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Home , Biagio Marini, Boy soprano

Claudio MONTEVERDI Madrigals Book 8 Madrigali guerrieri et amorosi

Delitiæ Musicæ Marco Longhini Claudio CD 2 58:37 MONTEVERDI Combattimento di Tancredi e Clorinda (a, e, g, j, k, l, p, s x (1, 3, 4, 5, 6)) (1567-1643) 1 Sinfonia (Biagio Marini: Sinfonia III) 2:43 2 Tancredi, che Clorinda un uomo stima 2:07 MADRIGALS BOOK 8 3 O tu, che porte, correndo sì 1:45 4 Sinfonia 0:59 MADRIGALI GUERRIERI ET AMOROSI 5 Notte, che nel profondo oscuro seno (reconstructed by Marco Longhini) 2:42 LIBRO OTTAVO, 1638 6 Piacciati ch’indi il tragga (reconstructed by Marco Longhini) 1:40 7 Non schivar, non parar 1:29 CD 1 55:57 8 Tre volte il cavalier 0:55 9 E stanco ed anelante 4:01 Madrigali guerrieri 0 Nostra sventura 1:21 Altri canti d’amor ! Rispose la feroce 0:33 1 Sinfonia (j, l, p, t, u, x (1, 2, 5)) 0:52 @ Torna l’ira nei cori 0:42 2 Altri canti d’amor (a, b, e, j, l, x (1, 2, 5)) 3:28 # Ma ecco omai l’ora fatal 3:26 3 Di Marte io canto furibondo e fiero (a, b, d, e, f, g, j, k, l, p, t, v, x (1, 2, 5, 6)) 2:19 $ Amico hai vinto 1:54 4 Tu, cui tessuta han di Cesare (g, j, k, l, s, w (1, 2, 3, 4), x (1, 2)) 1:04 % In queste voci languide 3:15 5 Che mentre guerre canta (a, b, d, e, f, g, j, k, l, p, s, v, w (1, 2, 3), x (1, 2, 5, 6)) 4:11 ^ Mentr’egli il suon de’ sacri detti 1:55 Or ch’l ciel e la terra (a, b, c, e, f, g, j, l, p, s, x (1, 2, 5, 6)) Ballo delle Ninfe dell’Istro 6 Or ch’l ciel e la terra 6:18 & Entrata innanzi al ballo (j, k, l, p, s, x (1, 2, 5, 6), y, z) 0:46 7 Così suol d’una chiara fonte viva 5:19 * Volgendo in ciel (e, j, k, n, p, t) 1:30 Gira il nemico insidioso (d, e, g, k, l, p) ( Su, mi si rechi omai 1:19 8 Gira il nemico insidioso 1:48 ) Venga la nobil cetra 1:43 9 Nol lasciamo accostar 0:32 ¡ Entrata e passeggio 0:39 0 Armi false non son 0:50 ™ Muovete al mio bel suon (a, b, c, e, g, k, n, p, q, w (1, 2, 3), x (1, 2, 5, 6), y, z) 2:00 ! Vuol degl’occhi 1:06 £ Ballo (Biagio Marini: Ballo V all’Allemanna e corrente) (j, k, l, p, s, x (1, 2, 5, 6), z) 2:12 @ Non è più tempo 0:49 ¢ Ei l’armi cinse (a, b, c, e, g, k, n, p, q, w (1, 2, 3), x (1, 2, 5, 6), y, z) 1:57 # Cor mio, non val fuggir 1:50 Madrigali amorosi $ Se vittorie sì belle (e, f, k, l, p, r) 2:47 Altri canti di Marte % Armato il cor (c, d, p, r) 3:08 ∞ Altri canti di Marte (a, b, c, d, e, g, l, p, t, v, x (1, 2, 5, 6)) 4:29 Ogni amante è guerrier § Duo belli occhi fur l’armi (a, b, c, d, e, g, l, p, t, x (1, 2, 5, 6)) 1:55 ^ Ogni amante è guerrier (c, d, k, l, p, r) 5:50 ¶ Tu per lo cui valor (g, j, k, s, v) 1:03 & Io che nell’ozio nacqui (g, j, p, t, o) 7:58 • Tu per lo cui valor (a, b, c, d, e, g, l, p, t, v, x (1, 2, 5, 6)) 1:54 * Ma per qual ampio Egeo (d, p) 0:42 ª Vago augelletto (a, b, c, d, e, f, g, j, l, p, t, x (1, 2, 5, 6)) 5:42 ( Riedi ch’al nostro ardir (c, d, g, k, l, p, r, t) 1:05 ) Ardo, avvampo (a, b, c, d, e, f, g, h, k, l, p, r, x (1, 2, 5, 6)) 4:03 CD 3 59:12 Mentre vaga Angioletta (e, f, j, p, s) 1 Mentre vaga Angioletta 5:11 2 E talor mormorando 4:08 3 Così cantando 2:25 4 Ardo, e scoprir, ahi lasso (e, f, k, l) 5:12 5 O sia tranquill’il mare (c, d, k, l) 5:39 DELITIÆ MUSICÆ Ninfa che scalza il piede 6 Ninfa che scalza il piede (d, p) 1:29 Ensemble vocale 7 Qui, deh, meco t’arresta (c, d, p) 1:35 Alessandro Carmignani, (cantus) (a) 8 De l’usate mie corde (c, d, g, p) 1:08 Paolo Costa, Countertenor () (b) 9 Ma senza pur mirarmi (c, d, g, p) 1:13 Fabio Fùrnari, (quintus-altus) (c) 0 Dolcissimo uscignolo (a, k, l, w (1, 2, 3, 4)) 4:37 Paolo Fanciulacci, Tenor (altus) (d) Marco Scavazza, (tenor) (e) ! Chi vol haver felice (a, k, l, s, w (1, 2, 3, 4)) 2:11 Devis Longo, Baritone (tenor) (f) Lamento della Ninfa Walter Testolin, (bassus) (g) @ Non avea Febo ancora (e, f, g, k, l) 2:18 Davide Benetti, Bass (bassus) (h) # Amor, dicea, il ciel mirando (a, e, f, g, j, u) 4:47 Beniamino Borciani, Boy (i) $ Sì tra sdegnosi pianti (e, f, g, k, l) 0:56 % Perché te’n fuggi, o Fillide? (c, e, g, p, s) 6:29 Basso continuo ^ Non partir ritrosetta (c, d, g, k, l, s, w (1, 2, 3)) 6:02 Marta Graziolino, harp (j) Pietro Prosser, Theorbo (k) & Su, su, su pastorelli vezzosi (a, b, d, l, p, y) 3:51 Maurizio Piantelli, Theorbo (l) and Baroque guitar (m) Cristiano Contadin, Viola da gamba di basso continuo (n) and Violoncione (o) CD 4 47:55 Carmen Leoni, Harpsichord (p) and Organ (q) Madrigali rappresentativi Vittorio Zanon, Harpsichord (r) and Organ (s) Ballo delle ingrate (a, b, g, i, j, k, l, o, p, s, u, v, x (1, 3, 4, 5, 6), z) Marcello Rossi, Organ (t) 1 (Strepito spaventoso sotto il palco di tamburi discordati) 0:36 Rodney Prada, Lirone (u) 2 Sinfonia (Biagio Marini: Sinfonia Sesto Tuono, Op. 22, 1655) 2:54 David Yacus, Trombone (v) 3 De l’implacabil dio 2:07 4 Sinfonia 0:27 Ensemble di viole da gamba (w) 5 Udite, donne 2:04 Cristiano Contadin, Soprano viola da gamba (w1) 6 Bella madre d’Amor 2:48 Rodney Prada, viola da gamba (w2) 7 No, no, non de’ più fidi amanti 2:26 Teresina Croce, Tenor viola da gamba (w3) 8 Fuor de l’atra caverna 1:58 Daniele Cernuto, Bass viola da gamba (w4) 9 Dunque non ti rammenti 1:23 0 Udite, udite o dell’infernale corte 3:37 Ensemble di archi barocchi (x) ! Ecco ver’ noi l’addolorate 2:43 Luca Mares, (x1) @ Entrata 3:12 Giorgio Baldan, Violin (x2) # Ballo 2:15 Vania Pedronetto, Violin and Viola da braccio (x3) $ Dal tenebroso orror 4:23 Alessandra di Vincenzo, Viola da braccio (x4) % Antro è là giù 2:48 Daniele Bovo, Cello (x5) ^ Ma qui star più non lice 2:43 Alessandro Sbrogiò, Violin (x6) & Tornate al negro chiostro 2:12 Marco Rosasalva – Chiara de Ziller, Flauti dolci (y) * Ahi troppo, ahi troppo è duro 3:38 Chicchi Dellisanti, Percussion (z) ( Al fumo, a’gridi, a’pianti 3:41 Marco Longhini, Director Urtext Music Edition Ut Orpheus by Andrea Bornstein © 2000 (1567-1643) different kinds. This is no casually thrown-together resemblance to the effect I was seeking … I turned to the Madrigali Book 8 ‘Madrigali guerrieri et amorosi’ anthology – its material is carefully arranged by divine Tasso, a poet whose words express (with all category, following a rigorous and well-thought-out propriety and naturalness) those passions that he In search of the ‘affections of the mind’ morale e spirituale (1640), the Eighth Book has been tripartite system. The number three plays a key role wishes to portray; I found his description of the combat called “the most disparate, the most piecemeal, truly the here, starting with the main heading on the title page: between Tancredi and Clorinda, giving me two Published by Alessandro Vincenti in in 1638, most diverse [of Monteverdi’s madrigal collections], at Madrigali guerrieri – Madrigali amorosi – Madrigali opposing passions to turn into song: war, that is, the extensive Eighth Book of Madrigals contains many least as regards its aims and purposes. The many-hued rappresentativi (Madrigals of war – Madrigals of love – supplication and death. In the year 1624, this work was emblematic works of Monteverdi’s later years, not to soundworld announced by the books of 1605 and 1614 Madrigals for the stage). performed before the finest citizens of the noble city of mention some of the greatest masterpieces in the history explodes in its sumptuous gallery – polyphony begins to The last of these is often left unmentioned, thanks to Venice, in a noble chamber in the home of the most of music. Despite the considerable renown of the works break down, the continuo conjures a halo of the lettering design on the title page – the third category Illustrious and Excellent Signor Girolamo Mozzenigo (a contained within its pages, which ensured the instrumental effects, the conventional vocal forces is printed in much smaller characters, giving the prominent gentleman and leading commander of the composer’s lasting fame, it was never reprinted. Today, change, all kinds of new qualities of sound are sought impression that it is simply some additional explanatory Most Serene Republic), my patron and special only three complete copies survive, housed in libraries out.” (Claudio Gallico, Monteverdi, 1979) wording: “with some works in the theatrical genus, protector. It was greeted with great praise and in Bologna, Paris and Washington. Many of the madrigals in this book were written and which will form brief episodes between the purely sung, applause. Having seen the success of my first depiction Book Eight was published a full nineteen years after performed years before its publication, as the composer non-theatrical sections”. Close examination of the of anger, I continued my studies into this idea; I wrote its immediate predecessor, the Seventh Book ‘Concerto’ himself states in the dedication. The final work here, the preface to Book Eight, however, gives us an several other such works, for both church and chamber (Naxos 8.555314-16), and five years before the Ballo delle ingrate, for example, is to all intents and understanding of Monteverdi’s true intentions. performance; and this genus was so welcomed by other composer’s death. A collection of Scherzi musicali had purposes a Mantuan composition: it was first performed composers that they did not only voice their approval appeared in 1632, while the Ninth Book of Madrigals as part of the lavish celebrations that marked the CLAUDIO MONTEVERDI TO THE READER but did commit it to paper, in that they wrote works in was issued posthumously, in 1651 (these will both wedding of Francesco Gonzaga and Margherita of imitation of mine, much to my pleasure and honour. I appear on Naxos 8.555318); a small number of other Savoy in 1608, three years after the publication of the I have observed that of all our passions (or affections of have therefore decided to make it known that it was I pieces were included in various different collections Fifth Book, a year after the first staging of Orfeo and just the mind), three are dominant – Anger, Moderation and who first made investigation into and composed a work (these can be heard on Naxos 8.555312-13). a week after that of Arianna (an of which all trace Humility (or supplication) – as the finest philosophers in this genus, so vital to the art of music. It may The Eighth Book is dedicated to Ferdinand III, who has sadly been lost, with the exception of the famous affirm … These are clearly reflected in the art of music justifiably be said that without it, music has been had become Holy Roman Emperor in 1637. In all Lamento, for which see Naxos 8.555312-13). in the three terms “agitated”, “soft” and “moderate” imperfect, possessing only the “soft” and “moderate” likelihood, Monteverdi had intended it to be a homage Monteverdi went back to this unpublished work (of [concitato, molle, temperato]: I have found examples of styles … The manners of performing must take into to the latter’s father, Ferdinand II, and his second wife which he was clearly particularly fond), and adapted its the “soft” and the “moderate” in the music of earlier account three aspects: text, harmony and rhythm. My Eleanor Gonzaga, princess of Mantua (the pair had text to suit an “imperial” occasion. Our theory is that it composers, but not of the “agitated” (a genus which is, rediscovery of this genus has given me the opportunity married in 1622). Ferdinand II died in 1636, which is was designed to be performed as part of the coronation however, described by Plato … as follows: “take that to write a number of madrigals which I have called probably when this volume should have been ready for festivities of either Ferdinand III or his father, but it harmony that fittingly imitates the utterances and tones “warlike”. There are three kinds of music performed in publication. Book Eight may look north to the Holy could also have been used to celebrate either man’s of a brave man going into battle”). In the knowledge the courts of great princes to please their sensitive Roman Empire, but it also reveals the lasting ties of election as emperor. Similarly, the Combattimento di that it is the play of opposites that greatly moves our tastes: theatre, chamber and dance music. For this affection that bound its composer to Mantua and its Tancredi e Clorinda was first performed in a Venetian mind, which should be the purpose of all good music … reason I have ordered the madrigals in this book as ruling family, whom he had served for so many years. nobleman’s home in 1624, long before its publication in I have devoted my studies and efforts to rediscovering either “of war”, “of love” or “for the stage”. I know my Monteverdi was by this time happily installed in Venice, 1638, while the duet Armato il cor had appeared in print this genus. In the pyrrhic measure the tempo is fast … work will be imperfect, because I have only a little having been appointed Maestro di Cappella della before, in the Scherzi musicali of 1632. and uses warlike, agitated leaps, while in the spondaic talent, particularly in the warlike genus, since it is new Serenissima Repubblica (as proudly emblazoned on the measure the tempo is slow and the opposite. I therefore and “omne principium est debile” [all beginnings are title page of the Eighth Book). After years of publishing Reorganising the madrigal began to consider the semibreve, and proposed that fragile]. I therefore beseech the kind reader to silence, he gathered together what he considered to be sounded once it should correspond to one spondaic appreciate my good will, which will await greater his most significant works in this single, substantial In this Eighth Book, Monteverdi was keen to continue measure; when this was divided into sixteen perfection in the said genus from a learned pen, since volume. In a description that could equally be applied to where he had left off with the Seventh in terms of semiquavers, sounded one after the other, and combined “inventis facile est adere” [it is easy to add to what has his Venetian anthology of sacred music, the Selva offering the reader a selection of “madrigals” of with words expressing anger and scorn, I found a already been invented]. Farewell. We therefore find three categories of madrigal in characters. Melodic instruments such as the violin write a ballet, a symphony, an opera. Monteverdi (like Instrumentation, continuo Book Eight (amorosi – guerrieri – rappresentativi), become an essential part of the performance, even at his contemporaries) was not bound by such three human passions that their music can and must times the protagonists of episodes written specifically classifications but could simply explore new worlds and There are twenty-two madrigals in Book Eight – not express (anger – moderation – humility), three styles in for them. ways of communicating the meaning of a text. He was many, apparently, in comparison to all previous which they are composed and to be performed (agitated For such reasons, modern thinking might classify very much aware of having set something “fragile” in volumes up to and including Book Six. This is, however, – soft – moderate), three aspects of each piece that the Ballo delle ingrate or the Combattimento as motion, something still developing, something that one of the most extensive of Monteverdi’s secular musicians must take into account (text – harmony – (or proto-operas), complete with ballets (just like would lead to new forms of musical expression; if publications. Its division into a substantial series of rhythm) and three kinds of performance (theatre – nineteenth-century grand opéra). This is historically adding to “what has already been invented” is easy, vocal and instrumental partbooks, the sheer length of the chamber – dance). incorrect. Monteverdi himself calls them “madrigals”, however, knowing when and where to stop is anything texts, the subdivision of each madrigal into as many as Monteverdi raises the question of the meaning of and they are simply part of the development of that but. For Monteverdi, it was always the text that set the six parts and the considerable instrumental forces the word “madrigal”, in his desire to create order by musical-literary genre. Music, like all the figurative arts, limits; his aim was always to stir his listeners’ emotions, involved all add up to a work of enormous complexity. classifying his works into specific categories. The notes was going through an experimental phase at this point in and this is perfectly illustrated by his Eighth Book of As often with music of this kind, the accompanying our recording of the First Book (Naxos history. balance and proportion were no Madrigals. instrumentation can be either “enriched” or 8.555307) called the madrigal the secular work par longer enough; architect Leon Battista Alberti’s As noted by Anna Maria Monterosso Vacchelli in “impoverished” in an attempt to bring out the inner excellence of the entire Renaissance: a “form without a definition of beauty as a harmonious whole that would the preface to the Fondazione Monteverdi’s edition of meaning of the text. We have chosen what seems to us form”, in that it is shaped around the lyric that inspires be damaged were anything to be either added, removed the Eighth Book (2004), “the Platonic axiom that music the optimal instrumentation – generous but non- and sustains it. Given the way in which it invited or altered no longer satisfied the seventeenth-century should serve the word really resides in the close-knit, intrusive. Although percussion instruments were not stylistic and linguistic experimentation, the madrigal artist. interdependent relationship between the emotions included in scores until the eighteenth century, we know was the symbol of synthesis between art forms and the expressed by the text – the means by which they are they were used long before this, in improvisatory highest achievement of a sophisticated aristocratic Monteverdi’s experimentation most directly conveyed – and the music, which is asked manner (there are many surviving depictions of culture. Our modern mentality (which over the centuries to bring them to life and heighten them. It has to do this percussion instruments and players in the visual arts). In has added to and codified musical forms) would have it With its desire to experiment, Mannerism threw into by using the devices typical of a style underpinned by a 1642, Johann Albert Ban wrote of Monteverdi’s use of that the works in the Eighth Book no longer have crisis the concept of beauty (which in the music world compositional technique free from pre-established rules many “military instruments of fixed sound (drums, anything in common with the madrigal. I think meant works written in the style of Marenzio or and characterised by dissonances, chromaticisms, percussion instruments of wood and metal, and the otherwise. Let’s look at the main differences between Palestrina). Bearing in mind that “all beginnings are anticipations, syncopated rhythms, sudden and continual like)”. As proof, we need only cite the contemporary the “old” madrigal and this “new practice”. In fragile”, the freedom and myriad possibilities now changes of tone, and, of course, the “agitated” style “so account of the first performance of the Ballo delle Monteverdi’s later collections, the duration of available to artists meant they could easily lose their vital to the art of music” and essential when it comes to ingrate, which reported a “fearsome banging of individual works and the number of performers way. Platonism (the main secular point of reference) and portraying the “two opposing passions …: war, that is, discordant drums beneath the stage”, a dramatic sound involved start to spiral. The gem-like madrigal, which the number three (the mystical and sacred nature of the supplication and death”.” effect we were keen to recreate here. once rarely ran for any longer than four minutes, Trinity, three in one) were therefore used to establish A investigation of love, the emotion that rouses (as We have also used a range of continuo instruments expands by means of a kind of fragmentation, new limits and justify artistic decisions. The now it always has roused) our deepest, most conflicting to depict the different characters. Anyone who has subdividing into numerous sections, to create works of unbounded madrigal, continually expanding by means passions, lies at the heart of this book. Love and war are followed our recordings since Book One will have seen as much as twenty minutes, or more. The five singers of fragmentation, could travel into uncharted territory, not set out as polar opposites. What we see instead is the how the continuo section becomes progressively larger who magically created such sophisticated harmonies sometimes succeeding in achieving its essential, much constant struggle for the bliss of requited love, the lack in Monteverdi’s publications, developing from a basso with contrapuntally woven individual lines are no sought-after goal, namely moving its listener. of which generates the despair of solitude (self-imposed seguente (a modest doubling of the voices), to the longer enough: larger vocal groupings are required, with Monteverdi used the existing possibilities of the or otherwise). Book Eight offers a variety of portrayals genuine basso continuo of Book Five (a substantial contrasting, more intimate moments provided by duets madrigal but also increased and elaborated on them. For of combat – battles to conquer a much-desired love, to instrumental contribution to scores which move beyond or trios. The individual singer’s responsibilities increase him, writing madrigals entailed using any means avoid becoming its unwitting victim, to avoid the vocal polyphony to duets, trios and even solo lines). as the role of polyphonic melodic lines decreases, and available to make the meaning of a lyric clear and suffering it produces, to punish the one who withholds Here, the continuo is celebrated, often dividing to extensive passages are entrusted to genuine soloists. The accentuate its expressive power. Those who came after it, to try to defend oneself (even if, in reality, surrender accompany the soloists in contrasting, higly effective continuo now plays an essential role in creating both him had less freedom: ever since the eighteenth century, is inevitable)... groupings: the varied sonorities of lutes, harpsichords, distinctive tonal atmospheres and portraits of different composers have had to decide in advance whether to organ, harp, , cello, bass viol, lirone and baroque guitar provide a wealth of listening delights. We wanted In thanking the Naxos production team, who have wanted to highlight the fact that (in this type of music) it means the performance has failed and the performers to be able to pit these sounds against one another in backed this recording (like that of every other volume in while choices have to be made, based on the original are to blame. “battle” just like the voices they accompany. our series of the complete secular works of both notation, such decisions will of course be subjective. We wanted to give listeners as much detail as As in our previous Monteverdi recordings, we have Monteverdi and Gesualdo), I think it’s important to Mistakes are unavoidable (as I often say!), but are a key possible about these madrigals, and have therefore taken care to respect the order of the works as given in point out that a live performance of so complex a part of creating a performance. Decisions relating to the included all available musical/stage directions with the the index of the original edition. In the spirit of collection could only be given in exceptional inclusion of particular instruments or to the doubling of sung texts (both Monteverdi’s own indications and – in completeness, we have ignored the numerous cuts to circumstances. Its length (around three hours fifty certain melodic lines in the upper as well as lower parts, the case of the Ballo delle ingrate – excerpts from a which they have often been subjected: they can finally minutes) and the production, artistic and, in some cases, to dynamics and accentuation, to the continuo line contemporary account of a performance in Mantua). be heard in full, without any compromise to the beauty staging requirements involved would be daunting, to say (enabling its vertical harmonies) and, above all, to the of each as a whole. Monteverdi wanted his music to the least. Live performances of excerpts from Book vocal lines and means of expression – all of these are Madrigali guerrieri branch out, grow buds and flowers, and be nurtured by Eight are more feasible, but inevitably mean selecting essential to unleashing the full emotional power of this much-wanted and -needed “grafts” – from the addition some of the better-known works from this wonderful music, but they also underline the discretionary nature Book Eight opens with a sinfonia, just like the Seventh of embellishments to the insertion of works by other anthology. Recording, therefore, makes it possible to of performance. Monteverdi’s music triumphs by its Book. Then we hear a sweet trio in triple metre (a bar composers, whatever it took to make it live. The works give a complete performance and to introduce listeners sheer expressive force and our guiding principle was divided into three beats, three in one, symbolising the of Brescian violinist and composer Biagio Marini to the less familiar pieces as well, none of which is in that of conveying its full power and authentically Trinity, balance), accompanied by three “violini” (the (1594-1663) – a musician who deserves to be better any way inferior in terms of beauty or significance in communicating the “play of opposites that greatly number three again): a portrait of moments of peace and known – seem eminently suitable in this context. These Monteverdi’s output. The very first piece in the moves our mind, which should be the purpose of all love (Altri canti d’amor, CD 1 2). Shortly before the insertions, which might seem arbitrary but in fact play collection, for example (as we know, the first madrigal good music”. Any performance not guided by this aim end, the voices join together in symbolic unison (on the an essential part in rounding out Monteverdi’s overall in each of the composer’s books is always written for will end up being monotonous and lacking in vitality – words “quand’unisce due alme” – “when two souls are design, are clearly indicated in the tracklist and in the unusual forces or anomalous in some other way), is the line between emotion and monotony is extremely united”). This is followed by an episode of war, as sung texts. The composer’s wishes as regards rarely given live because of the number of performers fine. If in the past audiences have not been moved by represented by the god Mars [CD 1 3], in which we instrumental sinfonias, dances and other pieces are also required. This was probably the main reason why Book Monteverdi’s music, then the performers have focused hear the stile concitato in all its glory. Next comes a indicated. Performed in full, the monumental Book Eight was never reprinted. on the wrong objective: the “good music” itself is not to section for solo voice addressed to the dedicatee, Eight unsurprisingly fills 4 CDs: our recording of the We chose to base our performances on Andrea blame. The stile concitato “so vital to the art of music” Ferdinand III [CD 1 4]; a dense host of instruments at Ballo delle ingrate alone runs around twenty minutes Bornstein’s critical edition (published by Ut Orpheus), and to depicting “opposing passions” has to be times give the impression of horses neighing and longer than standard versions, which tend to favour the consulting the original part-books of 1638 whenever channelled in order to create emotion. Musicians who pawing the ground, while the final episode portrays the vocal sections over the ballet at its heart, thereby any doubts arose or key decisions were left to the have failed to do this, have therefore failed to achieve unity of Ferdinand’s subjects and faithful allies. depriving the work of its central beauty and resulting in performer. While Malipiero’s 1927 version was the aims of the Eighth Book: from the first performances Ferdinand is also the subject of the setting of the a performance lacking in substance – one that demeans pioneering for its time, we felt it had since been based on Malipiero’s realisations to the present day Rinuccini text Ogni amante è guerrier [CD 1 ^], with the music and fails to convey its true, spectacular nature. superseded, and we had reservations about using the (current performers can draw on a plethora of research its mention of “that great king who now bears upon his Fondazione Monteverdi edition of 2004 as our about “authentic” instrumental and vocal performance sacred head the splendour of the imperial diadem” Performance decisions reference. practice – we must try, “dare” even, to resuscitate its (“quel gran re ch’or su la sacra tesa posa ’l splendor del With a view to simplifying the listening process, we emotional heartbeat). If we are not “moved almost to diadema augusto”). A Petrarch sonnet inspires one of Making a recording like this has been a dream for us, have cued each section of the madrigals that are tears” by the outcome of the Combattimento di Tancredi Monteverdi’s most astonishing creations: Or ch’l ciel e one made possible by enormous quantities of subdivided into several parts, rather than creating fewer e Clorinda, by the torment of the unhappy soul doomed la terra [CD 1 6] contrasts the stillness of nature and enthusiasm and dedication from all concerned. I should but inconveniently lengthy tracks. Each individual to return to the Underworld at the end of the Ballo delle the torments of the human mind, in a manner personally like to thank our sound engineer and each of episode can therefore be easily located and enjoyed. ingrate, by the heartbreak expressed in the Lamento reminiscent of the first madrigal in Book Two, Non si the singers, musicians and consultants involved, all of Endless questions arose as we were preparing this della Ninfa, then the musicians have failed. Equally, as levav’ancor l’alba novella (Naxos 8.555308). Both whom helped us decide on a single interpretative route. recording, and in each case we had to agree on an listeners follow the music, they should be able to pieces are striking for the expressive diversity they Along the way we encountered hidden dangers, forks in answer and stick with it, our aim being that each imagine themselves on the stage, whether dancing display between the prima and seconda prattica. Here the path, technical difficulties and a whole range of performance captured on disc should result from a alongside ladies, damsels and naiads or sharing other the warlike state of mind explodes on the words “veglio, sound-related decisions to be made. carefully considered and researched process. We also characters’ suffering and pain. When this is not the case, penso, ardo, piango” (“I lie awake, I think, I burn, I weep”). This is an inner war – a battle raging within the Madrigali amorosi The two poems by Giovanni Battista Guarini, armour step forward, pursued by a sinister figure astride heart, and the sufferer’s only hope of peace lies in Dolcissimo uscignolo [CD 3 0] and Chi vol haver felice a wooden horse, or to hear a narrator recount the details thoughts of his beloved. Chromatic writing symbolises Altri canti di Marte [CD 2 ∞] provides a majestic il core [CD 3 !], are both set for five voices, sung “in of their ensuing combat. Monteverdi did not want to the inner torment for which “salute” (“cure” or opening to this section with its chorally repeated chords full voice, in French style”, and alternate between solo “dramatize” Tasso’s text: he wanted to quote from his “salvation”) seems ever further out of reach. The last and a military idiom full of trumpet-like fanfares and and tutti sections (as indicated in the separate part- work with all due respect and literary accuracy, infusing word, “lunge” (“far”), provides the opportunity for an blasts. While the first quatrain of Giovan Battista books). Monteverdi’s Confitebor No. 3 (in the Selva it with the appropriate power of expression. While the extremely melismatic passage. Both tenor and baritone Marino’s sonnet harks back to the madrigals of war, the morale e spirituale) is also marked “alla francese”, and Combattimento returns to the tradition of the descriptive are stretched to their vocal limits by leaps of a tenth, text then turns to the power of love, wielded as a there has been much debate about the meaning of this madrigal, the narrative and use of gesture turn it into an then the upper voices are pushed low and the lower weapon by the woman who has won victory over the marking. We lean towards thinking it may refer to the authentic theatrical performance. The narrator becomes voices high, the divergence between them creating an narrator’s heart. There is only one Petrarch text in this alternative practice of instrumentally doubling the the main protagonist, telling us about the two combatants effect still breathtaking today. part, a sonnet from the Canzoniere. Vago augelletto (for solo/tutti vocal parts. The “full voice” has to stand out, and their states of mind. He describes the warhorse Gira il nemico insidioso [CD 1 8] is a setting for seven voices, two and continuo) [CD 2 ª] but without emotional involvement. While in the pawing the ground in preparation for the off, the battle, three voices and continuo of a canzonetta by Giulio returns to the themes of O rossignuol from the Third “Italian style” all the many and wide-ranging emotions the clashing of swords, the aggression and bloodshed Strozzi. Reminiscent of the comic scenes in Book and Quell’augellin che canta from the Fourth. The of the human soul were portrayed as realistically as and, finally, Tancredi’s victory and Clorinda’s death. In Monteverdi’s operas, it uses a deft touch of humour to contrast between the poet’s state of mind and the possible, the French style was valued for its sweetness the process of setting this text, Monteverdi invented a depict the defences put in place by its “three-in-one” apparently carefree little bird (who is in reality laden of tone and lack of energy. The two canzonettas at the series of hugely creative musical techniques, including protagonist so as not to fall into Love’s clutches. Each down with “gravosi affanni” – “grievous woes”) end of this section, Non partir ritrosetta [CD 3 ^] and string pizzicati and – effects that had not been soloist is characterised by a different type of defensive requires us to portray both woeful and joyful moods. Su, su, su pastorelli vezzosi [CD 3 &], are very different. used before. The biggest innovation here, however, is its approach. Inevitably, Love attacks, and the unwilling One of the finest examples of word-painting in a Here, there is plenty of scope for choice – alternating dramatic sense of expression: as the composer himself heart is conquered. madrigal, Mentre vaga Angioletta [CD 3 1] begins with voices and instruments, voices alone, polyphony and wrote, it was to be sung “in accordance with the passions This section also contains two duets with continuo. a solo, unaccompanied voice. A few bars in, on the instrumental episodes: there is no one “right” answer, evoked by the text”. In our edition these are sung respectively by baritone words “musico spirto prende fauci canore” (“the spirit although there are several standard ways of performing After a sinfonia [CD 2 4], comes a magical moment voices (with two theorbos and two harpsichords) – Se of music possesses her singer’s throat”), the continuo these pieces. We offer two here: in Non partir ritrosetta of reflection in which the narrator expresses his hope vittorie sì belle [CD 1 $] – and tenor voices (with two accompaniment begins. Then a second voice increases the voices alternate with violas da gamba, while in Su, that his account of this heroic struggle will be passed on harpsichords that simulate the sounds of battle) – the tension. A splendid proliferation of images and su, su pastorelli vezzosi they alternate with flutes. to future generations: Notte, che nel profondo oscuro Armato il cor [CD 1 %]. As mentioned above, the latter phonic figurations are given free rein as the word- seno chiudesti [CD 2 5-6]. Monteverdi instructs that piece also appears in the 1632 collection of Scherzi painting develops. All the images in the text take on Madrigali rappresentativi runs and trills should be absent throughout the work, musicali (see Naxos 8.555319). musical form in a piece of the utmost vocal virtuosity. except in this stanza. As part of our research into the Part One of Book Eight concludes with the The following madrigal is a duet, performed here by the The Combattimento di Tancredi e Clorinda [CD 2 1] is freedom of expression this allows, we studied the explosive sonnet Ardo, avvampo [CD 1 )], a grand two . Ardo, e scoprir [CD 3 4] describes the one of the best-known works in this collection and a Possente spirito from Orfeo in great detail. Two musical fresco depicting the fires of love, written for doubts and fears of courtship and the total mental benchmark in the history of Western classical music. The versions of this famous aria exist, one “plain”, one eight voices with two violins and continuo. “The whole disarray caused by love. A stunning tenor duet, O sia story of this duel is told by Torquato Tasso (1544-95) in richly ornamented, and we adapted its melismas and of the first quatrain is underpinned by a powerful pedal- tranquill’il mare [CD 3 5], explores in greater depth a La Gerusalemme liberata (canto XII) and La instrumentation to suit this passage. note on G, while the frantic cries and invocations create technique used in Book Four’s Ah dolente partita. The Gerusalemme conquistata (canto XV). Monteverdi’s The Ballo delle Ninfe dell’Istro [CD 2 &], Volgendo a crescendo as the number of voices progressively voices begin in unison, then separate to stunning, work was first performed in Venice, in 1624, “as an il ciel and the ballet that follows make up a spectacular increases (from two, to four, to eight) … In the epilogue, dissonant effect on the words “mai da quest’onde” evening’s entertainment during Carnival, in the presence song of praise for Book Eight’s dedicatee, fitting the just two voices are left, and the music dies away as they (“never from these waters”). The virtuosic Ninfa che of all the nobility, who were moved almost to tears by theatrical genre to perfection. Monteverdi probably reach a barely audible final note in unison” (Paolo scalza il piede [CD 3 6] and Perché t’en fuggi [CD 3 %] their compassion: and they applauded the work as being included it here because of its celebratory references to Fabbri, Monteverdi, 1985). are both introduced by a solo tenor voice, joined by a a song of a kind neither seen nor heard before.” Having the naiads of the Danube and the “Re novo del romano second and then a third companion, the close-knit vocal already been treated to a number of madrigal impero” (“the new king of the Roman Empire”). writing gradually building up to an impressive ending. performances and an ad lib. sinfonia, those Venetian We have added flutes to violins, harpsichord (and a nobles would never have expected to see a knight in substantial continuo section) to harp (Venga la nobil cetra [CD 2 )]), and timpani to the other percussion, so Follino’s account of the Mantuan staging is highly Consistency of performance style that the world can resound to tales of “l’opre di detailed, and extensive excerpts (italicised) are Ferdinando eccelse e belle” (“the fine and noble feats of interspersed with the sung texts in this booklet, along In line with the rest of this Monteverdi series, all the Ferdinand”). Halfway through the ballo (between the with Monteverdi’s own instructions (unitalicised). An performances in our recording of the Eighth Book are two quatrains of the sonnet) Monteverdi instructs that understanding of how this large-scale madrigal was given by male voices, which we believe are capable of “there be performed a canario or passo e mezzo, or staged is essential if we are to appreciate its full investing even such characters as Clorinda, Venus, another dance, as preferred, without ”. A suitable narrative scope and spectacular visual impact. The Ballo Cupid, the lamenting maiden and her counterpart in the instrumental piece therefore has to be inserted here, and is about the souls of those whom Cupid failed to wound Ballo delle ingrate with all the expressive qualities Marini’s Balletto V alla Allemanna, Op. 8 seems the with his arrows – the “thankless” women who rejected necessary. Both the male and the female voice can bring perfect choice [CD 2 £]. their potential lovers. He and his mother Venus descend great charm to these roles. It is worth noting, however, Falling into the “theatrical” category, because the into the Underworld in order to beg Pluto to free these that Monteverdi wanted the quintessentially female role performer’s gestures must help express the emotions of women, who are languishing in the deepest pit of hell on of in Orfeo (1607) to be played by “quel pretino” the text, the Lamento della Ninfa [CD 3 @-$] is a three- account of their refusal to be courted and loved. Their (that priest). We have to tune our ears in to the attractions part work for a solo high voice and trio of two tragic fate and melancholy appearance are meant to of a that would have been widely heard in those and bass. In the first and third sections, particularly the induce the ladies in the audience to behave differently days. While it may no longer be suitable to cast a role in former, we find powerful dissonances used to portray (Venus tells us how one woman laughs at her lover’s this way for a live performance on stage, we were keen to the “pallidetto volto” (“pale features”) on which suffering, while another takes pleasure in her own achieve a plausible recreation of the original sound of a “scorgeasi il suo dolor” (“her grief was etched”), and the beauty simply because it can break a man’s heart). seventeenth-century performance on our recording. Any “gran sospir dal cor” (“sighs from deep within her After a wonderful duet for Venus and Cupid [CD 4 !] narrow-minded misgivings about assigning such roles to heart”). The maiden herself takes centre-stage in the (reminiscent of the most sublime moments in a male voice need to be overcome: the pure tones of a boy middle section, intoning her lament over a chaconne (cf Monteverdi’s late works), we find the entrata and ballet soprano are perfectedly suited to the part of Cupid, and a Zefiro torna, published in the Scherzi musicali of 1632) that form the heart of the work [CD 4 @-#] – the countertenor timbre is just right for Clorinda or the created by the continual, obsessive repetition of a moment at which the doomed women’s souls parade out “Ingrata”. We have to put our preconceptions aside and descending tetrachord, A-G-F-E, in triple metre. For this of hell. Many performances downplay this moment, allow ourselves to be lulled by the beautiful sound of latest of many laments, Monteverdi notes that the soloist cutting some of the ritornellos and repeats: we include these “ancient” voices. Although female characters in should not follow a rigid metronomical beat but instead them all, to restore the full impact of this central opera have been played exclusively by women for many go by an inner, emotional tempo. The other three parts episode. The women, initially weak and sorrowful, years, we know this was not always the case. Female (or, quietly commiserate beneath the solo line in the manner gradually regain their strength until their obsessively more accurately, “high”) roles would once have been of a Greek chorus. In our opinion, this maiden knew repetitive steps are transformed into an explosive taken on by boy , or . The nothing of jazz rhythms (a direction some other artists bacchanale. In the end, however, Pluto orders them to distinction between male and female roles became more have taken in recent years), and is simply overwhelmed return to their dark prison. Before being led back into of an issue in the nineteenth century when there was by the pain of abandonment. hell with her companions, one of the unhappy souls tries greater emphasis on characters being visually convincing The final vast fresco in sound, the Ballo delle to snatch a last breath of fresh air. Her heartfelt and on stage. On this recording, therefore, we have chosen to ingrate [CD 4], staged in Mantua on Wednesday 4 June heartbreaking lament [CD 4 *-(], a monody, ends in return to the high vocal of Monteverdi’s day, and 1608, is described in great detail in Federico Follino’s her farewell to the sun and stars, then she and her to put them back in the spotlight. Accentuating these now The frontispiece of the Eighth Book of Madrigals Cronache mantovane 1587–1608. Nothing, however, is fellows are returned to the flaming cavern whence they unfamiliar sonorities has influenced our performances known about a performance “là nel germano impero” came. and increased our understanding of Monteverdi’s poetics, (“in the German Empire”), as referred to in the version as well as breathing new life into the roles in question. of the text that appears in the Eighth Book. The theatrical aspect is of fundamental importance in this Marco Longhini The Italian version of these notes can be accessed last work. at www.naxos.com/notes/573755.htm English translation: Susannah Howe Delitiae Musicæ MADRIGALI GUERRIERI ET MADRIGALI GUERRIERI ET AMOROSI. LIBRO OTTAVO, 1638 AMOROSI. EIGHTH BOOK OF The a cappella instrumental and vocal ensemble Delitiae Musicæ was MADRIGALS, 1638 established in 1992. It is considered one of the most enterprising Italian early music ensembles, with important recordings in the last 20 years that CD 1 CD 1 include the Missa Philomena Praevia of Verdelot, four widely acclaimed albums (Choc du disque and 9 de Répertoire in France and the Five Stars MADRIGALI GUERRIERI MADRIGALI GUERRIERI Award in Spain) dedicated to Masses of Palestrina based on the compositions of the Flemish composer Cipriano de Rore, Lupus and ALTRI CANTI D’AMOR LET OTHERS SING OF CUPID Jacquet de Mantua. Delitiae Musicæ, always under the direction of Marco a sei voci con doi violini e quattro viole for six voices, two violins and four viols Longhini, has also recorded Adrian Willaert’s Vespro di Natale (Editor’s (Sonetto d’autore anonimo) (Sonnet; anon.) Choice, Classica, April 1999) and books of madrigals – Pazzia senile, Saviezza giovenile, Studio dilettevole and Metamorfosi – by Banchieri. 1 Sinfonia a doi violini e una viola da braccio 1 Sinfonia for two violins and viola da braccio The unconventional yet impassioned interpretations by Delitiae Musicæ che va inanzi al madrigal che segue to introduce the madrigal that follows and Marco Longhini are seen as an important regeneration of Italian Renaissance and . The ensemble is under exclusive contract to Naxos for a fifteen-CD collection of the 2 Altri canti d’Amor, tenero arciero, 2 Let others sing of Cupid, the gentle archer, Complete Madrigals by Monteverdi and a seven-CD collection of the Complete Madrigals by Gesualdo. i dolci vezzi e i sospirati baci, of his sweet charms and sighing kisses, narri gli sdegni e le bramate paci, let them tell of quarrels and of the longed-for truces Marco Longhini quand’unisce due alme un sol pensiero. when two souls are united by a single thought.

Marco Longhini graduated in conducting from Conservatory as well as studying 3 Di Marte io canto furibundo e fiero, 3 I sing of a proud and raging Mars, architecture in Venice (his dissertation looked at the relationship between architecture and i duri incontri e le battaglie audaci. of his bitter conflicts and valiant battles. performance), after completing earlier studies in composition, choral music and singing at the Fo nel mio canto bellicoso e fiero With my fierce and warlike song Conservatory. He has conducted orchestras both in his native (I Pomeriggi strider le spade e bombeggiar le faci. I make swords clash and torches blaze. Musicali, Angelicum, Milano Classica, Orchestra da Camera di Mantova) and abroad (Nederlandse Reisopera, Orquesta Ciudad de Granada). In 1992, his lengthy explorations of 4 Tu, cui tessuta han di Cesare alloro 4 You for whom an immortal crown 16th- and 17th-century Italian music, combined with his passion for musicological research, la corona immortal mentre Bellona, of imperial laurel has been woven, led him to found Delitiae Musicae with a view to reviving often unpublished masterpieces of gradite il verde ancor novo lavoro, accept Bellona’s wreath, still green and fresh, Italian early music. Twenty years’ experience in this repertoire, performing all over Europe, has made him one of the most sought-after conductors in his field. With his graceful technique 5 che mentre guerre canta e guerre sona, 5 for in our songs and music of war, and innate Italian expressiveness, he is ideally suited to bringing out the full emotional o gran Fernando, l’orgoglioso coro o mighty Ferdinand, our proud potential of the Baroque repertoire. He is much in demand in the opera house as well, del tuo sommo valor canta e ragiona. celebrates your matchless valour. conducting a wide range of pre-Romantic stage works: highlights include a performance of Monteverdi’s Orfeo recorded by RAI, Cavalieri’s Rappresentatione di anima et corpo and a much-acclaimed staging of Sartorio’s Or ch’l ciel e la terra NOW THAT HEAVEN AND EARTH Orfeo, directed by Pierluigi Pizzi. He has an extensive discography, notably the complete Monteverdi madrigals and a sei voci con doi violini for six voices and two violins complete secular works of Gesualdo for Naxos. Other recordings include Cavalieri’s Rappresentatione di anima et (Sonetto Francesco Petrarca (1304-74), (Sonnet; Petrarch (1304-74), Canzoniere, CLXIV) corpo; Banchieri’s La pazzia senile and Saviezza giovenile; Monteverdi’s Messa e Litanie della Beata Vergine; and Canzoniere, CLXIV) Carissimi’s Sciolto havean dall’alte sponde. His performance with Delitiae Musicae of a new edition of Monteverdi’s Vespers of 1610 at the opening concert of the Fribourg Festival was broadcast on Swiss Radio. Marco 6 Or ch’l ciel e la terra e ’l vento tace 6 Now that heaven and earth and the wind are silent, Longhini has taught at the Luca Marenzio Conservatory in since 1992 and also teaches choral direction at e le fere e gl’augelli il sonno affrena, sleep has stilled the birds and beasts, Brescia’s Scuola Diocesana Santa Cecilia. In 2010 and 2016 he was invited to give classes on Monteverdi and on Notte il carro stellato in giro mena night is guiding the course of its starry chariot performing Italian music at Moscow Conservatory. e nel suo letto il mar senz’onda giace, and the sea is lying waveless in its bed, veglio, penso, ardo, piango; e chi mi sface I lie awake, I think, I burn, I weep; and she who is # Cor mio, non val fuggir, sei morto # My heart, it’s too late to run, you’re dead, sempre m’è innanzi per mia dolce pena: destroying me is always before me, e servo d’un tiranno protervo, enslaved to a brutal tyrant, causing me sweet pain: ch’il vincitor che già dentro la piazza a victor who is already within the fortress guerr’è ’l mio stato, d’ira e di duol piena, I am caught up in a war of anger and grief, grida: «foco, ammazza». and crying, “Fire, slaughter!” e sol di lei pensando ho qualche pace. and only the thought of her brings me any peace. SE VITTORIE SÌ BELLE IF CUPID’S WARS 7 Così suol d’una chiara fonte viva 7 Thus from the same bright and sparkling spring a doi Tenori for two tenors move ’l dolce e l’amaro ond’io mi pasco; issue the sweetness and the bitterness that (Madrigale di Fulvio Testi (1593-1646), (Madrigal; Fulvio Testi (1593-1646), both sustain me; «Nome di Vittoria») “Nome di Vittoria”) una man sola mi risana e punge; the same hand both heals and wounds me; e perché ’l mio martir non giung’a riva, and that there be no end to my suffering, $ Se vittorie sì belle $ If Cupid’s wars mille volte il dì moro e mille nasco, I die and am reborn a thousand times a day, han le guerre d’Amore, end in such fine victories, tanto da la salute mia son lunge. so far am I from finding salvation. fatti guerrier, mio core, become a soldier, my heart, e non temer de gl’amorosi strali and fear not the mortal wounds GIRA IL NEMICO INSIDIOSO AMORE THAT CUNNING ENEMY CUPID IS STALKING le ferite mortali: of his arrows: (Canzonetta di Giulio Strozzi (1583-1652)) (Canzonetta; Giulio Strozzi (1583-1652)) pugna [e] sappi ch’è gloria fight in the knowledge that it is glorious il morir per desio della vittoria. to die from a desire for victory. 8 Gira il nemico insidioso, Amore, 8 That cunning enemy Cupid is stalking la rocca del mio core. the fortress of my heart. ARMATO IL COR MY HEART ARMOURED Su presto, ch’egli è qui poco lontano: Come, quickly, he’s not far away: (Madrigale d’autore anonimo, (Madrigal; anon., attrib. Ottavio Rinuccini) armi, armi alla mano. take up your weapons. anche se attribuito a Ottavio Rinuccini)

9 Nol lasciamo accostar, 9 We can’t allow him to get close, % Armato il cor d’adamantina fede, % My heart armoured in adamantine faith, ch’egli non saglia he mustn’t climb nell’amoroso regno I come to wage war su la fiacca muraglia, these crumbling walls, a militar ne vegno. in the kingdom of love. ma facciam fuor una sortita bella: let’s make our escape: Pugnerò con la morte, I shall do battle with death, butta la sella. saddle up a horse. contrasterò col ciel e con la sorte. I shall fight both heaven and destiny. Ch’intrepido guerriero, For as a gallant warrior, 0 Armi false non son, ch’ei s’avvicina 0 These aren’t false weapons, he and his men se vittoria non ho, vita non chero. if victory is not mine, I have no desire to live. col grosso alla cortina. are about to breach our defences. Su presto, ch’egli è qui poco discosto: Come, quickly, he’s almost upon us: OGNI AMANTE E’ GUERRIER EVERY LOVER IS A WARRIOR tutti al suo posto. every man to his post. a doi Tenori for two tenors (Versi sciolti di Ottavio Rinuccini (1562-1621)) (blank verse; Ottavio Rinuccini (1562-1621)) ! Vuol degl’occhi attaccar il baluardo ! He wants to attack the ramparts of my eyes con impeto gagliardo. by launching a bold assault. ^ Ogni amante è guerrier, nel suo gran regno ^ Every lover is a warrior, and Cupid has Su presto ch’egli è qui senz’alcun fallo: Come, quickly, he’s here, no doubt about it: ha ben Amor la sua milizia anch’egli. his own troops in his great kingdom. tutti a cavallo. every man to his horse. Quella fiorita età, ch’el duro pondo In the flower of youth, when the heavy weight può sostener de l’elmo e dello scudo of helmet and shield is easily borne, @ Non è più tempo, ohimè, ch’egli ad un tratto @ Time has run out, alas, for with one strike negli assalti d’Amor fa prove eccelse. great feats can be achieved in his battles. del cor padron s’è fatto: he has made himself master of my heart: Né men sconcio è veder tremula mano The sight of a hand trembling with age a gambe, a salva chi si può salvare, take to your feet, every man for himself, per troppa età vibrar la spada e l’asta, wielding sword and lance is as incongruous all’andar, all’andare. run away, run away. che sentir sospirar canuto amante. as the sound of a white-haired lover’s sighs. Ambo le notti gelide e serene Both lover and warrior spend tentar pugnando l’ostinato Belga. in battle against the obstinate Belgian. e l’amante e ’l guerrier traggon vegghiando: icy, silent nights keeping watch: O pur là dove inonda i larghi campi Or, there where the royal Danube floods questi a salvar del capitan le tende, one guarding his commander’s encampment, L’Istro real, cinto di ferro il busto, the wide meadows, my breastplate on, questi a guardar l’amate mura intento. the other gazing upon the walls he holds so dear. seguir tra l’armi il chiaro e nobil sangue to take up arms and serve the clear and noble blood Non mai di faticar cessa il soldato No soldier ever ceases in his efforts, di quel gran re ch’or su la sacra testa of that great king who now bears upon his sacred head né riposa già mai verace amante. nor does any true lover take his rest. posa ’l splendor del diadema augusto, the splendour of the imperial diadem, Ambo sormonteran de’ monti alpestri Both will scale the rugged peaks of di quel gran re ch’alle corone, ai lauri, of that great king destined by heaven to receive le dure cime, ambo torrenti e fiumi high mountains, both will safely ford rivers alle spoglie, ai trionfi il ciel destina. crowns, laurels, spoils and victories. tra piogge e nembi varcheran sicuri. and raging torrents amid stormclouds and rain. O sempre glorioso, o sempre invitto: O king ever glorious, o ever undefeated: Non del vasto Ocean l’onde spumanti, If the desire takes their impetuous hearts segui felice e fortunato a pieno pursue your great victories and glorious endeavours non d’Euro o d’Aquilon l’orribil fiato to plough the seas, neither the foaming waves l’alte vittorie e gloriose imprese, with the utmost joy and good fortune, frenar potrà gl’impetuosi cori of the vast ocean nor the terrifying breath of che forse un dì questa mia roca cetra and perhaps one day this poor lyre of mine se di solcar il mar desio gli sprona. Eurus or Aquilo can hold them back. risonerà non vil ne’ tuoi gran pregi, will ring out in a noble song of praise to you – Chi se non quei che l’amorosa insegna Who other than those who march behind the standard all’or ch’al suon de l’armi, then, to the sound of clashing weapons, segue, o di Marte al ciel notturno e fosco of Cupid or of Mars can endure the rain, snow canterò le tue palme e i chiari allori, I shall sing of your triumphs and bright laurels, può la pioggia soffrir, le nevi, il vento? and wind of the black skies of night? quando l’ostil furor represso e domo when the raging enemy has been tamed and defeated Taccia pur dunqu’omai lingua mendace Therefore let no lying tongue ever again dal tuo invitto valor, dal tuo gran senno by your unbeaten valour and great wisdom di più chiamar ozio e lascivia e Amore, call Cupid idle or lascivious, udrà pien di spavento e di terrore, and the East, filled with fear and terror, ch’Amor affetto è sol di guerrier core. for love dwells in the hearts of warriors alone. l’Oriente sonar belliche squille. hears the sound of warlike trumpet blasts. & Io che nell’ozio nacqui e d’ozio vissi, & I who was born into and have lived in idleness, E sovra gran destrier di ferro adorno, And when, o mighty Ferdinand Ernest, you sit che vago sol di riposata quiete desirous of nothing but an untroubled, peaceful life, di stupor muti i faretrati Sciti, upon your noble ironclad charger, laden with spoils, trapassava non pur l’ore notturne, used to spend not only the hours of night tra mille e mille cavalier e duci amid your hosts of horsemen and generals, ma i giorni interi ancor tra molli piume but entire days as well lying on soft feathers, carco di spoglie, o gran Fernando Ernesto, and the Scythian archers, struck dumb with stupor, e tra grat’ombre d’ogni cura scarco, free of care in pleasing shade; t’inchineranno alla tua invitta spada, bow before you and your invincible sword, il fresco mi godea d’un’aura lieve I enjoyed the light touch of a cool breeze, vinti, cedendo le corone e i regni. surrendering their crowns and kingdoms in defeat. o ’l roco mormorar d’un picciol rivo, the gentle murmur of a little stream che fea tenor degli augelletti al canto. that sang tenor to the little birds’ soprano. * Ma per qual ampio Egeo spieghi le vele * Yet are you sailing so far from port, Io stesso poi che generosa cura Yet since fairest Cupid set his sights on me sì dal porto lontano, ardito amante? across the wide Aegean, bold lover? di bellissimo Amor mi punse il core, and wounded my heart, Riedi che meco il mio cortese amico Come back, for as you stand by my side, all’or che ’l guardo volsi al divin lume, since I turned my gaze towards the divine light my noble friend, che sfavillar vidi io da quei belli occhi, whose sparks I saw in those beautiful eyes, veggio ch’a sì gran corso, a sì gran volo, I see that the thought of such a journey, such a voyage, e ’l suono udii che da rubini e perle and since I heard the sound of angelic words that di pallido timor dipinge il viso. has turned your face pale with fear. mi giunse al cor d’angelica favella, travelled from ruby lips and pearl-like teeth to my heart, sprezzando gli agi di tranquilla vita, I have rejected the comforts of a tranquil life; ( Riedi ch’al nostr’ardir, ch’al nostro canto ( Come back, for from our passion and from our song, non pur chiuggo ai gran dì tra ’l sonn’i lumi, I no longer close my eyes in sleep in daylight hours, ch’ora d’armi e d’Amor confuso suona in which mingle the themes of love and war, ma ben sovente ancor e stelle e sera and instead, as a wakeful lover, I often see scorger ben puote omai ch’Amor e Marte it can clearly be seen that Cupid and Mars cangio vigile amante in Sol e in Alba. the stars and night transform into sun and dawn. è quasi in cor gentil cortese affetto. both instil noble emotions in a gracious heart. Spesso carco di ferro all’ombra oscura And often I put on my armour and venture forth men vo sicur ove il desio mi spinge, into the dark shadows, there where desire impels me; e tante soffro ogni or dure fatiche, so many arduous challenges do I endure amoroso guerrier, ch’assai men greve as a warrior of love, that it would be mi fora in un co ’l valoroso Ispano far easier for me to join a brave Spaniard ARDO, AVVAMPO I’M ON FIRE, ABLAZE CD 2 CD 2 a otto voci con doi violini for eight voices and two violins (Sonetto d’autore anonimo) (Sonnet; anon.) COMBATTIMENTO DI TANCREDI E COMBATTIMENTO DI TANCREDI E CLORINDA CLORINDA ) Ardo, avvampo, mi struggo, ardo, accorrete ) I’m on fire, ablaze, burning up, on fire – hurry, (Torquato Tasso (1544-95): Gerusalemme liberata, (Torquato Tasso (1544-95): Gerusalemme liberata, vicini, amici, all’infiammato loco. friends and neighbours, to the site of the fire. XII, 52-68) XII, 52-68) Al ladro, al tradimento, al foco, al foco: Stop thief, traitor, to the fire, to the fire: Scale, accette, martelli, acqua prendete. bring ladders, hatchets, hammers, water. Testo: Marco Scavazza Narrator: Marco Scavazza Clorinda: Alessandro Carmignani Clorinda: Alessandro Carmignani E voi, torri sacrate anco tacete, And you, holy towers, who stand silently by, Tancredi: Walter Testolin Tancredi: Walter Testolin su, su, bronzi, ch’io dal gridar son roco: come, ring your bells, for I’m hoarse with shouting: dite il periglio altrui non lieve o poco warn other men of this terrible danger Combattimento in musica di Tancredi et Clorinda, Battle in music between Tancredi and Clorinda, as e degli incendi miei pietà chiedete. and call for mercy as I burn in flames. descritto dal Tasso, il quale volendosi essere fatto in described by Tasso, to be performed in dramatic genere rappresentativo, si farà entrare alla sprovista style, hence there will occur (after some madrigals Son due belli occhi il ladro e seco Amore Two pretty eyes are the thief, and with her is Cupid (dopo cantatosi alcuni madrigali senza gesto) da la have been performed without acting) the sudden l’incendiario che l’inique faci the fire bringer, who has hurled those wicked torches parte de la camera in cui si farà la Musica, Clorinda entrance of Clorinda from the side where the music dentro la rocca m’avventò del core. into the citadel of my heart. a piedi armata, seguita da Tancredi armato sopra ad is being played. She will be on foot and in armour; un cavallo Mariano, et il Testo all’ora comincierà il in pursuit will come Tancredi, also in armour but Ecco i remedi omai vani e fallaci, All remedies are now worthless and false: canto. Faranno gli passi et gesti nel modo che mounted on a wooden horse; the Narrator will then mi dice ognun per sì beato ardore: everyone tells me that in a case of such blessed fire, l’orazione esprime, et nulla di più né meno, commence his song. They will move and act lascia ch’el cor s’incenerisca e taci. a man should let his heart burn to ashes, and be silent. osservando questi diligentemente gli tempi, colpi et according to his tale, no more and no less, diligently passi, et gli ustumentisti gli suoni incitati e molli, et il observing its rhythms, blows and steps; the testo le parole a tempo pronuntiate, in maniera che musicians will play in either agitated or soft style; le creationi venghino ad incontrarsi in una and the Narrator will speak in measured fashion, imitatione unita: Clorinda parlerà quando gli that their creations combine to achieve a sense of toccherà, tacendo il testo; così Tancredi. Gli unity: Clorinda will speak when it is her turn, the ustumenti, cioè quattro viole da brazzo, soprano Narrator falling silent; Tancredi the same. The tenore et basso, et contrabasso da gamba che instruments, namely four violas da braccio, soprano, continuerà con il clavicembano , dovranno essere alto, tenor and bass, and a bass viol which will tocchi ad imitatione delle passioni dell’oratione. La provide continuo with the harpsichord, must be voce del testo doverà essere chiara, ferma et di bona played in such a way as to reflect the emotions of the pronuntia alquanto discosta da gli ustumenti, atiò narration. The Narrator’s voice must be clear, meglio sii intesa nel oratione. Non doverà far gorghe strong and articulate, and he must stand some né trilli in altro loco che solamente nel canto de la distance from the instruments, so that his words be stanza che incomincia “Notte”. Il rimanente porterà better heard. There are to be no runs or trills in any le pronuntie a similitudine delle passioni place except in the stanza that begins “Notte”. The dell’oratione. In tal maniera (...) fu rapresentato nel rest is to be pronounced in accordance with the palazzo del’illustrissimo et eccelentissimo signor passions evoked by the text. It was performed thus … Girolamo Mozzenigo mio particolar signore, con in the mansion of the most eminent and excellent ogni compitezza (...) in tempo però di carnevale per Signor Girolamo Mozzenigo, my patron, with every passatempo di veglia, alla presenza di tuta la nobiltà, refinement … as an evening’s entertainment during la quale restò mossa dal’affetto di compassione in Carnival, in the presence of all the nobility, who maniera che quasi fu per gettar lacrime: et ne diede were moved almost to tears by their compassion: né scende taglio in van né ponta a voto. no thrust of the blade is in vain, every blow hits its mark. applauso per essere statto canto di genere non più and they applauded the work as being of a kind L’onta irrita lo sdegno alla vendetta, Each insult spurs on their vengeful anger, visto né udito. neither seen nor heard before. e la vendetta poi l’onta rinova; and desire for vengeance in turn renews the insult; onde sempre al ferir, sempre alla fretta thus continual new urges and new wounds 1 Sinfonia 1 Sinfonia stimol novo s’aggiunge e piaga nova. spur them on to keep up their frenzied fighting. (Biagio Marini (1594-1663), Sinfonia Primo Tuono, (Biagio Marini (1594-1663), Sinfonia Primo Tuono, D’or in or più si mesce e più ristretta Now and then they move in close and the battle op.22, 1655) p. 22, 1655) si fa la pugna, e spada oprar non giova: becomes more intimate, with no room to use swords: dansi co’ pomi, infelloniti e crudi, they strike cruel, brutal blows with the pommels instead, 2 Tancredi, che Clorinda un uomo stima, 2 Tancredi, believing Clorinda to be a man, cozzan con gli elmi insiem e con gli scudi. and their helmets and shields clash together. vol ne l’armi provarla al paragone. wishes to challenge her to a duel. 8 Tre volte il cavalier la donna stringe 8 Three times the knight traps the lady Va girando colei l’alpestre cima She meanwhile strides around the rocky peak con le robuste braccia, ed altre tante within his strong arms, and as many times ver altra porta, ove d’entrar dispone. towards a gate, through which she wishes to pass. poi da quei nodi tenaci ella si scinge, she breaks free from his powerful embrace, Segue egli impetuoso, onde assai prima He rushes after her, and well before he reaches her nodi di fier nemico e non d’amante. that of an enemy, not a lover. che giunga, in guisa avien che d’armi suone, the clattering of his armour can be heard, Tornano al ferro, e l’un e l’altro il tinge They return to swordplay, and both spill an abundance 3 ch’ella si volge e grida: «O tu, che porte, 3 so that she turns and cries out, “O you who run after me, 9 con molto sangue; e stanco ed anelante 9 of blood; then, weary and gasping for breath, correndo sì?» Rispose: «E guerra e morte.» what do you bring?” He replied, “Warfare and death.” e questi e quelli al fin pur si ritira, the two combatants eventually stand back «Guerra e morte avrai» disse, «io non rifiuto “Warfare and death you will have,” she said. “I shall not e dopo lungo faticar respira. and pause for a moment after their long ordeal. darlati, se la cerchi, e ferma attendi. deny you, if that is what you seek, L’un l’altro guarda, e del suo corpo esangue Watching each other, they lean in exhaustion and will not be moved.” su ’l pomo de la spada appoggia il peso. on the pommels of their swords. Né vol Tancredi, ch’ebbe a piè veduto Having seen his enemy on foot, Tancredi Già de l’ultima stella il raggio langue The light of the last star is now fading il suo nemico, usar cavallo, e scende. wants to fight on equal terms, and dismounts. su’l primo albor ch’è in oriente acceso. into the first fires of sunrise in the eastern sky. E impugna l’un l’altro il ferro acuto, Both take hold of their keen-edged swords Vede Tancredi in maggior copia il sangue Tancredi sees more blood has been shed ed aguzza l’orgoglio e l’ira accende; their pride goaded, their anger sparked; del suo nemico, e in sé non tanto offeso. by his enemy, that his own wounds are less serious. e vansi incontro a passi tardi e lenti with slow, measured steps they approach one another Ne gode e insuperbisce. Oh nostra folle This fills him with joy and pride. Oh, our foolish quai duo tori gelosi e d’ira ardenti. like two jealous bulls inflamed with fury. mente ch’ogn’aura di fortuna estolle! minds that extol every breath of fortune! Misero, di che godi? oh quanto mesti Wretch, why such joy? oh, how melancholy 4 Sinfonia 4 Sinfonia fiano i trionfi ed infelice il vanto! are your triumphs, how unhappy your pride! Gli occhi tuoi pagheran, s’in vita resti, Your eyes, if your life is spared, will weep 5 Notte, che nel profondo oscuro seno 5 Night, you who have allowed so great a feat di quel sangue ogni stilla un mar di pianto. a sea of tears for every drop of that blood. chiudesti e ne l’oblio fatto sì grande, to fade into obscurity in the depths of your dark breast, Così tacendo e rimirando, questi Thus gazing at each other in silence, these degno d’un chiaro sol, degne d’un pieno such memorable deeds deserve to have bright sunlight sanguinosi guerrier cessaro alquanto. bloodsoaked warriors paused for a while. teatro opre sarian sì memorande. shone upon them, and to be retold in crowded theatres. Ruppe il silenzio alfin Tancredi e disse, Finally, Tancredi broke the silence and spoke, 6 Piaciati ch’indi il tragga e’n bel sereno 6 Allow me therefore to illumine them, perch’il suo nome a l’un l’altro scoprisse: wishing each to know the other’s name: alle future età lo spieghi e mande. and to pass this tale on to future generations. 0 «Nostra sventura è ben che qui s’impieghi 0 “Truly our misfortune is that we are proving Viva la fama lor; e tra lor gloria May their renown live long; and may the noble memory tanto valor, dove silenzio il copra. our valour here, where it will be concealed in silence. splenda del fosco tuo l’alta memoria. of their glory shine forth from your darkness. Ma poi che sorte rea vien che ci nieghi But since unkind destiny must deny us 7 Non schivar, non parar, non pur ritrarsi 7 Dodging or parrying blows, or retreating – such moves e lode e testimon degni de l’opra, both the praise and the renown our deeds deserve, voglion costor, né qui destrezz’ha parte. are not for them, nor has finesse any part to play here. pregoti, se fra l’armi han loco i prieghi, I pray, if prayers have any place in battle, Non danno i colpi or finti or pieni or tardi: They do not feint or deceive or delay, che ’l tuo nome e’l tuo stato a me tu scopra, that you reveal your name and rank to me, toglie l’ombra e’l furor l’uso de l’arte. darkness and rage deter the use of skill. acciò ch’io sappia, o vinto o vincitore, that I may know, whether I am conquered or conqueror, Odi le spade orribilmente urtarsi Hear the terrifying clash of sword chi la mia morte o la mia vita onore.» to whom I owe my death or my life.” a mezzo il ferro, el piè d’orma non parte; against sword, as they stand their ground; ! Rispose la feroce: «Indarno chiedi ! His brave opponent replied, “In vain do you ask me sempre il piè fermo e la man sempre in moto, their feet are like stone, but their hands are never still, quel c’ho per uso di non far palese. to reveal that which I am accustomed to concealing. Ma chiunque io mi sia, tu innanzi vedi But whoever I may be, you see before you non conosciuta ancor sciolse e scoprio. to reveal that still unknown brow. un di quei duo che la gran torre accese.» one of the two who set the great tower on fire.” La vide e la conobbe, e restò senza He saw her face and recognized her, and could neither Arse di sdegno a quel parlar Tancredi: At this, Tancredi blazed with anger: e voce e moto. Ahi vista! ahi conoscenza! speak nor move. Ah, what a sight, «E in mal punto il dicesti; [indi riprese] “Your admission is inopportune; what sudden realisation! e’l tuo dir e’l tacer di par m’alletta, both your words and your silence, Non morì già, ché sue virtuti accolse He did not die, but gathered his inner forces barbaro discortese alla vendetta.» vile barbarian, incite me to vengeance.” tutte in quel punto e in guardia al cor le mise, and set them to guard his heart, @ Torna l’ira nei cori e li trasporta, @ Anger fills their hearts again, transporting them, e premendo il suo affanno a dar si volse then stifling his torment he turned his attention benché deboli in guerra, fiera pugna, despite their exhaustion, to war, to that fierce struggle vita con l’acqua a chi co ’l ferro uccise. to baptising with the water the one his sword had killed. u’è l’arte in bando u’è già la forza è morta, in which skill is banished, strength is dead, ^ Mentr’egli il suon de’ sacri detti sciolse, ^ While he recited the holy blessing, ove in vece, d’entrambi il furor pugna! and in their place fury alone fights on! colei di gioia trasmutossi e rise; she was transformed by joy and laughed aloud; Oh che sanguigna e spaziosa porta Oh, what gaping, bloody wounds are made e in atto di morir lieta e vivace, and as she died, smiling and alert, fa l’una e l’altra spada ovunque giugna, by their swords as they strike one another’s dir parea: «S’apre il ciel, io vado in pace». she seemed to say: “Heaven is opening, I go in peace.” ne l’armi e ne le carni! e se la vita armour and flesh! And if each clings on to life, non esce, sdegno tienla al petto unita. it is only anger that keeps it beating within their breast. BALLO DELLE NINFE DELL’ISTRO BALLET OF THE NAIADS OF THE DANUBE # Ma ecco omai l’ora fatal è giunta # And yet behold, the fatal hour has come a cinque voci con doi violini for five voices and two violins che ’l viver di Clorinda al suo fin deve. at which Clorinda’s life is doomed to end. (Sonetti di Ottavio Rinuccini) (Sonnets; Ottavio Rinuccini) Spinge egli ferro nel bel sen di punta Tancredi plunges the point of his sword che vi s’immerge e’l sangue avido beve; into her fair chest, where it greedily drinks her blood; & Introdutione al ballo. Entrata innanzi al ballo & Introduction to the ballet. Entrata before the ballet. e la veste, che d’or vago trapunta and the tunic, embroidered with exquisite gold, Poeta formato così dice: Without moving, the poet speaks thus: le mammelle stringea tenera e lieve, which lightly and tenderly encloses her breasts, l’empie d’un caldo fiume. Ella già sente now fills with a warm river. She can feel herself * Volgendo in ciel per immortal sentiero * As Apollo drives his chariot of blessed, morirsi, e’l piè le manca egro e languente. dying, and staggers on her weary feet. le ruote della luce alma e serena, peaceful light along its eternal, heavenly course, Segue egli la vittoria, e la trafitta He pursues his victory, and leaps upon un secolo di pace il sol rimena he brings with him an era of peace vergine minacciando incalza e preme. the wounded maiden while uttering threats. sotto il re novo del Romano Impero. under the new king of the Roman Empire. Ella, mentre cadea, la voce afflitta As she fell, she opened her suffering lips movendo, disse le parole estreme; and spoke her final words; Entrata e passeggio come di sopra Entrata and passeggio as above parole ch’a lei novo spirto adita, words that came from a new spirit in her, spirto di fé, di carità, di speme: a spirit of faith, charity and hope: ( Su, mi si rechi omai del grand’Ibero ( Come, pour me a deep glass of Spanish wine, virtù ch’or Dio l’infonde, e se rubella virtues now instilled in her by God, for though in life profonda tazza inghirlandata e piena, full to the brim and wreathed in flowers, in vita fu, la volse in morte ancella. she rejected Him, in death she became his handmaid. che correndomi al cor di vena in vena, wine that will run through my veins to my heart, $ «Amico, hai vinto: io ti perdon, perdona $ “My friend, you have won: I forgive you, I beg your sgombri da l’alma ogni mortal pensiero. banishing all mortal concerns from my soul. tu ancora, al corpo no, che nulla pave, forgiveness too, not for my body, which fears nothing, a l’alma sì; deh! per lei prega, e dona but for my soul; ah! pray for it, and give me Entrata e passeggio come di sopra Entrata and passeggio as above battesmo a me ch’ogni mia colpa lave.» the baptism that will wash away all my sins.” % In queste voci languide risuona % In these softly spoken words is a sound ) Venga la nobil cetra. ) Bring me my noble lyre. un non so che di flebile e soave so sorrowful and gentle (Ricevuto il chitarrone dalla ninfa, (Having been handed his lyre by one maiden, ch’al cor gli scende ed ogni sdegno ammorza, that it enters his heart and banishes any anger, si volta verso l’altre e così gli parla) he turns to the others with these words) e gl’occhi a lagrimar gli invoglia e sforza. and fills his eyes with unstoppable tears. Il crin di fiori cingemi, o Filli. Place the flowery crown upon my brow, o Phyllis. Poco quindi lontan nel sen del monte Close by there welled a little murmuring stream (Qui gli pone la ninfa la ghirlanda, (she places the wreath upon his head, scaturia mormorando un picciol rio. from the depths of the mountain. poi parla il poeta come segue) then the poet speaks as follows) Egli v’accorse e l’elmo empié nel fonte, He ran to it and filled his helmet from the spring, io ferirò le stelle My song praising e tornò mesto al grande uffizio e pio. and sadly returned to perform that great and sacred rite. cantando del mio re gli eccelsi allori. the lofty virtues of my king will strike the stars. Tremar sentì la man, mentre la fronte He felt his hand tremble as he removed her helm (Qui nel chitarrone da lui sonato così segue) (now accompanying himself on the lyre as he sings) E voi che per beltà, donne e donzelle, And you ladies and damsels who walk in beauty MADRIGALI AMOROSI MADRIGALI AMOROSI gite superbe d’immortali onori, and in dignity, to your everlasting honour, movete al mio bel suon le piante snelle, let your slender feet dance to my fine music, ALTRI CANTI DI MARTE LET OTHERS SING OF MARS sparso di rose il crin leggiadro e biondo, your fair, golden hair entwined with roses. a sei voci con doi violini for six voices and two violins (Qui alzando la voce con più forza (now, raising his voice, (Sonetto di Giovan Battista Marino (1569-1625), (Sonnet; Giovan Battista Marino (1569-1625), invita le ninfe dell’Istro a danzar anch’elle) he invites the naiads of the Danube to dance as well) Rime 1602) Rime 1602) e lasciato dell’Istro il ricco fondo, And let the naiads of the Danube too vengan l’umide ninfe al ball’anch’elle. leave its deep waters and join our dance. ∞ Altri canti di Marte e di sua schiera ∞ Let others sing of Mars and of the daring attacks gli arditi assalti e l’onorate imprese, and honourable enterprises undertaken by his troops, ¡ Entrata e passeggio come di sopra ¡ Entrata and passeggio as above le sanguigne vittorie e le contese, of their bloody victories and clashes, (E le ninfe dell’Istro escono (The naiads of the Danube appear i trionfi di morte orrida e fera. of the triumphs of fierce and cruel death. al tempo di essa entrata come le prime as the entrata is performed, and once they e, giunte al loro determinato loco, and the other maidens are all in place, Io canto Amor, da questa tua guerriera, I sing, Cupid, of this warrior maid of yours, tutte le ninfe insieme danzano il seguente ballo) they perform the following ballet together) quant’ebbi a sostener mortali offese, of the many mortal insults I have had to endure, com’un guardo mi vinse, un crin mi prese: of being conquered by a look, ™ Movete al mio bel suon le piante snelle, ™ Let your slender feet dance to my fine music, taken prisoner by her tresses: sparse di rose il crin leggiadro e biondo, your fair, golden hair entwined with roses. istoria miserabile, ma vera. a wretched tale, but a true one. e lasciato dell’Istro il ricco fondo, And let the naiads of the Danube too vengan l’umide ninfe al ball’anch’elle. leave its deep waters and join our dance. § Duo belli occhi fur l’armi, onde trafitta § Two beautiful eyes were the weapons whose blows Fuggano in questo dì nembi e procelle Let clouds and storms flee on this day, giacque, e di sangue in vece amaro pianto have wounded and felled me, and my stricken heart d’aure odorate al mormorar de l’onde, let the happy murmur of the perfumed breeze sparse lunga stagion l’anima afflitta. has long shed bitter tears in place of blood. fatt’eco al mio cantar, rimbombi il mondo echo my song, and let the world resound with l’opre di Ferdinando eccelse e belle. the fine and noble feats of Ferdinand. ¶/• Tu, per lo cui valor la palm’e ’l vanto ¶/• You, by whose valour my undefeated enemy ebbe di me la mia nemica invitta, won both palms and pride from me, (Qui in questo loco, finita la presente prima parte, (At this point, the first part having ended, se desti morte al cor, dà vita al canto. having given death to my heart, give life to my song. si fa un Canario o un Passo e Mezzo will be performed a canario or passo e mezzo or od altro balletto a beneplacito, senza canto, another dance, as preferred, without singing, then there VAGO AUGELLETTO CHE CANTANDO VAI PRETTY LITTLE BIRD poi si ritorna sopra la prima aria come segue, will be a return to the first air as follows, but a sei e sette voci con doi violini e un contrabbasso for six/seven voices with two violins and bass viol cangiando mutanza. Qui il ballerino può far changing the dance steps. Here the dance master (Quartine di Sonetto di Francesco Petrarca, Canzoniere) (Sonnet quatrains; Petrarch, Canzoniere) un par di ballettini a suo piacere senza canto). may perform one or two short dances of his choice, without song.) ª Vago augelletto che cantando vai, ª Pretty little bird, you who keep on singing, over piangendo, il tuo tempo passato, or rather weeping, for the time that has passed, £ (Biagio Marini, Balletto V alla Allemanna £ (Biagio Marini, Balletto V alla Allemanna vedendoti la notte e ’l verno a lato as you see beside you night and winter e Corrente a tre, op.8) e Corrente a tre, Op. 8) e’l dì dopo le spalle e i mesi gai, and behind you day and springtime,

(Poi viene a seconda parte, come segue) (Now begins the second part, as follows:) se, come i tuoi gravosi affanni sai, you know of your own grievous woes, così sapessi il mio simile stato, and if you only knew that I was suffering likewise, ¢ Ei l’armi cinse e su destrier alato ¢ He took up his weapons and on his winged steed verresti in grembo a questo sconsolato you would come to the breast of this poor wretch corse le piagge e su la terra dura travelled throughout the land, and rested his head a partir seco i dolorosi guai. to share with him your sorrowful laments. la testa riposò sul braccio armato. on his mailclad arm upon the hard ground. Le torri eccelse e le superbe mura He scattered lofty towers and imposing walls al vento sparse e fe’ vermiglio il prato, to the winds, and turned the fields red with blood, lasciand’ogni altra gloria al mondo oscura. eclipsing all other earthly glories. CD 3 CD 3 ARDO, E SCOPRIR, AHI LASSO I AM ABLAZE, YET DARE NOT REVEAL a due voci for two voices MENTRE VAGA ANGIOLETTA WHILE FAIR ANGIOLETTA (Autore anonimo) (Anon.) a due voci for two voices (Giovanni Battista Guarini (1538-1612), (Giovanni Battista Guarini (1538-1612), 4 Ardo, e scoprir, ahi lasso, io non ardisco 4 I am ablaze, yet dare not reveal, alas, “Gorga di cantatrice”) “The Singer’s Throat”) quel che porto nel sen rinchiuso ardore. the flame I carry deep within my heart. E tanto più dolente ognor languisco And the more I languish in sorrow, 1 Mentre vaga angioletta 1 While fair Angioletta quanto più sta celato il mio dolore. the more profoundly hidden is my grief. ogn’anima gentil cantando alletta, delights all noble souls with her singing, corre il mio core e pende my heart races and hangs Fra me talor mille disegni ordisco, At times, alone, I invent a thousand ways tutto dal son del suo soave canto, entirely on the sound of her sweet song; con la lingua discior anco il timore to banish my fear with my tongue e non so come intanto and then, I know not how, ed allor, fatto ardito, i’ non pavento and then, made brave, I am not afraid musico spirto prende the spirit of music possesses gridar soccorso al micidial tormento. to call for help for my murderous torment. fauci canore e seco forma e finge, her singer’s throat and forms and shapes from it per non usata via, in some new way Ma s’avvien ch’io m’appressi a lei davante But whenever I seek out her presence, garrula e maestrevol armonia. an eloquent and masterly harmony. per trovar al mio mal pace e diletto, looking for joy and solace for my woes, Tempra d’arguto suon pieghevol voce, With expressive sound it tempers her flexible voice, divengo tosto pallido in sembiante I quickly turn pale and e la volve e la spinge and turns and pushes it e chinar gl’occhi a terra son costretto. can only gaze at the ground. con rotti accenti e con ritorti giri, with changing accents and twists and turns, qui tarda e là veloce. here slow, there quick. Dir vorrei, ma non oso, indi tremante I would speak, but dare not, then trembling 2 E talor mormorando 2 And at times it has her murmur comincio e mi ritengo al fin l’affetto. I begin, but in the end hold back my feelings. in basso e mobil suono ed alternando in a low and mobile sound, and alternate S’aprir nunzia del cor la lingua vole, My tongue wishes to be the messenger of my heart, fughe e riposi e placidi respiri, fast-moving notes and pauses and gentle breaths, si troncan su le labra le parole. but the words are cut short on my lips. or la sospende e libra, one moment suspending and freeing her voice, or la preme, or la rompe, or la raffrena; the next leaning on it, interrupting it, holding it back; O SIA TRANQUILL’IL MARE WHETHER THE SEA BE CALM or la saetta e vibra, it makes a vibrating arrow of it, a due voci for two voices then curves and winds it, (Sonetto d’autore anonimo) (Sonnet; anon.) or in giro la mena, sometimes making it sound in tremulous, quando con modi tremuli e vaganti, uncertain fashion, 5 O sia tranquill’il mare o pien d’orgoglio, 5 Whether the sea be calm or proudly raging, quando fermi e sonanti. sometimes with strength and resonance. mai da quest’onde io non rivolgo il piede: never from these waters shall I move: 3 Così cantando e ricantando il core, 3 Thus as she sings and keeps singing, my heart, io qui t’aspetto e qui de la tua fede, I shall wait for you here and, as a lover betrayed, o miracol d’amore! o miracle of love, tradito amante, mi lamento e doglio. here shall I lament and grieve for your faithlessness. è fatto un usignolo is transformed into a nightingle and, e spiega già, in order to flee from sadness, Spesso salir su queste rupi io soglio It is my custom to climb these cliffs per non star mesto, il volo. spreads its wings in flight. per veder se il tuo legno ancor sen riede; to see if there is any sign of your ship returning; quivi m’assido e piango, onde mi crede here I sit and weep, hence the sea believes me il mar un fonte e ’l navigante un scoglio. to be a spring, and the sailor a rock.

E spesso ancor t’invio per messaggeri, And often I send you as messengers a ridir la mia pena e ’l mio tormento, the featherlight zephyrs of the gentle airs dell’aria vaga i zeffiri leggeri, to tell you of my sorrow and torment, ma tu non torni, o Filli e ’l mio lamento but you return not, o Phyllis, cantando: «Vieni, vieni, anima mia». by singing, “Come, come, my beloved”. and my lament is scattered by A me canto non vale, Songs do not work for me, l’aura disperge e tal mercé ne speri the breeze; such is the reward for which he who entrusts e non ho come tu da volar ale. and unlike you I have no wings on which to soar. chi fida a donna il cor e i prieghi al vento. his heart to a woman and his prayers to the wind O felice augelletto, O happy little bird, can hope. come nel tuo diletto how well generous nature rewards you ti ricompensa ben l’alma natura: in your happiness: NINFA CHE SCALZA IL PIEDE MAIDEN, YOU WHO HAPPILY WANDER se ti negò saver, ti diè ventura. she has denied you wisdom, but has given you joy. a due voci for two voices (Canzonetta d’autore anonimo) (Canzonetta; anon.) CHI VOL HAVER FELICE HE WHO WISHES HIS HEART a cinque voci cantato a voce piena alla francese for five voices, to be sung in full voice, 6 Ninfa che scalza il piede e sciolta il crine 6 Maiden, you who happily wander this place in French style te ne vai di doglia in bando barefoot, your hair flowing free, (Giovanni Battista Guarini, Rime, (Giovanni Battista Guarini; Rime, per queste piagge lieta, untouched by sorrow, “Fuggasi Amore”) “Fuggasi Amore”) cantando e ballando: singing and dancing: non scuoti a l’erbe le fresche brine. do not shake the cold frost from the grass. ! Chi vol haver felice e lieto il core, ! He who wishes his heart to be happy and carefree, non segua il crudo Amore, let him not follow cruel Cupid, 7 Qui, deh, meco t’arresta, ove di fiori 7 Ah, stay here a while with me, here where quel lusinghier ch’ancide that flatterer who kills s’inghirlanda ’l crin novello, youthful tresses are garlanded with flowers, quando più scherz’e ride, even as he jokes and laughs; questo ch’imperla fresco in this lovely little meadow ma tema di beltà, di leggiadria let him instead fear that misleading, wicked appearance ruscello, bel pratello, strewn with pearls by the cool stream’s l’aura fallace e ria. of beauty and grace. co’ suoi correnti limpidi umori limpid, flowing waters. Al pregar non risponda, alla promessa Let him not respond to his entreaties, nor put no’l creda e se s’appressa, any faith in his promises, 8 De l’usate mie corde al suon potrai, 8 You could dance and should Cupid approach him, sotto l’ombra di quest’orno to the sound of my plucked strings fugga pur, che baleno è quel ch’alletta, let him flee, for though a flash of lightning is enticing, a tempo il passo mover beneath the shade of this elm, né mai balen’amor se non saetta. Cupid’s lightning is always followed by an arrow. d’intorno né del giorno and the sun’s fiery rays faran te bruna gl’ardenti rai. would not turn your skin brown. LAMENTO DELLA NINFA THE MAIDEN’S LAMENT a quattro voci, canto, due tenori e un basso. for four voices: soprano, two tenors and bass 9 Ma senza pur mirarmi affretta il passo 9 But without even looking at me she quickens her step, Rappresentativo Rappresentativo dietro forse a Lillo amato. perhaps in pursuit of her beloved Lillo. (Canzonetta di Ottavio Rinuccini, “Dialogo. (Canzonetta; Ottavio Rinuccini, “Dialogo. Pastorel Ah! che ti possa veder Ah! if only, my cruel runaway, Pastorel qual duol t’accora”) qual duol t’accora”) cangiato quel piè ingrato, I could see your ungrateful feet Modo di rappresentare il presente canto: le tre parti The way in which this song is presented: the music fera fugace, in un duro sasso. transformed into solid rock. che cantano fuori del pianto della ninfa si sono così for the three voices who sing the words that separatamente poste, perché si cantano al tempo frame the maiden’s lament is set out separately, DOLCISSIMO USCIGNOLO SWEETEST NIGHTINGALE della mano. Le altre parti, che vanno commiserando because it is to be sung to the beat of the hand. a cinque voci, cantato a voce piena alla francese for five voices, to be sung in full voice, in debole voce la ninfa, si sono poste in partitura, When they quietly commiserate with the maiden, in French style acciò seguitano il pianto di essa, qual va cantato a their music is included in the score, so that they (Giovanni Battista Guarini, Rime, (Giovanni Battista Guarini; Rime, tempo dell’affetto dell’animo e non a quello della can follow her lament, which is to be sung as her “Felicità d’usignolo”) “Felicità d’usignolo”) mano. emotions dictate, not to the beat of the hand. @ Non avea Febo ancora @ Phoebus had not yet 0 Dolcissimo uscignolo, 0 Sweetest nightingale, recato al mondo il dì, returned daylight to the world tu chiami la tua cara compagnia you call for your dear companion ch’una donzella fuora when a young maiden del proprio albergo uscì. stepped out of her dwelling. PERCHE’ TE’N FUGGI, O FILLIDE WHY DO YOU RUN AWAY, O PHYLLIS? Sul pallidetto volto Her grief was written a tre voci for three voices scorgeasi il suo dolor: upon her pale features: (Madrigale in versi sdruccioli d’autore anonimo) (Madrigal in “sdrucciola” rhyme; anon.) spesso le venia sciolto frequent were the sighs that came un gran sospir dal cor. from deep within her heart. % Perché te ’n fuggi, o Fillide? % Why do you run away, o Phyllis? Sì calpestando fiori, Yes, crushing the flowers beneath her feet, Ohimè, deh, Filli ascoltami Alas, ah, Phyllis, listen to me errava or qua or là, she wandered this way and that, e quei belli occhi voltami: and turn your lovely eyes towards me: i suoi perduti amori and mournfully wept già belva non son io né serpe squallido; I am no wild beast or venomous serpent; così piangendo va. thus over her lost love. Aminta io son, se ben son magro e pallido, I am Aminta, though I am thin and pale, queste mie calde lagrime these warm tears of mine # “Amor”, dicea, il ciel # “Love”, she said, as she stood still, che da quest’occhi ognor si veggon piovere that can ever be seen raining from my eyes mirando il piè fermò her gaze turned heavenward, han forza di commuovere have the power to move “dove dov’è la fé “where, oh where is the faith ogni più duro cor spietato e rigido, the hardest, stoniest, most pitiless of hearts, ch’el traditor giurò?” the treacherous man swore to me?” ma’ l tuo non già, ch’è più d’un ghiaccio frigido. but thus far not yours, which is colder than ice. Miserella, ahi più no, no Poor girl, alas, no longer Mentre spargendo a l’aura pianti e lamenti, While in vain my heart is breaking, tanto gel soffrir non può. can she bear such cold rejection. indarno il cor distruggesi, scattering tears and laments to the wind, “Fa che ritorni mio, “Love, make him mine again, Filli più ratta fuggesi, Phyllis swiftly runs away, Amor com’ei pur fu, as he once was, né i sospir che dal cor, non voci o prieghi and neither the sighing of my heart, o, tu m’ancidi, ch’io or kill me, that I may nor any word or prayer non mi tormenti più. no longer live in torment. i piè fugaci arrestano. can prevent her flight. Non vo’ più ch’ei sospiri I do not want him to love se non lontan da me, unless he is far from me, NON PARTIR RITROSETTA DO NOT GO, SHY MAIDEN no, che i suoi martiri no, he will no longer, I swear it, a tre voci for three voices più non dirammi a fé. tell me of his suffering. (Canzonetta d’autore anonimo) (Canzonetta; anon.) Perché di lui mi struggo? Because I love him so, Tutto orgoglioso sta, he is nothing but vanity; ^ Non partir, ritrosetta, ^ Do not go, shy maiden, che sì, che sì se’l fuggo perhaps, if I run from him troppo lieve e incostante. so flighty and fickle. ch’ancor mi pregherà? he will want me again? Senti me: non fuggir, aspetta, Listen to me: do not run away, wait, Se ’l ciglio ha più sereno Her eyes may be odi il pregar del tuo fedel amante. listen to the entreaty of your faithful lover. colei, che ’l mio non è, more beautiful than mine, Tu non senti i lamenti? Can’t you hear my laments? già non rinchiude in seno, but, o love, her heart Ah, tu fuggi, io rimango, Ah, you run, but I remain, Amor, sì bella fé. is not as loyal as mine. ah, tu ridi ed io piango. ah, you laugh, but I weep. Né mai sì dolci baci, And never from her lips L’alma vola disciolta, My shattered soul takes flight, da quella bocca avrà, will he get kisses as sweet, teco parte il mio core. my heart goes with you. né più soave, ah, taci, nor as gentle as mine, ah, hush, Ferma il piè, non fuggir, ascolta: Stand still, do not run, listen: taci, che troppo il sa”. hush, he knows that all too well.” torna a gioir almen d’un che sì more. come back and bring joy to one who is dying. Tu non miri i martiri? Can’t you see my torment? $ Sì tra sdegnosi pianti, $ Yes, as she wept bitter tears Tu non odi, io ti chiamo, You don’t hear me, but I’m calling you, spargea le voci al ciel: her voice rose up to heaven: tu mi sprezzi, io ti bramo. you reject me, but I’m yearning for you. così ne’ cori amanti thus in loving hearts Tu crudel più mi offendi Cruel girl, the more you run from me, mesce Amor, fiamm’e gel. does love mingle fire and ice. quanto più sei fugace. the more you hurt me. Già dal sen l’alma fugge: attendi, My soul is already rising from my breast: wait, se il mio languir a te cotanto piace. if my despair gives you such pleasure. CD 4 CD 4 Tu non ridi o Don’t laugh, oh, tu mi sprezzi, you reject me, MADRIGALI RAPPRESENTATIVI MADRIGALI RAPPRESENTATIVI io t’adoro, I love you, tu mi lasci ed io moro. you’re leaving me, and I am dying. BALLO DELLE INGRATE BALLET OF THE THANKLESS SOULS in genere rappresentativo SU, SU, SU PASTORELLI VEZZOSI COME, HANDSOME SHEPHERD LADS (Versi sciolti con un’ottava rima e quartina di (after Ottavio Rinuccini) a tre voci for three voices Ottavio Rinuccini) (Canzonetta anacreontica d’autore anonimo) (Anacreontic canzonetta; anon.) Amore: Beniamino Borciani (voce bianca di bambino) Cupid: Beniamino Borciani (boy soprano) & Su, su, su pastorelli vezzosi correte, venite & Come, handsome shepherd lads, run, come Venere: Paolo Costa Venus: Paolo Costa a mirar, a goder l’aure gradite and see, come and enjoy the pleasant breezes Plutone: Walter Testolin Pluto: Walter Testolin [e quel dolce gioir] ch’a noi porta ridente [and that sweet joy] cheerily brought to us Una delle ingrate: Alessandro Carmignani Thankless soul: Alessandro Carmignani [la bell’alba nascente]. [by the fair rising dawn]. Mirate i prati Look at the fields Prima si fa una scena la cui prospettiva formi una The opening scene shows the mouth of Hell, with pien di fior odorati, full of perfumed flowers, bocca d’Inferno con quattro strade per banda che four pathways on each side, from which flames ch’al suo vago apparir that at dawn’s fair appearance gettino fuoco, da quali usciscono a due a due le issue, and from which the thankless souls appear, ridon festosi. laugh in celebration. anime Ingrate con gesti lamentevoli al suono della two by two, with gestures of lament, as the music of Su, su, su pastorelli vezzosi. Come, handsome shepherd lads. entrata che sarà il principio del ballo, il quale va the entrata is heard. This will be the beginning of the cotante volte ripetuto ballet, and will be repeated by the musicians until Su, su, su augelletti canori, sciogliete, snodate, Come, little songbirds, unleash, set free Da suonatori sino a che si trovino poste nel mezzo the dancers are in position in the centre of the space al cantar, al gioir le voci amate your beloved voices to song and rejoicing del loco in cui hassi da dar principio al ballo. within which the ballet is to begin. Pluto stands in [ed al dolce apparir] [and at the fair rising] Plutone sta nel loro mezzo, conducendole a passi their midst, leading them at a solemn pace: then, as del sol che i monti indora of the sun that gilds the peaks, gravi: poi, ritiratosi alquanto, dopo finita la entrata, the entrata finishes, he withdraws a little and they [salutate l’aurora]. [greet the dawn]. danno principio al ballo. Poscia Plutone, fattolo begin to dance. He calls them to a halt, and E sui rametti And on boughs fermare nel mezzo, parla verso alla principessa e addresses to the princess and the ladies present in pien di vaghi fioretti, laden with pretty blossom dame che saranno presenti nel modo che sta scritto. accordance with the written text. As for the del leggiadro suo crin sing the praises Delle Anime Ingrate, il lor vestito sarà di color Thankless Souls, they will be dressed in ash- dite gli onori. of those golden crests. cinerizio, adornato di lacrime finte. Finito il ballo, coloured garb, adorned with tears. When the ballet is Su, su, su augelletti canori. Come, little songbirds. tornano nell’Inferno nel medesimo modo dell’uscita; finished, they return to the Underworld, along the e al medesimo suono lamentevole, restandone una same paths, and to the same lamenting sound. One Su, su, su fonticelli loquaci, Come, chattering brooks, nella fine in scena, facendo il lamento che sta scritto, of them remains on stage to sing the lament that is vezzosi correte a gioir, prettily flow and rejoice poi entra nell’Inferno. written, before she too returns to the inferno. a scherzar come solete, [siavi caro il mirar] and play as usual, [enjoy gazing upon] Al levar della tela si farà una Sinfonia a beneplacito. As the curtain rises an ad libitum sinfonia will be di quai splendor si veste the splendours that clothe performed. [la bell’ alba nascente]. [the fair breaking day]. E di quai lampi and the bright colours [The notes given above are the composer’s own coloriti i suoi campi, that tinge the fields stage directions. The italicised notes that follow, che promettono ai cor and promise our hearts interspersed with the sung text itself, are from gioie veraci. true happiness. Follino’s Cronache mantovane 1587-1608.] Su, su, su fonticelli loquaci. Come, chattering brooks. Aveva il Duca stabilito di rappresentar quella sera The Duke had decreed that on that Wednesday luce caliginosa e mesta, la bella Venere, ch’aveva del mercoledì [4 giugno 1608] nel Teatro della evening [4 June 1608] there should be performed, in per mano il suo bel figlio Amore, la quale al suono Comedia, un balletto di molto bella invenzione, the Teatro della Comedia, a ballet of very beautiful di dolcissimi stromenti ch’erano dietro alla scena, opera del Sig.r Ottavio Rinuccini, nel quale invention, the work of Signor Ottavio Rinuccini, in cantò con voce molto soave gl’infrascritti versi in interveniva il Duca e il Prencipe sposo con sei altri which the Duke and the prince-bridegroom took part dialogo con Amore. cavalieri e con otto dame delle principali della città with six other gentlemen and eight ladies of Mantua così in nobiltà come in bellezza ed in leggiadria di – some of those most renowned in the city for their 1 Strepito spaventoso sotto il palco di tamburi 1 Fearsome banging of discordant drums beneath ballare, talché in tutto adempivano il numero di nobility, beauty and graceful dancing – bringing the discordati the stage sedici. Perloché radunatisi colà dentro i prencipi, le number to sixteen. Therefore, once the princes, 2 Sinfonia (Biagio Marini: Sinfonia Sesto Tuono, 2 Sinfonia (Biagio Marini: Sinfonia Sesto Tuono, principesse, gli ambasciatori e le dame, e quella princesses, ambassadors and ladies had gathered, op.22, 1655) Op. 22, 1655) nobiltà che poté capire il luogo, si collocarono ne’ along with as many nobles as the place could hold, gradi che, formando un mezzo cerchio dalla parte they sat on the tiers that, forming a semi-circle 3 AMORE 3 CUPID del teatro opposta al fianco, s’ergevano dal basso opposite the stage, rose up from the floor to the De l’implacabil dio We have reached the realm fino alla sommità di esso, lasciando vuoto quel ceiling, leaving empty the space in the middle, eccone giunt’al regno: of the implacable god: piano di mezzo, ch’è tra la scena e detti gradi, per il between the stage and the tiers, for the performance seconda, bella madre, il pregar mio. fairest mother, support my entreaties. facimento del balletto. In quella parte di muro, che of the ballet. On the right-hand side of the theatre, VENERE VENUS dalla destra parte del teatro è fra il confin de’ gradi between the seats and the stage, was a large box in Non tacerà mia voce My voice will not cease e la scena, era un gran palco dove furono collocati i which sat the ambassadors’ men, and opposite this dolci lusinghe e prieghi, in its sweet prayers and flattery gentiluomini degli ambasciatori, e dirimpetto a was another of similar appearance which held a finché l’alma feroce until the savage spirit quello se ne vedeva un altro di forma eguale, in cui great number of musicians with different stringed del re severo al tuo voler non pieghi. of the merciless king bends to your will. stava un gran numero di musici con istromenti and wind instruments. Once all were comfortably AMORE CUPID diversi da corda e da fiato. Or poiché furono colà accommodated, the signal was given – a fearsome Ferma, madre, il bel piè: non por le piante Wait here, mother: step not dentro tutti agiatamente accomodati, dato il segno banging of discordant drums beneath the stage – and nel tenebroso impero, into the dark kingdom con uno strepito spaventoso sotto il palco di tamburi the curtain rose with its usual wonderful speed, and ché l’aer tutto nero lest your fair, white cheeks discordati, s’alzò la tela con quella velocità mirabile in the middle of the stage could be seen the gaping non macchiass’il candor del bel sembiante. be sullied by its black air. con cui alzossi nella Comedia, e nel mezzo del palco mouth of a large and very deep cavern. The back of Io sol n’andrò nella magion oscura I shall enter his gloomy dwelling place alone, si vide una gran bocca di un’ampia e profondissima the cave was beyond view and indeed seemed as if it e, pregando, il gran re trarrotti avante. and there beg the great king to appear before you. caverna, la quale, stendendosi oltre i confini della must be so distant that human eyes could never VENERE VENUS prospettiva, pareva che andasse tanto in là che non discern it. The cavern was surrounded inside and Va pur come t’aggrada, io qui t’aspetto, As you please, my thoughtful son, potesse giunger umana vista per iscoprirne il fine. outside by fire, and in its darkest, deepest part, that discreto pargoletto. I shall wait for you here. Era quella caverna circondata dentro e d’intorno furthest from its mouth, could be seen a great abyss, d’ardente fuoco, e nel più cupo di essa, in parte full of spinning balls of brightest flame, and many 4 Sinfonia 4 Sinfonia assai profonda e lontana dalla sua bocca, si vedeva infernal monsters, so horrible and terrifying that una gran voragine, dentro alla quale ruotavano many did not dare look upon them. It seemed a Finite ch’ebbe Venere queste ultime parole, Amore No sooner had Venus uttered these last words when globi d’ardentissime fiamme, e per entro ad essa horrendous and monstrous thing to gaze upon that se n’entrò tutto ardito entro quella profonda Cupid bravely made his way into that dark abyss, innumerabil mostri d’Inferno, tanto orribili e infernal abyss full of fire and such fearful images; voragine, passando tra fuochi e fiamme senza patir moving amid fire and flames without suffering any spaventosi, che molti non ardirono di fissar colà and yet those present were even more amazed by alcuna offesa; e intanto Venere, volgendosi agli injury; Venus, meanwhile, turned to face the dentro il guardo. Parve cosa orrenda e mostruosa il seeing, in front of that flaming mouth, where a dim, spettatori e riguardando le dame che gli erano a audience and, addressing the ladies sitting opposite veder quella infernal voragine piena di tanto fuoco e hazy light shone, the beautiful Venus, holding her fronte, cantò di questa maniera: her, sang the following: d’immagini così mostruose; ma ben fece maravigliar handsome son Cupid by the hand. To the sound of the più le genti il veder dinanzi a quella infocata bocca sweetest instruments, off stage, she sang in gentle dalla parte di fuori, dove risplendeva una certa poca tones the words given below, in dialogue with Cupid. VENERE VENUS PLUTONE PLUTO 5 Udite, donne, udite, e i saggi detti 5 Hear me, ladies, hear me, and pay heed to Mal si sprezza d’Amor la face e ’l telo: It is wrong to scorn Cupid’s torch and arrows: di celeste parlar nel cor serbate. the wisdom of my heavenly speech. sallo la terra, el mar, l’Inferno e ’l cielo. earth and sea, heaven and hell, all know this. Chi, nemica d’Amor, di crudi affetti Any woman who makes herself Cupid’s enemy VENERE VENUS armerà il cor nella fiorita etate, and shields her heart in the flower of her youth, 7 Non de’ più fidi amanti 7 They hear not the speeches and laments sentirà come poscia arda e saetti will feel the pain of his fire and arrows one day, odon le voci e i pianti: of the most devoted of lovers: quando più non avrà grazia e beltate. when her grace and beauty have faded. Amor, costanz’e fede love, constancy and faith E in van ricorrerà, tardi pentita, And in vain will she seek, too late repentant, né pur ombra trovar può di mercede. are met with not a trace of pity. di lisci e d’acque alla fallace aita. the illusory aid of potions and ointments. Questa gli altrui martiri One laughs as she recounts narra ridendo, e quella the sufferings of others, another Sul fine del suo bel canto, si vide uscir dalla parte At the end of this beautiful song, Pluto was seen to sol gode d’esser bella enjoys being beautiful only because destra di quella orribile caverna Plutone, in vista appear from the right-hand side of that dreadful quanto tragge d’un cor pianti e sospiri. it causes men’s hearts to yearn and lament. formidabile e tremenda, con abiti quali gli sono cavern. Formidable and imposing in appearance, he In van gentil guerriero In vain does the fine warrior attribuiti da’ poeti, ma però carichi d’oro e di gioie; wore the kind of garments attributed to him by the move in campo d’onor leggiadro e fiero; ride to battle, handsome and brave; il quale, venendonese con Amore dinanzi a Venere, poets, but adorned with gold and jewels; with Cupid, indarno ingegno altero in vain does a poetic imagination parlò cantando in questa guisa, rispondendosi e he walked to where Venus was waiting, and the two fregia d’eterni carmi embellish in immortal songs replicandosi l’un l’altro come segue: then sang in response to one another as follows: beltà che non l’ascolta o non l’apprezza: a beauty that neither listens to nor appreciates him: oh, barbara fierezza! oh, pitiless arrogance! PLUTONE PLUTO Oh, cor di tigre e d’angue, Oh, heart of a tiger or sea serpent, 6 Bella madre d’Amor, che col bel ciglio 6 Fair mother of Cupid, you whose beautiful eyes mirar senza dolore to watch, unfeeling, splender l’Inferno fai sereno e puro, fill the Underworld with pure and tranquil light, fido amante versar lagrime e sangue! as a faithful lover sheds tears and blood! qual destin, qual consiglio what destiny, what counsel Né per sua gloria o per altrui vendetta Cupid can find no arrow in his quiver del ciel t’ha scorto in quest’abiss’oscuro? of heaven has led you to this sombre abyss? ritrova in sua faretra Amor saetta. that will either glorify him or avenge others. VENERE VENUS PLUTONE PLUTO O, della morta innumerabil gente, O mighty king of the innumerable hosts S’in van su l’arco tendi Cupid, if with your potent arrows you are tremendo re, dal luminoso cielo of the dead, it is maternal love that has led me i poderosi strali, stringing your bow in vain, what do you hope for here? traggemi a quest’orror materno zelo. from luminous heaven to this place of horror. Amor, che speri? Onde soccorso attendi? What aid are you expecting? Sappi ch’a mano a mano You should know that for some time, AMORE CUPID l’unico figlio mio di strali e d’arco my only son, his archer’s skill mocked, 8 Fuor de l’atra caverna, 8 My lord, lead those cruel and wicked souls arma, sprezzato arcer, gli omeri in vano. has been arming himself in vain. ove piangono in van di speme ignude, out of this gloomy cavern, PLUTONE PLUTO scorgi, signor, quell’empie e crude: where they weep over fruitless hopes: Chi spogliò di valor l’auree saette Who has dared deny the power of the golden arrows vegga su l’Istro ogni anima superba, let every proud soul on the Danube see che tante volte e tante that have so often a qual martir cruda beltà si serba. the punishment that awaits such pitiless beauty. giunsero al cor de l’immortal Tonante? pierced the heart of the immortal Zeus himself? PLUTONE PLUTO VENERE VENUS Deh, che ricerchi Amore? Amor, non sai Ah, what are you asking, Cupid? Do you not know Donne che di beltate e di valore Ladies who in beauty and virtue che dal carcer profondo that there is no path back to the mortal world tolgono alle più degne il nome altero, surpass the proud name of others more worthy; calle non è che ne rimeni al mondo? from this deepest of prisons? là nel Germano Impero here in the German Empire AMORE CUPID di cotanto rigor se’n vann’armate they protect themselves with such hardness of heart So che dal bass’inferno I know that the way that leads from che le quadrell’aurate that they merely make fun of my son’s per far ritorn’al ciel serrato è il varco, darkest hell to heaven is barred, e di sua face il foco golden arrows ma chi contrasta col tuo poter eterno? but who would dispute your eternal authority? recansi a scherzo e gioco. and flaming torch. PLUTONE PLUTO e per dedalea cura and you will see among its gilded beams, Saggio è signor se di sua possa è parco. A wise ruler is sparing with his power. scorger potrai tra l’indorate travi in handiwork worthy of Daedalus, VENERE VENUS palme e trionfi d’innumerabil avi. the palms and trophies of innumerable ancestors. 9 Dunque non ti rammenti 9 Do you not recall, then, Né minor meraviglia Nor less wonderful to your eyes che Proserpina bella a coglier fiori how I guided the fair Proserpina ti graverà le ciglia will be the sight guidai sul monte degli eterni ardori? to gather flowers on the mount of eternal fire? folti teatri rimirando e scene, of crowded theatres and stages Per quegli almi contenti, In honour of your happy souls, scorno del Tebro e de la dotta Atene. that put Rome and learned Athens to shame. deh, per quei dolci amori, ah, in honour of your sweet love, Appena ebbe Venere fornite queste parole, Scarcely had Venus uttered these words when Cupid fa nel mondo veder l’ombre dolenti! let the world behold these wretched shades! ch’Amore scorse per entro quella caverna comparir spied the unhappy souls appearing within the PLUTONE PLUTO quelle infelici, onde rivolgendosi alla madre, quasi cavern; turning to his mother, almost as if disturbed Troppo, troppo possenti, Fair mother of Cupid, che si turbasse di quella miserabile vista, gliele by this wretched sight, he pointed it out to her, bella madre d’Amore, the arrows of your pleading additò, affrettandola alla partita col canto delle encouraging her to hasten away as he sang the giungon del tuo pregar gli strali al core. pierce my heart too powerfully. seguenti parole: following: 0 Udite, udite, o dell’infernal corte 0 Hear my words, o wild ministers AMORE E VENERE CUPID AND VENUS feri ministri, udite! of the infernal court, hear them! ! Ecco ver’ noi l’addolorate squadre ! Behold the mournful company Al chiamar di Plutone, uscirono di quella caverna At Pluto’s call, many terrifying and monstruous di quell’alme infelici: of unhappy souls: molte Ombre orribili e mostruose, che versavano shades came out of that cavern, flames pouring forth miserelle, o miserelle! poor wretches, o poor wretches! fiamme da varie parti con molto terrore altrui; e from them, much to the terror of others present; and Alle parole dell’Amore, Venere si rivolse inverso At Cupid’s words, Venus turned away from the presentateglisi avanti con voce orrenda, ma però having presented themselves before their king, in l’ardente caverna, e vedute quelle meschine in atto burning cavern, and having seen the unhappy souls in armoniosa, dissero: fearful yet harmonious tones they said: così miserabile, con pietosa voce riprese il canto: such misery, began to sing again, her voice full of pity: OMBRE D’INFERNO SHADES OF HELL AMORE E VENERE CUPID AND VENUS Che vuoi? ch’imperi? What is your wish? What do you command? Ahi, vista troppo oscura, o miserelle! Alas, how dreadful a sight, poor wretches! E Plutone soggiunse: And Pluto added: Felici voi, se vi vedeva il fato You ladies would have been happy had fate made you PLUTONE PLUTO men crude e fere, o men leggiadre e belle: less cruel and inhuman, or less graceful and beautiful: Aprite le tenebrose porte Open up the dark gates miserelle, o miserelle! poor wretches, o poor wretches! della prigion caliginosa e nera, of the black and sunless prison, Onde Plutone, veduti Venere e Cupido così turbati, At which Pluto, seeing Venus and Cupid so e de l’anime ingrate and bring out here the doomed host esortò loro a partirsi di là, affrettando di poi i passi dismayed, exhorted them to take their leave, then traete qui la condannata schiera. of thankless women’s souls. di quelle misere con voce sonora e minacciosa: hastened the pace of the wretched souls, urging them Mentre quell’Ombre crudeli andarono eseguir la While those cruel shades went to fulfil Pluto’s on in resonant, threatening tones: mente di Plutone ed a condur fuori la condannata command and lead out the doomed host of thankless PLUTONE PLUTO schiera delle Donne Ingrate che doveva fare il women, who were to perform the ballet, Venus, Tornate al bel seren, celesti numi. Return to the serene heavens, divine gods. balletto, Venere, rivolta inverso Plutone, cantò i turning towards Pluto, sang the following lines: Movete meco, voi d’Amor ribelle! Move at my pace, you who rebelled against Cupid! seguenti versi: Mentre Plutone così disse, Venere, preso per la mano As Pluto was saying this, Venus, taking Cupid by the VENERE VENUS Amore, partì da quelle lagrimose piagge. E la hand, departed that melancholy place. And the Non senz’alto diletto When you set foot in the grand dwelling condennata schiera, camminando per quella voragine doomed company, walking through that chasm amid de magnanimi regi of these magnanimous rulers, tra le fiamme e il fuoco, uscì dalla spelonca, rimirando fire and flames, came out of the cave, gazing at the il piè porrai nell’ammirabil tetto. it will be with a sense of delight. con molto cordoglio e con atti degni di gran sky and daylight with great sorrow and with Ivi di fabbri egregi How you will admire the marvellous skill compassione l’aere e la luce. gestures that aroused great sympathy. incredibil lavoro of such talented craftsmen, Erano quelle anime condannate vestite con abiti di The condemned souls were dressed in beautiful and o, quanti ammirerai marmorei fregi. and the palace’s marble friezes. foggia molto stravagante e bella che si stendevano fantastical costumes that reached to the floor, made D’ostro lucent’e d’oro Its proud walls glisten splendidly infino a terra, composti di un ricco drappo che fu of a rich fabric created to achieve the desired effect. splendon pompose le superbe mura, with shimmering purple and gold, tessuto apposta per tale effetto. Egli era di color It was grey in colour, with the finest threads of silver berettino, misto di sottilissime fila d’argento e d’oro con and gold woven into it with such skill that it gave the non sentisse muoversi e conturbarsi in mille guise il their passions did not feel his heart moved and tanto artifizio, che a riguardarlo pareva cenere impression of bright sparks among cinders; and thus cuore. disturbed in a thousand different ways. mischiata con ardenti faville; e si vedevano così le vesti both their dresses and their cloaks (which hung from come i manti (che in maniera molto bizzarra pendevano their shoulders in the oddest of manners) seemed # Ballo # Ballet loro dalle spalle) ricamati di spesse fiamme conteste di embroidered with leaping flames of silk and gold, so seta e d’oro, tanto ben disposte che ciascheduno well done that everyone thought they were really Poi ch’ebbero queste Ingrate danzato tanto, che Since these Souls had extended their dance and stimava che ardessero; e tra dette fiamme si potevano ablaze; and among these flames could also be seen, intrecciandosi in vari modi si ritrovarono occupar moved around each other in various ways, they now veder con bellissimo ordine consparsi carbonchi, rubini beautifully arranged, garnets, rubies and other gems tutto lo spazio di quel piano, si posero ad un cenno occupied all the space available, and at a sign from e altre gemme che rassomigliavano l’accese braci. that resembled burning coals. di Plutone, ch’era fermo dinanzi al palco, in Pluto, who was standing in front of the stage, they Di queste gioie si vedevano intrecciati ancora i lor Their hair, too, was adorned with more such gems ischiera lungh’esso, otto per parte, ed egli lined up along each side of it, eight in each rank; capelli che, parte accorciati e parte sparsi con and, being partly cut and partly skilfully arranged, muovendosi pel mezzo di loro con molta gravità Pluto then advanced between the two lines, with mirabil arte, parevano distrutti e abbruciati, e appeared to have been singed and burned, and verso le principesse ch’erano in prospettiva great dignity, towards the princesses who were benché fossero tutti coperti di cenere, nondimeno although strewn with ashes, still gave off a certain dirimpetto il palco, poiché si fu lor fatto vicino, seated opposite the stage and, as he drew near to mostravano tra la cenere e il fumo un certo gleam amid the cinders and smoke, from which it pieno d’orrida maestà, prese a cantare, them, full of dreadful majesty, he began to sing, splendore, dal qual si poteva molto ben conoscere could clearly be seen that it had once been very fair accompagnato dal suono, con modo assai cortese i accompanied by instruments and in noble manner, che per altro tempo furono come fila d’oro indeed, like golden thread; their faces, meanwhile, seguenti versi: these lines: biondissimi; e le loro facce, mostrando alcuni segni still bearing the trace of an earlier beauty, were di già passata bellezza, erano in guisa trasformate e transformed and made pale in such a way that they PLUTONE PLUTO pallide che apportavano terrore e compassione inspired both fear and compassion among the $ Dal tenebroso orror del mio gran regno, $ I have not left the dark horrors of my realm insieme a riguardarle. audience. fugga donn’il timor dal molle seno, (banish fear from your gentle hearts, my ladies), Calarono queste, ma però con gran dolore Two by two, with gestures that revealed their arso di nova fiamma al ciel sereno, lit by a new flame in this clear sky significato per gesti, a due a due per una piacevole terrible suffering, they made an attractive descent donn’o donzella per rapir non vegno. in order to steal away any lady or young maiden. discesa dal palco, accompagnando i passi col suono from the stage, their steps accompanied by the sound E quando pur da’ vostri rai nel petto And even were his heart to be mortally di una gran quantità di stromenti che suonavano of a great quantity of instruments playing a solemn languisse mortalmente il cor ferito, wounded in his breast by your eyes, un’aria da ballo malinconiosa e flebile; and melancholy air; non fora di turbar Plutone ardito Pluto would not dare disturb di cotanta regina il lieto aspetto. the happy countenance of so great a queen. @ Entrata @ Entrata Donna, al cui nobil crin non bassi fregi A lady into whose noble tresses can be woven sol pon del cielo ordir gli eterni lumi, no humble ornament, only the eternal light of heaven, e giunte in sul piano del teatro, fecero un balletto and having reached the floor of the theatre, they di cui l’alme virtù, gli aurei costumi and whose gentle virtues and shining ways così bello e così vago, con passi, con moti e con atti performed a ballet of great beauty and grace, their farsi speglio devrian monarch’e regi. should be mirrored by all monarchs and rulers. ora di dolore e ora di disperazione, e quando con steps and movements sorrowful one moment, despairing Sceso pur dianzi Amor nel regno oscuro, But Cupid has just descended to my dark realm gesti di misericordia e quando di sdegno, talor the next; then alternating between compassion and preghi mi fe’ ch’io vi scorgess’avanti and begged me to lead forth from there abbracciandosi come se avesser le lagrime per anger; at times they embraced each other as if they had queste infelici, ch’in perpetui pianti these unhappy souls, who shed endless tears tenerezza sugli occhi, talor percuotendosi gonfie di tears of tenderness in their eyes, at times they struck out dolgonsi in van, ché non ben sagge furo. as they grieve in vain over their lack of wisdom. rabbia e furore. Vedevansi ad or ad ora abborrir i in rage and fury. Sometimes they appeared to hate one % Antro è là giù di luce e d’aer privo, % There is a cavern there below, deprived of light and air, loro aspetti e fuggirsi l’un l’altra con timorose another’s appearance and to shy away from one ove torbido fumo ognor s’aggira, where plumes of smoke unending swirl, maniere, e seguitarsi da poi con minaccioso another timorously, then they would chase each other, ivi del foll’ardir tardi sospira there languish, maddened, the souls of those who, sembiante, azzuffarsi insieme, dimandarsi perdono e their expressions threatening, fight one another, beg alma ch’ingrata ebbe ogni amante a schivo. too late, regret having thanklessly scorned every lover. mille altri moti rappresentati con tale affetto e con forgiveness, and perform a thousand other movements Indi le traggo e ve l’addito e mostro: I have therefore brought them forth to show to you – tanta naturalezza, che ne restarono in modo with such emotion and such naturalness that they were pallido il volto e lagrimoso il ciglio, their pale faces and eyes red with weeping – impressi i cuori de’ riguardanti, che non fu alcuno engraved upon the hearts of all those watching, and perché cangiando omai voglie e consiglio, that by changing your ways and counsel, in quel teatro ch’alla mutazione delle passioni loro there was no one in the theatre who at the changing of non piangeste ancor voi nel negro chiostro. you may escape their tear-strewn fate in that dark prison. Vaglia timor di sempiterni affanni, Let the fear of eternal torment act on you crudel sentenza e vie più cruda pena, Cruel sentence and even more pitiless punishment, se forz’in voi non han sospiri e prieghi: where lovers’ sighs and entreaties have failed: tornar a lagrimar ne l’antro oscuro. to return to that dark cave, there to weep and wail. ma qual cieca ragion vol che si nieghi what blind reason makes you believe Aer sereno e puro, Air serene and pure, quel che malgrado al fin vi tolgon gli anni? that the years will not defeat you in the end? addio per sempre, addio. farewell for ever, farewell. Frutto non è da riserbarsi al verno, No fruit can be preserved until winter, Oh cielo, oh sole, addio lucide stelle. O sky, o sun, farewell, o glittering stars. trovi fede al mio dir, mortal beltate. believe my words, o mortal beauty. Apprendete pietà, donne e donzelle. Learn to be merciful, fair ladies and maidens. Poi, rivolto alle Anime Ingrate, così dice: Then, turning to the Thankless Souls, he spoke thus: QUATTRO INGRATE INSIEME FOUR SOULS IN CHORUS PLUTONE PLUTO Apprendete pietà, donne e donzelle. Learn to be merciful, fair ladies and maidens. ^ Ma qui star più non lice, anime ingrate: ^ You may stay here no longer, you thankless souls: INGRATA THANKLESS SOUL tornate a lagrimar nel regno inferno. return to the infernal realm, there to weep and wail. ( Al fumo, a’gridi, a’pianti, * Back to the smoke, the cries and the tears, In sul fine di queste parole, ripigliando gli stromenti After these words, the musicians struck up a new, a sempiterno affanno: to everlasting suffering: una nuov’aria da ballo più flebile dell’altra, even more melancholy melody, to which the Souls ahi, dove son le pompe, ove gl’amanti? alas, where are our former splendours, our lovers? ricominciarono quelle Ingrate un altro balletto began to dance again Dove, dove se ’n vanno Whither go those ladies Ripresa del ballo Resumption of the ballet donne, che sì pregiate al mondo furo? who were once so prized here on earth? con atti pieni di maggior disperazione e di maggior with gestures of even greater fear and despair and, Aer sereno e puro, Air serene and pure, cordoglio, e con mille intrecciamenti e mille with a thousand intricate movements and variations addio per sempre, addio, farewell for ever, farewell. variazioni d’affetti si vennero avvicinando a poco a of emotion, they gradually approached the stage, o cielo, o sole, addio lucide stelle. O sky, o sun, farewell, o glittering stars. poco al palco, e salendo sopra di esso con lo ascending in the same order in which they had Apprendete pietà, donne e donzelle. Learn to be merciful, fair ladies and maidens. stess’ordine col quale n’erano discese, poiché descended, until they were all standing upon it, at QUATTRO INGRATE INSIEME FOUR SOULS IN CHORUS furono tutte colà di sopra, Plutone con voce which Pluto sang, his voice imbued with horrid Apprendete pietà, donne e donzelle. Learn to be merciful, fair ladies and maidens. d’orrore e di spavento disse cantando: menace: PLUTONE PLUTO Nel fine di così bel pianto, se n’entraron di nuovo, At the end of this moving lament, they went back into & Tornate al negro chiostro, & Return to your dark cloister, ma però in modo che vi parevano spinte da viva the burning cavern, but now as if impelled by a anime sventurate, unfortunate souls, forza, nell’ardente caverna; né prima furono powerful force; when they had been swallowed up tornate ove vi sferza il fallir vostro. go back to the place to which your sins led you. trangugiate da quella, che, chiudendosi la sua gran by its depths, the gaping mouth of the cavern closed, bocca, restò la scena con una bella e dilettosa leaving the scene showing a lovely and attractive (Qui tornano all’Inferno al suon della prima Entrata (Here, to the sound of the first Entrata, they return to prospettiva. prospect. nel modo con gesti e passi come prima, restando una the Underworld, with movements and gestures as sulla scena, nella fine facendo un lamento come before. One remains on stage, sings the lament that IL FINE THE END segue, e poi entra nell’Inferno) follows, then she too returns to hell.) Ripresa dell’Entrata Resumption of the Entrata Collazione dei testi: Marco Longhini Collation of texts: Marco Longhini Appena ebbe così detto Plutone, ch’una delle Ingrate, Scarce had Pluto spoken thus when one of the Souls, English translation: Susannah Howe ch’era rimasta sul palco quando le altre discesero a who had remained on the stage when the others ballare, proruppe in così lagrimosi accenti descended, dancing, broke forth in such mournful accompagnati da sospiri e da singulti, che non fu cuor tones, accompanied with sighs and sobs, that there di donna così fiero in quel teatro che non versasse per was no woman in that theatre so hardhearted that gli occhi qualche lagrima pietosa. Le parole ch’ella she did not shed a few tears of pity. The words of her disse nel suo bel pianto furono le seguenti: beautiful lament were as follows: INGRATA THANKLESS SOUL * Ahi troppo, ahi troppo è duro! * Alas, too harsh, too harsh is this! Delitiæ Musicæ and Marco Longhini during the recording of Altri canti d’amor

Pages from the Eighth Book of Madrigals The Eighth Book of Madrigals, subdivided into a substantial series of vocal and instrumental partbooks, contains some of Monteverdi’s greatest music. In this sumptuous collection the material is carefully arranged by category into madrigals of war, love and those for the stage, with a wide array of human passions and compositional styles. This is the first recording to present Book Eight in its original, uncut form, also incorporating instrumental sinfonias and dances by Biagio Marini (1594-1663) to round off Monteverdi’s design. In keeping with seventeenth-century practice, the madrigals are performed entirely by male voices, including a boy soprano in the role of Cupid. Claudio MONTEVERDI (1567-1643) Madrigals Book 8 ‘Madrigali guerrieri et amorosi’ CD 1 55:57 CD 3 59:12 1 Altri canti d’amor 1 Mentre vaga Angioletta 6 Or ch’l ciel e la terra 4 Ardo, e scoprir, ahi lasso 8 Gira il nemico insidioso 5 O sia tranquill’il mare $ Se vittorie sì belle 6 Ninfa che scalza il piede % Armato il cor 0 Dolcissimo uscignolo ^ Ogni amante è guerrier ! Chi vol haver felice e lieto il core ) Ardo, avvampo @ Lamento della Ninfa CD 2 58:37 % Perché te’n fuggi ^ Non partir ritrosetta 1 Combattimento di Tancredi e Clorinda & Su, su, su pastorelli & Ballo delle Ninfe dell’Istro ∞ Altri canti di Marte CD 4 47:55 ª Vago augelletto 1 Ballo delle ingrate Delitiæ Musicæ • Marco Longhini

The Italian sung texts and English translations can be found inside the booklet, and may also be accessed at www.naxos.com/libretti/573755.htm Recorded at Chiesa di San Briccio, Verona, Italy, from 3th to 10th June and from 11th to 20th July, 2005 Producers: Lodovico and Marco Longhini • Engineer: Michael Seberich • Editing: Corrado Ruzza Recording supervisor: Antonio Scavuzzo • Booklet notes: Marco Longhini For a more detailed track and artist list please see pages 2 to 5 of the booklet Cover: Warrior in armour, drawing his sword by Pietro della Vecchia (‘Muttoni’) (1605-1678) (akg-images / Erich Lessing)