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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
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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
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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)
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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)
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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.
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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)