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Also available: Claudio 3 CDs MONTEVERDI Madrigals Book 7 ‘Concerto’ Delitiæ Musicæ • Marco Longhini

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Claudio e ballano e saltano snelli while kids and lambs MONTEVERDI i capri e gli agnelli. nimbly dance and leap. (1567-1643) % Balliam, che nel Cielo % Let us dance, for above in MADRIGALS BOOK 7 con lucido velo, brightly veiled heaven, al suon de le sfere the stars are dancing ‘CONCERTO’ or lente or leggiere to the sound of the spheres, IL SETTIMO LIBRO DE’ MADRIGALI, 1619 con lumi e facelle now slow, now quick, su danzan le stelle. their light shining brightly. CD 1 58:14 ^ Balliam, che d’intorno ^ Let us dance, for all around 1 Symphonia. Tempro la cetra (e – h, i, l, n, o p, q, t, u, v, w, x) 11:48 nel torbido giorno, on this gloomy day, 2 A quest’olmo, a quest’ombre (a, b, c, e, f, g – h, i, l, n, o p, u, v, w) 5:18 al suono de’ venti the clouds have come running 3 Non è di gentil core (a, b – l, s) 5:12 le nubi correnti, to the sound of the winds, 4 O come se’ gentile (a, b – h) 5:43 se ben fosche e adre and though dark and sombre, 5 Io son pur vezzosetta (a, b – l, m) 4:04 pur danzan leggiadre. carefree they dance. 6 O viva fiamma (a, b – h, i, n) 3:59 7 Vorrei baciarti, o Filli (c, d – h, i, l) 5:15 & Balliamo che l’onde & Let us dance, for the waves 8 Dice la mia bellissima Licori (c, d – i, l, r) 3:14 al vento che spira are whipped and tossed, le move, e l’aggira, stirred and troubled 9 Ah, che non si conviene (c, d – i, n) 4:25 le spinge e confonde by the breath of the wind, 0 Non vedrò mai le stelle (c, e – l, m) 4:38 si come lor siede as if they too ! Ecco vicine, o bella tigre, l’ore (e, f – i) 4:37 se movon il piede, were moving their feet, e ballan le linfe and the waters are dancing CD 2 61:20 quai garuli ninfe. like chattering nymphs. 1 Perchè fuggi tra salci (c, d – l, s) 4:17 * Balliam, che i vezzosi * Let us dance, for the pretty 2 Tornate, o cari baci (c, d – h, l, s) 3:46 bei fior ruggiadosi, flowers, bathed in dew, 3 Soave libertate (c, d – h) 4:14 se l’aura li scuote when touched by the breeze 4 S’el vostro cor, madonna (d, g – i, m) 5:25 con urti e con ruote, so that they turn and sway, 5 Interrotte speranze (e, f – i, l, n, r) 4:08 fan vaga sembianza look as though anch’essi di danza. they were dancing too. 6 Augellin, che la voce (c, d, g – i, l, n, s) 4:34 7 Vaga su spina ascosa (c, d, g – h, i, s) 3:05 ( Balliamo e giriamo, ( Let us dance and turn, 8 Eccomi pronta ai baci (e, f, g – i, l, r) 3:03 corriamo e saltiamo, let us run and jump, 9 Parlo, misero, o taccio? (a, b, g – i, m) 5:51 Qual cosa è più degna, All that is best, 0 Tu dormi? (a, c, e, g – h, i, l, m, r) 4:11 il ballo n’insegna. we learn from the dance. ! Al lume delle stelle (a, b, d, g – h, l, r) 5:16 @ Con che soavità (a – h, i, l, n, o, p, q, r, s, u, v) 6:45 #-^ Romanesca: Ohimè dov’è il mio ben (a, b – l, s) 6:44 English translations: Susannah Howe

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già tiene legata each lover now holding CD 3 43:11 l’amante l’amata. close his beloved. 1-5 Lettera amorosa: Se i languidi miei sguardi (b – h) 9:18 Già movon concorde Now they are moving 6-0 Partenza amorosa: Se pur destina (e – m) 10:46 il suono a le corde. in time to the strings. Noi soli negletti Only we are ignored, ! Chiome d’oro (a, b – i, l, o, q, u, v) 3:48 qui stiamo soletti. standing here alone. @ Amor che deggio far? (a, b, e, g – i, l, o, q, u, v) 4:47 #-( Ballo: Tirsi e Clori (Clori a, h • Tirsi e, i, l, r • Tirsi: Thyrsis: Coro: a, b, c, e, g – h, i, l, n, o, p, q, r, u, v, w, x) 14:31 Su, Clori mio core, Come, Chloris, my heart, andianne a quel loco, let us go there, New Urtext Music Edition by Marco Longhini © 2004 ch’invitano al gioco for the Graces and cupids le Grazie ed Amori. invite us to play. Già Tirsi distende Thyrsis holds out la mano e ti prende, his hand to take yours, DELITIÆ MUSICÆ che teco sol vole for with you alone menar le carole. will he lead the carolling. Alessandro Carmignani, Countertenor (cantus) (a) Paolo Costa, Countertenor (quintus) (b) Clori: Chloris: Sì, Tirsi, mia vita, Yes, Thyrsis, my life, Fabio Fùrnari, Tenor (quintus-altus) (c) ch’a te solo unita for joined with you alone Paolo Fanciulacci, Tenor (altus) (d) vò girne danzando, will I dance Marco Scavazza, Baritone (tenor) (e) vò girne cantando. and sing in rounds. Marco Radaelli, Baritone (tenor) (f) Pastor, bench’è degno, Let no shepherd, however worthy, Walter Testolin, Bass (bassus) (g) non faccia disegno dare to try di mover le piante and tread the dance Marina Bonetti, Harp (h) con Clori sua Amante with Chloris as his lover. Maurizio Piantelli, Theorbo and Baroque guitar (i) Carmen Leoni, Harpsichord (l) and organ (m) Clori e Tirsi: Chloris and Thyrsis: Lucio Gugole, Organ (n) Già, Clori gentile, Thus, gentle Chloris, Luca Mares, Violin (o) noi siam nella schiera. do we join the crowd. Giuseppe Cabrio, Violin (p) Con dolce maniera In graceful manner Vania Pedronetto, Violin and Viola da braccio (q) seguiam il lor stile. let us follow their style. Balliamo et intanto Let us dance and the while Cristiano Contadin, Viola da gamba (continuo) (r) spieghiamo col canto, give with our song, Claudia Pasetto, Viola da gamba (continuo) (s) con dolci bei modi in sweet and tuneful tones, Rodney Prada, Lirone (t) del ballo le lodi. our praises to the dance. Francesco Galligioni, Cello (u) Alessandro Sbrogiò, Violone (v) Tutti: All: Marco Rosasalva, Michele Favaro, Flauti dolci (w) $ Balliamo, ch’el gregge, $ Let us dance, for the flock Chicchi Dellisanti, Percussion (x) al suon de l’avena is stepping in time che i passi corregge to the sound of the pipe Marco Longhini, Director il ballo ne mena and leading the dance,

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Claudio Monteverdi (1567-1643) E non si può veder And can a loving thought A new concept for the Madrigal: The Seventh Book, a Concerto l’amoroso pensier da l’orecchio umano? not be perceived by the human ear? Dunque un fido amator Must then a faithful lover The ‘Concerto’ (as Claudio Monteverdi entitled his senior religious figure) was appointed not by the Pope dovrà nel suo dolor languire in vano? suffer and languish in vain? Seventh Book of Madrigals) was published by printer but by the Doge and the Grand Council. In embracing Bartolomeo Magni in Venice in 1619, five years after this city, Monteverdi was embracing a different concept Intesi pur talor I have heard it sometime said the Sixth Book had appeared. At the beginning of the of culture and setting out in an entirely new che nella fronte il cor si porta scritto, that the heart can be read in the face, book, alongside a sonnet by an anonymous admirer (Sul compositional direction, far from life at court and or, come a me non val why then should my inner MONTE, che da terra al cielo asceso — On the princely subjugation. scoprir l’interno mal nel volto afflitto? torment not be revealed in my features? mountain that rose from earth to heaven) Monteverdi There is only a fleeting reference to Duke included a fascinating dedication to Catherine Ferdinando Gonzaga in the Seventh Book’s dedication: Ingiustissimo Re, Most unjust king, de’ Medici, a daughter of one of the most powerful the focus is on Catherine. The Duke had presumably perché la vera fe’ nota non fai? why do you not make known true faith? Italian families, then rulers of Florence, and been angered by Monteverdi’s decision to leave Mantua Perché lasci perir Why, if you see and know them, granddaughter of the far more famous and controversial (significantly, of course, the Sixth Book was the only voci, sguardi e sospir, se’l vedi e’l sai? do you allow words, looks and sighs to perish? Catherine de’ Medici, queen of France. By playing the one to have been published without a dedication: how part of devoted courtier and dedicating his work to the was a farewell publication to be taken?), but the O come sarìa pur Oh, how sweet and sure wife of Ferdinando Gonzaga, Duke of Mantua (the city composer’s movements were certainly not a priority as Amor dolce e sicur se’l cor s’aprisse! Love would be if the heart were opened! mentioned so often in my notes on Monteverdi’s earlier far as he was concerned. Ferdinando had inherited a Non soffrirebbe già Would a pitiless lady books of madrigals), the composer was attempting to fragile financial situation which his own lifestyle and a donna senza pietà ch’altrui morisse? not then suffer that another should die? maintain good relations with a man he had number of errors of political judgement only made simultaneously loved and hated, for he had never been worse: this was why he found himself forced to sell off E dunque sotto il ciel And therefore beneath the skies given the honours due to a musician by then famous one of the world’s most magnificent art collections (the non v’è d’alma fedel segno verace? is there no true sign of a loyal heart? throughout Europe. In 1614 Monteverdi had abandoned famous Celeste Galleria, which included works by Ahi fato, ahi pena, ahi duol! Ah, fate, ah, torment, ah, sorrow! Mantua for Venice (where he would remain until his Bruegel, Cranach, Dürer, Mantegna, Titian, Rubens, Or credami chi vuol, ch’io mi dò pace. Believe me who will, I have accepted it. death): it was no coincidence, therefore, that in that Giulio Romano, Tintoretto, Reni, Correggio and same year he produced his Sixth Book (Naxos Veronese, now scattered around the world’s great BALLO: TIRSI E CLORI BALLET: THYRSIS AND CHLORIS 8.555312–13), dedicated to the themes of parting and galleries). Monteverdi hoped to maintain friendly (Concertato con voci et istromenti) (Ballet for voices and instruments) farewell. With its tales of abandonment (as told by the relations with Mantua by means of the Seventh Book’s (Alessandro Striggio J. (c.1535-c.1587)) (Alessandro Striggio J. (c.1535-c.1587)) one abandoned) and songs of heartbreaking physical dedication: “these compositions of mine shall be a separations, the book was a final, definitive and sublime public and true testament of my devoted affection for Tirsi: Thyrsis: tribute to the mode of madrigal composition which had the house of Gonzaga, whose faithful servant I was for # Per monti e per valli, # Over peaks, through dales, inspired so many of his works up till then. Monteverdi some decades”. His decision to turn towards the new, bellissima Clori, most beautiful Chloris, would never forget Mantua and the Gonzagas, just as he and towards the Most Serene Republic of Venice was, già corrono a balli nymphs and shepherds would never forget the madrigal in the form for five however, irrevocable: when, in 1619, the Mantuan le ninfe e i pastori. are running to the dance. voices that assured it a unique place in the history of official court musician died (Monteverdi, of course, had Già lieta e festosa The heart of the meadow music. At that time Venice was the city of innovation, never held this post), he was recalled to the Duke’s ha tutto ingombrato now is filled centre of a new concept of political power, the service, but eluded the invitation by making impossible la schiera amorosa with a crowd of lovers, Republic: La Serenissima (as the city and its territories financial demands. The consideration in which his work il seno del prato. happy and rejoicing. were known) was not ruled over by a duke or a prince, was held, the healthy stipend he was receiving (“I may but enjoyed full political and religious autonomy. St not be rich, but neither am I poor”, he would write to Clori: Chloris: Mark’s Basilica, for example, was liturgically Striggio in 1627), the fact that he was working for a Dolcissimo Tirsi, My sweetest Thyrsis, independent of Rome, and the Patriarch (the city’s most stable institution and not subject to the whims and già vanno ad unirsi, they come to be together,

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Amor prestami fede. Love, have faith in me. fancies of a duke, led him to turn his back on his court- to understanding what he wanted when he established Per te, alma mia diva, For you my divine spirit bound past and keep the new “sweetest of servitudes” his “carefully calculated and finely balanced” partirà sì ma schiva will leave, it is true, but, and the post of Maestro di Cappella della Serenissima arrangement. As is also true of the previous volumes, de la gravosa salma free of its burdensome body, Repubblica (as he is credited in the book’s frontispiece) the works follow on, one from the next, in a precise farà volando l’alma my soul will soar at St Mark’s Basilica (which was not a cathedral rationale that needs to be observed: first, the vocal dolcissimo soggiorno as it returns to the lovely firmament, answerable to Rome, but the Doges’ private church, the structure develops as the book goes on (ordered al suo bel ciel ritorno. there to dwell in sweetness. official chapel of the Republic). according to precise vocal ranges); secondly, the book is Monteverdi’s new circumstances, together with his presented as a kind of opera, which gradually unfolds, ! CHIOME D’ORO ! GOLDEN TRESSES natural propensity for seeking out and experimenting from the initial prologue (a stroke of genius on (Canzonetta a due voci concertata con duoi violini, (Canzonetta for two voices with the accompaniment with new ways of composing, led him to publish a book Monteverdi’s part) and opening “chorus”, into scenes chitarrone o spinetta et avanti s’incomincia a cantare of two violins, archlute or spinet, and the present that represents a clear break with his earlier for two and three depicting different aspects of love, si suona li presenti ritornelli, quali vanno suonati tre ritornellos should be played three times before the publications: here the madrigal is transformed or, until we reach the joyous and “choral” final dance. volte avanti il cominciar delli soprani) sopranos begin.) perhaps, it would be better to say it has vanished, at least Breaking this sequence (now re-established in the new in the form that would have been recognised up to that and complete critical edition prepared specifically for Chiome d’oro, bel tesoro, Golden tresses, shining treasure, point. Of thirty-two compositions (the very number was this recording) would be akin to making arbitrary tu mi leghi in mille modi you bind me in a thousand ways, a novelty given that the earlier books contained eighteen changes to the usual narrative structure of an opera; it se t’annodi, se ti snodi. whether braided, or loosely flowing. to twenty-one pieces at the most), there is not a single was deliberately constructed by the composer and five-voice madrigal, only pieces for one to four voices alternates moments of sonorous splendour with Candidette perle elette, Perfectly chosen little pearls of white, (a good fifteen are marked “a due” — for two voices), moments of solitary reflection, moving from joy to se le rose che coprite when you reveal the roses all with basso continuo, some with violins, along with drama, from eroticism to prayerfulness. discoprite, mi ferite. that you conceal, you wound me. works that might be called “experimental”, as they are The book opens with an instrumental Symphonia not comparable to traditional madrigal form. It was the (comparable to an operatic overture) which incorporates Vive stelle che sì belle Bright stars who shine heterogeneous nature of this collection that led a beautiful poem by Giambattista Marino, Tempro la e sì vaghe risplendete, so beautiful and bright, Monteverdi to use the title “CONCERTO”, “a term cetra (CD 1, 1), taken from his collection entitled La se ridete m’ancidete. when you laugh you kill me. whose various meanings point to contrasts between on Lira (The Lyre), an anthology of a number of shorter the one hand agreement and harmony between parts, collections published as the Rime (Poems) between Preziose, amorose, Beloved lips of coral, and on the other, confrontations between voices and 1602 and 1614. More than a mere introduction, this coralline labbra amate, so precious and loving, instruments; not yet the division between soloist and opening is similar to a seventeenth-century opera’s se parlate mi beate. when you speak you bless me. ensemble. And yet the way the pieces are arranged prologue, for solo voice, designed to set out for the within the book is carefully calculated and finely audience the nature and plot of the book (think, for O bel nodo per cui godo, O sweet bond in which I delight, balanced.” (Claudio Gallico: Monteverdi, 1979). example, of the prologue sung by Music in o soave uscir di vita, o gentle departure from life, This arrangement has in fact been the source of Monteverdi’s Orfeo, 1607). As in a madrigal (and o gradita mia ferita! how welcome is my wound! many a disagreement among academics and performers, perhaps this in itself means it is still admissible to define as it offers them a range of solutions: some performers the piece as a madrigal), the notes are subject to the @ AMOR CHE DEGGIO FAR? @ LOVE, WHAT AM I TO DO? disregard the order as printed (Cavina); some meaning of the words, yielding to word-paintings that (Canzonetta a quattro, concertata come di sopra in (Canzonetta for four voices, accompanied as above musicologists (including Malipiero and all those who send the phrase “alzo talor lo stil” soaring, decorate the duoi violini spinetta o chitarrone) by two violins, spinet or archlute) worked on his edition) respect the basso continuo score words “e pur tra’ fiori” with flowery semiquavers and which (for purely practical printing reasons) puts Non è ornaments, and slow down, as if to feign sleep, in the Amor che deggio far Love, what am I to do, di gentil core in second instead of third place (where it final line, “in grembo a Citerea dorma al tuo canto”. se non mi giova amar con pura fede? if it avail me not to love with pure fidelity? appears in all the vocal and other instrumental parts). The awakening (before the conclusion that leads back to Servir non vò così, I would not serve thus, For me, respecting Monteverdi’s chosen order is not the varied sinfonia) is a joyful dance seemingly written piangendo notte e dì per chi no’l crede. weeping night and day for one who believes me not. simply a matter of academic precision, it is fundamental for a talented group of dancers. Malipiero’s 1932 edition

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(the only version available till now) contains a few Con che soavità (CD 2, @), contrary to what might che per casta beltade that he, for a chaste beauty errors, which we have corrected for our own edition: as be thought, is not a madrigal for solo voice with temprò sì bei lamenti has sung such sweet laments well as the omission of some of the original instrumental accompaniment, but a ten-part piece, che’l mar, la terra e i venti that sea, earth and winds ornamentation, I would also mention the textual error divided into three choruses, in which only one part is ne sospiraro, e’l cielo sighed over them, and heaven “de la lira sublime” (the original being “de la tromba sung, the others being given to instruments rather than di lagrimoso velo, taking pity on their sighs, sublime”), a number of missing tied notes (the most singers. This polychoral idea, a homage to a specifically pietoso a’ suoi sospiri, scattered a soothing shower noticeable, even to a distracted listener, being the second Venetian way of composing (think of Gabrieli’s works, sparse gli almi zaffiri; of sapphire tears; violin’s final note), and a number of notational errors in for example), is hinted at in a text that reveals a e potrei dir ancora and I could also say that the inner instrumental parts. All the other pieces in the significant conceptual and musical turning point. ch’unqua non vide aurora never was a lovelier dawn Seventh Book have also undergone a complete critical Marini’s poem puts “words” before “kisses”, since the specchiarsi in mar sì bella seen reflected in the sea, revision, which entailed a detailed comparison of the one must necessarily exclude the other (“s’ancidono fra né l’amorosa stella while the star of love first edition of 1619 with its reprints (in 1622, 1623, lor”): the eternal conflict between reason and passion. se non oscura e vile, seemed dark and empty 1628 and 1641), and of the texts with the original In an ideal world these two parts of the human soul dopo l’ardor gentile after the gentle ardour published versions of the poems. Many discrepancies would unite and create harmony in our love affairs and delle stellanti ciglia, of those sparkling eyes, were found, leading to alterations in either the music or in our daily lives; sadly, this cannot be. Monteverdi immortal meraviglia that immortal wonder the text. CD 1, 2, contains one such example. On expresses this idea in music by putting the solo voice in cui mirando, a volo whose gaze sends me examining the text, we noticed that there were different (not polyphony, but a single voice accompanied only by varco le nubi e’l polo. flying above the clouds. versions of the final few words: “de l’antiche dolcezze the basso continuo) in between the two concepts (reason ancor gli honori”, or “… ancor gli humori”, whereas and passion) that are represented by the two choruses of 9 Ma deh, luci serene, 9 Yet, alas, serene lights, Marino’s original poem reads “… ancor gli odori”. The wordless instruments. These two groups are very de le mie care pene sweetest consolation latter is probably the correct version (the others provide different in nature, the composer decreeing that one dolcissimo conforto, to my dear sorrows, musical but not semantic assonance), given that one of must be made up of viols da gamba (with an organ for chi scorgerammi in porto who will guide me to port the key themes of the Seventh Book is that of “profumo” the bass line) and the other of viols da braccia (“on the per questo mar insano, across this stormy sea — perfume. This theme also appears in Vaga su spina arm”), that is, a “modern” string quartet (with se da voi m’allontano? once I am far from you? ascosa (which invokes the “Ninfe de gli odori”, (CD 2, harpsichord). The man dreams of harmony but in reality Ahi che mia stanca nave Ah, I steer my weary 7) and in Con che soavità (CD 2, @), in which Guarini must make a choice between “kisses” and “words”, rimiro, e’l cor ne pave, ship, and my heart trembles, cites his much-loved “labbra odorate”. This piece, along between instinct and rational thought, hoping to unite fra turbini e tempeste, amid gales and tempests, with the second madrigal in the book, merits particular them but all the while fully aware that victory for one e del lume celeste and in vain I long for consideration: in both pieces the instruments harmonize means death for the other (“Che soave armonia fareste, invan sospiro i rai, rays of heavenly light, in dialogue with the voices. A quest’olmo (CD 1, 2) is a o dolci baci, o cari detti, se foste unitamente d’ambedue stelle che tanto amai. o stars I loved so much. madrigal for six voices, basso continuo, two violins and le dolcezze ambo capaci”). The underlying message to two obbligato flutes (that is, Monteverdi himself us from Monteverdi is that ideally the old world (the 0 Ma qual timor mi punge? 0 But what fear spurs me? indicated on the parts that he wanted these instruments, viol da gamba group, and everything connected with it) Ove n’andrò si lunge Where shall I go, so far away something quite rare at a time when melodic lines were would live in harmony with the new (the string quartet), ch’io perda il dolce lume? that I lose your gentle light? usually written and then assigned to the instruments but the answer is a fateful one: from this madrigal Qual monte mai, qual fiume, What mountain, what river, available for a specific performance). Guessing that the onwards, “the old” would vanish to be irrevocably qual mar farammi eclissi what sea will ever eclipse composer must have had two talented flautists at his replaced by the “new”. From this point onwards, never che nel mio sol non fissi the sun on which I fix disposal, we have broadened the forces of this book to again do we find viols da gamba (even though il cor, l’alma e i pensieri, my heart, my soul, my thoughts, include these two instruments as well, alternating them Monteverdi had first been employed by the Gonzaga se de quei raggi altieri as long as I hold the light and heart with the violins (as in this second madrigal) in the first court as a violist) — they are replaced by violins (and per entro il cor profondo of those proud rays piece and in the final Ballo, obtaining the tonal variety the cello, seen as a bass version of the violin); never la luce e’l cor ascondo? deep within my soul? desired by Monteverdi in A quest’olmo. again would Monteverdi return to the five-voice Partirà ben il piede: I must away now:

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7 Deh con più lenta mano 7 Ah, slow the hand madrigal; never again would he return to Mantua. Licori, CD 1, 5 and 8), contrast with moments of sferza i destrieri ardenti, that whips your ardent steeds, Ideally, everything would come together, but in reality desperate expressiveness and intensity. Of these, S’el Febo, se a’ tuoi lamenti Phoebus, and at your lament as the path opened towards the modern age, the old vostro cor, madonna and Interrotte speranze (CD 2, 4 trecce dorate e bionde may your beloved laurel boughs world was swept away: this piece figuratively marks the and 5) show the intensity that can be achieved with just tornin l’amate fronde. turn back into Daphne’s golden locks. precise moment at which this change took place. two voices. Intimate dramas, and the tortured heart of O pensier vani e folli! O vain and foolish thoughts! The Lettera amorosa (CD 3, 1-5) and the Partenza the book, these two madrigals demonstrate Che spero, ohimé, che volli? What hope is there, alas, what did I want? amorosa (CD 3, 6-0) are two monologues written for Monteverdi’s genius (fruit of the Seconda prattica) for Già dibattendo l’ale The fateful hour tenor and baritone respectively; both are headed with creating pathos, emotion and turbulence. The initial gionge l’ora fatale of my bitter departure the following inscription: “for solo voice, in theatrical unison of Interrotte speranze (CD 2, 5) which breaks dell’aspra mia partita, is already beating its wings, style, to be sung without a regular beat”. As I wrote in down into dissonance is a development of the vita de la mia vita, life of my life, my notes on the Sixth Book (Naxos 8.555312–13) with experiments heard in the Fourth Book madrigal Ah, a te non dico a dio No farewell shall I say to you reference to the solo version of the Lamento d’Arianna, dolente partita (the first track on Naxos 8.555310); the ché se l’alm’e’l cor mio, who are my heart and soul, this means the singer is faced with the problem of chromaticism of S’el vostro cor, madonna (CD 2, 4) se lascio ogni mio bene if I leave everything dear to me, having to “act” the piece, not by dressing up as the creates unexpected musical results. e con la cara speme and with beloved hope character concerned, but by “being” that character: for A key element of the ‘Concerto’ are the poems from resta ogni bel desìo, remains each sweet desire, just a few minutes he must tangibly inhabit the rôle and Giambattista Marino’s Rime amorose dedicated to the a me vò dire addio. to myself shall I say farewell. convey this sufficiently well to convince the audience erotic theme of the “kiss”: Vorrei baciarti, o Filli (with A me, che triste e solo, To myself, as sad and alone, that what they are seeing is real. The second element, its original literary title: Bacio in dubbio, CD 1, 7), preda d’immortal duolo, subject to everlasting grief, “without a regular beat”, “does not present any Perchè fuggi (Bacio involato, CD 2, 1), Tornate, o cari da me medesimo, lasso, alas, away from myself particular problem, since it clearly refers to the need for baci (Baci cari, CD 2, 2) and the wonderful and volgo partendo il passo. do I turn to leave. a declamatory style that avoids all rhythmic rigidity in mischievous trio Eccomi pronta ai baci (Bacio favour of free recitative governed only by the flow of mordace, CD 2, 8). Meanwhile, Parlo, misero, o 8 Lumi, voi che vedeste 8 O eyes, you who saw the oratione and of the emotion” (P. Fabbri: taccio? (CD 2, 9), for three voices, is a real test of the della beltà celeste, shine so brightly the rays Monteverdi, 1985). singers’ abilities, with the vocal range extended in both allor ch’arsi e gelai, of heavenly beauty, To encourage this fluency, part of the basso the upper and lower registers (a range of more than two splender sì vaghi i rai, while I burned and froze, continuo is written out “in partitura” (for the first time in octaves is necessary for the bass: perhaps a tribute to the a voi, tremante e muto, from you, as I silently tremble, a Monteverdi publication), i.e. with the vocal line set out renowned Giulio Cesare Brancaccio), the music a voi dimando aiuto. from you do I beg help. above the accompaniment, thereby enabling better reflecting the conceptual extremes and contrasts Ridite, occhi, ridite Tell again, eyes, tell again coordination and greater interpretative freedom. Many expressed in the poem. con lagrime infinite, with infinite tears, musicologists and performers have justified The book ends with the Ballo: Tirsi e Clori (CD 3, ridite innanzi a lei tell her of my cruel Monteverdi’s choice of the high voice for the Lettera #-() which, fittingly for a book made up largely of gli affanni acerbi e rei, and dreadful torment, amorosa in the belief that the letter in question is being two-voice madrigals, begins with the sweetest of duets ch’io non saprei ridire for I cannot utter read by its female recipient. We think, however, that the for the shepherd and his shepherdess. They take turns to di contanto martire a single word title given by the poet, Claudio Achillini, leaves no sing, their different natures clearly portrayed, and then ne pur minima parte. about such suffering. room for doubt — A gentleman, impatient at his delayed join together: in a dance-like triple metre, Thyrsis tries Solo dirò che parte I shall only say that nuptials, writes this letter to his most beautiful bride — to convince his beloved Chloris of the joy and pleasures il più leale amante the most faithful lover and provides further evidence to support our considered to be found in dance, but his advances are held back by che mai fermasse piante who ever set foot in the decision to use male voices in the higher registers, as her feminine reticence and shyness (musically nell’amoroso regno; realm of love is leaving; discussed in the notes for the earlier books. represented by a declamatory freedom allowed by the che di laccio il più degno that he has lived bound The duets in the Seventh Book are extremely duple metre). The final duet symbolizes the lovers’ incatenato visse by the most worthy ropes innovative: theatrical love scenes, both tender and union, all reticence overcome; this then leads into the di quanti unqua n’ordisse of all those Love ever comic (Io son pur vezzosetta or Dice la mia bellissima choral celebration of the dance, bringing in other voices Amor per altra etade, wove, at any time, 8.555314-16 22 7 8.555314-16 555314-16 bk Monteverdi US 28/7/08 09:34 Page 8

and instruments in a profusion of different rhythms and opposite sides) and in the tonal nature of the different 4 Dolcissimi legami, belle mie pioggie d’oro, 4 Sweetest bonds, beautiful rain of gold, atmospheres. There is much documentary evidence to accompanying instruments. It is noticeable that this qualor sciolte cadete da quelle ricche nubi, when set free you fall from those rich clouds show that the Ballo was composed by Monteverdi and piece as described requires larger forces (eight voices ove raccolte séte e, cadendo, formate that held you, and as you fall, you create Striggio (the author of the text) for the coronation of accompanied by eight stringed instruments and double preziose procelle, onde con onde d’or wonderful storms, whose golden waves Duke Ferdinando Gonzaga in February 1616. An bass and basso continuo for the final dance, as compared bagnando andate scogli di latte e rive d’alabastro, break over milky rocks and banks of alabaster, autograph letter gives us a good idea of what to the five voices in the rest of the Seventh Book), but we more subitamente, o miracolo estremo d’amoroso desìo, and yet, o final miracle of love’s desire, Monteverdi himself wanted on that occasion: “I should know how Monteverdi adapted his own works to the fra sì belle tempeste arso il cor mio. mid such tempests, my heart, parched, suddenly dies. judge it proper that it be performed in a semi-circle, with occasion in question and to the instrumental forces at the ends a theorbo and a harpsichord, one playing the available. To record the instrumental opulence he 5 Ma già l’ora m’invita, o degli affetti miei 5 But time is now telling me, o faithful herald bass for Chloris, the other for Thyrsis, and each of them wished for, in our version we double the five vocal lines nunzia fedele, cara carta amorosa, of my affections, dear letter of love, should also have a theorbo to play as they sing to their of the finale with violins, viols (both “da gamba” and che dalla penna io ti divida omai. that I must now lay down my pen. own and to the other instruments. Were Chloris to have “da braccio”), cello, double bass, flutes, percussion and Vanne, e s’Amor e’l Cielo cortese ti concede Go then, and if Cupid and kind Heaven grant a harp in place of a theorbo, that would be even better. all the continuo instruments used in the preceding che dei begl’occhi non t’accenda il raggio, that the light of those fair eyes burn you not, For the dance, after they have sung their dialogue, madrigals: this makes for a wonderful contrast with the ricovra entro il bel seno, take shelter in her lovely breast, another six voices should join in, to make eight in all, solo harp that accompanies Chloris and the harpsichord, chi sa che tu non giunga da sì felice loco perhaps you may travel the snowy slopes eight viols da braccio, one contrabass, one spinet. If viol da gamba and a Baroque guitar which we can per sentieri di neve a un cor di foco. of that happy place and reach a heart of fire. there were also two small lutes, that would be fine.” The imagine that Thyrsis himself is playing. desire to distinguish between the two protagonists is PARTENZA AMOROSA: SE PUR DESTINA LOVING FAREWELL: IF HEAVEN WISHES very clear both in the staging (the two to stand on Marco Longhini a voce sola in genere rappresentativo for solo voice, in theatrical style, et si canta senza battuta to be sung without regular measure

6 Se pur destina e vole il cielo, 6 If heaven wishes and ordains, almo mio sole, o sun who gives me life, che in tenebre mi viva, that I should live in darkness, ascolta alma mia diva, listen, my noble goddess, ciò che potrà ridire to what the cold, trembling tongue fra cotanto martire of a forlorn lover di sconsolato amante will say to you lingua fredda e tremante. despite its suffering. O del cor luce e speme, O light and hope of my heart, odi le voci estreme: hear these final words: odile e dal bel seno hear them, and let at least una lagrima almeno one tear bathe the bright snows bagni la viva neve. of your lovely breast. Rimira, ah come lieve See, ah, how joyfully per l’eterno cammino it hurries down its eternal s’affretta, e già vicino path, though that unhappy splende l’infausto giorno day is already nigh che dal bel ciglio adorno which will take me far away mi condurrà lontano. from your beautiful eyes.

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1 Se i languidi miei sguardi, 1 If my languishing glances, Delitiæ Musicæ se i sospir interrotti, if my broken sighs, se le tronche parole non han fin or potuto, if my halting words have not thus far been able, The a cappella instrumental and vocal ensemble Delitiæ Musicæ o bell’idolo mio, farvi delle mie fiamme intera fede, o my idol, to convince you of my love for you, was established in 1992. It is considered one of the most leggete queste note, credete a questa carta, read these words, put your faith in this letter, enterprising Italian early music ensembles, with important a questa carta in cui sotto forma d’inchiostro this letter whose ink poured recordings in the last ten years that include the Missa Philomena il cor stillai. from my heart. Praevia of Verdelot, four widely acclaimed albums (Choc du Qui tutti scorgerete quegl’interni pensieri Here will you read all those inner thoughts disque and 9 de Répertoire in France, as well as the Spanish Five che con passi d’amore scorron l’anima mia; that with love flow from my soul; Stars Award) dedicated to Masses of Palestrina based on the anzi avvampar vedrete come in sua propria sfera, here too will you see flame, as in its own sphere, compositions of the Flemish composer Cipriano de Rore, Lupus nelle vostre bellezze, il foco mio. in your beauty, the fire within me. and Jacquet de Mantua. Delitiæ Musicæ, under the direction of Non è già parte in voi che con forza invisibile There is no part of you that with the invisible Marco Longhini, has also recorded Adrian Willaert’s Vespro di d’amore tutto a sé non mi tragga. force of love does not attract me to it. Natale (Editor’s Choice, Classica, April 1999) and books of Altro già non son io che di vostra beltà preda e trofeo. I am naught now but your beauty’s prey and trophy. madrigals – Pazzia senile & Saviezza giovenile, Studio dilettevole and Metamorfosi – by Banchieri. The unconventional yet 2 A voi mi volgo o chiome, cari miei lacci d’oro, 2 I turn to you, o tresses, beloved braids of gold, impassioned interpretations by Delitiæ Musicæ and Marco Longhini are seen as an important regeneration of Italian deh, come mai potea scampar sicuro, ah, how could I ever escape safe and sound Renaissance and Baroque music. The ensemble is under exclusive contract to Naxos for a fourteen-CD collection of se come lacci l’anima legaste, when you wound around my heart, the Complete Madrigals by Monteverdi and a six-CD collection of the Complete Madrigals by Gesualdo. come oro la compraste? when as if it were gold you bought it? Voi, pur voi, dunque siete della mia libertà You, you alone, are the chains and the price catene e prezzo. of my freedom. Stami miei preziosi bionde fila divine, My precious strands, divine blond locks, con voi l’eterna Parca sovra il fuso fatal mia vita torce. with you eternal Fate turns my life on her spindle. Marco Longhini Voi, voi, capelli d’oro, voi pur séte di lei, You, you, golden hair, are the light, the spark, ch’è tutta è foco mio, raggi e faville. of she who is all fire to me. Marco Longhini came to conducting after a long association with early music, especially of Ma, se faville séte, ond’avvien che d’ogn’ora But, if you are the spark, how is it the sixteenth and seventeenth centuries, concentrating his attention on the rediscovery of contro l’uso del foco in giù scendete? that unlike fire, you always descend? often unpublished Italian masterpieces of the past. Twenty years activity in this repertoire, Ah, che a voi per salir scender conviene, Ah, you must descend to ascend, with performances throughout Europe, have given him a profound knowledge of vocal ché la magion celeste ove aspirate, for the heavenly dwelling for which you long, music in opera and oratorio. In addition to his work with Delitiæ Musicæ he has a o sfera degli ardori, o Paradiso, o sphere of passion, o Paradise, demanding career as a conductor of opera and oratorio. Marco Longhini has an extensive è posta in quel bel viso. is to be found in that fair face. discography of some 25 recordings, including Cavalieri’s Rappresentatione di Anima e di Corpo (awarded the French Choc du disque in 1998 and 9 de Répertoire), Adriano 3 Cara mia selva d’oro, richissimi capelli, 3 My beloved forest of gold, richest of tresses, Banchieri’s Madrigals Pazzia senile e Saviezza giovenile chosen by the magazine CD in voi quel labrinto Amor intesse, Cupid has woven a labyrinth Classica as the best recording of April 1999; further recordings include Monteverdi’s Messa onde uscir non saprà l’anima mia. from which my heart cannot escape. e Litanie della Beata Vergine, Cavalieri’s Cantata and Mass Sciolto havean dall’alte sponde Tronchi pur morte i rami del prezioso bosco, May death cut the boughs of that precious wood, (awarded five stars by the Italian magazine Musica), and many others. He now teaches at the e da la fragil carne scuota pur lo mio spirto, and free my spirit from my fragile flesh, Conservatory of Brescia. che tra fronde sì belle anco recise rimarrò that amid fronds still fair though cut, I will be prigioniero, captive, fatto gelida polve ed ombra ignuda. made naught but cold dust and bare shadow.

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CONCERTO — IL SETTIMO LIBRO CONCERTO — THE SEVENTH BOOK @ CON CHE SOAVITA’ @ HOW SWEET IT IS, FRAGRANT LIPS DE MADRIGALI, 1619 OF MADRIGALS, 1619 (Giovanni Battista Guarini: Parole e baci, (Giovanni Battista Guarini: Words and kisses, da “Rime” LXXVII, 1598) “Rime” LXXVII, 1598) CD 1 CD 1 Con che soavità, labbra odorate, How sweet it is, fragrant lips, 1 SYMPHONIA. TEMPRO LA CETRA 1 SYMPHONIA. I TEMPER MY LYRE e vi bacio e v’ascolto. both to kiss you and to listen to you. (Giambattista Marino (1569-1625): (Giambattista Marino (1569-1625): Ma se godo un piacer, l’altro m’è tolto. Yet as I enjoy one pleasure, the other is denied me. “La lira”, Rime amorose, I, 1602/14) “La lira”, Rime amorose (Love Poems), I, 1602/14) Come i vostri diletti How can it be that your delights s’ancidono fra lor, se dolcemente mean death to one another, when my heart Tempro la cetra, e per cantar gli onori I temper my lyre, and to pay tribute to Mars vive per ambiduo l’anima mia? lives for the joys of both? di Marte alzo talor lo stil e i carmi. would I raise my voice in fine, well-crafted rhymes. Che soave armonia What sweet harmony Ma invan la tento e impossibil parmi Yet in vain I try, and it seems to me the lyre fareste, o dolci baci, o cari detti, you would make, o sweet kisses, o dear words, ch’ella già mai risoni altro ch’amori. can play naught but songs of love. se foste unitamente if you could bring together d’ambedue le dolcezze ambo capaci: the sweetness you both are capable of: Così pur tra l’arene e pur tra’ fiori Thus, whether on the strand or in flowery meadow, baciando, i detti, e ragionando, i baci. the words kissing, and the kisses uttering words. note amorose Amor torna a dettarmi, Cupid ever dictates to me notes of love, né vuol ch’io prend’ ancor a cantar d’armi, nor will he consent that I sing again of weapons, ROMANESCA: OHIME’ DOV’E’ IL ROMANESCA: ALAS, WHERE IS se non di quelle, ond’egli impiaga i cori. save those with which he wounds men’s hearts. MIO BEN MY BELOVED? (Bernardo Tasso (1493-1569)) (Bernardo Tasso (1493-1569)) Or l’umil plettro a i rozzi accenti indegni, Now, Muse, tune as you have before, my humble musa, qual dianzi, accorda, in fin ch’al vanto plectrum, my rough and wretched voice, # Prima Parte # Part One that Heaven may Ohimè, dov’è il mio ben? Dov’è il mio core? Alas, where is my beloved? Where is my heart? de la tromba sublime il Ciel ti degni. deem you worthy of the song of the sublime trumpet. Chi m’asconde il mio ben e chi me’l toglie? Who is hiding my beloved and stealing her from me? $ Seconda Parte $ Part Two Riedi a i teneri scherzi, e dolce intanto Return to gentle playing, and meanwhile Dunque ha potuto sol desio d’onore Has my desire for honour then lo Dio guerrier, temprando i feri sdegni, may the warrior god, tempering his fierce anger, darmi fera cagion di tante doglie? been the cause of all my suffering? in grembo a Citerea dorma al tuo canto. sleep sweetly to your song in Venus’ lap. % Terza Parte % Part Three Dunque han potuto in me più che’l mio amore Have ambition and trifling fancies 2 A QUEST’OLMO 2 TO THIS ELM ambiziose e troppo lievi voglie? meant more to me than my love? (Giambattista Marino: Rimembranza dei suoi (Giambattista Marino: Remembrance of former ^ Quarta Parte ^ Part Four antichi piaceri, da “La lira”, Rime boscarecce, pleasures, “La lira”, Rime boscarecce (Pastoral Ahi sciocco mondo e cieco! Ahi, cruda sorte, Alas, blind, foolish world! Alas, cruel destiny, 1602/14) Poems), 1602/14) che ministro mi fai della mia morte. you make me minister of my own death.

A quest’olmo, a quest’ombre et a quest’onde, To this elm, this shade and these waters, ove per uso ancor torno sovente, where by custom I oft return, CD 3 CD 3 eterno i’ deggio, ed avrò sempre in mente, do I owe eternal gratitude, and I shall always remember quest’antro, questa selva e queste fronde. this cave, this wood and these green boughs. LETTERA AMOROSA: LOVE LETTER: SE I LANGUIDI MIEI SGUARDI IF MY LANGUISHING GLANCES In voi sol, felici acque, amiche sponde, In you alone, happy waters, friendly shores, a voce sola in genere rappresentativo for solo voice, in theatrical style, il mio passato ben quasi presente does Love show me my past as if it were still present, et si canta senza battuta to be sung without regular measure Amor mi mostra e del mio foco ardente while he conceals the seeds of my burning desire (Claudio Achillini: Cavaliere impaziente delle (Claudio Achillini: A gentleman, impatient at his tra le vostre fresch’aure i semi asconde. among your fresh cool breezes. tardate nozze, scrive alla sua bellissima sposa delayed nuptials, writes this letter to his most questa lettera, da “Rime e Prose”, 1632) beautiful bride, “Rime e Prose”, 1632) 8.555314-16 10 19 8.555314-16 555314-16 bk Monteverdi US 28/7/08 09:34 Page 18

9 PARLO, MISERO, O TACCIO 9 DO I, POOR WRETCH, Qui di quel lieto dì soave riede Here, the sweet memory returns SPEAK OR STAY SILENT? la rimembranza allor che la mia Clori of that happy day on which my Chloris (Giovanni Battista Guarini: Amante poco ardito, (Giovanni Battista Guarini: The fearful lover, tutta in dono sé stessa e ‘l cor mi diede. gave herself and her heart to me. da “Rime” LIIII, 1598) “Rime” LIIII, 1598) Già spirar sento erbette intorno e fiori, Among flowers and grasses, Parlo, misero, o taccio? Do I, poor wretch, speak or stay silent? ovunque o fermi il guardo o mova il piede, wherever I step, or rest my glance, S’io taccio, che soccorso avrà il morire? If I choose silence, will my death be a relief? de l’antiche dolcezze ancor gli odori. I recall the fragrance of that earlier sweetness. S’io parlo, che perdono avrà l’ardire? If I choose words, will my daring be forgiven? Taci, che ben s’intende chiusa fiamma Silence, for even a hidden flame is understood 3 NON E’ DI GENTIL CORE 3 HE WHO DOES NOT BURN WITH LOVE talor da chi l’accende. by the one who lit it. (Francesco degli Atti) (Francesco degli Atti) Parla in me la pietade, Pity speaks within me, parla in lei la beltade beauty speaks within her, Non è di gentil core He who does not burn with love e dice quel bel volto al crudo core: and that fair face says to a cruel heart: chi non arde d’amore. is not kind of heart. chi può mirarmi e non languir d’amore? who can gaze on me and not die of love? Ma voi, che del mio cor l’anima siete But you, the spirit of my heart, e nel foco d’amor lieta godete, you who happily enjoy the fire of love, 0 TU DORMI? AH, CRUDO COR 0 YOU SLEEP, AH, CRUEL HEART gentil al par d’ogn’altre avete il core, have a heart as kind as any other, perché ardete d’amore. since you burn with love. Tu dormi? ah, crudo core, You sleep, ah, cruel heart, Dunque non è, non è di gentil core, Thus, he who does not burn with love tu puoi dormir, poich’in te dorme Amore. you can sleep, since Love sleeps in you. chi non arde d’amore. is not, no is not kind of heart. Io piango, e le mie voci lagrimose I weep, and in vain, alas, a te, che sorda sei, do pitying breezes carry my sorrowful voice 4 O COME SEI GENTILE 4 OH, HOW SWEET YOU ARE portan invano, ohimé, l’aure pietose. to you, since to it are you deaf. (Giovanni Battista Guarini (1538-1612): (Giovanni Battista Guarini (1538-1612): Ah, ben i pianti miei Ah, though my tears can Avventuroso augello, da “Rime” LII, 1598) Fortunate bird, “Rime” LII, 1598) pon far pietosi i venti, move the winds to pity, ma te fan più crudel i miei lamenti. my laments do but make you crueller still. O come se’ gentile, caro augellino. Oh, how sweet you are, dear little bird. O quanto è’l mio stato amoroso al tuo simile. Oh, how my love likens me to you. ! AL LUME DELLE STELLE ! IN THE LIGHT OF THE STARS Io prigion, tu prigion. Tu canti, io canto. I am a prisoner, so are you. You sing, I sing. (Torquato Tasso (1544-1595): (Torquato Tasso (1544-1595): Tu canti per colei che t’ha legato, et io canto per lei. You sing for she who imprisoned you, so do I. Occhi celebrati, da “Rime”, 1567/93) Celebrated eyes, “Rime”, 1567/93) Ma in questo è differente la mia sorte dolente: But my unhappy fate differs thus from yours: che giova pur a te l’esser canoro, it serves you well to sing, Al lume de le stelle, Tirsi, sott’un alloro, In the light of the stars, beneath a laurel tree, vivi cantando et io cantando moro. you live by singing, while I by singing die. si dolea lagrimando in questi accenti: sat Thyrsis, weeping and lamenting thus: «O celesti facelle, di lei ch’amo et adoro “O heavenly torches, you so resemble 5 IO SON PUR VEZZOSETTA 5 I AM A PRETTY YOUNG SHEPHERDESS rassomigliate voi gli occhi lucenti. the sparkling eyes of the one I love and adore. (Incolto accademico immaturo) (Untutored young academician) Luci care e serene, sento gli affanni, Serene, beloved lights, I feel such torment, ohimé, sento le pene; luci serene e liete, alas, I feel such pain; serene and happy lights, Io son pur vezzosetta pastorella I am a pretty young shepherdess, sento le fiamme lor mentre splendete». I feel such passion while you shine.” che le guance ho di rose e gelsomini, with cheeks of rose and jasmine, e questa fronte e questi aurati crini my brow and my golden locks mi fann’altrui parer Driada novella. liken me to a new-found dryad.

Di flora non v’è qui nobil donzella There is no noble maiden here, o schiera di pomposi cittadini nor any of a crowd of fine gentlemen,

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che, quando in lor m’incontro e faccio inchini who when I meet them and curtsey 7 VAGA SU SPINA ASCOSA 7 FAIR IS THE DEWY ROSE il titol non mi dian de la più bella. would not grant that I am the fairest flower. (Gabriello Chiabrera: “Le maniere de’ versi (Gabriello Chiabrera: “Manners of Tuscan verses”, toscani”, 1595) 1595) E se’l giorno di festa io vado al ballo, And when on feast days I go to the dance, mi porta ogni pastor perch’io l’inviti: every shepherd, hoping I may invite him, brings me Vaga su spina ascosa Fair is the dewy rose specchi, fior, frutti o vezzi di corallo. mirrors, flowers, fruit and strings of coral. è rosa rugiadosa above its hidden thorn, che all’alba si diletta at dawn delighting E non saranno a te punto graditi, Yet, dear Lydius, are my glances mossa da fresca auretta. as it sways in the fresh breeze. caro Lidio, i miei sguardi? not welcome to you? Ma più vaga è la rosa Yet fairer still is the rose E sempre in fallo ti pregherò, And shall I always ask you in vain, de la guancia amorosa of a loving cheek crudel, che tu m’aiti? cruel one, for your help? ch’oscura e discolora which overshadows and discolours le guance de l’aurora. the colours of dawn. 6 O VIVA FIAMMA 6 O BRIGHT FLAME A dio, Ninfe de fiori Farewell, Nymphs of the flowers (G. Alfonso Gesualdo) (G. Alfonso Gesualdo) e Ninfe de gli odori. and Nymphs of sweet perfume. Primavera gentile, Gentle Spring, O viva fiamma, o miei sospiri ardenti, O bright flame, o my passionate sighs, statti pur con Aprile, stay now with April, o petto pien di duol, o spirti lassi, o breast full of sorrow, o weary spirits, che più vaga e più vera for Spring o pensier d’ogni speme ignudi e cassi, o thoughts bereft of each and every hope, mirasi Primavera seems fairer and more true o strali del mio cor fieri e pungenti, o sharp and fiery arrows buried in my heart, su quella fresca rosa in the fresh rose de la guancia amorosa of that loving cheek o bei desir de l’onorate menti, o sincere desires of honourable minds, ch’oscura e discolora which overshadows and discolours o vane imprese, o dolorosi passi, o vain deeds, o tortured steps, le guance de l’aurora. the colours of dawn. o selve, o piagge, o fonti, o fiumi , o sassi, o forests, o banks, o springs, o rivers, o stones, o sola mia cagion d’aspri tormenti, o my only cause of bitter torment, 8 ECCOMI PRONTA AI BACI 8 SEE, I AM READY FOR KISSES (Giambattista Marino: Bacio mordace, (Giambattista Marino: Biting kiss o vaghe erbette, o fiori, o verdi mirti, o gentle grasses, o flowers, o green myrtles, da “La Lira”, Rime Amorose, 1602/14) “La Lira”, Rime Amorose, 1602/14) o loco un tempo a me dolce e giocondo o place ere so happy and beloved, ov’io già sparsi dilettoso canto where once I sounded my happy song, Eccomi pronta ai baci: See, I am ready for kisses: baciami, Ergasto mio; ma bacia in guisa kiss me, my Ergastus; but kiss me o voi, leggiadri ed amorosi spirti o you, carefree and loving spirits che de’ denti mordaci so that no trace of your teeth (s’alcun vive quaggiù nel basso mondo) (if any of you live down here on earth), nota non resti nel mio volto incisa remain visible on my face, pietà vi prenda del mio acerbo pianto. have pity on these bitter tears I shed. perch’altri non m’additi that others do not point at me e in essa poi legga le mie vergogne e i baci tuoi. and read in it my shame and your kisses. 7 VORREI BACIARTI, O FILLI 7 I SHOULD LIKE TO KISS YOU, O PHYLLIS Ahi, tu mordi e non baci, Alas, you bite and do not kiss, (Giambattista Marino: Bacio in dubbio, (Giambattista Marino: Hesitant kiss, tu mi segnasti, ahi, ahi! you have scarred me, alas and alack! “La Lira”, Rime amorose, 1602/14) “La lira”, Rime amorose, 1602/14) Possa io morir se più ti bacio mai! May I die if ever I kiss you again!

Vorrei baciarti, o Filli, I should like to kiss you, o Phyllis, ma non so, non so prima ove’l mio bacio scocchi, but I know not where my first kiss should land, ne la bocca o negl’occhi? on your lips, or on your eyes? Cedan le labbra a voi, lumi divini, Let lips yield to you, divine lights, fidi specchi del core, trusted mirrors of the heart,

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e’l proprio errore, and its own error, vive stelle d’Amore! bright stars of Love! e voi seco diresti: ah, sapess’io and you with it would say: ah, if I could Ah, pur mi volgo a voi, perle e rubini, Ah, yet I turn to you, pearls and rubies, usar pietà come pietà desio. only show mercy as mercy I desire. tesoro di bellezza, beauty’s treasure, fontana di dolcezza, fountain of sweetness, 5 INTERROTTE SPERANZE 5 HOPES CUT SHORT bocca, onor del bel viso: mouth, glory of a lovely face: (Giovanni Battista Guarini: Donna che stima gloria (Giovanni Battista Guarini: A lady who values glory nasce il pianto da lor, tu m’apri il riso. they are the birthplace of tears, you of laughter. il dar la morte a chi l’ama, da “Rime” XII, 1598) kills the one who loves her, “Rime” XII, 1598) 8 DICE LA MIA BELLISSIMA LICORI 8 MY BEAUTIFUL LICORI SAYS Interrotte speranze, eterna fede, Hopes cut short, faith eternal, (Giovanni Battista Guarini: Lo spiritello, (Giovanni Battista Guarini: The tiny spirit, fiamme e strali possenti in debil core, potent arrows and flames in a weak heart, “Rime” LXXI, 1598) “Rime” LXXI, 1598) nutrir sol di sospiri un fero ardore to nourish a burning ardour with sighs alone e celar il suo mal quand’altri il vede. and hide its pain from others’ eyes. Dice la mia bellissima Licori My beautiful Licori says, quando talor favello seco d’amor, when at times I speak with her of love, Seguir di vago e fuggitivo piede To follow with uncertain, wandering steps ch’Amor è uno spiritello that Cupid is a tiny spirit l’orme rivolte a volontario errore, the tracks that lead to wilful error, che vaga e vola, e non si può tenere, who flutters and flies, and cannot be held, perder del seme sparso e’l frutto e’l fiore to lose both fruit and flower of scattered seed nè toccar, nè vedere. nor touched, nor seen. e la sperata a gran languir mercede. and the longed-for reward for so much distress. E pur, se gl’occhi giro, And yet, when I turn my gaze ne’ suoi begli occhi il miro: I see him in her lovely eyes: Far d’uno sguardo sol legge ai pensieri To impose laws on thought with just one look, ma nol posso toccar, but I cannot touch him, e d’un casto voler freno al desìo, and smother desire with chaste resolve, ché sol si tocca in quella bella bocca. only on those sweet lips can he be touched. e spender lacrimando i lustri interi. and to spend year after year weeping. 9 AH, CHE NON SI CONVIENE 9 AH, IT IS NOT RIGHT TO BREAK FAITH Questi ch’a voi, quasi gran fasci, invio, This great bundle of harsh and bitter torments donna crudel, d’aspri tormenti e fieri, that I send you, cruel woman, Ah, che non si conviene romper la fede Ah, it is not right to break faith saranno i trofei vostri e’l rogo mio. will be your trophy and the pyre on which I burn. a chi la fe’ mantiene. with one who remains steadfast. Il mio fermo voler è quell’istesso My love remains strong though 6 AUGELLIN, CHE LA VOCE AL 6 LITTLE BIRD, YOU WHO LIFT YOUR lontan da voi, ch’esservi suole appresso. far from you, when it is used to being close. CANTO SPIEGHI VOICE IN SONG Nè può cangiarlo morte, Neither death nor cruel fate nè sia malvagia sorte: can alter it: Augellin, che la voce al canto spieghi, Little bird, you who lift your voice in song, ma, fermo come a l’onda immobil scoglio, for, strong as a rock that withstands the waves, per pietà del mio duolo deh spargi l’ali a volo: take pity on my pain, ah, spread your wings in flight: e viver vostro e morir vostro io voglio. would I live with you and die with you. indi vanne a madonna, anzi al mio sole, fly hence to my lady, she who was my sun, e con dogliosi accenti dille queste parole: and in sorrowful tone say to her these words: 0 NON VEDRO’ MAI LE STELLE 0 NEVER SHALL I SEE THE STARS o soave cagion d’aspri tormenti, o sweet cause of bitter torment, soffrirete voi sempre will you always allow Non vedrò mai le stelle de’ bei celesti giri, Never shall I see the stars that turn in heaven, ch’in pianto chi v’adora si distempre? the one who adores you to melt into tears? perfida, ch’io non miri faithless girl, without also seeing gli occhi che fur presenti the eyes that bore witness alla dura cagion de’ miei tormenti, to the cruel cause of my torment, e ch’io non dica a lor: o luci belle, and saying to them: o beautiful stars, deh siate sì rubelle di lume a chi rubella è sì di fede, ah, deny your light to she who denies faith, ch’anzi a tant’occhi e tanti lumi she who before so many eyes, so many lights, ha core tradire amante sotto fe’ d’amore. betrayed her lover’s heart despite her pledge of love.

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! ECCO VICINE O BELLA TIGRE L’ORE ! THE TIME IS NIGH, O FAIR TIGRESS 2 TORNATE O CARI BACI 2 RETURN, O BELOVED KISSES (Claudio Achillini (1574-1640): Amante s’addolora (Claudio Achillini (1574-1640): A lover is saddened by (Giambattista Marino: Baci cari, (Giambattista Marino: Beloved kisses, per la partenza dell’amata, da “Rime e prose”, his beloved’s departure, “Rime e prose” (Poems and da “La lira”, Madrigali, XX, 1602/14) “La lira”, Madrigali, XX, 1602/14) 1632) prose), 1632) Tornate, o cari baci, a ritornarmi in vita, Return, o beloved kisses, and restore me to life, Ecco vicine, o bella Tigre, l’ore The time is nigh, o fair Tigress, baci al mio cor digiun esca gradita. o kisses, welcome sustenance to my starving heart. che del tuo sole mi nascondi i rai: for you to hide the rays of your sun from me: Voi di quel dolce amaro per cui languir m’è caro, You, for whose bittersweet taste I dearly long, ah che l’anima mia non sentì mai, ah, my heart never wanted you to stay more di quel dolce non meno nettare che veleno whose sweet taste is both nectar and poison, meglio che del partir, le tue dimore. than it does now that we must part. pascete i miei famelici desiri. feed my famished desires. Baci in cui dolci prov’anco i sospiri. Kisses who make even sighs taste sweet. Fuggimi pur con sempiterno errore: Flee from me then to wander forever: sotto straniero ciel, ovunque sai though beneath foreign skies, you know 3 SOAVE LIBERTATE 3 GENTLE LIBERTY che, quanto più peregrinando vai, wherever your journey takes you, (Gabriello Chiabrera (1552-1638): (Gabriello Chiabrera (1552-1638): cittadina ti sento in mezzo al core. you will always have a home in my heart. Le maniere de’ versi toscani, 1595) Manners of Tuscan verses, 1595)

Ma potess’io seguir, solingo errante, Yet if only I could follow, wandering lonely, Soave libertate, Gentle liberty, o sia per valli o sia per monti o sassi, through valleys, over rocky mountains, già per sì lunga etate for so long now l’orme del tuo bel piè leggiadre e sante. in the tracks of your beloved, carefree steps. mia cara compagnia, my beloved companion, chi da me ti desvia? who turns you away from me? Ch’andrei là dove spiri e dove passi, For I would go wherever you walk and breathe, O Dea desiata O much-desired goddess, con la bocca e col cor, devoto amante, with heart and mouth, the devoted lover, e da me tanto amata, beloved by me for so long, baciando l’aria ed adorando i passi. kissing the air and worshipping in your steps. ove ne vai veloce? where are you running to? Lasso, che ad alta voce Weary, I call aloud to you in van ti chiamo e piango: in vain, and I weep: CD 2 CD 2 tu fuggi, ed io rimango you flee, and I remain stretto in belle catene trapped in lovely chains 1 PERCHE’ FUGGI? 1 PERCHE’ FUGGI? d’altre amorose pene of other pangs of love, (Giambattista Marino: Bacio involato, (Giambattista Marino: A stolen kiss e d’altro bel desìo. another sweet desire. da “La lira”, Rime amorose, 1602/14) “La lira”, Rime amorose, 1602/14) Addio, per sempre, addio. Farewell, for ever, farewell.

Perché fuggi tra’ salci, ritrosetta ma bella, Why do you flee into the willows, my reluctant beauty, 4 S’EL VOSTRO COR, MADONNA 4 IF YOUR HEART, MY LADY o cruda de le crude, pastorella? o, cruellest of the cruel, my shepherdess? (Giovanni Battista Guarini: Pietà male usata, (Giovanni Battista Guarini: Ill-used mercy, Perché un bacio ti tolsi? Because I stole a kiss from you? da “Rime” XLV, 1598) “Rime” XLV, 1598) Miser, più che felice, Poor wretch, I was more than happy corsi per sugger vita e morte colsi. when I ran to taste life but I found death. S’el vostro cor, madonna, If your heart, my lady, Quel bacio che m’ha morto, The kiss that caused my death, altrui pietoso tanto, so merciful to others, tra le rose d’amor pungente spina, a sharp spine among roses of love, da quel suo degno al mio non degno pianto were some time to turn fu più vendetta tua che mia rapina. was more vengeance on your part than theft on mine. talor si rivolgesse, from its worthy tears to mine so unworthy, et una stilla al mio languir ne desse, and grant me one drop as I languish, forse nel mio dolore perhaps in my sorrow vedria l’altrui perfidia, would it see the perfidy of others,

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Di flora non v’è qui nobil donzella There is no noble maiden here, o schiera di pomposi cittadini nor any of a crowd of fine gentlemen,

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Also available: Claudio 3 CDs MONTEVERDI Madrigals Book 7 ‘Concerto’ Delitiæ Musicæ • Marco Longhini

8.555307

8.555308

8.555314-16 28 NAXOS NAXOS The ‘Concerto’ (as Claudio Monteverdi entitled his Seventh Book of Madrigals) was published five years after the Sixth Book had appeared. It represents a clear break with Monteverdi’s earlier publications: here the madrigal is transformed or, perhaps, it would be better to say it has vanished, at least in the form that would have been recognised up to that point. Of 32 compositions there is not a single five- voice madrigal, only pieces for one to four voices, all with basso continuo, some with violins, along with works that might be called ‘experimental’. It was the heterogeneous nature of this collection that led DDD Monteverdi to use the title ‘Concerto’. Marco Longhini’s new complete critical edition, the first since Malipiero’s 1932 edition, was prepared specifically for this recording. 8.555314-16

MONTEVERDI: Claudio Playing Time MONTEVERDI 2:42:45 Delitiæ Musicæ • Marco Longhini (1567-1643) Madrigals Book 7 ‘Concerto’ CD 1 58:14 4 S’el vostro cor, madonna 5:25 1 Tempro la cetra 11:48 5 Interrotte speranze 4:08 2 A quest’olmo, a quest’ombre 5:18 6 Augellin, che la voce 4:34 3 Non è di gentil core 5:12 7 Vaga su spina ascosa 3:05 8 4 Eccomi pronta ai baci 3:03 Madrigals Book 7 O come se’ gentile 5:43 9 Parlo, misero, o taccio? 5:51 5 Io son pur vezzosetta 4:04 0 6 Tu dormi? 4:11 O viva fiamma 3:59 !

Al lume delle stelle 5:16 www.naxos.com www.naxos.com/libretti/555314.htm Sung texts are also available at: Sung texts in Italian with English translations Booklet notes in English Disc made in Canada. Printed and assembled USA. 7 Vorrei baciarti, o Filli 5:15 @ Con che soavità 6:45 8 & Dice la mia bellissima Licori 3:14 #-^ Romanesca: Ohimè dov’è il mio ben 6:44 9 Ah, che non si conviene 4:25 CD 3 43:11 0 Non vedrò mai le stelle 4:38 2008 Naxos Rights International Ltd. 1 5 ! Ecco vicine, o bella tigre, l’ore 4:37 - Lettera amorosa: Se i languidi miei sguardi 9:18 CD 2 61:20 6-0 Partenza amorosa: Se pur destina 10:46 1 Perchè fuggi tra salci 4:17 ! Chiome d’oro 3:48 2 Tornate, o cari baci 3:46 @ Amor che deggio far? 4:47 3 Soave libertate 4:14 #-( Ballo: Tirsi e Clori 14:31 Delitiæ Musicæ • Marco Longhini Recorded at Chiesa di San Briccio, Verona, Italy, from 29th April to 5th May, 2004 8.555314-16 Producers: Lodovico and Marco Longhini • Engineer: Michael Seberich • Editing: Corrado Ruzza 8.555314-16 Recording supervisor: Antonio Scavuzzo • Booklet Notes: Marco Longhini For a more detailed track list and artists’ details please see pages 2 and 3 of the booklet Cover image: A Bacchante by Annibale Carracci (1560-1609) (Galleria degli Uffizi, Florence, Italy / The Bridgeman Art Library)