Ensemble Accentus Thomas Wimmer, Director

Cancionero Musical de Palacio Anon. (15tW16th century): Rodrigo Martinez Juan de Anchieta (1462-1523): Con mores, mi madre Juan del Enzina (1468-1529): Pues que jamls olvidaros Juan del Enzina Si a b r i en este baldres Anon. (15th116th century): Si d'amor pena sentis Alonso (f1.1500): Tir'alla, que non quieto Lope de Baena (c.1460-c.1520): Todo quanto yo semi [81 Juan del Enzina: Levanta Pascual Badaj6z (fl.c.1520) Malos adalides fueron Juan del Enzina: Todos 10s bienes del mundo Francisco Millin (fl.c.1500): Durandarte Juan del Enzina: Fata la parte Juan del Enzina: Pedro, i bien te quiero Francisco de la Torre (1460-1505): Danza alta Juan del Enzina: Qu'es de ti, desconsolado? Alonso: La tricotea Anon. (15th116th century): Ay triste, que vengo [Isl Anon. (15tW16th century): So ell enzina Juan Ponce (c.1480-after 1521): Como est5 sola mi vida Anon. (15th116th century): 0 voy Anon. (15tW16th century): Tres morillas m'enamoran Juan del Enzina: Hoy comamos y bebamos

In the year 711 Arab armies from North Africa crossed into the Iberian peninsula and in a few decades established there a new Islamic kingdom that included nearly all present-day Spain. Together with the Arabs came some 50,000 Jews, whose numbers increased during the course of the century. The opposition to foreign domination began to make itself felt from the thirteenth century, continuing until 1492 when Granada was taken, the last Moorish

kingdom, and the whole Iberian peninsula passed again under Christian suzerainty. In the almost eight preceding centuries there had been a mixture of the three groups of people, Arabs, Christians and Jews, with a consequent exchange of some cultural elements. In 1492 this stimulating process came to a sudden end. The fall of Granada was taken as a welcome Gason to exile the Catholicism unconverted Tews, and, with the helv of the Inauisition. to im~ose e auihors of thi period here &ell aware of the as a state religion.' ~ o i critical cultural loss and the spiritual impoverishment that Spain underwent through these events. The support for Columbus and the subsequent attempts to establish overseas the Catholic Vice-Regal dominion offered, it seemed, a more than welcome opportunity away from the particular problems of the country. The end of the fifteenth century brought a definite change in art music. Before this the Spanish rulers had looked for musicians in France, Flanders or Italy, but the Catholic court, under Ferdinand and Isabella, whose marriage in 1462 had united the kingdoms of Aragon and Castile, with their accession to the throne in 1474, engaged only Spanish musicians for their orchestra. Above all it was Ferdinand who, after the death of Isabella in 1504,invited the best Castilian musicians to his court and founded the royal chapel, one of the largest in Europe, with 46 musicians. Through this developmentof awareness of their own culture a style developed different from the Franco-Flemish style of the early fifteenth century. This new style, strongly oriented towards folkmusic and based on a simpler harmonic structure, brought in no way a simplification or descent into the banale, but rather an incomparable strength of feeling and expression. Counterpoint no longer held the main point of interest, but, instead, the sensitive expression of the text. Rather than looking back to original Christian Spain, here there are traces of that culture of which Spain wanted to be rid, that had made such a deep impression on the people, not only in music. The inner melancholy of the music, the rhythm, the form and the contents of many songs are evidence of the presence of Jews and Arabs.

Several so-called Calzcioneros serve us today as sources of the court repertoire, collections of songs, among which the most important is the Calzcio~zerode Palacio. This is found in the library of the Royal Palace in Madrid and originally included 551 compositions, of which, through the loss of 54 pages, 460 are preserved. The origin of this very substantial witness to the musical life of Spain falls in the last third of the fifteenth century and in the first third of the sixteenth. It is certain that this collection is not the work of one but rather of several scribes, who copied the notation very exactly, but made many mistakes and phonetic changes in the texts. In the original the songs are not given in score but are, as in the rest of Europe at this period, given in separate parts, with the text only underlying the discant. The Calzciolzero must certainly have served at the establishment of the Royal Chapel, although many poems stem from the entourage of the Duke of Alba. The songs included are of many different kinds, love stories, political and historical narratives (among them ever again the theme of the capture of Granada), religious, knightly and pastoral subjects, light-hearted pieces and dance music. Castilian is by far the most frequent language, with a smaller quantity of texts in Italian, Portuguese and even Basque, as well as typical songs in a mixture of French, Italian and Castilian. The most frequent forms are those of the villa~zcicoand the ronzance. The former has similarities with the Italian frottola and the Arab zejel, with its probable origin in the fourteenth century and continuing in use well into the sixteenth. It is a strophic form, which always begins with an introductory verse (esfribillo), continuing with an original strophe (copla) and ending with the vuelta. The ronzarlce, on the other hand, is in more general narrative style, dealing with stories of love or knighthood.

The compositional style of the songs is not unified and ranges from fugal writing to simple homophony and complete expression of the text, from the three-voice discant-tenor-contratenor technique of the fifteenth century to the six-voice polyphony of the sixteenth. All in all the Caitciollero de Palncio shows the flowering of Spanish cultural life, made possible through a strengthened self-awareness and feeling of nationhood, developed through ever-growing trade contact with Flanders and overseas and characterized by simplicity, emotional depth and the interweaving of court art with the art of the people. Thomas Wimmer (English version by Keith Anderson)

Ensemble Accentus The Ensemble Accentus was established in Vienna in 1988 and consists of no more than thirteen singers and instrumentalists. The group is devoted particularly to the performance of early Spanish music, with special attention to the element of improvisation. The repertoire ranges from Sephardic Romances, through art-music and popular music of the late fifteenth and early sixteenth centuries to the high polyphony of the latter. Ensemble Accentus has been active in the recording, broadcasting and television studios as well as in public concerts and festival appearances.

Ensemble Accentus Carmen Cano Bernhard Landauer Bemd Lambauer James Curry Colin Mason

mezzo-soprano countertenor tenor tenor bass-baritone

Marco Ambrosini Nora Kallai Lorenz Duftschmid Thomas Wimmer Michael Posch Riccardo Delfino Richard Labschiitz Wolfgang Reithofer

keyed fiddle, gaitita viola da gamba viola da gamba, violone viola da gamba, violone, vihuela d'arco, ud, gaitita Renaissance recorder harp, double harp, hurdy gurdy, gaita vihuela da mano percussion

Director: Thomas Wimmer

Liedtexte

Texts

Rodrigo Martinez

Rodrigo Martinez

Rodrigo Martinez Alas insares iAhe!, Pensando qu'eran vacas, Silr.&r~alas. iHe!

Rodrigo Martinez at the wild geese, he!, thinking they were cows, he whistled. He!

Rodrigo Martinez, Ate11garrido, Los tus ansarinos Lier~alosel rio iAhe! Pensando qu'eran vacas, Silv6valas. iHe!

Rodrigo Martinez, so handsome, your little geese the river carries arvay, he!, thinking they rvere cows he rvhistled at them, he!

Rodrigo Martinez, Atdn lopno, Los tus ansarinos Llevalos el vado iAhe! Pensando qu'eran vacas, Silvh~alas.iHe!

Rodrigo Martinez, so strong, your little geese the ford carries away, he!, thinking they were corvs, hervhistled at them, he!

Con amores, mi madre (instrumental)

Con amores, mi madre (instrumental)

Pues que jamis olvidaros

Pues que jamis olvidaros

Pues que jamis olvidaros No puede mi corafon, Si me falta galardon, iAy, que ma1 hize enmiraros! Set6 tal vista cobrar Gran dolor y gran tristura; Serl tal vista penar, Si me falle~eventura: Mas si vos, por bien amaros, No dira mi coracon iAy, que ma1 hize en mirar!

Since never can my heart forget you, if I have no rervard, Ay, how terrible to see you! Such a sight will bring great pain and great sadness; such a sight will be torment, if luck fails me: but if you, for loving you, rervard me, my heart will not say: Ay, horv terrible to see you!

rn

Si abrl en este baldres

Si abr6 en este baldres

iSi abrl en este baldres Mangas para todas tres? Tres mocas d'aquesta villa Tres mocas d'aquesta villa Desollaban una puta Para mangas a todas tres. Tres mocas d'aquesta barrio Tres mocas d'aquesta barrio Desollaban un cornudo Para mangas a todas tres. iSi abrl.... Desollaban una puta Desollaban una puta Y falt6lesuna tira Para mangas a todas tres. Y faltdles una tira Y falt6les una tira La una a buscalla yba Para magas a todas tres. iSi abrb.... Desollaban un cornudo Desollaban ui cornudo Y falt6les un pedaco Para mangas a todas tres. Y falt6les un pedaco Y falt6les un pedaco La una yba a buscallo Para mangas a todas tres. iSi abrl....

From this hide you will have sleeves for all three? Three girls from this town, three girls from this town skinned a rvhore for sleeves for all three. Three girls from this quarter, three girls from this quarter skinned a cuckold for sleeves for all three. From this hide. .. . .? They skinned a whore, they skimied a whore and lacked a strap for sleeves for all three, and lacked a strap, and lacked a shap, one went to find one for sleeves for all three. From this hide. . . .? They skinned a cuckold, they skinned a cuckold and lacked a piece for sleeves for all three, and lacked a piece, and lacked a piece, one went to find one for sleeves for all three. From this hide.. . . .?

rn

Si d'amor pena sentis

Si d'amor pena sentis

Si d'amor pena sentis, I'or mesuri i por bondat, Cavalleros, si a hancia is, Por Gayferos preguntad. Cavalleros, si a Francia is, Por Gayferos preguntad, Y desilde que su amiga Se l'envian encomendar. Que sus justas i tornoes Bien lo supimos acA, Que salib mis gentilhombre Para alas damas loar. Desilde por nueva Gerta Como me quieten cam: Maiiana hago mis bodas con uno d'allende la mar.

If you feel the pain of love, for good manners and goodness, gentlemen, if you come to France, ask for Gayferos. Gentlemen, if you come to France, ask for Gayferos, and tell him that his mistress has sent you, that with his jousts and tourneys held there he is more of a gentleman for praise of the ladies. Tell him again for sure if he will marry me, tomorrow I will hold my wedding with a sailor.

Tir'allb, que non quiero

@/ Tifall$ que non quiero

Tir'alli. que non quiero, mozuelo Rodrigo. Mi tiempo perdido todo fast' agora, por ser namorado de vos, mi sefiora. Agora que vengo, dasme por abrigo.

Away, I do not love you, my lad Rodrigo. I have wasted my time up to now by loving you, my lady. Now that I come, grant me shelter.

Todo quanto yo semi (instrumental)

Todo quanto yo semi (instrumental)

Levanta, Pascual -Levanta, Pascual, levanta, aballemos a Granada, que se suena qu'es tomada. Levanta toste priado, toma tu perro y currbn, tu camarra y camarrbn, tus albogues y cayado. Vamos ver el gasajado d'aquella ciudad nombrada, que se suena qu'es tomada. -iAsmo cuidas que te creo? ~JUIO a mi! que me chufeas Si M mucho lo desseas Soncas, yo mis lo desseo. Mas a la mie f6 no veo apero de tat majada. Que se suena qu'es tomada. -Hora ipese a diez contigo! siempre piensas que te miento: Ahotas que me arrepiento porque a ti nada te digo! and'aci, vete comigo, note tardes mis tardada, que se suena qu'es tomada. iQue consuelo y qu6 connorte ver por tortes y garitas alzar las cruzes benditas! iO qu6 plazer y deporte! Y entraba toda la corte a milagro ataviada. Que se suena qu'es tomada.

[81 Levanta, Pascual Up, Pascual, up, let us go to Granada, norv they say it is taken. Up quickly, take your dog and pouch, your sheepskin jerkin and coat, your boots and shepherd's crook. Let us go to see the rejoicing of that famous city that they say is taken. -Do you think I believe you? I swear it! You jest if you want it any less than I do. By my faith I see nothing more of this sheepfold, now they say it is taken. -Now, you will be sorry! You a1rva)rs think I am lying: you suppose that I am sorry for telling you lies! go there, see it with me, do not delay more, for they say it is taken. What comfort, what consolation to see on the torvers and turrets rise the blessed crosses! Oh what pleasure, what delight And I entered the whole courtyard rvo~lderfullydecorated, for they say it is taken.

Por vencer con tal vitoria 10sreyes nuestros seiiores, demos gradas y loores a1 eterno Rey de Gloria, que jamis qued6 memoria de Reyes tan acabada: que se suena qu'es tomada.

Malos adalides fueron

To conquer with such a victory, our royal masters, we shall give thanks and praise to the eternal King of Glory, that the memory of this act of our kings remain praised for ever: for they say it is taken.

@j

Malos adalides fueron

Malos adalides fueron Los ojos que vos miraron, Qu'entraron y no salvaron El coraqon que prendieron. Prendi6 me vuestra beldad Las fuerqas de mi querer; Rob6 me la voluntad A jamas tener plaser. qierto, ma1 guidados fueron Por la via que llevaron, Qu'entraron y no salvaron EL cora$oii que prendieron.

They were bad leaders, the eyes that saw you, who entered a i d greeted not that heart that welcomed. Your beauty captured me, your powet tookmy mind, robbed me of my will, with no delight more. Indeed, they were badly led that looked up, entered and greeted not the heart that welcomed

Todos 10s bienes del mundo (instrumental)

Todos 10s bienes del mundo (instrumental)

rn

Durandarte -Durandarte, Durandarte, Buen caballero probado, Yo te ruego que hablemos En aquel tie~npopassado, Y dime si se te acuerda Cuando fuste enamorado, Cuando en galas 6 invenciones Publicabastu cuidado, Cuando venciste 6 10s moros En campo por mi apluado: Agora desconoddo, Di, ipOr qud me has olvidado? -Palabras son lisonjeras, Sefiora, de vuestro grado; Que si yo m u d a m hice, Vos lo hab6s todo causado, Pues amastes d Gayferos Cuando yo fui desterrado; Que si amor querds comigo, Teneslo muy ma1 pensado; Que pot no sufrir ultraje Morird desesperado.

rn

Durandarte - Durandarte, Dura~idarte, good, true knight, I beg you that we may talk of that time past and tell me if you remember when you were in love, when in finery and verses you made known your care, when you conquered the Moors in the field of battle to please me. Norv a stranger, say, rvhy have you forgotten me? -Words are flattering, Lady, of your degree; If I have changed, you have caused it all, since you loved Gayferos when I was away; if you want to love me you are wrong, so that to avoid more suffering I die in despair. (Only the first four verses of this romance are given in the Cnt~ciotlero. The rest is from the Cntlcio~lerode Cnsfillo of 1511)

[iZl Fata la parte

[iZl Fata la parte

Fata la parte tutt'ogni cal, qu'es morta la mullet de nicer Cotal.

Tell it everywhere that the rvife of Monsieur Cotal is dead.

Porque l'hai trosato con un espaiiolo en su casa solo, luedo l'hai mapto. Lui se l'ha escapato por forsa y por arte. Fata la parte...

Because I found her with a Spaniard alone in the house, I killed her. He, though, escaped by chance and cunning. Tell it everywhere. ..

Restava dicendo, porque l'hovo visto, - jo vilasme Cristo!, el dedo mordiendo, gridando y piagendo: - jEspalioleto, guarte! Fata la parte...

He stopped, for I saw him -Oh Christ help me!, biting his finger, shouting out and rveeping: -Spaniard, see to yourself! Tell it everywhere.. .

iGuarda si te pillo, don espalioleto! Supra del mi leto te far6 un niartillo, tal queen escre\rillo piangeran le carte. Fata la parte...

Take care if I catch you, Little Do11Spaniard! Over my bed I will give you such a lesson, that the pages will weep to read it, if it is written. Tell it everywhere. ..

- Micer mi compare,

-Monsieur, it seems to me thanks to her and you. -Let me be and take no care. -It seems bad enough to me that he is a cuckold Tell it everywhere.. .

grada della e de ti. - Lasa fare a mi y non te curare. - Assai ma1 me pare lui encornudarte Fata la parte...

Pedro, i bien te quiero

Pedro, i bien te quiero

Pedro, i bien te quiero, magiiera vaquero. -As tan bailado, corrido y luchado, que m'as anamorado y d'amores muero. Pedro, ..... - A la fe, nostrama, ya suena mi fama, y aun pues en la cama soy mui mas altero. Pedro, ... -Nose que te diga, tu amor me fatiga; tenme por amiga, sey mi compaiiero. Pedro,... - Soi en todo presto, manoso i dispuesto, y enver vuestro gesto mucho mds m'esmero. Pedro, ... Quiero que me quieras; pues por mi t'esmeras, tengamos de veras amor verdadero. Pedro,... Nostrama, seiiora, yo naci en buen ora; ya soy desde agora vuestro por entero. Pedro,...

Pedro, I low you, although you are a cowherd. -You have so danced, run and fought, that you have made me love you and I die of love. Pedro. . . -By my faith, my lady, my fame is spoken, yet in bed I am quite different. Pedro.. . - I do not know what to tell you, love for you tires me; take me as your mistress, be my companion. Pedro.. . - I am quick in everything, gentle and ready, and when I see your look I take more care. Pedro.. . I want you to love me; since you care for me, let us hy hue love indeed. Pedro. . . My lady, mistress, I was born at a lucky hour; and now I am yours for ever. Pedro.. .

Danza alta (instrumental)

Danza alta (instrumental)

Qu'es de ti, desconsolado

Qu'es de ti, desconsolada

iQu'es de ti, desconsolado? iQu'es de ti, rey de Granada? iQu'es de tu tierra y tus moros? iD6nde tienes tu morada? Reniega ya de Mahoma y de su seta malvada, que bivir en tal locwa es una burla burlada. Torna, tirmate, buen rey a nuestra ley consagrada, porque, si perdiste el reino, tengas el alma cobrada. De tales reyes vencida honra te deve ser dada. iO Granada noblecida, por todo el mundo nombrada! hasta aqui fueste cativa y agora ya libertada Perdiirteel rey don Rodrigo por su dicha desdichada, gan6te el rey don Fernando con ventura prosperada, la reina doiia Isabel, la m5s temida y amada: ella con sus oraciones, y 6l con mucha gente armada. S e g h Dios haze sus hechos la defensa era escusada, que donde el ponde su mano lo impossibiie es casi nada.

What is it with you, disconsolateman? What is is with you, Kine, of Granada? What is it with your landand your Moors? Where is your dwelling? Deny no~vMahomet and his wicked sect, for to live in such madness is a mockery. Turn, turn, good King to our sacred law, for, if you have lost your kingdom, you have saved your soul. Conquered by such kings, honour must be given you. Oh, noble Granada, famous through the whole world! Until norv you were captive and now you are set free. King Don Rodrigo lost you through his ill fortune, King Don Fernando won you with a successful venture, the Queen Doiia Isabella, most respected and loved; she by her prayers and he rvith his great army. Through God he did his deeds, the defence rvas beaten for where he raises his hand the impossible is as nothing.

La tricotea

La tricotea

La tricotea samartin la vea; Abres un poc a1 agua y senalea. La bota senbra tuleta, la senal d'un chapire. Ge que te gus per mundo spesa. La botilla plena, dama, qui mayna, cerrali la vena. Orli, cerli, trun madama, cerlicer, cerrarli ben, votr'ami contrari ben. Niqui, niquiddn, formagidtin, formagiddn. Yo soy monarchea de grande nobrea. Dama, por amor, Dama, be1 se mea; Dama, yo la vea.

The knitter today sees her; you will have water in the drink. The wine-ski seems broken, the sign of a cuckold (?). You find it everywhere. The little wine-skin hll, lady, who commands, heals the blood. Orli, cerli, trun madama, cerlicer, heals it well, your friend right over there. Not here, not there, formagidtin, formagidtil. I am monarch of great nobility. Lady, for love, Lady, fair one, be mine; Lady, I see her. (The original text is in an apparent mixture of languages, with possible mis. spellings or phonetic changes, or simply nonsensewords. The suggested translation is highly conjectural)

Ay triste, que vengo

Ay triste, que vengo

iAy triste, que vengo Vencido d'amor, Maguera pastor! Mas sano me fuera No ir al mercado, Que no que viniera Tan aquerenciado; Que vengo cuitado, Vencido d'amor, Maguera pastor. Di jueves en villa Viera una dofiata; Quise requerilla, Y aballb la pata: Aquella me mata Vencido d'amor, Maguera pastor.

How sad I am, conquered by love, fair shepherd! It were better for me not to go to market, that I should not come, so fond am I; were I to come in sorrOXV, conquered by lose, fair shepherd. On Thursday in totv~l a girl I swv; and rvould have approached her, but she showed her claws: she kills me conquered by love, fair shepherd.

[181 So ell enzina (instrumantal)

[i81 So ell enzina (instrumental)

Como esti sola mi vida

Como estd sola mi vida

Como esti sola mi vida, mi vida Llena de muchos cuidados, Lamentando amortePda, Llora~domales pasados. Quexase no sabe a quien Del ma1 que tanto le duele; Dize que perdib su bien, No halla qien le consuele.

Horv lonely my life is, my life full of many cares, lamenting in death, weeping over the unlucky past. There is groaning over I know not whom for the misfortune that so grieves him; it is said he has lost his beloved and finds none to console him.

0 voy (instrumental)

0 voy (instrumental)

Tres morillas m'enamoran

Tres morillas m'enamoran

Tres nori ill as m'enamoran en Jaen: Axa y Fitima y Marien. Tres morillas tan garridas )wan a coger olivas, y hallivanlas cogidas, en Jaen. Axa y Fitima y Marien. Y hallivanlas cogidas, y torliavan dsmaidas y las coloresperdidas, en Ja6n Axa y Fiitima y Marien. Tres moricas tan locanas yvan a coger mancanas y hallivanlas cogidas, en Jaen. Axa y Fiitima y Marien.

Three little Moorish girls I love in Jaen: Axa and Fatima and Marien. Three little Moorish girls so pretty, went to pick olives, and found themselves picked, in Jaen. Axa and Fatima and Marien. And found themselves picked, and returned fainting and pale, in faen. Axa and Fatima and Marien. Three Moorish girls so mad went to pick apples and found themselves picked, in Jaen. Axa and Fatima and Marien.

Hoy comamos y bebamos

Hoy comamos y bebamos

Hoy comamos y bebamos, y catemos y holguemos, que miuiana ayunaremos. Por honra de Sant Antruejo paremonos hoy bien anchos. Ernbutamos estos panchos, recalquemos el pellejo: que costumbre es de consejo que todos hoy nos hartemos, que maiiana ayunaremos. Honremos a tan buen santo porque en hambre nos acorra; comamos a calca porra, que maiiana hay gran quebranto. Comamos, bebamos tanto

Today let us eat and drink and sing and have a holiday, for tomorrow we fast. In honour of Saint Antruejo let us be together today. Let us fill our stomachs, let us empty the wine-skin: it is the general custom that we all sate ourselves today for tomorrorv rve fast. Let us honour the good saint because he comes to us hungry; let us eat our fill, for tomorrow is a great falling off. Let us eat. let us drink

hasta que reventernos, que maliana ayunaremos.

as much as we can for tomorrorv we fast.

Beve Bras, miis t13 Beneito. Beva Pedruelo y Lloriente. Beve tfi primeramente; quitarnos has desse preito. En bever bien me deleito: daca, daca, beveremos, que mafiana ayunaremos.

Drink, Bras, more for you Beneito Drink Pedruelo and Lloriente. Drink first; before you go. Drinking is my delight: come, rve shall drink for tomorrow we fast. Let us be merry today for to~norrowcomes death; let us drink, let us eat fruit, let us eat meat. We will not lose a mouthful and tomorrow rve fast.

Tomemos hoy gasajado, que mafiaiia vien la muerte; bebamos, comamos huerte, viimonos carra el ganado. No perderemos bocado, que comiendo nos iremos, y mafiana ayuiaremos.

(English versions by Keith Anderson)

EARLY MUSIC on NAXOS ADORATE DEUM (Gregorian Chant - Male Voices) BYRD: Masses for Four and Five Voices I Infelix ego Music for Viols, Voices and keyboard CARDOSO I D. LOBO: Missae pro defunctis FRENCH CHANSONS GESUALDO: Complete Sacred Music for Five Voices GIBBONS: Music for Viols, Voices and Keyboard IN PASSIONE ET MORTE DOMINI (Gregorian Chant for Good Friday) JENKINS: All in a Garden Green LAMENTATIONS: (Tallis I White I Palestrinal Lassus I de Britn) LASSUS: Masses for Five Voices I Infelix ego LASSUS I PALESTRINA: Masses da MILANO, Francesco Canova: Fantasias, Ricercars and Duets MEDIEVAL CAROLS MUNDY: Magnificat I Kyrie I TYE: Missa I Peccavimus I Omnesgentes MUSIC OF THE ITALIAN RENAISSANCE (Voice and Lute) MUSIC OF THE SPANISH RENAISSANCE (Voice and Lute) PALESTRINA: Missa Papae Marcelli I Missa Aeterna Christi Munera RENAISSANCE MASTERPIECES SALVA FESTE DIES Gregorian Chant Female Voices

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VICTORIA: Ave Maria1 Missa 0 magnum mysterium I Missa 0 quam gloriosum A. LOBO: Versa est in luctnm

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Recorded by W'A'R Studio at the Lutheran Stadtpfarrkirche A.B., Vienna, from 9th to i2th May, 1995. Engineers: Elisabeth and Wolfgang Reithofer Music Notes: Thomas Wimrner (English Translation by Keith Anderson) Cover Painting: King Ferdinand of Spain by Michiel Sittow (1469 - 1525) (Archivfiir Kunst und Geschichte)