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PENTAMERON Legends, Magic and Love in Music at the Time of Giambattista Basile’S “The Tale of Tales”

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PENTAMERON Legends, Magic and Love in Music at the Time of Giambattista Basile’S “The Tale of Tales” PENTAMERON Legends, magic and love in music at the time of Giambattista Basile’s “The Tale of Tales” ENSEMBLE ONI WYTARS PENTAMERON Legends, magic and love in music at the time of “The Tale of Tales” INTRODUZIONE E PRIMA GIORNATA: ‘O RE / INTRODUCTION AND FIRST DAY: THE KING 1 Dolce amoroso focho | Cancionero de Palacio (15th century) 1.48 2 No pulece m’entrato nell’orecchia | Baldassare Donato (1525–1603) 2.22 3 Vurria crudel tornare | Gian Leonardo Dell’Arpa (1530–1602) 4.06 4 Dattolo dattolo | M: Gabriella Aiello, Peter Rabanser, T: G. B. Basile 1.40 SECONDA GIORNATA: ‘A SPERANZA / SECOND DAY: HOPE 5 O’ monaciello | M: Gabriella Aiello, Peter Rabanser, T: Anon.trad. 3.47 6 O fronte serena | Johannes Hieronymus Kapsberger (1580–1651) 4.10 7 La funtanelle | Anon. trad., Marco Ambrosini 5.05 8 Villanella ch’all’acqua vai | Gian Leonardo Dell’Arpa 4.31 9 Tu sai che la cornacchia | Passaro Bernaldino detto Velardiniello (16th century) 3.20 TERZA GIORNATA: ‘A MUSECA / THIRD DAY: THE MUSIC 10 Vava Mariella | Giovanni Domenico da Nola (16th century) 2.24 11 Spagnoletta napoletana – Lu nigghje | Anon. trad., Marco Ambrosini 5.02 QUARTA GIORNATA: ‘O BALLO / FOURTH DAY: THE DANCE 12 Sfessania | Johannes Hieronymus Kapsberger (1580–1651) 4.23 13 Voccuccia de no pierzeco | Passaro Bernaldino detto Velardiniello (16th century) 2.15 QUINTA GIORNATA: SCOMPETURA / FIFTH DAY: THE CLOSURE 14 Beddha ci dormi | Anon. trad. 3.58 15 Si te credisse | Anon. c. 1600 3.41 16 Tarantella finale | Anon. trad. / arranged by Gabriella Aiello, Peter Rabanser 2.18 2 GABRIELLA AIELLO voice, castanets / Gesang, Kastagnetten PETER RABANSER voice, baroque guitar, colascione / Gesang, Barockgitarre, Colascione RICCARDO DELFINO voice, double harp, colascione / Gesang, Doppelharfe, Colascione MARCO AMBROSINI nyckelharpa, mandolin, chorus / Schlüsselfidel, Mandoline, Chor MICHAEL POSCH recorders, voice / Blockflöten, Gesang KATHARINA DUSTMANN percussions, chorus / Perkussion, Chor narrative voices / Erzählerstimmen: PATRIZIO TRAMPETTI, BRUNO BUONINCONTI Recording: Studio Katharco, December 2017 · Executive producer: Ensemble Oni Wytars · Recording assistant: Jule Bauer Recording engineer & mix: Katharina Dustmann and Marco Ambrosini · Editing: Studio Katharco Patrizio Trampetti’s voice recorded at “Laboratori di provincia” studios, Grumo Nevano (Naples) by Jennà Romano. Bruno Buoninconti’s voice recorded by Pietro Pisano. Translations: Peter Rabanser, Gabriella Aiello Total time: 54.50 Cover and booklet design: Christine Schweitzer, Cologne · Cover illustration: Jaroš Griemiller: Rosarium philosophorum (1578) National Library of the Czech Republic, XVII.E.77, f. 177r. · Booklet photos and illustrations: Giambattista Basile (1575–1632), Italian poet, courtier, and fairy tale collector, undated portrait; Calcografia Luigi Russo. Fonte-Raccolta Vittorio Imbriani. Napoli, Biblioteca Universitaria (p. 7); Giambattista Basile: Il pentamerone overo lo Cunto de li Cunte Trattenimento de li Peccerille, in Napoli: ad istanza di Antonio Bulifon, 1674 title page (p. 5) Illustrations from Schürstab Codex (2nd half of 15th century), Zürich Zentralbibliothek / Ms. C 54 (p. 9, 13, 17, 23) Miniatures from Libro d’Ore Ms. lat. 33 (15th century), Bibliothèque de Genève, Geneva (p. 14), Konrad von Ammenhausen: Schachzabelbuch (Alsace, 1414), Münchner Digitalisierungszentrum, digitale Bibliothek (p. 16) · Konvergencie Chamber Music Festival, Bratislava 2018, © Martina Z. Šimkoviková (p. 8) Vogliamo ringraziare di cuore Patrizio Trampetti e Bruno Buoninconti per la loro preziosa partecipazione, grazie! 3 PENTAMERON Legends, magic and love in music at the time of „The Tale of Tales“ 1634 in Naples, the probably most important collection of stories and The music: During the 16th century in Naples a phenomenon took place folk tales of all times has been published: the Pentamerone or “lo cunto de which was probably unique in his kind: the songs of some „stars“ of the li cunte”, (the tale of tales) by Giambattista Basile. For the first time a streets and taverns of the town who often where known under bizarre rich collection of tales, myths, sayings and legends are printed on paper. pseudonyms reached such a popularity that court musicians started to They are supposed to enter tain and, however, to spread moral and ethical transcribe the music and arrange it according to musical fashions and principles, because they are not directed yet to children, but to a grown rules of that period. Doing so, (some sort of) folk music became (some up, often rather impolite public, that is able to understand the frequent sort of) art music that had nothing comparable anywhere else. ambiguities and metaphors. Musicians from all over Europe came to visit Naples to hear with their During five days each day ten tales are told by ten women, in Neapolitan own ears this new kind of music that was so hardly compatible with musical dialect. For this reason the work is also called Pentamerone, the five-days- rules from that time but nevertheless of such a unique beauty. work (greek: pénte = five, heméra¯ = day). With his book Basile gave live As in the Pentamerone stories from both oral tradition and classical liter- to the genre of the Fairy Tale which, accepted with enthusiasm by his ature go along side by side, we have put together songs of both folk and readers and later on adopted by the Grimm brothers, Perraut and classical origin in this program, some of them even cited by Basile in his Brentano, will spread like a wildfire all over Europe. work. Whether before the domestic fire-place, in the courts of the country Concerning the songs of classical provenience we have searched among houses or in a courtly conversation: Basile writes his tales for a ritualized the “Villanelle” mentioned by Basile in his book considering that he had situation, moments of sharing and entertainment in which the art of story quite close relationships with some of the most famous musicians of his telling, together with music, dance and acting becomes a dynamic coop- time: Maestri such as Baldassare Donato, G. Da Nola, G. Leonardo eration. Dell’Arpa and Velardinièllo where incomparably able to transform these 4 melodies of enchanting simplicity into something that soon would con- quer the whole continent known as „la Canzone Napolitana“. Regarding the popular songs we searched and found among the sites Basile describes in his tales, such as the Basilicata and Puglia, places he knew very well being even governor of some of them. Often the stories take place in these landscapes and so we finally have decided to look for songs right there. Just like the tales, all of these songs give live to charac- ters of tormented existence in search of possibilities to change their own destinies. And so, the “tale of tales” tells itself using the most ancient and at the same time most artful blossoms southern Italian arts have ever generated: music that „narrates“, from traditional singing to the Tammorra (big drum) to the richly ornamented Villanella, from the Tarantella sung and danced in the streets of Naples to courtly dance music. Our idea is to give the listener a feeling of the atmosphere felt in the yards and courts where, with the last light of dawn, stories and songs give life to tragical figures that dream of getting from poverty to richness, from ugliness to beauty, from a low class to a higher one, from loneliness to love. © 2018 Peter Rabanser / Ensemble Oni Wytars Translation: Peter Rabanser 5 PENTAMERON Legenden, Magie und Liebe in der Musik zur Zeit der „Geschichte aller Geschichten“ 1634 erscheint in Neapel die wahrscheinlich bedeutendste Sammlung Es sollten Momente des Austausches und der Unterhaltung sein, in denen von Geschichten und Volkslegenden aller Zeiten: der Pentamerone oder die Erzählkunst, zusammen mit Musik, Tanz und Schauspiel zu einem dy- „Lo cunto de li cunte“ (die Erzählung der Erzählungen) von Giambattista namischen Miteinander wird. Basile (1575–1632). Zum ersten Mal werden diese bislang nur mündlich Zur Musik: Im Neapel des 16. Jahrhunderts fand ein Phänomen statt, überlieferten Geschichten, Mythen, Sprüche und Legenden auf Papier das in seiner Art wohl einzigartig war: Die Lieder aus der Feder einiger gedruckt. Sie sollen der Unterhaltung aber auch der Verbreitung morali- „Stars“ der Straßen und Tavernen, die meist unter originellen Pseudony- scher und ethischer Prinzipien dienen, denn sie sind noch nicht an Kinder, men bekannt waren, erreichten dort eine derartige Popularität, dass sie sondern an ein reifes, oftmals recht un­­gebildetes Publikum gerichtet, das von Musikern, die bei Hof arbeiteten und Meister der Kunst des Kontra- in der Lage ist, die häufigen Zweideutigkeiten und Metaphern zu verstehen. punktes waren, niedergeschrieben und bearbeitet wurden. So wurde aus An fünf Tagen werden darin – in neapolitanischem Dialekt – von zehn (einer Art) Volksmusik (eine Art) Kunstmusik, die nirgendwo anders ih- Frauen jeweils zehn Geschichten erzählt, weshalb das Werk auch Pentamerone, resgleichen fand. Musiker aus ganz Europa reisten nach Neapel, um die- Fünf-Tage-Werk (griechisch: pénte = fünf und heméra¯ = Tag), genannt se mit den damaligen Regeln der Kunstmusik nur schwer vereinbare, aber wird. Basile erweckt auf diese Weise erstmals das literarische Genre des dennoch einzigartig schöne Musik mit eigenen Ohren zu hören. „Märchens“ zum Leben, das in ganz Europa mit Begeisterung aufgenommen Im Pentamerone gehen Geschichten aus der mündlichen Überlieferung und verbreitet wird. Autoren wie Grimm, Perrault
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