Este vídeo versa sobre Sã qui turo zente pleta - Coimbra (1647) - negrilla Música Temprana Adrián Rodríguez Van der Spoel, conductor Richard Prada (solo)
Thank you for this great rendition of Sã qui turo , which was composed at our city of Coimbra almost 400 years ago. Amazingly, these villancicos were written in Criolo language by the portuguese monks of Santa Cruz Monastery, and were actually performed , with dances and instruments, by the very african slaves of the Church during the solemn masses of Christmas! Congratulations for having so well conveyed the joyful and exotic spirit of this song! ( it would be quite schocking for us today, to hear enslaved peoople praying for their liberation in such a happy mood 🤔, but it wasn't unusual at that time...).
is that so? I didn't know that, I thought these ethnical villancicos actually came from slaves but looking back that wouldn't be possible since slaves wouldn't be able to register it, what we see now came through the eyes of white europeans who wrote it. Much love from brazil.
@@superbanks3311 thanks for commenting! we actually made a little video about the background of the so called negrillas. It only touches the surface of this topic, but I hope it's informative anyway. ua-cam.com/video/oIEp9Dk5f5g/v-deo.html
According to most historical sources (most of which not Portuguese), slavery inm Continental Portugal was much different from slavery in other parts of the World -- even in the Portuguese Empire overseas, where it was brutal and inhumane. As the Catholic Church exherted force and could -- and did -- order the remission of slaves on unjustified brutality,, slaves did have the Sunday off, they had their own churches and masses, their own festivities and parties and it was not umcommon of an educated slave to have slaves of their own and be sent and a business attaché of the master to other partes of the Empire. I'd ask you to read what Elaine Sanceau -- a British historian -- wrote about the subject. Of course, savage masters were common in Brazil and Africa, and elsewhere in the Empire, where the power of the Church was not so much felt. The Inquisition also did also protect slaves from brutal owners, and left good records of the emancipation processes it conducted, if the practices were deemed injust. What goes for Portugal here goes also for Continental Spain. Slavery, and fortunately hedious practice at today's eyes, was the way of life, but a slave in Portugal or Spain had it better than in England, Angola, United States, Brazil or India. By the way, Portugal was the first nation to abolish the slave trade with the metropolis -- in 1751 -- and only did not abolish it in Brazil for fear of sedition at the time. I am not, thus, surprised the slaves had their own music recorded. The festivals of the 'black men' were popular, and were embedded in Portugal culture during the following centuries. Of course, I am not condoning slavery. I am just saying that you won't have many recordings from French, Belgian or British origins, as you have from Portugal and Spain.
This is really very nicee - it is wonderful music and as interesting in its way as the Arpeggiata versions. But who made the paintings? -- those also merit some praise !
Szabolcs Varga you can buy it here: mpmp.pt/produto/manuscrito-50-da-biblioteca-geral-da-universidade-de-coimbra-2-volumes/ or search in google: Manuscrito 50 da Biblioteca geral da Universidade de Coimbra
Que beleza de canção! Bendito seja Deus!
Que maravillosa mezcla , villancicos en criollo, pinturas de Figari con negritos candomberos y esos músicos de primera...gracias de nuevo
Thank you for this great rendition of Sã qui turo , which was composed at our city of Coimbra almost 400 years ago. Amazingly, these villancicos were written in Criolo language by the portuguese monks of Santa Cruz Monastery, and were actually performed , with dances and instruments, by the very african slaves of the Church during the solemn masses of Christmas! Congratulations for having so well conveyed the joyful and exotic spirit of this song! ( it would be quite schocking for us today, to hear enslaved peoople praying for their liberation in such a happy mood 🤔, but it wasn't unusual at that time...).
thank you! it surely is fascinating repertoire!
is that so? I didn't know that, I thought these ethnical villancicos actually came from slaves but looking back that wouldn't be possible since slaves wouldn't be able to register it, what we see now came through the eyes of white europeans who wrote it. Much love from brazil.
@@superbanks3311 thanks for commenting! we actually made a little video about the background of the so called negrillas. It only touches the surface of this topic, but I hope it's informative anyway. ua-cam.com/video/oIEp9Dk5f5g/v-deo.html
According to most historical sources (most of which not Portuguese), slavery inm Continental Portugal was much different from slavery in other parts of the World -- even in the Portuguese Empire overseas, where it was brutal and inhumane. As the Catholic Church exherted force and could -- and did -- order the remission of slaves on unjustified brutality,, slaves did have the Sunday off, they had their own churches and masses, their own festivities and parties and it was not umcommon of an educated slave to have slaves of their own and be sent and a business attaché of the master to other partes of the Empire. I'd ask you to read what Elaine Sanceau -- a British historian -- wrote about the subject.
Of course, savage masters were common in Brazil and Africa, and elsewhere in the Empire, where the power of the Church was not so much felt. The Inquisition also did also protect slaves from brutal owners, and left good records of the emancipation processes it conducted, if the practices were deemed injust. What goes for Portugal here goes also for Continental Spain. Slavery, and fortunately hedious practice at today's eyes, was the way of life, but a slave in Portugal or Spain had it better than in England, Angola, United States, Brazil or India. By the way, Portugal was the first nation to abolish the slave trade with the metropolis -- in 1751 -- and only did not abolish it in Brazil for fear of sedition at the time.
I am not, thus, surprised the slaves had their own music recorded. The festivals of the 'black men' were popular, and were embedded in Portugal culture during the following centuries. Of course, I am not condoning slavery. I am just saying that you won't have many recordings from French, Belgian or British origins, as you have from Portugal and Spain.
Un chef d'œuvre absolu
Artwork by Pedro Figari, uruguayan artist 💙
This is really very nicee - it is wonderful music and as interesting in its way as the Arpeggiata versions. But who made the paintings? -- those also merit some praise !
Thanks! Indeed, like Vinicius said, it's Pedro Figari from Uruguay.
Pedro Figari. Uruguay
Magnificent paintings
En Galicia está el "Vox Stellae Ensemble". Lo escuché haciendo este tema tan bonito en un recital en Vigo.
wonderful adrian and company
Where can one buy the scores (sheet music) for this piece? I searched high and low and I honestly could not find it anywhere...
Szabolcs Varga you can buy it here: mpmp.pt/produto/manuscrito-50-da-biblioteca-geral-da-universidade-de-coimbra-2-volumes/
or search in google: Manuscrito 50 da Biblioteca geral da Universidade de Coimbra
iLUSTRADO CON "CANDOMBES " Y CUADROS DEL PINTOR URUGUAYO DON PEDRO FIGARI.
Virreynato Peruano
Landó peruano.
No, es villancico negro portugues.
@@jp---- no es negrilla portuguessa escrita en 1647 en Coimbra... Escrito en criolo guineano
@@JoseManuel-bk5ym ya, pero el ritmo de los villancicos de negros, negrillos, negrillas, etc. es un ritmo africano en 3/4 que se lláma ondú.