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The Lion's Ear

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The Lion's Ear The Lion's Ear LA MORRA CONTENTS 2-Programme 6-Sources 7-English text 17-German text 28-French text 38-Lyrics 53-Imprint The Lion's Ear A TRIBUTE TO LEO X, MUSICIAN AMONG POPES EINE HOMMAGE AN LEO X., MUSIKER UNTER DEN PÄPSTEN UN HOMMAGE À LÉON X, PAPE MUSICIEN 1. Lirum bililirum Rossino Mantovano (fl . 1505/11) 3:13 2. [Rostibolli] Gioioso Domenico da Piacenza? (ca. 1400-ca. 1476) 2:11 3. Vivite felices Antoine Bruhier († after 1521) 2:45 4. Ricercar (Ness #4) Francesco Canova da Milano (1497-1543) 0:53 5. De mon triste desplaisir Francesco Canova da Milano, 1:52 after Jean Richafort 6. Fantasia De mon triste Francesco Canova da Milano 2:23 7. Che farala, che dirala Michele Pesenti (ca. 1470-1528) 2:30 8. Spem in alium Anonymous [Pope Leo X?] 2:50 9. Se mai, per maraveglia Anonymous 5:17 10. O vos omnes Bernardo Pisano (1490-1548) 2:31 11. Ecce video celos apertos Nicolaus Craen (ca. 1440/50-1507) 3:29 12. Jerusalem, convertere Elzéar Genet (Carpentras) (ca. 1470-1548) 1:17 13. Recercada Marco Antonio Cavazzoni (ca. 1490-ca. 1560) 2:44 14. Lautre yor per un matin Marco Antonio Cavazzoni, 4:15 after anonymous 15. Fortuna disperata Anonymous 5:08 16. Fortuna disperata/Sancte Petre Henricus Isaac (ca. 1450/55-1517) 1:32 17. Quid retribuam tibi, Leo? Henricus Isaac 1:54 18. Cela sans plus Pope Leo X (1475-1521) 2:42 19. In omni tribulatione Jean Mouton (before 1459-1522) 1:31 20. Ricercar (Ness #10) Francesco Canova da Milano 1:38 21. O stella maris Marco Antonio Cavazzoni, 4:34 after anonymous 22. Canon di papa Lione x a 3 voci Pope Leo X 1:30 23. Salve, Regina Josquin Lebloitte dit des Prez (ca. 1450/55-1521) 6:42 TOTAL 65:35 4 LA MORRA artistic direction Corina Marti Michał Gondko voices Franz Vizthum [1, 3, 12, 15, 17, 19, 23] Ivo Haun de Oliveira [1, 3, 7, 8, 10, 12, 16, 17, 19, 23] Giovanni Cantarini [1, 3, 7 (solo), 8, 9, 10, 12, 16 (solo), 19, 23] Giacomo Schiavo [7, 8, 10, 12, 16, 23] Jean-Christophe Groffe [1, 3, 8, 10, 12, 17, 19, 23] recorders, harpsichord Corina Marti [1, 2, 7, 11, 13, 14, 15, 16, 18, 21, 22] lute, viola da mano Michał Gondko [1, 2, 4, 5, 6, 7, 9, 11, 15, 18, 20] viola da gamba, recorder David Hatcher [1, 2, 7, 15, 16, 18, 22] viola da gamba Soma Salat-Zakariás [1, 2, 7, 15, 16, 18] recorders Ann Allen [1, 22] harpsichord Ralph Stelzenmüller [1] www.lamorra.info 5 ^menu SOURCES MANUSCRIPT · Basle, University Library, MS F X 1-4: [18] · Bologna, Museo internazionale e biblioteca della musica, Codice Q 19: [3] · Castell'Arquato, Chiesa Collegiata dell'Assunta, Archivio Musicale, Ms. 2: [13] · Florence, Biblioteca Mediceo-Laurenziana, MS Acq. e Doni 666: [19] · Florence, Biblioteca nazionale centrale, MS II.I.350: [10] · Florence, Biblioteca nazionale centrale, MS Magl. XIX 164-167: [8] · London, British Library, Reference Division, Department of Manuscripts, MS Additional 16439: [15] (text) · Munich, Bayerische Staatsbibliothek, Musiksammlung, Musica Ms. 34: [23] · Paris, Bibliothèque Nationale, MS fonds ital. 973, Guglielmo Ebreo, De pratica seu arte tripudij: [2] · Perugia, Biblioteca Comunale Augusta, MS 431(G.20): [22] · Segovia, Catedral, Archivo, MS s.s. (olim 18): [16] · Vatican City, Biblioteca Apostolica Vaticana, MS Cappella XIII.27: [15] (music) · Vatican City, Biblioteca Apostolica Vaticana, MS Capella Sistina 163: [12] PRINTED · Frottole libro secondo (Venice: Ottaviano Petrucci, 1504): [1] · Tenori e contrabassi intabulati col soprano in canto fi gurato per cantar e sonar col lauto Libro Secundo. Francisci Bossinensis Opus (Fossombrone: Ottaviano Petrucci, 1511): [9] · CANZONI SONETTI STRAMBOTTI ET FROTTOLE LIBRO TERTIO (Rome: Andrea Antico, 1513/ Rome: Jacopo Mazochi and Jacopo Giunta, 1518/Venice: Andrea Antico and Jacopo Giunta, 1520): [7] · RECERCHARI MOTETTI CANZONI Composti per Marcoantonio di Bologna. LIBRO PRIMO (Venice: Vercellese, 1523): [14, 21] · TRIUM VOCUM CARMINA (Nuremberg: Formschneyder, 1538): [11] · Tricinia. Tum veterum tum recentiorum in arte musica symphonistarum... (Wittenberg: G. Rhaw, 1542): [17] · Intabulatura de lauto di M. Francesco Milanese et M. Perino Fiorentino, suo discipulo... Libro Terzo (Venice: Gardane, 1547): [5-6] · Intabulatura da leuto del divino Francesco da Milano novamente stanpata (n.p., n.d.): [4, 20] SECONDARY PUBLICATIONS · New Josquin Edition, The Collected Works of Josquin des Prez, ed. Willem Elders et al., vol. 25 (2009): [23] · The Lute Music of Francesco Canova da Milano, ed. Arthur J. Ness (Cambridge, MA: Harvard University Press, 1970): [4, 20] 6 ^menu LA MORRA, formed in 2000 and named after Henricus Isaac's famous instrumental piece, is among the lead- ing formations specializing in the performance of late medieval and early Renaissance European music. La Morra has performed at some of the most prestigious European and North-American Early Music events, including Festival van Vlaanderen (Belgium), Rencontres de Musique médiévale du Thoronet and Voix et Route romane (France), Tage alter Musik in Regensburg (Germany), Kilkenny Arts Festival (Ireland), Ravenna Festival (Italy), Festival Oude Muziek Utrecht (The Netherlands), Oslo Internasjonale Kirkemusikkfestival (Norway), Misteria Paschalia and Muzyka w Raju (Poland), Festival Internacional de Música da Póvoa de Varzim (Portu- gal), Freunde alter Musik Basel and Forum Alte Musik Zürich (Switzerland), York Early Music Festival (UK), Houston Early Music, The Da Camera Society of Mount St. Mary's College, The Chamber Music Society of Saint Cloud and the Early Music Guild of Seattle (USA). Concert tours have also taken the ensemble to Cyprus, Estonia, Finland, Portugal and Spain. La Morra's CD releases are enthusiastically received. Among the proofs of this are such distinctions as the Gramophone Award Nomination, Classical Music Awards Nomination, Diapason d'Or, Preis and Jahrespreis der Deutschen Schallplattenkritik and the constantly high ratings in the international music press. A melting pot of national temperaments, La Morra makes its home in Basle, the cultural capital of Switzer- land, where research into the 'early music' and its performance has been practiced for many decades. Under the artistic leadership of the Swiss fl utist/harpsichordist Corina Marti and the Polish lutenist Michał Gondko, La Morra re-defi nes itself according to the requirements of the projects it undertakes. 7 pope (Clement VII, reigned 1523-34). Indeed, histo- THE LION'S EAR: A TRIBUTE TO LEO X, MUSICIAN rian J.R. Hale suggested that the election of two Medici AMONG POPES to the papacy in almost immediate succession is the ultimate explanation for the entire family's ennoble- Pope Leo X and music ment in 1532, with the right of hereditary succession In 1512, Giovanni di Lorenzo di Piero de' Medici conferred upon the senior male member of the family (1475-1521) was the eldest surviving male member of as duke of Florence. The Medici then ruled their native the senior line of the celebrated Medici family of Flor- city until well into the eighteenth century. ence, the eldest surviving son of the mythic Lorenzo il Magnifi co. Giovanni had inherited his family's refi ned Most important for present purposes, Leo's elec- interest in and zealous support of the arts: literature; tion liberated him (and the members of his family painting, sculpture, and architecture; and music. But more generally) to act in ways that would have been of all of these, Giovanni – perhaps due in part to his diffi cult, if not impossible, for the fi fteenth-century poor eyesight – favored music, for which his passion Medici, who were nominally private citizens in a was legendary among contemporaries. nominally republican city-state. Leo was now freed to indulge his passion for music in a way that would have Lorenzo il Magnifi co had engineered Giovanni's been unseemly (even hazardous) in fi fteenth-century appointment to the cardinalate when Giovanni was republican Florence, and with the unsurpassed mate- still just a boy, and in March, 1513, when Pope Ju- rial advantages of the papacy enabling him. lius II died, Cardinal Giovanni was elected pope and took the name Leo X (reigned 1513-21). Only a few Leo exploited these circumstances to the fullest. months before, in September, 1512, the Medici had The musical life of Leo's court was unimaginably rich been restored to Florence after an 18-year exile, and and vibrant, as innumerable eyewitness accounts con- their return to Florence, coupled with Giovanni's elec- fi rm. Our CD aims to bring that world acoustically to tion to the papacy almost immediately thereafter, so- life, to revive the soundscape of the Leonine court and lidifi ed the family's hold on its native city and afforded illustrate the range of practices typifying Leo's own its members greatly enhanced status. Two of Leo's rel- musical experiences. It is intended as a tribute to a rare atives (his brother Giuliano and his nephew Lorenzo) and extraordinary patron of music (himself a com- married members of the French royal family and were poser and musician), who occupied that singular posi- ennobled. His fi rst cousin Giulio di Giuliano di Piero tion at the very summit of the universal ecclesiastical was made archbishop of Florence, cardinal, and papal hierarchy. Our objective is to convey a detailed picture vice chancellor, and he was one of Leo's successors as of Leo's musical tastes, as exemplifi ed by the types of 8 music he heard, composed himself, or had composed of Leo and thirty-four cardinals, "the fi rst by the Span- or copied either for himself or for others, as well as by ish mournfully, the second by the French studiously, the evidence of the musicians he employed, the com- the third by the Italians sweetly." Leo's chapel-master, posers he admired, and the instruments he collected.
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