Sergio RENDINE Passio et Resurrectio Soloists • Chorus and Orchestra of the Marrucino Theatre, Chieti • Sergio Rendine (b.1954) Passio et Resurrectio

PASSIO DOMINI NOSTRI JESU CHRISTI 7 Quinta Parola Sitio - 2:38 Orologio della Passione III A ventun’ora 1 Chorus Tristis est anima mea – 9:12 l’acqua li cercò Orologio della Passione Cristo all’una de notte – Prima Parola Pater dimitte illis 8 Chorus and Mezzosoprano Agnus Dei – 13:34 Sesta parola Consummatum est – Settima Parola In manus tuas, Domine, 2 Cantus per tromba e strumenti a fiato 5:14 commendo Spiritum meum Seconda Parola Hodie mecum eris in Paradiso 9 Orologio della Passione IV Ventidue ore 2:30 3 Terza Parola Mulier ecce filius tuus 2:23 un colpo gli fu dato

4 Concerto per flauto e archi 5:36 Stabat Mater RESURRECTIO DOMINI NOSTRI JESU CHRISTI 5 Orologio della Passione II Alli vint’ore 1:47 steva addenucchiata 0 Alleluja 1:06 Quarta Parola Eli, Eli, Lemà, Sabachtani ! Voices of the people: Exultate Deo 5:00 6 Oblio 1:10 @ Voice and Chorus: Alleluja, resurrexit 8:02

Voice in Orologio della Passione: Nando Citarella Speaker: Manuele Morgese Mezzosoprano: Damiana Pinti Folk Voices: Emanuela Loffredo and Elio Tacconelli Soprano: Lucilla Galeazzi

Saxophone: Pierpaolo Pecoriello Flute: Gabriele Di Iorio Percussion: Maurizio Trippitelli

Chorus and Orchestra of the Marrucino Theatre, Chieti (Chorus Master: Fabio D’Orazio) Marzio Conti

8.557733 2 Sergio Rendine (b.1954) Passio et Resurrectio This music is made of flesh, as well as spirit; nerves, as My music, therefore, is only that of a man, for men; well as spirit; anxiety, uncertainty, fear, pain and of a child, for those who, like him, stand before the risen confusion, as well as spirit. Christ as if before a pumpkin transformed into a Anyone who believes that sacred music is no more carriage, open-mouthed in amazement. This is non- than music written of or for the spirit, will not intellectual music, in that it seeks to be free of the understand it. This, this is music of love. And the love of banality that some foolishly call “intelligence”. This is the Father is clear in the terrible humiliation and intuitive music, written without thinking, or rather by suffering of His only Son, a Son who is God and at the thinking along different lines. It is music... and this is the same time is no longer God: in his final moment he is point...Talking about music is like trying to wear clothes alone. He is only the Son of Man. Through him, made of water... Sometimes it is useless, and yet it bathes humanity cries out,“My God, my God, why hast thou us. It is better to listen to music, and even better to make forsaken me”. And I, a speck of humanity, want to cry it ourselves. As always... out with them. Sergio Rendine The Teatro Marrucino and the “Passio et Resurrectio”

In spring 1977, the Teatro Marrucino in Chieti, in the in different forms, had long existed across southern Italian region of Abruzzo, opened its doors for the first Italy. Not long afterwards, on 13th April 2000, the time to groups of non-professional singers and Orchestra and Chorus of the Teatro Marrucino gave the musicians. During Holy Week these groups travelled première of the Passio et Resurrectio (texts by Vincenzo from house to house around Chieti, singing Passiontide De Vivo) in Chieti’s San Giustino Cathedral. songs. They performed two each day throughout the The concert was recorded by RADIORAI and week, ancient pieces of music, often dating back to the broadcast on Good Friday immediately after the Pope’s days of Gregorian chant, and handed down from traditional Via Crucis ceremony in Rome. It went on to generation to generation over the centuries. be broadcast by RAI SAT and RAI International in 58 More than a hundred miles away, in Naples, where different countries. The Marrucino Orchestra has since this Easter tradition has its roots, Sergio Rendine was performed the work in both Abruzzo and Rome, while composing the cantata that was to become the Passio et the Exultate movement formed part of the Christmas Resurrectio for soloists, “folk” voices, chorus and 2003 concert broadcast by RAI from Bethlehem. orchestra. At that time, we did not know him, and he did not know us or the Teatro Marrucino. Aurelio Bigi, Fate brought us together in the summer of 1997 and Special commissioner of the Teatro Marrucino we soon began to talk about this lovely tradition which, Nicola Cuculo, Mayor of Chieti

3 8.557733 The Easter cantata Passio et Resurrectio is a musical della Passione (the 24 hours of the Passion) which setting of the feelings expressed by ordinary people would then join the later practices of the Via Crucis (the about the most important event in the church calendar. It procession past St Leonard of Port Maurice’s fourteen takes its inspiration from local folk traditions stations of the cross), the Seven Last Words of Our (themselves rooted in ancient rituals) which survived Saviour on the Cross and the Three Hours of Agony of until very recently in the rural areas of Abruzzo, Christ on the Cross. Campania and Puglia. The text of Passio et Resurrectio is a meditation on The Easter customs of the Kingdom of Naples the “salutary contemplation of the Passion” (St Paul of varied from place to place but all had one thing in the Cross). It combines traditional music with the common: the Passiontide song, for a solo voice or reflective moments of the Seven Last Words, which unison chorus, often accompanied by strings (plucked become an integral part of the popular ritual of the and bowed), wind, percussion and, in later years, Orologio della Passione and which together with the accordion. This musical tradition began in rural areas Gospel text sung by the chorus accompany Mary’s with travelling singers going from farm to farm, but grieving, as expressed through the forms of oral and soon spread to urban centres where they would go from medieval literary tradition. house to house instead. The music they performed was For some time now Sergio Rendine has invested his more or less the same across the different regions: the work with a sense of spiritual longing that transcends the ritual telling of the 24 hours of the Passion, from the human dimension, and in Passio et Resurrectio his Last Supper to the Burial, the Pianto della Madonna religious and naturalistic inspiration is evident. Over the (tears of the Virgin) as Mary looks for her son, and the years his style has developed, becoming linguistically story of Christ’s last hours, ending with the blessing of and formally more elaborate through borrowings from the holy palm. other times and places. Here, in the themes of the The origins of the customs surrounding the Easter Passion and the Resurrection, it finds the ancient life Passion go back a very long way, and encompass many blood of his Mediterranean roots, the structures of the of those originally associated with the passions of the great Neapolitan tradition of rhetoric, be it the sacred middle-eastern gods worshipped by imperial Rome. The “theatricality” of Francesco Durante and Giovanni different versions of these folk-songs, still to be heard in Battista Pergolesi or the severity of Leonardo Leo, the Campania and Abruzzo, have been handed down with Lutheran chorales in the Passions of Bach and others, infinite variety. The language changes from place to the purity of eighteenth-century sacred music, the place, from dialect to Italian, or Italianised dialect. The visceral sounds of street music, the unbridled rhythm of form varies too, and the verses, often irregular in terms ritual dances, and the desperate cry of men relating their of rhythm and rhyme scheme, tend in surviving own day-to-day pain to the suffering of God and seeking transcriptions to conform to a model owing much to the the hope of resurrection. eighteenth century and the musicality of the eleven- All of these come together to form a vast edifice, or syllable lines of poet and librettist Pietro Metastasio, polyptych, some of the panels of which have a previous many of whose lyrics can be found alongside more existence, such as the Alleluia, in the Missa pro pace authentically folk-based lines in the Easter music of the conducted by Ashkenazy in Stockholm, or the Exultate Amalfi coast. It was during the eighteenth century in fact and Agnus Dei which, slightly adapted, had earlier that local traditions and more learned literary forms formed part of Rendine’s Missa de Beatificatione in came together thanks to St Alphonsus Liguori, bishop, onore di Padre Pio. musician, poet and moralist. He encouraged the The cantata opens with the words of Christ who is integration of traditional rituals into Catholic orthodoxy, approaching his final hour on earth. “Tristis est anima codifying as “holy practice” the singing of the Orologio mea” (Sad is my soul) sings the chorus. The “folk” voice 8.557733 4 replies, accompanied by percussion beating time to the Heralding the Resurrection, a voice in the distance first nineteen hours of the Orologio della Passione. sings a joyful Alleluia. Then the people’s joy soars in the Then come the Seven Last Words, sung by the chorus rhythmic Exultate, written for two unpitched voices, one and followed by meditative Abruzzian texts. An male and one female. Finally the Alleluia theme returns, instrumental episode, with solo trumpet, represents the recapitulated and developed by the mezzo, and the story of the good thief, while a flute solo depicts Mary’s chorus enters to share in a song of praise. sorrow, before the declaration of the twentieth hour. The final Three Words are contained within the verses of the Agnus Dei, and the Passio section is brought to an end Vincenzo De Vivo by the last three hours of the Orologio. English translation: Susannah Howe

Sergio Rendine

Sergio Rendine was born in Naples in 1954 and graduated in composition under Domenico Guàccero at the Santa Cecilia Conservatory in Rome and in choral music and conducting with Giuseppe Agostini at the Rossini Conservatory in Pesaro. He is considered among the more important composers of our time, with commissions from leading musical institutions, including the Radio Orchestras of Stuttgart, Hamburg, and Cologne, the Salzburg Festival, the BBC, the orchestra of , the of Monte Carlo and Frankfurt, the Strasbourg Festival and the Festival of Two Worlds at Spoleto, the Teatro dell’ in Rome, the Teatro Massimo of Palermo, the , Sergio Rendine & Marzio Conti © Renato Vitturini the Moscow Bolshoy, the Prague National Symphony Orchestra, the 2000 Grand Jubilee Committee, and many others. With his opera Alice, commissioned by RAI, he won the Barcelona Hondas Prize and the special critics’ prize of the Prix Italia. He was chosen by the Presidency of the Nobel Prize for Peace to compose, together with Matsudaira, Menotti, Penderecki and Schnittke, the World Mass for Peace, performed in Oslo on the occasion of the award. His Missa de beatificatione in onore di Padre Pio da Pietralcina, performed in the Sala Nervi at the Vatican, was commissioned as the official Mass for the beatification. His Passio et Resurrectio for soloists, choir and orchestra was written for Good Friday in the Jubilee Year of 2000. He serves as administrative adviser to the Orchestra of the S. Cecilia Accademia Nazionale, commissioner of the SIAE for the opera section, and artistic director of the Teatro Marrucino of Chieti, the Lyric Theatre of the Abruzzi. His compositions are published by G. Ricordi & Co., Milan, Edipan in Rome, and now exclusively with Bideri & Warner Italy. Among the principal performers of his works have been Salvatore Accardo, , , José Carreras, , Cecilia Gasdia, , Enzo Gragnaniello, Micha van Hoeck, Will Humburg, Lindsay Kemp, Steven Mercurio, , Amii Stewart, with many others. 5 8.557733 Nando Citarella In 1979 Nando Citarella began his collaboration with the Compagnia MTM of Lydia Biondi, with performances in Italy and abroad. Winner of the Record Critics’ Prize in 1981, from 1982 to 1987 he undertook principal rôles in opera buffa, musical comedy and concerts in the United States, South America, and a number of European countries, appearing finally in 1996 at the Edinburgh Festival as solo singer, choreographer and creator of a display of contemporary folk-dance. He has appeared as a singer in films directed by Mario Monicelli, Luigi Magni, Cristina Comencini, and Franco Zeffirelli. Since 1986 he has worked in Italian radio and television and in 1996 sang on the occasion of World Youth Day for the Holy Father John Paul II at the Vatican. Since 1987 he has been director of the Compagnia La Paranza, collaborating with various music theatre groups and producing four operas. He has made a number of recordings and is artistic director of the Inter-ethnic Festival of Grottaferrata and of the music theatre section of the Festival of Mediterranean Cinema. Since 1990 he has taught music, folk-lore, and movement in the folk-ritual of Central and Southern Italy and the Mediterranean at the Institute for the Training of Music Therapists in Naples. Manuele Morgese Winner of the Premio Napoili Cultural Classic Attore Teatrale 2001, the popular Neapolitan actor and producer Manuele Morgese enjoys a highly successful career in Italian theatre, television and cinema. Damiana Pinti Born in Rome, Damiana Pinti studied the classical guitar at the Giuseppe Verdi Conservatory in Milan, winning first prizes at the Città di Stresa and Fernando Sor Competitions. She studied singing with the Australian soprano Margaret Baker Genovesi and has appeared as a soloist in, among other works, Mozart’s Corontation Mass and Requiem and in various Bach cantatas. In 1998 she won the first prize at the Spoleto A. Belli Competition, followed by appearances as Charlotte in Massenet’s Werther in Terni and in Spoleto. In the same year she was awarded first prize in the Treviso Toti dal Monte International Competition, singing the rôle of Siebel in Gounod’s Faust at Treviso, Rovigo, and Trento. She was awarded the Bärenreiter Prize at the Gorizia C. A. Seghizzi International Vocal Chamber Music Competition for her performance of Brahms. Other engagements have brought appearances in the rôles of Zita in Gianni Schicchi, Cherubino, Dido, and Antiope in Porpora’s Arianna in Nasso. Her operatic repertoire has brought a range of repertoire, from Mozart and Rossini, Donizetti and Verdi, to The Death of Klinghoffer. Emanuela Loffredo Born in Naples in 1978, Emanuela Loffredo was discovered by chance by Sergio Rendine and Gianluigi Gelmetti. She made her début in 2000 in the former’s Passio et Resurrectio. In 2001 she appeared with Enzo Gragnaniello in a concert for the 705˚ Perdonanza Celestiniana, and subsequently at the Teatro della Buglia in Rome in a repertoire of Café Chantant and in the show Le Moulin Rouge. In December 2002 she appeared at the Naples Basilica of S. Chiara with the Solis String Quartet and Massimo Wertmüller, and in 2003 with the same quartet in a concert dedicated to peace at La Sapienza University in Rome.

8.557733 6 Elio Tacconelli Singer and percussionist, Elio Tacconelli won popularity for his performances with various groups in the 1970s and 1980s. With a wide vocal range, he has given considerable attention to light classical repertoire, while contemporary composers have regularly sought him out for rôles particularly suited to his vocal qualities. Lucilla Galeazzi Born at Terni, Lucilla Galeazzi developed an interest in Umbrian folk-music while at university. In 1977 she joined the Vocal Quartet of Giovanna Marini, appearing in performances and participating in recordings, and thereafter collaborated in a number of important theatrical events. 1987 brought an extended European tour with Tango, mémoire de Buenos Aires and in 1990 she was among the winners at the Recanati Festival with the song Il cantico magico delle sirene. Her career has brought many involvements with contemporary music and jazz, with performances of Luciano Berio’s Folk Songs with the Umbria Chamber Orchestra in 2000, in Sergio Rendine’s Passio et Resurrectio at Chieti, L’Aquila, and, in the Jubilee Holy Year, in Rome. An active schedule has taken her to leading artistic centres throughout Europe as a performer and as a specialist in popular vocal techniques. Her own vocal studies were with the soprano Michiko Hirayama and Gianni Socci. Pierpaolo Pecoriello Born in Pescara in 1966, Pierpaolo Pecoriello studied the flute at the Luisa D’Annunzio Conservatory there under Sandro Carbone, followed by the Siena Jazz Courses, a seminar with Dave Liebman at the Rome Scuola del Testaccio, with the Jazz Diploma of the N. Piccinni Conservatory in Bari. He began his concert career in 1981 and between 1986 and 1988 collaborated with Paolo Damiani, with recordings, broadcasts, and international festival appearances. In 1990 he won the Forlì National Jazz Competition with the pianist Tony Pancella, appearing in concert with a number of leading performers. As first alto saxophone he worked with Marco Renzi’s Italian Big Band and contributed to the development of this group, from 1994 with its notable concert activity, broadcasts, television appearances and recordings. He appeared in a collaboration between African percussionists and Italian musicians and in a recording with the Miradas Group. Other collaborations have been with the composer Angelo Valori, the Dick Halligan Quartet, Blood Sweat and Tears, and Bob Mintzer. His Four in One Quartet, made up of promising young musicians from the Abruzzi, is dedicated to modern mainstream. Since 1993 he has been a Conservatory teacher of Jazz, and has collaborated with leading American universities, including the New Orleans University and Chicago Columbia College in the performance of jazz in Italy. He holds the chair of Jazz at the Alfredo Casella Conservatory in L’Aquila. Gabriele Di Iorio A pupil of Angelo Persichilli, the flautist Gabriele Di Iorio participated in international courses at Città di Castello and Ravello, and developed his abilities with C. Klemm, M. Kessich, and James Galway. He made his début in 1976 with Ibert’s Flute Concerto with the Abruzzo Symphony Orchestra, thereafter embarking on an active career as a soloist and chamber music player in many centres in Italy, and abroad in Poland, Switzerland, Greece, and France. He has collaborated with leading conductors and given courses and seminars throughout Italy. He has made many recordings for Italian and Vatican Radio and is Professor of Flute at the Luisa D’Annunzio Conservatory in Pescara.

7 8.557733 Maurizio Trippitelli Maurizio Trippitelli started his concert career at the age of sixteen, working with the Rome RAI Symphony Orchestra, the Accademia Nazionale di S. Cecilia, the Teatro dell’Opera in Rome, the Scarlatti Orchestra in Naples, the Boston Symphony and the Philadelphia Orchestra. He has collaborated with leading musiicians and in 1990 was the soloist in the national première of Paul Creston’s Marimba Concerto. He has participated in major productions under very distinguished directors and has made a number of recordings with Gianluigi Gelmetti, Renato Bruson, Riccardo Cocciante, Renato Zero, Enzo Gragnaniello and, the latest, with Sting. Since 1995 he has collaborated with Sergio Rendine, taking part in the première of L’Alleluja for voice, percussion, and full orchestra, and from 1993 with Ennio Morricone. He is one of the promoters of the Percussionists of Santa Cecilia and of Afro Sound Percussion. He teaches at the L’Aquila and S. Cecilia Conservatories and is Professor of Percussion at the Monopoli Concervatory in Bari. Orchestra del Teatro Marrucino The Orchestra of the Teatro Marrucino was established in 1997 under the artistic direction of Sergio Rendine as the Laboratorio di Formazione Orchestrale, with Gianluigi Gelmetti as Honorary President. Since 1998 it has appeared in all the opera productions of the Teatro Marrucino and in numerous concerts with world-famous soloists and conductors, including Riccardo Muti, Misha Maisky, Gianluigi Gelmetti, José Carreras and Luis Bacalov. In recent years it has also developed activity in the field of contemporary music with various world premières and collaborated, particularly with Naxos, in various recordings. Coro del Teatro Marrucino Set up in 1997 on the initiative of the Teatro Marrucino and the conductor Sergio Rendine, the Teatro Marrucino Chorus has, in the space of a few years, achieved a professional standard of performance, with a concert and operatic repertoire. The founder of the chorus, Donato Martorella, now Honorary President, was succeeded in 2002 by the present chorus-master, Fabio D’Orazio. Marzio Conti Marzio Conti began his career as a flautist, winning an international reputation as one of the leading Italian performers on the instrument. He turned from this and from his work as a teacher to conducting, as a pupil of Piero Bellugi. He serves as principal conductor of the Turin Philharmonic Orchestra, after three years as guest conductor of the Symphonic Institute of the Abruzzi at L’Aquila. He has worked regularly with the more important Italian and foreign orchestras, among the latter the National Symphony Orchestra of Ireland, and the Irish Chamber Orchestra, the Bournemouth Sinfonietta, the Miami and Delaware Symphonies, the Mexico State Orchestra, the German SWR Orchestra, and the French Orchestre de la Picardie. He has recorded for a number of major record companies.

8.557733 8 Passio et Resurrectio Passio et Resurrectio Cantata per Soli, Voci recitanti, Cantata for Soloists, Speakers, Coro e Grande Orchestra Chorus and Full Orchestra Testo di Vincenzo De Vivo Text by Vincenzo De Vivo Musica di Sergio Rendine Music by Sergio Rendine

PASSIO DOMINI NOSTRI JESU CHRISTI THE PASSION OF OUR LORD JESUS CHRIST

1 Coro 1 Chorus Tristis est anima mea My soul is exceeding sorrowful usque ad mortem. even unto death. Ecce appropinquat hora Behold, the hour is at hand, et filius hominis tradetur and the Son of man is betrayed in manus peccatorum. into the hands of sinners.

OROLOGIO DELLA PASSIONE THE HOURS OF THE PASSION

Voce e Coro Solo and Chorus Cristo all’una de notte cuntemplava Christ at one hour of the night contemplated la morte soja ca s’avvicinava his death that approached e mentre Cristo la cena apparecchiava and while Christ prepared the meal Giuda lo tradimento appreparava. Judas made ready his betrayal.

A li ddoje ore li piedi li lavaje, At the second hour he washed their feet, a li tre ore li communicaje, At the third hour he spoke to them, a li quattr’ore ca li predicaje, At the fourth hour he preached, a li cinque ore all’orto che priaje. At the fifth he prayed in the garden.

A li sei ore n’angelo vulaje At the sixth hour an angel parlanno a Cristo l’arriconfortaje, spoke comfortingly to Christ, alli sett’ore la turba arrivaje At the seventh hour the crowd came lo canuscette e po’ se lo pigliaje. Seeking him and laying hold on him.

A li otto ore nu schiaffo li fu dato, At the eighth hour he was struck, a li nov’ore fu male trattato, At the ninth hour he was maltreated, a li diec’ore di bianco vestuto At the tenth hour dressed in a white robe, pure da Simon Pietro fu traduto. Then he was betrayed by Simon Peter.

L’undici ore fu messo ‘ncarcerato At the eleventh hour he was imprisoned, senza c’avesse fatto ‘nu peccato, Without having committed any sin, le dodici ore in casa de Pilato At the twelfth hour they took Christ the Saviour a Cristo Salvatore hanno purtato. To the house of Pilate.

9 8.557733 Le tredici ore Cristo fu legato, At the thirteenth hour Christ was tied a sangue alla colonna flagellato To the column and scourged, spine pungenti da male fattore A crown of thorns by an evil-doer fu ‘ncoronato alle quattordici ore. Was placed on his head at the fourteenth hour.

Le quindici ore di rosso fu vestuto At the fifteenth hour he was dressed in red acciomo da Pilato presentato, And brought before Pilate, a sedici ore forte s’è sentute At the sixteenth hour they sought “ ‘nchiuovalo ‘ncoppa ‘a croce, ha jestemmiato”. To have him crucified, accused of blasphemy.

Fu condannato alle diciassett’ore, He was condemned at the seventeenth hour, fuje libbero Barabba malfattore Barabbas, a thief, was set free, Spugliato annudo Cristo Salvatore Christ the Saviour was stripped Fu miso ‘ncroce alle dieciotto ore. And put on the Cross at the eighteenth hour.

Alle dieciannove’ore Cristo ‘ncroce At the nineteenth hour Christ on the Cross guardanno ‘ncielo alzaie forte la voce: Looked up to Heaven and said in a loud voice: “Padre perdona a chi me sta accirenno, ‘Father, forgive them can un ‘o sanno che stanno facenno”. For they know not what they do’.

PRIMA PAROLA THE FIRST WORD

Coro Chorus Pater, dimitte illis, Father, forgive them, quia nesciunt quod faciunt. For they know not what they do.

Voce recitante Speaker ‘Mmiezzo a chianti, a jestemmie Amid plaints, and blasphemy e allocche ‘e muorte, and threats of death sulo ‘na voce se sentette forte, One voice was heard loud, ‘a voce chiara e ferma d’ ‘o Signore: The clear and firm voice of the Lord: “Pate perdona a l’ommo peccatore”. ‘Father, forgive the sinner’.

SECONDA PAROLA THE SECOND WORD

2 Coro 2 Chorus Hodie mecum eris in Paradiso. Today thou shalt be with me in Paradise.

Voce recitante Speaker L’ommo ca a mano destra steva ‘ncroce The man crucified on the cross to the right sentette dinto ‘e ‘recchie chella voce, Heard that voice sfurzannose, ca’ capa se vutaje With an effort he raised his head

8.557733 10 chiamanno a Gesù Cristo e le parlaje: Calling on Jesus Christ, and spoke: “Quanno sarrai turnato ‘n Paraviso ‘When you come into Paradise allicuordate ‘e me ca, moro ‘mpiso”. Remember me, who die hanging here’, E doce arrispunnette a lui Gesù: And Jesus answered him gently: “Addò vaco io ce viene pure tu”. ‘Where I go, you too will come.’

Cantus per tromba e strumenti a fiato Cantus for trumpet and wind instruments

TERZA PAROLA THE THIRD WORD

3 Coro 3 Chorus Mulier, ecce filius tuus. Woman, behold thy son.

Voce recitante Speaker E mentre Cristo a Morte s’avviava And while Christ suffered death Maria steve pe ‘a via che addimannava: Mary was by the road and asked: “Vi prego, ‘n buonagrazia, arrispunnite: ‘I pray you, please, answer: O figlio mio veduto nun l’avite?”. Have you seen my son?’ Senza risposta se ne va Maria Without a reply Mary went ca chiagne sola mmiezzo de la via. Alone along the way and wept. Intanto vede il figlio suo innocente Meanwhile she saw her innocent son Venire annanzi mmiezo a tanta gente Coming among so many people e comme ‘o vede subito lo chiamma: And when she saw him she suddenly cried: “Addò staje jenno, bello figlio ‘e mamma?”. ‘Where are you going, fair son of your mother?’ L’arrispunnette cu nu filo e voce: He answered in a whisper: “Vaco a murire ‘ncoppa a chesta croce”. ‘I am going to die hanging on this Cross’. Cu sette spade dinto de lo core Seven swords pierced her heart Come chiagneva ‘a mamma d’ ‘o Signore. As the Mother of the Lord wept.

Coro femminile Women’s Chorus Stabat Mater dolorosa The sorrowful Mother stood juxta crucem lagrimosa Weeping by the Cross dum pendebat filius. While her Son hung there.

Voce recitante Speaker Accussì dice Maria sotto la croce: Mary, in sorrow, by the Cross said: “O figlio, pe’ pietà, muovi la voce. ‘O Son, for mercy, speak, Tu nun ‘o siente che dulore è chisto?” Do you not see what sorrow this is?’ a Madonna dicette a Gesù Cristo. Our Lady said to Jesus Christ, Cussì l’arrispunnette o Salvatore: The Saviour answered her: “Io sto murenno pe li peccatore, ‘I die for sinners, io chiuove e croce quasi nun li sento, The nails and the cross I feel less,

11 8.557733 ca li lagrime toje so’ cchiù turmiento”. For your tears are for me greater torment’ Dicette ‘a Mamma: “Si me lasci sola His mother said: ‘If you leave me alone chi me dà forza, a me chi me cunzola?”. Who will give me strength, who’ll console me?’ Rispunnette ‘o Signore cu l’affanne: The Lord replied with trouble: Te lasso comme figlio a San Giuvanne”. ‘I leave you St John as a son.’

4 Concerto per flauto e archi, terzo tempo 4 Concerto for flute and strings, third movement

OROLOGIO DELLA PASSIONE II THE HOURS OF THE PASSION II

5 Voce 5 Voice Alli vint’ore steva addenucchiata At the twentieth hour stood kneeling Maria sotto alla croce, addolorata. Mary by the Cross in sorrow. Comme Cristo vedette ca chiagneva When Christ saw her weeping subbeto doce doce le diceva: At once He gently said: “Che fai Maria che chiagni e che t’affanni: Why do you weep, Mary, and are troubled: ti lasso per figliuolo a San Giovanni”. I leave you St John as your son.’

QUARTA PAROLA THE FOURTH WORD

Coro Chorus Eli, Eli, lemà sabachtani. Eloi, Eloi, lama sabachthani?

6 Coro 6 Chorus

QUINTA PAROLA THE FIFTH WORD

7 Coro 7 Chorus Sitio. I thirst.

Voce recitante Speaker “Na goccia d’acqua pe’ carità ‘e Dio”, A drop of water for charity ‘o Salvatore addimmannaje a Maria The Saviour sought of Mary, e ‘a mamma soja ca steva addulurata And his Mother, who was sorrowful, le rispunnette tutta disperata: Answered him, in her despair: “Si chella capa putisse calare ‘If you could bring your head near na goccia ‘e latte te vulesse dare I could give you milk to drink. io t’allattasse, figlio mio Divino, I would feed you, my divine son, comme a Betlemme te tenevo ‘nzino. As I held you to my bosom in Bethlehem Autro nun veco sotto a chesta croce By this cross I see nothing che acito e fele pe’ sta vocca doce”. But vinegar and gall for your gentle mouth’.

8.557733 12 OROLOGIO DELLA PASSIONE III THE HOURS OF THE PASSION III

Voce Voice A vent’un ora l’acqua li cercò At the twenty-first hour he sought water subbeto acito e fiele gli purtò. And they gave him vinegar and gall.

8 Agnus Dei, prima strofa 8 Agnus Dei, first verse

SESTA PAROLA THE SIXTH WORD

Coro Chorus Consummatum est. It is accomplished.

MEDITAZIONE SESTA SIXTH MEDITATION Agnus Dei, seconda strofa Agnus Dei, second verse

SETTIMA PAROLA THE SEVENTH WORD

Coro Chorus In manus tuas, Into thy hands, Domine, commendo Lord, I commend Spiritum meum. my spirit.

9 Voce (sulla coda) 9 Voice Ventidue ore un colpo li fu dato At the twenty-second hour an iron lance co’ ‘a lancia ‘e fierro dinto a lo costato: Pierced his side: e comme a ‘na funtana sonco asciute And as a fountain there came forth sangue mmescolato a l’acqua d’ ‘a feruta. Blood mixed with water at the blow.

Schiovato venne alle ventitre ore At the twenty-third hour they took down lo corpo santo de lo Salvatore The holy body of the Saviour, e dinto a lo sepolcro appreparato And laid it in the sepulchre made ready alle ventiquattrore fu atterrato. At the twenty-fourth hour.

RESURRECTIO DOMINI NOSTRI JESU THE RESURRECTION OF OUR LORD JESUS CHRISTI CHRIST

ALLELUJA PRIMO THE FIRST ALLELUIA Voce sola e voce recitante Solo Voice and Reciter

0 Voce sola 0 Solo voice Alleluja… Alleluia . . .

13 8.557733 Voce recitante Speaker E mo’ ca s’alza quel calice santo And now that the holy chalice is raised mettimmo ‘o core dinto a lu contiento. Our hearts are filled with joy. Non è più tempo di pianti e lamenti No longer is it a time for weeping and laments ca sonano campane co’ strumenti. And bells and instruments sound out.

Addenucchiato ‘nterra a sto momento Kneeling down, at this moment, nuje ringraziammo a Ddio e a lo Sacramento We thank God and the Sacrament, ca Gesù Cristo miso ‘n croce e muorto That Jesus Christ, put on the cross and dead, doppo a tre juorne è vivo ed è risorto. After three days is alive and risen.

EXSULTATE REJOICE Voci popolari, coro Folk Voices, Chorus

! Voci popolari ! Folk Voices Exultate Deo, adjutori nostro, Sing we merrily unto God our strength: jubilate Deo Jacob. make a cheerful noise unto the God of Jacob. Sumite psalmum et date tympanum Take the psalm, bring hither the tabret; psalterium jucundum cum cythara the merry harp with the lute. buccinate in neomenia tuba. Blow up the trumpet in the new moon: In insigni die sollemnitatis nostrae even in the time appointed, Quia praeceptum Israel est and upon our solemn feast day. Et judicium Dei Jacob. For this was made a statute for Israel: Exultate! and a law of the God of Jacob. Rejoice!

ALLELUJA ALLELUIA soprano e coro soprano and chorus

@ Solo @ Solo Alleluja. Alleluia. Resurrexit. He has risen. Alleluja. Alleluia.

Coro Chorus Alleluja. Alleluia.

Solo Solo Laudate Dominum de coelis, Praise the Lord in the heavens. alleluja. Alleluia. Laudate Eeum in excelsis, Praise him in the height. alleluia. Alleluia.

8.557733 14 Coro Chorus Alleluja. Alleluia.

Solo Solo Laudate eum sol et luna. Praise him ye sun and moon: Laudate eum omnes stellae luminis. praise him all ye stars and light.

Coro Chorus Alleluja. Alleluia. Laudate Dominum omnes gentes. Praise the Lord, all ye heathen.

Solo Solo Laudate Dominum omnes gentes, Praise the Lord, all ye heathen: laudate eum omnes populi, praise him all ye nations. audiam qui loquatur Dominus Deus. Let me hear to whom the Lord God speaketh:

Coro Chorus Loquetur enim pacem For he will speak peace ad populum suum. to his people.

Solo Solo Laudate eum omnes stellae luminis, Praise him all ye stars and light. laudate eum coeli coelorum Praise him all ye heavens: et aquae quae super coelos sunt. and ye waters that are above the heavens.

Coro Chorus Laudate eum in tympano et choro, Praise him in the cymbals and dances: laudate eum in cordis et organo. praise him upon the strings and pipe. Alleluja. Alleluia.

Solo Solo Confitemini Deo deorum, O give thanks to the God of all gods. alleluja. Alleluia. Confitemini Domino dominorum, O thank the Lord of all Lords. alleluja. Alleluia. Laudate eum sol et luna. Praise him ye sun and moon.

Coro Chorus Alleluja. Alleluia.

15 8.557733 Solo Solo Laudate eum omnes stellae lumunis, Praise him all ye stars and light. alleluja. Alleluia.

Coro Chorus Alleluja. Alleluia.

Solo Solo Alleluia. Alleluia, Resurrexit. He has risen. Alleluja. Alleluia.

8.557733 16 557733rear Rendine US 9/10/05 12:18 pm Page 1

CMYK NAXOS NAXOS The Easter cantata Passio et Resurrectio, by the contemporary Neapolitan composer, Sergio Rendine, is a musical setting of the feelings expressed by ordinary people about the most important event in the church calendar, the Passion and Resurrection of Christ. Taking its inspiration from folk traditions from throughout Southern Italy and set to texts in dialect and Italian, the Cantata displays a masterful use of simple yet expressive structures in a neo- DDD RENDINE: RENDINE: romantic vein. It was written for Good Friday in the Jubilee Year of 2000 and broadcast after the late Pope’s traditional Via Crucis ceremony in Rome. 8.557733

Sergio Playing Time RENDINE 58:11 (b. 1954) Passio etResurrectio Passio et Resurrectio Passio et Resurrectio (Easter Cantata for soloists, speaker, percussion, chorus and orchestra on texts by Vincenzo de Vivo)

1-9 Passio Domini Nostri Jesu Christi 44:03 www.naxos.com Made inCanada Sung textsandtranslationsincluded Booklet notesinEnglish 0 @ - Resurrectio Domini Nostri Jesu Christi 14:08 & 2005 NaxosRightsInternationalLtd. Nando Citarella • Manuele Morgese • Damiana Pinti Emanuela Loffredo • Elio Tacconelli • Lucilla Galeazzi Pierpaolo Pecoriello • Gabriele Di Iorio • Maurizio Trippi