Como Santa María déu séu fillo aa bõa mollér, que éra mórto, en tal que lle désse o séu que fillara aa sa omagen dos braços.
| Line | Refrain | Metrics | |
| 1 | Quenas sas figuras da Virgen partir | 11 A | |
| 2 | quér das de séu Fillo, fól é sen mentir. | 11 A | |
| Stanza I | |||
| 3 | Porend' un miragre vos quér' éu óra contar | 13 b | |
| 4 | mui maravilloso, que quis a Virgen mostrar | 13 b | |
| 5 | por ũa mollér que muito se fïar †CSM 76:5The word se is in Mettmann, but absent from [E] and [T], and consequently the music is one note/ligature short for the remaining stanzas. In order to fit all stanzas correctly, the obvious solution is to restore se and split the three-note .eyeye ligature on the -ller of moller into .ra + .o, thereby making the vuelta match the refrain as it normally would. Applying this to Elmes' edition, we just need to split the three-note CBA ligature in bar 4 of the fifth line, giving a two-note ligature on CB and a single note on A, without changing the note values; his underlaid words que muito then need shifting one note/ligature to the left, leaving the D crotchet available for se. | 11 b | |
| 6 | sempr' en ela fora, según fui oír. †CSM 76:6This line does have the desired number of notes and ligatures in the music to fit Mettmann's words for all stanzas, but due to the rather strange textual underlay in [E], Elmes has the words out of alignment. The singer should replace his "sem-pre␣en-ela" with "sem-pre'n␣e-la" in the first three bars, and "se-gundo" with "se-gun", and all will be well. | 11 A | |
| Quenas sas figuras da Virgen partir... | |||
| Stanza II | |||
| 7 | Esta mollér bõa houv' un fillo malfeitor | 13 b | |
| 8 | e ladrôn mui fórt', e tafur e pelejador; | 13 b | |
| 9 | e tanto ll' andou o dém' en derredor, | 11 b | |
| 10 | que o fez nas mãos do jüíz vĩir. | 11 A | |
| Quenas sas figuras da Virgen partir... | |||
| Cantigas de Santa Maria for Singers ©2013 by Andrew Casson www.cantigasdesantamaria.com/csm/76 | |||
| Stanza III | |||
| 11 | E poi-lo achou con furto que fora fazer, | 13 b | |
| 12 | mandó-o tan tóste en ũa forca põer; | 13 b | |
| 13 | mais sa madr' houvéra por el a perder | 11 b | |
| 14 | o sen, e con coita fillou-s' a carpir. | 11 A | |
| Quenas sas figuras da Virgen partir... | |||
| Stanza IV | |||
| 15 | E como mollér que éra fóra de séu sen | 13 b | |
| 16 | a ũa eigreja foi da Madre do que ten | 13 b | |
| 17 | o mundo en poder, e disse-lle: “Ren | 11 b | |
| 18 | non pódes, se méu fillo non resurgir.” | 11 A | |
| Quenas sas figuras da Virgen partir... | |||
| Stanza V | |||
| 19 | Pois est' houve dito, tan gran sanna lle creceu, | 13 b | |
| 20 | que aa omagen foi e ll' o Fillo tolleu | 13 b | |
| 21 | per força dos braços e desaprendeu, | 11 b | |
| 22 | dizend': “Este terrei éu trões que vir | 11 A | |
| Cantigas de Santa Maria for Singers ©2013 by Andrew Casson www.cantigasdesantamaria.com/csm/76 | |||
| Stanza VI | |||
| 23 | o méu sã' e vivo vĩir sen lijôn nen mal.” †CSM 76:23Mettmann são e; [T] sane; [E] são e. Here I have used the elision from [T] but regularized the spelling. | 13 b | |
| 24 | Quand' est' houve dito, lóg' a Madr' Espirital | 13 b | |
| 25 | resurgio-o dela, que vẽo sen al | 11 b | |
| 26 | dizendo: “Sandía, mal fuste falir, | 11 A | |
| Stanza VII | |||
| 27 | madre, porque fuste fillar séu Fillo dos séus | 13 b | |
| 28 | braços da omagen da Virgen, Madre de Déus; | 13 b | |
| 29 | porên m' envïou que entre ontr' os téus, | 11 b | |
| 30 | per que tu ben póssas conmigo goír.” | 11 A | |
| Quenas sas figuras da Virgen partir... | |||
| Stanza VIII | |||
| 31 | Quand' a mollér viü o gran miragre que fez †CSM 76:31This is the first of no less than 11 cases of diaeresis in the word viu that are required in the Cantigas. | 13 b | .on |
| 32 | a Virgen María, que é Sennor de gran prez, | 13 b | |
| 33 | tornou-lle séu Fillo; e lógu' essa vez | 11 b | |
| 34 | meteu-s' en orden pola mellor servir. | 11 A | |
| Quenas sas figuras da Virgen partir... | |||
| Cantigas de Santa Maria for Singers ©2013 by Andrew Casson www.cantigasdesantamaria.com/csm/76 | |||
Footnotes
| Line 5: | The word se is in Mettmann, but absent from [E] and [T], and consequently the music is one note/ligature short for the remaining stanzas. In order to fit all stanzas correctly, the obvious solution is to restore se and split the three-note .eyeye ligature on the -ller of moller into .ra + .o, thereby making the vuelta match the refrain as it normally would. Applying this to Elmes' edition, we just need to split the three-note CBA ligature in bar 4 of the fifth line, giving a two-note ligature on CB and a single note on A, without changing the note values; his underlaid words que muito then need shifting one note/ligature to the left, leaving the D crotchet available for se. |
| Line 6: | This line does have the desired number of notes and ligatures in the music to fit Mettmann's words for all stanzas, but due to the rather strange textual underlay in [E], Elmes has the words out of alignment. The singer should replace his "sem-pre␣en-ela" with "sem-pre'n␣e-la" in the first three bars, and "se-gundo" with "se-gun", and all will be well. |
| Line 23: | Mettmann são e; [T] sane; [E] são e. Here I have used the elision from [T] but regularized the spelling. |
| Line 31: | This is the first of no less than 11 cases of diaeresis in the word viu that are required in the Cantigas. |
Footnotes
| E1: | It's rare for the clef to change mid-stave, but here is one example. |
| E2: | See the note to line 5 of the lyrics. |
Manuscript references
External links marked 
are to facsimiles on Greg Lindahl's Cantigas de Santa Maria website.
| [E] | 76 | viewhttp://www.pbm.com/~lindahl/cantigas/facsimiles/E/184small.htmlExternal link |
| [T] | 76 |
Oxford CSM Database record
External link to poem data: CSM 76http://csm.mml.ox.ac.uk/index.php?p=poemdata_view&rec=76
Links to the Oxford database are provided with the kind permission of the project team. When planning a concert or recording, I would recommend that you use (and credit) my more pragmatic texts and supporting materials in the preparation of your performance, but that you request permission from the Oxford database team to reproduce (and credit) their own critically edited texts in your programme or liner notes, as these adhere to stricter criteria that keep them closer to the original sources, and undoubtedly have the greater academic authority.
Metrical summary
Refrain
| 11 11 |
Stanzas
| 13 13 11 11 |
Rhyme
AA / bbbA| R | I | II | III | IV | V | VI | VII | VIII | |
|---|---|---|---|---|---|---|---|---|---|
| A | iɾ | ||||||||
| b | aɾ | oɾ | eɾ | eŋ | eu̯ | al | ɛu̯s | eʣ | |
Estimated performance times
| Average syllables / min. | Time | |
|---|---|---|
| Very slow | 50 | 11:38 |
| Slow | 100 | 5:49 |
| Medium | 150 | 3:52 |
| Fast | 200 | 2:54 |
| Very fast | 250 | 2:19 |
These are very approximate total times for a full sung (or spoken) performance of all stanzas with all repeats of the refrain. Note that the speed is in average syllables per minute, and no particular mensural interpretation is assumed. More ornamented music will reduce the syllabic speed considerably. Remember also to add time for instrumental preludes, interludes and postludes.
Total syllables: 582
