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10-25-1989 Capriole: Music of Claudio Monteverdi Department of Music, University of Richmond

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Recommended Citation Department of Music, University of Richmond, "Capriole: Music of Claudio Monteverdi" (1989). Music Department Concert Programs. 872. https://scholarship.richmond.edu/all-music-programs/872

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CAPRIOLE

MUSIC OF CLAUDIO MONTEVERDI (1567-1643)

NORTH COURT RECITAL HALL OCTOBER 25, 1989 8:15 P.M.

Department ofMusic University ofRichmond, V,rgtnia 23173 • (804) 289-8277 CAPRIOLE

MUSIC OF CLAUDIO MONTEVERDI (1567-1643)

NORTH COURT RECITAL HALL OCTOBER 25, 1989 8:15 P.M. Music of Claudio Monteverdi

Ecco Mormorar l'onde Ecco mormorar I' onde The brook murmurs E tremolar le fronde and the leaves A I' aura mattutina and the young trees tremble e gli' arborselli. at the morning breeze. E sovra i verdi rami And above the green branches Cantar i vagh'augelli soavemente the pretty birds sing sweetly E rider l'Oriente. and the East smiles. Ecco gia l'alba appare Lo dawn appears already E si specchia nel mare and is reflected in the sea E rasserena il cielo and the sky is clear & calm E imperla il dolce gielo and adorns the sweet with pearls E gl' alti monti indora. and gilds the high mountains. 0 bella e vagha aurora! 0 beautiful charming dawn! L' aura e tua messagiera e tu de I' aura The breeze is your messenger, Ch'ogn'arso cor ristaura. and you tell of the breeze that restores every burnt heart. 0 come sei gentile 0 come sei gentile, caro augellino! How pretty you are, sweet little bird! 0 come e 'I mio stato amoroso al tuo simile. 0 how like yours is my state of love. Io prigion; tu prigion. I am a prisoner; you are a prisoner. Tu canti; io canto. You sing; I sing. Tu canti per colei che t'ha legato, You sing for her who bound you, Et io canto per lei. And I sing for her as well. Ma in questo e differente But here lies the difference La mia sorte dolente: in my mournful state: Che giova pur a te I'esser canoro Your sweet voice is your fortune, Vivi cantando et io cantando moro. and you singing live, while I singing die.

Perche t'en fuggi Perche t'en fuggi, o Fillide? Why do you flee, o Phyllis? Deh. Fillide ascoltami 0 Phyllis, hear me E quei bell'occhi voltami. and turn your fair eyes towards me.

Gia belva non son io For I am not a ferocious beast, Ne serpe squallido: Nor a murky serpent: Aminta son io, se ben son magro I am Amintas, even though I am pale e pallido. and thin.

Queste mie calde lagrime These my hot tears Cheda quest'occhi ogn'hor si veggon piovere that stream from my eyes unceasingly Han forza di commovere have the power to move ogni piu duro cor, the hardest of hearts, spietato e rigido; the most pitiless and unbending; Ma'l tuo non, gia ch'e piu d'un ghiaccio frigido. But not yours, for it is colder than ice. ------~------~--·----~ -----~~ ------

Mentre spargendo indarno a l'aura While vainly scattering pianti e lamenti, groans and laments to the wind, indarno il cor distruggesi vainly my heart destroys itself. Filli piu ratta fuggesi Phyllis most swiftly takes flight Ne i sospir che dal cor and neither the sighs from the heart si dolenti escono, so painfully wrung, non voci o prieghi nor cries nor prayers I pie fugaci arrestano. can stay her fleeing feet.

Non partir ritrosetta Non partir ritrosetta Don't go away, capricious one, troppo lieve e incostante. so lighthearted & inconstant. Senti me, non fuggir, aspetta! Listen to me, don't flee, wait! Odi il pregar del tuo fedel amante. Hear the prayer of your faithful lover. Tu non senti i lamenti. You do not listen to my laments. Ah, tu fuggi! Io rimango. Ah, you flee! I alone remain. Ah, tu ridi e io piango. Ah, you laugh and I weep.

L'alma vola disciolta; The soul flies free; teco parte ii mio core. My heart leaves with you. Ferma ii pie, non fuggir, ascoltal Stop, don't flee, listen! Toma a gioir almen d'un che si more. At least return to enjoy seeing me die. Tu non miri i martiri. You don't see my sufferings. Tu non odi, ah! Io ti chiamo. You don't hear, alas! I am calling you. Tu mi sprezzi, ah! Io ti bramo. You despise me, alas! I long for you.

Tu crude! piu mi offendi Cruel one, the more you flee quanto piu sei fugace. the more you wound me. Gia dal sen l'alma fugge; attendi! Already my spirit is departing. Wait! Se il mio languir a te cotanto piace If my languishing is so pleasing to you. Ononridi. don't laugh. Tu mi sprezzi, ah! Io t'adoro. Alas, you despise me! I adore you. Tu mi lasci, ah, e io moro. Alas, you are leaving me and I shall die.

Eccomi pronta Eccomi pronta ai baci! Here I am ready to be kissed! Badami, Ergasto mio, Kiss me, Ergasto , but kiss me so ma bacia in guisa that your biting teeth do not leave che coi denti mordaci behind any marks on my face, nota non resta nel mio vol to incisa so that noone may point at me perche altri non m'additi in essa poi and trace from them legga le mie vergogne e i baci tuoi. your kisses and my shame. Ahi! tu mordi e non baci! Oh you are biting and not kissing! Tu mi segnasti, ahi! You have marked me! Poss'io morir se piu ti bacio mai! May I die before I ever kiss you again! Al lume delle stelle Al lume delle stelle Tirsi sott'un alloro Under a laurel by the light of the stars Si dolea lagrimando in questi accenti: Thrysis complained , crying : O celesti facelle di lei ch'amo e adoro 0 heavenly lights you resemble the rassomigliate voi gli occhi lucenti. bright eyes of she who I love and adore. Luci care e serene Beloved, bright eyes sento gli affanni, ohime, sento le pene! I feel the pangs, alas, I feel the pains! Luci serene e liete Bright happy eyes sento le fiamme lor mentre splendete. I feel the flames whenever you shine.

Intermission

Alie danze Alie danze, alle gioie, ai diletti To the dance, to joy, to the delights Che c' infiam mano ii cor d •Amore that inflame the heart with love Al Soave conforto de petti. To the sweet comfort of the breast Alie danze, alle gioie, ai diletti. To the dance, to joy, to the delights!

Alie gemme, alle perle, a bei fiori To the pearls, gems & beautiful flowers Che v'adornino ii crin e'l seno which adorn the hair and breast a bei fregi di mille colori. with lines of a thousand colors. Alie gemme, alle perle, a bei fiori. To the pearls, gems & beautiful flowers!

Alie tazze, ai cristalli, alle argenti, To the cup, crystal, & silver Che v'invitano a trar la sete which invite us to quench our thirst A bei pomi di minio ridenti. with beautiful red apples Alie tazze, ai cristalli, alle argenti. To the cup, crystal, & silver!

Bel Pastor "Bel Pastor dal cui bel guardo "Fair shepherd whose ardent glances have set spira foco ond'io tutt'ardo, m'ami tu?" my heart on fire, do you love me?" "Si, cor mio" -"Com'io desio?" "Yes my heart" - "As I wish it?" "Si, cor mio"- "Dimmi quanto". "Yes my heart." -" Tell me how much." "Tanto, tanto"-"Quanto?" "So much"-"How much?" "O tanto, tanto"-"Come che?" "Overy much". -''How do you love me?" "Come te, Pastorella tutta bella." "Just as you are, beautiful shepherdess."

"Questi vezzi, e questo dire ''These playful words can hardly non fan pago ii mio desire. appease my longing. Se tu m •ami, o mio bel foco, If you love me, my fair fire, dimmi ancor, ma fuor di gioco. Tell me again but not in jest. Come che?"... "Come te, .... " How do you love me?"... "As you are, ... "

"Vie piu lieta udito havrei "I would be happier if I heard you say: t' amo par de gl' occhi miei." I love you as much as my eyes." "Come rei del mio cordoglio "I will not love my eyes, since they are questi lumi amar non voglio; guilty of my pain; di mirar non satii ancora for they can never feast enough on the sight of la belta che se m 'accora." your beauty which afflicts me." "Come che?"Come te, Pastorella ... " "How do you love me?" "As you are ... " "Fa sentirmi altre parole se pur vuoi "Let me hear other words if you wish ch'io mi console. M'ami tu? to comfort me. Do you love me?" "Si cor mio""Come la vita?" "Yes, my heart" -"As life itself?" "No ch'afflitto e sbigottito d'odio e sdegno "No, for I am unhappy & troubled by scorn & non d' Amore fatt' albergo di dolore disdain, not by Love per due luci, anzi due stelle troppo crude, but by two eyes, nay two stars, too cruel , troppo belle. too lovely." "Come che?" "Come te ... " "How do you love me?" "As you are"

"Non mi dir piu come; dimmi, 'io t' amo.' "Don't tell me how any longer; say 'I love" "Io t'amo"-"Come me?" you". "I love you"-"As yourself' "Ho ch'io stesso'odio me stesso." "No, for I hate myself' "Deh se m'ami dimmi e spesso." "Fie, if you love me, tell me often." "Si cor mio"-"Com 'io desio?" "Yes my heart"- "As I wish?" "Si cor mio"-"dirnmi quanto." "Yes my heart"-'Tell me how much" "Tanto, tanto"-"Quanto, quanto"-"O tanto" "So much"-"How much"-,-"O so much" "Come che" -Come te, Pastorella .. " "How?" -"As you are, fair shepherdess."

Parlo misero Parlo, misero, o taccio? Should I speak, wretched, or be silent? S 'io taccio, che soccorso havra il morire? If I am silent, what help will there be for S'io parlo, che perdon havra l'ardire? my death? If I speak, who will pardon my boldness? Taci, che ben s'intende Be silent, for it is thus well understood that Chiusa fiamma tal hor da chi I' accenda a hidden flame is burning and asks for mercy. Da chi l'accende parla in me la pietade. Parla in lei la beltade, Beauty speaks in her E dice quel bel volto al duro core, & her beautiful face says to the hard hearted: Chi puo mirarmi e non languir d'amore? Who can look at me and not languish with love?

Taci Armellin Taci, Armellin, deb, taci! Be quiet, Armellin, oh hush! Non mi sturbar! Don't disturb me! Hor ch'innanzi al mio bene Now that I am in the presence of my beloved son per dirle il mio duol to tell her of my sorrow e le mie pene. and my pain.

Taci, Armellin, deh taci! Be quiet, Armellin, oh hush! Non mi latrar Don't bark at me who wishes Che vo'provar furarle anco due baci. to try to steal two more kisses.

Ah! tu non voi tacer, animaletto! Ah! you will not be quiet, little animal ! Cerbero traditor, dispetto setto Cerberus, traitor, spiteful little animal! Tirsi e Clori Tirsi: Per monti e per valli, Bellissima Clori From the mountains and valleys, fairest Clori, Gia corono a balli le Ninfe e Pastori Nymphs and Shepherds hurry to the dance Gia lieta festosa ha tutto ingombrato Now, merry & festive the amorous band la schiera amorosa il seno del prato. has invaded the center of the meadow.

Clori: Dolcissirno Tirsi, gia vanno ad unirsi. Sweetest Thrysis, they come to be united. Gia tiene legata l'amante l'amata. The lover now holds the beloved entwined. Gia movon concorde il suono a le corde. Now they are tuning the winds and the strings. Noi soli negletti qui stiamo soletti. Only we, neglected, are standing here alone.

Tirsi: Su Clori mio core, andianne a quel loco Come, Cloris, my love, let us go to that place ch'invitano al gioco le Grazie ed Amore. where the Graces and Love invite us to join Gia Tirsi distende la mano e ti prende Now Tirsi holds out his hand to talce you che teco sol vole menar le carole. since only with you will he take part. Clori: Si Tirsi mia vita ch 'a te solo unita Yes, Thyrsis, my love, joined with you alone vo girne danzando vo girne cantando will I go dancing and singing. Pastor benche degno non faccia disegno Let no Shepherd, be he ever so worthy, di mover le piante con Clori sua Amante. Be so bold as to dance with your Cloris.

Tirsi e Clori: Gia Clori gentile noi siam ne la schiera. Now, gentle Cloris,we are amidst the throng. Con dolce maniera seguiam il lor stille. Let us follow their ways with good style. Balliamo ed intanto spieghiamo col canto Let us dance while expounding in song con dolci bei modi del ballo le lodi. the praises of the dance with sweeti fair tones.

Gagliarda: 3/2 Balliamo ch'el gregge al suon de l'avena Let us dance so that the flocks join the dance che i passi corregge il ballo ne mena, to the sound of the pipe that leads their steps, E ballano e saltano snelli i capri e i agnelli. & the goats & lambs dance and skip nimbly.

Tordiglione:3/2 Balliam che nel Cielo con lucido velo Let us dance so that in the sky, brightly veiled, al suon de le sfere hor lente leggiere the stars dance to the sound of the spheres. con lumi e facelle su danzan le stelle. now, slowly, now nimbly, with lamps& torches. Gagliarda:3/2 Balliam che d'intomo nel torbido giomo Let us dance, that around us in the murky day al suono de' venti le nubi correnti, the scudding clouds, though dull and gloomy, se ben fosche adre, pur danzan leggiadre. are set lightly dancing to the sound of the winds. Balletto: 4/4 Balliamo che l'onde al vento che spira Let's dance like waves when the wind blows le move el'aggira le spinge e confonde & moves& turns them, heaves & stirs them, Si come lor siede se movon il piede so that after their fashion move their feet; e Ballan le linfe quai garuli ninfe. & the waters are set to dancing like chattering ' nymphs. Balletto: 3/2 Balliam che i vezzosi bei fior ruggiadosi Let us dance that the beautiful dewy flowers, Se l' aura si scuote con urti e con ruote Shaken by the gentle breeze, twisted and hustled, fan vaga sembianza anch'essi di danza. Look as if they too are dancing.

Balletto: 4/4 Balliamo e giriamo, corriamo e saltiamo Let us dance and whirl, run and leap; Qual cosa piu degna il ballo n'insegna. Whatever is most worthy , the dance teaches.

Costumes desinged and made by Janea Whitacre and Noel Perry. Choreography derived by Gayle Johnson from Fabritio Caroso's Nobilta di Dame, published in Venice 1600.

Program Notes Musicians, poets & philosophers in northern Italy at the end of the sixteenth century decided that their music did not move the emotions of the audience as that of the ancient Greeks was reported to have done. They believed that music's primary aim was to present the text so clearly and so emotively that the listener would feel those same emotions. It is this ideal, most fully realized through the genius of Claudio Monteverdi, that formed the basis of music for the next 150 years.

Born in Cremona in 1567, Monteverdi's creative output spans the birth and formation of this new ideal. His madrigal, Ecco mormorar l' onde, is an early madrigal for five voices written in 1603 which describes a murmuring stream and warbling birds as they awaken at sunrise. Written in the polyphonic tradition where each voice is singing the same words but at slightly different times, Monteverdi presents a vivid picture of a sunrise by gradually increasing pitch and rhythmic intensity. In contrast, Bel Pastor is a dialogue between a shepherd and shepherdess, sung by a soprano and tenor in the new declamatory style that eventually led to opera The trio Perche t' en fugge is a dramatic scene where the sentiments of one shepherd are sung by three voices, thus incorporating the polyphonic madrigal tradition as well as using the new declamatory style. Always Monteverdi infuses his music with a dramatic intensity that defied the prevalent rules of composition, creating highly explosive, emotive and daring

CAPRIOLE Claron McFadden, soprano Marieke van der Meer, soprano Derek Lee Ragin, countertenor Jeffrey Thomas, tenor James Weaver ,bass-baritone Diana Freedman, dancer Chris Hendrix, Giulio Cesare Monteverdi & dancer Brent Wissick, baroque 'cello Tim Burris, theorbo Gayle Johnson, harpsichord & director This concert is made possible in part by a grant from Life Insurance Company of Virginia BRAVO! to those whose support this season helps Capriole bring you the finest in early music. Won't you join us?

AMICI PATRON! Mrs. Doreen Bannister Mr. & Mrs. Thomas Chamberlin Mr. & Mrs. Franklin Bacon Mr. & Mrs. Bruce Grant Mrs. Frances Delaney Mr. Kenneth R. Higgins Mr. Robert Dobey Mrs. M.D. Higgins Mr. & Mrs. Morton Eckhause Mr. & Mrs. Michael McGiffert Dr. & Mrs. Merritt Foster Mr. & Mrs. Joe Phillips Mrs. Louisa France Mr. & Mrs. Woodrow Reasor Diana Freedman Mr. & Mrs. George Rublein Maj. & Mrs. James Forsythe in Mr. & Mrs. Robert Rumer memory of Martita Cabrie Johnson Williamsburg Pottery Rev. & Mrs. Stanley Geis ANGELI Mr. & Mrs. Felton Graham Mr. & Mrs. Mason W. Johnson Dr. Ariel Hollinshead Ms. Edith Kratz Mr. & Mrs. Earl Hollinshead Dr. & Mrs. W.E. Newby Mr. & Mrs. Cary E. McMurran Business Consortium for Arts Mr. & Mrs. R.C. Kromer Support Cdr. & Mrs.Robert L. Powers Life Insurance Company of Virginia Ms. Karen Rose Norfolk Commission for the Arts Ms. Susanne Rublein & Humanities Mr. & Mrs. Latane Sale University of Richmond Mr. & Mrs. Harry Smith Virginia Commission for the Arts Mr. Ray Southworth Williamsburg Arts Commission Mr. & Mrs. William Stark Mr. & Mrs. Paul Stockmeyer Mr. Ed Trope Upcoming Concerts Mr. Robert Welch Sacred & Secular Music of Rome Mr. Robert Welsh Friday, February 9 Mr. & Mrs. Ed Whitacre Music from the Court of William III &Mary II Wednesday, May 2 Capriole is a non-profit organi­ zation based in Williamsburg, Virginia North Court Recital Hall 8:15 p.rn. dedicated to bringing Virginian audi­ ences world class performances of baroque music. Ticket income covers only a fraction of the costs and tax­ Capriole deductible donations provide the rest. P.0.Box 558 Won't you join the growing number of Williamsburg, Virginia 23187 supporters today? (804) 220-1248