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Il Pastor Fido Madrigals

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The Gonzaga Court and Chapel (1566–1623) “The Court of the Gonzaga Family (1465–1475)” by Andrea Mantegna, fresco, Palazzo Ducal, Mantua Two Concerts November 5, 2016 and November 12, 2016 Concert — November 5, 2016 Il Pastor Fido Madrigals O primavera, gioventù dell’anno (prima parte) Giaches de Wert (1535–1596) O dolcezze amarissime d’amore (seconda parte) Ma se le mie speranze (terza parte) E s’altri non m’inganna (quarta parte) O lungamente sospirato in vano (quinta ed ultima parte) Singers: Sandy Horowitz, Deborah Malamud, Louis Calvano, William Lyon Lee, Marty Morell Cieco, Amor, non ti cred’io (prima parte) Giangiacomo Gastoldi (1556–1622) Ma tu pur perfi do e cieco seconda( parte) Sciolto cor fa piè fugace (terza parte) Mira nume trionfante (quarta ed ultima parte) Singers: Janet Steele, Sandy Horowitz, Leonore Max, Deborah Malmud, Virginia Kaycoff, Elizabeth Thorne, William Lyon Lee, Louis Calvano, Marty Morell, Claude Lévy Ch’io t’ami (prima parte) Claudio Monteverdi (1567–1643) Deh! bella e cara (seconda parte) Ma tu, più che mai dura (terza ed ultima parte) Singers: Janet Steele, Leonore Max, Elizabeth Thorne, Louis Calvano, Claude Lévy Udite, lagrimosi spirti d’Averno Salamone Rossi (1570–ca.1630) Singers:Leonore Max, Elizabeth Thorne, Virginia Kaycoff, William Lyon Lee, Claude Lévy Deh, dolce anima mia Benedetto Pallavicino (1551–1601) Singers: Sandy Horowitz, Deborah Malamud, Virginia Kaycoff, William Lyon Lee, Marty Morell Ah, dolente partita! Giaches de Wert Singers: Sandy Horowitz, Deborah Malamud, Virginia Kaycoff, William Lyon Lee, Marty Morell Artistic direction: Marty Morell The audience is requested to refrain from applauding until the conclusion of each madrigal or madrigal set. Instrumental Works for the Gonzaga Court by Salamone Rossi, Hebreo (November 5 concert only) Corrente settima (‘Aria di Giovan Battista Rubini. Fabricate le parti da l’autore’) i Correnti: Wendy Steiner, recorder; Mark Slobin, treble viola da gamba; Virginia Kaycoff, bass viola da gamba; Claude Lévy, harpsichord Figured bass realized by Claude Lévy Sonata Prima detta la Moderna i Correnti à 3: Wendy Steiner, recorder, Mark Slobin, treble viola da gamba, Virginia Kaycoff, bass viola da gamba; Claude Lévy, harpsichord. Figured bass realized by Claude Lévy i Correnti directed by Claude Lévy Intermission The Great Synagogue in Mantua Odecha Ki Anitani, Psalm 118:21-24 S. Rossi (pub. 1622/3) Counter-Reformation at Mantua’s Ducal Chapel Giaches de Wert (1535–1596): 5–7 Part Devotional Motets three lamentations Adesto dolori meo Vox in Rama Peccavi super numerum hope and praise O altitudo divitiarum Ego autem in Domino sperabo Two organ works by Costanzo Antegnati from Tre Ricercari per Organo Daniel Ficarri, organ (November 12 concert only) miracles of jesus Ascendente Jesu Egressus Jesus joy and glory Quiescat vox tua O sacrum convivium RenChorNY Cappella, Directed by Claude Lévy Finale (November 5 concert only) Danza De’ Pastori a Otto G. Gastoldi Pastor Fido Singers and RenChorNY Cappella singers with Alexandra Dunbar, harpsichord, Instrumental Ensemble and all instrumentalists Directed by Claude Lévy Galleria dei mesi rustica, Ducal Palace, Mantua Texts and Translations Il Pastor Fido Madrigals Music by Wert O primavera, gioventù dell’anno (prima parte) O primavera, gioventù dell’anno, O Spring, youth of the year, bella madre di fiori, Fair mother of flowers, d’erbe novelle e di novelli amori, New grass and new loves, tu torni ben, ma teco Indeed you return, but with you non tornano i sereni Do not return the serene e fortunati dì delle mie gioie; And happy days of my delight; tu torni ben, tu torni, Indeed you do return, ma teco altro non torna But with you returns naught else che del perduto mio caro tesoro But the wretched and painful memory la rimembranza misera e dolente. Of my dear lost treasure. Tu quella se’, tu quella You are the selfsame one ch’eri pur dianzi sì vezzosa e bella, You were before, so fair and comely, ma non son io già quel ch’un tempo fui, But I am no longer what I once was, sì caro agli occhi altrui. So dear in the eyes of another. O dolcezze amarissime d’amore (seconda parte) O dolcezze amarissime d’amore! O most bitter sweetness of love! Quanto è più duro perdervi, che mai How much more difficult it is to lose you non v’aver o provate o possedute! Than never to have experienced or possessed you! Come sarìa l’amar felice stato, Love would be so happy a state se ’l già goduto ben non si perdesse; If the beloved, once enjoyed, were never lost, o quando egli si perde, Or, once lost, ogni memoria ancora That every memory del dileguato ben si dileguasse! Of the vanished beloved were blotted out! Ma se le mie speranze (terza parte) Ma se le mie speranze oggi non sono, But if my hopes today are not, com’ è l’usato lor, di fragil vetro, As they are wont to be, of fragile glass, o se maggior del vero Or if my surpassing desire non fa la speme il desiar soverchio, Does not unjustly magnify my hopes, qui pur vedrò colei Then here indeed shall I see ch’è ’l sol degli occhi miei. The one who is the light of my eyes. 5 E s’altri non m’inganna (quarta parte) E s’altri non m’inganna, And, if I am not otherwise deceived, qui pur vedrolla al suon de’ miei sospiri Here shall I behold her, at the sound of my sighs, fermar il piè fugace; Halt her fleeting footsteps; qui pur dalle dolcezze Here, from the sweetness di quel bel volto avrà soave cibo Of that fair visage shall my hungry gaze nel suo lungo digiun l’avida vista; Find sweet sustenance after a long fast; qui pur vedrò quell’empia Here shall I see that pitiless one girar inverso me le luci altère, Turn toward me her haughty glance, se non dolci, almen fère, If not gentle, then at least savage, e se non carche d’amorosa gioia, And, if not laden with amorous joy, sì crude almen, ch’io moia. So cruel at least, that I shall die. O lungamente sospirato in vano (quinta ed ultima parte) O lungamente sospirato invano O happy the day, so long yearned for in vain, avventuroso dì, se, dopo tanti If, after so many foschi giorni di pianti, Gloomy days of lamentation, tu mi concedi, Amor, di veder oggi You would concede to me, Love, to behold today ne’ begli occhi di lei The light of my eyes reflected serenely girar sereno il sol degli occhi miei! In her fair gaze! Music by Gastoldi Cieco, Amor, non ti cred’io (prima parte) Cieco, Amor, non ti cred’io, Cupid, I do not believe you are blind, Ma fai cieco il desio But you make blind the desire Di chi ti crede; Of those who believe you, Ché s’hai pur poca vist’ hai minor fede. For if your sight is weak, your trustworthiness is Cieco o no, mi tent’ in vano, weaker still: E per girti lontano Blind or not, you tempt me in vain, Ecco m’allargo; And, to lead you astray, Che, così cieco, ancor vedi più d’Argo. Now I give you a wide berth, Così cieco m’annodasti, For, blind as you are, you see more than Argus. E cieco m’ingannasti; Thus blind you ensnared me, Or che vo sciolto, And blind you deceived me; Se ti credessi più, sarei ben stolto. Now that I am free, I would indeed be foolish to believe you again. 6 Fuggi e scherza pur se sai; Run off and dally if you can; Già non farai tu mai Never again will you be able Ch’in te me fidi, To make me trust in you, Perché non sai scherzar se non ancidi. For you know not how to dally without killing. Ma tu pur perfido e cieco (seconda parte) Ma tu pur, perfido e cieco, But yet, faithless and blind, Mi chiami a scherzar teco; You ask me to dally with you, Ed ecco scherzo, And so I do: E col piè fuggo e con la man ti sferzo, With my feet I avoid you, and with my hands E corr’ e ti percoto, I thrash you, E tu t’aggiri a voto. And I run and strike you, Ti pungo ad ora ad ora: While you spin about to no avail; Né tu mi prendi ancora, Now and again I poke you, O cieco Amore, And yet you do not catch me, Perc’ ho libero il core. O blind Cupid, Because my heart is free. Sciolto cor fa piè fugace (terza parte) Sciolto cor fa piè fugace, A free heart makes a fleet foot, O lusinghier fallace, O false deceiver, Ancor m’alletti Again do you entice me A tuoi vezzi mentiti, a tuoi diletti? With your feigned charms and delights? E pur di novo i’ riedo, And yet again I return, E giro e fuggo e fiedo, And spin and flee and hurt you, E torno e non mi prendi, And come back, yet you do not catch me, E sempr’ in van m’attendi, And ever in vain you await me, O cieco Amore, O blind Cupid, Perc’ ho libero il core. Because my heart is free. Mira nume trionfante (quarta ed ultima parte) Mira nume trionfante, Behold the triumphant deity, A cui da il mond’amante To whom the world of lovers Empio tributo! Pays impious tribute! Eccol oggi deris’ eccol battuto, Behold him now derided and bested, 7 Si come ai rai del sole Just like a blind bat Cieca nottola suole, In broad daylight, C’ha mill’ augei d’intorno In ignominious combat Che le fan guerr’ e scorno, With a myriad birds roundabout.
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    - Notes – RECORDER CONSORT VIOLS Trotto (Anon Italian 14th century) is a lively monophonic dance in the form of a rondeau. It originated around 1390.The time signature for the trotto is given as 6/8, Richard Mico (1590-1661) and John Jenkins (1592-1678) are celebrated fantasy and is infused with the triple meter swing, kind of like listening to horse riding and composers. This form is rather like an instrumental madrigal in which several points fox hunting. In Italian, trotto means to trot. of imitation are developed one after the other. Jenkins is our favourite composer, an inexhaustibly inventive melodist and a consummate contrapuntist. Like many of the English fantasy composers and like Haydn, Jenkins resided on the estates of the Virgo Rosa ( Gilles Binchois 1400-1460) provincial gentry; he preferred to be treated as a gentleman house-guest of Lord Gilles Binchois was a Franco-Flemish composer, one of the earliest members of the Dudley North (an amateur treble viol player) rather than an employee. Burgundian School, and one of the three most famous composers of the early 15th century. Binchois is often considered to be the finest melodist of the 15th century, Clive Lane is a Sydney based composer, with published works for viols and writing carefully shaped lines which are easy to sing, and utterly memorable. Most of recorders. He is also an accomplished singer and viol player, and is member of our his music, even his sacred music, is simple and clear in outline. consort. Air is a composition for quartet of viols (treble/tenor/tenor/bass) in a 16 th century style, in which Clive captures the mood of a viol piece by his favourite The words of this sacred motet - composer for viols: John Jenkins.
  • Franco Piperno, La Tradizione Musicale Delle Rime Di Torquato Tasso

    Franco Piperno, La Tradizione Musicale Delle Rime Di Torquato Tasso

    FRANCO PIPERNO LA TRADIZIONE MUSICALE DELLE RIME DI TOrqUatO TASSO (1571-1581)* La tradizione delle rime tassiane è notoriamente complessa e ingannevole, caratte- rizzata com’è dall’affastellarsi di autografi e apografi non sempre di certa datazione, di manoscritti miscellanei, di edizioni ‘pirata’, di stampe autorizzate ma non con- trollate dall’autore, di postillati e via dicendo. A questa pletora di testimoni di varia e spesso incerta attendibilità, vanno aggiunte le fonti musicali: le stampe di musica vocale polifonica (libri di madrigali a più voci) che dai primi anni ’70 del Cinque- cento con crescente assiduità includono musicazioni di versi tassiani. Dette fonti, prima di verificarne l’utilità sul piano filologico e dell’autografia del testo intonato, presentano un’importante caratteristica: sono certamente datate e consentono di stabilire sicuri termini ante quem per la composizione di singole scritture e possono presentarne redazioni provvisorie, utili allo studio del processo compositivo ed a seguirne il tormentato labor limae da una stesura all’altra. Il libro di madrigali con- tenente testi di Tasso fino a quel momento inediti va a tutti gli effetti considerato un’editio princeps; il filologo tassiano non deve ignorare questo tipo di testimoni ri- tenendolo estraneo alle consuete forme di trasmissione testuale ed insicuro, dovrà invece attentamente compulsarlo, con tutte le cautele del caso, per inserirlo, quale imprescindibile tassello, nella storia della composizione e della tradizione delle rime tassiane. Le pagine che seguono intendono contribuire a dissipare diffidenza nei confronti delle stampe musicali, anzi a mostrarne l’utilità in sede critica, esaminandone le ca- ratteristiche editoriali e produttive al fine di accertare la loro affidabilità quali fonti di scritture poetiche.
  • An Italian Tune in the Synagogue: an Unexplored Contrafactum by Leon Modena∗

    An Italian Tune in the Synagogue: an Unexplored Contrafactum by Leon Modena∗

    Kedem G OLDEN AN ITALIAN TUNE IN THE SYNAGOGUE: AN UNEXPLORED CONTRAFACTUM BY LEON MODENA∗ ABSTRACT Leon Modena, one of the celebrated personalities of Italian Jewry in the early modern period, is known for his extensive, life-long involvement with music in its various theoretical and practical aspects. The article presents additional evidence that has gone unnoticed in previous studies of Modena’s musical endeavors: his adaption of a polyphonic, secular Italian melody, for the singing of a liturgical hymn. After identifying the melody and suggesting a possible date for the compo- sition of the Hebrew text, the article proceeds to discuss it in a broader context of the Jewish musical culture at the turn of the sixteenth and seventeenth centuries, in particular contemporary Jewish views to the use of “foreign” melodies in the syna- gogue. The article concludes with an attempt to situate it as part of Modena’s thought of art music. RÉSUMÉ Léon Modène, une des personnalités célèbres du judaïsme italien du début de la période moderne, est connu pour s’être impliqué de près dans le monde de la musique et ses divers aspects, aussi bien théoriques que pratiques. Le présent article présente un exemple supplémentaire de cette implication, passé inaperçu dans les études antérieures: l’adaptation par Modène d’une mélodie polyphonique profane italienne en un hymne liturgique. Après avoir identifié la mélodie et suggéré la date éventuelle de la composition du texte hébreu, l’article analyse cet hymne dans le contexte plus large de la culture musicale juive au tournant des XVIe et XVIIe siècles, notamment en tenant compte des opinions juives contemporaines sur l’usage de chants «étrangers «dans la synagogue.