Venezia 1620 - 1630 Track List 12) Sonata Prima (B, E, H) Dario Castello (C
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1 Terza Parte: Venezia 1620 - 1630 Track List 12) Sonata Prima (b, e, h) Dario Castello (c. 1590-1658) Prologo Jennifer Ellis Kampani, soprano; Adam LaMotte, violin 1) La Gran Battaglia (a, d, e, g) Marco Uccellini (1603-1680) 13) Et è pur dunque vero (b, d, e, g) Claudio Monteverdi (1567-1643) Prima Roma: 1593 - 1614 Nell Snaidas, soprano; Adam LaMotte, violin 2) L’onda che limpida “Suite” (b, e, f) Giovanni Girolamo Kapsberger (c. 1580-1651) 14) Come dolce hoggi l’auretta (b, d, f, i) Claudio Monteverdi Nell Snaidas, soprano 15) Sinfonia a due (a, d, e, g) Francesco Corbetta (1615-1681) 3) Corrente Sesta (b, e, f) Giovanni Girolamo Kapsberger Quarto Parte: Napoli 1630 - 1638 4) Capona (e, i) Giovanni Girolamo Kapsberger 16) Sinfonia detta la buon’hora (b, c, e g) Andrea Falconieri (1585 -1656) 5) Amanti (a, c, e) Benedetto Ferrari (1603-1681) 17) Occhi belli (b, d, e, g, i) Luigi Rossi (1597-1653) Céline Ricci, soprano Jennifer Ellis Kampani, soprano; Céline Ricci, soprano 6) Canzona Girolamo Frescobaldi (1683-1643) 18) Folia echa para mi Señora Doña Tarolilla di Carallenos (a) Andrea Falconieri (1585 -1656) 7) Folle Cor (b, c, f, h) Domenico Mazzocchi (1592-1665) 19) Festa Riso (a, c, e, f) Pietro Giramo (fl. 17th century) Seconda Parte: Firenze 1614 - 1620 Quinto Parte: Londra 1638 - 1642 8) Sinfonia (b, d, e, f, h) Marco Gagliano (1582-1643) 20) Symphonia in G (b, c, f) Nicholas Lanier (1588-1666) 9) Lasciatemi qui solo (b) Francesca Caccini (1587-1640) 21) No More Shall Meads be Deck’d with Flow’rs (b, c, f) Nicholas Lanier Jennifer Ellis Kampani, soprano Jennifer Ellis Kampani, soprano; John Schneiderman, archlute 10) Toccata (b) Alessandro Piccinini (1566-1638) 22) Thou I Am Young (b, c, f) Nicholas Lanier 11) Chi desia di saper (a, d, e) Francesca Caccini Jennifer Ellis Kampani, soprano; Nell Snaidas, soprano Céline Ricci, soprano; Lisa Grodin, violin Epilogo 23) Fan battaglia (a, c, e, f) Luigi Rossi Front Cover: Orazio Gentileschi, 1593–c.1654; Lute Player, c. 1612 - 15 oil on canvas; 56 1/4 x 50 3/4 inches; National Gallery of Art, Washington D.C., Ailsa Mellon Bruce Fund, 1962.8.1 2 Artemisia Gentileschi, Italian, 1593–c.1654; Saint Cecilia, c. 1620 oil on canvas; 42 ½ x 30 7/8 inches; Galleria Spada, Rome (inv. 149); Image provided by Art Resource, New York 3 Artemisia Gentileschi, Italian, 1593–c.1654; Judith Slaying Holofernes, c. 1620 oil on canvas; 39 3/8 x 64 inches; Galleria degli Uffizi, Florence (inv. 1567); Image provided by Art Resource, New York What Artemisia Heard Music and Art from the Time of Caravaggio and Gentileschi The Inspiration I first became enamored of the paintings of Artemisia Gentileschi after attending an exhibit of works by her and her father Orazio at the Metropolitan Museum of Art in New York in 2002. This exhibition, organized by Judith Mann of the St. Louis Art Museum, was a breathtaking introduction to the life of an artist who would come to preoccupy me for over a decade. As it The Musicians happens, the delightful historical novel Artemisia by Alexandra Lapierre, had been published just a year earlier and was a welcome companion to my preoccupation. Vocalists Fast-forward eight years to June 2010, when I find myself in Rome. While there visiting Jennifer Ellis Kampani, soprano family and doing research, I attended a lovely—yet only sparsely attended—concert of Nell Snaidas, soprano seventeenth-century Italian music. The following day I happened upon an outstanding Céline Ricci, soprano exhibition of works by Caravaggio at the Palazzo Quirinale. I walked up to the palazzo Paul Shipper, bass during the midday siesta period thinking that I would easily gain entry into the exhibit during this sacrosanct hour of the day when all of Rome stops to eat and rest. Approaching the Violins palazzo, however, I saw a long line of people awaiting admittance, sheltering under umbrellas Adam LaMotte from the brutal rays of the midday sun. I also noticed an element of frenzy, a “buzz” so to Lisa Grodin speak, that was shared among those in line. No one seemed to mind waiting nearly two hours in the oppressive heat. They all knew that they were about to experience an artistic legacy Cello and viola da gamba that has consumed viewers for centuries. I walked to the biglietteria where I was informed that William Skeen the show was sold out. Not being one to take no for an answer, I walked up to the guard, and in my broken Italian asked that if I showed up at 10 pm, just before closing, would he, or Violone someone of his rank be able to shuffle me in. The guard, seeing my desperation, and pathetic Farley Pearce attempt to communicate, took pity on me and quietly said “certo.” I returned at the agreed upon time whereupon the guard escorted me beyond the gate and allowed me to enter the Percussion exhibit free of charge. As with the earlier Gentileschi exhibit, I experienced an epiphany. I Paul Shipper had known Caravaggio’s work for quite a long time, but I had never before experienced in such a concentrated way the intensity of his artistic vision. Continuo Richard Savino: (a) baroque guitar, (b) theorbo Afterward, walking in ecstasy through the darkened streets where Caravaggio, Orazio, and Adam Cockerham: (c) baroque guitar, (d) theorbo Artemisia had lived and worked, I wondered, “How is it that painters can inspire such ardent Paul Psarras (e) baroque guitar appreciation of their art, while composers of equal gifts and attainments, contemporaries John Schneiderman: (f) archlute, (g) baroque guitar and even colleagues in the same city of those same painters and sharers in the same cultural Paul Shipper: (h) baroque guitar and aesthetic values, can barely fill a small concert hall? Might this not be linked to that Cheryl Ann Fulton: (i) baroque harp shift of cultural paradigms which has brought it about that, for many, music is no longer Corey Jamason: harpsichord and organ an experience purely of listening, but via music videos has become one almost necessarily combining the aural with the visual, hearing with seeing? Then why not use the same model with so called ‘classical’ music?” From this moment I decided to create a series of programs that integrated these two media. At the same time I was becoming more and more captivated by the life of Artemisia. Born in 4 Rome in 1593 to the famed painter Orazio Gentileschi, mistress of a style akin to that of Artemisia’s Life Caravaggio, she stands out in the history of art as one of the most gifted painters of the The contents of this recording have been organized to correspond (as far as possible) seventeenth century, if not all time. The story of her life, which came to its end in 1656 to the events and locales of Artemisia’s life. As a prologue, we begin with a battaglia by is one of remarkable courage, talent, and achievement. Marco Uccellini of Venice, meant to evoke the battles that Artemisia was forced to Artemisia, as is well documented, was a victim of abuse and rape. Suing her attacker, wage throughout her life. We then move on to Artemisia’s birthplace, Rome, where she underwent the ordeal of a torturous trial. Having won her case she subsequently she painted her first masterpieces. It was here that, being the daughter of one famous became one of the first independent female artists in western history, traveling widely, painter and a constant companion of many others, including the great Caravaggio, she taking commissions, and controlling her own finances. She lived in the most important was able to establish herself as one of the major Caravaggists of the seventeenth century. cities of Italy (Rome, Florence, Venice and Naples) and in London. She was also a From Rome Artemisia moved to Florence where she befriended the important singer singer and an intimate friend to a number of important musicians including Francesca and composer Francesca Caccini, daughter of the great Giulio Caccini. During this Caccini and Nicholas Lanier. The numerous musical scenes in her paintings clearly period, while actively participating in the elaborate entertainments sponsored by the attest to the importance of music in her life. But it is the body of her work as an artist, Medici, she became the first woman to be accepted into theAccademia delle Arti del Disegno and her contribution to the establishment of a feminist role model, that I believe will be (Academy of Arts and Drawing). At this time, too, she corresponded with the scientific her legacy. genius Galileo Galilei and with Michelangelo Buonaroti, nephew of the great painter This recording follows the life of Artemisia through the stages of her life and the and occasional librettist for Francesca Caccini. locales in which she lived and painted. I have assembled a collection of music that she Sometime after 1627 Artemisia made her home in Venice, where she was rumored to might have heard at various times throughout her life. For live programs I have paired have become intimate with British composer Nicholas Lanier, who had been sent there these with images of paintings by Artemisia or by her contemporaries, that reflects by Charles I to facilitate the purchase of art being liquidated by the Gonzaga court of my interpretation of her geographical location, the meaning of some of the texts she Mantua. Artemisia’s spectacular Venere dormiente (Sleeping Venus) dates from this period. set to music, or the sonic qualities of the music itself.