1 “Kapsberger” GIOVANNI GIROLAMO KAPSBERGER (1580-1651) 2:53 2 Le tre Grazie a Venere BARBARA STROZZI (1619-1677) 3:06 3 Dispiegate guancie amate FRANCESCA CACCINI (1587-after 1641) 3:27 4 Ricercar DIEGO ORTIZ (c1510–c1570) 1:38 5 Amor dormiglione BARBARA STROZZI 2:26 6 Passacalli della vita ANONYMOUS 3:31 7 Toccata MICHELANGELO ROSSI (c1601/1602-1656) 3:47 8 Piangono al pianger mio SIGISMONDO D’INDIA (c1582-1629) 4:43 9 Nube gentil FRANCESCA CACCINI 3:44 10 Fan battaglia LUIGI ROSSI (c1597-1653) 3:18 11 Amor non si fugge BARBARA STROZZI 3:33 12 L’Eraclito amoroso (Udite amanti) BARBARA STROZZI 6:18 13 Dolce cantavi CAROLINE SHAW (b1982) 2:42 14 Toccata GIROLAMO FRESCOBALDI (1583-1643) 3:45 15 Disperate speranze LUIGI ROSSI 5:49 16 Capona GIOVANNI GIROLAMO KAPSBERGER 1:07 17 Fortuna sul volto DOMENICO MAZZOCCHI (1592-1665) 2:16 18 L’Amante segreto BARBARA STROZZI 7:04 Total running time: 65:08

JOLLE GREENLEAF soprano and artistic director MOLLY QUINN soprano VIRGINIA WARNKEN mezzo-soprano JOSH LEE viola da gamba JEFFREY GROSSMAN harpsichord HANK HEIJINK, DANIEL SWENBERG, CHARLIE WEAVER theorbo, lute, baroque guitar www.tenet.nyc 1. “Kapsberger” Giovanni Girolamo Kapsberger

2. Le tre Grazie a Venere Barbara Strozzi ‘‘Bella madre d’Amore, Fair mother of Cupid, Ancor non ti ramembra Still do you not recollect Che nuda avesti di bellezza il grido That, naked, you had the palm of beauty In sul troiano lido Upon the Trojan shore Dal giudice pastore? From the shepherd sitting in judgment? Onde se nuda piaci So, if naked you were pleasing In sin agl’occhi di bifolchi idei, E’en to the eyes of rustics upon Mount Ida, Vanarella che sei! What a vain thing you are! Perché vuoi tu con tanti addobbi e tanti Why do you wish, with so many ornaments, Ricoprirti agl’amanti? To cover yourself up to lovers? O vesti le tue Grazie e i nudi Amori Either clothe your Graces and naked Cupids, O getta ancor tu fuori Or else cast off Gl’arnesi, i manti e i veli; Your garb and cloak and veil; Di quelle care membra Let not a single one Nulla, nulla si celi. Of those dear limbs be concealed. Tu ridi e non rispondi? You laugh, and reply not? Ah, tu le copri, sì, tu le nascondi; Ah, you cover them, indeed, you hide them; Ché sai ch’invoglia più, che più s’apprezza For you know that all the more tempting is La negata bellezza. the appreciation of beauty denied. 3. Dispiegate Guancie Amate Francesca Caccini Dispiegate, Deh togliete Guancie amate, Quella rete Quella porpora acerbetta: Auree chiome, aureo tesoro: Che perdenti Ch’a toccarvi Che dolenti Ch’a spiegarvi Sian le rose in su l’erbetta. Tornerà quest’aria d’oro. Display, beloved cheeks, that pungent little crimson, Ah, remove that net, golden hair, golden treasure, so that in so that bested and saddened the roses upon the grass will be. touching you, in loosening you, this golden breeze will return.

Deh partite, Apri, o labbro Deh scoprite, Di cinabro, Chiare stelle, i vostri rai: Un sorriso ancor tra ’l velo: Che scoprendo, Ch’ad aprirlo, Che partendo Ch’a scoprirlo, Già men chiaro il sol d’assai. Riderà la terra e ’l cielo Ah, come forth, ah, reveal, clear stars, your rays, so that Open, o lips of cinnabar, a smile through the veil, so that, in revealing,And coming forth, the sun will be much less by opening it, by revealing it, earth and heaven shall laugh. bright.

Svela, svela Quel che cela, Dolce bocca, il desir vostro: Ch’a svelarlo, Ch’a mostrarlo Perderan le perle e l’ostro. Reveal, reveal, what your desire conceals, sweet mouth, for when it is revealed, and it is shown, the pearls and crimson shades will pale. 4.Ricercar Diego Ortiz

5. Amor dormiglione Luigi Rossi Amor, non dormir più! Cupid, enough of this sleeping! Sù, sù, svegliati omai:, Up with you, wake up right now, Ché mentre dormi tu Since while you slumber Dormon le gioie mie, vegliano i guai. So do my joys, twhile my woes stay awake. Non esser, Amor, da poco! Cupid, don’t be so inept! Strali, strali, foco, Your arrows now, your fire, Strali, strali, sù, sù, Up with your arrows, Foco, foco, sù, sù! Up with your fire! O pigro, o tardo, O you lazy dawdler, Tu non hai senso, You make no sense, Amor melenso, Doltish Cupid Amor codardo! Cowardly Cupid! Ahi, quale io resto: Alas, I’m in such a state: Ché nel mio ardore Since, in the throes of my passion, Tu dorma, Amore: You slumber, Cupid: Mancava questo! Just what I didn’t need!

6. Passacalli della vita Anonymous O, come t’inganni È un sogno la vita, Non val medicina, Se pensi che gl’anni Che par sì gradita, Non giova la china, Non debban finire: È breve il gioire: Non si può guarire: Bisogna morire. Bisogna morire. Bisogna morire. Oh, how you deceive yourself Life is a dream, Medicine is of no avail, If you think that the years Which seems so pleasing Quinine is useless, shall not come to an end But joy is brief;. There is no cure; We all must die. We all must die. We all must die. Si more cantando, I giovan, i putti Se tu non vi pensi Si more sonando E gli uomini tutti Hai persi li sensi, La cetra o sampogna: S’han a finire: Sei mort’, e puoi dire: Morire bisogna. Bisogna morire. Bisogna morire. We die singing, Youths, children, If you give this no thought, We die playing All mankind You have lost your senses; The cittern or bagpipe; Will have their end; You are dead, and can say: We all must die. We all must die. We all must die.

Si more danzando, I sani, gl’infermi, Bevendo, mangiando, I bravi, gl’inermi Con quella carogna Tutt’ han a finire: Morire bisogna. Bisogna morire. We die dancing, The healthy, the sick, Drinking, eating – The swashbuckling, the defenseless, With this carrion flesh all will have their end; We all must die. We all must die.

7. Toccata Michaelangelo Rossi 8. Piangono al pianger mio Sigismondo d’India Piangono al pianger mio le fère e i sassi, Wild beasts and rocks weep at my lamentation, A’ miei caldi sospir traggon sospiri. And give vent to sighs at my ardent sighing. L’aer d’intorno nubiloso fassi, The air roundabout becomes misty, Mosso anch’egli à pietà de’ miei martiri. Likewise moved to pity by my torments. Ovunque io poso, ovunque io volgo i passi Where’er I tread, where’er I turn my steps, Par che di me si pianga e si sospiri; It seems that tears and sighs come forth for me; Par che dica ciascun, mosso al mio duolo: It seems that each creature, moved by my pain, says, Che fai tu qui meschin, doglioso e solo? What do you here, wretch, sorrowful and solitary? —Ottavio Rinuccini

9. Nube gentil Francesca Caccini 10. Fan battaglia Luigi Rossi Fan battaglia i miei pensieri My thoughts wage war Ed al cor dan fiero assalto. And cruelly assault my heart. Un mi dice: “Invan tu speri, One says, ”In vain do you hope, Perchè Fili ha il sen di smalto”. For Phyllis’s bosom is hard as enamel.” Un poi con baldanza Then another, boldly, Il colpo ribatte Strikes another blow, E il cor mi combatte, And takes aim at my heart, Gridando: “Speranza!” Crying: “Hope!” “Sì, vincerà!” “Sì, perderà!” “Fuggi timor!” “Victory!” “Defeat!” “Away with you, fear!” “Fuggi, su!” “Taci, speranza!” “Tu non più, taci!” “Away, away!” “Be silent, hope!” “You! Enough, be silent!” “Tu ferma!” “Sì, vincerà!” “You stop!” “Yes, victory!” “Pensieri non più!” “Enough of these thoughts!” Così al core, empi guerrieri, Thus against my heart, like cruel warriors, Dan battaglia, fan guerra i miei pensieri. My thoughts do battle, wage war.

11. Amor non si fugge Barbara Strozzi Cara Filli, quella tu sei ch’adoro; Dear Filli, you are indeed the one I adore Per te sola, per te languisco e moro. For you alone do I languish and die. Ben vid’ io ch’un guardo adesca Well do I see that an enticing glance, Ch’allettando il seno adugge, By its allure, oppresses my bosom, Ma pur ardo e ’l cor si strugge: But yet I burn and my heart is undone, Ché non fugge d’amor chi seco tresca. For whoever dallies with love cannot flee it. Cara Filli quella tu sei ch’adoro; Dear Filli, you are indeed the one I adore, Per te sola, per te languisco e moro. For you alone do I languish and die. S’è il languir colpo d’amore If languishing is a stroke of love, Fuggirò s’amor m’assale, I shall flee, if love assails me, Ma ’l fuggir, ohimè, che vale? But alas, to flee what avails me? Non si scioglie dal piè laccio del core. My feet cannot loosen what binds my heart. Cara Filli, quella tu sei ch’adoro; Dear Filli, you are indeed the one I adore, Per te sola, per te languisco e moro. For you alone do I languish and die. 12. L’Eraclito amoroso (Udite amanti) Barbara Strozzi Udite amanti la cagione, oh Dio! Harken, lovers, to the reason, o God! Ch’a lagrimar mi porta: That leads me to tears: Nell’adorato e bello idolo mio, In my adored and beautiful beloved, Che sì fido credei, la fede è morta. Whom I thought so faithful, faith is dead.

Vaghezza ho sol di piangere, My only longing is for weeping, Mi pasco sol di lagrime, My only food my tears. Il duolo è mia delizia Grief is my delight, E son mie gioie i gemiti. And groans are my joys.

Ogni martire aggradami, Every torment is pleasing to me, Ogni dolor dilettami, Every pain delights me. I singulti mi sanano, Sobs heal me, I sospir mi consolano. Sighs console me.

Oh Dio! O God! Nell’adorato e bello idolo mio, In my cherished and beautiful beloved, Che sì fido credei, la fede è morta. Whom I thought so faithful, faith is dead.

Ma se la fede negami But, if this inconstant and treacherous lover Quell’incostante e perfido, Denies me his faith, Almen fede serbatemi At least, o tears, Sino alla morte, oh lagrime! Be faithful to me unto death. Ogni tristezza assalgami May every sadness assail me, ,Ogni cordoglio eternisi, May all anguish last forever. anto ogni male affliggami May so many ills afflict me, Che m’uccida e sotterrimi. That they kill and bury me. 13. Dolce cantavi Caroline Shaw Vago augellin, che per quei rami ombrosi Lovely little bird, who, among those shady branches, dolce cantavi a minüir mie pene, used to sing so sweetly to mitigate my sorrows, di sentirti al mio cor gran desir viene a great desire comes to my heart to hear you again, per fare in tutto i giorni miei giocosi. to make my days complete in their joy. Deh vieni, e teco mena i più famosi Come, and bring with you the most famous singers cantor che quella selva in sen ritiene, that the forest nurtures in its breast, ché goderete in queste rive amene, for you will have the pleasure of these fair waters ed a l’estivo dì starete ascosi. and be hidden away from the heat of the summer day. Il boschetto vi attende, e ‘l bel giardino The little wood awaits you, and the lovely garden where, là dove in fra le fronde e l’onda e l’ora among the leaves, the ripples and the breeze gareggian mormorando a me vicino. compete in their murmuring beside me. A cantar sorgeremo in sul mattino: We will rise together before sunrise: io con le Muse invocarò l’aurora, I will herald the dawn with the Muses, e voi col vostro gorgheggiar divini. and you with your warbling divine.

14. Toccata Girolamo Frescobaldi

15. Disperate speranze -Luigi Rossi Disperate speranze, addio, addio, Desperate hopes, farewell, Se la bella che adoro If the beauty I adore La mia cara mercè post’ ha in obblio, Has forgotten my compassion, E non cura sentir che per lei moro, And does not care to hear that I die for her, Ahi, che devo sperar dall’idol mio? Alas, what can I expect from my idol? Disperate speranze, addio, addio. Desperate hopes, farewell!

Ahi, mentite speranze, andate a volo, Alas, feigned hopes, fly away E tra pianti e sospiri, And amidst lamentation and sighs Mi lasciate penare e languir solo, Leave me to suffer and languish alone, Non trovando pietà ai miei martiri. Finding no pity for my torments. Se godete ancor voi del mio gran duolo, If you yet wish to revel in my great suffering, Ahi, mentite speranze, andate a volo! Alas, feigned hopes, fly away! 16. Capona Kapsberger 17. Fortuna sul volto Domenico Mazzocchi Fortuna sul volto Un crine che splende Dame Fortune loosed From her brow Shining tresses into All’aura spiegò. Chi timido o stolto the breeze. Whosoever is timid or foolish, La chioma non prende, La giunga se può: And grasps not her hair, Should catch it if he can: Il cielo risplende, E poscia s’imbruna, The heavens shine bright, And then grow dark; Stendete la mano al crin di Fortuna. Stretch out your hand to the tresses of Fortune.

Del tempo sugli ali Sparisce, si strugge On the wings of time The good things in earthly life Il ben di qua giù; Udite mortali, Vanish and are undone; Harken, ye mortals, L’età, che sen fugge, Non torna mai più, For age is fleeting, And does not return. Il sole fiammeggi, O splenda la luna, Let the sun be ablaze Or the moon resplendent, Stendete la mano al crin di Fortuna. Stretch out your hand to the tresses of Fortune. 18. L’Amante segreto Barbara Strozzi Voglio, voglio morire, I want to die Più tosto ch’il mio mal venga a scoprire. Rather than have my hurt come to be discovered. O disgrazia fatale! Oh, fatal misfortune! Quanto più miran gl’occhi il suo bel volto The more my eyes behold her fair face, Più tien la bocca il mio desir sepolto: The more my lips will keep my desire sealed; Chi rimedio non ha taccia il suo male, He who has no remedy must keep silent his hurt, Non resti di mirar chi non ha sorte, He who has no fortune can only look, Né può da sì bel ciel venir la morte. Nor can death come from so fair a sky. La bella donna mia sovente miro I oft behold my lovely lady, Ed ella a me volge pietoso il guardo, And she turns a compassionate glance toward me, Quasi che voglia dire: Almost as if to say, “Palesa il tuo martire”, “Make plain your torment,” Ché ben s’accorge che mi struggo e ardo. For well is she aware that I am consumed and burn.

Ma io voglio morire But I want to die, Più tosto ch’il mio mal venga a scoprire. Rather than have my hurt come to be discovered. L’erbetta, ch’al cader di fredda brina The grass, when covered by hoar-frost, Languida il capo inchina, Languishing, bows its head; All’apparir del sole When the sun appears Lieta verdeggia più di quel che suole: It gaily becomes even greener than before: Tal io, s’alcun timor mi gela il core, So I, if some fear congeals my heart, All’apparir di lei prendo vigore. Regain my strength at her appearance.

Ma io voglio morire But I want to die, Più tosto ch’il mio mal venga a scoprire. Rather than have my hurt come to be discovered. Deh, getta l’arco poderoso e l’armi, Ah, throw away your potent bow and arrows, Amor, e lascia omai di saettarmi! Cupid, and cease now shooting me! Se non per amor mio Do it, if not for my love’s sake, Fallo per onor tuo, superbo dio, Then for your own honor, proud god, Perché gloria non è d’un guerrier forte For no glory is gained by a mighty warrior Uccider un che sta vicino a morte. In slaying one already close to death TheCONCERTO DELLE DONNE (consort of ladies) was a group of talented women who per- formed secretly in the court of Ferrara. Revolutionizing the role of women in professional music, these singing virtuose accompanied themselves in addition to inspiring poets, composers, and copycat ensembles throughout Italy. Imagining the hurdles these women had to jump over is daunting. They were truly ex- traordinary both for their musical talents and their tenacity.

TheANONYMOUS composer of the Passacalli della vita was probably, as Maria Rosa Moretti has shown, an Oratorian—a member of the religious community founded by St. Philip Neri. It comes from the collection Canzonette Spirituali, e Morali, published in Milan in 1657. The collection is an example of Philip Neri’s project, and the Counter-Reformation trend more generally, of using music of a secular origin to incite piety and religious fervor. Thecanzonette are popular songs with religious or heavily moralizing texts in Italian replacing the usual light subjects of love and pastoral life. Many anonymous composers in the seventeenth century may have been women, as the path of professional advancement for women com- posers and singers was more difficult than for men.

LIVIA d’ARCO (c.1565–1611) arrived in Ferrara in 1579 to accompany her friend Margherita Gonzaga upon her marriage to Alfonso d’Este. As a member of minor Mantuan nobility, d’Arco was a great singer and viol player who performed with the Concerto delle donne until her marriage to a count in 1585. Her artistry inspired poetry, written in her honor, by poets such as Tasso and Grillo.

FRANCESCA CACCINI (1587–after 1641) was known asLa Cecchina in Florence. She was a very well educated, wildly famous singer/songwriter, and she composed at least 16 staged works, though some have been lost. Among them is the first opera by a womanLa Liberazione di Ruggiero. Coming from a mu- sical family, her father, Giulio Caccini, was also a singer/songwriter working for the Medici court.

GIROLAMO FRESCOBALDI (1583–1643) was the great organist and keyboard composer of his generation. He was born in Ferrara, where he studied music with Luzzaschi and associated with the three Piccinini brothers, all famous lutenists. Apart from brief periods in Flanders and Florence, he spent most of his career in Rome as organist of the Cappella Giulia, the musical establishment at St. Peter’s Basilica. Called “a major force in the New York early music-scene” by The New York Times, soprano and TENET’s ar- tistic director JOLLE GREENLEAF is one of the leading voices in the field. She is a much sought-after soloist in music by Bach, Buxtehude, Handel, Purcell, and most notably, Claudio Monteverdi. Ms. Green- leaf creates diverse programs, directs and sings in performances of repertoire spanning the middle ages to the present day.

JEFFREY GROSSMAN’s extensive musical activities include frequent performances as a harpsichord- ist, pianist, and conductor. A native of Detroit, Michigan, he holds degrees from Harvard College, the Juil- liard School, and Carnegie Mellon University. He can be heard on the Gothic, Naxos, Albany, Métier, and MSR Classics record labels.

Lutenist HANK HEIJINK is in high demand as an accompanist on theorbo, lute and guitar, and his playing has been described as “eloquent” (Wall Street Journal). Mr. Heijink holds a performance degree from The Hague’s Royal Conservatory (the Netherlands), as well as a degree in computer science, and a PhD in social sciences.

ANNA GUARINI (1563–1598) was a famous soprano, lutenist, and prominent member of Ferrara’s Concerto delle donne. Daughter of poet Battista Guarini, she was married by arrangement to an older man who accused her of having an affair, without justification or evidence. While she was recovering from an illness, he killed her with a hatchet, aided by her brother, despite being under a protective order from Duke Alfonso.

SIGISMONDO D’INDIA (c1582–1629) bridges the Renaissance and Baroque as one of several key composers exploring the relationship between poetry and music. He composed numberous works in a va- riety of styles, and his work is seen as similar to that of Claudio Monteverdi.

German-Italian GIOVANNI GIROLAMO KAPSBERGER (1580–1651) was a prolific composer of works for lute and theorbo, who had a reputation as a brilliant virtuoso. He published at least six collec- tions of works during his lifetime. JOSH LEE’s viol playing has been called “a tour-de-force” (Vancouver Classical), and has garnered him ac- claim from audiences across five continents. Josh’s performances have been heard on Performance Today, FluxFM (Berlin), Harmonia, and Österreichischen Rundfunk (Vienna). Outside of early music Josh fre- quently collaborates with indie band Radical Face, performing in Australia, New Zealand, Japan, and across Europe.

Organist, teacher, and late Renaissance composer, LUZZASCO LUZZASCHI (c.1545–1607) was famous for his association with the Concerto delle donne. He was principal organist to the d’Este court, and his compositions reflect a highly ornamented style.

PARIS MANCINI is a photographer, musician, and stylist. She studied film and painting in San Fran- cisco where she became immersed in the non-traditionalist visual art scene. Soon after, she moved to New York where she blended her rule-bending, mind-melting playfulness she attained in the west, into music and performance. Paris currently sings in a vocal looping project called “SIRENS.” When not making music of her own, Paris loves to style and capture her favorite musicians.

An exclusive composer of vocal music, DOMENICO MAZZOCCHI (1592–1665) focused the ma- jority of his compositional output on sacred music, which he provided for at least two popes.

A poet, conductor, composer, philospher, and vocal virtuosa, TARQUINIA MOLZA (1542–1617) was believed to be the director of the Concerto delle donne. She was well-educated in science, languages, mathematics, astronomy, and many other subjects. She was dismissed from her position as lady-in-waiting to Duchess Gonzaga d’Este after being accused of having an affair with the composer Giaches de Wert. Despite this, she was granted honorary Roman citizenship in 1600 and was the only woman who held this status in her time.

Gifted singer, horn player, wife, mother of two, and photographer,BECKY OEHLERS has served as a true inspiration to the women of TENET. She currently resides outside of Philadelphia and maintains an active schedule of stamp design, photography, teaching, and performing. DIEGO ORTIZ (c1510–c1570) was a Spanish composer active in Naples. He was maestro de capilla to two successive Spanish Viceroys there. He published one book of sacred polyphony, but is most known now for his Trattado de Glosas (1553): a manual of ornamentation for viola da gamba. The second book of this treatise concludes with several recercadas in which the viol plays fast melodies over a repeating harmonic pattern, showing a great variety of rhythmic invention. Therecercada segunda is an example of the Italian dance called the passamezzo.

Virtuoso singer, harpist and dancer, LAURA PEVERARA(c1550–1601) was raised at court because her father tutored princes. As a founding member of the Concerto delle donne in 1580, she remained with the ensemble for 17 years until it disolved in 1597.

MOLLY QUINN travels around the country with a wide variety of ensembles including TENET, The Bang on a Can All-Stars, and Apollo’s Fire. Noted for her “radiant sweetness” (The New York Times) Molly loves singing the music of Monteverdi, Bach, and Mozart. When she is not performing, she enjoys spend- ing time in North Carolina with her Shih-Tzu Charlie, listening to rock music, and developing the love and craft of amateur singing in her community.

LUIGI ROSSI (c1597–1653) offered compositions for a similar ensemble to theConcerto delle donne that appeared in Rome in addition to writing two operas, chamber cantatas, and sacred works during his career. He was praised alongside Antonio Cesti and Giacomo Carissimi as “the three greatest lights of our profes- sion.”

MICHELANGELO ROSSI (c1601/1602–1656) worked in the service of Cardinal Maurizio of Savoy, where he met monody and madrigal composer Sigismondo d’India and harpsichordist Girolamo Frescobaldi.

CAROLINE SHAW (b1982) is a violinist, singer, and composer based in New York City. She is the winner of the Pulitzer Prize in music for her enigmatic composition Partita for 8 Voices, for Roomful of Teeth. She has studied at Rice, Yale, and Princeton. Her favorite color is yellow, most of the time. BARBARA STROZZI (1619–1677) was known by nickname as La Virtuosissima Cantatrice (the great- est virtuoso singer). Born into a rich, intellectual, and culturally vibrant time in Venice, she was adopted into the the second wealthiest family in Venice. Strozzi published 125 works for voice during her lifetime, though she was never able to secure a permanent patron. While she had three children with Giovanni Paolo Vidman, they never married. Many scholars have concluded that she was a courtesan, though some argue this well could have been a rumor spread from jealousy.

DANIEL SWENBERG specializes in historical plucked strings, and he performs regularly throughout North America with many ensembles. In 2000, he received awards from the Belgian American Education- al Foundation for a study of 18th century chamber music for the lute. In addition, he received a Fulbright Scholarship (1997) to study in Bremen, Germany, at the Hochschule für Künste and he studied with Pat O’Brien at Mannes College of Music, receiving a Masters Degree in Historical Performance.

Hailed by The New York Times as an “elegant,” “rich-toned alto” with “riveting presence,” mezzo-soprano VIRGINIA WARNKEN KELSEY is a frequent soloist with top ensembles throughout the US. A versatile artist, she specializes in music from the 17th and 18th centuries as well as new music. She is a founding member of the widely acclaimed Grammy Award-winning alternative ­classical vocal band Roomful of Teeth. ®

CHARLES WEAVER has performed on early stringed instruments with many ensembles and he is on the faculty of the New York Continuo Collective, an inclusive workshop that explores the intimate connec- tion between poetry and music in the seventeenth century. He has accompanied early operas with Juilliard Opera, the University of Maryland, Princeton University, Peabody Conservatory, the Wooster Group, and at Yale University.

Our title, The Secret Lover, comes from Strozzi’s cantata “l’amante segreto’ which appears in her Opus 2. It stands out for its multi-sectional style and poignant text, and it lays bare the commonality of emotions over the centuries. Preeminent New York City-based early music ensemble TENET is led by artistic director Jolle Greenleaf. TENET has won acclaim for its innovative programming, virtuosic singing and command of repertoire that spans the Middle Ages to the present day.

Highlights of recent seasons include performances of J.S. Bach’s motets, a three-year cycle of Carlo Gesualdo’s Tenebrae Responsories, annual performances of works by Purcell and his contempo- raries celebrating St. Cecilia, the patron saint music, and original theatrical performances highlighting works composed by, for, and about women in 17th century Italy.

Renowned for their interpretations of Renaissance and Baroque repertoire, TENET’s distinguished soloists’ have been praised for their pristine one-voice-to-a-part singing “to an uncanny degree of precision” (The Boston Globe). TENET sponsors the high- ly praised Green Mountain Project, giving annual performances of Claudio Mon- teverdi’s Vespers of 1610, as well as other Vespers that have been newly reconstructed by the project’s musical director, Scott Metcalfe, including music by Monteverdi, Giovanni Gabrieli, Antoine Charpentier and their contemporaries.

Performances of modern-day fare have included Arvo Pärt’s Passio at Carnegie Hall in 2014, and a new commission by Pulitzer Prize-winning composer Caro- line Shaw in 2015. A driving force in cultivating the New York City early music community, TENET collaborates regularly with other acclaimed ensembles and organizations including Dark Horse Consort, Five Boroughs Music Festi- val, New York Polyphony, the Sebastians, among many.

TENET performs regularly at Carnegie’s Zankel Hall, the Metropolitan Mu- seum of Art and numerous other venues throughout New York City. Further afield, TENET has performed at the Festival Casals de Puerto Rico, Berk- shire Bach Festival and many other venues throughout the United States, Latin America and Europe. Most Serene Highness, I have so frequently received such affectionate aid through the generosity of one scholar-vassal of your Highness in guiding me to the use of these, and of other most harmonious compositions. There- fore, I must reverently consecrate this first opus, which I, as a woman, too rashly bring to the light, to the most august Name of Your Highness, in order that under an Oak-tree of gold* it rest protected from the lightning-bolts of slanders prepared for it. The choice of the lyric verses will help me somewhat, which are all trifles of he who from my girl- hood has given me his surname and material comfort. These will relieve the boredom of anyone who does not remain entirely pleased with the poor harmonies of my songs. But favored by the protection of Your Highness, I flatter myself to believe that you will harbor none who vilify these, my works, if they come to be seen in those royal hands, and to be heard by those most discerning ears, which never do other than hear with Heroic kindness when receiving others’ devotion. In this regard I profess myself not to be last in the line of affection, I am not inferior to any who revere the great worth of your Highness. Thus, bowing deeply, I pray for the sublime privileges of the divine wisdom of Your Highness, each additional one a more suitable bliss. From Venice on the 12th of October, 1644 For Your Most Serene Highness. Your most humble and devoted servant, Barbara Strozzi

* (ed: Rovere = oak. This dedication was written to Vittoria della Rovere.) Jolle Greenleaf co-producer Joey Quigley co-producer Hank Heijink assistant producer Leonard G. Manchess recording, editing and mixing engineer Steve Goldberger assistant engineer Tom Durack mastering engineer Recorded on April 20-22, 2015 at Trinity Wall Street, New York

Martin Morell, translations Molly Quinn, art direction and design Hank Heijink, graphic producer Paris Mancini, photographer and stylist Becky Oehlers, photographer Photographs on location at Kelsey Island (Branford, CT) and Fabbri Mansion (NYC)

Special thanks to Mary Jane and Roger Kelsey, TENET’s Board of Directors and Board of Advisors, Beth Beauchamp, Marc Verzatt, and everyone who generously helped to make this recording possible.

We treasure the love and support of our families, our friends, our audience, and our fellow performers.

Thank you!