Como la
rosa en la güerta
Tales from the Spanish Knights
2003
The following are plaintive songs of the Sephardim in exile in Morocco, together with 14th century ballads, stirring ballads and lively dance music spanning the centuries. Musicians display an array of early and traditional instruments: Tina Chancey plays rebec, vielle, kamenj and viol; Scott Reiss plays flute, tenor recorder, dumbek and dulcimer, and Ramón Tasat sings and plays guitar.
Also called “Volviendo de Casablanca,” “Una tarde de verano” is an adaptation of the medieval Spanish ballad “Don Bueso and his sister,” which has many different versions. The story narrates the fortunate re-encounter of a Spanish youth with a señorita of great charm, whom he rescues from Moorish captivity. Great is his astonishment when he discovers that the lady with whom he had fallen in love, and wished to marry, was none other than the sister he had once lost. This northern Moroccan melody is also applied to the singing of the liturgical poem “Adon Olam.”
“Abenamar” is a dialogue between the Moorish prince Abenamar and the king Juan II of Castile, where the prince describes the majestic palace of the Alhambra, built in 1273, the summer residence of the last Moorish king reigning in the kingdom of Granada, Spain.
“Moshé salió de Mitzraim” is a paraliturgical song that narrates the story of Moses from his dangerous escape from Egypt to his return to demand Pharaoh to release the Israelites from captivity. It is sung during the holiday of Pesah.
The lines of “Pues que jamás olvidaros” are: “My heart could never forget you. Why did I dare look at you if that vista would bring me so much sadness and pain?”
“La consagración de Moshé” is a song also called “Las tablas de la Ley” (the stones that contained the Law). It is sung during the festival of Shavu’ot and narrates the circumstances of how the Israelites received the Torah at Mount Sinai. The juxtaposition of Ladino and Hebrew is very common in paraliturgical songs.
In “Triste estava el rey David” King David cries for his son Abshalom. This type of sad song is called endecha and refers to a tragic situation. “Triste estava el rey David” is also sung during the holiday of Tish’á be’Ab, the holiday when the Jewish people remember the tragedies that have befallen upon them during thousands of years of suffering. This melody is also utilized during religious services of the Kedusha, the Sanctification.
“Una hija tiene el rey” is a ballad about the daughter of a king, who awaits for her beloved’s safe return from the war. Sad, she does not sing. Courageous, she exclaims: “If my beloved is taken prisoner I will not hesitate to organize a great army to rescue him. If there were not any oars I will row with my arms.” To save him she will not hesitate to throw herself to the tempest.
“Como la rosa en la güerta” is also called “La moribunda enamorada” (the dying lover). This endecha reads: “Like the rose in the garden and the flowers without blossoming, thus is this young lady when Death arrives.”
“Una matica de ruda” is a Judeo-Spanish adaptation of the old Spanish ballad “Una guirnalda de rosas.” It poignantly narrates the anguish of a mother who senses that her daughter is interested in marrying a gentile and, thus, separating herself from the Jewish community.
“Tres moricas” is an anonymous song from Spain that says: “I have fallen in love with three Moorish ladies, Axa y Fátima y Marién. They are so beautiful, so strong and they speak like members of the court.”
“Ein kElohenu” (There is none like our God) is a very ancient religious poem sung at the conclusion of most religious services. Each Hebrew stanza is followed by its ladino counterpart.
CREDITS
Tina Chancey
rebec, vielle, kamenj, viol
Scott Reiss
flute, tenor recorder, dumbek, dulcimer
Ramón Tasat
Director, voice and guitar
Executive producer: Ramón Tasat
Recorded and mixed: Gizmo Recording Company
Sound engineer: Gantt Mann Kushner
Mastering: Wolf Productions, Inc
Art/Design: Juan Lo Bianco
Duplication: Sound Recorders Inc., Austin, Texas