I Fiamminghi Booklet
Transcript
I Fiamminghi Booklet
454 518-2 Italian madr igals ANTIPODES is a sub-label of ABC Classics devoted to the historically informed performance of music from the Renaissance, Baroque and Classical periods. by Flemish composers The Song Company Roland Peelman ARTISTIC DIRECTOR I Fiamminghi in Italia Italian madrigals by Flemish composers 1 ORLANDO DI LASSO 1532-1594 Chi chilichi (a sei ) 2’59 * ORLANDO DI LASSO (intab. Emanuel Adriaenssen) Madonna mia pietà 2’04 Tommie Andersson lute 2 CIPRIANO DE RORE 1515/16-1565 Lieta vivo e contenta 3 4 5 6 GIACHES DE WERT 1535-1596 M’ha punt’Amor Donna, tu sei si bella Se le stelle cascassero Non mi conosci tu 7 8 9 0 ORLANDO DI LASSO Come la cera al foco Di pensier in pensier S’io esca vivo Hor vi riconfortate 1’44 3’04 3’18 2’07 ! CIPRIANO DE RORE (intab. Giovanni Paolo Paladino) Ancor che col partire 2’56 1’12 0’53 0’50 1’43 Tommie Andersson lute @ £ $ % ^ & ( ) ¡ GIACHES DE WERT Qual musico gentil Grazie ch’a pochi Sorgi e rischiara ™ CIPRIANO DE RORE Vieni dolce Himineo 3’21 # ¢ ∞ ORLANDO DI LASSO Hai, Lucia, bona cosa Chi chilichi (a tre) Catalina, apra finestra 2’25 2’39 3’37 1’22 GIACHES DE WERT Giunto alla tomba Vezzosi augelli Forsennata gridava Usciva omai dal molle e fresco grembo Sovente all’or’ Misera, non credea ch’a gl’occhi miei 2 5’34 2’10 1’27 1’52 4’53 3’36 10’19 4’59 5’41 Total Playing Time The Song Company Roland Peelman artistic director Tommie Andersson lute Ruth Kilpatrick soprano (except on tracks !, @, $, *, ™-¢) Nicole Thomson soprano (except on tracks 3, !,*, (, #) Jo Burton mezzo-soprano (except on tracks !, *, ¡) David Hamilton tenor (except on tracks 5, !, £, %, *, ¢) David McKenzie tenor (except on tracks !, *) Clive Birch bass-baritone (except on tracks !, ^-*, ¢) 3 78’42 was ever to witness until the forced export of African slaves to America in the 19th century. The entire musical knowledge was exported, developed on foreign soil, transformed and ultimately lost to its home ground. By the time the Reformation and the subsequent religious wars in the Netherlands took their toll, very little indeed was left of the extraordinary musical activity Flanders was renowned for. All the major exponents were firmly established elsewhere: Lasso in Munich, de Monte in Prague, Willaert in Venice, de Wert in Mantua, de Rore in Ferrara and then Parma and so on. Not only had they found a new home there, the exposure to different literary traditions as well as a whole variety of colourful vernacular music during their travels led to new genres or gave new impetus to the Italian madrigal. Most importantly, as Willaert’s case in Venice testifies, the theoretical consolidation of Flemish counterpoint (or ‘prima prattica’ as it was soon to be known) actually took place in Venice through Willaert’s pupil Zarlino. Sustained economic prosperity in Flanders during the 14th and 15th century triggered off an unprecedented level of artistic activity in all fields. Van Eyck and Van der Weyden became the pioneers of oil painting, and with Dufay, the still new polyphony in music attained a remarkable level of sophistication and elegance. By the 15th century the so-called ‘Flemish School’ or ‘Franco–Flemish school’ (since the border between France and Flanders was somewhat different to what it is these days) had become the envy of Europe. The contrapuntal techniques developed to unify musical composition were to become standard discipline for composition in the Western world and the intellectual rigour with which the Flemish polyphonists applied them has baffled many generations since. The fame of Ockeghem and Josquin in particular spread very quickly throughout Europe so that Flanders soon came to be regarded as the breeding ground for composers, singers and musicians alike (although there was hardly a distinction between these three occupations, as composers were mostly referred to as ‘cantor’). When the wealthy and art-loving rulers of the Italian ducal states eventually established court chapels, it was hardly surprising that singers were sought, recruited and if necessary abducted to provide the chapel with the very best material. The scale on which this took place made the 16th century thus a period of the most profound musical emigration the world Of all Flemish composers working abroad, the most accomplished, cosmopolitan and generally most typically associated with the broad sweep of the ‘rinascimento’ was Orlando di Lasso (Mons 1532 – Munich 1594). He started off in Mantua and then spent all of his early years in Italy up to his return to Antwerp in 1554. However, his Italian muse was kept alive through many travels even after having settled 4 Just as the respected Lasso did not shy away from publishing these rather risqué works, his contemporary Giaches de Wert (Antwerp 1535 – Mantua 1596) published a whole book of villanelle incorporating Spanish elements and the folksy rhythms of popular dances towards the end of his life. While the actual settings are very skilful, their demeanour is full of wit and lighthearted banter that gives us some insight into the taste for ‘entertainment’ that most of the Italian houses shared. As a composer, de Wert was associated with the house of Gonzaga in Novellana and later in Mantua. It was the challenging artistic environment of the Palazzo Ducale in Mantua and its connections with the court of the Este family in Ferrara that was to foster the talent of this most Italian of Flemish composers. Italian in the sense that his life reads like a very colourful saga of professional and romantic intrigue with escapades, affairs and scandals that were the trademark of most of the Italian dynasties during that time. His artistic output betrays a similar taste for passion and heightened emotion which led the Italian madrigal directly into its last stage of development. Italian, too, in the sense that his settings of Tasso in particular must count amongst some of the highest musico-literary collaborations ever. Indeed there is evidence that both men knew each other well. Torquato Tasso was more than a welcome guest in the circles of both the Gonzaga and Este houses. His epic masterpiece Gerusalemme liberata recounts the at the court of Albrecht V (and later his son Wilhelm) in Bavaria. Undoubtedly too, his genuine love of the Italian Renaissance culture (as we know from the fascinating correspondence with the duke) is responsible for an extensive Italian oeuvre that ranges from serious madrigals to bawdy morescas. The three six-part Petrarch madrigals on this recording, obviously intended as a small ‘trittico’, are amongst the most distinguished Petrarch madrigals ever written, yet at a time (late 1570s) when most madrigalists in Italy had already moved on to the more contemporary verse of Tasso and Guarini. Every nuance of the text is captured and all the literal devices are perfectly integrated into seamless six-part counterpoint. His voicing is free-flowing, only at some wellchosen moments turning into homophony and rarely using the strict canonic style of his predecessors. Nevertheless, the technique never eludes him, as can be heard at the end of ‘S’io esca vivo’ and the brief but most ingenuous double canon ‘Come la cera al foco’. Genuine humour on the other hand can be experienced in the three morescas selected for this disc. The genre of the moresca (Moorish dance) originated in Naples and features black men (Giorgia or Martina), equally debauched parlourmaids (Lucia or Catalina) and a saucy brand of southern Italian dialect. Musically they use a mix of contrasting dance rhythms and essentially homophonic textures slipping into playful counterpoint whenever Lasso’s fancy takes to it. 5 last 30 days of the crusading army’s battle leading up to the fall of Jerusalem in 1099. The scale of the work is similar to Ariosto’s Orlando furioso and pays homage to the grand Homeric and Vergilian epics of the past. While constrained by some formal and religious preoccupations (in the context of the sometimes stifling atmosphere of the Counter-Reformation), it is the passion and poetic imagination of Tasso’s verses that wins out. The most famous sections – and the ones from which de Wert has drawn his madrigals – tell the tragic story of Clorinda, who in disguise attacks Godfrey’s army and dies in the hands of her lover Tancredi, and the heartbreaking account of the Christian knight Rinaldo, whose enforced departure from Armida’s palace leaves her grief-stricken, angered and destroyed. For these verses de Wert chose five-part settings which allowed him maximum melodic expression as well as a full harmonic pallet. How rich this pallet is can be appreciated in ‘Usciva omai dal molle e fresco grembo’ or at the end of ‘Sovente all’or’, or even more strikingly at the beginning of ‘Giunto alla tomba’, where cold harmonic stillness and the frequent major–minor ambiguity (‘color di morte’) achieve dramatic results, traces of which can be found as late as in Monteverdi’s eighth book of madrigals. This recording contains all of de Wert’s Tasso settings as well as two madrigals, one on a text by Petrarch providing interesting comparison with the Lasso style, and the pièce d’occasion ‘Sorgi e rischiara’ which was written for the occasion of the wedding between Vincenzo Gonzaga and Margherita di Parma in 1581. The other wedding madrigal on this disc is by Cipriano de Rore (Mechelen 1515/16 – Parma 1565) celebrating another political marriage in the Medici family, although his career was associated for more than 10 years with the court of Ercole II at Ferrara. When his successor decided not to continue the association in 1559, it was the above-mentioned Margherita di Parma who acquired de Rore’s services. The Venetian affinity that the short villanelle ‘Lieta vivo e contenta’ reflects (Willaert-like counterpoint followed by unbridled syncopation) can be explained perhaps by the fact that he did spend two years in Venice as Willaert’s successor before returning to Parma. Ultimately it was Monteverdi himself, holding the same post as maestro di cappella at San Marco in Venice, who frequently paid tribute to the achievements of the Flemish master and the decisive impact he had on the development of the madrigal. While Lasso’s madrigals may seem retrospective and conservative in style, de Rore already breathes a different taste and de Wert achieves a level of writing which eventually relinquishes most of the old Flemish tools in favour of a free and sensuous tonal language. A note on the intabulations The practice of lute intabulations, which began in the 16th century, was made possible by a radical change in the way the instrument was played. Lutenists began to use fingers rather than a plectrum to pluck strings, thereby enabling several notes to be played simultaneously and therefore to imitate a texture of several independent voices. Intabulations – in this case the arrangement for lute of a piece originally meant for voices – formed a core component of any 16th-century lutenist’s repertory. The intabulation of the de Rore madrigal by Giovanni Paolo Paladino (b. Milan, d. Lyons before Sept 1566) recorded here shows, in a way, a return in kind of the Flemish artistic investment in Italy: though active in France, Paladino was an Italian lutenist who wrote his intabulations in an Italian notational system and style. In contrast, the important Dutch lutenist Emanuel Adriaenssen (Antwerp, c.1554–1604) used French notation and generally employed a greater degree of ornamentation in his intabulations that border on the virtuosic. Recorded here is his arrangement of a Lasso madrigal, published in the large collection of fantasias, intabulations and dances named Pratum musicum longe amoenissimum (Antwerp, 1584). Roland Peelman 6 7 1 & ¢ Chi chilichi Chi chilichi? Cucurucu! U, scontienta, u beschina, u, sportunata me Lucia! Non sienta Martina Galla cantara? Lassa canta, possa cliepare, Porca te piscia sia cicata Ia dormuta, tu scitata. Ba con dia non bo piu per namolata. Tutta notte tu dormuta, Mai a me tu basciata. Cucurucu! Che papa la sagna, Metter’uccell’intra gaiola Cucurucu! Leva da loco, piglia zampogna, Va sonando per chissa cantuna Lirun li, lirun li. Cock-a-doodle do Cock-a-doodle do? Cuckoo, cuckoo! Oh unhappy me, oh wretched me, Oh unlucky me Lucia! Don’t you hear Martin’s cock sing? Let it sing, let it screech, May the pig piss on you, may you be blinded! I was asleep, you were awake. Go away, your loving is wanted no more. All night you have slept, You haven’t even kissed me. Cuckoo, cuckoo! Let’s give it the Pope’s seal, And put birds into the cage Cuckoo, cuckoo! Get away from here, take your bagpipe, Go and play on the street corner Lirun li, lirun li. Sona, se voi sonare Play, if you want to play Lassa, carumpa canella, lassa Martina, lassa Lucia, u, Madonna, a ti cilum barbuni, U macera catutuni. Sona non glidare, lirun li. La mogliere del Pecoraro Sette pecor’a no danaro, Se ce fusse Caroso mio, Cinco percor’a no carlino. Auza la gamba, madonna Lucia, Stiendi la mano, pigli zanpogna, Sauta no poco con mastro Martino Lirun li, lirun li, lirun. Leave it, stop you little bitch, Stop Martin, leave off Lucia Oh my lady, may you grow a beard, May you come to a sticky end. Play, don’t shout, lirun li. The shepherd’s wife Seven sheep to a single coin If my lover were here, It would be five sheep for the same money. Lift up your leg, my lady Lucia, Hold out your hand, take up the bagpipe Dance a little with master Martin Lirun li, lirun li, lirun. 8 2 Lieta vivo e contenta Lieta vivo e contenta Dapoi che’l mio bel sole Mi mostra i chiari raggi, come suole. I live happy and contented I live happy and contented When my beautiful one Shows me his bright sun-like rays, Ma così mi tormenta S’io lo veggio sparire Che più tosto vorrei sempre morire. But I am so tormented If I see him disappear Then I would rather die everlastingly. 3 M’ha punt’Amor M’ha punt’Amor con velenoso dardo E va gridando per mar’e per terra “All’arm’all’arme! Guerra! Guerra!” Cupid has hit me Cupid has hit me with his mischievous arrow And goes over sea and land calling out “To arms! War!” 4 Donna, tu sei si bella Donna, tu sei si bella Che pari proprio un sol Non ch’una stella Ne vidd’al mondo mai simil’à te Beso las manos de vuestra mercè. Lady, you are so beautiful Lady, you are so beautiful You seem like the sun itself Not a mere star I’ve never seen anyone like you in the world Let me kiss your hand. 5 Se le stelle cascassero Se le stelle cascassero dal cielo, E ch’ogn arbor e frutto sì secasse, Poss’io morir se non mene burlasse! If the stars tumbled If the stars tumbled from heaven And if all the fruit on the trees trembled I could die if only I was not so madly thrown! 6 Non mi conosci tu Non mi conosci tu, io ben conosco i tuoi detti bugiardi E i tuoi fallaci sguardi Ardi pur per amante a te simile Che doni a l’amor tuo l’empia mercede, Che desti a la mia fede; Qual amante lasciasti al fin vedrai E spero che dirai: Non conobbi un amator fedele Foss’io stata più saggia e men crudele. You don’t know me You don’t know me, I know all too well your deceitful words And your treacherous looks You only ignite for your type of love If it returns material gain only, What do you say to my loyalty? In the end you’ll see what a lover you’ve left And I hope that you will then say: I have never known such a faithful lover I wish I had been wiser and not so cruel. 9 7 Come la cera al foco, Come la cera al foco, ch’accenda esca terrena, Si va struggendo e manca a poco a poca: Cosi gli affanni, onde la vita e piena, e le gioie e i diletti vani e terrestri affetti si van struggendo a queste fiamme, ch’accende esca d’amor celeste. Like wax to the flame Like wax to the flame That ascending leaves this earth, Goes in torment and diminishes little by little: Thus do cares, of which life is full, And the joys and the vain delights and earthly likes Destroy themselves on these flames, That light up this heavenly love. 8 Di pensier in pensier Di pensier in pensier, di monte in monte Mi guid’amor; ch’ogni segnato calle Provo contrario a la tranquilla vita. S’en solitaria piaggia, riv’o fonte, S’en fra duo poggi siede ombrosa valle, Ivi s’acqueta l’alma sbigotita; E, com’amor, m’invita, Hor rid’hor piange, hor teme hor s’assicura; E’l volto che lei segue, ov’ella il mena, Si turba e rasserena, Et in un esser picciol tempo dura; Unde a la vist’huom de tal vita esparto Diria: “Quest’arde, e di suo stato è incerto.” From thought to thought From thought to thought, from hill to hill Love guides me, and every indicated path I try is contrary to peaceful life. As on a solitary beach, brook or fountain, As in a shady valley between two cliffs Here my bewildered soul finds rest And like love invites me. Now it laughs, it weeps, it fears and is reassured; And my face that follows it, wherever it leads, Is moved to turmoil and serenity. And each feeling lasts the briefest moment; Just by seeing me, a man of like experience Would say: “He burns up, and his lot is fickle.” Petrarch 9 If I escape alive If I escape alive from these uncertain times And my exile comes to a good end, How I wish that I could turn the sail And put down anchor in any port! If only I did not burn like blazing wood! Yes, it is hard for me to finish with this life. God of my demise and my life, Before I dash myself completely into pieces Direct my uneasy sail to a safe haven. S’io esca vivo S’io esca vivo de’ dubbiosi scogli Et arrive il mio esilio ad bel fine, Ch’i’ sarei vago di voltar la vela, E l’ancore gittar in qualche porto? Se non ch’i’ardo come acceso legno? Sì m’è duro a lassar l’usata vita. Signor de la mia fine e de la vita, Prima ch’i’ fiacchi legno tra li scogli Drizza a buon porto l’affannata vela. 0 Now be comforted Now be comforted in your crowds, Young people, and measure the time at large; So that the blow foreseen hurts far less. Perhaps I spread my words in vain; But I tell you that you are struck By a heavy and deadly lethargy: How fast the hours, days, years and months pass; And together in the briefest interval, All of us have to seek other worlds. Hor vi riconfortate Hor vi riconfortate in vostre fole, Giovani, e misurate il tempo largo; Che piaga antiveduta assai men dole. Forse ch’indarno mie parole spargo; Ma io v’anuntio che voi sete offesi Da un grav’e mortifero letargo: Che volan l’hore, i giorn’e gli anni e mesi; E’nsieme con brevissimo intervallo, Tutti havemo a cercar altri paesi. Petrarch @ Giunto alla tomba Giunto alla tomba, ove al suo spirto vivo Dolorosa prigion’ il ciel prescrisse; Di color, di moto privo Già marmo in vista al marmo il viso affisse, Al fin sgorgando un lagrimoso rivo, In un languido oimè proruppe, e disse: “O sasso amato tanto, Che dietro hai le mie fiamme, e fuor’ il pianto! Before her new-made tomb Before her new-made tomb at last arrived, The woeful prison of his living spright; Pale, cold, sad, comfortless, of sense deprived, Upon the marble grey he fix’d his sight; Two streams of tears were from his eyes derived: Thus with a sad alas, began the knight: “Oh, marble dear! on my dear mistress plac’d, My flames within, without my tears thou hast Non di morte sei tu, ma di vivaci Ceneri albergo, ov’è nascosto amore, Sento dal freddo tuo l’usate faci Men dolci si, ma non men cald’al core. Deh prendi questi piant’e questi baci, Prendi, ch’io bagno di doglio umore, E dalli tu poich’io non posso, almeno, All’amate reliquie, c’hai nel seno.” Not of dead bones art thou the mournful grave, But of quick love the fortress and the hold; Still in my heart thy wonted brand I have, More bitter far, alas! but not more cold. Receive these sighs, these kisses sweet receive, In liquid drops of melting tears enroll’d, And give them to that body pure and chaste Which in thy bosom cold entomb’d thou hast.” Gerusalemme liberata: Book XII, verses 96–97 Petrarch 10 11 £ Vezzosi augelli Vezzosi augelli in fra le verde fronde Tempran’a prova lascivette notte. Mormora l’aura, e fra le foglie e l’onde Garrir, che variamente ella percote: Quando taccion gl’augelli, alto risponde: Quando cantan gl’augei, più lieve scote; Sia caso od’arte, or accompagn’ed ora Alterna i versi lor, la Musica ora. $ Forsennata gridava Forsennata gridava: “O tu che porte Teco parte di me, parte ne lassi: O prendi l’un’, o rendi l’altra, o morte Dà insieme ad ambe: arresta i passi, Sol che ti sian le voci ultime porte. Non dico i baci: altra più degn’avarssi Quelli da te. Che temi, empio, se resti? Potrai negar, poi che fuggir potesti.” The joyous birds The joyous birds, hid under greenwood shade, Sung merry notes on every branch and bough; The wind, that in the leaves and waters play’d, With murmur sweet now sang, and whistled now; Ceased the birds, the wind loud answer made, And while they sung it rumbled soft and low: Thus, were it hap or cunning, chance or art, The wind in this strange music bore his part. ^ Gerusalemme liberata: Book XVI, verse 12 O thou that leav’st “O thou that leav’st but half behind,” quoth she, “Of my poor heart, and half with thee dost carry, O take this part, or render that to me, Else kill them both at once: ah! tarry, tarry, Hear my last words; no parting kiss of thee I crave, for some more fit with thee to marry Keep them: unkind! what fear’st thou if thou stay? Thou may’st deny as well as run away.” Gerusalemme liberata: Book XVI, verse 40 % Now from the fresh, the soft and tender bed Now from the fresh, the soft and tender bed Of her still mother, gentle night outflew The fleeting baulme, on hills and dales she shed, With honey drops of pure and precious dew, And on the verdure of green forests spread The virgin primrose and the violet blew, And sweet breath’d Zephire on his spreading wings Sleep, ease, repose, rest, peace and quiet brings. Usciva omai dal molle e fresco grembo Usciva omai dal molle e fresco grembo Della gran madre sua la notte oscura, Aure lieve portando, e largo nembo Di sua rugiada preziosa e pura: E scotendo del vel l’umido limbo Ne spargeva i fioretti e la verdura: E i venticelli, dibattendo l’ali, Lusingavano il sonno de’ mortali. Gerusalemme liberata: Book XIV, verse 1 12 Sovente all’or’ Sovente all’or’ che su gl’estivi ardori Giacean le pecorelle all’ombr’assise, Nella scorza de’faggi e degl’allori Segno l’amato nom’in mille guise: E de’suoi strani ed infelici amori Gl’aspri successi in mille piant’incise: E in rileggendo poi le proprie note Rigò di belle lagrime le gote. Often during the hours Often during the hours when in summer’s heat The lambs lie in the shade, In the bark of beeches and laurels He carved his beloved’s name in a thousand guises: And of his strange and unhappy affairs The bitter gains he cut in a thousand plaints And each time he read again the actual words He furrowed his cheeks with beautiful tears. Poscia dicea piangendo: “In voi serbate Questa dolente istoria, amiche piante: Perche se fia ch’alle vostr’ombre grate Giammai soggiorni alcun fedele amante, Senta svegliarsi al cor dolce pietade Delle sventure mie si varie e tante.” E dica: “Ahi tropp’ingiust’empia mercede Diè fortuna ed amore a si gran fede!” And then he said weeping: “Mark well inside you That sorrowful story, lamented girls: Because would ever any faithful lover Remain in your pleasant shadow, Feel sweet pity on my adventures So varied and manifold awaken in your heart.” And he said: “Woe, too much unjust reward Fortune and love gave to such great trust!” Gerusalemme liberata: Book VII, verses 19–20 & Misera, non credea ch’a gl’occhi miei “Misera, non credea ch’a gl’occhi miei Potessi in alcun tempo esser noioso: Or cieco farmi volontier torrei Per non vederti, e riguardar non oso. Oimè! de’ lumi già si dolci e rei Ov’è la fiamm’? ov’è’l bel lume ascoso? De le fiorite guancie il bel vermiglio Ov’è fuggito ? Ov’è il seren’ del ciglio? I never thought that to mine eyes “I never thought that to mine eyes (my dear) Thou couldst have grievous or unpleasant been: But now would blind or rather dead I were That thy sad plight might be unknown, unseen, Alas, where is thy mirth and smiling cheer? Where thine eyes clear beams and sparkles sheen? Of thy fair cheek where is the purple red, And foreheads whiteness? Are all gone, all dead? “Ma che? squallido e scuro anco mi piaci, Anima bella, se quinci entro gire; S’odi il mio pianto, e le mie voglie audaci, Perdona il furto e’l temerario ardire. Dalle pallide labbra i freddi baci, “Though gone, though dead, I love thee still behold; Death wounds, but kills not love; yet if though live Sweet soul still in his breast, my follies bold Are, pardon, loves, desires and stealthes forgive; Grant me from his pale mouth some kisses cold, 13 Since death doth love of just reward deprive; And of thy spoils sad death afford me this, Let me his mouth pale cold and bloodless kiss.” Che piu caldi sperai, vo’pur rapire. Parte torrò di sue ragioni a morte, Baciando queste labbra esangui e smorte.” Gerusalemme liberata: Book XIX, verses 106–107 ( Così costei, che nella doglia amara, Già tutti non oblia l’arti e le frodi: Fa di sospir breve concent’ in prima, Per dispor l’alm’in cui le voci in prima. As cunning singers As cunning singers, ere they strain on high In loud melodious tunes their gentle voice, Prepare the hearer’s ears to harmony, With feignings sweet, low notes, and warbles choice; So she, not having yet forgot pardie Her wonted shifts and sleights in Cupid’s toys, A sequence first of sighs and sobs forth cast To breed compassion dear, then spake at last: Poi cominciò: “Non aspettar ch’io preghi, Crudel, te, come amante deve: Tai fumm’un tempo: or se tal esser neghi, E di ciò la memoria anco t’è greve, Come nemico al men’ascolta: i preghi D’un nemico talor l’altro riceve. Ben quel ch’io chieggio è tal che darlo puoi, E integri conservar gli sdegni tuoi. “Suppose not, cruel! that I come to woo Or pray, as ladies do their loves and lords; Such were we late, if thou disdain it now, Or scorn to grant such grace as love affords, At least yet as an en’my listen thou, Sworn foes sometime will talk and chaffer words; For what I ask thee may’st thou grant right well, And lessen nought thy wrath and anger fell. “Se m’odii, e’n ciò diletto alcun tu senti, Non t’en vengo a privar: godi pur d’esso. Giusto a te pare, e siasi. Anch’io le genti Cristiane odiai, nol nego, odiai te stesso. Nacqui pagana: usai varii argomenti, Che per me fosse il vostr’imperio oppresso: Te perseguii, te presi, e te lontano Dall’armi trassi in loco ignoto e strano. “If me thou hate, and in that hate delight, I come not to appease thee, hate me still; It’s like for like; I bore great hate and spite ‘Gainst Christians all chiefly: I wish’d thee ill I was a pagan born, and all my might Against Godfredo bent, mine art and skill; I follow’d thee, took thee, and bore thee far To this strange isle, and kept thee safe from war; “Aggiungi a quest’ancor quel ch’a maggiore Onta tu recchi, ed a maggior tuo danno: T’ingannai, t’allettai nel nostr’amore: “And more, which more thy hate may justly move, More to thy loss, more to thy shame and grief, I thee enchanted and allur’d to love; Qual musico gentil Qual musico gentil, prima chiara Altamente la lingua alcanto snodi, All’ armonia gl’animi altrui prepara Con dolci ricercate, in bassi modi, 14 Empia lusinga certo, iniqu’inganno. Lasciarsi corre il virginal suo fiore: Far delle sue bellezz’altrui tiranno: Quelle ch’a mille antichi in premio sono Negate, offrir’a novo amante, in dono! Wicked deceit, craft worthy sharp reprief! Mine honour gave I thee, all gifts above, And of my beauty made thee lord and chief, And to my suitors old what I denay’d, That gave I thee, my lover new unpray’d: “Sia questa pur tra le mie frodi, e vaglia Si di tante mie colpe in te’l difetto Che tu quinci ti parta, e non ti caglia Di quest’albergo tuo già si diletto. Vattene: passa il mar, pugna, travaglia, Struggi la fede nostr’: anch’io t’affretto. Che dico nostra? ah, non più mia! Fedele Sono a te solo, ldolo mio crudele!” “But reckon that among my faults, and let Those many wrongs provoke thee so to wrath That hence thou run, and that at nought thou set This pleasant house, so many joys which hath: Go, travel, pass the seas, fight, conquest get, Destroy our faith; what, shall I say our faith? Ah no! no longer ours; before thy shrine Alone I pray, thou cruel saint of mine!” Gerusalemme liberata: Book XVI, verses 43–47 ) Grazie ch’a pochi Grazie ch’a pochi il ciel largo destina, Rara virtu, non gia d’umana gente Sotto biondi capei canuta mente, E’n umil donna alta belta divina, Charms that too few Charms that too few are deigned with from heaven, Rare virtue, but not of the human race, A wise mind under fair hair, And in a modest lady, beauty high divine. Leggiadria singolare e pellegrina, E’l cantar che ne l’anima si sente L’andar celeste e’l vago spirt’ardente, Ch’ogni dur romp’, ed ogni altezza inchina. E quei begl’occhi, ch’i cor fanno smalti, Possenti a rischiarar abisso e notte, E torre l’alm’a’ corpi e darle altrui, Looks unique and uncommon, And a voice that touches the soul, Heavenly gait and a dimly burning spirit, That makes every hardship break, all pride bow down And those beautiful eyes, that glaze the heart, With power to light up the darkness of the night, And cut soul from body and give them back, Col dir pien d’intelletti dolci ed alti Coi sospir soavemente rotti, Da questi magi trasformato fui. With words full of sweet and exalted conceit With sighs sweetly broken up, Through these spells I was transformed. Petrarch 15 ¡ Le più felici stelle, e l’altre intorno Celinsi: e’n terr’e’n mar, d’onta e di scorno Securo ogn’anima viv’ogni stelo. Rise and light up Rise and light up the sky with your appearance, Holy Mother of love, let the new day return. Let the sun adorned with rays never ever leave, And let the veil disappear from every cloud. One gazes at the happiest stars lit with amorous zeal While the others surrounding them are hidden. On earth, in the ocean, let every animal and plant Live free from shame and scorn. Scendi Imeneo; copia di te si sdegna, Non strins’unqua il tuo nodo. Ecco ch’unita già di fedele E d’Amor te solo aspetta. Or ciò che Manto lor predice e insegna, Cantin Mincio i tuoi cigni, e tu gli alletta Risonando Vincenz’e Margherita. Come down, Hymen; couples hold you in contempt, They do not marry anymore. Here they are already united by faith And by love and await only you. Now what Manto prophesies and teaches them Your swans sing Mincio, and you entice them Resounding the names of Vincenzo and Margherita. Sorgi e rischiara Sorgi e rischiara al tuo apparir il cielo, Santa Madre d’amor, rimena il giorno. Esca il sol più che mai di raggi adorno, E si dilegui d’ogni nube il velo. Mirinsi accese d’amoroso zelo attr. Manfredi ™ Vieni dolce Himineo Vieni dolce Himineo, vieni et infiamma Di santissimo ardore A sì gradita e bella coppia’l core. Come sweet Hymen Come sweet Hymen come and inflame With your most holy ardour The heart of such an esteemed and lovely couple. Amor di bianca oliva D’ambi le tempie cinga, E in dolce nodo e in pura fiamma viva Lor alme accend’e stringa. Love with white olive branches Crown both their temples, And in this sweet union and in the pure living flame Their souls light up and become one. Indi gli acuti strali e spenda e indori, Sciolto dagli occhi il velo; Spiri gioia ogni parte e l’aria adori, Hor ch’in terra si vede il terzo cielo: Thence the darts of love Employ and gild, The veil is removed from their eyes; May joy breathe everywhere and adorn the air, Now that on earth one sees the heaven of Venus: 16 Et ogn’antro, ogni lido in dolci temper Alessandro e Maria risuoni sempre. And in every cave, on every shore in sweet timbres Resound forever Alessandro and Maria. # Hai, Lucia, bona cosa Hai, Lucia, bona cosa, io dic’a tia: che patrona fatta franca et vò bella maritare; Giorgia tua, vò pigliare, tutta negra v’invitare, nott’e giorno vonno sonare tambilililili, Lucia, poi che Dio v’av’agiuta gente negra, vol cantare; core mi, ascoltare, apri bocc’et non dormire, acqua madonna al fuoco, che ardo tutto et tu pigliat’a gioco, io grido sempre haime et tu non sentuta et voce mia tutto fatta roca; acqua madonn’al foco, che ciminera; ard’e mò fuiuta, cocha. Lucia, what a good thing you have Lucia, what a good thing you have, I tell you: what a candid mistress you’ve become and I want to marry you; your all black George wants you and invites you, day and night to play with his ding-a-ling, Lucia, since God’s given you a black man, he wants to sing; my heart, listen, open up and don’t sleep, my lady, quench my fire, because I’m burning up and you’re leading me on, I always cry out, ‘alas’, and you don’t hear me, and I’m hoarse from calling out; my lady, quench my fire, what a chimney; I’m on fire and now you’ve fled, my darling. ∞ Catalina, apra finestra Catalina, apra finestra, se voi senta Giorgia cantara; se tu sent’a me sonara, passa tutta fantanasia fate priega, core mia. Non volere scorrucciare, Perché Giorgia vol cantare Per passare fantanasia Spetta loco e non par tutta quant’accordo quissa liuta, Tron, tron, tirintron... Cathalina, open your window, Cathalina, open your window, if you want to hear George sing; hearing my sounds, goes beyond all fantasy I beg you, my darling Do not lose hope Because George wants to sing For the joy of fantasy. Stay there and do not leave while I tune this lute. Tron, tron, tirintron... Andar a Valenza già cala già, schincina bacu, Sana lagua! Affaci’un poco, quissa pertusa! Lassa via un poc’a tia To go to Valencia, how terrible! no fun or games there Just wait a bit, it’s a hole! Let yourself go a little 17 voglio cant’una canzona Come fusse tamborina, Hu, a te bella, Hu a te mania Hu a te canazza! zuccara mia! Chissa cappilla come latte fronte luce come crescere occhi tua come lanterna chissa nassa sprofilata Faccia tua come smeralda Chissa labbra marza panata Bocca tua come doanna, cizza grossa come fiascone lassa biber’a Giorgia tua Giorgia tua, bella infanta vostr’amore mi fa morira! I want to sing you a song With a tambourine. Hey dear, hey mad one Hey darling! My little pumpkin! That hair, white as milk looks like the sunrise your eyes like torches that nose like a sculpture Your face like an emerald Your lips like marzipan your mouth like a dove, and tits as big as a bottle of wine let your George have a drink my beautiful little maid your love makes me die! Tutta la notte la galla canta: Giorgia mia non può dormire, mala francisca possa venire come la ladra, figlia di cane. All night the rooster sings: My George cannot sleep But you might get the clap like a thief, son-of-a-bitch. Tira va trasse intra coccina, bibe la broda come gatta nigra. Poi chetu non voi facciare Yo di qua voglio par tutta. Su, schiava ladra cana musata, Diriet ’a la porta, nistillingo, madonna trovata, nistillingo, con Giorgi’a abbracciata, nistillingo. Off you go, into the kitchen, drinking the soup like a black cat. If you do not want to do it, I would rather leave. Up, you scoundrel, you howling dog Behind the door, nistillingo, a woman discovered, nistillingo in George’s embrace, nistillingo. Translations of Gerusalemme liberata: Edward Fairfax, Godfrey of Bulloigne (1600) Other translations: Roland Peelman and Eugene Ragghianti, with assistance from Diana Cavuoto Glenn 18 currently planning a collaboration with the Australian didgeridoo player William Barton and Kate Champion’s new dance company Force Majeure. In addition, the ensemble continues to be involved in some of the most innovative contemporary music theatre in Australia (The Burrow, Quito, The Sinking of the Rainbow Warrior, Little George, Venetian Carnival, deLudo, Mrs Macquarie’s Cello). The Song Company Since its inception in 1984, The Song Company has developed as one of the most interesting and outstanding vocal ensembles in the world. The group’s repertoire covers vocal music from the 10th century to the present day and is unique in its stylistic diversity. With the support of The Australia Council and the NSW Ministry for the Arts, the company operates full-time, presenting an average of close to 130 concerts annually in Australia and abroad. Through a longstanding commitment to education, an annual subscription series, as well as many recordings and broadcasts, The Song Company has built up an impressive following around Australia, and increasingly so, around the world. Regular international tours have taken The Song Company to some of the most prestigious festivals and venues around the world such as the Dubrovnik Festival, MDR Sommerfest, Festival of Flanders and the Melbourne International Festival of the Arts. The year of 2004 represented the ensemble’s 20th anniversary. Featured were major new works by Ross Edwards, Andrew Schultz and 2003 composer-in-residence Raffaele Marcellino. There were also a number of overseas performances, notably at the European mecca of early music, the Regensburg and Dresden festivals, prompting great critical acclaim: ‘Their rendition was perfect, revealing a structural insight of utmost clarity (…) bringing back history unexpectedly fresh and alive.’ (Sachsische Zeitung, June 2004). Under the leadership of Roland Peelman, Artistic Director since 1990, the six-voice ensemble has developed a unique style by successfully integrating serious scholarship, tonal beauty, vocal daring and unbridled performance dynamics. The group is equally at home in medieval songs and chants, 16th-century polyphony or 20th-century classics. The Song Company remains at the forefront of contemporary vocal music through an extensive and ongoing international commissioning program and innovative collaborations. Six Hermits (2002) involved six Chinese musicians on traditional instruments – hailed by The Age as ‘a mighty accomplishment’; the group is For more information visit www.songcompany.com.au 19 Roland Peelman Tommie Andersson A tireless advocate of new music and a musician of astonishing versatility, Peelman immigrated to Australia from Belgium in 1984 before joining The Australian Opera where he made his debut as a conductor in a number of productions. Swedish-born Tommie Andersson is Australia’s leading specialist in lutes, early guitars and in the interpretation of works for these instruments. He arrived in Australia in 1984 after completing studies on a Swiss Government scholarship at the renowned Schola Cantorum Basiliensis where his teachers included Eugen Dombois and Hopkinson Smith. Before this, he graduated from the State College of Music in Gothenburg where he completed a Bachelor of Music degree and was selected to continue with a Master’s Degree in Performance studying under Josef Holocek. He has toured extensively in Sweden and has given performances and masterclasses in Scandinavia, France, Holland, England, Switzerland and as a continuo player in South America, China and Japan. During the 1990s he was active in different roles: as co-founder and Music Director of Sydney Metropolitan Opera, as Artistic Director of the Hunter Orchestra in Newcastle and as ongoing Artistic Director of The Song Company, now one of the world’s most outstanding vocal ensembles. In addition, he also enjoyed a close relationship with Opera Queensland and Chamber Made Opera in Melbourne with a long list of acclaimed productions. Having worked with most orchestras in Australia and with a number of specialist ensembles such as ACO, Ensemble Offspring and Ictus in Belgium, Peelman continues to play an influential role in the Australian music scene through the commissioning, recording and conducting of new work and through the research and performance of a large repertoire of early music, including major works by Lasso, Monteverdi, Schütz and Purcell. As a continuo player Andersson performs regularly with the Australian Chamber Orchestra, Opera Australia, the Australian Brandenburg Orchestra, Fontana Musica, the Early Dance Consort, Orchestra of the Antipodes and The Song Company. As a recitalist he has performed in all the major Australian capital cities and gives regular concerts and live broadcasts for the ABC. Andersson appears on numerous discs and has released a solo CD on the Musica Redivivia label, recorded in Sweden in 1990. Executive Producers Robert Patterson, Lyle Chan Recording Producer and Editor Ralph Lane Recording Engineer Paul McGrath Editorial and Production Manager Hilary Shrubb Booklet Editor Richard King Cover and Booklet Design Imagecorp Pty Ltd Cover Image Melchior d’Hondecoeter 1636-1695 The poultry yard (detail) oil on canvas 148.2 x 170.3 cm Felton Bequest, 1920 National Gallery of Victoria, Melbourne Back Cover Map Image Johannes Van Keulen Oost Indien (detail) c.1689 For The Song Company General Manager Joanne Kee Recorded May, June and October 1996 at the Chapel of St Scholastica’s Convent, Glebe, Sydney. ABC Classics would like to thank Eugene Ragghianti, former General Manager of The Song Company. 1998 Australian Broadcasting Corporation. 1998, 2004 Australian Broadcasting Corporation. Made in Australia. All rights of the owner of copyright reserved. Any copying, renting, lending, diffusion, public performance or broadcast of this record without the authority of the copyright owner is prohibited. He lectures in lute and gives classes in the interpretation of early music at the Sydney Conservatorium of Music. 20 21