Composer: Various, including Alfonso el Sabio, Dom Dinis de Portugal, Martin Soarez, Andre Dias de Lisboa, Martin Codax
Title: The Time of the Troubadors: 12th, 13th, and 14th Century Songs from Spain and Portugal
Performers: Vozes Alfonsinas, directed by Pedro Ferreira
Recording Location: St. George’s Church, Lisbon
Recording Date: October 1999
Label: Portusom Strauss SP 4287
Duration: 69:24
Release Date: October 2001
In “The Time of the Troubadors,” the ensemble Vozes Alfonsinas, under the astute direction of Pedro Ferreira, presents an illuminating anthology of medieval Iberian music that transcends the often Eurocentric narratives surrounding the troubadour tradition. While the title may suggest a more generalized exploration of troubadour melodies, the focus here is decidedly on the rich tapestry of Spanish and Portuguese musical heritage, specifically drawing from the Arabic-Andalusian influences and the Galician-Portuguese poetic tradition.
The album opens with three songs originating from Al-Andalus, an area steeped in Islamic culture since the 8th century. The choice of instrumentation—primarily the alaude, a lute-like string instrument, and the derbuka, a hand drum—effectively conjures the sonic landscape of the Andalusian courtly tradition. The ensemble’s meticulous attention to historical authenticity is commendable; these early pieces resonate with a vibrancy akin to the Alhambra’s architectural grandeur, echoing the cultural syncretism of the period. The rhythmic quintuple time of “Todolas coitados” serves as a prime example, its Moorish influences palpable and engaging.
The inclusion of six songs from the ‘Cantigas de Santa Maria,’ a revered collection from the 13th century, forms the backbone of this recording. Ferreira’s selections are particularly astute, focusing on those that reference Portuguese contexts, thereby emphasizing the regional significance of these works. Each cantiga narrates a miraculous event attributed to the Virgin Mary, and the ensemble’s handling of these pieces showcases their interpretive depth. The clarity of the vocal lines, combined with the delicate instrumental backdrop, allows for a nuanced understanding of the text’s emotional weight.
One notable aspect of this recording is the ensemble’s effective use of varied vocal textures. With nine singers—three women and six men—the distribution of parts is managed with remarkable balance. The soprano Susana Teixeira’s narration in “Maravilho-m’eu com’ous” stands out, her voice embodying both clarity and expressive power as she recounts the Virgin’s protection of warriors. The interplay between the male voices, often employing parallel organum, adds a rich harmonic dimension that is reminiscent of medieval polyphonic traditions.
The decision to present Dom Dinis de Portugal’s “Cantigas D’Amor” without instrumental accompaniment is particularly effective, allowing the intricate melodic lines to breathe and resonate in their purest form. This approach underscores the lyrical beauty of the music, inviting listeners to engage with the textual subtleties. In contrast, the instrumental rendition of Martin Codax’s “Quantas sabedas,” while well-played, feels somewhat out of place, perhaps indicating a missed opportunity for vocal exploration and emotional engagement.
Comparatively, this recording holds its own against other notable interpretations of medieval Iberian music, such as those by Jordi Savall and Eduardo Paniagua. While Savall’s offerings often embrace a broader selection of styles, Ferreira’s focused approach offers a cohesive narrative that is both instructive and enjoyable. The use of the Galician-Portuguese language throughout the cantigas, a hallmark of courtly lyric poetry until the 15th century, adds a layer of authenticity that is rarely encountered in other recordings.
The engineering quality of the recording is commendable, capturing the natural acoustics of St. George’s Church in Lisbon with clarity and warmth. Each voice and instrument is well-defined, allowing for a rich interplay of sound that enhances the overall listening experience. The inclusion of full texts and translations in the accompanying booklet further enriches the listener’s engagement with the music.
In conclusion, “The Time of the Troubadors” is a noteworthy contribution to the canon of early music recordings, shedding light on the often-overlooked Spanish and Portuguese traditions of the medieval period. Vozes Alfonsinas, under Pedro Ferreira’s insightful direction, has crafted a collection that is both historically significant and musically satisfying. This album not only invites listeners into the enchanting world of medieval Iberian music but also serves as a reminder of the cultural interconnectedness that defines the troubadour legacy. For those seeking a deeper understanding of this repertoire, this recording is highly recommended.
