Juan del Encina (Salamanca, 1468 / León, 1529) Was a spanish composer, poet and playwright. In 1492 the poet entertained his patron with a dramatic piece, the Triunfo de la fama, written to commemorate the fall of Granada. In 1496 he published his Cancionero, a collection of dramatic and lyrical poems. He then applied for the cantor post at Salamanca Cathedral, but the position was divided among three singers, including his rival Lucas Fernandez. While working for the Duke of Alba, Encina was the program director, along with Lucas Fernandez. Here Encina wrote pastoral eclogues, the foundation of Spanish secular drama.nEncinas plays are predominantly based on shepherds and unrequited love. Encina was ambitious, looking to be promoted based on preferment, so around 1500 he relocated to Rome, where he apparently served in the musical establishments of several cardinals or noblemen. Encina was appointed to the Archdiaconate of Malaga Cathedral by Julius II in 1508. In 1518 he resigned from position at Malaga for a simple benefice at Moron, and the following year he went to Jerusalem, where he sang his first mass. He also wrote about the events during his pilgrimage to Jerusalem in Tribagia o Via Sacra de Hierusalem. In 1509 he had held a lay canonry at Málaga; in 1519 he was appointed by Leon for the priorship of Leon Cathedral. His last job was recorded as being in Leon, where he is thought to have died towards the end of 1529. His Cancionero is preceded by a prose treatise (Arte de trobar) on the condition of the poetic art in Spain. His fourteen dramatic pieces mark the transition from the purely ecclesiastical to the secular stage. The Aucto del Repelón and the Égloga de Fileno dramatize the adventures of shepherds; the latter, like Pládcida y Vitoriano, is strongly influenced by the Celestina. The intrinsic interest of Encinas plays is slight, but they are important from the historical point of view, for the lay pieces form a new departure, and the devout eclogues prepare the way for the autos of the 17th century. Moreover, Encinas lyrical poems are remarkable for their intense sincerity and devout grace. Even though his works were dedicated to royal families, he never served as a member of a royal chapel. And even though Encina worked in many Cathedrals and was ordained as a priest, no religious musical works are known to still exist. Most of his works were done by his mid-30s, some 60 or more songs attributed to Encina, and another 9 settings of texts on top of that, to which the music could also be added, but not for certain. Many of the surviving pieces are villancicos, of which he was a leading composer The Spanish villancico is the equivalent of the Italian Frottola. There are three and four voice settings that offer a variety of styles depending on the kind of text, with very limited movements in the voices in preparation for the cadence points. To make the text heard clearly, Encina used varied and flexible rhythms that are patterned on the accents of the verse, and used simple yet strong harmonic progressions. ..................................................................................................................... Song Lyric: (Translated) Get up, Pascual, get up, let us go with our flock to Granada. They say the city is taken. Get up quickly, make haste, take your dog and your pouch, your sheepskin and your apron, your shawm and your shepherds crook. Let us go and see the revels in that city of renown. They say the city is taken. I trow you think you have me fooled. Youre pulling my leg, Ill be bound! Upon my oath, more yet than you I wish that it were so. But upon my word, I see no proof that what you say is true. They say the city is taken. Lord bless me, there you go again, you always think Im lying! Im sorry that I told you aught, in future Ill tell you nothing! Stir yourself now, come with me, and mind you do not tarry. They say the city is taken. Never mind all that, my friend, we had better tend our beasts, lest they stray into hostile land and are caught in a Moorish trap. Lets pipe up a merry tune, for the rest is idle gossip. They say the city is taken. Ill tell you how it came to pass: our sovereigns, the king and queen, who of our faith are the morning stars, rode out from Santa Fe. Upon my oath, they both rode out before the break of day. They say the city is taken. The city with our assembled host must at this hour be teeming, with solemn celebrations, with manners sweet and singing. Oh, fairest of the Gothic line, our glorious king and queen! They say the city is taken. What solace and what comfort to see on towers and turrets high the blessed cross displayed! What joy and great relief! And all the Court passed through the gates most splendidly arrayed. They say the city is taken. For this great victory of our lords, our victorious king and queen, let us now give thanks and praise to the eternal King of Glory! For never so perfect a king or queen was known to human memory. They say the city is taken. ................................................................................................................... Interpreted by: Hespèrion XXI, La Capella Reial De Catalunya, Jordi Savall https://youtube/watch?v=Y3Qi9NfSfvw
Posted on: Mon, 10 Nov 2014 14:23:56 +0000
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