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Early Music Alte Musik MONTEVERDI Ballo delle ingrate Combattimento di Tancredi e Clorinda Cappella Musicale di S. Petronio di Bologna Sergio Vartolo, Director 8.553322 Claudio Monteverdi (1567 - 1643) Ballo delle ingrate Combattimento d i Tancredi e Clorinda Claudio Monteverdi was born in Cremona in 1567, the son of an apothecary and physician who had come to occupy a leading position in his profession in the city. Monteverdi was r b a b ! y trained as a chorister at the cathedral and was certainly a pupil of t e distinguished maestro di cappella Marcantonio Ingegneri, a composer of international reputation. Monteverdi's first ublished compositions, sacred music in the spirit of the reforms of the councifof Trent, appeared in 1582, followed in succeeding years by other collections of madrigals and canzonets, sacred and secular. In 1590 or 1591 he entered the service of Duke Vincenzo Gonzaga of Mantua as a string-player, continuing to work in the musical establishment of the Gonzaga court until Duke Vincenzo's death in 1612, from 1601 as maestro di cappella to the court. Among Monteverdi's compositions in Mantua, which include further innovative collections of madrigals in the new style of the period, the dissonances of the modem style giving rise to controversy with more conservative musicians, is the court opera OrJco, first staged in 1607. With a text by Alessandro Stri gio based on the legend of Or heus and Eurydice as recounted by Ovid an by Vergil, Orfeo was a remarkagle and significantly successful achievement. It was followed in 1608 by Arianna, a work now lost, except for the very influential lament of Ariadne, reworked by Monteverdi into a five-part madrigal and subsequently published in its original form in a collection of music by various composers. Duke Vincenzo was succeeded in 1612 by the older of his two sons, Prince Francesco, the initiator of OrJeo, but now, as the ruling Duke, determined to institute various reforms and economies in the court. There had been no reason to su pose that Duke Francesco harboured any ill-will towards Monteverdi, but, r! whatever reasons, Monteverdi and his brother Giulio Cesare were dismissed from the service of the Gonzagas durin the summer of 1612. The two returned to Cremona, while seeking other em$oyment, which Monteverdi found triumphantly in 1613 with his appointment as maestro di cappella at the basilica of San Marco in Venice, a position that brought opportunity and security % 8.553322 2 of tenure. He remained there for the rest of hi life, refusing attempts to recall him to Mantua and instituting various reforms at San Marco, particularly in the employment of instrumentalists. It was in Venice in 1637 that the first public opera-house was opened and Monteverdi was able to contribute again to this repertoire. In 1640 his Arianna was revived at the Teatro San Moid, now converted from theatre to operahouse, and in the same year a new opera, I1 ritorno di Ulisse in patria was staged at the Teatro San Cassiano. For carnival in 1643Monteverdi wrote another new opera, La coronatione di Poppea, staged at the Teatro Grimani. Monteverdi died in Venice on 29th November 1643, after returning from an extended journey through Lombardy, his death widely mourned. He was succeeded at San Marco by one of his pupils, Giovanni Rovetta, who had sewed as Montwerdi's assistant, while his contemporary fame is witnessed by a series of posthumous publications. The Ballo delle in ate was commissioned by the Duchess of Mantua in 1608 for the wedding of%rancesco Gonzaga and Margherita of Savoy, daughter of Duke Carlo Emanuele I. The purpose of this dynastic marriage was to solve roblems that had continued over Monferrato, ruled by the Gonzagas but claimed Savoy. The libretto is by Ottavio Rinuccini, a member of the Florentine Academia Fiorentina and of the Alterati, where he was known under the sobriquet of I1 Somacchioso. Me was a figure of the greatest importance in the development of opera, author of Dafie, the first dramatic text to be set, in 1598, to music throughout, the latter by Corsi and Peri, a text used again with music by Marco da Ga liano at camival 1608, after the postponement of the wedding until May. His 'ridice was staged in 1600 and in 1608he provided Monteverdi with the text for Arianna, of which only the famous lament suwives. This latter was an important element in the celebration of the Gonzaga wedding and was performed in Mmtua on 28th May. The festivities also included the comedy L'Idropica by Battista Guarini, with intermedi provided by Gabriello Chiabrera, thm favolette da rappresmtarsi cantando; Oritia, I1 Polifono geloso and I1 pianto d'Orfeo. Monteverdi's music for the prologue of L'Idmpica is lost. The subject of Rinuccini's Ballo delle ingrate, the punishment of those ungrateful women who refuse the demands of love, echoes that of the fifth day of Boccaccio's Decamerone. The characters represented are Amor, Venus and Pluto, four shades 3 8.553322 gy 1. from the inferno and ei ht ungrateful souls who dance. The orchestra demanded in the score publishec! twenty years later consisted of five viole da braccio, clavicembalo and chitarrone, with a provision for doubling, as necessary. The scene at the first performance, on 4th June 1608, was described by Federico Follino in the official publication issued by the printers to the coua. The curtain rose to reveal the great mouth of a cavern, surrounded within and roundabout by burning fires. The cavern seemed ve rofound, stretching as far as the eye monsters. In front of the cavern could see, and in its depths were fear appeared Venus and her son Amor. The latter has resolved to enter the infernal world, while his mother anxiously awaits his return. This he does, to the sound of a Sinfinin. Venus sings, deploring the ingratitude of those who reject love. Pluto, god of the Underworld, appears, dressed in a robe covered with gold and iewels, with Amor. The followim passage between the three leads to Pluto's hnmbning of the infernal shades,-v;ho appear from the cavern and are ordered to brina forth the ungrateful women. Venus sings in praise of the magnificence of the conzagas and-after this Amor leads out tfie ungrateful souls, t6e sight of whom excites the pitv of Venus. Thev dance, dressed in robes that seemed to bun, with the gold, Giver and jewels with which the were ornamented. Their actions. a mixture of tenderness and anger. askim ea other's pardon or striking one another, form the substance of thg ballet, with its instmhental variation: After this Pluto addresses the Princess and the ladies present, urging them not to turn away from Love. The condemned souls return to the Underworld, while one remains behind to lament her fate. ?he Ballo delle ingrate was published in the eighth volume of the Madrigali amorosi e guerrieri (Madrigals of Love and War) in 1638. There were topical changes in the published text of the collection, dedicated to the Emperor Ferdiind III instead of, as originally intended, to Ferdinand 11, husband of E l e o ~ r aGonzaga, who had died in 1636. It seems that I1 ballo may have been performed in Vienna in 1636 for the coronation of the new Emperor. The original text of Rinuccini's Ballo delle ingrate, where this differs from the text of Monteverdi's Libra VlII of 1638,is indicated by (R.) in the text given here, with the Monteverdi variant in italics. r3' X The Combattimento di T n d i e Clotinda, which was included in the publication of 1638,was first erformed in Venice in 1624. Monteverdi's introduction to the later publication !&dares that it was staged at the Palace of the Most Illustrious and Most Excellent Si or Girolamo Mozzenigo (MO~enigo), his particular patron, a knight of very o o E n d delicate taste, as an evening carnival entertainment in the resence of tie entire nobility, nearly moved to tears and vociferous in their appf'ause. The words of I1 combnttimento are taken from Torquato Tasso's Gerusnlemme liberatn and, in part, from his revision of that work, Gerusalemme conquistata. Tasso, who, in a restless career that had brought some years in Ferrara, was in Mantua briefly from 1586 at the request of Duke Vincenzo I, who had sought his release from incarceration in Ferrara, where his mental instability had caused considerable difficulties. His great epic poem provided an immediate literary source for composers and continued to suggest operatic subjects for later generations. The episode set by Monteverdi as a work to be acted, in genere r n ~ e s m f n t i v oas , opposed to others smza gesto, without action, concerns the encounter of the Christian knight Tancredi by the walls of Jerusalem with a mysterious opponent. They fight and the mysterious !might is mortally wounded. Dying, the stranger asks to be baptized, and is recognised by Tancredi as his beloved Clorinda. The three sin ers in the Combattimentoare Tancredi, Clorinda and the Narrator. Monteverdi maies particular use of the stile concitato in which he attempted to revive an element supposedly in ancient classical drama. Agitation or anger is ex ressed in this affetto by the use of a quickly repeated note. Other novel eflcts include the use of pizzicato, plucked strings. The original scoring is for four viole da braccio, soprano, alto, tenor and bass, and a contrabasso da gamba, which plays with the keyboard davicembalo. Monteverdi's introduction to the 1638 publication gives clear instructions as to the method of vocal and dramatic performance. Immediate contrast was achieved by the placing of the work, at the first performance, immediately after madrigals without action. Tancredi and Clonnda were to use estures'that the text Gggests, neither more nor less, with the Narrator clear in fiction and largely unornamented i n v c ~ aline, l except for the stanza Notte che nel profondo Gciro. In the Italian text given h&e Monteverdi's changes in the original poem are given in italics, with Tasso's words in brackets, preceded by the letter T. Ballo delle ingrate Cappella Musicale di S. Petronio di Bologna Sergio Vartolo, director Patrizia Vaccari Amore ................................................................ Venere e una delle Ingrate ........................... Gloria Banditelli Plutone .............................................................. Antonio Abete Patrizia Vaccari Tre Ingrate ...................................................... Maura Pederzoli M. Emesta Scabini Ombre #Inferno ..................................... Michel van Goethem Alessandro Carmignani Roberto Abbondanza Antonio Abete Viole da braccio: Riccardo Manuel Vartolo Luca Ronconi Francesco Lattuada Bettina Hoffmann Giorgio Sanvito Chitarrone e tiorba: Andrea Damiani Arpa doppia: Adriana Awentini Claviorgano (by Giorgio Carli) and Regale: Umberto Fomi Clavicembalo (by Barthelemy Formentelli): Sergio Vartolo Ballo delle Ingrate Prima si fa una scene la cui prospettiva Jonni una bocca d'lnfemo con quatro strade per banda, che gettinofuoco, da quali usciscono a due a due le Anime Ingrate, con gesti lamentevoli a1 suon della entrata che sard il principio del ballo, il qua1 va cotante volte repetito da suomtorifino che si trovino paste nel mezzo del loco in cui assi da dar ptinci io a1 ballo, Plutone sta nel meuo conducendole a passi graui, poi ritiratosi alquanto, dopojnita la entrafa, danno principio a1 ballo, poscia Plutone fattolo Jermare nel mezzo, parla wrso alla Pnnc~pessa,e Damme, che saranno presenti, nel modo, che sta scritto; Delle Anime ingrate, il lor vestito sari di color cenerito, adomato di 1acrimefinte;finito il ballo tomano nel Inferno, nel medesimo modo del'uscita, e a1 medesimo suono lamentenole, restandone una nellafine in scena, Jacendo il lamento che sta scritto, poi entra nel'lnfmo. A1 lnmr de la tela sifnrri una sinfonia a beneplacito. Amore De rimplacabil Dio Eccone giunt'al r e p : seconda, o bella madre, il pregar mio. Venere Non tacer.4 mia voce dola lusinghe e prieglu, fin che L'alma feroce del Re severo al tuo voler non pie&. Amore Ferma, Madre, il be1 pi-?, non por le piante nel tenebroso impero chh I'aer tutto nero non macdriass'il c d o r del be1 sembiante: io sol non n'andrb nella maggion oscura, e pregand'il gran Re trarrotti avante. Venere Va p m come t'aggrada; 10 qui t'aspetto discreto pargoletto. Sinfonia Venere (Rioolta rnIn Principesw, e Damme) Udite, Donne, udite i saggi detti di celeste parlar nel cor serbate: Chi, nemica d'amor, ne' crudi affetti armera il cor nella fiorita etade. Sinfonia Venere Sentid come poscia arde a saetta quando pih non havra gratia e beltate e invan ricorrer.3 tardi pentita di lisci e d'acque alla fallace aita. Plutone BeUa Madre d'Arnor che ml be1 ciglio splender l'fnfernofai sereno e puxo Qua1desth, qua1mnsiglio del Ciel t'ha scorto in questo abisso oscurol' Venere Oh de la morte innumerabil gente tremendo Re, d d luminoso cielo traggemi a quest'orror materno zelo. Sappi &a mano a mano l'unico figlio mio di strali e d'xco arma sprewato arcier gl'omeri e I'ali. ( R. in vano) 9 Plutone Chi spoglib di valor Yauree saette che tante volte e tank gionsero a1w r de I'immortal Tonante? Venere Donne che di beltade e di valore tolgono alle piG d e p e ilnorne altero li) nel Gmnano Impero (R. tolgono a I'Alba in ciel la gloria e'l vanto la nella nobil -to) Di cotanto rigor sen vanno armate che le di quadrelle aurate edisuafaceilfca recansi a scherzo e gim. Plutone Ma1 si sprezzn d'Amor la face e'l telo: sallo la terra, il mar,I'infemo e'l &lo. Venere Non ,no, non de' pih fidi amanti odon le vod e i pianti: Amor, costanza e fede n6 pur ombra trovar pub di mercede. Ouesta eli altrui martiri &ma riendo e quella sol gode d'd'esr bella quando tragge d'un cor pianti e sospiri. Invan gentil guerriero move in campo d'onor leggiadro e fero; indamo ingegno altero fregia d'eterni carmi belti che non I'ascolta e non I'apprezzn: nA o barbara fiereua! o cor di tigre e d'angue mirar senza dolore' fido amante venar lagrime e sangue. n6 e per sua gloria o per altrui vendetta ritrova in sua faretra Amor saetta. Plutone Sinvan su I'amo tendi i poderosi strali Amor che speri e che (R. Onde ) soccorso attendi? Amore Fuor de I'atra cavema ove piangono invan di speme ignude m r g i Signor quell'empie e crude. Vegga sull'Istro (R.sul Mincio) ogni Nlima superba a qual martir uuda belta si serba! Plutone Deh che ricerchi Amore? Amor non sai che dal c m e r profondo calle non P che ne rimmi al mondo? Amore So che dal bass' (Ilregno) Memo per far ntomo a1 ciel serrat'e'l varco ma chi contrasta ml (R. al) tuo poter etemo? Plutone Saggio (R.6)signor se di sua possa P pmo! Venere Dunque non ti rammenti che Pkerpina bella a cogker fiori rmidar su'l monte denli eterni ardori? beh per quegl'almi &tenti deh per quei dolci nmori fa nel mondo veder l'ombre dolenti. Plutone Tmppo troppo possenti bella madre cl'Amore giungon del tuo pregar gli strali a1 core. Udite udite oh de l'infemal mrte feri minishi d t e ! Ombre d'lnferno Che vuoi? Ch'imperi? Plutone Aprite le tenebrose porte de la prigion cahgmosa e nera e de Yanime ingrate traete qui la c o n d m t a &ra! Venwe Non senz'alto (R (Rtro)diletto de'magnanimi regi il pi6 porrai ne Yammirabil tetto: ivi di fabbri egregi inuedibil lavoro. o h quanti ammirerai marmorei fregi! Wostro lucente e d'oro splendon pompose le superbe mura e per dedalea a u a scorger potrai tra Yindorate travi palme e trionfi (R. trofei) d'innumerabil Avi: n6 minor meravigha ti graveri le aglia folti teatri rimirando e scene, scorn0 del Tebro e de la dotta Atene. (Qui incomincianoappnrire le Donne ingrate, et Amore e Vmere msl dicono:) Amore Ecm v L noi Saddolorate squadre! Oh miserelle! L'addolorate squadre di quell'alme infelici. Amore e Venere Ahi vista troppo oscura o miserelle! Felici voi se vi vedeva ilfito (R.mondo) men nude e fere o men leggiadre e belle! (Plutone r i d t o verso Amore e Venere msl dice) Plutone Tomate al be1 seren celesti numi. (Rioalto poiall'ingmte cost seque:) Movete meco voi d'Amor ribelle! (Qui . . con nesti Inmenteuoli, le Inmate a dui a dui mcominciano a passi gravi a danzare la present e entrata, sendo Pluione nel mezzo, camminandoa passi naturali egravi) - - Entrata (Gionte tutte a1poslo determinuto, inmminciano il ballo come seqse:) BaNo (Danzano il ball0 sino a m r a ; Plutone si pone m nobil postura, rivolto v e m la Principessa e Damme, cosl dice:) Plutone Dal tenebroso orror del mio p ~rem ~ l (fugga donne il timor dal m%e sen;) arso di nuova fiamma a1 Ciel sereno donna e donzella per rapir non vegno. Ritornello E quando pur da vostri rai nelpetto languixe (R. languisse) Lnmortalmente il cor ferito non fBra dishubar Plutone ardito d i cotanta Regina il lieto aspetto. Donna al cui nobil a m non bassi fregi sol ponn del Clel or& gL eterni lG di mi I'olm (R.alme) vum, d'aurei costumi Ritomello Sceso pur clianzi Amor nel regno oscuro preghi mi fe' ch'io vi scorgessi avanti quest'infelici ch'in perpetui pianti dolgonsi invan ch6 non ben sagge fwo. Ritomello Ant10 &lagih di luce e d'aer privo onde torbido fumo oeni hor s'aeeira Ivi del folle ardir tar2 sospira alma ch'ingrata hebbe ogni amante a schivo. - Ritomello Indi le tragao e ve le addito e mostm, pallido il GGlto e lagrimoso il ciglio perch6 cangiando omai voglie e cmsiglio non piangeste ancor voinel negro chiostm. Ritomello Vaglia timor di sempitemiaffami se forza in voi non han sospiri e pnegh~. Ma qua1 deca ragion vol che si nieghi quel che mal grado al fin vi tolgon gli anni? Fmtto non 6 da riserbarsi al Fie! Trovi fede al mio dir mortal beltate. (Poi rivolto al Anime Ingrate msi dice:) Ma qru star ptb non lice m e Ingrate tornate a lagnnlar nel Regno Inlerno (Q~crnprgl~nnok Anlme Ingrate In secadn p ~ dele BaUo d sumo come p m la qua1 fin110 cosi Pllctone glr parla:) Ballo Tomate a1negro chimtro anime sventurate; tornate ove vi sforza il f a k vmho! Ballo (Quit m o a1 lnfmroa1 s u m della prima entrata, nel modo con gesti, e passicome prima restandone una in sc&, nellamfine facendo il lamento mme segue; e poi entra nell'lnfemo) Una delle Ingrate Ahi troppo, ahi troppo 6 d m (uudel sentem e vie pib dura pena!) tomar a lagrimar ne l'antro oscuro! Aer sereno e puro addio per sempre addio! Addio per sempre addio o cielo, o sole! Addio ludde stelle: apprendete pieti donne e donzelle! Quattro ingrate insieme Apprendete pieti dome e donzelle! Una delle Ingrate A1 h o , a'& a'pianti, a sempitemo affanno. Ah dove son le pompe, ove gl'amanti? Dove,dove sen vanno donne che st pregiate almondo furo? Aer sereno e puro addio per sempre ad&! Ad& per sempre addio o d o , o sole! Addio luade stelle: apprendete pietb dome e donzelle! Quattro ingrate insieme Apprendete pie@donne e d m U e ! Combattimento di Tancredi e Clorinda Cappella Musicale di S.Petronio di Bologna Sergio Vartolo, director Clorinda ........................................................... Gloria Banditelli Testo ..................................................... Alessandro Cannignani Tancredi ................................................... Roberto Abbondanza Viole da braccio: Riccardo Manuel Vartolo Luca Ronconi Francesco Lattuada Bettina Hoffmann Giorgio Sanvito Chitarrone e tiorba: Andrea Damiani Clavicembalo (by Barthblkmy Fonnentelli): Sergio Vartolo Combattimento di Tancredi e Clorinda Combattimento in Musica di Tancredi e Clorinda, descritto dal Tasso; il quale volendosi esser in genere rappresentativo, si fari entrare alla sprovista (dopo cantatosi acluni Madrigali senza gesto) dalla parte de la Camera in cui si fari la Musica. Clorinda a piedi armata, seguita da Tancredi armato sopra ad un Cavallo Mariano, et il Testo all'hora comincieri il Canto. Faranno gli passi et gesti nel modo che I'oratione esprime, et nulla di pih n6 meno, osservando questi diligentemente gli tempi, colpi et passi, et gli ustrimentisti gli suoni incitati e molli; et il Testo le parole a tempo pronuntiate, in maniuera, che le creationi venghino ad incontrarsi in una imitatione unita; Clorinda parleri quando gli toccher8, tacendo il Testo; cosi Tancredi. Gli ustrimenti, cioi quattro viole da brazzo, Soprano, Alto, Tenore et Basso, et contrabasso da Gamba, che continueri con il Clavicembano, doveranno essere tocchi ad immitatione delle passioni dell'oratione; la voce del Testo doveri essere chiara, ferma et di bona pronuntia alquanto discosta da gli ustrimenti, atib meglio sii intesa nel oratione; Non dovera far gorghe nS trilloi in altro loco, che solamente nel canto de la stanza, che incomincia Notte; il rimanente porter2 le pronuntie a similtudine delle passioni del'oratione. In tal maniera (gii dodeci Anni) fu rapresentato nel Pallazzo del'Illustrissimo et Eccelentissimo Signor Girolamo Mozzenigo mio particolar Signore. Con ogni compitezza, per essere Cavaliere di bonissimo et delicato gusto; In tempo perb di Carnevale per passatempo di veglia; Alla presenza di tutta la Nobiliti, la quale restb mossa dal'affetto di compassione in maniera, che quasi fu per gettar lacrime: et ne diede applauso per essere statto canto di genere non piG visto nS udito. Tancredi che Clorinda un homo stima vol ne I'anni provarla al paragone. (T. Vuol ne I'nrmi yrovarla: un huom la stima degno a cui sua virtb si paragone) Va guando colei I'alpestre cima vOr altra porta ove d'entrar dispone. Motto del Caoallo Segue egli impetuoso,onde assai prima che giunga in guisa awienche d'nrmi suone ch'ella si volge e grida - Oh tu che porte conendo (T.checord) si? - rispose - E guerra e morte - Guerra e morte avrai - disse - 10non rifiuto darkti se la cerdu e lermo attende Ne vol Tanaed ch'ebbe a pi6 veduto il sun nemico usar m l l o , e &mde. (T.Non vuol Tanaedi che vedon veduto hail suo nmico usar cavkop scende.) E i m v u m I'un e I'altro il f e r n acuto e a&& l'orgoglio e l'ira accende; e vansiincontro a vassi tardi e lenti quai duo tori gel&i e d'ira adenti. Sinfonia Notte che nel profondo e oscuro seno &udesti. e nell'oblio fatto si erande. v . degne d'unchiaro sol, degne d'un pieno Teatro mre sarian si memorande. piaccinti h'indi if irnggo ernbe1 sereno (T.Degne d'un chiam soLdegne d'un pieno Teatro opre sarian si memorande, Notte d;e nelprofondo e oscuro seno chiudesti, e nell'oblio fatto si grande, piacdati ch'io ne'l tragga e'n bel sereno) alle future eta lo spieghi e mande. Viva la lama lor e-traior gloria splencla del fosm luo I'alta memoria Principio della Guerra Non schivarnon . varar,ptrr . n'trnrsi fT.non ritirarsi) voglion costor n) q u destrem h a p t e . Non danno I colvi or Imti.or vieni or scasi: toglie l'ombra e'i furor l'Ao kell'arte. Odi le spade orribilmente urtarsi a mezzo il ferro e'l pi6 d'orma non parte; sempre 8 'I pi6 fermo e la man sempre in moto, n6 scende taglio invan,n6 punta a voto. L'onta irrita lo sdegno alla vendetta e lavendetta poil'onta rinnon, onde sempre al ferir, sempre all.? fretta stimol novo s'aggiunge e piagn (T.cagion)nova. Wor in or piu si mesce e pib ristretta si fa la pugna e spada oprar non giova: dansi con pomi e infelloniti e crudi couan con gl'elmi insiem e con gli scudi. Tre volte il cavalier la d o ~ stringe a con le robuste braccia ed altrettante poi da quei nodi tenaci eUa si scinge, nodi di fier nemico e non d'amante. Tornano a1ferro e l'un e I'altro il tinge di molto sanczre. (T.conmolte 0iaehel.E stanco ed anelante u . e questi e quegli alfin pur si ritira e dopo lungo faticar respira. .- L'una l'algo guarda e del suo corpo esangue sul porno della spada appogga il peso. Gld de I'ultima stella il raggo langue s ~ r (T.al) l vrimo albor ch'e in Oriente acceso. vede ~ b n ; e d inmaggior i copia il sangue del suo nemico e s6 non tanto offeso: ne gode e insuperbisce:oh nostra folle mente ch'ogn'aura di fortuna estolle. Misero! Di che godi? Oh quanto mesti fiano i trionfi ed infelice il vanto. Gl'occhi tuoi paheran (s'in vita resti) di quel s a n 6 e ignisti& un mar di pianto. Cosi tacendo e rimirando guesti sanguinosi guerrier assir0 (T.posHro) alquanto. Ruppe il silenzio alfin Tancredi e d h e pe&h il suo nome a l'un l'altro scoprisse. Nostra sventura 6 ben che qui s'impieglu tanto valor dove il silentio il copra: ma poi che sorte rea vien che cinieghi e lode e testimon degni dell'opra pregoti, se fra l'armi han loco i prieglu, che'l tuo nome e l tuo stat0 a me tu scopra accib ch'io sappia o vinto o vincitore chi lamia morte o la mla vita (Tla vittoria) honore Risponde (T.F&pose) la feroce: - Inclamo chiedi auel c'ho oer uso di non far valese. - machiAqueioisiatuinnanzivki un di aue' duo che In san t o m accese. - Arse & sdegno a queGarlar ~ancredi: - E in ma1 vunto il dicesti iT.-indi riorese -) ' e'l tuo dir 21tacer di par m'detta barbaro dismrtese alla vendetta. - Toma l'ira ne' cone li trasporta, bench2 deboli, in guerra, o fiera pupa. U' Yarte in bando, u' gia la forza 2 morta ove invece d'entrambi il furor puma. . Oh che sanguigna e spaziosa porta fa Yuna e l'altra svada ovunaue ~ u m ne I'armi e ne le carni e se la vita non e m sdegno tienla alpetto d t a . Ma ecw omai I'hora fatal 6 giunta &'el viver di Clorirula al suo fin deve: -~ spinge egli il f w o nel be1 sen di punta che vi s'imrnerge e'l sangue avido bwe e la v s t e che d'or vago trapunta le mammelle stringe;teneia e leve Yempie d'un caldo fiume: ella gil sente .-- ~ - Sewe la vittoria e la trafitta " erfi - (T.Quel . ~ serme) vergine minacdando incalza e preme. Ella mentre a d e a la voce afflitta movendo b e le parole estreme, ~ a r o lch'a e lei novo spirt0 adit ta fT.dma) ipirto di f6, di carita,k speme, virth che (T.ch'or) Dio l'infonde e se m b e h in vita fuia volse(l'.vuole ) in morte ancella: - Amico h vinto: io ti perdon,perdona hl ancora:al corpo no che nulla pave. AU'atma si:deh per lei prega e dona mia colpa lave. baptesmo a me ~nhuestevoci h & d e risuoni un non so che cli flebile e soave ch'al cor gli scende ed ogni sdegno amorza e gl'occhi a lagrimar l'invoglia e sforza. Poco quindi lontan nel sen d'un monte scat& monno~andoun picdol rio. Egh v'accorse e l'elmo empb (T.empi6) nel fonte e tom6 mesto a1 grande uffitio e pio. Tremar senti la man mentre la fronte non cunosciuta anmr sciolse e scoprio: la vide e la cunobbe. E rest6 senza e voce e moto: ahi vista,ahi conwmza. Non mori gia rhe sue virtuti aaolse lutte in quel punto e'n guardia a1U)Ile mise. E premendo il suo a f m o a dar si volse vita con Pacqua a chicul fen0 urrise. Mentre egli il sum de' M u i detti sciolse colei di gioia tasmutossi e rise e in atto di morir tieta e vivace dir parea: - Sapre il Ciel: io vado in pace -. Ballo delle ingrate The scene represents the mouth of the Underworld with four entrances, which gush forth fire. From these come, two by two, the UnmatefulSouls. with sad eestures to the musu Gf the enhata wluch w d k the begmmng of the Ballo. 'Ilus wBl be repeated bv the musluans as often as necessary unhl hese find themselves in the middle of the dace in which the Ballo be-. Pluto stands in the Addle, leading them with " solemn steps, then standing back a little when, after the Enhata, they begin the Ballo. Then Pluto, m a k q them stop in the middle, addresses the Princess and Ladies who are present, in the way written; the costumes of the Ungateful Souls will be ash-coloured, adorned with artificial tears; after the Ballo they return to the Underworld, in the same way as they came, and to the same sound of lamenting. One of them remains in the middle of the stage, making a lament as written, before going into the Underworld. When the curtain rises, a Sinfonia may be played, if desired. Sinfonia Amor Lo, now the kingdom of the implacable God, support, fair Mother, my prayer. Venus My voice will not cease from sweet flattery and prayers until the savage soul of the harsh King gives way to your wish. Amor Stay, stay, Mother, your fair f w t from atering the dark empire that the air. all black, stain not the whiteness of your fair beauty. 1alone will ao forward into the dark place of the ~nderwbrldto come forth. to pray the &eat venus Go then as you wish: I wait here for my discreet child. Sinfonia Venus (Turningto the Princess and the Ladies) Hear, Lndies, hear the wise words of heaven and keep them in your hearts. She who is the enemy of love cruelly arms her heart in the flower of her youth. Sinfonia venus She will feel the bumine a m w and beauty when she no longer and vainlvwill have recourse in her late reoentance to the fa& aid of paint and perhune. A Sinfonia Pluto Fair mother of Love, who with fair brow makes the Underworld shine, serene and pure, what fate, what design has brought you from heaven to this dark abyss? Venus 0 vou, of the countless race of the dead te*ble kink from the bright heaven m a t e d zed draws me to this horror. Know that, little by little, my only son, with arrows and bow armed, has had his darts scorned. Pluto Who has deprived of paver the golden arrows that time after time have pierced the heart of the immortal Thunderer? Venus Ladies who of beauty and virtue the high name seize from the more worthy. 'Ihere, in the German Empire. with such hardness do Gygo armed Lhat the fire of his eolden arrows and hrs torch are considered a jest and joke. Pluto It is wicked to spurn Love's torch and weapon, as earth, sea, hell and heaven know. Venus No, no, of the most faithful lovers they will not hear the voices and plaints. Love, constancy and fidelity cannot find a shadow of pity. This one the sdferingsof another recounts, laughing and that one only enjoys her ownbeauty when she draws from a heart plaints and sighs. In vain the gentle warrior moves in the field of honour, graceful and proud. Vainly a man of intelligence ornaments with eternal verses beauty that does not listen and does not appreciate. 0 barbarous pride, 0heart of tiger and of snake, who see without sorrow a faithful lover shedding tears and blocd! Neither for his own glory nor revenge of another does Love find in his quiver an arrow. Pluto If in vain you tense your bow with powerful shafts, Love, what do you hope and what help do you expect? Amor Out from the black cavern where they weep in vain, deprived of hope, bring out, Lord, those impious and m e 1 ones. Let every proud soul by the Danube see to what cruel martyrdom cruel beauty is fated. Pluto Ah, what are you asking, Love? Dws Love not know tha; from the deep prison there is no way that leads back to the world? Amm I latow that from the Underworld below the way back to heaven is barred; but who can vie with your eternal power? Pluto Wise is a lord if he is sparing of his power. vmus Do you not then remember that fair Proserpine to gather flowers I brought on the mountain of eternal fires? Ah, for those happy pleasures, ah, for those sweet moments of love, let the world see the grieving shades. Pluto Too, too powerfully,fair mother of Love, the shafts of your prayer touch my heart. Hear, hear, of the infernal court you harsh ministers, hear! Infernal Shades What is your wish? What is your command? Pluto Open the dark gates of the murky black prison and bring forth the ungrateful souls who are there condemned. Venrrs Not without the pleasure of the generous King can you set foot under my wonderful roof; wrought by distinguished craftsmen an unbelievable work, o how you will marvel at the marble friezm. With purple and gold sluning are the noble and proud walls, and through the of ~ a e d a l u s vou can see through gilded beams palms and trophies o7countless ancestors. Nor less mawellous that will meet your eyes are the t h r m ~ e dtheatres and scenes, outdoing &<ity on the Tiber and learned Athens. (The ungrateful Ladies start to appear and Amor and Venus speak as follows:) Amor & Venus Lo,towards us come the sad group, 0 wretched women, of those unhappy souls. Ah, sight too dark, 0 wretched women, happy would you have been if fate had made you less a r e 1 and ha&, or less graceful and fair! (Pltrto turns to Amor and Vmrrs and speaks asfollows) Pluto Retum to the fair sky, heavenly spirits. (He turns to the Ungrotep women and speaks asfollows:) Come to me, you rebel against h e . (Hoe, with sndgeshres, the Ungratefid women, two by huo. begin to dnncegrauely thefollowing entrata, Pluto standing in the middle, mmring with natuml andgrove steps) Entrata (Takingtheir allotted places, they begin the follm'ng Ballo) Ballo (They dance the Ballo to the middle; Plirto taka a noble posture and tlrrns to the Plincess and Iadies, speaking asfollows:) Pluto From the dark horror of my great kingdom -banish, Ladies, fear from your soft bosoms burning with a new tlame to the serene sky to seize lady or damsel I come mt. - Ritornello And when the heart struck by your beauty in the breast languishes eternally, bold Pluto dares not disturb the happy face of such a queen. Lady, for whose noble lock are no base ornaments excent those bestowed bv the eternal L h t s of Heaven, whose kind virtue and golden robes are the envy of monarchs and kings. - Ritomello Love has now descended to my dark k q d o m and asked me to bring forth thee unlucky souls, who, in perpetual plaints, grieve in vain that they were not wise. Ritomello There is a cave down there without light and air, where thick smoke eddies all the time. There is the sod, t w late repenting her folly, who ungrateful kept each lover away. Thence I bring them and show them, pale in countenance, eyes tearful, because, changingwishes and plans, there is no need to weep in the black doister. Ritomello Weigh up the fear of eternalanxietie, if sighs and prayers have no power on you. But what blind reason demands that you deny, that, all the same, in the end the years will take away? It is not a fmit to keep to the end, believe what I tell you, mortal beauties. (He turns to the Ungrateful Souls) But here you may no longer stay, Ungrateful Souls, retum again to weep in the kingdom below. (Here the Ungmtefil Souls repeat the second part of the Ballo to the wrme music as befie, and when it isfinished Pluto speaks to them asfollows:) Pluto Return to the black cloister, unhappy souls, return where your faults have compelled you. (They return to the Undoworld to the music of the first Entrata, with actions and s f w s as befbre. One remnins on the slage at ihe end. She makes the lollowinn & m a t and then enters the ~nderworid) - One of the Ungrateful SouIs Ah, too, ah t w harsh, cruel sentence and more cruel punishment, to return to weep in the dark cave. Air serene andpure, farewell for ever, farewell, farewell for ever, farewell, o sky, o sun; farewell shining stars; learn pity, ladies and damsels. Four Ungrateful Souls Leam pity, ladies and damsels. One of the Ungrateful Souls To the smoke, to cries, to plaints, to e t e d suffering; ah, where are the ceremonies, where the lovers, where do they go, the ladies so sought after in the world. Air serene and pure, farewell for ever, farewell, farewell for ever, farewell, o sky, o sun; farewellshining stars; learn pity, ladies and damsels. Four Ungrateful Souls Learn pity, ladies and damsels. 33 Combattimento di Tancredi e Clorinda The battle, set to music, of Tancredi and Clorinda, as described by Tasso. If this is to be offered in dramatic form, the performers should enter unexpectedly (after the singing of some madrigals without action) from the part of the chamber in which the music is played. Clorinda is to be armed and on foot, followed by Tancredi armed and on a (wooden) horse, and the Narrator should now begin to s h g . They should move and make gestures to express the words, neither more nor less, carefully following the tempi, the beats and steps, and the players the agitated and soft sounds; and the Narrator should pronounce the words in time so that the work becomes a shgle unified a sing when she should, whde the Narrator is silent; Tancredi performance; C l o ~ d will similarly. The instruments, that is to say four arm-viols, soprano, alto, tenor and bass, and a double bass viola da gamba, that will accompany with the harpsichord, should be played in imitation of the emotions of the words; the voice of the Narrator should be clear, firm and well articulated, somewhat apart from the instruments, to be better heard; he should not use ornaments or trills, except in the verse that begins 'Notte'; in the rest he should sing in imitation of the emotions of the words. In this way (twelve years ago) it was performed in the Palace of the Most IUusMous and Excellent Signor Girolamo Mocenigo, my particular lord. And rightly, he being a gentleman of the best and refmed taste; in carnival time, however, for an evening entertainment; in the presence of all the nobility, who were so moved by sympathy that they almost shed tears: and there was such applause because singing of this kind had never been seen or heard before. Tanaedi, thinkine Clorinda to be a man. wishes to engagelher as a worthy foe in battle k the mountain. She, comine round the ~ e a of goes towards the city gate, where she may enter. He followsimpetuously, so somewhat before he meets her, she hears his mns resounding, she (urns and cries - 0 to what purpose do you hasten so? - He answers - wnr and death. -War and death you shall have - she says - I do not refuse to grant it, if you seek them and stay firm. Tanaedi, who has seen M foot his enemv. will not remain on horseback and dismounts. Both theu s h q swords and stlr on theu prrde and h d e theu anger, and advance townrds each other wrth kwdy and slow steps k e two jealous bulls and bwrung wrth anger. Night, you that have in your deep dark bosom endosed and in oblivion a deed so great, since worthy of bright sunlight, worthy of a full spectacle, should such memorable actions be, let me show them in the light of day passing them on to future ages. Let their fame live; and let their glory shine, a lofty memory, from your darkness. Not to avoid, to uarw, nor to retreat do they wish, nor h& dexterity a part here. Thev do not plve blows nor feint. now hard, now weak shaiow and-take away the &e of skill: Hear swords dashing tembhr against metal; and thiu feet do not give ground; alwavs their feet stand firm and their hands alwavs move: no cut is in vain, no sword-point off its mark. - 35 Insult urges them to rwenge and revenge to further insult; so ever to woundin& ever to haste a new sour and a new blow. ~omet&es they join together, and then more limited is the fieht. and swords cannot be used: they dGl kith pommels, and fierce and nuel they dash together helmets and shields. Three times the krught holds the woman in his strong arms and as often she escapes his tenacious embrace, the embrace of a proud enemy and not of a Lover. They turn again to the sword and each dyes the other in much blood; and weary and gasping for breath this one and that now withdraw and after long and thing battle breathe again. One looks at the other, and exhausted in bcdv leans his weight on the sword-pommel. Now the lieht of the last star fades as the firstkght of dawn breaks. Tanaedi sees in great abundance the blood of his enemy, and his own wounds not so grave. He is pleased and proud. 0 our folly that every breath of fortune feeds! Wretched man, why rejoice? 0 how sad are your triumphs, and unhappy your pride! Your eyes willpay, if youlive, for werv droo of that blood a sea of tears. Thus silkt A d waiting. these blood-stained warriors cease a while Tancrediin the end breaks the silence and says, because each might know the other's name: 8.553322 -Our misfortuneis that we show such courage, where it is concealed in silence But since grulty fate denies us praise and witness worthy of our deeds i pray you, if incombat prayers have a place, that you reveal to me your name and condition, that I may know, whether conquered or conqueror, who is the honourable cause of my death or my life. She, fierce in combat, replies - In vain you seek for that which I bv custom do not reveal. But whoever I may be, you see in front of you one of those two who set fire to the great tower At these words Tancredi bums in scorn: -And , vou sooke that inoooortunelv: ' ,. your words and your silence equally urge me, discourteous barbarian, to revenge Anger now retunls to their hearts and carries them, although weak, to war, to proud battle, where skill is banished, where strength is now dead, where, in its place, fury incites them both! 0 what blood-stained and wide gashes one sword and the other makes, wherever it strikes, on m o w a l d on flesh, and if life does not end, it is held in the breast by scorn. But lo now the fatal hour is come that the life of Clorinda must end. He th~hrusbthe sword into the fair bosom where it enters deep and greedily drinks her blood; and her clothing. ornamented with eold. holds to her tezer, soft breasts fills with a warm stream. She now knows she is dying and loses her footing,sick and fainthg. . . He foUows up his victory and transfixes the maid, pressing threateningly upon her. She, while she falls, with suffering voice speaks her last words, words that bring her new spirit, a spirit of faith, of charity, of hope: virtue that God "?spires, and if she was an infidel in life, wishes in death to be his handmaid. -Friend, you have conquered:I pardon you. pardon you still, not for my fearless body, but for my soul; ah, pray for that, and grant baptism to me that washes away allmy sin In these weak words was heard I know not what of the gentle and sad that goes to his heart and ends all scorn, and Grings, perforce, tears to his eyes. Not far from the heart of themountain gushed a little stream, murmuring. Heran there and filled his helmet at the source, and returned sadly to his great and pious duty. His hand trembled, as he loosened the helmet and revealed the face of the one unkown. He saw her and he knew her: he stood without speech or motion. Ah, what a sight! Ah, what recognition! She does not yet die, but summons all her strength toeether and k e e ~ its in her heart. and suppressing his grief, he would give life with water to the one killed bv his sword. While he speaks the sacred word;, she is transported with joy and laughs; and in the moment of death is happy and alive, seeming to say - Heaven opens: I go in peace. . - 8.553322 EARLY MUSIC on NAXOS - ADORATE DEUM (Gregorian Chant Male Voices) BYRD: Masses for Four and Five Voices I Infelix ego Music for Viols, Voices and keyboard CARDOSO I D. LOBO: Missae pro defunctis FRENCH CHANSONS GESUALDO: Complete Sacred Music for Five Voices GIBBONS: Music for Viols, Voices and Keyboard IN PASSIONE ET MORTE DOMINI (Gregorian Chant for Good Friday) JENKINS: All in a Garden Green LAMENTATIONS: (Tallis I White I Palestrina I Lassus I de Brito) LASSUS: Masses for Five Voices I Infelix ego LASSUS I PALESTRINA: Masses da MILANO, Francesco Canova: Fantasias, Ricercars and Duets MEDIEVAL CAROLS MUNDY: Magnificat I Kyrie 1TYE: Missa I Peccavimus I Omnesgentes MUSIC OF THE ITALIAN RENAISSANCE (Voice and Lute) 8.550615 MUSIC OF THE SPANISH RENAISSANCE (Voice and Lute) 8.550614 PALESTRINA: Missa Papae Marcelli I Missa Aetema Christi Munera 8.550573 RENAISSANCE MASTERPIECES SALVA FESTE DIES Gregorian Chant - Female Voices VICTORIA: Ave Maria I Missa 0 magnum mysterium I Missa 0 quam gloriosum A. LOBO: Versa est in luctum Claudia MONTEVERDI (W67 - 1643)