Mortale, che pensi? Nero, Zaida, Mater Euryali, Armida, the Blessed Virgin, Mary Magdalene Giacomo Carissimi Luigi Rossi Domenico Mazzocchi Marco Marazzoli Alessandro Stradella

ATALANTE Erin Headley Katherine Watson, Nadine Balbeisi, Theodora Baka, Samuel Boden, Julian Podger, Christian Immler

‘Truly revelatory...a milestone…a more powerful and persuasive advocacy www.DestinoClassics.com for these pieces could hardly be imagined.’ DESTINO Worldwide distribution in association with Nimbus Alliance Iain Fenlon, Early Music CLASSICS RELIQUIE DI ROMA III: Mortale, che pensi?

1 Mortale, che pensi? (KW NB SB) Luigi Rossi (1597–1653) 4:11 Rome, Vatican Library, Barb. lat. 4200 narrowed. The unfolding tonal spectrum at the closing of the Magdalene’s lament reflects the 2 Deh, memoria (KW) Giacomo Carissimi (1605–1674) 5:49 mixing of her tears with the blood of the wounded Jesus (from F to G# and C# and returning Rome, Vatican Library, Chigi. lat. IV. 18 to F), and offers the listener a rhetorically powerful spiritual transformation. 3 Plorate, filii Israel (inst) Giacomo Carissimi 3:28 Historia di Jephte, Rome 1650 A variation on Mazzocchi’s enharmonic x, the V indicates that a singer should make a messa di voce by increasing volume and pitch together while proceeding to the next note. Both symbols L’Incendio di Roma (Nerone, CI) Alessandro Stradella (1639–1682) are carefully indicated in the two laments at particularly telling moments in the poetry, and Cambridge, Fitzwilliam Museum: Mu. Ms. 44 4 Sopra un’eccelsa torre 3:36 Mazzocchi directs that the singer rigorously observe his indications. 5 Voi, che in soglio di pace adulate sedete 3:30 Mazzocchi seems to have been the voice of reason in a long and labyrinthine tuning saga; his 6 Si, si, viva Nerone 4:02 system is refreshingly practical and manageable. He recommends that the sovereign enharmonic Nisus et Euryalus, Epilogue Domenico Mazzocchi (1592–1665) genus should be added to express all human suffering, but only sparingly, to produce a marvellous Dialogi, e sonetti, Rome 1638 7 Purpureus veluti cum flos succisus arratro 5:01 and often unexpected effect: 8 Hunc ego te Euryale aspicio (KW) 4:08 Voluptates commendat rarior usus 9 Sonata XXIX, Terzo tono (BC) Giovanni Antonio Leone (c1600–?1652) 4:10 Rare indulgence produces greater pleasure Libro Primo, Opera terza, Rome 1652 10 Lamento di Zaida (NB) Luigi Rossi 6:44 The lirone also played an important part in the great enharmonic drama. Although the instrument Bologna, Civico Museo, Q. 46 was invented in the early 16th century, its tunings were not published until the 17th century (by Cerreto, Cerone, Mersenne and Praetorius). The fingerboard was organized such that its circle of Lamento d’Armida (TB) Marco Marazzoli (1602–1662) Rome, Vatican Library, Chigi. lat. V. 69 5ths quite simply never squared up: the flats were on one side and the sharps on the other, so that 11 Dove fuggi, crudele? 4:03 with, for example, 13 strings, it was possible to bow even the most remote tonalities with pure 12 O mio diletto 3:41 3rds. The lirone’s limitation was that it could only play chords, not melodies; but its plangent and 13 (inst, PvL) 1:56 ethereal sonority was admired and exploited by many Roman composers, including Mazzocchi, 14 A piè del sanguinoso tronco (SB) Anonymous 5:17 and its success lasted to the end of the 17th century. Rome, Vatican Library, Barb. lat. 4203 © Erin Headley, 2014 15 Lagrime amare (La Maddalena, KW) Domenico Mazzocchi 5:19 Dialogi, e sonetti, Rome 1638 I could not have gained an understanding of this subject without the generous time and expertise of 16 Sinfonia ‘Il Damone’ Alessandro Stradella 1:31 Jörg Jacobi, who contributed valuable concepts and recorded musical examples for the publication of Modena, Biblioteca Estense, Mus. F. 1139 Manfred Cordes, Nicola Vicentinos Enharmonik (2007). In Atalante’s recording, two harpsichords, one on TOTAL PLAYING TIME 66:30 top of the other, were used to simulate the cembalo cromatico. EJH 2 23 Atalante ENHARMONIC EXOTICA Erin Headley - director The music and theory of the ancient Greeks had been an obsession of scholars even before the Katherine Watson and Nadine Balbeisi – sopranos Renaissance. Texts were translated, re-translated and re-interpreted in the hope of unlocking Theodora Baka – mezzo-soprano the secrets of superior, subtler and more expressive tuning systems. To incorporate these marvels Samuel Boden – tenor into their own current music, theorists and musicians continuously experimented with new Julian Podger – tenor instruments. At Ferrara, Nicola Vicentino (1511–1576) invented the archicembalo, whose unwieldy Christian Immler – bass keyboard with 31 divisions of the octave was designed for extremely chromatic music; the Erin Headley – viola da gamba, lirone constant microtonal pitch-shifts must surely have left the listener feeling rather seasick. Siobhán Armstrong – arpa doppia In the 1630s and 40s, Francesco Barberini’s academy hosted lectures by the theorist Giovanni Fredrik Bock – chitarrone Battista Doni (1593–1647) on ancient and modern music; he gave demonstrations on his Jörg Jacobi – harpsichord novel and newly invented lutes, harpsichords and viols for playing 17th-century part-music in Bojan Čici´c – violin the Greek genera (diatonic, chromatic and enharmonic). The lyra barberina (a two-sided lute) ̌ and the cembalo triarmonico and violone panarmonico (instruments with numerous keyboards and Paulina van Laarhoven and Claire Bracher – treble viols fingerboards) were so complex and awkward, and the music (mainly composed by Pietro Della Colin Clark – tenor viol Valle) so routine and unadventurous, that interest was short lived. Keren Bruce – bass viol Domenico Mazzocchi contributed his own ideas to the academy; they are printed in the Produced, engineered and edited by John Hadden avvertimento of his Dialoghi, e Sonetti (1638), the publication from which two works on this Recorded 11–15 July 2011, St John at Hackney, London recording are taken. Lagrime amare, the extraordinarily beautiful lament of the Magdalene, became Executive producer: John Hadden, Destino Classics something of a cult piece. The lament of Mater Euryali from Virgil’s Nisus et Euryalus is unusual in being a secular Latin text set to music; the result has a uniquely antique atmosphere. Mazzocchi’s Cover image: Theodora Baka as Armida tuning system means that both laments inhabit an astonishingly haunting and bizarre sound Booklet reverse image: Erin Headley with lirone in 1981 world; he borrows the music symbol x (for the enharmonic diesis) from earlier theorists like Cover costume: Alessio Rosati Gioseffo Zarlino (1517–1590), and introduces the V (for Vetruvio). Designed by Doubletake Design Ltd.

The x indicates an enharmonic Ex and Bx, to offer two further tonalities, C# and G# major. B Performing editions: Jörg Jacobi, Edition Baroque, Bremen is raised to Bx (the same amount as for a quarter-comma meantone sharp) to create a pure 3rd Italian texts and translations: Candace Smith with G#. Mazzocchi cites Zarlino’s cembalo cromatico, which had split keys with 19 divisions of the Atalante is funded by the AHRC and the University of Southampton octave and an extra key between B and C and E and F. An astonishing number of tonalities were thus available: C C# Db D D# Eb E E# F F# Gb G G# Ab A A# Bb B B#, all with pure 3rds. The basis of this tuning is still quarter-comma meantone, but with the 5ths further and equally

22 3 In 1614 the Roman nobleman, ethnographer, explorer Academies soon sprang up in the palaces and villas 15. Lagrime amare Bitter tears and amateur musician Pietro Della Valle (1586–1652) of Rome, including those of Queen Christina of embarked on a fascinating journey to the exotic Sweden, the Baroni family (with its trio of singers, Lagrime amare all’anima, che langue Bitter tears, come to the merciful aid east that lasted ten years. He investigated the music, Leonora, Adriana and Caterina) and the pope’s Soccorete pietose: il dente rio of the languishing soul. culture, habits and spiritual beliefs of Turkey, Persia cardinal nephews, Francesco and Antonio Barberini. Già v’impresse d’Inferno il crudel’ angue, The wicked tooth of hell’s cruel serpent has left its mark, and India; he collected artifacts and curiosities, books E mortifera piaga, ohimè, v’aprio. and, alas, has opened a deadly wound. The Barberini family academies flourished into and manuscripts on the arts and sciences; and he the 1650s, and the exceptional productivity of the Ben vuol sanarla il redentore esangue, The bloodless Redeemer truly wishes to heal it, brought back mummies and live animals (Persian cats composers associated with them set a labyrinthine Ma indarno sparso il pretioso rio but the precious stream of that blessed blood and white monkeys) for his private museum, to the task for scholars today in terms of sorting, classifying, Sarà per lei di quel beato sangue would be shed in vain without delight and amazement of his compatriots. attributing and editing. Each Barberini or Chigi Senza il doglioso humor del pianto mio. the sorrowful liquid of my weeping. Rome in the 1600s was home to others like manuscript in the Vatican Library contains over 50 Della Valle: noblemen collected, discussed and spiritual and secular cantatas, and there are huge Su dunque amare lagrime correte Therefore, bitter tears, flow ceaselessly, corresponded with learned authorities all over numbers of volumes, mostly unindexed. Very rarely are A gl’occhi ogn’hor da questo cor pentito, from this repentant heart up to my eyes, Europe and the east. The Jesuit movement was in composers’ names given; more likely to be named are Versate pur, che di voi sole ho sete. flow forth, for I thirst only for you. poets, especially if they are members of the nobility or full swing, too, training priests at their new learning Se tanto il liquor vostro, è in ciel gradito, If your liquid is so valued in Heaven, of the curia, like Antonio Barberini or indeed the pope. centres like the prestigious Collegio Romano, and Dirò di voi, che voi quell’acque sete, I shall say that you are those waters encouraging everyone to arm themselves with Francesco’s Accademia dei Virtuosi (founded in Ch’uscir col sangue da Gesù ferito. which flowed with the blood from the wounded Jesus. an enquiring mind, a classical education and self- 1624) met in his sumptuous palace, the Cancelleria, discipline to enhance spiritual worthiness. The arts to discuss ancient and modern music and to listen to – in particular music – could offer spiritual truths, madrigals. This is where Della Valle heard Giovanni Cardinal Roberto Ubaldino transcendence and a sense of wonder simply through Battista Doni deliver his lectures on Greek music the act of listening. Musical works on the subjects of theory, and where Domenico Mazzocchi formulated suffering, supplication, redemption and ecstasy were his own theories (see ‘Enharmonic Exotica’ at as compelling as sermons at making the recipient a the end of this booklet) and introduced the better Catholic. extraordinary music from his latest publications. The The Roman academy was the nobleman’s place of choruses in his Nisus et Euryalus reflect the archaic study and advanced education, and Urban VIII, their madrigal style associated with Francesco’s academy, yet the recitative writing in Lagrime amare is more sophisticated and highly literary pope, provided forward-looking. generous patronage, especially for music and the arts. He helped to found the Accademia degli Umoristi Francesco’s brother Antonio occupied the Palazzo whose members included Giambattista Marino, de Quattro Fontane, a building lavishly filled with Giovanni Battista Guarini, Leonora Baroni, Pietro art and musical instruments and frequented by Della Valle and visiting members like John Milton. the leading musical stars of the day: the castrati 4 21 Sua rabbia ha il crudo Averno has poured his wrath upon you, Marc’Antonio Pasqualini and Loreto Vittori, soprano abduction of her beloved by pirates on to a Tuscan Sto per dir condannata let me say that your mother Leonora Baroni, and at least four harp players ship. She pleads, she prays, she rages not only at La tua Madre è all’Inferno. has been condemned to Hell. including Orazio Michi, Marco Marazzoli, Luigi the Christian god, but at Mohammed himself. A Si ch’all’Inferno io sono Yes, I am in Hell Rossi and his wife, Costanza. Antonio’s academy was delectably exotic introduction evokes the Aegean’s Mentre da me diviso while you, celestial gift, up to date: it featured the latest genre, the chamber expansive shores, winds and waves; the lament makes cantata, as exemplified by Luigi Rossi, Marco Sei tu Celeste dono who were my Paradise, use of quasi-oriental melodic intervals (including Marazzoli and Giacomo Carissimi. Ch’eri mio Paradiso. have been taken from me. augmented 2nds), but at moments of supplication Ma cresca in questo seno But may the rigour of my hardships Carissimi stands somewhat apart from the rest of the and forgiveness, the music takes on a Catholic flavour Il rigor de miei stenti increase in my breast Roman cantata school, if only because most of his reminiscent of Rossi’s spiritual cantatas. Pur ch’una stilla almeno if even a single tear career was spent as a priest-composer at the church Si scemi ai tuoi tormenti.’ might diminish your torments.’ of Sant’Apollinare. Besides a prodigious number of Marco Marazzoli’s Dove fuggi, crudele? involves yet motets and oratorios, he wrote over 200 cantatas, another Muslim woman, Armida. Her lover, Rinaldo, Così del figlio ai danni Thus, at the pains of her son, which were commissioned by the Barberini and devoted and loyal Christian warrior, leaves her. She Maria tutta rapita Mary, in the throes In estasi d’affanni of woeful ecstasy, Chigi families; he was also Queen Christina of wallows in rage and remorse, but shows little spiritual Cadde al suol tramortita. fell senseless to the ground. Sweden’s director of chamber music. He and Rossi reflection or necessity for the lirone’s evocative were the two most popular Italian composers of the soundscape. Cardinal Antonio Barberini day: their cantatas were copied over and over again by admirers all across Europe. Rossi and Marazzoli were Rome’s preeminent representatives of extravagant recitative: illustrative, The anonymous A piè del sanguinoso tronco comes panoramic, scenic, narrative, affective, emotionally in the second half of a Vatican manuscript among expressive, harmonically prolongated, richly a group of cantatas on spiritual poems written by dissonant. With Stradella and the Scarlattis came Cardinal Antonio. The verse is in straightforward rhymed couplets in quatrains, all in seven-syllable the ascendency of the aria, and the subjugation of lines, but the music is exceptional in its through- recitative mainly to dramatic action rather than composed rhetorical and expressive content, and emotional expression. Stradella did specify the lirone has some supremely transcendent moments. Since in the opening sinfonia of Il Damone (or: Hor che the lirone is the one instrument that was thought to l’alme restaura il ciel), but perhaps Sopra un’ eccelsa torre, evoke the other world, it would likely have been his Fire of Rome cantata is a more fitting memento called upon here when the soundscape required the for the decline and ultimate fall of an extraordinary listener’s spiritual attention. instrument. After 1700, only occasionally can its feint If Della Valle may have actually visited Turkey, halo still be detected in the string accompagnati of Luigi Rossi’s Spars’il crine certainly takes us there oratorios and passions. musically. A young Muslim woman witnesses the © Erin Headley, 2014 20 5 ATALANTE Erin Headley’s award-winning ensemble Atalante the first time in over 350 years, some of the most 14. A piè del sanguinoso tronco At the foot of the bloody tree is named in honour of Leonardo da Vinci’s friend impressive works on this disc. The performances are A piè del sanguinoso tronco At the foot of the bloody tree and pupil Atalante Migliorotti, who invented the exquisite—a more powerful and persuasive advocacy Da cui pendea il suo figlio amoroso from which her beloved son was hanging, lirone in 1505. That magic and hauntingly beautiful for these pieces could hardly be imagined.’ Così Maria piangea: Maria thus wept: bowed instrument has been Erin Headley’s domain Atalante’s luxurious continuo band also captured since 1980, through an astonishing number of Fenlon’s attention: ‘not so much a question of ‘Figlio convien anch’io ‘My Son, I too am performances and recordings that have been accompaniment… but rather a fully integrated Al tuo morire in Croce at your death on the Cross, acclaimed worldwide. In the 17th century the lirone conversation between voices and instruments, Ma vuol teco il cor mio but my heart, with you, was associated with the lament, a genre that first submerged in an intensely alert and sensitive texture Portar doglia si atroce. wants to carry such appalling sorrow appeared during the generation of Monteverdi, that is ever ready to acknowledge the significance of Che se à languir prendesti so that if you, in your languishing, reached its culmination in Rome, and has been individual words and phrases’. Sangue da queste vene should take blood from these veins, Atalante’s main specialization. Son (hor ch’alfin giungesti) (now that you have reached your end) Since 2009 Atalante has made numerous appearances Dovute a me tue pene. your pains are due to me. Atalante’s London début was recently cited in in Europe, the UK and the US. In 2014, with Erin E ben provo per loro, And they make me feel Iain Fenlon’s comprehensive review in Early Music Headley as music director, the group will be the Ch’al par dell’empia morte that on a par with wicked death, of the group’s first two CDs: ‘It is not surprising featured performers in a production of Luigi Rossi’s In dare a me martoro Love, in giving me martyrdom, that Atalante has specialized in semi-staged Orfeo at the Galway Festival, while 2015 will see a Amor anch’egli è forte. is itself also strong. performances…since their spectacular début at the tour of the US and Canada, and performances in E di sua man li spini And the thorns of its hand, Southbank Centre in London in 2009 presented, for Istanbul, Stockholm and Bratislava. Chiodi e flagelli uniti together with nails and whippings, www.Atalante.co.uk www.DestinoClassics.com Mi fanno entro i confini bring infinite tortures Del cor strazij infiniti. to the confines of my heart. Anzi che tu cangiato Indeed, you have changed into Atalante’s next recording in the Reliquie di Roma series: In mio supplicio sei my torture, Lamento di David: Oratorios, della Maddalena, compassionately The devoted companions reflect E’ nel tuo sen squarciato and my spirit dialogues, motets and arie spirituale accompanies the Magdalene’s on the events of Christ’s life as Han Tomba i spirti miei. is buried in your torn breast. of Domenico Mazzocchi pitiful and poignant visit to Jesus’s they pass sites of their beloved Pur son viva ai dolori, Yet I am alive to the pains, Two of Mazzocchi’s most tomb. Mediterranean homeland: Misera genitrice, wretched parent, magnificent and dramatic choral A remarkable dialogue for three Jerusalem and Bethlehem, Detta da sommi Chori whom the highest choirs once called works for the oratory: Lamento voices, also written for the Gethsemane and Golgatha. Their Madre già si felice. felicitous mother, di David paints a heartrending oratory, Maddalena errante is based plight on the turbulent sea is a Ma questo grado altero but this lofty position image of David’s anguish over the on the Golden Legend, in which metaphor for life’s journey; their Ad altro hor non mi vale means nothing more to me now deaths of Saul and Jonathan, and Mary, Martha and Lazarus flee utter devotion to their Savior Ch’a soffrir duol più fiero, than to suffer the fiercest sorrows the choir, ‘Ploremus’ in Dialogo the Holy Land in a small boat. guides them to the harbour. Che non può un cor mortale. that a mortal heart can bear. E’ poi d’in te versata And since cruel Hades 6 19 Trar, guerrier mansueto, i tuoi riposi? among these shady myrtles? 1. Mortale, che pensi? O mortal, what are you thinking? Vanne, empio, vanne, e’l cielo, Go away, wicked man, go away, and may heaven, E l’onde, e nembi, e le tempeste, e venti and the waves, and the clouds, and the tempests, Mortale, che pensi? O mortal, what are you thinking? S’armin di tetro velo. and the winds arm themselves with a dark shroud. Son caduchi i tuoi trionfi Your triumphs are fleeting E si muore ogni momento. and there is a death every moment. Voi folgori, voi lampi, You thunderbolts, you flashes of lightning, Aura cieca non ti gonfi. Do not let the blind breeze swell your head: Voi turbini e procelle you whirlwinds and storms Sei di polve, fuggi il vento. you are dust, flee the wind. Ch’ergeste il pondo de’ cerulei campi that lifted up the of cerulean fields Fin’all’aurate stelle, to the golden stars, Non ambire che la fortuna Do not hope for fortune Entro all’algoso lido submerge on the algae-covered shore Del suo crine ti lasci herede, to leave you heir to her bridle, Sommergete quest’empio e quest’infido. this wicked and perfidious man. Ne sgridarla se ben non diede nor rebuke her if she did not give you Archi d’oro per la tua cuna. golden arrows for your cradle. Aria Aria Non può darti quiete alcuna Her wheel, which always turns, Ma che parlo? che dico? But what am I saying? La sua rota che sempre gira can give you no comfort; Vanne con cielo amico, Depart under favourable skies, Non vi ride ma vi sospira she who is not hitched to Heaven Habbia l’aure seconde, may the winds assist you, in May the waves be calm; Chi col Cielo non sposai sensi. does not mock, but rather sighs for you. Habbia tranquille l’onde, those lovely eyes that once armed themselves with S’armasti di strali i tuoi begl’occhi, arrows, Mortale, che pensi? O mortal, what are you thinking? Arma di ferro il petto. now arm your breast with iron. Vattene, o mio diletto, Go hence, oh my beloved, fà ch’il core and make your heart blaze with love Nelle fiamme di Marte arda d’amore. in the flames of Mars.

18 7 2. Deh, memoria O memory Che ben cieco esser suole for he who is blind Chi non rimira il sole. does not gaze wondrously at the sun. Deh, memoria, e che più chiedi? O memory, what more do you ask? Ch’io rammenti il primo affetto? That I should remember my first love? Già da tartarei Numi, Once among the infernal gods, Se m’annidi eterna in petto, If you dwell eternally in my heart, Su’l tergo alpestre di diserti monti, from behind deserted alpine mountains, Ben’il sai, mentre lo vedi. you know well, while you see it. A’ simulati fiumi, at imaginary rivers, A’ non veraci fonti and at illusory springs, Deh, memoria, e che più chiedi? O memory, what more do you ask? Scoprir ti vidder le ridenti sponde, you were seen to discover the laughing shores. Ahi, ahi, partir non può dall’alma Ah, ah, that beloved image cannot L’aure mentite, e l’onde The deceitful winds and the waves Quell’imagine gradita, depart from my soul, Risero, e fece alla natura scherno laughed, and hellish springtime E sospesa con lei la vita, and its life being ended, Primavera d’inferno; made mockery of nature; Recta gelida la salma. the cold corpse remains. Or sol rimane al tormentoso core now all that remains for my tormented heart Tu da me, che vuoi, pensiero? Thought, what do you want from me? Un inferno d’amore. is a hell of love. Ch’io sospiri il mio tesoro? That I should sigh for my treasure? Caggia il magico Aprile, hor che si perde May magical April fall, now that the flowers Egli è spento. Io sempre moro, He is dead. I constantly die, Della svanita speme il fiore, e’l verde, and greenery of faded hope have been lost, Che veder più non lo spero. because I cannot hope to see him again.Thought, E fra tanti martiri, and among so many torments, Tu da me, che vuoi, pensiero? what do you want from me? Restin sol l’onde, e l’aure may only the waves and the winds remain O sapessi quante volte O, if you knew how often Al mio doglioso pianto, a’ miei sospiri. for my painful tears, for my sighs. Chiamo l’ombra del mio bene. I invoke the shade of my beloved 12. O mio diletto, o mio caro, o mio vago, Oh my beloved, oh my dear one, oh my delight, E gli mostro le catene and show him the chains Ed è pur vero, ahi lassa, is it true, alas, Che conservo al core avvolte. that I keep twined about my heart! Che mi t’involi, oh Dio? that you are deserting me, O God? Vieni, dice, Come, I say Né più ti veggia in questa verde chiostra, Shall I no longer see you in this green cloister, E trammi teco nella tomba and take me with you into the tomb, A questi avidi lumi as you display your pleasing beauty In cui dimori. in which you dwell. Far de la tua beltà gradita mostra? to these eager eyes? Ch’a vederti in quegl’horrori, For to see you in that darkness, Deh, quali empi costumi Alas, what wicked ways Anco Amor vuol’ venir meco. even Love itself wishes to come with me. Il cor ti trasformato? have changed your heart? Ma s’il Ciel ha ritardata But since Heaven has not allowed me E chi t’invoglia, And who has inspired you La fortuna del morire, the good fortune of dying, Là fra barbare turbe, to go among the barbarous hordes Sto sepolta col desire I remain entombed with my desire Le tenere sembianze, e’l molle volto and carry your delicate countenance and gentle face In quell’ urna sospirata. in that longed-for urn. Porger di morte entr’all’horribil soglia? through the horrible gates of death? E più non curi in questo seno accolto, And do you no longer care, docile warrior, Tra questi mirti ombrosi to take your rest in this welcoming breast,

8 17 Lamento d’Armida Lament of Armida L’Incendio di Roma (Nerone) The Fire of Rome (Nero) 11. Dove fuggi, crudele? Whither are you fleeing, cruel one? 4. Sopra un’eccelsa torre, From atop a lofty tower Crudele amato, e non più dolce amante? Cruel beloved, and sweet lover no longer? Cui le nubi del cielo eran confine, surrounded by the clouds of heaven, E con fugaci vele And with absconding sails Delle mura latine Nero sat watching the blazing Il dorso fendi all’ocean sonante? do you sunder the waves of the roaring ocean? L’incendio a rimirar sedea Nerone; of the Latin walls; Ahi dove? ahi come? ahi quale? Ah, whither? Ah, how? Ah, wherefore? E, del Troiano scempio and recalled the example Hor con piaga mortale Now, with mortal wound, Rileggendo l’esempio, of the destruction of Troy, Lasci costei, che abbandonata grida, Do you leave her, the wretched Armida, Struggea quel cor di pietra the blood-thirsty heart of stone La sventurata Armida? who, abandoned, cries out? Di sangue sitibondo that destroyed the queen of the world (Rome) Così mi sveglio? E’l sonno Do I thus awaken? And does sleep La regina del mondo a suon di cetra. to the sound of the lyre. Par che ancor mi lusinghi, ancor m’alletti, seem still to cajole me, and bewitch me, Alle fiamme, alle strida, At the flames, at the screams, E di torbide larve and offer to my mind confusing visions Parea Roma l’inferno, Rome seemed like hell, Offra a’la mente mia confusi oggetti? of murky spectres? Pluto Nerone ed Acheronte il Tebro. Nero like Pluto, and the Tiber like Acheron. O sonno, O de la morte O sleep, O horrid image Sol di gioia tutt’ebro, Drunk with joy, Horrido simulacro, of death, Alle lagrime altrui Claudio ridea Claudius laughed at the tears of others, O di mia vita O swift predator E con superbo scherno, and with haughty scorn, Rapido predatore, of my life, Moltiplicando ai miseri l’affanno, adding woes to the wretched, O di mia sorte O most pernicious forger Queste voci spargea l’empio tiranno: the wicked tyrant spoke these words: Funestissimo fabro! of my fate! ‘Claudio rida e Roma avampi. ‘May Claudius laugh and Rome burn. Ahi, sì m’affligge Alas, this dreadful departure Quest’empia dipartita, indeed afflicts me, Ardi, Troia latina Burn, Latin Troy, Onde m’avveggio whereby I realize Face de’ miei trofei. the torch of my trophies. Fra quest’ombre, in quest’erbe, among these shadows, in these fields, Corrano superbi e gonfi May the torrents of the flames race, In questo sasso, in these rocks, A sfidar la marina proud and swollen, Che dal sonno a’la morte è un breve passo. that it is a brief step from sleep to death. Delle fiamme i torrenti to challenge the sea, Et in pochi momenti and may the giants, Voi, mal accorte luci, Meanwhile, you foolish eyes, I colossi, i trofei di cento lustri the trophies of two hundred years, Voi lagrimate intanto, you weep, Cadano a’ cenni miei disfatti et arsi, fall broken and burnt at my command: Già chiuse al sonno, ed hor aperte al pianto, once closed to sleep, and now open to weeping, Che ne poté mostrarsi what could be a more beautiful spectacle Morite homai, morite, now you die; Spettacolo più bello a tiranniche luci: to tyrannous eyes: Poiché più non vedete i chiari raggi, to what do you open, since without this beloved vision Senza l’amata vista a che v’aprite? You no longer see the bright rays of light? Claudio rida e Roma abbruci! May Claudius laugh and Rome burn. Cieche v’aprite, e sol mirate l’ombre, You open blindly, and see only shadows,

16 9 5. Voi, che in soglio di pace You who sit E d’ogni ricca preda, and every rich booty, Adulati sedete, flattered on the throne of peace, Faccia all’etrusco mar lieto ritorno; return safely to the Etruscan sea; Voi che di volto altiero, you with your proud faces Volgi le prore in qua, turn your prow this way, Di plebe contumace do not fear the dangers of a rebellious mob, Che drizzaste a Livorno, you who were heading towards Livorno, L’insidie non temete, e per soverchia and for excessive ease Rendimi Mustafà. give me back Mustafà. Facilità d’impero despise the crowns of the empire Le corone avvilite at the cathedra of fire Ma tu, lassa, non curi But you, alas, you ignore In catedra di foco I read the lesson of tyranny Mie lagrimose strida! my teary cries! Io leggo tirannia, prencipi, udite! O princes, hear me! Ahi, nemico del cielo, Ah, enemy of heaven, Chi desia di salde temper fabricar He who wishes to protect his throne Non mai fortuna arrida may fortune never smile L’usbergo ai troni, with a solid breastplate, All’ingiuste tue voglie on your unjust desires S’armi d’ira e mai perdoni should arm himself with ire and never forgive, E tue cristiane spoglie and may your Christian remains Creda poco e finga sempre. may he believe little and feign greatly. Preda sian di color che tu predasti, be the prey of those whom you have pillaged, Ferri, veleni e lacci May irons, poisons and snares L’acqua in cui tant’osasti, may the waters, opposed by winds, Traggano i rei di vita, ire d’impacci. restrain the wicked ones of life, the kings of Contrastata da’ venti, in which you were so daring, encumbrances. Perfido, a te contrasti oppose you, O perfidious one, Giove è solo al governo, Jupiter alone governs, E qual ti mostri a me, sordo a’ tuoi preghi, and just as you show yourself to me, A lui cede ogni stella. each star yields to him. Barbaro, il mar t’anneghi! O barbarous one, may the seas, Il suo volere è legge, His will is law, deaf to your prayers, drown you! Punisce e non corregge; he punishes and does not correct; Ma, ciel, che dissi, oh Dio? But heaven, what have I said, O God? E se talor favella, and if at times he speaks, Altra lingua non ha che tuoni e lampi. Scenda sopra di me l’augurio indegno May the terrible augur fall instead upon me, he has no other language than thunder and lightning. Poi che va l’alma mia dentro a quel legno! for my soul is inside that ship! Claudio rida e Roma avampi. May Claudius laugh and Rome burn. Ah, che sia maledetto, Ah, since he cares so little Poi che del mio dolor sì poco cura, for my pain 6. Sì, sì, viva Nerone Yes, yes, long live Nero, L’arabo Macometto cursed be the arab Mohammed E per maggior suo vanto and for his own gain E ‘l suo seguace Alì, and his disciple Alì, Ogni legge calpesti; may he trample every law; La Mecca il suol la copra may the earth cover Mecca Copran di reggio manto may he cover theft and incest E cada sotto sopra and may Medina Talnabì Le rapine, gl’incesti. with his regal cloak. Medina Talnabì! be turned upside down! Britannico s’uccida, May the Briton kill himself, Sia maledetto il dì che Zaida nacque Cursed be the day that Zaida was born, Ottavia s’avveleni, Octavia poison herself, Poi che prigion, per l’acque, for on the waters, Il maestro si sveni, the pedant empty his veins, Cinto di ferro va imprisoned in a wall of iron, Mora Poppea, sia da ferine squadre Poppea die, may the mother Mio caro Mustafà. goes my dear Mustafà. Trucidata la madre, be murdered by feral packs, Fabio della Corgna 10 15 Lamento di Zaida Lament of Zaida Gema il Lazio, arda Roma, ingombri il tutto may Lazio groan, Rome burn, may everything be 10. Spars’il crine e lagrimosa, Loosening her hair tearfully Foco, sangue, furor, spavento, e lutto. filled with fire, Dell’Egeo nell’ampie sponde, while standing on the wide shores of the Aegean, La mia raggion di stato blood, furor, fear and mourning. Zaida bella e dolorosa, infelice the beautiful and sorrowful Zaida, È la forza e l’inganno, My raison d’État Grida all’aure e piange all’onde, cries out unhappily to the winds Ché, s’io naqui privato, is force and deceit, così dice: and weeps to the waves, saying: Saprò morir tiranno. and, though I was not born to it, Vuo’ tributi di pianti, I will know how to die as a tyrant. Dove, dove n’andate Where, where are you going, Incensi di sospiri, Despite weeping tributes Quasi a volo per mar, tumide vele almost flying through the sea E chi m’odia rimiri and sighing adulation, Del pirata crudele with the bloated sails Pria della notte mia la propria sera. he who despise me will see Che serve al re toscano? of the cruel pirate who serves the Tuscan king? his own dusk before my night. Ahi, barbaro cristiano, Ah, barbarous Christian, Volgi le prore in qua, turn the prow this way, Claudio rida, e ‘l mondo pera.’ May Claudius laugh and the world perish.’ Rendimi Mustafà. give me back Mustafà. Con sì barbari accenti, With such barbarous words, Rendil, superbo ed empio, Give him up, O proud and wicked one, Della tragedia sua non ben presago, and unaware of his impending doom Ché non lice involar le spoglie a un dio: for you must not steal the spoils of a god; L’empio mostro fremea; the wicked monster shuddered. Egli non è già mio, servo è d’Amore, he was never mine, he serves Love, Ma nel banco d’Astrea At the bank of Astraea, D’Amor che ‘l tutto regge Love which governs everything, Debito non si fa che non si paghi. no debts go unpaid. Et alla legge sua cede ogni legge. and to its law all other laws yield. Predator insolente, Insolent predator, Che con croci di foco ardi ogni lido, you who with crosses of fire burn every shore, Senti, deh, senti il grido hear, oh hear my wailing, Giovanni Filippo Apolloni E ti mova il dolore and may you be moved by the pain D’una mora che more in man d’Amore. of a Moorish woman who dies at the hands of Love.

Così gonfin tue vele aure felici May prosperous winds fill your sails, Et obbedisca il mare may the sea obey you E s’increspi giocondo alle tue voglie, and bend merrily to your will; Così per te si spoglie may invincible Byzantium Bisanzio invitto e del turchesco impero render its riches to you, and may every warrior Prostrato ogni guerriero of the prostrate Turkish Empire Alla tua spada ceda, surrender to your sword; E tu, già carco di piropi e d’oro and may you, laden with garnets and gold

14 11 Nisus et Euryalus, Epilogus Nisus and Euryalus, Epilogue Virgilius Virgil Interea pavidam volitans pennata per urbem Meanwhile winged Rumour, flying through the Chorus Chorus Nuntia fama ruit, matrisque allabitur aures anxious town, 7. Purpureus veluti cum flos succisus arratro He is like a bright flower scythed by the plough Euryali: ac subitus misere calor ossa reliquit. sped the news, and stole to the ears of Euryalus’s Languescit moriens lassove papavera collo bowing as it dies, or a poppy weighed down Evolat infelix, caelum de hinc questibus implet. mother. Demisere caput pluvia cum forte gravantur. by a chance shower, bending its weary head. And suddenly all warmth left her helpless bones; Virgilius Virgil the wretched woman rushed out and sought the At Nisus ruit in medios solumque per omnis But Nisus rushed at them, seeking Volcens ramparts. Volcentem petit, in solo Volcentem moratur. above all, intent on Volcens alone. Mater Euryali Mother of Euryalus Quem circum glomerati hostes hinc comminis atque The enemy gathered round him, to drive him off 8. ‘Hunc ego te Euryale aspicio? ‘Is it you I see, Euryalus? You who brought peace Hinc proturbant instat non setius ac rotat ensem in hand-to-hand combat. He attacked nonetheless, Tu ne illa senectae Sera meae requies? at last to my old age? How could you bring yourself Fulmineum, donec Rutuli clamantis in ore whirling his sword like lightning, until he buried it Potuisti linquere solam Crudelis? to leave me alone, cruel child? Why did you not give Condidit adverso et moriens animam abstuli hosti. full in the face of the shrieking Rutulian, and, dying, Nec re sub tanta pericula missum your mother a final goodbye before being sent into Tum super exanimum sese proiecit amicum cofossus, robbed his enemy of life. Then, pierced through, he Affari extremum miserae data copia matri? so much danger? Placidaque ibi demum morte quievit. threw himself on the lifeless body of his friend, and Heu, terra ignota canibus data preda Latinis, Ah, you lie here in a strange land, given as prey to found peace at last in the calm of death. Alitibusque jaces? the carrion birds and dogs of Latium! I, your mother, Chorus Chorus Nec te rua funera mater did not escort you in funeral procession, or close Fortunati ambo! Si quid mea carmina possunt, Happy pair! If my poetry has the power, Produxi, pressive oculos, aut vulnera lavi your eyes, or bathe your wounds, or shroud you Veste tegens: tibi quam noctes sestina, diesque with the robes I laboured at night and day for you, Cantus primus First soprano Urgebam, et tela curas solabar aniles. soothing the cares of old age at the loom. Nulla dies umquam memori vos eximet aevo, no day will erase you from time’s memory Quo sequar aut que nunc artus? Where shall I go? What earth now holds your body, Dum domus Aeneae Capitoli immobile saxum while the House of Aeneas lives beside the Capitol’s Avulsaque membra, Et funus lacerum tellus habet? your torn limbs, your mangled corpse? My son, Accolet imperiumque Pater Romanus habeat. immobile stone, and a Roman leader rules the Hoc mihi de te Nate refers? is this what you bring home to me? Is this why I empire. hoc sum terraque marique secuta? followed you by land and sea? O Rutulians, if you Figite me, si qua est pietas; in me omnia tela have feelings, pierce me: hurl all your spears at me, Chorus Chorus Coniicite, o Rutuli: me primam absumite ferro. destroy me above all with your steel; or you, great Nulla dies umquam memori vos eximet aevo, No day will erase you from time’s memory Aut te, magne Pater Divum, miserere, tuoque father of the gods, pity me, and with your lightning Dum domus Aeneae Capitoli immobile saxum while the House of Aeneas lives beside the Capitol’s Invisum hoc detrude caput sub Tartara telo: bolt, hurl this hated being down to Tartarus, since I Accolet imperiumque Pater Romanus habebit. immobile stone, and a Roman leader shall rule the Quando aliter nequeo crudelem abrumpere vitam.’ can shatter this cruel life no other way.’ empire. Virgil

12 13 RELIQUIE DI ROMA: III RELIQUIE DI ROMA III: Mortale, che pensi? ATALANTE • ERIN HEADLEY NI 6266

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