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La Capella Reial De Catalunya Le Concert Des Nations Jordi Savall, Director

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La Capella Reial De Catalunya Le Concert Des Nations Jordi Savall, Director Streaming Premiere – Thursday, June 3, 2021, 7pm La Capella Reial de Catalunya Le Concert des Nations Jordi Savall, director Filmed exclusively for Cal Performances at the Romanesque Church of Sant Vicenç in Cardona, Catalonia, Spain on March 8, 2021. Soloists of LA CAPELLA REIAL DE CATALUNYA Monica Piccinini, soprano I María Cristina Kiehr, soprano II Alessandro Giangrande, countertenor Raffaele Giordani,tenor I Lluís Vilamajó, tenor II Furio Zanasi, baritone Salvo Vitale, bass LE CONCERT DES NATIONS Manfredo Kraemer, violin I Guadalupe del Moral, violin II Jordi Savall, alto & bass viol Imke David, bass viol & lirone Balázs Máté, bass violin Xavier Puertas, violone Andrew Lawrence-King, arpa doppia Josep Maria Martí, theorbo & guitar Luca Guglielmi, harpsichord Jordi Savall, director 1 CLAUDIO MONTEVERDI (1567–1643) Madrigali guerrieri et amorosi Libro Ottavo (1638) SINFONIA A CINQUE (From Tempro la cetra, SV 117, Settimo libro de madrigali, 1619) ALTRI CANTI DI MARTE (Canto Amoroso, SV 155) Altri canti di Marte Due belli occhi • • • [SINFONIA DA GUERRA]: SEGUE LA LOTTA (From Il Ritorno di Ulisse in Patria, SV 325, 1640) GIRA IL NEMICO (Canto Guerriero, SV 148) Gira il nemico Nol lasciamo accostar Armi false non son Vuol degl’occhi Non è più tempo Cor mio, non val fuggir Raffaele Giordani and Lluís Vilamajó,tenors & Salvo Vitale, bass • • • BALLO: VOLGENDO IL CIEL – MOVETE AL MIO BEL SUON (Canto Guerriero, SV 154) Introduzione al ballo: Volgendo il ciel Ballo: Movete al mio bel suon Ciaccona (Andrea Falconieri, 1585–1656) Seconda parte del ballo: Ei l’armi cinse e su destrier alato Raffaele Giordani,tenor ALTRI CANTI D’AMOR (Canto Guerriero, SV 146) Sinfonia Altri canti d’Amor Tu cui tessuta han di Cesare alloro Che mentre guerre canta e guerre sona Salvo Vitale, bass Opposite: Jordi Savall. Photo by Toni Penarroya.̃ 3 COMBATTIMENTO DI TANCREDI E CLORINDA (Canto Guerriero, SV 153) NARRATOR: Furio Zanasi CLORINDA: María Cristina Kiehr TANCREDI: Lluís Vilamajó • • • SINFONIA A CINQUE (From L’ O r f e o , SV 318, 1607, Atto II) LAMENTO DELLA NINFA (Canto Amoroso, SV 163) Non havea Febo ancora Lamento della ninfa: Amor, dov’è la fe’ Si tra sdegnosi pianti NYMPH: Monica Piccinini Raffaele Giordani, Lluís Vilamajó,tenors & Salvo Vitale, bass • • • SINFONIA A SEI (Cantate Domino, SV 293, 1620) HOR CHE’L CIEL, E LA TERRA (Canto Guerriero, SV 147) Hor che’l ciel e la terra Cosi sol d’una chiara fonte viva With the support of the Departament de Cultura of the Generalitat de Catalunya and the Direction Régionale des Affaires Culturelles Occitanie. All participants (singers, musicians, technician, director, and staff) provided a negative COVID-19 test before the production’s start. All technical staff wore protective masks during rehearsals and the concert. The Cal Performances at Home Spring 2021 season is dedicated to Gail and Dan Rubinfeld, leading supporters of Cal Performances and the well-being of our artists for almost 30 years. Note: following its premiere, the video recording of this concert will be available on demand through September 1, 2021. 4 PROGRAM NOTES mong the eight books of madrigals same note. Monteverdi regulated rhythm and published by Monteverdi between 1587 tremolos of this repeated sound according to Aand l638, the last collection occupies a the pyrrhics danced by the ancient Greek war- very special place. This collection—printed riors in arms. He considered this content as when the art of the madrigal, generally in five identical to the “genere da guerra” already voices, which had indisputably reigned during widely used to illustrate war themes. at least one century over Italy and also north of In the first madrigal of the collection,Altri the Alps, had finally relinquished its prominent canti d’Amor, he demonstrates the contrasting position to lighter genres such as duets and can- effects which can be obtained by the “genere tatas—seems to be a farewell to the past; with its concitato”: voices, violins and even continuo ex- innovative phrasing grounded in philosophical press through the rapid repetition of the same views, it clears the way for a musical language notes the irruption of “Marte Furioso” (Furious focusing on the emotions that was to put its Mars) in the opening romance. As soon as a stamp on musical creation for a very long time. “battle” or a “war” is mentioned in the text, the It pays a final tribute to the magnificence of “genere concitato” dominates the composition. Italian literature, while already reflecting The second part, which is very dense, is writ- through sumptuous and imposing compositions ten for six singers and six strings in order to im- the musical taste of the Viennese Imperial court. itate the tumult of war and obviously constitutes This eighth book is dedicated to the a homage to Emperor Ferdinand. Emperor, even if, given its troubled genesis, we “Ferdinand’s Feats” are the very focus of the still cannot be sure to which Emperor exactly. “Ballo” that ends the first part of the eighth Monteverdi intended at first to dedicate his madrigal book, entitled Madrigali Guerrieri madrigal collection to Emperor Ferdinand the (War Madrigals) The Court Ballets charmed the Second, leader of the Catholic league during the courtiers with their light allegorical stories. The Thirty Years’ War. When the monarch died in genre appeared first at the Court of France and 1637, while the work was still in press, his son the Ballo’s librettist, Ottavio Renucci, composed succeeded him as Ferdinand the Third. Conse - this poem for the French King Henry the quently, Monteverdi changed his previous ded- Fourth more than 30 years earlier. ication, placing as he explained in the foreword, As homages to monarchs did not refer to “at the son’s feet a present initially intended for concrete and real events, they lent themselves the father.” easily to transposition. Many compositions are dedicated to Ferdi - Thus, the nymphs of the Seine turn into the nand the Second or Ferdinand the Third. This nymphs of the Danube and perform at the approach illustrates the composer’s views both poet’s invitation a range of dances in honor of at the musical and the philosophical level. the Emperor. Monteverdi also used the “genere Monteverdi entitled his eighth book of concitato” for less obvious purposes than a madrigals Madrigali Guerrieri et Amorosi (War homage to a war leader. In the great madrigal and Love Madrigals), and wrote beside his ded- in two parts composed on a sonnet written by ication a foreword explaining his artistic views. Petrarch (“Hor che il ciel e la terra e’l vento In his view, anger, reserve, and humility are the tace”), the violins illustrate the despairing at- main emotions of the human soul, which the mosphere—described as a “war full of rage and composer must express by a now violent, now pain”—of the lyric theme whose inner fever vi- restrained, now flowing writing. Many expres- olently contrasts with the serenity of evening sive means already existed that aimed to imitate nature, previously described in a masterly way. reserve and humility. After thoroughly study- Monteverdi probably intended to illustrate in ing the Ancients’ philosophy and also classic this madrigal the three steps of emotion—the metrics, Monteverdi invented a specific musi- “genere molle” in the slow and soft repetitions cal language, the “genere concitato,” which ex- of the beginning, the “genere concitato” by the presses anger by a rapid hammering out of the term “guerra” (war), and finally the “genere 5 PROGRAM NOTES temperato” at the end of the second part, for in- Marino, Monteverdi picks up the thread he had stance, when the melody unfolds, based on the used in the opening sonnet of the first part of word “lunge” (far) through a declamation that Altri Canti d’Amor. A battle is indeed described, always starts with the same note. but now the weapons are two beautiful eyes, In Gira il nemico insidioso amore, a work in and bitter tears flow instead of streams of blood. six parts for one to three voices, which defies all In an almost identical composition, in which, classification, Monteverdi explores with deli- however, the bass strings employed for the cacy and wit the concept of “genere concitato”. homage to the Emperor are missing, Monte - The enemy, who must be fought before he wins verdi shows how love calms the tumult of war an absolute victory, is the god of love, who con- and turns it into a love song. quers the heart’s fortress with his fatal arrows. The work by Monteverdi that had the great- Book 8 closes with a series of pieces “in rep- est influence on his successors—although none resentative genre,” including Il combattimento of them achieved a comparable emotional in- di Tancredi e Clorinda, which had previously tensity—belongs to the Madrigali Amorosi and been performed at the palace of the nobleman to the figurative pieces that intersperse the arias Girolamo Mocenigo. The inspiration for the li- like so many small episodes and that Monte - bretto came from Torquato Tasso’s epic poem verdi mentioned in the title of Book 8: “Opus - Gerusalemme Liberata (Jerusalem Delivered) on coli in genere rappresentativo che saranno per the theme of the First Crusade (a topic that brevi episodi fra i canti senza gesto.” could hardly be more appropriate to the story For this Lamento della Ninfa, in which a of Venice!) in which a narrator relates the ac- nymph accompanied by a trio of male voices tion and the two protagonists express their feel- laments the loss of her unfaithful lover, ings in song. In this work, Monteverdi used the Monteverdi models the tempo on the inner stile concitato (“agitated style”) for the first time, rhythm of the suffering soul rather than using a thus putting Plato’s vision into practice: the regular beat.
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