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570549 bk Gesualdo US 25/8/10 12:35 Page 12 Carlo GESUALDO da Venosa Madrigals Book 2 Delitiæ Musicæ • Marco Longhini 8.570549 12 570549 bk Gesualdo US 25/8/10 12:35 Page 2 Carlo ^ Dalle odorate spoglie – Prima parte ^ From your perfumed clothes – Part One GESUALDO (Anonymous) (Anonymous) da Venosa Dalle odorate spoglie From your perfumed clothes sciogliete omai la mano free now your hands (1566-1613) che il mio voler e disvoler mi toglie. for they take my will and lack of will from me. THE SECOND BOOK OF MADRIGALS, 1594 & E quell’arpa felice – Seconda parte & And take that happy harp – Part Two IL SECONDO LIBRO DE’ MADRIGALI, 1594 (Anonymous) (Anonymous) 1 Caro amoroso neo (part 1) a, b, c, e, f 2:11 E quell’arpa felice, And take that happy harp 2 Ma se tale ha costei (part 2) a, b, c, e, f 1:57 a cui non si disdice which may without shame 3 Hai rotto e sciolto a, b, c, d, f 3:18 stringersi col bel petto, be held close to your fine breast, 4 Se per lieve ferita (part 1) a, b, c, d, f 2:10 d’Amor fido ricetto, Love’s faithful refuge, 5 Che sentir deve il petto (part 2) a, b, c, d, f 2:43 togliete e, con l’usata leggiadria, and, with your wonted grace, 6 In più leggiadro velo a, b, c, d, f 2:06 fateci udir, cara la vita mia. sing for us, Cara la vita mia. 7 Se così dolce è il duolo (part 1) a, b, c, e, f 1:27 8 Ma se avverrà ch’io moia (part 2) a, b, c, e, f 2:38 * Non mai cangerò stato * Never shall I change 9 Se taccio, il duol s’avanza a, b, c, e, f 2:28 (Anonymous) (Anonymous) 0 O come è gran martire (part 1) a, b, c, e, f, g 2:05 Non mai, non cangerò Never shall I change ! O mio soave ardore (part 2) a, b, c, e, f, g 1:21 stato, voglia, o pensiero, my humour, will or thought, @ Sento che nel partire a, b, c, d, f 4:12 chè la cruda nemica del mio core for a cruel woman, my heart’s enemy, # Non è questa la mano (part 1) a, b, c, e, f, g 1:31 con dolcissimo impero exerts the sweetest of dominions, $ Nè tien face o saetta (part 2) a, b, c, e, f, g 2:43 volge de la mia vita i giorni e l’ore turning the days and hours of my life % Candida man qual neve a, b, d, e, f 3:36 e tempra i miei desiri and tempering my desires ^ Dalle odorate spoglie (part 1) a, b, c, e, f 1:21 or con speme, or con gioia, or con martiri. with hope, then joy, then torment. & E quell’arpa felice (part 2) a, b, c, e, f 1:40 * Non mai cangerò stato a, b, c, e, f 2:54 ( All’apparir di quelle luci a, b, c, e, f 2:40 ( All’apparir di quelle luci ( When those bright eyes ) Non mi toglia il ben mio a, b, c, e, f, g 2:06 (Anonymous) (Anonymous) All’apparir di quelle luci ardenti, When those bright eyes of flame appeared, BONUS TRACKS il duol che sì m’annoia the pain that so troubles me ¡ Canzon francese del Principe h 6:25 subito sparve e convertissi in gioia. suddenly vanished and turned to joy. ™ Gagliarda del Principe di Venosa i, j, k, l 3:39 Amor, ferisci pur, ardi e saetta, So wound me, Love, burn me and fire your arrows, se un così picciol ben tanto diletta. if such a small thing can bring me such delight. Urtext Music for this recording by Marco Longhini and Rosaria Chiodini ) Non mi toglia il ben mio ) Let no man rob me of my beloved DELITIÆ MUSICÆ (Anonymous) (Anonymous) Alessandro Carmignani, Countertenor (cantus) (a) • Paolo Costa, Countertenor (quintus) (b) Non mi toglia il ben mio Let no man rob me of my beloved Fabio Fùrnari, Tenor (quintus-altus) (c) • Raffaele Giordani, Tenor (altus) (d) chi non arde d’amor, come faccio io. who burns not with love as I do. Se non è ingiusto Amore, If Love is not unjust, Marco Scavazza, Baritone (tenor) (e) • Walter Testolin, Bass (bassus) (f) io sol avrò de la mia donna il core. I alone shall have my lady’s heart. Carmen Leoni, Harpsichord (clavicembalo) (g) and Clavichord (clavicordo) (h) Dunque lasci il ben mio Therefore let no man touch my beloved Claudia Pasetto, Treble viol (soprano viola da gamba) (i) • Leonardo Bortolotto, Tenor viol (tenor viola da gamba) (j) chi non arde d’amor come faccio io! who burns not with love as I do! Teodoro Bau, Bass viol (bass viola da gamba) (k) • Luciana Elizondo, Bass viol (bass viola da gamba) (l) English translations by Susannah Howe Marco Longhini, Conductor 8.570549 2 11 8.570549 570549 bk Gesualdo US 25/8/10 12:35 Page 10 e voi sete il cor mio. and you are my heart, Carlo Gesualdo da Venosa (1566-1613) Allor fia che non v’ami, then make me love you not, che viver più non brami. for I no longer wish to live. The Second Book of Madrigals, 1594 The Second Book of Madrigals by Carlo Gesualdo, Prince Gesualdo held dear, his fluent ability to draw musical @ Sento che nel partire @ In taking leave I feel of Venosa, was published by Vittorio Baldini in Ferrara in inspiration from his chosen texts, and the restless (Alfonso d’Avalos (1502-1546)) (Alfonso d’Avalos (1502-1546)) Sento che nel partire In taking leave I feel 1594: in the same year and on the same presses as the First brilliance of his music. This book is a continuation rather il cor giunge al morire. my heart is close to death. Book of Madrigals. Both volumes were edited by the than a revolution, affirming his previous style rather than Ond’io, misero ognor, ogni momento As I, always wretched, call out musician Scipione Stella who, in the introductory deviating from it, almost as if it were the second half of a grido “morir mi sento” at every moment “I feel myself dying” dedication to this second work, asks the Prince’s single work. We have to wait for Book III of 1595 and non sperando di far a voi ritorno. with no hope of returning to you. forgiveness for his having been “so bold as to collect and Book IV of 1596 (Naxos 8.572136/7), both also published E così, dico mille volte il giorno And thus I say a thousand times a day have printed these Madrigals (a precious sample and in Ferrara by Baldini, for the composer to break new “partir io non vorrei” “I would rather not leave” offspring of Your Excellency) without having first asked ground and shatter the musical world of this and the se col partir accresco i dolor miei. if by leaving I increase my suffering. permission”. It would have been entirely unfitting for a previous book of madrigals. Eventually, that wonderful nobleman to concern himself with publishing books or Mannerist conception of restless poetics, that “unstable # Non è questa la mano – Prima parte # Is this not the hand – Part One music (his life would have been occupied with quite other equilibrium” (to use an oxymoron that Gesualdo would (Torquato Tasso) (Torquato Tasso) matters in Renaissance high society); in order to avoid have approved of), as yet little touched on by later radical Non è questa la mano Is this not the hand disapproval, therefore, Gesualdo turned to Stella to research and still closely connected to the polyphonic che tante e sì mortali that hurled so many and such deadly organise the publication of his works. Curiously enough, tradition, would be subverted in the madrigals of his Fifth avventò nel mio cor fiammelle e strali? flames and arrows at my heart? this intricate strategy unravels somewhat when it comes to and Sixth Books (1611), thereby creating something Ecco, che pur si trova Behold, for now it finds itself the dates: the dedication of the Second Book (10th May entirely new and innovative. For the time being, however, nelle mie man ristretta, held captive in my hands, 1594) predates, by just under a month, the publication date the “Prince” was content to prove himself a capable nè forza od arte per fuggir le giova. neither strength nor guile will serve it to escape. of the First Book (2nd June 1594), confirming the composer, one with a certain linguistic originality, sure hypothesis that these 1594 madrigals were split between that he would be understood and appreciated by the $ Nè tien face o saetta – Seconda parte $ Nor has it torch or arrow – Part Two the two books with no regard for chronological order. The sophisticated world of Ferrara, his bride and Duke (Torquato Tasso) (Torquato Tasso) compositions contained within the two volumes had been Alfonso II d’Este. Clearly then, Book Two is a tribute to Nè tien face o saetta, Nor has it torch or arrow selected and collated on the occasion of Gesualdo’s the advanced and progressive Ferrarese culture (with che da me la difenda. to defend itself from me. journey to Ferrara to marry (on 21st February 1594) which were associated such musicians as Cipriano de Giusto è ben ch’io ne prenda, It is only fair, Love, Leonora d’Este, daughter of Alfonso d’Este (Marquis of Rore, Jacques de Wert and Luzzasco Luzzaschi), its music Amor, qualche vendetta that I have my revenge, Montecchio and illegitimate son of Duke Alfonso I of fit to entertain that most refined and aristocratic of e se piaghe mi diè, baci le renda.
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  • Gesualdo Da Venosa on the Ivth Centenary of His Birth

    Gesualdo Da Venosa on the Ivth Centenary of His Birth

    Philomusica on-line “Gesualdo 1613-2013” Gesualdo da Venosa on the IVth Centenary of his Birth Nino Pirrotta Translation by Anthony M. Cummings and Sabine Eiche ANTHONY M. CUMMINGS Department of Music, Lafayette College, Easton, Pennsylvania, 18042. [email protected] SABINE EICHE Independent scholar § Il contributo presenta la traduzione di § Translation of one of Nino Pirrotta’s uno dei più importanti articoli di Nino most important articles, Gesualdo da Pirrotta, Gesualdo da Venosa nel Venosa on the IVth Centenary of his quarto centenario della sua nascita, la Birth, which appeared in a relatively cui circolazione è stata fortemente inaccessible publication and never in limitata dal difficile reperimento del English translation, thus undeser- testo originale e dalla mancanza di una vedly limiting its circulation. The versione inglese. L’articolo fu scritto article was written to accompany the come commento all’esecuzione di performance of compositions by alcuni brani di Gesualdo e di altri Gesualdo and his contemporaries, compositori coevi, trasmessi alla radio broadcast over Italian radio in 1961, italiana nel 1961. Oltre a ripercorrere i and is a recapitulation of Gesualdo’s fatti salienti della vita di Gesualdo, life and a sensitive evaluation of his l’articolo di Pirrotta propone un’acuta compositional priorities, poetic disamina delle priorità compositive del choices, and artistic achievements. Principe, delle sue scelte in materia di testi poetici e dei suoi risultati artistici. «Philomusica on-line» – Rivista del Dipartimento di Musicologia e Beni culturali e-mail: [email protected] – Università degli Studi di Pavia <http://philomusica.unipv.it> – ISSN 1826-9001 – Copyright © 2013 Philomusica on-line – Pavia University Press Philomusica on-line “Gesualdo 1613-2013” TRANSLATORS’ NOTE Nino Pirrotta’s Gesualdo da Venosa nel IV centenario della nascita.