Pilgrimages, miracles and relics constituted important formal elements
in medieval religion. They reflected the need for direct contact with the holy.
Where miracles were attested or relics found, places of worship were
established. In Spain and France, above all, many significant centres of
pilgrimage are found and among the most important, after Santiago de
Compostela, must be reckoned the monastery of Montserrat, some fifty kilometres
to the East of Barcelona. With the miraculous Black Madonna, celebrated in
various ways in the songs of the Llibre Vermell and in the Cantigas
de Santa Maria and with its unique geographical position, the monastery
from the earliest times drew many pilgrims. It is found at a height of 700
metres above sea-level above a gorge, surrounded by jagged rocky peaks. Clearly
the place itself offered a strong fascination for people, since it was also the
site of an earlier temple to Venus. It was about the year 1025 that the Abbot
Oliba established there a Benedictine community, from the monastery of Santa
Maria de Ripoll. In 1409 the monastery became an independent abbey.
The monks of Montserrat were known for their outstanding spiritual and
musical culture, of which the Ars Nova notation of the codex is an indication.
In the songs there is a mixture of simple Spanish folk-melodies and complex
courtly compositional technique from Italy and France. This simplicity and
musical achievement is found in the three-voice virelai Mariam matrem [6],
and sometimes also earthy naivety in close relationship with folk-song, as in Lo,
set gotxs [12]. This last-named is a balada in Catalan with a Latin
refrain, which is a paraphrase of the poem Los VII goutz de Nostra Dona of
Pope Clement IV. With Los set gotxs and Cuncti simus [9],
single-part virelais with repeated choral refrains, it can easily be
understood how, through the numerous repetitions of the round dance (ball
redon), a religious ecstasy might be induced. The chorale O Virgo
splendens [7] is a contrafactum of O virgo visa from
the Memoriale of the same codex. At the beginning is a note that it can
be performed in one part or in canon with up to three voices. Through the
hypnotic effect of the canon, as with the mantra, a trance may be induced that
can lead to the attainment of the highest spirituality. The many repetitions
constitute less a structural principle than the attempts of the monks to
inspire the people to livelier participation.
Dancing in the church was above all a feature of early Christianity,
adopted from the Jewish rite, an important element in worship. From the time of
Athanasius of Miletus is recorded the tradition of dancing as an accompaniment
to hymns Seasonal folk dances in the form of round dances (a ball redon) met
relatively little opposition from the clergy but were not often resorted to in
church. Some of the reasons for this practice that continued into the
eighteenth century resulted from the lack of suitable places at night or in bad
weather To this end comes a report from Bernard of Angers from 1010, on a
practice in the church at Conques: “According to ancient custom the pilgrims
hold their vigils in the Fides Church with candles and lamps. Since they do not
understand the Latin chants of the office, they help to pass the long nights
away with uneducated songs and other nonsense.”
These lively dances in the church led naturally to a ban and at the
Council of Avignon in 1209 came the following declaration: “We decree that,
during vigils for the saints in the churches, musicians must not perform either
leaping dances with obscene gestures nor round dances; nor shall love-songs and
similar songs be sung.” Basically distinction must be drawn between two
kinds of dances, one of which was performed in a religious setting and in
accordance with contemporary customs, and the other sort of dance that stemmed
from the secular field. At Montserrat it was the second that came about, when,
in the thirteenth and fourteenth centuries, Latin spiritual songs written
specially by the monks were sung and played at night in the church and by day
in front of it as an accompaniment to dancing. The attempt of the monks,
however, to set popularly known dance-songs to decent Latin texts and thereby
to steer this lively activity into more orderly paths, as suggested in the
introduction to the Llibre Vermell, failed. Hardly surprisingly there
was little room for the accommodation of pilgrims, with the result that the
liturgy was at the centre of daily life. For dancing in the liturgy a tradition
has been recorded for us from Auxerre that there was dancing at Easter with organ
accompaniment to the melody of the sequence Victimae paschales, in which
a ball was thrown from side to side. It is also interesting to notice that at
Limoges on the feast of the patron saint St Martial there was dancing in the
church to the psalms. Ecstatic dancing through many writings and pictures
offers an example of medieval music therapy. Priestly dancing as an element of
the divine service has now completely disappeared from the Christian rite.
The Middle Ages knew nothing of the protection of spiritual
individualism. In many places we meet examples of well-tried cultural
manifestations. Use was made of well-known melodies sanctified by the addition
of religious texts. In no field of medieval artistic activity is copying, the
so-called contrafactum, so frequently met as in the art of song. Some medieval
contrafacta acknowledge the flowering of imitative composition in Northern
France, based on sources derived from the trouvères or composers from
Picardy. Thus Quant vol la flor [2] is based on the composition Retrowange
nouvelle by Jacques de Cambrai from the year 1280. Of the same kind is Amours,
ou trop tart me sui pris [5], a virelai from the second half of the
thirteenth century. This is a contrafactum of Amours, a cui je me rent pris.
Slight alterations from the model, like the use of changing sharps and
flats bring about an ambivalence of tonality. The conjectural composer is Roïne
Blance, probably a pseudonym of Blanche de Navarre, the mother of Thibaut IV of
Champagne. He provides the richest source of trouvère work. In addition
to many Chants d'amour, Jeux-parties, Pastourelles and Crusaders' songs,
there survive only four Marian songs and only one religious lai, namely
Commencerai a fere un lai [9]. The Count of Champagne and of Brie was
born in 1201 at Troyes. His grandmother was a daughter of Louis VII and Eleanor
of Aquitaine. In 1234, after the death of his uncle Sancho the Strong, he was
crowned King of Navarre. Four years later he led an attack by the Crusaders on
Jerusalem. He died in 1253 at Pamplona. His contemporary fame is attested by
the fact that he won praise from Dante in his De vulgari eloquentia and
from Johannes de Grocheo in his Ars musice.
If art is to become a cultural factor in the life of a people, then it
needs conscious support. In this way the Church in the Middle Ages became the
sole purveyor of education and learning and sought for a somewhat centralised,
controlled spiritual culture. That she should also take on the care of music,
the value of which for the liturgy had been recognised in early times, was
natural.
The closest attention to music in the ecclesiastical sphere was set in
order for a worthy and solemn arrangement of the divine service. In the ever
greater dimensions that churches assumed, the lessons of the Epistle and the
Gospel were brought forward to the crossing between the nave and the choir, the
choir-screen. Since the priest now had to move a longer way back again and a
longer time was needed, the introductory chants for the lessons were developed
into substantial compositions, to which the name conductus was given. In
time these lost their original association and developed their own form, making
use of the same text for a polyphonic composition. The continuation of this
form, that led to the motet, made further use of a second syllabic text (qv. O
Maria maris stella/O Maria virgo davitica [11]).
Mary as the maternal advocate was to the people of the tenth and
eleventh centuries as familiar as Christ. This adoration even took partly on
the character of the rapturous homage of love. Pictures celebrated the Mother
of God. Legends never tired of reporting her miracles, how, for example, the
Madonna herself saved the worst sinners from perdition, if they were repentant
or sought pardon by way of donations. The Cantigas de Santa Maria tell
us of such stories and legends, one of the most important collections of the
art of sacred song in Galego, a Galician-Portuguese hybrid language,
commissioned by Alfonso X el Sabio (1221-1284). The collection includes
more than four hundred songs on the miracles of Mary, some by the King himself,
but for the most part by his troubadours, in fine manuscripts. Two of the four
surviving codices are preserved in the Escorial monastery in Madrid, notable in
particular for the beauty of their miniatures. With the King, surrounded by his
men of learning, musicians of various nationalities and cultures are portrayed.
In one of them there is a group of young men performing a round dance in a
candle-lit church before the statue of Mary. The further representation of over
forty instruments provides a particular conspectus of the medieval
instrumentarium, including fidel, rebec, lute, harp, transverse flute and
recorder, with various percussion instruments and others. In Cantiga No. 49 are
the words: Cantando e con dança, seja por nós loada a Virgen coroñada que é
noss' esperança (Singing and in dance may the crowned Virgin be honoured by
us, she who is our hope).
Both the miracles of the Black Madonna of Montserrat, as well as those
of other places, are described in the Cantigas de Santa Maria. In the
one performed here is told the legend of how the Madonna came to the aid of an
old shepherdess, who had been cheated out of her money and her sheep by a young
shepherd [3], or how she brought a spring from the property of a greedy knight
to thirsty monks in their monastery garden [8].
|
[1]
|
Cuncti simus
concanentes (A ball redon)
(Llibre Vermell de
Montserrat, Monasterio de S. Maria)
Refrain: Cuncti simus coucanentes: Ave Maria
Virgo sola
existente en affuit angelus.
Gabriel est
appelatus atque missus celitus.
Clara facieque
dixit: Ave Maria
Refrain: Cuncti
simus…
Clara facieque
dixit, audite karissimi,
en concipies, Maria:
Ave Maria
Refrain: Cuncti
simus…
En concipies
Maria, audite karissimi,
pariesque filium:
Ave Maria
Refrain: Cuncti
simus…
Pariesque filium,
audite karissimi,
vacabis eum
Ihesum: Ave Muria
Refrain: Cuncti
simus…
|
Let us all sing together
Let us all sing together: Hail Mary
As the Virgin was alone, lo an angel appeared.
He is called Gabriel and sent from heaven.
And with shining mien he said: Hail Mary
Let us all sing…
And with shining mien he said, hear, most
beloved,
lo you shall conceive, Mary: Hail Mary
Let us all sing…
Lo you shall conceive, Mary, hear, most
beloved,
you shall bear a son: Hail Mary
Let us all sing…
You shall bear a son, hear, most beloved,
you shall call him Jesus: Hail Mary
Let us all sing…
|
|
[2]
|
Quant voi la flor novele
(Chanson pieuse –
anon. Trouvère)
(Paris, Bibl. Nouv.
Acq. F. fr. 1050)
Quant voi la flor
novele
florir en la
praele,
lors chant
chançon novele,
de la virge
pucele,
qui dou lait de
sa mamele le roi alaita
qui de sa char
digne et belle touz nos rachata.
Pucele digne et
pure,
de qui toz biens
depure,
qui de pechié
n'as cure,
de moi te praigne
cure:
vers ton chier
fiz m'asseüre par tel covenant
qu'es ciels en
joie seüre soie parvenant.
Dame sainte
Marie,
de grace
replenie,
soiés nos en äie,
ne nos oublés
mie,
qu'en iceste
mortel vie puissons deservir
qu'en la vostre
conpaignie puissons parvenir.
Flor de
misericorde,
a ton chier fiz
m'acorde,
corde si bien la
corde
que jamés ne
descorde,
que deable ne
s'arnorde a moi descorder,
que me puisse par
concorde a Dieu racorder.
Marie, douce
mere,
onques ne fus
amere,
de roi es fille
et mere
et si portas ton
pere;
or te pri, tres
douce mere, plaine de pitié,
que Dex qui est
nostre pere nos gel de pechié.
|
When I see the new flower
When I see the new flower
flower in the meadow,
then I sing a new song
to the virgin maiden,
who gives milk from her breast to feed the
King
who gives his body, fair and worthy, to redeem
us all.
Maiden worthy and pure,
from whom all good comes,
who is without sin:
I pray you care for me:
to your dear Son assure me through that
covenant
that certain joy in Heaven may be granted.
Lady, Holy Mary,
full of grace,
hear us,
never forget us,
that in this mortal
life we may deserve
that in your company
we may come.
Flower of mercy,
attune me to your
Son,
tune so well the
string
that it make no
discord,
that the Devil may
not move to untune me,
that I may be in
harmony in tune with God.
Mary, sweet mother,
never harsh,
the King's daughter
and mother,
and you bore your
father;
now I pray you,
sweetest mother, full of pity,
that God who is our
father cleanse us from sin.
|
|
[3]
|
A Madre do que a
hestia
(Cantiga de Santa
Maria, Nr. 147)
(Hs. El Escorial
E.T.j.I., and Ms. j. b.2)
Como hüa rnoller
pobre deu sa ovella a guardar a un ovelleiro, et quando ao trasquiar das
ovellas, vëo a vella demandar a sun et o ovelleiro disse que a comera o lobo;
et ela chamou Santa Maria de Rocamador, et a ovella brandou u la tïïnna o
ovelleiro asconduda, et disse: "iEi-me acá, ei-m'acá!".
Refrain: A Madre do
que a bestia de Balaam falar fez ar fez pois hüa ovella ela falar hüa fez.
Esto fez Santa
Maria
por hüa pohre
moller
que a de grado
servia
come quen ben
servir quer;
e porend' lla un
dia
valeu-ll' u lle
foi mester
e mostrou y seu
miragre, que vos non foi mui rafez.
Refrain: A Madre do
que…
Aquesta moller
mesquÿa
de quanto pud'
achegar
conprou hüa
ovellÿa
e foy-a dar a
guardar
a un pegureir'
agÿa,
e pois ao
trosquiar
fol en demandar a
läa pola vender por seu prez.
Refrain: A Madre do
que…
Mas o pergureir'
astroso
a ovella ascondeu
e come cobiiçoso
diss’: "O
lobo a comeu."
A vella por
mentiroso
o tev' end', e
lle creceu
tal coita por ssa
ovella que tornou tal come pez.
Refrain: A Madre do
que…
E disse:
"Ay, Groriosa,
a mia ovella me
dà,
ca tu end' es
poderosa
de o fazer."
E dalá
du jazia a
astrosa
ovella diss':
"Ey-m'acá."
E assi Santa
Maria aquest' engano desfez.
Refrain: A Madre do
que…
E a vella mui
festynno
ssa ovella
trosquiou,
e meteu-ss' ao
camÿo
e quanto más pad'
andou,
a costas seu
velocÿo;
A Rocamador
chegou,
dizend':
"Esto fez a Virgen que sempre teve belmez."
Refrain: A Madre do que…
|
The Mother or Him
How a poor woman
gave her sheep into the keeping or a shepherd, and when it was time to shear
the sheep, the old woman came to ask for her sheep and the shepherd said that
the wolf had eaten it; and she called on Holy Mary of Rocamadour, and the
sheep bleated from where the shepherd had hidden it, and said: "I-i
a-a-m he-ere, I-i a-am he-ere".
The Mother or Him
who made Balaam's donkey speak also made a sheep speak.
This Holy Mary did
for a poor woman
who was pleased to
serve her,
as one who willingly
serves;
and then one day in
need
she helped her
and showed a
miracle, that was no small thing.
The Mother of Him….
This wretched woman
with whatever she
had
bought a sheep
and gave it for
keeping
to a shepherd
and when shearing
came
she asked for it, to
sell for a price.
The Mother of Him…
But the cunning
shepherd
hid the sheep
and as a greedy
fellow
said "The wolf
ate it".
The old woman knew
he lied
and now became
so angry, she was in
a rage.
The Mother of Him…
And she said:
"Ah, glorious one,
give me my sheep,
for you have the
power
to do so." And
then
from where it lay
the clever
sheep said
"H-e-ere I a-a-am".
And so Holy Mary
laid bare this plot.
The Mother of Him…
And the old woman
hurried
to shear her sheep,
and set out on her
way
and with the fleece
on her back
went quickly
to Rocamadour,
saying: "This
is the doing of the Virgen, who always guards us."
The Mother of Him…
|
|
[4]
|
Amours, ou trop tart
me sui pris
(Chansou mariale –
La Roïne Blance)
(Quelle: Paris,
Bibl. Nat., nouv. Acq. fr. 21677)
Amours, ou trop
tart me sui pris
m’a par sa
signourie opris,
douce Dame de
paradis
ke de vous vœill
un cant canter.
Refrain: Pour la
joie ki puet durer, Vous doit on servir et amer
Et pour çou ke nus n'a mespris.
Tant vers vo fill n'en fais n'en dis.
S'il s'est en vo service mis.
Ke vous nel faciés racorder.
Refrain: Pour la joie…
Virge raïne,
flours de lis,
com li hom a de
ses delis
ki de vous amer
est espris,
nus hom nel
saroit reconter.
Refrain: Pour la
joie…
Mout fu li
vaisaiaus bien eslis,
dauce Dame, ou
Sains Esp(e)ris
fu IX mois tous
entiers nouris:
Ce fu vos cuers,
dame sans per!
Refrain: Pour la
joie…
|
Love, where late am
I caught
Love, where late am
I caught,
has lordship over
me,
sweet Lady of
Paradise
I would sing of you
a song.
For the joy that
will last forever,
We must serve and
love you.
And for that, with
no despite,
to you in deed or
word,
if it be to serve
you
that you hold it in
memory.
For the joy…
Virgin Queen, lily
flower,
as a man finds
delight
in love for you,
none would demur.
For the joy…
Laden was the
vessel,
sweet Lady, where
the Holy Spirit
for nine months took
sustenance:
it was your heart,
matchless Lady.
For the joy…
|
|
[5]
|
Quant ay lo mon
consirat
(Chanson pieuse –
anon. Troubadour)
(HS Madrid, Bibl.
Nac. 105)
Refrain: Quant ay lomón
consirat
totl'als es nient
mas Deu,
e com be·m son a
pensat
lo comyat es for(t)ment
greu.
E car nos em de
greus pecatz caregats,
si·u enquerem,
podra·ns esser perdonat,
car Senyor tai
avem cui plad merce, pus que platz,
c'aixi n'es
acustumat.
Refrain: Quant ay
lomón consirat…
Aytal Senyor
devem tembre e honrar,
qui pernos totz se
volc tant humiliar,
can trames
l'angel seu per la dona (verge) saludar,
e·l plac en ela
entrar.
Refrain: Quant ay lomón consirat…
Quan so fe fayt
per nosaltres a salvar,
sus en la cratz
lo seu sang volc escampar,
e apres la
seu'mort al terç yorn ressucitar,
que·ns pugues
totz deliurar.
Refrain: Quant ay lomón consirat…
Al quarante dia
vulc al cel puyar,
e·l cinquante
Sent Espirit enviyar,
per zu que·ls
enflames e poguessin preicar
la fe per nos a
salvar
Refrain: Quant ay lomón consirat…
Apres la fi del
mon, venra per iutyar
los bons e·ls
mals, segons lur merit, cobrar
gasardo e trabar,
car axi cave a far,
per dretura a
salvar.
Refrain: Quant ay lomón consirat…
Endreça: Han
preyarem totz ensems lo Creador que·ns do s'amor e·ns gart de mal e d'error.
|
If I consider the
world
If I consider the
world
there is nothing but
God
and I know well
that leaving it will
be sad.
And as we are
weighed down with sins,
we seek for
forgiveness,
for the Lord has
mercy,
and will always
forgive.
If I consider…
The Lord must be
feared and honoured,
who has so humbled
himself for us,
who through the
angel greeted the Virgin,
and dwelt in her.
If I consider…
He did all he could
to save us,
shed on the cross
his blood,
and the third day
after his death he rose,
to redeem us all.
If I consider…
After forty days he
rose to Heaven
and on the fiftieth
sent the Holy Spirit
to inspire and
preach
the faith that saves
us.
If I consider…
At the end of the
world, he will come to judge
the good and the
bad, as they deserve,
gathering them in
and finding, as he can,
the means to
salvation
If I consider…
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|
[6]
|
Mariam, Matrem
Virginem
(Llibre Vermell de
Montserrat, Monasterio de S. Maria)
Refrain: Mariam, matrem Virginem, attolite, Ihesum Christum extollite
concorditer.
Maria, seculi
asilum, defende nos,
Ihesu, tutum
refugium, exaudi nos.
Iam estis nos
totaliter diffugium,
tatum mundi
confugium realiter.
Refrain: Mariam,
matrem Virginem, attolite,…
Ihesu, supprema
bonitas verissima,
Maria, dulcis
pietas gratissima.
Amplissima
conformiter sit caritas
ad nos, que
pellit vanitas enormiter.
Refrain: Mariam,
matrem Virginem, attolite,…
Maria, Virgo
humilis, te colimus,
Ihesu,
desiderabilis, te querimus,
et volumus
mentaliter in superis
frui cum sanctis
angelis perhepniter.
Refrain: Mariam,
matrem Virginem, attolite,…
|
Praise Mary, Virgin
mother
Praise Mary, Virgin
mother,
honour with her
Jesus Christ.
Mary, shelter of
mankind, defend us;
Jesus, safe refuge,
hear us.
Now you are our
whole protection,
truly the complete
haven of the world.
Praise Mary, Virgin
mother…
Jesus, supreme and
truest goodness,
Mary, sweet most
gracious kindness.
May your charity be
as full
to us, as the
world's vanity compels.
Praise Mary, Virgin
mother…
Mary, humble Virgin,
we honour you,
Jesus, desirable, we
seek after you,
and we would have
joy above
with the holy angels
for ever.
Praise Mary, Virgin
mother…
|
|
[7]
|
O virgo splendens
(Llibre Vermell de
Montserrat, Monasterio de S. Maria)
Antiphona dulcis
armonia dulcissime virginis Marie de monte serrato. Caça de duobus vel
tribus.
O virgo splendens
hic in monte celso
miraculis serrato
fulgentibus ubique
quem fideles
conscendunt universi.
Eya, pietatis
oculo placuto
cerne ligatos
fune peccutorum;
ne infernorum
ictibus graventur
sed cum beatis
tua prece vocentur.
|
O Virgin resplendent
Antiphon: Gentle
harmony of the gentlest Virgin Mary of Montserrat.
Round for two or three voices.
O Virgin resplendent
here on the lofty mountain,
jagged with its
shining miracles about,
which all the
faithful climb.
Ah, with an eye of
mercy
see those bound by
the bonds of sin,
let them not be
weighed down by the blows of Hell
but be called by
your prayers to be with the blessed.
|
|
[8]
|
Tanto son da
groriosa
(Cantiga de Santa
Maria, Nr. 48)
(Hs. El Escorial
E.T.j.I, und Ms. j. b.2)
Esta é como Santa
Maria tolleu a agua da fonte ao cavaleiro en cuja erdade estava, et a deu aos
frades de Monsarrad a que a el queria vender.
"Ai Santa
Maria, a nossa coyta veede, e con Deus, o vosso Fillo, que todo pode, pöede
que nos dé algun consello, que non moiramos de sede, veend'agua conos ollos e
seer desejoso."
Refrain: Tanto son
da groriosa seus feitos mui piadosos,
que fill'aos que an
muyto et dá aos menguadosos.
E daquest'un gran
miragre fez pouc' á en Catalonna a Virgen Santu Maria, que con Jesu-Cristo
ponna que no dia do joyzo possamos ir sen vergonna ant' el e que non vaamos u
yrán os soberviosos.
Refrain: Tanto son
da groriosa…
Monsarrat éste
chamado o logar u é a fonte saboroça, grand' e crara, que naç’ encima dun monte, que era dun cavaleiro;
e d'outra parte de fronte avia un möesteyro de monges religiosos.
Refrain: Tanto son
da groriosa…
Mas en uquel
möesteiro ponto d'ugua non avia se non quant' o cavaleiro da fonte lles dar
queria, por que os monges lle davan sa renta da abadia; e quando lla non
conprian, ersan dela perdidosos .
Refrain: Tanto son
da groriosa…
E demais, sobre
tad' esto, el asi os pennarava,
que quanto quer
que achasse do möesteiro fillava;
E porend' aquel
convento en tan gran coita estava,
que non cantavan
as oras e andavan mui chorosos.
Refrain: Tanto son
da groriosa…
Dizend': "Ai Santa Maria, a nossa coyta veede, E con Deus, o vosso Fillo, que todo pode, pöede que nos dé algun consello, que non muiramos de sede, veend'agua conos
ollos e seer desejoso."
Refrain: Tanto son
da groriosa…
Pois ssa oraçun
fezeron, a Sennor de piadade fez que sse
canbiou a fonte ben dentro na sa erdade dos monges, que
ant' avian da agua gran soidade, e des alia
adeante foron dela avondosos.
Refrain: Tanto son
da groriosa…
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So glorious
This is how Holy
Mary diverted a spring of a gentleman in whose property it was and gave it to
the brothers of Montserrat, to whom he wanted to sell the water.
"Ah, Holy Mary,
see our misery and with God, your Son, that can do all, help us with your
counsel, that we may not die of thirst, seeing water and desiring it."
So glorious are her
very merciful deeds,
who takes from those
who have much and gives to the poor.
And from this the
Holy Virgin wrought in Catalonia a great miracle, who with Jesus Christ,
ordained that we should pay honour to him and not tread the path of the
proud.
So glorious…
Montserrat the place
is called where the pleasant spring is, great and bright, on the peak of a
mountain, that was a gentleman's; and on the other side there was a monastery
of religious monk.
So glorious…
But in that
monastery there was no drop of water and they sought it from the gentleman's
spring, for which the monks of the abbey had to pay and when they did not buy,
they would die.
So glorious…
And further, after
all this, he caused them grief,
as they sought to
buy water for the monastery;
and the community
was in great misery
so that they did not
sing the office and were lamenting.
So glorious…
Saying: "Ah, Holy
Mary, see our misery, and with God, your Son, who can do all, help us with
your counsel, that we may not die of thirst, seeing water and desiring
it."
So glorious…
Then the Lord of
mercy answered their prayer and diverted the spring to the property of the
monks, that before had great need of water, and from then on they had water.
So glorious…
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[9]
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Comencerai a faire
un lai (strophes de lai marial)
(Paris, Bibl. Nat.,
fr. 844, Thibaut de Champagne)
Comencerai
a fere un lai
de la meillor
forment m'esmai
que trop par ai
jet de dolor
dont mi chant
toront a plor.
Meree virge
savoree
se vos faites
demoree
deproier le haut
Segnor
bien doit avoir
grant paor
du deable du
felon
qui en la noire
prison
nos velt mener
dont nus ne puet
eschaper
Et j'ai forfet
douce Dame
a perdre le cors
et l'ame
se ne m'aidiez!
Douz Diex aiez
merci
de mes vix
pechiés.
Ou sera merci
trovee
s'ele est de vos
refusee,
(qui tant vales)?
Sire, droiture
oubliés
et destendés
vostre corde
si viegne
misericorde
por nos aidier!
nos avons de
droit mestiers;
quant seur tos
es,
avoir merci.
Biaux douz sire,
je vos pri,
ne mé metez en
oublie
se pitiés ne
vaint vengance
dont seronz nos
sans doutantce
trop mal mené.
Dame plene de bonté,
votre dous mos savoré.
Ne soient pas oublié
proiés por nos!
Jamés ne serons rescous,
se ne le so mes parvos.
De voir le sai
ci (ma chançon) laisserai
et Dex nos doinst sans delai
avoir son secors verai.
|
I will start to compose a lay
I will start
to compose a lay
about the best of
women,
regretting
that too many are of
grief,
songs of lament.
Mother, wise Virgin,
if you cease
to pray to God on
high
we shall have great
fear
of the wicked Devil,
who into dark prison
would lead us,
whence none can
escape.
And I tear, gentle
Lady,
to lose body and
soul,
if you do not help.
Gentle God, have
mercy
for my grievous
sins.
Where should I find
mercy,
if you deny it,
that are so mighty?
Lord, forget justice
and loosen the
bow-string,
out of your mercy
to help us.
We need your pity;
as you are almighty,
have mercy.
Fair gentle Lord, I
beg you,
do not forget me
if you do not have
pity,
we shall surely be
treated badly.
Lady, full of
goodness,
your gentle words
shall not be
forgotten,
pray for us.
Never shall we be
saved,
except through you,
I know well.
Here I leave my song
and God grant us
without delay
his true help.
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[10]
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Cantiga de Santa
Maria; Nr. 77/119 (instrumental)
(Llibre Vermell de
Montserrat, Monasterio de S. Maria)
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Instrumental
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[11]
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O Maria, maris
stella
(Codex Las Huelgas,
Burgos, BUlh)
Cantus 1:
O Maria, maris
stella,
plena gracie,
mater simul et
puella,
vas mundicie,
templum nostri
redemptoris,
sol iusticie,
porta celi, spes
reorum,
tronus glorie,
sub levatrix
miserorum,
vena venie,
audi servos te
rogantes,
mater gracie,
ut peccata sint
ablata
per te hodie,
qui te puro
laudant
corde in
veritate.
Cantus 2:
O Maria, virgo
davitica,
Virginum flos,
vite spes unica,
via venie, lux
gracie,
mater clemencie
sola iubes in
arce celica,
obediunt tibi
milicie,
sola sedes in trono
glorie,
gracia plena
fulgens deica,
stella stupent de
tua specie
sol, luna de tua
potencia;
que luminari a in
meridie
tua facie vincis
omnia.
Precepia mitiga
filium,
miro modo cuius
es filia,
ne iudicemur in
contrarium,
sed del eterne
vite premia.
Tenor instrumental: (In veritate)
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O Mary, star of the sea
O Mary, star of the
sea,
full of grace,
mother and maid,
vessel of purity,
temple of our
Redeemer,
sun of justice,
gate of Heaven, hope
of sinners,
throne of glory,
helper of the
wretched,
means of pardon,
hear your servants
that call on you,
mother of grace,
that sins may be
taken away
through you today,
who with pure heart
praise you in truth.
O Mary, virgin of
David's kin,
flower of virgins,
sole hope of life,
way of pardon, light
of grace,
mother of clemency,
alone you command in
Heaven's vault,
armies obey you,
alone you sit on the
throne of glory,
shining, full of
divine grace,
the star at your
sight stands mute,
sun, moon at your
power;
you who all the
noonday brightness
conquer with your
countenance
Queen, soften your
son,
whose daughter, by
miracle, you are,
lest we be
condemned,
but let him grant
the reward of eternal life.
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[12]
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Los set gotxs
(Llibre Vermell de
Montserrat, Monasterio de S. Maria)
Bullada dels goytxs de Nostre Dona en vulgar cathallan; a ball redon
Los set gotxs recomptarem
et devotament
xantant.
humilment
saludarem
la dolça Verge
Maria.
Ave Maria, gracia
plena,
Dominus tecum,
Virgo serena
Refrain: Ave Maria,
gracia plena, Dominus tecum, Virgo serena
Verge fos anans
del part,
pura e sens
falliment,
en lo part e'
pres lo part,
sens negun
corrumpiment.
La Fill de Deus,
Verge pia,
de vos nasque
verament
Refrain: Ave Maria…
Verge, tres reys
d'Orient
cavalcan ab gran
corage,
ab l'estella
precedent
venegren al
vostr' ebitage,
Offerint vos de
gradatge
aur et mirre et
encenç.
Refrain: Ave Maria…
Verge, (e)stant dolorosa
per la mort del
Fill molt car,
romangues tota
joyosa,
can lo vis
resuscitar.
A vos, Madre
piadosa,
primer se volch
demostrar.
Refrain: Ave Maria…
Verge, lo quint
alegrage
que'n agues del
Fill molt car,
estant al Munt
d'Olivatge
al cell lo'n
vehes puyar.
On aurem tots
alegratge,
si per nos vos
plau pregar
Refrain: Ave Maria…
Verge, quan foren
complits
los dies de
Pentacosta,
ab vos eren
aunits
los apostols, et
decosta,
sobre tots sens
nuylla costa,
devullà l'Esperit
Sant.
Refrain: Ave Maria…
Verge, .l derrer
alegratge
que'n agues en
aquest mon,
voster Fill ab
gran coratge
vos muntà al cel
pregon,
on sots tots
temps coronada
Regina perpetual.
Refrain: Ave Maria…
Tots donques nos
esforcem,
en aquesta
present vida,
que peccats
foragitem
de nostr' anima
mesquina.
E vos, dolçe
Verge pia,
vuyllats nos ho
empetrar.
Refrain: Ave Maria…
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The Seven Joys
Ballade of the joys of
Our Lady
in common Catalan; a
round.
I shall tell of the
seven joys
and sing in
devotion.
I shall humbly
praise
the gentle Virgin
Mary.
Hail Mary, full of
grace, the Lord be with
you, serene Virgin.
Hail Mary, full of
grace, the Lord be with
you, serene Virgin.
Virgin, you came
forth
pure and without
fault,
in your labour and
after labour
without corruption.
The Son of God,
pious Virgin,
was truly born of
you.
Hail Mary…
Virgin, three kings
of Orient,
rode with great
courage,
following the star,
and came to your
dwelling.
They offer you gifts
of gold and myrrh
and incense.
Hail Mary…
Virgin, grieving
for the death of
your very dear Son,
your joy returned
when you saw him
rise again.
To you, kind Mother,
would I pray.
Hail Mary…
Virgin, the fifth
joy
that you had of your
very dear Son,
was on the Mount of
Olives,
when you saw him
ascend to Heaven.
We shall all rejoice
if you pray for us.
Hail Mary…
Virgin, when were
accomplished
the days of
Pentecost,
you were together
with the apostles
and others,
over all, freely,
descended the Holy
Spirit.
Hail Mary…
Virgin, the last joy
you had not in this
world,
your Son with great
courage
took you to Heaven,
where, crowned for
all time,
you reign, Queen for
ever.
Hail Mary…
Let us all then
strive,
in this present
life,
to oust sin
from our wretched
souls.
And you, gentle
pious Virgin,
help us in our
prayers.
Hail Mary…
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