ABO Tapas Booklet

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from the artistic director…
Tapas is daring, sumptuous and delicious. It is a woman dancing, mystical, seductive and
without restraint. It is old music on old instruments, made new.
Preparing the flavours of Tapas has been a real joy. I took music from the 16th and 17th
centuries that I adore, and against tradition, launched into something completely new.
Instead of just following convention, we mixed styles and spun off each other, dancing
deeper into the world of improvisation, towards a new sound.
When you dare your amazing musicians to leap into the music of love, fire, beauty and
freedom, where do you go? I went to a family recipe. You see, this Tapas is influenced by the
music-making of my parents – Mum, a pianist with a gift for improvisation, and dad, who
played the drums. Their influences of classical, swing, jazz and pop led me to the rhythms of
Tapas – wild, then serene and above all, atmospheric.
Now you won’t find a history lesson in these pages. Just bite-sized flavours with a series of
‘literary postcards’ from Italy, Spain and Austria. As you lose yourself in these exotic sounds
of glass, skin and metal percussion, gut strings, organ, harpsichord and a gorgeous soprano,
let your feelings take flight.
This has been one of the most enjoyable personal experiences of my career. The music is
meditative, energetic, virtuosic and downright fun. I hope it leaves you with an
unforgettable taste.
Paul Dyer
Artistic Director
Australian Brandenburg Orchestra
3
spain
1
arpeggiata from libro iv d’intavolatura di chitarrone
improvisation after kapsberger 8’11
2
ciaccona from il primo libro di canzoni falconieri 4’08
3
avrilla mia kapsberger 5’44
4
bergamasca kapsberger 2’51
Where do you walk when you are full of joy or sorrow? Do you wind through the streets to
find a garden, or a courtyard, to sit surrounded by your thoughts? Perhaps all you really
want is good company, a good ‘red’ and some great music?
– paul
5
canarios kapsberger 2’51
6
passacaglia from trattenimento per camera d’arie, correnti,
e balletti, op. 22 cazzati 3’20
7
chiome d’oro from the seventh book of madrigals monteverdi 2’54
8
spagnoletta improvisation 2’37
9
si dolce è il tormento from the ninth book of madrigals monteverdi 6’32
10 folia (a 3) echa para mi señora falconieri 3’56
11
passacaglia andaluz improvisation 4’42
12 amanti, io vi sò dire ferrari 4’47
13 introduzione dodicesima from suonate per camera, op. 1 laurenti 5’57
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The passacaglia comes from 17th-century Spain, from the words ‘pasar’ (to walk) and
‘calle’ (street).
In another part of town, behind a high wall, a garden with brick pathways is planted with
almond trees and pomegranates, and overblown roses. It once belonged to a prince, but now
it’s shift workers and lovers and children in prams who breathe in the scents and watch the
erratic flight of the night insects.
In a small room, low-ceilinged at the top of the hill, close to a church with a dusty terracotta
roof, around the corner from the plaza that smells of coffee and tomatoes, and up some
broad, worn steps, there’s music and dancing. And red wine in glass jugs; walls covered in
cheaply framed photographs.
ciaccona from canzoni libro terzo, op. 12 merula 3’51
15 tarantella ‘la carpinese’ improvisation 5’57
16 toccata improvisation after kapsberger 2’14
17
esperar, sentir, morir hidalgo 4’13
australian brandenburg orchestra on period instruments
directed from the harpsichord by paul dyer
4
5
italy
Ad ogni modo e via
Il morir per amor è una pazzia…
austria
After all, whatever happens
it is madness to die for love…
Ma quando viddi di bella mano
La pura neve che m’infiammò…
But when I saw the beautiful hand
as white as snow, I was set on fire…
– from Amanti, io vi sò dire (Lovers, I will tell you) by Ferrari
– from Avrilla mia (My Avrilla) by Kapsberger
In the absence of love there is loneliness, and in the absence of music there is silence. It is
easy to get lost in both. Without a love, a busy city can feel empty. With music, an empty city
can be full of exciting possibilities. When shutters are down and the gates are closed, from
the outside they seem very uninviting and foreboding. But on the inside, they seem to keep
the outside world at bay.
– paul
What is it that sparks the fires of love? Is it that moment in a dance when two people find
each other? Perhaps this flame flickers into life with a longing gaze shared between two
strangers in a café, as the world passes them by. Regardless, this fire can burn in even
the coldest of places.
– paul
The streets are empty. No bars are open, not one. No tables and chairs on the street, no
chink of glasses. That will start up again in a few hours. A church bell rings three times,
hanging in the mist. At the end of a laneway a couple dances in the blurred moonlight, moving
in time to music that only they can hear.
The pale outline of the cathedral dome can be seen up above the rooftops; look carefully and
there’s the faintest sign of a cross, nothing too elaborate. Shutters are closed tight against
the mustard and terracotta walls. Solid gates, tall enough for carriages, hide courtyards
beyond. The town doesn’t reveal itself easily.
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The dance everyone knows is in three-four time, as smoothly flowing and predictable as the
river at the edge of the city. It’s snowing for the start of the ball season, but women in
floor-length gowns – no coats, just jewels, glittering – and men in black tie don’t notice.
In every street and on any day, men wear ties, women wear frocks and a handshake
is the routine greeting. On those same streets, coffee houses, with elegant cakes in
cabinets, are packed, and rooms, no longer lived in, are deliriously decorated in gold and
mirror. Ceilings are painted with grand allegories, and secret staircases and passages
used to lead to double lives.
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MUSICIANS
Voice – Mina Kanaridis
Baroque Violins – Ben Dollman, Matt Bruce, Aaron Brown
Baroque Cello – Jamie Hey
Lirone/Viola da Gamba – Laura Vaughan
Theorbo/Guitar I – Tommie Andersson
Theorbo/Guitar II – Samantha Cohen
Percussion – Jess Ciampa, Brian Nixon
Harpsichord I – Paul Dyer
Harpsichord II/Organ – Linda Kent
australian brandenburg orchestra
on period instruments
The Australian Brandenburg Orchestra, led by charismatic Artistic Director Paul Dyer,
celebrates the music of the 16th, 17th and 18th centuries with excellence, flair and joy.
Comprising leading specialists in informed performance practice from all over Australia, the
Orchestra performs using original edition scores and instruments of the period, breathing
fresh life and vitality into Baroque and Classical masterpieces – as though the music has
just sprung from the composer’s pen.
The Orchestra’s name pays tribute to the Brandenburg Concertos of J.S. Bach, whose musical
genius was central to the Baroque era. Since its foundation in 1989 the Australian
Brandenburg Orchestra has collaborated with acclaimed and dynamic virtuosi including
Andreas Scholl, Emma Kirkby, Andreas Staier, Philippe Jaroussky, Elizabeth Wallfisch, Genevieve
Lacey and Andrew Manze.
Through its annual subscription series in Sydney and Melbourne the Australian Brandenburg
Orchestra performs before a live audience in excess of 30,000 people, and hundreds of
thousands more through national broadcasts on ABC Classic FM. In addition the Orchestra
tours nationally and has a regular commitment to performing in regional Australia. The
Orchestra’s twelve recordings with ABC Classics include four ARIA Awards for Best Classical
Recording (1998, 2001, 2005 and 2009).
Since 2003 the Australian Brandenburg Orchestra has been a member of the Major
Performing Arts Group, comprising 28 flagship national arts organisations supported by the
Australia Council for the Arts.
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3
7
avrilla mia
Avrilla mia, quando m’accese
Quel vivo raggio di tua beltà,
Quando un tuo sguardo al cor mi scese,
Io restai prio di libertà.
My Avrilla, when I was set on fire
by your dazzling beauty,
when your glance touched my heart,
I lost my freedom.
Ohime, ch’i lampi de tuoi bei lumi
A questi miei già piacquero si,
Che ben che versin fontane e fiumi
Aman lo strale che li ferì.
Alas, the light in your eyes
so pleased mine
that although they pour fountains of tears,
still I love the arrow that pierced me.
Ma quando viddi di bella mano
La pura neve che m’infiammò,
Ahi, ch’usar pensier fù vano,
Che da me l’alma se ne volò.
But when I saw the beautiful hand
as white as snow, I was set on fire;
ah, trying to think is in vain,
my soul cannot escape.
Bocca di rose, porta del riso,
Chiome, catene di servitù;
Così m’havete da me dimiso
Che tornar mio non spero più.
Mouth of roses, threshold of laughter,
hair that made me a slave in chains;
you have changed me so much
I have no hope of being myself again.
chiome d’oro
Chiome d’oro, bel tesoro,
Tu mi leghi in mille modi
Se t’annodi, se ti snodi.
Golden tresses, beautiful treasure,
you bind me in a thousand ways
whether knotted or flowing free.
Candidette perle elette
Se le rose che coprite
Discoprite, mi ferite.
White well-chosen pearls,
when the roses that cover you
uncover you, you wound me.
Vive stelle, che si belle
E si vaghe risplendete,
Se ridete m’ancidete.
Lively stars, which sparkle with
such beauty and charm,
when you laugh you kill me.
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9
Preziose, amorose,
Coraline labbra amate,
Se parlate mi beate.
So precious, so loving,
dearest coral lips,
if you speak I am blessed.
O bel nodo per cui godo!
O soave uscir di vita!
O gradita mia ferita!
Oh dear bonds which make me happy!
Oh sweet loss of life!
Oh my pleasing wound!
si dolce è’l tormento
Si dolce è’l tormento
Che in seno mi sta
Ch’io vivo contento
Per cruda beltà.
Nel ciel di bellezza
S’accreschi fierezza
Et manchi pietà
Che sempre qual scoglio
All’onda d’orgoglio
Mia fede sarà.
So sweet is the torment
that I have in my heart,
that I live content
with your cruel beauty.
In the heaven of beauty
haughtiness grows
and pity is lacking
in which always, like a rock
against the wave of pride,
I will put my trust.
La speme fallace
Rivolgam’il piè,
Diletto ne pace
Non scendano a me.
E l’empia ch’adoro
Mi nieghi ristoro
Di buona mercè.
Tra doglia infinita,
Tra speme tradita,
Vivrà la mia fè.
Vain hope
besets me,
neither joy nor peace
descends on me.
And the cruel one that I adore
denies me the consolation
of gentle pity.
Amidst infinite pain,
amidst hope betrayed,
my faith will live.
Per foco e per gelo
Riposo non ho,
Nel porto del Cielo
Between fire and ice
I have no rest,
only in the haven of heaven
13
@
Riposo haverò.
Se colpo mortale
Con rigido strale
Il cor m’impiagò,
Cangiando mia sorte
Col dardo di morte
Il cor sanerò.
will I have rest.
If a mortal blow
from a sharp arrow
wounds my heart,
changing my destiny
with the dart of death,
my heart will be healed.
Se fiamma d’amore
Già mai non sentì
Quel riggido core
Ch’il cor mi rapì.
Se nega pietate
La cruda beltate
Che l’alma invaghì,
Ben fia che dolente,
Pentita e languente,
Sospirimi un dì.
It seems that the flame of love
has never been felt
by that hard heart
which has ravished my heart.
If I am denied pity
by the cruel beauty
who has captivated my soul,
surely suffering,
repentant and languishing,
she will one day sigh for me.
amanti, io vi sò dire
Amanti, io vi sò dire
Ch’è meglio assai fuggire
Bella donna vezzosa:
Ò sia cruda o pietosa,
Ad ogni modo e via
Il morir per amor è una pazzia.
Lovers, I will tell you
that it is much better to flee
a beautiful and charming woman,
whether she is cruel or merciful;
after all, whatever happens,
it is madness to die for love.
Non accade pensare
Di gioir in amare,
Amoroso contento
Dedicato è al momento,
E bella donna al fine
Rosa non dona mai senza le spine.
Do not think
to find joy in love:
Amorous contentment
is devoted to the moment,
and a beautiful woman, in the end,
never gives roses without thorns.
14
La speme del gioire
Fondata è su ’l martire;
Bellezza e cortesia
Non stann’ in compagnia;
Sò ben dir con mio danno
Che la morte ed amor insieme vanno.
The hope of pleasure
is based on suffering;
beauty and kindness
do not go well together;
I can say to my detriment
that death and love go together.
Vi vuol pianti a diluvi
Per spegner i vesuvi
D’un cor innamorato,
D’un spirito infiammato;
Pria che si giunga in porto,
Quante volte si dice:
Ohimè son morto.
It takes floods of tears
to extinguish the volcanoes
of an amorous heart,
of a soul that has been set alight;
before reaching safety
how many times has one said:
‘Alas, I amdead.’
Credetel a costui
Che per prova può dir: io vidi, io fui;
Se creder nol volete,
Lasciate star che poco importa a me:
Seguitate ad amar; ad ogni modo,
Che de’ rompersi il collo non accada
Che schivi od erta o fondo,
Che per proverbio senti sempre dire;
Dal destinato non si può fuggire.
Believe him who can say
from experience: ‘I saw it, I was there.’
If you will not believe him
forget it, it’s nothing to me:
go on loving, in every way,
for he who breaks his neck has never been able
to avoid the steep climb or the fall,
for I have always heard say, by the proverb,
that no-one can escape his destiny.
Donna, so chi tu sei;
Amor, so i fatti miei.
Non tresco più con voi;
Alla larga ambi doi!
Sogn’un fosse com’io
Saria un balordo Amor e non un dio.
Woman, I know who you are;
Love, I know what to expect.
I will have no more to do with you;
keep away from me, both of you!
If everyone was like me
Love would be a fool and not a god.
15
%
&
la carpinese
Pigliate la paletta e vae pi’ ffoco
E va’ alla casa di lu ‘nnuammurato
E passa duje ore ‘e juoco.
Si mamma se n’addona ‘e chiste juoco
Dille ca so’ state falelle de foco,
E vule di’ e llà, chello che vo’
la femmena fa!
Luce lu sole quanno; buono tiempo,
Luce lu pettu tujo, donna galante
Mpietto li tieni duje pugnali argiento.
A chi li tocchi bella, nci fa santo,
E ti li tocchi je ca so’ l’amante
E ‘mParaviso jamme certamente...
E vule di’ e llà, chello che vo’
la femmena fa!
Take the shovel and rekindle the fire,
go to your loved one
and spend two hours in playing.
If your mother is angry at your playing
tell her your face is red from the fire,
say what you like to her, a woman does
what she likes!
The sun shines when the weather is fine,
your breasts are radiant, gentle lady,
your bosom conceals two silver daggers.
He who touches them becomes a saint.
And I touch them, I the lover,
We will certainly go to paradise…
Say what you like to her, a woman does
what she likes!
esperar, sentir, morir
Porqué más iras buscas que
mi tormento,
Si en su siempre callado dolor atento,
Yo proprio me castigo lo que me quejo?
Por acentos no pases estos suspiros,
Pues són los postreros áyes que animo,
Bástenme que sean muerte,
no, no, no sean delito.
Why do you seek to add further grief to
my torment,
which, always silently attentive,
punishes me already?
Don’t mistake these words for sighs,
for I live remembering the past,
and although it isn’t a crime,
death will suffice.
Esperar, sentir, morir, adorar...
Porque en el pesar de mi eterno amor
Caber puede en su dolor!
Adorar, morir, sentir, esperar…
To hope, to feel, to die, to adore…
There is a place in my eternal love
for all this sorrow!
To adore, to die, to feel, to hope…
16
De éste cándido cisne sigo el ejemplo
Pues mi acorde ansía mi suave acento
Mezclado en lo que canto va lo que muero ...
Estas voces que el labio vierte cobarde,
Ya más que por alivio por muestra salen
De las llamas que dentro del pecho arden!
I follow the pure example of the swan
so the chords I play need softer accents;
after the song death follows…
These sounds pouring from my cowardly lips
show not only signs of relief
but burning flames within my soul.
Esperar, sentir, morir, adorar...
Porque en el pesar de mi eterno amor
Caber puede en su dolor!
Adorar, morir, sentir, esperar…
To hope, to feel, to die, to adore…
There is a place in my eternal love
for all this sorrow!
To adore, to die, to feel, to hope…
Translations © Lynne Murray 2009
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Executive Producers Martin Buzacott, Robert Patterson
Recording Producer, Engineer and Mastering Virginia Read
Assistant Engineer Patrick Mullins
Editorial and Production Manager Hilary Shrubb
Publications Editor Natalie Shea
Creative Text Leta Keens
Cover Design & Art Direction Loo Kim Lim
Booklet Design Imagecorp Pty Ltd
Cover Photo Underwater Study #3200 by
Howard Schatz
Artist Photos Steven Godbee
For the Australian Brandenburg Orchestra
General Manager Bruce Applebaum
Artistic Manager James Beck
Marketing Manager Kanesan Nathan
www.brandenburg.com.au
Recorded 29 June –3 July 2009 in the
Australian Broadcasting Corporation’s
Eugene Goossens Hall, Ultimo.
Special thanks to Alastair McAllister
for harpsichord preparation, tuning
and maintenance.
ABC Classics thanks Alexandra Alewood,
Katherine Kemp and Miguel Iglesias.
 2010 Australian Broadcasting Corporation.
훿 2010 Australian Broadcasting Corporation.
Distributed in Australia and New Zealand by
Universal Music Group, under exclusive licence.
Made in Australia. All rights of the owner of
copyright reserved. Any copying, renting, lending,
diffusion, public performance or broadcast of this
record without the authority of the copyright
owner is prohibited.
PRINCIPAL PARTNER
OF THE ABO
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