CSM Cantiga 320 Lyrics: Santa María léva

Standard spelling
Santa María léva
Cantiga 320: Santa María léva
Please read the notes on using the texts and the IPA transcriptions Please read the notes on using the music transcriptions
Standard spelling

De loor de Santa María.

Line Refrain  Metrics  
1 Santa María léva 6' A
2 o ben que perdeu Éva. 6' A
  Stanza I     
3 O ben que perdeu Éva 6' A
4 pola sa neicidade, 6' b
5 cobrou Santa María 6' c
6 per sa grand' omildade. 6' b
  Santa María léva...    
  Stanza II     
7 O ben que perdeu Éva 6' A
8 pela sa gran loucura, 6' b
9 cobrou Santa María 6' c
10 cona sa gran cordura. 6' b
  Santa María léva...    
Cantigas de Santa Maria for Singers ©2013 by Andrew Casson
  Stanza III     
11 O ben que perdeu Éva, 6' A
12 a nóssa madr' antiga. 6' b
13 cobrou Santa María 6' c
14 u foi de Déus amiga. 6' b
  Santa María léva...    
  Stanza IV     
15 O ben que perdeu Éva 6' A
16 du perdeu paraíso, 6' b
17 cobrou Santa María 6' c
18 pelo séu mui bon siso. 6' b
  Santa María léva...    
  Stanza V     
19 O ben que perdeu Éva 6' A
20 u perdeu de Déus medo, 6' b
21 cobrou Santa María 6' c
22 creend' en el mui cedo. 6' b
  Santa María léva...    
Cantigas de Santa Maria for Singers ©2013 by Andrew Casson
  Stanza VI     
23 O ben que perdeu Éva 6' A
24 britand' o mandamento, 6' b
25 cobrou Santa María 6' c
26 per bõo entendemento. CSM 320:26Synalepha: the combined metrical syllable -o en- here sits comfortably on a two-note ligature .royo, preserving the natural syllables in singing. 6' b .royo
  Santa María léva...    
  Stanza VII     
27 Quanto ben perdeu Éva 6' A
28 fazendo gran folía, 6' b
29 cobrou a grorïosa 6' c
30 Virgen Santa María. 6' b
  Santa María léva...    


Line 26:

Synalepha: the combined metrical syllable -o en- here sits comfortably on a two-note ligature .royo, preserving the natural syllables in singing.

Standard spelling  



It's a little difficult to work out what the 'real' structure of this ligature is. In Anglés' retouched [E] facsimile, the stems merge into one vertical line, and protrude above and below the note bodies, appearing as .odyyjrowo (although the internal line segment that joins the first two notes is rather shorter than displayed here by the Neumat renderer). In Anglés' overlay to his transcription, the shape appears as .odyjrowo still with one continuous line, but ignoring the actual intervals in accordance with his usual practice. His actual mensural reading, however, is as .on + .bowo and he describes this form in his introductory material on p. 76 as a "figure typical of mensural notation that appears very little in Alfonsine notation", giving CSM 320 as the only example. Both Elmes and Cunningham [MGC] present the form as .odyrowo in their overlay, likewise disregarding the intervals, with the first two notes touching only at the corners; and although the fact that the stems are not fully aligned may be attributed to the limitations of their typographic technology, the lengths and positions of the stems clearly suggest the construction .od + .rowo. However, Elmes' mensural reading is exactly the same as that of Anglés, whilst Cunningham's has the same melodic shape although a different rhythm, so it appears that neither of the latter two authors has actually read the .od component as the plica it would represent in another context. Taking all of this into consideration, and given that an ascending plica would make little musical sense anyway, with the step up followed by a jump down of a fourth to the lowest note of the ligature, I have decided to go along with Anglés' interpretation in my transcription. By the way, Anglés also says, in a footnote to his transcription, that in this ligature "the 'cum opposita proprietate' stem was added". Here he can only be referring to the rising stem on the implied .bowo component, but his infuriatingly vague statement doesn't say at what stage this modification was supposedly made, nor even whether the c.o.p. stem was added to the manuscript itself, by his assistant in the retouching process, or just by himself in the process of interpretation.


This is another example of the very rare E-flat. It is the only one actually written in this Cantiga in [E], but for melodic consistency it obviously makes sense to use it in the corresponding places in the preceding two instances of the same phrase. See also Cantiga 189 which has two E-flats.

Manuscript references

External links marked are to facsimiles on Greg Lindahl's Cantigas de Santa Maria website.

[E]320viewhttp://www.pbm.com/~lindahl/cantigas/facsimiles/E/569small.htmlExternal link

Oxford CSM Database record

External link to poem data:  CSM 320http://csm.mml.ox.ac.uk/index.php?p=poemdata_view&rec=320

Links to the Oxford database are provided with the kind permission of the project team. When planning a concert or recording, I would recommend that you use (and credit) my more pragmatic texts and supporting materials in the preparation of your performance, but that you request permission from the Oxford database team to reproduce (and credit) their own critically edited texts in your programme or liner notes, as these adhere to stricter criteria that keep them closer to the original sources, and undoubtedly have the greater academic authority.

Metrical summary


6'  6'


6'  6'  6'  6'


AA / Abcb
b adeuɾaigaizoedoentoi.a
c i.aoza

Estimated performance times

Average syllables / min. Time
Very slow506:09
Very fast2501:13

These are very approximate total times for a full sung (or spoken) performance of all stanzas with all repeats of the refrain. Note that the speed is in average syllables per minute, and no particular mensural interpretation is assumed. More ornamented music will reduce the syllabic speed considerably. Remember also to add time for instrumental preludes, interludes and postludes.

Total syllables: 308