montserrat figueras - The Orchard

MONTSERRAT FIGUERAS 

LA VOIX DE L’EMOTION 

The voice of emotion

CD1 

1. MEDEA. Invocation : I Nunc iam cessit pontus et omnis partitur leges 4’52 

II. Venient annis sæcula 

MÉDÉE (TRAGÉDIE, ACTE II) - SÉNÈQUE (s. Ier après JC) 

Musique Solo : Anonyme s. XII 

Montserrat Figueras chant 

Dimitri Psonis santur 

Jordi Savall rebab 

2. Berceuse Amazigh – magri$ º 1 º 1 º iT%s 2’33 

ANONYME BERBÈRE (MAROC) 


Driss El Maloumi oud, Pedro Estevan pandero 

3. Romance : Palestina hermoza y Santa 7’41 

ANONYME SÉPHARADE (SARAJEVO) 

Montserrat Figueras chant & cythara 

Jordi Savall rebab, Gaguik Mouradian kemancha, Michaël Grébil ceterina 

4. Romance : Triste estaba muy quexosa 3’49 

LUYS MILÁN (avant 1500-après 1561) 


Hopkinson Smith vihuela 

5. Villancico : Si la noche haze escura 4’32 

FRANCISCO GUERRERO (Attribué à) 

Montserrat Figueras, Maite Arruabarrena, Carlos Mena 

Andrew Lawrence-King harpe 

Jordi Savall, Sergi Casademunt violes de gambe 

6. Villancico : Isabel, perdiste la tu faxa 1’52 

ALONSO MUDARRA (1510-1580) 


Hopkinson Smith vihuela 

7. Chanson : Anchor che co’l partire 3’57 

CIPRIANO DI RORE passeggiata di 

GIOVANNI BATTISTA BOVICELLI (1594) 

Montserrat Figueras soprano 

Jordi Savall, Sergi Casademunt, Christophe Coin violes de gambe 

Avec l’aimable autorisation de Deutsche Harmonia Mundi 


LA VOIX DE L’EMOTION · THE VOICE OF EMOTION 

Portrait 

8. Romance : Como retumban los remos! 2’59 

LOPE DE VEGA (1562-1635) / ANONYME – Cancionero 1628 


José Miguel Moreno, Rolf Lislevand guitares 

9. Antiphone : Salve, Regina à 8, 1572 (extrait) 4’14 

TOMAS LUIS DE VICTORIA (1548-1611) 


La Capella Reial de Cataluya 

Jordi Savall direction 

10. Lamento della ninfa : “Amor dov’è la fe” 4’26 

CLAUDIO MONTEVERDI (1567-1643) 


Lambert Climent, Francesc Garrigosa ténors 

Daniele Carnovich basse 

Andrew Lawrence-King arpa doppia, Rolf Lislevand théorbe 

11. Con le luci d’un bel ciglio, 1614 1’53 

GIULIO CACCINI (1551-1618) 


Hopkinson Smith luth, Robert Clancy guitare baroque 

Jordi Savall viole de gambe basse, Xenia Schindler harpe 


12. Canzonetta spirituale sopra la nanna 8’41 

Hor ch’è tempo di dormire, 1639 

TARQUINIO MERULA (1594-1665) 


Jordi Savall viole de gambe, Imke David lirone 

Andrew Lawrence-King arpa doppia 

13. Tono humano : Ay que me río de amor 1’54 

JUAN HIDALGO (1612-1685) 

BN Ms. 380/824a Madrid 


Xavier Díaz-Latorre guitare, Arianna Savall harpe 

Jordi Savall viole de gambe, Pedro Estevan percussion 

14. Tono humano : Sosieguen descansen 5’21 

(de la Zarzuela “Salir del Amor del Mundo”) 

SEBASTIÁN DURÓN (1660-1716) 


Hopkinson Smith théorbe, Christophe Coin basse de violon 

Ton Koopman clavecin, Jordi Savall viole de gambe 

Avec l’aimable autorisation d’EMI

15. Berceuse : Dors mon enfant, 1798 3’12 

Chanson d’une malheureuse mère. Imité de l’écossais 

JOHANN FRIEDRICH REICHARDT (1752-1814) 


Andrew Lawrence-King arpa doppia 

Jordi Savall viole de gambe basse 

16. Aria : Ti ricordi che giurasti 4’22 

FERNANDO SOR (1778-1839) 


José Miguel Moreno guitare romantique 

17. Seguidilla : Las Mujeres y cuerdas 1’09 

FERNANDO SOR (1778-1839) 


José Miguel Moreno guitare romantique 

18. Avec la poupée – С куклой 1’47 

La Chambre des enfants, 1970 

MODEST PETROVICH MUSORGSKY (1839-1881) 


Paul Badura-Skoda piano 

19. Berceuse de Noël, 2002 – Рождественская Колыбельная 5’23 

ARVO PÄRT (11.9.1935) 


Jordi Savall, Sergi Casademunt, Sophie Watillon violes de gambe 

Arianna Savall harpe triple, Begoña Olavide psalterium, Dimitri Psonis santur 

CD2 

1. Romance : Por que llorax blanca niña (Sarajevo) 8’39 

CHANSON SEFARDITE 



Pedro Memelsdorff flûte, Pedro Estevan percussion 

Jordi Savall viole soprano 

2. Sibila Galaica (extrait) 7’15 

EL CANTO DE LA SIBILA 

Alfonso X el Sabio, XIIe siècle 



La Capella Reial de Catalunya 


3. Cançó : A chantar m’er de so 6’53 

COMTESSA BEATRITZ DE DIA 


Hespèrion XXI : Jordi Savall rebab,Driss El Maloumi oud, Michaël Grébil luth médiéval 

Pierre Hamon flûte, Pedro Estevan percussion 

4. Planctus : O arbre sanct, digne de honor (Maria) 4’38 

EL MISTERI D’ELX (LA VESPRA) 


Jordi Savall rebab, Pierre Hamon flûte, Begoña Olavide psalterium 

5. Villancico : Niña y viña 1’24 

ANONYME – CANCIONERO DE LA COLOMBINA (CMC) s. XV 


Hespèrion XX, Jordi Savall 

6. Villancico : Con qué la lavaré 6’00 

ANONYME – LUYS DE NARVAEZ (ca.1500-1550/1560) 


Rolf Lislevand vihuela 

Jordi Savall, Sergi Casademunt, Paolo Pandolfo violes de gambe 

7. Villancico : Yo me soy la morenica 2’07 

ANONYME – CANCIONERO DE LA COLOMBINA (CMC) s. XV 


Jordi Savall, Fahmi Alqhai violes de gambe 

Xavier Díaz-Latorre vihuela, Begoña Olavide psalterium, Pedro Estevan percussion

8. Motet : Ne timeas, Maria (a 4), 1572 3’08 

TOMÁS LUIS DE VICTORIA (1548-1611) 


Jordi Savall, Sergi Casademunt, Eunice Brandão violes de gambe 

9. Madrigal : Aura soave 2’56 

LUZZASCO LUZZASCHI (ca.1545-1607) 


Hopkinson Smith luth 


10. Canzonetta : Si dolce è il tormento (libro nono) 3’08 

CLAUDIO MONTEVERDI (1567-1643) 


Rolf Lislevand théorbe 

11. Alme Luci Beate 3’30 

GIULIO CACCINI 


Hopkinson Smith théorbe 


12. Sentirete una canzonetta 3’03 

TARQUINIO MERULA (1595-1665) 


Jordi Savall viole de gambe, Arianna Savall harpe 

Ferran Savall théorbe, Pedro Estevan percussion 

13. Canarios : No piense Menguilla ya 6’04 

JOSÉ MARÍN (1618-1699) 


Rolf Lislevand guitare baroque 

Arianna Savall arpa doppia & chant 

Pedro Estevan percussions, Adela González-Campa castagnettes 

14. Tono Humano : Trompicávalas amor 3’01 

JUAN HIDALGO (1614-1685) 


Enrique Barona jarana, Leopoldo Novoa guitarra de son tercera 

Jordi Savall viole de gambe, Andrew Lawrence-King harpe 

Eduardo Eguez guitare, Dimitri Psonis percussion 

15. Cançó : El Fill del rei 6’46 

TRADITIONNEL CATALAN – JORDI SAVALL 


Rolf Lislevand guitare, Jordi Savall viole de gambe 

16. Hei mihi (Missa Pro Defunctis : VII) 6’02 

JOAN CEREROLS (1618-1680) 


La Capella Reial de Catalunya 


17. Nana : Duérmete, niño, duerme, 1914 4’30 

MANUEL DE FALLA (1876-1946) 


Xavier Díaz-Latorre guitare 

Jordi Savall viole de gambe 

Enregistrements réalisés durant les années 1978 et 2009 

Montage et remasterisation SACD : Manuel Mohino 

Avec l’aimable autorisation de Deutsche Harmonie Mundi 

(CD 1 n. 7 et 11, CD 2 n. 9 et 11) et d’EMI (CD 1 n. 14) 

Réalisation Éditoriale : Agnès Prunés 

Design : Eduardo Néstor Gómez 

Photo couverture : © Nomah 

Montserrat Figueras 

Pierre Hamon flûtes, Pedro Memelsdorff flûtes 

Driss El Maloumi oud, Dimitri Psonis santur, Pedro Estevan percussion 

Ton Koopman clavecin, Paul Badura-Skoda piano 

Hopkinson Smith vihuela de mano & théorbe 

Rolf Lislevand vihuela de mano & théorbe, José Miguel Moreno guitare romantique 

Xavier Díaz-Latorre guitarre baroque & romantique 

Andrew Lawrence-King harpe medièvale & arpa doppia 

Arianna Savall arpa doppia & voix, Ferran Savall théorbe 

Christophe Coin basse de viole & basse violon 

HESPÈRION XX & XXI 

LA CAPELLA REIAL DE CATALUNYA 

JORDI SAVALL 

lira, rebab, violes de gambe & direction

Photo: Toni Peñarroya 

Barcelone, printemps 1961 

© Jaume Figueras

IN MEMORIAM 


1942 – 2011 

J’ai rencontré Montserrat pour la première fois au Printemps de 1961, je venais de finir une classe un 

peu décevante avec mon professeur de violoncelle au conservatoire (qui ne comprenait pas très bien 

pourquoi je m’entêtais à jouer les suites de Bach à partir du fac-similé du manuscrit original), Montserrat 

était la prochaine élève qui attendait, et au moment de sortir, lorsque je passais à côté d’elle, en me voyant 

très déçu, elle m’encouragea avec de gentilles paroles susurrées à mon oreille : « Ne te décourage pas, 

tu joues très bien ». J’ai emporté avec moi toute l’émotion de cette première empreinte de sa voix chaleureuse, 

de cette touche personnelle d’un parfum très subtil mais inoubliable et surtout de son regard 

déjà si mystérieux pour une jeune fille de 18 ans. Hélas j’étais bien trop occupé avec mon violoncelle et 

mes études au conservatoire, pour me distraire avec des aventures impossibles ! En effet, Montserrat me 

semblait telle une jeune déesse inaccessible car elle venait d’une ancienne famille de la haute bourgeoisie 

catalane et moi, fils d’une humble famille avec en plus, un père « rouge » et républicain, j’étais son 

opposé : un simple étudiant sans ressources, qui survivait grâce à une toute petite bourse d’études et un 

peu d’aide de ses parents. Mais trois années plus tard, cette rencontre s’avéra décisive pour notre futur. 

Enric Gispert, le directeur de l’ensemble de musique ancienne Ars Musicæ dans lequel Montserrat chantait, 

demanda si quelqu’un connaissait un bon musicien capable de s’atteler au travail de la viole de 

gambe, Montserrat s’empressa de dire qu’elle connaissait un excellent jeune violoncelliste qui pourrait 

bien être intéressé. Alors que je rentrais en train à Barcelone, du stage de musique baroque, tenu par le 

claveciniste Rafael Puyana à Saint-Jacques de Compostelle (Août 1964), j’avais noté dans mon agenda 

« chercher une viole de gambe ». En arrivant à la maison, mes parents m’annoncèrent une merveilleuse 

coïncidence. Il fallait que je téléphone à quelqu’un tout de suite. J’appelle et n’en crois pas mes oreilles 

quand j’entends une voix me dire : « nous avons une viole de gambe pour vous, êtes-vous intéressé par 

l’étude de cet instrument ? ». Une année plus tard et après beaucoup d’heures de recherche et de travail 

en autodidacte, j’ai pu participer aux répétitions et aux enregistrements prévus avec l’ensemble vocal 

dans lequel Montserrat chantait et les autres musiciens de Ars Musicæ. 

Après deux années de merveilleuses expériences humaines et musicales, nous avons décidé de nous 

marier à la fin du printemps de 1967 et de commencer une nouvelle aventure ensemble. Après quelques 

mois inoubliables passés à Vilassar de Mar, petit village de pêcheurs, et grâce à une bourse de la 

Fondation Joan March, nous avons pu partir, en Février 1968, pour la Suisse et nous installer à Bâle 

comme étudiants de la célèbre Schola Cantorum Basiliensis. La suite est peut-être un peu mieux connue 

; années de recherche et de travail créatif, ponctuées par la naissance de nos enfants Arianna et Ferran, 

mais aussi des ensembles Hespèrion XX, de La Capella Reial de Catalunya, du Concert des Nations, 

de la Fondation CIMA, d’Alia Vox et par le partage de tant de belles musiques, avec des milliers de musiciens 

et d’amateurs du monde entier. 

Après tant d’années de complicité et de réalisation ensemble de nos rêves les plus fous, Montserrat est 

partie pour toujours le 23 novembre 2011 à la suite d’une longue et difficile année de lutte contre sa 

maladie, faisant preuve de beaucoup de courage. Malgré mon chagrin et ma douleur extrême, je suis très 

reconnaissant au destin de m’avoir accordé le grand privilège de partager 45 ans d’intense et féconde vie 

avec Elle. Montserrat a été amie, compagne, amante, mère, muse, maître et conseillère exceptionnelle 

durant tous les moments de notre vie. Au delà de la grande artiste qu’elle fut, tout ce qu’elle réalisa dans 

sa vie était imprégné de cette lumière qui nous caressait, faite d’amour infini, de sensibilité extrême, de 

générosité et de cette recherche infatigable des dialogues et des chemins qui nous mènent à la paix et 

l’harmonie à travers l’émotion, la spiritualité et la grâce : cette grâce, comme disait La Fontaine, plus 

belle que la beauté. C’est cette lumière qui nous donne la force de continuer sans sa présence et qui nous 

aidera à combler le grand vide qu’elle nous laisse, avec les projets qu’elle aurait souhaité achever. Elle 

aimait nous rappeler que par dessus tout, il existe chez celui qui chante une berceuse, le souci de donner 

le meilleur de soi-même, rien d’autre qu’un acte d’amour qui, de cette manière, fait vivre à l’enfant l’essence 

de la vie. (Ninna Nanna, 2002). Merci Montserrat de nous avoir appris qu’il ne suffit pas d’écouter 

la musique avec nos oreilles, mais que nous devons l’écouter avec notre âme. 

Merci beaucoup chers amis, pour tous vos extraordinaires et émouvants messages de soutien, d’admiration 

et d’amour, qui nous ont tant réconfortés en ces moments de si grande tristesse et de douleur infinies. 

Son âme restera dans toutes les musiques que nous ferons et ensemble avec tous ceux qui dans le 

Monde se sont assouvis de son chant, nous continuerons, en luttant avec ses chers idéaux de paix et 

d’harmonie, à maintenir sa mémoire toujours vivante. 

15.03.1942 Naissance à Barcelone. 

1958-67 Études de chant avec Jordi Albareda et Études d’art dramatique. 

JORDI SAVALL 

Bellaterra, Janvier 2012 

1960-66 Collaboration avec l’ensemble vocal Al·leluia et avec l’ensemble de musique ancienne Ars Musicæ de 

Barcelone, sous la direction d’Enric Gispert. 

1961-64 Études de violoncelle au Conservatoire de Barcelone. Première rencontre avec Jordi Savall à 

la classe de Violoncelle (1963). 

Printemps 1966 Etudes de dessus de viole de gambe avec Cecilie Dolmetsch à Haslemere (Angleterre). 

Juin 1967 Mariage avec Jordi Savall. Premières recherches sur la musique ancienne espagnole. 

Février 1968 Départ pour la Suisse (Bâle). 


Chronologie 

1967-1972 Continue sa formation vocale avec Kurt Widmer à la Musik-Akademie, et avec Andrea von 

Rahm et Thomas Binkley à la Schola Cantorum Basiliensis. Elle travaille le répertoire ancien. Se perfectionne 

avec Eva Krashnai, à Bâle, et Marie-Agnès Faure à Paris. Etudie dès le début les techniques anciennes de 

chant, développant un concept personnel de ces musiques, loin des influences post-romantiques. 

1970 Commence à se faire connaître comme chanteuse. Premiers concerts. 

16.08.1972 Naissance d’Arianna à Bâle (Suisse).

1974 Création à Bâle, de l’ensemble Hespèrion XX, (rebaptisé « Hespèrion XXI » depuis début 2000) avec Jordi 

Savall, Hopkinson Smith et Lorenzo Alpert. 

1975 Premier enregistrement El Barroco Español, avec Jordi Savall et Ton Koopman. 

1975 Premier enregistrement avec Hespèrion XX (avec H. Smith, L. Alpert, J. Savall, G. Garrido) du double album 

Musique séculière de l’Espagne Chrétienne et Juive 1450-1550, pour la collection « Reflexe » de EMI. 

1977 Enregistre toujours pour « Reflexe » de EMI les Canços de Trobairitz avec Hespèrion XX. 

1977-80 Elle reçoit (avec Hespèrion XX) le prix « Edison Klassik », le « Grand Prix de l’Académie du disque 

Français » et le « Grand Prix de l’Académie Charles Cros ». 

04.09.1979 Naissance de Ferran à Bâle (Suisse). 

1987 Création de La Capella Reial de Catalunya avec Jordi Savall. 

Enregistrement des Messes de Requiem et de Bataille de Joan Cererols. 

1988 Elle impartit un cours annuel de Musique ancienne à la Seu d’Urgell (10 éditions de ce cours auront lieu) et 

plus tard à Sant Feliu de Guixols. 

1988 Publication du premier CD sur Le Chant de la Sibylle (en Catalogne) avec les versions Latine, Provençale et 

Catalane. Par la suite elle complètera ses recherches en enregistrant 6 nouvelles versions; Les Sibylles de 

Galicia et Castilla (1996), de Mallorca et Valencia (1998) et finalement celles d’Alexandrie (2007) et 

d’Occitanie (2009). 

1989 Création de l’ensemble Le Concert des Nations avec Jordi Savall. 

Enregistrement du CD Canticum ad Beatam Virginem Mariam de M. A. Charpentier. 

1991 Enregistrement de la bande son du film Tous les Matins du Monde d’Alain Corneau qui reçoit 7 Césars. 

Le CD de la bande son se vend à plus 1.000.000 d’exemplaires durant 1991-93. 

1991 Dans le registre de l’Opéra, elle débute avec Una Cosa Rara ossia Bellezza ed Onestá de V. Martin i Soler 

au Gran Teatre del Liceu de Barcelone. 

1993 Joue le rôle de la Musica et d’Euridice dans L’Orfeo de Claudio Monteverdi. Première au Gran Teatre del 

Liceu de Barcelone, et au Teatro Real de Madrid. 

1995 Dans le rôle de Lucile, elle participe à l’opéra Il Burbero di buon cuore de V. Martin i Soler au Théâtre/Opéra 

de Montpellier. 

1996 Création de la Fondation Centre Internacional de Música Antiga. 

1997 Avec Jordi Savall, création d’Alia Vox. 

2000 Interprète le rôle d’Aurea dans Celos aun del ayre matan de Juan Hidalgo (L’Auditori de Barcelone et 

Konzerthaus de Vienne). 

2001-02 Nominations au Grammy Awards en 2001 pour le CD Diáspora Sefardí et en 2002 pour le CD El Cançoner 

de Montecassino. 

Elle est honorée du titre d’Officier de l’ordre des Arts et des Lettres par le gouvernement français. 

2002 Enregistrement pour la BBC, du DVD de L’Orfeo de Claudio Monteverdi dans le Gran Teatre del Liceu de 

Barcelone nouvellement restauré. Enregistrement du CD Ninna Nanna. 

2003-05 Concerts en famille et enregistrement du CD « Du temps et de l’instant » (2004) avec Arianna, Ferran et Jordi 

Savall. 

2004-07 Développe le jeu de la cithare pour s’accompagner désormais au chant dans le répertoire du moyen-âge et de 

la Renaissance. 

2004-05 Préparation, enregistrement et édition du premier Livre-disque « Les Musiques de Don Quichotte » pour 

ALIA VOX. 

2006 Début du Premier Festival « Musique et Histoire : pour un dialogue interculturel » à l’Abbaye de Fontfroide, 

en collaboration avec ALIA VOX, la Fondation CIMA et les Amis de Fontfroide. 

2007 L’UNESCO la proclame Artiste pour la Paix (avec Jordi Savall). 

2007-08 Préparation et enregistrement des musiques pour le programme Jérusalem. La Ville des deux Paix, qui sera 

présenté à Barcelone, Paris, Metz et Jérusalem, et édité comme Livre/CD par ALIA VOX. 

2009 Hommage au Pays d’Oc avec le Livre/CD Le Royaume Oublié: La Croisade contre les Albigeois. 

2010-11 Préparation et enregistrement du Livre/CD Dinastia Borgia – Église et pouvoir à la Renaissance qui reçoit 

le Grammy Award 2011 dans la catégorie de « Best Small Ensemble Performance » 

2011 La Generalitat de Catalunya lui octroie la distinction de la Creu de Sant Jordi pour sa précieuse contribution 

à la récupération de la musique ancienne et en France, elle reçoit du Ministère de la Culture le titre de 

Commandeur des Arts et des Lettres. 

Juillet 2011 Derniers enregistrements : La Sublime Porte & Mare Nostrum 

Août 2011 Derniers concerts : en Espagne, le 17 à Maó (Minorque) et en France, le 20 à Sylvanès et le 22 à Conques. 

23 novembre 2011 Décès de Montserrat Figueras à la maison de Bellaterra. 

Quand elle chante, la mère aide l’enfant pour qui, depuis sa naissance au 

monde extérieur, tout est nouveau et il peut en avoir peur. L’enfant reconnaît 

dans le chant la voix de sa mère, sa présence, son geste... et dans l’intimité 

de ce moment, se crée un espace de profonds symboles ancestraux 

où la musique et la parole sont un lien de pure émotion et d’authenticité. 

C’est ainsi que s’établit le premier dialogue, le premier conte, le premier 

enseignement d’une tradition, d’une culture et d’un art de vivre qui 

deviendront, avec le temps, une contribution essentielle à une mémoire 

collective. 

Mais par dessus tout, il existe chez celui qui chante – la mère, le père, les 

grands frères ou la grand-mère –, le souci de donner le meilleur de soimême, 

rien d’autre qu’un acte d’amour qui, de cette manière, fait vivre à 

l’enfant l’essence de la vie. 

Ninna Nanna, 2002 

Il ne suffit pas d’écouter la musique avec nos oreilles, nous devons l’écouter 

avec notre âme. 

Mars, 2010 

MONTSERRAT FIGUERAS

IN MEMORIAM 


1942 – 2011 

I met Montserrat for the first time in the spring of 1961. I had just finished a rather disappointing 

class with my cello teacher at the conservatoire (who couldn’t see why I insisted on playing Bach’s 

suites using a facsimile of the original manuscript), and Montserrat was the next student waiting to 

go in. As I passed her on my way out, realizing how crestfallen I was, she encouraged me by whispering 

a few kind words in my ear: “Don’t be discouraged, you play really well.” I took away with me 

the emotion caused by that first impression of her warm voice, the personal touch of her subtle but 

unforgettable perfume and, above all, her eyes, with their unusually enigmatic look for an 18- yearold 

girl. Alas, I was far too busy with my cello and my studies at the conservatoire to be distracted 

by impossible adventures! To tell the truth, in my eyes Montserrat was like a young, inaccessible goddess. 

She came from an old family belonging to the Catalan haute bourgeoisie, while I was from a 

modest family, and what is more, the son of a “red” Republican father! I was her exact opposite, a 

penniless student surviving on a tiny study grant and a little help from my parents. But three years 

later, that meeting was to prove decisive for both our futures. When Enric Gispert, the director of the 

early music group Ars Musicæ in which Montserrat sang, asked if anybody knew a good musician 

capable of tackling the viola da gamba, Montserrat immediately answered that she knew an excellent 

young cellist who she thought might be interested. On a train journey back to Barcelona, after attending 

a Baroque music course in Santiago de Compostella (August 1964) given by the harpsichordist 

Rafael Puyana, I jotted down in my diary “look for a viola da gamba.” When I arrived home, my parents 

told me about a wonderful coincidence. I had to telephone somebody straight away. So I made 

the call, and I couldn’t believe my ears when I heard a voice saying, “we have a viola da gamba for 

you. Would you be interested in studying the instrument?” A year later, after countless hours spent 

researching and teaching myself the instrument, I took part in the rehearsals and the recordings with 

the vocal ensemble in which Montserrat and the other musicians of Ars Musicæ sang. 

After two wonderful years of shared personal and musical experiences, we decided to get married in 

the late spring of 1967 and to embark on a new adventure together. After a few unforgettable months 

in the small fishing village of Vilassar de Mar, and thanks to a grant from the Joan March Foundation, 

in February 1968 we left for Switzerland, where we studied at the famous Schola Cantorum 

Basiliensis in Basel. What followed is perhaps the best known part of our story: years of research and 

creative work, punctuated by the births of our children Arianna and Ferran, as well as those of our 

ensembles Hespèrion XX, La Capella Reial de Catalunya and the Concert des Nations, the creation 

of the CIMA Foundation and our record label Alia Vox, and many years during which we have shared 

so much beautiful music with thousands of musicians and music lovers all over the world. 

After so many years of forming the closest possible partnership, and after achieving our wildest 

dreams together, Montserrat left us forever on 23rd November, 2011, at the end of a long and difficult 

year during which she fought her illness with great courage. Despite my grief extreme and sorrow, 

I am so grateful to destiny for having given me the great privilege of shearing 45 years of 

intense, fruitful life with Her. Montserrat was friend, companion, lover, mother, muse, teacher and an 

exceptional source of wisdom throughout our life together. Over and above the great artist that she 

was, everything that she did in her life was permeated with that light, a combination of infinite love, 

extraordinary sensitivity and generosity, and the tireless search for dialogue and pathways to peace 

and harmony through emotion, spirituality and grace. That grace, as La Fontaine says, which is more 

beautiful than beauty itself. It is that light which gives us the strength to go on without her presence, 

and which will help us to fill the great void she leaves behind with the projects that she would have 

wished to carry out. She liked to remind us that “above all, whoever sings a lullaby is moved by the 

desire to give of their very best, in itself an act of love through which the child experiences the 

essence of life” (Ninna Nanna, 2002). Thank you, dear Montserrat, for having taught us that “it is not 

enough to listen to music with our ears, we must also listen with our soul.” 

Thank you so much, dear friends, for all your extraordinary and moving messages of support, admiration 

and love, which have been such a comfort to us at this time of great sadness and infinite sorrow. 

Her spirit will be present in all the music we make; together with all those who in this World 

have delighted in her song, we will continue to keep her memory alive always by striving for the 

ideals of peace and harmony that she cherished. 


Chronology 

15.03.1942 Montserrat Figueras is born in Barcelona. 

1958-67 She studies singing with Jordi Albareda, and drama. 

JORDI SAVALL 

Bellaterra, January 2012 

Translated by Jacqueline Minett 

1960-66 Collaboration avec the vocal ensemble Al·leluia and with the early music ensemble Ars Musicæ of Barcelona, 

under the direction of Enric Gispert. 

1961-64 She studies the cello at the Conservatoire in Barcelona. First meeting with Jordi Savall in the cello class. 

Spring 1966 She studies the treble viol with Cecile Dolmetsch at Haslemere (England). 

June 1967 She marries Jordi Savall. Initial research into Spanish early music. 

February 1968 The couple leave for Basel, Switzerland. 

1967-1972 She continues her vocal training with Kurt Widmer at the Musik-Akademie, and with Andrea von Rahm and 

Thomas Binkley at the Schola Cantorum Basiliensis. She explores the early music repertoire. She furthers 

her studies with Eva Krashnai in Basel and Marie-Agnès Faure in Paris. From the outset, she studies early 

singing techniques, developing a highly personal understanding of the repertoire, independently of post- 

Romantic influences. 

1970 She begins to be known as a singer. First concert performances. 

16.08.1972 Birth of Arianna at Basel, Switzerland.

1974 Creation of the ensemble Hespèrion XX (renamed Hespèrion XXI at the beginning of 2000) with Jordi Savall, 

Hopkinson Smith and Lorenzo Alpert in Basel. 

1975 Her first recording, El Barroco Español, with Jordi Savall and Ton Koopman. 

1975 First recording with Hespèrion XX in EMI’s Reflexe series, with H. Smith, L. Alpert, J. Savall and G. 

Garrido: the double album Musique séculière de l’Espagne. Chrétienne et Juive 1450-1550. 

1977 Also in EMI’s Reflexe series, she records Canços de Trobairitz with Hespèrion XX. 

1977-80 She is awarded (together with Hespèrion XX) the “Edison Klassik”, the “Grand Prix de l’Académie du disque 

Français” and the “Grand Prix de l’Académie Charles Cros”. 

04.09.1979 Birth of Ferran at Basel, Switzerland. 

1987 Creation of La Capella Reial de Catalunya with Jordi Savall. 

Recording of the Messes de Requiem & de Bataille by Joan Cererols. 

1988 She teaches an annual Ancient Music course at La Seu d’Urgell (the course runs for 10 years) and later at 

Sant Feliu de Guíxols. 

1988 Release of her first CD of Sibyls, El Cant de la Sibil·la. Catalunya, including the Latin, Provençal and 

Catalan versions. She subsequently completes her research, recording another six versions: the Sibyls of 

Galicia and Castile (1996), Majorca and Valencia (1998) and, finally, those of Alexandria (2007) and 

Occitania (2009). 

1989 Creation of the ensemble Le Concert des Nations with Jordi Savall. 

Recording of the CD Canticum ad Beatam Virginem Mariam by M. A. Charpentier. 

1991 Recording of the soundtrack of the film Tous les matins du monde, directed by Alain Corneau, which receives 

7 Caesars. More than 1000,000 copies of the CD are sold during 1991-93. 

1991 She makes her opera début in Una cosa rara ossia bellezza ed onestá by V. Martin i Soler at the Gran Teatre 

del Liceu in Barcelona. 

1993 She plays the role of Euridice in Claudio Monteverdi’s L’Orfeo. Première at the Gran Teatre del Liceu in 

Barcelona and the Teatro Real in Madrid. 

1995 She sings the role of Madama Lucilla in the opera Il burbero di buon cuore by V. Martin i Soler at the 

Théâtre/Opéra de Montpellier. 

1996 Creation of the Foundation Centre Internacional de Música Antiga. 

1997 Creation of the Alia Vox record label with Jordi Savall. 

2000 She performs the role of Aurea in Celos aun del ayre matan by Juan Hidalgo (L’Auditori, Barcelona and 

Konzerthaus, Vienna). 

2001-02 In 2001 she is nominated for Grammy Awards for the CD Diáspora Sefardí and in 2002 she is nominated for 

Grammy Awards for the CD El Cançoner de Montecassino. 

She is honoured with the distinction of Officier de l’ordre des Arts et des Lettres from the French government. 

2002 BBC recording of the DVD of Claudio Monteverdi’s L’Orfeo at the newly restored Gran Teatre del Liceu in 

Barcelona. Recording of the CD Ninna Nanna. 

2003-05 Family concert performances and recording of the CD Du temps et de l’instant (2004) with Arianna, Ferran 

and Jordi Savall. 

2004-07 She studies the zither and subsequently accompanies herself on the instrument as vocalist in the Medieval and 

Renaissance repertoires. 

2005 Recording and publication of Alia Vox’s first CD-book Don Quijote de la Mancha: Romances y Músicas. The 

programme is released as a CD-book by ALIA VOX. 

2006 The first “Musique et Histoire: pour un dialogue intercultural” Festival at Fontfroide Abbey (France), in collaboration 

with ALIA VOX, the CIMA Foundation and Les Amis de Fontfroide. 

2007 Together with Jordi Savall she is appointed UNESCO Artist for Peace. 

2007-08 Preparation and recording of music for the programme Jérusalem. La Ville des deux Paix, presented at 

Barcelona, Paris, Metz and Jerusalem. The programme is released as a CD-book by ALIA VOX. 

2009 Homage to the Languedoc with the CD-book Le Royaume Oublié: La Croisade contre les Albigeois. 

2010-11 Preparation and recording of the CD-book Dinastia Borgia – Church and power in the Renaissance, which 

received the Grammy Award 2011 in the category of “Best Small Ensemble Performance”. 

2011 She is awarded the distinction of the Creu de Sant Jordi from the Generalitat de Catalunya in recognition of 

her valuable contribution to the revival of ancient music. She also receives from the French Ministry of Culture the distinction 

of Commandeur des Arts et des Lettres. 

July 2011 Final recordings (La Sublime Porte & Mare Nostrum). 

August 2011 Final concerts: in Spain, on 17th August, at Mahon (Menorca), and in France on 20th August at Sylvanès and 

on 22nd August at Conques. 

23 November, 2011 Montserrat Figueras dies at home in Bellaterra. 

Translated by Jacqueline Minett 

When the mother sings, from the moment a baby is born and during the 

first few years of the child’s life, lullabies are an indispensable ally to the 

mother in soothing her child, for whom everything in the big, wide world 

is new and perhaps frightening. The baby recognizes in the song his 

mother’s voice, her presence and her expression. The intimacy of the 

moment creates a space rich in ancestral symbols, in which words and 

music create a bond of pure emotion and truth. It is in this space that the 

child experiences his first dialogue, his first story, his first contact with 

the teachings of tradition, experience and culture, which over time build 

into an essential part of our collective memory. 

But, above all, whoever sings a lullaby – the child’s mother, father, older 

brother, sister or grandmother – is moved by a desire to give of their very 

best, which is in itself an expression of love, and so the child begins to 

experience the essence of life. 

Ninna Nanna, 2002 

Is not enough to listen the music with our ears, we must listen with our 

soul. 

March, 2010 

MONTSERRAT FIGUERAS

CD1 

1. INVOCATION I : 

Medée (Tragedie, acte II, 

vv. 364-379) Sénèque (s. I) 

Nunc iam cessit pontus 

et omnes patitur leges: 

qualibet altum cumba pererrat. 

Tethysque novos detegat orbes 

nec sit terris ultima Thule. 

INVOCATION II : 

Venient annis saecula seris 

quibus Oceanus vincula rerum 

laxet et ingens pateat tellus. 

Tethysque novos detegat orbes 

nec sit terris ultima Thule. 

2. 

ORIGINAL ENGLISH 

Traduction Arabe Rabiâa El Maloumi 

CD1 

1. INVOCATION I: 

Medea (Tragedy, Act II) 

Seneca (1st Century a.C.) 

Now the oceans have been tamed: 

To man-made laws they all submit 

And any craft may sail the waves. 

Thetys will reveal new worlds, 

and Thule will mark no more the ends of the earth. 

INVOCATION II: 

Long years will ass and on that latter day 

The seas will loose the shackles of the world, 

The earth in all its vastness to display. 

Thetys will reveal new worlds, 

and Thule will mark no more the ends of the earth. 

2. AMAZIGH LULLABY 

Anonymous Berber 

I met my big brother, 

sleep 

and he asked me: 

What are carrying on your back? 

I answered: the moon. 

The moon is very sad. 

I asked her: 

Where is happiness? 

and she answered: 

Happiness is with others. 

I carried the moon on my back, 

and I walked and I wept. 

Moon, you are hungry, 

you are sleepy, 

all of nature shivers with cold. 

I met Sleep, 

and he asked me 

what I carried on my back. 

I answered that I carried 

nothing but the moon, 

and he said: 

Rock her to sleep, rock her to sleep. 

3. PALESTINA HERMOZA Y SANTA 

Romance Sefardí anónimo 

(Sarajevo) 

Palestina hermoza y santa 

cuanto sos dezventurada 

alevanta y tú sola canta 

que tú deves ser nuestra morada 

En pensando en la tierra santa 

mi cuerpo se hinche de tremblor 

el estado tuyo me encanta 

mi alma se hinche de dolor. 

Tierra sos del Criador bendicha 

cuanto sos lexos de tus hijos 

ma tu hemozura mos haze 

paz y amor ariento el coraçón. 

4. TRISTE ESTAVA MUY QUEXOSA 

Luys Milán 

Triste estava, muy quexosa 

la triste reyna troyana 

en ver a sus hijos muertos 

y la ciudad assolada. 

Y la linda Policena 

en el templo degollada 

sobr’el sepulcro de Archiles 

por Pirrus sacrificada. 

O traydor! Como pusiste 

en muger vengar tu saña, 

no bastó su hermosura 

contra tu cruel espada. 

5. SI LA NOCHE 

HAZE ESCURA 

Villancico 

Francisco Guerrero 

Si la noche haze escura 

y tan corto es el camino, 

como no venís, amigo? 

La media noche es pasada 

y el que me pena no viene. 

Mi desdicha lo detiene 

que nasci tan desdichada. 

Hazeme bivir penada 

y muéstraseme enemigo: 

como no venís, amigo? 


3. BEAUTIFUL, HOLY PALESTINE 

Anonymous Sephardic ballad 

(Sarajevo) 

Beautiful, holy Palestine, 

how wretched you have become. 

Rise up defiant and cry out loud 

that you are our rightful home. 

When I think of the holy land 

it makes my body quake. 

My mind is haunted by your plight, 

and my heart with sorrow aches. 

The Creator made you His blessed land; 

though your children are far from you, 

your beauty, kindling peace and love 

forever in our hearts is true. 

4. SAD AND MOST SORROWFUL 

Luys Milán 

Sad and most sorrowful 

was the sad queen of Troy 

to see her sons dead 

and the city laid waste. 

And lovely Polyxena, 

Her throat slit in the temple, 

sacrificed by Pyrrhus 

on the tomb of Achilles. 

O traitor! How could you 

Wreak your fury on a woman! 

Her beauty was no match 

for your cruel sword. 

5. THE NIGHT 

IS GROWING DARK 

Villancico 

Francisco Guerrero 

The night is growing dark 

and the way is short, 

so what keeps you, my love? 

It is past midnight, 

and he who torments me has not come. 

My wretchedness holds him back, 

I who was born wretched! 

He makes me live in torment 

and is as an enemy to me: 

What keeps you, my love?

6. ISABEL, PERDISTE 

LA TU FAXA 

Villancico 

Alonso Mudarra 

Isabel, Isabel, 

perdiste la tu faxa; 

Héla, por do va, 

nadando por el agua, 

Isabel, la tan garrida. 

7. ANCOR CHE COL 

PARTIRE 

Cipriano de Rore 

Ancor che col partire 

io mi sento morire, 

partir vorrei ogn’ hor, ogni momento: 

tant’ il piacer ch’io sento 

de la vita ch’acquisto nel ritorno: 

et cosi mill’ e mille volt’ il giorno 

partir da voi vorrei: 

tanto son dolci gli ritorni miei. 

8. ¡COMO RETUMBAN 

LOS REMOS! 

Lope de Vega / Anónimo 

¡Como retumban los remos, 

madre, en el agua 

con el fresco viento 

de la mañana! 

¡Como retumban los remos 

d’oro y marfil 


del señor san Jill! 

¡Como retumban los remos 

d’oro y cristal 


del señor san Juan! 

9. SALVE, REGINA à 8 

Tomas Luis de Victoria 

Et Iesum, benedictum 

fructum ventris tui, 

nobis post hoc exsilium ostende. 

O clemens, o pia, 

o dulcis Virgo Maria. 


6. ISABEL, YOU HAVE LOST 

YOUR GIRDLE 

Villancico 

Alonso Mudarra 

Isabel, Isabel, 

you have lost your girdle; 

See, there it is, 

floating in the water, 

Oh so comely Isabel! 

7. ALTHOUGH ON TAKING 

LEAVE OF YOU 

Cipriano de Rore 

Although on taking leave of you 

I feel that I must die, 

I would leave you every moment of every hour, 

so great is the joy of living 

that fills me when I return: 

thus, I would be parted from you 

a thousand times a day, 

so sweet is every homecoming. 

8. HOW THE OARS 

SPLASH! 

Lope de Vega / Anonymous 

How the oars splash 

through the water, mother, 

in the fresh breeze 

of the morning! 

How the oars splash, 

all ivory and gold, 


on St Giles Day in the morning! 

How the oars splash, 

all crystal and gold, 


on St John’s Day in the morning! 

9. SALVE, REGINA à 8 

Tomas Luis de Victoria 

And show to us Jesus, 

the blessed fruit of thy womb, 

after this exile. 

Oh merciful, oh pious, 

oh sweet Virgin Mary. 

10. Lamento della Ninfa 

(Canto amoroso) 

AMOR DOV’È 

LA FE’ 

Claudio Monteverdi 

Amor dov’è la fe’ 

ch’el traditor giurò? 

Amor dicea il ciel 

mirando il piè fermò 

Fa che ritorni il mio 

Amor com’ei pur fu 

o tu m’ancidi ch’io 

non mi tormenti più 

Non vo’ più ch’ei sospiri 

se non lontan da me 

no ch’ei martiri 

più non dirammi affè. 

Perchè di lui mi struggo 

tut t’orgoglioso sta 

che si che si se’l fuggo 

ancor mi pregherà. 

Se ciglio ha più sereno 

colei ch’el mio non è 

già non rinchiude in seno 

Amor si bella fè. 

Ne mai si dolci baci 

mai da quella bocca havrai 

ne più soavi, ah taci 

taci, che troppo il sa. 

(Miserella, ah, piu no, no 

tanto gel soffrir non può.) 

11. CON LE LUCI 

D’UN BEL CIGLIO 

Giulio Caccini 

Con le luci d’un bel ciglio, 

co’l vermiglio 

di due guance alme rosate, 

con due labbra di rubini, 

con bei crini, 

mi combatte empia beltate. 

Ad ogni hor mi dona assalto, 

o che in alto 


10. The Nymph’s Lament 

(Canto Amoroso) 

LOVE, WHERE IS 

THE FAITH 


Love, where is the faith 

the traitor swore to me? 

Love, she cried, and paused 

to gaze up at the heavens. 

Let my love return to me 

as true as he once was, 

or else, I beg you, kill me now 

and release me from my torment. 

I would not have him sigh 

unless because he is far from me; 

I would not have him suffer 

if not in wooing me. 

Because I long for him 

he struts with pride, 

but if I flee 

will he entreat me to abide? 

A brow more clear than mine 

in another he may find, 

but even in the heart of Love 

no nobler constancy is enshrined! 

And never such sweet kisses 

will you savour from those lips, 

nor softer; oh, but speak no more, 

be still, all this he knows too well. 

(Alas, poor wretch, no longer 

can she bear such cold disdain.) 

11. WITH HER EYES 

AND LOVELY LASHES 


With her eyes and lovely lashes, 

with her rosy cheeks 

like two blushing souls, 

with her ruby lips 

and beautiful tresses, 

the merciless beauty smites me. 

Relentlessly she assaults me. 

Whether lofty Phoebus

spronii Febo i suoi destrieri 

O ch’in mar’ sue fiamme chiuda 

e la cruda 

chiama in campo i miei pensieri. 

Ah da lei fuggir lontano 

lasso in vano. 

Il sudor per me s’impiega 

perch’Amor par che l’a’mpiumi 

si sui fiumi, 

e su’l mar’ le insegna spiega. 

Hor chi porge alcun’ahita 

a mia vita? 

Se fuggir non ho possanza, 

ch’io contrasti alcun non dica 

tal nemica 

soverchiar no è possanza. 

12. HOR CH’È TEMPO 

DI DORMIRE 

Tarquinio Merula 

Hor ch’è tempo di dormire 

dormi figlio e non vagire 

perché tempo ancor verrà 

che vagir bisognerà. 

Deh ben mio deh cor mio 

fa la ninna ninna na. 

Chiudi quei lumi divini 

come fan gl’altri bambini 

perché tosto oscuro velo 

priverà di lume il cielo. 

Deh ben mio... 

Over prendi questo latte 

dalle mie mammelle intatte 

perché ministro crudele 

ti prepara aceto e fiele. 


Amor mio sia questo petto 

hor per te morbido letto 

pria che rendi ad alta voce 

l’alma al Padre su la croce. 


Posa hor queste membra belle 

vezzosette e tenerelle 

perché puoi ferri e catene 

gli daran acerbe pene. 



spurs his horses, 

or quenches his flames in the sea, 

she, the cruel one, at all times 

beckons my thoughts to the battlefield. 

Oh, in vain 

I try to flee from her. 

I strive to no avail, 

for Love, it seems, has lent her wings 

to span rivers, 

and she unfurls her ensign over the sea. 

Who will come to the aid 

of my life? 

Though I am powerless to flee, 

let no one say I did not try. 

Over such a foe 

no victory is possible. 

12. NOW IT’S TIME 

TO SLUMBER 


Now it’s time to slumber, 

sleep my child, don’t cry, 

for the time will come 

for weeping, by and by. 

Oh my love, oh my dear heart, 

sing lulla-lullaby. 

Close those heavenly eyes, 

as other children do, 

for soon a dark veil 

will cover the sky. 

Oh my love... 

Suck this milk 

at my immaculate breast, 

for a cruel governor 

will serve you bitterness and gall. 

Oh my love... 

My love, lay your head softly 

now upon my breast, 

before you cry out on the Cross 

and surrender your soul to God. 

Oh my love... 

Now rest these fine limbs, 

so precious and tender, 

for they will be scourged 

by cruel irons and chains. 

Oh my love... 

Queste mani e questi piedi 

ch’or con gusto e gaudio vedi 

ahimè com’in vari modi 

passeran acuti chiodi. 

Questa faccia gratiosa 

rubiconda hor più di rosa 

sputi e schiaffi sporcheranno 

con tormento e grand’affanno. 

Ah con quanto tuo dolore 

sola speme del mio core 

questo capo e questi crini 

passeran acuti spini. 

Ah ch’in questo divin petto 

amor mio dolce diletto 

vi farà piaga mortale 

empia lancia e disleale. 

Dormi dunque figliol mio 

dormi pur redentor mio 

perché poi con lieto viso 

ci vedrem in Paradiso 

Hor c’è dorme la mia vita 

del mio cor gioia compita 

taccia ognun con puro zelo 

taccian sin la terra e’l cielo. 

E fra tanto io che farò 

il mio ben contemplerò 

ne starò col capo chino 

sin che dorme il mio bambino. 

13. AY QUE ME RÍO 

DE AMOR 

Tono Humano 

Juan Hidalgo 

Ay que me río de amor 

escuchen atiendan 

vean lo que importa 

seguir mi opinión. 

Dícese que quien quiere bien 

luego la razón gritó 

luego solo el que no quiere 

es el que tendrá razón. 

Ay que me río de amor... 

Todos del amor se rían 

mas con una condición 

que burlarse, burlarse de el 

mas burlarse con el no. 


All beauty and joy, 

these hands and these feet, 

alas, by sharp nails 

one day will be pierced. 

This pretty face, 

more ruddy than a rose, 

suffering and tormented, 

will be spat upon and bruised. 

Oh, with what sorrow, 

only hope of my heart, 

will this head and this hair 

by sharp thorns be torn! 

Alas, one day this breast divine, 

my love, my own sweet dear, 

will be rent by the deadly wounds 

of a cruel and treacherous spear. 

So sleep, my son, 

my Saviour, sleep, 

for our tryst, with joyful faces, 

in Paradise we’ll keep. 

Now you sleep, my darling, 

my heart with joy you thrill, 

let all keep watch in silence, 

let Heaven and earth be still. 

And, meanwhile, what shall I do? 

I’ll watch my love, 

my head bowed low, 

until my baby sleeps. 

13. OH, HOW I LAUGH 

AT LOVE 

Tono Humano 

Juan Hidalgo 

Oh, how I laugh at love! 

Listen, heed my advice, 

you’ll see how important it is 

to follow my design. 

They say that the one who loves you 

will crow “I told you so”, 

but then, “only one who loves you ill 

will be right and tell you so.” 

Oh, how I laugh at love! ... 

Let everyone laugh at love, 

but on one condition only, 

play with love all you please, 

but never use love as a ploy.

Ay que me río de amor... 

Inclinación natural 

dice que causa su ardor 

mas quien lo dice no dice 

conocer a la inclinación. 

Ay que me río de amor. 

14. SOSIEGUEN, 

DESCANSEN 

Sebastián Durón 

Sosieguen, descansen 

las tímidas penas, 

los tristes afanes, 

y sirban los males 

de alibio en los males. 

Estrofas 

No soy yo aquel ciego 

boraz encendido 

bolcan intocable 

en quien aun las mismas 

heladas pabesas 

o queman o arden. 

Pues como es fácil 

que haia niebe 

que haia aquel incendio 

de tantos bolcanes. 

No soi quien al sagrado 

el de los dioses 

desdiço arrogante 

su purpura ajando 

los fueros sagrados 

de tantos deidades. 


que en mi oprobio 

tirana sus leyes 

mi culto profanen. 

En fin no soi io 

de las iras de Benus 

sagrado coraje 

en cuyos alientos 

respira castigo 

su boz o su imagen. 


que deidad que fabrica 

mi inperio 

permita mi ultraje. 

Recitativo 

Pero ia que la fatiga 

tan tendido el pecho iace 

que un desaliento palpita 

en cada temor que late 


Oh, how I laugh at love! ... 

Natural inclination, 

they say, is what stokes the fire, 

but those who say as much decline 

to say if they are so inclined. 

Oh, how I laugh at love. 

14. CEASE, 

BE STILL 

Sebastián Durón 

Cease, be still 

these timid sorrows, 

and doleful labours, 

let suffering 

a balm to suffering be. 

Stanzas 

I am not that blind, 

voracious, burning, 

and untouchable 

volcano wherein 

the frozen cinders 

burn or glow. 

I can scarce believe 

that snow exists 

amid a fire that fuels 

an army of volcanoes. 

It is not I who 

arrogantly denies 

the sacred dues 

of so many gods, 

the one who tore 

their purple robes. 

I can scarce believe, 

in my disgrace, 

that their cruel laws 

will tarnish my devotion. 

I am not, in short, 

the voice or image 

of Venus’ sacred wrath, 

who breathes out 

retribution on her breath. 

I can scarce believe 

that the deity by whom 

my empire is built 

will suffer me 

to be abased. 

Recitative 

But since my heart 

lies weary in my breast 

and at every fear 

y ia que en el verde centro 

de enmarañado boscaje 

que compone la frondosa 

tenaçidad de los sauces 

seguro estoi de que puedan 

las cóleras alcanzarme 

de Diana afirmen treguas 

mis repetidos afanes 

i en este risco a quien oi 

para que sobre el descanse 

hizo el acaso que siendo escollo 

sirba de catre 

entreguemos a esta dulçe lisonja 

de los mortales 

la vida, pues a este efecto 

dijeron mis boçes antes. 

15. DORS MON ENFANT 

Berceuse 

Johann Friedrich Reichardt 

Dors mon enfant, 

clos ta paupière, 

tes cris me déchirent le coeur. 

Dors mon enfant, 

ta pauvre mère 

a bien assez de sa douleur. 

Lors que par 

de douces tendresses 

ton Père su gagner ma foi, 

il me semblait 

dans ses caresses, 

naïf, innocent comme toi. 

Je le cru; 

ou sont ses promesses ? 

Il oublie et son fils et moi ! 

Dors. 

16. TI RICORDI 

CHE GIURASTI 

Aria 

Fernando Sor 

Ti ricordi che giurasti 

al tuo tenero amator 

di non scioglier le catene 

che legarono il tuo cor, 

se t’offése il mio sospetto 

non ti bastan le mie pene 


now trembles in dismay; 

and deep within the verdant 

tangled wood of leafy willows, 

I trust Diana’s anger 

will be assuaged, 

and to my many labours 

grant a truce; 

let us here upon this crag, 

this rock fortuitously changed 

into a resting place, 

in the sweet delight 

of mortals spend our lives; 

for all that 

I have said before 

had but this end in mind. 

15. SLEEP, MY CHILD 

Lullaby 

Johann Friedrich Reichardt 

Sleep, my child, 

and close your eyes, 

your crying breaks my heart. 

Sleep, my child, 

your hapless mother 

has sorrow enough. 

When with tender ways 

your father 

won my trust, 

Naive and innocent 

as you he seemed 

in his caress. 

I believed him; 

what now of his promises? 

His child and I are both forgotten! 

Sleep. 

16. REMEMBER 

THE VOW 

Aria 

Fernando Sor 

Remember the vow 

you made your adoring lover 

never to break the chains 

that bound your heart. 

If my suspicion offended you, 

my sorrow will not suffice,

non ti bastan 

non ti bastan 

non ti basgan le mie pene 

dunque placati mio bene 

e ritorna al primo amor. 

17. LAS MUJERES 

Y CUERDAS 

Seguidilla 

Fernando Sor 

Las mujeres y cuerdas 

de la guitarra 

es menester talento 

para templarlas, 

flojas no suenan, 

y suelen saltar muchas 

si las aprietan. 

18. С куклой 

Модест Петрович Мусоргский 

Тяпа, бай, бай, Тяпа, спи, усни, 

Угомон тебя возьми! 

Тяпа! Спать надо! 

Тяпа, спи, усни, 

Тяпу бука съест, 

серый волк возьмёт, 

В тёмный лес снесёт. 

Тяпа, спи, усни! 

Что во сне увидишь, 

мне про то расскажешь: 

Про остров чудный, 

где ни жнут ни сеют, 

Где цветут и зреют груши наливные, 

День и ночь поют птички золотые! 

Бай, бай, баю бай, бай, бай, Тяпа! 


19. РоЖДЕСТВЕНСкАЯ колЫБЕлЬНАЯ 

Arvo Pärt 

И родила Сына своего Первенца 

И пеленала Его 

И положила Его 

В ясли, в ясли, в ясли, 

Потому что не было им места в гостинице. 

suffice, 

suffice. 

My sorrow will not suffice; 

So make peace with me, beloved, 

and return to your former love. 

17. WOMEN 

AND GUITAR STRINGS 

Seguidilla 

Fernando Sor 

Women and 

guitar strings, 

it takes talent 

to tune them right: 

if too lax they will not play, 

and many snap 

if pressed too tight. 

18. HUSH-A-BY DOLLY 

Modest Petrovich Mussorgsky 

Hush-a-by, Dolly, go to sleep! 

Dolly, close your little eyes, 

hush now, go to sleep! 

Dolly, go to sleep now, 

for if you’re not good, 

the big, bad wolf will come 

to carry you off to the wood! 

Dolly, go to sleep now, 

for this is what you’ll dream of: 

a magic garden 

where all the trees 

are laden not with ripening fruit, 

but with sugarplums 

and cakes and sweets, 

waiting for you to pick them! 

Hush now, Dolly, go to sleep! 

19. CHRISTMAS LULLABY 

Arvo Pärt 

And she gave birth to her first-born son. 

She wrapped him in swaddling clothes 

and laid him in a manger, 

because there was no room 

for them in the inn. 

И пеленала Его 

И положила Его 

В ясли. 

CD2 

1. POR QUÉ LLORAX 

BLANCA NIÑA 

Anónimo sefardí, romance 

Por qué llorax blanca niña, 

por qué llorax blanca flor? 

- Llóro por vos cavallero, 

que vos vax y me dexáx. 

Me dexáx niña y muchacha, 

chica y de poca edad. 

Tengo niños chiquiticos, 

lloran y demandan pan. 

Si demandan al su padre, 

qué repuesta les vo a dar? 

Metió la mano en su pecho, 

cien dovlones le fue a dar. 

Esto para qué m’abasta, 

para vino o para pan? 

Si esto no vos abasta, 

ya tenéx d’onde tomar. 

Venderéx viñas y campos, 

media parte de la civdad. 

Venderéx viñas y campos, 

de la parte de la mar. 

Vos asperaréx a los siete. 

si no, a los ocho vos cazáx. 

Tomaréx un mancevico, 

que paresca tal y cual. 

Que se vista las mis ropas, 

sin sudar y sin manchar. 

Esto que sintió su madre, 

maldición le fue a echar. 


CD2 

1. WHY DO YOU WEEP 

FAIR CHILD? 

Sephardic Anonymous Romance 

Why do you weep fair child? 

Why do you weep fair flower? 

I weep for you, my knight, 

for you go and leave me alone. 

In me you leave a girl, a mere child, 

a young girl of tender years. 

Tiny little babes have I 

who cry and ask for bread. 

If they ask for their father, 

how shall I answer them? 

He put his hand in his pocket, 

and a hundred doubloons gave her then. 

What good is this to me? 

Enough to buy wine or bread? 

If this is not enough for you, 

you have other means instead. 

You shall sell both fields and vineyards, 

one half of the town you shall sell. 

You shall sell both fields and vineyards, 

those that lie close by the sea. 

Seven years you shall wait for me, 

but the eighth year you shall marry. 

A fine young man you then shall wed 

in all respects like me. 

Then let him all my garments wear, 

by sweat and stains unblemished. 

On hearing this, his mother 

cursed him with these words.

“Todas las naves del mundo, 

vayan y bolten con paz. 

Y la nave del mi hijo, 

vaya y no abolte jamás” 

Pasó tiempo y vino tiempo, 

descariño le fue a dar. 

Asentada en la ventana, 

la que da para la mar. 

Vido venir navezica, 

navegando por la mar 

Así biva el Capitan, 

que me diga la verdad. 

Si veríax al mi hijo, 

al mi hijo caronal? 

Ya lo vide al su hijo, 

Al su hijo caronal. 

Echado en aquellos campos, 

la tierra tenía por cama, 

y el cielo por cuvierta. 

Tres buracos él tenía, 

por el uno le entra el aire, 

por el otro le entra el sol. 

Y por el mas chico de ellos, 

le entra sale el lunar. 

Esto que sintio su madre, 

a la mar se fue a echar. 

No vos echéx la mi madre, 

que yo so tu hijó caronal. 

Ya se bezan y se abrasan, 

y se van a paséar. 

2. EL CANTO DE LA SIBILA 

Sibila Galaica 

Mare de Deus, 

ora por nos teu Fill’ essa 

ora. 

U verrá na carne 

que quis fillar de ty, Madre, 

joyga-lo mundo 

cono poder de seu Padre. 

ORIGINAL ENGLISH ORIGINAL ENGLISH 

“Let all the ships that are in the world 

sail to and fro in peace, 

save only my son’s ship. 

Let it sail and never come back.” 

Time it came and time it went, 

to longing she fell prey. 

And as she sat at her window, 

that looked towards the sea 

She saw a little sailing ship 

sailing upon the sea. 

God save you, my good Captain, 

I beg you, tell me true. 

Have you seen my son, perchance, 

my own dear heart, my son? 

Yes indeed I have seen him, 

your own dear heart, your son. 

He was lying in distant fields 

upon a bed of earth, 

with only the sky for mantle. 

He had three holes in his body, 

through one the wind did blow, 

through the other the sun’s light shone 

And through the smallest of the three 

the moon did come and go. 

On hearing this, his mother 

went to cast herself into the sea. 

Mother, do not drown in the sea, 

it is I, your heart’s own son. 

Then the two embraced and kissed 

and together they walked away. 

2. THE SONG OF THE SIBYL 

Galician Sibyl 

Mother of God, intercede 

for us with your Son at that 

hour. 

When you see the flesh 

of your flesh, Mother, 

sitting in judgment of the world 

with the power of his Father, 

Mare de Deus, 


ora. 

E en aquel dia 

quand’ele for mais irado, 

fais-lle tu emente 

com’en ti foi enserrado. 

Mare de Deus, 


ora. 

E u mostrar ele 

tod’estes grandes pavores, 

fas com’avogada, 

ten voz de nos pecadores, 

Mare de Deus, 


ora. 

Que polos teus rogos 

nos lev’ao parayso 

seu, u alegria 

ajamos por senpr’e riso. 

Mare de Deus, 


ora. 

3. A CHANTAR M’ER DE SO Q’IEU 

NO VOLRIA 

Comtessa Beatritz de Dia, 

sègle XII 

A chantar m-er de so qu’ieu no voldria, 

tant me rancur de lui cui sui amia 

car eu l’am mais que nuilla ren que sia; 

vas lui no-m val merces ni cortesia, 

ni ma beltatz, ni mos pretz, ni mos sens, 

c’atressi-m sui enganad’e trahia 

cum degr’esser, s’ieu fos desavinens. 

D’aisso-m conort car anc non fi faillensa, 

amics, vas vos per nuilla captenenssa, 

anz vos am mais non fetz Seguis Valenssa, 

e platz mi mout quez eu d’amar vos venssa, 

lo mieus amics, car etz lo plus valens; 

mi faitz orguoill en digz et en parvensa, 

e si etz francs vas totas autras gens. 

Meravilh cum vostre cors s’orguoilla, 

amics, vas me, per q’ai razon qe-m duoilla; 

non es ges dreitz c’autr’amors vos mi tuoilla 

per nuilla ren qu-us diga ni-us acuoilla; 

e membre vos cals fo-l comensamens 



hour. 

On that day, 

when he is most moved to wrath, 

remind him how 

he was cradled inside you. 



hour. 

And when he shows 

all these dread things, 

act as our advocate, 

speak for us sinners. 



hour. 

That by your beseeching 

he may take us into his paradise 

where happiness shall be ours 

for ever and ever. 



hour. 

3. I MUST SING OF WHAT I WOULD NOT 

SPEAK 

Beatritz Countess of Día, 

12th century 

I must sing of what I would not speak, 

so bitterly I complain of him who calls me friend, 

for I love him more than all else in the world; 

to him my grace and manners me scarce commend, 

nor yet my beauty, virtue and my good sense, 

for now I stand deceived and betrayed 

as by rights I should if I had been unkind. 

I console myself that I have never failed, 

my friend, on any occasion, in your sight; 

more than Seguin loved Valensa do I love you, 

and I revel in trumping you at love, 

for in this, my friend, you are all others above; 

with me you are haughty in the way you speak and act, 

despite your openness with everyone you meet. 

I marvel at the harshness of your heart 

with me, my friend, and I have reason to be hurt: 

it is unjust that another love should steal you from me, 

no matter what she tells you and the favours she 

bestows; 

think back to the early days

de nostr’amor. Ja Dompnidieus non vuoilla 

q’en ma colpa sia-l departimens! 

Mas aitan plus vuolh li digas, messatges, 

qu’en trop d’orguolh ant gran dan maintas gens. 

4. EL MISTERI 

D’ELX 

La Vespra 

Oh, Arbre Sant digne d’honor, 

car sobre tots ets lo millor! 

En tu volgué sang escampar 

Aquell qui lo món volgué salvar. 

5. NIÑA Y VIÑA 

Villancico 

Anónimo (CMC) 

Niña y viña 

peral y havar. 

Malo es de guardar. 

Levántame, o madre, 

mañanita frida, 

fuy cortar la rosa, 

la rosa florida. 


Levántame, o madre 

mañanita clara, 

fuy cortar la rosa, 

la rosa granada. 


Viñadero malo 

prenda me pedía, 

dile yo un cordone 

de la mi camisa. 


Viñadero malo 

prenda me demanda: 

Yo dile una cinta 

de la muy delgada. 



when first we loved! May God forbid 

that by my fault we should ever part! 

Above all else, my messenger, tell him this: 

that many through arrant pride have come to grief. 

4. THE MYSTERY 

OF ELCHE 

La Vespra 

Oh, worthy holy tree, 

alone thou bear’st the crown, 

for thou wert bathed in the blood 

of Him who came to save the world. 

5. MAIDEN AND VINE 

Villancico 

Anonymous (CMC) 

Maiden and vine, 

peartree and beanfield, 

they are so hard to keep. 

I got up, mother, 

in the morning chill. 

I went to cut the rose, 

the rose in bloom. 

It is so hard to keep. 

In the fresh, clear morn, 

I got up, mother, from my bed. 

I went to cut the rose, 

the rose of garnet red. 


A naughty lad out working in the vines 

did beg me for a pledge. 

I gave to him a lace 

that tied my blouse. 


A naughty lad out working in the vines a pledge from me 

did crave. 

I gave to him a ribbon, 

the finest that I had. 


6. CON QUE 

LA LAVARE 

Villancico 

Anónimo / Luys de Narváez 

Con qué la lavaré, 

la flor de la mi cara? 

Con qué la lavaré, 

que bivo mal penada? 

Lávanse las casadas 

con agua de limones. 

Lávome yo cuitada 

con penas y dolores. 

7. YO ME SOY 

LA MORENICA 

Villancico 

Anónimo (CMC) 

Yo me soy la morenica, 

yo me soy la morena. 

Lo moreno bien mirado, 

fue la culpa del pecado 

qu’en mí nunca fue hallado, 

ni jamás se hallará. 

Yo me soy la morenica 


Soy la sin espina rosa 

que Salomón canta y glosa: 

Nigra sum sed formosa; 

y por mí se cantará: 



Yo soy la mata inflamada 

ardiendo sin ser quemada, 

ni de aquel fuego tocada 

que a las otras tocará. 



8. NE TIMEAS, MARIA 

Motet 

Tomás Luis de Victoria 

Ne timeas, Maria, 

invenisti enim gratiam 

apud Dominum . 

Ecce concipies in utero, 

et paries filium, 

et vocabitur Altissimi Filius. 

6. WITH WHAT 

WILL I WASH IT? 

Villancico 

Anonymous / Luys de Narváez 

With what will I wash it, 

the flower of my face? 

With what will I wash it, 

for in grief I am living? 

The married women wash 

themselves in lemon water. 

I, in my grief, wash myself 

with sorrow and pain. 

7. I AM THE 

DARK MAIDEN 

Villancico 

Anonymous (CMC) 

I am the dark maiden, 

the dark maid am I. 

Darkness bred sin, 

I cannot deny. 

But sin was never found in me, 

no, nor ever shall it be. 



The rose without thorns 

that Solomon sang and glossed in his songs: 

Nigra sum sed formosa, 

they’ll sing me this tune: 



The bush that, though burning, 

no flame can consume, 

and so I shall be unscathed by the fire, 

while other maids will burn on the pyre. 



8. FEAR NOT, MARY 

Motet 

Tomás Luis de Victoria 

Fear not, Mary, 

for thou hast found grace 

in the eyes of the Lord. 

Thou shalt conceive in thy womb, 

and thou shalt bring forth a son, 

and he shall be called the Son of the Highest.

9. AURA SOAVE 

Madrigal 

Luzzasco Luzzaschi 

Aura soave di segreti accenti 

che, penetrando per l’orecchie al core, 

svegliasti là dove dormiva Amore, 

per te respiro e vivo, 

da che nel petto mio, 

spirasti tu d’Amor vital desio. 

Vissi di vita rivo 

mentre amorosa cura in me fu spenta: 

Hor vien che l’alma senta 

virtù di quel tuo spirto gentile. 

Felice vita oltre l’usato stile. 

10. SI DOLCE È IL TORMENTO 

Canzonetta 


Si dolce e’l tormento 

che in seno mi sta 

ch’io vivo contento 

per cruda beltà. 

Nel ciel di bellezza 

s’accreschi fierezza 

et manchi pietà 

che sempre qual scoglio 

all’onda d’orgoglio 

mia fede sarà. 

La speme fallace 

rivolgam’il pie 

diletto ne pace 

non scendano a me. 

E l’empia ch’adoro 

mi nieghi ristoro 

di buona mercè. 

Tra doglia infinita 

tra speme tradita 

vivrà la mia fè. 

Per foco o per gelo 

riposo non ho 

nel porto del Cielo 

riposo haverò. 

Se colpo mortale 

con rigido strale 

ol cor m’impiagò 

cangiando mia sorte 

col dardo di morte 

il cor sanerò. 

Se fiamma d’amore 

già mai non sentì 

quel rigido core 

ch’i1 cor mi rapì. 

Se nega pietate 


9. SOFT BREEZE 

Madrigal 

Luzzasco Luzzaschi 

Soft breeze of secret words, 

Which, entering my ear and penetrating my heart, 

Awakened Love, who lay sleeping there. 

You are the reason I live and breathe, 

Ever since you filled my breast 

With a living desire for Love. 

While amorous cares lay dormant there, 

I lived deprived of life. 

Now the power of your gentle spirit 

Stirs within my soul 

a life that is happy beyond ordinary measure! 

10. SO SWEET IS THE TORMENT 

Canzonetta 


So sweet is the torment 

that I have in my heart 

that I live content 

with your cruel beauty. 

In the heaven of beauty 

fierceness grows apace, 

and pity is lacking 

which, like a rock 

against the wave of pride, 

will always be my faith. 

Deceitful hope 

in vain besets me. 

Joy and peace 

do not descend on me, 

and the cruel one that I adore 

gives me not the consolation 

of gentle pity. 

In infinite pain, 

in hope betrayed 

my faith will live. 

Fire and ice 

leave me no rest. 

In the haven of heaven 

I will know rest. 

If a mortal blow 

carried by a sharp arrow 

wounds my heart 

and changes my destiny, 

the dart of death 

my heart shall heal. 

If the unyielding heart 

by which my heart is ravished 

the flame of love 

should never feel; 

if the cruel beauty 

la cruda beltate 

che l’alma invaghì 

ben fia che dolente 

pentita e languente 

sospirimi un dì. 

11. ALME LUCI BEATE 


Alme luci beate 

che dolcemente ardeste 

e dolce distruggeste 

l’incenerito core, 

chi di bei lampi or farà lieto Amore? 

Io vi lasso mie saorte, 

io mi parto mei numi 

io vò lungi miei numi, 

e non ho spem’ohimè che mi conforte. 

Alme luci beate, 

se per si lunga etate 

amando e rimirando 

voi foste il mio gioire, 

or per si lunga etate 

armando e rimembrando 

sarete il mio martire. 

12. SENTIRETE 

UNA CANZONETTA 


Sentirete una canzonetta 

sopra al bel bocchin 

del mio vago e dispietato Amor 

ch’ogn’hor nel cor mi tormenta 

e fa sospirare per sua gran beltà. 

Sentirete un soave canto 

sopra al bel nasin 

del mio vago e dispietato Amor 



Sentirete la doglia acerba 

che mi fa morir 

per il vago, e dolce caro ben 



Sentirete d’amor la piaga 

che mi fa languir 

per un ciglio dispietato e fer 

ch’ogn’hor d’ardor mi tormenta 

e fa sospirare ma non ha pietà. 

which has captivated my soul 

denies me any pity… 

Would that one day suffering, 

repentant and languishing 

she may sigh for me. 

11. SOULS, BLESSED LAMPS 


Souls, blessed lamps 

That softly burned 

And sweetly destroyed 

My incinerated heart, 

Now what splendid rays will gladden Love? 

I leave you all my goods, 

my numina, and so depart 

to wander far, my numina, 

for nothing hope of comfort can impart. 

Souls, blessed lamps, 

who were for many a day 

the sole delight 

of him who loved and gazed on you, 

now you shall for many a day 

torment me 

as I wrestle with your memory. 

12. LISTEN TO 

A FINE SONG 


Listen to a fine song 

about the pretty little mouth 

of my beautiful, pitiless sweetheart, 

who constantly torments my heart 

and makes me sigh for her great beauty. 

Listen to a sweet song 

about the pretty little nose 

of my beautiful, pitiless sweetheart, 



Listen to the bitter pain 

that makes me die 

for my beautiful beloved so sweet and precious, 



Listen to love’s wound 

which makes me pine 

for a pitiless, cruel brow, 

which constantly torments my heart with ardour 

and makes me sigh, but shows no mercy.

Sentirete per chioma d’oro 

che son gionto al fin 

belle treccie ma spietate si 

ch’ogn’hor il cor m’allacciate ohimè 

che ne godo ma no so perché. 

13. NO PIENSE MENGUILLA YA 

Canarios 

José Marín 

Coplas 

No piense Menguilla ya 

que me muero por sus ojos 

que e sido vovo asta aquí 

y no quiero ser mas vovo. 

Para qué es buena una niña 

tan mal hallada entre pocos 

que no está vien con el fénix 

porque le an dicho que es solo. 

Estribillo 

O que lindo modo 

para que la dejen 

unos por otros. 

El mal gusto de Menguilla 

es una casa de locos 

el tema manda al deseo 

vaya la raçon al rollo. 

Mucho abandona lo vano 

si poco estima lo hermoso 

la que por ser familiar 

no repara en ser demonio. 

O que lindo modo 

para que la dejen 

unos por otros. 

Desigualdad y capricho 

no deja el manco ni cojo 

porque a quenta de lo lindo 

no admite lo liçençioso. 

14. TROMPICÁVALAS 

AMOR 

Tono humano 

Juan Hidalgo 

Trompicávalas amor 

a las niñas de Barajas 

y cómo las trompicávalas, 


Listen to the golden hair 

that I may reach the end 

fine tresses, but so pitiless, 

alas, that ever ensnare my heart, 

and make me happy, though I know not why. 

13. DON’T FLATTER YOURSELF MENGUILLA 

Canarios 

José Marín 

Couplets 

Don’t flatter yourself, Menguilla, 

that I’m dying for your eyes, 

for though a fool I may have been 

I vow my folly to revise. 

The apple of my eye she was, it’s true, 

though she was but a windfall, one of few. 

To countenance the Phoenix she demurred 

because of his uniqueness she had heard. 

Refrain 

Such pretty manners hers 

it is no wonder 

she is passed from one man to another. 

Menguilla has no taste at all, 

in Bedlam it seems bred. 

For her desire is but a whim, 

no reason governs her fair head. 

She whose beauty’s value undermines 

and of all vanity would be exempt 

as familiarity does breed contempt, 

the very devil she can be oft-times. 

Such pretty manners hers 

it is no wonder 

she is passed from one man to another. 

Bias and fancy also attend 

the one-armed and the lame, 

for not only to the beautiful 

does licence lay its claim. 

14. LOVE PLAYED 

A TRICK 

Tono Humano 

Juan Hidalgo 

Love played a trick 

on the Barajas maids. 

And how did he trick them? 

trompicávalas con celos 

que son del descuydo trampas 

pues a pesar de lo frío 

aún los biexos abrasan. 

15. EL FILL DEL REI 

Tradicional catalana / Jordi Savall 

Si n’eren tres ninetes, 

mes ai! 

vora un torrent. 

L’una en renta bugada, 

mes ai! 

l’altra l’estén, 

que mes ai! 

L’altra en cull violetes 

mes ai! 

pel fill del rei. 

El fill del rei passava 

mes ai! 

amb un pom d’or; 

que mes ai! 

tira una pedra enlaire, 

mes ai! 

toca l’amor; 

toca-la ben tocada 

mes ai! 

al mig del cor. 

que mes ai! 

–Si t’he fet mal, ‘moreta? 

mes ai! 

–Un xic i poc, 

un xiquet i no gaire 

mes ai! 

al mig del cor. 

que mes ai! 

–Si t’he fet mal, ‘moreta, 

mes ai! 

bé es curarà : 

prou barbers hi ha a França 

mes ai! 

per a curar. 

que mes ai! 

l si aquests no hi basten, 

mes ai! 

d’altes n’hi ha. 

Prou diners hi ha en bossa 

mes ai! 

per a pagar. 

que mes ai! 

He tricked them with jealousy, 

the trap that catches unawares. 

For, in spite of the cold, 

it even burns the old. 

15. THE KING’S SON 

Traditional Catalan / Jordi Savall 

There were three maids, 

Ah, me! 

Beside a stream. 

One washed linen, 

Ah, me! 

While another spread it out to dry, 

Ah, me! 

The third gathered violets 

Ah, me! 

To give to the king’s son. 

The king’s son passed by 

Ah, me! 

with his orb of gold; 

Ah, me! 

He threw a pebble in the air 

Ah, me! 

and she was struck with love; 

It bored right through her 

Ah, me! 

until it pierced her heart. 

Ah, me! 

“Have I hurt you, my love?” 

Ah, me! 

“Just a little, it barely smarts 

Just a twinge, a tiny blow 

Ah, me! 

Dealt straight to my heart.” 

Ah, me! 

“If I have hurt you, my love, 

Ah, me! 

Don’t worry, there’s a cure: 

In France there are barbers 

Ah, me! 

Who will cure you for sure.” 

Ah, me! 

And if they cannot cure you, 

Ah, me! 

There are others who may. 

I have money enough 

Ah, me! 

For their services to pay. 

Ah, me!

–A l’hortet del meu pare 

mes ai! 

una herba hi ha 

que cura d’amoretes: 

mes ai! 

‘neu-la a cercar.– 

que mes ai! 

Mentre són a cercar-la 

mes ai! 

sent tocar a morts. 

La Marieta és morta. 

mes ai! 

Déu la perdó. 

que mes ai! 

–A on li faran l’absolta? 

mes ai! 

–Sota el balcó. 

–Ni en balcó ni en finestra, 

mes ai! 

ni en finestró, 

que mes ai! 

sinó en una reixeta 

mes ai! 

fent oració 

L’oració que ell ne feia, 

mes ai! 

llantos i plors. 

que mes ai! 

Déu l’haja ben perdonada, 

mes ai! 

la dolça amor. 

que mes ai! 

16. HEI MIHI 

Missa Pro Defunctis: VII 

Joan Cererols 

Hei mihi, Domine, 

quia peccavi nimis in vita mea: 

quid faciam miser, ubi fugiam, 

nisi ad te, Deus meus? 

Responsum 

Miserere mei, dum veneris 

in novissimo die. 

Versus 

Anima mea turbata est valde: 

sed tu Domine succurre ei. 


“In my father’s garden 

Ah, me! 

A herb there grows 

That cures love’s ills: 

Ah, me! 

Go gather some now.” 

Ah, me! 

While they went to fetch it 

Ah, me! 

A death knell did toll. 

Marieta was dead. 

Ah, me! 

God pardon her soul. 

Ah, me! 

Her responses? 

Ah, me! 

Under the balcony. 

Neither balcony, nor Windows, 

Ah, me! 

nor in the window-jamb, 

Ah, me! 

but a prayer offered 

Ah, me! 

by the grating. 

The prayer that he uttered 

Ah, me! 

Was weeping and tears. 

Ah, me! 

May God grant forgiveness 

Ah, me! 

To my love so sweet. 

Ah, me! 

16. WOE IS ME 

Missa Pro Defunctis: VII 

Joan Cererols 

Woe is me, O Lord, 

for I have sinned grievously in my life. 

What will become of me, wretch that I am? 

Where shall I flee, 

but unto Thee, my God? 

Responsum 

Have mercy upon me when Thou comest 

at the last day. 

Versus 

My soul is greatly troubled; 

But, Lord, be Thou my helper! 

17. DUERMETE, NIÑO, DUERME 

Nana 

Manuel de Falla 

Duérmete, niño, duerme, 

duerme, mi alma, 

duérmete, 

lucerito de la mañana. 

Nanita, nana, 

nanita, nana, 

duérmete, 

lucerito de la mañana. 

17. SLEEP, MY CHILD, SLEEP NOW 

Lullaby 

Manuel de Falla 

Sleep, my child, sleep now, 

sleep, my dear heart, 

go to sleep now, 

my little morning star. 

Hush, lullaby, 

hush, my dear heart, 

go to sleep, now, 

my little morning star. 

Translated by Alia Vox 

& Jacqueline Minett 

L’Orfeo 

de Claudio Monteverdi. 

Gran Teatre del Liceu 

de Barcelona, 1993

Causin 

Jordi Savall, Montserrat Figueras, Ferran Savall, Arianna Savall 

Alexandre 

Château de Flawinne, Belgique, 2005 ©

montserrat figueras - The Orchard

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