obras completas de rodrigo de ceballos
TRANSCRIPT
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R o b e r t J . S n o w
OBRAS COMPLETAS DE
RODRIGO DE CEBALLOSVolumen IV. Lamentaciones, Salmos, Himnos
CE/ITRO DI DOCUnUITMOfl MS1CAI DE fl/IBMClfl
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OBRAS COMPLETAS DE
RODRIGO DE CEBALLOS
Volumen IV
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Robert J. Snow
OBRAS COMPLETAS DE
RODRIGO DE CEBALLOS
Volumen IV. Lamentaciones,
Salmos, Himnos
Junta de Andalucía Consejería de Cultura
Centro de Documentación Musical de AndalucíaGranada, 1997
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© Consejería de Cultura (Junta de Andalucía) Centro de Documentación Musical de Andalucía
Imprime: Graficolor MINERVA, S.L.Polígono Industrial del Tambre Santiago de Compostela
1.5.B.N. Obra completa 84-87826-26-11.5.B.N. Vol. IV 84-86944-70-8 Depósito Legal: C-1588-1995
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INDICE
TextoNota preliminar.......................................................................................XIPrefatory note........................................................................................XV
Parte musicalLamentaciones
1. Et factum est postquam.......................................................................... 32. Aleph. Quomodo obtexit......................................................................21
Salmos3. Salmo 109: Dixit Dominus (tono Io) ....................................................414. Salmo 109: Dixit Dominus (tono 3o) ....................................................495. Salmo 109: Dixit Dominus (tono 4o) ..................................................... 556. Salmo 109: Dixit Dominus (tono 6o) .....................................................647. Salmo 110: Confitebor tibi (tono 7o) ..................................................... 708. Salmo 112: Laúdate pueri (tono 8o) .....................................................799. Salmo 115: Credidi (tono 8o) ......................................................... 8410. Salmo 116: Laúdate Dominum (tono 5o)..............................................8811. Salmo 121: Laetatus sum (tono 3o)...................................................... 9212. Salmo 125: In convertendo (tono 3o)....................................................9813. Salmo 147: Lauda Jerusalem (tono 8o)............................................... 10314. Fabordones para los ocho tonos. 1......................................................11215. Fabordones para los ocho tonos. II..................................................... 121
Himnos16. Conditor alme siderum (2)................................................................. 13317. Hostis Heredes impie (2)...................... ............................................ 13818. Vexilla Regis prodeunt (2,4, 6)..........................................................142
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VIII INDICE
19. Jesu nostra redemptio (2)................, ...............................................15620. Pange lingua gloriosi (2,4)............................................................... 16021. Aurea luce (2).................................................................................. 17122. Exsultet caelum laudibus (2,4)......................................................... 17723. Ave maris stella (2,4, 6)................................................................... 183
Himnos arreglados por otros compositores24. Pange lingua gloriosi........................................................................19725. Vexilla Regis prodeunt......................................................................204
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TEXTO
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NOTA PRELIMINAR
Los volúmenes IV y V presentan las obras que Ceballos compuso para las Horas del Oficio y las pocas composiciones suyas profanas que se conocen. El volumen IV contiene sus Lamentationes Jeremiae prophe- tae, los salmos de vísperas y los himnos para la misma Hora. El volumen V contendrá su ciclo de los ocho Magnificats para los que compuso los versos impares, y también la música para las completas y las siete canciones que se conservan suyas.
Hace tiempo que se sabía que Ceballos había compuesto algunos de los versos de las lamentaciones de Jeremías; a finales del siglo pasado Felipe Pedrell habló de que las había visto en unos libros manuales que desde entonces han desaparecido. Afortunadamente, hace unos veinte años se ha descubierto otra copia en la catedral de Valladolid. En el volumen VI se dará información detallada sobre este redescubrimiento y el lugar que ocupaban estas composiciones en la liturgia.
Hasta este momento se han encontrado ocho salmos de vísperas explícitamente atribuidos a Ceballos; están en cuatro manuscritos, tres en España y uno en el Nuevo Mundo. Además, hay dos series de fabordones, cada uno de los cuales contiene los ocho tonos con los que se cantaban los salmos de vísperas. Aunque la música de dos de los salmos del tono 3o (números 4 y 11) es idéntica, se los incluye a los dos, a fin de que pueda verse cómo los compositores del Renacimiento ajustaban la música a los textos de los diferentes salmos. De igual manera, es instructiva la comparación de estas dos composiciones con el n° 12, también en tono 3o, en el que el verso 6o se canta con la música usada para el verso 2o en los números 4 y 11, y porque el verso 10, con la doxología, se canta con la misma música que la doxología de todos los demás salmos del tono 3o.
Se incluyen dos salmos anónimos porque cada uno de ellos es una adaptación de las fórmulas del fabordón compuestas por Ceballos. La primera mitad de cada verso del salmo 116, Laúdate Dominum, es cantada con la correspondiente fórmula del tono 3o, y la segunda con la del tono 5o de la misma colección. El salmo 115, Credidi, usa la fórmula del
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XII NOTA PRELIMINAR
tono 8o a 5 voces, pero sin el tiple Io. Otros salmos compuestos por Ceballos y otras acomodaciones de sus fabordones se conservan, sin duda, como anónimas en varias fuentes. De esto, lo mismo que de otros detalles concernientes los salmos de Ceballos, se tratará en el volumen VI.
Al revés de muchos de sus contemporáneos —por ejemplo, Francisco Guerrero, Juan Navarro y Sebastián Durán de la Cueva— Ceballos no compuso, con toda probabilidad, un ciclo completo de las aproximadamente dos docenas de himnos de vísperas que en la segunda mitad del siglo XVI se cantaban en polifonía. Se deduce esto del hecho de que no se encuentra ningún himno atribuido a él en las fuentes copiadas durante su vida, y sólo seis aparecen en no más de tres manuscritos copiados en el medio siglo, más o menos, que siguió a su muerte. Son éstos los números 17-18 y 20-23. De ellos sólo dos, los números 18 y 23, presentan todas las estrofas que sin duda compuso Ceballos. Los números de las estrofas puestas en música por Ceballos están puestas entre paréntesis en el Indice después del título del himno.
Pero Ceballos compuso, ciertamente, más que estos seis himnos. Al menos otro, Jesu, nostra redemptio, que se encuentra en la capilla real de Granada, MS 4, y en la catedral de la misma ciudad, MS 3. Ambos manuscritos fueron copiados en el siglo XVIII y contienen, respectivamente, los ciclos de himnos polifónicos que se usaban en ambos templos. Casi todas las obras de estos dos manuscritos son anónimas, pero en un cantoral, recientemente descubierto, del siglo XVIII de la colegiata de Baza, que entonces dependía mucho de Granada para su repertorio, se atribuye este himno a Ceballos, en una añadidura posterior al manuscrito mismo. Este himno presenta todas las características de los otros seis atribuidos a Ceballos en los manuscritos copiados a comienzos del siglo XVII y, por tanto, se lo incluye aquí como obra auténtica de Ceballos. El otro, Condi- tor alme siderum, que también aparece anónimo en los mismos dos manuscritos de Granada, también se lo incluye porque presenta unas características del todo idénticas.
El volumen concluye con el arreglo de dos himnos de Ceballos, Pan- ge lingua gloriosi y Vexilla Regis prodeunt. Ambos se conservan en
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NOTA PRELIMINAR XIII
fuentes del Nuevo Mundo. Una quinta pars fue añadida, en ambos casos, como tiple 2o. En el Vexilla Regis prodeunt la persona que hizo el arreglo, Gaspar Femandes, insertó también partes propias en cada una de las secciones de la obra original. A lo que parece se trataba de una composición vocal, puesto que todas las voces contienen el texto completo en dos de las tres fuentes que los transmiten, todas las cuales fueron copiadas por el mismo Femandes. El Pange lingua gloriosi, en cambio, estaba probablemente destinado a ser interpretado por instrumentos, puesto que no tiene más texto que los íncipits que identifican la composición, y eso sólo en dos de las voces, y se conserva en un manuscrito que presenta todas las características de haber sido recopilado para uso de los ministriles. Véase el volumen VI para más detalles.
Texas-Granada, septiembre de 1997R. J. S.
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PREFATORY NOTE
Volumes IV and V present the works that Ceballos composed for the Office Hours and his few extant secular works. Volume IV has his La- mentationes Jeremiae prophetae, psalms for Vespers, and hymns for the same Hour. Volume V will contain his cycle of eight settings of the odd- numbered verses of the Magnificat, his music for Compline, and the seven preserved canciones.
It has long been known that Ceballos set some of the verses from the Lamentations of Jeremiah; at the end of the last century Felipe Pedrell referred to their presence in a set of partbooks that has since disappeared. Fortunately, another copy is preserved in a choirbook discovered at the Cathedral of Valladolid in the 1970s. See Volume VI for detailed information about their rediscovery and their liturgical assignment.
Eight through-composed settings of various Vespers psalms explicitly attributed to Ceballos have so far been found, all in one or more of four manuscripts, three in Spain and one in the New World. In addition, there are two sets of fabordones, each containing polyphonic settings of the eight tones to which psalms were sung at Vespers. Even though the music of two of the through-composed psalm settings in tone 3 is identical (numbers 4 and 11), both have been included to allow a compa- rison of how the Renaissance musician adjusted the music to fit different psalm texts. Also instructive is a comparison of these two items with number 12, also in tone 3, in which verse 6 is sung to the music used for verse 2 in numbers 4 and 11, and verse 10, the doxological verse, is sung to the same music as the doxology in each of the other settings in tone 3.
Two anonymous settings of psalm texts are included here because each is an adaptation of fabordon formulas from one of the sets composed by Ceballos. The first half of each verse of psalm 116, Laúdate Dominum, is sung to the first half of the formula for tone 3 in the second set of formulas, and the second half is sung to the second half of the formula for tone 5 from the same set. Psalm 115, Credidi, uses a slightly modified form of the formula for tone 8 a 5 of the same set, but without the tiple 1. Other settings of through-composed psalms by Ceba-
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XVI PREFATORY NOTE
líos and more settings using his fabordon formulas almost certainly are preserved anonymously in various sources, and this assumption and other issues conceming his psalms will be dealt with in Volume VI.
Unlike many of his contemporaries—for example, Francisco Guerrero, Juan Navarro, and Sebastián Durán de la Cueva—Ceballos probably did not compose a complete cycle of settings of the two dozen or so Vespers hymns that were sung polyphonically in the latter half of the sixteenth century. This is suggested by the fact that no hymns attributed to him can be found in sources copied during his lifetime and only six appear in no more than three manuscripts copied in the half-century or so following his death. These are numbers 17-18 and 20-23, and only two of these, numbers 18 and 23, present all of the strophes that Ceballos must have composed. (The numbers of the strophes constituting each hymn are given in parentheses after the title of the hymn in the Indice).
Ceballos certainly composed more than these six hymns, however. At least one more, Jesu nostra redemptio, is found in Granada, Capilla Real, MS 4, and Granada, Cathedral, MS 3, both copied in the eighteenth-cen- tury and containing, respectively, the polyphonic hymn cycles then in use at the Royal Chapel and Cathedral. Almost all of the works in these two manuscripts are anonymous, but in a recently discovered eighteenth-cen- tury choirbook at the collegiate church in Baza, which in the sixteenth century derived much of its repertory from Granada, a still later hand attributes Jesu nostra redemptio to Ceballos. The work exhibits to the fullest all of the stylistic features characteristic of the six settings attributed to Ceballos in the manuscripts copied early in the seventeenth century, and is included here as an authentic work of Ceballos. One other hymn, Conditor alme siderum, which also appears anonymously in the same two manuscripts at Granada, has also been included because it, too, exhibits all of the same stylistic features. See Volume VI for a discussion of these features and how they set Ceballos’s settings apart from those of his contemporaries.
The volume concludes with arrangements of two of Ceballos’s hymns, Pange lingua gloriosi and Vexilla Regis prodeunt, both preserved only in New World sources. A fifth part in the form of a tiple 2 has been
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PREFATORY NOTE XVII
added to each. In Vexilla Regis prodeunt the person who made the arrangement, Gaspar Femandes, also inserted sections that he composed between each of the sections of the original work. Apparently it was intended to be sung since all parts are fully texted in two of the three sources containing it, all of which were copied by the arranger himself. Pange lingua gloriosi probably was intended for instrumental performance, since it has no text other than identifying incipits at the beginning of two of its voice parts and is preseved in a manuscript that gives every indication of having been assembled for use by ministriles. See Volume VI for details.
Texas-Granada, Septemberl997R. J. S.
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PARTE MUSICAL
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LAMENTACIONES
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SALMOS
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'5
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HIMNOS ARREGLADOS POR OTROS COMPOSITORES
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