Las Cantigas de Santa Maria 2023

This is the transcript and playlist for my annual radio program called Las Cantigas de Santa Maria, a musical biography of King Alfonso X. One place to hear the music and production is on the world wide web. http://www.hppr.org on December 22 at 2:00 p.m. Central Standard Time.

Opens with Cantiga #1 Des Oge Mais Quer’ eu Trobar

Alvaro Sanchez Guillaumet: 4:35

We began this musical journey with The Learned King declaring himself Mary’s Troubadour who will take her teaching to his Kingdom and beyond. We just heard Alvaro Sanchez Guillaumet performing CSM#1 on the Hurdy Gurdy with frame drums and Oud.

The Cantigas de Santa Maria is a collection of poems put to music. The catalog consists of more than 420 poems set to music beginning with what is called a “cantiga de loor” song of love, and every 10 song is a song of love while the others focus on scenarios related to sins and crimes with their accompanying morality story. Let’s hear the Waverly Consort in their English language interpretation of CSM #1 when the Learned King declares himself the Virgin Mary’s Troubadour and asks the “noble lady” to bestow the inheritance of eternal life and grant Alfonso’s kingdom a place in eternity. 2:43

That was the Waverly Consort led by the late Michael Jaffe with the prologue that precedes CSM# 1. You heard an English translation of the King declaring himself the Virgin’s troubadour. The first time I heard the Waverly Consort’s CSM was a live recording from the Cloisters in NYC presented on NPR. Again, of the more than 420 Marian poems written by King Alfonso X and his assistant scribes, every 10^th poem is a song of love for the Virgin.

Ben Sab à Que Pod è Val “Miragre” (Mirage) Musica Iberica de Holanda (Iberian Music of Holland) 6:54

That was Ben Sab a Que Pod e Val by Musica Iberica de Holanda (Iberian Music of Holland) with a story of power and forgiveness.

King Alfonso ruled his Kingdom of Castile-Leon, now Spain, from 1252 until his death. Scholars and Alfonsine devotees continue to celebrate the Learned King’s birthday on November 23 of each year, this being his 801^st year since his birth.

Let’s discuss, for a moment, the language of King Alfonso X.

In a past interview with Alfonsine scholar, Dr. J. K. Knauss, she noted that the great legacy of El Sabio is that he lived up to his name, “the wise” because he was obsessed with writing everything down. Whether it was mathematics, astronomy, the virtue of playing board games and other leisurely activities to balance hard works, laws to govern his subjects, and teaching morality, he not only wrote continually, but he chose not to write in Latin, the language of Kingdoms of the day. What made his legacy so strong is that he wrote in Galician-Portuguese, the embryonic Castilian, the present-day Spanish. The Learned King is considered the “Father of Castilian.” Was he that much of a visionary? It would seem so since Spanish only trails Chinese as the most common language worldwide, flanked by English, Arabic, Hindi, Bengali, Portuguese, Russian, Japanese, and Lahnda, aka, “Western Punjabi” according to The World Economic Forum.

In a very short phonics lesson, “Cs” and “Zs” were pronounced with a “TH” sound or a lisp, which I illustrate here in one of many miracles of in the Cantigas de Santa Maria. This is CSM#368 Maria de Cordoba y Santa Cruz de Cadiz: A woman, named Mary, lived in Cordoba next to the Church of Holy Mary the Great [the former great mosque]. She believed that she had a snake in her stomach and she travelled through Extremadura and then to Castile.

The abbot of Silos [Santo Domingo?] appeared to her in a vision and instructed her to go there. He said that the Virgin would show her how to get well.

When she got to Silos, she had another vision. This time, she was instructed to visit Santa Maria do Porto. The next day, the woman set off for that place.

When she arrived, she held a vigil and fell asleep in front of the altar. In a vision, the Virgin instructed her to go to the cathedral at Cádiz at daybreak.

She boarded a ship and they put out to see. When the people on board saw Cádiz and the church they praised the God and the Virgin.

Then the woman coughed up a red snake, like a thick eel. Everyone was amazed and praised the Virgin.

Performed by Eduardo Paniagua, the hurdy gurdy master devoted to recording all existing CSMs.

CSM#368 Maria de Cordoba y Santa Cruz de Cadiz. 6:39

END OF SEGMENT ONE

You’re listening to this holiday special Las Cantigas de Santa Maria, the holy canticles of the Virgin Mary and musical biography of Alfonso X, the King of Castile-Leon, now Spain. I’m your host, Debra Bolton.

Alfonso X ruled from 1252 to 1284. To put the world into perspective at the time, the English language continued to change from its Germanic-rooted Olde English of the Beowulf poet (circa 9^th or 10^th century) after the Norman invasion of 1066. In the next century, we hear the English of Geoffrey Chaucer and the Gawain Poet. Europeans now use Arabic numerals in favor of Roman Numerals. In the Mongol Empire, Mongke, officially, marks the worship of his grandfather, Genghis Khan while Buddhism, Islam, and Christianity flourish. The Inca Empire of Peru is thriving. England begins the process of segregation of Jewish peoples, and other countries begin to follow suit. The Mexica people, also known as Aztecs, are building their great city on a lake in what is now Mexico City. King Alfonso X’s bid to be King of the Holy Roman Empire fails in favor of Count Rudolf, bringing prominence to the Habsburg family, Rudolf was considered mediocre as Alfonso was too ambitious and certainly too bright for the Pope of the time.

Let’s begin this segment with Patrizia Bovi Ensemble Micrologus and a song of love for the Virgin Mary 2:32

Cantigos de Santa Maria: Prologue instrumental (Gaita) the Galician Bagpipe: Ensemble Jehan de Channey, Vincent Aliquot, Vincent Barthelemy 1:26

CSM#159: 2:31 Talks about the Pilgrims to Rocamadour whose meat was stolen. Performed by Ensemble Jehan de Channey, Vincent Aliquot, Vincent Barthelemy.

We just heard three pieces: We began with a song of love performed by Patrizia Bovi Ensemble Micrologus and we heard the Prologue performed on the Gaita, the Galician Bagpipe and we heard CSM#159, about the Pilgrim to Rocamadour whose meat was stolen. These stories are presented as miracles that put an end to pain, suffering, and criminal ways after the Virgin intervenes.

You’re listening to Las Cantigas de Santa Maria, a musical biography of King Alfonso X, El Sabio, the wise. I’m your host, Debra Bolton.

Let us turn now to a song of love for the Virgin Mary as envisioned by King Alfonso X. This is called Eno Mome de Maria, CSM#70 performed by Universalia in Re 5:41

That was Universalia in Re performing a song of love for the Virgin Mary. You’re listening to Las Cantigas de Santa Maria, the musical biography of Medieval King of Spain, Alfonso X.

This is CSM 13, the story of A thief named Elbo always prayed to the Virgin and commended himself to her.

One day he was caught stealing and the magistrate ordered him to be hanged.

As Elbo was hanging on the gallows, the Virgin supported his feet so that he did not choke. He stayed on the gallows for three days.

The magistrate passed by, noticed the thief was still alive, and had the rope adjusted. The Virgin continued to protect Elbo.

The thief spoke to the magistrate and his men, explaining that the Virgin had been keeping him alive. The magistrate praised the Virgin and had him taken down from the gallows. Elbo joined a monastery.

Performed by Robin Rolfhamre 5:34

You just heard the oud in that piece. The oud was the precursor to the guitar, oud being the Arabic word for wood. That was the story of Elbo, who changed his thieving ways and joined a monastery. Robin Rolfhamre is a professor of music and researcher in Sweden who plays lute, oud, and psaltry and who investigates the functions and performance of music in France in the 17^th and 18^th centuries.

Next, we’ll explore CSM 77-119, performed by Forfaitz. 5:12

77: A woman was almost entirely paralyzed. Her limbs were shriveled and twisted, and no medicine could cure her. On the Virgin’s feast in August, Mary straightened her limbs. Each of her limbs made a loud cracking sound as the shrunken tendons stretched. The bishop and the people who witnessed her healing wept and gave thanks to the Virgin.

78: The Count of Toulouse favored one of his courtiers. The man was devoted to the Virgin and refused to hear any mass but hers. The other courtiers were jealous of the pious man and plotted against him. They lied to the count, slandering him and accusing him of terrible crimes. The count decided to burn the man. He instructed the lime burner to throw into the fire the first man who came his way. He sent his victim on an errand to the lime burner, but, on his way, the man stopped to hear mass recited at a hermitage. The count, thinking the deed had been done, sent another man to the lime burner. This man was the one who had slandered the Count’s favorite. The lime burner seized him and threw him into the flames. When the count saw the good man alive and learned of the slanderer’s death, he realized justice had been served. He wept, praising the Virgin, and promised to have the miracle proclaimed in all her churches.

CSM 77-119, each tell a story of an afflicted person or one who engages in crimes and how each time the afflicted or the criminal cries out to the Virgin with much contrition, and low, the Virgin saves them from their disease or sentencing.

Forfaitz. 5:12

Quen a omagen – Ansambl Triola 3:04

According to Alfonsine scholar, Dr. J.K. Knauss,

King Alfonso employed artists to create two and three-dimensional works of art to correspond to the poems and songs, which would have made the Learned King an early pioneer in multi-media. Now, here we are putting it all in digital form! Some scholars point of the works of art, the songs and the poems as Alfonso’s way to teach morality to the subjects of his kingdom on many levels. While those in his court were, themselves, learned and well-educated people, there were many in his kingdom who, perhaps, could not read or write. Hence the need for the lessons on morality in more than written forms.

Regarding the language:

The poems and songs employ the language of the time, which is Galician-Portuguese, Medieval Galician, or as some linguists and historians simply call the language, Romance, the root language of Castilian, the language of Spain and its subsequent colonized countries in the Americas.

When we think about world events of King Alfonso’s time, between the 12 and 14^th centuries, there was a sect of Christians called the Cathare, a

fundamentalists sect who believed there were two gods: A good one who presided over the spiritual world, and an evil one who ruled the physical world. Cathars viewed even sex within marriage and reproduction as evil, and so lived strict lives of abstention. Here I present the spoken text of the Papal Bull legislating torture of those practicing Catharism, called “Ad Exstirpanda.” Papal bulls are edicts issued by the Pope of the Catholic Church. We know the one issued in 1492 before the launching of Columbus, the edict of colonizing so called, “Non-Christian” countries and enslaving Indigenous peoples some 200 years after Alfonso X’s rule.

At odds with the Catholic church, The Cathare believed in female deities and believed that Mary Magdalene and Jesus were married. The text is presented in Latin, as the Cathar of the time were in France and Italy.

This lament, performed by Jordi Savall and Hesperion XXI Veri dulcis in tempore” translated “A true Sweet season” of the time from the CD “The Forgotten Kingdom.

Veri dulcis in tempore: 3:57

That was Jordi Savall and his Hesperion XXI performing music of the forgotten Kingdom of the Cathare in France and Italy.

After 1492, in addition to colonizing the lands and its people, Spain, also, colonized the languages of the Americas and the Caribbean. Since the so called, “first contact,” we saw Castilian overwhelming, and often erasing, many Native languages of the islands and the continents, thanks to the Doctrine of Discovery establishing a so called, “spiritual, political, and legal” justification for colonization and seizure of land NOT inhabited by visibly Christian (white) People. Again, the Spanish we hear today differs widely from that of the CSM and Alfonso X’s time. However, you don’t need to understand Galician-Portuguese to enjoy this music, known for its complex musical structures and its use of what we now call, ancient instruments.

Coming up in the next hour of Cantigas de Santa Maria, we will hear more songs and tunes about miracles of the Virgin Mary as we continue this musical biography of King Alfonso X, the wise, of 13^th Century Spain

Go to an instrumental played by the Waverly Consort, Cut #15, to play to the end. 6:43

Hour Two

Hello, I’m Debra Bolton. Welcome to the second hour of Las Cantigas de Santa Maria (The Holy Canticles of St. Mary), songs and poems in praise of Holy Mary – and the poetic/musical biography of Alfonso, “the wise”, The Kind of Castile-Leon, now Spain, and who lived from 1221 to 1284. I appreciate your joining me today.

As we continue in this exploration of this very small part of King Alfonso X’s tribute to the Virgin Mary, my references come from the writings of Dr. J.K. Knauss. In addition, I refer to the writing of Professor Joseph F. O’Callahan, Mr. Andrew Casson, Maestro Jordi Savall, Maestro Eduardo Paniagua, John Esten Keller, Robert I. Burn, Editor of “The Emperor of Culture” and from Oxford Univesity’s CSM database.

From Burn’s edited book, The Emperor of Culture, Ellen Kosmer and James Powers write: The period witnessed a dramatic rise in the growth of European towns. As urban economies prospered, so too did craftsmen [see a] dramatic increase in the thirteenth century. The book trade went from a monastic to a lay enterprise, which mirrored the changing society. Thus, Alfonso’s commission of this literary works, written in a vernacular, the Galician dialect, with its lavish illustrations [and 3-D art]puts him in the company of other great 13^th Century royal patrons, like Louis IX (9^th) of France, the southern courts of Italy, and in English with Henry III and Edward I. The CSM is distinguished from other royal works for its length, depth, and wide range of topics.

Prologue: Ensemble Scandicus : 4:36

SM Strela do dia Apollo’s Fire: 4:22

You’re listening to a musical biography of Spain’s Medieval King, Alfonso X. I’m your host Debra Bolton. We just listened to two pieces: The Prologue was performed by Ensemble Scandicus, a multicultural European group focused on early music.

Also, we heard Apollo’s Fire with Santa Maria do dia. Apollo’s Fire is a Cleveland Ohio-based early music ensemble as part of the Cleveland Baroque Orchestra.

Author J. K. Knauss describes the importance of the Cantigas de Santa Maria saying, “The most appropriate single adjective for the corpus of cultural work produced under Alfonso X is ‘encyclopedic.’” He wrote books of history, astronomy/astrology, law, poetry, board games, and music. Even his written leisure activities continue to survive the vagaries of time, bearing the King’s name as patron or author.”

Here’s the New London Consort with Quen a Virgen Ben Servira. 8:24

That was CSM#103: The Monk who listened to a Bird’s Song for Three Hundred Years, Performed by the New London Consort.

Let’s take a moment to talk about some of the instruments that you’re hearing on this musical journey of 13^th Century Spain, then called, Castile-Leon.

Shawm – 12^th c conical bored double reed instrument of Middle Eastern origin, a precursor of the oboe. Like the oboe, it is conically bored; but its bore, bell, and finger holes are wider, and it has a wooden disk (called a pirouette, on European shawms) that supports the lips

Recorder – Yes. That woodwind instrument that many of us learned in grade school. We hear this in the CSM, usually, on a wider variety of wood recorders.

Organetto – a small portable organ, which you heard performed by Esther Lamandier

Oud – Literally, wood in Arabic, short-necked, pear-shaped with 11 – 13 strings grouped in 5, 6, or 7 courses. A few of the oud players that stand oud are Driss El Maloumi, a group called 3MA and Haik Egitim Merkezi Yalova, both Maloumi and Yalova perform with Jordi Savall’s Hesperion groups. The Oud is considered the most important instrument in Middle Eastern Music.

Qanun (a.k.a., kanun, ganoun, kanoon) an Arabic stringed instrument, introduced to Europe in the 12^th Century. It’s played on the lap with picks that surround both index fingers, and the player can change the pitch of the strings with brass levers.

Hurdy Gurdy, a.k.a. Viola de Rueda, and the Zanfona. Here we hear this instrument in Musica Antigua.

Vielle – the Medieval fiddle with five strings and six tied frets.

Rebec – A three-string “fiddle” often held between the legs as it’s played.

Viola de Gamba – (a.k.a., Viol or gamba), a six-stringed instrument, said to be a precursor of the four-stringed cello. The Gamba, usually, is much larger and has frets, like a guitar.

Gaita – Galician bag pipe, also common in Portugal.

Duduk – Double reed Armenian flute, featuring those mournful, lamenting tones.

You’re listening to a musical journey of 13^th Century Spain’s King Alfonso the X and his devotion to the Virgin Mary, on this public radio station. I’m your host, Debra Bolton, and I appreciate that you’re here with me today. You can see this transcript and photos of the instruments if you go to my blog: https://wordpress.com/post/peopleandcultures.blog/1728

The language of the time, Galician-Portuguese, finds scholars today who argue that Galician and Portuguese are dialects of the same language. It tends to remind one more of Portuguese than of Castilian, the root language of modern-day Spanish. Portugal situated directly south of Galicia, the home of the (K)Celts and the Sephardim of the Iberian Peninsula. Stay with us…

Quarta Espanpie by Ferdinando de Martino Ensemble Comtessa Carmina Gemina: 2:43

End of Hour 2, Segment 1

2:00 minute break.

We continue with Las Cantigas de Santa Maria, the musical biography of Medieval King of Castile-Leon, Alfonso X, the wise and learned. I’m your host, Debra Bolton.

For more perspective of the time, King Henry III ruled England about the same time Alfonso X ruled Castile-Leon, the greater part of what is now known as Spain. While El Sabio ruled his lands with Christians, Muslims, and Jewish peoples living and studying side-by-side with some appreciation and great tolerance, it would not be until 208 years later that Isabella and Ferdinand would expel all non-Christians and the time Christopher Columbus would set sail for Asia but landed in the Americas, which changed extensively the lives that he touched. Before that, well-civilized Indigenous tribes had not yet had contact with European colonialists. The surnames that most people connect with Latin American countries were the surnames of their Spanish conquerors. During and after the inquisition, many non-Christians, Jewish and Muslim people, added the suffixes of –ez, -es, or -os to their surnames. For example, the Muslim man, Alvar, became Alvarez. The Jewish man, Martin became Martinez. Consistent with most surnames, there remained a connection to the family trade or place of origins. The Herrera were Jewish iron-smiths. Those hailing from Galicia, or Galego, were the Galegos. In the present day, an extra “L” was added to make it “Gallegos.”

Santa Maria by Irfan 4:45

CSM #156 by Rocio de Trutos 2:37

You’re listening to Las Cantigas de Santa Maria on this public radio station. I’m your host, Debra Bolton, and I appreciate that you’re here with me today.

We just heard two pieces, Santa Maria by Irfan, a Bulgarian group focused on electro-acoustic music from a variety of genres and musical centuries. Also, we heard Soprano Rocio de Trutos known best for her Bach Cantatas. You’ve been listening to Las Cantigas de Santa Maria, the holy canticles of the Virgin Mary and the musical biography of Medieval King Alfonso X of Spain in music, poetry, and art. I’m the producer and your host, Debra Bolton.

El Sabio, King Alfonso the X ascended the throne of Castile-Leon, now Spain, in 1252 and immediately devoted himself to the creation of new laws, the Siete Partidas (seven parts) and the Fuero Real (Royal Municipal Code), both of which continue to be in effect here in the 21^st Century.

Scholars posit that the CSM continue to be a testament by which the king wished to be remembered after his death. That means that we, also, are part of the intended audience. Knauss continues that the learned king, likely, did not fathom this kind of dissemination, now in this digital age. She says, “With these technologies, it grants scholars who study the CSM a place in his highly exclusive circle of apprentices.”

I began exploring the history of the CSM, because I found the tunes, songs, poems, and art pieces so wonderfully extraordinary with their passion and multimedia approaches. I hope you’ve found this music and its stories interesting. For more information, please visit my blog: https://wordpress.com/post/peopleandcultures.blog/1728

And, if you’d like to hear the show, encourage your local public radio station to run it, and it can be found at the Public Radio Exchange, PRX.

Rosas das Rosas – The New York Consort for Poetry and Music 3:24

CSM #383 Jordi Savall and Hesperion XX 8:14

Rose of Rose CSM Waverly Consort 3:27

Thank you for listening to Cantigas de Santa Maria, I’m Debra Bolton.

Thank you for reading my blog.

The Musical Biography of King Alfonso X, 13th Century Spain

The Following is a transcript of an annual program that I produce for public radio stations who will “purchase” it. At this writing, I do know that High Plains Public Radio, of the Central High Plains will run it on Christmas Day, usually at 9:00 a.m. Central Time. I will update this site as I learn of any station running it.

Hello. I’m Debra Bolton. Welcome to Las Cantigas de Santa Maria (The Holy Canticles of St. Mary), Songs and poems in praise of Holy Mary – and the poetic/musical biography of Alfonso, “the wise”, The King of Castile-Leon, now Spain, and who lived from 1221 to 1284, and for whom we celebrate his 800^th birthday this year. I appreciate your joining me today. We begin this musical journey with The Learned King declaring himself Mary’s Troubadour who will take her teaching to his Kingdom and beyond. Let’s hear…Counter Tenor, Russell Oberlin performing the prologue. Please note, that at the time, the use of counter tenors aka “castrados” would have been the norm, since females were not allowed to perform in a king’s court. :

Prologue: Russell Oberlin, CSM #60 2:37

Camerata Mediterranea CSM52 and instrumental Prelude – 4:05

That was Counter tenor, Russell Oberlin, taking the part of the Learned King as he declares himself the Virgin Mary’s Troubadour and asks the “noble lady” to bestow the inheritance of eternal life and grant Alfonso’s kingdom a place in eternity.

Also, you heard Camarata Mediterranea with an instrumental to highlight El Sabio’s wise welcome to Christian, Muslim, and Jewish musicians in his court, which blended European and Arabic performance and music techniques.

Interesting to note, of the 420 Marian poems written by King Alfonso X and his assistant scribes, about every 10^th poem is a song of love for the Virgin, and since this is not an “official” prologue, since the prologue has the even number #60, it would also be considered a “cantiga de loor” song of love for Mary.

King Alfonso ruled his Kingdom of Castile-Leon, now Spain, from 1252 until his death. Scholars and Alfonsine devotees celebrate the Learned King’s 800^th birthday this past November 23. Alfonsine scholar, Dr. J.K. Knauss, who has written widely on the Learned King, spoke to me about the celebrations across Spain in honor of the King’s birth. Knauss recently released her fourth book about the King. In Our Lady’s Troubadour, Knauss took the poems and corresponding works of art, and put them into narrative stories. Here, Knauss introduces CSM#42 before we hear the piece performed by an early music ensemble called, Sonus.

Insert Knauss’ introduction:

CSM#42 – A Virgen mut groriosa, Sonus 2:38

That was Sonus with CSM#42, the story of Mary as a jealous queen that rebukes those she loves if they refuse her.

Now we turn to the interpretation of CSM#116: A merchant went to Salamanca to trade at the fair. It was his custom to serve the Virgin faithfully and to fast rigorously. On the eve of her feasts, he would not even eat vegetables or fish.

He always used to offer candles at churches dedicated to the Virgin. In Salamanca, he had his servant fetch two large candles that he had brought from Toledo. He had them lit and guarded so that they would not go out. The Virgin let them go out, but then caused them to burn once again.

We hear this performed by Eduardo Paniagua and his Musica Antigua. Paniagua, a musicologist and an early music instrumentalist, devotes much of his time to researching, performing, and recording the vast catalogue of Las Cantigas de Santa Maria, poems and songs in praise of Holy Mary.

That was CSM#116, “The Candles that Miraculously Came Alight” from Musica Antigua on their album, Cantigas de Toledo, where King Alfonso was born these 800 years ago. 6:20

You’re listening to Las Cantigas de Santa Maria, a musical biography of Spain’s King Alfonso X and his praise to the Virgin Mary. I’m your host, Debra Bolton

END OF SEGMENT ONE

(Excerpt of The Prologue from Joseph O’Callaghan’s)

Throughout the life of King Alfonso X, he devoted himself to learning and being surrounded by the learned. He believed a learned King and court with great knowledge of the natural world, mathematics, architecture, human behavior, and great discernment could only benefit the people of his kingdom. Being a pluralist, he employed Christian, Jewish, and Muslim in his court to advance learning.

In a recent interview with Alfonsine scholar, Dr. J. K. Knauss, she noted that the great legacy of El Sabio is that he lived up to his name, “the wise” because he was obsessed with writing everything down. Whether is was about mathematics, astronomy, the virtue of playing board games and other leisurely activities to balance hard works, laws to govern his subjects, and teaching morality, he not only wrote continually, but he chose not to write in Latin, the language of Kingdoms of the day. What made his legacy so strong is that he wrote in Castilian, the present-day Spanish. King Alfonso X is considered the “Father of Castilian.” Was he that much of a visionary? It would seem so since Spanish only trails Chinese as the most common language worldwide, flanked by English, Arabic, Hindi, Bengali, Portuguese, Russian, Japanese, and Lahnda, aka, “Western Punjabi” according to The World Economic Forum.

Let’s turn to the marvelous miracles of Mary found in CSM#11, the Drowned Sacristan. Every night a sinful monk left his monastery to take his pleasure with his mistress. Before he left he would say the Ave Maria.

One night he fell into a river and drowned. Devils and angels argued over his soul. The devils’ case was more convincing, and the angels were about to give in when the Virgin made them recover the monk’s soul. They returned the soul to his body and revived him. The other monks found him alive in the cold water.

We hear CSM#11 interpreted by Ensemble Alcatraz, a San Francisco, CA group dedicated to the research and performance, throughout the world, of the music of Spain, Portugal, and France. This is from their CD Cantigas de Amigo, CSM#11 8:35

That was Ensemble Alcatraz performing Cantigas de Santa Maria #11,

You’re listening to Las Cantigas de Santa Maria, the holy canticles of the Virgin Mary in music, poetry, and art. My name is Debra Bolton. I am your host for this special music. If you go out to my website https://peopleandcultures.blog/2020/10/11/cantigas-de-santa-maria-a-musical-exploration-of-medieval-king-alfonso-x-of-spain/, you will find examples of some of the art that corresponds with the songs and poetry.

When we think about world events of King Alfonso’s time, between the 12 and 14^th centuries, there was a sect of Christians called the Cathar, a

fundamentalists sect who believed there were two gods: A good one who presided over the spiritual world, and an evil one who ruled the physical world. Cathars viewed even sex within marriage and reproduction as evil, and so lived strict lives of abstention. Here I present the spoken text of the Papal Bull legislating torture of those practicing Catharism, called “Ad Exstirpanda.” As a side note, that papal bull also supported colonizing so called, “Non-Christian” countries and enslaving Indigenous peoples, which carried over to the Doctrine of Discovery launching Columbus to the Americas 200 years later.

At odds with the Catholic church, The Cathar believed in female deities and believed that Mary Magdalene and Jesus were married. The text is presented in Latin, as the Cathar of the time were in France and Italy.

Ad exstirpanda” performed by Jordi Savall and Hesperion XXI followed by what sounds like a lament, Veri dulcis in tempore” translated “A true Sweet season” of the time from the CD “The Forgotten Kingdom.

Recitation: 3:14

Veri dulcis in tempore: 3:57

That was Jordi Savall and his Hesperion XXI performing music of the forgotten Kingdom of the Cathar in France and Italy.

After 1492, in addition to colonizing the lands and its people, Spain, also, colonized the languages of the Americas and the Caribbean. Since the so called, “first contact,” we saw Castilian overwhelming, and often erasing, many Native languages of the islands and the continents, thanks to the Doctrine of Discovery establishing a so called, “spiritual, political, and legal” justification for colonization and seizure of land NOT inhabited by Christians. Again, the Spanish we hear today differs widely from that of the CSM and Alfonso X’s time. However, you don’t need to understand Galician-Portuguese to enjoy this music, known for its complex musical structures and its use of what we now call, ancient instruments.

Go to an instrumental played by the Waverly Consort, Cut #15, to play to the end. 6:43

Hour Two

Hello, I’m Debra Bolton. Welcome to the second hour of Las Cantigas de Santa Maria (The Holy Canticles of St. Mary), Songs and poems in praise of Holy Mary – and the poetic/musical biography of Alfonso, “the wise”, The Kind of Castile-Leon, now Spain, and who lived from 1221 to 1284, and for whom we celebrate his 800^th birthday this year. I appreciate your joining me today.

Let’s begin this hour with two miracles performed by the Virgin, as written by King Alfonso X.

“The Girl Who Ate Spiders, CSM #201:

A beautiful noble woman promised to guard her virginity.

The devil tempted her to take a lover, and she lived with her godfather and became pregnant by him. When the baby was born she killed it. She became pregnant a second time and killed her newborn baby yet again. Then she did this a third time. Overcome with despair, and hating herself, she tried to commit suicide. She stabbed herself in the breast, but the knife missed its mark.

Then she swallowed a spider, but it was not big or poisonous enough to kill her. She ate another bigger spider and her body swelled so much she was near death. As she lay dying, she repented and asked the Virgin to forgive her sins.

The Virgin appeared to her and stroked her body, making her more beautiful and fit than she had ever been. The woman entered an order and lived virtuously from that time forth.

Performed by the Martin Best Ensemble (Cut#7) 2:58

You’re listening to this holiday special, Las Cantigas de Santa Maria, a musical biography of 13^th Century King of Spain, Alfonso, the wise. I am Debra Bolton, your host.

As we continue in this exploration of this very small part of King Alfonso X’s tribute to the Virgin Mary, my references come from the writings of Dr. J.K. Knauss, whose books continue to inspire me. On November 18, 2021, Dr. Knauss released a book which put the Cantigas de Santa Maria in narrative form. We did hear Dr. Knauss introduce CSM#42 in the previous hour, from her book, Our Lady’s Troubadour. I now will explore Dr. Knauss’ book, Violence in the Cantigas de Santa Maria. In addition, I refer to the writing of Professor Joseph F. O’Callahan, Mr. Andrew Casson, Maestro Jordi Savall, Maestro Eduardo Paniagua, John Esten Keller, Robert I. Burn, Editor of “The Emperor of Culture” and from Oxford Univesity’s CSM database.

From the book, Violence in the Cantigas de Santa Maria, Dr. Knauss establishes an important beginning that does not have violence to set a calm tone. That would be CSM#97 about a slandered man who was exonerated. However, we move into the violence rather quickly in CSM#233. Knauss mentions this cantiga in her book about violence and in her recent book, Our Lady’s Troubadour, where she writes a wonderfully accessible narrative called, “No-Man’s-Land, ” which regales the story of the good knight, Jacinto (Ha-theen-toe), who while traveling with his men, encounter with Moors, who were so impressed with Jacinto’s faith to the Virgin Mary. The Moors spoke, “We see that you are not of this world, but we don’t think your intensions are evil.” “We honor you because you have been sent by Mary, mother of Jesus. Jacinto held his hand out to the Moorish leader, and they embraced as they forgave one another for their conflicts with one another.

Here we have CSM#233 performed by Elizabeth Pinard. I had a difficult time finding this piece, so I turned to YouTube, and found this incredible interpretation by Ms. Pinard, a Brazilian singer with the most incredible vocal range. Listen for her low notes, and when the choir comes in, Ms. Pinard vocalizes in ethereal high ranges. Go to Youtube and enter “Elizabeth Pinard – Cantiga de Santa Maria 233”

9:11

Let’s take a moment to talk about some of the instruments that you’re hearing on this musical journey of 13^th Century Spain, then called, Castile-Leon.

Recorder – Yes. That woodwind instrument that many of us learned in grade school. We hear this in the CSM, usually, on a wider variety of wood recorders.

Organetto – a small portable organ, which you heard performed by Esther Lamandier

Hurdy Gurdy, a.k.a. Viola de Rueda, and the Zanfona. Here we hear this instrument in Musica Antigua and by a group called, BIDAIA, featuring Caroline Phillips.

Vielle – the Medieval fiddle with five strings and six tied frets.

Rebec – A three-string “fiddle” often held between the legs as it’s played.

Viola de Gamba – (a.k.a., Viol or gamba), a six-stringed instrument, said to be a precursor of the four-stringed cello. The Gamba, usually, is much larger and has frets, like a guitar.

Gaita – Galician bag pipe, also common in Portugal. We’ll hear the Gaita in the next hour of this musical journey.

Duduk – Double reed Armenian flute, featuring those mournful, lamenting tones.

The language of the time, Galician-Portuguese, finds scholars today who argue that Galician and Portuguese are dialects of the same language. It tends to remind one more of Portuguese than of Castilian, the root language of modern-day Spanish. Portugal situated directly south of Galicia, was home to the Celts and the Sephardim of the Iberian Peninsula. Stay with us…

Segment Two Hour Two

Begin with Prologue by Waverly Consort, Cuts 1 and 2: (3:45)

We continue with Las Cantigas de Santa Maria, the musical biography of Medieval King of Castile-Leon, Alfonso X, the wise and learned. I’m your host, Debra Bolton.

We just heard an English interpretation of the prologue, where the wise King announces himself in the role as the Virgin Mary’s troubadourn. The Waverly Consort, founded by Kay and the late Michael Jaffe performed that piece.

J. K. Knauss describes the importance of the Cantigas de Santa Maria saying, “The most appropriate single adjective for the corpus of cultural work produced under Alfonso X is ‘encyclopedic.’” He wrote books of history, astronomy/astrology, law, poetry, board games, and music. Even his written leisure activities continue to survive the vagaries of time, bearing the King’s name as patron or author.”

The next piece takes us to Italy, of the time, with a song, in Latin, praising the Virgin Mary. This piece, Verbum Caro Factum Est, “Word was made flesh” is performed by the Waverly Consort. I offer this to illustrate that there were other parts of Medieval, Romance Europe also praising the Virgin Mary. Again, not in the tradition of Alfonso X, who wrote about people’s interior and exterior lives, from every social class from Spain to other parts of Europe, North Africa, and the Middle East and their relationships to the Virgin in everyday life, according to Knauss.

Verbum Caro Factum Est Waverly Consort ( 4:40) (Verbum Caro Factum Est)

CSM #41/119 Capella Ministeres (4:22)

That was Capella Ministrers, CSM 41/119. CSM#41, the story of a money changer named, Garin. The devil scared him. Garin went mad, and then the Virgen not only restored his senses, she gave him paradise. The story of CSM#119, tells the story of a judge who lived a life of ease. He ate well and collected generous supports, though he did not fulfill his duties and only arrested those who were destitute. The Virgin came to the judge’s rescue when a band of brigands kidnapped him. In the process of killing the judge, Mary intervened. She made the judge confess every one of his sins. He died the next day and angels carried away his soul.

Performed here by Capella Ministrers, CSM 41/119. 4:22

That was Capella Ministrers performing CSM 41 and 119 here on Cantigas de Santa Maria, the musical biography of Spain’s 13^th Century Monarch.

You’re listening to Las Cantigas de Santa Maria, a musical biography of King Alfonso X, I’m your host, Debra Bolton.

Cantigas de Santa Maria: Songs and Images

Alfonsine scholar, Dr. J. K. Knauss describes the importance of the Cantigas de Santa Maria saying, “The most appropriate single adjective for the corpus of cultural work produced under Alfonso X is ‘encyclopedic.’” He wrote books of history, astronomy/astrology, law, poetry and music. Even his written leisure activities continue to survive the vagaries of time, bearing the King’s name as patron or author.”

Now, I’d like to turn to interpretations of the CSM that have a more contemporary feel. Andre Bocelli, a mostly self-taught tenor, provides this wonderful rendition of CSM #57. I think the addition of Spanish guitar and a children’s choir give this interpretation a light and jovial feeling to the subject, “The Robbed Pilgrims to Montserrat.” From Bocelli’s album, “Believe” recorded last year. It features duets with Allison Krauss and opera singer, Cecilia Bartoli, on the Decca label.

Mui Grandes Noit’ e Dia (CSM #57) (4:06)

#CSM 422 Robin Rolfhamre (5:48)

That was Swedish Lutenist, Robin Rolfhamre with CSM 422, The Litany of the Day of Judgement. Mostly, Dr. Rolfhamre focuses on the early music of the 15^th century. His interpretations here features the lute.

You’ve been listening to Las Cantigas de Santa Maria, the holy canticles of the Virgin Mary and the musical biography of Medieval King Alfonso X of Spain in music, poetry, and art. I’m the producer and your host, Debra Bolton. I began exploring the history of the CSM, because I found the tunes, songs, poems, and art pieces so wonderfully extraordinary with their passion and multimedia approaches. I hope you’ve found this music and its stories interesting. For more information, please visit my blog: https://peopleandcultures.blog/?p=1369

And, if you’d like to hear the show, encourage your local public radio station to run it, and it can be found at https://exchange.prx.org/pieces/396349

To take us out, here’s an ensemble called, Calliope with CSM medley. Thank you for listening to Cantigas de Santa Maria, I’m Debra Bolton. (5:51)

Cantigas de Santa Maria: A Musical Exploration of Medieval King Alfonso X of Spain

One of my greatest passions is the music, originally poems authored by King Alfonso X of Castile-Leon, now Spain, from 1252 to 1284. My great love for what the King, referred to “the wise,” or El Sabio, was trying to do with his kingdom, was to bring about unity among Christian, Jewish, and Muslim peoples, though he had inherited separation, and it continued after his death in 1284. Then the Inquisition happened in 1492 along with colonization of the Americas.

What follows here is my transcript for an upcoming holiday special in December. At this point, I know that High Plains Public Radio will run this program, usually, on December 25. We have put it up for national acquisition, so check your local public radio station for listing. I begin, here, with an image of the Learned King, taken in Spain last year by Alfonsine Scholar, Dr. Jessica Knauss.

Embedded in this narrative are the songs, their timings, and their performers. You will see pictures as well.

Prologue: Ensemble Unicorn, CSM #60 2:16

Hello. I’m Debra Bolton, and welcome to Las Cantigas de Santa Maria (The Holy Canticles of St. Mary), Songs and poems in praise of Holy Mary – and the poetic/musical biography of Alfonso, “the wise”, who lived from 1221 to 1284. I appreciate your joining me today.

King Alfonso ruled his Kingdom of Castile-Leon, now Spain, from 1252 until his death. We began with Ensemble Unicorn presenting the prologue, which is Cantiga de Santa Maria, which I will refer to as CSM, #60, when the Learned King declares himself Mary’s Troubadour to the “noble lady” and asks her to bestow the inheritance of eternal life and grant Alfonso’s kingdom a place in eternity. Interesting to note, of the 420 Marian poems written by King Alfonso X and his assistants, about every 10^th poem is a song of love for the Virgin, and since this is not an “official” prologue, since it has the even number #60, it would also be considered a “cantiga de loor” song of love for Mary.

Now we hear the Prologue of the five festivals, performed by Eduardo Paniagua and his Musica Antigua. Paniagua, a musicologist and an early music instrumentalist, devotes much of his time to researching, performing, and recording the vast catalogue of Las Cantigas de Santa Maria, poems and songs in praise of Holy Mary. This is was from “The Life of Mary” songs of the festivals devoted to her. The number is CSM #410.

CSM #10 Rosa das Rosas, “Cantiga de loor” 4:01

Let’s turn to the marvelous miracles of Mary found in CSM#37. This is a story of Mary healing a man with a sorely infected and inflamed foot. When Mary went to the church to heal the man, there she found many other who needed healing. The poem tells us that because they believed that Mary would heal them, so it happened. Antequera 6:17

CSM Como Poden Hesperus 3:36

You just heard Hesperus, founded by the late Scott Reiss and Tina Chancey. Named for the Venus and the West Wind, Hesperus specializes in exploring musical parallels between the Old World and the New in what they sometimes call, Medieval Fusion. Band member Tina Chancey continues an active performance and teaching schedule in the Washington DC area with music of the Sefardi.

Later in this program, we will explore how this music continues to inspire musicians, musicologists, historians, and other social scientists.

You’re listening to Las Cantigas de Santa Maria, a musical biography of Spain’s King Alfonso X and his praise to the Virgin Mary. I’m your host, Debra Bolton

Instrumental, CSM #323, Musica Antigua, “Nino de Coria” 3:13

Total Time (music) 25:33

End of Segment 1

Segment 2

You’re listening to Las Cantigas de Santa Maria, the holy canticles of the Virgin Mary in music, poetry, and art. My name is Debra Bolton. I am your host for this special music. If you go out to my website on WordPress, you will find examples of some of the art that corresponds with the songs and poetry. King Alfonso employed artists to create two and three-dimensional works of art to correspond to the poems and songs, which would have made the Learned King an early pioneer in multi-media (Knauss, interview, 2018). Now, here we are putting it all in digital form! Some scholars point of the works of art, the songs and the poems as Alfonso’s way to teach morality to the subjects of his kingdom on many levels. While those in his court were, themselves, learned and well-educated people, there were many in his kingdom who, perhaps, could not read or write. Hence the need for the lessons on morality in more than written forms.

Let’s continue with the miracles performed for the people in Alfonso the X’s Kingdom. Some of the miracles awarded people for their faith while some punished people for their transgressions. We hear CSM#163, “The Gambler who renounced the Virgin.” A gambler, playing dice in Huesca, lost everything and renounced the Virgin. He was instantly crippled and struck dumb. He could not move from that place, and if he wanted something, he had to gesture for it. Using sign language, he asked to be taken to Salas. At Salas, he gazed at the Virgin’s statue and asked her pardon. The Virgin healed him and he praised her from then on. Performed here, by another Alfonsine scholar, Maestro Jordi Savall, and his Hesperion 20 featuring the late soprano, Montseratt Figueres.

CSM# 163 4:53.

Go to Esther Lamandier and CSM #159 Cantiga de Loor 4:56

Back announce Esther Lamandier:

You’re listening to Las Cantigas de Santa Maria, the holy canticles of the Virgin Mary in music, poetry, and art. I’m the producer and your host, Debra Bolton. I began exploring the history of the CSM, because I found the tunes, songs, poems, and art pieces so wonderfully extraordinary with their passion and multimedia approaches. I love the instruments of the time, too.

After 1492, in addition to colonizing the lands and its people, Spain, also, colonized the languages of the Americas and the Caribbean. Since the so called, “first contact,” we saw Castilian overwhelming, and often erasing, many Native languages of the islands and the continents, thanks to the Doctrine of Discovery establishing a so called, “spiritual, political, and legal” justification for colonization and seizure of land NOT inhabited by Christians. Again, the Spanish we hear today differs widely from that of the CSM and Alfonso X’s time. However, you don’t need to understand Galician-Portuguese to enjoy this music, known for its complex musical structures and its use of what we now call, ancient instruments. Let’s turn to two more miracles, “The Baby Rescue” and The Priest who steels an altar cloth, performed by the Martin Best Ensemble

CSM #7 (Pregnant Abbess)CSM #327 (Priest who steels altar cloth)

An abbess became pregnant by her steward. The nuns in her charge discovered her indiscretion and were vindictive. They accused the abbess to their bishop, who travelled from Cologne. He summoned her.

After meeting with the bishop, the abbess prayed to the Virgin. Mary appeared to her, as if in a dream, and had the baby delivered and sent to Soissons to be raised. The abbess appeared before the bishop and he made her undress. He declared her innocent and berated the nuns.

A church dedicated to the Virgin stood outside the town of Odemira. It was a venerable church and many miracles were performed there. A woman offered to the church a finely woven altar cloth. It measured a little more than a vara. A priest admired the cloth and coveted it. He stole it and took it to his house. He had a pair of underpants fashioned from it.

He put on his new underwear and lay down, but he could not sleep because his heels began to press into his thighs. The pain was excruciating, and, confessing his sin, he called on the Virgin. He repented and had a large linen cloth placed on the altar. He was taken to the church and everyone prayed for him to the Virgin. She cured him and they praised her name.

Both songs 5:20

We heard the Martin Best Ensemble with Cantigas de Santa Maria performing CSM 7 and 327, the miracles of the Pregnant Abbess and the Priest who stole an altar cloth.

You’re listening to this holiday special, Las Cantigas de Santa Maria, a musical biography of 13^th Century King of Spain, Alfonso, the wise. I am Debra Bolton, your host.

As we continue in this exploration of this very small part of King Alfonso X’s tribute to the Virgin Mary, my references come from the writings of Dr. Jessica Knauss, whose books continue to inspire me. Coming up in the next segment, I will explore Dr. Knauss’ book, Violence in the Cantigas de Santa Maria. In addition, I refer to the writing of Professor Joseph F. O’Callahan, Mr. Andrew Casson, Maestro Jordi Savall, Maestro Eduardo Paniagua, John Esten Keller, Robert I. Burn, Editor of “The Emperor of Culture” and from Oxford Univesity’s CSM database.

Let’s take a moment to talk about some of the instruments that you’re hearing on this musical journey of 13^th Century Spain, then called, Castile-Leon.

Recorder – Yes. That woodwind instrument that many of us learned in grade school. We hear this in the CSM, usually, on a wider variety of wood recorders.

Organetto – a small portable organ, which you heard performed by Esther Lamandier

Oud – Literally, wood in Arabic, short-necked, pear-shaped with 11 – 13 strings grouped in 5, 6, or 7 courses. A few of the oud players that stand oud are Driss El Maloumi, a group called 3MA and Halk Egitim Merkezi Yalova, both Maloumi and Yalova perform with Jordi Savall’s Hesperion groups. The Oud is considered the most important instrument in Middle Eastern Music.

Hurdy Gurdy, a.k.a. Viola de Rueda, and the Zanfona. Here we hear this instrument in Musica Antigua and by a group called, BIDAIA, featuring Caroline Phillips.

Vielle – the Medieval fiddle with five strings and six tied frets.

Rebec – A three-string “fiddle” often held between the legs as it’s played.

Viola de Gamba – (a.k.a., Viol or gamba), a six-stringed instrument, said to be a precursor of the four-stringed cello. The Gamba, usually, is much larger and has frets, like a guitar. Pictured here, the great Jordi Savall.

Gaita – Galician bag pipe, also common in Portugal. We’ll hear the Gaita in the next hour of this musical journey. Pictured here, Cristina Pato.

Duduk – Double reed Armenian flute, featuring those mournful, lamenting tones.

Let’s listen to another Cantiga de Loor, a lively dance, CSM#20 and CSM#353 – A rich man in Venice sent his son to live in a monastery to be raised by the abbot. The abbot, who called the boy his son, let him play in the cloister. While playing, the boy would go into the church to admire a statue of the Virgin and Child. Captivated by the Christ Child, the boy visited often and gave the Christ Child food. He promised to bring the Christ Child food every day, for 15 days, and encouraged him to eat. Then the statue of the Child spoke to the boy, bidding him to eat at his Father’s table the next day.

The abbot noticed that the boy was growing thin. The boy said that he had been sharing his food with the Child on the altar and said that the Christ Child had asked him to dinner. That night both the abbot and the boy fell ill; at the sixth hour they were taken to heaven.

Performed here by the Swiss Medieval music ensemble Freiburg Spielleyt. (Free-borg Schpee-loyta), we hear CSM#20 and CSM#353 7:10

-Freiburg Spielleyt performing CSM #20 and CSM #353 here on Cantigas de Santa Maria, a musical biography of King Alfonso X.

You’re listening to a musical journey of 13^th Century Spain’s King Alfonso the X and his devotion to the Virgin Mary.

Alfonso X ruled from 1252 to 1284. To put the world into perspective at the time, the English language continued to change from its Germanic-rooted Olde English of the Beowulf poet (circa 9^th or 10^th century) after the Norman invasion of 1066. In the next century, we hear the English of Geoffrey Chaucer and the Gawain Poet. Europeans now use Arabic numerals in favor of Roman Numerals. In the Mongol Empire, Mongke, officially, marks the worship of his grandfather, Genghis Khan while Buddhism, Islam, and Christianity flourish. The Inca Empire of Peru is thriving. England begins the process of segregation of Jewish peoples, and other countries begin to follow suit. The Mexica people, also known as Aztecs are building their great city on a lake in what is now Mexico City. King Alfonso X’s bid to be King of the Holy Roman Empire fails in favor of Count Rudolf, bringing prominence to the Habsburg family, Rudolf was considered mediocre as Alfonso was to ambitious.

This body of work was written in the language of the time, Galician-Portuguese. Scholars argue today that Galician and Portuguese are dialects of the same language. As you hear it, it will remind you more of Portuguese than of Castilian, the root language of modern day Spanish, and you will hear the softly spoken syllables of the Portuguese language, Portugal being directly south of Galicia, which was home to the Celts the Sephardim, the Jewish peoples of the Iberian Peninsula. We hear now from the band, Milladoiro (Millan-dwowro), often compared to Ireland’s Chieftains. Performing on the regional instruments of the Gaita (Galician bagpipes) Ullean pipes, flutes, whistles, button accordions along with guitar and bouzouki. We hear their interpretation of CSM #49, The Lost Pilgrims led to Soissons by the Virgin after they lost their way in the mountains and prayed to her. It will be followed by a traditional Galician tune, Alalás da Ulla.

CSM#49 4:41

Alalás da Ulla 4:49

Traditional, Alalas da Ulla – You’re listening to Las Cantigas de Santa Maria, a musical biography of King Alfonso X, I’m your host, Debra Bolton.

Hour 2, Segment One:

Begin with the Prologue by Waverly Consort Cuts 1 and 2: 3:45

Hello, and welcome to hour two of Las Cantigas de Santa Maria, the musical biography of Medieval King of Castile-Leon, Alfonso X, the wise and learned. I’m your host, Debra Bolton.

We just heard an interpretation of the prologue, where the wise King announces himself in the role as the Virgin Mary’s troubadour. The Waverly Consort, founded by Kay and the recently deceased Michael Jaffe performed that piece.

Alfonsine scholar, Dr. Jessica Knauss describes the importance of the Cantigas de Santa Maria saying, “The most appropriate single adjective for the corpus of cultural work produced under Alfonso X is ‘encyclopedic.’” He wrote books of history, astronomy/astrology, law, poetry and music. Even his written leisure activities continue to survive the vagaries of time, bearing the King’s name as patron or author.”

In Las Cantigas de Santa Maria, the CSM, we witness a general feeling that 13^th century Castile is a rather unsafe place populated with people who engage in counter-productive behavior, according to Dr. Knauss. However, a point to ponder would be to write songs and poems, or commission works of arts to correspond with the songs and poems that contrasted good and evil. How are we to know what is righteous if we don’t know what is truly evil, asks the learned king. For example, CSM 34 tells the story of a man who disgraced an image of the Virgin hanging in a street in Constantinople. The man finished his deed by throwing the image in a latrine. As the story goes, the devil killed him and the people washed the image and cleaned it with sweet spices. From then on, the image emitted a sweet smelling oil as a testimony of this event. We hear Ensemble Alcatraz, from their album “Visions and Miracles.” (Cut 6, 8:04).

That was Ensemble Alcatraz, from their album “Visions and Miracles,” CSM#34, the story of a man’s not-so-nice deeds.

The music of the time, including the Cantigas de Santa Maria, demonstrate a heavy influence of the people who were in Castile-Leon. Here we have interpretations of CSM performed by Camerata Mediterranean under the direction of Joel Cohen and Mohammed Briouel. We hear two Cantiga de Loor, the songs of love, CSM #230 and #130 (Cuts 8 and 9, 7:00)

(Follow with Voice of the Turtle – La Prima Vez (Cut 1, 3:10)

Poder a Santa Maria – Syfonye, Taquism (Cut 5, 3:21)

Second Segment, Second Hour

You’re listening to Las Cantigas de Santa Maria on this public radio station. I’m your host, Debra Bolton, and I appreciate that you’re here with me today.

Before that short break we heard a group based in Massachusetts and Turkey called, Voice of the Turtle exploring the music of the Spanish Jewish peoples of Spain an Turkey.

(Go directly to the Prologue and Cantiga de Loor performed by Theatrum Instrumentorum (Cuts 1 and 2, 4:34)

That was Theatrum Instrumentorum performing a prologue, speaking of Alfonso’s devotion to the Virgin Mary followed by a song of love, Cantiga de Loor.

Alfonsine scholar, Dr. Jessica Knauss posits that the CSM continue to be a testament by which the king wished to be remembered after his death. That means that we, also, are part of the intended audience. Knauss continues that the learned king, likely, did not fathom this kind of dissemination, now in this digital age. She says, “With these technologies, it grants scholars who study the CSM a place in his highly exclusive circle of apprentices.”

Here we have a group focused on the music of the Middle Ages with their interpretation of CSM#100. Then we hear from another of the great and contemporary apprentices of Alfonso X is Eduardo Paniagua who leads the Musica Antigua, performing CSM#77, the story of a contorted woman in Lugo, who prayed to the Virgin and since was relieved of her paralysis.

Sonus (Cut 2, 4:31)

Musica Antigua, CSM #77 (Cut 2, 4:58)

That was Musica Antigua with CSM#77 in which you heard the hurdy gurdy, a chorus, flutes, psaltry, and Egyptian hand drum, among others. Before that, Sonus, featuring Hazel Ketchum, and their interpretation of a song of love to the Virgin.

In my exploration of the Cantigas de Santa Maria, I continue to celebrate the creativity in which musicians arrange their interpretations of the CSM into their musical genres. Hesperus is one of the band who have made Medieval and Appalachian genres sit very well side by side. This is a song made popular by Doc Watson, Little Sadie with a CSM tune woven in. We’ll follow that with Jazz guitarist, Frederick Hand and his interpretation of a CSM tune.

Thank you for listening to Cantigas de Santa Maria, I’m Debra Bolton (Pictured here with Jordi Savall)

Hesperus, (Cut 4, 3:44)

Frederick Hand – CSM 100, (Disk#67, Cut 3, 4:36)

Thank you for reading, and I hope you get to listen to this show on your local public radio station.

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