Three Musical Adventures

1. Lamplighting Psalms: Mode 2 "Lord I Have Cried" (Arr. I. Arvanitis)  05:32
2. Stíchera prosómoia of Christmas, Set 1 (Arr. I. Arvanitis)  10:11
3. Stíchera prosómoia of Christmas, Set 2 (Arr. I. Arvanitis)  06:53
4. Doxastikón of Great Vespers of Christmas Day "When Augustus Reigned"   (Arr. I. Arvanitis)  04:51
5. Idiómelon from Great Vespers on the Eve of the Sunday of the Publican and the Pharisee (Arr. I. Arvanitis)  03:17
6. Tetraódion for Great and Holy Saturday (Arr. I. Arvanitis): Ode 1 - Ode 3   05:38
7. Idiómelon from Matins for the Sunday of the Pharisee and the Publican (Arr. I. Arvanitis) 03:06
8. Tetraódion for Great and Holy Saturday (Arr. I. Arvanitis): Ode 4 - Ode 5    06:04
9. At Great and Holy Wednesday at Matins "Lord, the Woman Found in Many Sins" (Arr. I. Arvanitis)  08:07
10. Kálophonic stícheron "Lord, the Woman Found in Many Sins" (Arr. I. Arvanitis)  25:54

"The fiddle with its sweet melodies,
sometimes dreamy, sometimes joyful,
sweet notes, delightful, clear, well turned.
The listeners rejoice and make merry." -Arcipreste de Hita, ca. 1330

Jordi Savall attempts to recreate a certain art of sounding the bow over time. Above all, this program is a tribute to all the jongleurs and poet-musicians who were convinced that through music the soul could be moved to boldness and valour, magnanimity and generosity, all qualities that dignify the good governance of peoples.

The earliest string instruments described in Greek mythology, the lyra and the kithara are among those most frequently cited by the Roman poet Virgil (70-19 B.C.). According to Greco-Latin tradition, Apollo invented the lyre, while Orpheus invented the kithara.

From ancient times, there have been constant references to the extraordinary power and effects that music and musical instruments have over people, animals and even plants and trees. Such were the characteristic attributes of Orpheus, whose magical gifts as a musician inspired one of the most mysterious and symbolic myths in Greek mythology. With its origins lost in the mists of time, this myth gradually took on theological proportions, giving rise to a vast and often esoteric body of literature. Orpheus is the musician par excellence, whose enchanting melodies charmed wild beasts, caused trees and plants to bend down before him and soothed even the fiercest of men.

Hesperia (Esperia in Italian) was the name given in Antiquity to the two most westerly peninsulas, the Italian and the Iberian. According to the Greek philosopher Diodorus, this was also the location of the Hesperides, or Atlantis, a wondrous garden where the magical Golden Apples (...oranges or lemons?) were to be found.

And it is in Iberian Hesperia that we find the earliest references to bowed instruments. Unknown during Antiquity and in the early Middle Ages, the use of the bow to draw sound from string instruments, according to one of the most likely hypotheses, seems to have been introduced into Europe via Arabo-Islamic countries. We should not forget the high degree of sophistication achieved by Arab and Byzantine cultures by the tenth century and the importance of the cultural exchanges - often as a result of conflicts - that existed between East and West. It is not surprising, therefore, that the earliest European representations of bowed instruments are to be found in 10th century Mozarabic manuscripts of Hispanic origin: Beatus de Liebana (c. 920-930) and in various Catalonian manuscripts, including the Bible from the Benedictine abbey of Santa Maria in Ripoll.

The medieval fiddle thus emerged as one of the favorite instruments of the troubadours, jongleurs and, in particular, of the nobility who enjoyed playing the fiddle when their martial pursuits were over, as may be seen from the many references in the literature of the time and from iconographical sources, such as the seal of Bertrand Il, Count of Forcalquier (Provence), which on one side represents him armed and on horseback, and on the other playing the fiddle. These noble musicians were known as nobles jongleurs to distinguish them from the professional jongleurs, their musical activities being for pleasure rather than a means of earning a living; music for them was one of the exercitia liberalia (noble or liberal pursuits). In medieval times, therefore, the fiddle (along with the harp) was indispensable to courtly and lordly life.

1. Rotundellus - Trad. Galicia - CSM 105
2. Lamento - Trad. Adrianopoli, Séfarade
3. Danza De Las Espadas - Trad. Algeria, El Kantara
4. Istampitta: In Pro - Italy : Trecento mss.
5. Saltarello - Italy : Trecento mss.

II

6. Ritual - Trad. Algeria, Zendani
7. El Rey De Francia - Trad. Smyrne (Izmir), Séfarade
8. Danza Ritual - Trad. Galicia - CSM 353
9. Istampitta: La Manfredina - Italy : Trecento mss.
10. Trotto - Italy : Trecento mss.

III

11. Alba - Trad. Castelló de la Plana
12. Paxarico Tu Te Llamas - Trad. Sarajevo, Séfarade
13. Danza Del Viento - Trad. Algeria, Berber
14. Istampitta: Lamento Di Tristano - Italy : Trecento mss.
15. Saltarello - Italy : Trecento mss.

IV

16. Ductia - Trad. Galicia - CSM 248

All of them visited him and helped to popularise the image of him as a benevolent ‘father figure’ to this amazing caste of singers and composers.

Ockeghem’s death at a ripe old age in 1497 greatly affected the brilliant generation that was in the process of making the transition between the Middle Ages and the Renaissance, and naturally led to the creation of some deeply moving music. Four motets covering a wide stylistic range, a complete polyphonic mass and an extraordinary poem of lamentation make up this touching tribute to Johannes Ockeghem from his colleagues and friends.

The works assembled on this CD represent the highpoint of Franco-Flemish counterpoint and illustrate the imperceptible shift from Middle Ages to Renaissance thanks to this sublime music sublimated by the death of the great master. They are sung here according to the tradition of the great cathedrals and collegiate churches: a cappella, with one or two singers to a part as the works require.

Johannes Ockeghem didn't invent modern music single-handedly, though he probably has more claim to that distinction than anyone in history except Claudio Monteverdi. But Ockeghem's fame and influence were huge; nearly every known composer of his generation and the next -- Obrecht, De La Rue, Busnois, Desprez, Mouton, Brumel, Compere, Prioris, Agricola, Lupus, Regis, De Monte, Richafort, Moulu, Barbireau, Tinctoris, Lourdault, Gombert, all of The Greatest Generation of music, almost all of them Flemings -- paid Ockeghem the sincerest tribute of imitation. None of the five compositions on this CD are attributed to Ockeghem himself, but you'll hear his voice throughout.

Jacob Obrecht's Missa Sicut Rosa Spinam is constructed around two quotations of music by Ockeghem, the bass line of the Kyrie of Ockeghem's Missa Mi-mi as well as the superius of Ockeghem's motet Intemerata Dei Mater. The four motets - by Pierre De La Rue, Josquin Desprez, Antoine Busnoys, and Johannes Lupus - are all explicit tributes or elegies to Ockeghem and include his name in their texts. Ockeghem has been credited with composing the first, or close to the first, Requiem Mass, a genre that expanded the "territory" of polyphony almost as much as the Louisiana Purchase expanded the young American Republic.

Josquin's motet/chanson, in Latin and French, is deservedly among his best-known pieces; you'll find it on a dozen or more CDs. It's a moving piece on every level but don't fail to read the text. Here's the concluding phrase: