Juan del Encina
The reconquest of Spain in the 15th century seemed to engender a remarkable proliferation of musical creativity that lasted at least into the 17th century. An early exponent of this was Juan del Encina, born in Salamanca in 1468. There are four main locations where he was active—Salamanca (including Alba de Tormes), the Papal Chapel in Rome, Malaga, and Leon where he died in 1529. Despite his association with three Spanish cathedrals and the Papal Chapel his known output is entirely secular—about 70 villancicos and romances.
In his youth Encina was involved with both the Cathedral and University at Salamanca. Then in 1492 he joined the household of Fadrique Alvarez de Toledo, 2nd Duke of Alva, at his castle at Alba de Tormes 15 miles up River from Salamanca. There he provided plays and entertainments with music. That same year the Duke had signed the capitulation of the Moors at Granada, and we find the Duke’s musician celebrating that event in song.
In 1498 Encina was called to the Court of Pope Alexander VI in Rome where he became the “closest familiar” to the Pope, again providing plays and entertainments to the Court, and being rewarded by the Pope with benefices at Salamanca Cathedral. Pope Alexander died in 1503 and the advantageous relationship continued with Pope Julius II who granted Encina the Archdeaconate of Malaga Cathedral. From 1508-19 Encina divided his time between Rome and Malaga. One of Encina’s duties was to represent Malaga Cathedral at the Spanish Royal Court, first with Ferdinand II then after 1516 with Charles V.
In 1513 Leo X, the music loving Medici, became Pope and showing his appreciation of Encina issued a special Papal Bull to the Malaga Chapter that Encina was not “to be disturbed . . in the enjoyment of his full income” while he was away in Rome. In 1519 Leo granted Encina’s final prebend—Prior of the Cathedral of Leon, whereupon he was finally ordained and decided to make a pilgrimage to Jerusalem. He celebrated his first Mass in the Church of the Holy Sepulcher there.
Juan del Encina returning to Rome stayed until Leo X’s death in 1521, then, finally, he assumed his duties at Leon Cathedral. In January 1529 the Cathedral Chapter installed a deputy for the invalid Encina. He died later that year. Buried in Leon, his body was later disinterred and buried in the choir of Salamanca Cathedral as requested in his will.
Levanta, Pascual
One can well imagine how pleased his employer, the Duke of Alva, was with Encina’s songs about the Fall of Granada in which the Duke was an active participant. Encina was also a playwrite so this villancico may well have been part of a drama about the Fall. Originally there are many verses . . . two are sung here.
Juan del Encina _Levanta, Pascual_
Levanta, Pascual, levanta,
aballemos a Granada,
que se suena qu’es tomada.
Levanta toste priado,
toma tu perro y çurrón,
tu çamarra y çamarrón,
tus albogues y cayado.
Vamos ver el gasajado
de aquella ciudad nombrada,
que se suena qu’es tomada.
Get up! Pascual, Get up!
Let’s hurry to Granada,
Which they say is taken.
Get up right now,
Take your dog and back-pack,
Your suit and cloak,
Your pipes and shepherd’s crook.
Let’s go see what’s happened
In that famous city,
Which they say is taken.
Mi libertad en sosiego
Two stanzas out of at least seven are sung here. As with most of Encina’s songs it is found in the ‘Cancionero Musical de Palacio’ held at l’Escorial, Madrid. The harmonic progression is quite compelling no matter how some performers may try to minimize it.
Juan del Encina"Mi libertad en sosiego"
Mi libertad en sosiego
Mi corazón descuidado
Sus muros y fortaleza
Amores me lo han cercado
Y la fe, que era el alcaide
Las llaves les ha entregado
Combatieron por los ojos
Diéronse luego de grado
My untroubled freedom,
my carefree heart,
its walls and defences,
have been besieged by Love.
And Faith, which was the jailer,
has delivered the keys over to Love.
Love attacked through my eyes,
and then my defences all gladly yielded.
trans. by Christopher Pountain
Qu’es de ti desconsolado
Another romança celebrating the Fall of Granada and mocking the Muslim ruler, Boabdil. A different interpretation might take on a more mocking character . . . but we are a music organization. We can’t know how it was done at Alba de Tormes.
Juan del Encina "Qu'es de ti desconsolado"
?Qu’es de ti, desconsolado?
?Qu’es de ti, Rey de Granada?
?Qu’es de tu tierra y tus moros?
?Dónde tienes tu morada?
Reniega ya de Mahoma
y de su seta malvada,
que bivir en tal locura
es una burla burlada.
?O Granada noblecida,
por todo el mundo nombrada,
hasta aqui fuiste cativa
y agora ya libertada!
What of you, disconsolate one?
What of you, King of Granada?
What of your land and your Moors?
Where do you now have your home?
You must renounce Muhammad
And his evil sect;
To live in such madness
Is a derisible derision.
O noble Granada,
Known throughout the world,
Up to now, you were captive,
Now you are set free!
(Carol Anne Perry Lagemann, trans)
Quedate, Carillo, adios
Juan del Encina "Quedate, Carillo, adios"
— Quédate, Carillo, adiós.
— ¿Do quieres, Juan aballar?
— A Estremo quiero pasar.
— Quédate, adiós, compañero,
ya me despido de tí,
no digas que me partí
sin saludarte primero:
Sábete que ya no quiero
por esta sierra morar.
A Estremo quiero pasar.
— ¿A Estremo, Juan, quieres irte?
Llega, llega acá, aborrido,
¡sabes cuánto te he querido,
y quieres de mí partirte!:
¿Sin más ni más despedirte,
así me quieres dexar?.
— A Estremo quiero pasar.
Triste España
Juan del Encina "Triste España"
Triste España sin ventura,
todos te deven llorar.
Despoblada de alegria,
para nunca en ti tornar.
Una sañosa porfia
Juan del Encina "Una sañosa porfia"