Sigismondo D'INDIA(c 1 582-1 628) MADRIGALI A CINQUE VOCI Extracts Irom Libri 1 :16(16'. II! : 1615 IV 11616}. V 1616 .VIII ¡1624; LE MUSICHI: A UNA E DUE VOCI Extracts troni Libri 1 (1609', II U615.'. IV , 162 M, V (1623) Stephanie Révidat, Violaine Lucas soprano Maryscult Wîeczorek mezzo-soprano Steve Dugardin alto Etienne Lescroart, François Piolino tenor Matthieu Lécroart baritone Renaud Dclaigoe bass ENSEMBLE DE VIOLES ORLANDO GIBBONS Les Arts Florissants sont subventionnés par le Ministère de la Culture, la Ville de Gaen, Je Conseil Régional de Basse-Normandie. PECHINEY^) parraine les Arts Florissants depuis 1990. MADE IN GERMANY BY © i'. WE 810 ,,„,,„ ,. ,„,,„ ,., , D INDIA MADRIGALI Rcvidat Lucas Wicczorek * DugarfJin Lescroart Piolino Lécroart Delaigue Ensemble Orlando Gibbons William Christie Les Arts Florissants SIGISMONDO D'INDIA (cl 582-1628) MADRIGALI A CINQUE VOCI Extracts from Libri I (1606), III ( 1615), IV ( 1616), V ( 1616), VIII (1624) LE MUSICHE A UNA E DUE VOCI Extracts from Libri I ( 1609), II ( 1615), IV ( 1621 ), V ( 1623) Stéphanie Révidat, Violaine Lucas soprano Maryseult Wieczorek mezzo-soprano Steve Dugardin alto Etienne Lescroart, François Piolino tenor Matthieu Lécroart baritone Renaud Delaigue bass LES ARTS FLORISSANTS Anne-Marie Lasla viol Elizabeth Kenny theorbo William Christie harpsichord ENSEMBLE DE VIOLES ORLANDO GIBBONS Philippe Pierlot treble viol 1 [Cantus] Anne-Marie Lasla treble viol 2 [Quinto] François Fernandez tenor viol [Alto] Sylvie Moquet bass viol I [Tenor] Emmanuel Baissa bass viol 2 [Basso] Brian Feehan theorbo WILLIAM CHRISTIE i "Mercè !" grido, piangendo 131 Madrigali a cinque voci, Libro III (Stéphanie Révidat, Violaine Lucas, Steve Dugardin, Matthieu Lécroart, Renaud Delaiguej ITI Voi dissi e sospirando 2 43 Madrigali a cinque voci, Libro V (instrumentai) : 3 : Alme luci beate - Prima parte 0'58 Madrigali a cinque voci, Libro Vili [TI lo vi lascio, mie scorte - Seconda parie 2' 17 Madrigali a cinque voci, Libro Vili {Stéphanie Révidat, Maryseult Wieczorek, Steve Dugardin, Francois Piotino, Matthieu Lécroart} ITI Sospir che del bel petto 223 Madrigali a cinque voci, Libro V linstrumentalj 6 I Crud'Amarilli 356 Madrigali a cinque voci, Libro I {Maryseult Wieczorek, Steve Dugardin, Francois Piotino, Matthieu Lécroart, Renaud Delaiguej m Se tu, Silvio crudel - Prima parte 207 I 8 I Ma se con la pietà - Seconda parte 2' 14 m Dorinda, ah ! Dirò "mia" - Terza parte 328 ITO] Ferir quel petto, Silvio ? - Quarta parte 3'46 I n | Silvio, come son lassa - Quinta parte 3' 1 8 Madrigali a cinque voci, Libro Vili (G.B. Guarini, Il Pastor fido) {Stéphanie Révidat, Violaine lucas, Maryseult Wieczorek, Steve Dugardin, François Piotino, Renaud Delaiguej UJ] "Lasso !", dicea Fileno Madrigali a cinque voci, Libro III (Maryseult Wieczorek, Violaine Lucas, Steve Dugardin, François Piolino, Renaud Delaigue) 1131 Ombrose e care selve Madrigali a cinque voci, Libro III (instrumentai! 14 Ancidetemi pur, dogliosi affanni Lamento di Giasone (e Musiche a una e due voci, Libro V (François Piolino] [Tsl Strana armonia d'amore - Prima parte [Tel In ciò sol differenti - Seconda parte Madrigali a cinque voci, Libro IV (Stéphanie Révidat, Maryseult Wieczorek, Steve Dugardin, François Piolino, Renaud Delaigue) [i7| Che veggio ohimè, che miro ? Lamento d'Orfeo le Musiche a una e due voci, Libro IV (Matthieu Lécroart) [Tèi La mia Filli crudel [e Musiche a una e due voci, Libro II (Violaine Lucas, Steve Dugardin) 19 Ecco Filli, mia bella [e Musiche a una e due voci, Libro II (Violaine Lucas, Steve Dugardin) 20 Deh, chi mi fa languire 1 '56 Madrigali a cinque voci, Libro III linstrumentalj [HI Crud'Amarilli 2 02 te Musiche da cantar solo (Etienne Lescroartj 22] Piangono al pianger mio 3'25 Le Musiche da cantar solo (Etienne Lescroartj [23] Quell'augellin che canta 242 Madrigali a cinque voci, Libro III (instrumentalj Digital recording Producer: Jean-Pierre Loisil Sound engineer: Jacques Doli Assistant: Didier Jean Editing: Ysabelle Van Wersch-Cot Recording: 20-23 April 1997, Paris, Salle Wagram, 14-15 July 1997, Paris, Chapelle de la Fondation Eugène Napoléon Harpsichord: Italian harpsichord, Grimaldi School by D. Jacques Way & Marc Ducornet, Paris i 991 Language coach: Rita de Letteriis Front cover: Jean Cousin ( 1490-1560] Eva prima Pandora (1538). Paris, Musée du Louvre. © AKG Paris Back cover: William Christie, photo Michel Szabo Design: De l'Esprit A Journey from the Renaissance to the Baroque renowned Book V of 1605. But his setting of Glenn Watkins '"Mercé !' grido, piangendo", a text that Gesualdo had composed in his most advanced manner, eschews igismondo D'lndia [1582-1628] was born fifteen chromaticism and relies instead on dramatic pauses years after Monteverdi and died fifteen years and unstable harmonic inversions - both readily S before him. Although his early publications all audible in the setting of the opening three words. A carried the title nobile paletmitano next to his name, resetting of the same text as a monody in 1618 there is no evidence that he ever lived in Sicily. Indeed, confirmed once more D'lndia's interest in solo song. there is reason to believe that his father lived in Naples Book IV, which appeared in 1616, failed to test the in the 1590s and that D'lndia was exposed to the most most progressive waters of his earlier collections except important musical figures there, including such for one item, "Strana armonia d'amore", and it is one musicians as Giovanni de Macque and the circle of the curiosities of d'lndia's entire oeuvre. For beyond around Carlo Gesualdo, Prince of Venosa. In 1608 the time-honored introduction of rests in tandem with and 1612 D'lndia published two collections of Marino's "sospiri" and a toying with multiple stresses in Villanelle alia napolitana that corroborated his early ties the setting of "accenti", D'lndia's use of conflicting or with the south and knowledge of its most popular partial signatures [one flat in the alto and bass only] is idiom. But by that time his travels had already taken reminiscent of the art of Cipriano de Rore and him to the various courts of northern Italy, including a insistently forces attention upon a series of cross- visit to Mantua in 1606 when Monteverdi was in relations. The effect of the whole is so extreme as to residence. And in Florence D'lndia sang and border on the bizarre. But by combining the cumulative performed his own music for Caccini, who proclaimed traditions of Rore, Marenzio and Gesualdo, D'lndia his genius both as singer and composer, surpassed his own earlier "Cruda Amarilli" and forecast D'lndia's first volume of madrigals, published in 1606, the later, brilliant achievements of Michelangelo Rossi. confirms an awareness of Monteverdi, Wert, and Ultimately, D'lndia settled at the court of the Duke of Marenzio in the setting of Guarini's "Cruda Amarilli", Savoy in Turin for his longest residency, which lasted but in his clear affinity for the chromatic art of from 161 1 to 1623. Here his patron was a passionate Gesualdo he surpasses all three of them harmonically. music lover keenly interested in the newly developing Three years later D'lndia set an abbreviated version of vocal styles, and D'lndia contributed to many of the the same text as a monody, underscoring his growing important musical productions there, both chamber and fame as a solo singer as well as composer. In his Book theatrical. In his last years he travelled to Rome and Three of 1615 D'lndia made a dual approach to the then to Modena, where the Este court had recently camps of Monteverdi and Gesualdo once more. With moved following the passing of the Alfonso II, Duke of the advertisement on the title page that an instrumental Ferrara, who had died without an heir. In Modena the support was not required for the first twelve madrigals tradition of the virtuoso singer, and especially the lady of the collection, only the final eight, D'lndia overtiy singer, that had flourished in Ferrara during the 1580s borrowed Monteverdi's similar directions for his and 1590s, continued to prosper, and it was here, loo, that D'lndia wrote his eighth and final book of chromaticism that enriches both the melodic and madrigals for five voices ana continue harmonic dimension. But it is the opening of the fourth In this collection D'lndia's dramatic instincts within the piece, "Ferir quel petto, Silvio?", which demonstrates world of the continuo madrigal can be seen to have that D'lndia is less interested in pursuing the chromatic been as acute as Monteverdi's. Indeed, not only is art of Gesualdo than a world where colliding D'lndia's control of the concertalo madrigal complete, dissonances over extended pedal tones provide a but in the Silvio-Dorinda cycle from his Book VIII, taken sonic portrait of the text as with "0 bellissimo scoglio" from Guarini's II Pastor lido, it can be reasonably argued (0 loveliest rock, once so often assailed in vain but the that D'lndia surpassed the setting made by Monteverdi of waves and winds of my tears, of my sighs]. these very verses in his Book V. The texts in this instance The final piece of the set, "Silvio, come son lassa", come from the most important of the sub-plots of completes the cycle by adopting the monodic style in Guarini's elaborate pastorale involving Dorinda and the the most pronounced fashion of any of the pieces of reluctant Silvio, whose wayward arrow had struck her in the group. And here we are introduced not just to a a hunting scene. Coming near the end of the drama, in texture but to a relationship between voice and many ways it is the emotional highpoint of the work, and character.