The meaning of this song is explored in the second article of this series. We begin with a performance (in English) of Cantiga 260, which praises the Virgin in terms that exactly mirror troubadour love poetry, while also criticising troubadours for not praising her.Ĭlick picture to play video – opens in new window.Ī performance in English of Cantiga de Santa Maria 260: Tell me, o you troubadours It was within this context that Alfonso composed the Cantigas de Santa Maria. The Catholic response to troubadour songs, which the church perceived as spiritually corrupt, was to develop a new Mariology, a major shift at the heart of Catholic worship. In this article, we see that troubadour influence not only spread well beyond its home in Occitania (southern France), it had a profound effect upon the Catholic faith Alfonso inherited. In order to understand the background to the Cantigas de Santa Maria, we must first appreciate a medieval musical movement which may at first appear unrelated, but which is fundamental to both the music and theology of Alfonso’s compositions: the troubadour tradition. These six articles focus on the influences behind the compositions and the contents of the songs, and will be followed by two stand-alone articles about the historical principles upon which a medieval musical arrangement may be made, focussing primarily on the Cantigas. Most medieval music enthusiasts will be familiar with the manuscripts’ many depictions of medieval musicians and their instruments, and with some of its 420 songs. This is the first of six articles about the Cantigas de Santa Maria, Songs of Holy Mary, composed by the King of Castile, Alfonso X, and unnamed assistants between 12. Troubadour Jaufré Rudel dying in the arms of the countess of Tripoli, from a 13 th century French manuscript (BnF ms.
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