CSM Cantiga 363 Lyrics: En bon ponto vimos esta Sennor que loamos

Standard spelling
En bon ponto vimos esta Sennor que loamos
Cantiga 363: En bon ponto vimos esta Sennor que loamos
Please read the notes on using the texts and the IPA transcriptions Please read the notes on using the music transcriptions
   
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Epigraph  

Como Santa María livrou de prijôn un cavaleiro por ũa cantiga que lle fez, que tiínna preso el Con Simôn.

Line Refrain  Metrics  
1 En bon ponto vimos esta Sennor que loamos, 13' A
2 que nos tan cedo acórre quando a chamamos. 13' A
 
  Stanza I     
3 Un trobador en Gasconna éra, e trobava 13' b
4 al Con Simôn e a muitos, si que se queixava 13' b
5 a gente del, ca dizían que os dẽostava 13' b
6 mais quantos somos no mundo enquanto vivamos. 13' A
  En bon ponto vimos esta Sennor que loamos...    
 
  Stanza II     
7 El Con Simôn éra conde rico e poderoso CSM 363:7The combined metrical syllable -co e here falls on a two-note ligature .oso in the music, so I have preferred this synalepha over the elision of rico, even though the latter is well attested elsewhere. 13' b .oso
8 e diss' a un séu óme, que non foi preguiçoso: CSM 363:8In this case, the very common elision of the word disse is musically more elegant than synalepha, as the elided syllable falls on a single punctum .o. 13' b
9 “Vai-me lógo prender aquel trobador astroso, 13' b
10 e busca fórtes prijões en que o metamos.” 13' A
  En bon ponto vimos esta Sennor que loamos...    
Cantigas de Santa Maria for Singers ©2013 by Andrew Casson
www.cantigasdesantamaria.com/csm/363
 
  Stanza III     
11 El indo per un caminno mui dessegurado, 13' b
12 chegou aquel mandadeir' e fillou-o privado 13' b
13 e adusse-o al cond'; e foi lógo deitado 13' b
14 en prijões, u jouvéssen quantos desamamos. 13' A
  En bon ponto vimos esta Sennor que loamos...    
 
  Stanza IV     
15 El Con Simôn muitas vezes jurado avía 13' b
16 que o trobador matasse lógu' en outro día; 13' b
17 mais a nóssa avogada, Reínna María, 13' b
18 a vegadas nos estorva do mal que pensamos. 13' A
  En bon ponto vimos esta Sennor que loamos...    
 
  Stanza V     
19 El se viu nas prijões e cuidou que morresse, CSM 363:19For this line [E] has El se vio nas prijoes // cuidou que morresse, where the form vio might have been intended to suggest diaeresis, although scribal practice is far from consistent in this regard. If this were the case, then Mettmann's inserted e (absent from both [E] and [F]) would not be needed for the metre, and the overall rhythm of the line might even feel more natural. However, although the e isn't strictly essential to the sense either, it is more in keeping with the usual style of the cantigas, so ultimately I've thought it better to stick with Mettmann's version. 13' b
20 e chamou Santa María que lle socorresse, 13' b
21 e jurou-ll' alí jazendo, que mentre vivesse 13' b
22 polo séu amor trobasse, de que nós trobamos. 13' A
  En bon ponto vimos esta Sennor que loamos...    
Cantigas de Santa Maria for Singers ©2013 by Andrew Casson
www.cantigasdesantamaria.com/csm/363
 
  Stanza VI     
23 Pois que o trobador ouv' a oraçôn comprida, 13' b
24 achou-s' encima dun monte, cabo dũa 'rmida 13' b
25 de Virgen Santa María, que lle déra vida 13' b
26 e o guardou de tal mórte que todos dultamos. 13' A
  En bon ponto vimos esta Sennor que loamos...    
 

Footnotes

Line 7:

The combined metrical syllable -co e here falls on a two-note ligature .oso in the music, so I have preferred this synalepha over the elision of rico, even though the latter is well attested elsewhere.

Line 8:

In this case, the very common elision of the word disse is musically more elegant than synalepha, as the elided syllable falls on a single punctum .o.

Line 19:

For this line [E] has El se vio nas prijoes // cuidou que morresse, where the form vio might have been intended to suggest diaeresis, although scribal practice is far from consistent in this regard. If this were the case, then Mettmann's inserted e (absent from both [E] and [F]) would not be needed for the metre, and the overall rhythm of the line might even feel more natural. However, although the e isn't strictly essential to the sense either, it is more in keeping with the usual style of the cantigas, so ultimately I've thought it better to stick with Mettmann's version.

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Manuscript references

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

[E]363viewhttp://www.pbm.com/~lindahl/cantigas/facsimiles/E/648small.htmlExternal link
[F]59 

Oxford CSM Database record

External link to poem data:  CSM 363http://csm.mml.ox.ac.uk/index.php?p=poemdata_view&rec=363

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

Refrain

13'  13'

Stanzas

13'  13'  13'  13'

Rhyme

AA / bbbA
 RIIIIIIIVVVI
Aamos
b aβaozoadoi.aeseida

Estimated performance times

Average syllables / min. Time
Very slow5010:38
Slow1005:19
Medium1503:32
Fast2002:39
Very fast2502:07

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: 532