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Juan del Encina/Enzina? c.1500?
Superius
Tenor
Contratenor
Contratenor
[b] Refrain
Soprano
Soell en zi na, en zi na, so ell en zi na.
Alto
Soell en zi na, en zi na, soell en zi na.
Tenor
Soell en zi naen, zi na, soell en zi na.
Bass
Soell en zi naen, zi na, so ell en zi na.
(3/4 + 6/4)
Verse
Soprano
v4.A la me dia no che, re cor dé, mez qui na,
v5.Pe só me, cui ta da de quea ma ne cí a,
Alto
v.1Yo me iba mi ma dre, a la ro me rí a,
v2.Por ir más de vo ta, fui sin com pa ñí a,
v3.Ha llé me per di da en u na mon ti ña,
v4.A la me dia no che, re cor dé, mez qui na,
v5.Pe só me, cui ta da de quea ma ne cí a,
Tenor
v.1Yo me iba mi ma dre, a la ro me rí a,
v2.Por ir más de vo ta, fui sin com pa ñí a,
v3.Ha llé me per di da en u na mon ti ña,
v4.A la me dia no che, re cor dé, mez qui na,
v5.Pe só me, cui ta da de quea ma ne cí a,
Bass
v.1Yo me iba mi ma dre, a la ro me rí a,
v2.Por ir más de vo ta, fui sin com pa ñí a,
v3.Ha llé me per di da en u na mon ti ña,
v4.A la me dia no che, re cor dé, mez qui na,
v5.Pe só me, cui ta da de quea ma ne cí a,
Soprano
por que yo go za ba del que más que rí a,
Alto
ha llé meen los bra zos, del que más que rí a,
por que yo go za ba del que más que rí a,
Tenor
ha llé meen los bra zos, del que más que rí a
por que yo go za ba del que más que rí a
Bass
por ir más de vo ta, fui sin com pa ñí a so ell en zi na
to méot tro ca mi no, de jéel que te ní a
he ché me a dor mir al pie del en zi na
ha llé meen los bra zos, del que más que rí a
por que yo go za ba del que más que rí a
2
Soprano
v6.Mui ben di ta sí a, la tal ro me rí a, soell en zi na,en zi na, so ell en zi na.
Alto
V.6Mui ben di ta sí a, la tal ro me rí a, soell en zi na,en zi na, soell en zi na.
Tenor
V.6Mui ben di ta sí a, la tal ro me rí a, soell en zi naen zi na, soell en zi na.
Bass
V.6Mui ben di ta sí a, la tal ro me rí a, soell en zi naen zi na, so ell en zi na.
Notes
Original time signature represents 6/2. Edited to 6/4 for modern use.
This works for the refrain if first beat = half-bar.
Verses need to be edited to either: 3/4, which does not fit word underlay; or 3/4 + 6/4, changing in alternate bars;
or 9/4, accented as 3/4 + 6/4. This final option is the clearest for this edition where all lyrics are written out.
Original score has no key signature but musica ficta implies Bbs should be added.
There was no fixed pitch for this repertoire so can be readily transposed to suit ensembles.
This edition provides full lyrics under the notation to show structure, word underlay, elisions etc. Once the piece is
familiar, we can switch to the abbreviated 1-page version for performance, to avoid frequent page-turning faff!
Translation
Refrain: Beneath the holly oak, the holly oak, beneath the holly oak
[OR: 'Beneath Enzina'? Word play on probable composer’s name?]
v.1 I was going, Mother, on a pilgrimage. To be more devout, I was without companions, under the holly oak.
v.2 To be more devout, I was without companions. I took another road, I left the one I was on, under the holly oak.
v.3 I found myself lost, on a mountain. I prepared to sleep at the foot of the holly oak, under the holly oak.
v.4 At midnight I remember – woe is me –I found myself in the arms of the one I love best, under the holly oak.
v.5 Sadly, I was left at the break of dawn, for I had been enjoying the one I love best, under the holly oak.
v.6 Most blessed be such a pilgrimage. Beneath the holly oak, the holly oak, beneath the holly oak.