CSM Cantiga 76 Lyrics: Quenas sas figuras da Virgen partir

Standard spelling
Quenas sas figuras da Virgen partir
Cantiga 76: Quenas sas figuras da Virgen partir
Please read the notes on using the texts and the IPA transcriptions Please read the notes on using the music transcriptions
   
Standard spelling
Epigraph  

Como Santa María déu séu fillo aa bõa mollér, que éra mórto, en tal que lle désse o séu que fillara aa sa omagen dos braços.

Line Refrain  Metrics  
1 Quenas sas figuras da Virgen partir 11  A
2 quér das de séu Fillo, fól é sen mentir. 11  A
 
  Stanza I     
3 Porend' un miragre vos quér' éu óra contar 13  b
4 mui maravilloso, que quis a Virgen mostrar 13  b
5 por ũa mollér que muito se fïar CSM 76:5The word se is in Mettmann, but absent from [E] and [T], and consequently the music is one note/ligature short for the remaining stanzas. In order to fit all stanzas correctly, the obvious solution is to restore se and split the three-note .eyeye ligature on the -ller of moller into .ra + .o, thereby making the vuelta match the refrain as it normally would. Applying this to Elmes' edition, we just need to split the three-note CBA ligature in bar 4 of the fifth line, giving a two-note ligature on CB and a single note on A, without changing the note values; his underlaid words que muito then need shifting one note/ligature to the left, leaving the D crotchet available for se. 11  b
6 sempr' en ela fora, según fui oír. CSM 76:6This line does have the desired number of notes and ligatures in the music to fit Mettmann's words for all stanzas, but due to the rather strange textual underlay in [E], Elmes has the words out of alignment. The singer should replace his "sem-pre␣en-ela" with "sem-pre'n␣e-la" in the first three bars, and "se-gundo" with "se-gun", and all will be well. 11  A
  Quenas sas figuras da Virgen partir...    
 
  Stanza II     
7 Esta mollér bõa ouv' un fillo malfeitor 13  b
8 e ladrôn mui fórt', e tafur e pelejador; 13  b
9 e tanto ll' andou o dém' en derredor, 11  b
10 que o fez nas mãos do jüíz vĩir. 11  A
  Quenas sas figuras da Virgen partir...    
Cantigas de Santa Maria for Singers ©2013 by Andrew Casson
www.cantigasdesantamaria.com/csm/76
 
  Stanza III     
11 E poi-lo achou con furto que fora fazer, 13  b
12 mandó-o tan tóste en ũa forca põer; 13  b
13 mais sa madr' ouvéra por el a perder 11  b
14 o sen, e con coita fillou-s' a carpir. 11  A
  Quenas sas figuras da Virgen partir...    
 
  Stanza IV     
15 E como mollér que éra fóra de séu sen 13  b
16 a ũa eigreja foi da Madre do que ten 13  b
17 o mundo en poder, e disse-lle: “Ren 11  b
18 non pódes, se méu fillo non resurgir.” 11  A
  Quenas sas figuras da Virgen partir...    
 
  Stanza V     
19 Pois est' ouve dito, tan gran sanna lle creceu, 13  b
20 que aa omagen foi e ll' o Fillo tolleu 13  b
21 per força dos braços e desaprendeu, 11  b
22 dizend': “Este terrei éu trões que vir 11  A
  Quenas sas figuras da Virgen partir...    
Cantigas de Santa Maria for Singers ©2013 by Andrew Casson
www.cantigasdesantamaria.com/csm/76
 
  Stanza VI     
23 O méu sã' e vivo vĩir sen lijôn nen mal.” CSM 76:23Mettmann são e; [T] sane; [E] são e. Here I have used the elision from [T] but regularized the spelling. 13  b
24 Quand' est' ouve dito, lóg' a Madr' Espirital 13  b
25 resurgio-o dela, que vẽo sen al 11  b
26 dizendo: “Sandía, mal fuste falir, 11  A
  Quenas sas figuras da Virgen partir...    
 
  Stanza VII     
27 Madre, porque fuste fillar séu Fillo dos séus 13  b
28 braços da omagen da Virgen, Madre de Déus; 13  b
29 porên m' envïou que entre ontr' os téus, 11  b
30 per que tu ben póssas conmigo goír.” 11  A
  Quenas sas figuras da Virgen partir...    
 
  Stanza VIII     
31 Quand' a mollér viü o gran miragre que fez CSM 76:31This is the first of no less than 11 cases of diaeresis in the word viu that are required in the Cantigas. 13  b .on
32 a Virgen María, que é Sennor de gran prez, 13  b
33 tornou-lle séu Fillo; e lógu' essa vez 11  b
34 meteu-s' en orden pola mellor servir. 11  A
  Quenas sas figuras da Virgen partir...    
Cantigas de Santa Maria for Singers ©2013 by Andrew Casson
www.cantigasdesantamaria.com/csm/76
 

Footnotes

Line 5:

The word se is in Mettmann, but absent from [E] and [T], and consequently the music is one note/ligature short for the remaining stanzas. In order to fit all stanzas correctly, the obvious solution is to restore se and split the three-note .eyeye ligature on the -ller of moller into .ra + .o, thereby making the vuelta match the refrain as it normally would. Applying this to Elmes' edition, we just need to split the three-note CBA ligature in bar 4 of the fifth line, giving a two-note ligature on CB and a single note on A, without changing the note values; his underlaid words que muito then need shifting one note/ligature to the left, leaving the D crotchet available for se.

Line 6:

This line does have the desired number of notes and ligatures in the music to fit Mettmann's words for all stanzas, but due to the rather strange textual underlay in [E], Elmes has the words out of alignment. The singer should replace his "sem-pre␣en-ela" with "sem-pre'n␣e-la" in the first three bars, and "se-gundo" with "se-gun", and all will be well.

Line 23:

Mettmann são e; [T] sane; [E] são e. Here I have used the elision from [T] but regularized the spelling.

Line 31:

This is the first of no less than 11 cases of diaeresis in the word viu that are required in the Cantigas.

Standard spelling  
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Footnotes

E1:

It's rare for the clef to change mid-stave, but here is one example.

E2:

See the note to line 5 of the lyrics.

Manuscript references

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

[E]76viewhttp://www.pbm.com/~lindahl/cantigas/facsimiles/E/184small.htmlExternal link
[T]76 

Oxford CSM Database record

External link to poem data:  CSM 76http://csm.mml.ox.ac.uk/index.php?p=poemdata_view&rec=76

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

11  11

Stanzas

13  13  11  11

Rhyme

AA / bbbA
 RIIIIIIIVVVIVIIVIII
A
b eu̯alɛu̯s

Estimated performance times

Average syllables / min. Time
Very slow5011:38
Slow1005:49
Medium1503:52
Fast2002:54
Very fast2502:19

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: 582