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

VOLUME II

Edited byAndrew A. Cashner

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSICwww.sscm-wlscm.org

WLSCM no. 36

WEB LIBRARY OF SEVENTEENTH-CENTURY MUSICwww.sscm-wlscm.org

WLSCM no. 36

Version 1.0 copyright © 2021 Andrew A. Cashner

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

Music. Permission for performance in professional (for prot) 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/).

Contents

Introduction 1

Editorial Report 4Abbreviations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4Editorial Policies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Performance Suggestions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Critical Notes 11Juan Gutiérrez de Padilla, Miraba el sol el águila bella . . . . . . . . . . . . . . . . . . . . . 11Juan Gutiérrez de Padilla, Afuera, afuera, pastores (Jácara) . . . . . . . . . . . . . . . . . . 11Pablo Bruna, Suban las voces al cielo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Miguel Ambiela, Suban las voces al cielo . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Miguel de Irízar, Qué música celestial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13Jerónimo de Carrión, Qué destemplada armonía . . . . . . . . . . . . . . . . . . . . . . . 14

Source Images 15

Texts and Translations 20Miraba el sol el águila bella (Puebla, before 1660) . . . . . . . . . . . . . . . . . . . . . . . 20Afuera, afuera pastores (Jácara) (Puebla, 1652) . . . . . . . . . . . . . . . . . . . . . . . . . 21Suban las voces al cielo (Daroca, ca. 1650) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Suban las voces al cielo (Lleida, before 1689) . . . . . . . . . . . . . . . . . . . . . . . . . . 25Qué música celestial (Segovia, 1678) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26Qué destemplada armonía (Segovia, ca. 1690) . . . . . . . . . . . . . . . . . . . . . . . . . 29

Juan Gutiérrez de Padilla, Miraba el sol el águila bella 32

Juan Gutiérrez de Padilla, Afuera, afuera pastores (Jácara) 37

Pablo Bruna, Suban las voces al cielo 45

Pablo Bruna, Suban las voces al cielo (transposed edition) 55

Miguel Ambiela, Suban las voces al cielo 65

Miguel de Irízar, Qué música celestial 103

Jerónimo de Carrión, Qué destemplada armonía 132

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Introduction

This edition comprises the second volume of critical editions of villancico poetry and music that were thesubject of my recent monograph on “music as theology in the Spanish Empire,” from which the followingcomments are abstracted.1 The devotional music collected in this edition is all in some way “music aboutmusic”—the poetic text and the musical setting refer listeners to other kinds of music beyond the soundsthey are hearing in the moment of performance. The pieces invoke the music of birds, human voices andinstruments, the celestial spheres, the angelic chorus, and the supreme theological “music” of the TriuneGod. “Metamusical” pieces like these invited hearers to listen beyond their natural hearing, to strain tohear a higher, spiritual kind of music, within a Neoplatonic theological system shaped by Augustine andBoethius.

One way to do this was to construct a poem out of musical terms, and then embody those referencesin the musical setting. Juan Gutiérrez de Padilla’s Miraba el sol el águila bella is a virtuosic demonstrationof this craft. The whole text is built out of Guidonian solmization syllables (ut, re, mi, fa, sol, la). In thesurviving Tenor part, the chapelmaster of Puebla Cathedral in New Spain (lived ca. 1590–1664) has setevery syllable to a pitch that could be sung to that syllable, so that singing the text and solmizing the tuneare nearly the same thing. One might expect such a text to be nonsense, but remarkably, the poem actuallyconstructs an extended triple conceit (in the tradition of Spanish poetic conceptismo) about the VirginMary as Immaculate, the eagle looking directly at the sun, and music. In traditional lore, the eagle wasbelieved to have the capacity to stare directly at the sun without being harmed; its enemy was the kite(milano).2 This fragment is preserved in an anonymous handwritten collection in the archive of PueblaCathedral, a personal anthology written by an untrained hand including parts from masses of Palestrinaand a variety of “villancicos by various authors.” It is not hard to imagine why the scribe wanted to makethis copy of Gutiérrez de Padilla’s music (the rest of which is apparently lost), and for some of the samereasons teachers today might use the piece today to demonstrate the technique of Guidonian solmization,which was clearly still a living practice in mid-seventeenth century Spanish America.

Poetic texts like this were also favorite choices for musical setting by composers in the SpanishEmpire because they enabled them to show o their musical and theological dexterity in matching thediscourse about music in the poem with actual music. Especially by setting the same or similar texts asthose previously set by teachers, paragons, or rivals, chapelmasters established their position within alineage of metamusical composition. The clearest example of this pattern of imitation in this edition isthe pair of settings of a text beginning Suban las voces al cielo by Pablo Bruna and Miguel Ambiela. Theselinked pieces were rst brought to light by Pedro Calahorra Martínez.3 This edition draws on a previouslyundiscovered source of the Bruna villancico and corrects serious errors in the Ambiela edition (see CriticalNotes). Bruna (1611–1679) was an acclaimed organist, blind from birth, in the Spanish (Aragonese) townof Daroca near Zaragoza. Bruna’s setting is preserved in two sets of manuscript performing parts, one in

1. Andrew A. Cashner, ed., Villancicos about Music from Seventeenth-Century Spain and New Spain, Web Library ofSeventeenth-Century Music 32 (Society for Seventeenth-Century Music, 2017), http://www.sscm-wlscm.org/; Andrew A.Cashner, Hearing Faith: Music as Theology in the Spanish Empire, Studies in the History of Christian Traditions 194 (Leiden:Brill, 2020), https://brill.com/view/title/56183.

2. Sebastián de Covarrubias Orozco, Tesoro de la lengua castellana, o española (Madrid, 1611), s. v. águila.3. Pedro Calahorra Martínez, “‘Suban las vozes al Cielo’ Villancico polifónico de Miguel Ambiela parodia del homón-

imo de su maestro Pablo Bruna,” Nassarre: Revista Aragonesa de Musicología 2, no. 1 (1986): 9–42.

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the archive of Girona Cathedral (the basis of Calahorra Martínez’s edition), and another in Barcelona’sBiblioteca de Catalunya, previously unattributed. A few years after Bruna’s death, a young Ambiela(1666–1733) was sent to study in Daroca and later served briey as chapelmaster there, before ascending tosome of the most prestigious posts on the peninsula. Whether he encountered Bruna’s Suban las vocesin the archive or as a performer, he composed an homage to it by setting an altered version of the text.The manuscript performing parts bear a copying date of 1689 in the hand of an idle choirboy, apparentlya member of the choir in Lleida while Ambiela was chapelmaster there, who wrote some derisive slursabout Daroca on the cover and lled the rest of the space doodling his name (Torrente). Ambiela quotesmotives and borrows his formal plan loosely from Bruna, but the homage is actually most apparent inthe places where the new piece diers from the model. In multiple instances Ambiela tries to outdo hispredecessor—more voices, more extravagant gestures, overlapping lines of text. The most telling passage isthe setting of bemoles blandos (mild ats). Bruna does what any Spanish composer of his time would havedone for a metamusical text like this, and writes a passage lled with ats. But Ambiela must go beyond:he counters by setting the same words with music all in sharps. Without the model of Bruna, the youngercomposer surely would have done the obvious thing; his choice to represent the meaning by depicting itsopposite shows the strain of imitation, even the burden of needing to nd ever-new ways to use music torepresent itself.

A similar progression between composers in a lineage may be seen in the pair of villancicos byMiguel de Irízar (1634–1671) and Jerónimo de Carrión (1660–1721), successive chapelmasters of SegoviaCathedral.4 (Another pair of related works by these composers is edited in volume I). Both pieces arevillancicos de calenda, the opening piece in the set of villancicos performed for Christmas, and bothcomposers show o the full range of their polychoral ensemble, which clearly featured several skilledsoloists. The scores of Irízar’s drafts survive—among very few extant villancicos in score format—inmakeshift notebooks made from piles of Irízar’s received letters. The thrify composer squeezed in upto twelve staves of music on the empty sides and margins of the letters. The letters largely concern theexchange of villancico poems and music among a network of aliated Spanish musicians, including Pedrode Ardanaz in Toledo, Diego de Cáseda in Zaragoza, Alonso Xúarez in Seville, and Miguel Mateo deDallo y Lana, who emigrated from Seville to Puebla and likely brought music from this same network tothe New World. The letters make it possible to determine the sources of every villancico for Irízar’s 1678Christmas cycle.5 He received the text for Qué música celestial in the mail from his friend Ardanaz, a fellowpupil of Tomás Miciezes the elder, after Ardanaz had set it to music the previous Christmas at ToledoCathedral. Irízar combined several of Ardanaz’s selections with other works recently performed in Madridand elsewhere and then crafted his own music to meet local needs, working under a tight deadline—thelatest letter in the packet is dated September 8, 1678, allowing Irízar at most a week per piece, assumingonly limited rehearsal time.

Carrión’s piece has the larger and more sectionalized dimensions of a late seventeenth-centuryvillancico, which becomes similar to a cantada, with extended solo passages. The estribillo is now so longthat only a fragment of the end is repeated after the coplas. (Ambiela had already experimented with novelways of repeating only a portion of the estribillo.)6 Theologically Irízar’s piece focuses on evoking wonder

4. Andrew A. Cashner, “Bringing Heavenly Music Down to Earth: Global Exchange and Local Devotion at SegoviaCathedral, 1678,” Forthcoming, 2021, Music and Letters.

5. Pablo-Lorenzo Rodríguez, “Villancicos and Personal Networks in 17th-Century Spain,” Journal of the Institute ofRomance Studies 8 (1998): 79–89; Pablo-Lorenzo Rodríguez, “‘Sólo Madrid es corte’: Villancicos de las Capillas Reales deCarlos II en la catedral de Segovia,” Artigrama, no. 12 (1996): 237–256.

6. Calahorra Martínez, “‘Suban las vozes al Cielo’”; Álvaro Torrente, “Cuando un ‘estribillo’ no es un estribillo: Sobre

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at the mysterious music of heaven come down to earth—referring both to the angel chorus heard by theBethlehem shepherds and to the harmony of divine and human in the Incarnation of Jesus. Carrión’spiece moves the other direction: the untuneful, distempered harmony of sinful humanity rises to heavenand through faith appeals to God’s mercy, who in response sends Christ to be born, like rain pouringdown after a drought.

The remaining villancico in this edition, Gutiérrez de Padilla’s jácara of 1652, is less explicitlyabout music apart from the nal copla, but it represents a popular and puzzling subgenre of villancicothat purports to embody a specic kind of dance-song.7 Jácaras originated as a type of poetic, musical,and dance performance in Spanish theaters and on the street, in which singers recounted the exploits ofjaques—outlaws, rogues, ruans—using the rough language of criminals and soldiers, accompanied withsuggestive dances that were censured by authorities.8 Around the 1630s, poets began adapting the genrea lo divino, creating a new “sacred jácara” in which the role of the renowned outlaw was taken by thebaby Jesus, his mother, or other holy gures. Juan Gutiérrez de Padilla included a jácara in each of hisChristmas cycles for the newly consecrated Puebla Cathedral from 1651–53 and 1655. He adapted this textfrom one by Feliz Persio Bertiso in the poetry imprint commemorating a 1634 Seville performance, the onlycopy of which survives today in a binder’s collection in Puebla’s Biblioteca Lafragua.9 The anti-Semiticand anti-Protestant references in two of the verses reect common attitudes of the Spanish colonial elite(please see the section on Ethical Responsibility below). Each of Gutiérrez de Padilla’s jácara settings startsfrom the same basic tune and groove that Álvaro Torrente has reconstructed for the secular jácara, butthe Puebla chapelmaster uses the resources of his virtuoso polychoral ensemble to increase the musicalcomplexity each year, culminating in the justly famous A la jacara, jacarilla of 1653. The play with intricatetriple-meter polyrhythms matches the verbal ingenuity of the genre and helps to embody the dexterityand skill ascribed to a heroic warrior.

These pieces, including (somehow) the jácara, were created to function as acts of worship, incitingfaithful hearers to increased faith and devotion. By drawing listeners’ attention to the link between faithand hearing, they challenged them to reect on the process of listening and to use music as a means toencounter the divine.

la forma del villancico en el siglo XVII,” in El villancico en la encrucijada: Nuevas perspectivas en torno a un género literario-musical (siglos XV–XIX), ed. Esther Borrego Gutiérrez and Javier Marín López (Kassel: Reichenberger, 2019), 122–136.

7. Recording, Juan Gutiérrez de Padilla, Maitines de Navidad, 1652, México Barroco/Puebla VII, (CD) Angelicum dePuebla, directed by Benjamín Juárez Echenique (Mexico City: Urtext, 1999).

8. Álvaro Torrente, “¿Cómo se cantaba al ‘tono de jácara’?,” in Literatura y música del hampa en los Siglos de Oro, ed.María Luisa Lobato and Alain Bègue (Madrid: Visor Libros, 2014), 157–178.

9. MEX-Plf : 80070-42010404-7.

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Editorial Report

Abbreviations

A. Alto, AltusAc., Acomp. Acompañamiento, basso continuoB. Bajo, Bassus, BassCh. Chorus, CoroGeneral Acompañamiento general, basso continuoCN See critical notesDRAE Diccionario de la lengua española, 23rd ed.Leg. Legajo, archival folderM., mm. Measure (bar), measuresMS ManuscriptS. Soprano; used for highest voice in part listings to distinguish Tiple vs. Tenor (e.g.,

“SSAT”)T. TenorTi. Tiple: Treble, (boy) sopranoTi. I-1 Chorus I, First Tiple

Pitch and Octave Designations

This edition uses upper-and lowercase pitch names together with prime symbols to indicate specic pitches.These designations map onto Helmholtz octave numbers as follows:

C′′ C0C′ C1C C2c C3c′ C4c′′ C5c′′′ C6c′′′′ C7

Archival Sigla

Siglum Country ArchiveE-Bbc Spain Barcelona, Biblioteca de CatalunyaE-Mn Spain Madrid, Biblioteca Nacional de EspañaE-SE Spain Segovia, Catedral, Archivo CapitularMEX-Pc Mexico Puebla, Catedral, Archivo CapitularMEX-Plf Mexico Puebla, Biblioteca José María Lafragua, Benemérita Universidad Autónoma

de Puebla

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Editorial Policies

Sources

The sources for each poem and its musical setting are listed in the critical notes.10 Select images of the sourcesare included in a separate section below. The music is preserved in individual manuscript performing partsin looseleaf sets or bound partbooks. For the villancico by Miguel 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 dierent hands, and added accidentals andbarlines. Aspects of notation that seem ambiguous to a modern scholar were not, apparently, impedimentsto eective 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.

Orthography

Spelling and punctuation have been modernized 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.11

Translation

The 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.12 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 oversimplication. 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

10. The sections on editorial policies and performance suggestions are adapted from those in volume I: Cashner, Villan-cicos about Music, 5–11.

11. 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).

12. Cashner, Hearing Faith, 13–14; Mary Malcolm Gaylord, “The Making of Baroque Poetry,” in The Cambridge Historyof Spanish Literature, ed. David Gies (Cambridge: Cambridge University Press, 2004), 222–237.

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the detailed exegesis of these poems in the editor’s monograph, as the translations are based on rigoroustextual criticism and historically grounded contextual interpretation.13

Voice and Instruments

The original names for voices and instruments have been preserved (though spelling has been standard-ized, 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. In several pieces the bass parts contain only brieftextual incipits because they were meant to be played instrumentally, and some of them include explicitinstrument names. Original gured bass is preserved, but continuo realizations are left to the discretionand creativity of the performer. Separate instrumental parts and realized keyboard parts are available onrequest from the editor.

Editorial Text

Italic text indicates editorial underlay, usually where there are signs in the sources that specify that thepreceding text should be repeated. Other textual additions by the editor, such as standardized sectionheadings, are enclosed in square brackets.

Pitch Level

All pieces are transcribed at their original notated pitch level. The preparatory staves at the beginning ofeach piece show the original clefs, signatures, and the rst note, using symbols close to those used in themanuscripts. The CZ symbol was traced in Inkscape from the one used in the performing parts of Miguelde Irízar from Segovia Cathedral.

More research is needed into Spanish high-clef or chiavette conventions, but it seems likely thatensembles did perform many villancicos at a lower pitch level than notated. At the same time, the analysisof mode, harmony, musica ficta, and musical-rhetorical gures is greatly facilitated by preserving theoriginal pitch level. One piece with an exceptionally high written tessitura is also provided in a transposededition that may be more practical for modern ensembles.

Accidentals

Accidental 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.14

The edition presents the pitches with their accidental inections when unambiguously speciedin 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;

13. Cashner, Hearing Faith.14. Don Harrán, “New Evidence for Musica Ficta: The Cautionary Sign,” Journal of the American Musicological Society

29, 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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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 sta.

Repeats

Some 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 certaingroups of coplas. In many sources, the repeat of the estribillo is not specied, and it is possible that it wasnot always reprised, especially as villancicos became longer and more complex.15 This edition uses modernrepeat barlines for short repeated sections and indications of “D.C. al Fine” or “D.S. al Fine,” though theseItalian texts are not used in the originals.

Rhythm, Meter, Tempo

The original music was written in mensural notation, with few barlines in the performing parts.16 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.17 In thismeter, the compás or tactus consisted of a semibreve divided into two minims.18

The other common meter for seventeenth-century villancicos was notated with a cursiveSZsymbol. Lorente says that this is a shorthand forS3

2 orS3, where these signs all indicate tiempo menor deproporción menor, a proportion ofS meter.19 The compás consists of one perfect semibreve ( ¯ ‰ ), which isdivided 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 two minims; 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 sta. The original note values have not been reduced.Mensural coloration is indicated with short rectangular brackets above the sta. Ligatures are indicated bylong rectangular brackets. Beaming is unchanged.

In ternary meter, semiminims (quarter notes) are often written as agged minims, which arebeamed together for melismas in the same way as corcheas (fusae, eighth notes). These groups are demar-cated with slurs. Explicit slurs in the original, which always indicated melismas and not phrasing, are

15. Torrente, “Cuando un ‘estribillo’ no es un estribillo.”16. Spanish composers like Miguel de Irízar did use barlines when they notated in score format. Irízar writes two compases

per 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).

17. 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.

18. 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.

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

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preserved, though their start and end points are standardized.Regarding tempo, the theoretical 3 : 2 proportion of minims betweenS3

2 andS does not nec-essarily imply the same proportion of tempo. In actual practice, a 3 : 1 tempo relationship often makesmore musical sense, so that three minims in triple meter together take the same amount of time as oneminim in duple meter. Thus two compases of CZ would have about the same duration as one compás of C.Judging from both the metrical theory and the musical structures, music in duple meter should be felt “intwo,” while music in triple meter should be felt “in one.”

Performance Suggestions

Spanish Pronunciation

Spanish-speaking ensembles should feel free to pronounce the Spanish according to their own accent. Otherensembles are encouraged to work with local native speakers and experts whenever possible to shape theirpronunciation and understanding, so that they can perform these pieces in a way that Spanish-speakingaudience members will understand and recognize as a part of their own cultural heritage.

Instrumentation and Voicing

These 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 like bajón(dulcian, bass curtal) or organ are specied. Though there is need for more research into the specicinstrumentation 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.20 In pieces without gured 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.21

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′ ue-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.

20. 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).

21. For a critique of exoticizing practices in recent villancico performances, see Georey Baker, “Latin AmericanBaroque: Performance as a Post-Colonial Act?,” Early Music 3, no. 36 (2008): 441–448; Drew Edward Davies, “Finding ‘LocalContent’ in the Music of New Spain,” Early Music America 2, no. 19 (2013): 60–64.

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If possible, it would be appropriate to use soloists or a reduced ensemble for the rst 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.

Historic performers made these pieces their own and performed them in a way that t 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 Responsibility

While 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 t easily intomodern notions of sacred and profane, and embody both “piety and play.”22 If we perform villancicoswith too much solemnity, listeners may miss the elements of fun and virtuosity; but if we perform themtoo ippantly, 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 reected and reinforced. All of the music in this edition was the product of an empire built onland stolen from indigenous people, by the labor of enslaved men and women. Please take note of theanti-Semitic and anti-Protestant slurs in coplas 7 and 9 of Gutiérrez de Padilla’s jácara, and consideromitting them in public performance (practically it would be simplest to omit coplas 7–9).23 Gutiérrez dePadilla was himself a slaveholder as well as an Oratorian priest, and he perpetuates the typical prejudices ofmen of his social class.24 We owe our audiences better than to revive these notions or pretend that they donot matter.25

Acknowledgments

This work was completed in Rochester, New York, on the traditional territory of the Onöndowa’ga:’(Seneca) nation, one of the Six Nations of the Haudenosaunee (Iroquois) Confederacy. This edition isbased on archival research in Puebla, Mexico City, Barcelona, Madrid, and Segovia, in 2012. This researchwas supported by a Jacob K. Javits Fellowship from the United States Department of Education, anACLS/Mellon Dissertation Completion Fellowship, and travel grants from the University of ChicagoCenter for Latin American Studies, Columbia University’s Center for European Studies, and the Ameri-

22. 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.

23. On Spanish anti-Semitism and representations of Jews, see María Elena Martínez, Genealogical Fictions: Limpiezade sangre, Religion, and Gender in Colonial Mexico (Stanford: Stanford University Press, 2008); James Nemiro, “Comediasjudaizantes: Performing Judaism in Lope de Vega’s Toledan Plays (1590–1615)” (PhD diss., University of Chicago, 2016).

24. Gustavo Mauleón Rodríguez, “Juan Gutiérrez de Padilla desde el ámbito civil: Un corpus documental,” in Juan Gu-tiérrez de Padilla y la época Palafoxiana, ed. Gustavo Mauleón Rodríguez (Puebla: Gobierno del Estado de Puebla, Secretaríade Cultura, 2010), 179–242.

25. Baker, “Latin American Baroque”; Andrew A. Cashner, “Imitating Africans, Listening for Angels: A Slaveholder’sFantasy of Social Harmony in an ‘Ethnic Villancico’ from Colonial Puebla, 1652,” Forthcoming, 2021, Journal of Musicology.

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can Musicological Society. The nal stage was supported by a Humanities Center Fellowship from theUniversity of Rochester.

The edition was prepared using free and open-source software. The music was typeset in Lilypondusing an extensive custom library and the text was typeset in LATEX using the editor’s own packages,semantic-markup, octave, musicography and poemtranslation. The complete sources for this edition arein a Git repository hosted on Bitbucket at http://www.bitbucket.com/andrewacashner/wlscm36; theLilypond modules and LaTeX packages are in separate repositories on the same site. Please check theeditor’s website, http://www.andrewcashner.com/villancicos/, for updates and corrections, and please donot hesitate to report any errors. Performing parts and transposed editions are available upon request.

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Critical Notes

Juan Gutiérrez de Padilla, Miraba el sol el águila bella

Sources

1. Description MEX-Pc: Leg. 34, Villançicos dibinos, i umanos de diversos autores, manuscriptanthology

Parts Tenor part only of originally polyphonic compositionAnnotation “Tenor, a duo, de Concepcion”

This Tenor part is preserved in a manuscript anthology of villancicos in the Puebla Cathedralarchive. It is part of a larger collection that includes motets by Palestrina and others, complete with a crudehandwritten copy of the title page of a Palestrina print. The source Leg. 34 may have been a miscellaneouscollection of exemplary pieces made by a student, bound together by an archivist at a later date.

Juan Gutiérrez de Padilla, Afuera, afuera, pastores (Jácara)

Sources

1. Description MEX-Pc: Leg. 1/3, in manuscript partbooks, Navidad de el año de 1652Annotation “Jácara a 6”Parts SATB, B; Bassus I instrumental only, no text underlay; Bassus II instrumental and

vocal with underlay2. Description Feliz Persio Bertiso, La harpa de Belen, en qve se cantan ocho Letrillas, y Chançone-

tas la noche de Nauidad, a el Santissimo Nacimiento de Christo Nuestro Señor. Laprimera es vn Romance muy ingenioso [. . . ]. La setima, a lo escarramanado de vnvalenton que viene a visitar al Niño. [. . . ] (Seville, 1634), poetry imprint in binder’scollection, MEX-Plf : 80070-42010404-7

Annotation “Romance a lo valenton.”

Gutiérrez de Padilla took this poem from a collection published to commemorate a celebrationat the Convento de Santa Inés in Seville 1634 (according to the imprint’s dedication). This imprint ispreserved in a large binder’s collection of other villancico poems, chronicles of festivals, and related poetryand devotional literature, much of it focused around Christmas and the Immaculate Conception of Mary.There are numerous direct correspondences between texts in this collection and villancicos set by JuanGutiérrez de Padilla, and this may have even been his personal collection. If not, the Puebla chapelmasterhad his own set that included many of the same imprints.

The poem plays on the jargon of outlaws and heroic warriors and is therefore quite challengingto translate, and some of the meanings remain unclear. The heading in the printed source, “romance alo valentón,” refers to the poetic meter and form—the ballad meter of romance, eight-syllable lines withassonance in the nal vowels of the even-numbered lines—and the theme, “in the style of a boastful brave.”

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The edition leaves it to the performer to match the music and words for subsequent stanzas. Theperformer likely would have been expected to adjust the melody and rhythm slightly to accommodate thevaried prosody of the subsequent coplas.

In Gutiérrez de Padilla’s villancico cycles after 1652, the Bassus part of both choirs includes onlytextual incipits, and there are numerous indications throughout the partbooks that these voices wereperformed on the bajón (dulcian, bass curtal; probably along with other continuo instruments like harpand organ). Here, though, the Bassus II has full text underlay and was clearly meant to be sung. Still itseems likely that it was doubled on bajón.

Pablo Bruna, Suban las voces al cielo

Sources

1. Description E-Bbc: M759/44, Manuscript performing parts, previously unattributedParts SSAT

2. Description Pedro Calahorra Martínez, ed., Obras de los maestros de la capilla de música de laColegial de Daroca (Zaragoza) en los siglos XVII y XVIII, Polifonía aragonesa 2(Zaragoza: Institución “Fernando el Católico,” Sección de Música Antigua, Excma.Diputación Provincial, 1985), 29–35, based only on manuscript parts in GironaCathedral Archive, no signature given

Parts SSAT, Entablatura

Calahorra Martínez edited this work from a source in Girona that I have not been able to locate.That source includes a dierent poetic text for the coplas, which after the rst strophe, is in a meter thatdoes not t the musical setting.

The present edition is based solely on a separate source, a previously unattributed set of parts inthe Biblioteca de Catalunya, which agrees with the Girona source in the vocal parts but has dierent coplatext. This text, I argue, is the original text of the coplas, and it is more coherent poetically and theologically.This version lacks the entablatura part that is found in the Girona source; it is primarily a basso seguentethat may have been added later.

In the coplas, it would have been common practice for performers to adjust the rhythm of themelody to t the prosody of the subsequent strophes.

Miguel Ambiela, Suban las voces al cielo

Sources

1. Description E-Bbc: M733/1, Manuscript performing partsAnnotation “[on title leaf:] Villancico a la Asunción/ de la Virgen a 6 Voces/ dize/ Suban

las vozes al cielo/ Del Maestro Miguel Ambiela/ que fue de Lerida y despues dedaroca en donde el muro/ es grande y la Ciutat es Poca/ Torrente, Ente, Pente,mente, dente/ Torrente; [on accompaniment part:] Acompañamiento Continuoa 6 Vozes del año 1689 a 24 octobre”

Parts SST, SAT, Acompañamiento Continuo

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2. Description Modern edition: Pedro Calahorra Martínez, ed., Obras de los maestros de la capillade música de la Colegial de Daroca (Zaragoza) en los siglos XVII y XVIII, Polifoníaaragonesa 2 (Zaragoza: Institución “Fernando el Católico,” Sección de MúsicaAntigua, Excma. Diputación Provincial, 1985), 35–45

Calahorra Martínez’s edition does not indicate mensural coloration or editorial text. In the fugatosection, the Alto II that enters on Vuelen, vuelen juntas in m. 22 of that edition should enter on the fourthsemiminim of m. 23.

As Ambiela asks for a repeat of a dierent portion of the estribillo after each copla, I have opted towrite out the repeated section fully to avoid confusion.

Miguel de Irízar, Qué música celestial

Sources

1. Description E-SE: 18/36, Manuscript draft score in composer’s handAnnotation “Jesús. María. Y Joseph me ayuden. Fiesta del Nacimiento del año de 1678”Parts SSAT, SATB, SATB, General

2. Description E-SE: 3/2, Manuscript performing partsAnnotation “Villancico para la Calenda al Nacimiento a 12, año de 1678”Parts SSAT, SATB, SATB, General

3. Description E-Mn: R/34982, VE/88/42, two copies of poetry imprint from Toledo Cathedral,Christmas 1677

4. Description Manuel de León Marchante, Obras poeticas posthumas (Madrid, 1733), 169–170;later edition of Toledo 1677 text

Irízar drafted this villancico de calenda on the empty space in the margins and reverse sides of hisreceived letters which he had fashioned into a makeshift notebook. Irízar began this piece with a prayer tothe Holy Family on one of the center openings in a sideways orientation and then ipped pages towardhimself to move toward what is now the front of the notebook, writing the music on the reverse sidesof his letters. The manuscript includes a draft of one of the coplas which Irízar later replaced with theversion that appears in the corresponding parts.

While the performing parts were written without metrical barlines, Irízar did use barlines toorganize the score, usually in groups of two compases or measures. When a note was syncopated across thebarline, since Irízar and his peers did not use ties, Irízar just draws the blackened notehead centered on thebarline.

Irízar obtained this text, later attributed to Manuel de León Marchante, from a poetry imprintfrom Toledo Cathedral the previous year, which Toledo chapelmaster Pedro de Ardanaz, a fellow formerpupil of Tomás Miciezes the elder, had mailed to him.26

This edition is based primarily on the parts, since they were actually used for performance. Thereare a few small dierences in details of gured bass, mensural coloration, accidentals, and text underlay. Ingeneral, the parts, apparently professionally copied, are more precise and consistent than Irízar’s originaldraft. The draft includes numerous corrections, especially of unintentional harmonic clashes in thethird-choir parts.

26. Rodríguez, “‘Sólo Madrid es corte.’”

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Jerónimo de Carrión, Qué destemplada armonía

Sources

1. Description E-SE: 20/5, manuscript performing partsAnnotation “Villancico de Calenda al Nacimiento de Nuestro Señor, a 11”Parts SSAT, SATB, SSB chirimías (Tiple de chirimía, Bajo de chirmiía), Acom-

pañamiento de 1o y 2o coros, Acompañamiento de 3o coro al órgano, Acom-pañamiento general

There are three accompaniment parts: one that supports Choir I and II, another that supportsChoir III, and a general continuo part. The Choir III part species organ.

The bulk of the piece is carried by the soloists of Chorus I. The third choir is a purely instrumentalensemble of chirimías (shawms).

The dynamic and tempo markings for the dierent sections are a distinctive feature of laterseventeenth-century villancicos. Also in line with contemporary trends, the estribillo has multiple sectionswith contrasting textures and styles, and it is so long that Carrión only has a “tag line” repeated after thecoplas.

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Source Images

Figure 1: Gutiérrez de Padilla, Miraba el sol el águila bella, MEX-Pc: Leg. 34, sole extant Tenor part(photograph by the editor, courtesy of the Capitular Archive of Puebla Cathedral)27

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

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Figure 2: Gutiérrez de Padilla, Afuera, afuera pastores (Jácara), Tenor I performing part, MEX-Pc: Leg. 1/3,Navidad de el año de 1652 (image from microlm, courtesy of the Capitular Archive of Puebla Cathedral)

Figure 3: Afuera, afuera pastores (Romance a lo valentón), source for jácara by Gutiérrez de Padilla, inpoetry imprint by Feliz Persio Bertiso, La Harpa de Belén (Seville, 1634), in binder’s collection preservedin Puebla, MEX-Plf : 80070-42010404 (image courtesy Biblioteca José María Lafragua, Benemérita Uni-versidad Autónoma de Puebla)

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Figure 4: Bruna, Suban las voces al cielo, Tiple 1 part from previously unattributed set of manuscript parts,E-Bbc: M759/44 (image courtesy Biblioteca de Catalunya)

Figure 5: Ambiela, Suban las voces al cielo, Tiple I-1 part, E-Bbc: M733/1 (image courtesy Biblioteca deCatalunya)

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Figure 6: Irízar, Qué música celestial, manuscript score draft of opening written in notebook made fromreceived letters, E-SE: 18/36 (photograph by the editor, courtesy Segovia Cathedral Archive)

Figure 7: Irízar, Qué música celestial, score draft, detail

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Figure 8: Qué música celestial, poem later attributed to Manuel de León Marchante, in imprint fromChristmas 1677 at Toledo Cathedral, source for Irízar’s 1678 setting, E-Mn: R/34982 (image from microlm,courtesy Biblioteca Nacional de España)

Figure 9: Carrión, Qué destemplada armonía, Tiple I-1 part, E-SE: 20/5 (photograph by the editor, courtesySegovia Cathedral Archive)

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Texts and Translations

Miraba el sol el águila bella (Puebla, before 1660)

Anonymous, from musical setting by Juan Gutiérrez de Padilla, in Villançicos dibinos, i umanos de diversosautores (MEX-Pc: Leg. 34)

[Introducción]Miraba el sol The beautiful eagleel águila bella, was regarding the sun,y viéndola yo and I, seeing her [the eagle],su limpio crisol, would regard her pure crucible,

[Estribillo]5 en la sol-fa mire, in sol-fa I saw, 5R

pues agraciada en un punto, since, graced in one point [of time],en un punto se ve she is seen as a point/note,con tanto re-mi-fa-sol, with so much re-mi-fa-sol,que sola a la luz de mi sol that only in the light of my sun,

10 la admire de mi sol. should she be admired by my sun. 10R

Ave, mirasol, Ave, Ave/Hail, sunower, hail—y la gracia fue and the grace wasque el milano nunca la mire, that the kite should never regard hery ella al sol mire, while she should regard the sun,

15 y la mire el sol. and the sun regard her. 15R

ResponsiónAve, mirasol, Ave, Ave/Hail, sunower, hail,Ave mi mirasol, Ave, Hail, my sunower, hail,y la gracia fue and the grace wasque el milano nunca la mire, that the kite should never regard her

20 y ella al sol mire, while she should regard the sun, 20R

y la mire el sol. and the sun regard her.

Coplas1. A el cielo su canto alegra Her song rejoices up to the sky,pues que el sol la acrisola. for indeed the sun puries her.

4 crisol ] A quadruple conceit connecting music theory with animal lore, alchemy, and the theology of Mary’s Im-maculate Conception: the speaker is looking at the eagle, who is looking at the sun; the eagle is a crucible in which matter ispuried and transformed. Mary is the eagle and the crucible because her immaculate nature enabled her to be the mother ofGod.

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Ni una se mínima sola She alone took not even a minim25 tuvo de la nota negra, from the black note, 25R

cantaba en dulce bemol she sang in a sweet atsin que Adán tono le de without taking her pitch/mode from Adam.su limpio crisol Regard her pure crucibleen la sol-fa mire, in solfa I saw,[Estribillo rep.]

30 2. Al nido y punto de voz Into the nest on the point, with strong voice 30R

entró de instantes sin tedio, she entered in an instant, without tedium,que no hay tiempo de por medio for there is no wasted time [half tempo]en la máxima de Dios, in the maxima of God,sobre un errante farol, upon an errant lantern,

35 eco el compás con el pie. echo the meter with the foot. 35R

su limpio crisol Regard her pure crucibleen la sol-fa mire, in solfa,

[Estribillo rep.]

Afuera, afuera pastores (Jácara) (Puebla, 1652)

Adapted from Feliz Persio Bertiso (Seville, 1634, MEX-Plf : 80070-42010404), from musical setting byJuan Gutiérrez de Padilla (MEX-Pc: Leg. 1/3)

Jácara [Coplas]1. Afuera, afuera, pastores, 1. Make way, make way, shepherds,zagalejo aparta, aparta, herder-boy, clear out, clear out:que el sol de la valentía the sun of valiance is coming,viene a ver parida el alba. to see that the the dawn has given birth.

5 2. Apártense del pesebre, 2. Stand back from the manger, 5R

veremos el talle y gala, let’s size up the shape and dressdestas pajas venturosas, made from this lucky straw,cuerpo de Dios con las pajas. the body of God among the straw.

3. Afuera todo zamarro 3. Make way, all you tough guys:

25 la nota negra ] A blackened notehead, using mensural coloration to indicate an imperfect note value and usuallya syncopated rhythmic pattern

1 Make way, make way, shepherds ] First of several indications of antagonism between the shepherds and the jaquesor rogues (outlaws, ruans) who come after them to the manger

3 sun. . . dawn ] The dawn is the Virgin Mary and the sun that rises from the dawn is Christ6 let’s size up the shape and dress ] They want to take the measure (talle, as in tailoring) and check out the decora-

tions (gala) of the Christ-child’s accommodations; seeing their poverty the ruans are going to supply what they can fromtheir capes and other gear, below

8 con las pajas ] In several idioms pajas can also mean boasts, cuing the listener to the rogues’ bragging talk to follow9 zamarro ] MS: samarro, Phonetic spelling of Andalusian/New Spanish pronunciation9 tough guys ] Zamarro, a crude, uncouth, rough-living person

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10 que viene la gurullada for here comes the squad 10R

de los bravos macarenos of macho bravesa ocupar esta cabaña. to occupy these barracks.

4. Rey mío recién nacido, 4. My newborn king,de quien tiembla y sea milana who is making you tremble?

15 la or de la valentía, when you are the ower of valiance, 15R

sin desgarros ni el haracas. no need to boast.5. Por Dios verdadero os tengo, 5. I regard you as the true God

y lo juraré en un ara, and I will swear to it on an altar,no sé cómo se os atreve, I don’t know how [the cold] dees you—

20 la señora doña escarcha. it chills the noble lady. 20R

6. Rey sois de cielos y tierra, 6. You are the king of the heavens and earth,por parte de taita y nana on account of your daddy and mommy,y no nacen desta suerte and the kings over there in Spainlos reyes allá en España. are not born in this manner.

25 7. Lindo palacio y tapices 7. A lovely palace and tapestries— 25R

no os dieran esta posada they would not have given you this dwellingsi nacierais entre herejes if you had been born among hereticsallá en Holanda o Jelanda. over there in Holland or “Hayland.”

8. Ésta es afrenta, Rey mío, 8. This is an aront, my king,30 de los bravos de la hampa, from this erce group of criminals. 30R

quítense las capas todos, Take o your cloaks, everyone—ropa afuera, camaradas. capes o, comrades.

9. Hagamos de ellas al niño, 9. Let’s make from these clothesun pavellón y una cama, a tent and a bed for the child,

35 pues vemos que estos judíos since we see that these Jews 35R

ya como quien son lo tratan. treat him as they do.10. Y pues con sus capas ellos 10. And since they are going to

lo han de honrar cuando se vaya honor him with their capes when he leaves,nosotros hoy cuando viene, let us today, when he is coming,

40 honrémosle con las capas. honor him with the capes. 40R

11. Sirva de colchón y colcha, 11. Let this serve as a bedroll and blanket,

10 squad ] One of many plays on military jargon11 macho ] Macareno, aecting bravery, boastful14 sea milana ] Meaning unknown16 el haracas ] Meaning unknown19 no sé cómo se os atreve/ la señor doña escarcha ] Precise meaning unclear22 taita y nana ] Daddy and mommy, referring to David’s royal line27 if you had been born among heretics ] In other words, even heretical Christians (Dutch Protestants) would have

known to give Christ a more suitable royal dwelling than the Jews did (see copla 9)28 Jelanda ] Probably a joke place name34 pavellón ] A cloth hung up to shelter a bed, like a tarp when camping35 these Jews ] Anti-Semitic innuendo directed perhaps at the innkeeper who was responsible for the poor lodgings,

and presumably not at Mary and Joseph, who of course were also Jewish38 honor him with their capes when he leaves ] Referring to Christ’s Palm Sunday triumphal entry to Jerusalem on

a bed of cloaks and branches

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mi capote de campaña, the soldier’s cloak from my uniform,que capote de serranos and use the mountain-folk’s cloaksallá para las bacadas. over there for the cattle.

45 12. Aqueste colento de ante, 12. Let this skin garment 45R

sirva de alfombra bizarro, serve as a ruan’s blanket;que es rendiros a los pies, with this we lay down at your feetla defensa de las armas. the defense of arms.

13. Y comida sella el hielo, 13. And let the ice preserve the food50 y esta nieve silla helada and this snow a frozen chair; 50R

deje sus atrevimientos leave o your insults and boastso háralo a cuchilladas. or do it at the point of a sword.

14. Paréceme que os dormís 14. It looks to me like you are sleeping;hola compañeros, vaya hey fellows, let’s have

55 un tono que al niño sirva a song that can serve for the child 55R

de dormitorio y hamaca. as a room and a hammock.15. Rómpanse los instrumentos 15. Dash those instruments,

y démonos de las astas, give us your stas,que ésta es la jacarandina, for this here is the rogue’s song,

60 y ésta es la jacarandana. and this is way rogues talk. 60R

EstribilloPues de Dios las bravezas Since from God all braveryse han humanado, has been made human,ríndansele hampones, bow before him, all you outlaws,sírvanle bravos, let the rogues serve him;

65 pastores, hola, shepherds, hey, 65R

callen esos adufes shut up those square drumsy esas zampoñas and those panpipes,oíganse, digo. listen, I tell you.Miren que está durmiendo, Look, for he is sleeping,

70 cuerpo de Cristo. the body of Christ. 70R

42 capote de campaña ] Like a poncho, a heavy blanket that doubled as cloak and bedding for soldiers; tailor’spatterns for these may be found in Martín de Anduxar, Geometria y trazas pertenecientes al oficio de sastres (Madrid, 1640), 20

45 colento ] Meaning unknown46 bizarro ] MS: bissaro, phonetic spelling of a common key word in jácaras49 Y comida sella el hielo ] MS: Y comida se ya el yelo, meaning uncertain51 leave o your insults and boasts ] Having asked his fellow rogues to oer the child their garments now he tries to

reform their bad manners57 Dash those instruments ] Speaking to the shepherds, who in villancicos as in exegetical literature were always

singing and playing on their way to the manger66 adufes ] Square skin drums still played by Iberian folk musicians67 zampoñas ] MS: sampoñas, phonetic spelling

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Suban las voces al cielo (Daroca, ca. 1650)

Anonymous, from musical setting by Pablo Bruna (E-Bbc: M759/44; Girona Cathedral, unnumbered MS,ed. Pedro Calahorra Martínez)

[Estribillo]Suban las voces al cielo Let the voices ascend to Heaven,y digan que en esta mesa and let them say that on this tablefénix se abrasa un alma a phoenix is consumed, a soulde amores llena. full of love.

5 Y mudando el aire And transforming the air 5R

en veloces corcheas, into rapid quavers,vuelen, vuelen juntas let them y, y togetheren síncopas que elevan in syncopations that they raisey en bemoles blandos, and in mild ats,

10 trinados que suspendan, trills that they suspend, 10R

digan en paso todas: let them all say in time together:Ay, que se abrasa un alma, Ah, a soul consumed in ames,

ay, que se quema. ah, a soul that burns.

Coplas [Barcelona and Girona]B1/G1. Fénix hermoso eres, alma, B1/G1. O soul, you are a handsome phoenix,

15 que entre cenizas renaces; who are reborn among the ashes; 15R

si en Dios hallas nueva vida, if you should nd new life in God,arde. burn.

[Barcelona only]B2. De tu mismo n procedes B2. From your very end, you go forthpara siempre eternizarte; to become eternal forever;

20 si está tu ser en no ser, if your being is in not being, 20R

arde. burn.B3. En el peligro más cierto B3. In the most certain danger

hallas lisonjas los males; you nd evils to be atteries;si en el fuego no peligras, if in the re you are not imperiled,

25 arde. burn. 25R

B4. A la vida lisonjeas B4. You atter lifecuando llegas a abrasarte; when you come to be consumed in ames;si con morir te eternizas, if in dying you become eternal,arde. burn.

30 B5. Cuando el fuego te consume, B5. When the re consumes you, 30R

a tumba es cuna en que naces; the tomb is the cradle in which you are born;si del polvo resucitas, if from the dust you resurrect,arde. burn.

B6. A mejor Arabia fénix B6. To greater Arabia, phoenix,

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35 hoy arrepentida partes; today you depart repentant/suddenly; 35R

si la vida está en la muerte, if life is in death,arde. burn.

[Girona only]G2. Lo vivido ya no es vida G2. The life lived is no longer lifepues muriendo se acabó; for in dying it is accomplished;

40 y lo que queda quién sabe and of what remains, who knows 40R

si dejará de ser hoy, if it will cease to be today?arde. burn.

G3. Alma en el camino estás, G3. Soul, you are on the road,mira aquella luz, por Dios, look at that light, for God’s sake,

45 que es lástima y aun desdicha for it is a shame and indeed a disgrace 45R

perderse con tanto sol: to be lost when there is so much sun:arde. burn.

Suban las voces al cielo (Lleida, before 1689)

Anonymous, from musical setting by Miguel Ambiela (E-Bbc: M733/1)

[Estribillo]Suban las voces al cielo Let voices ascend to Heaveny diga capilla regia and let the Royal Chapel sayque María al cielo parte that to Heaven Mary departs,pero nunca más entera. though more whole than ever.

5 Y digan mudando el aire And let them say, transforming the air 5R

en veloces corcheas, into rapid quavers,vuelen, vuelen juntos let them y, y togetheren síncopas que elevan, in syncopations that ascendcon bemoles blandos: with mild ats:

10 trinados que suspendan trills that suspend 10R

sigan sus pasos todos let everyone follow her paceshasta la esfera up to the spheredonde María goze where Mary enjoysglorias eternas. eternal glories.

Coplas15 María se parte al cielo, Mary departs for Heaven 15R

donde tendrá gloria eterna, where she will have eternal glory,y se me parte el alma and my soul departs from me,de pensarse me aleja. thinking on this, it leaves me far behind.Y así el alma con voces And thus, let the soul loudly/with voices

20 digan en tanta pena: say in such sorrow: 20R

Suban las voces al cielo Let voices ascend to Heaven

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y diga capilla regia and let the Royal Chapel sayque María al cielo parte that to Heaven Mary departs,pero nunca más entera. though more whole than ever.

25 Deja el mundo miserable, She leaves the world miserable, 25R

que el mundo todo es miseria, for all the world is miseryen donde liberal where she can show herselfmostrarse al mundo pueda. to be free from the world and merciful to it.Y así pues esperamos And thus we await

30 divinas inuencias: divine inuences: 30R

Digan mudando el aire Let them say, transforming the airen veloces corcheas, into rapid quavers,vuelen, vuelen juntos let them fly, fly togetheren síncopas que elevan. in syncopations that ascend.

35 Tan llena de gracias sube, She ascends so full of grace 35R

que estéril deja la tierra, that she leaves the earth sterilesi no es que a su contacto if it were not that at her touchfructicada queda. it remains fruitful.Y así conmigo acordes And thus in harmony with me

40 digan voces excelsas: let the loftiest voices say: 40R

con bemoles blandos: With mild flats,trinados que suspendan trills that suspend,sigan sus pasos todos let everyone follow her paceshasta la esfera up to the sphere

45 donde María goze where Mary enjoys 45R

glorias eternas. eternal glories.

Qué música celestial (Segovia, 1678)

Attr. Manuel de León Marchante, Obras poéticas posthumas (Madrid, 1733), 169–170 (E-Mn: R/34982,VE/88/42)

Estribillo¿Qué música celestial What heavenly musices la que hoy el aire altera? is that which alters the air today?¿Qué soberana armonía What sovereign harmonyes la que el oído eleva? is that which elevates hearing?

5 ¿Qué luz es ésta que en día What light is this that transforms 5R

transforma la noche densa? the dense night into day?¿Qué claro fulgor el cielo What clear splendor does the skyesta noche da a la tierra? this night give to the earth?

Lo admirable de este enigma What can be seen of this riddle

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10 grande novedad encierra. encloses a great new thing. 10R

Gloria repiten las voces. Glory—let the voices repeat it.Paz dan sus luces cadencias. Peace—their lights give cadences.Toda la tierra es ya cielo All the earth has become heavenY todo el cielo da en tierra. and all heaven appears on earth.

15 ¿Qué será que en nuestra duda What should it mean that in our doubt 15R

no cabe saber qué encierra there is no room to know what it encloses,ser el cielo voces todo, since the heaven is all voices,ser glorias toda la tierra? since Glorias are in all the earth.

Ángel: La causa es, pastores, Angel: The cause, shepherds, is20 que de una doncella that from a maid 20R

forma el Verbo carne, the Word takes form in esh,por pagar la deuda, to pay the debtque del primer padre that from the rst Fathertomó por su cuenta: He took upon his account:

25 y el cielo envidioso and the sky, seeing with envy 25R

de ver que hoy la tierra that today the eartha Dios goza humano, knows God as a human,con voces celebra with loud voices celebratesla dicha que el orbe the saying that the Orb

30 posee en su esfera. holds in its sphere. 30R

Venga enhorabuena. Let him be welcomed.

Pues si viene a darnos For if he comes to give usgloria en vez de pena, glory instead of grief,venga enhorabuena. let him be welcomed.

35 Y de vuestras dudas And of our doubts 35R

proseguid el tema, go on with the theme,pues en la sustancia for in substanceyo diré qué encierran. I will tell you what the doubts enclose.

Son admiraciones They are admirations,40 de ver que en la tierra seeing that on the earth 40R

se siembre luceros, luminaries are sownse cojan estrellas. and stars are gathered.

Proseguid las dudas, Go on with the questions,y en graves cadencias and in solemn cadences

45 de sonoras voces with resonant voices 45R

descifraré el tema. I will decipher the theme.

Venga enhorabuena. Let him be welcomed.

Coplas [Romance con siguidillas]

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¿Qué será que en voces graves What shall it mean that in grave voicestoda la corte celeste all the heavenly court

50 con gloria, y paz nos combida with “glory and peace” invites us 50R

en alternados motetes? in alternated motets?Es que el cielo hoy gozoso It means that the sky today joyously

(de glorias tales) (from such glories)varias galas de acentos breaks open with so much nery

55 rompe en el aire. of accents in the air. 55R

¿Que será que a media noche What shall it mean that at midnightpor las puertas del oriente, through the portals of the East,sin romper el alba bella, the fair dawn not breaking,el sol se nos manieste? the sun shows himself to us?

60 Es que el sol cuando nace It means that the sun, when he is born 60R

de tal aurora, from such an aurora,dora el yerro del hombre gilds the error of manque a ella la adora. just as he adores her.

¿Que será que un portalillo What shall it mean that in a little stall65 tanto en si se desvanece, such a presence is hidden 65R

que todo el poder encierra that the stable encloses all poweren lo estrecho de un pesebre? in the narrow bed of a manger?

El portal no era nada, The stall was nothing,y al ver que hoy tiene and on seeing that this day it holds

70 en su albergue a Dios Niño, in its lodging God as a Child, 70R

se desvanece. it vanishes.¿Que será que a los pastores What shall it mean that a heavenly sentinel

un paraninfo recuerde, has regard for the shepherds,y dejando sus ovejas and, leaving their sheep,

75 hoy más ganados se encuentren? this day more ocks are gathered? 75R

Es pastor, y así el niño He is a shepherd, and thus the babyquiere premiarlos, wants to reward them,porque cuiden gustosos so that they should properly carede sus rebaños. for his ocks.

80 Que será que una doncella What shall it mean that a maiden 80R

tenga un infante en su albergue, should have an infant in her lodging,siendo a un tiempo madre y virgen, being at once mother and virgin,sin que uno, ni otro se niegue? without either one negating the other?

Es muy justa la duda, The doubt is very reasonable,85 pero yo entiendo, but I understand 85R

que salir de ella puedes that you can come out from herdentro de un Credo. before I can say the Creed.

¿Que será que hasta dos brutos What shall it mean that even two beastsse precien tan de corteses, conduct themselves with such courtesies

90 que entre los dos la verdad that between the two only the Truth 90R

63 he adores her ] Play on adora (adores) and dora (gilds), in contrast to yerro (error) and hierro (iron).

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hoy se mira solamente? this day is seen?Tienen a Dios delante, They have God before them,

y así es muy justo, and thus it is very rightque la modestia se halle that modesty should be found

95 hasta en los brutos. even among the beasts. 95R

¿Que será que los arroyos What shall it mean that the streamshoy sus cristales detienen this day hold back their crystal dropsy se muestran más gustosos and show themselves to be the most tastefulcuando están menos corrientes? when they are the least current?

100 Como el río de gracia As the river of grace 100R

sale hoy de madre, comes forth today from his mother,a su vista las aguas on seeing him the watersvierten cristales. turn into crystals.

Qué destemplada armonía (Segovia, ca. 1690)

Anonymous, from musical setting by Jerónimo de Carrión (E-SE: 20/5)

Estribillo¿Qué destemplada armonía What untempered harmonyde confusas voces varias from so many confused voicesde lo profundo del valle rises from the depth of the valleyla sagrada esfera escala? and scales the sacred sphere?

5 Sin duda gime oprimida No doubt, human nature 5R

la naturaleza humana groans, oppressedal peso de inel cadena under the weight of the traitorous chainque honrosamente arrastra. that honorably restrains it.

Pues con ayes tristes, But now with sad sighs,10 pues con tiernas ansias now with tender plaints, 10R

el cielo penetra she breaks through heaveny a su piedad clama. and makes a claim on his faithfulness.

Y elevando los dulces acentos And lifting up sweet accentscuando le asegura feliz esperanza, when cheerful hope reassures her,

15 al eterno le pide rendida on bended knee she petitions the Eternal 15R

el cumplimiento de su alta palabra. for the fulllment of his lofty word.Y así dice, y así exclama, And thus she speaks, and thus she exclaims,

¿hasta cuándo, Señor poderoso, how long, O mighty Lord,dueño de las almas, master of souls,

20 han de estar de tus misericordias will the gates of your mercies 20R

las puertas cerradas? remain closed?

Pero ya del Olimpo de luces But already from the Olympus of lights

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la risa del alba the laughter of the dawnnos anuncia en el sol announces to us in the sun

25 que previene la paz deseada. that comes before the longed-for peace. 25R

Venga, llueva, llegue, nazca. Come, rain, arrive, be born.

Venga pues en buen hora Let him come, then, at the right timedonde le aguardan where they are waiting for hima borrar feas culpas, to wipe away hideous faults,

30 a lavar manchas. to wash away every stain. 30R

Llueva la prodigiosa Let it rain, the amplenube sagrada, holy cloud,el suave rocío the mild dewque es todo gracia. that is full grace.

35 Llegue aquel luminoso Let him arrive, that luminous 35R

sol que en sus alas sun who in his wingshoy para los mortales today brings healingla salud traiga. to mortals.

Nazca al mundo el dorado Let him be born to the world,40 granito en pajas, the golden seed in the straw, 40R

porque sea del hombre so that he may be for Mandulce vianda. sweet nourishment.

Venga, llueva, llegue, nazca. Come, rain, arrive, be born.

Coplas1. Venga aquel capitan fuerte 1. Let him come, that strong captain

45 a cuya diestra bizarra to whose awesome ghting skill 45R

debe Israel tantos triunfos Israel owes so many triumphs,como prometen sus palmas. as his palms foretold.

Ánime huestes, Rise up, hosts,aliste escuadras, get ready, squadrons,

50 logre coronas, earn laurels, 50R

venza batallas. win battles.Venga, llueva, llegue, nazca. Come, rain, arrive, be born.

2. Llueva aquel blando rocío, 2. Let her rain, that gentle dewnube hermosa siempre intacta, lovely cloud, ever whole,

55 que el erial campo fecunde who waters the fertile eld, 55R

que agostó la culpa infausta. who overcomes the guilt she never knew.Desate en perlas Untie in pearls

sus abundancias her abundant richescon que corone with which she crowns

60 las esperanzas. every hope. 60R

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Venga, llueva, llegue, nazca. Come, rain, arrive, be born.

3. Llegue aquella luz propicia 3. Let it come, that clear lightde profetas deseada, desired by prophets,a cuyo inujo benigno by whose benign inuence

65 se viviquen las almas. souls are brought to life. 65R

Aliente rayos Let the rays shine forthde luz y llama, of light and ame,que el mundo ilustren to illuminate the worldcuando le abrasan. when they set it are.

70 Venga, llueva, llegue, nazca. Come, rain, arrive, be born. 70R

4. Nazca y en su infancia tierna 4. Let him be born, and in his tender infancysus manos no aten las fajas, his hands do not tie up the bundles of straw,porque sus misericordias because his merciesa dos manos las reparta. with two hands divide them.

75 Del alto seno From the high mound 75R

de eterna estancia of eternal dwellingdesciende al valle he descends to the valleyque ya le aguarda. that already awaits him.

Venga, llueva, llegue, nazca. Come, rain, arrive, be born.

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Afuera, afuera, pastoresJácara a 6

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7. Lindo palacio y tapicesno os dieran esta posadasi nacierais entre herejesallá en Holanda o Jelanda.

10. Y pues con sus capas elloslo han de honrar cuando se vayanosotros hoy cuando viene,honrémosle con las capas.

13. Y comida sella el hieloy esta nieve silla heladadeje sus atrevimientoso háralo a cuchilladas.

ALTO I

5. Por Dios verdadero os tengo,y lo juraré en un ara,no sé cómo se os atreve,la señora doñá escarcha.

8. Ésta es afrenta, Rey mío,de los bravos de la hampa,quítense las capas todos,ropa afuera, camaradas.

11. Sirva de colchón y colcha,mi capote de campañaque capote de serranosallá para las bacadas.

14. Paréceme que os dormíshola compañeros, vayaun tono que al niño sirvade dormitorio y hamaca.

TIPLE I

6. Rey sois de cielos y tierra,por parte de taita y nanay no nacen desta suertelos reyes allá en España.

9. Hagamos de ellas al niño,un pavellón y una cama,pues vemos que estos judíosya como quien son lo tratan.

12. Aqueste colento de antesirva de alfombra bizarroque es rendiros a los pies,la defensa de las armas.

15. Rómpanse los instrumentosy démonos de las astas,que ésta es la jacarandina,y ésta es la jacarandana.

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