CSM Cantiga 66 Lyrics: Quantos en Santa María

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Quantos en Santa María
Cantiga 66: Quantos en Santa María
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 fez a un bispo cantar missa e déu-ll' a vestimenta con que a dissésse, e leixou-lla quando se foi.

Line Refrain  Metrics  
1 Quantos en Santa María 7' A
2 esperança an, 5  B
3 ben se porrá sa fazenda. 7' C
 
  Stanza I     
4 Os que m' oen cada día 7' A
5 e que m' oïrán, 5  B
6 de grado lles contaría 7' A
7 miragre mui gran 5  B
8 dun bon bispo que avía 7' A
9 en Alvérna, tan 5  B
10 santo que viu sen contenda, CSM 66:10Elmes has mui instead of viu here, and this does indeed appear to be the form found in [E]—there are clearly six vertical strokes. However, viu makes more sense and is the word found in [To] and [T], so mui is most likely a copying error somewhere along the chain leading to [E]. 7' C
  Quantos en Santa María...    
 
  Stanza II     
11 Na capéla u jazía, 7' A
12 a do Bon Talán. 5  B
13 Vẽo con gran compannía 7' A
14 desses que están 5  B
15 ante Déus e todavía 7' A
16 por nós rogarán 5  B
17 que el de mal nos defenda. 7' C
  Quantos en Santa María...    
Cantigas de Santa Maria for Singers ©2013 by Andrew Casson
www.cantigasdesantamaria.com/csm/66
 
  Stanza III     
18 E a séu déstro tragía 7' A
19 sigo San Joán, 5  B
20 que ll' entôn assí dizía 7' A
21 “Quaes cantarán 5  B
22 a missa que converría, 7' A
23 ou quaes dirán 5  B
24 toda a outra leenda? 7' C
  Quantos en Santa María...    
 
  Stanza IV     
25 E dizede, quen sería 7' A
26 vósso capelán?” 5  B
27 E ela lle respondía: 7' A
28 “O bispo que man 5  B
29 aquí, que sempre perfía 7' A
30 fillou e afán 5  B
31 por mi en esta prebenda.” 7' C
  Quantos en Santa María...    
 
  Stanza V     
32 E lógo pera el ía 7' A
33 e diss' ao san- CSM 66:33This curious division of sant', the elided form of santo, is (rather surprisingly) not just Mettmann's own editorial indication of the rhyme: it is actually written this way across two lines in all three manuscripts. 5  B
34 t' óm': “Aquesta missa di-a, 7' A
35 e responderán 5  B
36 esta santa crerizía, 7' A
37 que ben saberán 5  B
38 responder-ti sen emenda.” 7' C
  Quantos en Santa María...    
Cantigas de Santa Maria for Singers ©2013 by Andrew Casson
www.cantigasdesantamaria.com/csm/66
 
  Stanza VI     
39 O bispo, quand' est' oía, 7' A
40 lógo manamán 5  B
41 as vestimentas pedía; 7' A
42 e taes llas dan 5  B
43 que óme non podería 7' A
44 preçá-las de pran 5  B
45 nen a compra nen a venda. 7' C
  Quantos en Santa María...    
 
  Stanza VII     
46 E pois que se revestía, 7' A
47 come sancristán 5  B
48 San Pédr' o sino tangía, 7' A
49 e os outros van 5  B
50 cantand', e el bẽeizía 7' A
51 o vinn' e o pan 5  B
52 como a lee comenda. 7' C
  Quantos en Santa María...    
 
  Stanza VIII     
53 E pois a missa compría 7' A
54 ben sen adamán, 5  B
55 diss' a Virgen: “éu ir-m-ía, 7' A
56 e todos ir-s-an; 5  B
57 mais o que ti éu dad' avía CSM 66:57Obligatory synalepha after unstressed ti; see the Concordance for more examples. In fact, as Mettmann notes, the word ti is missing altogether from [E]. Note also that to dei in the last line of this stanza is an even more compressed form of ti o dei, and [T] and [To] actually have tio dey here. 7' A .ron
58 nono levarán, 5  B
59 pois to dei por oferenda.” CSM 66:59See note to line 57. 7' C
  Quantos en Santa María...    
Cantigas de Santa Maria for Singers ©2013 by Andrew Casson
www.cantigasdesantamaria.com/csm/66
 

Footnotes

Line 10:

Elmes has mui instead of viu here, and this does indeed appear to be the form found in [E]—there are clearly six vertical strokes. However, viu makes more sense and is the word found in [To] and [T], so mui is most likely a copying error somewhere along the chain leading to [E].

Line 33:

This curious division of sant', the elided form of santo, is (rather surprisingly) not just Mettmann's own editorial indication of the rhyme: it is actually written this way across two lines in all three manuscripts.

Line 57:

Obligatory synalepha after unstressed ti; see the Concordance for more examples. In fact, as Mettmann notes, the word ti is missing altogether from [E]. Note also that to dei in the last line of this stanza is an even more compressed form of ti o dei, and [T] and [To] actually have tio dey here.

Line 59:

See note to line 57.

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Manuscript references

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

[E]66viewhttp://www.pbm.com/~lindahl/cantigas/facsimiles/E/166small.htmlExternal link
[T]66 
[To]78viewhttp://www.pbm.com/~lindahl/cantigas/facsimiles/To/bob071small.gifExternal link

Oxford CSM Database record

External link to poem data:  CSM 66http://csm.mml.ox.ac.uk/index.php?p=poemdata_view&rec=66

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

7'  5  7'

Stanzas

7'  5  7'  5  7'  5  7'

Rhyme

ABC / ABABABC
 RIIIIIIIVVVIVIIVIII
Ai.a
B
Cenda

Estimated performance times

Average syllables / min. Time
Very slow5011:18
Slow1005:39
Medium1503:46
Fast2002:49
Very fast2502:15

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: 565