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Home , Artemisia (Cavalli), Biagio Marini, Giacomo Carissimi, Musica Florea, Stephen Stubbs, Tarquinio Merula

San Francisco Early Music Society

Breathtaking: A Cornetto and a Voice Entwined

WHEN: VENUE: Sunday, May 6, 2018 BInG 4:00 PM COnCERT HaLL Program Artists

Maurizio Cazzati (1616 –1678) Hana Blažíková, Regina coeli soprano Bruce dickey, Nicolò Corradini (?–1646) cornetto Spargite flores Tekla Cunningham, Biagio Marini (1594 –1663) Ingrid Matthews, seconda a doi violini

Joanna Blendulf, Sigismondo D’India (c1582 –1629) viola da gamba Dilectus meus Langue al vostro languir Michael Sponseller, organ and harpsichord Giovanni Battista Fontana (1589–1630) Stephen Stubbs, Sonata 11 a 2 and guitar

Tarquinio Merula (c 1594–1665) Nigra sum

Giacomo Carissimi (1605 –1674) Summi regis puerpera

—Intermission—

Calliope Tsoupaki (b. 1963) Mélena imí (Nigra sum) , 2015

Gio. Battista Bassani (c1650 –1716) Three from La Morte Delusa (, 1680) “Sinfonia avanti l’” “Speranza lusinghiera” “Error senza dolor”

Sonata prima a 3, Op. 5

Alessandro Scarlatti (1660–1725 Three arias from Emireno (, 1697) : “non pianger solo dolce usignuolo” Rosinda: “Senti, senti ch’io moro” Emireno: “Labbra gradite”

PROGRAM SUBJECT TO CHANGE . Please be considerate of others and turn off all phones, pagers, and watch alarms. Photography and recording of any kind are not permitted. Thank you.

2 Notes

Breathtaking: violoncelli. He was able, however, to which included innovative A Voice And A Cornetto Entwined attract excellent singers as well as such as . d’India string players to the basilica. His travelled extensively, holding positions In the 16th and 17th centuries, the Regina coeli , from a collection of in Turin, Modena and . His cornetto was fabled for its remarkable Marian antiphons published in 1667, monodies, for which he is primarily ability to imitate the human voice. This alternates arioso-like sections with known, were said to be admired by concert is a celebration of the affinity expressive accompanied , Vittoria archilei and Giulio Caccini, of the cornetto and the human voice— and demonstrates a virtuosity of and he likely met Monteverdi in an exploration of how they combine, vocal writing which is nearly Mantua. We have selected a converse and complement each other, instrumental in character. We could and a of his, both for two whether responding in the manner of a almost say that the imitation of the sopranos, because they allow the voice dialogue or entwining as two equal voice by the cornetto and the violin and the cornetto to entwine in partners in a musical texture. This alternates with an imitation of expressive harmonies while giving the perceived similarity of the voice and instruments by the voice. instrument an opportunity to imitate the cornetto encompassed not only the words being sung. the instrument’s clear and bright nicolò Corradini was a Cremonese sound timbre, but also its agility, organist who held posts in a couple of The Cremonese organist and violinist expressive range, dynamic flexibility, religious institutions in , Tarquinio Merula was one of the most and articulation, which could make it including the Cappella delle Laudi at the skillful and innovative composers of his sound almost as though the player Cathedral, where he succeeded generation. Outside of his native city, were speaking through his instrument. Tarquinio Merula. His he was active in Lodi and Our program, which puts this imitation are of particular interest here (where he succeeded alessandro center stage, is called “breathtaking” because they include several examples Grandi), and for a certain time was both because the voice and the with a high voice and a single high organista di chiesa e di camera in the cornetto literally make music with the instrument, in this case cornetto. In his service of Sigismund III, King of breath, and because the imitation, we Spargite flores , the voice and the . In Cremona, Merula was three hope, can will literally take the cornetto pass musical material back times named organist of the cathedral listener’s breath away. and forth in dialogue, with the and maestro of the Cappella delle instrument sometimes imitating and Laudi. His works, both vocal and The Bolognese organist Maurizio interweaving with the voice. instrumental, are characterized by Cazzati was an important, though Occasionally the cornetto elaborates graceful and humorous rhythmic and controversial and sometimes the vocal figures, creating truly melodic turns and frequently demand polemical, figure in the musical life of instrumental patterns. considerable virtuosity from both his city. When he was appointed to singers and instrumentalists. His the post of maestro di cappella at the The almost total lack of biographical setting of Nigra sum , with its especially basilica of San Petronio in the 1650s, information about Sigismondo d’India fresh and arresting opening figure, is he undertook a sweeping and brutal has led to a great deal of speculation no exception. reform of the chapel, firing en masse concerning his origins and training. He all of the cornettists and trombonists, claims on one of his title pages to be Giacomo Carissimi was the most many of whom had given thirty or of noble Sicilian birth. Indications important of motets and forty years of faithful service, and point to connections with the circle in mid-century Rome, and his replacing them with and surrounding don Fabrizio Gesualdo, influence spread rapidly to the rest of

3 Europe. Summi regis puerpera is written , to Giovan Battista Reghino, musical works performed in honor of for two sopranos and two violins. In maestro di cappella in 1641 of the the dead was the oratorio La Morte our version, the cornetto takes over the Chiesa delle Grazie at . It was to Delusa by the Paduan composer role of one of the sopranos. the Monastery of this church, Giovanni Battista Bassani. Bassani, presumably Fontana’s last place of already maestro di cappella of the The sonatas on this concert are by employment, that he bequeathed his famous Accademia della Morte in three of the most important masters manuscripts upon his death, due Ferrara, attained the same position at of the instrument in the 17 th century. probably to the plague, around 1630. the Ferrarese Cathedral in the year Biagio Marini is, together with according to Reghino, who wrote the 1688, very likely as a result of the Giovanni Battista Fontana, dedication to the published collection, success two years earlier of his undoubtedly the most innovative “Gio: Batista Fontana of was oratorio, standing as it did at the composer for the violin in the first half one of the most singular violin virtuosi center of those important celebrations. of the Seicento, and his reputation as of his age and was known as such not Thus La Morte Delusa is not only of a violinst was considerable on both only in his native land but also in great historical interest for its sides of the alps. He held positions in , Rome and lastly in Padua...” connection to the Battle of Budapest, his native Brescia, in , at Saint The Sonata 11 a 2 on tonight’s program but also because it represents a high Mark’s in Venice, as well as , truly has one foot in the 16th and the point in the musical output of a Vicenza and Bergamo. He also served other in the 17th centuries. Slow- composer who, although relatively as Kapellmeister at the Wittelsbach moving Passages in long notes unknown today, was greatly courts in neuburg an die donau and alternate with exuberant bursts of celebrated by his contemporaries. at düsseldorf. He was among the first to ornamentation which recall the the time this music was written, the write solo pieces for violin (or written-out ornamentation examples cornetto was already beginning its cornetto) with a basso continuo and of an earlier generation. The sonata long slide into obsolescence, and yet pioneered many violin techniques carries the indication “per violino o Bassani gives great prominence to the such as double and triple stopping, cornetto” but it is not entirely clear instrument, prefacing each with a scordatura , and con la’arco . whether this was Fontana’s preference sinfonia in which the cornetto, Giovanni Battista Bassani was one of or that of his editor. accompanied by two violins and basso the most celebrated violinists in the continuo, anticipates the melody to be generation after Marini. He is said to as a centerpiece for our program, we sung. We have created a small suite of have studied in Ferrara with Giovanni invited the Greek composer Calliope arias and sinfonie from this oratorio. Legrenzi, and was held by some to be Tsoupaki to write a new work exploring an even better player than Corelli. the affinity of the cornetto and the While the history of 17th-century Burney, in particular, felt that no one voice. This new composition, which Italian does not often involve before him had written so sets the Song of Songs text Nigra sum the cornetto, naples presented a idiomatically for the violin. in Byzantine Greek ( Mélena imí ), is surprising exception in the last decade inspired by the 17th-century idea of a of the century. Both Giovanni “...among the best, excellent”: this is voice and a cornetto in dialogue. The Bononcini and the way Giovanni Battista Fontana is composer has described the piece as a included arias in a handful of described on the title page of his “serene antiphonal lyric moment” with obbligati for the cornetto of posthumous collection of sonatas for between the cornetto and the voice. extreme difficulty and displaying an one, two, and three instruments unusually high tessitura. among these published in Venice in 1641. We owe For many days in September of 1686, is L’Emireno, o vero Il consiglio dell’ombra, nearly all of our biographical the city of Ferrara celebrated the composed by Scarlatti and first information about Fontana, and defeat of the Turks in a great battle at performed at the Teatro Bartolomeo in indeed the very existence of his Budapest. Prominent among the naples in 1697. Though this opera

4 helped to consolidate and elevate the status of this once forgotten instrument. For his achievements the Historic Brass Society awarded him in 2000 the prestigious Christopher Monk award for “his monumental work in cornetto performance, historical performance practice and musicological scholarship.” In 2007 he was honored by British conductor and musicologist andrew Parrott with a “Taverner award” as one of 14 musicians whose “significant contributions to musical understanding have been motivated by neither commerce nor ego.”

In the course of his long career as a performer and recording artist he has worked with most of the leading figures in the field of early music, including the legendary pioneers of historically informed perfomance, Gustav Leonhardt, Frans Brüggen and nikolaus Harnoncourt. He was a member for over ten years of ’s Hesperion XX, and has frequently and repeatedly collaborated with Ton Koopman, survives in a Viennese manuscript Biographies Monica Huggett, Philippe Herreweghe bearing an attribution to Giacomo and many others. Of special antonio Perti, its true authorship was Bruce Dickey is one of a handful of importance has been his long-time recognized as early as 1976. The musicians worldwide who have friendship and collaboration with existence of this cluster of operas in dedicated themselves to reviving the andrew Parrott, and in more recent naples in the last decade of the cornetto—once an instrument of great years with Konrad Junghänel. century leads to the intriguing virtuosi, but which lamentably fell into question of who this late cornetto disuse in the 19th century. The revival Bruce dickey can be heard on virtuoso may have been, a question we began in the 1950s, but it was largely countless recordings. His solo Cd ( Quel are not yet able to answer. From this Bruce dickey, who, from the late 1970s, lascivissimo cornetto. ..) on accent with opera we perform a selection of three created a new renaissance of the the ensemble Tragicomedia was arias including the cornetto, two of instrument, allowing the agility and awarded the diapason d’or. His second Rosinda and one of her lover Emireno. expressive power of the cornetto to be solo Cd, entitled La Bella Minuta , was In the first Rosinda shares her lovelorn heard once again. His many students, released on the Passacaille label in weeping with a nightingale, whose over more than 30 years of teaching at 2011, and was described as, “simply a sound is evoked by the high cornetto. the Schola Cantorum Basiliensis, have brilliant recording.”

5 In addition to performing, Bruce dickey ensembles and orchestras around the 1992, and served as Music director is much in demand as a teacher, both world, including Collegium Vocale until stepping down from that of the cornetto and of seventeenth- Gent (Philippe Herreweghe), Bach position in 2013. century performance practice. In Collegium Japan (Masaaki Suzuki), addition to his regular class at the Sette Voci (Peter Kooij), amsterdam Matthews won first prize in the 1989 Schola Cantorum he has taught at the Baroque Orchestra (Ton Koopman), Erwin Bodky International Competition Royal Conservatory in The Hague, the L’arpeggiata, Gli angeli Geneve, La for Early Music, and since that time accademia Chigiana in Siena, and the Fenice, Tafelmusik, Collegium 1704, has performed extensively around the Early Music Institute at Indiana Collegium Marianum, Musica Florea, world with numerous period- university, as well as master classes in among others. She has performed at instrument ensembles. She has served the united States, Canada, Europe and many world festivals, including as concertmaster for orchestras such Japan. He is also active in research on Spring, Oude Muziek utrecht, as the new york Collegium, the Boston performance practice, and has Resonanzen (), Tage alter Musik Early Music Festival Orchestra, and published, together with Michael (Regensburg), Festival de Sablé, Musica angelica (Los angeles); and Collver, a catalog of the surviving Festival de La Chaise—dieu, Festival has appeared as a guest director and cornetto repertoire, and, together with de Saintes, arts festival Hong Kong. In soloist with many others, including the trumpeter Edward Tarr, a book on 2010 and 2013 she took part in a highly new york Collegium, the australian historical wind articulation. In 1997, praised world tour performing the St. Brandenburg Orchestra, the Magnolia together with his wife Candace Smith, Matthew Passion under the direction Baroque Festival Orchestra (Winston- he founded artemisia Editions, a small of Philippe Herreweghe, and in 2011 Salem, nC), new Trinity Baroque publishing house which produces she made her debut in Carnegie Hall (atlanta), the Bach Sinfonia editions of music from 17th-century with Masaaki Suzuki´s Bach Collegium (Washington dC), Les Idees Heureuses Italian convents. Japan. She also sang soprano in (Montreal), the Indianapolis Baroque Boston Symphony Orchestra’s Orchestra, and the Victoria Symphony. In 1981, Bruce dickey moved to , performance of St. John´s Passion For close to a decade she was first partly to be closer to the origins and during the Easter season, 2011. In violinist of the ensemble La Luna, source materials for his instrument and november of 2014 she participated in which specialized in 17th-century its music. He currently lives with his the stage production “Orfeo chaman” music, touring and recording to great wife and daughter in a country house, with L’arpeggiata in Bogotá. Hana critical acclaim. surrounded by vineyards, outside of appears on more than 30 Cds, Bologna, home of the original including the well-known series of Matthews’ career as a chamber Concerto Palatino. Bach’s cantatas with Bach Collegium musician has taken her to such Japan. She also plays gothic harp and venues as the Frick Collection (new Hana Blažíková , soprano, was born in presents concerts in which she york), the Boston Early Music Festival, Prague. as a child she sang in the accompanies herself on that the Berkeley Festival, netwoork voor children’s Radost Praha and instrument. She is also a member of Oude Muziek (the netherlands), the played violin. Later she turned to solo Tiburtina Ensemble, which specializes Getty Center (La), the Pittsburgh singing. In 2002 she graduated from in the Gregorian chant and early Renaissance and Baroque Society, the Prague Conservatory in the class medieval polyphony. Early Music Vancouver, Woodstock of Jiří Kotouč and later undertook Concerts, the Cambridge Society for further study with Poppy Holden, Peter Ingrid Matthews long has been Early Music, the newberry Library Kooij, Monika Mauch and Howard established as one of the leading (Chicago), CBC-Toronto, the San Crook. Today Hana specializes in the baroque violinists of her generation. Francisco Early Music Society and interpretation of baroque, Rennaisance She founded the Seattle Baroque the Library of Congress, among and medieval music, performing with Orchestra with Byron Schenkman in many others.

6 Matthews has won international She has appeared as amorous Lyre, a recording of repertoire critical acclaim for a discography concertmaster/leader or soloist with the of Merula and his contemporaries and ranging from the earliest solo violin american Bach Soloists, Baroque the novello Quartet’s recording of repertoire through the Sonatas and Chamber Orchestra of Colorado, Seattle Haydn’s Op. 50 string quartets. This Partitas of J.S. Bach. The latter Baroque Orchestra, and Musica angelica summer she recorded Mozart’s Flute recording was named by Third Ear’s (Los angeles). She has also played with Quartets with Janet See, Laurie Wells Classical Music Listening Companion as apollo’s Fire, Los angeles Opera, and Tanya Tomkins. “the finest complete set of these Philharmonia Baroque Orchestra, and at works,” and the critic for American the Carmel Bach Festival, San Luis Tekla received her musical training at Record Guide writes “this superb Obispo Mozart Festival, Indianapolis Johns Hopkins university and Peabody recording is my top recommendation Early Music Festival, Savannah Music Conservatory (where she studied for this music… on either modern or Festival and the Bloomington Early History and German Literature in period instruments.” Music Festival. She has worked with addition to violin), Hochschule für many leading directors including Rinaldo Musik und darstellende Kunst, in Ingrid Matthews has served on the alessandrini, Giovanni antonini, Harry Vienna, austria, and at the San faculties of the university of Toronto, Bicket, Paul Goodwin, Martin Haselböck, Francisco Conservatory of Music, the , Indiana Monica Huggett, nic McGegan, Rachel where she completed a Master’s university, the university of Southern Podger, Jordi Savall, Stephen Stubbs, degree with Ian Swenson. She teaches California in Los angeles, the Jeffrey Thomas, Elizabeth Wallfisch and Suzuki violin in both German and International Baroque Institute at Bruno Weil. English and is on the early music Longy, and amherst Early Music; and faculty of Cornish College for the arts. has given master classes in baroque an avid chamber musician, Tekla enjoys repertoire and style at numerous exploring the string quartet repertoire Stephen Stubbs , who won the Grammy colleges and universities. She is of the 18th and early 19th century with award as conductor for Best Opera currently on the faculty of Cornish the period-instrument novello Quartet, Recording 2015, spent a 30-year career College of the arts in Seattle. Ingrid whose abiding interest is the music of in Europe. He returned to his native Matthews is a graduate of Indiana Haydn. She is also a member of La Seattle in 2006 as one of the world’s university, where she studied with Monica, an ensemble dedicated to most respected lutenists, conductors, Josef Gingold and Stanley Ritchie. music of the 17th century, whose and baroque opera specialists and in concerts have been reviewed as 2014 was awarded the Mayor’s arts Tekla Cunningham , baroque violin, “sizzling”, and praised for their award for ‘Raising the Bar’ in Seattle. viola and viola d’amore, enjoys a “irrepressible energy and pitch-perfect Before his return, he was based in varied and active musical life. at home timing”. With Jillon dupree, Bremen, , where he was in Seattle, she is concertmaster of harpsichord, and Vicki Boeckman, Professor at the Hochschule für Künste . Stephen Stubbs’ Pacific MusicWorks, recorders, she plays in Ensemble principal second violin with Seattle Electra, known for its inventive In 2007 Stephen established his new Baroque Orchestra & Soloists, and programs and energetic performances. production company, Pacific plays regularly as concertmaster and MusicWorks, based in Seattle, reflecting principal player with the american She can be heard on recordings with his lifelong interest in both early music Bach Soloists in California. She directs the american Bach Soloists, apollo’s and contemporary performance. The the Whidbey Island Music Festival, a Fire, Philharmonia Baroque Orchestra, company’s inaugural presentation was summer concert series presenting Tafelmusik, Seattle Baroque Orchestra, a production of South african artist vibrant period-instrument San Francisco Bach Choir, various William Kentridge’s acclaimed performances of repertoire ranging movie soundtracks including disney’s multimedia staging of Claudio from Monteverdi to Beethoven. Casanova, La Monica’s release The Monteverdi’s opera The Return of Ulysses

7 in a co-production with the San Francisco Museum of Modern art. PMW’s performances of the Monteverdi Vespers were described in the press as “utterly thrilling” and “of a quality you are unlikely to encounter anywhere else in the world.” Stephen is also the Boston Early Music Festival’s permanent artistic co-director along with his longtime colleague Paul O’dette. Stephen and Paul are also the musical directors of all BEMF operas, recordings of which were nominated for three GRaMMy awards, and won the GRaMMy for Best Opera Recording 2015.

In addition to his ongoing commitments Soloists Competition (1998) and the Hague, Mr. Sponseller was a teacher of to PMW and BEMF, other recent Jurow International Harpsichord harpsichord at the Baldwin Wallace appearances have included Handels’ Competition (2002), he holds the Conservatory of Music. Giulio Cesare and Gluck’s Orfe o in Bilbao, distinction of being a two-time Mozart’s Magic Flute and Cosi fan Tutte prizewinner at the Festival of Flanders Mr. Sponseller’s passionate interest in for the Hawaii Performing arts Festival International Harpsichord Competition 17th and 18th century opera led to and Handel’s Agrippina for Opera (Bruges), as well as taking prizes in making his conducting debut in 2000 Omaha. In recent years he has Montréal and Kalamazoo. His recitals, with Dido and Aeneas of . conducted Handel’s Messiah with the which favor the French “clavecinists” and Since then he has performed and been Seattle, Edmonton, and Birmingham English virginal repertoire, have been assistant conductor in a wide range of Symphony orchestras. Stephen will heard at the Smithsonian Institution, repertoire, including Castor et Pollux , make his debut Messiah performance Saint Cecilia’s Hall, alliance Française Ariodante , Amadigi , Alcina , Cephale et with Houston Symphony this december. and at festivals such as Boston, Berkeley, Procris , and Les Arts Florissants . In 2000, His extensive discography as conductor and Edinburgh. Following his return to he became a research assistant at the and solo lutenist include well over 100 the u.S. in 1999, Mr. Sponseller has Centre de Musique Baroque de Cds, many of which have received performed and recorded frequently with Versailles, working with Lisa Goode international acclaim and awards. In the Handel and Haydn Society, Crawford on the operas of Joseph 2013, Stephen was appointed Senior Smithsonian Chamber Players, nicolas Pancrace Royer (1705–1755). This artist in Residence at the university of american Bach Soloists, new york work culminated in 2002 in the modern- Washington School of Music. His first Collegium, and apollo’s Fire. Michael day premiere of Royer’s Le Pouvoir de major production there was Handel’s Sponseller performs in partnership with l’Amour with the new york Baroque Semele in May 2014 followed by Mozart’s leading artists such as Catherine Turocy, dance Company, Oberlin College, and Magic Flute in 2015. Emyln ngai, derek Lee Ragin, Malia the Centre de Musique Baroque de Bendi Merad, and Sarah Freiburg and Versailles, which received recognition Michael Sponseller , harpsichord, has performs with numerous ensembles such and praise from the new york Times, appeared throughout Europe and north as La Luna, aradia, and Rhetoric. In Wall Street Journal and Opera news. Mr. america with critical acclaim as a addition to holding degrees from the Sponseller can also be heard on several soloist, conductor, and chamber Oberlin Conservatory of Music and the recordings from Electra, Vanguard musician. Winner of the american Bach Royal Conservatory of Music in The Classics, naxos and Centaur.

8 Vocal Texts

Cazzati—Regina coeli

Regina caeli laetare, alleluia: Queen of Heaven, rejoice, alleluia. Quia quem meruisti portare, alleluia: For Him whom you were worthy to bear, alleluia. Resurrexit, sicut dixit, alleluia: He has risen, as He said, alleluia. Ora pro nobis deum, allelulia. Pray for us to God, alleluia.

Corradini—Spargite flores

Spargite flores, spargite lilia. Scatter flowers, scatter lillies! alleluia. alleluia. Induimini omnes cum sanctis angelis Let us all be clothed with the holy angels vestimentis iucunditatis et laetitia. In garments of pleasure and joy. Coronate vos rosis, Crown yourselves with roses, proclaim victory, lead the Victoriam dicite, triumphum ducite, triumph, celebrate victory in song. alleluia. victoriam canite. alleluia. The Lord has suceeded in all his ways. Prosperatus est dominus in omnibus viis suis. The Lord has reigned from the Cross. dominus regnavit a ligno. He as reigned and put on his adornment. Regnavit et decorem induit. The Lord has clothed himself with dominus fortitudine et precinxite virtute. strength and girt himself with virtue. alleluia. alleluia.

D’India—Dilectus meus dilectus meus loquitur mihi, My beloved said to me, Surge propera amica mea et veni. arise and come away. Speciosa mea, Columba mea My special one, my dove, Quam pulchrae sunt mamae tuae. How beautiful are your breasts. Soror mea sponsa My sister, my spouse, Vulnerasti cor meum you have ravished my heart, Crine, colli tui, with the locks on your neck, veni quia , amore langeo. Come here, I languish from love.

9 D’India—Langue al vostro languir

Langue al vostro languir l’anima mia, My heart aches when I see you suffering e dico: “ah, forse a sì cocente pena and I think: “ah, perhaps to this anguished state sua ferita la mena.” Her own wound has led her.” O anima d’amor troppo rubella, O spirit too resentful of Love’s power, Quanto meglio vi fora how much better it would be for you provar quel caro ardor che vi fa bella to feel the sweet passion that enhances beauty, che quel che vi scolora! rather than that which causes it to fade! Perché non piace alla mia sorte Why is it not to my darling’s liking ch’io arda del vostro foco That I should be let by your flame, E voi del mio. and you by mine?

Merula—Nigra sum sed Formosa nigra sum sed formosa filiae Ierusalem Black am I, yet lovely, daughters of Jerusalem annunciate dilecto meo quam magnum caritatis announce to my beloved how great is the fire of charity and sit incendium et ingens amoris flamma. the flame of love. Sum nigra sed formosa admiramini gentes I am black, yet lovely. Be amazed, O people! alleluia. alleluia.

Carissimi—Summi regis puerpera

Summi regis puerpera His royal birth, O quam pulchra es in coelis. O how beautiful it is in heaven. Quam decora, quam formosa How lovely, how wondrous in Gloria domini. In the glory of God.

10 Calliope Tsoupaki. Mélena imí

, I am black but beautiful, μέλαινά εἰμι ἐγὼ καὶ καλή because the sun hath altered my colour: ὅτι παρέβλεψέ με ὁ ἥλιος· , the sons of my mother have fought against me, υἱοὶ μητρός μου ἐμαχέσαντο ἐν ἐμοί they have made me the keeper in the vineyards: ἔθεντό με φυλάκισσαν ἐν ἀμπελῶσιν· . my vineyard I have not kept. ἀμπελῶνα ἐμὸν οὐκ ἐφύλαξα , Shew me, O thou whom my soul loveth, ἀπάγγειλόν μοι ὃν ἠγάπησεν ἡ ψυχή μου , , where thou feedest, where thou liest in the midday ποῦ ποιμαίνεις ποῦ κοιτάζεις ἐν μεσημβρίᾳ , I am the flower of the field, ΕΓΩ ἄνθος τοῦ πεδίου , as the lily among thorns, ὡς κρίνον ἐν μέσῳ ἀκανθῶν , Stay me up with flowers, στηρίσατέ με ἐν μύροις , compass me about with apples: στοιβάσατέ με ἐν μήλοις . because I languish with love. ὅτι τετρωμένη ἀγάπης ἐγώ

Gio. Battista Bassani. From La Morte delusa

Giustizia: Justice: Speranza lusinghiera tradisce in consolar Hope, flattering, betrays in consoling, Promette pentimento ne momento può donar. it promises repentance but not a moment can it grant.

Pietà: Pity: Se splende in un seno baleno di cara mercè If it shines in a radiant breast of dear mercy, non ha più ritorte la Morte death has no more bonds, per stringere l’alme bastante non è. sufficient to bind the soul.

Sin dove il foco ardito per eccelsa possanza Wherever ardent fire whets aguzza il dente della pentita gente the appetite for overweening power, l’anime stesse a lacerar vorace pity is the solace and peace of the repentant, [otherwise] è la pietade e refrigerio e pace. voracious to rend their very souls. [adaggio] [adagio] Error senza dolor un’anima non hà a soul has no error without pain, dolor senza ristor non soffre la Pietà Pity does not abide pain without recompense.

11 Alessandri Scarlatti. From Emireno .

Rosinda: Rosinda: non pianger solo, do not weep alone, dolce usignuolo, Sweet nightingale, Ch’ancor io bramo For I desire Pianger con te. To weep with you. almen volando di ramo in ramo at least when flying from branch to branch, Tu vai vantando libero il piè. you may boast of being free of foot. Se l’Idol mio non veggio If I do not see my beloved, ne pure ad uno speco Even in a mirror, Palesar mi conviene i miei tormenti It behooves me to make my torments known, Che per bocca d’un eco So that by the mouth of an echo a l’aure non ridica i miei lamenti. My laments are not spoken again to the wind.

Rosinda: Rosinda: Senti, senti ch’io moro Hear me, hear me that I am dying Perché t’adoro, Because I adore you, Caro mio ben. My dear one. E come vivo and how shall I live Se di te privo If my breast Vesta il mio sen? Is adorned without you?

Emireno: Emireno: Labbra gradite, Beloved lips, So che a me dite, I know that you say to me: “Caro mio ben”, “My dear one”, Onde contento nel suo tormento Whereby my breast remains Resta il mio sen. Content in its torment.

12