Claudio MONTEVERDI Madrigals Book 9 Scherzi Musicali

Delitiæ Musicæ Marco Longhini Claudio DELITIÆ MUSICÆ MON(1T567E–1V643E) RDI Alessandro Carmignani , Countertenor (cantus) (a) 1 Paolo Costa , Countertenor (quintus) (b) Sinfonia prima à 3 (Biagio Marini ( 1594–1663) : Fabio Fùrnari , Tenor (quintus-altus) (c) Sonate, symphonie … e retornelli, Op. 8) (i, j, l, m, o, p, s) 3:07 Paolo Fanciullacci , Tenor (altus) (d) MADRIGALS BOOK 9 Marco Scavazza , Baritone (tenor) (e), Countertenor (f) MADRIGALI E CANZONETTE, LIBRO NONO, 1651 Walter Testolin , Bass (bassus) (g) 2 3 Bel pastor dal cui bel guardo (text: attrib. Ottavio Rinuccini, 1562–1621) (a, e / l, m, p, s) 7:08 Zefiro torna e di soavi accenti (text: Ottavio Rinuccini) (c, d / m, o) 6:08 Luca Mares (i) , Giorgio Baldan (j), Violin Se vittorie sì belle 1 Daniele Bovo , Cello (l) 2 Armato il cor Maurizio Piantelli , Theorbo (m), Baroque Guitar (n) Ardo, e scoprir, ahi lasso 3 4 Pietro Prosser , Theorbo (o) 4 O sia tranquill’il mare Carmen Leoni , Harpsichord (p), Organ (q) Alcun non mi consigli (text: Anonymous) (d, e, g / l, m, p) 3:24 5 Vittorio Zanon , Harpsichord (r), Organ (s) 6 Di far sempre gioire (text: Anonymous) (d, e, g / p, s) 3:04 7 Quando dentro al tuo seno (text: Anonymous) (c, d, g / q) 1:48 8 Non voglio amare (text: Anonymous) (c, d, g / l, p) 1:43 Marco Longhini, Director 9 Come dolce oggi l’auretta (text: Giulio Strozzi, 1583–1652) (a, b, f / m, q) 3:25 0 Alle danze, alle gioie, ai diletti (text: Anonymous) (c, d, g / l, n, p, s) 3:16 ! Perché se m’odiavi (text: Anonymous) (c, d, g / l, q) 3:37 @ Sì, sì, ch’io v’amo (text: Anonymous) (c, d, e / p, s) 5:17 5 # Su, su, su, pastorelli vezzosi (text: Anonymous) (c, d, g / l, q) 4:44 $ 1 Also in Book 8 (8.573755-58 CD 1 ) O mio bene, o mia vita (text: Anonymous) (d, e, g / l, n, o, r) 4:50 % 2 Also in Book 8 ([CD 1 ]) 4 3 Also in Book 8 (CD 3 ) SCHERZI MUSICALI (1632) 5 (texts: Anonymous) 4 Also in Book 8 (CD 3 ) $ 5 The same text but with a different musical setting % Maledetto sia l’aspetto (a / l, p) 1:15 & is also in Book 8 (CD 3 ) ^ Quel sguardo sdegnosetto (b / l, m, p) 2:11 3 6 Also of Book 9 & Eri già tutta mia (b / l, p) 3:10 * Ecco di dolci raggi il sol armato (e / p, s) 1:33 ( Io ch’armato sinor d’un duro gelo (e / p, s) 1:51 Ed è pur dunque vero (a / i, l, m, p, s) 13:07 Zefiro torna 6 Armato il cor 2

New Music Edition for this recording by Marco Longhini © 2006 Claudio Monteverdi (1567 –1643) d’Arianna and, finally, this slim (and therefore widely In the original 1632 edition, Ecco di dolci raggi il affordable) volume of just 52 pages: ‘at the request of sol armato & is separated from Io che armato sinor d’un Madrigals Book 9 • Scherzi musicali certain singers I have been compelled to print these few duro gelo * by Ed è pur dunque vero ( – probably an This, the last recording in our series of the complete also appears in Book Eight , and there are three other ariettas’. Compared with the Eighth Book , this is indeed editorial decision on Magni’s part. The two clearly secular works of Claudio Monteverdi, comprises works pieces that appear in both the Eighth and Ninth Books : a small book but, as Magni explains in his dedication, belong together, however, given that they have both from two publications that were compiled by someone Se vittorie sì belle , Ardo, e scoprir, ahi lasso and O sia one that was ‘great in terms of the scope of [his] metre and concluding refrain – ‘ arda dunque d’amor, other than the composer himself. While the practice of tranquill’il mare . A subtle thread therefore links these intentions, and of substantial value, since it contains arda ogni / mio core ’ – in common. We therefore publishing a selection of works from various sources three late Monteverdi publications. works by Signor Claudio Monteverdi, maestro di decided to put them side by side, in part also because offered ‘lesser’ composers an opportunity to see their The Eighth Book (1638) was never republished. cappella of this Most Serene Republic’. Magni refers to they were presented as a pair in Giovanni Battista works in print alongside those of more famous figures, Once a few years had passed, it was clearly felt the contents as ariettas , a term that has little to do with Camarella’s Madrigali e arie , which appeared just a both of these Monteverdi anthologies were put together appropriate to remind people of some of the composer’s their form, but does indicate the lack of ‘complexity or year later, in 1633. Quel sguardo sdegnosetto % is a by publishers keen to present the works of one such justly famous works by reprinting them in the compositional effort involved in the works in the particularly attractive work: the bass ostinatos meld famous figure to a noble dedicatee, gathering up posthumous Ninth . The rest of the latter is made up of anthology … Its anything but grand dimensions and the wonderfully with the expressive nature of the vocal line, unpublished compositions as if they were ‘scattered the most varied range of works available on the market “light” nature of the chosen genre (the scherzo) point to which explodes in flurries of notes on the words leaves that had miraculously survived the ravages of of unpublished Monteverdian manuscripts. the rather minor importance of this collection’ (Paolo ‘nembo ’ and ‘ ardo ’, before becoming slower and calmer time’. Monteverdi himself had probably considered We decided not to duplicate on this album any of Fabbri, Monteverdi , 1985). There are two pieces for two on ‘ ma ’l labbro non sia tardo ’: late examples of word them as less urgently in need of publication or less the works already recorded for previous volumes in this tenors (true madrigals), and five are for solo voice with painting, a technique whose presence is still powerfully deserving, relatively speaking, of being printed in a series. That decision enabled us to round off our continuo accompaniment; the only work in which the felt in this collection. book of their own. recordings of the complete Monteverdi madrigals by accompaniment consists of anything but continuo is Et è Predating Zefiro torna 3, a ciaccona , Ed è pur Our recording of the Sixth Book (Naxos 8.555312-13) including all the ‘new’ pieces in the two collections, and pur dunque vero in which a number of instrumental dunque vero ( is also built on an ostinato bass. This piece, includes pieces by Monteverdi that appeared in to adopt a fresh approach by performing them as ritornelli are entrusted to a violin. in which the narrator (another male character with a published anthologies of works by a number of different originally intended, with all verses and ritornelli (see for Ariettas , which had developed from the earlier soprano line, sung by a countertenor or castrato) laments composers (qualified as ‘excellent musicians’ or ‘very example the final piece on the album, Et è pur dunque canzonettas , had been fashionable since the early 17th having been forsaken by his beloved Lydia, is usually excellent minds’). Here, on the other hand, we offer two vero from the Scherzi , which is always performed century, popular with both professional and amateur performed without the necessary ritornelli . In the collections of music written exclusively by Monteverdi, without consideration for the ritornelli written in the singers for their simple style, reminiscent of the ‘light Fondazione Claudio Monteverdi’s 2002 edition of the but chosen by others. The Eighth Book , Ninth Book and score). music’ of today. By the time this volume of Scherzi Scherzi musicali , editor Frank Dobbins appears to be Scherzi musicali (‘Musical Jokes’) are connected to one Our aim in this final volume of Monteverdi’s musicali appeared, there were many collections of such clutching at straws in his search for improbable another by duplicated works and by the recurring theme secular music, therefore, has been to bring together his vocal pieces on the market, by composers from Antonio historically based solutions for these ritornelli . The of war for the sake of love. It is worth remembering that, ‘late’ works and to provide listeners with the Cifra to Giovanni Girolamo Kapsberger, Agostino repeats may not be clear in the Monteverdi-Magni score despite its importance in the culture of the time, and in opportunity of hearing them performed in full. Steffani to Carlo Milanuzzi. but we, like Paolo Fabbri, feel that the madrigal should be our own age, the Eighth Book was never reprinted To give some historical context, in 1632 Venice was performed as if it had been designed for the opera house because of its enormous length and the practical The Scherzi musicali, 1632 just emerging from a plague epidemic that had claimed (with the repeats placed as indicated in the 1632 edition), difficulties involved in bringing together the vast forces an enormous number of victims. It was astute of Magni, in other words, as if its instrumental ritornelli had a called for by Monteverdi. By contrast, the two volumes Published in Venice in 1632 (when Monteverdi was therefore, in a period of economic decline, to come up dramatic function, giving a performer time to move from presented here (dating from 1632 and 1651 respectively) living in the city, but before the publication of the with this light offering – songs by the most famous and one stage position to the next. This solution is entirely include a number of madrigals written for just two Eighth Book – the last will and testament of his secular popular composer of the day, who by then was also a different from that of the Dobbins edition, and means the voices and what was by then the ever-present continuo music production), this anthology, put together by naturalised Venetian, were likely to sell well. piece takes much longer to perform, but it does offer a accompaniment. As mentioned, there is some overlap Bartolomeo Magni (d. ?1644), survives in a single copy, As mentioned, most of these works are not true completeness of performance that has never been between these two publications, and between them and housed in Poland. Magni was a great admirer of madrigals, but ariettas – settings of strophic texts. The considered in modern times. This idea of completeness the Eighth Book (‘Madrigals of war and of love’): Zefiro Monteverdi and, having inherited Angelo Gardano’s madrigal, that ‘form without form’, requires its music to has always been of central importance to us – it’s a modus torna e di soavi accenti and Armato il cor feature in publishing house, reissued the composer’s first seven stem from the text that generates it, from the lyrics that operandi we have adopted with a view to offering both the Scherzi musicali and Book Nine . Armato il cor books of madrigals, the Lettera amorosa , the Lamento inspire it. performances that are as historically informed as possible. A posthumous publication: more like a duet, with two characters interacting, than it is Vincenti, who may well have had other Monteverdi to an end. We’re honoured, however, to have been the the Ninth Book of Madrigals, 1651 a madrigal. In the Eighth Book , we learned how varied the manuscripts tucked away in a drawer, ended the performers chosen to bring this monumental Naxos terrain of the madrigal could be: with the injection of a dedication of the Ninth Book with the words ‘soon, if it project to fruition, and we hope we have given you When Claudio Monteverdi died in 1643 at the age of 76, little bit of dramatic intent, an anxious shepherdess please God, you will have more new works [by many memorable hours of listening pleasure. Venice buried its illustrious adopted son in a side chapel (soprano) and her punctilious shepherd (tenor or baritone) Monteverdi]’. Unfortunately, there were to be no more, of the Santa Maria Gloriosa dei Frari. His grave lies can transform a madrigal into a theatrical love duet that and so it is with a tinge of sadness that we bring this set Marco Longhini close to an undisputed masterpiece of Renaissance art, still has the power to both move and amuse us today. Their of recordings of the maestro’s complete secular works English translation: Susannah Howe Titian’s Assumption of the Virgin . amorous dialogue does ‘move the passions’ – something It was Alessandro Vincenti, publisher of the Eighth for which Monteverdi always had a gift – but the Book , who compiled the posthumous Ninth Book . In the emotional impact is offset by the recurrent refrain (‘ Come dedication to Gerolamo Orologio, dated 27 June 1651, che? Come te, pastorella tutta bella ’) and by the simple he wrote the following: ‘Signor Claudio Monteverdi, internal cantabile style. And in our performance, the first one of the brightest lights of our musical age, honoured phrase, which the original indicates is to be repeated (and me while he lived with some of his musical works.’ It which musicians never know how to treat, given that it is appears, therefore, that the works in question had been purely repetitive), takes on a dramatic function that links Delitiæ Musicæ sent to Vincenti before the composer’s death – perhaps back to the introductory Sinfonia . at the time of the Eighth Book – but there probably had Zefiro torna 3 is one of the best-known pieces in Italian early music ensemble Delitiæ Musicæ not been enough room to include them in that already the Ninth Book , in the Scherzi , and in Monteverdi’s was established in 1992. The ensemble has extensive publication. There is also a typographical catalogue as a whole. A genuine masterpiece, it has been making recordings for over 20 years, and similarity between the two volumes – the madrigals earned its rightful place in the history of music. significant projects include Verdelot’s Missa duplicated from the preceding book were printed using Rejecting the various fanciful and inauthentic Philomena praevia , and four widely acclaimed the same matrices, a fact which bears out the hypothesis performances to which this piece – a victim of its own albums dedicated to Masses of Palestrina that that this book is the result of a need to slim down the success – is often subjected, we chose to focus on the were awarded the Choc du disque and the 9 de Eighth Book . At the end of the part books (all the essential qualities of a piece that, in our eyes, needs no Répertoire in France, as well as the Spanish musicians would have had their own volumes from frills or whimsical embellishments. Two tenors simply Five Stars Award. The ensemble has also which to play or sing), the publisher includes the words, spin out their melodies above a chaconne bass pattern recorded Willaert’s Vespro di Natale , which ‘Gentle reader, do not marvel if in this volume you find which is repeated a good 60 times. was awarded Editor’s Choice in Classica some madrigals that have already been printed in the The ciaccona or chaconne is a triple-metre dance magazine in April 1999, and books of Eighth Book: I have printed them in this volume only form with a syncopated ostinato bass line and a lively, madrigals by Banchieri including Pazzia senile for performers’ greater convenience.’ playful character. It fascinated composers such as & Saviezza giovenile , Il studio dilettevole and The 16 works fall into two groups on the basis of Girolamo Frescobaldi and Andrea Falconieri in Rome Il metamorfosi musicale . Other projects their different textual structure: the first six are for two and southern Italy, and was later exported to the north include a collection of the complete madrigals voices, and are true madrigals, while the remaining ten and from there to France, where it played a leading role of Monteverdi, and a collection of the are canzonettas that set strophic texts. in ballets, suites and operas. It would also capture the complete madrigals of Gesualdo, both released It may seem an arbitrary decision on our part to imagination of Heinrich Schütz and Johann Sebastian on Naxos. The unconventional, yet impassioned , introduce the first song, the love scene that is Bel pastor Bach (for example, the celebrated Chaconne movement interpretations by Delitiæ Musicæ and Marco dal cui bel sguardo 2, with a Sinfonia by Biagio Marini in Bach’s Second Partita for solo violin). Rinuccini’s Longhini are seen as an important regeneration (1594–1663), specifically his Sonate, symphonie … e sonnet echoes Petrarch’s Zefiro torna e ’l bel tempo of Italian Renaissance and Baroque music. retornelli, Op. 8: Sinfonia prima à 3 of 1629 1. Its rimena (set by Monteverdi in the Sixth Book : Naxos inclusion is in keeping, however, with our approach in our 8.555312-13, CD 1, 5) and portrays the contrast earlier Monteverdi recordings. Bel pastor is a theatrical between the happiness inspired by the imminent arrival piece, one with the air of an operatic scena : indeed, it’s of spring and the poet’s mournful state of mind. Marco Longhini MADriGALi e CANZoNeTTe, MADriGALS AND CANZoNeTTAS, LiBro NoNo, 1651 Book NiNe, 1651 Marco Longhini studied conducting at the Conservatorio di Musica ‘Giuseppe Verdi’ 2 2 di Milano and architecture in Venice after completing earlier studies in composition, BeL PASTor HANDSoMe SHePHerD choral music and singing at the Conservatorio Pollini di Padova. In 1992, his (Canzonetta dialogica attribuita a Ottavio Rinuccini) (Canzonetta in dialogue form; attrib. Ottavio Rinuccini) explorations of 16th- and 17th-century Italian music led him to found Delitiæ Musicæ, with a view to reviving often unpublished masterpieces. He has also conducted a wide Bel pastor dal cui bel guardo, Handsome shepherd, whose fair eyes range of stage works, including a performance of Monteverdi’s L’Orfeo , Cavalieri’s spira foco_ond’io tutt’ardo, breathe flames in which I burn, Rappresentatione di anima, et di corpo and a much-acclaimed staging of Sartorio’s m’ami tu? do you love me? L’Orfeo , directed by Pier Luigi Pizzi. He has an extensive discography, notably Sì, cor mio. Yes, dear heart. including the complete madrigals of Monteverdi and complete secular works of Com’io desio? The way I want you to? Gesualdo for Naxos, and his performance with Delitiæ Musicæ of a new edition of Sì, cor mio. Yes, dear heart. Monteverdi’s Vespers of 1610 at the opening concert of the Festival International de Dimmi quanto. Tell me how much. Musiques Sacrées, Fribourg was broadcast on Swiss radio. Longhini has taught at the Tanto, tanto. So, so much. Conservatorio di Brescia ‘Luca Marenzio’ since 1992, teaches choral direction in Quanto, quanto? But how much, how much? Scuola Diocesana di Musica Santa Cecilia, Brescia, and has also taught at the Moscow Oh, tanto, tanto! Oh, so, so much! State Tchaikovsky Conservatory. Come che? How do you love me? Come te, pastorella I love you as I love you, my beautiful tutta bella. shepherdess. Questi vezzi e questo dire Your flattery and your reply non fan pago il mio desire. do not satisfy me. Se tu m’ami, o mio bel foco, If you love me, o handsome flame of mine, dimmi ancor, ma fuor di gioco: tell me again, but seriously now: come che? how do you love me? Come te, pastorella I love you as I love you, my beautiful tutta bella. shepherdess. Vie più lieta udito avrei I’d have been happier to hear you say, ‘t’amo al par de gli occhi miei’. ‘I love you as much as I do my eyes.’ Come rei del mio cordoglio Since they are guilty of my sorrow, questi lumi amar non voglio, I do not want to love my eyes, di mirar non sazi ancora which are still not weary of gazing la beltà che sì m’accora. upon the beauty that breaks my heart. Come che? How do you love me? Come te pastorella, I love you as I love you, my beautiful tutta bella. shepherdess. Fa’ sentirmi altre parole Express yourself some other way se pur vuoi ch’io mi console: if you want me to be consoled: m’ami tu? do you love me? Sì, cor mio. Yes, dear heart. Come la vita? As you love life?

Pages from the Ninth Book of Madrigals 4 4 No, che afflitta e sbigottita No, for afflicted and bewildered ALCUN NoN Mi CoNSiGLi THoUGH i MAY HAVe LoST MY HeArT d’odio e sdegno e non d’amore, by hatred and scorn, and not by love, (Canzonetta d’autore anonimo) (Canzonetta; anon.) fatt’è albergo di dolore my life is now the refuge of pain per due luci, anzi due stelle, on account of two eyes, or rather two stars, Alcun non mi consigli, Though I may have lost my heart, troppo crude e troppo belle. that are too cruel and too beautiful. se ben il cor perdei, let no one advise me Come che? How do you love me? ch’abbandoni colei that I should forsake the lady Come te pastorella, I love you as I love you, my beautiful ch’è la mia vita, ancor che cruda e fera. who, despite her cruel, unfeeling nature, is my life. tutta bella. shepherdess. Ché se ben vuol ch’io pera For even if she wishes me to die Non mi dir più ‘come te’; Stop saying, ‘I love you as I love you’; e che la speme mia ne porti’l vento, and for the wind to bear my hopes away, dimmi: ‘io t’amo’. just say, ‘I love you’. non me n’adiro, no, I shall not become angry, no, Io t’amo. I love you. non me ne doglio, no, I shall not mourn, no, ‘Come me’. ‘As I do myself’. non me ne pento. I shall not repent. No, ch’io stesso odio me stesso. No, for I feel nothing but hatred for myself. deh, se m’ami dimmi espresso. Ah, if you love me, tell me clearly. Ben s’affatica invano He who reminds me of my woes Sì, cor mio. Yes, dear heart. chi m’addita il mio male does trouble himself in vain, Com’io desio? The way I want you to? e’l contrastar non vale, and any struggle is futile, Sì, cor mio. Yes, dear heart. ché beltà ch’è severa un cor diletta. for hostile beauty delights my heart. Dimmi quanto. Tell me how much. Sì dolce è la saetta So sweet is the arrow Tanto, tanto! So, so much. che se ben brama il cor fiamma e tormento, that even if my heart yearns for fire and torment, Quanto quanto? But how much, how much? non me n’adiro, no, I shall not become angry, no, Oh, tanto, tanto. Oh, so, so much! non me ne doglio, no, I shall not mourn, no, Come che? How do you love me? non me ne pento. I shall not repent. Come te, pastorella I love you as I love you, my beautiful 5 5 tutta bella. shepherdess. Di FAr SeMPre Gioire CUPiD iNSPireS THe HoPe (Canzonetta d’autore anonimo) (Canzonetta; anon.) 3 3 ZeFiro TorNA ZePHYr reTUrNS (Sonetto di Ottavio Rinuccini) (Sonnet by Ottavio Rinuccini) Di far sempre gioire Cupid inspires the hope amor speranza dà that he will bring eternal joy, Zefiro torna e di soavi accenti, Zephyr returns and with his gentle breath ma vago di martire yet, taking pleasure in suffering, l’aer fa grato e’l piè discioglie a l’onde, warms the air and melts the icy waters, languir poi sempre fa. he instead always inflicts pain. e mormorando tra le verdi fronde and, murmuring amid the greenery, Sì che fuggite l’arco e la face Flee, then, the bow and the torch fa danzar al bel suon sul prato i fiori. sets the flowers in the meadow del nudo arciero, sì lusinghiero, of the naked archer, for he flatters dancing to his sweet music. ch’egli è fallace. only to deceive.

Inghirlandato il crin, Fillide e Clori With garlands in their hair, Phyllida and Chloris A voi disciolti cori You whose hearts are free, note tempran d’amor care e gioconde, sing light and merry songs of love; dirlo per prova il so, I tell you this from experience: e da monti e da valli ime e profonde and from mountain peaks and deep-lying valleys, chè in van’ pianti e dolori because of him I am wretched, raddoppian l’armonia gli antri canori. echoing caverns add to their harmony. miser per lui mi sto. reduced to idle tears and sorrow. Sì che fuggite l’arco e la face Flee, then, the bow and the torch Sorge più vaga in ciel l’aurora e’l sole The dawn appears more lovely in the heavens, the sun del nudo arciero, sì lusinghiero, of the naked archer, for he flatters sparge più lucid’or, più puro argento shines with a light more golden; a purer silver ch’egli è fallace. only to deceive. fregia di Teti il bel ceruleo manto. glistens on Thetis’ fair cloak of cerulean blue. Sol io per selve abbandonate e sole, Yet I, doomed to wander alone through empty, l’ardor di due begli occhi e’l mio tormento deserted forests, weep one moment, then sing the next come vuol mia ventura or piango or canto. of two lovely eyes that burn brightly, and of my torment. 7 7 Invan piangendo grido Vainly weeping, I cry out NoN VoGLio AMAre i WANT NoT To LoVe del mio penar mercè, for pity on my suffering, (Canzonetta d’autore anonimo) (Canzonetta; anon.) chè’l dispietato infido but, heartless and faithless, non mi mantien la fé. he has no loyalty to me. Non voglio amare I want not to love, Sì che fuggite l’arco e la face Flee, then, the bow and the torch per non penare, and thus to spare myself pain, del nudo arciero, sì lusinghiero, of the naked archer, for he flatters ché amor seguendo for by following Cupid ch’egli è fallace. only to deceive. di duol sen va my soul is consumed l’alma struggendo by grief and 6 6 QUANDo DeNTro AL TUo SeNo WHeN A Look oF LoVe di pene amare. bitter torment. (Canzonetta d’autore anonimo) (Canzonetta; anon.) Non vuo’ più amare, no. I want not to love any more, no.

Quando dentro al tuo seno When a look of love Chi vive amando He who loves while he lives vibra amoroso sguardo fires its first sweet arrow more penando, dies in sorrow, il primo dolce dardo. into your breast, s’è cieco amore, for Cupid, oh, che gioir! oh, what joy! come ch’egli è, blind as he is, il mio dolore cannot gaze Ma quando di veleno But when it dips those non può mirare. upon my sorrow. arma le punte acute sharpened tips in poison Non vuo’ più amare, no. I want not to love any more, no. e ti nega salute, and robs you of your health, oh, che languir! oh, what pain! Fuggir vogl’io I want to flee from quest’empio e rio, this heartless, wicked god, Quando quel vago viso When that fair face s’amor è crudo, for Cupid, mira con dolci rai, looks with sweetness come ch’egli è, cruel as he is, i tuoi pianti i tuoi guai, upon your tears and woes, fanciullo ignudo, this naked boy, oh, che gioir! oh, what joy! che mi può dare? what can he give me? Non vuo’ più amare, no. I want not to love any more, no. Ma quando in altri fiso But when, gazing at others, 8 8 gira il tuo mal in canto it turns your sorrow into song CoMe DoLCe oGGi L’AUreTTA HoW SWeeTLY ToDAY THe BreeZe prende a riso il tuo pianto and laughs at your tears, (Canzonetta di Giulio Strozzi tratta da ‘Proserpina (Canzonetta; Giulio Strozzi, from ‘Proserpina oh, che languir! oh, what pain! Rapita’, 1630: Canzonetta Parthenia (che significa rapita’, 1630: Canzonetta Parthenia – i.e. eseguita da un coro di fanciulle) cantata dalle tre performed by a chorus of girls – sung by three Quando donna onorata When you hear a noble lady ninfe con armonia lidia) maidens, with Lydian harmony) senti ch’a’ tuoi sospiri sigh with compassion pietosa risospiri, in response to your sighs, Come dolce oggi l’auretta How sweetly today the breeze oh, che gioir! oh, what joy! spira, scherza, lusinga e vien lascivetta breathes, plays, caresses and wantonly a baciarmi le guance e’l sen. kisses my cheeks and breast. Ma quando finge ingrata But when, indifferent, she feigns non udir i lamenti not to hear your laments, Gli Amoretti l’aura fanno Little Cupids create the breeze non veder i tormenti not to see your anguish, quando l’ali spiegano al ciel quando vanno as they fly up to heaven on their way oh, che languir! oh, what pain! della notte a squarciar il vel. to draw back the veil of night. Ride il bosco, brilla il prato, The woods laugh, the meadow gleams, No, no, ch’io non voglio No, no, if a rock awaits me scherza il fonte, festeggia il mar, the spring frolics, the sea sparkles, se scoglio m’aspetta I do not want quando un fiato when a breath drizzar la barchetta. to steer my boat towards it. d’aura fresca s’ode spirar. of fresh air is heard to murmur. Ahi, fiera Alas, this proud quest’empia megera and wicked Fury Entri pur nel nostro petto, As you arrive, o lovely breeze, uccide, sen ride is killing me, laughing, o bell’aura, nel tuo venir, may our hearts be filled e ridendo saetta. and as she laughs, firing an arrow. quel diletto by the delight Chiama pur quanto vuoi, ch’io non verrò Call as much as you wish, I shall not come, che fa l’alme tanto gioir. that makes men’s souls rejoice. empia Fillide, no, no! No, no! cruel Phyllida, no, no! No, no! 9 9 ! ! ALLe DANZe, ALLe Gioie, Ai DiLeTTi To DANCeS, JoYS AND DeLiGHTS SÌ, SÌ, CH’io V’AMo YeS, YeS, i LoVe YoU (Autore anonimo) (Anon.) (Canzonetta d’autore anonimo) (Canzonetta; anon.)

Alle danze, alle gioie, ai diletti, To dances, joys and delights, Sì, sì, ch’io v’amo, Yes, yes, I love you, che c’infiammino il cor d’amore let them set the loving heart ablaze with love, occhi vaghi, occhi belli, fair eyes, pretty eyes, al soave conforto de’ petti. to the gentle consolation of hearts. sì sì ch’io bramo yes, yes, I long for vostri nodi tenaci, your silken curls, Alle gemme, alle perle, a’ bei fiori, To gems, pearls and pretty flowers, aurei capelli o golden tresses, che v’adornino il crin e’l seno, may they adorn your hair and breast, e null’altro desio and I desire nothing else a’ bei fregi di mille colori. to fair ornaments of a thousand colours. che sia vostro il mio cor than for my heart to be yours com’egli è mio. as it is mine. Alle tazze, ai cristalli, alli argenti, To cups, glasses and silver vessels, che v’invitino a trar la sete, may they invite you to quench your thirst, Sì, sì, ch’io spero, Yes, yes, how I hope, a’ bei pomi di minio ridenti. to tasty apples of cheerful scarlet. occhi dolci, occhi amati, gentle eyes, beloved eyes, sì, sì, ch’è vero yes, yes, how true it is 0 0 PerCHÉ Se M’oDiAVi WHY, iF YoU HATeD Me ch’ognor voglio adorarvi that I want always to worship you, (Canzonetta d’autore anonimo) (Canzonetta; anon.) occhi beati, blessed eyes, e null’altro desio and I desire nothing else Perché se m’odiavi Why, if you hated me, che sia vostro il mio cor than for my heart to be yours mostravi d’amarmi did you pretend to love me com’egli è mio. as it is mine. per sol ingannarmi? only then to deceive me? Ahi, stella Alas, my star, Sì, sì, ch’ardete, Yes, yes, for you burn, ti fe’ così bella, you made yourself so fair, occhi lieti, occhi cari, merry eyes, dearest eyes, sì fera, sì altera, so proud, so lofty, sì, sì, che sete, yes, yes, for you are, per l’alma impiagarmi. only to wound my soul. occhi fonte d’amore, o eyes, the source of love, Io t’adorava e tu sprezzavi me, I worshipped you and you rejected me, del sol più chiari, you who are brighter than the sun, empia Filli, perché, perché? cruel Phyllida, why, why? e null’altro desio and I desire nothing else che sia vostro il mio cor than for my heart to be yours Chi sa che una volta Who knows if, some time, com’egli è mio. as it is mine. la stolta fierezza foolish pride non brami chi sprezza. may not yearn for one it now scorns. Ahi, ch’io Alas, I want vuo’ dir al cor mio to warn my heart che fugga, che strugga to run away, to destroy l’infida bellezza. the faithless beauty. Forse a te toccherà a chieder pietà Perhaps it will be your turn to beg for mercy, empia Fillide, chissà, chissà? cruel Phyllida, perhaps, perhaps? @ @ # # SU SU SU PASToreLLi VeZZoSi CoMe, HANDSoMe SHePHerD LADS o Mio BeNe, o MiA ViTA o MY LoVe, o MY LiFe (Canzonetta d’autore anonimo) (Canzonetta; anon.) (Canzonetta d’autore anonimo) (Canzonetta; anon.)

Su, su, su, pastorelli vezzosi, Come, handsome shepherd lads, O mio bene, o mia vita, O my love, o my life, correte, venite, run, come non mi far più languire, do not make me suffer any more, a mirar, a goder and see, come and enjoy non mi negar aita do not deny me help, l’aure gradite the pleasant breezes chio mi sento morire. for I feel myself dying. e quel dolce piacer and that sweet joy Non più guerra d’amore, No more this war of love, ch’a noi porta ridente cheerily brought to us no, no, mio core. no, no, my heart. la bell’alba nascente. by the fair rising dawn. Mirate i prati Look at the fields O belli occhi, o bei rai, O fairest eyes, o shining stars, pien di fiori odorati full of perfumed flowers, non più, non più penare, do not hurt me any more, ch’al suo vago apparir that at dawn’s fair appearance non mi date più guai do not bring me further distress, ridon festosi. laugh in celebration. ch’io mi sento mancare. for I feel myself growing weak. Su, su, su, pastorelli vezzosi. Come, handsome shepherd lads. Non più guerra di pene, No more this war of pain, no, no, mio bene. no, no, my love. Su, su, su, augelletti canori, Come, little songbirds, sciogliete snodate unleash, set free O mio core, o mia face, O my heart, o my torch, al cantar, al garrir your beloved voices non m’essere più crudele, do not be cruel to me any more, le voci amate, to song and rejoicing non mi negar più pace do not any longer deny me peace, ed al dolce apparir and at the fair rising perch’io ti son fedele. for I am loyal to you. del sol che i monti indora of the sun that gilds the peaks, Non più guerra di noia, No more this war of sadness, salutate l’aurora, greet the dawn, no, no, mia gioia. no, no, my joy. e su’ rametti and on boughs pien di vaghi fioretti laden with pretty blossom del leggiadro suo crin sing the praises dite gli onori. of those golden crests. Su, su, su, augelletti canori. Come, little songbirds.

Su, su, su, fonticelli loquaci, Come, chattering brooks, vezzosi correte prettily flow a gioir, a scherzar and rejoice and play come solete. as usual. Siavi caro il mirar Enjoy gazing upon di quai splendor si veste the splendours that clothe la bell’alba celeste, the fair breaking day. e di quai lampi and the bright colours son coloriti i campi that tinge the fields che prometton ai cor and promise our hearts gioie veraci. true happiness. Su, su, su fonticelli loquaci. Come, chattering brooks.

% % SCHerZi MUSiCALi SCHerZi MUSiCALi QUeL SGUArDo SDeGNoSeTTo THAT SCorNFUL GLANCe cioè Arie et Madrigali in stil recitativo Arias and Madrigals in recitative style (Canzonetta d’autore anonimo) (Canzonetta; anon.) con una Ciaccona, a 1 et 2 voci with a Chaconne, for 1 or 2 voices Venezia, 1632 Venice, 1632 Quel sguardo sdegnosetto, That scornful glance, lucente e minaccioso, fiery and threatening, $ $ MALeDeTTo SiA L’ASPeTTo CUrSeD Be THe FACe quel dardo velenoso, that poisoned arrow (Canzonetta d’autore anonimo) (Canzonetta; anon.) vola a feririmi il petto. flies to pierce my breast. Bellezze, ond’io tutt’ardo Beauty, you who have set me on fire, Maledetto Cursed e son da me diviso, and torn me apart, sia l’aspetto be the face piagatemi col sguardo, wound me with a glance, che m’ardé, that has set me ablaze, sanatemi col riso. but heal me with a smile. tristo a me, woe is me, poi ch’io sento for I feel Armatevi pupille Arm yourselves, fair eyes, rio tormento, such bitter torment, d’asprissimo rigore, with the most destructive cruelty, poi ch’io moro, for I am dying, versatemi sul core pour upon my heart né ristoro and my faith un nembo di faville. a hail of sparks, ha mia fé has no peace Ma’l labro non sia tardo but once I am dead, let her lips sol per te. because of you. a ravvivarmi ucciso, not linger to revive me. feriscami quel sguardo Let a glance wound me, Maledetta Cursed ma sanimi quel riso. but let a smile then heal me. la saetta be the arrow ch’impiagò: that has wounded me: Begli occhi a l’armi, a l’armi! Beautiful eyes, to arms, to arms, ne morrò. it will kill me. Io vi preparo il seno. I am preparing my breast for you. Così vuole Such is the wish Gioite di piagarmi Enjoy wounding me il mio sole, of my sun, in sin ch’io venga meno, until I lie senseless. così brama such the desire e se da’ vostri dardi And if I am defeated chi disama of one who shuns love io resterò conquiso, by your arrows, quanto può, as much as she can; ferischino quei sguardi, let those glances wound me, che farò? what am I to do? ma sanimi quel riso. but let a smile then heal me.

^ ^ Donna ria Cruel lady, eri GiÀ TUTTA MiA YoU Were oNCe ALL MiNe morte mia she has wounded me (Aria d’autore anonimo) (Aria; anon.) vuol così and does thus desire chi ferì. my death. Eri già tutta mia, You were once all mine, Prende gioco She makes fun mia quell’alma e quel core, mine were that heart and soul, del mio foco, of my passion chi da me ti desvia, who has turned you from me, vuol ch’io peni, and wants me to suffer, novo laccio d’amore? what new bond of love? che mi sveni, to bleed to death; O bellezza, o valore, O beauty, o courage, morrò qui, I shall die here, o mirabil costanza, o admirable constancy, fiero dì. o pitiless day. ove sei tu? where are you? Eri già tutta mia, You were once all mine, or non sei più, but you no longer belong to me, non più non più, no longer, no longer, ah, che mia non sei più. ah, you no longer belong to me.

* * Sol per me gli occhi belli You used to turn your laughing eyes io CH’ArMATo SiNor D’UN DUro GeLo SHALL i WHo ArMeD rivolgevi ridenti, to look upon me alone, WiTH iMPerVioUS iCe per me d’oro i capelli for me your golden tresses (Ottava toscana d’autore anonimo) (Tuscan ottava; anon.) si spiegavan ai venti. used to fly free in the wind. O fugaci contenti, O fleeting happiness, Io ch’armato sinor d’un duro gelo Shall I who armed with impervious ice o fermezza d’un core o loving loyalty, da gli assalti d’amor potei difendermi, have always defended myself from Cupid’s attacks, dove sei tu? where are you? né l’infuocato suo pungente telo and prevented his sharp and flaming arrow Eri già tutta mia, You were once all mine, puote l’alma passar o’l petto accendermi from piercing my soul or setting my heart ablaze, or non sei più, but you no longer belong to me, or ch’io tutto si cangia al novo cielo, have to surrender to a pair of beautiful eyes non più non più, no longer, no longer, a due begli occhi ancor non dovrò arrendermi? now that all has changed with the new season? ah, che mia non sei più. ah, you no longer belong to me. Sì, sì, disarmo il solito rigore, Yes, yes, my usual indifference is disarmed, arda dunque d’amor, arda il mio core. let love then set my heart aflame. Il gioir nel mio viso The joy in my face, ( ( ah, che più non rimiri ah, you will no longer see, eD È PUr DUNQUe Vero AND iS iT THeN TrUe il mio canto, il mio riso, my song, my laughter, (Canzone-Ode d’autore anonimo) (Canzone-Ode; anon.) è converso in martiri. all has turned to suffering. O dispersi sospiri, O scattered sighs, Ed è pur dunque vero, And is it then true, o sparita pietade, o vanished pity, disumanato cor, anima cruda, unfeeling heart, pitiless soul, dove sei tu? where are you? che cangiando pensiero, that in changing your mind Eri già tutta mia, You were once all mine, e di fede e d’amor tu resti ignuda: you have forsaken loyalty and love? or non sei più, but you no longer belong to me, d’aver tradito me datti pur vanto You now boast of having betrayed me, non più non più, no longer, no longer, ché la cetera mia rivolgo in pianto. and I take up my lyre to lament. ah, che mia non sei più. ah, you no longer belong to me. E’ questo il guiderdone Is this my reward & & eCCo Di DoLCi rAGGi See HoW THe SUN de l’amorose mie tante fatiche: for so many labours of love? (Autore anonimo) (Anon.) così mi fa ragione Is this how your cruel destiny il vostro reo destin, stelle nemiche: brings me justice, inimical stars? Ecco di dolci raggi il sol armato See how the sun, armed with gentle rays, ma se’l tuo cuor è d’ogni fé ribelle Yet if your heart has become hostile to any love, del verno saettar la stagion orrida. fires its arrows at the burgeoning season of spring. Lidia, la colpa è tua, non delle stelle. Lydia, the blame lies with you, and not with the stars. Di dolcissimo amor inebriato, Intoxicated with the sweetest love, dorme tacito il vento in sen di Clorida. the wind sleeps silently upon Chloris’ breast. Beverò sfortunato Wretch that I am, I shall drink Talor però, lascivo ed odorato, At times, however, wanton and perfumed, gli assassinati miei torbidi pianti my despairing, wasted tears, ondeggiar, tremolar fa l’erba florida. he makes the flowering grass tremble and ripple. e sempre addolorato and in everlasting grief L’aria, la terra, il ciel spirano amore. Air, earth and sky breathe love. a tutti gli altri abbandonati amanti, for all other abandoned lovers Arda dunque d’amor, arda ogni core. Let love then set every heart aflame. e scolpirò sul marmo la mia fede: shall carve in marble my firm belief: ‘sciocco è quel cor ch’in bella donna crede’. ‘Foolish the heart that in fair lady puts its faith.’ Also available Povero di conforto Deprived of consolation, mendico di speranza, andrò ramingo begging for hope, I shall wander the earth e senza salma o porto and without burden or haven fra tempeste vivrò mesto e solingo, endure life’s storms alone and sad of heart; né avrò la morte di precipizi a schivo, and I shall take no pains to avoid an early death, perchè non può morir chi non è vivo. for he who is not alive cannot die.

Il numero de gli anni The many years during which ch’al sol di tue bellezze io fui di neve, I melted like snow in the sun of your beauty, il colmo degli affanni and the intensity of my suffering, che non mi diero mai riposo breve, which has never given me a moment’s peace, insegneranno a mormorar i venti will teach the winds to murmur le tue perfidie, o cruda, e i miei tormenti. of your treachery, cruel girl, and my torment.

Vivi col cor di ghiaccio Live then with your heart of ice, e l’incostanza tua l’aure diffidi, challenge the winds for fickleness, stringi il tuo ben in braccio hold your beloved in your arms, e del mio mal con lui trionfa e ridi laugh with him as you glory in my pain, ed ambi in union dolce e gradita and in sweet and happy union fabricate il sepolcro della mia vita. the two of you can make a tomb for my life.

Abissi udite, udite Hear, you chasms, hear di mia disperazion gli ultimi accenti the final utterance of my despair; da poi che son fornite since my joys, my loves and le mie gioie e gli amor e i miei contenti, my pleasures are all at an end, tanto è il mio mal che nominar io voglio so wretched am I that I would say emulo dell’inferno il mio cordoglio. my sorrow rivals the horrors of hell. 8.555314-16 English translations: Susannah Howe

8.573755-58 Monteverdi’s Ninth Book of Madrigals , published posthumously, and the 1632 Scherzi musicali (‘Musical Jokes’) are thematically linked by the recurring theme of war for the sake of love. Prefaced with a Sinfonia by Biagio Marini and featuring one of Monteverdi’s towering masterpieces, Zefiro torna , the Ninth Book comprises the few remaining late madrigals, a number of canzonette , as well as works with the same titles and verses from the earlier Eighth Book (available on 8.573755-58), here performed in completely different musical settings. Recorded complete, and in historically informed fashion, this is the final volume in this series.

Claudio

MON(T156E7 –1V643E) RDI

1 Madrigals Book 9 • Sch0erzi musicali (1632) Perché, se m’odiavi 3:37 Biagio Marini (1594–1663): ! Sinfonia prima à 3 3:07 Sì, sì, ch’io v’amo 5:17 @ Madrigali e canzonette, Libro nono Su, su, su, pastorelli vezzosi 4:44 2 # Bel pastor dal cui bel sguardo 7:08 O mio bene, o mia vita 4:50 3 Zefiro torna e di soavi accenti 6:08 4 $ Scherzi musicali Alcun non mi consigli 3:24 Maledetto sia l’aspetto 1:15 5 % Di far sempre gioire 3:04 Quel sguardo sdegnosetto 2:11 6 ^ Quando dentro al tuo seno 1:48 Eri già tutta mia 3:10 7 & Non voglio amare 1:43 Ecco di dolci raggi il sol armato 1:33 8 * Come dolce oggi l’auretta 3:25 Io ch’armato sinor d’un duro gelo 1:51 9 ( Alle danze, alle gioie, ai diletti 3:16 Ed è pur dunque vero 13:07 Delitiæ Musicæ • Marco Longhini A detailed track and artist list can be found inside the booklet. The Italian sung texts and English translations can be found inside the booklet, and may also be accessed at www.naxos.com/libretti/555318.htm Recorded: 14–18 May 2006 at the Chiesa di San Pietro in Vincoli, Azzago, Verona, Italy Producers: Lodovico Longhini, Marco Longhini • Engineer: Michael Seberich • Editing: Corrado Ruzza Recording supervisor: Antonio Scavuzzo • Publisher: Marco Longhini Booklet notes: Marco Longhini Cover: Hermaphroditus and the Nymph Salmacis (1580–82) by Bartholomäus Spranger (1546–1611)