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Italy 1614: New Trends in Part Song and Monody Musical Explorations of the Madrigal and Motet by Monteverdi and His Contemporaries

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Italy 1614: New Trends in Part Song and Monody Musical Explorations of the Madrigal and Motet by Monteverdi and His Contemporaries The Yale Collegium Musicum Grant Herreid, director, presents Italy 1614: New Trends in Part Song and Monody Musical Explorations of the Madrigal and Motet by Monteverdi and his Contemporaries Wednesday, November 19, 2014 Beinecke Rare Book and Manuscript Library PROGRAM Sonata Cesare Bendinelli (c. 1542-1617) Tutta l'arte della trombetta (Verona, 1614) Cinto il crin / A cantar in altri modi / Scenda quella dal canoro Antonio Brunelli (1577-1630) Scherzi, arie, canzonette e madrigali . Libro secondo (1614) Cinto il crin di biond' oliva Tresses girded with blond olive, Prato intento a nuovi fregi Prato, intent on new praises De suo Duci e de suo regi for its lords and kings, Di Bisenzo in su la riva from the banks of the Bisenzio, Che fioriva which flower Di bei gigli e di viole with fair lilies and violets, Fe sentir queste parole: makes heard these words: Questo fior che dura eterno This flower that endures forever, Serenissimo mio duce my most serene lord, Alla tua perpetua luce to your perpetual light, Al tuo provido governo to your provident government, Sempiterno everlasting Ti consacra il core, e dice: consecrates to you its heart, saying: Cosmo pio, Cosmo felice. pious Cosmo, happy Cosmo! A cantar in altri modi To sing in other styles L'alte lodi the high praises De miei duci of my lord Mi conduci I am compelled, Ove all' ebono sonoro where to his sonorous ebony (lyre) Plettro d'oro with her golden plectrum Accompagna'l biondo fair Clio accompanies Dio Bella Clio. the blond god. Prima al nome tuo s'inchina First, to your name bows, O Christina O Christina, Arno e flora the Arno, Flora Prato ancora and also Prato. Ti pur chiama eccelsa donna Your Colonna Sua Colonna indeed calls you high lady, Pia nipote anch'io ti credo pious niece, I also believe, Di Goffredo. of Geoffrey. Scenda quella She descends Dal canoro from the melodious Dolce coro sweet choir, Ch'è più bella who is the most fair, Più felice the most happy Cantatrice. singer. De suoi canti may the bright vaunts Sian' or segno of her song Nobil regno now be a sign Chiari vanti [of the] noble reign Del sovrano of the sovereign Re Toscano. Tuscan king. Carlo Bocchineri (1559-1630) Canzona La Grassa instrumental Giovanni Antonio Cangiasi (died after 1614) Scherzi forastieri per sonare (Milan, 1614) A quei sospir ardenti Giulio Caccini (1551-1618) Ariadne Lih, voice Nuove musiche e nuova maniera di scriverle (Florence, 1614) A quei sospir ardenti, By those ardent sighs Che fingesti esalar per troppo ardore, that you feigned to exhale with such passion; A quei dolci lamenti by those sweet plaints Misti d’amare lagrime d’amore mixed with bitter tears of love, Credulo amant’ a pers’ il seno e il core. the credulous lover has lost both heart and soul. Ne d’amoroso strale Nor did I avoid the mortal wounds Schivai colpo mortale of Love’s amorous arrows: Al fin arso e ferito at last burned and wounded, E deluso e schernito, and disappointed and mocked, E veggio e sento I see and know Ch’i pianti e i sospir miei son acqua e vento. that my tears and sighs are but water and wind. Ottavio Rinuccini (1562-1621) translation: Grant Herreid Amor se pur degg'io Salomone Rossi (1570-1630) Il primo libro de madrigali (Venice, 1614) Amor, se pur deggi'io Love, if indeed I must Morir senza pietà del dolor mio, die without pity from my pain, Perchè morir non deve why mustn't she die, Cagion de' dolor miei? the cause of my pain? Se sei giusto e fedele, If you are just and faithful, Ferrisci la crudele, wound the cruel one, Chè se pur di ferrir quella ti cale, but if indeed you shrink from wounding her, Habbi almeno pietà del mio gran male. at least take pity on my great suffering. Canzona L'Obligata instrumental Cangiasi Scherzi forastieri per sonare Ancor che col partire Cipriano da Rore; Scott Weady, cello divisions by Richardo Rogniono, Il vero modo di diminuire (Venice, 1592) A Dio Florida bella il cor piagato Claudio Monteverdi (1567-1643) Robert Yaman, Sarah Norvell, voice Il sesto libro de madrigali (Venice, 1614) A Dio Florida bella, il cor piagato Farewell, fair Florida; my heart, wounded Nel mio partir ti lascio, e porto meco by my leaving, I leave with you, and I bear in me La memoria di te si come seco the memory of you, as in him Cervo trafitto suol lo strale alato. a pierced stag often bears a winged arrow.” Caro mio Floro a Dio, l'amaro stato “My dear Floro, farewell; may Love console Consoli amor del nostro viver cieco, the bitterness of our blind lives; Che se'l tuo cor mi resta, il mio vien teco for if your heart stays with me, mine goes with you Com' augellin che vola al cibo amato. as a bird flies to its beloved food.” Così su'l Tebro a lo spuntar del sole, Thus, as over the Tiber the sun arose, Quinci e quindi confuso un suon s'udio all about was heard the jumbled sound Di sospiri, di baci, e di parole: of sighs, of kisses, and of words: Ben mio rimante in pace. E tu ben mio, “My love, be at peace.” “And you, my love, Vattene in pace, e sia quel che'l ciel vuole. go in peace, and let Heaven’s will be done.” A Dio Floro (dicean), Florida a Dio. “Farewell, Floro,” (they said), “Florida, farewell." Giambattista Marino Non ha'l ciel cotanti lumi Giulio Caccini Sarah Norvell, Leah Chernoff, Yamile Lozano, voice Nuove musiche Non ha'l ciel cotanti lumi, The heavens haven't as many stars, Tante still'e mari e fiumi, the rivers and sea as many drops, Non l'April gigli e viole, April hasn't as many lilies and violets, Tanti raggi non ha'l sole, the sun hasn't as many rays Quant'ha doglie e pen'ogni ora as pain and grief at all hours has Cor gentil che s'innamora. a noble heart that is in love. Penar lungo e gioir corto, Lasting pain and fleeting joy, Morir vivo e viver morto, living death and dead life, Spem' incerta e van desire, uncertain hope and vain desire, Mercè poca a gran languire, little mercy and great languishing, Falsi risi e veri pianti false smiling and true tears È la vita degli amanti. are the life of lovers. As snow in the sun, and mist in the wind, Neve al sol e nebbia al vento, are the joy and happiness of love. E d'amor gioia e contento, Of the turmoil and the pain Degli affanni e delle pene ah! the end never comes. Ahi che'l fin già mai non viene, The ice of death extinguishes passion Giel di morte estingue ardore in a soul that Love has sparked. Ch'in un' alma accende Amore. Well I know that death alone Ben soll' io che' morir solo can end my great pain, Può dar fine al mio gran duolo, yet not from you do I suffer Nè di voi già mi dogl'io my bitter and harsh state: Del mio stato acerbo e rio; tyrannous Love alone I blame, Sol Amor tiranno accuso, lovely eyes, and you I pardon. Occhi belli, e voi ne scuso. Canzona La Furugada instrumental Cangiasi Scherzi forastieri per sonare Ad coenam Agni providi Bernardino Bottazzi (c.1560/80? - after 1614) Jacob Reed, organ Choro et Organo (Venice, 1614) Alma Redemptoris Mater Bartholomeo Barbarino Ariadne Lih, voice Il secondo libro delli motetti (Venice, 1614) Alma Redemptoris Mater quae per via caeli Mother of the Redeemer, who is ever of heaven Porta manes, et stella maris, succurre cadenti, the open portal, and the star of the sea, aid the fallen, Surgere qui curat populo: tu quae genuisti who strive to rise again; you who gave birth, Natura mirante, tuum sanctum Genitorem while Nature marveled, to your Holy Creator, Virgo prius ac posterius, Gabrielis ab ore virgin both before and after, from Gabriel's mouth Sumens illud Ave, peccatorum miserere. accepting the 'Hail', be merciful towards sinners. Misero Alceo Monteverdi Nicholas Maas, voice Il sesto libro de madrigali Misero Alceo, dal caro albergo fore Unhappy Alceus, from this dear retreat Gir pur convienti, e ch’al partir t’apresti. you must go, and to depart prepare yourself. ‘Ecco Lidia ti lascio e lascio questi 'Behold, Lydia, I leave you, and I leave these Poggi beati, e lascio teco il core. blessed hills, and I leave with you my heart. Tu se di pari laccio e pari ardore If you by the same ties with the same passion Meco legata fosti e meco ardesti, were bound to me and burned with me, Fa che ne duo tal hor giri celesti then let my heart in those two heavenly orbs S’annidi e posi ov’egli vive e more. make its nest, where it lives and dies. Si more lieto il cor staratti a canto, If my heart dies happy being near you, Gli occhi lontani da soave riso, my eyes, far from your sweet smile, Mi daran vita con l’umor del pianto.’ will sustain me in life with the dew of tears.' Così disse il pastor dolente in viso. Thus spoke the shepherd, sad in visage. La ninfa udillo, e fu in due parti intanto The nymph heard him; and then into two parts was L’un cor da l’altro, anzi un cor sol, diviso. one heart from the other, rather one sole heart, divided.
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