Variations on Cantiga No.424

These are not actually variations in the modern sense, as if there were some “original” to which they were somehow related. I could have more properly, perhaps, called them “evolutions.” In the world of oral, traditional music – to which the middle ages was still greatly indebted – musical themes were varied, modified, adapted, to changing situations and contexts. Early Christian chant was, reportedly, influenced by secular melodies (sailors’ songs are mentioned), as would be expected. Martin Luther was not the first to whom the thought occurred, “Why should the Devil have all the good tunes?” “Tune families” have been documented across Europe just as have motifs in folklore. Humans borrow: a good song is a good song. One need not wonder whether Bornelh’s “Reis glorios” or Cantiga 340, “Virgen madre groriosa” has priority: they are likely only the remaining evidences of a flowing stream of this rhapsodic, melismatic utterance.

Each of these instrumental essays into possible contexts for this melody explores a different world. In the first few, the pastoral life of northern Iberia, linked to ancient Europe through migration and trade, is expressed in traditional instruments. Others include increasing influence from the greater Mediterranean oikoumene and, eventually, the dazzling sounds of the introduced Islamic world. None is to be considered authoritative; they are all merely suggestive. Other, more proficient hands can explore more deeply; I would consider it an honor.

1. Endblown shepherd’s flute; improvisation on two melodic ideas. Sumatran saluang. [1:55]

2. Another improvisation on an old European long pipe, employing harmonic overtones. Cylindrical tube. [2:52]

3. Improvisation on the ancient panpipes, used for melodies and signalling, especially in mountain regions. Often associated in Iberia with knife sharpeners and itinerant animal castrators. [1:37]

4. The trump, or jaw harp, an Iron Age instrument which also utilizes overtones. This performance demonstrates the old European style of a duple melody changing to 6/8. [2:26]

5. The traditional one-man-band of pipe and tabor, here with Duane Lakin-Thomas and Lewis and Paula Peterman in concert in 1982, in a medley with Cantiga 119, again using a duple melody changing to 6/8. [2:44]

6. A small, 3-stringed, piriform short lute which evolved into the gittern and, with the introduction of the bow around the 11th century, produced the rebec. Here, in an ancient 7-beat dance rhythm. Self made, carved from a dead pear tree in my yard. [1:39]

7. The indigenous European short lute, called guitarra latina to differentiate it from its imported long-necked cousin, was to become more important as Islamic influence waned, eventually giving rise to vihuelas and guitars. Melody in 4, preceded by an improvised intrada. Guitarra latina, square adufe. [3:54]

8. A small 3-string long lute of the tanbur family, called guitarra morisca in Spain to indicate its introduction from the Middle East, as opposed to the indigenous form of short lutes. Variations of the melody including developments suggesting its possible evolution. Small cura saz. [2:19]

9. Hemiola, the rhythmic interplay of duple and triple meter, occurred in European, especially Iberian music, and was famously influential in the New World. Self made guitarra latina [as #7], medieval lute, percussion. [3:22]

10. Canons, caças, occurred in northern peninsular traditions, harkening back to ancient Old European roots. Three guitarras latina [as #7], medieval lute, self made carved body Central Asian style lute, percussion; in 3. [2:28]

11. A four-string gittern, carved from a block of wood; it enjoyed medieval popularity alongside its cousin the lute but eventually lost favor. Melody in 3. Self made gittern, alto recorder. [3:27]

12. A 5-string guitarra morisca with Nylgut strings and frets, plucked in a free, assymetrical rhythm. Reflecting the unstable nature of many intervals, especially thirds, it utilizes a major 3rd in ascending passages and a minor 3rd on descent; free rhythm. Self made guitarra morisca. [1:57]

13. Another 5-string fretless tanbur with nylon strings, strummed in Central Asian style in a major scale in four. Kirghiz komuz. [2:20]

14. Numerous recorders, both melodic and drones, playing only the first phrase, accompanied by various percussion; in a somewhat Amazigh style in 4. [1:53]

15. A self made carvel-built guitarra morisca, with 5 steel strings, medieval lute, and guitarra latina [as #7], in minor as notated, with frame drums. [5:00]

16. String ensemble with qanun intrada, dulcimer, medieval lute, and dafs, in 5. [4:37]