CAL PERFORMANCES PRESENTS

Jordi Savall, , , Ferran Savall, and Pedro Estevan Hespèrion XXI Friday, May 14, 2004, 8 pm First Congregational Church

Montserrat Figueras, voice Arianna Savall, voice and arpa doppia Ferran Savall, voice, guitar, and tiorba , viola da gamba Pedro Estevan, percussion

This performance has been made possible, in part, by members of the Cal Performances Producers Circle.

Cal Performances thanks the William and Flora Hewlett Foundation, The Wallace Foundation, and the Zellerbach Family Foundation for their generous support.

C AL PERFORMANCES 1 PROGRAM ABOUT THE ARTISTS Folias & Romanescas Hespèrion XXI Músicas del tiempo & del instante In the ancient past, Hesperia was the name given to the two most western peninsulas in Europe: the Italian and the The Ancient Hesperia & the Diaspora Sefardí Iberian peninsulas (in Greek Anon. Trecento mss. Lamento de Tristano “Hesperio” meant “from one El Misteri d’Elx Ay, trista vida corporal! (Lament de la Verge) of these two peninsulas”). Sefardi (Sarajevo) Paxarico tu te llamas (instr.) Hesperio was also the name Sefardi (Turquia) La dama y el pastor given to the planet Venus (Por allí pasó un cavallero) (Romance) when it appeared in the west at night. Folias & Romanescas United in a common Diego Ortiz La Spagna – Passamezzo antico Romanesca – aim—the study and the inter- Passamezzo moderno pretation of ancient music based on new and up-to-date premises—and fascinated by Poetry & Music the immense richness of the Arianna Savall [Cantar de los Cantares] Yo soy de mi amado Hispanic and European musi- Santiago de Murcia/Improvisation Jota (arpa) cal repertoire earlier than Arianna Savall [Miquel Martí i Pol] L’Amor 1800, Jordi Savall, Montserrat Figueras, Lorenzo Alpert Ostinato Improvisations (wind and percussion instru- Improvisation Canarios ments), and Hopkinson Antonio Valente Gallarda napolitana Smith (plucked instruments) Tarquinio Merula Aria sopra la ciaconna created Hespèrion XX in 1974, dedicating themselves to the interpretation and re- INTERMISSION evaluation of certain essential Jordi and Arianna Savall aspects of this repertoire. For more than 25 years, Hespèrion has two dozen original CDs and re-releases by Pieces de Viole remained faithful to this initial goal and has Hespèrion XXI, Jordi Savall, Montserrat Marin Marais Les Voix Humaines - Muzettes performed and recorded numerous hitherto Figueras, La Capella Reial, and Le Concert des unknown works, many of which are heard on Nations. Two of the latest releases—Diàspora Del tiempo y del instante over 30 recordings for EMI, Astrée, Sefardí and El Cancionero de Montecassino— Traditional Catalonian La Cançó del Lladre DG–Archiv, Philips, Fontalis, and Aliavox. were nominated for Grammy Awards in 2001 Ferran Savall Improvisation The spirit characterized by Hespèrion XXI and 2002. is the eclectic way in which the musicians have made artistic choices. This has allowed Jordi Savall (viola da gamba) is unanimously La Folia Hespèrion to interpret a number of important acclaimed as one of today’s foremost inter- Antonio Martin y Coll Diferencias sobre las Folias Spanish medieval pieces as well as English preters of early music. Among the most gifted Renaissance, Baroque, and consort music pieces musicians of his generation, he is a violist, Lamenti & Canzonette by composers including Dowland, Tye, and music director, and the creator of an unmis- Traditional El Testament d’Amèlia Coprario. Hespèrion has also explored other takable style, and his activities as a concert Merula Sentirete una canzonetta European repertories, including a great deal of performer, teacher, and researcher make him unknown work, and has contributed to the pop- one of the chief architects of the currently ularity of composers such as Jenkins, Rosen- ongoing revaluation of historic music. The muller, and Scheidt, along with other well- pivotal part he played in Alain Corneau’s known composers, such as Bach and Purcell. award-winning film Tous les Matins du Monde In 1998, Jordi Savall created a new record has proved that early music does not have to label—Aliavox—which has since released over be elitist or of interest to only a minority, and,

2 CAL PERFORMANCES C AL PERFORMANCES 3 ABOUT THE ARTISTS ABOUT THE ARTISTS indeed, that it can—and does—appeal to an During her time in Switzerland, where she in 1996, and that of voice in 2000. In 1992, de Musica de Catalunya with Xavier Diaz. increasingly young and wide audience. lived until 1986, Montserrat Figueras, togeth- she began studies in historical performance Savall has participated in a variety of Jordi Savall’s aim in creating the ensembles er with Jordi Savall, , with at the Conservatory of festivals and is a member of the quartet Hespèrion XXI (1974), La Capella Reial de Lorenzo Alpert, and other musicians who Toulouse (France), and took several courses Assuranceturix. He participates regularly in Catalunya (1987), and Le Concert des shared similar research interests, founded under Andrew Lawrence-King and Hopkin- jam sessions at a variety of jazz clubs in Nations (1989) has been to increase the pub- Hespèrion XX (now Hespèrion XXI), an son Smith, as well as her parents. . These concerts mark his first per- lic’s knowledge of a repertoire spanning from ensemble that seeks to breathe new life and Since 1997, Savall has appeared in concert formances in North America. the Middle Ages to the beginning of the 19th freshness into a wide range of music. Side by and on recordings with Hespèrion XXI, La century, driven by a new concept of perform- side with Jordi Savall, Figueras was also a co- Capella Reial de Catalunya, Malapunica, and Pedro Estevan (percussion) has performed as ance characterized by great musical verve com- founder of La Capella Reial. Actively partici- Ricercare Consort, as well as other early music percussionist with Hespèrion XXI since 1985. bined with rigorous historical accuracy. pating in all their major projects, she regularly groups, performing throughout Europe, the He studied percussion at the Conservatoire Savall’s extraordinary concert activity appears as a soloist with both these ensembles. United States, South America, Australia, New Superieur de Musique de Madrid and con- regularly takes him to the major early music A constant in Figueras’ choice of reper- Zealand, and Israel. temporary percussion with Silvio Gualda, festivals around the world (in Europe, the toire is her preference for works in which Savall made her opera debut in the role of African percussion with Senegalese master United States, Latin America, the Middle music and text combine to create a poetic Euridice in Monteverdi’s Orfeo at the Festival Doudou Ndiaye Rose, and hand drum tech- East, the Far East, Australia, and New space in which she is able to explore and enact de Musique Ancienne in Beaune (July 2000), nique with Glen Velez. An eclectic musician, Zealand). He has recorded over 100 albums, the spiritual dimension of the music. True to in Metz (January 2001), and at the Gran Estevan has a particular interest in early music, and in 1998, he created his own recording her Mediterranean roots, Figueras gives pride Teatre del Liceu in Barcelona in February which he performs with Hespèrion XXI, Le label, Aliavox. of place in her repertoire to music of Latin 2002. Also in 2002, she sang the role of Concert des Nations, Speculum, and in duo Throughout his more than 30 years of origin, from the medieval trobairitz (female Carilda in Handel’s Arianna at the “Scala” the- concerts with Jordi Savall. He also performs intense musical activity, Savall has received troubadour) songs and the various manifesta- ater in Basel. In February 2001, she sang in new music with Rarafonia and as soloist with numerous awards and distinctions, most tions of the Song of the Sibyl to Spanish and Barcelona and at the Konzerthaus in Vienna, Orquesta de Camara Nacional de Espana and notably the Officier de l’Ordre des Arts et des Italian music of the Renaissance and Baroque in the Spanish opera Celos aún del ayre matan the Orquesta Reina Sofia. Estevan is a found- Lettres from the French Ministry of Culture periods. She has also performed in various by Calderón de la Barca and Juan Hidalgo. In ing member of L’Orchestre de las Nubes and and Communication (1988); the Sant Jordi operas by Peri, Monteverdi, Hidalgo, and the summer of 2001, Savall offered a recital of has collaborated with many orchestras Cross of the Generalitat (Autonomous Martín y Soler. her songs at the Festival de Música Viva in throughout as well as the Paul Winter Government) of Catalonia (1990); the Gold Figueras has recorded over 50 CDs, the Vic, recorded by Catalan television. Consort, Camerata Iberia, the Harp Consort, Medal for Fine Arts from the Spanish Ministry majority of which have won critical acclaim. Baroque de Limoges, and many other music of Culture and the Arts (1999); Honorary She has given numerous concerts—both as a Ferran Savall (voice, guitar, and tiorba) began ensembles. Member of the Konzerthaus, Vienna (1999); soloist and together with Hespèrion XXI and his musical studies on piano and violin at age Doctor honoris causa of the Catholic Uni- La Capella Reial de Catalunya—in Europe, seven and soon followed with voice, guitar, versity of Louvain, Belgium (2001); the Gold the United States, Canada, South America, and theorbo. At age 15, he began more seri- Hespèrion XXI and Jordi Savall record exclu- Medal of the Parliament of Catalonia (2003); Israel, Japan, China, Taiwan, the Philippines, ous studies of guitar at the L’Ecole Luthier sively for Aliavox, which is distributed in the and the German “Preise der deutschen Australia, and New Zealand. with professor Xavier Coll, while at the same United States by Harmonia Mundi. Schallplattenkritik” (2003). In 2003, Montserrat Figueras was honored time working with lutenist Rolf Lislevand, by the French Ministry of Culture and with whom he still studies today. Since 2000, Hespèrion XXI and Jordi Savall are represent- Montserrat Figueras (voice) was born into a Communication, receiving the Ordre des Arts he has studied singing with Dolors Aldea and ed in North America by Aaron Concert family of music-lovers, and was still very et des Lettres. Peter Johansen, and has continued his studies Artists, Inc., New York City (www.aaroncon- young when she began to study singing with in historical instruments at L’Escola Superior cert.com). Jordi Albareda, as well as drama, in her native Arianna Savall Figueras (voice and arpa city of Barcelona. At the same time, she began doppia) was born in Basel, Switzerland, in to sing with the Ars Musicae ensemble and the 1972, and is the daughter of Jordi Savall and Aleluya choir under the direction of Enric Montserrat Figueras. After an initial period of Gispert. In 1968, she left for the Swiss city of general and musical education, she began to Basel with her husband Jordi Savall, where she study classical harp at the age of 10, and after Visit Cal Performances on the Internet was to continue her music and singing studies returning to Barcelona, continued under the for a sneak preview of the program notes! at the Schola Cantorum Basiliensis and the direction of Magdalena Barrera. She then Complete program descriptions, biographies, and notes Musikakademie. It was there that, grounded began to study voice at the Conservatory of are available on-line one week prior to each event. in the study of original source texts, she began Terrassa with María Dolores Aldea in 1993. to develop her own concept of early music Savall was awarded her professional qualifica- www.calperfs.berkeley.edu performance and historic vocal techniques. tion in harp from the Conservatory of Terrassa

4 CAL PERFORMANCES C AL PERFORMANCES 5 TEXTS AND TRANSLATIONS

Ay, trista vida corporal! Ah, sad bodily life! (El Misteri d’Elx) Oh, món cruel, tan desigual! Oh, cruel, unequal world! Trista de mi! Jo qué faré? Woe is me! What shall I do? Cal Performances Lo meu car Fill, quan lo veuré? When shall I see my dear, beloved Son? Oh, Arbre Sant digne d’honor, Oh, worthy holy tree, car sobre tots ets lo millor! alone thou bear’st the crown! Producers Circle En tu volgué sang escampar For thou wert bathed in the blood Aquell qui lo món volgué salvar. of Him who came to save the world.

The Cal Performances Board of Trustees La dama y el pastor is pleased to welcome these new Producers Circle donors: (Por allí pasó un cavallero) There passed that way a knight (Sefardi [Turquia]) Por allí pasó un cavallero There passed that way a knight, Anonymous (2) Paul and Barbara Licht asentado y muy gentil full noble and handsome was he. Michael and Maria Babiak Dorette P.S. Luke Si vos plaze cavallero If such be your pleasure, sir, de mí tomaréx plazer. you may take your pleasure with me. James and Laura Baum Mary and Terry MacRae No lo quere el Diós del cielo, God who is in heaven forbid, Anne Bodel and Edward Hanneman Judy and Jay Nadel ni me dexa tal hazer, and from such deeds preserve me. que tengo mujer hermoza A comely wife and children have I Diana Cohen and William Falik Stephen Schoen and Margot Fraser hijos para el bien hazer. and for their sake must leave thee. Therese and Ira Heyman Robert H. Shimshak Allí vayáx cavallero Then get thee on thy way, fine sir, and Marion Brenner Ira S. Hirschfield todo topéx al revéz may all go ill with thee. and Thomas R. Hansen Eugene C. and Gail V. Sit tu mujer topes con otro Mayst thou find thy wife with another, los hijos al mal hazer. and thy children turned scoundrels see. Jenefer Johnson Steve and Heidi Tanner Hayne E. and Catherine Leland Mr. and Mrs. Pasteur S. Yuen Yo soy de mi amado I am my beloved’s Arianna Savall (b. 1972) [Cantar de los cantares] [The Song of Songs] (Gifts received January 1 to April 30, 2004) Yo soy de mi amado, I am my beloved’s, y conmigo es su contento. and his desire is for me. Producers Circle donors provide crucial support to help Cal Performances meet presenting costs that are not covered by ticket sales and other Ven, amado mío, Come, my beloved, sources of support. In addition to benefits including complimentary salgamos al campo, let us go forth into the fields, moremos en las aldeas, and lodge in the villages; reserved parking, preferred seating, and VIP ticket service, levantémonos de mañana en las viñas, let us go out early to the vineyards, Producers Circle donors enjoy invitations to events and veamos florecer las vides, and see whether the vines have budded, receptions with visiting guest artists, as well as access to si se abre el cierne, whether the grape blossoms have opened, The Zellerbach Room at selected intermissions. si han florecido los granados: and the pomegranates are in bloom. allí te daré mis amores. There I will give you my love. Las mandrágoras han dado olor The mandrakes give forth fragrance, For more information about the Cal Performances Producers Circle, y en nuestras puertas hay todas dulzuras, and at our doors are all sweetness, please call 510.642.8653 or pick up a brochure at the display in the lobby. nuevas y viejas: new as well as old: amado mío, las he guardado para ti. I have kept them for you, my beloved.

please turn page quietly

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L’Amor Love Io non intesi mai I have never heard of dragging Arianna Savall Che si tragga di tomba One’s deceased enemy from the grave [Miquel Martí i Pol] Nemico estinto a farli guerra più To continue making war on him. Tot en l’amor s’emplena de sentit. Love fills all things with meaning. E pur amor omai Yet Love, henceforth, La força renovada d’aquest cor What, if not the great abundance of its love, Sona guerriera tomba Sounds the trumpet of war tan malmenat per la vida, d’on surt could give this heart, that life has so ill used, Pur contro chi d’amor già morto fu. Even against him who has already died of love. sino del seu immens cabal d’amor? its new-found strength? Ecco a battaglia me Alas, he now recalls me Rappella, ahimè, d’amor, d’onor, di fè To the battle of Love, honor and faith. És, doncs, sols per l’amor que ens creixen Through love alone our fingers bring forth roses roses Ei potea pur lasciarmi He could leave me buried als dits i se’ns revelen els misteris; and mysteries are revealed; Sepo’l infra i cipressi Among the cypress trees, i en l’amor tot és just i necessari. and in love all things are necessary and meet. O nel sasso d’Elisa elgente e dur Or in the chill, hard rock of Elysium, E con più gloria l’armi And earn himself far greater renown Creu en el cos, pertant, i en ell assaja So, believe in the body, and in it strive Volge contro quei stressi By levelling his arms against those hearts de perdurar, i fer que tot perduri to endure, and make all things endure, Cori ch’al regno suo rubelli fur. That resist his power, dignificant-ho sempre amb amorosa dignifying them always with loving care: E in pace me lasciar And at least allow me to rest in peace sol.licitud: així donaràs vida. if you do this, you will give life. Dopo il penar mort almen riposar. After the sufferings of death.

Pur se di novo vuoi So, oh pitiless archer, Aria sopra la ciaconna Air on the chaconne ch’io porti il cor piagato If you wish my heart once more Tarquinio Merula (1594–1665) Di tue quadrella, o dispietato arcier To bear the wounds of your arrows, Su la cetra amorosa On the amorous lyre S’ancor da lacci tuoi If you intend once more to ensnare me, In dolce e lieto stile Methought I would ne’er again oh cruel one, Io non pensavo mai di più cantar. Sing sweetly and blithely. Mi vuoi ch’avampi del tuo fuoco, o fier And inflame me with your fire, Ch’anima tormentosa For the tortured soul Deh, meco almen fa sì Then at least, for pity’s sake, In suon funesto umile In wretched, mournful tones, Ch’arda così colei che mi ferì. Let she who wrongs me be inflamed also. Dovea pianger’mai sempre e sospirar Must forever but weep and sigh. Pur da nova cagion Yet Love now gives me fresh reason E se tu vuoi ch’io canti And if you wish me to sing Chiamato son d’amor il cant’e al suon. To sing and play. Nove fiamme altri ardori Of new loves, of fresh ardors, E divina beltà scesa dal ciel Of divine beauty, descended from Heaven, Io, ch’amante infelice I who, disappointed in love, Fa si ch’anch’io mi vanti Then see that I, too, may boast Ceneri fredde a pena With the ashes of the stake still warm, D’esser di non morir sempre di gel Of being worthy of not forever dying of cold Dal rogo riportai d’infaust’amor Sang of ill-fated love, Ch’i più cantori augei ‘Twixt chaste bay trees; Sento che più non lice Now esteem it no longer fitting, Io emulerei s’i dolce canterei Then shall I vie with the most melodious birds Con roca e stanca lena To tell, with hoarse and weary voice, And sing such sweet songs. Narrar le fiamme antich’e’l veccio ardor. Of past loves and burning passion. Ora che novo sol For now a new sun please turn page quietly M’accende e vuol ch’io di lui canti sol. Inflames my Heart and I must sing only of her.

Questa lacera spoglia Instead of allowing D’un cor trafitto ed arso, A poor, humble grave Miserabile avanzo dei nartir To receive these meagre shreds Invece che l’accoglia Of a pierced, scorched heart, Povero avello e scarso The pitiable remains of such anguish, Amor tiranno anche pur vuol ferir. Tyranical Love wants to wound it once more: Eccomi fatto ugual Here am I, the target Scuopo al suo stral despietato e mortal. Of this pitiless, mortal arrow.

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La Cançó del Lladre The Song of the Thief Sentirete una canzonetta Listen to a fine song (Traditional Catalonian) Merula Quan jo era petitet When I was young Sentirete una canzonetta Listen to a fine song festejava i presumia I used to court and be vain, Sopra al bel bocchin about the pretty little mouth espardenya blanca al peu white espadrille on my foot Del mio vago e dispietato Amor Of my beautiful, pitiless sweetheart, i mocador a la falsia. and handkerchief in the falseness. Ch’ogn’hor nel cor mi tormenta e fa Who constantly torments my heart Adéu, clavell morenet! Goodbye, little dark carnation! Sospirare per sua gran beltà And makes me sigh for the great beauty. Adéu, estrella del dia Goodbye day star. I ara que m’he fet grandet And now that I have grown Sentirete un soave canto Listen to a sweet song m’he donat a mala vida. I have given myself to the bad life. Sopra al bel nasin About the pretty little nose Me só posat a robar, I have started to rob, Del mio vago, e dispietato Amor Of my beautiful, pitiless sweetheart, ofici de cada dia. daily occupation. Ch’ogn’hor nel cor mi tormenta e fa Who constantly torments my heart Vaig robar a un traginer I robbed a carrier Sospirare per sua gran beltà And makes me sigh for the great beauty. que venia de la fira: who was coming from the market: li prenguí tots els diners I took all his money Sentirete la doglia acerba Listen to the bitter pain i la mostra que duïa. and the samples he was carrying. Che mi fa morir That makes me die Quan he tingut prous diners When I had enough money Per il vago, e dolce caro ben For my beautiful beloved, so sweet and precious, he robat també una nina: I also robbed a girl: Ch’ogn’hor nel cor mi tormenta e fa Who constantly torments my heart. l’he robada en falsetat I robbed her with falseness Sospirare per sua gran beltà And makes me sigh for her great beauty dient que m’hi casaria. telling her that I would marry her. Adéu, clavell morenet! Goodbye, little dark carnation! Sentirete d’amor la piaga Listen to love’s wound Adéu, estrella del dia Goodbye day star. Che mi fa languir Which makes me pine Per un ciglio dispietato, e fer For a pitiless, cruel brow, Ch’ogn’hor d’ardor mi tormenta e fa Which constantly torments my heart El testament d’Amèlia The Testament of Amelia with ardor. (Traditional) Sospirare ma non ha pietà. And makes me sigh, but shows no compassion. N’Amèlia està malalta, Amelia is ill, la filla del bon rei, the good king’s daughter; Sentirete per chioma d’oro Listen to the golden hair comtes la’n van a veure, counts go to see her; Che son gionto al fin That I may reach the end comtes i noble gent. counts and noble people. Belle treccie ma spietate si. Fine tresses, but so pitiless, Ch’ogn’hor il cor m’allacciate ohimè Which so constantly, alas, ensnare my heart, Ai! que el meu cor se’m nua Alas! my heart becomes naked Che ne godo ma no so perchè. That I am happy, yet I know not why. com un pom de clavells! like a bouquet of carnations!

També hi va sa mare Her mother goes as well, quan no hi ha més remei. when there is nothing one can do. Filla, la meva filla, Daughter, my daughter, de quin mal vos doleu? what is your illness?

Mare, la meva mare, Mother, my mother, penso que bé ho sabeu: I think you know it well; metzines me n’heu dades You have given me the poison que maten lo cor meu. that burns my heart.

Ai! que el meu cor se’m nua Alas! my heart becomes naked com un pom de clavells like a bouquet of carnations!

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