Il Pianto d`Orfeo - i
Transcript
Il Pianto d`Orfeo - i
Il Pianto d’Orfeo or THE BIRTH OF OPERA Nicolas Achten · Deborah York · Lambert Colson S cher z i M u sicali I l P i a n t o d ’O r fe o Prologue The death of Eurydice Luigi Rossi (c.1598–1653) 1Sinfonia 2 Tarquinio Merula (1595–1665) Foll’è ben che si crede 2:37 9 3:49 The love of Orpheus and Eurydice 0 q 3 Emilio de’ Cavalieri (c.1550–1602) Aria di Fiorenza 2:01 4 Giulio Caccini (1551–1618) Antri ch’a’ miei lamenti 2:28 5 Luigi Rossi All’imperio d’Amore 1:14 6 Claudio Monteverdi (1567–1643) Rosa del ciel 2:03 7 Luigi Rossi Mio ben, teco ’l tormento 3:12 8 Claudio Monteverdi Vi ricorda, o boschi ombrosi 2:11 w e r Alessandro Piccinini (1566–c.1638) Toccata XIII 2:26 Claudio Monteverdi Tu se’ morta 2:19 Giulio Caccini Aria di romanesca 1:30 Giulio Caccini Non piango e non sospiro 1:27 Jacopo Peri (1561–1633) Non piango e non sospiro 1:34 Giulio Caccini Aria di romanesca 0:43 t z Giulio Caccini Movetevi a pietà Funeste piagge i o p a Jacopo Peri Funeste piagge 5:27 Antonio Sartorio (c.1630–1680) Orfeo, tu dormi? Se desti pietà 1:26 2:26 Claudio Monteverdi Possente spirto Claudio Monteverdi sSinfonia f Claudio Monteverdi Ahi, vista troppo dolce Luigi Rossi Les pleurs d’Orphée aillant perdu sa femme Epilogue Stefano Landi (1587–1639) g Muove Orfeo l’empia Dite h 10:05 d 2:51 4:02 Andrea Falconieri (c.1585–1656) La suave melodia 5:06 Must you then lose me for loving me too much? Weep at my lament u 1:04 1:04 3:16 Luigi Rossi Lasciate Averno 2:36 6:38 D eborah Y or k soprano N icolas A chten baritone L ambert C olson cornetto S cher z i M u sicali dir. Nicolas Achten Sources Instruments Luigi Rossi, L’Orfeo – Paris, 1647 (1, 5, 7, 26) Tarquinio Merula, Curtio precipitato et altri capricii, libro secondo – Venezia, 1638 (2) La Pellegrina – Firenze, 1589 (3) Giulio Caccini, L’Euridice – Firenze, 1600 (4, 12, 16) Claudio Monteverdi, L’Orfeo – Mantova, 1607 (6, 8, 10, 21, 22, 23) Alessandro Piccinini, Intavolatura di liuto et di chitarrone, libro primo – Bologna, 1623 (9) Giulio Caccini, Le nuove musiche – Firenze, 1602 (11, 14, 15) Jacopo Peri, L’Euridice – Firenze, 1600 (13, 18) Andrea Falconieri, Il primo libro di canzone, sinfonie, fantasie, capricci, brandi, correnti, gagliarde, alemane, volte – Napoli, 1650 (17) Antonio Sartorio, L’Orfeo – Venezia, 1672 (19, 20) Stefano Landi, Il libro quinto d’arie – Venezia, 1637 (25) Luigi Rossi, Les pleurs d’Orphée aillant perdu sa femme – Paris, 1648 (24) Theorbo (Magno Tieffenbrucker, Venezia, c.1600) Ivo Margherini, Bremen, 1999 (SN) Theorbo (Matteo Sellas, Venezia, c.1630) Klaus T. Jacobsen, London, 2002 (NA) Baroque guitar (Antonio Stradivari, Cremona, c.1639) Dirk De Hertog, Westrode-Wolvertem, 2012 Ceterone (Gironimo Campi, Firenze, c.1600) Carlos González, Paris, 1994 Triple harp (Domenico Zampieri, Roma, c.1619) Rainer Thurau, Wiesbaden, 2012 Harpsichord (Giambattista Boni, Cortona, 1619) Alan Gotto, Norwich, 2008 Gut-strung virginal (Giovanni Baffo, Venezia, 1594) Alan Gotto, Norwich, 2012 Wood-pipe organ (after 17th-century Italian models) Luc Meurice, Spa, 2003 Cornetto (Giovanni Bassano, Cremona, c.1600) Serge Delmas, Sainte-Geneviève-des-Bois, 2010 (LC) Cornetto muto (Giovanni Bassano, Cremona, c.1600) Henri Gohin, Boissy-l’Aillerie, 2009 (LC) Cornetto (Giovanni Bassano, Cremona, c.1600) Serge Delmas, Sainte-Geneviève-des-Bois, 2011 (AM) Cornetto muto (Giovanni Bassano, Cremona, c.1600) Serge Delmas, Sainte-Geneviève-des-Bois, 2013 (AM) Violin (Gioffredo Cappa, Saluzzo, 17th century) Roger Graham Hargrave, Bremen, 1992 (VD) Violin (Antonio e Girolamo Amati, Cremona, 1629) Ada Quaranta, Taurini, 2007 (PG) Viola da gamba (Gasparo Da Salo, Venezia, before 1609) Marco Salerno, Zagarolo, 2004 Lirone (Anonymous maker, c.1600) Marco Salerno, Zagarolo, 2001 Violone (Jakob Stainer, Cremona, c.1640) Perre Van Engeland, Bruxelles, 2002 Bows after 17th-century models by Patrizio Germone, Jérôme Gastaldo & Bruno Sporcq Scherzi Musicali Nicolas Achten, baritone (2, 4, 6, 8, 10, 12, 13, 16, 18, 21, 25, 26), harp (2-4, 6, 7, 11, 14, 15, 18-21), theorbo (5, 8-10, 12-13, 17, 24-26), harpsichord (1, 14, 22), ceterone (16) Deborah York, soprano (5, 7, 19, 20, 23) Lambert Colson, cornetto (1-3, 5, 7, 11, 15, 17, 21, 25) Adrien Mabire, cornetto (1, 5, 21) Varoujan Doneyan, violin (1, 3, 5, 8, 19-22, 24, 26) Patrizio Germone, violin (1, 3, 5, 8, 14, 19-22, 24, 26) Justin Glaie, viola da gamba, ceterone (10, 19-21, 23, 25, 26) Eriko Semba, viola da gamba, lirone Benoît Vanden Bemden, violone Korneel Bernolet, harpsichord (5, 17, 18, 26), organ, gut-strung virginal Solmund Nystabbak, theorbo, guitar 4 Recording: November 24-27, 2013, Provinciaal Museum Begijnhofkerk, Sint-Truiden, Belgium Executive Producer: Michael Schetelich, Anselm Cybinski Recording Producer & Editing: Nicolas Achten · Recording Engineer: Rainer Arndt Photo: Shutterstock · Artwork: WAPS Communication, Hamburg Scherzi Musicali wishes to thank all those who have contributed to this project, especially Dominique de Spoelberch, Emmanuelle Audouard, Walter Corten, François Dambois, Korneel Bernolet and Solmund Nystabakk. Scherzi Musicali is supported by the Fédération Wallonie-Bruxelles. 5 Arianna led me to a just lament, a n d O r fe o t o a r i g h t e o u s p ra y e r … Claudio Monteverdi Peri, Caccini and Monteverdi: why was Orpheus the subject of so many of these early operas? The answer almost certainly lies in the fact that the figure unites both words and music. As a poet in ancient Greece, Orpheus sang while accompanying himself on the lyre. His singing was said to charm all living creatures and could cause even the rocks themselves to weep. Orpheus was undoubtedly the best possible ambassador for the new kind of music that was known as recitar cantando. In this context we generally think of Claudio Monteverdi, who, as we know, was a composer of genius, but his genius had been nurtured by his two predecessors, Jacopo Peri and Giulio Caccini. His favola in musica, L’Orfeo, takes its place, therefore, in a logically unfolding narrative, namely, the quest by composers, poets and thinkers to find a lost ideal and to move their audiences by means of an appropriate rhetoric. Reduced to its essentials, 6 music had no other aim but to serve the text. The programme that is featured in the present album retraces the myth of Orpheus and Eurydice by comparing and contrasting the various interpretations of it by major artists of the seicento. Le nuove musiche In the years around 1600 music underwent a fundamental change of direction with the birth of opera. It was in Florence that the new genre first emerged as the brainchild of an artistic ideal developed by the Camerata de’ Bardi, a learned society whose members included the city’s leading Humanists – artists, philosophers and theorists. The Renaissance interest in classical antiquity led them to examine hitherto unpublished sources relating to ancient Greek tragedy and poetry, in which they believed that performers had used a voice halfway between speaking and singing, while accompanying themselves on a musical instrument. In order to be able to convey emotions to an audience, music had to comprise not only words but also rhythm and, ultimately, sound. The art music of the Renaissance was polyphonic in character: whenever a lover declared his passion, it was entirely possible that as many as five singers would declare their love collectively. Moreover, the words were often rendered incomprehensible by the way in which they were set, their intelligibility compromised by a frequent lack of synchronization between the individual syllables in the different voices and also by improvised ornamentation involving divisions, a technique that musicians tended to use to excess. As a result, the vocal music of the period raised problems of credibility and intelligibility. It is easy to understand in what ways the rediscovery of classical antiquity influenced the new generation of composers, an entirely new type of music coming into being at this time and becoming known as recitar cantando or, alternatively, as the stile recitativo or, in Monteverdi’s case, the seconda prattica. The way in which this new style of composition worked, together with the notation that it employed, was the subject of much theorizing that also found expression in practice. From then on the rhythm and intonation of the singer were intended to imitate the art of recitation as closely as humanly possible. In order to meet the need for a musical accompaniment to this vocal writing, instrumentmakers transformed existing instruments with a view to extending their compass and dynamic range. In many cases their nomenclature evokes the age of classical antiquity: the chitarrone, for example, contains an echo of the Greek kithara, while the lirone recalls the lyre. The accompaniment was largely improvised by the continuo players, the composer providing only the bass line. In 1600 Emilio de’ Cavalieri, Giulio Caccini and Jacopo Peri, all of whom were members of the Camerata de’ Bardi, each wrote a work in the stile rappresentativo based on the model of ancient Greek tragedy. Florence, 1600 It was on the occasion of the marriage of Henri de Navarre and Maria de’ Medici in October 1600 that Ottavio Rinuccini was commissioned to write the libretto for L’Euridice. Within the space of only a few months, two composers had set the same text to music, with the result that both Jacopo Peri and Giulio Caccini contested the palm for the honour of being acclaimed as the progenitor of the new genre. 7 Caccini was in charge of music at the Medici court, coordinating the musical festivities and composing some of the music for Il rapimento di Cefalo, the main spectacle at the wedding celebrations. Another more intimate spectacle was L’Euridice that was planned for the following day. For this work, Peri was commissioned to write the music and to sing the role of Orpheus, but Peri and Caccini agreed between them that the latter would write those passages that would be sung by his – Caccini’s – daughters and his pupils. These included a number of ensemble passages and the whole of Eurydice’s role. Some months after Peri’s L’Euridice had received its first performance but before its composer had had time to see it into print, Caccini published his own version of the work but then had to wait two years before it could be performed. By then Caccini had already written numerous madrigals for solo voice and continuo that had proved remarkably successful. To be able to bequeath to posterity the first printed opera must have had great symbolic significance for him, hence, no doubt, his need to assert his legitimate claims to have pipped his rival to the post, even if those claims involved a certain mean-spiritedness. History has often condemned Caccini for his act of treachery, while rebuking Peri for his 8 feeble music, thought to be only of real interest to musicologists. Even so, their important contributions have probably been undervalued, for at the very moment that this new style was first emerging, two talented and powerfully individualistic composers were setting the same text to music. A comparison between these two settings helps us to gain a greater understanding of the recitar cantando style: if the Italian language produces relatively similar rhythms in the scores of these two rival composers, the means that they deploy in giving expression to Orpheus’s grief are very much their own. We may limit ourselves to a handful of observations. In the first place, the highlighted words are not always the same. Second, Peri tends to explore each affect in detail, whereas Caccini encompasses the line within a single gesture. Third, one of Peri’s most striking features is his ability to create a powerful expressive tension by risking the inclusion of unexpected dissonances. And, fourth, Caccini uses seductive melodic lines, whereas Peri seems to be afraid that such lines may detract from the words, with the result that he prefers to use repeated notes. This comparison demonstrates that the dogmatic precepts of the Camerata de’ Bardi nonetheless allowed scope for each composer to assert his own distinctive personality. Mantua, 1607 score and which were probably limited to a violin and a recorder in Peri’s score play an The history of opera does not end with the two important role in L’Orfeo. Florentine settings of L’Euridice, for the new Monteverdi reveals true genius in his hanmedium very quickly caught on in the whole dling of these new possibilities, bestowing on of the rest of Italy. Claudio Monteverdi was his Orpheus an aria that is altogether unique. probably present at the first performance of His divine dimension takes the upper line in Peri’s opera, which we know was attended by his patron, Vincenzo Gonzaga, the grand “Possente spirto”, but when addressing the gods of the Underworld he replaces his parlar duke of Mantua, for whom the 1607 carnival cantando with a cantar di garbo, or an ornawas an opportunity to display great pomp and mented vocal line. These virtuoso divisions, ceremony worthy of rivalling the Florentine which were probably worked out with the spectacle of 1600. Monteverdi’s setting of the singer who created the title role, Francesco Orpheus legend was based on a libretto by Alessandro Striggio. Here, too, the work af- Rasi, combine rhetorical force with delicate poetry in an altogether extraordinary manner. fords extremely interesting testimony to the Moreover, the instruments of the orchestra practices of the day. Monteverdi was not a enter into a dialogue with the demigod: his member of the Camerata de’ Bardi and felt no obligation to follow its tenets to the let- lyre – an instrument that could be played with a bow or plucked with the performer’s ter. With the benefit of a degree of hindsight fingers – is represented on some occasions denied to his elders, he was able to retain by a bowed violin or viols and on other occathe basic principles of the medium while not denying himself the possibility of introduc- sions by a harp. The cornetts seem to symbolize the Underworld, the very depths of which ing occasional passages of counterpoint, or are evoked by means of echo effects. prima prattica. Moreover, the grand duke was able to offer Monteverdi substantial finan- Monteverdi’s L’Orfeo is generally regarded as the first “opera” by those unaware of cial means that allowed him to use far more the existence of Caccini and Peri as well as by elaborate vocal and instrumental resources than had been available to his Florentine pre- those who argue that it was necessary to wait until Monteverdi arrived on the scene to find decessors. As a result, melody instruments of a composer capable of generating any real a kind that had been missing from Caccini’s 9 cial undertaking dependent for the most part on box-office receipts, and it was in order to meet the expectations of an audience keen to be seduced by extravagant spectacle that Aureli laced the story of Orpheus with numerous secondary characters. The musical language of Sartorio’s opera marks a clear advance on that found in the operas of the earlier period: by then several deIl canto d’Orfeo cades had passed, and the emotions that his Peri, Caccini and Monteverdi were merely the music explores are more expansive, the texfirst of many composers to devote an opera to tual repetitions and melismas more frequent Orpheus, a figure who also inspired Domenico as the vocal line becomes more lyrical. The Belli, Stefano Landi, Luigi Rossi and Antonio Florentine recitative becomes more melodic, Sartorio, among others. And it was Orpheus distinguishing itself from the arias, which who introduced opera to France: commended become increasingly clearly structured and to the French court by Cardinal Mazarin, Rossi identifiable as such, and are often composed wrote his Orfeo for the Fontainebleau court in over an ostinato. Although the continuo con1647. Almost half a century after the pioneer- tinues to play a predominant role, the melody ing exploits of their Italian forebears, Rossi instruments are no longer restricted to the and his librettist Francesco Buti distanced ritornellos but occasionally accompany the themselves from the antique purity of the myth voices. and introduced a satirical and comic element to the plot, which is further complicated by the La favola d’Orfeo dramatic power. Such a judgement is clearly extreme. If he had had no predecessors, Monteverdi would never have written L’Orfeo in the way that he did, his pen unashamedly reflecting the influence of both Caccini and Peri. In much the same way, the libretto by Rinuccini – a brilliant and distinguished poet – clearly left its mark on Striggio’s own version of the text. introduction of intrigues and ruses initiated by Like every popular myth, that of Orpheus has Venus and Cupid. come down to us in a number of different Antonio Sartorio composed the first Vene- versions, most notably those of Ovid and Virtian version of the myth, a setting of a libretto gil. And it continued to evolve in the hands of by Aurelio Aureli that was first produced in the librettists who sought to breathe new life into city in 1672. Opera in Venice was a commer- the fate of the legendary poet. 10 Orpheus is said to have been the son of the Muse Calliope and of King Oeagrus of Thrace, although some authorities state that his father was Apollo. According to the rules of mythology, he was a demigod with correspondingly limited powers. Orpheus loves Eurydice. She is initially reluctant to respond to his advances but finally succumbs. He expresses his delight at the idea of marrying the beautiful nymph and declares his passionate feelings for her. But, on their wedding day, she is bitten by a snake and dies. A heartbroken nymph brings him the sad news; although grief-stricken, Orpheus responds with equanimity, refusing to allow himself to be downcast and deciding to follow a course forbidden to mortals: he will descend into the Underworld and persuade Hades to restore Eurydice to him. On arriving in the realm of the dead, Orpheus avails himself of his most trusty weapon: his singing. His prayer fails to win over Hades. But the other gods of the Underworld are by no means insensible to his entreaties, and thanks to the intercession of Persephone, Hades finally agrees to allow Eurydice to follow Orpheus back to Thrace. But he imposes a condition on Orpheus, who is not allowed to turn back and look at Eurydice. Overcome by doubt, he does indeed turn round. Hades’s will has been violated, and Orpheus loses his beloved for ever. Distraught, Orpheus cannot bring himself to love another and refuses to contemplate any other woman, even encouraging the Thracians to turn to young men instead. Offended by such disdain, the Bacchantes violently tear him apart and scatter his limbs to the four winds. His head, attached to his lyre, floats down the River Hebrus and ends up on Lesbos, the island of poetry. La lira d’Orfeo We have assembled a collection of different instruments that are all replicas of 17th-century originals. From this point of view the impressive list of instruments itemized in the score of Monteverdi’s Orfeo proved invaluable. Apart from the two violins that enter into a dialogue with a soprano recorder and two cornetts, several continuo instruments are used to add colour to the text and to underscore the affects that it depicts. Among the plucked string instruments, we have two large chitarrones, or theorbos, an arpa doppia, a chitarra spagnola and a ceterone (a bass cittern with metal strings attached to a second, extended peg-box in the manner of a theorbo) that evokes the Underworld. There are also three bowed strings from the viol family: a bass viol, a violone (a double-bass viol) and a lirone (a 13-string viol 11 first three operas to be devoted to him. Most with a flat bridge that allows the performer of Eurydice’s entries are taken from the later to play three- or four-note chords). As for the keyboard instruments, these include an or- operas by Sartorio and Rossi, since these two composers gave her more to sing than their gano di legno, whose principale stop is made predecessors. We have also used the overof wood, providing a considerably full sound; a ture from Rossi’s Orfeo (even though the comharpsichord with a single 8’ stop but a second poser has left us only the bass line), as well as register of leather plectra; and a virginal with Orpheus’s death lament. The key role of the gut strings. As far as possible, we have tried to respect contemporary praxis and used un- Messenger is symbolized here by a theorbo wound gut strings, short curved bows, quarter- toccata by Alessandro Piccinini. By way of a prologue we have added Tarquinio Merula’s comma meantone temperament, keyboards “Foll’è ben che si crede”, which expresses with split keys and so on. Orpheus’s impossible love for Eurydice and Although composers did not normally prefigures their tragic destiny. specify the type of instrumentation that they We recorded Caccini’s Euridice some may have had in mind, the continuo’s colours years ago, and it was while we were working play an essential role in the execution of the on that recording that a comparison between recitar cantando style. So many timbres leave the interpreter considerable scope for cre- Caccini, Peri and Monteverdi struck us as the ativity. Monteverdi is one of the few compos- obvious next step for us to take. By placing ers to specify in certain – often brief – pas- these three composers in their historical context, we have been able to isolate their simisages in L’Orfeo which instruments were used larities and their divergences. In turn this has at what point in the score at the time of its allowed us to experience at first hand the fasfirst performance. Since the instrumentation cinating genesis of a musical language that is is an integral part of the interpretation, it was so important for western music. Both for them usual to trust the giudizio – the judgement or and for us, Orpheus has been the inevitable discernment – of the performers. medium for this adventure. Il pianto d’Orfeo We decided that our programme should focus on Orpheus as he appears in key scenes in the 12 Nicolas Achten, February 2014 Translation: Stewart Spencer A r i a d n e r ü h r t m i c h z u Trä n e n , und Orpheus führt mich zum inniglichen Gebet… Peri, Caccini, Monteverdi – weshalb wandten sich so viele frühe Opernkomponisten der Figur des Orpheus zu? Vermutlich, weil er Text und Musik verbindet: Als Dichter im antiken Griechenland begleitete er seine Lieder auf der Leier – und sein Gesang war bekannt dafür, jedes Lebewesen zutiefst zu rühren und sogar Steine zum Weinen zu bringen. Orpheus war also zweifellos der beste Botschafter für die damals entstehende neue Musik: das recitar cantando. Bei seiner Erwähnung denken die meisten zunächst an den – bekanntermaßen genialen – Claudio Monteverdi. Doch dessen Genie baut auf den Werken seiner Vorgänger Jacopo Peri und Giulio Caccini auf. Monteverdis Orfeo ist in einen natürlichen geschichtlichen Ablauf eingeschrieben, in eine Geschichte von Komponisten, Dichtern und Kunstgelehrten, die sich auf die Suche nach einem verlorenen Ideal begaben: die Zuhörer durch die richtige Claudio Monteverdi Sprache zu ergreifen. Die aufs Wesentliche reduzierte Musik hatte kein anderes Ziel, als dem Wort zu dienen. Diese CD versucht nachzuzeichnen, auf wie verschiedene Weise die Künstler des 17. Jahrhunderts den Mythos von Orpheus und Eurydike interpretierten. Le nuove musiche Mit der Geburt der Oper um 1600 in Florenz nahm die Musikgeschichte eine radikale Wende. Das neue Genre basierte auf einem künstlerischen Ideal, das die Florentiner Camerata de’ Bardi entwickelt hatte. Zu dieser Gelehrtengesellschaft gehörten die größten und bekanntesten Humanisten der Stadt – Künstler, Philosophen und Theoretiker. Ganz im Sinne der Renaissance beschäftigten sie sich intensiv mit der Antike und entdeckten eine Reihe zuvor unveröffentlichter Texte zur griechischen Dichtung und Tragödie, aus denen sie herauslasen, dass die Vokalmusik 13 früherer Zeiten aus einer Art begleitetem Sprechgesang bestanden habe; um einem Publikum Gefühle zu vermitteln, mussten sowohl Rhythmus als auch Klang dem Text untergeordnet sein. Die Kunstmusik der Renaissance war mehrstimmig: Erklärte ein Liebender seine Leidenschaft, übernahmen manchmal fünf Sänger gleichzeitig diese Rolle! Der Gesangstext war dabei häufig kaum zu verstehen, da die einzelnen Silben von den verschiedenen Stimmen zu unterschiedlichen Zeitpunkten gesungen wurden, und die Musiker neigten stark dazu, als Verzierungen improvisierte Diminutionen einzusetzen. Die Vokalmusik litt also unter Problemen der Glaubwürdigkeit und Verständlichkeit. So ist leicht nachvollziehbar, dass der antike Lesestoff maßgeblichen Einfluss auf die neue Komponistengeneration ausübte. Eine neue Musik war im Entstehen: das recitar cantando, auch stile recitativo oder (bei Monteverdi) seconda prattica genannt. Die Musiker stellten nicht nur Theorien zu ihrer Funktionsweise und Notierung auf, sondern setzten diese Prinzipien auch in die Praxis um: Von nun an sollten die Sänger ihren Text in Rhythmus und Intonation wie eine Deklamation vortragen. Um die Vokalpartie adäquat zu begleiten, 14 erhöhte man das Klangvolumen und den Tonumfang der existierenden Instrumente. Ihre Benennung erinnert zum Teil an die Antike: Der chitarrone gemahnt an die Kithara, der lirone an die Lyra. Die Komponisten notierten dabei jeweils nur den Bass des größtenteils improvisierten Continuo. Im Jahr 1600 schrieben Emilio de’ Cavalieri, Giulio Caccini und Jacopo Peri – alle drei gehörten zur Camerata de’ Bardi – dann jeweils ein Werk im stile rappresentativo, das auf dem Vorbild der griechischen Tragödie beruhte. Florenz, 1600 Aus Anlass der Heirat Heinrichs IV. von Navarra mit Maria de’ Medici erhielt Ottavio Rinuccini den Auftrag, ein Libretto zu verfassen: so enstand die Euridice. Im Laufe weniger Monate vertonten dann gleich zwei Komponisten seinen Text: Jacopo Peri und Giulio Caccini. Beide machen sich damit den Titel des Urhebers der neuen Gattung streitig. Als Musikdirektor der Medici war Caccini für die Koordination des musikalischen Parts der Feierlichkeiten zuständig; er komponierte einen Teil des Intermezzos Il rapimento di Cefalo, das im Zentrum des Hochzeitsfests stand. Ein anderes, für einen kleineren Kreis bestimmtes Schauspiel – eben die Euridice – war für den folgenden Tag vorgesehen. Peri sollte die Musik dazu schreiben und die Rolle des Orpheus übernehmen; er vereinbarte aber mit Caccini, dass dieser die Passagen verfassen sollte, die seine Töchter und Schüler sangen: einige Ensembles und die Partie der Eurydike. Einige Monate nach der Premiere des Werks von Peri – und noch bevor dieser Zeit fand, für eine Drucklegung seiner Oper zu sorgen –, veröffentlichte Caccini dann eine eigene, komplette Version der Euridice, die erst zwei Jahre später zur Aufführung kam. Der Komponist hatte damals bereits eine Reihe recht erfolgreicher Madrigale für Solostimme und Generalbass verfasst; der Nachwelt die erste gedruckte »Oper« zu hinterlassen, hatte für ihn also wohl vor allem symbolische Bedeutung. So erklärt sich vielleicht sein Bedürfnis, einen »legitimen« Vorrang vor dem Konkurrenten zu beanspruchen – selbst um den Preis einer kleinen Gemeinheit. Die Nachwelt hat die beiden Komponisten oft negativ beurteilt: Caccini wurde seine Heimtücke und Peri die geringe Qualität seiner Werke vorgeworfen, deren Bedeutung rein musikwissenschaftlicher Natur sei. Doch der Wert ihres Beitrags zur Musikgeschichte wird vermutlich unterschätzt: Schließlich vertonten hier zwei talentierte Komponisten mit starker künstlerischer Persönlichkeit den gleichen Text zu einer Zeit, als sich der neue Stil gerade entfaltete. So hilft ein Vergleich beider Versionen denn auch, das recitar cantando besser zu verstehen: Während der Rhythmus beider Versionen aufgrund der verwendeten italienischen Sprache recht ähnlich ist, setzen die Rivalen ihre eigenen Mittel ein, um Orpheus’ Tränen musikalisch auszudrücken. Um nur einige Beispiele zu nennen: Die Komponisten heben teils ganz andere Worte hervor; und während Caccini den Vers in einer einzigen musikalischen Geste ausdrückt, neigt Peri dazu, jeden Affekt detailliert zu beschreiben. Letzterer wagt zudem unerwartete Dissonanzen und erzeugt so eine starke expressive Spannung. Caccini entwirft hinreißende Melodien, während Peri zu befürchten scheint, diese könnten den Zuhörer vom Text ablenken – entsprechend bevorzugt er Notenwiederholungen. Wie die Gegenüberstellung zeigt, ließen die Vorgaben der Camerata de’ Bardi den Komponisten genug Raum zu individueller Entfaltung. Mantua, 1607 Die Geschichte endet nicht mit den beiden Euridice-Opern aus Florenz; schon bald verbreitete sich die neue Gattung in ganz Italien. Die Aufführung der Version von Peri hatte 15 Claudio Monteverdi vermutlich zusammen mit seinem Arbeitgeber Vincenzo Gonzaga, dem Großherzog von Mantua, erlebt. Der Karneval von 1607 bot diesem dann Gelegenheit, eine prunkvolle Antwort auf das florentinische Schauspiel von 1600 zu geben. Monteverdi schrieb zu diesem Anlass seinen Orfeo auf ein Libretto von Alessandro Striggio. Auch dieses Werk ist ein überaus interessantes musikgeschichtliches Zeugnis. Denn Monteverdi war kein Mitglied der Camerata de’ Bardi; er war also nicht verpflichtet, ihre Lehrsätze wortwörtlich zu befolgen, und konnte weit mehr Abstand dazu wahren als seine Vorgänger. So berücksichtigte er zwar ihre Grundprinzipien, erlaubte sich aber an einzelnen Stellen eine kontrapunktischere Schreibweise (prima prattica). Der Großherzog stellte ihm zudem bedeutende finanzielle Mittel zur Verfügung, die ihm den Einsatz weit größerer Vokal- und Instrumentalgruppen ermöglichten. Entsprechend spielen in seiner Oper die Melodieinstrumente eine wichtige Rolle; bei Caccini fehlen diese komplett, Peri beschränkte sich vermutlich auf eine Violine und eine Flöte. Monteverdi nutzte diese vielfältigen Möglichkeiten überaus einfallsreich und verlieh Orpheus einen einzigartigen Charakter. In »Possente spirto« gewinnt dessen göttliche 16 Dimension die Oberhand; bei der Ansprache der höllischen Gottheiten ersetzt er sein parlar cantando durch ein cantar di garbo (Gesang mit Verzierungen). Diese virtuosen Diminutionen (die Monteverdi wahrscheinlich mit Francesco Rasi erarbeitete, der bei der Uraufführung den Orpheus sang) bieten eine bemerkenswerte Verbindung von Sprachgewalt und tief empfundener Poesie. Darüber hinaus treten die Instrumente in einen Dialog mit dem Halbgott: Der Klang seiner Leier, die sich zupfen oder mit einem Bogen spielen ließ, wird mal durch die Harfe, mal durch gestrichene Saiten auf Viola oder Violine ausgedrückt. Die Zinken wiederum scheinen für den Hades zu stehen, und die Tiefe des Höllenschlunds symbolisieren Echo-Effekte. Monteverdis Orfeo gilt vielen, die von Caccini und Peri nichts wissen oder meinen, erst mit ihm könne man eigentlich von dramatischer Ausdruckskraft reden, als erste Oper der Musikgeschichte. Doch ein solches Urteil ist ganz offensichtlich ungerechtfertigt: Ohne seine beiden Vorgänger hätte Monteverdi den Orfeo nie in der vorliegenden Form verfasst, und ihr Einfluss schlägt sich deutlich in seinem Kompositionsstil nieder. Ebenso hat das Libretto des brillanten und renommierten Dichters Rinuccini zweifellos Spuren bei Striggio hinterlassen. Il canto d’Orfeo Peri, Caccini und Monteverdi waren die Ersten, die Orpheus eine »Oper« widmeten; doch der Stoff inspirierte später auch andere, darunter Domenico Belli, Stefano Landi, Luigi Rossi und Antonio Sartorio. Auch in Frankreich hielt die Oper also mit Orpheus Einzug: Der von Kardinal Mazarin am französischen Hof eingeführte Rossi schrieb seinen Orfeo in Fontainebleau im Jahre 1647, fast ein halbes Jahrhundert nach den Pionieren der Gattung. Er und sein Librettist Francesco Buti wichen dabei vom antiken Mythos ab und bauten witzige und satirische Elemente ein. Zusätzliche Komplexität erhält die Geschichte durch die hinzugefügten Intrigen und Listen, zu denen Venus und Cupido greifen. 1672 vertonte dann Antonio Sartorio ein Libretto von Aurelio Aureli und schuf den ersten venezianischen Orfeo. Die Opernbühnen dieser Stadt waren bekanntlich kommerziell orientiert und auf die erzielten Einnahmen angewiesen; um den Erwartungen des Publikums zu entsprechen, peppte der Komponist die Geschichte mit einer Reihe von Nebenfiguren auf. Im Laufe weniger Jahrzehnte hatte sich die musikalische Sprache bereits stark verändert: Die Affekte nehmen jetzt mehr Raum ein, Textwiederholungen und Melismen kommen häufiger zum Einsatz, die Gesangslinie er- scheint lyrischer. Das florentinische Rezitativ wird melodischer und mit immer klarer strukturierten und als solche erkennbaren Arien verflochten, die häufig auf einem Ostinato aufbauen. Der Generalbass behält zwar seine beherrschende Rolle, doch die Melodieinstrumente beschränken sich nicht mehr auf Ritornelle und begleiten manchmal die Stimmen. La favola d’Orfeo Wie jeder volkstümliche Mythos liegt auch die Orpheus-Geschichte in verschiedenen antiken Versionen vor (am bekanntesten sind die von Ovid und Vergil); die Librettisten hauchten dem Sänger dann neues Leben ein und entwickelten den Mythos weiter. Orpheus ist der Sohn der Muse Kalliope und des thrakischen Königs Oiagros; einige Quellen bezeichnen auch Apollo als seinen Vater. Nach den Prinzipien der Mythologie ist er also ein Halbgott und verfügt damit nur über beschränkte Macht. Er liebt Eurydike, die anfangs zögert, auf seine Avancen einzugehen, ihm aber schließlich verfällt. Er besingt seine Freude, die schöne Nymphe zu heiraten, und erklärt ihr seine Liebe. Doch am Hochzeitstag wird Eurydike von einer Schlange gebissen und stirbt. Eine Nymphe übermittelt verzweifelt die traurige Botschaft, der erschütterte Orpheus 17 nimmt die Nachricht jedoch philosophisch: Er lässt sich nicht entmutigen und beschließt, dem Verbot, in den Hades hinabzusteigen, zu trotzen und Pluto zu überzeugen, ihm Eurydike zurückzugeben. Als er im Königreich der Toten eintrifft, setzt Orpheus seine stärkste Waffe ein: den Gesang. Mit seiner Bitte gelingt es ihm zwar nicht, Pluto zu überzeugen, doch die anderen Gottheiten der Hölle lassen sich davon rühren, und Proserpina setzt sich für ihn ein. So gibt Pluto schließlich sein Einverständnis: Eurydike darf Orpheus zu den Ebenen Thrakiens folgen – allerdings unter der Bedingung, dass sich die Blicke der beiden Liebenden nicht begegnen. Auf seinem Weg wird Orpheus jedoch von Zweifeln gepackt: Er wendet sich um und ignoriert damit den Willen Plutos. So verliert er seine Geliebte auf immer. Am Boden zerstört, ist Orpheus fortan nicht mehr fähig, eine andere zu lieben: Er verweigert sich jeder Frau und fordert die Thraker sogar auf, sich jungen Männern zuzuwenden. Empört über seine Geringschätzung, zerstückeln ihn die Bacchantinnen und zerstreuen seine Glieder. Verbunden mit seiner Leier, rollt sein Kopf in den Fluss Euros und treibt nach Lesbos, der Insel der Dichtung. 18 La lira d’Orfeo Für diese Einspielung haben wir verschiedene Instrumente verwendet, die nach historischen Vorbildern des 17. Jahrhunderts gebaut wurden; von großer Hilfe war dabei die beeindruckende Instrumentenliste, die in der Partitur von Monteverdis Orfeo aufgeführt ist. Neben den beiden Violinen, die mit der Sopranflöte und zwei Zinken im Wechselspiel stehen, untermalen zahlreiche GeneralbassInstrumente den Text und unterstreichen die affetti. Für die Passagen mit gezupften Saiten verwenden wir zwei große chitarroni (Theorben), eine arpa doppia, eine chitarra spagnola und ein ceterone (Erzcister mit Metallsaiten), das sich hervorragend zur musikalischen Darstellung der Hölle eignet. Hinzu kommen drei Streichinstrumente aus der Familie der Gamben: eine Bassgambe, ein violone (oder Kontrabassviola) und ein lirone (Gambe mit 13 Saiten, deren flacher Steg es ermöglicht, dreioder vierstimmige Akkorde zu spielen). Was die Tasteninstrumente betrifft: Hier setzen wir ein organo di legno ein (mit den offenen Holzpfeifen ihres Prinzipal-Registers bietet diese Orgel eine große Stimmfülle), außerdem ein Cembalo (mit einem einzigen 8-Fuß-Register, zu dem ein zweites Register mit Lederplektren tritt) und ein Virginal mit Darmsaiten. Soweit möglich, haben wir versucht, die historische uns der Komponist nur die Basspartie hinterlassen hat) und die Arie über Orpheus’ Tod in die Auswahl aufgenommen. Die zentrale Rolle der Botschafterin wird hier durch eine Toccata für Theorbe von Alessandro Piccinini angedeutet. Als eine Art Prolog dient das »Foll’è ben che si crede« von Merula, das die unmögliche Liebe des Halbgotts zu Eurydike beschreibt und ihr tragisches Schicksal vorwegnimmt. Die Eurydice von Caccini hatten wir bereits vor einigen Jahren eingespielt. Schon bei der Arbeit an diesem Werk betrachteten wir es als selbstverständlich, einen Vergleich mit Peri und Monteverdi mit einzubeziehen. Die Komponisten und Werke in ihren historischen Kontext zu stellen, ermöglichte uns, ihre Ähnlichkeiten und Unterschiede herauszuarbeiten. So konnten wir die faszinierende Entstehung dieser für die westliche Musik so bedeutenden Klangsprache nachvollziehen. Il pianto d’Orfeo Und bei diesem Abenteuer führte weder für Bei der Vorbereitung unseres Programms die Komponisten noch für uns ein Weg an Orhaben wir uns entschieden, die Figur des Or- pheus vorbei. pheus anhand der drei ersten ihm gewidmeNicolas Achten, Februar 2014 ten Opern ins Zentrum zu stellen. Die meisten Übersetzung: Felix Schoen Auftritte Eurydikes entnahmen wir den Werken von Sartorio und Rossi, die ihr häufiger La version française de la notice d’introduction das Wort geben als die Vorgänger. Aus Rossis et des textes chantés est disponible sur Orfeo haben wir auch die Ouvertüre (von der www.scherzimusicali.be/pianto.php Aufführungspraxis zu respektieren: nicht umsponnene Darmsaiten, kurze und runde Streichbögen, mitteltönige Stimmung (¼ Komma), Klaviaturen mit doppelten schwarzen Tasten usw. Die damaligen Komponisten legten die Instrumentation in der Regel nicht schriftlich fest, doch die Tonfarben des Basso continuo spielen bei der Ausführung des recitar cantando eine entscheidende Rolle. Die zahlreichen Klangfarben boten (und bieten) den Interpreten eine Reihe kreativer Möglichkeiten. Monteverdi ist einer der wenigen Komponisten, der in einigen – teils nur kurzen – Passagen seines Orfeo angegeben hat, welche Instrumente bei der Uraufführung an welcher Stelle zum Einsatz kamen. Damals gehörte die Instrumentierung untrennbar zur Interpretation; es war üblich, sich auf das giudizio (also die Urteilskraft) der Musiker zu verlassen. 19 2 Foll’è ben che si crede Foll’è ben che si crede che per dolci lusinghe amorose, o per fiere minacce sdegnose, dal bel idolo mio ritragga il piede. Cangi pur suo pensiero chi ’l mio cor prigioniero spera che goda la libertà; dica, dica chi vuole, dica chi sa. A fool, he who believes that by sweet amorous flatteries or by cruel disdainful menace he might make me forsake my beloved. Let him not think that my imprisoned heart longs to enjoy liberty; let people say what they want, or what they know. Altri per gelosia spiri pur empie fiamme dal seno; versi pure Megera ’l veneno perché rompi al mio ben la fede mia. Morte il viver mi toglia, mai sia ver che si scioglia quel caro laccio che ’l cor preso m’ha; dica, dica chi vuole, dica chi sa. May others out of jealousy breathe impious flames from their breast; let Megaera pour her venom over me before I betray my loyalty to my beloved! Death may put an end to my life, but it shall never sever that dear bond that has captured my heart; Let people say what they want, or what they know. Ben havrò tempo e loco da sfogar l’amorose mie pene, da temprar de l’amato mio bene e dell’arso mio cor l’occulto foco. E tra l’ombre e gli orrori de’ notturni splendori il mio ben furto s’asconderà; dica, dica chi vuole, dica chi sa. I shall certainly find the time and place to pour out my amorous suffering, to temper the secret fire of my beloved and of my own burnt heart. And amongst the shades and the horrors of night’s splendours, my furtive love will hide; let people say what they want, or what they know. 4 Antri ch’a’ miei lamenti Antri ch’a’ miei lamenti rimbombaste dolenti, amiche piagge e voi, piante selvagge, ch’alle dogliose rime piegaste per pietà l’altere cime, non fia più, no! che la mia nobil cetra con flebil canto a lagrimar v’alletti, ineffabil mercede, almi diletti Amor cortese oggi al mio pianto impetra. 20 You caves, who to my laments resounded with sorrow, beloved river banks and you, trees of the forest, who to my sad rhymes bent in pity your lofty treetops, never again shall my noble lyre invite you with its plaintive song to weep. Ineffable recompense, with sweet delights courteous Cupid today doth respond to my tears. Ma, deh, perché sì lente del bel carro immortal le rote accese per l’eterno cammin tardono il corso? Sferza, padre cortese, a volanti destrier le groppe e ’l dorso; spegni nell’onde omai, spegni o nascondi i fiammeggianti rai. But alas! Why so slowly do the flaming wheels of the immortal chariot delay their course on the eternal path? Whip then, kind father, the croup and back of your flying steeds; put out for now your flaming rays in the ocean’s waves! Bella madre d’Amor, dall’onde fora sorgi, e la notte ombrosa di vaga luce scintillando indora. Venga, deh venga omai la bella sposa tra ’l notturno silenzio e i lieti orrori a temprar tante fiamme e tanti ardori. Fair mother of Cupid, from the waters arise and bathe the sombre night in a brilliant golden light! If only, ah, if only my fair spouse would come amidst the nocturnal silence and the happy darkness to temper such flames and such ardour! 5 All’imperio d’Amore All’imperio d’Amore chi non cederà, s’a lui cede il valore d’ogni deità? Pluto, che sì cocente il suo regno stimò, un inferno più ardente pur da lui provò? Who would not give in to the empire of love if every deity cedes its importance to him? Did Pluto, who believed that his kingdom burnt so fiercely, realise there was a hell that was hotter still? 6 Rosa del ciel Rosa del ciel, vita del mondo e degna prole di lui che l’universo affrena, sol che ’l tutto circondi e ’l tutto miri, da gli stellanti giri, dimmi, vedesti mai di me più lieto e fortunato amante? Rose of heaven, life of the world and worthy descendant of him who rules the universe, sun, you who surround and see all from the star-studded spheres, tell me: have you ever seen a lover happier and more fortunate than me? Fu ben felice il giorno, mio ben, che pria ti vidi, e più felice l’ora che per te sospirai, poich’al mio sospirar tu sospirasti: felicissimo il punto che la candida mano pegno di pura fede me porgesti. What a happy day it was, my love, when first I set eyes on you. And happier still was the hour when I sighed for you, for your sighs responded to mine: even happier then was the moment when you reached out your white hand to me, filled with a faith so pure. Se tanti cori avessi quant’occhi ha ’l ciel eterno, e quante chiome han questi colli almen il verde maggio, tutti colmi sarieno e traboccanti di quel piacer ch’oggi mi fa contento. If I had as many hearts as the eternal heavens have eyes, or as these green May hills have leaves, they would all be filled, indeed overflowing, with that pleasure that makes me happy today. 21 7 Mio ben, teco ’l tormento Mio ben, teco ’l tormento più dolce io troverei che con altri il contento, ogni dolcezza è sol dove tu sei. E per me Amor aduna nel girar de’ tuoi sguardi ogni fortuna. My love, to feel tormented next to you would make me happier than to be contented with others. Sweetness accompanies you wherever you go, and for me Cupid brings together good fortune in your every glance. 8 Vi ricorda, o boschi ombrosi Vi ricorda, o boschi ombrosi, de’ miei lunghi aspri tormenti, quando i sassi ai miei lamenti rispondean fatti pietosi? Do you recall, o shady woods, my long and bitter torments, when the stones responded with pity to my laments? Dite, allor non vi sembrai, più d’ogn’altro sconsolato? Or fortuna ha stil cangiato, e ha volto in festa i guai. Tell me, did I not seem to you then more disconsolate than any other? But now fortune has changed its tune, turning my misery into joy. Vissi già mesto e dolente, or gioisco, e quegli affanni che sofferti ho per tant’anni fan più caro il ben presente. My life used to be filled with sadness, but now I rejoice, and those cares that I suffered for so long make the present all the more precious. Sol per te, bella Euridice, benedico il mio tormento, dopo il duol vie più contento, dopo il mal vie più felice. For you alone, fair Eurydice, I bless my torments. After the sorrow, I live more content, after the pain, I live more happily. 0 Tu se’ morta Tu se’ morta, mia vita, ed io respiro? Tu se’ da me partita per mai più non tornare, ed io rimango? No, che se i versi alcuna cosa ponno, n’andrò sicuro a’ più profondi abissi, e, intenerito il cor del re de l’ombre, meco trarrotti a riveder le stelle: o, se ciò negherammi empio destino, rimarrò teco in compagnia di morte, addio terra, addio cielo, e sole addio. 22 Are you dead, my love, and I am still breathing? Have you departed hence, never to return, and left me behind? But no, if these verses have any power, then I shall walk safely in the deepest abyss, and having softened the heart of the king of the Underworld, I shall take you away with me to gaze at the stars once more. Or if cruel destiny refuses to grant me this wish, then I’ll stay by your side in the company of the dead. Farewell, earth! Farewell, heavens and sun! w Non piango e non sospiro (Caccini) e Non piango e non sospiro (Peri) Non piango e non sospiro, o mia cara Euridice, ché sospirar, ché lagrimar non posso, cadavero infelice; o mio core, o mia spene, o pace, o vita, ohimè, chi mi t’ha tolto? Chi mi t’ha tolto, ohimè! dove sei gita? Tosto vedrai ch’in vano non chiamasti morendo il tuo consorte, non son, non son lontano: io vengo, o cara vita, o cara morte. I do not weep, nor do I sigh, my beloved Eurydice, for I can neither sigh nor weep, unfortunate corpse that I am. O my heart, my hope! O peace, o life! Alas, who took you away from me? Who took you away from me? Where are you now? Soon you will see it was not in vain that you called while dying for your spouse. I am not far away, not at all. I come to you now, dear life, dear death! z Funeste piagge (Caccini) i Funeste piagge (Peri) Funeste piagge, ombrosi, orridi campi che di stelle o di sole non vedeste già mai scintille e lampi, rimbombate dolenti al suon dell’angosciose mie parole, mentre con mesti accenti il perduto mio ben con voi sospiro, e voi, deh! per pietà del mio martiro, che nel misero cor dimora eterno, lagrimate al mio pianto, ombre d’inferno! O sinister strands, dark and horrible plains! You who never saw the sun burn nor the stars sparkle: echo with sorrow, if you will, at the sound of my words of anguish! While with a sad accent I weep with you for my love now lost, and you, out of pity for my suffering, which remains forever in my miserable heart, weep at my tears, shades of Hell! Ohimè, che su l’aurora giunse all’occaso il sol de gl’occhi miei, misero, e su quell’ora che scaldarmi a’ bei raggi mi credei, morte spense il bel lume, e freddo, e solo restai fra pianto e duolo com’angue suole in fredda piaggia il verno; lagrimate al mio pianto, ombre d’inferno! Alas, the dawn above has reached the sunset in my eyes. Poor wretch that I am! And at that hour when I thought to warm myself in the sun’s fine rays, death extinguished the light, and cold and alone I was left amongst laments and sorrow, like a snake on a cold wintry strand. Weep, then, at my tears, you shades of Hell! E tu, mentr’al ciel piacque, luce di questi lumi fatti al tuo dipartir fontane e fiumi, che fai per entro i tenebrosi orrori? Forse t’affliggi e piangi l’acerbo fato e gl’infelici amori? And you, who, as it pleased the heavens, turned the light of these eyes with your departure into fountains and rivers, what are you doing amongst the horrors of darkness? Perhaps you are afflicted, and bewail your bitter fate and your unhappy loves? 23 Deh, se scintilla ancora ti scalda il sen di quei sì cari ardori, senti, mia vita, senti quai pianti e quai lamenti versa il tuo caro Orfeo dal cor interno; lagrimate al mio pianto, ombre d’inferno! Ah, if a spark should still warm your heart with that fond ardour, listen, my love, o listen to the tears and lamentations that your beloved Orpheus pours from the depths of his heart! Weep, then, at my tears, you shades of Hell! o Orfeo, tu dormi? Orfeo, tu dormi? e ne gl’abissi oscuri lasci Euridice e l’Amor suo ti scordi? Così a la lira il dolce canto accordi, e dal regno infernal trarmi non curi? Orpheus, are you asleep? Would you abandon Eurydice amongst the dark abysses and forget her love? Do you strike up your soft song on the lyre and no longer care to wrest me from this infernal kingdom? p Se desti pietà Se desti pietà ne’ tronchi e ne’ sassi, volgendo anco i passi nel regno del pianto, là pur il tuo canto pietà troverà. If you awaken pity amongst the tree trunks and stones, as you walk through the kingdom of tears, there too your song will find pity. Risvegliati, su, mio sposo diletto, deh, vieni, t’aspetto tra l’ombre qua giù. Wake up again, my dear husband! Come to me, I await you down here amongst the shadows. a Possente spirto 24 Possente spirto e formidabil nume, senza cui far passaggio a l’altra riva alma da corpo sciolta in van presume, Powerful spirit and formidable deity, without whom a soul separated from the body cannot hope to travel to the opposite bank; non viv’io no, che poi di vita è priva mia cara sposa; il cor non è più meco, e senza cor com’esser può ch’io viva? I am no longer alive since my beloved spouse was deprived of life; my heart has gone. and without a heart, how can I be alive? A lei volt’ho il cammin per l’aer cieco, a l’inferno non già, ch’ovunque stassi tanta bellezza il Paradiso ha seco. Towards her I walk through the blind air, though not as far as Hell: for where there is such beauty, Paradise lies. Orfeo son io che d’Euridice i passi seguo per queste tenebrose arene, ove già mai per huom mortal non vassi. My name is Orpheus, and I follow the steps of Eurydice across these dark plains where no mortal man has been before. O de le mie luci serene s’un vostro sguardo può tornarmi in vita, ahi, chi niega il conforto a le mie pene? Ah, if from your serene eyes one sole glance can bring me back to life, ah, who could refuse me comfort for my grief? Sol tu, nobile dio, puoi darmi aita, né temer dei, ché sopr’un’aurea cetra sol di corde soavi armo le dita, contra cui rigid’alma in van s’impetra. You alone, noble God, can come to my aid. Have no fear, for with this golden lyre my fingers are armed but with soft strings, whose song even a rigid soul cannot resist. d Ahi, vista troppo dolce Ahi, vista troppo dolce e troppo amara! Così per troppo amor dunque mi perdi? Et io, misera, perdo il poter più godere e di luce e di vita, e perdo insieme te, d’ogni ben più caro, o mio consorte. Ah, what sweet yet bitter sight! Will you lose me now with too much love? And I, miserable wretch, lose the power to enjoy the light, to enjoy life, and lose you at the same time, you, my love, dearest to me of all things. g Muove Orfeo l’empia Dite Muove Orfeo l’empia Dite, piange, prega, e sospira, e impetra pietate al suon di lira. Orpheus moves even Hades to mercy; he weeps, he prays, he sighs, and he begs for pity with the sound of his lyre. Io piango, e prego una crudele e bella d’amor troppo rubella; così vuol il mio fato. S’io morissi cantando, o me beato! I weep and beg a cruel beauty who is miserly with her love. This is what fate decrees for me. if I could but die singing, how happy I should be! h Lasciate Averno Lasciate Averno, o pene, e me seguite. Quel ben ch’a me si toglie riman là giù, né ponno angosce e doglie star già mai seco unite. Più penoso ricetto, più disperato loco del mio misero petto non ha l’eterno foco; son le miserie mie solo infinite. Lasciate Averno, o pene, e me seguite. Leave the Underworld, o my troubles, and follow me! My beloved has been taken from me and remains in the depths, but neither anguish nor sorrow must ever be allowed to affect her. The eternal fire can find no more painful refuge, no more desolate place than my miserable heart: only my own misery is infinite. Leave the Underworld, o my troubles, and follow me! E voi, del tracio suol piagge ridenti, ch’imparando a gioir dalla mia cetra gareggiaste con l’Etra, or all’aspetto sol de’ miei tormenti d’orror vi ricoprite. And you, laughing strands of Thrace, who, learning to love the sound of my lyre, now compete with the heavens, henceforth, as you behold my torments, you will be filled with horror. 25 E tu, cetra infelice, oblia gli accenti tuoi già sì canori, e per ogni pendice vien pur meco piangendo i miei dolori. Son le gioie per noi tutte smarrite. Lasciate Averno, o pene, e me seguite. And you, unfortunate lyre, forget your customary melodious sounds and come with me over every slope, weeping at my sorrow. All joy is lost to us forever. Leave the Underworld, o my troubles, and follow me! Ceterone Erzcister Replica by Carlos González after Gironimo Campi (1600) for the Musée de la musique, Paris Nachbau von Carlos González nach Gironimo Campi (1600) für das Musée de la musique, Paris Ma che tardo a morire, se può con lieta sorte ricondurmi la morte alla bella cagion del mio languire? Yet why hesitate to die, if by a happy stroke of fate death can take me back to the beauty who causes me to languish so? Texts by: Pio di Savoia (2), Ottavio Rinuccini (4, 12, 13, 16, 18) Francesco Buti (5, 7, 26), Alessandro Striggio (6, 8, 10, 21, 23) Aurelio Aureli (19, 20), B. Saracelli (25) Translation: Clive Williams The ceterone (Fr. cisteron; Ger. Erzcister) is a member of the cittern family, instruments with a flat body and metal strings that can be traced back to the medieval citole. The word “ceterone” is found at a very early date in 17th-century Italian sources and refers to a particular form of cittern in which the longest and most resonant bass strings are attached to an extended peg-box in order to expand the instrument’s downward range and strengthen the bass register. The use of this specific type of cittern in the 16th and 17th centuries is symptomatic of our predecessors’ fondness for a metallic, strident sound that Mersenne described as “nazardante” and which also served to enrich the colours of the continuo group. The Musée de la musique has evolved a philosophy of building replica instruments that meet the demands of its cultural events such as concerts, recordings and performances. This principle privileges the reproduction or reconstruction of certain particularly interesting instruments over the sometimes risky restoration of originals, a process that has often resulted in the distortion and loss of the original instrument’s authenticity in ways that more often than not cannot be reversed. Die Erzcister (italienisch ceterone) gehört zur Familie der Cistern, Instrumente mit flachem Boden und Metallsaiten, die sich in direkter Linie vom mittelalterlichen Instrumentarium herleiten lassen. Das Wort ceterone erschien sehr früh in den italienischen Quellen des 17. Jahrhunderts und bezeichnet eine besondere Art der Cister, bei der man die tiefen, längsten und klangvollsten Seiten über eine Erweiterung des Halses hinzufügt, um so den Ambitus des Instruments zu erweitern und die tiefen Register zu verstärken. Die Verwendung dieses speziellen Typs im 16. und 17. Jahrhundert ist bezeichnend für die Vorliebe unserer Vorfahren für metallische, grelle Klänge, nazardantes wie Mersenne sagte, die auch dazu dienten, die Farben des Continuos zu bereichern. Das Musée de la musique hat eine Philosophie des Baus von Instrumenten im Faksimile entwickelt, um den Erfordernissen seiner kulturellen Veranstaltungen (Konzerte, Aufnahmen, Aufführungen) gerecht zu werden. Dieses Prinzip gibt der Reproduktion bzw. Rekonstruktion von einigen besonders interessanten Instrumenten den Vorzug gegenüber der mitunter sehr gewagten Restauration von Originalen der Vergangenheit, bei der die Authentizität der Instrumente oftmals in einer Weise verfälscht wurde, die so gut wie nie rückgängig gemacht werden kann. Joël Dugot, Curator Musée de la musique, Paris 26 Joël Dugot, Konservator Musée de la musique, Paris 27 88843078722 www.scherzimusicali.be