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Eva (full 13​-​track album) [2013]

by Evo

/
1.
Be m’an perdut lai enves Ventadorn Tuih mei amic, pois ma domna no m’ama! Et es be dreihz que ja mais lai no torn, C’ades estai vas me salvatj’ e grama. Ve.us per que.m fai semblan irat e morn: Car en s’amor me deleih e.m sojorn Ni de ren als no.s rancura ni.s clama. Aissi co.l peis qui s’eslaiss’ el cadorn E no.n sap mot, tro que s’es pres en l’ama, M’eslaissei eu vas trop amar un jorn , C’anc no.m gardei, tro fui en mei la fl ama, Que m’art plus fort, no.m feira focs de forn! E ges per so no.m posc partir un dorn, Aissi.m te pres d’amors e m’aliama. No.m meravilh si s’amors me te pres, Que genser cors no crei qu’el mon se mire: Bels e blancs es, e frescs e gais e les E totz aitals com eu volh e dezire. No posc dir mal de leis, que non i es! Qu’e.l n’agra dih de joi, s’eu li saubes! Mas no li sai, per so m’en lais de dire. Mos bels vezers, per vos fai Deus vertutz Tals c’om no.us ve que no si’ ereubutz Dels bels plazers que sabetz dir e faire.
2.
De la iensor qu’om vey, al mieu semblan, On nueg e jorn velh e pens e cossir, Mi vurlh lunhar, si·l cor mi vol seguir, Ab tal acort que mais no·l torn denan, Quar longamen m’a tengut deziron Ab belh semblan, mas tan dur me respon Qu’anc jorn no·m volc precx ni demans sofrir. Ai! belhna dona, ab belh cors benestan, De bel semblan e de gent aculhir, A penas sai de vos mo mielhs chauzir, Si·us vey o no, o si·m torn, o si m’an: Non ai saber ni sen que mi aon: Tan suy intratz en vostr’amor prion, Qu’ieu non conosc per on m’en puesca essir. Pero, dona, si·us vis cor ni talan Que·m denhessetz l’amor qu’ie·us ai grazir, So es us mals don no vogra guerir; Mas, pus no·us plai, al ver Dieu vos coman; De vos mi tuelh, e non ab cor volon, Quar res ses vos no·m pot far jauzion; Vejatz si·m puesc ab gaug de vos partir! Senher Bernart, no·ns part ren viu del mon, Mas la belha que·m destrenh e·m confon Tem que·m fassa per mort de vos partir.
3.
Per tropo fede talor se perigola! Non é dolo, nè piu mortale spàsemo. Come, sença falir, cader en biasemo. El ben se tacie e lo mal pur se cigola! Per tropo fede talor se perigola! Lasso colui che mai se lidó in fémena. Chè l’amor so veneno amoro sèmena. Onde la morte speça se ne spigola! Per tropo fede talor se perigola! Oimè ch’amor m’a posto in cotal arçere. Onde convienme ognor làgreme sparçere. Si che doglia- lo mio cor formigola!
4.
Pour longue atente de merci Ne doit nuns laisser bone Amour Car plus puet rendre en un seul jor Amors de bien et de joie Que nule riens q’ou siegle voie Pour ce vuil, ou que je soie Estre suens sanz partir de li, Car sanz li jor ne vivroie
5.
6.
Lanquan li jorn son lonc e may M’es belhs dous chans d’auzelhs de lonh, E quan mi suy partitz de lay, Remembra’m d’un’ amor de lonh. Vau de talan embroncx e clis Si que chans ni fl ors d’albespis No-m valon plus que l’yverns gelatz. Be tenc lo Senhor per veray Per que formet sest’ amor de lonh, Mas per un ben que m’en eschay N’ai dos mals, quar tant suy de lonh. A! quar no fuy lai pelegris, Si que mos fustz e mos tapis Fos pels sieus belhs huelhs remiratz!
7.
Tant m’abelis l’amoros pessamens Que s’es vengutz e mon fi n cor assire Per que no.i pot nuills autre pes caber Ni mais negus no m’es dous ni plazens, Qu’a donc viu sas quan m’au cizol coosire E fi n a mors aleuja momartire Que.m promet joi, mas trop lo.m dona leu, Qu’ap bel semblan m’a trainat longamen.
8.
9.
Bel m’es qu’ieu chant e coindei Pus l’aura es dus’e.l temps gai, E per vergiers e per plai Aug lo retint e.l gabei Que fant l’auzeillet menut Entre.l vert e.l blanc e.l vaire; Adoncs se deuria traire Cel qe vo-ol c’amors l’ajut Vas chaptenensa de drut. Eu no sui drutz mas domnei, Ni no tem pena ni fai, Ni.m rancur leu ni m’irai, Ni per orgull no m’esfrei; Pero temessa.m fai mut, C’a la bella de bon aire Non aus mostrar ni retraire Mon cor quil tenc rescondut, Pols aic son pretz conogut. Ses prejar e ses autrei Sui intratz en gre-Eu pantai Cum pogues semblar verai Si sa gran valor despléi, A’enqer non a pretz agut Domna quan qu nasqea de maire Qe contra.l sieu valgues gaire; E si.n sai maint car teengut Que.l sieus a.l millor vençut
10.
Domna, pos vos ay chausida, Faz me bel semblan, Qu’ieu suy a tota ma vida A vostre coman. A vostre coman seray A totz los iorns de ma via, E ia de vos no·m partray Per degun’autra que sia. Que Erex non amet Henida Tan, ni Yseutz Tristan Con yeu vos, donna grasida, Qu’ieu am sens engan.!
11.
Bona dona 03:31
Bona dona, cuy ricx pretz fai valer Sobre las plus valens, al mieu vejaire, Avetz razo per que.m dejatz estraire Lo belh solatz ni l’amoros parer, Si non quar vos auziey anc far saber Qu’ieu.us amava mil aitans mais que me? En aquest tort me trobaretz jasse, Quuar non es tortz que ja.us pogues desfaire. Si.l belh semblant que.m soliatz aver De clar que fo, dona, tornatz en vaire, Quar connoissetz qu’ieu no m’en puesc estraire, Mielhs me fora ja no.us pogues vezer; Quar ges pauzar no.us puesc a non chaler: Tals es l’envey ‘e.l dezir que m’en ve Manhtas sazos que de vos me sove E vir mos huelhs envas vostre repaire.
12.
13.
Ondas do mar de Vigo, Se vistes meu amigo? E ai Deus!, se verra cedo? Ondas do mar levado, Se vistes meu amado? E ai Deus!, se verra cedo? Se vistes meu amigo, O por que eu sospiro? E ai Deus!, se verra cedo? Se vistes meu amado, Por que ei gran coidado? E ai Deus!, se verra cedo?

about

Claus Altvater appeared whenever least expected and brought with them copious amounts of ideas, has injected enthusiasm, initiative and passion. The expertise he gained working with guitar virtuoso Al Di Meola has propelled this project to completion.
Constantino López has shown infi nite patience and kept faith in the project from the very start, offering his unconditional support to the album and an extremely rare vocation to do things the way they ought
to be done.
Nora Tigges answered our call for her valued assessment of both the texts themselves and out pronunciation of them.
Juan José Robles provided his un-repayable hospitality time and again during the sessions at Alhama in Murcia. Paco Sánchez and María Enguix did the same in Valencia, as always with great affection and joy.
For the zillionth time, Pasqual Brisa and Eva Ferrando came to our aid in the fi nal stages of the recording, making us feel completely at home among the microphones, cables, nappies, crying babies, and allioli with home-baked bread.
An anonymous little star took the plunge and posed for the photo session which Gisela M. once again took charge of for us, all the while stoically putting up with our neophyte suggestions.
Pau Marcos and his vielle had us listening with fresh ears to melodies that we had thought would never surprise us again.
Diego López has become a worthy ambassador of his manisero predigree, taking over the studio with a whole ange of drums which he used to build authentic walls of percussion.
We were privileged to have Pedram Khavarzamini in the studio, our jaws constantly dropping at the number of subtleties that only he can draw forth on the tombak.
Aleix Tobias was like a kid in a toy store - as were we - with his against-the-clock, sleepless, risky, crazy and yet somehow infinitely wise percussion.
Most likely without him even realising it, the exorbitant enthusiasm and altruism of our friend One played a major role in the realisation of this project.
Moncho Hernández, both in person and with his Volkswagen, has been essential to transporting our instruments and our bods all over the place.
We have also received unconditional support from Cristóbal Aixendri, Pau Puig, Antoni Segarra, Dani Carbonell and Marisa Falcó in conditioning and lending us double-reed wind instruments.
A fi stful of luthiers/friends (Asier de Benito, Dimitris Rapakousios, Stelios Petrakis, Vicent Ferrús, Sedo García, Javier González, Juan Ruvira, Jorge Guzmán from Guzz Guitars, Ralf Eickmeier, Marcelo Morillo, J. Eduardo Márquez...) have made and/or conditioned many of the instruments that you can hear on the album, and have lent us a hand with all the accessories.
If everyone was just like Stelios Petrakis and his family (Zina, Despina, Maria, Giannis, Manolis, Kathigitis, Maro, Nikos, Litsa, Giorgos and grandmother Nafsika) we would fi nd a million reasons to do nothing more than mix albums in Crete and bask in their wonderful affection.
From Maria Laffi tte, to whom this project is dedicated, we learnt some of the songs you will hear and, above all else, to feel real love for this music and its message, symbolism and mystery.

For all of which we are eternally grateful.

Efrén López, Mohlos (Crete, Greece), december 2011.

credits

released September 14, 2021

Efrén López Sanz
hurdy gurdy, citole, bass citole, guittern, cistre, kopuz, oud, gothic harp, trompette marine, plucked psaltery, bowed psaltery, hammered psaltery, langeleik

Miriam Encinas Laffitte
recorder, frame drum

Laia Puig Olives
shawn, gaida, dolçaina, tsambouna, recorder, bagpipe

Iván López Sanz
vocals

Produced and arranged by Efrén López

Executive Producer: Claus Alvater

Recorded by Efrén López and Constantino López over several sessions:
-December 2010, March and July 2011 at the Primavera en el Atlas studios (Alhama de Murcia).
-September 2011 at the Ground studios in Cornellà del Terri.
-October 2011 at the El bolquer alegre studios in Riba-roja de Túria.

Edited and mixed in November and December 2011 by Efrén López at the Millenia studios in Valencia, Mohlos in Mohlos (Crete, Greece), and during several train, car, underground, bus, boat and plane trips in
the “Give me the cheapest laptop you have - no, not the ‘most economical’ in sales-speak, but - I insist - the absolute cheapest” mobile studio between October and December 2011.

Mastered by Efrén López at Ping Pong Master (Valencia) in May of 2012

Guest musicians:
Pau Marcos: vielle
Pedram Khavarzamini: tombak
Diego López Sanz: frame drum, davoul, darbuka, req, tamburello, tambourine, square frame drum from Peñaparda.
Aleix Tobias Sabater: drum from Calanda, frame drum, tambourine, reco reco, cymbals, metallic percussions, gongs.
Maria Laffi tte Masjoan: bell (sample on “Bel m’es qu’ieu”)

Photography: Gisela M (cover and band), Efrén López, Miriam Encinas and Pau Puig (instruments)

Evo logo: Iván López

Artwork: Belén Ballesteros

English translation: Lisa Jane Roberts
Texts correctors: Neus Olives (Catalan)
Pronunciation advisor: Nora Tigges
Texts: Maria Incoronata Colantuono and Efrén López

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Efrén López El Mas De Flors, Spain

Multi-instrumentalist, composer, producer and sound engineer.

I share here some of my works with different projects, plus rare material that haven't been released officially before.

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