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Musica Da Venezia Musica da Venezia Église St-Matthias, Westmount Le 3 mai 2014 / May 3, 2014 Cinta di fior Maddalena Casulana (c. 1544 – c. 1590) Signora Maddalena Antonio Molino (c. 1495 – c. 1571) Donna zendila Antonio Molino Paxe no trovo Lodovico Agostini (1534 – 1590) Sassi, palae Andrea Gabrieli (1533 – 1585) Vecchie letrose Adrian Willaert (1490 – 1562) Sempre mi ride sta Adrian Willaert O dolce mia vita Adrian Willaert Un giorno mi pregò Adrian Willaert Entracte / Intermission Musica dulci sono Cipriano de Rore (1515/16 – 1565) O socii Cipriano de Rore Dulces exuviae Adrian Willaert Passer mortuus est Giovanfrancesco Malipiero (1882 – 1973) Rimanti in pace Claudio Monteverdi (1567 – 1643) Labra amorose e care Adrian Willaert Dormiva dolcemente Giovanni Gabrieli (c. 1557 – 1612) Les Chanteurs d’Orphée Les Chanteurs d'Orphée forment un chœur de chambre accompli et se consa- crent à un répertoire d’œuvres complexes et peu connues qui embrasse toute la période du quinzième au vingtième siècle. Depuis sa fondation il y a trente ans, le chœur a participé à plusieurs concours où il s'est particulièrement dis- tingué. Sous la direction de Peter Schubert, l’ensemble a en effet été finaliste à cinq reprises au Concours pour chorales d’amateurs de la Société Radio- Canada; il a été lauréat en 1996 et a remporté le second prix en avril 2004. Soucieux d’innover dans le domaine des œuvres chorales, les Chanteurs d'Or- phée ont créé des pièces de plusieurs compositeurs contemporains dont Anne Lauber, Jacques Faubert, Bengt Hambraeus, Bob Beart et David Scott Lytle. L'ensemble a également participé à l'enregistrement des compositions de Frie- drich Nietzsche. The Orpheus Singers The Orpheus Singers is an accomplished chamber choir dedicated to the per- formance of complex and less familiar works spanning the past six centuries. In the thirty years since its founding, the group has distinguished itself in several competitions. Under the baton of Peter Schubert, the ensemble has been a finalist five times in the CBC National Radio Competition for Amateur Choirs, winning first prize in 1996, and second prize in 2004. As part of The Orpheus Singers' mandate to promote deserving but lesser known music, the ensemble has premiered works by such composers as Anne Lauber, Jacques Faubert, Bengt Hambraeus, Bob Beart and David Scott Lytle, and has participated in the production of a CD of the musical works of Frie- drich Nietzsche. Peter Schubert Peter Schubert est directeur artistique des Chanteurs d’Orphée depuis 1991. Il dirige également VivaVoce, un en- semble vocal professionnel qu’il a fon- dé à Montréal en 1998. En 2007, Viva- Voce a produit un coffret de deux disques compacts comprenant tous les Magnificats et trois Salve Reginas de Pierre de la Rue. Peter Schubert a étudié la direction d'orchestre avec Nadia Boulanger, Hel- muth Rilling, Jacques-Louis Monod et David Gilbert et a été l'assistant de Gregg Smith et d'Agnès Grossman. Il a publié une édition de noëls de la Re- naissance ainsi que cinq arrangements personnels de chants traditionnels de Noël (aux éditions C.F. Peters). Détenteur d’un doctorat en musicologie de l’Université Columbia, Peter Schubert est professeur dans le département de théorie à l’École de musique Schulich de l’Univer- sité McGill. Il a publié deux manuels scolaires : Modal Counterpoint, Renaissance Style et Baroque Counterpoint. Artistic Director Peter Schubert has conducted The Orpheus Singers since 1991. He also directs VivaVoce, a professional vocal ensemble he founded in 1998. Their two- CD set of the complete Magnificats and three Salve Reginas of Pierre de la Rue came out in 2007. Peter Schubert studied conducting with Nadia Boulanger, Helmuth Rilling, Jacques-Louis Monod, and David Gilbert and has been assistant to Gregg Smith and Agnes Grossman. He has published an edition of Renaissance Noëls as well as his own innovative arrangements of five popular Christmas carols with C.F. Peters. A native of New York, Schubert holds a Ph.D. in musicology from Columbia Universi- ty. He is a Professor in the Department of Music Research of the Schulich School of Music of McGill University, and is the author of two textbooks: Modal Counterpoint, Renaissance Style (Oxford University Press, 1999) and Baroque Counterpoint (Pearson Prentice Hall, 2006). Notes de programme tions - quelquefois en alternance rapide avec la mesure établie - qui brise l’im- Venise au XVIème siècle fut, à plusieurs pression de régularité rythmique de points de vue, la capitale musicale de l’ensemble. l’Europe. Origine de plusieurs des musi- ciens et compositeurs les plus célèbres Parmi les élèves de Casulana se trouvait de l’époque, elle fut aussi le berceau de Antonio Molino (v. 1495? – après l’impression musicale et la source d’une 1570), acteur et dramaturge, qui, bien vibrante industrie de l’édition musicale, que de plusieurs années son ainé, se qui distribua les œuvres de ces composi- tourna vers Casulana tard dans sa vie teurs partout dans le monde alors con- afin ’d en recevoir l’enseignement de nu. Carrefour du commerce, la Répu- l’art du contrepoint. Le premier livre de blique Sérénissime attire les célébrités madrigaux de Molino, publié la même de partout en Italie et de l’extérieur, année que celui de Casulana, contient parmi elles plusieurs qui créèrent ou deux compositions dédiées à son pro- parrainèrent la création d’œuvres nou- fesseur. « Signora Maddalena » et velles pour présentations privées et « Donna zendila » mettent en musique publiques. Dans ce concert, nous ne non seulement des versets élogieux qui présentons qu’un modeste échantillon décrivent la grande vertu et distinction de cette musica da Venezia, héritage de Casulana, mais aussi son talent con- indélébile de la ville aux canaux. sommé de musicienne. Molino fut parti- culièrement connu pour sa poésie et ses Maddalena Casulana (v. 1544 – v.1590) prestations en lingua greghesca, une est mieux connue en histoire musicale sorte de patois utilisé pour représenter pour être la première femme à avoir le dialecte vénitien parlé par les grecs publié ses compositions pour le public vivant dans la république. Il utilise ce en général. Le cycle en cinq parties langage dans la deuxième œuvre au « Cinta di fior » vient de son premier programme de ce soir, insérant du livre de madrigaux, publié brièvement simple vocabulaire grec comme le mot après son arrivée à Venise en 1568 ve- psicchi (esprit) pour créer un effet de nant de Sienne, d’où elle est probable- narrateur étranger. Comme les parties ment originaire. Son style composition- d’alto de toutes les compositions de nel est en général cohérent avec plu- Molino sont perdues, je les ai recons- sieurs de ses contemporains; son goût truites moi-même en consultation avec pour l’utilisation des tierces majeures au le directeur musical. -dessus des basses, quand permis par les règles de contrepoint, semble avoir Bien que Venise fut un centre musical de grande importance, relativement peu été particulièrement en vogue parmi les ème compositeurs vénitiens des années d’œuvres du XVI siècle utilisèrent le 1560, et peut avoir eu ses origines dans dialecte local. A l’exception des compo- la musique de luth - un talent pour le- sitions de Molino et ’d autres de ses quel Casulana reçu plusieurs louanges arrangements en greghesche, la plus de la part de ses contemporains. A no- importante collection d’œuvres à quatre ter en particulier dans le cycle « Cinta di voix en langue vénitienne revient au fior », un nombre des courts passages à compositeur de la cour de Ferrare, Lu- trois temps que Casulana insère dès les dovico Agostini (1534 – 1590), qui ar- première, troisième et cinquième sec- rangea un bon nombre de poèmes écrits par le fréquent collaborateur de Molino, le poète dialectique et drama- brieli (1533 – 1585). Publié dans une turge Andrea Calmo. « Paxe no trovo » grande collection d’arrangements en met en musique une parodie en langue greghesche par des compositeurs ve- vénitienne du fameux sonnet de Pé- nant de Venise et son empire, « Sassi, trarque « Pace non trovo, » trouvant sa palae » est une complainte musicale principale source de comédie dans pour un de ses plus grands composi- l’exagération de la soi-disant « antithèse teurs, Adrian Willaert (1490 – 1562), qui pétrarquienne », une technique poé- mourut deux ans avant sa publication. tique dans laquelle le poète fait un con- La lamentation commence avec une traste entre une scène naturelle idyl- longue invocation du paysage et des lique et son propre tourment intérieur. habitants de la lagune de Venise, arran- Calmo fait la satire de la trope en utili- gée sur des mélismes d’une trompeuse sant l’exagération, écrivant des lignes apparence joyeuse et scandée. C’est manifestement contradictoires et insen- seulement vers le milieu de la seconda sées qui peuvent être interprétées uni- parte qu’il est mis en évidence que la quement qu’avec l’aide d’un « manuel Adrian lio (la côte adriatique) fut ravie d’analyse », lui-même une parodie des d’un de ses plus grand citoyens: le com- écrits critiques que le polémiste con- positeur qui, se plaint Molino, n’arran- temporain Antonfrancesco Doni rejetait gera plus jamais ses vers sur de douces plutôt dédaigneusement en y dénon- harmonies, et dont la lagune ne reverra çant la recherche d’une signification jamais son égal. coûte que coûte (en ses propres mots : « fouiller dans la nez de Petrarque »)… Il peut être approprié que l’eulogie de Par exemple, à la troisième ligne du Willaert soit faite d’une façon aussi in- poème, il est décrit que les talons
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