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PRIMAVERA Suzie Leblanc Daniel Taylor LES VOIX HUMAINES

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PRIMAVERA Suzie Leblanc Daniel Taylor LES VOIX HUMAINES PRIMAVERA Suzie LeBlanc Daniel Taylor LES VOIX HUMAINES e u q o r a B ACD2 2258 ATMA CLAUDE LE JEUNE (1529-1600) PRIMAVERA 1 Reveci venir du printemps 3:51 SUZIE LEBLANC , D ANIEL TAYLOR , INSTRUMENTS UN BOUQUET MUSICAL DE SUSIE NAPPER MUSICAL BOUQUET BY SUSIE NAPPER LUZZASCO LUZZASCHI (v.1545-1607) 2 O Primavera 2:59 LES VOIX HUMAINES SUZIE LEBLANC , LUTH | LUTE Susie Napper, Margaret Little CLAUDIO MONTEVERDI (1567-1643) VIOLES DE GAMBE | VIOLAS DA GAMBA 3 O Primavera 2:45 SUZIE LEBLANC , D ANIEL TAYLOR , INSTRUMENTS AVEC | WITH SUSIE NAPPER Suzie LeBlanc 4 «Le Sacre du printemps» | “The Rite of Spring” 1:12 SOPRANO VIOLES DE GAMBE | VIOLAS DA GAMBA , THÉORBE | THEORBO , PERCUSSION Daniel Taylor MARIN MARAIS (1656-1728) CONTRE -TÉNOR | COUNTERTENOR 5 Jeu du volant 1:56 VIOLES DE GAMBE / VIOLAS DA GAMBA Matthias Maute, Francis Colpron FLÛTES À BEC ET TRAVERSIÈRES | RECORDERS , TRANSVERSE FLUTES MARIN MARAIS Olivier Brault, Hélène Plouffe 6 Saillie du jardin 2:17 VIOLES DE GAMBE | VIOLAS DA GAMBA , LUTH | LUTE VIOLONS | VIOLINS Sylvain Bergeron WILLIAM LAWES (1602-1645) LUTH , THÉORBE | LUTE , THEORBO 7 Gather ye rosebuds 1:35 SUZIE LEBLANC , VIOLES DE GAMBE | VIOLAS DA GAMBA , LUTH | LUTE Vincent Dhavernas PERCUSSION 2 ALFONSO FERRABOSCO II (1578-1628) WILLIAM BYRD (1539/40-1623) 8 Io mio son Giovanetta 3:32 15 Sweet and Merry Month 2:22 VIOLONS | VIOLINS , VIOLES DE GAMBE | VIOLAS DA GAMBA FLÛTES À BEC | RECORDERS , VIOLONS | VIOLINS , VIOLES DE GAMBE | VIOLAS DA GAMBA JOHN BENNET (v.1575-v.1614) HENRY PURCELL (1659-1695) 9 The dark is my delight 3:29 16 She loves and she confesses 2:30 DANIEL TAYLOR , VIOLES DE GAMBE | VIOLAS DA GAMBA , LUTH | LUTE SUZIE LEBLANC , VIOLES DE GAMBE | VIOLAS DA GAMBA , LUTH | LUTE ANONYME – XVI e SIÈCLE | Anonymous – 16th century CLAUDIO MONTEVERDI 10 As I me walked 0:42 17 Chiome d’oro 3:37 FLÛTES À BEC | RECORDERS , VIOLONS | VIOLINS SUZIE LEBLANC , D ANIEL TAYLOR , INSTRUMENTS GIOSEPPE CAIMO (v.1545-1584) ÉTIENNE MOULINIÉ (1599-1676) 11 Mentre il cuculo 0:57 18 Consert des différents oiseaux 6:41 FLÛTES À BEC | RECORDERS , VIOLONS | VIOLINS , PERCUSSION SUZIE LEBLANC , D ANIEL TAYLOR , INSTRUMENTS SUSIE NAPPER 12 Les Oiseaux | The Birds 0:40 FLÛTES À BEC | RECORDERS Nous reconnaissons l’aide financière du gouvernement du Canada par l’entremise du JEAN-PHILIPPE RAMEAU (1683-1764) Fonds de la musique du Canada. 13 Rossignols amoureux 6:03 SUZIE LEBLANC , FLÛTES TRAVERSIÈRE | TRANSVERSE FLUTES , VIOLONS | VIOLINS Enregistrement / Recorded by: Johanne Goyette Église St-Augustin, St-Augustin de Mirabel (Québec) TRADITIONNEL QUÉBÉCOIS | Quebec Traditional (arr. Susie Napper ) du 3 au 6 mai 2002 / May 3 to 6, 2002 14 En montant la rivière 2:04 Montage numérique / Digital mastering: Johanne Goyette SUZIE LEBLANC , D ANIEL TAYLOR , FLÛTES À BEC | RECORDERS , VIOLONS | VIOLINS , Responsable du livret / Booklet editor: Jacques-André Houle Graphisme / Graphic design: Diane Lagacé VIOLES DE GAMBE VIOLAS DA GAMBA | Couverture / Cover art: Erich Lessing / Art Resource, NY Sandro Botticelli (1444-1510). La Primavera (détail). Uffizi, Florence. vez-vous contemplé, avec grand plaisir, «Dans son visage, un jardin, «A Une rose rouge qui pointe à travers la blanch e ?» Où poussent des roses blanches comme lys…» Une célébration joyeuse de la vie, le printemps est symbolisé par les fleurs — ces Dans les arts visuels, la beauté féminine et les fleurs sont des images rencontrées «gais hérauts du printemps» qui annoncent la triomphale victoire sur l’hiver — couramment pour dépeindre le printemps. Le ravissant tableau Primavera (1478) ainsi que par les oiseaux nicheurs, traditionnellement associés à l’amour. Le rossi - de Botticelli, un des plus beaux exemples illustrant le mythe, représente une gnol et la tourterelle, ainsi que la «rose rouge qui pointe à travers la blanche» évo - jolie jeune fille avec des fleurs lui tombant de la bouche comme si elle jonchait quent autant des images de beauté et d’innocence que de promiscuité licencieuse. le sol de vie nouvelle. La pucelle de Botticelli est à la fois délicate et décorative, «Ou bien une cerise, par deux fois, mais ses actes symbolisent aussi la puissance de la procréation féminine. Dedans un lys niché e? «Cueillez les boutons de roses quand vous le pouvez encore, Ou jamais remarqué l’adorable mine Le temps court toujours…» D’une fraise à demi noyée dans la crèm e ?» Les mythes associés au printemps sont une métaphore puissante de l’amour, Autrefois, les rituels associés à la déesse romaine du printemps, Flore, se célé - de tout temps un sujet de prédilection pour les poètes et les musiciens. Cet enre - braient au mois de mai. Jusqu’au XVI e siècle, ce festival des Floralies voyait des gistrement rassemble en une tapisserie quantité de petits joyaux musicaux paysans s’accoupler illicitement dans les champs labourés afin de favoriser la et poétiques des seizième et dix-septième siècles italien, anglais et français. La pousse des cultures. Le rôle important de la sexualité dans les coutumes popu - jeunesse, la beauté et l’amour constituent leur source d’inspiration. Certains sont laires liées au printemps se confirme à travers d’autres fêtes, telle que Beltane, bien connus, d’autres ont été rescapés de rayons de bibliothèques poussiéreux, une célébration de la fertilité d’origine celtique qui est toujours prisée par cer - alors que d’autres encore font partie de la mémoire collective et renaissent ici tains adeptes des religions païennes. L’antique fête sumérienne des femmes sous de nouvelles formes. La plus temporelle des arts, la musique est peut-être le pleureuses, où l’on lamentait la mort du fils de la déesse qui ressusciterait au médium le plus approprié pour exprimer le caractère transitoire du présent sujet… printemps, suggère la notion de mort et de renaissance dont on retrouve aussi «Et cette même fleur qui aujourd’hui sourit un écho dans la fête de Pâques. Demain mourra.» Nous souhaitons que cette offrande musicale incitera l’auditeur à suivre ce consei l: «Ne soyez donc pas timides, mais profitez du temps Et pendant que vous le pouvez, mariez-vous.» PRIMAVERA ANAIS NAPPER LE MYTHE DU PRINTEMPS TRADUCTION : J ACQUES -A NDRÉ HOULE 6 7 ave ye beheld (with much delight) “There is a garden in her face “H A red rose peeping through a white?” Where roses white as lilies grow…” A joyful celebration of life, springtime is symbolized by flowers, “Merry In the visual arts, feminine beauty and flowers are common images used to Springtime’s harbinger,” announcing a glorious triumph over winter, and by depict springtime. Botticelli’s enchanting Primavera (1478), a prime example nesting birds traditionally associated with love. The nightingale and the turtle- illustrating the myth, portrays a lovely maiden with fresh spring flowers falling dove or the “red rose peeping through the white” conjure up images of both from her mouth as if to scatter the ground with new life. Botticelli’s maiden beauty and innocence or licentious promiscuity… is both delicate and decorative but her actions symbolize the strength of feminine procreativity. “Or else a cherry, double grac’d, Within a lily center plac’d? “Gather ye rosebuds while you may, Or ever mark’d the pretty beam Old Time is still a-flying…” A strawberry shows half-drown’d in cream?” The myth of springtime is a brilliant metaphor for love, an ever-inspiring Traditionally, the rituals for the Roman goddess of spring, Flora, were celebrated subject for poets and musicians. This recording assembles a tapestry of tiny during the month of May. Until the 16th century, this Floralia festival found poetic and musical gems from sixteenth- to eighteenth-century Italy, England, rural folk coupling illicitly in the ploughed fields to stimulate the growth of and France. Youth, beauty, and love are their inspiration. Some are well-known, crops. The important role of sexuality in popular springtime lore is evidenced some rescued from dusty library volumes, and others remain part of our folk by other celebrations, such as Beltane, a fertility festival of Celtic origin that is culture and are reborn in this collection in new forms. Perhaps music, as the still valued by followers of the Pagan religions. The ancient Sumerian Festival most temporal of the arts, is the most appropriate medium to express the of Weeping Women, which was held to mourn the death of the Goddess’ son transience of the subject at hand… who would be resurrected in the spring, recounted the notion of death and “And that same flow’r that smiles today, rebirth echoed in today’s Easter celebrations. Tomorrow will be dying.” We hope that this musical offering will inspire the listener to “Be not coy, but use your time, And while ye may, go marry.” PRIMAVERA ANAIS NAPPER THE MYTH OF SPRING 8 9 epuis plus de quinze ans, les gam - usie Napper and Margaret Little have been thrilling audiences with their Dbistes Susie Napper et Margaret Little Sperformances of exotic masterpieces of the 17th and 18th centuries for séduisent le public mélomane en lui over fifteen years. They have performed at many of the most important music offrant des interprétations superbes festivals in North America, Mexico and Europe including the Boston Early d’œuvres rares des XVII e et XVIII e siècles. Music Festival, Early Music Vancouver, the Festival Internacional Cervantino, Elles ont été invitées à jouer dans la plu - Mexico, the Brighton International Music Festival, England, and the Festival part des festivals importants en Amérique Oude Musiek, Holland. Les Voix Humaines are renowned for their spectacular du Nord, au Mexique et en Europe : le arrangements of a wide variety of music for two viols and their brilliant per - Boston Early Music Festival, le Festival formances of contemporary music commissioned by the duo.
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