Corina Marti, Enea Sorini Carpe Diem Records Quando cala la notte 3 EN 1. Ricercare Julio Segni da Modena 4:05 2. Oimé il cor, oimé la testa Marchetto Cara 4:26 3. Fuggi fuggi cor mio anon., after Philippe Verdelot 2:51 4. La mia vaga tortorella Elias Dupré 1:38 5. Animoso mio desire Andrea Antico, after Bartolomeo Tromboncino 1:43 6. Recerchada anonymous 2:39 7. Pavana - Il saltarello de la pavana - La coda anonymous 2:55 8. Nasce la speme mia da un dolce riso Marchetto Cara 5:47 9. O passi sparsi anon., after Sebastiano Festa 2:44 10. Ripresa anonymous 1:43 11. Tu mi tormenti a torto anonymous 3:58 12. Recerchare Giacomo Fogliano da Modena 3:24 13. Surge da l’orizonte il biondo Appollo Johannes Lulinus Venetus 2:23 14. Alijec Nademna Venus [= De là da l’aqua] Nicolaus Cracoviensis, after Francesco Santa Croce 2:19 15. Deh chi me sa dir novella Michele Pesenti 6:40 16. Madame vous aves mon cuor Marco Antonio Cavazzoni, after anon. 4:57 17. Pavana - Il saltarello de la pavana - La coda anonymous 4:47 18. Recerchada Giacomo Fogliano da Modena 1:59 19. Virgine bella che del sol vestita Andrea Antico, after Bartolomeo Tromboncino 2:29 20. Ecco che, per amarte, a quel ch’io arivo! Bartolomeo Tromboncino 2:24 4 EN CORINA MARTI Early Renaissance harpsichord ENEA SORINI voice DATES OF COMPOSERS AND ARRANGERS Julio Segni da Modena * 1498; † 1561 Marchetto Cara * c1465; † 1525 Philippe Verdelot * c1480-85; † ?1530-32, before 1552 Elias Dupré fl 1507 Andrea Antico * c1480; † after 1538 Sebastiano Festa * c1490-95; † 1524 Giacomo Fogliano da Modena * 1468; † 1548 Johannes Lulinus Venetus fl early 16th century Francesco Santa Croce * c1487; † ?1556 Nicolaus Cracoviensis fl 1st half of the 16th century Michele Pesenti * c1470; † 1528 Marco Antonio Cavazzoni * c1490; † c1560 Bartolomeo Tromboncino * 1470; † after 1534 5 EN WHEN THE nigHT descends Night, which brings not only counsel, silence and peace but also melancholy and fears, has always proved inspirational Now that the sky and the earth and the wind are silent, for poets, musicians and painters. It is the ideal time for re- and the wild creatures and the birds are reined in sleep, trospection and gives us the chance to reflect on existence, Night leads its starry chariot in its round, life and death. and the sea without a wave lies in its bed, Within the framework of an imagined twilight, Corina Mar- I look, think, burn, weep: and she who destroys me ti and Enea Sorini here present a meditation on themes of is always before my eyes to my sweet distress: love, in the form of a collection of sixteenth-century frot- war is my state, filled with grief and anger, tole. In Ohimè il cor, ohimè la testa the lover, with innumera- and only in thinking of her do I find peace. ble sighs (‘ohimè’) bewails faithless, deceitful love and also his foolish heart for believing the blandishments and am- So from one pure living fountain bivalent words of a ‘great beauty’. By contrast La mia vaga flow the sweet and bitter which I drink: tortorella praises the beauty of his beloved who, like a turt- one hand alone heals me and pierces me: le dove, bewitches her man with her singing. Unrequited love as a source of suffering is the focus of Tu mi tormenti and so that my ordeal may not reach haven, a torto, whilst in Ecco che per amarte, a quel ch’io arrivo! love I am born and die a thousand times a day, transforms the lover into a scary shadow of itself. The mi- I am so far from my salvation. schievous side of love is present here too, for example in Deh chi mi sa dir novella, where the lover desperately seeks (Petrarch, Canzoniere, No. 164. Translation: A. S. Kline his pretty little nun. Finally, the lover in Surge da l’orizonte 2002 / Poetry in Translation) il biondo Apollo feels, at sunrise, like someone who is resu- ming his daily tasks after a peaceful night, recovered from the previous day’s toil, but still consumed by love’s ardour. Unlike the creatures of the forest, he is incapable of finding joy, delight and amusement. 6 EN The frottola, a strophic form that flourished in northern for keyboard instruments: his Frottole intabulate da sonare Italy, frequently dealt with themes of love and arose from organi – the first edition of organ tablatures in Italy – ap- the practice of using musical improvisation to accompany peared in 1517. The frontispiece shows a nobleman at the the declamation of poetry. The texts that were set to mu- harpsichord; next to him stands a lady scaring away a mon- sic belong to a wide range of genres: canzoni, ballate, ode, key that is holding a lute – probably an allusion to Petrucci, sonnetti, barzelette, capitoli and strambotti. Composed po- who published various collections of lute music, or perhaps lyphonically but often performed by a single singer with in- just a reference to the older form of accompaniment, sug- strumental accompaniment (usually a lute, but sometimes gesting that it was fit only for circus animals and was less also viols or harpsichord), the frottola became widespread ‘noble’ than organ tablature. This might also explain why as a result of the printed editions by Ottaviano Petrucci, Antico did not hesitate to borrow material from his compe- from which the vocal pieces on this recording derive (Nos 2, titors’ collections. 4, 8, 11, 13, 15 and 20). Between the years 1504 and 1514, Pe- trucci published eleven volumes of frottole; these were re- Most of the ricercares, pavanes and other harpsichord tab- printed on numerous occasions and enjoyed great success latures played on this recording between the vocal frottole owing to their lightweight character. Well-known names come from the manuscript of Castell’Arquato (Nos 1, 6, 7, 10, among the authors of frottole include Marchetto Cara and 12, 17 and 18). Others come from a manuscript of Johannes Bartolomeo Tromboncino, who were at the same time acti- de Lublin (Ms. 1716 in the Polish Academy of Sciences Lib- ve as lutenists, singers and teachers at the Gonzaga Court rary in Kraków: Nos 3, 4 and 19) and from the two volumes in Mantua – Cara in the service of Francesco Gonzaga II Recerchari, motetti, canzoni by Marco Antonio Cavazzoni and Tromboncino in the service of his wife Isabella d’Este. (Venice, Bernardino Vercellese 1523, No. 16) and Frottole Although as a musician Cara travelled from court to court, intabulate by Andrea Antico (Nos 5 and 19). In Virgine bella his activities centred on Mantua. Tromboncino led a more by Petrarch the omnipresent love theme is transformed into erratic life: after an honour crime, the murder of his wife, sacred love. In the pieces that were originally vocal music, he did not stay long in the service of the Gonzaga family however, secular love is to the fore, for instance in O passi but moved to Lucrezia Borgia’s residences in Ferrara and sparsi, Animoso mio desire and Madame vous aves mon cuor, one Venice. of the jewels by Marco Antonio Cavazzoni, a composer by whom, unfortunately, only a small number of works have Meanwhile, in Rome, Andrea Antico was producing frottole survived. 7 EN The frottola died out around 1530, and its place was taken by a new genre: the madrigal. What dew, what weeping, What tears were they That I saw falling from the nocturnal mantle And from the bright countenance of the stars? And why did the white moon Sow a pure cloud of crystal stars In the fresh grass’s lap? Why, in the darkness, Was there heard, almost lamenting all around, The soughing of the winds until daybreak? Were they perhaps signs of your departure, Life of my life? (Torquato Tasso, Rhymes, No. 324) Text: Alexandra Nigito 8 EN WENN die NacHT Herniedersinkt Die Nacht, welche Rat, Stille und Frieden, aber auch melan- cholische Zustände und Ängste bringt, war von jeher Ins- piration für Dichter, Musiker und Maler. Sie ist der beste Nun da der Himmel die Vögel still werden lässt, Moment für Rückblicke und bietet die Gelegenheit über die Die Nacht ihren gestirnten Wagen auf seiner Bahn lenkt Existenz, das Leben und den Tod nachzudenken. Und das Meer in seinem Bette wellenlos ruht, Im Rahmen einer imaginierten Abenddämmerung präsen- Wache, denke, brenne, weine ich; tieren Corina Marti und Enea Sorini in einer Reihe von und was mich zerstört, stets ist es da als süsses Weh: Frottole des 16. Jahrhunderts eine Meditation über die The- Krieg ist mein Zustand, erfüllt von Zorn und Schmerz, men der Liebe. In Ohimè il cor, ohimè la testa, beklagt sich Und nur im Gedanken an sie finde ich etwas Frieden. der Liebende unter zahllosen Seufzern („ohimè“) über die treulose und lügnerische Liebe und sein dummes Herz, das Aus der gleichen lebendig hellen Quelle kommt an die Schmeicheleien einer „grossen Schönheit“ und ihrer Das Süsse und das Bittere, das mich nährt: „mehrdeutigen Rede“ geglaubt hat. La mia vaga tortorella Die eine Hand heilt mich und verletzt zugleich. hingegen preist die Schönheit der Geliebten, die wie eine Turteltaube mit ihrem Gesang den Mann verhext. Die uner- Und damit meine Qual kein Ende finde, widerte Liebe als Quelle des Leidens bildet das Leitmotiv sterbe ich jeden Tag von Tu mi tormenti a torto, während in Ecco che per amarte, a tausend Tode und werde tausendmal geboren, quel ch’io arrivo! die Liebe den Verliebten in einen Schatten So weit bin ich entfernt von meinem Heil.