Sera d’inverno 1. Sera d’inverno [3:42] Songs by Ildebrando Pizzetti (1880–1968) 2. L’annuncio [2:06] Cinque Liriche 3. I pastori [5:15] 4. La madre al figlio lontano [4:13] 5. San Basilio [1:59] 6. Il clefta prigione [2:42] Hanna Hipp mezzo-soprano 7. Passeggiata [6:16]

Emma Abbate piano 8. Épitaphe [1:48] 9. Antifona amatoria di Basiliola [1:19]

10. E il mio dolore io canto [2:34]

11. Incontro di Marzo [6:00] (from Tre Liriche)

Due Canti d’amore 12. Adjuro vos, filiae Jerusalem [2:42] 13. Oscuro è il ciel [2:28]

14. Scuote amore il mio cuore [1:45] (from Tre Canti d’amore) About Hanna Hipp & Emma Abbate: Tre Canti Greci ‘Hanna Hipp [...] is excellent, with a knowing, 15. Augurio [2:58] competent demeanour and a glowing mezzo timbre’ 16. Mirologio per un bambino [3:17] The Guardian 17. Canzone per ballo [4:04]

‘[...] sensitively accompanied by Emma Abbate’ International Record Review Total playing time [55:20] Sera d’inverno: The Songs of An important question to consider regarding Ildebrando Pizzetti Pizzetti is whether to view him as a revolutionary or a conservative. His Ildebrando Pizzetti (1880–1968) belonged complicated history makes answering this to a group of Italian composers who were question less straightforward than it might born around the year 1880, referred to as at first appear. Two manifestos, both signed the generazione dell’ottanta (‘generation by Pizzetti, reveal this dichotomy. The first – of eighty’). Far from being unified by a signed by such forward-thinking composers singular style, this group included other as Vincenzo Tommasini (1878–1950), important composers such as Franco Francesco Malipiero, and , Alfano (1876–1954), in addition to Pizzetti and three others – was (1879–1936), included as a kind of preface to a printed (1882–1973), and Alfredo Casella programme for a concert of compositions by (1883–1947). They would, despite their these so-called ‘young Italian school’ very different aesthetic ideals, play composers in 1914. The signatories sought important roles in preparing the way for to revitalise the national music of , ‘in the next generation of Italian composers, spite of the lethargy which has blighted the many of whom broke away from traditional natural development of the seventeenth- Italian styles. One characteristic that set century melodrama, smothered the germs Pizzetti apart from his contemporaries of eighteenth-century chamber music and was that he never studied outside Italy, dried up (or almost) the sources of unlike the other members of the folk-song’. The authors continued by generazione dell’ottanta. Therefore, he announcing that ‘this concert [...] is being was perhaps the most intrinsically ‘Italian’ given in order to prove the birth of a new of all of these composers, since his musicality in our country’. Pizzetti’s education was steeped in the traditions association with this group of composers and techniques of the old Italian school. and his signing of this document would His domestic education probably also seem to place him at the forefront of the explains his ‘preoccupation with emerging modern musical movement in Italy, a from Italian musical provincialism’, an movement far removed from the stodgy objective that would remain a life-long conservatism of the verismo and old concern for him. bel canto schools.

Ildebrando Pizzetti In 1932, Pizzetti aligned himself with Respighi, are unique in the long history of song Italy’s past and present, as perceived by to be from Pizzetti’s hometown of . Riccardo Zandonai (1883–1944), and various composition. Never has an Italian composer Pizzetti, who obscured the texts they were other conservative musical figures to sign a expressed such a strong emphasis on the setting for various musical reasons, but Pizzetti’s careful attention to text setting had notorious manifesto that essentially texts of his songs. Pizzetti’s varied methods especially for the sake of melody. He also many results. The first was that his songs condemned experimental music and of responding to text make for highly felt that composers of the recent past had eschewed traditional melodies in favour of encouraged a return to the established individual works in this genre. He was not chosen to set inferior poetry, largely due to vocal lines that followed the natural spoken musical tradition of Italy. This manifesto a composer who was content to compose the ease with which it was possible to set inflection of the Italian language. Thus, caused great upheaval in an already music that was guaranteed to be a success such simplistic, metrically regular verse. In longer, higher notes, especially those that complicated and tense period for struggling with his audiences. Instead, he challenged identifying these problems, Pizzetti set for fall on the strong beats of the measure, tend Italian composers, creating a situation in himself to compose thoughtful settings himself the objective of writing songs that to be found on the stressed syllables of which ‘[...] the Italian musical world was that arose from the elevated poetry that he were absolutely faithful to the words in important words; unstressed syllables of soon divided into pro and contra camps consistently chose to use. If some of his every conceivable way, a goal that influenced less important words in the sentence fall and sub-factions.’ Ironically, this document greatest songs are also his most rhythmically nearly every aspect of his songs. on lower notes and are shorter in duration. was likely aimed at some of the signatories and musically challenging, one need look no In fact, in certain songs one can almost of the 1914 manifesto, specifically Casella further than Pizzetti’s efforts towards This ideal also led Pizzetti to seek out imagine Pizzetti creating a hierarchy of and Malipiero. It is surprising that Mussolini, realising an authentic, idiomatic rendering modern and traditional poetry of high words in each sentence in order to establish often the advocate for Italian tradition, of his texts to discover the reason for their quality for his songs. His texts come from his vocal ‘melody’. Emotional outbursts in actually sided with the modernists after complexity. The resulting songs are so three basic sources: modern Italian the text are consistently set as high notes, this manifesto surfaced. Pizzetti later characteristically ‘Pizzettian’ that virtually poetry; ancient and historical sources, usually preceded by an unprepared disjunct recanted his signing of this document, none of them could be mistaken for having including biblical texts and poetry, and leap. Generally speaking, though, his vocal perhaps in response to confrontations by been written by any other composer. In the texts by Petrarch (1304–1374), Michelangelo lines are stepwise in nature, making these musicians such as Malipiero – who in 1934 best of them, he essentially created an (1475–1564) and Sappho (born c. 650 B.C.); excursions distinctive because they leap out wrote to Pizzetti condemning the manifesto entirely new kind of Italian song (which he and folksong texts. By far the largest source of an otherwise speech-like texture that falls and its ill effects on all modern composers, called liriche), one in which word and music of poetry for his songs comes from modern within a limited vocal range. As one might even those that signed it – but his signing were perfectly wedded to form something Italian poets. Some were famous, such as expect, the texts themselves are usually set does shed light on either the composer’s greater than its parts. Gabriele D’Annunzio (1863–1938) and syllabically, with only a handful, such as the change of position over the course of three Giuseppe Ungaretti (1888–1970), who were late song Surge, propera, amica mea serving decades or his proclivity for rejecting The most universal and important two poets that inspired some of the greatest as aberrations from the norm. alternate musical ideologies that did not characteristic of Pizzetti’s style is his focus Pizzetti songs (I pastori by D’Annunzio and correspond to his own artistic values. on the text. Early in his career, he began to the later work, Due poesie di Giuseppe Another characteristic driven by Pizzetti’s direct his attention toward achieving an Ungaretti), while others were lesser known, desire for accurate text-setting is his varied The songs of Ildebrando Pizzetti, of which authentic musical setting for Italian texts. such as Mario Silvani (1884–1913), who use of mixed meter, which manifests itself there are thirty-three for voice and piano, This came as a reaction to composers of authored Sera d’inverno and who happened either as a consistent fluctuation in meter as a basic characteristic of the piece (I pastori), One fine example is a later song, Scuote in his maturity (after, say, 1908, the year in other ways. He admired certain composers or as a polymeter between the voice and amore il mio cuore, in which Pizzetti has which L’annuncio and I pastori were for their operas, such as Bellini and Gluck, piano (Vorrei voler, Signor, quel ch’io non created a scale from which much of the composed, both of which make use of this but felt that their compositions fell short of voglio), or both (La madre al figlio lontano). piece is derived. The poetry is by Sappho compositional device). These themes are his high standards, usually due to the In his most famous song I pastori, the voice (born c. 650 B.C.), and it is likely that Pizzetti very often presented in the piano in octaves predominance of the music over the words and the piano are written in polymeter composed this ‘mode’ in response to the or in multiple octaves in an introduction to in their operas. Other composers earned his and both parts frequently change meter ancient and exotic elements of this text. the song, and they may continue only in esteem for their attempts at a marriage throughout the piece. The meter of the the piano part as the song progresses or between words and music, such as Wolf vocal line is not indicated but alternates Pizzetti’s fascination with early music also they may be sung, as a whole or in part. and Debussy, but he felt that they hadn’t between 2/4 and 6/8, while the piano contributed to the most characteristic They do not normally undergo development, gone far enough in their experiments in part alternates between 9/8 and 3/4. aspect of his songs—the ‘flexible arioso’ per se, except to be truncated at times and this regard. One wonders, from the modern style that pervades much of his song output. to be presented in different keys. Since and admittedly easy vantage point, if Pizzetti A second important characteristic of The melodic flexibility of Pizzetti’s style Pizzetti’s themes remain largely intact, they didn’t perhaps go too far with his. He Pizzetti’s songs is the incorporation of was influenced in part by his knowledge of are almost always recognizable when they apparently admired Monteverdi greatly, Medieval and Renaissance elements into Gregorian chant, a feature often mentioned reappear. Often, these recurring themes indicating that he had found ‘a few pages’ the overall musical conception. Many in contemporary accounts of his music. or motives are the unifying element in of music written by this composer that authors, when discussing Pizzetti, have There are times when the music strays Pizzetti’s songs, since his songs are, for the displayed a perfect marriage between pointed to his use of modes in his music, from an overwhelmingly syllabic style; most part, through composed otherwise. words and music. This kind of arrogance though there are, in actuality, relatively generally when this is the case, it is to A striking example of Pizzetti’s use of this was unlikely to garner many friends among few instances of Pizzetti using any historical introduce a melismatic element that recalls technique can be found in the heart- his contemporaries. Perhaps Pizzetti’s mode in his songs. Instead, Pizzetti often characteristics from Medieval chant. A breaking Mirologio per un bambino. opinion of other composers, contemporary adapts characteristics from the music of particularly moving use of this feature can and historical alike, can best be summarised these time periods to suit his specific be found in the opening section of Adjuro Though Pizzetti supported his fellow by quoting his final words, shouted from needs, imitating without replicating exactly vos, filiae Jerusalem, in response to the composers at various points in his career his death bed: ‘They are all dilettantes!’ any specific modality or other defining ancient biblical text from Song of Solomon. and also served as a teacher to so many of qualities. Generally, when it seems that Antifona Amatoria di Basiliola is an example the younger generation of Italian composers, © 2018 Mark Whatley Pizzetti is relying on some mode that is of this compositional technique put to his strong belief in his own musical aesthetic Associate Professor, Belmont University ancient sounding or, at least, not familiar particularly dramatic effect. caused him to distance himself from other Nashville, Tennessee, USA to modern ears, it is likely that Pizzetti has musicians on numerous occasions. He did Adapted from A Singer's Guide to the actually composed the ‘mode’ himself. In Another important characteristic of Pizzetti’s this in his critical writings for the journals Songs of Ildebrando Pizzetti by this way, Pizzetti adopts a method of songs is his reliance upon one or two themes and magazines for which he worked during Mark Whatley, D.M.A. suggesting historical modes in his songs (or motives) on which to base a song. This is his lifetime and by signing the infamous without making use of any particular one. true of almost every one of the songs written manifesto of 1932, mentioned above, among Texts and translations Again the bells repeat the vain lament: (excluding texts in copyright) what spirit moans in the cold evening? This is the sad hour for hearts that conceal a dream 1. Sera d’inverno for those who know struggles Muore il giorno invernale for those who know joys. tra un pio lamentar di campane. Every living voice is shipwrecked Muore… e un bagliore sanguigno in this sea without shores sui monti lontani s’indugia. everything mortal goes to sleep in the white silence. S’alza la nova luna su’l puro velario del cielo e la gran coltre nivea scintilla di vivido argento. Mario Silvani (1884–1913) Nel piano senza fine il popol de li alberi assorto nel suo dolore muto 2. L’annuncio tende le braccia a l’alto; Italian text by Teresa Corinna Ubertis Gray (1877–1964) e un gregge intorpidito sotto la lana grigia sognando i verdi paschi 2. The Announcement pel bianco silenzio lontana. It came with the wind; Ancora le campane ripetono il vano lamento: it landed, the first, quel anima si lagna nel gelo vespertino? on the old chimney top and greeted. È questa l’ora triste pei cuori It was already the shadow of the evening: che celano un sogno on the top of the hay racks the bonfires were lit. per quelli che sanno le lotte In the mountains they celebrated the good saint per quelli che sanno le gioie. who has a name of lovely weather and of fortune Naufraga in questo mar senza rive ogni voce di vita and the bell with its sound poured out to him ogni cosa mortale nel bianco silenzio s’addorme. three rosaries of praise, to the plain. No one knew what sweetness he was collecting 1. Winter Evening on the house that evening, The winter day dies on the little peaceful house of the grandmother amid a pious lament of bells. where the first swallow settled. It dies… and a sanguine glow on the distant mountains lingers. Cinque Liriche The new moon rises on the pure curtain of the sky and the great white snow blanket sparkles of 3. I pastori silver bright. Settembre, andiamo. É tempo di migrare. In the endless plain the population of trees, Ora in terra d'Abruzzi i miei pastori absorbed in their sorrow, lascian gli stazzi e vanno verso il mare: silently stretches their arms to heaven; scendono all’Adriatico selvaggio and a numbed flock underneath the grey wool che verde è come i pascoli dei monti. dreaming of the green pastures Han bevuto profondamente ai fonti alpestri, through the white silence far away. che sapor d’acqua natìa

rimanga nei cuori esuli a conforto, 4. La madre al figlio lontano And then I tuck the covers under: a branch with golden leaves, embroidered in silver. che lungo illuda la lor sete in via. O figlio, figlio, in che mondo ti trovi? thus seven sacks of silver and seven! Rinnovato hanno verga d’avellano. Da quanti mesi qua sola t’aspetto! Oh son, son, in your white bed Greek folk text, trans. Niccolò Tommaseo (1802-1874) E vanno pel tratturo antico al piano Ogni mattina riguardo il tuo letto: return just one night to rest: quasi per un erbal fiume silente, è sempre intatto coi lenzoli novi perhaps you sleep in the mountains or beside the sea, 6. Il clefta prigione su le vestigia degli antichi padri. ed ogni sera mi rimetto a farlo you lack a bed when you are most tired. Oggi, Demo, gli è pasqua, oggi fiera: O voce di colui che primamente e lungamente ti sorrido e parlo. And I find untouched your beautiful bed, i prodi fan festa, e tirano al bersaglio; conosce il tremolar della marina! E come spiego i candidi lenzoli, and inside my breast I drink again the tears. e tu, Demo mio, a Giànnina, alla porta del visire, Ora lungh’esso il litoral cammina la greggia. dico che tanta pace ti consoli. But this evening I am peaceful, in catene, in ceppi, in trista carcere. Senza mutamento è l’aria. Scuoto i cuscini, li dispongo e dico: I feel that you are returning home E tutto il mondo tel dicevano, Il sole imbionda sì la viva lana l'amor più bello e il più fedele amico! and are sleeping in your bed. e Turchi e Romei: che quasi dalla sabbia non divaria. E poi rincalzo sotto le coperte: Light the lamp, stop a moment, Demo caro, sta savio, se ti tocchi l'armatolato. Isciacquìo, calpestìo, dolci romori. così d’argento sette sacchi e sette! look at the beautiful pillow of lace. “E che mal vi fec’io, che piangete su me? Ah perchè non son io co’ miei pastori? O figlio, figlio, nel tuo letto bianco I have renewed it when you were born: Faccia Iddio e la Vergine e sire san Giorgio, torna una notte sola a riposare: I have saved it, son, for your return. che guarisca la mia mano, ch’io cinga la spada, 3. The Shepherds forse dormi sui monti o lungo il mare, e alfin venga la primavera, venga la state, September, let’s go. It is time to migrate. ti manca un letto quando sei più stanco. Romualdo Pàntini (1877–1945) che s’infrondino i rami e chiudano le viottole, Now in the land of Abruzzi E il tuo bel letto lo ritrovo intatto, ch’io prenda il mio fucile, ch’io cinga la mia spada, my shepherds leave their folds and go towards the sea: e dentro il petto mi ribevo il pianto. 5. San Basilio ch’io pigli l’opposto lato dei monti, they descend to the wild Adriatic Ma questa sera son tranquilla, San Basilio viene di Cesarea: dell’alte cime, that is as green as the mountain meadows. sento che torni a casa porta scarpe di bronzo e ferree vesti. ch’io faccia arrosto pecore pingui e grossi montoni, They have drunk deeply at the alpine springs, e dormi nel tuo letto. “Basilio mio, donde vieni, e ove scendi?” ch’io lasci madri senza figliuoli, spose senza mariti.” so that the taste of native water Accendi il lume, fermati un momento, “Dal maestro vengo, e a mia madre vo,” may remain in their exiled hearts as comfort, guarda il cuscino bello di merletto. “Se vieni dal maestro, dicci l’abbiccì.” 6. The Imprisoned Thief that it may long elude their thirst on their way. L’ho rinnovato quando mi sei nato: Sul pastorale s’appoggiò per dire l’abbiccì. Today, Demo, is Easter for them, today a fair: They have renewed the staff of hazelwood. pel tuo ritorno, figlio, l’ho serbato. E il pastorale era verde, e gettò un ramo, the brave celebrate, and go target shooting; And they go along the ancient sheep path to the plain un ramo con fronde d’oro, trapunto in argento. and you, my Demo, are in Giannina, at the door of the vizier, as if through a grassy silent river, 4. The Mother to the Son Faraway in chains, in shackles, in a dreary prison. on the footprints of the ancient fathers. Oh son, son, in what world do you find yourself? 5. Saint Basil And all the world said it to you, Oh voice of the one who first For how many months here alone I have been waiting Saint Basil comes from Cesarea: and Turkey and : knows the trembling of the sea! for you! he wears bronze shoes and iron garments. dear Demo, remain wise, if you meet the armed man. Now the flock walks along the coastline. Every morning I check your bed: “My Basil, where do you come from, “And what harm did I do to you that you weep over me? The air is without change. it is always untouched with fresh sheets and where do you go?” May God and the Virgin and Lord Saint George, The sun makes the living wool so golden and every evening I go back to make it “I come from the master, and I go to my mother”, heal my hand so that I may wield a sword, that it is nearly indistinguishable from the sand. and for a long time I smile at you and speak to you. “If you are coming from the master, and at last may come the spring, Swishing waters, trampling hoof steps, sweet sounds. And as I spread out the spotless, white sheets, tell us the alphabet.” may come the summer, Ah, why am I not with my shepherds? I say that such peace may console you. He leaned on the shepherding staff the branches may become leafy I shake the pillows, I arrange them and say: to say the alphabet. and the paths may block, Gabriele d’Annunzio (1863–1938) the most beautiful love and the most faithful friend! And the staff became green, and sprang a branch, that I might take my gun, that I might wield my sword, that I might take the opposite side of the mountains, 8. Épitaphe A useless flight of little wings around. Sono una muta dolce donna che fù! of the high peaks, Il dort. Parched mouth, do not come near. Donna di cieli che non s’apron più. that I might roast fat sheep and large rams, Quoi-que le sort fût pour lui bien étrange, I am a sorrowful spring that languishes, Pur se di Marzo a la mia chioma folta that I might leave mothers without sons, il vivait. every drop is a drop of blood, doni in memorie le novelle rose wives without husbands.” Il mourut quand il n’eut plus son ange. every drop is a drop of tears. tremeranno le mie labbra sdegnose. La chose simplement d’elle-mème arriva, And I sing my sorrow. Ma ti bacia sul cuore anche una volta Greek folk text, translated by Niccolò Tommaseo comme la nuit se fait lorsque le jour s’en va. Parched mouth, questa mia bocca antica. my spring of weeping does not satisfy. Oltre l’addio non ferve ira nemica. 7. Passeggiata 8. Epitaph Italian text by Giovanni Papini (1881-1956) He sleeps. 11. Incontro di Marzo 11. March Encounter Although the fate was very strange for him, (from Tre Liriche) Look at me then! I am forever that one 7. Stroll he lived. Guardami dunque! Io sono sempre quella as I appeared to you in dreams of that time Two in confidence, upright as kings, He died when he no longer had his angel. come t’apparvi nei sogni d’allora so proud and gentle and so beautiful. If you look at me were going through the streets, beyond poetry, The thing simply happened of itself, così fiera e soave e così bella. you will not revive again in days gone by. a flower for you and a leaf for me like the night happens when the day goes. Se tu mi guardi Do you not breathe fragrances abandoned? and we unbind the fantasies! non rivivi ancora nelle morte giornate. Cast away the bitter regret and fear It was the two of us, alone between walls Victor Hugo (1802-1885) Non respiri fragranze abbandonate? and greet the old fantasy. without noticing who was passing, who was looking, Getta il rimpianto e la paura amare Even the kindness of pardoning empty eye but secure steps emperors in good faith. 9. Antifona amatoria di Basiliola e saluta la vecchia fantasia. wants this dark madness to be returned. They encountered the mountains one by one, Fulcite me floribus, Anche l’alta bontà di perdonare Give me the new roses the shoots saluted in yellow swaying stipate me malis. vuol questa bruna reduce follia. and may my contemptuous lips tremble. but we did not speak to anyone: Quia amore langueo. Dammi le nuove rose For my strange deep iris each one was their god to the other. e tremino le mie labbra sdegnose. for these arms from the secret enchantment As far as the world around was wide 9. Amatory Antiphon of Basiliola Per la mia strana iride profonda for the hair which floods my agile neck a scent of love was breathing through the air. Support me with flowers, per queste braccia dal segreto incanto do not forget that once you wept We, almost lovers of the first day, attend me with apples. per la chioma che il collo agil m’innonda for the bitter sweetness would feel a burning on the cheeks. Because I am faint with love. non ti scordare che una volta hai pianto of this mouth, dear above all others. But we were so happy, perspiring, breathless, per la dolcezza amara If from the weary faded tomb tipsy with perfect egoism, Gabriele d’Annunzio di questa bocca sovra tutte cara. I came resurrected to you by magic, by that time it seemed to us that we were soldiers Se dalla tomba stanca impallidita how you would want to kiss my waxen fingers with ten medals on our chest. 10. E il mio dolore io canto a te venissi per magia risorta while weeping. Finally, at the end of the ascent, Italian text by Jacopo Bocchialini (1878–1965) come vorresti le mie ceree dita Kissing your good, ancient, dead fairy. in the final bay of the horizon, lagrimando baciar. Beyond the funeral pyre a veiled moon without life 10. And I Sing my Sorrow Baciar la morta tua buona fata antica. harmful wrath does not live. easily detaches itself from a mountain. I am a dry fountain. Oltre il rogo non vive ira nemica. And with the smile of other springtimes All is equal and companion to the infinite, Summer wounded my spring E col sorriso d’altre primavere I have come from distant lands; leaving to see you! the heart is overflowing: it tolls for nothing; that once flowed calm and full. da remote campagne io son venuta; Today the hosts of dreams of farewell. and yet, one moment, I felt Now no more. lasciando per vederti! I am a silent sweet woman who has been! the moist kiss of your mouth. A falling of leaves down here at the bottom. Oggi le schiere dei sogni de l’addio. A woman of the heavens that open no more. Even if in March you give new roses 13. The sky is dark bleed to death he tears the babies away from their mothers’ breasts in memory of my thick hair The sky is dark; and may he who has two lovers and leave the elderly. my contemptuous lips will tremble. the moon already conceals itself in the waves have forty knife wounds; Ah! Let’s dance then, But in your heart you kiss this, and the Pleiades are already descending and may he who has three or four lovers because the dance is good for us! my ancient mouth, once again. into the breast of the sea. have forty-four knife wounds; Beneath this earth that we trample on, Beyond the farewell harmful wrath does not burn. It is midnight, and may he who has one lover, we will all go one day. and the time is passing by, unique in the world, rejoice; This verdant earth Ildebrando Cocconi (1877-1943) and alone here on the feather pillows and who has not even one lover, devours little boys and brave young men; I still stay awake and wait in vain. may a bullet strike him in the heart.” this flowering earth Due Canti d’amore devours little girls, devours maidens. 12. Adjuro vos, filiae Jerusalem Giacomo Leopardi (1798-1837) 16. Mirologio per un bambino This earth, who is also mother to us, In lectulo meo, in noctes, Greek folk text, trans. Pio Bondioli will devour us too. quæsivi quem diligit anima mea; 14. Scuote amore il mio cuore This earth that will devour us, quæsivi illum, et non inveni. (from Tre Canti d’amore) 16. Calendar For a Child beat on her with your feet! Adjuro vos, filiae Jerusalem, Poem by Sappho (c. 650 B.C. – 580 B.C.) Not in the beautiful summertime, si inveneritis dilectum meum, Italian translation by Manara Valgimigli (1876-1965) but in the heart of winter, ut nuncietis ei quia amore langueo. just now you wanted to go away! All English translations by Dr Mark Whatley 14. Love shakes my heart My baby, you did not want to wait 12. I Beseech You, Daughters of Jerusalem Love shakes my heart until the hills would be little by little full of flowers, In my bed at night like the wind on the mountains crashes the meadows would become green again, searching for the one my soul loves; down on oak trees. the carnations would blossom, searching for that one and not finding him. Sweet mother, I can no longer weave the cloth, and the flowers would grow. I beseech you, daughters of Jerusalem, the desire for a boy has conquered me, You could have picked them by the handfuls if you find my beloved, and the tender Aphrodite. and carried them into the underworld, tell him that I am faint with love. Stop, dear one, stay before me. and the boys could have put them on their caps, Discover the grace that is within your gaze. the little girls on the front of their blouses, From the Song of Songs and the little ones could have held them in their hands, Tre Canti Greci forgetting their mother. 13. Oscuro è il ciel 15. Augurio Oscuro è il ciel; Greek folk text, trans. Pio Bondioli (1890–1958) 17. Canzone per ballo nell’onde la luna già s’asconde Greek folk text, trans. Pio Bondioli e in seno al mar le Plejadi 15. Wish già discendendo van. There is a tree in Rumelia, 17. Song for Dancing È mezzanotte, full of leaves and of great shade; Enjoy, youths; enjoy pretty ones: e l’ora passa frattanto, it has a fresh spring at the roots the days wane e sola qui sulle piume and a cross on the trunk. and Charon counts them one by one. ancora veglio ed attendo in van. The sailors go there for the water Begin the dance, go! Heartfelt thanks to Dr Mark Whatley – author of and make a wish on the cross: Afterwards the black earth will swallow us. A Singer’s Guide to the Songs of Ildebrando Pizzetti – “May he who is loved and rejects love Charon has neither judgement nor respect; for his invaluable support in preparing for this project. Hanna Hipp (mezzo-soprano) L’enfant et les sortilèges under Robin Ticciati, Magdalene (Die Meistersinger von Nürnberg) Increasingly in demand, as of 2018, Hanna under Michael Güttler and, in 2017, as Der Hipp’s most recent operatic debuts were Komponist (Ariadne auf Naxos) under Isabella (L’italiana in Algeri) for Opéra Cornelius Meister. Orchestre National Montpellier, Beatrice (Beatrice and Benedict) for Seattle Opera, Further performances include a recent debut where she also sang Dorabella (Così fan tutte); at Dutch National Opera as the Page in Strauss’ Frances, Countess of Essex in Gloriana for Salome under Daniele Gatti in a new staging Teatro Real in Madrid, directed by Sir David by Ivo van Hove, Mercédès (Carmen) at Teatro McVicar and as Clairon in Capriccio for alla Scala under Massimo Zanetti, and Garsington Opera. Cherubino (Le nozze di Figaro) at both the Turku Music Festival and in a production by A former member of the Jette Parker Young Sir Thomas Allen for Scottish Opera. A Artist Programme at the Royal Opera House successful North American debut as Der (ROH), Covent Garden, Hanna has recently Komponist for Minnesota Opera was followed returned to the ROH for an ‘enchanting’ by Isolier in Rossini’s Le comte Ory under Magdalene (The Daily Telegraph) in Kasper Giacomo Sagripanti for Seattle Opera. Holten’s new production of Die Meistersinger In concert, Hanna joined Orchestre de la von Nürnberg, conducted by Sir Antonio Suisse Romande for L’enfant et les sortilèges Pappano. Previous roles there include Emilia under Charles Dutoit, and Orchestre (Otello), and Anna in Berlioz’s Les Troyens, Philharmonique de Strasbourg for Les Troyens which was also presented at the BBC Proms under John Nelson, recorded for release on and released on DVD by Opus Arte. Warner Classics.

Following her debut at the Glyndebourne Hanna has built a strong relationship with

t Festival as Flora (La traviata) under Sir Mark Emma Abbate; they frequently collaborate as Elder, released on DVD by Opus Arte, Hanna a duo performing a varied song repertoire.

d Collet has maintained a strong relationship with ar the company returning every season since: Hanna is a graduate of the Stanisław y: Ger as Ramiro (La finta giardiniera) on tour under Moniuszko Academy of Music in Gdańsk, the aph Christopher Moulds, La chatte and L’écureuil Guildhall School of Music & Drama and the in Laurent Pelly’s acclaimed production of National Opera Studio in London. Photogr Emma Abbate (piano) Early Keyboard Instruments, was the final recording made at Finchcocks Musical The Neapolitan pianist Emma Abbate enjoys Museum. a demanding career as a piano accompanist and chamber musician, working with some A keen advocate of contemporary music, of the finest singers and instrumentalists Emma has recently released two discs devoted of her generation. She has performed in to works by Stephen Dodgson for Toccata duo recitals for international festivals and Classics: world-première recordings of his concert societies in Salzburg, Lisbon, Naples, cello and piano music with Evva Mizerska, Ischia, and Koscierzyna, and at many and his piano quintets with the Tippett prestigious UK venues such as the Wigmore Quartet. Her discography also includes Hall, Southbank Centre, Royal Opera House, world-première recordings of works for cello St John’s Smith Square, St George’s, Bristol and piano by the English composer Algernon and at the Aldeburgh Festival, in addition to Ashton, and the contemporary Polish broadcasts on BBC Radio 3. composer Krzysztof Meyer, both with Evva Mizerska for Toccata Classics. Emma is releasing a series of recordings devoted to twentieth-century Italian vocal Based in London, Emma is a professor at the chamber music, the latest of which was the Guildhall School of Music & Drama and a world-première disc of Shakespeare Sonnets staff coach at the Royal Opera House, by Mario Castelnuovo-Tedesco with the Covent Garden. Following her graduation BBC New Generation Artist Ashley Riches from the S. Pietro a Majella Conservatoire for Resonus Classics. Her previous disc was in Naples and an Advanced Diploma from L’Infinito: a musical journey through the S. Cecilia Conservatoire in Rome, Emma twentieth-century Italian songs with the studied in London with Yonty Solomon. She mezzo-soprano Kamelia Kader, including completed her studies with Geoffrey Pratley y works by Respighi, Casella, Alfano and as a scholar at the Royal Academy of Music, aph Malipiero. She has also released the first of from where she graduated with distinction. two volumes of Mozart’s complete piano She was also awarded an Italian Literature

duets on original fortepianos with Julian and Culture degree cum laude from the omirri Photogr

Perkins for Resonus Classics. This album, Federico II University in Naples. y: T recorded on two original instruments from aph the Richard Burnett Heritage Collection of www.emmaabbate.com Photogr More titles from Resonus Classics Mario Castelnuovo-Tedesco: Shakespeare Sonnets Ashley Riches (baritone) Emma Abbate (piano) RES10141

‘[...] this fine collection of Shakespeare Sonnets is doubly welcome’ International Record Review

Fata Morgana: Song by Pavel Haas Nicky Spence (tenor), Anita Watson (soprano), James Platt (bass), Anna Starushkevych (mezzo-soprano), Navarra Quartet, Lada Valesova (piano) RES10183

‘From joy to despair, every emotion is here in subtle colours; a legacy of great human and musical worth.’ BBC Music Magazine (Choral & Song Choice, 5 stars)

© 2018 Resonus Limited è 2018 Resonus Limited Recorded in St John the Evangelist, Oxford (SJE Arts) on 12-14 March 2017 Producer, engineer & editor: Adam Binks Session photography © Resonus Limited Steinway Model ‘D’ maintained by Joseph Taylor (www.taylorpianos.co.uk) Recorded at 24-bit/96kHz resolution Cover design: David Hughes (www.davidhughesdesign.co.uk)

RESONUS LIMITED – UK

[email protected] www.resonusclassics.com RES10209