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THE LIBRARY OF IBERIAN RESOURCES ONLINE

Emperor of Culture

Robert I. Burns. S.J.

Chapter 11Melodic Survivals?

Kurt Schindler and the Tune of Alfonso X's

Cantiga "Rosa das rosas" in ral Tradition

Israel J. at!

"1#$%In his last will and testament of 21 January 1284, written in Seville , seventy-four days before his

death , Alfonso X decreed that all the Cantigas codices be housed in the cathedral of that city, where

his body was to be interred and that the cantias de loor should be sun in the cathedral on the feast

days of the !irin"#1$

Accordin to Jos% &" 'lorens (ister) , the *in+s wish was honored on feastdays, not only in the cathedral, durin the rocession, but also in reliious ceremonies at court and in

oular festivities (enalgunas celebraciones religiosas de la corte y manifestaciones populares).#2$ y

the middle of the fourteenth century, however, interest in the Cantigas had beun to decline until they

were totally forotten (empezaron a decaer en inters hastaquedar completamente olvidadas).#.$

/rom John 0" eller+s remar*s, while not in full disareement 'lorens (ister) , one senses theimlication that the ractice was from time to time and that even now #cantias are$ sun #at the

cathedral of Seville$ to musical accomaniment"#4$ 3hus, any attemt to verify whether or not

Alfonso+s command was eecutedper annum, throuh the centuries, would necessitate a laborious andtime-consumin erusal of the cathedral+sActas capitulares,articularly the entries for the feast days of

the !irin5 /ebruary 2, &arch 26, Auust 16, Setember 8, 7ctober 12, ecember 8" #6$Aart fromSeville and 3oledo where Alfonso held his court, information concernin when, where else, and howAlfonso+s Cantigas were erformed durin his rein has to date yielded very little descrit ive

documentation of musicoloical sinificance, ecet for scanty iconorahical evidence"

7ne has only to view the hysical aearance of any one of the etant "1&'%Cantigas codices bearin

musical notation-ranin from .16 to 486 mm lon and from 219 to .2: mm wide, and containin

from 1:; to .9; leaves of archment-to reali

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!iren Gue hace dulce todo adecer

#dulces todos los dolores$

Amor Gue hace nuestros sus santos amores"

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"1% Cad !illalba *nown of the eistence of the earliest (astilian version of the tet, recently

discovered by John eller, #19$he miht have laced it below the oriinal tet of his transcrition as he

had done with B" de !alle+s translation" 3hus, if both Schindler+s and !illalba+s tet underlays hadareed closely with the medieval (astilian version, it would have indeed added weiht to the

seculative oinions reistered above for an unbro*en chain of oral transmission"

Accordin to eller, the (astiliani

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"1&&% /ollowin my ublication of 1E94, I was fortunate to acGuire an entire set of roram notes for

the concerts resented by the Schola (antorum of Kew Lor*, under Schindler+sdirection =1E12-1E2:>"#2;$3hey werea ll written by Schindler, with occasional annotations by other authors" Amon the "1&-%rorams , theSchola+s concert at (arneie Call on ?ednesday evenin, 21 January 1E2;, which

eemlified the *ind of rorammin that made this choral society one of the foremost in the nation,

was included the first American erformance of Bosa das rosas" 3his articular concert was divided

in three arts5 the first was devoted to &o

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et de Gue 4u(ero seertrobador,

se (oer resoss+ aver su amor,

,ono al demo los otros amores"

Schindler+s own rather free translation was iven as5

Bose amon roses, 7 sweetest of flowers,

(hosen of women, to thee brin we homae"

Bose of beauty, fairest vision,&ystic flower of urest Moy,

Coly essence thou of urest Moy,

!ictor over ain and woeN

"1&5%

Bose amon roses"""

3o her service I have leded me

/or to be her troubadour"

If her love I could but ain me,0arthly loves would o for nauht " #21$

Schindler also added the followin brief descrition 5

3he 3enth (anticle from the (antias de Santa &aria of the in Alfonso el Sabio" =Sain,XIII (entury>" 3his is a son in raise of Saint &ary, of her marvellous oodness and of her

reat ower"

/rom the illustrated collection, containin oem and melody, in the castle of the 0scorial,

&adrid, Sain"

!illalba arraned the cantia for solo, chorus, and iano accomaniment" 3he oenin refrain, which

he desinated as tiples, was to be sun by the soranos and reeated by the chorus" 3he soranosfollowed, sinin the individual strohes to a harmoni

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volumes illustrated by eGuisite miniature aintin" 3he authorshi of the canticles was

attributed solely to the in, althouh we may easily "1-'%surmise that he was heled by his

court of oets and troubadours, amon whom he is shown seated in aintins of the eriod"7nly two secimens of the comlete collection have been reserved to osterity, one in the

library of the 0scorial near &adrid, the other at the !atican in Bome" 3he tet of the canticles

=in the old @alician court lanuae, an idiom very nearly related to ortuuese, but retainin a

reat many traces of ure 'atin> has been rerinted in a modern edition, #24$and theilluminated ictures can be seen in hotorahic reroductions at the &useum of the Cisanic

Society of America, for which they were ordered by &r" Archer &" Cuntinton #26$Aart fromtheir artistic charm and interest, these ictures reresent one of the foremost sources of

information reardin the musical instruments of the &iddle Aes"

ut the most interestin art of the collection is its music, since every canticle is accomanied

by a articular melody written in neumatic notation" 3he deciherin of the + Keumes + has lonbeen a u

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It is strane that Schindler should level such criticism at Bibera, whose study of the Cantigas aeared

four years earlier in 1E22" It was not until the year after Schindler+s comments that Anl%s ublished

the first of his articles, dealin with the Cantigas, wherein he attac*ed Bibera+s transcritions" #29$ I

would venture a uess that Schindler ic*ed u the criticism of edrell and Bibera from either @reorio&arHa Sunyol+sarticle of 1E24 or &anuel /" /ernF nde

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comosition based on a cantia tune was that of Cilari)n 0slava =c" 18:1 Q>" #.4$/rom the turn of the

century to the early 1E.;s, there followed arranements of selected Cantigas melodies by 'uis !illalba

=one "1-6%bein that of the cantia under discussion>, /elie edrell, and 3omFs ret)n, #.6$includintranscritions of various cantias made by such renowned musicoloists as ierreAubry , the Arabist

JuliFn Bibera, @reorio &arHa Sunyol, and J"" 3rend" #.:$ 3rend based most of his transcritions on

those of Aubry , rewor*in several of them" 3hus, by the time Schindler collected Bosa das rosas,

there was a oodly amount of interest in the Cantigas reertory, and this undoubtedly romted Anlesto underta*e his monumental study" Cis transcrition of the entire corus was to become the basis for

the resent and continued resurence of cantias erformances throuhout the world" #.9$

7oss(ble Te8tual an, 9elo,( Antee,ents

JacGues (hailley ointed out Alfonso+s literal arahrase of Bose des roses et fleurs des fleurs from

the sith verse of @autier de (oinci+s Chanson la ierge, Ruant ces floretes florir voi".8$It is li*ely

that Alfonso was insired by this verse, which he develoed into a full-fleded son in raise of the

!irin and which, toether with roloue , cantia de loor 1, and the $eti2on =cantia 4;1>,constitutes the stronest rounds for attributin his authorshi to these articular eamles"

In a recent article I alluded to the ninth-century seGuence !ictimae aschali laudes =0amle 11-.c>as a ossible source or insiration for Bosa das rosas =0amle 11-.a, ta*en from the 3oledo code,

datin from around 1269>, whose melodic incipit it closely resembles" #.E$ /or the 0amle 11-.b

=ta*en from 0scorial "1 2>, the Arentine musicoloist Josu% 3" ?il*es =1E42> found additionalmelodic similarities in the antihons &anum haereditatis mysterium =0amle 11-.f> and In

atientia vestra =0amle 11-.e>,#4;$ to which I add the antihon Juste et ie vivamus =0amle

11-.d>" 3hese can be seen in the 3iber usualis. 0ven the melodic incipit of the thirteenth-centuryseGuence, Stabat &ater =0amle 11-.>, attributed to the /ranciscan Jacoone da 3odi =c" 1228-

1.;:> and which also may have been insired by the earlier ninth-century seGuence, is much closer to

the 0scorial version of Bosa das rosas which dates from around 1281"

?ith reard to the form of the cantia, Anl%s laced Bosa das rosas in the cateory of virelais and

mentioned that it was similar in structure to cantia :4, Ruen mui benGuiser" In his analysis of the

refrain and stan

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42" Bibera+s transcrition was rinted without a tet underlay "

4." 3he (astilian version was made by 0rnesto &ario arreda"

44" In Anl%s+s transcrition of 3o and "I"2, their differences are reflected in the transosition =3o is a

4th hiher> and in bars 2, 8, and 1E"46. 0" ')e< (havarri dulicated !illalba+s transcrition in his 4istoria de la m5sica =arcelona5 CiMos

de alu, 15 facin " 16:"4:" 3he first two measures of edrell+s arranements indicate that he used Aubry+s transcrition see

Ciinio Anl%s , Cataleg dels manuscrits musicals de la Col6 lecci& $edrett =arcelona5 Institut

d+0studis (atalans , 1E2;>, 9E"49" See Anl%s above in n" 4:" Anl%s+s transcrition of the cantia 1; from "I"2 was subseGuently

utili Beese, #usic in the #iddle Ages, 249, who obtained it from Anl%s+s unublished

aer, 'a notaci)n mensural de la m)dica de la corte esaola del silo XIII ofrece soluciones nuevas,

hasta hoy totalmente desconocidas, ara la interretaci)n est %tico-rHtmica de las melodHas de lostrovadores, a discourse delivered by roy to the American &usicoloical Society of Kew Lor*,

Setember 1E.E =2> Jos% &arHa 'amaa , Canciones de la Andaluc-a medieval y renacentista (siglos784678) para canto y piano =&adrid5 Dni)n &usical 0saola, 1E:8>, 1, who transosed it u amaMor 2nd, with minor alterations =.> !enancio @" !elasco,+osa das rosas (cantiga de %anta #ar-a)

=&adrid5 Dni)n &usical 0saola, 1E9.>, who emloyed it in his arranement for uitar, transosed u

a maMor .rd and renotated in a strict :P4 meter and =4> &ariano %re< @uti%rre

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=/ran*furt am &ain5 Cess, 1E.;>, 15 21."

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"15'% A more accurate analysis of the musical structureof the cantia reGuires a subdivision of eachverse, as reflected in the musical transcritions made from the Cantigas codices in 0amle 11-4" 3he

first tetual strohe is also roblematic, secifically its second and third verses, wherein the division of

their lines necessitates si and four syllables er melody hrase" Also notice how the initial melody

hrase of the third verse ends on the second syllable of the 9ord piadosa.

7oet( Struture 9elo,( Struture

+osa das rosas

e !ror das froresA11=6T6>

ATw

ATy

0ona das donas.

%ennor das sennores.A11=6T:>

AT

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Bosa de beldad+

e de arecerb1;=6T6>

(

+

e /ror d+aleria

e de ra0

/Sennor en toller

coitas e dooresa1;=6T6>

ATy

3he only melodic discreancy that eists between Bosa das rosas of the 3oledo =3o> and 0scorial ="

I" 2" > codices can be found in the initial melody hrase, above the syllable ro =see 0amle 11-4>" Inthe former code, the two-note liature above that syllable is podatus(b6flat6c orf6g, transosed down

a erfect 4th>, whereas in the latter, it is a three-note liature, scandius(e6f6g). It is ossible, as Josu% 3"

?il*es suested, that this was the cause of scribal error, by mere recollection, not totally eact =por

simple recordaci&n, no por curto e:acta), even thouh two distinct notational systems were emloyed,

the earlier of which the scribe may not have ta*en care to verify"

#42$

3o (ollet and !illalba+s statement that the melodic incipit of Bosa das rosas is a eneral formula of

lain chant in the orian mode = est une formule en%rale de lain-chant = Iermode +ravis+ #the

orian mode$>>, ?il*es resonded5

Bather than ageneral formula that usually comrises but three or four rincial tones

within the ecclesiastical modality, the tune of the cantia would have suested to the

comoser any one of the melodies from the (hristian litury" #4.$

"151% Let the most crucial element distinuishin Schindler+s eamle and Bibera+s

transcrition from the others is modality" ?e have seculated earlier that Schindler+s

informant may have been acGuainted with Bibera+s transcrition, thus elainin their

common modality = minor, with a raised 9th>, which would seem to be more thancoincidental" e that as it may, Bibera+s transcritions of the 3oledo code have

continued to rovo*e criticism, and ?il*es has devoted a maMor art of his article to

condemnin Bibera+s views on modality" 44

7f all the literary and scientific wor*s roduced under the sonsorshi of Alfonso X the ?ise, the

Cantigas de %anta #aria remained his most cherished" 3he erformances of sons from this uniGuecollection, which was comiled, ordered, and lavishly illustrated under his suervision, continue to

deliht audiences throuhout the world" Schindler himself was resonsible for such erformances all

the same, he was truly ecited when he confronted the tune in what he believed to be oral tradition"

Konetheless, one can only hoe that this and other tunes from the collection are still lur*insomewhere on the Iberian eninsula"

Kotes for (hater 0leven

#1$" Alfonso+s tet reads5 7tros H mandamos, Gue todos los libros de los Cantares de loor de %anta#aria sean todos en aGuella ilesia de nuestro cuero se enterrare, e Gue los faan cantar las fiestas de

Sancta &aria" 0 si aGuel Gue lo nuestro heredare con derecho e or nos, Guisiere haber estos libros de

los Cantares de %ancta#aria, mandamos Gue faa or ende bien et alo a la ilesia onde los tomareorGue los haya con merced e sin ecado" See Alfonso X, Antolog-a = ed " A" @" Solalinde , &adrid5

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0sasa - (ale , 1E42, (olecci)n Austral, vol" 1:E>, 2.:"

3he boo*s to which Alfonso referred comrise the four etant codices of Cantigas de %anta

#aria =see above, ch " 4, n" i >" 3wo of them are located at the iblioteca de San 'oren, a third at the

iblioteca Kacional, &adrid = "K " &S 1;";:E>, and the fourth at the iblioteca Ka" Alfonso had the latter version reared as a ift to his cousin, 'ouis IX of

/rance = eller,"Alfonso 7, :E>" All but the /lorentine code bear musical notations however, only itsstaff lines had been inscribed, eamles of which can be seen for cantias1 and 14 in two lates

sulied by Solalinde in his descrition of this code" See Solalinde , 0l c)dice florentino de lasCantigas y su relaci)n con los demFs manuscritos,+!; 6 =1E18>5 insert between 162-6."

3he cantias de loor, which are the sons sun in raise of the !irin &ary, bein with cantiga1,after which, commencin with cantia 1;, they constitute every tenth cantiga throuhout the

remainder of the collection" 3hese have been studied by Joseh 3" Snow in his 3he 3oor to the

!irin and Its Aearance in the Cantigas de %anta #aria of Alfonso X, el Sabio =h"" diss ",Dniversity of ?isconsin, 1E92>" In (ode "I"2, each of the cantias de loorbear the miniatures of

the instrumentalists as their initial vinettes"

#2$ " Jos% &" 'lorens (ister 0l (&dice +ico< de las Cantigas de Alfonso el %abio, sulementary

volume to the facsimile edition of the 0scorial manuscrit =see above, ch " 4, n" 2>, .21-E:, oinion on

..1"

#.$"8bid "

#4$" eller , in %tudiesontheCantigas =see above, ch " 1, n" 2>, 11"

#6$" Bobert Stevenson undertoo* an investiation of the cathedral+s actas capitulares catedralicias for

the years 1498 throuh 1:;: by etractin information lin*in the musical life of the inciientcathedral of &eico with that of the cathedral of Seville, uon which it was modeled =cf" 3a #5sicaen la Catedral de %evilla, 1=>?61@@ 0ocumentos para su estudio, 2nd" edn " #&adrid5 Sociedad

0saola de &usicoloHa, 1E86$>" In his etractions, no mention is made of musical erformances,

even for the few entries coincidin with the feast days of the !irin"

#:$" (ode 3"I"1 , fol" 6, cantiga 8 =anels 1-6, deictin the minstrel edro esirad > cantigade

loor 1;; =anel :, deictin anels sinin, while a consort, comrisin instruments of 0astern oriin,

accomanies them> cantiga1E4 =anel 2>, cantigade loor 12; =anel 1>, and (ode "I"2, fol" 2Ev"

#9$" Ismael /ernFnde< de la (uesta studied both the intervals and ambitus of the Cantigas melodies inhis 'a interretaci)n mel)dica de las Cantigas de %anta #ar-a,< in %tudiesonthe Cantigas, 166-88"

@erardo !" Cuseby, in 3he +(antias de Santa &aria+ and the &edieval 3heory of &odes =h"" diss", Stanford Dniversity, 1E82>, studied their modes" 3he controversies concernin their rhythm were

ta*en u by J" &" 'lorens (ister) , in 0l ritmo musical de las Cantigas de %anta #aria estado de la

cuesti)n, %tudies on the Cantigas, 2;.-21" Cuseby added a further contribution, &usical Analysis

and oetic Structure in the Cantigas de %anta #aria,< in !lorilegium 4ispanicum #edieval andBolden Age %tudies $resented to 0orothy Clotelle Clar"e, ed" John S" @eary, et al" =&adison, ?isc"5

Cisanic Seminary of &edieval Studies, 1E8.>, 81-1;1" /or a classic study reardin their

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versification, see orothy (lotelle (lar*e, !ersification in Alfonso el Sabio+s Cantigas,< 4ispanic

+evie9 2. =1E66>5 8.-E8"

#8$" See my article , Ciinio Anles and the &elodic 7riins of the Cantigas de %anta #ar-a inAlfonso7 the 3earned *ing66An 8nternational %ymposium, Carvard Dniversity, 19 Kovember 1E84,

ed" /rancisco &FrGue< !illanueva =(ambride, &ass"5 Studies in Bomance 'anuaes Series,

Carvard Dniversity, 1E8E>, 4:-96"

#E$ " !ol"#usic and$oetryof%painand$ortugal, with an introduction on urt Schindler and his

Sanish wor* =in 0nlish and Sanish > by /ederico de 7nHs =Kew Lor*5 Cisanic Institute, 1E41>"7nHs , then chairman of the Sanish deartment at (olumbia Dniversity, suervised the final editin of

Schindller+s field notations" (oncernin its ublication, see my article +3he osthumous ublication of

urt Schindller+s !ol" #usic and $oetry of %pain and $ortugal =Kew Lor*, 1E41>, in 3ibraries,4istory, 0iplomacy, and the $erforming Arts ;ssays in 4onor of Carleton %prague %mith, ed" Israel

J" at< =Stuyvesant, K"L"5 endraon , forthcomin>"

#1;$" 3he second field tri too* lace between July 1E.2 and ecember 1E.., under the ausices of(olumbia Dniversity " 3he first tri , which too* lace between the fall of 1E28 and fall of 1E.1, was

unsonsored "

#11$"Schindler,!ol"#usic and$oetry, 18"

#12$" evoto, Sobre la mOsica tradicional esaola,;!; 6 =1E4.>5 .44-::, es" .62, n" 1" Berinted

in0evoto, 3as hoDas (1E=61E=E)=uenos Aires5 Aldabahor , 1E6;>5 24-48, es" .:, n" 18"

#1.$ .3es Chansons a la ierge de Bautier de Coinci (11>>F>?61GH@), ed" JacGues (hailley =aris5

Cueel , 1E6E>, 46, n" 1"

#14$ . *atz, 3he 3raditional /ol* &usic of Sain5 0lorations and ersectives, Iearboo" of the

8nternational fol" #usic Council : =1E94>5 :4-86, es" 98" 3he other transcritions were made by =i>/ierre Aubry, Iter Cisanicum " Kotices et etraits de manuscrits de musiGue ancienne conserves

dans les biblioth%Gues d+0sane" III" 'es (antias de Santa &aria de don Alfonso el Sabio, %ammel6

bJnder der intemationalen #usi"6Besellschaft =1E;9>5 .2-61, es" 4. =2> JuliFn Bibera 3arra),3am5sica de las Cantigas estudio sobre su origen y naturaleza , with hotorahic reroductions of the

tet and in modern transcrition, volume three of the3as Cantigas de %anta #ar-a, Beal Academia

0saola edn" =&adrid5 Bevista de Archivos, 1E22>, 129-28 =.> John rande 3end, he #usic of%panish 4istory to 1@=7ford5 7ford Dniversity ress, 1E2:>, 2;: =after Aubry> and =4> Ciinio

Anl%s, ta*en from @ustave Beese,#usic in the #iddle Ages=Kew Lor*5 ?"?" Korton, 1E4;>, 249"

#16$ . &anuel edro /erreira, he %ound of #artin Coda: /n the #usical 0imension of the

Balician6$ortuguese 3yric (788678 Century) ='isbon5 Dnisys, Imrensa Kacional --(asa da &oeda ,

1E8:>, bilinual edition, 1E;" /acin Schindler+s transcrition =which he transosed down a maMor2nd>, /erreira rovided his own of cantia 1;, from the 3oledo code, which he resumed to be the

oldest of the etant codices"

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#1:$. 'uis " !illalba &uo"

#19$ . eller , An Dn*nown (astilian 'yric oem 5 3he Alfonsine 3ranslation of (antia X of the(antias de Santa &aria,4ispanic +evie94. =1E96>5 4.-49" eller discovered the oem amon the

(astilian rosifications of the first twenty-si cantias, which, accordin to recent investiations,

could have been made durin the rein of Sancho I! =1284- 12E6>, by Sancho himself, or by Alfonso+snehew, Juan &anuel =1282-1.48P4E>, or erhas much later" /or a discussion of the rosifications,

see Anthony ( F rdenas, A Study of Alfonso+s Bole in Selected (antias and the (astilian

rosifications of 0scorial (ode 3"I"1, in %tudies on the Cantigas, 248-:8"

#18$" (omare eller+s tetual transcrition with that of Jos% /ilueira !alverde,Alfonso 7 el %abio.

Cantigas de %anta #ar-a =&adrid5 0ditorial (astalia, 1E86>, .62" /or modern (astiliani, 15 6;-61, and /ilueira !alverde, Alfonso Cantigas, 2E" See also the instructive

comments on the tet by Auusto J" &ane , Afonso X, o Sabio" 0certos anotados, +evista da

lingua portuguesa 8P44 =1E2:>5 66-11;, es" :8-:E"

#1E$ " 3he tet is ta*en from ?alter &ettmann , Alfonso 7, el %abio. Cantigas de %anta #aria(cantigas 1 a 1) =&adrid5 0ditorial (astalia, 1E8:>, 84-86" &ettmann , ie altortuiesische

&arienlyri* vor 1.;;, in Brundriss der romanischen 3iteraturen des #ittelalters ,ed" C" C" Jauss

=Ceidelber5 (arl ?inter, 1E:8>, 18, cites %ennorand %ennor das %ennoresamon the most traditionalnames and &arian eithets and refers to the hrases of the first tetual strohe Bosa das rosas, etc"

as Cebrew suerlatives"

#2;$" 3his was iven to me as a ift by Cuh Boss, Schindler+s successor at the Schola (antorum"

#21$ " /or other free as well as literal 0nlish translations, see =1> Bobert 0isenstein, $rogram notesfor the /oler (onsort+s roram A &edieval 3aestry resented at (orus (hristi church =Kew

Lor*, Sunday, 29 Kovember 1E8.>, 6 =2> athleen ul -Cill, Cantigas =see above, ch " 4, n" 1.>,

1;E =Q> 'orraine Koel /inney, in Beese, #usic in the #iddle Ages, 248 =4> #edieval 3yrics of;urope, ed" ?illard B" 3ras* =Kew Lor*5 ?orld ublishin (o", 1E:E>, 1.; and =6> Am%rico (astro,

he %tructure of %panish 4istory, trans" 0dmund '" in =rinceton5 rinceton Dniversity ress,

1E64>, .:2"

#22$7fficially, his final concert with the Schola (antorum too* lace ten days later at the hih school

auditorium in Summit, Kew Jersey"

#2.$" 3his certainly is not true" urin Alfonso+s rein =1262-1284>, there was no fied caital"

Seville, however, was the most favored city of the court"

#24$" Ce is referrin here to 3as Cantigas de %anta #aria de Alfonso el %abio , ed " 'eooldo Auusto

de (ueto, &arGu%s de !almar, 2 vols" =&adrid5 Beal Academia 0sa ola, 188E>"

#26$" Schindler was inorant of the eistence of the four etant Cantigascodices" At the Cisanic

Society, the former wor* can be seen in a hotorahic coy under the call name Cantigas de %anta

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#aria &S 3"J"1 =0scorial thirteenth century>" It is the only Cantigascode for which hotocoieseist" 3he latter, the !atican comilation, to which Schindler alluded, may be that of the Cancioneirode aticana=!atican &S 48;.>, which does not contain any of the Cantigas de %anta #aria , but

rather fifteen of Alfonso+s cantigas profanas=nos" :1-9E>, some of which are cantias de mal6 deziror

mal6 decir, i"e", cFntias en las Gue se maldice de alo, sino cantias escritas con alabras obsenas ,%nero Gue cultivaban la mayorHa de los trovadores alleo-ortuueses, incluso el iadoso " Alfonso

X el Sabio =0uenio ')e< Aydillo , 3as meDores poes-as gallegas #&adrid5 Imrenta ArtHstica0saola, 1E14$, 19., n" E>" 3here are no hotorahic reroductions of this wor* at the CisanicSociety" See also /rancisco &FrGue< !illanueva, 'as lecturas del deFn de(adi< en una cantia de mal

di5 .:1-419" /ernFnde< KOe

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1?M=&adrid5 &artHn y Sala, 151;Eff" and the apndice musical" Ce claimed to have ta*enthem from the so-called Cancionero de #arialva, which beloned to " /rancisco (ontino, (onde de

&arialva , and which to date has not been located" See Anl%sPSubiF , Catlogo musical, 15 281-8.,

and Anl%s,3a m5sica,25 1:-19, n" 2"

#.4$" Cilari)n 0slava, Cantiga 1= del rey don Alfonso el %abio, parafraseada con coros y orquesta

=&adrid5 /%tis , #18:1Q$>" Joseh Snow, he $oetry of Alfonso 7, ;l %abio A Critical Libliography='ondon5 @rant and (utler, 1E99>, no" .1, who did not see this comosition, cites =Antonio> alau =y

ulcet>, #anual 'del librero hispano6americano, 2nd edn " =arcelona5 A" alau, 1E48>$, 1 5 2;:,

where it is listed as item 91.:" Snow =no" 91> also suested that /elie edrell+s %eis cantigas,

transcriptas y harmonizadas con acompaKadp de &rgano o harmonio. e:tos orginales y versiones encastellano=arcelona5 !idal 'limona y oceta, 1E;6-1;1Q> robably aeared first, sinly, in the

review %alterio %acro 4ispano, ca " 1882 -8."

#.6$" See !illalba above in n" 1:" edrell , Cancionero musical popular espaKol=&adrid5 J"

/ernFnde< Arias, 1E14>, 15 nos" 146-48 . = !ails , Sain5 0duard (astells , 1E2;>5 nos" 1-4" /or

information concernin reton+s settins, see JuliFn Bibera 3arrao, !alor de la mOsica de las(antias, in0iscursos le-dos ante %. #. el +ey y la real familia (GH de noviembre de 1G1 ) . . . para

conmemorar el 88 centenario del nacimiento del rey don Alfonso el %abio=&adrid5 3iorafHa de la

Bevista de Archivos, ibliotecas y &useos, 1E21>, 9-2;" reton+s arranements, based on Bibera+stranscritions, were intersersed amon the various discourses resented durin the evenin" 3hese

arranements were not ublished"

#.:$" See Aubry and Bibera above in n" 14 see Sunyol above in n" 28, and 3rend, #usic of %panish

4istory, mus" es " E-14"

#.9$ " Anl%s , 3a m5sica de las Cantigas de %anta #aria del rey Alfonso el %abio, facsimile 9ithtranscriptions and study, . vols" =arcelona5 iutaci)n rovincial, 1E4. - 1E:4>" !olume two =1E4.>

contains the musical transcritions"

#.8$" Cowever, it was 0lias /" eter who undertoo* the first serious study of Alfonso+s sources for

his (antias, amon which was3es #iracles de la %ainte ierge of @autier de (oincy =1199P1198-

12.:>" See eter+s Sources of the +(antias+ of Alfonso el Sabio =h"" diss ", Dniversity of?isconsin, 1E2:>" See also ?alter &ettmann , 7s #iraclesde @autier de (oinci como fonte das

Cantigas de %anta #aria, 4omenagen 3uciana %tegagno $icchio =in ress>" eter ron*e observes

that only in the twelfth century #such$ eressions """ as + flos florum +, +rosa rosarum + became acommon currency in hymns" See ron*e, #edieval 3atin and the +ise of ;uropean 3ove63yric

=7ford5 (larendon ress, 1E:6>, 18:"

#.E$" at< , Anl%s and &elodic 7riins , 6.-64"

#4;$ " ?il*es , 'a XI cantia de Alfonso el Sabio y su armoni5 1;E-24, es" 118 and 12;, resectively" ?il*es confused the

numberin of Bosa das rosas, referrin to it as cantia 1; when discussin the 0scorial codices and

as 11 for the &adrid =#sic$ 3oledo>" ?il*es was followin Bibera+s enumeration" Ce also discussed thenotational differences between the 0scorial and 3oledo codices and elaborated on the relationshi of

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the (antias tunes to the @reorian modes" ?il*es was both a comoser and a musicoloist" In thelatter caacity, he was *nown for his study on medieval modes and @reorian chant" It is surrisin

that @erardo !" Cuseby , in his ehaustive study +he Cantigas de %anta #ariaand the &edieval

3heory of &odes, does not ma*e reference to ?il*es+s wor*" See also ?il*es, (antia 1; , inNoya

de canciones espaKolas,roloue and selection by 0rnesto &ario arreda =uenos Aires5 Asociaci)natri)tica 0saola, 1E42>, 19-1E"

#41$ " Anl%s, 3a m5sica, 1E =transcrition>" 3he tet follows &ettmann+s arranement see his

Cantigas (1 a 1), 84-86" Anles differentiated the rhyme schemes between the refrain and strohe

by emloyin uer and lower case letters, resectively" 3he suerscrit numbers desinate thesyllable count in their resective lines of verse" In my analysis of the tune, iven under the headin

&elodic structure, the uer case letters corresond to the melody hrase, while the suerscrit letters

desinate subdivisions in the hrase" 3heir coordination with the melody can be seen in 0amle 11 (

4"

#42$" ?il*es, 'a XI cantia, 118"

#4.$" Ibid " &Fs Gue una +f)rmula eneral+ Gue or lo comOn no comrende sino tres o cuatro sonidos

caitales dentro de la tonalidad eclesiFstica, el tema de la (antia se dirHa suerido al comositor oraluna de las melodH s de la lituria cristiana"

#44$" See ?il*es , 'a XI cantia , 118"