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Il Canto Delle Dame B IL CANTO DELLE DAME B. STROZZI, F. CACCINI, C. ASSANDRA, I. LEONARDA MARIA CRISTINA KIEHR — JEAN-MARC AYMES — CONCERTO SOAVE Le Centre culturel de rencontre d’Ambronay reçoit le soutien du Conseil général de l’Ain, de la Région Rhône-Alpes et de la Drac Rhône-Alpes. Le label discographique Ambronay Éditions reçoit le soutien du Conseil général de l’Ain. Ce disque a été réalisé avec l’aide de la Région Rhône-Alpes. Concerto Soave reçoit le soutien du ministère de la culture et de la communication (Direction régionale des affaires culturelles de la région Provence-Alpes-Côte d’Azur) au titre de l’aide aux ensembles conventionnés, de la Région Provence-Alpes-Côte d’Azur, du Conseil général des Bouches-du-Rhône et de la Ville de Marseille. Il est membre de la FEVIS (Fédération des ensembles vocaux et instrumentaux spécialisés). www.crab-paca.org Remerciements particuliers à Agnès T. Director Alain Brunet Executive Producer for Ambronay Éditions Isabelle Battioni Assistant Charlotte Lair de la Motte Recorded in the abbatial church of Ambronay (France) — 23-26th May 2010 Recording Producer, mixing Tritonus Musikproduktion GmbH, Stuttgart (Germany) Cover photograph & design Benoît Pelletier, Diabolus — www.diabolus.fr Booklet graphic design Ségolaine Pertriaux, myBeautiful, Lyon — www.mybeautiful.fr Booklet photo credits Bertrand Pichène Printers Pozzoli, Italy & © 2010 Centre culturel de rencontre d’Ambronay, 01500 Ambronay, France – www.ambronay.org Made in Europe Tous droits du producteur phonographique et du propriétaire de l'œuvre enregistrée réservés. Sauf autorisation, la duplication, la location, le prêt, l'utilisation de ce disque pour exécution publique et radiodiffusion sont interdits. All rights of the producer and of the owner of the work reproduced reserved. Unauthorized copying, hiring, lending, public performance and broadcasting of this record prohibited. IL CANTO DELLE DAME 1 Il Concerto da Chiesa ISABELLA LEONARDA 1 Ave suavis dilectio 8’27 Motetti op.6, Venezia, 1676 GIOVANNI PIETRO DEL BUONO 2 Canone sopra l’Ave Maris Stella 3’15 Canoni […] sopra l’Ave Maris Stella, Palermo, 1641 FRANCESCA CACCINI 3 Chi è costei 4’56 Sonetto in quatro parti, Il Primo Libro delle Musiche, Firenze, 1618 FRANCESCA CACCINI 4 Maria, dolce Maria 2’58 Il Primo Libro delle Musiche, Firenze, 1618 CATERINA ASSANDRA 5 Duo Seraphim 4’28 Motetti a due e tre voci, Milano, 1608 CATERINA ASSANDRA 6 Canzon a 4 (di Benedetto Rè) 3’32 Motetti a due e tre voci, Milano, 1608 2 3 CATERINA ASSANDRA 7 O quam suavis 3’13 Concerto Soave Motetti a due e tre voci, Milano, 1608 CATERINA ASSANDRA María Cristina Kiehr soprano 8 O Salutaris hostia 2’43 Amandine Beyer, Alba Roca violons Motetti a due e tre voci, Milano, 1608 Sylvie Moquet viole de gambe Mara Galassi harpe Il Concerto da Camera Jean-Marc Aymes clavecin, orgue et direction ISABELLA LEONARDA 9 Sonata VII a tre 5’29 Bologna, 1693 FRANCESCA CACCINI 10 Io mi distruggo 4’23 Il Primo Libro delle Musiche, Firenze, 1618 (arr. Jean-Marc Aymes) FRANCESCA CACCINI 11 Lasciatemi qui solo 6’46 Aria in cinque parti, Il Primo Libro delle Musiche, Firenze, 1618 BARBARA STROZZI 12 Hor ch’Apollo 14’33 Serenata con violini, Arie a voce sola, op.8, Venezia, 1664 TOTAL TIME 64’47 Clavecin italien d’André Christophe d’après Grigori Orgue positif d’Étienne Debaisieux 4 d’une manière exceptionnelle : invention de la monodie et de la basse continue, de l’opéra, de l’oratorio 5 et de la musique proprement instrumentale. Les compositrices sont issues, pour la plupart, de l’aristocra- IL CANTO DELLE DAME tie, certaines se vouant à Dieu, les autres demeurant dans le monde. Quoi qu’il en soit, ces musiciennes trouvent le moyen non seulement de composer, d’être reconnues par leurs pairs, mais aussi de publier leur œuvre. Issue d’une grande famille de Novare, Isabella Leonarda (1620-1704) reste attachée à cette ville durant toute son existence et au couvent des Ursulines où elle entre en 1636. Religieuse exem- plaire, sachant lire et compter, parfaite musicienne, elle est nommée mère supérieure en 1676, puis « madre vicaria » en 1693. Elle consacre une grande part de son temps à la composition, écrivant dans la dédicace de son op. 10 de 1684 : « Il est convenable que je soustraie mes heures de repos pour me dédier à ces compositions afin de ne pas manquer aux obligations de laR ègle ». Elle laisse environ 200 pièces toutes publiées à Bologne et dont la moitié est dédiée à la Vierge. Son inspiration est très variée, abordant aussi bien les grandes formes (messes et motets concertants) que les petites (motets de une à trois voix), le domaine tant vocal qu’instrumental (sonates). Son recueil de 1693 (Sonate, op. 16) est le premier du genre publié par une femme. Appelée la « Muse de Novare », elle faisait l’admiration du Français Sébastien de Brossard qui possédait plusieurs de ses publications dans sa bibliothèque : « Tous les ouvrages de cette illustre et incomparable Isabelle Leonard sont si beaux, si gracieux, si brillants et en même tems si sçavans et si sages, que mon grand regret est de ne les avoir pas tous ». Le motet pour l’élévation « Ave suavis dilectio » (dont la religieuse est peut-être l’auteur du María Cristina Kiehr texte) fait partie du recueil de Motetti, op.6. (Venezia, 1676). Son inspiration nous amène à citer de nou- veau Brossard dont la définition du motet s’accorde parfaitement avec le dessein d’Isabella Leonarda : « C’est une composition de musique, fort figurée, et enrichie de tout ce qu’il y a de plus fin dans l’art Aujourd’hui, le statut de compositeur – ou compositrice, terme ad- de la composition… ». La liberté formelle de « Ave suavis dilectio » s’accompagne d’une délectation mis dans les dictionnaires dès le XIX e siècle – pour une femme n’a encore rien d’une ininterrompue dans la conduite vocale et les ritournelles instrumentales. Constamment et diversement évidence. Le XVII e siècle, particulièrement dans le nord de l’Italie, semble pourtant avoir ornée, la veine mélodique d’Isabella Leonarda exprime sans détour la joie de l’âme à la vue de l’eucha- été favorable à la liberté créatrice féminine en matière musicale. L’une des raisons ristie. La sonate en trio de l’op. 16 est typique du genre à cette époque, encore indéterminé dans le vient probablement du fait que c’est là, dans les milieux humanistes de la République nombre de ses mouvements et de son écriture centrée sur un thème bien précis, la composition jouant de Venise, des cours de Florence, de Mantoue ou de Ferrare, que l’art musical évolue avant tout sur les contrastes de tempi et de caractère. 6 Née à Pavie, Caterina Assandra (fl.1609-1618) passe sa vie comme religieuse au couvent de Les deux pièces « Chi è costei » et « Maria dolce Maria » célèbrent la Vierge. Les textes sont 7 Santa Agata à Lomello, près de Milan, après avoir étudié la musique auprès de Benedetto Rè, maître néanmoins en italien et non en latin, et pour le premier, revêt l’agencement d’un sonnet dans le style de chapelle de la cathédrale de Pavie. Elle est l’auteur de deux recueils de motets dont seul le second de Pétrarque, réservé généralement au madrigal. Malgré cette forme poétique, Francesca Caccini recourt (Motetti a due e tre voci, Milano, 1609) a été conservé et dans lequel deux pièces de Rè ont été intégrées dans « Chi è costei » à un traitement strophique tant pour les quatrains que pour les tercets. D’une en signe d’hommage et d’amitié. L’une est la Canzon a 4 témoignant des premières expériences de grande quiétude, l’écriture musicale est exhaussée par différents ornements, nommés « affetti » par musique instrumentale, soumise à la seule fantaisie du compositeur. Caterina Assandra explore le nou- Giulio Caccini, c’est-à-dire non pas décoratifs mais indispensables à l’expression. Le texte « Maria dolce veau style concertant, tout en restant attachée à l’esthétique passée. Dans « Duo Seraphim », l’écriture Maria », d’un langage moins précieux que le précédent, inspire à la compositrice une indicible douceur alterne contrepoint serré et les parties avec de larges harmonies (« plena »). La pièce suivante « O quam engendrée par l’adoration du nom de Marie, porteur de félicité. Cette simplicité de moyens est encore suavis » pour l’élévation se situe véritablement au commencement de la monodie accompagnée où la présente dans la grande lamentation « Lasciatemi qui solo ». Le poème mis en musique par Francesca compositrice s’efforce de traduire le texte par des effets musicaux adéquats : vocalises sur la voyelle Caccini se compose de cinq strophes de huit vers dont le dernier (sauf dans la dernière strophe où tout « O » du début et l’« alleluia » final, simplicité pour « pane suavissimo », figuralisme sur « cælo ». « O est fini : « Gia sono esangue e morto ») reprend inlassablement les mots « Lasciatemi morire » qui rap- salutaris hostia » est régi musicalement selon les affects du texte : chant en valeurs longues orné des pellent évidemment le Lamento d’Arianna de Monteverdi. La composition, également strophique, offre volutes instrumentales dans la première partie, imitations entre voix et instruments propres à évoquer un sublime exemple de stile recitativo. l’aspect belliqueux. Fille du grand poète Giulio Strozzi, Barbara reçoit son éducation musicale auprès de Francesco Les deux compositrices les plus réputées du siècle sont incontestablement Francesca Caccini Cavalli. Barbara est admise dans l’Accademia degli Unisoni fondée par son père en 1637 où elle se (1587-1640) et Barbara Strozzi (1619-après 1664). La première est la fille du célèbre compositeur produit comme chanteuse, tout en prenant part aux débats ou jugeant des productions des auteurs.
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