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VILLANCICOS ABOUT MUSIC FROM SEVENTEENTH-CENTURY SPAIN AND NEW SPAIN Edited by Andrew A. Cashner WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC www.sscm-wlscm.org WLSCM no. 32
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VILLANCICOS ABOUTMUSIC FROMSEVENTEENTH-CENTURY SPAIN ANDNEW SPAIN

Edited byAndrew A. Cashner

WEB LIBRARYOF SEVENTEENTH-CENTURYMUSICwww.sscm-wlscm.org

WLSCM no. 32

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WEB LIBRARYOF SEVENTEENTH-CENTURYMUSICwww.sscm-wlscm.org

WLSCM no. 32

Copyright © 2017 Andrew A. Cashner

Users may download editions, print them for personal use, and perform them in non-profit settings,provided proper acknowledgement is given to both the editor and to the Society for Seventeenth-Century

Music. Permission for performance in professional (for profit) settings must be negotiated directlybetween the performers or their agents and the editor.

The editor remains the owner of all rights to the edition.

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 UnportedLicense (https://creativecommons.org/licenses/by-nc-nd/3.0/).

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Contents

Preface ivColophon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ivVersion History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v

Introduction 1Interpretive Themes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2Performance Suggestions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Editorial Report 8Abbreviations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Editorial Policies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Select Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Critical Notes 15Joan Cererols, Suspended, cielos, vuestro dulce canto . . . . . . . . . . . . . . . . . . . . . . 15Juan Gutiérrez de Padilla, Voces, las de la capilla . . . . . . . . . . . . . . . . . . . . . . . . 20Miguel de Irízar, Si los sentidos queja forman del Pan Divino . . . . . . . . . . . . . . . . . 23Jerónimo de Carrión, Si los sentidos queja forman del Pan Divino . . . . . . . . . . . . . . . 24José de Cáseda, Qué música divina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Juan Gutiérrez de Padilla, Al establo más dichoso . . . . . . . . . . . . . . . . . . . . . . . 27Antonio de Salazar, Angélicos coros con gozo cantad . . . . . . . . . . . . . . . . . . . . . . 29

Source Images 31

Texts and Translations 35Suspended, cielos, vuestro dulce canto (Montserrat, ca. 1660) . . . . . . . . . . . . . . . . . . 35Voces, las de la capilla (Puebla, 1657) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37Si los sentidos queja forman del Pan Divino (Zaragoza, 1688) . . . . . . . . . . . . . . . . . 39Qué música divina (Zaragoza and Puebla, ca. 1700) . . . . . . . . . . . . . . . . . . . . . . 41Al establo más dichoso (Puebla, 1652) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43Angélicos coros con gozo cantad (Puebla, ca. 1680) . . . . . . . . . . . . . . . . . . . . . . . 48

Joan Cererols, Suspended, cielos, vuestro dulce canto 49

Joan Cererols, Suspended, cielos, vuestro dulce canto (transposed edition) 84

Juan Gutíerrez de Padilla, Voces, las de la capilla 119

Miguel de Irízar, Si los sentidos queja forman del Pan divino 133

Jerónimo de Carrión, Si los sentidos queja forman del Pan divino 149

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Villancicos about Music, ed. Cashner, 2017 Contents, iii

José de Cáseda, Qué música divina 153

José de Cáseda, Qué música divina (transposed edition) 173

Juan Gutiérrez de Padilla, Al establo más dichoso 193

Antonio de Salazar, Angélicos coros con gozo cantad 218

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Preface

Acknowledgments are due first to Janette Tilley, editor-in-chief of theWebLibrary of Seventeenth-CenturyMusic; Kimberly Hieb, associate editor; and the anonymous reviewers, all of whom greatly improved theclarity and rigor of the edition.

I am grateful to the following people and institutions for access to the primary sources on whichthese editions are based: the capitular archive of the Cathedral of Puebla de los Ángeles (P. FranciscoVázquez, rector; the Illmo. Sr. Carlos Ordaz, canónigo archivista); CENIDIM, theMexican national centerfor music research inMexico City; the Biblioteca de Catalunya in Barcelona; the parochial archive of theChurch of Saints Peter and Paul, Canet de Mar, in the Archdiocese of Girona, Barcelona province; thecapitular archive of Segovia Cathedral (P. Bonifacio Bartolomé); the Biblioteca Nacional in Madrid; andthe British Library in London.

Travel for archival research in Mexico and Spain was funded by a Jacob K. Javits Fellowship fromthe United States Department of Education, a Pre-Dissertation Research Fellowship from the Council forEuropean Studies at Columbia University, a Eugene K. Wolf Research Travel Grant from the AmericanMusicological Society, and grants from the Department of Music and the Center for Latin AmericanStudies at the University of Chicago. Other research funding was provided by a Dissertation CompletionFellowship from the American Council of Learned Societies and the Mellon Foundation.

I am grateful to my doctoral advisor, Robert Kendrick, along with the other members of mydissertation committee—Anne Walters Robertson, Martha Feldman, Frederick de Armas, and MaríaGembero-Ustárroz—and mymaster’s advisor, Mary Frandsen. This project has benefited from the helpand critical insights of Stephen Black, Ireri Chávez-Bárcenas, Anita Damjanovic, Dianne Goldmann,Miguel Martínez, GustavoMauleón Rodríguez, James Nemiroff, Martha Tenorio, Álvaro Torrente, JohnSwadley, and especially Devin Burke. My wife Ann makes all of this possible and my children Ben and Joymake it worthwhile.

Colophon

This edition was produced with free and open-source software on Fedora and Debian Linux operatingsystems. The text was typeset with the LATEX document-preparation system, based on the work of DonaldKnuth and Leslie Lamport. The music was typeset with Lilypond, version 2.19, created by Han-WenNienhuys and Jan Nieuwenhuizen. I am grateful to the hundreds of volunteers who build and maintainthese systems, and to those who provided specific help in programming this document.

The text typeface is EB Garamond, designed by Georg Duffner, based on 1592 type specimens byClaude Garamont. The Spanish CZmetrical symbol used in the scores was traced manually by the editorin Inkscape from a villancico manuscript byMiguel de Irízar.

The complete source code for this edition is in a Git repository at http://www.andrewcashner.com/villancicos/. Please use that site to report errors or request alternate versions, such as transposedscores, keyboard reductions, or instrumental performing parts.

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Villancicos about Music, ed. Cashner, 2017 Preface, v

Version History

1.0 December 2017 Expanded bibliography and minor corrections0.1 November 2017 Initial test release

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Introduction

At the height of the Spanish Empire in the seventeenth century, villancicoswere one of themostwidespreadforms of religious expression and a central part of social life.1 These musical performances of poems invernacular languages (usually SpanishorPortuguese) celebrated commonCatholic beliefs, popular customs,and modes of devotion through metaphorical conceits both earthy and ingenious. A few villancico poetsare known by name from published collections, like Vicente Sánchez (author of two villancicos in thisedition), Manuel de LeónMarchante, and Sor Juana Inés de la Cruz. Most villancico poems in musicalsettings, though, are anonymous, and many were probably adapted and reworked by the composersthemselves. In the form of printed leaflets of the poetry (pliegos sueltos) and in manuscript performingparts of the music they were passed from hand to hand across oceans in a global network of affiliatedmusicians and members of the literate elite.2

The musical settings of these poems occupied the energies of every major chapelmaster and hisensemble on all the highest feast days of the year. Though the genre originated as a form of courtlyentertainment, by the beginning of the seventeenth century most villancicos were sacred both in theirthemes and in the venues and occasions of their performance. Sacred villancicos were often composed insets of eight so that they could be interspersed after or in place of the Responsory chants of theMatinsliturgy, especially at Christmas and Corpus Christi.3 Villancicos were also performed in church for Massand services of Eucharistic devotion, and outside of church in Corpus Christi processions and mysteryplays (autos sacramentales).

Thoughmany of the sources have been lost, the surviving repertoire is vast and rich, encompassinga broad range of Hispanic devotional life. Villancicos present a wide range of formal structures, but mostfeature an estribillo, a motet-like section for the full ensemble, and coplas, strophic verses often scored forsoloists or a reduced ensemble. Many of the sources specify that the estribillo was repeated after the coplas.Villancicos of this period were often scored for large polychoral ensembles of voices, probably doubled byloud wind instruments and supported by organ, harp, and other plucked strings. Others, sometimes calledtonos divinos, are scored for a more intimate texture of a few voices with continuo. The first type are public,festival pieces; the second offer more private, contemplative experiences. With a variety of subgenres andtopics from the comic to the learned, there was a villancico for everyone and nearly every occasion.

This edition offers performers and scholars a coherent set of newly edited villancicos, drawn fromarchives in Spain andMexico, that share a common theme of “singing about singing.”4 The poetry of these

1. For further introduction to the genre, see the entries for villancico in Grove Music Online and the Diccionario de lamúsica española e hispanoamericana; Paul R. Laird, Towards a History of the Spanish Villancico (Warren, MI: Harmonie ParkPress, 1997); Tess Knighton and Álvaro Torrente, eds., Devotional Music in the Iberian World, 1450–1800: The Villancico andRelated Genres (Aldershot, UK: Ashgate, 2007), 1–14; Paul R. Laird, “Catholic ChurchMusic in Italy, and the Spanish andPortuguese Empires,” in The Cambridge History of Eighteenth-Century Music, ed. Simon P. Keefe (Cambridge: CambridgeUniversity Press, 2009), 42–50, 55–56. Other studies and musical editions are listed in the bibliography below.

2. See Biblioteca Nacional de España, Catálogo de villancicos de la Biblioteca Nacional, Siglo XVII (Madrid: Ministeriode Cultura, 1992) and the other catalogs and editions of poetry imprints in the bibliography.

3. On Responsory settings, see Dianne Lehmann Goldman, “TheMatins Responsory at Mexico City Cathedral, 1575–1815” (PhD diss., Northwestern University, 2014).

4. My dissertation, Andrew A. Cashner, “Faith, Hearing, and the Power of Music in Hispanic Villancicos, 1600–1700”(PhD diss., University of Chicago, 2015), analyzes and interprets these villancicos in the context of contemporary theologicalliterature. This edition corrects and supersedes the musical editions in the dissertation.

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“metamusical” pieces represents the act of hearing and making music. The musical settings of these poems,then, become discourses about music, through the medium of music itself. The thematic organizationmakes these pieces ideal both for concert programming and for scholarly research and teaching.

Interpretive Themes

The villancicos in this collection present a complex and multilayered discourse of music and theology.Common tropes run through these pieces and manifest traditions of poetry and music about musicalperformance, or about music as an abstract concept. The pieces embody a Neoplatonic theology of musicin which listeners are invited to listen for echoes of higher music in the imperfect earthly music they hear.5The following brief interpretive notes may serve as an initial guide to understanding these pieces.

Cererols and Gutiérrez de Padilla: Christ as Singer and SongThe first two pieces, Suspended, cielos, vuestro dulce canto by Joan Cererols and Voces, las de la capilla byJuan Gutiérrez de Padilla, are villancicos for Christmas that represent the newborn Christ as both singerand song.6 Extending on an exegetical tradition going back to Bernard of Clairvaux and Augustine, thesepieces celebrate Christ as theVerbum infans, theWord ofGodmade flesh (John 1:1), but as an infant, unableto speak a word. Since Christ in his incarnate body is himself theWord, these pieces portray his inarticulatecries as a form of music, as the tuning note—the “sign ofA (la, mi, re)”—to which the music of a renewedcreation will be harmonized. Joan Cererols, monk and chapelmaster of the choir school of the BenedictineAbbey of Our Lady of Montserrat near Barcelona, has his ensemble bid the heavenly spheres themselvesto cease their imperfect music and “listen to the newest consonance” of Christ. Juan Gutiérrez de Padilla,priest and chapelmaster of Puebla Cathedral in New Spain (Mexico), presents Christ as the heir of themusician-king David, the masterpiece of the divine chapelmaster who puts God andMan in harmonythrough his Incarnate body, which is made known through his infant voice.

The composers match the musical conceits of the poetry with the appropriate musical devices,such as the eight-voice fugue in strict counterpoint in late sixteenth-century style (like that of Palestrina,Morales, and Guerrero) that Cererols creates for contrapunto celestial. Cererols even illustrates the idea ofChrist as the cantus firmus for a restored heavenly music by developing themotive of a descending stepwisefifth throughout the estribillo, culminating in a concluding section in the style of a cantus-firmus motet.Cererols illustrates “the newest consonance” by setting the word consonancia on a prominent, unprepared,and repeated dissonance. By drawing listeners’ attention to the imperfection of worldly music throughthis ironic symbol, Cererols points them in Neoplatonic fashion past the sounding music, to listen for anunhearable, higher music of Christ the divine Word.

Padilla also creates musical devices to illustrate the arcane music-theoretical and theological ref-erences in his poem. He quotes the plainchant tonus peregrinus on the words peregrino tono. Padilla hashalf his ensemble exhort the other half to “keep count with what is sung” while they are literally countingtheir rests. Then the other chorus sings about “awaiting the thirty-three” (a reference to Christ’s Passion)with exactly thirty-three notes. Both choirs join together to represent the celebration of heavenly beings,humans, and beasts singing in the manger, in the style of a madrigal, scored for voices “three by three,two by two, one by one.” Padilla’s estribillo climaxes with an epitome of Catholic belief about Christ’s

5. Cashner, “Faith, Hearing, and the Power of Music,” 108–132.6. Ibid., 133–284.

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Incarnation, “Everything inman is to ascend, and everything inGod is to descend.” Padilla sets the first lineto an ascending line in normal triple meter and juxtaposes this against the second phrase, which he sets as along descending line in sesquialtera (hemiola), written using all blackened noteheads. Thus the theologicaland musical are closely linked in both pieces, so that one’s knowledge of theology informs understandingof the musical structure, and one’s knowledge of music theory and ability to perceive musical-rhetoricaldevices gives insight into theological conceptions of Incarnation, voice, and hearing.

Irízar, Carrión, Cáseda: Hearing and FaithNext are two settings of the villancico poem, Si los sentidos queja forman del Pan Divino, by successivechapelmasters at Segovia Cathedral in the later seventeenth century.7 The poem, attributed to VicenteSánchez of Zaragoza, presents a contest of the senses, to be judged by their merits in relationship to faith.The contest is similar to the one in Pedro Calderón de la Barca’s Corpus Christi play El nuevo palacio delRetiro of 1634.8 The coplas articulate commonly held beliefs about the powers of the senses and emphasizethat the mystery of the Eucharist confounds every sense. Hearing is given the first prize because onlythrough believing in what is heard, and not through the other senses, can one rightly perceive Christ’spresence in the sacrament. The poem uses music to exemplify the sense of hearing. Irízar’s festival settingevokes the contest musically through polychoral dialogue and perhaps evoking the keyboard genre ofbatalla. Carrión’s continuo song, by contrast, invites a more personal reflection on the nature of sensation.

José de Cáseda’s setting of Qué música divina intersects both with the metamusical conceits of thepieces by Padilla and Cererols and with the discourse on sensation in the Irízar and Carrión villancicos.The central conceit of this piece for Eucharistic devotion presents Christ in his Passion as a vihuela.9 Thepoem applies patristic allegorical traditions of the cithara and lira to a distinctly Spanish instrument. Themusic played on this instrument is “not for the senses”; it “elevates the senses” and “confounds the mind’spowers.”10 If it could be heard it would sound “false”—dissonant, out of tune, or as musica ficta. Similarto Cererols evoking divine consonance through earthly dissonance, Cáseda appears to employ deliberatesolecisms to represent this “false” music, like the parallel fifths and direct octaves on the word “tuneful,”or the cadential patterns on “various cadences” that tempt singers to add accidentals in the wrong places.He evokes the seven-course vihuela in several ways through the vocal texture, most notably through thestrumming texture at the end of the estribillo.

Though Cáseda lived and worked in Zaragoza, this piece survives only in the collection of theConceptionist Convento de la Santísima Trinidad in Puebla.11 In performing this piece, the chorus of nunswhose names are preserved in the parts would in a sense become a vihuela, embodying an instrument whilepresenting that instrument as a symbol of Christ’s body.

This piece demonstrates a strain of villancico composition quite removed from the popularizing,folkloric types of villancicos that have become better known, such as the pieces that follow in this edition.Instead this is an exercise in contemplative devotion worked out through a musical craft that emphasizesboth ingenuity and affective power.

7. Cashner, “Faith, Hearing, and the Power of Music,” 285–338.8. Pedro Calderón de la Barca, El nuevo palacio del Retiro, ed. Alan K. G. Paterson, Autos sacramentales completos de

Calderón 19 (Pamplona: Universidad de Navarra, 1998); Cashner, “Faith, Hearing, and the Power of Music,” 52–107.9. Cashner, “Faith, Hearing, and the Power of Music,” 375–405.10. Powers or faculties of the anima sensitiva (sensitive soul)— intellect, cogitation, imagination, and memory; see Fray

Luis de Granada, Introducción del Símbolo de la Fe [Pt. 1], ed. José María Balcells (Madrid: Cátedra, 1989), 439–484.11. Cesar D. Favila, “Music and Devotion in Novohispanic Convents, 1600–1800” (PhD diss., University of Chicago,

2016).

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Gutiérrez de Padilla and Salazar: Singing in Christ’s StableThe last two pieces in this edition return to the stable in Bethlehem to unite humans and angels in themusic of Christ’s Incarnation. In a piece for the new cathedral of Puebla (consecrated three years earlier in1649), Juan Gutiérrez de Padilla and his ensemble call up a colorful host of characters “to the most blessedstable” to sing and dance for the baby Jesus.12 This ensaladilla is a potpourri of different song and dancestyles, probably referencing pre-existing music known to the hearers. A group of shepherds sing somethingcalled the “New Trojan” to the music of “tempered panpipes.” A buffoon mule-skinner’s mule barges intothe stable in search of straw; the befuddled candy vendor tries to excuse himself before the Christ-child,whom he obsequiously calls “Sir Baby,” while struggling to control his mule—a struggle evoked throughdisorderly rhythm. Next a group of “mountain folk,” whose language marks them as agricultural laborers,dances a gentle “Papalotillo.” This name is derived from a Nahuatl word, and these characters may bemeant to represent indigenous people.

The final section of the piece is a complete, self-contained negrilla or “black villancico,” a commonsubgenre. Here Padilla’s ensemble of Spaniards and Spaniard-descended criollos presented caricatures ofAfricans and their music, in a mocking imitation of African speech. In the midst of a pseudo-Africandance, the black characters are suddenly joined by a chorus of angels in singing Gloria—but the blackssing in the ternary meter typical of villancicos while the angels sing in the duple meter more commonlyused for Latin-texted liturgical music, and evoke a plainchant intonation.

Padilla’s “little salad” tosses together characters from different racial and economic strata to presentan idealistic vision of the whole colonial society united around the body of Christ. This composer, whowas both a university-educated priest and a slave-owner,13 brings the highest and lowest beings together inharmonywhile paradoxically keeping them apart, reflecting aNeoplatonic concept of the social hierarchy.14While this piece and other “ethnic villancicos” have much to teach about how Spanish elites perceivedtheir relationships to the other groups under their control, performers should consider seriously how itmight be possible to present such a piece today in an ethically responsible manner.15

The last piece in the collection is a typical representation of angelic music at Christmas, byAntoniode Salazar, who became chapelmaster of Mexico City Cathedral.16 This delicate villancico, with its liltingrhythms, is from the same convent collection as the Cáseda piece, in Puebla de los Ángeles, the original“city of the angels.” Salazar uses imitative counterpoint to represent the angelic chorus coming down toearth, much as Cererols did in his celestial fugue. The convent sisters who sang this piece at Christmas

12. Cashner, “Faith, Hearing, and the Power of Music,” 406–467.13. GustavoMauleón Rodríguez, ed., Juan Gutiérrez de Padilla y la época Palafoxiana (Puebla: Gobierno del Estado de

Puebla, Secretaría de Cultura, 2010).14. OnHispanic colonial music and musical institutions as reflecting and reinforcing hierarchical social structure, see

Geoffrey Baker, Imposing Harmony: Music and Society in Colonial Cuzco (Durham, NC: Duke University Press, 2008); DavidIrving, Colonial Counterpoint: Music in Early Modern Manila (Oxford: Oxford University Press, 2010); Bernardo Illari, “ThePopular, the Sacred, the Colonial and the Local: The Performance of Identities in the Villancicos from Sucre (Bolivia),” inKnighton and Torrente, Devotional Music in the Iberian World, 409–440; Jesús A. Ramos-Kittrell, Playing in the Cathedral:Music, Race, and Status in New Spain (Oxford: Oxford University Press, 2016).

15. Geoffrey Baker, “The ‘Ethnic Villancico’ and Racial Politics in 17th-Century Mexico,” in Knighton and Torrente,Devotional Music in the Iberian World, 399–408; Geoffrey Baker, “Latin American Baroque: Performance as a Post-ColonialAct?,” Early Music 3, no. 36 (2008): 441–448. On the relationship between Spanish representations of Africans and theiractual situation, see Cécile Fromont, “Dancing for the King of Congo from Early Modern Central Africa to Slavery-Era Brazil,”Colonial Latin American Review 22, no. 2, 184–208; Baltasar Fra Molinero, La imagen de los negros en el teatro del Siglo de Oro(Mexico City: Siglo Veintiuno Editores, 1995).

16. Cashner, “Faith, Hearing, and the Power of Music,” 29–34.

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embodied and incited the affects that theologians considered most characteristic of this feast—wonderand joy.

Performance Suggestions

Spanish PronunciationThe editor believes that Spanish-speaking ensembles should feel free to pronounce the Spanish accordingto their own accent. Other ensembles are encouraged to work with local native speakers and expertswhenever possible to shape their pronunciation and understanding, so that they can perform these piecesin a way that Spanish-speaking audience members will understand and recognize as a part of their owncultural heritage.

Instrumentation and VoicingThese villancicos are scored for an ensemble of voices with instrumental bass or continuo groups. Vocalensembles varied in size, from one-to-a-part groups to much larger polychoral forces. Most of the piecesalso feature prominent solo parts, particularly in the coplas.

The lowest voice parts in these pieces are meant to be performed on instruments. They are onlyprovided with short incipits of the text to orient the performer, and in several cases instruments likebajón (dulcian, bass curtal) or organ are specified. Though there is need for more research into the specificinstrumentation of Spanish musical ensembles, it is plausible that the bass line was performed in mostcases by a continuo group of bajón doubled by harp, organ, and possibly other instruments like thevihuela de mano.17 In pieces without figured bass, continuo players—which could include any polyphonicinstruments like keyboard or plucked strings—likely improvised harmonies to match the other voices.

The upper voices could have been doubled on bajoncillos, chirimías (shawms), sacabuches (sack-buts), and other instruments according to local resources and suited to the occasion. There is as yet noclear evidence, though, that church ensembles of seventeenth-century Spain or Spanish America includedpercussion instruments when performing in the liturgy.18

Ensembles should not be deterred by the lack of early instruments or by vocal ranges outside theirresources. It would be entirely within the spirit of the performing traditions that these sources represent,for a school or community chorus to substitute modern instruments for their historic relatives. At aminimum, it is appropriate to use any keyboard, preferably with bassoon or cello, for the continuo, andbassoon or cello for the instrumental bass lines. If more instruments are available, a small organ (or a gooddigital sample of an 8′ flue-type stop), harp, and classical guitar could be added to the continuo section.Vocal parts could be doubled with bassoons, oboes, trombones, or any other available instruments.

If possible, it would be appropriate to use soloists or a reduced ensemble for the first chorus inpolychoral pieces, and for the coplas. In this way a chorus of more modest ability, such as a high schoolchoir, could be paired with more advanced soloists, such as college students or adult community members.If there are more instrumentalists than singers, there should be at least one singing voice per chorus topresent the text. Instrumental parts and continuo realizations are available from the editor upon request.

17. On the changing instrumentation in one Spanish institution, see Álvaro Torrente, “The Sacred Villancico in EarlyEighteenth-Century Spain: The Repertory of Salamanca Cathedral” (PhD diss., University of Cambridge, 1997).

18. For a critique of exoticizing practices in recent villancico performances, see Baker, “Latin American Baroque”; DrewEdward Davies, “Finding ‘Local Content’ in the Music of New Spain,” Early Music America 2, no. 19 (2013): 60–64.

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Pitch LevelIn encountering Hispanic choral music of this period, musicians more familiar with other repertoiresmay be surprised by how high the vocal ranges are. Many of the Tiple (treble) parts have tessituras abovef ′′, and none of the pieces have texted bass parts, these parts being played instrumentally instead. EitherSpanish ensembles performed these pieces at a lower pitch level than notated (because of a lower generalpitch, or through transposition), or Spain cultivated a lost art of angelically high singing.19 Modernensembles should sing the pieces at a pitch level or transposition that works for them. In addition to thetwo transposed scores already included, other transpositions are available from the editor upon request.

Rhythm, Meter, and TempoThe meters and barlines in the edition are only conveniences to make the pieces plainly legible andperformable. Performers should not always take the barlines as guides to accentuation, nor should theyassume the music lacks natural accentuation. Mensural meters do not necessarily imply any particularpattern of rhythmic accentuation. Most of the time poetic declamation should be the primary guidefor pacing and emphasis. In other cases, when a set style of dance or song seems to be evoked, a regularrhythmic pattern may win out over poetic nuances. Regarding such rhythmic patterns, it should be notedthat no one has yet provided conclusive evidence for the presence of African or American indigenousrhythms in villancicos.

The signS indicates a duple meter that should be felt “in two.” The signS3 indicates a ternarymeter that should be felt “in one.” Often triple meter is syncopated or altered by hemiola (also calledsesquialtera) to create patterns of accentuation that differ from the normal ternary groupings indicated bythe barlines. In José de Cáseda’s Qué música divina, for example, after shifting toS3, the composer makesnovel use of sesquialtera. Starting in m. 19 Cáseda creates a sustained pattern of stresses in groups of threeimperfect semibreves, such that the music could be rebarred in modern 1

3.In most cases, it seems appropriate to maintain a tempo relationship of three minims (half notes)

inS3 to one minim (half note) inS . By maintaining this tempo relationship it is usually possible tomaintain a consistent pulse throughout the whole piece. A resting heart rate of about sixty beats perminute generally makes a good tempo, such that inS , ˘ “ = 60; while inS3, ¯ ‰ = 60 and ˘ “ = 180.

Authenticity and FlexibilityIn the editor’s opinion, an authentic performance of a seventeenth-century villancico would be one thatis not only meaningful to present-day performers and their audience, but that also opens a window toexperiencing what made the piece meaningful to its original performers and hearers. Performers shouldseek out the distinctive character and significance of each piece, but should also feel free to adapt the piecesto suit their own resources and social context. It would be better to have a spirited, respectful, musicallysensitive performance with modern instruments, for example, than to have no performance at all becausehistoric instruments were not available.

The sources for this edition are performing parts that, on the one hand, were used as practical toolsfor performance in a particular place, and, on the other hand, represent traditions of performance thatcannot be completely fixed in place or time. Evenwithin one institution, such as the Conceptionist convent

19. Robert L. Kendrick, Singing Jeremiah: Music and Meaning in Holy Week (Bloomington, IN: Indiana UniversityPress, 2014), 157.

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in Puebla from which come the parts for Salazar’s Angélicos coros and Cáseda’s Qué música divina, theseparts were used and reused possibly over generations. In some cases, later performers made corrections,added barlines, sewed in new lines of lyrics or even newmusic to replace certain strophes. There is no singleway that these pieces were performed throughout their terms of service as part of the local repertoire.

Moreover, these pieces represent single instances of a repertoire that circulated around the globe.José de Cáseda lived in Zaragoza and set a text by a poet from his same region, Vicente Sánchez; but thissetting is only known from the surviving parts in the Puebla convent. The spelling in those parts reflectsNew Spanish, not Zaragozan pronunciation.20 The piece may have been rearranged or adapted for femaleensemble from a lost original with different scoring. On some occasions, a particular sister may have fallenill and her vocal line may have been played instrumentally.

Historic performers made these pieces their own and performed them in a way that fit their localneeds in terms of personnel, instrumentation, acoustic space, and other factors. They performed thesepieces in a way that was intelligible and meaningful to them and to their hearers. Modern performers arecontinuing in the same spirit when they make practical adaptations for their circumstances.

Ethical ResponsibilityWhile some amount of adaptation seems appropriate for this repertoire, performers are urged never tolose sight of the religious, social, and political contexts of these pieces in their early modern origins. Thesevillancicos are all devotional pieces, used at some point in liturgical worship, but they do not fit easily intomodern notions of sacred and profane, and embody both “piety and play.”21 If we perform villancicoswith too much solemnity, listeners may miss the elements of fun and virtuosity; but if we perform themtoo flippantly, the audience may fail to recognize them as expressions of human spirituality and ingenuity.

These pieces cannot be cleanly separated from the social values of the colonial era that this musicboth reflected and reinforced. A piece like Juan Gutiérrez de Padilla’s Al establo más dichoso bears theimprint of imperial Spain’s racial hierarchy. It is documented that the composer himself owned anAngolanslave,22 and the representation of “Angolans” in the piece caricatures their bodies and voices as deformedand deficient, even as it perhaps strives to present them in a sympathetic light as offering devotion to Christand joining with the angelic chorus. As Geoffrey Baker has argued, it would be ethically irresponsibleto perform such a piece merely as an exotic curiosity, or worse, as though it were a twenty-first centurycelebration of ethnic diversity.23

Indeed, performers, scholars, and community members ought to engage in serious discussionsabout what performing such a piece might mean in a contemporary context. In the right setting, such as acommunity workshop with appropriate opportunities for critique, response, and discussion, the piecemight be used effectively to raise issues of great contemporary relevance. In the wrong context, though,the piece could actually perpetuate the negative racial stereotypes that are built into it.

20. For example, consonancias is spelled consonansias in the Puebla parts, even though Cáseda’s ensemble in Zaragozaprobably used a sound like English TH for the final C.

21. Andrew A. Cashner, “Playing Cards at the Eucharistic Table: Music, Theology, and Society in a Corpus ChristiVillancico from Colonial Mexico, 1628,” Journal of Early Modern History 18, no. 4 (2014): 383–419.

22. GustavoMauleón Rodríguez, “Juan Gutiérrez de Padilla desde el ámbito civil: Un corpus documental,” in MauleónRodríguez, Juan Gutiérrez de Padilla y la época Palafoxiana, 179–242.

23. Baker, “Latin American Baroque.”

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Editorial Report

Abbreviations

A. Alto, AltusAc. Acompañamiento, basso continuoB. Bajo, BassusCh. ChorusCN See critical notesCorr. Editorial correctionDRAE Real Academía Española,

Diccionario de la lengua española,23rd ed.

Imprints Consensus reading of poetryimprints

Leg. Legajo (archival folder)

M., mm. Measure (bar), measuresN., nn. Musical note, notesOED Oxford English Dictionary Online

(accessed 2017)S. Soprano; Used in part listings for

highest voice to distinguish Tiple vs.Tenor (e.g., “SSAT”)

Sugg. Editorial suggestionT. TenorTi. Tiple: Treble, boy sopranoTi. I-1 Chorus 1, First Tiple

Pitch and Octave DesignationsThis edition uses upper- and lowercase pitch names together with prime symbols to indicate specificpitches. These designations map onto Helmholtz octave numbers as follows:

C′ C1 c′ C4C C2 c′′ C5c C3 c′′′ C6

Archival Sigla

Siglum Country ArchiveE-Bbc Spain Barcelona, Biblioteca de CatalunyaE-CAN Spain Canet de Mar, Arxiu Parròquia de Sant Pere i Sant Pau de Canet de

Mar, Bisbat de Girona, Fons Capella de MúsicaE-Mn Spain Madrid, Biblioteca Nacional de EspañaE-SE Spain Segovia, Catedral, Archivo CapitularMEX-Pc Mexico Puebla, Catedral, Archivo CapitularMEX-Mcen Mexico Mexico City, CENIDIM (Centro Nacional de Investigación,

Documentación e InformaciónMusical Carlos Chávez)GB-Lbl United Kingdom London, British Library

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Editorial Policies

SourcesThe sources for each poem and its musical setting are listed in the critical notes. Select images of the sourcesare included in their own section below. The music is preserved in individual manuscript performing partsin looseleaf sets or bound partbooks. For the villancico byMiguel de Irízar, the composer’s draft score alsosurvives.

The texts and translations are based on the poetic text in the musical settings. They have beenannotated and sometimes corrected in comparision with the surviving poetry imprints of the same orrelated villancico poems. The poems are generally anonymous but are often adapted from existing poemsor poetic types.

The manuscript parts were practical tools for performers. They all bear evidence of frequent useover a long period: they are soiled along the creases in the paper where performers held them up, andthey include the names of multiple performers, corrections in different hands, and added accidentals andbarlines. Aspects of notation that seem ambiguous to amodern scholar were not, apparently, impedimentsto effective performance from the originals. The goal of this edition, in keeping with the nature of itssources, is to enable the practical performance and study of these villancicos through a clear and consistentnotation.

OrthographySpelling andpunctuation have beenmodernized and standardized.Though in doing this some informationabout historic local pronunciation is lost, a standard orthography allows performers to present the worksin a way that will be most intelligible to their audiences.24 The exception to this rule is in the negrilla ofPadilla’sAl establo más dichoso, in which it seemedmore responsible to present the pseudo-African dialectin its original orthography. Possible equivalents in proper Spanish are given in the footnotes.

TranslationsThe villancico poems in this edition are complex examples of the Spanish literary technique of conceptismo,in which the poem is governed by a central conceit that links two (or more) ideas together in an extendedmetaphor.25 In these poems, music forms one side of the conceit, and a theological concept like Christ’sIncarnation or Passion forms the other side, though this is an oversimplification. The wording of theSpanish is deliberately ambiguous so that one can read the poems concentrating on either or both sidesof the metaphor. This means that it nearly impossible to translate the poetry into English and preservethe delicate balance of double and sometimes triple meanings. For Spanish words with two meanings,English equivalents with a similar range of meaning were chosen; but in other cases multiple alternativeshad to be provided. The translations are as literal as possible while still conveying at least one level ofthe original sense. In some cases, the meaning of a cryptic phrase only becomes clear when read in thecontext of contemporary theological and devotional literature. Perplexed readers are urged to consult the

24. The phonetic orthography in the performing parts does suggest that ci and ce were pronounced like si and se in NewSpain and Catalonia, rather than with the TH sound in modern peninsular Spanish (as in thick).

25. Mary Malcolm Gaylord, “The Making of Baroque Poetry,” in The Cambridge History of Spanish Literature, ed.David Gies (Cambridge: Cambridge University Press, 2004), 222–237.

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detailed exegesis of these poems in the editor’s dissertation, as the translations are based on rigorous textualcriticism and historically grounded contextual interpretation.

Voice and InstrumentsThe original names for voices and instruments have been preserved (though spelling has been standardized,so Baxo is rendered as Bajo). Tiple refers to a treble singer, usually a boy. Several terms are used forcontinuo parts, such as Acompañamiento, General, or Guión. The edition preserves indications of soloand instrumental parts when they appear in the original. Original figured bass is preserved, but continuorealizations are left to the discretion and creativity of the performer. Separate instrumental parts andrealized keyboard parts are available on request from the editor.

Editorial TextItalic text indicates editorial underlay, usually where there are signs ( +) in the sources that specify thatthe preceding text should be repeated. Other textual additions by the editor, such as standardized sectionheadings, are enclosed in square brackets.

Pitch LevelAll pieces are transcribed at their original notated pitch level. The preparatory staves at the beginningof each piece show the original clefs, signatures, and the first note. Two pieces, Suspended, cielos by JoanCererols, and Qué música divina by José de Cáseda, are also provided in transposed editions that may bemore practical for modern ensembles.

AccidentalsAccidental placement in the partbooks is contextual and sometimes ambiguous to a modern reader. Theoriginal notation has no ^ symbol, using B\ and E\ instead. In a few cases, indicated in the critical notes,scribes use a \ sign as a cautionary accidental. One common use was to warn the singer not to apply a sharpaccording to musica ficta conventions.26

The edition presents the pitches with their accidental inflections when unambiguously specifiedin at least one source. According to modern convention, these accidentals are valid until the next barline.Thus repeated accidentals in the source are omitted if the modern convention does not require them;and in a few cases accidentals are added where modern notation demands. Editorial suggestions for otheraccidentals, mostly according to musica ficta conventions, are set above the staff.

RepeatsSome of the sources indicate repeated sections by using barlines with dots (like modern repeats), or bygiving the incipit of the music and text to be repeated; often there is also a signum congruentiae at thepoint of repetition or a textual note. In most cases, the estribillo was reprised after the last copla was sung(like the respond in a Responsory chant). Some pieces call for a reprise after each copla or after certain

26. Don Harrán, “New Evidence for Musica Ficta: The Cautionary Sign,” Journal of the American Musicological Society29, no. 1 (1976): 77–98; Don Harrán, “More Evidence for Cautionary Signs,” Journal of the American Musicological Society 31,no. 3 (1978): 490–494.

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groups of coplas. In many sources, the repeat of the estribillo is not specified, and it is possible that it wasnot always reprised, especially as villancicos became longer and more complex.27 This edition uses modernrepeat barlines for short repeated sections and indications of “D.C. al Fine” or “D.S. al Fine” with the Vsymbol, though these Italian texts are not used in the originals.

Rhythm, Meter, TempoThe original music was written in mensural notation, with few barlines in the performing parts.28 Theduple-meter sections of these pieces were written inS meter, which the seventeenth-century Spanishtheorists Pedro Cerone and Andrés Lorente refer to as tiempo menor imperfecto or compasillo.29 In thismeter, the compás or tactus consisted of a semibreve divided into two minims.30

The other commonmeter for seventeenth-century villancicos was notated with the symbol , acursiveSZ. Lorente says that this is a shorthand forS2

3 orS3, where these signs all indicate tiempo menorde proporción menor, a proportion ofS meter.31 The compás consists of one perfect semibreve ( ¯ ‰ ), whichis divided into three minims ( ˘ “ ˘ “ ˘ “), instead of the two minims ofS ( ˘ “ ˘ “).

In the sources, deviations from the normal ternary groups are indicated through coloration.Whennoteheads inS3 meter are blackened, this often indicates a shift to sesquialtera or hemiola. In sesquialteratwo groups of three minims are exchanged for three groups of twominims; and three imperfect semibrevestake the place of two perfect semibreves.

The edition presents the rhythms of the sources according to modern conventions of meter andbarlines. The music has been notated inS for duple meter andS3 for triple meter. The original metersigns are shown in preparatory staves or above the staff. The original note values have not been reduced.Mensural coloration is indicated with short rectangular brackets above the staff. Ligatures are indicated bylong rectangular brackets. Beaming is unchanged.

Regarding tempo, the theoretical 3 : 2 proportion of minims betweenS23 andS does not neces-

sarily imply the same proportion of tempo. In actual practice, a 3 : 1 tempo relationship often makes moremusical sense, so that three minims in triple meter together take the same amount of time as one minim induple meter. Thus two compases of CZ would have about the same duration as one compás of C.

27. Álvaro Torrente, “Cuando un estribillo no es un estribillo: Las formas del villancico en el siglo XVII” (Paper presentedat the Congreso Internacional, “Nuevas perspectivas en torno al villancico y géneros afines en el mundo ibérico (ss. XV–XIX),”Universidad Internacional de Andalucía, Baeza, 2014).

28. Spanish composers likeMiguel de Irízar did use barlines when they notated in score format. Irízar writes two compasesper bar in both triple and duple meters, occasionally squeezing in a third compás for an odd number of groups. Cerone advisesstudents who wish to write out a score from parts to write barlines every two compases; Cerone (El melopeo y maestro, 745).

29. Cerone, El melopeo y maestro, 537; Andrés Lorente, El porqué de la música, en que se contiene los quatro artes de ella,canto llano, canto de organo, contrapvnto, y composicion (Alcalá de Henares, 1672), 156, 210.

30. José Vicente González Valle, “Relación música/texto en la composición musical en castellano del s. XVII: Nuevaestructura rítmica de la música española,” Anuario musical 47 (1992): 103–132; José Vicente González Valle, “El compás en laépoca del Compendio de mvsica de Hernando de Cabezón,” Anuario musical 69 (2014): 119–158.

31. Lorente, El porqué de la música, 165.

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Select Bibliography

Studies of VillancicosCabero Pueyo, Bernat. Der Villancico des XVI. und XVII. Jahrhunderts in Spanien. Berlin: Disserta-

tion.de, 2000.

Cashner, Andrew A. “Playing Cards at the Eucharistic Table: Music, Theology, and Society in a CorpusChristi Villancico from Colonial Mexico, 1628.” Journal of Early Modern History 18, no. 4 (2014):383–419.

Davies, Drew Edward. “Villancicos fromMexico City for the Virgin of Guadalupe.”Early Music 39, no.2 (2011): 229–244.

Illari, Bernardo. “Polychoral Culture: CathedralMusic in La Plata (Bolivia), 1680–1730.” PhD diss., Uni-versity of Chicago, 2001.

Knighton, Tess, and Álvaro Torrente, eds. Devotional Music in the Iberian World, 1450–1800: The Vil-lancico and Related Genres. Aldershot, UK: Ashgate, 2007.

Laird, Paul R. “Catholic ChurchMusic in Italy, and the Spanish and Portuguese Empires.” In The Cam-bridge History of Eighteenth-Century Music, edited by SimonP.Keefe. Cambridge: CambridgeUni-versity Press, 2009.

. Towards a History of the Spanish Villancico. Warren, MI: Harmonie Park Press, 1997.

López Lorenzo, Cipriano. “El villancico sevillano del siglo XVII (1621–1700).” Calíope 21, no. 2 (2016):59–92.

Rubio, Samuel. Forma del villancico polifonico desde el siglo XV hasta el XVIII. Cuenca: Instituto deMusica Religiosa de la Excma. Diputación Provincial de Cuenca, 1979.

Swadley, John. “The Villancico in New Spain 1650–1750: Morphology, Significance and Development.”PhD diss., Canterbury Christ Church University, 2014.

Tenorio, Martha Lilia. Los villancicos de Sor Juana. Mexico City: El Colegio de México, 1999.

Torrente, Álvaro. La música en el siglo XVII. Historia de la música en España e Hispanoamérica 3.Madrid: Fondo de Cultura Económica de España, 2016.

. “The Sacred Villancico in Early Eighteenth-Century Spain: TheRepertory of Salamanca Cathe-dral.” PhD diss., University of Cambridge, 1997.

Musical Editions of VillancicosCererols, Joan. Joan Cererols III. Edited byDavid Pujols.Mestres de l’Escolania deMontserrat 3.Monestir

de Montserrat, 1932.

Comes, Juan Bautista.Obras en lengua romance. Edited by José Climent. 3 vols. Valencia: Instituto Valen-ciano deMusicología, Institución Alfonso el Magnanimo, 1977.

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Ezquerro Estéban,Antonio, ed.Tonos humanos, letras y villancicos catalanes del siglo XVII.Monumentosde la música española 65. Barcelona: Consejo Superior de Investigaciones Científicas, 2002.

, ed. Villancicos aragoneses del siglo XVII de una a ocho voces. Monumentos de la música es-pañola 55. Barcelona: Consejo Superior de Investigaciones Científicas, 1998.

, ed. Villancicos policorales aragoneses del siglo XVII. Monumentos de la música española 59.Barcelona: Consejor Superior de Investigaciones Científicas, 2000.

Fernandes, Gaspar. Cancionero musical de Gaspar Fernandes: Tomo primero. Edited by Aurelio Tello.MexicoCity:CentroNacional de Investigación,Documentación e InformaciónMusicalCarlosChá-vez, 2001.

Gutiérrez de Padilla, Juan. Tres cuadernos de Navidad: 1653, 1655 y 1657. Edited by Mariantonia Palaciosand Aurelio Tello. Caracas: Fundación Vicente Emilio Sojo: Consejo Nacional de la Cultura, 1998.

Ruimonte [Rimonte], Pedro. Parnaso español de madrigales y villancicos a cuatro, cinco y seys. Edited byPedro Calahorra. Antwerp, 1614. Zaragoza: Excma. Diputación Provincial de Zaragoza, Institución“Fernando el Católico” (C. S. I. C.), 1980.

Ruiz Samaniego, Joseph. Villancicos (de dos a dieciséis voces). Edited by Luis Antonio González Marín.Monumentos de la música española 63. Barcelona: Consejo Superior de Investigaciones Científicas:Institución “Milà i Fontanals,” Dept. de Musicología, 2001.

Stevenson, Robert Murrell. Christmas Music from Baroque Mexico. Berkeley: University of CaliforniaPress, 1974.

Torrejón yVelasco,Tomásde.Villancicos de Tomás de Torrejón y Velasco. EditedbyOmarMoralesAbril. Elrepertorio de la Catedral de Guatemala. Guatemala City: Universidad de San Carlos de Guatemala,Centro de Estudios Folklóricos, 2005.

Catalogs of Villancico Poetry ImprintsBiblioteca Nacional de España. Catálogo de villancicos de la Biblioteca Nacional, Siglo XVII. Madrid:

Ministerio de Cultura, 1992.

. Catálogo de villancicos y oratorios en la Biblioteca Nacional, siglos XVIII–XIX. Madrid: Minis-terio de Cultura, 1990.

Codina i Giol, Daniel. Catàleg dels villancicos i oratoris impresos de la Biblioteca de Montserrat, seglesXVII–XIX. Montserrat: Publicacions de l’Abadia de Montserrat, 2003.

Torrente, Álvaro, and Miguel Ángel Marín. Pliegos de villancicos en la British Library (Londres) y laUniversity Library (Cambridge). Kassel: Edition Reichenberger, 2000.

Torrente, Álvaro, and Janet Hathaway. Pliegos de villancicos en la Hispanic Society of America y la NewYork Public Library. Kassel: Edition Reichenberger, 2007.

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Collected Editions of Villancico PoetryJuana Inés de la Cruz, Sor.Villancicos y letras sacras. Edited byAlfonsoMéndez Plancarte. Obras comple-

tas de Sor Juana Inés de la Cruz 2.Mexico City: InstitutoMexiquense de Cultura, Fondo de CulturaEconómica, 1952.

LeónMarchante, Manuel de. Obras poeticas posthumas: Poesias sagradas, tomo segundo. Madrid, 1733.

Sánchez, Vicente. Lyra Poética de Vicente Sanchez, natvral de la Imperial Civdad de Zaragoza. ObrasPosthvmas. Zaragoza, 1688.

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Critical Notes

Joan Cererols, Suspended, cielos, vuestro dulce cantoSources

1. Description (CAN) E-CAN : AU/0116, Canet de Mar, Arxiu Parròquia de Sant Pere i SantPau de Canet, Bisbat de Girona, Fons capella de música; Manuscript performingparts of complete piece with coplas

Annotation “Villancico al SS.mo S.to/ Suspendet cielos a 8/ Cererols”Parts SSAT, SATB, Acompañamiento; B. II is instrumental

2. Description (Bbc) E-Bbc: M/765/25, Manuscript performing parts, previously unattributedAnnotation “Villansico a 8”Parts SSA, SATB, missing T. I and Acomp.; estribillo only, no coplas; alternate text

3. Description (MEM)Modern edition: Joan Cererols, Joan Cererols III, ed. David Pujols,Mestres de l’Escolania de Montserrat 3 (Monestir de Montserrat, 1932), xxv,221–236, based on CAN

Joan Cererols (1618–1680) was a monk at the Benedictine Abbey of Our Lady of Montserrat, apilgrimage site at the top of a mountain north of Barcelona and home of Europe’s oldest continuallyestablished singing school for boys, the Escolania de Montserrat.32 Joan Pau Cererols Fornell was baptizedin 1618 in the nearby village of Martorell, the youngest child of Jaume Cererols, a tailor. His mother diedwhen he was ten, and only a few months later Joan entered the boarding school as a chorister at theEscolania. He entered the novitiate of the Monsterrat Benedictines at age 18, in 1636, and remained at themonastery until his death in 1680. He served formany years as chapelmaster of the Escola (the choir of boysand men), teacher in the Escolania, and sacristan of the abbey church. According to a monastery chronicle,Cererols was also an excellent poet and theologian, and his pupils included distinguished chapelmastersand organists throughout Catalonia and the rest of Spain.

This critical edition is based on twomanuscript sources of this villancico, CAN and Bbc, the latterpreviously unknown. It should supersede the earlier edition by David Pujols, which was based on CANonly and included some errors. Most critically, MEM mistakenly omits the breve rest in this edition’smeasure 39, thus shifting the Alto fugue entrance one bar earlier through m. 47. This edition is not onlybased on an additional manuscript source but also improves on the earlierMontserrat edition by indicatingeditorial additions and mensural coloration, correcting text underlay, and including the manuscript’sfigured bass.

32. Cashner, “Faith, Hearing, and the Power of Music,” 227–284. This biographical sketch is based on Grigori Estrada,“Esbós per a un estudi de l’obra de Joan Cererols (1618–1680),” in Joan Cererols i el seu temps: Actes del I Symposium deMusicologia Catalana, ed. Francesc Bonastre (Barcelona: Institut d’Estudis Catalans, 1985), 7–23; Ferran Balanza i González,“Joan Cererols (1618–1680): L’entorn familiar; Regest dels documents de l’Arxiu Parroquial de Martorell; Notes inèdites obreGabriel Manalt i Domènech (1657–1687),” in Bonastre, Joan Cererols i el seu temps, 25–75.

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The two manuscript sources present minor variants of the same piece of music. Both sources areprobably copies based with some degree of separation on an original exemplar by Cererols at the Abbey ofMontserrat. The original was most likely lost when the abbey library burned in the nineteenth century.

Only CAN includes all the voice parts and the coplas, and thus it is the primary source for thisedition (Figure 1).33 In comparing the parts that survive in both versions, there are only a few significantdifferences in Bbc:

1. One phrase of text is changed to make the piece fit a Eucharistic dedication. The text of CANmakesmore sense as a Christmas piece, despite the dedication to the Blessed Sacrament on the cover leaf ofthe group of partbooks.

2. The highest voice part has a different final phrase in the estribillo.3. Bbc includes the performance instructions eco and falsete.4. Bbc differs in the use of accidentals on C, F, and B; in most cases it is more explicit, writing out

accidentals in situations where musica ficta practice would suggest them anyway.

This edition primarily follows CAN but does include the dynamic markings from Bbc in parentheses. Bbcwrites out more accidentals explicitly, clarifying the usage of musica ficta.

Related SourcesThis villancico is the only complete musical setting yet found of one of the most popular villancico poemsof the seventeenth century. The poem as set by Cererols is one variant of a textual tradition extending backas early as a Royal Chapel performance in 1651.34 A distinct branch of later variant versions may be tracedto the work of Manuel de LeónMarchante from 1675.

This family of villancico poems is attested in the following imprints:

1651 Madrid E-Mn: R/34199/271668 Calatayud GB-Lbl: 11450.dd.8 (54)1675 Alcalá Reprinted inMarchante, Obras poéticas (Madrid, 1733), 1391680 Seville E-Mn: VE/83/101681 Seville E-Mn: VE/79/71683 Zaragoza E-Mn: VE/129/2, GB-Lbl: 1073.k.22 (07)1689 Madrid E-Mn: VE/88/80

Cererols’s text incorporates aspects of both the early Royal Chapel tradition and the versionsinfluenced by Marchante. In a few passages, indicated in the notes below, the text of the coplas in theCanet manuscript departs from the consensus of the other poetic imprints from this villancico tradition.This edition preserves the text in CAN but corrects a few phrases in which the consensus reading of theother imprints makes more sense both poetically and grammatically.

33. Francesc Bonastre, JosepMaria Gregori, and Andreu Guinart i Verdaguer, Fons de l’Església Parroquial de Sant Pere iSant Pau de Canet de Mar (Barcelona: Generalitat de Catalunya, Departament de Cultura i Mitjans de Comunicació, 2009),60–61.

34. E-Mn: R/34199/27, omitted from Biblioteca Nacional de España, Catálogo de villancicos; see Figure 2.

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Specific Notes

Measure Voice Edition Sources, Rationale2 A. I Coloration starts n. 1 CAN: Same; Bbc: Starts on n. 2; cf. Ti. I-1, Ti.

I-2, T. I10 Ti. I-2 N. 1, C\ ficta CAN, Bbc: C; C\ avoids cross-relation with Ti.

II23–24 T. II M. 24, n. 2 &m. 25, n. 1,

F\ fictaCAN, Bbc: F; cf. mm. 21–22 contour, harmony

23–24 A. II Tened, tened, tened CAN: tened + parad; Bbc: tened + tened; cf.mm. 21 (Ti. I-2, A. I), m. 23–24 (T. II)

24 T. II N. 3, a′ CAN: Same; Bbc: f′; cf. m. 21 (A. I), m. 24 (A.II)

25 T. II N. 4, cautionary F^ CAN, Bbc: F; F^ avoids cross-relations with Ti.I-2, A. II entrances

26–28 Ch. I Tened, tened, parad CAN, A. I: tened tened parad; CAN: Ti. I-1, Ti.I-2, T. I: tened + parad; Bbc, Ti. I-1, A. I: tenedparad parad; Bbc, Ti. I-2: parad tened parad

29–30 Ti. I-2 M. 29, n. 2, F\ ficta; m.30, n. 2, F^ ficta

CAN, Bbc: Both F^; cf. imitation m. 32 (Ti. I-2),mm. 77-78 (A. II); contrapuntal motion intooctave vs. Ac.

39 Ti. II N. 3, cautionary C^ CAN, Bbc: C; descending motion41 B. II N. 1, BZ CAN, Bbc: B; cf. explicit BZ in Ac.; una nota

super la44 Ac. N. 1, C\ CAN, Bbc: C; cf. explicit C\ in B. II; ascending

motion49 Ti. II N. 2, C\ Bbc: Same; CAN: C; cadence50 Ti. I-2 Ficta F^–F\–F\ CAN, Bbc: F–F–F; first F resolves cadence; next

Fs lead up to G (sugg.)55–56 T. II Coloration starts m. 56,

n. 1Bbc: Same; CAN: Starts m. 55, n. 1; cf. Ti. II, A.II, B. II, Ac.

57–58 Ti. I-2 Ficta Cf. mm. 29–3067 Ti. I-1 N. 4, G\ Bbc: Same, CAN: G; contrapuntal motion into

octave vs. Ac; inversion of fugue subject67 Ac. N. 2, C\ CAN, Bbc: C; cf. explicit C\ in T. I67 Ac. N. 4, B^ Bbc: Same; CAN: B\; Cautionary sharp to

indicate natural (cancels una nota super la)68 B. II N. 3, F^ Bbc: Same; CAN: F\; Cautionary sharp to

indicate natural, cf. fugue subject, unison Ac.

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Measure Voice Edition Sources, Rationale73–74 Ti. I-2 M. 74, nn. 1–2, slur CAN: Same; Bbc: Slur, m. 73, n. 4–m. 74, n. 175–86 All Y con sollozos tiernos,

un niño soberanoCAN, Imprints: Same; Bbc: Y desde un pandivino, un hombre soberano

85 A. II Nn. 1–2, slur CAN: Same; Bbc: Omit86 T. I N. 1, a CAN: b Bbc: Missing voice part; cf. B. II, Ac.;

MEM (corr.)89 Ti. I-2 Nn. 3–5, C\ ficta CAN, Bbc: C; cf. motive, m. 90 (T. II); explicit

C\ in Bbc, m. 92 (T. II)92 T. II Nn. 3–5, C\ Bbc: Same; CAN: C; cf. m. 8994 A. I N. 2, BZ ficta CAN, Bbc: B; cf. motive, mm. 89, 90;

descending motion95 T. I Nn. 3–5, C\ ficta CAN, Bbc: C; cf. mm. 89, 9297 T. I-1 Nn. 3–5, F\ Bbc: Same; CAN: F; cf. mm. 90, 93100 T. II Nn. 1–3, C\ Bbc: Same; CAN: C; cf. mm. 89, 92, 95

105–108 T. I-1 g′′–g′′–d′′–d′′ CAN: Same; Bbc: g′′–g′′–a′′–bZ′′–a′′106 Ti. I-2 N. 1, minim CAN: Same; Bbc: Semibreve (corr.)107 Ti. I-2, A. II F\ ficta CAN, Bbc: F; cadence, anticipating explicit

final F\ in m. 108; cf. motive m. 1, 29–30,130–131 (sugg.)

109–114 All Las fugas que el primerhombre formó

Imprints: Same; CAN: Las fugas del primerhombre formó; Bbc: Coplas missing

111 Ac. N. 1, C\ CAN: C; cf. explicit C\ in T. I120 A. I N. 1, BZ ficta CAN: B; una nota super la130 Ti. I-1 N. 2, F\ ficta CAN: F; cadence; anticipate explicit final F\ in

m. 131; cf. motive m. 1, 29–30, 107 (sugg.)131 Ti. I-2 Fermata CAN: Omit; cf. Ti. I-1, Ti. I-2, T. I, Ac. (corr.)

132–138 All Qué mucho si a losdespeños

Imprints: Same; CAN: Qué mucho que a losdespeños

134 Ti. I-1 N. 2, F\ ficta CAN: F; cf. 137 (sugg.)137 Ti. I-1 N. 2, F\ ficta CAN: F; cf. explicit F\ in repeated passage, m.

243139 Ti. I-1 N. 6, F\ ficta CAN: F; cf. explicit F\in repeated passage, m.

192146 Ti. I-2 Nn. 1–2, C\ ficta CAN: C; cf. explicit C\ in repeated passage, m.

199; voice exchange in m. 148151 Ti. I-2 N. 2, C\ ficta CAN: C; cf. m. 130 (sugg.)

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Measure Voice Edition Sources, Rationale154 Ti. I-1 N. 1, C\ ficta CAN: C; cf. motive m. 155 (Ti. I-2), m. 158 (Ti.

I-1); explicit C\ in imitation, m. 159 (Ti. I-2), &repeated passage, m. 196

155 Ti. I-2 N. 1, F\ ficta CAN: F; cf. explicit F\ in parallel passage, m.208 (Ti. I-2)

157 Ac. N. 2, f CAN: Notehead missing bc. of tear; cf. MEM158 Ti. I-1 N. 1, F\ ficta CAN: F; cf. m. 155160 Ti. I-2 N. 2, F\ ficta CAN: F; cf. m. 130, 151164 Ti. I-1 N. 2, F\ ficta Cf. explicit F\ in m. 111164 Ac. N. 1, C\ Cf. m. 111166 Ch. I Breath mark after n. 1 CAN, Ch. I: Semiminim rest after n. 1 (cf. m.

113); cf. MEM (corr.)173 A. I N. 1, BZ ficta Cf. m. 120

178–180 A. I La disonancia CAN: las disonancias; cf. Ti. I-1, Ti. I-2, T. I,Imprints

182 Ti. I-2 N. 1, C\ ficta Cf. m. 129183 Ti. I-1 N. 2, F\ ficta Cf. mm. 130, 151187 Ti. I-1 N. 2, F\ ficta Cf. m. 134190 Ti. I-1 N. 2, F\ ficta Cf. m. 137196 Ti. I-1 N. 1, F\ ficta Cf. explicit F\ in m. 143205 Ti. I-2 N. 1, C\ ficta Cf. explicit C\ in m. 152

206–214 Ti. I-1 desentono Imprints: Same; CAN: desatento; cf. Ti. I-2207 Ti. I-1 N. 1, C\ ficta Cf. m. 154, explicit C\ in m. 159

208–214 All tan vano Imprints: Same; CAN: tan grande; Meter isromance in a–o (corr.)

211 Ti. I-1 N. 1, F\ ficta Cf. m. 158, explicit F\ in m. 208 (Ti. I-1)213 Ti. I-1 N. 2, F\ ficta Cf. m. 130, 151, 160

216–219 All Sustenido Imprints: Same; CAN, A. I, T. I: Same; CAN,Ti. I-1, Ti. I-2: susteniendo

217 Ac. N. 1, F\ ficta Cf. explicit F\ in m. 111219 All Breath mark after n. 1 Cf. m. 166219 Ti. I-1 N. 1, F\ ficta Cf. explicit F\ in m. 113220 Ti. I-1 N. 5, F\ ficta Cf. mm. 114, 167227 A. I N. 1, BZ ficta Cf. mm. 120, 173

229–236 All Lo inmenso a espacio Imprints: Same; CAN: lo inmenso spacio

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Measure Voice Edition Sources, Rationale236 Ti. I-1 N. 2, F\ ficta Cf. mm. 130, 151, 160, 213249 Ti. I-2 Semibreve rest CAN: Omit; cf. mm. 143, 196 (corr.)260 Ti. I-1 N. 1, C\ ficta Cf. m. 154, 159, 207, explicit C\ in m. 265 (Ti.

I-2)263 Ti. I-1 N. 2, BZ ficta Cf. motive m. 260 (Ti. I-1); una nota super la264 Ti. I-1 N. 1, F\ ficta Cf. m. 155, 158266 Ti. I-1 N. 2, F\ ficta Cf. m. 130, 151, 160, 213 160267 Ti. I-1 N. 1, F\ ficta CAN: F; cf. explicit F\ in mm. 108, 131, 161, 184,

214, 237; unless F^ is deliberate before repeat ofestribillo

Juan Gutiérrez de Padilla, Voces, las de la capillaSources

1. Description MEX-Pc: Leg. 3/3, In manuscript partbooks, Navidad del año de 1657Annotation “A 6/ Padilla”Parts SAT, ATB; B. II is instrumental (bajón and other continuo instruments)

2. Description Modern edition: Juan Gutiérrez de Padilla, Tres cuadernos de Navidad: 1653, 1655y 1657, ed. Mariantonia Palacios and Aurelio Tello (Caracas: Fundación VicenteEmilio Sojo: Consejo Nacional de la Cultura, 1998)

This piece is from the complete cycle of villancicos composed by Juan Gutiérrez de Padilla forthe cathedral of Puebla de los Ángeles and performed at Christmas 1657.35 This composer, whom themanuscripts refer to simply as Padilla, was born near Málaga in southern Spain around 1590.36 He servedas chapelmaster of churches in Jérez de la Frontera and Cádiz before emigrating to New Spain around 1622.In 1628 he was named assistant to Gaspar Fernández, the ailing chapelmaster of the cathedral of Pueblade los Ángeles. His earliest dated villancicos survive from that year.37 Padilla succeeded to the post afterFernández died in 1629, and continued as chapelmaster at Puebla until his own death in 1664.

The only primary source for this villancico is a set of partbooks, each labeled Navidad del año de1657 (Figure 3).38 The Tiple I partbook has the additional marking “en 8 quadernos,” confirming the totalof eight notebooks for the whole cathedral ensemble, typically organized in two choirs of four voices each.

35. Cashner, “Faith, Hearing, and the Power of Music,” 133–226.36. Mauleón Rodríguez, Juan Gutiérrez de Padilla y la época Palafoxiana; Nelson Hurtado, “Juan Gutiérrez de Padilla:

El insigne maestro de la catedral de Puebla de los Ángeles (Málaga, c. 1590; Puebla de los Ángeles, 8-IV-1664),” Heterofonía138–139 (2008): 29–67; Robert Murrell Stevenson, “The ‘DistinguishedMaestro’ of New Spain: Juan Gutiérrez de Padilla,”The Hispanic American Historical Review 35, no. 3 (1955): 363–373.

37. Cashner, “Playing Cards at the Eucharistic Table.”38. Lincoln B. Spiess and Thomas Stanford, eds., Archivo de música sacra de la catedral de Puebla, microfilm (Mexico

City, 1967); E. Thomas Stanford, Catálogo de los acervos musicales de las catedrales metropolitanas de México y Puebla y de laBiblioteca Nacional de Antropología e Historia y otras colecciones menores (Mexico City: Instituto Nacional de Antropología eHistoria, 2002).

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The partbooks include all the villancicos needed for performance at Matins for Christmas and Epiphanyof the 1657–1658 liturgical year, plus the hymn Christus natus est nobis.

Only six partbooks contain the music for Voces, las de la capilla, scored (as the parts indicate) a 6.Tiple and Bassus of Chorus II are not included. The Altus I and Tenor II parts for this piece include thecomposer’s name, “Padilla.” The partbooks show signs of repeated use over many years.

The bass part is in the partbook of Bassus, Chorus I, but this part plays with the voices of ChorusII throughout the piece. Typical of Padilla’s scores, this part only includes brief textual incipits to help aninstrumentalist coordinate with the ensemble.

The handwriting, ink, and paper are consistent with that used in the composer’s other extantChristmas cycles in the cathedral archive, and it seems reasonable to believe this to be his own hand. Thereis a pronounced decline in the quality of the handwriting across each sets from 1651 to 1659, consistentwith a physical decline in Padilla’s later years. In 1660, he signed a power-of-attorney document citing hisfailing health, and died four years later.39

The one previous edition of this piece contains an error based on the misreading of rests, asdiscussed below.40 The one professional recording of this piece is based on an erroneous reading of therepeats.41

The setting is rich in musical symbols and puns that match the conceits about music in the poem.These are some of the less obvious examples:

• On cuenta (mm. 6–7), the voices sing a long, offbeat note that requires special counting, and thiswhole strophe is sung by Chorus I while Chorus II counts rests.

• In the respuesta (mm. 28–44), which mentions “the thirty-three”—Christ’s traditional age at hiscrucifixion—the voice parts have thirty-three notes in the original notation.

• Padilla evokes madrigal style with literal word painting throughout; inmm. 45–59 he depicts singingat the Christmas stable “in one choir and the other” through polychoral texture and imitation, and“three by three, two by two, one by one” by the number of voices.

• For “the sign ofA (la, mi, re)” (mm. 67–69)—a reference to Christ as “alpha and omega” inmusicalterms—the voices sing pitches corresponding to the named syllables as they sing them; likewise for“his eyes set on mi” (m. 72).

• On the words peregrino tono (mm. 128–130), the A. I sings G–BZ–A–G, which is the final cadenceof the plainchant tonus peregrinus in the transposed cantus mollis of the villancico.

• To illustrate the words máxima y breve, the T. II sings the word máxima on a breve (m. 153).

Structure of Repeated SectionsLike many of villancicos by Juan Gutiérrez de Padilla, this one begins with an introductory section for aportion of the ensemble. In the edition this is labeled introducción after the model of contemporary poetryimprints. Next the full ensemble sings the estribillo (refrain). Two coplas (verses) follow, the first sung byChorus I and the second by Chorus II. Finally the estribillo is repeated.

The repeat of the estribillo is indicated clearly. In all the parts there is a signum congruentiae at thebeginning of the estribillo (m. 45 in the edition). In every part except Tiple I, after the end of the coplas,the scribe has written the first few notes of the estribillo and the signum to point back to the estribillo.

39. Mauleón Rodríguez, “Juan Gutiérrez de Padilla desde el ámbito civil.”40. Gutiérrez de Padilla, Tres cuadernos de Navidad: 1653, 1655 y 1657.41. Juan Gutiérrez de Padilla, Música de la Catedral de Puebla de los Ángeles, Ars Longa de Habana, directed by Teresa

Paz (Seville: Almaviva, 2005).

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The introducción has two parts: the first section has two stanzas of poetry and is sung by ChorusI; the second is a respuesta (response) section sung by Chorus II. The one recording of this piece errs inperforming both stanzas of the Chorus I section first and then performing the respuesta once. While thatarrangement might seem logical, the parts all clearly indicate through the signum congruentiae, notatedrests, incipits, and custodes that the first part of the introducción (with the first stanza of poetry) proceedsimmediately into the respuesta, and then the whole section is repeated from the beginning with the secondstanza of poetry. This means that the respuesta is sung twice, once after each stanza of the introducción.

Related SourcesA 1649 catalog entry from the collection of Portuguese King John IV appears to indicate an earlier settingof the same or similar text as Padilla’s. The citation is listed under the works of Francisco de Santiago, whowas chapelmaster of Seville Cathedral until his death in 1644: “Vozes las de la capilla. solo. Ya trechos lasdistancias. a 9.”42 The imprint survives for a related poem, Cantores de la capilla, which was performed atSeville Cathedral for Epiphany 1647. This was probably set to music (now lost) by Santiago’s successorLuis Bernardo Jalón.43

Specific Notes

Measure Voice Edition Sources, Rationale2 Ti. I E^ Cautionary E\ to counteract una nota super la rule8 Ti. I E^ Cautionary E\, cf. m. 2

44 T. II aguardan aguarda; cf. all other voices (corr.)82 A. II Bar rest Omitted; cf. correct rests in T. II, B. I; cf. error here in Palacios and

Tello ed. (corr.)92–93 T. II Slur Slur extent unclear, cf. text underlay

121 B. I EZ E^; cf. explicit EZin A. I; una nota super la, cf. m. 123126 T. II Semibreve Breve (corr.)128 A. I F^ F\, likely a cautionary accidental indicating F^; counteracts ficta

tendency to sharp the F in G–F–G gesture, avoids BZ/F\ sonorityunusual for Padilla; cf. mm. 130–131

130–131 A. I F^ F\, certainly a cautionary accidental indicating F^; cf. simultaneousF^ in Ti. I; cf. m. 128

42. Paulo Craesbeck, ed., Primeira parte do index da livraria de mvsica do mvyto alto, e poderoso rey Dom João o IV.nosso senhor ([Lisbon?], 1649), caixão 26, no. 674.

43. Villancicos que se cantaron en la S. Iglesia Metropolytana de Sevilla, en los Maytines de los Santos Reyes. En este añode mil y seiscientos y quarenta y siete (Puebla de los Ángeles, private collection, courtesy of Gustavo Mauleón Rodríguez);edition of poem in Cashner, “Faith, Hearing, and the Power of Music,” 209.

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Miguel de Irízar, Si los sentidos queja forman del Pan DivinoSources

1. Description (P) E-SE: 5/32, Manuscript performing parts (copyist’s hand)Annotation “Al SS.mo a 8. Si los sentidos”Parts SSAT, SATB, Acompañamiento

2. Description (S) E-SE: 18/19, Manuscript draft score in Irízar’s hand for Corpus Christ 1674 atSegovia Cathedral

Annotation “Fiesta del SSantissimo de este año del 1674”Parts SATB, SATB, continuo only in coplas

In a rare case of a surviving draft score of a villancico, Irízar composed the piece in one of hismakeshift notebooks made from received letters, with the music on the reverse sides and in the margins ofthe letters.44 The score (S) is drafted with written barlines every two compases both in duple and triplemeter; when a single odd compás is left at the end of a section Irízar groups it with what follows. When acolored (imperfected) semibreve extends across a barline, Irízar centers the note on the line, since mensuralnotation did not allow for ties.

The performing parts (P) appear to be in the hand of a professional copyist and correspond closelywith the score. The score agrees with the parts in pitches and rhythms in the estribillo, differing only ina few cases of accidentals, where musica ficta practice made the notation of some accidentals optional.Generally, the edition uses accidentals that are present in either source, weighting the parts more heavilysince these were actually used for performance.

The score lacks theGeneral continuo part in the estribillo. In the coplas, Irízar originally composedseparate four-voice settings of the first two coplas, but then at the bottom of the page drafted the settingfor Tiple solo and continuo that appears in P, with a slightly different beginning to the continuo part.It may have been a later idea to combine the solo setting with the end of the four-voice setting for theRespuesta a las coplas on the “tag line,” “No se den por sentidos los sentidos.” This is the first use of thecontinuo, suggesting that Irízar decided after composing the rest of the piece to add the continuo part(General in P).

Lyrical TextIn S, Irízar simply wrote the poetic text out in a single line underneath each system, with no text underlayin the individual voices. Thus all text underlay in this edition is based on P. Figures only appear in thecoplas.

The text corresponds closely with a poem later attributed to Vicente Sánchez in the Lyra Poética(Zaragoza, 1688), 171–172. Irízar died in 1684, so either he had access to an earlier version of Sánchez’s text

44. Cashner, “Faith, Hearing, and the Power of Music,” 285–338; José López-Calo, La música en la Catedral de Segovia,2 vols. (Segovia: Diputación Provincial de Segovia, 1988); Matilde Olarte Martínez, “Miguel de Irízar y Domenzain (1635–1684?): Biografía, epistolario y estudio de sus Lamentaciones” (PhD diss., Universidad de Valladolid, 1992); José López-Calo,“Corresponsales de Miguel de Irízar,” Anuario musical, no. 18 (1963): 197–222; Pablo-Lorenzo Rodríguez, “Villancicos andPersonal Networks in 17th-Century Spain,” Journal of the Institute of Romance Studies 8 (1998): 79–89.

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through his correspondence network, or Sánchez’s text is an improvement on a pre-existing poem thatIrízar used. Irízar does not include one of Sánchez’s coplas and arranges the strophes differently.

The notatedmelody for the coplas does not fit every stanza equally well. The singer was apparentlyexpected to adapt the rhythm to fit the poetry for the subsequent stanzas.

Specific Notes

Measure Voice Edition Sources, Rationale7 Ti. I-1 C\ P: C^; S: C\9 T. II F^ P: F\; S: F^; cf. Ti. I-2 F^in P and S (cautionary accidental in

P?)15 Ti. I-1, I-2 Slur P: Slur; S: No slur; cf. text underlay18 A. I C\ P: C\; S: C^34 T. II C\ P: C\; S: C^; cf. Ti. I-1 C\44 Gn., n. 3 A P: G; cf. B. II (corr.)51 T. II F\ P: F\; S: F^; cf. Ti. I-2 F\56 T. I Nn. 1–3, Slur P: No slur; S: Slur; cf. text underlay

Jerónimo de Carrión, Si los sentidos queja forman del Pan DivinoSources

1. Description E-SE: 28/25, Manuscript performing partsAnnotation “Villan.co Al Santissimo Sacramento. Solo. Si los Sentidos quexa forman./ M.ro

D.n Geronimo de Carrion”Parts Solo, Acompañamiento

Jerónimo de Carrión (1660–1721), who succeeded Miguel de Irízar as chapelmaster of SegoviaCathedral after Irízar’s death in 1684, sets a version of the same villancico poem as Irízar’s Si los senti-dos.45 Carrión’s text corresponds more closely to the version attributed to Vicente Sánchez in 1688. Hefollows Sánchez’s ordering of the coplas but does not include two of Sánchez’s coplas. Like Irízar, Carriónapparently expects the soloist to adapt the rhythm of the coplas to fit the poetry of the subsequent stanzas.

As in many later seventeenth-century villancicos, there is no sign indicating that the estribilloshould be repeated. This repetition was customary with earlier villancicos, but the recurring tag line at theend of each copla may have been made it unnecessary to repeat the whole estribillo.46

Compared to the other villancicos in this volume, the music in duple meter seems to call for aslower tempo relative to the music inS3, with a feel closer to modern 4

4.

45. Cashner, “Faith, Hearing, and the Power ofMusic,” 70–84, 331–336; López-Calo,La música en la Catedral de Segovia.46. Torrente, “Cuando un estribillo no es un estribillo.”

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José de Cáseda, Qué música divinaSources

1. Description MEX-Mcen: CSG.154, Manuscript performing parts from collection of theConvento de la Santísima Trinidad, Puebla

Annotation “A 4/ D.n Joseph de Caseda”Parts SSATB; B. is instrumental

Like Salazar’s Angélicos coros (in this edition), this piece is in the Colección Sánchez Garza atCENIDIM, the Mexican national music research center, in Mexico City.47 The collection is originallyfrom the Convento de la Santísima Trinidad, a Conceptionist convent in Puebla. There are numerousworks in the collection ascribed to José de Cáseda and his father Diego, who were both chapelmasters inZaragoza.48

This is a set of individual performing parts. A tear along the fold at the bottom obscures a fewof the notes. The parts bear the names of the convent sisters listed below. The name of the Alto, MadreBelona, also appears in Salazar’s Angélicos coros.

Tiple 1 TomasitaTiple 2 María de JesúsAlto Madre Belona“Thenor” Rosa María de JesúsBajo (no name)

The bass part is instrumental: it has only incipits of the text and includes figured bass. Given thepiece’s central conceit of Christ as a vihuela, that instrument would seem to be an apt choice to feature inthe continuo group.

CoplasIn the original version of this manuscript, coplas 1, 4, and 6 are scored for the full ensemble and the musicfor them is written out only once. Coplas 2, 3, and 5 are sung by soloists with the same accompanimentpart for each; thus the Bajo part for the solo strophes is only written out once in theMS. The full-ensemblecoplas actually require small adjustments for the different text underlay, so they are all written out in fullin the edition.

TheMS includes repeat signs after the first phrase in every copla. In the solo coplas, the accompa-niment has the repeat sign placed one semiminim later than the vocal lines, indicating a “first ending.”The edition simply writes out the repeated music in the solo coplas.

The Tenor part has an alternate setting of copla 4 written on a separate strip of paper and sewnonto the original performing part to cover the original music (Figure 8).49 By lifting the sheet it is still

47. Cashner, “Faith, Hearing, and the Power of Music,” 375–403.48. Pedro Calahorra Martínez, La música en Zaragoza en los siglos XVI y XVII: II, Polifonistas y ministriles (Zaragoza,

Spain: Institución “Fernando el Católico,” 1977); Grove Music Online, s.v. “Cáseda, Diego de,” by Robert Murrell Stevenson,and the relevant entries in the Diccionario de la música española e hispanoamericana.

49. Many of the pieces in the Sánchez Garza collection have alternate versions, most commonly of poetic text, sewn

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possible to see most of the original setting of the solo copla 5, except for a few passages obscured by thestitching at the top. The music for copla 5, as edited here, appears to be identical to that for copla 2; theobscured passages are indicated with brackets in the edition.

The alternate setting on the sewn-in sheet uses a G2 (treble) clef instead of the C3 clef of the Tenorpart, and duplicates the Tiple 2 line in the original full-ensemble setting of copla 4, except that the repeatedhigh g′′ in mm. 138–139 is replaced with d′′. This version appears to be intended as a solo setting of copla4, with the female Tenor switching to a higher register for this copla. Perhaps it was used in an abridgedversion of the piece with fewer coplas, or in a version arranged for reduced voices.

SolecismsThere are several instances of what appear to be compositional mistakes; I have argued, though, that theseare intentional solecisms meant to communicate a conceit of musical “falsehood” (see copla 5).50 Thecondition of the manuscript indicates frequent use, so any solution to these problems must account forthe fact that the sisters actually performed the piece from these manuscripts, in their current form.

In mm. 3–4, there are parallel fifths followed by direct octaves in the outer voices, which cannot beavoided through musica ficta or any simple editorial correction. This is either intended by the composer,or was copied incorrectly. If intentional, it may be an error or an aspect of personal style. Since the texthere is acorde (tuneful), and in light of other such oddities described below, this may be a deliberatelyironic gesture.

In mm. 69–70, there appears to be a cross-relation between the Tiple 2 (BZ) and the Tenor (B^).On its own, the Ti. 2 would sing all B flats in this phrase, as no accidentals are included. To match themotive used throughout this section, though, the Ti. 2 would sing B flats in m. 69 and then B natural inm. 70.

The Tenor, though, has a sharp on the B in m. 44, normally indicating B natural (Figure 7); thiswould produce a cross relation. The Tenor B sharp is probably not a cautionary accidental because thephrase would not normally call for a ficta alteration, and it would seemmore obvious to use a flat symbolfor this purpose. Thus the most likely solution seems to be (as indicated in the editorial accidentals) forthe Ti. 2 to break the motive and sing all B naturals.

Specific Notes

Measure Voice Edition Sources, Rationale3–4 Ti. 1, B. Parallel fifths, direct

octavesAs written; See discussion of solecisms above

32 Ti. 1 Slur, n. 3–4, 5–6 Slur, n. 3–6; cf. text underlay36 Ti. 2 N. 1, EZ E; cf. explicit EZ in Ti. 156 All Tempo a espacio Ti. 1 No marking; Ti. 2, A., B. aspacio; T.

espacio

or pasted in. These alterations provide evidence for the repeated use of these pieces for varying occasions and according tochanging aesthetics and devotional needs.

50. Cashner, “Faith, Hearing, and the Power of Music,” 375–403.

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Measure Voice Edition Sources, Rationale69–70 Ti. 2, T. Ti. 2 B^ ficta, T. B^ Ti. 2 BZ assumed without accidentals vs. T.

explicit B\; intentional cross-relation?70–71 B. g–c′ Obscured by tear; part of g and c′ still visible

81 Ti. 1 N. 4, EZ E; cf. explicit EZ in T., B.124 A. Cf. m. 109, Ti. 1 Obscured by sewn-in sheet

147–148,150–151

T. Cf. mm. 101–102,104–105, Ti. 1

Obscured by sewn-in sheet

Juan Gutiérrez de Padilla, Al establo más dichosoSources

1. Description MEX-Pc: Leg. 1/3, In manuscript partbooks, Navidad del año de 1652Annotation “Ensaladilla”Parts SATB, SATB; both bass parts are instrumental, with indications for bajón

This piece is part of Padilla’s cycle of villancicos for Christmas 1652 at Puebla Cathedral, copiedas a set into individual partbooks, possibly in Padilla’s own hand.51 This is the earliest of this composer’sextant Christmas cycles for which all the partbooks survive.

The partbooks bear the names of some of the Puebla chapel performers in various places. Thename of Francisco Rodríguez is in the Tiple I part, and that of Sr. Nicolás Griñón is in the Tenor II.

The Puebla cathedral chapel was usually organized in two choirs, but since this piece does notutilize polychoral textures, the edition presents the voices in a single-choir layout.

This musical “salad” features multiple sections with contrasting styles with the names of songsor dances, which were likely based on specific music or types of music already known to the audience.Because of these multiple sections and large amount of repetition within sections, the parts are written inan abbreviated manner. This edition writes out most of the reprises and other repeated material to achievea more straightforward presentation for performers. Examples of this include the stanzas of the NuevoTroyano and the responsión reprise of the Papalotillo.

The piece has been recorded once prior to this edition.52

Bass PartsBoth bass parts are intended for instrumental performance.They have only incipits of the text to help orientthe player. The Bassus I part contains this marking after the Nuevo Troyano and before the Papalotillo:“antes del papalotillo diçe el harriero con el otro bajon” (Before the papalotillo the mule skinner “speaks”with the other bajón). This implies that both bass parts were played on the bajón, not to exclude othercontinuo instruments like harp. The sections labeled Dúo (the Arriero and the beginning of the Negrilla)

51. Andrew A. Cashner, “Rhythm as Representation of Society in an Ensaladilla from Colonial Puebla, Mexico, 1652”(Paper presented at the annual meeting of the American Musicological Society, Louisville, KY, 2015); Cashner, “Faith, Hearing,and the Power of Music,” 406–462.

52. Juan Gutiérrez de Padilla, Maitines de Navidad, 1652, México Barroco/Puebla VII, Angelicum de Puebla, directed byBenjamín Juárez Echenique (Mexico City: Urtext, 1999).

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are actually, in modern terms, vocal solos with accompaniment, perhaps intended for a single vocalist withsolo bajón.

If a vocal solo with bajón is a Dúo, then the section marked Papalotillo Solo would seem to bea true solo without any accompaniment at all. The scribe has only written a four-bar accompanimentpattern in the bass, with unspecific indications to repeat. This edition therefore includes the bass linefor the Papalotillo only for the responsión, though it is also plausible that the bass should repeat the samephrase as accompaniment for the coplas.

The “Gloria”In the midst of the Negrilla, which caricatures people of African descent, an “Angolan” character (T. II)sings, “Listen, for we are singing like the angels.” Then the two upper voices of the first chorus (Tiple andAltus I) sing the angels’ song from Luke 2 in Spanish, “Gloria en las alturas y en la tierra, paz,” continuingin the ternary meter of the preceding section (Figures 4 and 5). This section is labeled “A 3” in the Tiple Ipart.

The Tiple II and Altus II parts contain only one phrase of notated music for the ensaladilla. Bothare labeled “A 3 de la ensaladilla,” and contain music for the Spanish “Gloria,” but in C meter instead ofthe CZmeter of the other voices. The Tiple II melody quotes a common plainchant intonation of theGloria in excelsis of the Mass.

The Tiple II part actually includes an earlier version in CZ that has been crossed out and replacedwith one in C. The only way to align these voices with those of Chorus I is to maintain the theoretical3 : 2 proportion of minims between CZ and Cmeter so that the perfect semibreve in CZ is equal in timeto the semibreve in C.

The reason for the marking “A 3,” when there is notated music for four voices, is unclear. Giventhe crossed-out and corrected music in the Tiple II, it is also possible that “A 3” functions primarily as arehearsal marking, and that Padilla changed his mind about the scoring after writing out the Chorus Iparts, but left the marking intact.

Specific Notes

Measure Voice Edition Sources, Rationale108, 112, 132,

136T. I Semibreve–minim As written; but possibly an error; cf. other

voices minim–semibreve113–128 B. I Tacet MS provides only phrase in mm. 105–12,

without clearly indicating repeats; thatphrase could be repeated to accompany thecoplas

129–136 Chorus I, all Responsión repriseafter each pair ofcoplas

Repeat structure unclear; it is possible theresponsión is only meant to be reprised afterthe final copla

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Measure Voice Edition Sources, Rationale136 All Fermata, all voices Fermata only in T. I; given the following text

(“Hush!”) it is possible that this voice aloneis to hold past the cutoff of the others (as inthe recording by the Angelicum de Puebla)

215–223 All Polymetric Gloria, Cmeter vs. CZ

As written, with heading “A 3” of unclearmeaning; see discussion of “Gloria” above

Antonio de Salazar, Angélicos coros con gozo cantadSources

1. Description MEX-Mcen: CSG.256, Manuscript performing parts from collection of theConvento de la Santísima Trinidad, Puebla

Annotation “A 8 de Navidad/ M.o Salazar”Parts SSA, SATB, Guión; B. II specified as Órgano

2. Description Modern edition: John Swadley, “The Villancico in New Spain 1650–1750:Morphology, Significance and Development” (PhD diss., Canterbury ChristChurch University, 2014), vol. 2, 59–67

Like Cáseda’s Qué música divina, this piece is in the Colección Jesús Sánchez Garza at CENIDIM,from the Convento de la Santísima Trinidad in Puebla.53 The collection includes many works by Salazar,who may have been trained in Puebla before becoming chapelmaster at Mexico City Cathedral.54 Theperforming parts bear the names of the convent sisters who performed them (Figure 6). The name addedin a later hand to the Tiple I-1 part, “Belona,” would appear to be the same person who performed theAlto in Cáseda’s Qué música divina.

Tiple I-1 Madre Andrea, [different hand:] belonaTiple I-2 Madre AssumpsionAlto I Madre SacramentoTiple II Madre Thomasa, [on verso, different hand:] Alphonsa de S.ta crus [cruz]Alto II Madre RosaTenor II Ynesica BaezaBajo II Madre Mariana

The Guión part is in a different, less mature, hand than the others. It is written in portrait orienta-tion rather than landscape, and includes barlines in the Cmeter sections. The part may have been recopiedat a later date to replace a worn original.

The other modern edition does not indicate mensural coloration or specify added lyrical text andaccidentals. In the coplas some of the lyrical text is incorrect (alcanzar instead of alcázar, sabe instead ofcabe), and the text for the fourth copla is missing.

53. Cashner, “Faith, Hearing, and the Power of Music,” 123–125.54. Grove Music Online, s.v. “Salazar, Antonio de,” by John Koegel; Goldman, “TheMatins Responsory at Mexico City

Cathedral, 1575–1815,” 109–157.

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Specific Notes

Measure Voice Edition Sources, Rationale20 Gn., n. 3 EZ E; cf. explicit EZ in Ti. I-254 Gn., n. 4 EZ E; cf. explicit EZ in Ti. I-261 Ti. I-1, n. 2 B^ B, no accidental but BZ key signature; cf. explicit

B^ in Ti I-261 Ti. II, n. 1 B^ B, no accidental but BZ key signature; cf. explicit

B^ in Ti. I-261 Gn., n. 3 F\ F; cf. explicit F\ in B. II67 Ti. II, n. 2 f′ g′; cf. other voices F (correction)68 Guión Fermata No fermata

75–79 A. I derribado busca, viena aedificar

lo derribado busca quien viene a edificar; toomany syllables for the notes (correction)

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Source Images

Figure 1: Cererols, Suspended, cielos, E-CAN : AU/0116, Tiple I-1 part (image courtesy Diocese ofGirona)55

Figure 2: Suspended, cielos, poetry imprint of earliest known version, Madrid, Royal Chapel, Christmas1651, E-Mn: R/34199/27 (image courtesy Biblioteca Nacional de España, Madrid)

55. The inclusion of these images is deemed to constitute fair use. The original sources are in the public domain, and theimages are edited and presented in an interpretive context, in a scholarly edition whose license proscribes commercial use.

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Figure 3: Gutiérrez de Padilla, Voces, las de la capilla, MEX-Pc: Leg. 3/3, Tenor I partbook, introducciónand beginning of estribillo (microfilm image, courtesy Archdiocese of Puebla)

Figure 4: Gutiérrez de Padilla, Al establo más dichoso, MEX-Pc: Leg. 1/3, Tiple I partbook, Negrilla,with corrections to music and text underlay for the polymetrical Gloria “a 3” (microfilm image, courtesyArchdiocese of Puebla)

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Figure 5: Gutiérrez de Padilla,Al establo más dichoso,MEX-Pc: Leg. 1/3, the polymetricalGloria in TipleII partbook, including an earlier draft in CZmeter (microfilm image, courtesy Archdiocese of Puebla)

Figure 6: Salazar, Angélicos coros, MEX-Mcen: CSG.256, Tiple I performing part with the names of twoperformers, sisters in the Convento de la Santísima Trinidad, Puebla (photograph by Andrew Cashner,courtesy CENIDIM,Mexico City)

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Figure 7:Cáseda,Qué música divina,MEX-Mcen: CSG.154,Tenorperformingpart, endof estribillo, withexplicit B sharp (natural) on potensias desmaya (photograph by Andrew Cashner, courtesy CENIDIM,Mexico City)

Figure 8: Cáseda, Qué música divina, MEX-Mcen: CSG.154, Tenor performing part: replacement coplasewn over originalmusic (top), and view of the original beneath (photographs byAndrewCashner, cour-tesy CENIDIM,Mexico City)

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Texts and Translations

Suspended, cielos, vuestro dulce canto (Montserrat, ca. 1660)

Anonymous text from setting by Joan Cererols (E-CAN : AU/0116); variant versions in seven poetryimprints after 1651

[Estribillo]Suspended, cielos, Suspend, O heavens,vuestro dulce canto; your sweet chant.tened, parad, escuchad Hold, stop, and listenla más nueva consonancia to the newest consonance

5 que forman en su distancia that the eternal and the temporal 5R

lo eterno y lo temporal. are forming in their distance.Escuchad, Listen,que entonan las jerarquías for the hierarchies are intoningen sonoras armonías in resounding harmonies

10 contrapunto celestial. celestial counterpoint. 10R

Y con sollozos tiernos And with tender sobs,un niño soberano a sovereign baby boya los ángeles lleva el canto llano. bears the plainsong to the angels.

Coplas1. Las fugas que el primer hombre 1. The flight/fugue that the first man

15 formó en desatentos pasos made in heedless paces 15R

al compás ajusta un Niño is set aright by a baby boy to the measurede las perlas de su llanto. of the pearls of his crying.2. Qué mucho si a los despeños 2. What wonder, if from the falls

que le ocasionó un engaño, that a deceit caused him,20 bella corriente de aljófar, the lovely mother-of-pearl stream 20R

grillos le previene blandos. gently restrains him with shackles.3. Una voz que ha dado el cielo, 3. A voice that heaven has given,

de metal más soberano of the most sovereign timbre,a ordenar entra sonora to bring order, enters resounding

25 la disonancia del barro. into the dissonance of the clay. 25R

4. Concierto tan soberano 4. So sovereign a concord/concerto

12 un niño soberano ] In place of ll. 11–12, the Eucharistic Bbc version has “y desde un pan divino/ un hombresoberano” (and through divine bread, a sovereign man).

14 Las fugas que el ] CAN has “Las fugas del,” but all the poetry imprints have “que el.”18 Qué mucho si ] Corrected after poetry imprints; CAN has “Qué mucho que.”18 despeños ] Probably a musical term (for ornamentation?).21 grillos le previene blandos ] Translation uncertain.

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sólo pudo ser reparo, could only be a resolution,con una voz tan humilde, with so humble a voice,de un desentono tan vano. of so vain a discord.

30 5. En las pajas sustenido 5. Upon the straw sustained 30R

dulcemente se ha escuchado sweetly he has been heardligar en pajas lo eterno, binding in straw the eternal,reducir lo inmenso a espacio. reducing the immense to this space.6. Divina cláusula sea 6. Let there be a divine cadence

35 deste eterno canto llano, of this eternal plainsong, 35R

que forma en su movimiento which forms in its movementde cada punto un milagro. a miracle from each note.

29 un desentono tan vano ] CAN : Tiple I-1 has “desatento” (inattentiveness) instead of “desentono” (untuneful-ness); both vocal parts have “tan grande” instead of the metrically correct “tan vano” in the poetry imprints.

30 sustenido ] CAN : Tiple I-1 and 2 have “susteniendo” (sustaining/sharping); but Altus I and Tenor I have“sustenido,” in agreement with the poetry imprints.

30 sustained ] Musically, “sharp.”32 binding ] Musically, “tying” or forming a ligature.33 lo inmenso a espacio ] All the poetry imprints have this text; the CAN partbooks have “lo inmenso spacio,” most

likely a contraction for the same.33 to this space ] Musically, “slowly.”37 note ] Literally, “point.”

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Voces, las de la capilla (Puebla, 1657)Anonymous, from musical setting by Juan Gutiérrez de Padilla, Navidad del año de 1657 (MEX-Pc:Leg. 3/3)

[Introducción]1. Voces, las de la capilla, 1. Voices, those of the chapel choir,cuenta con lo que se canta, keep count with what is sung,que es músico el rey, y nota for the king is a musician, and he noteslas más leves disonancias even the most venial dissonances,

5 a lo de Jesús infante in the manner of Jesus the infant prince, 5R

y a lo de David monarca. as in the manner of David the monarch.

RespuestaPuntos ponen a sus letras The centuries of his heroic exploitslos siglos de sus hazañas. are putting notes to his lyrics.La clave que sobre el hombro The key that upon his shoulder

10 para el treinta y tres se aguarda. awaits the thirty-three. 10R

[Introducción] cont.2. Años antes la divisa, 2. Years before the sign,la destreza en la esperanza, dexterity in hope,por sol comienza una gloria, with the sun [on sol] a “glory” begins,por mi se canta una gracia, upon me [mi] a “grace” is sung,

15 y a medio compás la noche and at the half-measure, the night 15R

remeda quiebros del alba. imitates the trills of the dawn.[Repeat Respuesta][Estribillo]

Y a trechos las distancias And from afar, the intervalsen uno y otro coro, in one choir and then the other,grave, suave y sonoro, solemn, mild, and resonant,

20 hombres y brutos y Dios, men, animals, and God, 20R

tres a tres y dos a dos, three by three and two by two,uno a uno, one by one,y aguardan tiempo oportuno, they all await the opportune time,

2 cuenta ] Pay attention to.3 nota ] Takes note of.5 the infant prince ] Infante means both infant and prince.9 key ] Or clef.12 dexterity in hope ] In Golden Age literature destreza connotes heroic skill in combat, particularly in esgrima or

swordsmanship. Musically, the term suggests virtuosity. The whole phrase sounds like a heraldic device (divisa) or motto,summing up Christ’s mission.

13 with the sun ] Here begins a series of musical plays on words: sol and mi are solmization syllables with doublemeanings; gloria and gracia probably refer to the songs of Christmas in both history and liturgy like the Gloria in excelsis.

17 intervals ] Both musical intervals and astronomical distances between planetary spheres.

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quién antes del tiempo fue. the one who was before all time.25 Por el signo a la mi re, Upon the sign of A (la, mi, re), 25R

puestos los ojos en mi, with eyes placed on me [mi]a la voz del padre oí at the voice of the Father I heardcantar por puntos de llanto. singing in tones of weeping—

¡O qué canto! Oh, what a song!30 tan de oír y de admirar, as much to hear as to admire, 30R

tan de admirar y de oír. as much to admire as to hear!Todo en el hombre es subir Everything inMan is to ascend

y todo en Dios es bajar. and everything in God is to descend.

Coplas1. Daba un niño peregrino 1. A baby gave a wandering song

35 tono al hombre y subió tanto to the Man, and ascended so high 35R

que en sustenidos de llanto that in sustained weepingdió octava arriba en un trino. he went up the eighth [day] into the triune.2. Hizo alto en lo divino 2. From on high in divinity,

y de la máxima y breve of the greatest and least,40 composición en que pruebe he made a composition in which to prove 40R

de un hombre y Dios consonancias. the consonances of a Man and God.

34 wandering song ] Or “pilgrim song,” or the musical tonus peregrinus.36 sustained weeping ] Musically, “sharps of weeping.”37 he went up the eighth [day] into the triune. ] Musically, “he went up the octave in a trill.”38 on high ] Alto also denotes the musical voice part.39 of the greatest and least ] A play on the name of very long and short music notes.40 prove ] Or “test.”

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Si los sentidos queja forman del Pan Divino (Zaragoza, 1688)Vicente Sánchez, Lyra Poética (Zaragoza, 1688), 171–172; Variant versions set byMiguel de Irízar (I) andJerónimo de Carrión (C) at Segovia Cathedral (E-SE: 5/32, 28/25)

EstribilloSi los sentidos queja If the senses makeforman del Pan Divino, a complaint about the Divine Bread,porque los que ellos sienten because what they senseno es de Fe consentido, is not by faith consented,

5 hoy todos con la Fe sean oídos. today let them all with faith be heard. 5R

No se den por sentidos los sentidos. Let the senses not resent it.

Coplas1. Si en ellos va el no ver bien 1. If in them the eyes that admirelos ojos de que se admiran, cannot see well,pues mal verán lo que miran since they shall see poorly what they see

10 si no miran lo que ven, if they do not look at what they see, 10R

si su ceguedad es quien if their blindness is whatlos tiene impedidos, keeps them impaired,no se den por sentidos los sentidos. let the senses not resent it.2. Entre velos transparentes, 2. Within transparent veils,

15 no se ve Dios Encarnado, God Incarnate is not seen, 15R

que el color se la ha mudado, for the color has been changed,y lo hazen sus accidentes, and its accidents are doing it.si en nubes rayos lucientes If in the clouds flashing raysestán escondidos, are hidden,

20 no se den por sentidos los sentidos. let the senses not resent it. 20R

3. Toca el tacto pero yerra 3. Touch touches but it errs,que si en que es pan se equivoca, for if in what is bread it is mistaken,aunque todo un Cielo toca, even though it touches all of Heaven,no toca en Cielo, ni en tierra, it touches neither Heaven nor earth,

25 toca misterio, y si encierra it touches a mystery, and if it encloses 25R

portentos no oídos, unheard portents,no se den por sentidos los sentidos. let the senses not resent it.4. Que tenga voto, no es justo, 4. It is not fair that Taste

el gusto en este Manjar, should have a vote on this Morsel,30 que el gusto en él no ha de entrar for Taste shall not come into this, 30R

5 hoy todos con la Fe ] C: todos hoy con la fe.6 No se den por sentidos los sentidos ] Darse por sentido, idiom for taking offense at something6 Let the senses not resent it ] Or, Let the senses not be considered senses.7 Coplas ] Irízar sets Sánchez coplas in the order 1, 7, 6, 4, 3, and 5; he omits 2. Carrión sets 1, 3, 4, 6, 7; omits 2, 5.21 yerra ] I: ierra; C: hierra; probably variants of erra (errs, misses).22 que si ] C: pues.

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aunque el Manjar entre en gusto: though the Morsel may come into Taste,mas si les causa disgusto but if it causes distasteno ser admitidos, that the senses are not admitted,no se den por sentidos los sentidos. let the senses not resent it.

35 5. Para que el Manjar alabe 5. So that he might praise the Morsel 35R

lleve el gusto con afán bring on taste eagerly,que al que sabe que no es pan for of that which he knows is not breadsabe a más de lo que sabe, he knows more than what he knows,mas si en su esfera no cabe but if it does not fit in his sphere

40 y se hallan perdidos, and the senses find themselves lost, 40R

no se den por sentidos los sentidos. let the senses not resent it.6. Si el olfato se le humilla 6. If smell humbles himself,

con Fe a entenderle la flor by Faith to understand the flower,le maravilla su olor he wonders at its aroma

45 porque huele a maravilla because it smells wondrous, 45R

mas si para percibilla but if in order to perceive itno llegan rendidos, the senses do not submit,no se den por sentidos los sentidos. let the senses not resent it.7. Porque a Dios puedan gustar, 7. So that they could taste God,

50 en los puntos sus concentos, their tuneful concords on the notes, 50R

todos sus cinco instrumentos Faith must temperla Fe los ha de templar, all their five instruments,sino los puede ajustar moreover, Faith can adjust thempara ser oídos, so that they may be heard;

55 no se den por sentidos los sentidos. let the senses not resent it. 55R

36 lleve ] I: llegue (arrive).37 al que ] I: aunque (even though).38 a más ] I: más.45 porque huele ] I: por guele; C: porque guele.45 it smells wondrous ] Or, he smells in a wondrous/miraculous manner.46 percibilla ] I: a percebilla (=percibirla: notice, discern, recognize).

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Qué música divina (Zaragoza and Puebla, ca. 1700)Anonymous text from setting by José de Cáseda (MEX-Mcen: CSG.256); coplas attrib. Vicente Sánchez,Lyra poética (Zaragoza, 1688), 191

[Estribillo]Qué música divina, What divine music,acorde y soberana tuneful and sovereign,afrenta de las aves rivals that of the birdscon tiernas, armoniosas consonancias, with tender, harmonious consonances,

5 en quiebros suaves, sonoros y graves, in trills mild, sonorous and solemn; 5R

acordes accentos it offers tuneful accentsofrece a los vientos to the winds,y en cláusulas varias and in varying cadencessentidos eleva, elevates the senses,

10 potencias desmaya. confounds the [mind’s] powers. 10R

Coplas1. Suenen las dulces cuerdas 1. Let the sweet strings soundde esa divina cítara y humana, of that divine and human cithara,que aún sol que es de los cielos, who, the very sun/sol who is in the heavens,forma unida la alta con la baja. forms the high [string] and the low in unity.

15 2. De la fe es instrumento 2. Of faith he is the instrument, 15R

y al oído su música regala and his music regales the eardonde hay por gran misterio when, by a great mystery, there isen cada punto entera consonancia. in every point a perfect consonance.3. De el lazo a este instrumento 3. Serving as the string on this instrument

20 sirve la unión que sus extremos ata: is the union that ties together his extremes: 20R

tres clavos son clavijas three nails are the pegsy puente de madera fue una tabla. and a crossing of wood was a soundboard.4. Misteriosa vihuela, 4. Mysterious vihuela,

al herirle sus cuerdas una lanza, when a lance wounded/plucked your strings,25 su sagrada armonía your sacred harmony 25R

se vió allí de siete órdenes formada. was seen there, formed of seven orders.5. No son a los sentidos 5. They are not for the senses,

lo que suenan sus voces soberanas that which your sovereign notes sound,porque de este instrumento for, of this instrument

5 suaves, sonoros y graves ] Cf. Voces, las de la capilla (Gutiérrez de Padilla), “grave, suave y sonoro.”12 divina cítara y humana ] The central conceit of the coplas connect Christ, in his Passion, to a string instrument.

The Spanish vihuela is linked to an older allegorical tradition of the cítara and the lira.13 aún sol ] Sánchez edition has un son (a sound).24 herirle ] Sánchez: herirla.26 se vió allí ] Sánchez omits allí, preserving the pattern of eleven-syllable lines.26 de siete órdenes formada ] The seven-course vihuela as metaphor for the seven sacraments, signified by the blood

and water coming from Christ’s pierced side (John 19:34).

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30 cuantas ellos percibían serían falsas. as many notes as they perceived will be false. 30R

6. Su primor misterioso, 6. Your mysterious virtuosity, whichque a los cielos eleva al que lo alcanza elevates to the heavens the one who achieves it:no lo come el sentido sensation does not eat it,porque es pasto su música del alma. for your music is fodder for the soul.

30 cuantas ] Sánchez: quantos.30 falsas ] Notes that are out of tune, out of temperament, incorrect, or that use musica ficta accidentals.32 lo ] Sánchez: le.

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Al establo más dichoso (Puebla, 1652)Anonymous, from musical setting by Juan Gutiérrez de Padilla, Navidad del año de 1652 (MEX-Pc:Leg. 1/3)

[Introducción] a 4Al establo más dichoso, At the most blessed stable,donde triunfa la victoria, where victory triumphs,principio a siglos de gracia, beginning of centuries of grace,la noche más venturosa, the most fortunate night,

5 Buena noche y la más buena, A merry eve, the best, 5R

pues a pesar de las sombras since despite the shadowsen su mitad amanece at its midpoint dawnsquién con tanta luz entolda. one who with so much light overwhelms it.Un zagal de aquel contorno, A shepherd-boy from that scene,

10 en su templada zampoña, on his tempered panpipes, 10R

tocando el Nuevo Troyano, playing the “New Trojan,”cantó en la pajiza choza: sang in the straw-filled hutch:

[Nuevo Troyano] Solo y a 4En Belén cantando están, In Bethlehem they are singing,todo es gloria, todo es cielo, all is glory, all is heaven,

15 y en un portalico pobre and in a poor little stable 15R

se ha estrechado él que es inmenso. he who is immense has confined himself.Fuego derrite la nieve, Fire melts the snow,

y entre tanta nieve el fuego and among so much snow, the firea cada llama bosteza, yawns to each flame,

20 lo acendrado deste estremo. that which is purified from this extreme. 20R

Míranse por todos lados, Look around on all sides:en cada paja un lucero, in each bit of straw, a blazing star,una antorcha a cada viso a torch at each glancey un Dios grande aunque pequeño. and a God who is great, though little.

[Introducción a 4]25 Después Bartolo, él de marras, Next Bartolo—you know the one— 25R

arriero de cala y gorra a mule skinner in plain clothes,que fue espadachín de antaño, who was a swordsman in days gone by,y hoy mercader de panochas, and now, a vendor of candies,

5 Buena noche y la más buena ] La Nochebuena is Christmas Eve.26 de cala y gorra ] The manuscripts have cala clearly, but the meaning is unclear. Possibly a mistake for de capa y

gorra (in plain, simple clothes) (DRAE).27 in days gone by ] Or perhaps in a previous villancico?28 panochas ] InMexican Spanish, slabs of hard brown sugar or candies made from them (DRAE); etymological

source for English penuche (OED).

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En busca de una mulilla In search of a little mule30 que se le fue por tramoya, who went off from him in a scheme 30R

a darse una buena noche to give himself a merry eveen las pajas misteriosas, in the mysterious straw,Al portal con los pastores Into the stable with the shepherds

se entró arrojando bramonas he entered, braying up a storm,35 y a quién ocupa el pesebre, and to the one who occupies the manger, 35R

dice como que se entona: he says as it is intoned:

El Arriero: Responsión a DúoSeñor niño, voto a San. . . Sir Baby, I swear to Saint Somebody. . .ya lo dije, y esto sobra well now I’ve said it, and it’s more than enoughpara que entienda que vengo for you to understand that I come

40 puesto a lo de aquí fue Troya on account of all this “Troy”/mess. 40R

No se me asuste le digo Don’t be afraid of me, I tell you, Sir,ni de inocente se ponga, or play innocentcuando me dicen que sabe when they tell me that you knowlo que su padre no ignora. whatever is not unknown to your father.

45 Es bueno que de mis mulas, It’s just great that of all my mules, 45R

la más lucia y la más gorda the most brilliant and the most fatme la traiga a este pesebre should bring me to this mangersin decir esta es mi boca, without telling me anything,Y yo sin haber vendido And that I, without having sold

50 las cargas de mis melcochas, all my stock of sweets, 50R

ande en flores y con flores should have to play nice,pregonándola a mi costa. hawking it at my own expense.Si arrobar viene a los hombres, If you come to enrapture men

paréceme cosa impropia it seems to me an improper thing55 dar principio con mi mula, to have my mule go first, 55R

si no ha de ocupar carroza. if she’s not even going to carry the wagon.Pero ya he considerado, But now I’ve been thinking,

si mi decir no le enoja, if my saying so doesn’t make you mad,que por la escarcha pretende that on account of the frost you ought to have

60 el aliento de su boca. the breath from her mouth. 60R

Y por vida de Bartolo, And upon the life of Bartolo,que en aquestas y en esotras, whether in these things or any others,

37 Señor niño, voto a San. . . ] Bartolo refers to the Christ-child as “Sir” or “Lord,” and addresses him with formalUsted forms, but in the same breath begins to curse, using a figure of speech that stops short of actual blasphemy.

40 lo de aquí fue Troya ] Idiom for a disastrous mess (DRAE); with double meaning referring to Bartolo’s mule as aTrojan horse, bringing him unawares to the stable, and referring back to the “Nuevo Troyano.”

46 the most brilliant and the most fat ] Or, “the nicest and fattest one.”48 sin decir esta es mi boca ] Idiom for keeping silent.48 without telling me anything ] Or, referring to Bartolo rather than to the mule, “without anything to say.”51 ande en flores y con flores ] Andar en flores is an idiom for refusing to argue; con flores, possibly sweets.53 arrobar ] Play on a robar (to steal).

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cuando por esto la quiera, if you should want anything,que aquí se las traiga todas. they should all be brought here for you.

65 Abra esa boca de perlas Open that mouth of pearls, 65R

con que tanto me enamora, with which I am so enamored,y pida que estos serranos and request that these mountain folkno pretenden otra cosa. don’t try anything else.Un baile quieren hacerle, They want to do a dance for you,

70 que papalotillo nombran that they call papalotillo, 70R

y como cantemos todos, and so, let us all sing,más que rueden las panochas. and let the candies go round all the more.

Papalotillo: SoloVen y verás un donoso chiquito. Come and you will see a genteel little boy.Míralo bien, que en sus ojos me miro. Look on him well, for in his eyes I see myself.

Responsión a 475 Ven y verás un donoso chiquito. Come and you will see a genteel little boy. 75R

Míralo bien, que en sus ojos me miro. Look on him well, for in his eyes I see myself.

CoplasMíralo bien, como llora y suspira, Look on him well, how he cries and sighs,siendo del padre la misma alegría. which at the same time is his father’s joy.Míralo bien entre pobres alajas, Look on him well: jewels among the poor,

80 grano fecundo escondido entre pajas. a fertile seed hidden in the straw. 80R

Míralo bien que aunque agora se estrecha, Look on himwell, though now bundled up,nos ha de dar una fértil cosecha. he will give us a fertile harvest.Míralo bien con terneza y cuidado, Look on himwell, with tenderness and care,

que ha de ser pasto y pastor desvelado. for he will be revealed as pasture and pastor.85 Míralo bien, corderito amoroso, Look on him well, a little lamb full of love, 85R

que ha de huir de las garras del lobo. for he will flee from the claws of the wolf.Míralo bien, pequeñito pastor, Look on him well, the tiny shepherd,

pues cuando grande será labrador. for when he is big he will be a laborer.

Responsión a 4Ven y verás un donoso chiquito. Come and you will see a genteel little boy.

90 Míralo bien, que en sus ojos me miro. Look on him well, for in his eyes I see myself. 90R

[Introducción a 4]El Angola Minguelillo Little Miguel the Angolan,acaudillando su tropa, marshalling his troop,

70 papalotillo ] Diminutive of papalote (kite or paper toy), derived fromNahuatl papalotl (butterfly) (RAE).81 bundled up ] Comparing the swaddled infant to a seed; in a theological sense, “confines himself.”84 pasture and pastor ] Pasto, livestock feed (and allegorically, the Eucharist); pastor, shepherd or religious minister.91 El Angola Minguelillo ] Diminutive of Miguel, an African of the Angolan “nation” or brand, likely a slave.

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no quiere ser el postrero does not wish to be the last oneen la fiesta en que se goza. at the party that is being enjoyed.

95 Dejando el tumbacatumba Leaving the “tumbacatumba” 95R

y gruñendo a lo de Angola, and grunting like the Angolans dodesenvainó con la voz, he unsheathed his voice,de su tizón la tizona. like pulling a sword from his charred log.

Negrilla: [Introducción] Dúo y a 6Diga plimo donde sa? Tell me, cousin, where is

100 la niño, de nacimenta the baby who was born? 100R

pluque samo su palenta for we know his relativesy la venimo a buscá. and we come to seek him.Aytá, aytá, There he his,

cundiro entle pajita a candle among the straw,105 su ojo como treyita his eye like a little star, 105R

y uno buey y uno mulita and an ox and a little mulecon su baho, cayentá. with its belly to warm him.Turu turu yega, Come on, everybody,

aytá aytá. there he is.110 Caya, caya, mila no panta Hush, hush, look, don’t startle him, 110R

que duelme la siguetito. for the tiny boy is sleeping.Sesú, Sesú, que bonito, Jesu, Jesu, how lovely,sucuchá, que cantamo lo angelito: listen, for we are singing like the angels:

A 3Gloria en las alturas y en la tierra paz. Glory in the heights and on earth, peace.

[Estribillo a 6]115 Valamindioso que lindo cantá, For my God, O what a lovely song, 115R

aytá, aytá, there he is,

95 el tumbacatumba ] Apparently a nonsense word, possibly imitating African drumming and the sounds ofAngolan languages like Kikongo. Cf. the refrain of Padilla’s 1651 ensaladilla, “Tumbucutú, cutú, cutú.”

98 desenvainó. . . de su tizón la tizona ] Mocking the voice and singing of this African character.Tizonameans sword(after the Cid’s weapon), playing on the idea of Minguelillo leading a quasi-military “troop” (as in the Black Kings Festivals ofNew Spain). Tizón means a charred log or piece of coal, referring to Minguelillo’s dark-skinned, muscular neck, and to theperceived dark, gravelly sound of his voice.

99 Negrilla ] La negrilla (Little black song) is the name of a subgenre of villancico representing black characters,using pseudo-African dialect Spanish.

102 Diga plimo. . . busca ] Possible equivalent in proper Spanish: “Diga primo, ¿dónde está/ el niño de nacimiento?/porque sabemos sus parientes/ y lo venimos a buscar.”

103 Aytá ] Written inMS as aytá and aýta; probably for ahí está (there he is), answering the question donde sa.107 aytá. . . cayentá ] “Ahí está,/ candela entre pajitas,/ su ojo como estrellita,/ y un buey y una mulilla/ con su bajo

callentar.”109 Turu turu yega,/ aytá, aytá ] Possibly, “Todos, todos llegan,/ ahí está”; or pseudo-African nonsense.113 Caya. . . lo angelito ] Possible equivalent: “Calla, calla, mira, no le espanta,/ que duerme el chiquitito,/ Jesús, Jesús,

qué bonito,/ esuchar, que cantamos a lo del angelito” or “a lo angélico.”115 Valamindioso que lindo cantá ] Dubious possible equivalent: “Para mi Dios, O qúe lindo cantar.”

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sucuchá, sucuchá, listen,aytá, aytá, aytá. there he is.

Coplas a 6Caya, caya, chiquito, aytá. Hush, hush, baby boy,

120 Que tlaemo plecente, aytá. for we are bringing you a present: 120R

Mantiya pañalito, aytá. a little blanket, a diaper,Y uno papagayito, aytá. and a little poinsettia,Que savemo habra. for we know how things go [with babies].

[Repeat estribillo of negrilla]Mi siñol Manuele, aytá. My Lord Emmanuel,

125 ese papa he sablosa, aytá. this potato, how tasty, 125R

pluque sa linda cosa, aytá. since this is a nice thing,mantequiya con mele, aytá. butter with honey,ay, Sesú, le, le, le, le, aytá. ay, Jesu, lulla, lulla,ro, ro, ro, ro, caya. ro, ro, ro, ro, hush.

[Repeat estribillo of negrilla]

122 papagayito ] Flor de Nochebuena, poinsettia, native to Central America (DRAE).123 Caya. . . savemo habra ] “Calla, calla, chiquito,/ que traemos un presente,/ una mantilla, un pañalito,/ y un

papagayito,/ que sabemos habrá.”127 Mi siñol. . . mele ] “Mi señor Manuel/, esa papa, qué sabrosa,/ porque está linda cosa,/ mantequilla con mel.”129 le, le. . . ro, ro ] Common nonsense lullaby words.

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Villancicos about Music, ed. Cashner, 2017 Texts and Translations, 48

Angélicos coros con gozo cantad (Puebla, ca. 1680)

Anonymous, from musical setting by Antonio de Salazar, Puebla, Convento de la Santísima Trinidad(MEX-Mcen: CSG.256)

EstribilloAngélicos coros Angelic choirs,con gozo cantad joyfully singla gloria a Belén, “Glory” to Bethlehem,que es casa de pan. the “House of Bread.”

5 Celestes esferas, Celestial spheres, 5R

estrellas y luces, stars and lights,bajad, bajad, descend, descend,y el cielo de la tierra and fill earth’s heavende gloria llenad. with glory.

10 Que sólo aquel lugar For only that place 10R

que el mundo desprecia which the world discountsde Dios es capaz. is capacious for God.

Coplas1. Para nacer Dios hombre, 1. For God to be born as a manescoge este portal, he chooses this stable,

15 que él solo es digno alcázar for it alone is a worthy palace 15R

de tanta majestad. for such great majesty.2. No puede en los palacios 2. Not in the palaces

nacer su inmensidad, can his immensity be born,porque Dios sólo cabe because there is only room for God

20 en él de la humildad. in the one that is humble. 20R

3. Aquestas ruinas quiere 3. He favors these ruinsporque con caridad because with compassionate lovelo derribado busca, he seeks that which is torn down,quién viene a edificar. since he comes to build.

25 4. Naced, Señor divino, 4. Be born, divine Lord, 25R

que la justicia ya for lo, justicedel cielo está mirando, is looking down from heaven,que nace la Verdad. for the Truth is born.

4 casa de pan ] Bethlehem means “House of Bread” in Hebrew; linking Incarnation and Eucharist.8 el cielo de la tierra ] Perhaps, the sky, as opposed to supernatural Heaven (cielo Empyreo).20 él de la humildad ] The stable or the Christian.21 ruinas ] The stone ruins of Christ’s stable, as in contemporary paintings; and the contrite Christian.

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2. Porque a Dios puedan gustaren los puntos sus concentos,todos sus cinco instrumentosla fe los ha de templar,sino los puede ajustarpara ser oídos,no se den por sentidos los sentidos.3. Si el olfato se le humillacon fe a entender la florle maravilla su olorpor guele a maravilla,mas si para apercebillano llegan rendidos,no se den por sentidos los sentidos.4. Que tenga voto no es justoel gusto en este manjar,que el gusto en él no ha de entrar,aunque el manjar entre en gusto,mas si les causa disgustono ser admitidos,no se den por sentidos los sentidos.5. Toca el tacto pero yerrapues en que es pan se equivoca,aunque todo un cielo toca,no toca en cielo ni en tierra,toca misterio y si encierraportentos no oídos,no se den por sentidos los sentidos.6. Para que el manjar alabellegue el gusto con afán,que aunque sabe que no es pan,sabe más de lo que sabe,mas si en su esfera no cabey se hallan perdidos,no se den por sentidos los sentidos.

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2. Toca el tacto pero yerra,que si en que es pan se equivoca,aunque todo un cielo toca,no toca en cielo ni en tierra,toca misterio y si encierraportentos no oídos,no se den por sentidos los sentidos.3. Que tenga voto no es justoel gusto en este manjar,que el gusto en él no ha de entrar,aunque el manjar entre en gusto,mas si les causa disgustono ser admitidos,no se den por sentidos los sentidos.4. Si el olfato se le humillacon fe a entenderle la florle maravilla su olorporque guele a maravilla,mas si para percibillano llegan rendidos,no se den por sentidos los sentidos.5. Porque a Dios puedan gustaren los puntos sus concentos,todos sus cinco instrumentosla fe los ha de templar,sino los puede ajustarpara ser oídos,no se den por sentidos los sentidos.

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