudas propter afflictio-
observata lege plene after the obligations of the ritual meal nem et multitudinem servitutis: habitavit Gimel. Judah is gone into captivity because of
cibis in legalibus are fulfilled, inter gentes, nec invenit requiem. Omnes affliction and great servitude: she dwelleth among
cibum turbe duodene he gives himself as food to the group of twelve persecutores eius apprehenderunt eam inter the heathen, she findeth no rest. All her persecu-
se dat suis manibus. with his own hands. angustias. tors overtook her between the straits.
Verbum caro panem verum With a word, the Word made flesh Hierusalem, Hierusalem: convertere ad Jerusalem, Jerusalem: return unto the Lord thy
verbo carnem efficit becomes true bread, which is itself flesh, dominum Deum tuum. God.
fitque sanguis Christi merum and the blood of Christ is made wine;
et si sensus deficit and if the mind fails
ad firmandum cor sincerum to make a sincere heart steadfast, Salté de los cielos Salté de los cielos I sprang down from the heavens
sola fides sufficit. faith alone shall suffice. Corpus Christi (Puebla, al puerto de penas, to the port of sorrows;
Mexico, 60) a leva tocaron departure was sounded,
Tantum ergo sacramentum Therefore let us greatly venerate quedéme en tierra. but I stayed on earth.
veneremur cernui the sacrament, with bowed heads,
et antiquum documentum and may the ancient examples Estando en el mar From the sea
novo cedat ritui yield to new rites: de mi eterna esencia, of my eternal essence,
prestet fides supplementum may faith lend a supplement por ganar del alma to win the beloved, pledged to me—
sensuum defectui. to the defects of our senses. mi querida prenda the soul—
bajé enamorado; I descended, in love;
Genitori genitoque To the Father and Son por provar de veras to prove in truth
laus et iubilatio be praise and jubilation, las fuersas de amor the powers of love
salus honor virtus quoque homage, honor, and power, dexé mis estrellas, I left my stars:
sit et benedictio and blessing, a leva tocaron departure was sounded,
procedenti ab utroque and to him who proceeds from both quedéme en tierra. but I stayed on earth.
compar sit laudatio. let equal praise be given.
Amen. Amen. Quedéme en dos puertos I stayed on in two ports
de suma bellesa, of the highest beauty,
que fuera el de cáliz which were that of the chalice
y de hostia bella; and the lovely host;
llenélos de pan I filled them with bread
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y de vino que alegra, and wine which gladdens one, Qui condolens interitu You who, grieving for this age’s
y estando en los puertos and when at the ports mortis perire seculum perishing in death’s destruction,
sonó la trompeta, the trumpet sounded, salvasti mundum languidum saved the ailing world,
a leva tocaron departure was sounded, donans reis remedium. giving remedy to the accused.
quedéme en tierra. but I stayed on earth.
Vergente mundi vespere As nightfall descended on the world,
Fue al mar por el cielo, Across the sea, by way of heaven, uti sponsus de thalamo like a bridegroom from the chamber
vine a dar en tierra, I came to rest on the earth egressus honestissima you came forth, most noble
en hostia y en cáliz; in host and in chalice; virginis matris clausula. offspring of a virgin mother.
di con la tormenta: on the way I ran into the tempest;
puertos de bondad ports of goodness Cuius forti potentie To whose mighty power
y del cielo puerta and the gate of heaven genu curvantur omnia all bend the knee,
llenélos de pan I filled with bread celestia terrestria in heaven and on earth,
que al alma sustenta; which sustains the soul: nutu fatentur subdita. subjected to your command.
a leva tocaron departure was sounded,
quedéme en tierra. but I stayed on earth. Te deprecamur agie We pray you, holy one
venture iudex seculi and future judge of this age,
conserva nos in tempore spare us at that time
Vaya la princesa, vaya Vaya la princesa, vaya, May the princess go, go, hostis a telo perfidi. from the enemy’s perfidious dart.
Assumption of the aunque al suelo desconsuela, although the earth mourns,
Blessed Virgin y hará alfombra la tela and she will make a carpet of the cloth Laus honor virtus gloria Praise, honor, strength, and glory
(Puebla, Mexico, 60) de que se cortó su saya. from which her dress was cut. deo patri et filio to God the Father and the Son
sancto simul paracleto and likewise to the Holy Spirit,
Aquella muger que vido That woman whom John saw in seculorum secula. for ever and ever.
Juan, en el cielo subida, in the sky, Amen. Amen.
del sol se hizo el vestido made her garment from the sun,
con que estaua tan luzida, with which she shone so brightly;
mas agora, quando vaya, but now that she goes, De los álamos De los álamos vengo, madre, From the poplars I come, mother,
será de su chapín suela, it will serve but for the sole of her shoe, vengo, madre de ver como los menea el ayre. to see how the air stirs them.
y hará alfombra la tela and she will make a carpet of the cloth De los álamos de Sevilla From the poplars of Seville,
de que se cortó su saya. from which her dress was cut. de ver a mi linda amiga, to see my fair love,
de ver como los menea el ayre. to see how the air stirs them.
La que adornauan estrellas, She whom stars adorned,
de su cabesa el tocado, a scarf for her hair,
ya le seruirán de estrado will now have them for her dais Por mi vida, Por mi vida, madre, On my life, mother,
y allí se verán más bellas, and there they will seem even lovelier; madre amores no m’engañen. love affairs shall not deceive me.
y para quando allá vaya and for the moment she shall pass by Burlóme una vez Love fooled me once—
todo el cielo se desuela all heaven keeps watch, Amor lisongero flattering Love,
y hará alfombra la tela and she will make a carpet of the cloth de falso y artero false and wily
de que se cortó su saya. from which her dress was cut. y hecho al revés. and inside-out.
Mi madre, por mi fe, Mother mine, in faith
no m’engañen. they shall not deceive me.
Conditor alme Conditor alme siderum Bounteous creator of the stars,
siderum eterna lux credentium eternal light of believers,
Hymn for Advent christe redemptor omnium Christ, redeemer of all,
exaudi preces supplicum. hear the prayers of your supplicants.
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Pues que no puedo Pues que no puedo olvidarte, Since I cannot forget you, Dime, robadora Dime, robadora, ¿que te mereçí? Tell me, thief, what have I deserved from you?
olvidarte ¡tómete el diablo, llévete el diablo, the devil take you, may the devil whisk you away, ¿Qué ganas agora que muera por tí? What do you gain from my dying for you?
el diablo que aya en ti parte! may the devil win you! Yo siempre sirviendo, tú siempre olvidando, I always serving, you always forgetting,
Elvira, pese a mal grado, Elvira, despite your unwillingness: yo siempre muriendo, tú siempre matando: I always dying, you always killing:
quiéreme, siquiera un día, love me, even for one day! yo soy quien t’adora y tú contra mí. I am he who adores you, and you are against me.
que boto a diez, vida mía, for I swear to God, my life, ¿Qué ganas agora que muera por tí? What do you gain from my dying for you?
que bibo desesperado. that I live in desperation.
Si en pago de mi cuydado, If, in return for my cares,
en ti creçe el descuydarte, your neglect increases, Claros y fresco ríos Claros y fresco ríos Clear and cool streams,
¡tómete el diablo, llévete el diablo, the devil take you, may the devil whisk you away, que mansamente báis which flow gently,
el diablo que aya en ti parte! may the devil win you! siguiendo vuestro natural camino; following your natural path;
desiertos montes míos my deserted mountains,
que en un estado estáis which are in a state
Falalalán, Falalalán, falalalera, Falalala, falalalera, de soledad contino; of perpetual solitude;
falalalera falalalán, de la guarda riera. falalala, sings the shepherd by the river. abes en quien ay tino birds, who have the knack
Quando yo me vengo When I come de descansar cantando; of resting while singing;
de guardar ganado, from tending the flock arboles que bibís y al fin morís, trees, which live and in the end die,
todos me lo dizen: everyone calls to me: oydme juntamente hear, together,
Pedro el desposado. Pedro the newlywed! mi boz amarga, ronca y muy dolliente. my voice—bitter, hoarse, and sorrowful.
A la hé, sí soy Hey ho, you bet I am,
con la hija de nostramo, and with the daughter of the boss,
qu’esta sortijuela for she gave me Si la noche haze Si la noche haze escura If the night is dark
ella me la diera. this little lock of hair. escura y tan corto es el camino, and the road so short,
Falalalán… Falalala… ¿cómo no venís, amigo? why do you not come, my love?
La media noche es pasada Midnight is past
Allá rriba rriba Way up there y el que me pena no viene: and he for whom I suffer doesn’t come:
en Vall de Roncales in the Valley of Roncales mi desdicha lo detiene, my misfortune stops him,
tengo yo mi esca I have my tinder que nascí tan desdichada. for I was born so unfortunate.
y mis pedernales and my flints Házeme bivir penada He makes me live in pain
y mi çurroncito and my shepherd’s pouch y muéstraseme enemigo: and reveals himself to be my enemy:
de çiervos cervales of deerskin; ¿cómo no venís, amigo? why do you not come, my love?
hago yo mi lumbre, I make myself a fire,
siéntome doquiera. sit down anywhere.
Falalalán… Falalala… Salve regina Salve regina, mater misericordie; Hail, Queen, mother of mercy,
Marian antiphon Vita, dulcedo, et spes nostra, salve. our life, our sweetness, and our hope, hail!
Viene la quaresma, When Lent comes, Ad te clamamus exsules filii Eve. To you we cry, we exiled children of Eve.
yo no como nada, I eat nothing, Ad te suspiramus, gementes et flentes To you we sigh, weeping and wailing
ni como sardina, I don’t eat sardines, in hac lacrimarum valle. in this vale of tears.
ni cosa salada; or anything savory; Eia ergo, advocata nostra, Therefore, you our advocate,
de quanto yo quiero no-one cooks a bit illos tuos misericordes oculos ad nos converte, turn your merciful eyes upon us,
no se haze nada; of anything I like; Et Jesum, benedictum fructum ventris tui, and show us Jesus, the blessed fruit of your womb,
migas con azeyte I’m getting fed up with nobis post hoc exsilium ostende. after this our exile.
házenme dentera. bread crumbs fried in oil. O clemens, O pia, O dulcis O merciful, O tender, O sweet
Falalalán… Falalala… virgo semper Maria. ever-virgin Mary.
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Biographies
Blue Heron, directed by Scott Metcalfe, is an en- Consort, and has been a member of New York’s 990. He is also the vocal director for the Com- Soprano Lydia Heather Knutson has performed
semble of eight to fifteen singers from the Bos- Ensemble for Early Music, the Clarion Concert posers’ Conference and Chamber Music Center around the world, appearing on radio and at
ton area specializing in Renaissance polyphony. Society, the Bach Aria Group, New York’s Mu- at Wellesley College and music director for the leading international music festivals in the US,
Blue Heron combines a commitment to vivid sica Sacra and numerous other choral organiza- New England Dance Ensemble. Canada, Europe, Latin America, and Austra-
live performance with knowledge of the lat- tions. A longtime member of the Choir of the lia. She is a founding member of the medieval
est research into source material and historical Church of the Advent, he is a founding member Bass-baritone Paul Guttry enjoys a varied ca- ensemble Fortune’s Wheel, was for many years
performance practice. The ensemble’s principal of Blue Heron. Glenn helps his wife, soprano reer including opera, oratorio, and chamber a member of the women’s ensemble of Sequen-
repertoire interests in the last few years have and voice teacher Monique Phinney, to support music. He recently played the Mother in Weill’s tia, Cologne, and has been singing with Blue
been late fifteenth-century Franco-Flemish po- their two teenage children, Lisa and Ken, in his 7 Deadly Sins with Intermezzo and Balthasar in Heron since 2003. Her voice has been described
lyphony, sacred and secular Spanish music be- role as MIT’s Director of Arts Development. Schumann’s Genoveva with Emmanuel Music. as “crystalline, beautiful and supple” (La Jornada,
tween about 500 and 575, and neglected early Paul has sung with the medieval music ensemble Mexico City), “a constant delight” (Boston Globe),
sixteenth-century English music, especially the Marilyn Boenau plays historical bassoons in Sequentia and is a former member of Chanti- and her technique “magnificent” (La Repubblica,
rich and unexplored repertory of the Peterhouse music ranging from the sixteenth to the nine- cleer. In Boston he has performed with Emman- Rome). She has recorded for Dorian, Erato, and
partbooks (c. 540). Founded in 999, Blue Her- teenth centuries with many ensembles and or- uel Music, Handel & Haydn, the Boston Cecilia, BMG Classics/Deutche Harmonia Mundi. In ad-
on presents its own series of concerts in Boston chestras, including Philharmonia Baroque Or- Boston Revels, Prism Opera, and Collage New dition to singing, Dr. Knutson is a chiropractor
and appears regularly at Monadnock Music in chestra and the Handel & Haydn Society. Trained Music. Paul can be heard on BMG recordings of with a private practice in Cambridge.
New Hampshire. at the Schola Cantorum in Basel, she has taught medieval music with Sequentia, Erato recordings
early double reed instruments at workshops and of the Boston Camerata, and Koch International Takaaki Masuko has been playing different kind
Tenor Michael Barrett recently returned to the at the Longy School of Music. Marilyn is the recordings of Bach with Emmanuel Music. of percussion over 30 years and teaching at the
United States after completing a “first phase” de- Executive Director of Amherst Early Music, Inc, Longy School of Music since 988. He tours reg-
gree program in Baroque and Classical Singing which presents the annual Amherst Early Music Olav Chris Henriksen has been acclaimed ularly with Tapestry, Hourglass, Zamir, Balmus
at the Royal Conservatory in The Hague, The Festival. throughout Europe and North America as so- Ensemble, and The Horseflies.
Netherlands. While studying in Holland, Mr. loist and ensemble player on lutes, theorbo and
Barrett worked with groups including the Huel- Tenor Allen Combs is a native of Idaho Falls, early guitars. He has performed with the Bos- A violinist and conductor with a repertoire ex-
gas Ensemble, Netherlands Bach Society, and Idaho, and received his education at the Uni- ton Camerata, the Handel & Haydn Society, the tending from the fifteenth century through the
the Schoenberg Ensemble, and with directors versity of Idaho and the University of Lowell. Waverly Consort, Boston Baroque, Emmanuel eighteenth, Scott Metcalfe directs Blue Heron
including Frans Brüggen, Paul van Nevel, and In addition to his work with Blue Heron, Mr. Music, and Chanticleer. His solo recording, La and the Renaissance choir Convivium Musicum,
Frieder Bernius. In addition to his work as a Combs has performed with Schola Cantorum Guitarre Royalle: French Baroque and Classical and is concertmaster of the Trinity Consort
singer, Mr. Barrett is currently director of the and Cappella Alamire. His recital repertoire em- Guitar Music, is on the Museum Music label; in Portland, Oregon. Metcalfe was a founding
Holden Chamber Ensembles and assistant con- braces music from the Renaissance to the twen- he has also recorded for Nonesuch, Erato, Pro member of La Luna and of The King’s Noyse,
ductor of the Collegium Musicum at Harvard tieth century and includes the major song cycles Musica, Telarc, Centaur and Decca. He has lec- played in every Boston Early Music Festival or-
University. of Schubert and Britten. Mr. Combs has given tured at Harvard University; Nelson Atkins Mu- chestra from 993 through 2003, and appears on
world premieres at the Lowell New Music Fes- seum, Kansas City; Musikkhögskolen, Oslo; the recordings on harmonia mundi, ATMA, Dorian,
Baritone Glenn Billingsley has sung lead- tival and “Composers in Red Sneakers.” He also Museum of Fine Arts, Boston; Rutgers Univer- Wildboar, and elsewhere. He holds a bachelor’s
ing roles with the Chautauqua, Santa Fe, Lake performs frequently at Phillips Academy, Ando- sity; and Lincoln Center Institute. He teaches at degree from Brown University, where he ma-
George and New York City Opera National ver, where he is a member of the voice faculty. the Boston Conservatory and the University of jored in biology, and is currently completing a
companies. He has appeared in the Spoleto and Currently a soloist and cantor at the Church Southern Maine. master’s degree in the historical performance
Madeira Bach Festivals, toured the United States, of the Advent, Mr. Combs has served as music practice of music at Harvard, as well as learning
South America, and Europe with the Waverly director of the Andover Choral Society since to play the vielle and Irish fiddle.
2 3
Martin Near, countertenor, has studied compo- Tenor Mark Sprinkle enjoys an active and varied
sition at New England Conservatory, and was career as a soloist and ensemble singer in reper-
trained at Saint Thomas Choir School in Man- toire ranging from the 4th to the 8th centuries.
hattan. Mr. Near sings with the Choir of Church He has appeared as a soloist with Concerto Pala-
of the Advent, and is also active as a composer tino and with the Handel & Haydn Society un-
in Boston. He currently studies voice with Mark der Grant Llewellyn and Christopher Hogwood,
St. Laurent. and sang in the Boston Early Music Festival
productions of Rossi’s Orfeo, Lully’s Theseé and
Carol Schlaikjer, soprano, received her vocal Conradi’s Ariadne. In May 2005 he will sing the
training at the Music Conservatory in Cologne, Evangelist in Bach’s St. John Passion with the An-
Germany, and the Schola Cantorum in Basle, dover Choral Society. He worked for many years
Switzerland. She lived for almost two decades in with Emmanuel Music and can be heard on their
Germany, where she was a frequent soloist for recordings of the motets of Heinrich Schutz and
the Lutheran Church radio broadcasts in Frank- the St. John Passion. He is on the voice faculties
furt am Main. She has performed throughout of Philips Exeter Academy, Salem State College
Europe, Australia and the U.S. as a concert and and Boston College.
recording artist, both as a soloist and as a mem-
ber of various early music ensembles, including Mezzo-soprano Daniela Tošić, a native of Bel-
Sequentia’s Vox Feminae and the Huelgas En- grade, Yugoslavia, toured with the Belgrade-
semble. Carol is co-director of the Orpheus Vo- based ensemble Renaissance throughout the
cal Performance Laboratory, which holds work- former Yugoslavia. In the Boston area she has
shops for young singers on the South Shore. She worked with Ensemble P.A.N., Revels, Balmus,
also teaches voice in after-school programs in lo- and La Donna Musicale, and has premiered
cal high schools and at her private voice studio. several new works. She is a founding member
of Tapestry, the acclaimed vocal ensemble that
Aaron Sheehan, tenor, is now enjoying his records with Telarc International and MDG
fourth season singing with Blue Heron. Other and tours widely throughout the US and abroad.
groups that he has performed with are Theater of She is also a founding member of the medieval-
Voices, the Handel and Haydn Society, Fortune’s world fusion ensemble HourGlass.
Wheel, and Liber unUsualis. Last fall he sang the
title role in the Harvard Early Music Society’s
production of Monteverdi’s Orfeo, and in June
he will appear as Ivan in the Boston Early Music
Festival production of Mattheson’s Boris Goude-
now. He also keeps an active teaching schedule
with students from Brown University and New
England Conservatory’s Extension School.
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Acknowledgments Donations from April , 2004, through April 8, 2005
We are indebted to Michael Noone—musician, scholar, freelance musicologist, director of Ensem-
ble Plus Ultra, and at present a Research Fellow at the Jesuit Institute at Boston College—for his ex- Angel Supporter
traordinary generosity in making available to us his editions of music he has recently rediscovered Anonymous Margaret Angelini & John McLeod
in the archives of the Cathedral of Toledo, and for all sorts of help in putting together this program. Cynthia C. Schlaikjer Lisa Cuklanz
Martha Davidson
Many thanks to Sarah Gore for thoughtful help with the translations from Spanish. Benefactor Catherine & Joe Davin
Peggy Badenhausen & Tom Kelly May & Carl Daw
Thanks to our concert and rehearsal hosts: First Church in Cambridge, the Church of the Good Diane & John Paul Britton Jeffrey Del Papa & Susan Assmann
Shepherd in Watertown, and Emmanuel Church in Boston. Thanks to James David Christie for the Eiji Miki & Jane Hever Elizabeth A. Falsey
organ, and to Alan McLellan and WGBH, Philip Davis, Susan Smith, and Peter Sykes. Thanks to Theresa Neilsen-Steinhardt Mildred & Malcolm Freiberg
Judith Contrucci, Coordinator of Visual and Performing Arts for the Cambridge Public Schools. Richard Schmeidler Ivan J. Hansen
Denise Konicek
I am very grateful to the Department of Music at Harvard University for a Richard F. French Fel- Patron Alan & Judith Kotok
lowship, which supported a research trip to Mexico. Ann C. Allen Sterling Lambert & Susan Bisson Lambert
Thomas & Carroll Bisson Catherine Liddell
Special thanks to Joel van Lennep for first introducing me to the amazing repertoire of Spanish Paul Guttry June Matthews
songs, and to him, Sarah Gore, and Anne Matthews for several delightful evenings singing them David P. Halstead Julie McConchie
last summer. Michael P. McDonald Ruthie Miller
William & Elizabeth Metcalfe Judy Morrison
Finally, Blue Heron is forever grateful to Cheryl Ryder, without whose founding impetus and gen- Ken Pierce
erosity we would not exist. Sponsor Nancy E. Reid
Anonymous (2) Bruce & Virginia Roberts
Elizabeth Davidson Julie Rohwein & Jonathan Aibel
John F. Dooley Om Shanthi
Kathleen Fay Aaron Sheehan
David Hawthorne Polly Stevens
Deborah Jones & Alfred Mendoza Marie Stroud
Robert M. Kowalik Cill & Carl Triebs
Benjamin Krepp Michal Truelson & Jody Wormhoudt
Anne H. Matthews Ruth J. Wales
Cindy & Peter Nebolsine Lee Warren
Jessie Ann Owens Linda C. Woodford
Sue Poverman Beverly Woodward & Paul Monsky
Ellen Powers Alex Yannis
Andrew Sigel
Mimi Sprinkle Friend
Annlinnea & Michael Terranova Nancy A. Ferretti
program design by Evan Ingersoll Verizon Foundation Gloria M. Jackson
Cover photograph: Iglesia de Santo Domingo de Gúzman, Oaxaca, Mexico (Scott Metcalfe) John & Jo Ellen Yannis
6 7
Sources
Pange lingua
verses , 3 & 5: chant from Toledo Cantoral (c. 544)
verses 2 & 4: Guerrero, Orphenica lyra (554)
verse 6: Urrede, Toledo Cathedral, Biblioteca Capitular, ms.B.25 (ToleBC 25; 549) and Tarazona
2/3; added fifth voice by Morales from Falla MS
ed. Michael Noone
Fernandes
Cancionero musical de Gaspar Fernandes (MS, Oaxaca Cathedral, Oaxaca, Mexico), ed. Aurelio
Tello, Tesoro de la música polifónica en México, vol. X
Vásquez
Recopilación de sonetos y villancicos (Seville, 556), ed. in Monumentos de la música española
(MME), iv
Mudarra
Tres Libros de Musica (Seville, 546)
Milán
Libro de música de vihuela de mano intitulado El Maestro (Valencia, 536)
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The Morales Lamentations (Et factum est postquam) and much
more wonderful music from Toledo MS 25 is available on a newly-
released CD by Michael Noone’s Ensemble Plus Ultra.
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