Le Banquet Céleste Damien Guillon

Home , Girolamo Frescobaldi, I miei pensieri, Luca Marenzio

le banquet céleste damien guillon

Céline Scheen, soprano [cs] Damien Guillon, countertenor [dg] Thomas Hobbs, tenor [th] Benoît Arnould, bass [ba]

Julien Barre, cello [jb] André Henrich, lute [ah] Kevin Manent-Navratil, harpsichord [kmn] Marie-Domitille Murez, harp [mdm]

Recorded at the Église de Froville, France, on 24-28 June 2017 Engineered and produced by Aline Blondiau Executive producer & editorial director: Carlos Céster Editorial assistance: María Díaz Design: Rosa Tendero Photographs: Julien Benhamou

01 Oscure selve [dg, ah] 2:25 16 Non vi partite [cs, th, ah, mdm] 2:03 02 Corilla danzando sul prato [cs, dg, th, ah, mdm] 0:59 17 Doloroso mio core [dg, th, ba, ah, mdm] 2:47 03 Eri già tutta mia [cs, th, jb, ah, kmn] 3:36 18 Gagliarda terza (instr.) [kmn] 1:40 04 Balletto e Ciaccona (instr.) [kmn] 1:10 19 Gioite oh selve [cs, th, jb, ah, kmn, mdm] 3:14 05 Se l’aura spira [th, ah, mdm] 1:15 20 Così mi disprezzate [cs, jb, ah, kmn, mdm] 3:09 06 Dunque dovrò [cs, jb, ah, kmn, mdm] 3:08 21 Passacagli (instr.) [kmn] 2:16 07 Troppo sotto due stelle [ba, jb, ah, mdm] 3:46 22 Ohimè che fur [cs, jb, ah, kmn] 2:41 08 Oh dolore [dg, th, ba, jb, ah, mdm] 3:52 23 Maddalena alla croce [dg, jb, ah, kmn] 2:45 09 Toccata per spinetta, over liuto (instr) [ah, jb] 2:18 24 Ancidetemi pur (instr.) [mdm] 6:52 10 Vanne o carta amorosa [cs, mdm] 3:16 25 Ti lascio anima mia [dg, jb, ah, mdm] 4:14 11 Ardo e taccio il mio mal [dg, jb, ah, kmn, mdm] 4:22 12 Con dolcezza pietate [dg, th, ba, jb, ah, kmn] 1:16 13 Non mi negate ohimè [dg, jb, ah, kmn, mdm] 2:06 MN 14 Dove ne vai pensiero [cs, th, jb, ah, kmn] 1:31 15 Voi partite mio sole [th, jb, kmn] 2:16 6 7 english english

the prelate Guido Bentivoglio on a journey to the smooth and the spirited, which either came from could live forever. Other poets and musicians have Brussels, and had his Il primo libro de’ madrigali pub - the Renaissance or were imported from a range of been conscious of this movement and its “double”: in lished (in Antwerp); passing by Milan on his return to newly-emerging countries. And also, transformed the time of the Ars Subtilior – often, like the pre- Girolamo Frescobaldi Rome (which he would subsequently leave only for especially into the dynamic structures born with the Baroque, deemed to be “mannerist” – Jean Solage short periods of time), he saw published also Il primo Baroque or which gave it birth. Some of these struc - wrote and composed a work which become rather Affetti musicali libro delle fantasie a quattro . tures are frequently slow-moving: the Tiento (a cross famous in later times, Fumeux fume par fumee . This Frescobaldi defined the rules – or the absence of between experimentation and the hesitant) or the piece flaunts the goodwill of smoke, the curls of “It is the play of opposites that greatly moves our souls.” them – for performing his works in an exemplary Intonazione (evoking the instrument that is tuned or which range over distant tones; the intensity and jux - fashion in the course of his labours on his publica - a key/mode which needs to be specified). Others are taposition of time passing and, simultaneously, The works on this recording span some fifteen years, tions and their re-editions: “This style of playing cheerfully unrestrained: the Toccata (at that time, an remaining, are sifted through the smoky essence (this from 1615 to around 1630; from the death of Vincenzo should not be subjected to a beat [...] in some cases instrument was “touched”), the Caccia (the hunt) or was probably “composed” of hashish, given that I Gonzaga of Mantua to the decline of that city’s one must carry this through slowly, and in others the Ricercar (the search). Impulsive forms which pre - America was still waiting to be “discovered”). musical life once plunged headlong into war. For a quickly, and even by leaving it hanging in the air.” figured the fugue. short period, in 1615, Girolamo Frescobaldi was Such a level of freedom also is relevant for the orna - Two movements are involved here – or rather a “Quar fumer molt le agree / Tant qu’il ait son entencion.” engaged at the court of Mantua as a replacement for mentations and... also the performer’s potential with - double one, since these musical forms of an unfixed (For smoking pleases him greatly / for as long as that is his Monteverdi, now departed for Venice. At the age of in a work, “to stop where he or she thinks best”. nature are at the same time hounded and fleeing, har - intention.) 32, Frescobaldi was already both celebrated and con - Such an absence of rules, such an irregularity or rying and fleeting. What is their target, what prey are sidered enigmatic as a musician. Today, he can be con - something which is contrary to the rules, which in they hunting, from what are they running away, to In another vein, these lines by Barbara, jointly hymn sidered as one of that group of “cult composers” subsequent works would metamorphose into the where are they fleeing? In answer, the Romantics pleasure and farewell, without separating them out which includes Gesualdo, Luzzasco Luzzaschi (his durezze (clashing, unprepared dissonances), had would reply (they did indeed respond) simply by con - completely: teacher in his home town of Ferrara) and Froberger already been intriguing Portuguese composers. They trasting pleasure with the fleeting nature of time: (his future pupil). were the first to apply a name to this notion: barroco . “Quel joli temps pour se dire au revoir. / Quel joli soir pour Some fifteen years previously, at the close of the This is like an irregularly-shaped pearl, beyond the “[...] let us hasten to relish the transient pleasure!” jouer ses vingt ans. / Sur la fumée des cigarettes.” sixteenth century, Frescobaldi had moved to Rome, norm for perfect spheres; in a similar fashion the and: (What lovely weather it is for saying adieu to each other. / taking his leave of the Ferrara of Luca Marenzio, nature of the Baroque spiral “escaped” the circular “O time, pause in your flight.” What a splendid evening to act as though one was but Claudio Merulo, John Dowland, Giacches de Wert, plan to which Renaissance architects had been so (Lamartine) twenty. / Like the smoke of cigarettes...) Orlando di Lasso, Ottavio Rinuccini and Giulio much attracted, transforming it into a movement Caccini. When Alfonso II d’Este died without an heir, within space, into a space in movement. Such a response was also to be found in the “resur - The supreme representation of all this comes in the city came under the control of the Papal States. This becomes transformed into movement, or gent” art – in painting and music, contrapuntal lines Italian art, in all Italian art, which sings, paints, films, Frescobaldi was the organist at Santa Maria in in a pair of movements, such as are encountered in were used for creating a landscape or a space – which by moulding these pairs, the time which passes/the Trastevere until 1607, in which year he accompanied Baroque and pre-Baroque music: dancing or dances, had as its ideal that of stopping time, so that one time which remains, anxiety/pleasure:

8 9 english english

“... a beauty which hurriedly passes / You do not sulk about ambiguous and subtle. As a consequence of this artifi - bloom”... This carpe diem will not last, the dance gives cholic and intimate lines comes the energetic Troppo a lack of embraces. / You look at the green sky at the close cial casualness (among other things), Eri già tutta mia way to the recitative where the lover gives himself sotto due stelle , complete with a declamatory style which of the evening.” seems to have been conceived, sketched and written over volubly to lamenting. Doloroso mio core , which is is theatrical, almost operatic in scope. (Sandro Penna) down at the very moment when the performers are both a canzona and a lamento , is tailored on a similar Sometimes, the composer seems to be looking experiencing their emotion of the piece, indeed at pattern, although in this case the piece ends with a over his shoulder, in the direction of Tintoretto or These are rather ambiguous musical forms given that the moment when we are hearing it. This aria is a kind victory for the dance. Notwithstanding, there is a cer - Titian, in order to work full-out on Con dolcezza e these pursuits and flights have perhaps no other aim of Barcarolle onto which is grafted a Sicilienne whose tain flat bitterness, which calls to mind Shakespeare’s pietate and Oh dolore with thick textures. than their movement, a movement which also indi - cell (dotted crotchet - quaver - crotchet) punctuates “My heart dances; But not for joy, not for joy” (from In Ohimè che fur , the first of the two spiritual cates the time remaining. Which is remaining for us. the E-ri già of the beginning and some of the non più s The Winter’s Tale ). This aria finds itself reflected in the sonnets, no hope appears to be being offered to the And the pleasure of living it. From there derives this at the conclusion. Sensual – to the point of being Toccata per Spinetta which, dreamy at the outset, ends repentant sinner, forsaken by one and all. The second fluctuating feeling ranging from despair through to almost carnal – the music joins the voices together up in a more lively fashion, as well as in the serious, sonnet, Maddalena alla croce (also a dramatic recita - anguish which has created the form par excellence of like hands seeking each other out, combining the rapt and impetuous Toccata prima . Meanwhile, the tive, albeit one of a more theatrical nature) evokes, the nascent Baroque, that is the lament. And at the feeling, the sensation to the point that the concluding Balletto e Ciaccona , the Gagliarda terza and the startling with greater reserve, Monteverdi’s Combattimento di same time is derived that imperishable pleasure non più s juxtapose the exhilaration of pleasure with trio Corilla danzando sul prato , with varied tempos and Tancredi e Clorinda ; more specifically this concerns which produces this flow and is little concerned with the penetrating resonance of groanings. rhythms, all celebrate the pleasure of the dance inter - the narrator who, forgetful of his role, becomes where it is taking us. One of the charms (or mysteries) of the works on mingled with a certain lyricism, as can notably be directly involved with the protagonists and their this recording lies in the simultaneous use of “this play found in the duet Dove ne vai pensiero . combat. But here, in contrast to the Combattimento di MN of opposites that greatly moves our souls” (the phrase Frescobaldi provides Dunque dovrò and Ti lascio Tancredi e Clorinda and to other works on this record - is Monteverdi’s), by way of the relationships that they anima mia with two of the most famous ostinato bass ing, this is not a question of a juxtaposition of con - Era già tutta mia is a masterpiece in which all these have with each other being varied. Indeed, even when lines. The first, the Aria di Romanesca, is infused with trasts but of a dividing, of a single performer mani - characteristics are brought together. First of all, there these contrasts are searching for these relationships, a popular flavour recalling its point of origin: a Spanish festing two roles, that of the narrator (at the begin - is an elusive sense of flow throughout the piece pro - between pleasure and anguish, between suave sweet - villanella. The second, equipped with the Ruggieri bass ning) describing Mary Magdalene at the foot of the duced by the use of varying metres: four bars in triple ness and feverishness, they all experience difficulty in line, also comes from popular music (in this case, cross then that of Mary Magdalene herself speaking time, two at six beats in a bar, one at three in a bar, being separated or detached from each other, in the Italian), and is a moving song of farewell with plentiful to the crucified Christ. This is theatre, perhaps, also one at six, one at four, then, with the effect of unset - same way as recitative and aria often blend into arioso. ornaments heightening the sense of sadness. There is theatre within theatre. tling the equilibrium, seven at six in a bar, followed by This is particularly the case in Ardo e taccio il mio mal . an equally touching spirit informing Voi partite mio sole quadruple-time bars until the finish of the piece. Evidently, the dances and their repeats are promoting and Vanne o carta amorosa , both of which move within Pierre Élie Mamou Broadly speaking, the constant changes of metre pro - pleasure: in Così mi disprezzate , an Aria di Passacaglia, the scope of Monteverdi’s lettere amorose . In the carta translated by Mark Wiggins duce an almost improvisatory-like shifting of the the lover thinks that, by dancing a passacaglia, he can amorosa , Frescobaldi additionally asks – and solves – a strong beats (accents); with this moving about of the avenge himself of having been forsaken by his belle ; riddle dear to the Baroque, by making sing a lover who rhythmic markings, the off-beats become more she, he in any case reckons, is going to “lose her “dies in silence”! In contrast to these listless, melan -

10 11 français

Milan de retour à Rome qu’il ne quittera que pour des courtes périodes, Il primo libro delle Fantasie a quattro. Au cours des publications et des rééditions, Girolamo Frescobaldi Frescobaldi précise avec une politesse exquise les règles, ou l’absence de règles, relatives à l’interpréta - Affetti musicali tion de ses œuvres : « Cette façon de jouer ne doit pas être soumise à la mesure [...] que l’on doit conduire « Ce sont les contraires qui émeuvent grandement tantôt avec langueur, tantôt rapidement et, même, en notre âme. » la suspendant en l’air. » Cette liberté concerne aussi l’ornementation et... le choix de l’interprète pouvant, Les œuvres de ce disque recouvrent une quinzaine dans une œuvre, « s’arrêter là où bon lui semblera ». d’années, de 1615 à 1630 environ ; de la mort de Cette absence de règles, cette irrégularité ou Vincenzo Gonzaga de Mantoue au déclin musical de cette chose contraire à la règle, qui deviendra dans les cette ville en proie à la guerre. C’est en 1615 que œuvres ultérieures des durezze (dissonances dures, Frescobaldi est engagé, pour peu de temps, à la cour non préparées) avait déjà fasciné les Portugais qui, les de Mantoue en remplacement de Monteverdi parti premiers, lui ont donné un nom : barroco . Il s’agissait pour Venise. Frescobaldi a 32 ans, c’est déjà un musi - d’une perle a la forme irrégulière, sortant donc de la cien célèbre et mystérieux. On dirait aujourd’hui, norme des sphères parfaites, de la même façon que la qu’il fait partie des musiciens-cultes au côté de spirale baroque s’échappe du plan rond pour lequel Gesualdo, Luzzasco Luzzaschi, son maître à Ferrare, les architectes de la Renaissance avaient une prédi - sa ville natale, ou Froberger, son futur élève. lection, et le transforme en un mouvement dans l’es - Un quinzaine d’années auparavant, à la fin du xvi e pace, en un espace en mouvement. siècle, Frescobaldi s’installait à Rome en laissant la En mouvement, ou en deux mouvements qui se Ferrare de Luca Marenzio, Claudio Merulo, John rencontrent dans la musique baroque et pré-baroque : Dowland, Jacques De Wert, Orlando di Lasso, Ottavio la danse, les danses, les moelleuses et les vives, venues Rinuccini, Giulio Caccini. Alfonso II d’Este mort sans de la Renaissances ou importées de pays nouveaux. Et héritier, la ville devint propriété du Saint-Siège. aussi, surtout, les structures dynamiques nées avec le Frescobaldi est organiste de Santa Maria in baroque ou lui donnant naissance. Certaines sont sou - Trastevere jusqu’en 1607 où il accompagne le prélat vent lentes : le Tiento (entre tâtonnement et tentative) Bentivoglio à Bruxelles et publie Il primo libro de’ ou l’ Intonazione (évoquant l’instrument qu’on accorde madrigali a cinque voci (Anvers) et, en passant par ou une tonalité/modalité qu’on veut préciser).

12 13 français français

D’autres sont volontiers impétueuses : la Toccata (à « Quar fumer molt li agree / Tant qu’il ait son entencion. » courant élusif produit par les mesures différentes : disprezzate , une Aria di Passacaglia où l’amant pense, l’époque, on « touchait » un instrument), la Caccia (la (Car fumer lui plaît beaucoup / Tant qu’il en a l’intention.) quatre à 3 temps, deux à 6 temps, une à 3 temps, une en dansant la passacaille, se venger d’avoir été aban - chasse), le Ricercar (la recherche). Formes fuguées qui à 6 temps, une à 3 temps, puis, rompant l’équilibre, donné par sa belle qui, de toutes façons « perdra son annoncent la fugue. Dans un autre registre, ces vers de Barbara, chantent sept à 6 temps suivies de mesures à 4 temps jusqu’à la éclat ». Le Carpe diem ne dure pas, la danse fait place Deux mouvements, plutôt mouvement double le plaisir et l’adieu sans les dissocier tout à fait : fin. C’est-à dire grosso modo : le changement au récitatif où l’amant se lamente à souhait. Doloroso puisque ces formes musicales sans forme établie sont constant de mesure produit un déplacement des mio core , à la fois canzona et lamento , est taillée sur un à la fois poursuites et fuites, poursuivantes et fugi - « Quel joli temps pour se dire au revoir. / Quel joli soir temps forts (accents) qui semblent apparaître à l’im - patron similaire mais se termine par la victoire de la tives. Quel but poursuivent-elles, quel gibier chas - pour jouer ses vingt ans. / Sur la fumée des cigarettes. » proviste ; dans ce déplacement des jalons ryth - danse. Une certaine amertume plane cependant, qui sent-elles, que fuient-elles, où fuient-elles ? Les miques, les contre-temps sont plus ambigus et sub - évoquerait le vers de Shakespeare ( Le Conte d’hiver ) : romantiques répondraient, ont répondu, assez sim - Et surtout, dans l’art italien, dans tout l’art italien, qui tils. Grâce entre autres à cette nonchalance feinte, « Mon cœur danse, mais pas de joie, pas de joie. » plement en opposant le plaisir au temps qui fuit : chante, peint, filme, en les pétrissant, le temps qui Eri già semble être conçue, esquissée, créée au Cette aria se reflète dans la Toccata per Spinetta au fuit, le temps qui reste, l’angoisse, le plaisir : moment où les interprètes ressentent leur émotion, début rêveur et à la fin plus vive, ainsi que dans la « [...] de l’heure fugitive, Hâtons-nous, jouissons ! » au moment même ou nous l’écoutons. Cette aria est Toccata prima , grave, passionnée, emportée tandis que ou : « ... une beauté qui passe en hâte / tu ne te morfonds de ne pas une sorte de Barcarolle sur laquelle se greffe une le Balletto e Ciaccona , la Gagliarda terza et le surpre - « Ô temps ! suspends ton vol. » l’avoir étreinte. / Tu regardes le ciel vert à la tombée du soir. » Sicilienne dont la cellule (noire pointée - croche - nant trio Corilla danzando sul prato aux tempos et aux (Lamartine) (Sandro Penna) noire) rythme les E-ri già du début et quelques non rythmes variés, célèbrent le plaisir de la danse, entre - più de la fin. Sensuelle, presque charnelle, la musique mêlée de lyrisme dans le duo Dove ne vai pensiero . Cette réponse appartient aussi à l’art renaissant – la Ces formes musicales qui sont plutôt des esquives mêle les voix comme des mains se cherchant, mêle Frescobaldi choisit deux des basses obstinées les peinture, comme la musique dont les lignes du contre - puisque ces poursuites, ces fuites, n’ont peut-être les sentiments, les sensations au point que les non più plus célèbres pour Dunque dovrò et Ti lascio anima mia . point construisaient un paysage, un espace – qui avait d’autre but que leur mouvement, un mouvement qui de la fin superposent l’euphorie du plaisir et la stri - La première aria a un parfum populaire qui rappelle pour idéal celui d’arrêter le temps, pour qu’on puisse y indique aussi le temps qui reste. Qui nous reste. Et le dence des gémissements. son origine : une villanelle espagnole. La seconde, sur la vivre éternellement. D’autres poètes, musiciens, ont plaisir de le vivre. De là, ce sentiment fluctuant allant L’un des charmes ou des mystères des œuvres de basse du Ruggieri, provenant aussi de la musique popu - ressenti ce mouvement et son double : à l’époque de du désespoir à l’angoisse qui a créé la forme par excel - ce disque réside peut-être dans l’utilisation simulta - laire, dans ce cas, italienne, est un chant d’adieu émou - l’ Ars subtilior , souvent qualifié de maniériste tout lence du baroque naissant, le lamento. Et à la fois : le née de « ces contraires qui émeuvent grandement vant dont les nombreux ornements augmentent l’im - comme le pré-baroque, Solage écrivait, composait une plaisir irrépressible que produit ce flux et peu notre âme » (la phrase est de Monteverdi) en variant pression de désolation. Ses jumelles Voi partite mio sole œuvre devenue assez célèbre, Fumeaux fume par fumee , importe où il nous emporte. leur proportion. En effet, même quand ils le veulent, et Vanne o carta amorosa , également touchantes, s’inscri - qui vante la bonté de la fumée dont les volutes explo - le plaisir et l’angoisse, la douceur onctueuse et la fiè - vent dans le sillage des lettres amoureuses de rent des tons lointains ; l’intensité et la superposition du MN vre, ont du mal à se séparer, comme le récitatif et Monteverdi. Dans la carta amorosa , Frescobaldi pose en temps qui fuit et, à la fois, qui reste, sont tamisées par la l’aria qui se fondent souvent en arioso, particulière - plus – et résout – une énigme chère au Baroque en fai - substance fumée (probablement du haschisch, puisque Eri già tutta mia est un chef-d’œuvre qui réunit ment dans Ardo e taccio il mio mal . Les danses et leurs sant chanter un amoureux qui « meurt en se taisant » ! l’Amérique n’avait pas encore été « découverte »). toutes ces caractéristiques. Il y a tout d’abord un évocations privilégient évidemment le plaisir : Così mi À ces lignes plaintives langoureuses, intimes, s’oppose

14 15 français deutsch l’énergique Troppo sotto due stelle dans un style déclama - Frescobaldi war 1607 Organist an Santa Maria in toire théâtral ou déjà opéristique. Trastevere. In diesem Jahr begeleitete er auch Le compositeur semble parfois regarder derrière Kardinal Bentivoglio nach Brüssel und veröffentlich - lui, vers Le Tintoret ou Titien, pour travailler à pleine Girolamo Frescobaldi te sein Primo libro de’ madrigali a cinque voci in pâte Con dolcezza e pietate et Oh dolore aux textures Antwerpen. Der Rückweg nach Rom, eine Stadt, die consistantes. Affetti musicali er nur noch für kurze Aufenthalte verlassen sollte, Dans Ohimè che fur , le premier des deux sonnets führte ihn über Mailand, wo er sein Primo libro delle spirituels, le récitatif poignant semble n’offrir aucun »Es sind Gegensätze, die unsere Seele in hohem Maße Fantasie a quattro veröffentlichte. espoir à la pécheresse pénitente, abandonnée de tous. bewegen.« In seinen Veröffentlichungen und Neuausgaben Le second, Maddalena alla croce , qui est aussi un réci - präzisierte Frescobaldi mit exquisiter Höflichkeit die tatif dramatisé, bien plus théâtral, évoque, dans un Die Entstehungszeit der Werke auf dieser cd umfasst Regeln, die für die Interpretation seiner Werke gal - ton plus retenu, Il combattimento di Tancredi e Clorinda ungefähr 15 Jahre, ungefähr von 1615 bis 1630. Dies ten – oder eben nicht galten: »Diese Art des Spiels ist de Monteverdi ; plus précisément le narrateur qui, entspricht dem Zeitraum zwischen dem Tod des keinem Takt unterworfen [...] die Musik kann sich oubliant son rôle, se mêle aux protagonistes et à leur Herzogs von Mantua Vincenzo Gonzaga und dem einmal langsam und dann wieder schnell fortbewe - combat. Mais ici, à l’inverse du Combat de Tancrède et musikalischen Niedergang dieser Stadt, die dem gen, ja sich sogar in Luft auflösen.« Diese Freiheit des œuvres du disque, il ne s’agit pas de superposition Krieg zum Opfer fiel. Im Jahr 1615 wurde Girolamo betrifft auch die Verzierungen, und außerdem steht de contraires mais d’un dédoublement, une seule inter - Frescobaldi für kurze Zeit als Ersatz für Monteverdi es dem Interpreten frei, in einem Werk »dann aufzu - prète jouant deux rôles, celui de la narratrice (au (der nach Venedig gegangen war) am mantuanischen hören, wann es ihm richtig erscheint«. début) décrivant Madeleine au pied de la croix puis Hof angestellt. Frescobaldi war 32 Jahre alt und Dieses Fehlen von Regeln, die Unregelmäßig- celui de Madeleine s’adressant au crucifié. Théâtre, bereits ein berühmter und rätselhafter Musiker. Man keit und der Widerstand gegen Reglementierungen peut-être aussi théâtre dans le théâtre. könnte aus heutiger Sicht sagen, dass er zu den sollte in seinen späten Werken zu durezze werden Kultmusikern wie Gesualdo, Luzzasco Luzzaschi (harte, nicht vorbereitete Dissonanzen). Bereits die Pierre Élie Mamou (seinem Lehrer in seiner Heimatstadt Ferrara) oder Portugiesen waren von diesem Phänomen fasziniert Froberger (seinem zukünftigen Schüler) gehörte. und haben ihm den Namen barroco gegeben. Damit Weitere 15 Jahre vor dieser Zeit, am Ende des meinten sie eine unregelmäßig geformte Perle, die 16. Jahrhunderts, begab sich Frescobaldi nach Rom nicht mehr der Norm der perfekten Kreisform und ließ Ferrara hinter sich, die Stadt von Luca unterworfen war. Dem vergleichbar ist die barocke Marenzio, Claudio Merulo, John Dowland, Jacques Spirale, die aus der kreisförmigen Anlage ausbricht, De Wert, Orlando di Lasso, Ottavio Rinuccini und für die die Architekten der Renaissance eine Vorliebe Giulio Caccini. Alfonso II. d’Este war ohne Erben hatten, und sich in eine Bewegung im Raum, einen gestorben, sodass die Stadt an den Heiligen Stuhl fiel. bewegten Raum verwandelt.

16 17 deutsch deutsch

Der Wandel in Bewegung oder in zwei Arten von Musik, deren Kontrapunktlinien Landschaften und Und besonders, in der italienischen Kunst, in sämtli - Sechser, ein Dreier, dann als Bruch des Gleich- Bewegung, die einander in der barocken und vorbaro - Räume konstruierten. Diese Kunst verfolgte das Ideal, chen italienischen Kunstrichtungen, in denen man gewichts sieben Sechsertakte, auf die bis zum Schluss cken Musik treffen: Der Tanz, die zarten und lebhaften die Zeit anzuhalten, um ewig leben zu können. Auch singt, malt, filmt und damit die fliehende Zeit durch - Vierertakte folgen. Im Großen und Ganzen heißt das Tänze, die aus der Renaissance stammen oder aus der andere Dichter und Musiker haben diese Bewegung knetet, die Zeit, die stehenbleibt, die Angst, das also: Der ständige Wechsel des Metrums sorgt für Neuen Welt importiert wurden. Und vor allem dyna - und ihre Doppelung empfunden: Zur Zeit der Ars sub - Vergnügen: eine Verschiebung der betonten Zählzeiten (Akzen- mische Strukturen, die mit dem Barock entstanden tilior , die oft als manieristisch aufgefasst wurde, ent - te), die unerwartet wirken. Durch diese Verlagerung oder zu seiner Entstehung führten. Einige sind über - stand Musik wie etwa von Jean Solage in der Zeit vor »Wenn eine Schönheit vorüberfährt, die es eilig hat, der rhythmischen Eckpfeiler werden die unbetonten wiegend langsam: der Tiento (zwischen Herantasten dem Barock. Dieser schrieb ein Werk, das recht verdüstert sich deine Seele nicht, weil du sie nicht umarmt Zählzeiten uneindeutiger und subtiler. Unter ande - und Versuchen) oder die Intonazione (die an ein Instru- bekannt geworden ist, Fumeaux fume par fumee , in dem hast. / Du betrachtest den grünen Himmel am frühen rem durch diese scheinbare Nonchalance wirkt Eri ment erinnert, das gestimmt wird, oder an eine Tonart, der Rauch gepriesen wird, dessen Kringel ferne Töne Abend.« già tutta mia wie eine Skizze aus dem Moment, in dem die zunächst festgelegt werden muss). Andere sind voll erforschen. Die Intensität und die Überlagerung (Sandro Penna) Augenblick entstanden, in dem die Interpreten ihre Ungestüm: die Toccata (zu dieser Zeit berührte man ein durch die fliehende und gelegentlich stehenbleibende Emotionen empfinden, in dem wir ihnen lauschen. Instrument), die Caccia (die Jagd), das Ricercar (die Zeit werden durch die gerauchte Substanz ausgeblen - Diese musikalischen Formen sind eher Ausweich- Diese Aria ist eine Art Barcarolle, die von einer Suche). Fugierte Formen, Vorläufer der Fuge. det (wahrscheinlich Haschisch, da Amerika und damit manöver, denn diese Verfolgungen, diese Fluchten Siciliana überlagert wird, deren Keimzelle (punktier - Zwei Arten von Bewegung oder eine doppelte der Tabak noch nicht »entdeckt« worden war). haben vielleicht kein anderes Ziel als die Bewegung, te Viertel - Achtel - Viertel) den zu Anfang mehrmalig Bewegung, denn diese noch formlosen musikalischen die auch auf die ruhende Zeit verweist. Auf die Zeit, gesungenen Text E-ri gia rhythmisiert, ebenso wie Formen, bzw. nicht etablierten Formen sind sowohl »Quar fumer molt li agree / Tant qu’il ait son entencion.« die uns verbleibt. Und auf die Lebensfreude. Von die - einige Male am Ende den Text non più . Sinnlich, bei - Verfolgung als auch Flucht, nachstellend und flie - (Denn das Rauchen gefiel ihm sehr / So sehr, wie es seine sem Ausgangspunkt, diesem schwankenden Gefühl, nahe fleischlich vereinen sich die Stimmen in der hend. Welches Ziel verfolgen sie, welches Wild wird Absicht war.) das sich von der Verzweiflung zu Seelenqual entwi - Musik, wie Hände, die einander suchen, vermischen gejagt, wovor und wohin fliehen sie? Die Romantiker ckelt, entsteht die barocke Form par excellence – das die Gefühle und Empfindungen so sehr, dass in den werden antworten und haben eine recht einfache Zu einem anderen Genre gehören diese Verse der Lamento. Und gleichzeitig: das unbezwingbare non più am Schluss die Euphorie der Wonne die Antwort gegeben, indem sie das Vergnügen der flie - Chansonsängerin Barbara, in denen Vergnügen und Vergnügen, das durch diesen Flow ausgelöst wird, bei Schärfe der Seufzer durchdringt. henden Zeit gegenüberstellten. Abschied besungen werden, ohne beides im dem es nicht darauf ankommt, wohin er uns trägt. Der besondere Reiz und das besondere Geringsten voneinander zu trennen: Mysterium der auf dieser cd eingespielten Werke liegt »Vor der flüchtigen Zeit, lasst und eilen, uns erfreuen!« MN vielleicht im gleichzeitigen Einsatz »jener Gegen- oder: »Quel joli temps pour se dire au revoir. / Quel joli soir sätze, die unsere Seele in hohem Maße bewegen« (die - »Oh Zeit, halte ein in deinem Flug!« pour jouer ses vingt ans. / Sur la fumée des cigarettes.« In dem meisterhaften Eri già tutta mia werden alle ser Ausspruch stammt von Monteverdi), die in unter - (Lamartine) diese Charakteristika miteinander vereinbart. schiedlichen Verhältnissen angewendet werden. (Was für ein schönes Wetter um sich voneinander zu verab - Zunächst strömt es zögerlich dahin, hervorgerufen Selbst wenn sie es wollten, könnten die Wonne und Diese Antwort wird auch von der Kunst der schieden. / Was für ein schöner Abend, um mit seinen zwan - durch die unterschiedlichen Taktarten: Vier Dreier- der Kummer, die einschmeichelnde Süße und das Renaissance gegeben – in der Malerei und in der zig Jahren zu spielen. / Zum Rauch der Zigaretten.) takte, zwei mit sechs Schlägen, ein Dreiertakt, ein Fieber sich kaum voneinander trennen, wie Rezitativ

18 19 deutsch deutsch und Arie, die oft zum Arioso verschmelzen, ganz Abschiedslied, dessen zahlreiche Verzierungen den rung von Gegensätzen, sondern um eine Verdoppe- besonders in Ardo e taccio il mio mal . Durch die Tänze Eindruck der Verzweiflung noch verstärken. Die lung, um eine einzige Interpretin, die zwei Rollen und ihre Anklänge wird offensichtlich die Wonne ebenso eindrucksvollen Schwesterwerke Voi partite spielt. Zu Beginn ist sie die Erzählerin, die bevorzugt: Così mi disprezzate ist eine Aria di mio sole und Vanne o carta amorosa reihen sich in die Magdalena am Fuß des Kreuzes beschreibt, dann Passacaglia , in der der Liebende sich beim Tanz der Tradition der Lettere amorose Monterverdis ein. In der wird übernimmt sie die Rolle der Magdalena, die sich Passacaglia dafür rächen möchte, dass seine Geliebte carta amorosa stellt (und löst) Frescobaldi überdies an den Gekreuzigten wendet. Theater, vielleicht ihn verlassen hat, die in jeder Hinsicht ihren Reiz ver - eines der Rätsel, für die man im Barock eine solche auch Theater innerhalb des Theaters. lieren wird. Diese Carpe-diem -Stimmung hält nicht an, Schwäche hatte: Er lässt von einem Liebenden singen, und der Tanz macht dem Rezitativ Platz, in dem der der »verstummend stirbt«! Im Gegensatz zu diesen Pierre Élie Mamou Liebende ausgiebig klagt. Doloroso mio core ist sowohl klagenden, schmachtenden, intimen Zeilen steht das übersetzt von Susanne Lowien canzone als auch lamento . Es ist nach einem ähnlichen energische Troppo sotto due stelle in einem theatrali - Muster gestrickt, endet aber mit dem Sieg des Tanzes. schen Deklamationsstil, der bereits opernhaft klingt. Eine gewisse Bitterkeit herrscht dennoch, die an Der Komponist scheint bisweilen hinter sich, in Shakespeares Verse aus dem Wintermärchen denken Richtung auf Tintoretto oder Tizian zu blicken, um lässt: »Mein Herz tanzt, doch nicht vor Freude – wie diese in ihrer Ton-in-Ton-Malerei mit dickem gewiss nicht.« Diese Aria spiegelt sich in der Toccata Farbauftrag Werke wie Con dolcezza e pietate und Oh per Spinetta wider mit ihrem träumerischen Anfang dolore zu komponieren, die sich durch gehaltvolle und dem lebhafteren Ende, ebenso wie in der Toccata Texturen auszeichnen. prima. Diese ist gravitätisch, leidenschaftlich und auf - In Ohimè che fur , dem ersten der beiden geistli - brausend, während Balletto e Ciaccona , die Gagliarda chen Sonette, scheint das ergreifende Rezitativ der terza und das überraschende Terzett Corilla danzando reuigen Sünderin, die von allen verlassen ist, keinerlei sul prato mit seinen vielfältigen Tempi und Rhythmen Hoffnung aufkommen zu lassen. Das zweite, die Wonnen des Tanzes feiern, vermischt mit der Maddalena alla croce , ist ebenfalls ein dramatisiertes Poesie des Duetts Dove ne vai pensiero . Rezitativ mit wesentlich theatralischerem Zuschnitt. Frescobaldi wählte zwei der berühmtesten osti - Es erinnert in einem zurückhaltenderen Tonfall an naten Basslinien für Dunque dovrò und Ti lascio anima Monteverdis Combattimento di Tancredi e Clorinda , mia aus. Die erste Aria hat volkstümliche Anklänge, genauer gesagt an den Erzähler. Dieser lässt seine die an ihren Ursprung – eine spanische Vilanella – Rolle hinter sich, tritt zu den Protagonisten und erinnern. Die zweite steht über einer Basslinie von mischt sich in ihren Kampf ein. Aber in diesem Fall Ruggieri und stammt ebenfalls aus der Volksmusik, handelt es sich anders als beim Combattimento und in diesem Fall aus Italien. Sie ist ein rührendes den anderen Werke der cd nicht um eine Überlage -

20 21 22 23 01 oscure selve 03 eri già tutta mia

Oscure selve, ove gia mai non luce Forest in gloom, denied of the gleam Eri già tutta mia, Once you were all mine, Raggio di Sole, e spaventosi boschi of the sun’s rays; frightful woods, Mia quell’alma, e quel core, for me that heart, that soul; Lochi deserti, inhabitati, e foschi, forsaken spot, grim and abandoned, Or da me ti disvia what separates you now from me, Vo cercand’io, per ritrovar la luce. I move forward, in the pursuit of light. Nuovo affetto d’Amore; what new inclination is there for Love? O bellezza, ò valore, O beauty, o virtue, Desir mi sprona, Amor mi è guida, e duce, Spurred on by Desire; commanded and guided by Love. O mirabil bellezza ove sei tu? o marvellous beauty, where are you now? L’un tutti i sensi miei fa infermi, e loschi. By one all my senses are weakened and led awry. Eri già tutta mia, or non sei più, Once you were all mine, but now no longer, L’altro m’abbaglia, e perch’io non conoschi By the other I am overwhelmed, oblivious as to why, Non più, non più, no longer, no longer, Mio mal, sovente à lagrimar m’induce. frequently, I am reduced to tears. Ah, che mia non sei più. ah, you are no longer for me.

Così piangendo, in questa parte, e ’n quella, Hence, weeping, hither and yon, Sol per me gli occhi belli Only for me, your lovely eyes Fuggo le genti, e ’l solitario albergo, I escape from society, and in a solitary hostel, Rivolgevi ridenti, shone smilingly, Cerco in parte affrenar l’interna doglia. make an effort to check this pain within me. Per me d’oro i capelli for me the gold of your locks, Si scioglievano a’ venti; fanned out on the breeze. Mille carte al dì squarcio, e mille aspergo Each day I rip up a thousand pieces of paper, O fugaci contenti, O fleeting pleasures, Di lagrime, e d’inchiostro. O fera stella, shedding both tears and ink over a thousand more. O dolcezza, ò beltà dove sei tù? o sweetness, o beauty, where are you? I vo dietro al mio mal per propria voglia. O stars above, my own willingness cheats me. Eri già tutta mia, or non sei più, Once you were all mine, Non più, non più, but now no longer, Ah, che mia non sei più. ah, you are no longer for me. 02 corilla danzando sul prato Ah, che più tù non miri The pleasure on my face, Corilla danzando, Across the meadow Il gioir del mio viso, ah, you can no longer see it, Sul Prato si stà; Corilla flies dancing, Il mio canto, il mio riso my song, my laughter, E l’Aura scherzando a flurry of air frolicking È converso in martiri; are changed to torments. Intorno al crin d’oro, through her golden hair; O dispersi sospiri, O lost sighs, Vezzosa sen va; charmingly, she then departs, O sparita pietà, ove sei tu? o vanished compassion, where are you? Et io, che l’adoro, and I, how I adore her, Eri già tutta mia, or non sei più, Once you were all mine, Fedele, e costante, both true and steadfast, Non più, non più but now no longer, D’esser desio quell’Aura volante. for being desired by the flashing breeze. Ah, che mia non sei più. ah, you are no longer for me.

24 25 05 se l’aura spira Te incolpar degg’io, che prendi à gioco, I put the blame on you, who have made fun Che m’arda il cor di crudeltade il foco. of the ruthless fire inflaming my heart. Se l’aura spira tutta vezzosa, When the air moves coquettishly, La fresca rosa ridente stà, a smile graces the fresh-hued rose; La siepe ombrosa di bei smeraldi, the sheltered hedge, dappled in emerald, 07 troppo sotto due stelle D’estivi caldi timor non hà. trembles no longer at the summer heat. Troppo sotto due stelle alme, e dolcissime, Far behind two soft, twinned stars, A balli liete venite Come, dance and be merry, Sotto un bel crin, sotto un sembiante nobile under a fetching coiffure, behind a noble demeanour, Ninfe gradite, fior di beltà, You dear nymphs, blossom of beauty, Voglie celonsi, ohimè, crude ed asprissime, they seek to hide themselves, alas, harsh and strident, Or, che sì chiaro il vago fonte see how the clear, meandering stream E mente sol negli altrui danni immobile. unmoving when confronted with the pain of others. Dall’alto monte al mar s’en và. flows down from the mountain to the sea. Ciò ben prov’io, ch’invan sospiro, e dogliomi, Well do I know this, fruitlessly I sigh, I suffer, Suoi dolci versi spiega l’augello The bird rings out its sweet songs, Amante fatto di beltà indicibile, my beloved woman of an inexpressible beauty, E l’arbuscello fiorito stà. and the bushes are abloom. Invan m’affliggo, invan di vita spogliomi, I worry to no avail, I slough off my life to no avail, Un volto bello all’ombra accanto If but the fair face in the shadows Che più l’inaspra ogni mio strazio orribile. making yet harsher my fearful injury. Sol si dia vanto d’haver pietà, were to show compassion, Al canto ninfe ridenti, come and sing, happy nymphs, Ed io più l’amo, e mentre gli occhi stillano, I love her increasingly, and yet with my eyes weeping, Scacciate i venti di crudeltà. disperse the cruel winds. Col pianto l’alma, e queste man m’uccidono, my soul lamenting, and these hands are killing me, Fiamme più vive in me sempre sfavillano, with yet more profound flames assailing my heart, I miei pensier da lei mai si dividono. never are my thoughts torn away from her. 06 dunque dovrò

Dunque dovrò del puro servir mio Must my pure servitude, unmerciful one, 08 oh dolore Crudel’ hor riportar tormenti, e pene: now be the recipient of pains and torments: Oh dolore, O the anguish, O tradite speranze, ò van desio, O hopes deceived, O groundless desire, Oh ferita, o the wound, Che sepolta nel duol l’alma mi tiene. immured in pain by my soul. Oh mio core, o my heart, Oh mio bene, aita, aita, o my joy, come to my aid, Te Amor, te solo hora incolpar degg’io, You alone, Love, bear the blame, purloining, Deh non m’abbandonate, abandon me not, Che m’involi tiranno ogni mio bene. like a tyrant, all my possessions from me. Luci beate, beloved eyes,

26 27 Aita, aita, come to my aid, Dolor, pianti, sospir, tutti sien miei: let all the grief, the tears and sighs be mine; Morte mi dà chi potria darmi vita. she who could bring me life, sentences me to death. Anzi (ò nuovo stupor de l’amor mio) also (a fresh source of astonishment for my love) Io non bramo, io non cheggio, I crave not nor request Oh mio riso, O my gaiety, Che l’amor mio riami: that my love be requited, Oh mio canto, o my singing, Che, s’Amore hà dolor, non vuo’, che m’ami. for if Love provokes pain, do not let her love me. Oh mio viso, oh mio core, al pianto, al pianto, o my face, o my heart, in crying and sobbing, Io bramo, io chieggio solo, I but crave and request Lagrimate occhi amati, weep my beloved Che ’l mio amor non isdegni, that she does not scorn my love, E dispietati, and pitiless eyes, E voglia per mercè de’ miei dolori and that, as recompense for my sufferings, Al pianto, al pianto, in crying and sobbing, Sol ch’io l’ami, e l’adori. I am allowed by her to love and adore her. Chieggio mercè, e voi ridete intanto. imploring you for mercy, whilst you are laughing.

11 ardo e taccio il mio mal 10 vanne o carta amorosa Ardo, e taccio il mio mal, perch’io pavento I burn and am silent about my woes, for I dread Vanne, ò carta amorosa, Go forth, my letter of love, Che s’io scopro l’ardor, chentro mi sface, discovering that the feeling which is undoing me Vanne à colei, per cui tacendo io moro: go find her for whom I die in silence; Foco di sdegno, e non d’Amore accenda. is the fire of disdain and not that lit by Love. Deh, mia timida carta, o my hesitant letter, Io temo, io temo Amor, che non offenda I fear, O Love, that my agony Ardisci, e spera e priega, be bold, aspire and beseech, Più colei che me stesso, il mio tormento, shall offend you more than it does me myself, Chiedi, chiedi à colei go ask her, ask of her Che di piacer à me forse le spiace, that my pleasure will dissatisfy you; Di mio amor di mia fede to show compassion but not pity Ond’io sostegno in pace hence, by peaceful means, Pietà, mà non mercede. for my love and my faith. La guerra, che mi fanno i miei pensieri, I will maintain this war pursued by my thoughts, Non chieggio nò, non chieggio, I do not ask, no, I am not asking E s’io tento formar prieghi, ò parole, and when I attempt to form words or prayers, Ch’à miei sospir sospiri, that you sigh just like I sigh, Fede, e timor non vuole, this fear refuses all safety Ch’al mio languir languisca: nor that your languor matches mine; Ch’io procuri salute, ò ch’io la speri: and wipes out all hope. Ah crudo è ben quel core, the heart of a lover who would wish to see Moro senza scoprir qual son, qual fui, I die without finding out who I am or was, Ben è indegno amatore, his beloved lady sigh for Love E non fuggo il morir, ma l’ira altrui: and I flee not from death, but from others’ anger. Chi di veder desia is truly heartless, Pur nel silenzio i miei pensieri ascondo; Even in the silence I shroud my thoughts; L’amata donna sospirar d’Amore. the heart of a truly unworthy lover. Vivo penando, e ’n lagrimar mi sfaccio, I live by suffering and am undone by my tears, E moro alle speranze, al duol rinasco. I die through hope, and am reborn in pain. Lungi, lungi da lei May amorous sorrows Sol di pensieri, e di sospir mi pasco. I subsist only by my thoughts and sighs. Sien le pene amorose: stay far from her side: E serbando il mio duol chiuso, e profondo, My anguish is kept closed, deep within me,

28 29 Dentro son tutto foco, e fuori un ghiaccio. without I am all fire, within I am as ice. Penso, ch’ogn’hor soffrì I believe that my breast has always Vorrei parlar, ma taccio, I would speak, yet I remain silent, Foco immortal il seno, suffered this unending ardour, Perch’io non sò ben dir quel ch’io vorrei. because saying what I want is so difficult. Penso, ch’in vano un dì I believe that, groundlessly, for but one day Quand’io son lungi ardisco, appresso i’ tremo. I dare to when it is far off, I tremble when close to. Bramai lieto, e sereno; did I crave happiness and serenity; Hor fuggo; hor torno, hor temo Now I take flight, then I reappear, yet I am in dread, Né volli mai, yet I never sought, E son morto in me stesso, e vivo in lei, for death lurks within me, and I live within it, Lucidi rai, o dazzling eyes, E divisa da me l’anima mia, and separated from me, my soul Scovrir la fiamma, ch’il mio cor nutrì. to discover the flame which burns in my heart. Per seguitar altrui se stessa oblia. carries on with another, oblivious of itself. Ma, poi ch’io sento già But since now I see that the pain Ch’à morte il duol m’invita, is directing me towards death, 12 con dolcezza e pietate Chieggio, chieggio pietà, I plead for compassion, Chieggio, ò begli occhi, aita; I, o glorious eyes, implore your help; Con dolcezza, e pietate With gentleness, and with compassion Un guardo solo one sole glance Alle gioie d’Amore, for the pleasure of Love, Temprerà il duolo, would lessen my pain, O begli occhi allettate you entice, O beauteous eyes, Un guardo solo in vita mi terrà. a single glance would let me live. Il mio libero core; my frank heart; Ma da voi fuggirò but from you I will take flight, E non mai crederò, and never will I give credence to 14 dove ne vai pensiero Che regni scherzo, ò gioco, diversion or sport being present Ove son le catene, e strali, e foco. where there are only fetters, arrows and fire. Dove ne vai pensiero, Whither travels that thought Su l’ali de’ sospiri aloft on the wings of sighs? Fuggi d’Amor l’impero, You are fleeing Love’s realm, 13 non mi negate ohimè La dove è gloria il dispensar martiri, where the distributing of martyrs is a glory, Tal degli incauti amanti è la mercè: such being the reward for rash lovers; Non mi negate, ohimè, O fair eyes, do not, alas, Misero che farai, what are you doing, miserable creature, Lumi sereni, ch’io prevent me from Credilo à me, che te ne pentirai. believe what I say, you will regret it. vi mostri la mia fè, displaying my faith to you, Vi narri il mio desio; telling you of my yearning; Mi struggo ardendo, I am consumed by passion, Vivo piangendo, I live by suffering, E chieggio al mio servir qualche mercè. I beg that you offer me some compassion.

30 31 15 voi partite mio sole Fermate il volo Cease your flight Beltà celeste, o heavenly beauty, Voi partite mio Sole You are parting, my sun Mie voci meste heed my wretched utterances, E porta il vostro lume altrove il giorno; and your light will bring the day to other lands, Udite, e ’l duolo, hearken to my grief, Chi sarà, che console who is there to comfort Su, su, su, su, come, come, come, come, La mia notte dolente, my agonized fortune, Fermate il volo, cease your flight, Se voi non fate al nostro Ciel ritorno? if you do not return to the sky above us? Non state più. do not take it any further. O mie speranze spente: Oh, my vanquished hopes, alas, beauteous lights, Ahi belle luci, onde ne givo altera, towards which I haughtily stepped; Come fu l’Alba, ohimè, vidi la sera. at daybreak, ah me, I saw but the light of night. 17 doloroso mio core

Voi partite, ma resta You are parting, but notions of you Doloroso mio core My anguishing heart, Misera, in me di voi la rimembranza. stay hazily in my memory. Come puoi tu soffrir tanti martiri? how can you stand such torture? Sol questa il volo arresta This thought alone holds back Corri corri a morire, Rush towards your death, All’anima, che fugge: the departure of the fleeing soul. Smorza l’ardor constante muffle this constant passion, E vive Amor, se morta è la speranza, And long live Love, even if hope lies dead. Che non sei solo disperat’amante. for you are not the only lover in despair. Ma nuovo duol mi strugge; But a new pain torments me; Che voi cangiando ciel cangiate amore: because you, in altering the skies, change love. Tormentata alma mia, My afflicted soul, Lunge dagli occhi, ohimè, lunge dal core. Away from my eyes, ah me, away from my heart! E potrai tu patir tanta ferita? can you endure such a wound? Spreggia dunque la vita, So, contemn this life, Che refriggerio degl’amanti è morte, whose death is the only respite for lovers, 16 non vi partite Che non sei solo disperat’amante. for you are not the only desperate lover.

Non vi partite Do not depart Infocato cor mio My heart all ablaze, Se voi m’amate, if you love me, Viver non potrai tù s’amor t’assale, you cannot survive being assailed by love, Non mi lasciate do not leave me, Fuggi, fuggi il tuo male, take flight from your woes, Luci gradite, welcome eyes, Hai lege ria d’amanti, a wicked law exists for lovers: No, no, no, no, no, no, no, no, Chi vive amando, tormentato more. who lives by loving, dies tormeted. Non vi partite, do not depart, Ch’io mi morrò. for I will perish.

32 33 19 gioite oh selve Datemi pur martiri, Provide me with torments, Burlate i miei sospiri make fun of my sighs, Gioite oh selve, oh venti, Be joyful, forests and winds Negatemi mercede, deny me mercy, A’ miei contenti; for my contentment; Oltraggiate mia fede, insult my faith, La mia Cloride bella, for my beautiful Chloris, Ch’in voi vedrete poi for then in yourself you will observe Che già fù sì rubella è fatta amante who was once so resistant, has now become my lover; Quel che mi fate voi. precisely what you have been doing with me. E s’Amor è leggiero, ella è costante. though Love is capricious, she will be faithful. Beltà sempre non regna, Beauty does not reign forever, Ridete oh fonti, oh prati Be merry, springs and meadows E s’ella pur v’insegn a and if she is teaching you Ne’ dì gelati; during these days of frost; A dispregiar mia fé, to despise my faith, Il mio dolce tesoro, for my sweet treasure, Credete pur à me, heed me well then; Che già negò ristoro, al fin si rese, who once refused solace, now offers it; Che s’oggi m’ancidete, for if you destroy me today, E s’Amor è crudele, egli è cortese. though Love is cruel, she will be gracious. Doman vi pentirete. you will repent it tomorrow.

Cantate oh rivi, oh fiori Sing out, streams and flowers, Non nego già ch’in voi I don’t deny that in you, A miei ristori; for my relief; Amor ha i pregi suoi, Love possesses something of great value, Il bell’Idolo mio for my beloved, Ma sò ch’il tempo cassa but I know that time harries Arde com’ardo anch’io, non già per gioco, burns like I burn, but no longer as a jest; Beltà che fugge, e passa, beauty, which takes flight, and passes; Che s’Amor è di gielo, egli è di foco. though Love is of ice, she represents fire. Se non volete amare, and if you don’t want to love, Io non voglio penare. then I won’t give myself any grief.

20 così mi disprezzate Il vostro biondo crine, Your blond hair, Le guance purpurine your flushed cheeks, Così mi disprezzate? How can you reject me so? Veloci più che Maggio will soon vanish, Così voi mi burlate? How can you ridicule me thus? Tosto faran passaggio, as quickly as the month of May. Tempo verrà, ch’Amore A time will arrive when Love Prezzategli pur voi, Grant them their accolades, Farà di vostro core will do to your heart Ch’io riderò ben poi. for later on I will well be laughing. quel che fate del mio, precisely what you have been doing with me; Non più parole, addio. nothing further needed. Goodbye!

34 35 22 ohimè che fur Che se morir pur vuoi; l’anima unita If you ordain your death, then my soul shall be united Ho teco (il sai mio Redentor, mio Dio) with you (you, my Redeemer, my God, know this), Ohimè , che fur, che sono, e che saranno Alas, what were, are, and will be Però teco haver deggio e morte, e vita. yet with you I must have death, and life.’ Quest’empie membra? ahi rimembranza dura; these wicked limbs? That is an arduous memory; Scese l’alma dal ciel candida, e pura, down from heaven came a white and pure soul, E con le colpe lor macchiato l’hanno. and with their sins they have stained it. 25 ti lascio anima mia Lasso, in breve di morte esposte al danno, let them, poor, dust-like, cold and dark, Poca polvere fien, fredda, ed oscura, be exposed to the ordeal of death, Ti lascio, anima mia, giunta è quell’hora. I leave you, my soul, it is the hour. E l’eterno penar quella non cura, and may she not pay attention to eternal sorrow, L’hora ohimè, che mi chiama alla partita. The hour, alas, that announces my departure. Tanto il senso è di lei fatto tiranno. since her feelings have made a tyrant of her. Io parto io parto, ohimè, convien ch’io mora, I go, I leave, alas, for it is better that I die. Pria che d’Atroporea preda rimanga, Lest that she should become a prey of Atropos, Perche convien partir da te, mia vita. For I must give you up, my life. Spira, ò Signor le fiamme tue soavi, blow, O Lord, your sweet flames, Ah, pur troppo è ’l dolor ch’entro m’accora, Ah, the grief piercing me within is already too great; Ch’il gielo del mio cuor si scaldi e franga, so that my cold heart is warmed and shattered. Non mi dar col tuo duol nova ferita. with your pain, do not provide me with more wounds. Veggio, ed accuso homai le colpe gravi; Alert, I now accuse these woeful sins, Deh non languir cor mio ch’al mio partire Grieve not, my heart, since, at my departing, Onde convien, ch’eternamente pianga, on account of which it is proper to grieve eternally, Mi duole il tuo doler più, che ’l morire. your grief keens me more than my dying. Perche le macchie di quest’alma io lavi. in order that I may wash these stains from my soul.

23 maddalena alla croce

A piè della gran Croce, in cui languiva At the foot of the great cross, Vicino à morte il buon Giesù spirante, on which languished the good Jesus near to death, Scapigliata così pianger s’udiva His faithful and lamenting lover was to be heard, La sua fedele addolorata amante, weeping and dishevelled. E dell’humor, che da’ begli occhi usciva, Never were conveyed, in life or death, E dell’or della chioma ondosa, errante from India or Atlantis, pearls or gold Non mandò mai, da che la vita è viva, of more lustre than the moisture from her lovely eyes, Perle, od oro più bel l’India ò l’Atlante, or the gold of her floating golden hair. Come far (dicea) lassa, ò Signor mio, ‘How can it be, O my Lord’, spake the wretched one, Puoi senza me quest ultima parola? ‘that you can give your final word without me? Come, morendo tu, viver poss’io? How, with you dying, can I continue in life?

36 37 glossa produced by Carlos Céster in San Lorenzo de El Escorial, Spain

for note 1 music gmbh Carl-Benz-Straße, 1 69115 Heidelberg Germany [email protected] / note1-music.com

glossamusic.com