Cantigas de Santa Maria, René Zosso e Ensemble Micrologus

Ensemble: Micrologus with René Zosso
Album: Cantigas de Santa Maria
Video: Ms. Escorial Codex E
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Alfonso X was born in 1221, he was King of the Romans, of Castile and León. His father was Ferdinand III, a liberal man called "the Saint" and the "King of religions" as during his reign he managed to make Christians, Muslims and Jews coexist in peace. His mother was Elisabetta Hohenstaufen, nephew of Frederick Barbarossa. From the sources that speak of his life we ​​know that in his youth Alfonso was surrounded by numerous paramours and politically helped his father in many military campaigns, but it was his love for Art that made him immortal with the nickname "El Sabio". In 1254 Alfonso endowed with many privileges the school of Salamanca, founded by his grandfather, and thanks to Pope Alexander IV, he obtained permission to make the school an international university allowing its graduates to teach anywhere, except Paris and Bologna. Alfonso tried to bring together all the knowledge of his time in the language spoken by his subjects by founding the School of Translators of Toledo; the Muslim and Jewish sages of his court translated ancient Arabic and Hebrew works into Castilian. His scientific, historical and literary work was fundamental; promoted the drafting and publication of a series of authoritative texts in various fields of artistic and scientific culture such as the Alfonsine Tables: astronomical tables capable of providing the positions of the Sun, planets, stars and the dates of eclipses. He was also an excellent poet and even the author of one of the first treatises on chess. However, it was Music that handed it over to legend thanks to the collection of the famous Cantigas de Santa Maria, monophonic songs of the XIII cent. now preserved in Madrid and Florence, containing an enormous number of compositions and representations of musical instruments and players. The outset of these compositions can be traced back to the troubadour art, which were so successful as to induce Alfonso X to use both the language and the form. Marian devotion was particularly in vogue in this century, the collection sees the participation of aristocrats and courtiers, bourgeois, friars, clerics and jesters of humble origins, but protected in the courts. King Alfonso himself composed cántigas, some of which incite poets and jesters to dedicate their efforts and inspiration to the “Santa Dama”. In addition to the Cantigas de Santa Maria, the Cantigas de Amigo, popular, melodious and melancholic, also spread in that period, showing some contact with the Mozarabic kharge in Arabic-Hebrew composed in the XI cent.. The work has great importance from a triple point of view: literary, musical and pictorial. Alfonso X inherited from his father Fernando III his musical chapel which brought together interpreters and composers of various cultures and who formed part of the alphonsine court, similar to his School of translators or scriptorium regio. He seems to be surrounded by them in some miniatures (50:59). The melodies are influenced by Gregorian monody, popular lyric and troubadour songs. The Codices of the Escorial Library are adorned and profuse with miniatures, fundamental for the reconstruction of 13th century musical instruments: flutes, hurdy-gurdy, psaltery, lute, vielle, cítara, guiterne, harp, castañuelas, bagpipes, dulzaine...
The proposed version sees the great René Zosso and the Micrologus Ensemble engaged in an interpretation close to the historical context in which the Cantigas were born, moving away from the perfect, but insipid, academic approach and giving space to instinct; fundamental in popular music, a direct relative of medieval music.
Cantiga 260: introduces the work and immediately transports the listener to another time and place, images of pilgrims and courtiers appear in the mind while a distant bell rings in a sunny 13th-century village in Spain. Those who know popular music should pay particular attention to the melodies of cantigas 288 (30:11), 23 (35:41) and 425 (48:17), whose vocal and instrumental melodies can be found reminiscent in traditional music of recent times.
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René Zosso vocal, hurdy-gurdy
Micrologus:
Patrizia Bovi vocal, harp
Marco Carpiceci vocal, symphonia
Ulrich Pfeifer vocal, bells
Adolfo Broegg lute, citole, drum
Goffredo Degli Esposti pipe and tabor, launeddas, bagpipe, flute
Francis Biggi lute, lute long-neck
Maurizio Picchiò darbbukka, tambourine, drum
Gabriele Russo fiddle, rebab, saz, trumpet
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Cantiga 260: Dized', ai trobadores
Cantiga 11: Macar ome per folia
Offertorio: Recordare, Virgo Madre
Cantiga 295: Que por al non devess' om...
Cantiga 90: Sola fusti, sennleiria
Cantiga 140: A Santa Maria dadas sejan loores
Cantiga 288: A Madre de Jhesu Cristo
Cantiga 23: Como Deus fez vyo d'agua
Cantiga 340: Virgen Madre gloriosa
Cantiga 425: Alegria, alegria
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