CORO The Sixteen Edition CORO Other recordings on CORO Mu s i q u e cor16057 cor16057 Fauré Mozart p o u r Requiem Vespers Elin Manahan Thomas, Roderick Williams The Sixteen Ma z a r i n ! Academy of St Martin in the Fields Harry Christophers "…the sense of an ecstatic movement towards Qu i a l e c o e u r a t o u t Paradise is tangible." the times cor16023 La Jeune France Jolivet, Messiaen, Daniel-Lesur Three composers testing vocal technique as never before, in music that's rapturous, mystical, fresh and erotic " T h i s d i s c i s n o t f a r f r o m a r e v e l a t i o n . . . " le Jardin Secret the daily telegraph Elizabeth Dobbin - soprano Sofie Vanden Eynde · David Blunden · Romina Lischka · Marian Minnen To find out more about The Sixteen, concert tours, and to buy CDs, visit www.thesixteen.com cor16060 he wealth and volume of seventeenth century solo vocal literature is a rich 1 Spera mi disse Amore Orazio Michi (1594-1641) 3.32 source of repertoire indeed, but to choose an attractive programme from it 2 Ah! Qu’ils sont courts Marc-Antoine Charpentier (1643-1704) 1.03 is no easy task. One is bound to have some kind of theme and structure in 3 Assez de Pleurs Jean-Baptiste Lully (1632-1687) (arranged de Visée) 1.47 orderT to help make an intelligible selection, but it is a danger that one then chooses a 4 Aux plaisirs Pierre Guédron (1564-1619) 2.49 Musique pour Mazarin! collection of overly similar works. provided us with an ideal 5 but not too restrictive focus for our choice and one which led inevitably to a very Ritournelle des Fées Jean-Baptiste Lully (arranged d’Anglebert) 1.56 varied programme. This variation comes about naturally from the juxtaposition of 6 Deh, memoria (1605–1674) 5.20 French and Italian musical language, showing so clearly the rich selection of music 7 Mio core languisce Luigi Rossi (1597-1653) (arranged David Blunden) 5.11 heard at ’s court and demonstrating the stark contrast between the 8 Chaconne la Bergeronnette Louis Couperin (c.1626 - 1661) 2.05 French and Italian styles of the period. The added ingredient of political/cultural 9 Deh, piangete - from Psyché Jean-Baptiste Lully 1.53 rivalry and intrigue - the Italian born Cardinal importing Italian culture into a bl La chasse donnée à Mazarin par les paysans des bourgs et des 1.32 resistant French context - contributes a little 'piquancy' to the mix! villages sur le tocsin (Mazarinade) Anon (arranged David Blunden) We first worked with this theme when we were looking for a programme to bm Allemande Demachy (d. c.1692) 3.02 present at the Early Music Network Young Artists’ Competition in York, England, bn Tristes déserts Marc-Antoine Charpentier 3.15 in 2007, concentrating on works by Jean-Baptiste Lully and Luigi Rossi, the two bo main musical protagonists in Mazarin’s sphere. The programme seemed popular Toccata Settima Michelangelo Rossi (c.1601-1656) 3.49 and we won both the jury and audience prizes at the competition. Part of the prize bp Non pianga e non sospiri - from Orfeo Luigi Rossi 1.47 was the opportunity to make a recording for CORO and we decided for this project bq Tranquilles coeurs - from Le Triomphe de L’Amour Jean-Baptiste Lully 2.25 to augment the York 'Mazarin' programme, resulting in the selection of the pieces br Sans frayeur Marc-Antoine Charpentier (arranged David Blunden) 3.40 recorded here. We did not restrict the choice of pieces to those composed during bs Si ch’io voglio sperare Marc Antonio Pasqualini (1614-1691) 4.37 Mazarin's regency, but decided to delve deeper into the characteristics that emerged bt Avertissement des enfarinez à Mazarin sur ce qu’il doit craindre 2.05 from this French/Italian cultural interchange and from the connections between (Mazarinade) Anon (arranged David Blunden) French and Italian composers. Lully remains central, with the added curiosity that bu Le perfide Renaud me fuit - from Armide Jean-Baptiste Lully 4.41 although he was the French composer par excellence of his time, he was in fact born cl in Italy - a nice twist to the story. We hope the selection of pieces will be as enjoyable Chaconne des Harlequins Jean-Baptiste Lully (arranged de Visée) 2.29 to the listener as it has been to us! cm Ad un cuore - from L’Europe Galante André Campra (1660-1774) 4.11 le Jardin Secret Total playing time 64.29

2 3 the famous singer, Leonarda Baroni, royal family and the exile of Cardinal Buti, and the Count of Saint-Aignan and the no less famous castrato, Atto Mazarin from Paris. Mazarinades (a and Benserade. Italian singers mingled Melani, to court. In 1647 he staged Orfeo term coined by the poet Scarron), or with French. Among the list of dancers by Luigi Rossi from a libretto by Buti, pamphlets protesting against Mazarin for the spectacle, one notices the young an opera in which the Roman castrato, (often in violent terms), flourished Louis XIV and, by his side, Lully, who Marc Antonio Pasqualini (composer of during this period. Today about for a year had held the position of Si ch’io voglio sperare), played a leading 6000 of these pamphlets survive. The composer for the king’s chamber. To role. By introducing Italian opera into pamphlets, in verse or prose, French celebrate the marriage of Louis XIV France, Mazarin not only satisfied his or Latin, attacked Cardinal Mazarin and the Spanish infanta, Marie-Thérèse, own tastes in theatre and singing, but as much for his fortune, ancestry and Mazarin planned to stage Francesco also, more importantly, sought to endear Italian accent as for his political actions! Cavalli’s opera, Ercole Amante, composed himself to the aristocracy and possibly When Mazarin returned to Paris on especially for the occasion. However, the people by these dazzling spectacles. 3 February 1653, he recalled the Italian work on the grand hall of the Tuileries But the effect was quite the opposite. If musicians who had also been forced was not completed in time to host the the scenery and sets of these operas were to flee the hostile climate of Paris. spectacle. Instead, the Cardinal staged a source of admiration to the French He sensed, however, that he could not Xerse, another opera by Cavalli which public, the length of the works and pursue the diffusion of Italian art into had been composed some years earlier an of the church, politician the fact that they were in Italian, made France without adding some French and was on a smaller scale. With the par excellence, Giulio Mazarini them tedious. Moreover, the enormous components to the mix. theatre at the Tuileries finally finished, (1602-1661) was passionate expense incurred by the production of Ercole Amante was staged there on 7 aboutM music and theatre. Sent to Paris Orfeo caused disquiet among Parisians, In 1654, Le Nozze di Peleo e di Theti, February 1662. But Mazarin, who had from in the capacity of Papal whose patriotic reactions were then subtitled a “comédie italienne en died on 9 March 1661, was no longer Nuncio, he obtained the protection of transformed into fury against the musique entremêlée d’un ballet sur le present to taste once more the theatre Louis XIII and of Richelieu. At the Italian minister and against his fellow- même sujet”, achieved a synthesis of and music which he had wanted, with death of Richelieu, he became a minister countrymen at the French court. Italian opera and French courtly ballet. such passionate obstinacy, to impose on of state under the regency of Anne This work was the result of a close the French people. of Austria. Charged with overseeing This was a time of grand revolt, the time collaboration between artists of both musical life at court, Mazarin invited of the Fronde which saw the exile of the countries: Carlo Caproli, the Abbot We know Mazarin’s motto was “Qui a

4 5 le cœur a tout” or, “he who has heart, differently from Mazarin. Not only did with virtuosity (Spera mi disse Amore). in Rome and the music he heard there has everything”. This motto is both he adapt to the artistic aesthetics of his The poetry burns with passion and the (notably the works of Carissimi) made an avowal of strength and a confession new country, but “Monsieur de Lully” dissonances are often unexpected, even a strong impression. Once he returned of weakness. It evokes the implacable, became the most uncompromising brutal (Deh, memoria), with an equal to France, he introduced numerous rebellious character of this headstrong defender of French music; while still taste for lamentation and suffering elements of the Italian style into his man who defended his ideas at the cultivating the language of his country of (Mio core languisce). Nothing is too compositions (such as the ostinato bass risk of ridicule. But the motto is also a birth (the plainte italienne of Psyché Deh, out-of-place, too surprising, too bizarre of Sans frayeur), even if the style of his strange and touching choice of words, piangete), he was responsible for creating or too exaggerated in the completely chanson airs (Ah! Qu’ ils sont courts) and as it places the heart centre-stage. As French opera (of which his final opera exteriorized Italian expression of affect. his airs in the lyric declamation style the most intimate home of emotion, the Armide represents the finest example). In contrast to the intimate backdrop (Tristes déserts) remained very French. heart represents both the fragility and of French music, Italian music of this the strength of human life. He who has From Mersenne (1636) to Raguenet time presents a kaleidoscope of clashing Beyond this battle of French and Italian heart cultivates and protects his jardin (1702), theorists have sought to describe sounds and colours. national styles, music continued its secret and feeds from it, as one would the contrasting characteristics of French journey and was nourished by these from an unshakeable poetic source. and Italian music. The programme In the domain of instrumental music, differences. Campra’s opera-ballet, Finally, it is the heart that governs presented on this recording also revolves this duality of style was equally striking. L’Europe Galante, composed in 1697, even the most unwavering decisions; around this duality. Pitted against the Furthermore, the French, such as the united French and Italian tastes as it the Cardinal’s motto establishes poetic sweetness, delicacy, soft tones, intimacy theorbist Robert de Visée, remained did its musical survey of the European feeling as a life choice. and tenderness of French music is the attached to adaptations of vocal or dance nations (France, Spain, Italy and extravagance, passion and vibrant tonal pieces (the Chaconne of Louis Couperin Turkey). We hear in that work an echo The death of Mazarin marked the end colours of Italian music. On the French and the Allemande of Demachy), of the musical heritage bequeathed by of the domination of Italian music side, everything was a question of good while the Italians, on the other hand, Cardinal Mazarin, elements of which in France, as well as the start of the taste and elegance (Guédron’s air Aux experimented with pure forms of music were appropriated by French composers supremacy of French music, so ardently plaisirs), of simplicity, restraint and (the Toccata of Michelangelo Rossi). at the end of the reign of Louis XIV championed by the new king of France, grace (Tranquilles coeurs of Lully). In and which did not cease to grow and Louis XIV. The principal artistic figure Italy, on the other hand, the musical Charpentier was the only French prosper during the whole course of the of this change was again an Italian, affects find their voice in excesses; a composer of the reign of Louis XIV to eighteenth century. Giambattista Lulli, who acted quite musical language that shines brilliantly have gone to Italy. He stayed three years Catherine Cessac

6 7 chanteuse Leonarda Baroni et le non fleurissent les Mazarinades (terme dû jeune Louis XIV et, à ses côtés, Lully, moins réputé castrat Atto Melani. En au poète Scarron), textes protestataires nommé depuis un an compositeur de la 1647, il fait créer Orfeo de Luigi Rossi à l’encontre de Mazarin parfois très musique de la Chambre du Roi. Pour et de l’abbé Buti, opéra dans lequel violents. On en compte aujourd’hui célébrer le mariage entre Louis XIV chante le castrat romain, Marc Antonio environ 6 000. Ces pamphlets, en vers et l’infante d’Espagne Marie-Thérèse, Pasqualini, le compositeur de Si ch’io ou en prose, en français ou en latin, Mazarin projette de représenter un voglio sperare. En introduisant l’opéra s’attaquaient à son action politique, opéra de Francesco Cavalli, Ercole italien en France, Mazarin satisfait son tout autant qu’à sa fortune, à sa famille Amante, composé spécialement pour goût pour le théâtre et le chant, mais a ou encore à son accent italien. Lorsque la circonstance. La grande salle des surtout l’idée de s’attacher l’aristocratie Mazarin revient à Paris le 3 février Tuileries n’étant pas prête à temps, le et éventuellement le peuple par ces 1653, il rappelle les musiciens italiens ministre décide de faire exécuter Xerse, spectacles éblouissants. Les effets qui avaient dû fuir également le climat un autre opéra de Cavalli composé produits sont tout autres. Si les hostile de la capitale. Il pressent quelques années plus tôt et nécessitant décors et les machineries émerveillent toutefois qu’il ne peut poursuivre la moins de moyens. Le 7 février 1662, le le public français, la longueur des diffusion de l’art de son pays sans y théâtre des Tuileries enfin terminé peut œuvres, de surcroît en langue italienne, mêler des composantes françaises. accueillir Ercole Amante ; mais Mazarin provoque l’ennui. Par ailleurs, les n’est plus là (il meurt le 9 mars 1661) omme d’église, grand politique énormes dépenses occasionnées par En 1654, Le Nozze di Peleo e di Theti, pour goûter une fois encore ce théâtre avant tout, Giulio Mazarini les représentations d’Orfeo provoquent «Comédie italienne en musique et cette musique qu’il avait voulu, avec (1602-1661) entretenait une l’inquiétude, puis la colère des Parisiens, entremêlée d’un ballet sur le même tant d’obstination passionnée, imposer immenseH passion pour le théâtre et sentiments auxquels se greffent des sujet», réalise une synthèse de l’opéra aux Français. la musique. Envoyé à Paris en qualité réactions patriotiques contre le ministre italien et du ballet de cour français. de nonce, il obtient la protection de italien et ses compatriotes installés à la Cette œuvre est le fruit d’une étroite On sait que la devise du Cardinal Louis XIII et de Richelieu ; à la mort cour de France. collaboration entre les artistes des deux Mazarin était la suivante: «Qui a le de ce dernier, il devient ministre d’État pays: Carlo Caproli, l’abbé Buti, le cœur a tout». La devise du Cardinal sous la régence d’Anne d’Autriche. C’est alors la grande révolte de la comte de Saint-Aignan et Benserade. Les est à la fois l’aveu d’une force et celui Soucieux d’ordonnancer la vie musicale Fronde, l’exil de la famille royale et chanteurs italiens se mêlent aux français. d’une faiblesse. De fait, elle évoque le de la cour, Mazarin y invite la célèbre de Mazarin. Durant cette période L’on remarque parmi les danseurs le caractère frondeur, implacable de cet

8 9 homme entêté qui défend âprement à l’esthétique de son nouveau pays, brûle de passions vives et les dissonances être allé en Italie ; il demeure trois ses idées au risque d’être tourné en mais ‘M. de Lully’ devient le défenseur surgissent de manière imprévue, voire ans à Rome où il est très fortement ridicule. Mais l’expression «qui a le le plus intransigeant de la musique brutale (Deh, memoria); dans le même impressionné par ce qu’il y entend, cœur a tout» représente également une française ; tout en cultivant encore temps, les Italiens expriment leur notamment les œuvres de Carissimi. devise étrange, touchante, qui place quelque temps le langage de son pays prédilection pour la plainte et la Rentré en France, il introduit de le cœur au centre de tout. Le cœur, natal (la plainte italienne de Psyché lamentation (Mio core languisce). Rien nombreux éléments de style italien siège intime des sentiments, représente Deh, piangete), il crée l’opéra français n’est assez détonant, surprenant, bizarre, dans ses compositions, par exemple la dans le même temps l’endroit le plus (Armide en est l’aboutissement). exagéré dans l’expression totalement basse obstinée (Sans frayeur), même fragile de la vie et son seul véritable extériorisée des affects. Aux décors s’il reste, par ailleurs, très français garant. «Qui a le cœur a tout»; il De Mersenne (1636) à Raguenet intimistes de la musique française dans ses airs en forme de chanson (Ah! cultive et protège son jardin secret (1702), les théoriciens ont décrit les s’oppose le kaléidoscope de sons que la Qu’ils sont courts) ou proches de la et s’en nourrit comme d’une source caractéristiques propres aux musiques musique italienne entrechoque les uns déclamation lyrique (Tristes déserts). poétique inaltérable. Finalement, c’est italienne et française, et le programme aux autres. le cœur qui règne jusque dans les présenté ici repose sur cette dualité Cependant, au-delà des styles nationaux décisions les plus inébranlables; cette profonde. A la douceur, à la délicatesse, Dans le domaine de la musique très affirmés et parfois opposés les devise consacre le sentiment poétique aux tonalités en demi-teintes, au instrumentale, cette dualité de style uns aux autres, la musique voyage comme choix de vie. discours intimiste et tendre de la est également évidente. Par ailleurs, les et se nourrit des différences. L’opéra- musique française viennent en effet Français, tels le théorbiste Robert de ballet de Campra, L’Europe galante, La mort de Mazarin marque la fin de s’opposer l’extravagance, le caractère Visée, restent attachés aux adaptations créé en 1697, réunit les goûts comme la domination de la musique italienne passionné, les couleurs tonales vives de de pièces vocales ou aux danses les nations (la France, l’Espagne, en France, en même temps que le la musique italienne. Tout est affaire de (Chaconne de Louis Couperin et l’Italie et la Turquie); nous pouvons y début de la suprématie de la musique bon goût et d’élégance en France (l’air l’Allemande de Demachy), tandis que entendre un écho de l’héritage laissé française ardemment souhaitée par le de Guédron Aux plaisirs), de simplicité les Italiens expérimentent plutôt des par Mazarin que se sont réappropriés nouveau roi de France, Louis XIV. Le et de grâce (Tranquilles cœurs de formes de musique pure (Toccata de les compositeurs français de la fin du principal artisan de ce changement Lully). En Italie, en revanche, l’affect Michelangelo Rossi). règne de Louis XIV et qui ne cessera est encore un Italien, Giambattista se dit dans la profusion ; les sons créent de prospérer pendant tout le XVIIIe Lulli, lequel agit tout autrement que un langage qui brille par sa virtuosité Charpentier est le seul compositeur siècle. le ministre. Non seulement il s’adapte (Spera mi disse Amore). Le discours français du règne de Louis XIV à Catherine Cessac

10 11 Texts & Translations

1 Spera mi disse Amore Orazio Michi Hâtez-vous donc d’aimer, Make haste therefore to love, Ô jeune beauté fière. O young and proud beauty. "Spera", mi disse Amore, “Hope”, Love said to me, Hâtez-vous, hâtez-vous Make haste, ma che sperar mi lice? But what hope is allowed me? On n’est pas jeune et belle toujours. one is not young and beautiful forever Nel suo proprio dolore In Love’s particular suffering, è tormento la speme a un infelice. hope is a torment to the unhappy. Se fra le pene, If, amidst the pains, la mia gioia, il mio bene, my joy, my beloved, 4 Pierre Guédron niega dolce soccorso al mio martire, denies sweet succour to my martyrdom, Aux plaisirs, aux délices bergères io spererò, si, si, ma di morire. I shall hope, yes, yes, but to die. Aux plaisirs, aux délices bergères To pleasure! To pastoral delights! Il faut être du temps menagères: Time must be employed to the fullest, car il s’écoule et se perd d’heure en heure, for it is running out hour by hour, et le regret seulement en demeure. and only regret remains with us. A l’amour, aux plaisirs, aux boccage, To love! To pleasure! To the woods! 2 Ah! Qu’ils sont courts les beaux jours employés les beaux jours de votre âge. Use the beautiful days of your age. Marc-Antoine Charpentier Maintenant la saison vous convie Now the season invites you Ah! Qu’ils sont courts les beaux jours Ah! How short are the days of a de passer en aimant votre vie: to spend your life with loving: d’une fleur printanière, spring flower. déjà la terre a pris sa robe verte, already the earth is shrouded in green, Ah! Qu’ils sont courts, Ah! Qu’ils sont courts, Ah! How short they are. d’herbe et de fleurs la campagne est and the countryside is covered with grass C’est ainsi que s’enfuit la saison It is thus that the season of love couverte. and flowers. des amours. flies hence. A l’amour etc. To love! etc.

12 13 Ce qui vit, qui ce meurt, qui respire, Whoever lives, dies or breathes, O sapessi quante volte O, if you knew how often d’amour parle, ou murmure ou souspire: whoever speaks of love, murmurs or sighs: chiamo l’ombra del mio bene. I invoke the shade of my beloved! aussi le coeur qui n’en sent la pointure if a heart which is alive hasn’t been struck, E gli mostro le catene And show him the chains s’il est vivant, il est contre nature. it is against nature. che conservo al core avvolte. that I keep twined about my heart. A l’amour etc. To love! etc. Vieni, dico, Come, I say, e trammi teco nella tomba and take me with you into the tomb in cui dimori. in which you dwell. 6 Deh, memoria Giacomo Carissimi Ch’a vederti in quegl’horrori, For to see you in that darkness, anco Amor vuol’ venir meco. even Love itself wishes to come with me. Deh, memoria, e che più chiedi? O, Memory, what more do you ask? Ma s’il Ciel ha ritardata But since Heaven has held back Ch’io rammenti il primo affetto? That I should remember my first love? la fortuna del morire, the good fortune of dying, Se m’annidi eterna in petto, If you dwell eternally in my heart, sto sepolta col desire I remain entombed with my desire ben’il sai, mentre lo vedi. well you know it, as you see it. in quell’ urna sospirata. in that longed-for urn. Deh, memoria, e che più chiedi? Oh Memory, what more do you ask? Ahi, ahi, partir non può dall’alma Ah, ah, that beloved image cannot quell’imagine gradita, depart from my soul, e sospesa con lei la vita, and its life being ended, resta gelida la salma. the cold corpse remains. 7 Mio core languisce Luigi Rossi Tu da me, che vuoi, pensiero? Thought, what do you want from me? Mio core languisce My heart languishes Ch’io sospiri il mio tesoro? That I should sigh for my treasure? e mai non si more. and yet does not die. Egli è spento. Io sempre moro, He is dead. I constantly die, Madre ohimè, non fusse amore. Mother, alas, let it not be love. che veder più non lo spero. because I cannot hope to see him again. Tu da me, che vuoi, pensiero? Thought, what do you want from me?

14 15 Un dolce veleno, A sweet poison, bl La chasse donnée à Mazarin par les paysans des bourgs et des penoso diletto, a painful delight, Anon tormenta’l mio petto, torments my bosom, villages sur le tocsin (Mazarinade) lusinga il mio seno, beguiles my breast, Bourgs, villes et villages, Towns, cities and villages, sospiro vien meno, my breath falters, l’tocsin il faut sonner. sound the alarm! s’afflige il mio core. my heart is afflicted. Rompez tous les passages Destroy the laws Madre ohimè, non fusse amore. Mother, alas, let it not be love. qu’il voulait ordonner. that he would like to impose. (Refrain) (Refrain) Speranza che piace A pleasing hope Faut sonner le tocsin Sound the alarm lusinga la mente, beguiles the mind, din din din din ma tosto si pente but soon it repents pour prendre Mazarin. to capture Mazarin. e l’alma si sface, and the soul is undone, il bene è fugace, the good is fleeting, Ce méchant plein d’outrage This wicked villain, full of insults eterno il dolore. pain eternal. a ruiné sans défaut, has spectacularly ruined Madre ohimè, non fusse amore. Mother, alas, let it not be love. vous tous gens de village all of you city inhabitants vous donnant des impôts. (Refrain) by imposing taxes. (Refrain) Mettez-vous sur vos gardes, Be on your guard, 9 Deh, piangete - from Psyché Jean-Baptiste Lully chargez bien vos mousquets, load your guns, armez-vous de halbardes, Deh, piangete al pianto mio, Ah, lament for my lamenting, take up your swords, de picques et corcelets. (Refrain) sassi duri, antiche selve, harsh rocks, ancient forests, your picks and your guns. (Refrain) lagrimate, fonti, belve, weep, fountains, wild animals, Notre France est ruinée, Our France has been ruined, lagrimate fonti, e belve weep fountains and wild animals faut de ce Cardinal we must cut short d’un bel volto il fato rio. for the unbearable fate of a beauty. abréger les années, the years of this Cardinal, Deh, piangete al pianto mio. Ah, lament for my lamenting. il est autheur du mal. (Refrain) he is the author of our woes. (Refrain)

16 17 bn Tristes déserts, sombre retraite Marc-Antoine Charpentier bp Non pianga e non sospiri - from Orfeo Luigi Rossi Tristes déserts, sombre retraite, Mournful deserts, sombre solitude, Non pianga e non sospiri Let him not weep, nor sigh, rochers, à qui toujours j’ai confié rocks to whom I have always confided chi gelosia non ha, who does not have jealousy, mon sort; my fate; s’altri guai l’inferno dà, if hell offers other woes, ecoutez le récit de la douleur secrète listen to the story of my secret pain ah, che la giù, ah, down there, qui me fait courir à la mort: which causes me to hasten to my death: nò, non vi son martiri. there are no other tortures. Credete all’alma mia: Believe, my soul, J’aimais, j’étais aimé; I loved, I was loved; regina degli affanni è Gelosia. that the queen of sufferings is jealousy. du bonheur de ma vie, kings and gods were jealous of the les rois, les dieux étaient jaloux. happiness of my life. Hélas! Ce temps n’est plus, Alas! That time is no more, l’infidèle Sylvie faithless Sylvia bq Tranquilles coeurs Jean-Baptiste Lully de mon rival fait son époux. took my rival as her husband. Tranquilles coeurs, préparez-vous Tranquil hearts, prepare yourselves Tristes déserts, sombre retraite, Mournful deserts, sombre solitude, à mille secrètes allarmes. for a thousand secret worries. rochers, à qui toujours j’ai confié rocks to whom I have always confided Vous perdrez ce repos si doux dont You will lose this sweet repose whose mon sort; my fate; vous estimez tant les charmes. charms you value so highly. je vous ai dit l’excès de ma I have told you of the excess of my Mais les troubles d’amour ont But the troubles of love have a douleur secrète, secret sorrow, cent fois plus d’attraits que hundred times more attraction than vous serez témoins de ma mort. you will be witnesses to my death. la plus douce paix. the most sweet peace.

18 19 br Sans frayeur dans ce bois Marc-Antoine Charpentier Io mi protesto, Amore, Love, I declare, di portare nel core, Sans frayeur dans ce bois, seule je suis Without fear I came into these woods, that I bear in my heart, per veder il mio bene, venue. alone. in order to see my beloved, morto sempre il timor, J’y vois Tircis sans être émue. There I saw Tircis without being moved. fear always dead, viva la speme. Ah! N’ai-je rien à ménager? Ah! Is there nothing I can do? And hope alive. E se pur mai credesse, And if hope should ever wish Qu’un jeune coeur insensible est à How a young indifferent heart is to be ad onta del volere, to leave me, plaindre! pitied! la speranza partir forse da me, in spite of my will, Je ne cherche point le danger, I am not looking for danger, io mi protesto a te I declare to you mais du moins, je voudrais le craindre. but at least I would like to fear it! non prestarvi l’assenso, pay it no heed, perche nutre conforme because in proportion all’eterno mio amor to my eternal love sperare immenso; I nurture immense hope; bs Si ch’io voglio sperare Marc Antonio Pasqualini si, che viva sarà col desio la speranza yes, hope shall live with desire e mai non morirà! and will never die! Si, ch’io voglio sperare! Indeed, I wish to hope! Parlo a voi, fantasme fiere, I speak to you, proud phantoms – Ma se morir volesse, But if it should ever wish to die, che portate lusinghiere beguilers, who bring se gli vieti il morire, if you refuse it death, e speranza è timore both hope and fear se gli nieghi la tomba if you deny it the tomb, al mio cor saldo all’amare: to my heart, steadfast in love: e, a pro del mio desire, and, conforming to my desire, si, ch’io voglio sperare! indeed, I wish to hope! vaglia per alimento il mio penare: my sufferings will suffice for sustenance: si, ch’io voglio sperare! indeed, I wish to hope!

20 21 Bel desio, nel cor mio Beautiful desire, in my heart Fais en sorte qu’il te souvienne See to it that you do not forget non dar loco a van timore: do not make room for vain fear: qu’un Italien comme toi that an Italian like you hà per meta un amatore a lover of most steadfast hope, dans la minorité d’un Roy, during the youth of the King di saldissima speranza has for his goal and reward après avoir bien fait des siennes, after having caused troubles, guiderdon a sua costanza, for his constancy fut enfin par revers du sort, was finally by a reversal of fortune, tregua dolce al sospirare. a sweet respite to his sighs. bien que favori de la Reine, although favoured by the Queen, fut enfin par revers du sort, was finally by a reversal of fortune, Si, ch’io voglio sperare! Indeed, I wish to hope! justement puni de la mort. rightly punished by death. parlo a voi, fantasme fiere, I speak to you proud phantoms – che portate lusinghiere beguilers, who bring Quoique favori de la Reine, Although the Queen’s favourite e speranza è timore both hope and fear autant que tu l’es aujourd’hui, in the way that you are these days, al mio cor saldo all’amare: to my heart, steadfast in love: enfin, il a été puni, you have finally been punished si, ch’io voglio sperare! indeed, I wish to hope! pour avoir fait tant de fredaines. for having worked such wickedness, Prends garde que les mécontents, take care that malcontents ne t’en fassent bientôt de même, do not soon mete out such wickedness to you, bt Avertissement des enfarinez à Mazarin sur ce qu’il doit craindre prends garde que les mécontents, take care that malcontents (Mazarinade) Anon ne t’en fassent bientôt autant. do not soon mete out such wickedness to you. Grand Cardinal, que la fortune Grand Cardinal, that your luck qui t’élève en un si haut rang, which has raised you to such a high level ne te fasse oublier ton sang, does not allow you to forget your roots, et que tu es de la Commune, and that you come from the Commune, car on sait fort bien dans ces lieux for we well know here quelle peut être ta famille, who your family is, car on sait fort bien dans ces lieux for we well know here quel est ton père et tes aïeux. who your father and your forebears were.

22 23 bu Le perfide Renaud me fuit - from Armide Traître, attends, je le tiens son Traitor, wait, I hold him and his Jean-Baptiste Lully coeur perfide. treacherous heart. Ah! Je l’immole à ma fureur. Ah! I sacrifice him to my fury. Le perfide Renaud me fuit, The deceitful Renaud flees from me, Que dis-je! Où suis-je, hélas! What am I saying? Where am I, alas! tout perfide qu'il est yet Infortunée Armide! Poor Armide! mon lâche coeur le suit. my feeble heart follows him. Où t’emporte une aveugle erreur? Where does your blind error lead you? L’espoir de la vengeance est le seul The hope of vengeance is the only hope Il me laisse mourante, He leaves me dying, qui me reste. left to me. il veut que je périsse. he wants me to perish. Fuyez, Plaisirs, fuyez, Flee, Pleasures, flee, A regret, je revois la clarté qui me luit; With regret I see the light beckoning me; perdez tous vos attraits. renounce your charms. L'horreur de l'éternelle nuit the horror of eternal night has been Démons, détruisez ce palais. Demons, destroy this palace. cède a l'horreur de mon supplice. replaced by the horror of my suffering. Partons, et s’il se peut, Let us be gone! And if it be possible, que mon amour funeste demeure may my cursed love remain buried Le perfide Renaud me fuit, The deceitful Renaud flees from me, enseveli dans ces lieux pour jamais. in this place for eternity. tout perfide qu'il est yet mon lâche coeur le suit. my feeble heart follows him. Quand le Barbare était en ma When this barbarous one was in my power, cm Ad un cuore - from L’Europe Galante André Campra puissance, if only I had believed Hate and Vengeance; Ad un cuore tutto geloso, To a heart full of jealousy, que n'ai je cru la Haine et la Vengeance: if only I had followed their counsel! Deve’amor negar pietà. Love owes no pity. Que n'ai je suivi leurs transports! He escapes me, he is distancing himself La sua face ch’alletta’è piace, Her alluring passion is beautiful, Il m’échappe, il s’éloigne, from me, Vuol dolcezza non crudeltà. and demands sweetness, not cruelty. il va quitter ces bords, he will leave these shores, il brave l’Enfer et ma Rage; he will brave Hell and my fury; Un bel viso tutto vezzoso, A beautiful face full of charm il est déjà près du rivage, he is already close to the edge, Merta’un lacco di lealtà. deserves a bond of loyalty. je fais pour m’y traîner to drag myself there Che Cupido, quel Nume infido Cupid, that infidel God d’inutiles efforts. would be of no avail. Aborrisce la ferità. abhors the wounded. 24 25 he ensemble le Jardin Secret presents the wonderful treasure of Baroque solo vocal David Blunden Tliterature accompanied by the full colour and beauty of original continuo and obligato instruments. With soprano Elizabeth Dobbin, the ensemble performs a wide range of 17th and 18th century repertoire with dedicated attention to its historical context and to the possibilities of creative continuo playing and improvisation. The music is intimate and highly expressive exploiting the powerful and contrasting affects of the poetry to which it is set, welcoming the listener into the most secret places of the heart. le Jardin Secret (in French a metaphor for the heart) is a place of sensual beauty and delight, of mystery and contemplation, of lament, grief and suffering, of amusement and assignation. The members of the ensemble, which won both the first prize and the audience prize in the Early Music Network International Young Artists’ Competition in York in 2007, are post-graduates of conservatories in Basel, The Hague and Brussels. It is the aim of the ensemble to bring alive the emotive energy of the music, opening the door to the aesthetic world of the Baroque in all its beguiling beauty.

Sofie Vanden Eynde Marian Minnen Romina Lischka Elizabeth Dobbin David Blunden

Recording Producer: Mark Brown Elizabeth Dobbin soprano Recording Engineer: Mike Hatch (Floating Earth)

Sofie Vanden Eynde theorbo and baroque guitar Recorded at St Paul's Church, Deptford, London, in February 2008 -ADEIN'REAT"RITAIN le Jardin Secret Cover image: Victoria & Albert Museum David Blunden harpsichord Romina Lischka viola da gamba Translations: Elizabeth Dobbin, Alessandra Testai & Robin Jeffrey Marian Minnen baroque cello and basse de violon Design: Andrew Giles – [email protected] For further information about recordings on CORO or live performances and tours by The Sixteen, call +44 (0) 20 7488 2629 or email [email protected] For further information on le Jardin Secret visit www.lejardinsecret.com 2008 The Sixteen Productions Ltd. © 2008 The Sixteen Productions Ltd. 26 27