Martín Codax: Cantigas de amigo Pierre Hamon Quand’eu vejo las ondas ( Cantiga de amor) Mia irmana fremosa, treides comigo (Cantiga de amigo). with Pierre Hamon: frestel 3. Ondas do mar de Vigo (cantiga de amigo I)  text & music: Martín Codax | Sources: B , V , N 1 4. First reflection . Martin Codax’s cantigas aroused interest from the very moment they started to become well-known. Their thematic and narrative unity was pointed out by early.
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Drinking Hanging Out In Love. This Spanish release does a good job of explaining why that was, and of placing these relatively simple, melancholy songs they use the conventions of courtly love poetry but are written from the point of view of a woman longing for her lover’s return in the context of other medieval secular genres.
To the church in Vigo, where the sea is up, And my mother and my beloved will come, And we will gaze at the waves. Partly this is because they were written in the disused Galician-Portuguese language. Please help to improve this article by introducing more precise citations. Martim Codax’s poems that appeared in the parchment are the following originally untitled, they are listed by the first verse:. Jazz Latin New Age. From Wikipedia, the free encyclopedia.
He may have been active during the middle of the thirteenth century, judging from scriptological analysis Monteagudo The Pergaminho Sharrer contains seven melodies for cantigas d’amor of Denis of Portugalalso in fragmentary form. Retrieved from ” https: There codxx no documentary biographical information concerning the poet, dating the work at present remains based on theoretical analysis of the text.
Authors honoured on Galician Literature Day. Consequently, the sets of poems by other poets might also have been organized for performance. To the coddax in Vigo where the sea is rough, And my marfin and my friend will come, And we will gaze at the waves. Cantigas 7 de Amigo, song cycle for voice and accompaniment music missing from 1 cantiga.
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This provides what may be important evidence to support the view that the order of other poets’ songs in the cancioneiros songbooks should not automatically be dismissed as random or attributed to later compilers.
In other projects Wikimedia Commons. Lovely cxntigas, come willingly To the church in Vigo, where the sea is up, And we will gaze at the waves. Sexy Trippy All Moods.
The texts of a few songs are partly spoken here, and the sound is not well handled in these sections — it sounds as though cantlgas being spoken on a stage distant from the listener.
Lovely sister, come with me To the church in Vigo where the sea is rough, And we will gaze at the waves.
Martín Codax: Ondas – Cantigas de Amigo – NaxosDirect
In addition Martin Codax consistently utilised a strict parallelistic codwx known as leixa-pren see the example below; the order of the third and fourth strophes is inverted in the Pergaminho Vindel but the correct order cofax in the Cancioneiro da Biblioteca Nacional and the Cancioneiro da Vaticana. The identification of authorship of the poems and their order may contribute to a viewpoint that the seven songs of Codax reflect an original performance set.
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This page was last edited on 3 Decemberat In the Pergaminho Vindelmusical notation although with lacunae survives along with the texts, except for the sixth one. Streams Videos All Posts.
The parchment was originally discovered by the Madrid-based antiquarian bookseller and martinn Pedro Vindel among his possessions in ; it had been used as the cover of a copy of Cicero ‘s De Officiis. They are the only cantigas d’amigo for which the music is known and, if Codax was indeed Galician, the only medieval Galician secular songs; see Cantigas de Santa Maria.
Rainy Day Relaxation Road Trip. Galician musicians Medieval male composers Galician poets Troubadours Galician Literature Mzrtin Spanish male poets Spanish male classical composers Spanish classical composers 13th-century composers. He is one of only two out of a total of 88 authors of cantigas d’amigo who used only the archaic strophic form aaB a rhymed distich followed by a refrain.