The use of cameras or recording equipment during the

performance is not allowed. Please be sure that cell phones,

pagers, and other electronic devices are turned off.

Please note that late entry or reentry ofthe

West Building after 6:30 pm is not permitted.

For the convenience of concertgoers, 

the Garden Cafe remains open for light refreshments

until 6:00 pm on Sundays.

Music Department

National Gallery ofArt

Sixth Street and Constitution Avenue nw

Washington, DC

www.nga.gov

The Seventieth Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery ofArt

2,863rd Concert

The Rose Ensemble

Jordan Sramek,founder and artistic director, tenor, psaltery

Kim Sueoka, soprano; Linda Kachelmeier, alto

Nicholas Chalmers, tenor; Tim O’Brien, baritone, percussion

Jonathan Ten Brink, bass; Ginna Watson, vielle, rebec, harp

David Burk, ‘ud, baritone guitar; Tim O’Keefe, percussion

With special guest

Nell Snaidas, soprano

December 11, 2011

Sunday, 6:30 pm

West Building, West Garden Court

Admissionfree
Program

From the Land ofThree Faiths

Voices ofAncient Mediterranean Jews, Christians, and Muslims

Traditional Sephardic (Morocco)

Cuando’l Rey Nimrod

Juan del Encina (1485-c. 1530)

Pues que tu, Reyna del gielo

Traditional Sephardic (Morocco/Turkey)

Una matica de ruda

Porke yorash

Plainchant (Twelfth-century Italian)

Gives caelestis patriae

Anonymous (Fourteenth-century English)

Iudea et Ierusalem

Traditional Sephardic

Sette hijos tiene Hanna

Traditional Sephardic (Morocco)

Koplas de lasflores

Anonymous

Rey a quien reyes adoran

From Cancionero de Upsala (Fifteenth century)

Anonynous

jO Reyes magos benditos!

From Cancionero musical depalacio (Fifteenth century)

Francisco Guerrero (c. 1528-1599)

Nino Dios d’amor herido

Arab-Andalusian (In the Az’zaidan mode)

B’tayhi-M’saddar

Traditional Sephardic

Hazeremos una merenda

Quita’l tas, mete’l tas

INTERMISSION

Thirteenth-century Spanish

Cantiga no. 424

From Cantigas de Santa Maria

Hispano-Arabic muwashaha (In the kurdi mode)

Ayyu-ha s-saqT ’ilay-ka l-mustaka

Traditional Turkish

Arabaya Tag Koydum

Traditional Sephardic (Salonika)

Morena me llaman

Traditional Bedouin

Two Simsimiyya Songs

Arranged for instrumental ensemble by The Rose Ensemble

Sephardic Piyyut (Libya)

Et Sha’are Ratzon

Traditional Sephardic (Balkan)

Kuando el Rey Nimrod
The Musicians

THE ROSE ENSEMBLE

With repertoire that spans a thousand years, encompasses twenty-five languages, and reflects new research in Middle Eastern, European, and American

vocal traditions, the Rose Ensemble reawakens ancient culture with vocal and

instrumental music that stirs the emotions, challenges the mind, and lifts

the spirits. Founded in 1996 by artistic director Jordan Sramek and based in

Saint Paul, Minnesota, the group tours internationally. In 2005 the ensemble

received the Chorus America Margaret Hillis Award for Choral Excellence.

Two years later it won first prize at the Tolosa International Choral Competition in Spain as a participant in the European Choral Grand Prix, and last year

Jordan Sramek received the Louis Botto Award from Chorus America “for 

entrepreneurial zeal in his work with the Rose Ensemble.”

Heard regularly on American Public Media and the European Broadcasting Union, the ensemble was recently featured in special live broadcasts on

Chicago Public Radio, American Public Media’s Performance Today, Radio

France, and Vermont Public Radio. The group’s latest recording, II Poverello,

is a diverse collection ofmedieval and Renaissance vocal and instrumental

music honoring the life and legacy of Saint Francis ofAssisi. Information

about the ensemble’s upcoming performances and recordings is available at 

www.roseensemble.org. The Rose Ensemble appears at the National Gallery

by arrangement with Lisa SapinlcopfArtists, www.chambermuse.com.

4

NELL SNAIDAS

Of Uruguayan-American descent, soprano Nell Snaidas began her career

singing leading roles in zarzuelas at New York City’s Repertorio Espanol. Her

specialization in Italian and Spanish baroque and Sephardic music has led

to a North American tour ofRoman cantatas with lutenist Paul O’Dette and

Tragicomedia; concerts throughout Italy and Mexico with Ex Umbris; and an

appearance with the Los Angeles Philharmonic Orchestra at the Hollywood

Bowl. Praised by the New York Times for her “beautiful soprano voice, melting

passion,” and “vocally ravishing” performances, she has sung Alessandro

Scarlatti’s Gli Equivoci nel sembiante at the Teatro Garibaldi in Palermo, Sicily,

and created the role of Princess Olga in the world premiere production of

Johann Mattheson’s opera Boris Goudenow. Snaidas has served on the faculty

ofthe Madison (Wisconsin) Early Music Festival and as a coach of early music

and languages ofthe dominions of Spain for the Trinity Church Wall Street 

Choir and the New York Continuo Collective. She has recorded for Sony

Classical, Dorian, Koch International, and Naxos records and was featured

on cbc radio as one ofthe leading interpreters of Spanish Renaissance and

Sephardic song.

5
Next Week at the National Gallery ofArt

Menahem Pressler, pianist

Music by Beethoven

December 16, 2011

Friday, 12:10 pm

East Building Auditorium

Thomas Mark Fallon, countertenor

“A Countertenor Christmas”

Music by Adam, J. S. Bach, Corelli, Handel, and other composers

December 18, 2011

Sunday, 6:30 pm

West Building, West Garden Court

6
Kuando el Rey Nimrod -Traditional Sephardic (Balkan)

Source/Translation: As taught to The Rose Ensemble by ourfriend and colleague, David Harris, director, Voices of

Sepharad

Kuando el rey Nimrod al kampo salia

Mirava en el sielo i en la estreyeria.

Vido una luz santa en lajuderia

Ke avia de naserAvraham avinu.

When King Nimrod went out into the field

He stared into the starry sky.

He saw a holy light over the Jewish quarter

Where Abraham our father was about to be bom.

CHORUS: Avram avinu, padre kerido,

Padre bendicho, luz de Israel.

CHORUS: Abraham our father, beloved and blessed,

You are the light ofIsrael.

La mujer de Terach kedo prenyada.

De dia en dia el le preguntava.

De ke teneish la kara tan demudada?

Eya ya savia el bien ke tenia.

Terach’s wife was pregnant.

Each day she was asked:

Why is your face so pale?

She knew the goodness she carried inside.

Luego a las komadres enkomendava

Ke toda mujer ke prenyada kedara

La ke pariera ijo alpunto lo matara

Ke avia de naser Avraham avinu.

The king commanded the midwives shortly after

That every woman who was pregnant

Must have her newly bom son killed

When Abraham our father was about to be bom.

Sierto loaremos al verdadero Eil

Saludemos al kompadre i al moel

Ke porsu zekhut mos venga el Goel

Iri ’hma a todo Israel.

Surely we praise the true God Redeemer,

We greet the godfather and the mohel.

Because of his virtue may the Messiah come

To redeem all Israel.

Program notes by Jordan Sramek, founder and artistic director, The Rose Ensemble

FROM THE LAND OF THREE FAITHS

Voices of Ancient Mediterranean Jews, Christians and Muslims

Program Notes, Texts, and Translations

One ofthe challenges in creating a musical program such as this, which focuses on the so-called “Land ofThree Faiths”

—music largely from Hispano-Arabic traditions, and which strives to represent equally the traditions ofChristianity,

Judaism and Islam—is the simple fact that while the Christian and Jewish traditions provide scholars with an abundance 

ofrepertoire, there is, in stark contrast, no Islamic liturgical music, save the chanting ofthe Qur’an (which, it should be 

noted, is not technically viewed as “music” in the Islamic tradition, and would be inappropriate in this concert setting).

The Rose Ensemble’s approach to this thematic program, therefore, is more about emphasizing the cultural, musical and

linguistic exchanges and collaborations that took place among people of different faith traditions in medieval Spain and,

in subsequent generations, throughout many parts ofthe Mediterranean.

Our goal has always been that audiences would be enlightened with a greater knowledge of both world history 

and religious history, leaving performances with a sense that the lines between what traditionalists call “sacred” and

“secular,” what contemporary critics insist on labeling “folk” and “classical,” and what modem society speaks of—at

once synonymously and separately—as “Islamic” and “Arab,” are very much blurred throughout history.

Our program highlights the Hispano-Arabic Middle Ages as both an important and devastating chapter ofJudaic, 

Christian, and Islamic history. In earlier times, having participated in the golden age of classical Arab culture in the Near

East, Jews played an important role in Spain as mediators between Arab and Christian culture, and Jewish poetry and

music consequently reached a new pinnacle. In the 13th and early 14th centuries, Jews and Arabsjoined the troubadours 

from Spain, France, and Portugal as musicians at the Castilian court. The famous Cantigas de Santa Maria (Songs ofthe

Virgin Mary) ofKing Alfonso X (1252-1284) show Arab and Christian musicians playing together and many Cantigas tell

ofJewish and Muslim life and culture in Spain. At the court of Sancho IV, along with thirteen Christian and fifteen Arab

musicians, the Jew Ismael played the rota and accompanied his wife when she danced. But in the 14th century, when the 

Catholic re-conquest of Spain made considerable progress, the co-habitation of Spanish Christians, Jews, and Muslims 

began to crumble, and the persecutions of 1391 led to mass conversions ofJews and Muslims, followed by the expulsion 

ofthe Jews in 1492 and the final Muslim expulsion between 1609 and 1614.

We can describe Jewish Music as having three distinct “streams.” One is the Ashkenazi, or Western stream, which

includes Klezmer, and is music originating in Eastern Europe and extending to the rest of Europe and the Americas. The 

second stream is the Sephardi, which refers to Mediterranean cultural sources, including Spain, Portugal, North Africa,

Greece, and Turkey. The third stream is the Mizrahi, literally ‘Eastern,’ and refers to the music ofJewish people who

resided for centuries amidst Arabic cultures. Of course these three streams are not completely separate, but intersect in

many places.

Sephardi literally means ‘Spanish,’ and alludes to the fact that until the Spanish expulsion of all non-Christians in

1492, a very fruitful Jewish culture existed in Spain; when these Jewish communities were expelled they migrated to

places all around the Mediterranean basin - Morocco, Egypt, Turkey, Greece, etc. They took with them a 15th-century 

version of Spanish called Ladino (Judeo-Spanish), in which most Sephardic songs are written. Over the centuries Ladino

has integrated many Hebrew words as well as words from the various tongues spoken where these Jews made their

homes. The interaction between these peoples and the communities in the countries where they lived gave rise to a

cultural expression that incorporates many melodic and rhythmic elements ofthe Mediterranean.
Cuando’lRey Nimrod -Traditional Sephardic (Morocco)

Source: Based on notation/translation by Yizhak Levi (Jewish National and University Library, Jerusalem)

Cuando 7 Rey Nimrod When Nimrod the king

al campo salia Went forth a-roving,

Atento y vido He saw, he discerned

la luz santa Where Jews all sojourned,

de lajuderia; A light that did shine

Ah, Yarem! So holy, divine! Ah Yarem!

Endevino y dixo His prophets disclosed

que have de nacer That birth was proposed

Avraham Avinu.

La mujer de Terah

OfAbram, whose grace

Would father a race.

quedose prehada; When Terach’s good wife

De dia en dia Felt strong pangs oflife,

se demudava, Her state she’d betray

De dia en dia As day followed day.

se amarillava. Her face from the fringe

Ah, Yarem! Grew yellow in tinge. Ah Yarem!

Afin de nueve mezes When nine months had passed

parir lo queria And birth came at last,

A los campos se She fled from the town

ia por depedrida, Her sorrow to drown.

Ah, Yarem! Ah Yarem!

En aquella hora At that same time

una meara se l ’avriria; To cover her crime,

En aquella hora A cave mouth did gape

lo pariria; With way of escape,

En aquella hora For birth ofthe boy,

le havlaria: Who shouted with joy:

Ah, Yarem! “Ah Yarem!”

Pues que tu, Reyna del gielo -Juan del Encina (1485-c. 1530)

Source: Cancionero Musical de Palacio / Translation: Barbara Weissberger

The thirty years of the reign of Isabella I of Castile (1474-1504) saw the conquest of Granada, the establishment of the first

grammatically structured Spanish language, and the founding of the Inquisition. The latter, which accused many conversos

(those who had converted from other religions to Catholicism) of practicing their original beliefs in secret, led to the

expulsion of Hispanic Jews. During the summer of 1492—in just a few months—it is believed that over 160,000 Jews

were forced to leave Spain and all Spanish sovereign territories. 1492, of course, is a date that we all associate with

Columbus’ “Enterprise of the Indies,” but the year also marks a turning point in Spanish history. Simply put, it is when the 

diversity of cultures, races and religions that thrived during the medieval times was exchanged for a unity that left Spanish 

society changed forever. It is the year when Isabel and Ferdinand became known as the “Catholic Monarchs,” as they defeated

the last Moorish king at Granada and expelled the Jews, thus unifying Spain under a political allegiance and a new singular faith 

in their kingdom.

Juan del Encina’s works dominate much ofthe music found in the manuscript called the Cancionero Musical de Palacio

(Palace Songbook), which was used at the household ofthe Duke ofAlba, who employed Encina as “troubadour” for five

years. Encina was with his patron at the siege ofGranada and wrote songs to commemorate the passing ofMuslim civilization 

in Spain.

In one of Isabel’s own illuminated Books of Hours, the queen herself is depicted kneeling in prayer and in adoration of the

Virgin Mary, who is crowned as Queen of Heaven. Isabel chose Maiy as her Patroness and her devotion to the Virgin can be

seen in several dedicatory pieces, such as this vernacular villancico:

Pues que tu, Reyna del gielo,

Panto vales,

Da remedio a nuestros

males.

Tu, que reynas con el Rey

D ’aquel reyno celestial,

Tu, lunbre de nuestra ley,

Lus del linaje humanal;

Pues para quitar el mal,

Tanto vales,

Da remedio a nuestros

males.

Tu, Virgen, que mereciste

Ser madre de tal Sehor,

Tu que quando le pariste

Lo pariste sin dolor;

Pues con nuestro Salvador

Tanto vales

Da remedio a nuestros

males.

Because you, Queen ofthe

heavens, are so powerful,

give remedy to our troubles.

You, who reign with the King

ofthat celestial kingdom,

You, light of our law,

Light ofthe human race;

Since you are so able

to erase suffering,

Give remedy to our troubles.

You, virgin who deserved

To be mother of God,

You who when you gave birth

to Him did so without pain;

Since you are so influential

with our Saviour,

give remedy to our troubles.

Tu, que lo que perdio Eva

cobraste por quien tu eres;

tu, que nos diste la nueva

de perdurables plazeres;

tu, bendita en las mugeres,

si nos vales

darnsfin a nuestros males.

Tu, que te dizen bendita

todas las generaciones;

tu, que estas por tal escrita

entre todas las naciones;

pues en las tribulaciones

tanto vales,

/da remedio a nuestros

males!

Tu, que estavas ya criada

quando el mundo se crio;

tu, que estavas muy

guardada

para quien de ti nacio,

pues por ti nos conocio,

si nos vales

fenecerdn nuestros males.

You, who recovered what Eve di

lose through your very being and

essence; you, who gave us the

good news of everlastingjoys; 

you, blessed among women, 

make us worthy that you will

put an end to our suffering. •

You, blessed 

ofall generations,

and by all nations

inscribed as blessed;

in perilous tribulations,

makes us worthy,

Ease our suffering!

You, who were already mature 

when the earth was first

begotten;

you, who were kept safe for him

who you bore, forthrough you

did we first know him,

make us worthy that our 

misfortunes shall be ended.

Una matica de ruda -Traditional Sephardic (Morocco/Turkey)

Source/Translation: As taught to The Rose Ensemble by Nell Snaidas

Una matica de ruda

Una matica defior

Hija mia, mi querida

Dime a mi, quien te la did

Una matica de ruda

Una matica defior

Me la did un mancevico

Que de mis'enamoro

A sprig ofrue

A flower

My daughter, my darling

Tell me who gave this to you

A sprig ofrue

A flower

A young man gave it to me

Who is in love with me
Porke yorash -Traditional Sephardic (Morocco/Turkey)

Source: our performance is based on recording by Sarband (Musica medieval sefardi)

Only a few written examples ofSephardic music have survived. However, in addition to the descriptions of Sephardic musical

practice taken from early sources, the Sephardim’s oral heritage provides a guide to this immensely rich musical culture, such as

this beautiful blend ofat least two different stories.

Porke yorash blanka ninya?

Porke yorash blankaflor?

Yoro por vos kavayero

Ke vos vash y me deshash

Me dechach ninya i mutchatcha,

tchika i de poka edad.

Tres ijikos tchickos tengo,

yoran y demandan pan.

Vos asperarech a los syete,

si no, a los otcho vos kazashh.

Tomaresh un meseviko,

ke pareska tal i kual.

Todas las naves del mundo

vayan y tomen en paz.

Ila nave de mi iyo

vaya y no torne mas.

Vido venir navezika,

navegando por la mar.

Asi biva el Kapitan,

ke me diga la verdad

No vos eshesh la mi madre,

ke yo so tu iyo karonal.

Ya se bezan y se abrasan,

y se van a pasear.

“Why do you cry, fair maiden?

Why do you cry, fair flower?”

“I cry for you, knight,

you that shall depart and leave me.

You leave me, a girl,

small and oftender age.

I have three little children

who cry and ask for bread.”

“Seven years you shall wait,

if eight, you shall marry.

You shall take a young man,

who resembles me in all ways.”

“All the ships in the world should

sail in peace and return.

Only the ship ofmy son

should sail and never return.”

She saw a little ship coming

sailing on the sea.

“Have mercy, Captain,

and tell me the truth”

“Do not throw yourself into the sea, 

my mother, for I am the son you

loved with all your heart.” They kissed

and embraced and walked together.

Cives caelestis patriae -plainchant

Source: Rome, Biblioteca vallicelliana, C. 5, 28 lr 13; Antiphoner, 12th century, San Eutizio

Chapter 21 ofthe Book ofRevelation begins with John’s vision ofthe holy city, new Jerusalem, coming down from God

out of heaven, prepared as a bride adorned for her husband. John goes on to describe the twelve foundations ofthe wall of

the city, garnished with all manner of precious stones. This gorgeous hymn describes two particular foundation jewels

(and their mystical meanings) ofthe New Jerusalem.

Cives celestis patrie

regi regum concinite,

qui est supremus opifex

civitatis uranice

in cujus edificio

talis exstatfundatio.

Citizens ofthe father's realm,

sing together to the king ofkings,

who is the almighty architect

ofthat city beyond the skies,

thus constructed

and thus founded.

Beryllus est lymphaticus

ut sol in aqua limpidus,

figurat votum mentium

ingenio sagacium,

quis magis libet mysticum

summe quietis otium.

Beryl, pale yellow, crystalline

like sunlight in the purest water,

this signifies our inward prayers

to the mind ofthose that understand;

what delight greater can there be

than the mystic quiet ofholy rest?

Chrysoprassus purpureum

imitatur concilium,

est intertinctus dureis

quodam muscillojaculis

hoc estperfecta cartias,

quam nulla stemitferitas.

Chrysoprase, ofroyal purple

shows the nature of good counsel,

veined through with a little network

of a dorian, mossy tint,

it is like perfect charity

uncowed by any savagery.

Jerusalem pacifera,

hec tibi suntfundamina,

felix et deo proxima,

que te meretur, anima,

custos tuarum turrium

non dormit in perpetuum.

Jerusalem, O peace bringer!

All these stones serve as your foundations,

happy, and next to God himself,

is the soul that deserves to dwell in you.

He who keeps and guards your towers

will be forever unsleeping. Amen.

Iudea etIerusalem (instrumental) -Anonymous (14th-century English)

Siete hijos tiene Hanna -Traditional Sephardic

Source/Translation: As taught to The Rose Ensemble by Nell Snaidas

Hanukkah, also known as the Festival ofLights, is an eight-day Jewish holiday commemorating the rededication

ofthe Holy Temple (the Second Temple) in Jerusalem at the time ofthe Maccabean Revolt ofthe 2nd century

BCE. One ofthe stories traditionally told during this celebration is of a Jewish martyr, a woman with seven

sons, described in 2 Maccabees: 7 and other sources (although unnamed in 2 Maccabees, she is known variously

as Hannah, Miriam, and Solomonia). Shortly before the revolt ofJudas Maccabeus (2 Maccabees 8), Antiochus

IV Epiphanes arrested a mother and her seven sons, and tried to force them to eat pork. When they refused, he

tortured and killed the sons one by one. The narrator mentions that the mother "was the most remarkable of all, 

and deserves to be remembered with special honor. She watched her seven sons die in the space of a single day, 

yet she bore it bravely because she put her trust in the Lord." Interestingly, the Talmud tells a similar story, but

with refusal to worship an idol replacing refusal to eat pork.

Siete hijos tiene Hanna

Hanna la buena giudia

Los mando a yamar el rey

A todos siete en un dia

Ven aqui, hijo de Hanna

Hanna la buena giudia

Te dare la mi corona

asentate en la mi silla.

No quiero su corona

Ni mi asento en su silla

No mi pierdro mi Ley Santa,

No entro en lafalsla

Hannah has seven sons

Hannah the good Jewess

The king sent for them

All seven in one day

Come here, son ofHannah

Hannah the good Jewess

I will give you my crown

and you will sit on my throne

I don't want your crown

nor will I sit on your throne

I will not forsake my Holy Law,

nor believe in idolatry
Koplas de lasflores

Source: As taught to The Rose Ensemble by ourfriend and

colleague, David Harris Dir. Voices ofSepharad

Translation: Nell Snaidas

Alabar kiero al Dios ke es grande de loores,

Ke krio para el hombre muchas maneras defores.

Itodas son diferentes en colores i en olores,

Sobre todas las mejores vemos el almizkle roml.

CHORUS: Sobre todas es de alabar a Eyl Chai Sur Olamim

Sobre todo es de alabar a Eyl Chai Sur Olamim.

Salto la rosa i disho: Todos se keden a un lado;

A ml me toka alabar al Dio grande i abastado,

Ke de mi hacenjarope, tambien azucar rosada

En aguas soy alabada: la kara lavan kon ml.

Respondio la klaveyina: Mas grandes son las misfamas,

Ke gozo en mesa de novias i me yevan en las palmas

I me mandan porpresente a todas las lindas damas,

Me kieren komo sus almas, todas se adoran kon ml.

La azucena kiso kantar una kantika galena:

A mi me toka alabar ke soy rosa de ventana;

Mi aceite haze crecer kabeyos a las galanas

I mi olor es tan bueno ke se desmayan por ml.

Ahl hablo eljazmln kon su gargantita alta:

A ml me toka alabarporke en ml no hayfalta.

Mi kuerpo—kuerpo de pino, ml kolor—de oro i plata,

I kuando el sol sale salen rayares en mi.

I ajuntaronse lasfores alabar al Dios a una

Ke las krio tan donozas, lindas, sin tacha ninguna.

Dizen berahot en eyas komo dizen en la luna

I ansi dizen kada una no hay mas major ke mi.

I want to praise G-d who is worthy of great praise,

He created so many kinds offlowers for man to enjoy.

And all have different colors and perfumes,

The loveliest ofthem we see here, the musky Saffron

CHORUS: Above all it is best to praise the Living G-d,

the Strength ofthe World.

The Rose jumped up and said: Everyone step aside;

It's my turn to praise the great G-d and settle this,

My petals are used to make syrup, and pink sugar,

I scent the water with which they wash their faces.

The little pink Carnation replied: My fame is far greater,

I am enjoyed on the bridal table and held in bouquets

and presented to all the beautiful ladies.

Their soul longs for me, I woo their hearts.

The Lily wanted to sing a gallant song:

Now it’s my turn to give praise,

For I am the flower of ornament;

My oil makes the hair ofthe fair maidens grow

and my scent is so sweet, people faint on account ofme.

Here the Jasmine chimed in with its high voice:

Now it is my turn to give praise because I am without 

stain,

My body, a body of pine; my color, gold and silver 

And when the sun sets it leaves its traces in me.

All the flowers came together to praise G-d,

Who, one by one, has made them so pretty and without

flaw.

It is said every one ofthem contains a blessing, just like

the moon. Yet each proclaims: there is none better than

me.

Rey a quien reyes adoran

Translation by Barbara F. Weissberger

Rey a quien reyes adoran,

serial es qu'es el el que es

trim y uno y uno y tres.

Como es ni puede sello no se cure de buscar,

pues nos podemos salvar con solamente creello.

Y en aquesto s'eche el sello

qu'este es el que siempre ha sido y es

trim y uno y uno y tres.

-Anonymous Cancionero de Upsala (15th century)

King whom kings adore

It is a sign that He is the one who is

Triune and one and one and three.

How he is or can be so, we shouldn’t seek to know,

For we can be saved simply by believing it.

And may this be the seal

That he is the one who has always been and is

Triune and one and one and three.

jO Reyes magos benditos! -Anonymous Cancionero Musical de Palacio (15th century)

Translation by Barbara F. Weissberger

jO Reyes Magos benditos!,

pues de Dios sois tan amados,

sed mi guarda e ’abogados.

Sed mi guarda ’en este suelo

Porque ’en sus lazos no caya,

y abogados en el gielo

porque ’a veros alia vaya;

Porque por vosotros haya

gran perdon de mis pecados,

sed mi guarda y abogados.

O blessed Wise Men,

As you are so beloved of God,

Be my guardians and advocates.

Be my guardians on this earth,

So that I may not fall into its traps,

And my advocates in heaven 

So that I may see you there;

So that through you I may be 

Pardoned for my sins,

Be my guardians and advocates.

Nino Dios d’amor herido -Francisco Guerrero (c. 1528- 1599)

Source: Cancionesy Villanescas Espirituales (Venecia, 1589)

Translation by Barbara F. Weissberger

The beauty, artistic grandeur, and singularity ofthe Villanescas ofFrancisco Guerrero (61 in all, written for 3-5 voice 

parts) afford them a leading place in the polyphonic literature of 16th-century Spain. And although the composer’s output 

ofmasses and Latin motets of exceptional quality is indeed to be noted, Guerrero’s superiority over his contemporaries 

lies in his settings of vernacular poetry to music.

In 1588, at age sixty-two, Guerrero travelled to the Holy Land. A record ofthisjourney in his own hand is contained 

in the book Viage a Jerusalem. Before setting off, he entrusted the Italian composer Gioseffo Zarlino (1517-1590),

chapelmaster at the Venetian Basilica of St. Mark, with the task ofsupervising the edition of his Cancionesy Villanescas

espirituales, published the following year. Although Guerrero is the only Iberian composer ofthe so-called Spanish

Golden Age to compile his works under the explicit title Villanescas, they are in fact songs and villancicos. (The

composer himselfrefers to them in these terms in Viage a Jerusalem: “Those of us in this employ have as our principal 

duty to compose Changonetas and Villancicos, in praise ofthe Most Holy Birth ofJesus Christ... and of his most holy 

mother, the Virgin Mary, our Lady.”)

Nino Dios d ’amor herido,

tan presto os enamorais,

que apenas aveis nasgido,

quando d’amores llorais

Child God wounded by love,

You fall in love so soon,

Scarcely have you been bom, 

When, lovelorn, you cry.
En esa mortal divisa,

nos mostrais bien el amar,

pues siendo hijo de risa,

lo trocais por el llorar.

In that mortal emblem,

You show us well how to love,

For being a child oflaughter

You trade it for tears.

La risa nos a cabido,

el llorar vos lo aceptais,

y apenas aveis nasgido,

quando d'amores llorais.

Laughter has fallen to us,

You accept crying,

And scarcely have you been bom

When, lovelorn, you cry.

B’tayhi-M’saddar (instrumental) -Arab-Andalusian (mode: Az’zaidan)

Hazeremos una merenda Traditional Sephardic

Source/Translation: As taught to The Rose Ensemble by Nell Snaidas

Hazeremos una merenda

A cualhora?

Vo lo diray

CHORUS: Yar aman enrume aman

We’re having a party!

What time?

I'll tell you

Oh yes!

La una quita I'azeite

De un teneque hasta diez

Yar aman...

One takes the oil from the jar

Ten measures

Oh yes!

La otra quita Tharina

De un saco hasta diez

Yar aman...

One takes the flour from a sack

Ten measures

Oh yes!

Para ‘zer los burmuelos

En los dias de Hanuca

Yar aman...

To make the little doughnuts

in these days ofHanukkah

Oh yes!

Quita'l tas, mete'l tas -Traditional Sephardic

Source/Translation: As taught to The Rose Ensemble by Nell Snaidas

Quita'l tas, mete'l tas

Las muchachas meten bas

CHORUS: en el mez de Hanuka

Suriaremos I'asefa

Bring out the tray, Set down the food

The girls set the table

in the month ofHanukkah

let's feast again!

Quita la gallina de la cuxina

Dale'l caldo a la vezina

Que la sea melexina

en el mez de Hanuka

Suriaremos I'asefa

Bring the chicken from the table

give the soup to the old neighbor

so that the month ofHanukkah

will be sweet for her

let's feast again!

La una quita I'azete

De un teneque hasta diez

La otra quita la harina

De un saco hasta diez

Para hazer los burmuelos

En los dias de Hanuka

Suriaremos I'asefa

One takes the oil from the jar

Ten measures

The other takes flour from the sack

Ten measures

in order to make the little doughnuts

in these days ofHanukkah

Let's feast again!

Cantiga #424 - Cantigas de Santa Maria (13th-century Spanish)

Translation: The Songs ofHoly Mary by Alfonso X, the Wise: A Translation ofthe Cantigas de Santa Maria, Kathleen

Kulp-Hill

The words cantiga, cantica, and cantar were widely used in Spain and Portugal up to about 1450 to designate a song, but apart 

from a handful ofsecular love songs, the only surviving manuscript is that ofthe Cantigas de Santa Maria. This collection of

over 400 songs about the Virgin Mary was made between about 1257 and 1283 under the direction ofKing Alfonso X. Called

El Sabio (“the Learned”), Alfonso was crowned King ofCastile and Leon in 1252. The manuscripts created under his patronage

are illuminated with illustrative miniatures, creating one ofthe great artistic achievements ofthe Middle Ages.

With the exception ofa handful (including, ironically, Cantiga #424), the majority ofthe Cantigas are ballad-style accounts 

ofmiracles performed by the Virgin Mary. The elegant texts help to bring alive the everyday side ofmedieval life, as they are 

rich with legends, anecdotes and household tales. Though always focused on the triumphs and graces ofMary, the poems also 

help us to learn about Moors and Christians in conflict; criminals hanged, beheaded, and burnt at the stake; and tales oflust,

disease, and envy. Yet, in each case, the Virgin appears at the crucial moment to dispense mercy andjustice.

Chorus: Pois que dos Reys Nostro Sennor

quis de seu linage decer

con razon liesfez est' amor

en que liesfoi apareger

Estofoi quand' en Beleen

de Santa Maria nageu

e a treze dias des en

aos tres Reys aparegeu,

que cada uu perseu sen

ena estrela connogeu

com' era Deus Rey; eporen

de longe oforon veer,

Ben das insoas de Saba

e de Tarsso, que son no mar,

e d' Arabia, u gran gent' a

e muitas terras de passar.

Mas pero eran lonj' ala

mui toste osfezo chegar

a Beleen aquel que a

sobre todas cousas poder.

Elesforon-sse logu' enton

e viron a estrela yr

ante ssi de mui gran randon,

e comegarona seguyr;

mas quand' en Beleenfoi, non

se quis de sobr' ela partir,

ata que entraron u Don

Jesu-Cristo viron seer

Nos bragos da que muit' afan

sofreu con el e muito mal.

E eles logo manaman

deron-lle sa oferta tal:

ouro de que aos reis dan,

encensso por espirital,

mirra de que os mortos van

ungirpor nunca podreger.

Chorus: Since Our Lord chose to descend

from the lineage of kings,

it is only right that He should show His love

for them by appearing to them.

This occurred when He was bom in Bethlehem

to Holy Mary,

and thirteen days later,

He appeared to the Three Kings,

and each one in his wisdom

recognized by the star that

He was God the King. Therefore,

they came from afar to see Him,

from as far as the islands of Sheba

and Tarshish, which are in the sea,

and from Arabia, where there are many people

and vast lands to cross.

However, although they were there far away,

He who has power

over all things

quickly brought them to Bethlehem.

They went on their way at once

and saw the star

going rapidly before them

and began to follow it.

However, when it reached Bethlehem,

it shone directly over it and would not move

until they entered where

they saw Jesus Christ lying

in the arms ofHer who suffered

much sorrow and griefwith Him.

Without delay,

they gave Him their offerings:

gold, which befits kings;

incense because it is spiritual;

myrrh, with which they anoint the dead

so that they will never decay
Ayyu-ha s-saqi ’ilay-ka l-mustaka - Hispano-Arabic muwashaha (mode: kurdT)

Source/Translation: Ten Hispano-Arabic Strophic Songs in the Modern Oral Tradition, University ofCalifornia Press

(1989)

Text: Ibn Zuhr al-Hafid (1113-1198)

Refrain: Ayyu-ha s-saqi ’ilay-ka l-mustaka Refrain: Oh, cupbearer, our laments are addressed to you.

Qad da ‘awna-ka wa- ’in lam tasma ‘i We have called you, but you do not listen.

gusnu banin mala min hayti stawa

[mata] man yahwa-hu minfarti l-jawa

hafiqa l-asha ’i mawhuna l-quwa

kulla-mdfakkarafi l-bayni baka

wayha-hu yabki li-ma lam yaqa ’i

A willow branch bowed down.

The one who loved him died oftoo much passion, 

quivering within, weakened in his strength.

Whenever he thought ofseparation, he cried.

Woe to him who weeps for that which never happened..

kabidun harra wa-dam ‘un yakifu

ya ‘rifu d-danba wa-laya ‘tarifu

ayyu-ha l-mu ‘ridu '<amma ’asifu

qad nama hubbub-ka ‘indi wa-zaka

la taqul innifi hubbuk mudda 7

A burning heart and flowing tears acknowledge a fault,

but are not acknowledged.

Oh, you who brush aside what I describe.

My love for you has grown and increased.

Do not say: "I demand your love"

Arabaya Ta§ Koydum {instrumental) -Traditional Turkish karflama

Morena me llaman -Traditional Sephardic (Salonika)

Source/Translation: As taught to The Rose Ensemble by Nell Snaidas

Morena me llaman, yo blanca naci

De pasear galana mi colorperdi.

Vestido de verde y de alteli

Qu ’ansi dize la novia con el tchelibl,

Scalerica de oro y de marfil

Para que Suva la novia a dar kidushin.

Dizime galana si queres venir

Los velos tengofuertes no puedo yo venir.

Morena me llama el hijo del rey

Si otra vez me llama yo me voy con el.

They call me the dark one. I was bom fair.

As time passed, my beauty faded.

Dressed in green and scarlet the lover speaks to her

beloved.

A little ladder of gold and ivory was made so that she

could climb up to the top to give her blessing on the 

union. “Tell me, beauty, would you like to come with 

me?” “My vows are strong, I cannot come with you.” He 

calls me the dark one, does the king’s son—If he calls

me again, this time I shall go with him.

Two simsimiyya songs {instrumental) -Traditional Bedouin (arranged by The Rose Ensemble)

Source: ourperformance is based on a 1970sfield recording made by Dr. Amnon Shiloah,for the Smithsonian Centerfor

Folklife and Cultural Heritage.

The Bedouin of Southern Sinai are scattered over the area between the bay of Elat to the east, the Suez Canal to the west,

and the Tiah and Egma cliffs to the north. Within these boundaries live nine Bedouin tribes; each linked by family kinship 

ties and mled by a sheikh who functions as their leader.

As noted by ethnomusicologist Dr. Amnon Shiloah, the music and poetry practiced in the Bedouin encampment ofthe

Sinai peninsula and other places probably contain the most archaic features ofNear Eastern folk music to survive.

As noted earlier, one ofthe challenges in a musical program such as this, that strives to represent equally the traditions of

Christianity, Judaism and Islam, is the simple fact that there is no Islamic liturgical music. Furthermore, only a very small

portion ofIslamic religious music would be appropriate in a setting such as this. We therefore feature music from the 

Bedouin tradition, a tradition from which many believe the Patriarch Abraham comes, and a story about him that has been 

told throughout Arab nations for generations. Faithfulness, loyalty, and hospitality are among the most important Bedouin 

virtues, all ofwhich are also defining characteristics ofAbraham, who is a central figure in Christianity, Islam and

Judaism.

Emmanuel Levinas, a respected Lithuanian Talmudic scholar and philosopher, writes:

Let us recall the Biblical and Talmudic tradition concerningAbraham. Thefather ofbelievers? Indeed.

But above all, Abraham is the one who knows how to receive andfeed men, the one whose tent was open

to thefour winds. Through all these openings, he watched outforpassersby he could welcome. The meal

offered by Abraham? We know ofone above all: the meal he had offered to the three angels. Without

being aware they were angels...Abraham must have taken the three passers-byfor Bedouins, three

nomadsfrom the Negev desert-three Arabs indeed!

And this, from Jacob (Mali’s memoire, “An Armenian in Jerusalem”

...afterIsaac was born to Sarah, she made Abraham banish Hagar and herson Ishmael to the desert.

They were picked up and adopted by Bedouins. Eventually, Ishmael became the prolific leader ofa

prosperous Bedouin tribe.

Abraham, himselfa Nomad chief is said to have been a very generous host. He would immediately order

arrangements to welcome the weary guests. This custom is stillpracticed by the desert Bedouins oftoday.

There is little water in the area where the Bedouins pitch their tents, but the head ofthefamily makes sure

a traveler is provided with enough.

Et Sha ’are Ration -Sephardic piyyut (Libya)

Source: Our performance is based on a field recording provided by Or-Shalom, the Centerfor the preservation ofLibyan

Jewish Heritage, Bat-Yam, Israel.

Et Sha ’are Ratzon is a moving and dramatic piyyut (para-liturgical poem) written by Judah Samuel Abbas (c. 1100). It is

sung on Rosh Hashanah after the reading ofthe Haftarah, and preceding the blowing ofthe shofar. The poem contains 

the Midrashic version ofthe binding ofIsaac {Midrash is the designation of a particular genre ofrabbinic literature 

containing anthologies and compilations of homilies). As the cantor sings the last verse, which refers to the ensuing 

blowing ofthe shofar, his voice imitates the tremolo ofthe teruah (a particular sound on the shofar). In some OrientalSephardic synagogues, this hymn is also chanted in Ladino.

Et shaare ratzon

le hipateach

yom eheye chapay

leElshoteach

ana zechor na li

beyom hokheach

(Refrain): 'Oked vehane'ekad

vehamizbeach.

At the time the gates offavor 

are about to be opened;

On this day I spread forth

my hands to Thee, O God.

On this day ofjudgment,

(Refrain): Remember, in my favor, Abraham, 

who was bound; Isaac,

and the altar.

Beacharit nusa

besof ha'asarah

haben asher nolad

lecha misarah

im nafshecha bo 'ad

meod nikshara

kum ha 'alehu li

le olah barah

'al har asher kavod

lecha zoreach

'oked vehane'ekad

vehamizbeach.

At the last of Abraham’s trials,

The last ofthe ten, [God said to him],

‘The son that Sarah hath borne unto thee— 

that son to whom thy soul is bound—

go, and offer him up

as a pure burnt offering,

on the mount

where my glory shall appear unto thee 

with shining splendor.’

Remember, in my favor...