95905 Ecos del Parnaso Spanish madrigals

Jose´ Duce Chenoll Ecos del Parnaso Spanish Madrigals

Cristóbal de Morales (1500-1553) Mateo Flecha “El Joven” (1530-1604) 1. Ditimi si o no* 2’27 10. ¡Ay de mí que’n tierra agena! 5’55

Diego Ortiz (c.1510-c.1570) Sebastián Raval (1550-1604) 2. Giorno felice* 2’02 11. Solcai già mar crudele* 2’30 12. Questo cor e quest’alma Joan Brudieu (1520-1591) (first part)* 3’14 3. Ma voluntat abla rahó s’envolpa 13. Tu vuoi dolci i sospiri (Madrigal XV, first part) 3’09 (second part)* 3’36 4. Plena de seny (Madrigal XV, second part) 2’30 Pedro Valenzuela (¿-¿) 5. Pues que no se puede hazer 14. Mentre vieni o mio sole* 2’29 (Madrigal III, first part) 2’30 15. Voi volete ch’io muoia * 4’27 6. Amor me tiene olvidada 16. La verginella* 3’01 Coro Amystis (Madrigal III, second part) 3’05 Elia Casanova soprano (3) · Quiteria Muñoz soprano (6) · Hugo Bolívar countertenor Pedro Ruimonte (1565-1627) Isabel Marí alto · Jorge Juan Morata tenor · José Manuel Bustamante baritone Rodrigo de Ceballos (1525-1591) 17. En este fértil monte 3’40 Giorgio Celenza bass · Sara Águeda harp 7. Ojos hermosos* 3’29 José Duce Chenoll music director Stefano Limido (¿-1647) Juan Navarro (1530-1580) 18. Amargas horas de los 8. Ay de mi, sin ventura tristes días* 5’08 (La Monja) 3’34 19. Estáis en essa Cruz Christo 9. Recuerde el alma dormida* 3’00 enclavado* 2’50 Recording: September 2018, Hermitage of the Sants de la Pedra, Sueca, Valencia, . Produced by Amystis chamber choir & musicological society. Artistic direcction: José Duce Chenoll. Sound engineer (editing and mastering): Alfred Fernández Pons. * First recordings Recording assistant: Ignacio Muñoz. Cover (photo and design): Revelarte 2 p & © 2019 Brilliant Classics 3 The “madrigal”, a poetic-musical form, develops overwhelmingly in Italy, both in himself with the most noted musicians in the court of the Duke of Calabria. terms of quality and quantity, radiating its virtues throughout Europe, where Franco- Unfortunately, only a few voices survived from his Odarum (quas vulgo madrigales Flemish and English composers take the lead. appellamus) diversis linguis decantatarum, published in Barcelona in 1561, which In fact, the work of many important composers in the XVI and XVII centuries is explains why these pieces cannot be recreated. closely related to this genre. What self-respecting music lover has never delighted in In keeping with Italian fashion, another Catalan musician, Mateo Flecha “El the madrigal, a form so descriptive and close to the poetic atmosphere of composers Joven”, who was a Carmelite and also had strong ties with the city of Valencia, such as Cipriano de Rore, Carlo Gesualdo, Adrian Willaert, Luca Marenzio, Jacques published in 1568 in Venice Il Primo Libro de Madrigali, a collection of pieces of Arcadelt or the prolific Claudio Monteverdi? great technical finesse characterized by their open form and the variety of stylistic All of these musicians searched in the texts of Petrarca (and the Petrarchists) and in features used to evoke poetic sentiment. the texts of authors such as Tansillo, Tasso, and Ariosto the perfect symbiosis between The madrigal soon became a favorite genre among musicians in the Crown of melos and poetry. In this symbiosis music is subordinate to the text and its attempts Aragon, since it allowed them to express the essence of their own art and expand the to express faithfully its meaning through form and intensity of expression. features giving voice to their musical sensibility. For instance, the chapel master of La But, did the influence of this genre reach Spain? Certainly, it did, although just a Seo de Urgel, Joan Brudieu, a Frenchman living in Catalonia, published in Barcelona few authors published their works as “madrigales”. a new book of madrigals in Spanish and Catalan, and even sets to music a few texts It is not surprising that the Crown of Aragon, which had close ties with the main by the famous Valencian poet Ausiàs March. madrigal centers in Italy (Naples, Venice and Rome), became the entry way into the One of the last collections published by a master in the Crown of Aragon it the Iberian Peninsula for this new way to understand vocal music, a music which was Parnaso Español, printed in (1614) by Pedro Ruimonte, a musician from also almost entirely secular. , which includes both madrigals and villancicos. These highly descriptive The problem with this term comes from the fact that “madrigal” is a broad and lively madrigals, which are written in Spanish, are divided in sections, following a concept, a vocal polyphonic composition with no refrain set to an entire poetic text poetic text which has no stanzas, and they can be considered one of the best examples which dictates its form. This explains why many Golden Age Villancicos follow of this genre in Spain. this model and are, in fact, madrigals in the guise of villancicos. The term Madrigal Despite the number of madrigals published by musicians in the Crown of Aragon, survived thanks to a multisecular tradition that made it last throughout the ages the influence of this genre extended beyond its borders. This is the case of the in different styles. Curiously, musicians in the Crown of Aragon as well as Spanish above-mentioned Rodrigo de Ceballos y Francisco Guerrero, and of two of the key composers abroad had no problem publishing madrigals, unlike many musicians in composers of the Spanish Golden Age, Diego Ortiz y Cristóbal de Morales. The only the peninsula. known madrigals by these last two authors up till now are two rare pieces written in One of the earliest madrigals to be published in Spain was by Catalan Pere Alberch Italian, which are included in Amystis. i Vila, who traveled with his uncle, Pere Vila, to Valencia, where he familiarized There were also Spanish musicians who witnessed the flourishing of the madrigal

4 5 in Italy and who were inspired by the style of important composers such as Merulo, Zarlino, or Andrea and Giovani Gabrielli. One of these composers is Pedro Valenzuela, educated in Venice and Verona, who was a singer in the choir in San Marcos, Venice, and later in the choir in the Annunziata in Naples. The second Spanish composer to emigrate to Italy was Sebastián Raval, who settled in Rome. There he published two books of madrigals of great creativity which fully followed the Italian fashion: Il Primo Libro de Madrigali a 5vv in Venecia (1593) and Madrigali a 3, 5 8vv in Roma (1595). However, as it happens when musical traditions enter in contact and musicians travel, styles influence each other, and in the case of the madrigal, Italian and Spanish elements blended perfectly. This is the case of Stefano Limido, who wrote in Spanish a number of religious poems as “madrigales espirituales” which are kept in the archives of the Cathedral in Valladolid and they were published under the title of "Armonía Espiritual" Taking into account the path travelled by the Italian madrigal, which established deep roots in the Crown of Aragon, the pieces included in Amystis represent the different ways in which Spanish composers assimilated the Italian style, its fusion with the purest Hispanic tradition. © José Duce Chenoll Thanks to: Excellent City Council of Sueca, Mr. Francisco Llopis, Discography: Miss Verónica Rioja Fernández, Mr. Andrés Navarro Lázaro, Mortales que amáis, Joan Baptista Cabanilles Complete vocal music. Miss Elisa Muñoz Inglada, Miss Elena Villar Bellver, Brilliant Classics 94781. Mr. José Duce Lafuente and Miss María José Duce Chenoll. Juan Bautista Comes, O Pretiosum, Music for the Blessed Sacrament, Special thanks to Inma Ruiz Valdés, Brilliant Classics 95231 for her help and unconditional support in all my projects. www.amystis.com – [email protected]

6 7 SUNG TEXTS Lo poch dormir magresa’l cos m’acosta my wit doubles in the contemplation of 1. Ditimi si o no 1. Tell me yes or no Doblam lenginy per contemplar amor Love, Ditimi o sì o no senza timore, Tell me yes or no without fear, Lo cos molt gras trobant se dormidor because the fat body, feeling sleepy, ch'ognun de' doi non pò se non giovarmi. since any of them cannot but help me. No pot dar pas en aquesta’spra costa. cannot climb so hard slope. Se 'l serà un no, mi farà grand' honore If it is no, it will be great honour star constante volendo voi lasciarmi. to be faithful even in your disdain. 4. Plena de seny 4. Full of wisdom Se 'l serà un sì, fia 'l frutto del languire, If it is yes, it will be the fruit of my pains, Plena de seny donaume una crosta Full of wisdom, give me a crust assai più degno che 'l mio ben sevire. far worthier than my good service. Del vostre pa quem lleve la margor of your bread to get rid of my bitterness; Dunque elegete quel che più vi electa: So, choose which one you like better: De tot menjar ma pres gran dessabor I have acquired a distaste for any food ché l'un mi honora e l'altro mi diletta. as one honours and the other delights me. Sino d’aquell que molt amor me costa. but that which demands much love.

2. Giorno felice 2. Happy day 5. Pues no se puede hazer 5. Since it is not posible to do Giorno felice e lieto Oh, happy and lively day Pues que no se puede hazer Since it is not possible to do Che giunt’al primo porto that reaches the first port lo que mi querer desea, what my will desires, D’ Italia bella of this beautiful Italy! Quiero lo que no ha de ser, I want what never should happen; Si soave e queto Oh, calm and peaceful day Quiçá con no lo querer perhaps if I do not want it, Raccogli l’ Arno e la piu that welcomes the Arno! posible será que sea; it is possible that it happens. Gran beltade And it shows us and throws Ya se han visto sin ventura In great distress have been seen Ch’habbi la nostr’etade the greatest beauty algunas en esta vida some (girls) in this life, Ne mostra e gitt’homai that may exist in our time Y no creo que a ninguna but I do not believe that anyone Rimant’ in pace and that leaves a peace la llevase la fortuna had been brought by Fortune Questo piu del Nilo assai I like it much more Com’a mí tan de caída. to be as crestfallen as I. Mi piace. that of the Nile. 6. Amor me tiene olvidada 6. I have been forgotten by love 3. Ma voluntat abla raho senvolpa 3. My will is wrapped up in the reason Amor me tiene olvidada, I have been forgotten by Love, Ma voluntat abla raho senvolpa My will is wrapped up in the reason Desamor mucho m’aquexa, whereas I am besieged by “dislove”, E fan acort la qualitat seguint and both agree to search for quality, Temor me tiene postrada I am overcome by fear, Tals actes fent quel cos es defallint in such a way that the body is losing, y el afición degollada, and beheaded by affection, En poch de temps una gran part de in a short time, a great deal of flesh. y al mejor razón me dexa. and I have lost my reason. polpa. I can not sleep, my body is wasting away: ¡Ay de mí, pues sin ventura, Poor me! As without any luck

8 9 Quedé sola en esta vida! I was left alone in this life. Que nos dé libertad, That gives us freedom, Pasose mi coniunctura, My opportunity has gone, Sola la muerte. Alone the death. Y por tal mi desventura and this is why my misfortune Me lleva tan decaída. makes me so crestfallen. 9. Recuerde el alma dormida 9. Let the dozing soul remember Recuerde el Alma dormida, Let the dozing soul remember, 7. Ojos hermosos 7. Beautiful eyes Avive el seso y despierte, let the mind awake and revive by Ojos hermosos, Beautiful eyes, Contemplando cómo se pasa la vida, contemplating amorosillos, graves; loving, serious; Cómo se viene la muerte, how our life goes by so swiftly Ojos serenos, bellos, Serene, beautiful eyes Tan callando. and how our death comes near so silently; ojos que sois de mi corazón llaves; eyes that are the keys of my heart; Cuan presto se va el placer, how quickly pleasure fades, Pues sois solos aquellos Well, you are alone Cómo, después de acordado, da dolor, and how when it is recalled it gives us que, con mirar suaves, that, with soft look, Cómo a nuestro parecer, pain, vida triste me dais, You give me sad life, Cualquier tiempo pasado fue mejor. how we always seem to think ¡Ay!, ¿por qué me matáis? Oh, why are you killing me? that times past must have been better than today. 8. Ay de mi sin ventura 8. Woe to me, without luck Ay de mi, sin ventura, Woe to me, without luck, 10. ¡Ay de mí que’n tierra agena! 10. Woe to me that in foreign land Ay vida trabajosa entre paredes, Oh, hard life between walls, Ay de mí qué’n tierra agena, Woe to me that in foreign land, Ay qué estrecha prisión son estas redes, Oh, what a prison these networks are, Me veo y sin alegría I see myself and without joy Cárcel molesta, oscura, annoying and dark prison, ¿quándo me veré’n la mía? What will I see in mine? Torno fiero, enojoso, avaro, esquivo, Fierce, annoying, greedy, elusive lathe, Ay que vivo en tierra extraña Oh, I live in a strange land Abrasarte vea yo de fuego vivo, Burning with live fire I see, Vida triste y sin ventura Sad and unhappy life Ay, qué regla tan pesada, triste coro Oh, what a heavy rule, sad importunate A donde la vida engaña Where life cheats importuno, chorus, Y la muerte me asegura. And death assures me. Para qué fue beldad y gracia en uno For what was beauty and grace in one Ay de mí qué’n tierra oscura, Woe to me that in the dark land, No habiendo de ser vista ni gozada, Not to be seen or enjoyed, Me veo y sin alegría I see myself and without joy Vida desesperada Desperate life ¿quándo me veré’n la mía? What will I see in mine? Ay, qué gran sinrazón, Oh, what a great injustice, Qué ley tan fuerte, What a strong law,

10 11 11. Solcai già mar crudele 11. I sailed through a merciless sea 14. Mentre vieni o mio sole 14. Whilst you come, oh my sun Solcai già mar crudele I sailed through a merciless sea Mentre vien, o mio sole, Whilst you come, oh my sun, seguendo il bello amato idolo mio. seeking my fair beloved idol. si disolvon le nevi. the snows melt. Sparsi al vento le vele I unfolded the sails to the wind E tu di questo alto piacer ricevi, And you receive from that a high da fortuna e d'amor guidato e scorto; guided and escorted by fortune and tu apport' il lume chiaro, pleasure; e vissi di speranza e di desio. love; e fai sereno il cielo. you give us the fair light Hor son ridotto in porto: and I lived on hope and desire. Né può l'ombre fra noi serbare il gelo, and make the sky serene. fortuna e amor non mi faran più torto. Now I have reached port: ma fior', gigli e viole And the shadows cannot keep the ice fortune and love will hurt me no more. e 'l tempo amato e caro among us: meni di primavera. but you bring flowers, lilies and violets 12. Questo cor e quest’alma 12. This heart and this soul Tu solo honor d'Italia e gloria vera. and the dear, cherished Questo cor e quest' alma This heart and this soul weather of Spring. e quest' a te vil salma, and this, for you, unworthy body, You, Italy's only honour and true glory. Silvia, con tue virtù, pòi render salva. Silvia, with your virtues, can save. Pregio e lode ti sia Thus my health shall be 15. Voi volete ch’io muoia 15. You want me to die pur la salute mia, your prize and your honour; Voi volete ch'io muoia, You want me to die, come al contrario fora as it would be the contrary, e mi date dolor sì crud' e forte, and give me such a cruel and hard pain, se la tua crudeltà fa sì ch' io mora. if your cruelty makes me die. che mi conduce a morte. that brings me to death. Ma per vederne voi così contenta, But as I see you so content 13. Tu vuoi dolci i sospiri 13. You want sweet sighs mentr' io moro, il morir vita diventa. while I die, dying becomes life. Tu vuoi dolci i sospiri, You want sweet sighs Daché vedend', ahimè, dolente voi Then, alas, if I see you distressed, né d'io più dolce sospirar potrei: but I couldn't sigh any sweeter: da questa vita poi, from this life ché dolcezza maggiore for my heart cannot give mi vien tanto martire such a torment comes, lor non può dar il core. greater sweetness to them. ch' io pur giong' al morire. that again I almost die. Se tu dài vaghi giri; You do not inspire bigger piety E così mille e mille volt' il giorno And so, a thousand and thousand times Maggior pietà non spiri with your lovely spins. per voi mor' e morend' in vita torno. a day e se maggior la vuoi, And, if greater you want it, I die for you, and dying I return to life. porgila lor co' dolci baci tuoi. procure it with your sweet kisses.

12 13 16. La verginella 16. A maiden 18. Amargas horas de los tristes días 18. Bitter hours of the sad days La verginella è simile alla rosa A maiden is similar to the rose Amargas horas de los tristes días Bitter hours of the sad days che 'n bel giardin su la nativa spina, in a fair garden on her native thorn, en que me deleyté, que bien he avido. in which I was delighted, how good I mentre sola e sicura si riposa, resting lonely and safe Dolor, vergüença y confusión ha sido, have been. né gregge né pastor se le avicina. from the reach of flock and shepherd. el fruto de mis tristes alegrías. Pain, shame and confusion has been, L'aura soave e l'alba rugiadosa, The sweet breeze and the dawn's dew, ¡Ay Dios! porque me amabas me the fruit of my sad joys. l'acqua, la terra al suo favor s'inchina. the water, the earth in its favour bow. sufrías, Oh my God! because you loved me you Gioveni vaghi e donne innamorate Handsome boys and women in love Que es gloria del amante ser vencido suffered me, aman haverne e seni e tempie ornate. prize to garnish their breasts and Y mía, pues verás por lo sufrido That it is the glory of the lover to be temples with it. Tu gran bondad y las maldades mías. vanquished Bondad inmensa ofendida, And mine, you'll see for what suffered 17. En este fértil monte 17. In this fertile mountain O duro golpe en un coraçón tierno, Your great goodness and my evils. En este fértil monte, In this fertile mountain, No te quebrantarás alma endurecida. Offended immense kindness, de varias flores lleno, full of various flowers, Mereces verte puesta en un infierno, Or hard blow in a tender heart, Donde descansa el alma de sus penas, Where the soul rests from its sorrows, Pagando tal ofensa en larga vida, You will not break, hardened soul. aquí es bien se remonte, here it's good to go back, En vivo fuego, en pena, en llanto You deserve to see yourself put in hell, que el dulce campo ameno that the pleasant sweet field eterno. Paying such offense in long life, ofrece al pensamiento a manos llenas, offers thought to hands full, In burning fire, in pain, in eternal tears. en ocasiones tales, On such occasions, descanso de sus penas y sus males. Rest of their sorrows and their woes. 19. Estáis en essa Cruz Christo enclavado 19. Christo You are on that Cross nailed Aquí de rama en rama Here from branch to branch Estáis en essa Cruz Christo enclavado, Christo You are on that Cross nailed, Va el jilguero seguro, The sure goldfinch goes, Y vuestra Madre está de vos assida, And your Mother is embraced to you, Cantando y revolando dulcemente Singing and revolting sweetly Padeciendo tan juntos que afligida Suffering so close together, that she sad La tórtola en su llama The turtledove in its flame llora, el veros, Señor, tan mal tratado. cries to see you, Lord, so abused. De amor sencillo y puro, Of simple and pure love, Junta con vos recibe en el costado, Together with you receives on the side En quieto nido espera el dulce ausente, In a silent nest, he waits for the absent Esposo de mi alma, vuestra herida. your wound, Husband of my soul. Que hay en las soledades, sweet, Y aunque a sufrir estaba apercibida, And although suffering was warned, mayor seguridad y más verdades. What's in the solitudes, Aflígela el dolor, venció el cuidado. Afflict the pain, overcame the care. Greater security and more truths.

14 15