FATA LA PARTE

 

 

THE WORK

 

          “Fata la parte” is a villancico with a popular condition with a double sense was composed by Juan del Encina. The central theme of the villancico is a wife’s infidelity and her tragic end, in spite of which, some funniness is thrown into relief through the burlesque and gossiping tone of the play.

 

          This villancicos was known thanks to the Palace Song Book found out in 1870 in that time Library of the Royal Palace of Madrid and published by Francisco Asenjo Barbieri in 1890 in his Musical Song Book in the XV and XVI centuries.

 

          It is writen in Italian but with a lot of words in Spanish.  It was classified as “estrambote” in the “Tábula” of the Palace Song Book (P. S. B.), name which designed all the plays in a foreign language.  Barbieri himself says on this matter: “I keep the same writing that this picaresque song with a mixed language, half spanish and half italian has.

 

 

THE VILLANCICO

 

          The most used poetic-musical forms in the iberian song books of the Renaissance are the villancico and the Song.

 

          The term villancico (etymologically vilan + cico, little peasant song) appears in Spain in the XV century designing a kind of poetry with a rustic and popular style.

 

          According to Juan del Encina, the distinction between villancico and song was made attending to the number of verses which it showed at the beginning of the poetry.  It was a Carol when the first strophe had two or three verses and a song when it showed four or more.

 

          In the “Tábula” which works as an index to the P. S. B., Encina’s songs are grouped according to the generic designation of villancicos, being independent of the number of verses at their beginning.

 

          The metric used is mostly the eight syllabled or of major redondilla ones, although some villancicos also used the six syllabled or of minor redondilla.

 

          The external form shows two musical sections grouped according to the diagram ABBA.  In section A, the chorus and the back are sung, in section B, each of the changes, there are normally two changes with two verses in each.  Although we can also find other variations of this structure, like the one of “Fata la parte”, in which a third section C is added showing the diagram ABBCA.

 

TEXT *

Structure

Rhyme

Sections

 

Fata la parte

tutt'ogni cal,

qu'es morta la muller

de micer Cortal

 

Porque l'hai trovato           5

con un españolo

en su casa solo,

luego l´hai maçato.

Lui se l'ha escapato

por forsa y por arte.          10

 

(Refrain)

 

Restava diciendo,

porque l'hovo visto,

¡o válasme Cristo!,

el dedo mordiendo,

gridando y piangendo:    15

- ¡Españoleto, guarte!

 

(Refrain)

 

¡Guarda si te pillo,

don españoleto!

Supra del mi leto

te faró un martillo,          20

tal que en escrevillo

piangeran le carte.

 

(Refrain)

 

- Micer mi compare,

gracia della e de ti.

- Lasa fare a mi               25

y non te curare.

- Assai mal me pare

lui encornudarte.

 

(Refrain)

 

 

Refrain

 

 

 

 

Change I

 

Change II

 

Change III

 

 

Refrain

 

 

a

b

a

b

 

c

d

d

c

c

a

 

 

 

A

 

 

 

 

B

 

B

 

C

 

 

A

Transcription and comments by R. O. Jones and Carolyn R. Lee

  1 A very obscure verse.  We suspect that the copyst didn’t understand what he was copying.  Perhaps another word division has to be looked for (¿”fatal...”?, ¿fa tal ...”?).

  2 tutt’ogni cal: ¿”shut up everybody”?

  5 hai: second person, although the third one is required.

  8 maςato=ammazato (“killed”)

20 martillo: martyrdom

21 escrivillo: MS chorus

23 It is very difficult to guess who are talking in this last strophe.

24 gracia della e de ti: ¿”that you and she are compassive”?

25 lasa=lascia (“stop”).

27 assai: “a lot”

    * We think that this Christmas carol isn’t as clear as it seems at a first sight.  He have even suspected that it has a double erotic sense.

 

Translation Ruth Caldwell and Ruth Westfall

 

The role is played out,

everything is sinking

for she is dead, the wife

of Mr. Cotal.

 

Because he found her

with a Spaniard

alone in his house

then he killed her.

As for him [the Spaniard], he escaped

by force or by cunning.

 

Watch out for getting caught,

Sir Spaniard,

On my bed

I'll give you such a hammer blow

that in the refrain (of a song)

the very paper will weep.

 

BIOGRAPHY OF THE  AUTHOR

 

          Juan de Fermoselle called del Encina was born in 1469, it is supposed that he was born in La Encina (Salamanca).  He cultivated either music or literature standing out as an erudite in the Catholic Kings’  court.

 

He studies with Nebrija, who put  the Renaissance spirit in him, at Salamanca University, which he left to work as a chapel master for the Second Duke of Alba, Don Álvarez de Toledo.

 

From the Duke of Alba’s patronage he passed to the Royal Court working as a tutor of the Infante Juan.  Because of the death of the Infante he composed “La tragedia trovada” (1497) which is perhaps his most inspired play.

 

Later he moves to Rome where he worked and received the favours of the Pope Alejandro VI.  In 1519, at the age of 50, he become a priest and make a pilgrimage to Jerusalem where he said his first mass.

 

From 1523 on he lives in León of whose Cathedral he was the prior.  He dies in that city in 1529, although some authors consider that it happened in 1530 and even in 1534 a some of them like Gil González Dávila thinks. 

 

It must be standed out his fame as a musician, as well as a dramatist.  Musically, he was recognized since the publication of Barbieri’s Song Book in the XV and XVI centuries in which he appears as the author of 68 compositions.

 

Portada de una edición de las 
obras de Juan del Encina

He composed neither masses nor motetes, all his musical work is profane under the form of romances, songs and mainly Chirstmas carols, which were sung at the end of the performances and exceptionally in the middle of them.

 

As his contemporary exceed the counterpoint with an absolute scoron towards the lyric, it is notable the adaptation between the text and the music in Encina, thanks to his double facet of poet and musician.

 

 

BIBLIOGRAPHY

 

AUTORES VARIOS (1988): Enciclopedia Espasa. Madrid: Espasa-Calpe.

 

AUTORES VARIOS (1982) (2ª ed.): Nueva Enciclopedia Larousse. Barcelona: Planeta.

 

JONES, R.O. y LEE, C.R. (ed.) (1975): Juan del Encina. Poesía Lírica y Cancionero Musical. Madrid: Castalia.

 

MORAIS, M. (transc.) (1997): La obra musical de Juan del Encina. Salamanca: Diputación.

 

SOPEÑA, F. (1963) 3ª ed.: Historia de la Música. Madrid: E.P.E.S.A.

 

TEMPRANO, J. C. (ed.) (1983): Cancionero de las obras de Juan del Enzina. Madison, Wisconsin: Hispanic Seminary of Medieval Studies.

 

 

 

LINKS

 

Polifonistas del Siglo de Oro Castellano

 

Spanish Early Music Midi Files

 

 

 

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