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Edición 2006


El laúd inglés


Baeza, Paraninfo de la Antigua Universidad


Sábado, 2 de diciembre de 2006, 18.00 h.





Jeni Melia, soprano
Christopher Goodwin, laúd, vihuela y guitarra
Hugo Soeiro Sanches, laúd y barítono



Anónimo (siglo XIII)
Canto llano: Deprecamur te domine
Edi be thu, heven queene


Anónimo (siglo XIV)
Bird on a brere

Robert Morton (finales del siglo XV)
L' homme arme


Henry VIII? (1491-1547)
Pastime with good company

Bartolomeo Tromboncino
Virgine Bella)

Anonimo (década de 1520)
Lady Carey's dump
Lady Winkfield's round


Alonso Mudarra (c.1520-1580)
O Gelosia de amanti

Luis Milan (c.1500 - post 1561)

Luis de Narváez


John Johnson (c.1540-1594)
The Queen's Treble

John Dowland (1563-1626)
Can she excuse my wrongs?
Come heavy sleep
Sir John Smith's almain
Say Love, if ever thou didst find

Anónimo (siglo XVI)
La Rossignol


Tarquinio Merula (fl. 1624-1640)
Folle e ben

Henry Purcell (1659-1695)
Evening hymn


George Frideric Handel (1685-1759)
Silent worship

Wolfgang Amadeus Mozart (1756-1791)
Komm liebe zither

Michael Kelly (1762-1826)
The woodpecker


Anónimo (arreglo de Goodwin)
O waly waly
The seeds of love


Whisky in the jar

Joseph MacCahill
My Lagan Love

Notas programa


Deprecamur te domine
[English translation]
We pray Thee, O Lord, in all Thy mercy, that Thy wrath and anger may be turned away from this city and from Thy holy house, for we are sinners, Alleluia.

Edi be thu, heven queene
[Modern English translation]
Blessed be thou, heaven's queen, folk's consolation and angels' bliss,
Maid untouched and mother clean, such in this world none other is.
In thee it is well and easily seen, of all women thou hast the prize,
My sweet lady, hear me request, and have pity on me it is thy will.

Thou arose as dawn divides itself from the dark night.
Out of thee sprung a new ray; all this world it has lit up.
There is no maid of thy hue, so fair, so shining, so ruddy, so bright;
My lady sweet, take pity on me, and have mercy on thy knight.

Blossom sprung of one single root; the holy ghost rests upon thee,
That was for mankind's benefit, and in order to free their souls in exchange for one.
Lady mild, soft and sweet, I cry mercy, I am thy man,
Both hands and feet, and in every way that I can.

Earth art thou to good seed, on thee alights heaven's dew;
Out of thee sprung that blessed flower which the holy ghost on thee did sow.
Bring us out of care, of dread, that Eve bitterly brewed us;
Thou shalt us into heaven lead; sweet to us is that same dew.

Mother full of gracious virtues, maiden patient and well taught,
I am in thy bonds of love, and to thee alone am I drawn.
Do thou shield me, yea, from the fiend, as thou art generous, and will do, and may do,
And help me to my life's end, and make me with thy son reconciled.

Bird on a brere
[Modern English translation]
Bird on a briar, bright bird on a tree,
Nature has come to beg love from Love,
'Gracious lady, have pity on me,
Or prepare, beloved, prepare for me my grave'.

I am as blithe as a bright bird on a briar,
When I see gracious person, most gracious in the hall,
She is white of limb and face,
She is fair and a flower, the flower of all.

Might I have her at will,
Steadfast of love, lovely and true,
She can cure my sorrow;
Joy and bliss would every be new to me.

L'homme arme
(Original French mediaeval song, English translation):
The armed man is to be feared, and 'the armed man!' the cry has been raised everywhere. 'To the assault! Let each man arm himself with a coat of iron mail.

Contramelodía de Robert Morton (English translation):
We will vanquish him for you, Master Simon, that dreaded Turk. Certainly, I will see to it; he will be struck down with the crook of an axe. Let us humble his pride, if he plays a trick on you, the villain! You will have him defeated in a trice. Please God, men will then say: 'Long live Simkin the Breton, that he fell on the Turk'.

Vergine bella
Vergine bella, che di sol vestita,
Coronata di stelle, al sommo Sole
Piacesti si che n'te sua luce ascose:
Amor mi spinge a dir di te parole,
Ma non so 'ncominciar senza tu 'aita
Et di colui ch'amando in te si pose.
Invoco lei che ben sempre rispose
Chi la chiamo con fede.
Vergine, s' a mercede
Miseria estrema de l'umane cose
Giamai ti volse, al mio prego t'inchina,
Soccorri a la mia guerra
Ben ch'i'sia terra
Et tu del Ciel regina.

Vergine pura, d'ogni parte intera,
Del tuo parto gentil figliuola et madre,
Ch'allumi questa vita et l'altra adorni:
Per te il tuo Figlio et quel del sommo Padre
(o fenestra del Ciel lucente altera)
Venne a salvarne in su li estremi giorni,
Et fra tutt'i terreni altri soggiorni
Sola tu fosti eletta.
Vergine benedetta
Che'l pianto d'Eva in allegrezza torni:
Fammi, che puoi, de la sua grazia degno,
Senza fine o beata,
Gia coronata nel superno regno

(English translation): Beautiful Virgin, who, clothed with the sun and crowned with stars, so pleased the highest Sun that in you He hid His light: Love drives me to speak words of you, but I do not know how to begin without your help and His, who loving placed Himself in you. I invoke her who has always replied to whoever called on her with faith. Virgin, if extreme misery of human things ever turned you to mercy, bend to my prayer; give succour to my war, though I am earth and you are Queen of Heaven.
Pure Virgin, whole in every part, noble daughter and mother of your offspring, who lighten this life and adorn the other: through you your Son, Son of the highest Father (O shining, noble window of heaven), came down to us to save us in the latter days, and among all earthly dwellings only you were chosen Blessed Virgin, who turn the tears of Eve to rejoicing again; make me, for you can, worthy of his grace, O blessed without end, already crowned in the kingdom above.

O gelosia de amanti (Sanazaro)
O gelosia de amanti , oribil freno
Che mi [?]punto mi tiri et tien si forte
O sorella di le empia et cruda morte
Che con tua vista turbi il ciel sereno
Di qual boca infernal nel mondo uscisti
O crudel mostro, O peste dei mortali
Per fargli giorni miei si oscuri et tristi.

O serpenti nascosto in dolci se fioche
Con tue voglie me et speranze morto
Tra felice successe adversa sorte
Tra suave vivande aspro veneno
Tornate in giu, non aumentar miei mali
Infelice paura ad quid venisti
Hor non bastaba amor con li suoi strali.

Can she excuse my wrongs?

Can she excuse my wrongs with Virtue's cloak?
Shall I call her good when she proves unkind?
Are those clear fires which vanish into smoke?
Must I praise the leaves where no fruit I find?
No, no: where shadows do for bodies stand,
Thou may'st be abused is thy sight be dim.
Cold love is like to words written on sand,
Or to bubbles which on the water swim.
Wilt thou be thus abused still,
Seeing that she will right thee never?
If thou canst not o'ercome her will
Thy love will be thus fruitless ever.

Was I so base that I might not aspire
Unto those high joys which she holds from me?
As they are high, so high is my desire:
If she this deny what can granted be?
If she will yield to that which Reason is,
It is Reason's will that Love should be just.
Dear make me happy still by granting this,
Or cut off delays if that I die must.
Better a thousand times to die
Than for to love thus still tormented;
Dear, but remember it was I
Who for thy sake did die contented.

Come heavy sleep

Come heavy sleep, the image of true death
And close up these my weary weeping eyes,
Whose spring of tears doth stop my vital breath
And tears my heart with Sorrow's sigh-swollen cries.
Come and possess my tired thought-worn soul,
That living dies, till thou on me be stole.

Come shadow of my end, and shape of rest
Allied to death, child to his black-faced night;
Come thou and charm these rebels in my breast
Whose waking fancies do my mind affright
O come sweet sleep, come or I die forever;
Come ere my last sleep come, or come never.

Say Love, if ever thou didst find

Say Love, if ever thou didst find a woman with a constant mind.
None but one.
And what should that rare mirror be,
some goddess or some queen is she?
She, she, she and only she, she only queen of love and beauty.

But could thy fiery poisoned dart at no time touch her spotless heart, Nor come near?
She is not subject to Love's bow,
her eye commands, her heart saith no,
No, no, no and only no; one no another still doth follow.

How might I that fair wonder know that mocks desire with endless no?
See the moon,
That ever in one change doth grow,
yet still the same and she is so,
So, so, so and only so, from heaven her virtue she doth borrow.

To her then yield thy shafts and bow, that can command affection so!
Love is free!
So are her thoughts that vanquish thee;
there is no queen of love but she,
She, she, she and only she; she only queen of love and beauty.

Folle ben
Folle e ben che si crede
Che per dolci lusinghe amorose
O per fiere minaccie sdegnose
Dal bel idolo mio ritraga il piede
Cangi pur suo pensiero
Ch'il mio cor prigionero
Spera che goda la liberta
Dica chi vuole, dica chi sa.

Altri per gelosia
Spiri pur empie fiamme dal seno
Versi pur Megara il veneno
Perche rompi al mio ben la fede mia
Morte il viver mi toglia
Mai fia ver che si scioglia
Quel caro laccio che preso m'ha
Dice chi vuole, dica chi sa.

Ben havro tempo, e loco
Da sfogar l'amorose mie pene
Da temprar de l'amato mio bene
E de l'arso mio cor, l'occulto foco
E tra l'ombre, e gli orrori
De noturni splendori
Il mio ben furto s'ascondera
Dica chi vuole, dica chi sa.

(English translation): He is indeed mad who believes he can, by sweet and amorous flattery, or by pround and haughty threats turn my steps away from my beautiful idol. He might as well change his way of thinking, for my captive heart hopes only to enjoy freedom, say what you will, say what you may.
Others, out of jealousy, may breathe foul flames from their hearts, Megera the Fury of Jealousy may pour out her venom to break my faith in my beloved; Death may take away my life but never will this precious bond that binds me be loosened; say what you will, say what you may.
Soon I shall have both time and leisure to express my amorous pains, to measure the secret fire of my beloved, and of my burning heart, and among the shadows, the horrors and splendours of the night, my beloved will secretly be hiding; say what you will, say what you may.

Evening hymn
Now that the sun hath veiled his light
And bid the world goodnight,
To the soft my body I dispose,
But where shall my soul repose?
Dear God, even in thy arms, and can there be
Any so sweet security?
Then to thy rest, O my soul; Halleluyah!

Silent worship
Did you not hear my lady
Go down the garden singing?
Blackbird and thrush were silent,
To hear the alleys ringing.
O saw you not my lady,
Out in the garden there?
Shaming the rose and lily,
For she is twice as fair.

Though I am nothing to her,
Though she must rarely look at me,
And though I could never woo her,
I love her till I die.

Surely you saw my lady,
Go down the garden singing,
Silencing all the songbirds
And setting the alleys ringing;
But surely you saw my lady
Out in the garden there,
Rivalling the glittering sunshine
With a glory of golden hair.

Komm liebe Zither
Komm, liebe Zither, komm, du Freundin stiller Liebe,
Du sollst auch meine Frendin sein.
Komm, dir vertraue ich die geheimsten meiner Triebe,
Nur dir vertrau ich meine Pein.
Sag' ihr an meiner Statt, ich darf's ihr noch nicht sagen,
Wie ihr so ganz mein Herz gehört.
Sag' ihr an meiner Statt, ich darf's ihr noch nicht klagen,
Wie sich für sie mein verzhert.

(English translation): Come dear zither, come, you friend of quiet love, you too may be my friend. Come, to you entrust my most secret my impulses only to you trust my pain. I tell you, as I may not yet tell her how completely my heart belongs to her; how my heart only lives for her.

The woodpecker

I knew by the smoke that so gracefully curled
Above the green elms, that a cottage was near,
And I said 'If there's peace to be found in this world,
A heart that was humble might hope for it here'.
Every leaf was at rest and I heard not a sound
But the woodpecker tapping the hollow beech tree.

'And here in this lone little wood' I exclaimed
'With a maid who was lovely to soul and to eye,
Who would blush when I praised her and weep if I blamed,
How blest could I live, and how calm could I die.'
Every leaf was at rest and I heard not a sound
But the woodpecker tapping the hollow beech tree.

O waly waly
The water is wide, I cannot get o'er
Nor do I have light wings to fly
O go and get me some little boat
To carry o'er my true love and I.

A down in the meadow the other day,
A gathering flowers both fine and gay,
A gathering flowers both red and blue,
I little thought what love could do.

I put my hand into one soft bush
Thinking the sweetest flower to find,
I pricked my finger to the bone,
And left the sweetest flower behing.

I leaned my back up against some oak,
Thinking it was a trusty tree,
But first he bended and then he broke,
So did my love prove false to me.

Must I be bound and she go free?
Must I love one that does not love me?
Why should I act such a childish part
And love a girl that will break my heart?

There is a ship sailing one the sea,
She's loaded deep as deep can be,
But not so deep as in love I am,
I care not if I sink or swim.

O love is handsome and love is fine,
And love is charming when it is true,
As it grows older it groweth colder,
And fades away like morning dew.

The seeds of love
I sowed the seeds of Love,
And I sowed them in the spring,
I gathered them up in the morning so soon,
While the small birds so sweetly sing.

My garden was planted well,
With flowers everywhere,
But I had not the liberty to choose for myself
Of the flowers that I love so dear.

The gardener was standing by,
And I asked him to choose for me;
He chose for me the violet, the lily and the pink,
But those I refused all three.

The violet I did not like,
Because it bloomed so soon;
The lily and the pink I really overthink,
So I vowed that I would wait till June.

In June there was a red rosebud,
And that is the flower for me,
I oftentimes have plucked that red rosebud
Till I gained the willow tree.

The willow tree will twist,
And the willow tree will twine;
I oftentimes have wished I were in that young man's arms
That once had the heart of mine.

Come all you false young men;
Do not leave me here to complain,
For the grass that has oftentimes been trampled underfoot
Give it time, it will rise up again.

Whisky in the Jar
As I was going over, The Kilmagenny mountain
I met with Captain Farrell, And his money he was counting
I first produced my pistol, and then I drew my sabre
Saying stand and deliver, For I am the bold deciever

With me ring dum a doodle um dah
Whack for the daddy o
Whack for the daddy o
Theres whiskey in the jar

He counted out his money, And it made a pretty penny
I put it in my pocket, And I gave it to my Jenny
She sighed and she swore, That she never would betray me
But the devil take the women, For they never can be easy


I went into my chamber, All for to take a slumber
I dream't of gold and jewels, And for sure it was no wonder
But Jenny drew my charges, And she filled them up with water
And she sent for Captain Farrell, To be ready for the slaughter


And twas early in the morning, Before I rose to travel
Up comes a band of footman, And likewise Captain Farrell
I then produced my pistol, For she had stole my sabre
But I couldn't shoot the water, So a prisoner I was taken


And if anyone can aid me, Its my brother in the army
If I could learn his station, In Cork or Killarney
And if he'd come andjoin me, We'd go roving in Kilkenny
I'll engage he'll treat me fairer, Than my darling sporting Jenny


My Lagan Love
Where Lagan stream signs lullaby,
There blows a lily fair.
Twilight gleam is in her eye,
The night is on her hair,
And like a lovesick lenanshee [=fairy mistress]
She hath my heart in thrall;
Nor life I owe, nor liberty
For Love is lord of all.

And often when the beetle's horn
Hath lulled the eve to sleep,
I steal into her shieling lorn, [=turf hut forlorn]
And through the dooring peep.
There on the cricket's stone
She spares the bogwood fire,
And hums in sad sweet undertone,
The song of heart's desire.

Curriculum Intérprete

Jeni Melia, soprano. Ha estudiado con Mary Bainbridge y Ruth Holton, y ha participado en masterclasses con Emma Kirby. Ha cantado con los Concord Singers y recientemente ha cantado como colista en Dido and Aeneas de Purcell, el Requiem de Fauré, el Salve Regina de Pergolesi, el Laudate Dominum de Mozart, el Gloria de Vivaldi, la canciones Arne de Shakespeare, el Mesías de Haendel y el ciclo de canciones Love's Bitter-Sweet, compuesto especialmente para ella por Paul Edwards. Recientemente ha descubierto sus dotes naturales en el repertorio de canciones acompañadas al laúd, realizando su primer concierto dedicado íntegramente a este repertorio en 2002. Ha grabado recientemente un CD con música de Paul Edwards titulado No Small Wonder (Lammas Records) y ha continuado con dos discos de canciones con acompañamiento de laúd y de canciones folclóricas, The Last of Old England y The Lost Art of Wooing. Ha actuado recientemente con recitales en The Barns in Carlton, the Leicester, Lincoln, Richmond and Brighton Early Music Festivals, el Centro King of Hearts de Norwich, el Hengrave Hall de Suffolk y el Ateneu Comercial de Oporto así como para la Lute Society, acompañada por Nigel North y Chris Goodwin, con este último ha realizado el programa radiofónio Tune programme, de la Radio 3 inglesa.

Christopher Goodwin, laúd, vihuela y guitarra. Comienza a los 19 años el estudio del laúd y es secretario de la Lute Society of America desde 1997, así como editor de The Lute, la revista de esta prestigiosa sociedad, decana de todas las sociedades de laúd en el mundo. Ha publidado también colecciones de piezas para laúd contenidas en diversos manuscritos. Ha participado en el programa radiofónico Tune, en el programa Today de la Radio 4 inglesa y en Blackbeard de Discovery Channel. Ha intervenido en la banda sonora de la película Shakespeare in Lovek y e. Desde su niñez a cantado en numerosos coros y ha sido laudisa acompañante de numerosos conjuntos, incluído el conjunto de música fusión folk/renacentista Andwella y con The Giltspur Singers. Recientemente ha realizado la música para la obra Henry VIII en una producción de la Royal Shakespeare Company, en Stratford-on-Avon.

Hugo Soeiro Sanches, laúd y barítono. Nace en Oporto 1973. Inicia sus estudios con Cristina Bacelar, ingresando más tarde en el Curso de Música Silva Monteiro (Oporto) donde estudió con Artur Caldeira.
En 2000, obtiene el grado de licenciado en guitarra clásica por la Escola Superior de Música e das Artes do Espectáculo do Instituto Politécnico do Porto en la clase de José Pina. Concluye en 2004 una post-grado en Psicología de la Música en la Faculdad de Psicologia y Ciencias de la Educación de la Universidad de Oporto. Se perfeccionó en las clases magistrales de guitarra com Alberto Ponce, Eduardo Isaac, José Pina, Léo Brouwer y Robert Brightmore. Trabajó el laúd y el bajo continuo con Pascal Montheillet, Andrea Damiani, Jacob Heringman, Fernando Reyes y Ronaldo Lopes. Enseña la guitarra clásica en el Curso de Música Silva Monteiro (Oporto) y en la Escuela de Música de Perosinho. Su actividad como instrumentista se concentra desde 2004 exclusivamente enla interpretación de la música antigua, habiéndose especializado en la música renacentista y barroca para instrumentos de cuerda pulsada, como el laúd, la vihuela y la tiorba.. Como laudista y como continuista trabaja con grupos como la Remix Orquestra Barroca, Ensemble Pavaniglia y Ensemble Adarte en el Festival Sons da História, en el Festival de Música de Coimbra, en el Festival Internacional de Música de Espinho, en el Teatro Nacional S. João (Oporto), en la "Folle Journée" del Centro Cultural de Belém (Lisboa) y en la Casa da Música (Oporto).

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