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Berlioz - La mort d'Ophélie - Cecilia Bartoli High resolution and stereo sound: http://www.youtube.com/watch?v=a4F6VcyboKc&fmt=18 Hector Berlioz (11 December 1803 - 8 March 1869) http://home.vicnet.net.au/~bard/Berlioz%20and%20Shakespeare.htm#top La mort d'Ophélie, ballade, Op. 18 No. 2 [H. 92] Text: Ernest Legouvé (1807--1903) Composition: May 1842 Score: http://imslp.org/wiki/La_Mort_d%27Oph%C3%A9lie%2C_Op.18_%28Berlioz%2C_Louis_Hector%29 In this recording: Cecilia Bartoli, mezzo soprano Myung-Whun Chung, piano Decca, 1996 La mort d'Ophélie (The death of Ophelia) is "a setting of a ballad by Ernest Legouvé, based on Gertrude's description of Ophelia's drowning in Act IV of Hamlet. It was originally composed for solo voice and piano in 1842, but in 1848 Berlioz revised it for female choir and orchestra. The verses of Ernest Legouvé were adapted from Gertrude's speech in Act 4, Scene 7 of Hamlet "There is a willow grows aslant a brook"." - From Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Tristia_%28Berlioz%29 "... in 1842, Berlioz collaborated with Legouvé by setting to music the ballad La Mort d'Ophélie on a text by his friend after Shakespeare (Holoman no. 92). A letter of Berlioz refers to this: 'Let me know when you are coming to Paris. I want you to hear the piece I wrote last week on your delightful poem The Death of Ophelia [...] If you like it I will orchestrate the piano accompaniment for a nice little orchestra and I could include the whole piece in one of my concerts' (CG no. 769bis, 8 May 1842). The work was subsequently orchestrated by Berlioz (in July 1848), and eventually published as the second of the three pieces entitled Tristia in 1851 (Holoman no. 119B), though it was never performed in Berlioz's lifetime. Legouvé himself does not mention this collaboration in his Souvenirs." - From the article "Ernest Legouvé and Berlioz": http://www.hberlioz.com/others/Legouvee.htm "Tristia Op. 18 is a musical work consisting of three short pieces for orchestra and chorus by the French composer Hector Berlioz. Apart from its title, it has nothing to do with the collection of Latin poems by Ovid (the word tristia in Latin means 'sad things'). The individual works were composed at different times and published together in 1852. Berlioz associated them in his mind with Shakespeare's Hamlet, one of his favourite plays." - From Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Tristia_%28Berlioz%29 H92a: soprano or tenor and piano, 1842 H92a2: female choir (SA) and piano, 1848 H92b: female choir (SA) and orchestra 1848 La mort d'Ophélie Auprès d'un torrent Ophélie cueillait, tout en suivant le bord, dans sa douce et tendre folie, des pervenches, des boutons d'or, des iris aux couleurs d'opale, et de ces fleurs d'un rose pâle qu'on appelle des doigts de mort. Puis, élevant sur ses mains blanches les riants trésors du matin, elle les suspendait aux branches, aux branches d'un saule voisin. Mais trop faible le rameau plie, se brise, et la pauvre Ophélie tombe, sa guirlande à la main. Quelques instants sa robe enflée la tint encor sur le courant et, comme une voile gonflée, elle flottait toujours chantant, chantant quelque vieille ballade, chantant ainsi qu'une naïade née au milieu de ce torrent. Mais cette étrange mélodie passa, rapide comme un son. Par les flots la robe alourdie bientôt dans l'abîme profond entraîna la pauvre insensée, laissant à peine commencée sa mélodieuse chanson. Translation (from "A French Song Companion" by Graham Johnson and Richard Stokes, slightly edited): The death of Ophelia Beside a brook, Ophelia gathered along the water's bank, in her sweet and gentle madness, periwinkles, buttercups, opal-tinted irises, and those pale purples called dead men's fingers. Then, raising up in her white hands the morning's laughing trophies, she hung them on the branches, the branches of a nearby willow. But the bough, too fragile, bends, breaks, and poor Ophelia falls, the garland in her hand. Her dress, spread wide, bore her on the water awhile, and like an outstretched sail she floated, still singing, singing some old ballad, singing like a naiad born amidst the stream. But this strange melody died, fleeting as a snatch of sound. Her garment, heavy with water, soon into the depths dragged the poor distracted girl, leaving her melodious song hardly yet begun. Tags: Hector Berlioz Mort Ophelie Cecilia Bartoli Myung Whun Chung Tristia |
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Berlioz - La mort d'Ophélie - Anne Sofie von Otter Hector Berlioz (11 December 1803 - 8 March 1869) http://home.vicnet.net.au/~bard/Berlioz%20and%20Shakespeare.htm#top La mort d'Ophélie, ballade, Op. 18 No. 2 [H. 92] Text: Ernest Legouvé (1807--1903) Composition: May 1842 Score: http://imslp.org/wiki/La_Mort_d%27Oph%C3%A9lie%2C_Op.18_%28Berlioz%2C_Louis_Hector%29 In this recording: Anne Sofie von Otter, mezzo soprano Cord Garben, piano Deutsche Grammophon La mort d'Ophélie (The death of Ophelia) is "a setting of a ballad by Ernest Legouvé, based on Gertrude's description of Ophelia's drowning in Act IV of Hamlet. It was originally composed for solo voice and piano in 1842, but in 1848 Berlioz revised it for female choir and orchestra. The verses of Ernest Legouvé were adapted from Gertrude's speech in Act 4, Scene 7 of Hamlet "There is a willow grows aslant a brook"." - From Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Tristia_%28Berlioz%29 "... in 1842, Berlioz collaborated with Legouvé by setting to music the ballad La Mort d'Ophélie on a text by his friend after Shakespeare (Holoman no. 92). A letter of Berlioz refers to this: 'Let me know when you are coming to Paris. I want you to hear the piece I wrote last week on your delightful poem The Death of Ophelia [...] If you like it I will orchestrate the piano accompaniment for a nice little orchestra and I could include the whole piece in one of my concerts' (CG no. 769bis, 8 May 1842). The work was subsequently orchestrated by Berlioz (in July 1848), and eventually published as the second of the three pieces entitled Tristia in 1851 (Holoman no. 119B), though it was never performed in Berlioz's lifetime. Legouvé himself does not mention this collaboration in his Souvenirs." - From the article "Ernest Legouvé and Berlioz": http://www.hberlioz.com/others/Legouvee.htm "Tristia Op. 18 is a musical work consisting of three short pieces for orchestra and chorus by the French composer Hector Berlioz. Apart from its title, it has nothing to do with the collection of Latin poems by Ovid (the word tristia in Latin means 'sad things'). The individual works were composed at different times and published together in 1852. Berlioz associated them in his mind with Shakespeare's Hamlet, one of his favourite plays." - From Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Tristia_%28Berlioz%29 H92a: soprano or tenor and piano, 1842 H92a2: female choir (SA) and piano, 1848 H92b: female choir (SA) and orchestra 1848 La mort d'Ophélie Auprès d'un torrent Ophélie cueillait, tout en suivant le bord, dans sa douce et tendre folie, des pervenches, des boutons d'or, des iris aux couleurs d'opale, et de ces fleurs d'un rose pâle qu'on appelle des doigts de mort. Puis, élevant sur ses mains blanches les riants trésors du matin, elle les suspendait aux branches, aux branches d'un saule voisin. Mais trop faible le rameau plie, se brise, et la pauvre Ophélie tombe, sa guirlande à la main. Quelques instants sa robe enflée la tint encor sur le courant et, comme une voile gonflée, elle flottait toujours chantant, chantant quelque vieille ballade, chantant ainsi qu'une naïade née au milieu de ce torrent. Mais cette étrange mélodie passa, rapide comme un son. Par les flots la robe alourdie bientôt dans l'abîme profond entraîna la pauvre insensée, laissant à peine commencée sa mélodieuse chanson. Translation (from "A French Song Companion" by Graham Johnson and Richard Stokes, slightly edited): The death of Ophelia Beside a brook, Ophelia gathered along the water's bank, in her sweet and gentle madness, periwinkles, buttercups, opal-tinted irises, and those pale purples called dead men's fingers. Then, raising up in her white hands the morning's laughing trophies, she hung them on the branches, the branches of a nearby willow. But the bough, too fragile, bends, breaks, and poor Ophelia falls, the garland in her hand. Her dress, spread wide, bore her on the water awhile, and like an outstretched sail she floated, still singing, singing some old ballad, singing like a naiad born amidst the stream. But this strange melody died, fleeting as a snatch of sound. Her garment, heavy with water, soon into the depths dragged the poor distracted girl, leaving her melodious song hardly yet begun. Tags: Hector Berlioz Mort Ophelie Anne Sofie von Otter Cord Garben Tristia |
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Donizetti: "Una furtiva lagrima" Matias Mariani High resolution and stereo sound: http://www.youtube.com/watch?v=UTOc5G9API4&fmt=18 Gaetano Donizetti L'elisir d'amore "Una furtiva lagrima" Nemorino's aria from Act II, Scene 7 Libretto: Felice Romani, after Eugène Scribe's libretto for Daniel-François-Esprit Auber's "Le philtre" (1831). http://opera.stanford.edu/Donizetti/Elisir/libretto.html Score: http://wso.williams.edu/cpdl/sheet/doni-fur.pdf In this video: Matias Mariani, tenor Valerie MacPhail, piano Recorded in 2005, at Converse College, SC Here is a collaboration with a fellow YouTuber, Matias Mariani from South Carolina, USA. He is getting ready for his masters study in the Boston Conservatory this September. This recording was made for an audition 3 years ago when he was 22, with Valerie MacPhail, his voice teacher at Converse College, SC. Mathias' channel: http://www.youtube.com/user/matiasmariani08 In part from Wikipedia and Aria Database: Premiere Cast, May 12, 1832 Teatro della Canobbiana Nemorino: Gianbattista Genero, tenor Adina: Sabine Heinefetter, soprano Belcore: Henri-Bernard Dabadie, baritone Dr Dulcamara: Giuseppe Frezzolini, bass L'elisir d'amore (The elixir of love) is a melodramma giocoso in two acts by the Italian composer Gaetano Donizetti, one of the most frequently performed of all his operas. "Una furtiva lagrima", the romanza from the second act, is one of the most famous and often-recited arias in all of opera; it is sung by Nemorino when he finds that the love potion he bought to win his dream lady Adina's heart, works. Nemorino is in love with Adina, but she is not interested in a relationship with an innocent, rustic man. To win her heart, Nemorino buys a "love potion" with all the money he has in his pocket. The "love potion" is actually a cheap red wine sold by a con business traveler. Peasant girls, gathered in a square, hear that Nemorino's uncle has died and left him a fortune. When he enters, the girls besiege him with attention; unaware of his new wealth, he believes the elixir finally has taken effect. Adina arrives and, seeing him with a bevy of beauties, grows furious and leaves. Nemorino, having noticed a tear on her cheek, realizes that she does care for him. He sings of his joy at finding that he is loved by her. Original Text: Una furtiva lagrima negl'occhi suoi spuntò; quelle festose giovani invidiar sembrò... che più cercando io vo'? M'ama, sì, m'ama, lo vedo. Un solo istante i palpiti del suo bel cor sentir! I miei sospir confondere per poco a' suoi sospir! Cielo, sì, può morir; di più non chiedo. Sì, può morir d'amor. Translation: A secret tear in her eyes welled. Those happy girls she seemed to envy. What more could I ask for? She loves me, yes, she loves, I see it. For a single instant, the beats of her beautiful heart to feel! My sighs to mix for a while with her sighs! Heavens, I could die; I ask for no more. Yes, I could die of love. Tags: Gaetano Donizetti Elisir Amore Una furtiva lagrima Matias Mariani Valerie MacPhail tenor Nemorino |
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Clérambault - Orphée - Sandrine Piau (1/2) High resolution and stereo sound: http://www.youtube.com/watch?v=KEUS-OOWCq8&fmt=18 Louis-Nicolas Clérambault Orphée Cantata No. 3 of Book I, for solo voice, with symphony from "Cantates françaises à 1 et 2 voix, avec symphonies, et sans symphonie, livre premier" (Paris, 1710) Text: M. de Rochebrune In this recording: Sandrine Piau Les Solistes du Concert Spirituel Naxos, 1996 Video part 1 - Récitatif: Le fameux chantre de la Thrace - Air: Fidèles échos de ces bois - Récitatif: Fut-il jamais amant plus malheureux - Récitatif: Mais que sert à mon désespoir - Air: Allez, Orphée, allez, que votre amour extrême - Récitatif: Cependant le héros arrive - Air: Monarque redouté de ces royaumes sombres Video part 2 - Fort lentement: Laissez-vous toucher par mes pleurs - Air: Vous avez ressenti la flamme - Fort lentement: Laissez-vous toucher par mes pleurs - Récitatif: Pluton, surpris d'entendre des accords - Air: Chantez la victoire éclatante The presentation of the cantata is in the second video. Original text: Récitatif Le fameux chantre de la Thrace par les regrets les plus touchants, par les plus tendres chants déplorait ainsi sa disgrâce : Air tendre et piqué « Fidèles échos de ces bois, cessez de répondre à ma voix. Rien ne peut soulager la douleur qui me presse : je ne reverrai plus l'objet de ma tendresse. Récitatif Fut-il jamais amant plus malheureux, fut-il jamais un destin plus barbare ? Le tendre amour nous unissait tous deux, la mort cruelle nous sépare. Air (reprise) Fidèles échos de ces bois, cessez de répondre à ma voix. Récitatif Mais que sert à mon désespoir de gémir et me plaindre encore ? Pluton retient les charmes que j'adore ; allons implorer son pouvoir. Ce gouffre obscur m'offre un passage pour pénétrer aux sombres bords ; portons-y mon amour, ma douleur et ma rage : ramenons Eurydice, ou restons chez les morts. » Air gai Allez, Orphée, allez, que votre amour extrême serve d'exemple à l'univers. Il est beau qu'un mortel passe jusqu'aux enfers pour se rejoindre à ce qu'il aime. Hâtez-vous, généreux amant, votre amour sert à votre gloire ; l'avenir aura peine à croire qu'on ait aimé si constamment. Une tendresse conjugale n'a point encore forcé d'époux à passer la barque fatale ; cet honneur n'était dû qu'à vous. Récitatif Cependant le héros arrive sur l'infernale rive, et malgré les lois d'Atropos, au fier dieu des enfers il adresse ces mots : Air fort lent, et fort tendre « Monarque redouté de ces royaumes sombres, je suis le fils du dieu du jour, plus malheureux cent fois que vos plus tristes ombres, et mon malheur est causé par l'amour. Vous voyez un amant fidèle privé du seul objet qui l'avait enflammé. Hélas ! le bonheur d'être aimé rend ma peine encor plus cruelle. » Translation (by Marc D. and me, after Keith Anderson and others): Recitative The famous singer of Thrace in the most touching words of grief, in the tenderest songs, thus lamented his misfortune: Tender air "Faithful echoes of these woods, cease responding to my voice. Nothing can relieve the sorrow that opresses me : I shall not see again the object of my tenderness. Recitative Was there ever a more miserable lover, was there ever a crueller fate? Tender love united us both, cruel death parts us. Tender air (reprise) Faithful echoes of these woods, cease responding to my voice. Recitative But how does it serve my despair still to wail and lament? Pluto keeps the charms that I adore; let us go and appeal to his power. This dark chasm offers me a passage to reach the gloomy banks. Let us take there my love, my grief and my anger: let us bring back Eurydice, or remain among the dead." Cheerful air Go, Orpheus, go, may your great love serve as an example to the world. It is beautiful that a mortal passes into the underworld to rejoin the one he loves. Hurry, hurrry, generous lover, your love adds to your glory; the future will with difficulty believe that one loved with such constancy. Conjugal love has not yet forced a husband to board Charon's boat; this honour was reserved for you. Recitative Meanwhile the hero arrives on the shore of the underworld, and, in spite of the laws of Atropos, to the fierce god of Hades he addresses these words: Very slow and very tender air "Feared monarch of these somber realms, I am the son of the god of light, a hundred times more wretched than your saddest shades, and my misfortune is caused by love. You see a faithful lover, bereft of the sole object of his passion. Alas, the happiness of being loved makes my pain still more cruel!" Tags: Louis Nicolas Clerambault Orphee Sandrine Piau Solistes Concert Spirituel cantate francaise baroque |
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Clérambault - Orphée - Sandrine Piau (2/2) High resolution and stereo sound: http://www.youtube.com/watch?v=cJE3jKEalgQ&fmt=18 Louis-Nicolas Clérambault Orphée Cantata No. 3 of Book I, for solo voice, with symphony from "Cantates françaises à 1 et 2 voix, avec symphonies, et sans symphonie, livre premier" (Paris, 1710) Text: M. de Rochebrune In this recording: Sandrine Piau Les Solistes du Concert Spirituel Naxos, 1996 Video part 1 - Récitatif: Le fameux chantre de la Thrace - Air: Fidèles échos de ces bois - Récitatif: Fut-il jamais amant plus malheureux - Récitatif: Mais que sert à mon désespoir - Air: Allez, Orphée, allez, que votre amour extrême - Récitatif: Cependant le héros arrive - Air: Monarque redouté de ces royaumes sombres Video part 2 - Fort lentement: Laissez-vous toucher par mes pleurs - Air: Vous avez ressenti la flamme - Fort lentement: Laissez-vous toucher par mes pleurs - Récitatif: Pluton, surpris d'entendre des accords - Air: Chantez la victoire éclatante "The Cantatas of Clérambault are in five books, each containing six or seven cantatas, of which some are for two and even three voices, with symphonies: apart from these five books, there are some other cantatas for particular occasions." - Jean-Yves Patte (translation: Keith Anderson) "Comments from composers and performance manuals of the day make it clear that cantatas for high voice may be sung either by soprano or tenor (in the case of the latter some adjustment to the accompaniment may occasionally be called for). While it may seem logical for a cantata dealing with Orpheus to be sung by a tenor, yet it is a recorded fact that whenever Clérambault's Orphée was performed at Philidor's Concerts français (an offshoot of his Concert spirituel) it was sung by Mademoiselle Le Maure." - Davitt Moroney "To focus on the power of music, doubtless, Clérambault's work only relates the happy part of the story, the deliverance of Eurydice, and ends just before Orpheus, succumbing to the temptation to break the condition that Pluto imposed on him, turns back to look at her as he leads her from the underworld, and thus loses her for ever. This cantata, one of the most dramatic in the repertoire, "did more for Clérambault's fame than all the rest of his works" according to Catherine Cessac. It was sung five times by Mademoiselle Lemaure in 1728 and 1729 as part of the Concert spirituel series, and was considered throughout the 18th century to be a model of its genre. In form it is very free, structured for emotional expression. As James R. Anthony puts it, "the key dramatic action in which Orpheus pleads with Pluto for the release of Eurydice, is rendered musically by two ariosi separated by a contrasting air tendre placed in the centre of the cantata." It makes use not only of daring dissonances but also of keys that were rarely used at the time. As the hero pleads, for example, it passes from F sharp major to G sharp minor." - François Filiatrault (translation: Sean McCutcheon) Original text: Fort lentement « Laissez-vous toucher par mes pleurs, d'un sort affreux réparez le caprice ; rendez-moi ma chère Eurydice, ne séparez pas nos deux coeurs. Air tendre Vous avez ressenti la flamme du dieu dont j'éprouve les traits : l'aimable fille de Cérès par ses divins appas sut embraser votre âme. Fort lentement (reprise) Laissez-vous toucher par mes pleurs, d'un sort affreux réparez le caprice ; rendez-moi ma chère Eurydice, ne séparez pas nos deux coeurs. » Récitatif Pluton, surpris d'entendre des accords capables d'émouvoir tout l'empire des morts : « Cesse de m'attendrir, que ta plainte finisse. Va, dangereux mortel, sauve-toi de ces lieux, va, remmène ton Eurydice. Mais, avant que de voir la lumière des cieux, évite l'éclat de ses yeux. » Air gai Chantez la victoire éclatante que remporte le tendre amour ! Jusque dans le sombre séjour sa flamme est triomphante. Translation (by Marc D. and me, after Keith Anderson and others): Very slowly "Let yourself be moved by my tears, make amends for the whim of a terrible fate; give me back my dear Eurydice, do not separate our two hearts. Tender air You have felt the flame of the god from whose arrows I suffer: the lovely daughter of Ceres, with her divine charms, knew how to set your soul aglow. Very slowly (reprise) Let yourself be moved by my tears, make amends for the whim of a terrible fate; give me back my dear Eurydice, do not separate our two hearts. Recitative Pluto, surprised to hear these sounds capable of moving the entire realm of the dead: "Cease to soften me, let your plaint end. Go, dangerous mortal, flee from this place, go, take back your Eurydice. But, before you see the light of the heavens, avoid the brightness of her eyes." Cheerful air Sing the brilliant victory that tender love brings! Even in the dark dwelling-place its flame is triumphant. Tags: Louis Nicolas Clerambault Orphee Sandrine Piau Solistes Concert Spirituel cantate francaise baroque |
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Vivaldi "Cessate, omai cessate" Derek Lee Ragin (1/2) High resolution and stereo sound: http://www.youtube.com/watch?v=1GujAMB7YMo&fmt=18 Antonio Vivaldi Cessate, omai cessate, RV 684 cantata for contralto voice, instruments and basso continuo In this recording: Derek Lee Ragin, countertenor Teatro Lirico Stephen Stubbs Virgin Veritas The cantata follows the typical scheme of Recitative--Aria--Recitative--Aria (RARA). There is a variant of this cantata (RV 684a), an earlier version without the first recitative and quite different from this one. The only source of the text, by an unknown author, is the autograph score. One observation is that a similar text was used in an aria from Vivaldi's opera "L'incoronazione di Dario", at the opening of the second act. The text by Adriano Morselli is as follows: Cessa tiranno amor di tormentarmi più. Già barbaro e crudel quest'anima fedel hai posta in servitù. "... if one examines the content, one sees that in the first aria the aggrieved singer resolves to kill himself; in the following recitative he prepares to die; in the last aria he pictures himself as the "shade of a Bacchante" on the gloomy banks of Acheron, ready to take revenge. So we have a conventional, but complete plot. ... As for the content, there is a mixture of ferocity and commiseration arising from the fact that the singer addresses two different objects: his "cruel memories" and his "wretched, injured and forsaken heart". Only in the last two verses does cruelty pertain no longer to the memories but to the beloved's "pitiless countenance" and "faithless soul", Dorilla's cruelty being emphasized, in the score, by a unison of all the instruments." ... The first recitative makes the work more expressive and, by virtue of its double character, seems to have been given the function of introducing the cantata as a whole rather than just its first aria." - Luigi Cataldi Original text: Recitativo Cessate, omai cessate rimembranze crudeli d'un affetto tiranno; già barbare e spietate mi cangiaste i contenti in un immenso affanno. Cessate, omai cessate di lacerarmi il petto, di trafiggermi l'alma, di toglier al mio cor riposo e calma. Povero core afflitto e abbandonato, se ti toglie la pace un affetto tiranno, perché un volto spietato, un'alma infida la sola crudeltà pasce ed annida. Aria Ah, ch'infelice sempre mi vuol Dorilla ingrata, ah, sempre più spietata m'astringe a lagrimar. Per me non v'è ristoro, per me non v'è più spene. E il fier martoro e le mie pene, solo la morte può consolar. Translation (by Luigi Cataldi): Recitativo Cease, henceforth cease, cruel memories of a despotic love; heartless and pitiless, you have turned my happiness into immense sorrow. Cease, henceforth cease to tear my breast, to pierce my soul, to rob my heart of peace and calm. Wretched, injured and forsaken you are, my heart, if a tyrannical passion can rob you of tranquillity because a pitiless countenance, a faithless soul, harbours and nurtures nothing but cruelty. Aria Ah, ungrateful Dorilla wishes me to remain unhappy; ah, ever more pitilessly she forces out my tears. For me there is no remedy, for me no more hope. Only death will assuage my bitter pain and sorrow. Tags: Antonio Vivaldi Cessate omai Derek Lee Ragin Teatro Lirico Stephen Stubbs cantata countertenor |
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Vivaldi "Cessate, omai cessate" Derek Lee Ragin (2/2) High resolution and stereo sound: http://www.youtube.com/watch?v=FVx-Fopz-nE&fmt=18 Antonio Vivaldi Cessate, omai cessate, RV 684 cantata for contralto voice, instruments and basso continuo In this recording: Derek Lee Ragin, countertenor Teatro Lirico Stephen Stubbs Virgin Veritas The cantata follows the typical scheme of Recitative--Aria--Recitative--Aria (RARA). There is a variant of this cantata (RV 684a), an earlier version without the first recitative and quite different from this one. The only source of the text, by an unknown author, is the autograph score. One observation is that a similar text was used in an aria from Vivaldi's opera "L'incoronazione di Dario", at the opening of the second act. The text by Adriano Morselli is as follows: Cessa tiranno amor di tormentarmi più. Già barbaro e crudel quest'anima fedel hai posta in servitù. "... if one examines the content, one sees that in the first aria the aggrieved singer resolves to kill himself; in the following recitative he prepares to die; in the last aria he pictures himself as the "shade of a Bacchante" on the gloomy banks of Acheron, ready to take revenge. So we have a conventional, but complete plot. ... As for the content, there is a mixture of ferocity and commiseration arising from the fact that the singer addresses two different objects: his "cruel memories" and his "wretched, injured and forsaken heart". Only in the last two verses does cruelty pertain no longer to the memories but to the beloved's "pitiless countenance" and "faithless soul", Dorilla's cruelty being emphasized, in the score, by a unison of all the instruments." ... The first recitative makes the work more expressive and, by virtue of its double character, seems to have been given the function of introducing the cantata as a whole rather than just its first aria." - Luigi Cataldi Original text: Recitativo A voi dunque ricorro, orridi spechi, taciturni orrori, solitari ritiri ed ombre amiche; tra voi porto il mio duolo, perché spero da voi quella pietade che Dorilla inumana non annida. Vengo, spelonche amate, vengo, spechi graditi, alfine meco involto in mio tormento in voi resti sepolto. Aria Nell'orrido albergo, ricetto di pene, potrò il mio tormento sfogare contento, potrò ad alta voce chiamare spietata Dorilla l'ingrata, morire potrò. Andrò d'Acheronte su la nera sponda, tingendo quest'onda di sangue innocente, gridando vendetta ed ombra baccante vendetta farò. Translation (by Luigi Cataldi): Recitativo So it is to you, gloomy places, silent horrors, lonely caves and friendly shades, that I come and bring my grief, because I hope to obtain from you a pity that is not to be found in ungrateful Dorilla. Beloved caves, I come, I come, welcoming places, until finally, racked by my pains, I will bury myself in you. Aria In this horrible refuge, sheltering from my pains, I shall be able to give vent to my grief, to call out: 'Dorilla heartless and ungrateful', and to die. I'll go to the gloomy banks of Acheron, staining that stream with my blameless blood, crying for revenge and, like the shade of a Bacchante, I will take my revenge. Tags: Antonio Vivaldi Cessate omai Derek Lee Ragin Teatro Lirico Stephen Stubbs cantata countertenor |
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Vivaldi "Cessate, omai cessate" Sara Mingardo (1/2) High resolution and stereo sound: http://www.youtube.com/watch?v=TaNLyFZH_n0&fmt=18 Antonio Vivaldi Cessate, omai cessate, RV 684 cantata for contralto voice, instruments and basso continuo In this recording: Sara Mingardo, contralto Concerto Italiano Rinaldo Alessandrini Opus 111 The cantata follows the typical scheme of Recitative--Aria--Recitative--Aria (RARA). There is a variant of this cantata (RV 684a), an earlier version without the first recitative and quite different from this one. The only source of the text, by an unknown author, is the autograph score. One observation is that a similar text was used in an aria from Vivaldi's opera "L'incoronazione di Dario", at the opening of the second act. The text by Adriano Morselli is as follows: Cessa tiranno amor di tormentarmi più. Già barbaro e crudel quest'anima fedel hai posta in servitù. "... if one examines the content, one sees that in the first aria the aggrieved singer resolves to kill himself; in the following recitative he prepares to die; in the last aria he pictures himself as the "shade of a Bacchante" on the gloomy banks of Acheron, ready to take revenge. So we have a conventional, but complete plot. ... As for the content, there is a mixture of ferocity and commiseration arising from the fact that the singer addresses two different objects: his "cruel memories" and his "wretched, injured and forsaken heart". Only in the last two verses does cruelty pertain no longer to the memories but to the beloved's "pitiless countenance" and "faithless soul", Dorilla's cruelty being emphasized, in the score, by a unison of all the instruments." ... The first recitative makes the work more expressive and, by virtue of its double character, seems to have been given the function of introducing the cantata as a whole rather than just its first aria." - Luigi Cataldi Original text: Recitativo Cessate, omai cessate rimembranze crudeli d'un affetto tiranno; già barbare e spietate mi cangiaste i contenti in un immenso affanno. Cessate, omai cessate di lacerarmi il petto, di trafiggermi l'alma, di toglier al mio cor riposo e calma. Povero core afflitto e abbandonato, se ti toglie la pace un affetto tiranno, perché un volto spietato, un'alma infida la sola crudeltà pasce ed annida. Aria Ah, ch'infelice sempre mi vuol Dorilla ingrata, ah, sempre più spietata m'astringe a lagrimar. Per me non v'è ristoro, per me non v'è più spene. E il fier martoro e le mie pene, solo la morte può consolar. Translation (by Luigi Cataldi): Recitativo Cease, henceforth cease, cruel memories of a despotic love; heartless and pitiless, you have turned my happiness into immense sorrow. Cease, henceforth cease to tear my breast, to pierce my soul, to rob my heart of peace and calm. Wretched, injured and forsaken you are, my heart, if a tyrannical passion can rob you of tranquillity because a pitiless countenance, a faithless soul, harbours and nurtures nothing but cruelty. Aria Ah, ungrateful Dorilla wishes me to remain unhappy; ah, ever more pitilessly she forces out my tears. For me there is no remedy, for me no more hope. Only death will assuage my bitter pain and sorrow. Tags: Antonio Vivaldi Cessate omai Sara Mingardo Concerto Italiano Rinaldo Alessandrini cantata contralto |
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Vivaldi "Cessate, omai cessate" Sara Mingardo (2/2) High resolution and stereo sound: http://www.youtube.com/watch?v=RFd2N4ZbuLY&fmt=18 Antonio Vivaldi Cessate, omai cessate, RV 684 cantata for contralto voice, instruments and basso continuo In this recording: Sara Mingardo, contralto Concerto Italiano Rinaldo Alessandrini Opus 111 The cantata follows the typical scheme of Recitative--Aria--Recitative--Aria (RARA). There is a variant of this cantata (RV 684a), an earlier version without the first recitative and quite different from this one. The only source of the text, by an unknown author, is the autograph score. One observation is that a similar text was used in an aria from Vivaldi's opera "L'incoronazione di Dario", at the opening of the second act. The text by Adriano Morselli is as follows: Cessa tiranno amor di tormentarmi più. Già barbaro e crudel quest'anima fedel hai posta in servitù. "... if one examines the content, one sees that in the first aria the aggrieved singer resolves to kill himself; in the following recitative he prepares to die; in the last aria he pictures himself as the "shade of a Bacchante" on the gloomy banks of Acheron, ready to take revenge. So we have a conventional, but complete plot. ... As for the content, there is a mixture of ferocity and commiseration arising from the fact that the singer addresses two different objects: his "cruel memories" and his "wretched, injured and forsaken heart". Only in the last two verses does cruelty pertain no longer to the memories but to the beloved's "pitiless countenance" and "faithless soul", Dorilla's cruelty being emphasized, in the score, by a unison of all the instruments." ... The first recitative makes the work more expressive and, by virtue of its double character, seems to have been given the function of introducing the cantata as a whole rather than just its first aria." - Luigi Cataldi Original text: Recitativo A voi dunque ricorro, orridi spechi, taciturni orrori, solitari ritiri ed ombre amiche; tra voi porto il mio duolo, perché spero da voi quella pietade che Dorilla inumana non annida. Vengo, spelonche amate, vengo, spechi graditi, alfine meco involto in mio tormento in voi resti sepolto. Aria Nell'orrido albergo, ricetto di pene, potrò il mio tormento sfogare contento, potrò ad alta voce chiamare spietata Dorilla l'ingrata, morire potrò. Andrò d'Acheronte su la nera sponda, tingendo quest'onda di sangue innocente, gridando vendetta ed ombra baccante vendetta farò. Translation (by Luigi Cataldi): Recitativo So it is to you, gloomy places, silent horrors, lonely caves and friendly shades, that I come and bring my grief, because I hope to obtain from you a pity that is not to be found in ungrateful Dorilla. Beloved caves, I come, I come, welcoming places, until finally, racked by my pains, I will bury myself in you. Aria In this horrible refuge, sheltering from my pains, I shall be able to give vent to my grief, to call out: 'Dorilla heartless and ungrateful', and to die. I'll go to the gloomy banks of Acheron, staining that stream with my blameless blood, crying for revenge and, like the shade of a Bacchante, I will take my revenge. Tags: Antonio Vivaldi Cessate omai Sara Mingardo Concerto Italiano Rinaldo Alessandrini cantata contralto |
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Vivaldi "Cessate, omai cessate" Andreas Scholl (1/2) High resolution and stereo sound: http://www.youtube.com/watch?v=yfNg1Lp2lbs&fmt=18 Antonio Vivaldi Cessate, omai cessate, RV 684 cantata for contralto voice, instruments and basso continuo In this recording: Andreas Scholl, countertenor Ensemble 415 Chiara Banchini Harmonia Mundi The cantata follows the typical scheme of Recitative--Aria--Recitative--Aria (RARA). There is a variant of this cantata (RV 684a), an earlier version without the first recitative and quite different from this one. The only source of the text, by an unknown author, is the autograph score. One observation is that a similar text was used in an aria from Vivaldi's opera "L'incoronazione di Dario", at the opening of the second act. The text by Adriano Morselli is as follows: Cessa tiranno amor di tormentarmi più. Già barbaro e crudel quest'anima fedel hai posta in servitù. "... if one examines the content, one sees that in the first aria the aggrieved singer resolves to kill himself; in the following recitative he prepares to die; in the last aria he pictures himself as the "shade of a Bacchante" on the gloomy banks of Acheron, ready to take revenge. So we have a conventional, but complete plot. ... As for the content, there is a mixture of ferocity and commiseration arising from the fact that the singer addresses two different objects: his "cruel memories" and his "wretched, injured and forsaken heart". Only in the last two verses does cruelty pertain no longer to the memories but to the beloved's "pitiless countenance" and "faithless soul", Dorilla's cruelty being emphasized, in the score, by a unison of all the instruments." ... The first recitative makes the work more expressive and, by virtue of its double character, seems to have been given the function of introducing the cantata as a whole rather than just its first aria." - Luigi Cataldi Original text: Recitativo Cessate, omai cessate rimembranze crudeli d'un affetto tiranno; già barbare e spietate mi cangiaste i contenti in un immenso affanno. Cessate, omai cessate di lacerarmi il petto, di trafiggermi l'alma, di toglier al mio cor riposo e calma. Povero core afflitto e abbandonato, se ti toglie la pace un affetto tiranno, perché un volto spietato, un'alma infida la sola crudeltà pasce ed annida. Aria Ah, ch'infelice sempre mi vuol Dorilla ingrata, ah, sempre più spietata m'astringe a lagrimar. Per me non v'è ristoro, per me non v'è più spene. E il fier martoro e le mie pene, solo la morte può consolar. Translation (by Luigi Cataldi): Recitativo Cease, henceforth cease, cruel memories of a despotic love; heartless and pitiless, you have turned my happiness into immense sorrow. Cease, henceforth cease to tear my breast, to pierce my soul, to rob my heart of peace and calm. Wretched, injured and forsaken you are, my heart, if a tyrannical passion can rob you of tranquillity because a pitiless countenance, a faithless soul, harbours and nurtures nothing but cruelty. Aria Ah, ungrateful Dorilla wishes me to remain unhappy; ah, ever more pitilessly she forces out my tears. For me there is no remedy, for me no more hope. Only death will assuage my bitter pain and sorrow. Tags: Antonio Vivaldi Cessate omai Andreas Scholl Ensemble 415 Chiara Banchini cantata countertenor |
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Vivaldi "Cessate, omai cessate" Andreas Scholl (2/2) High resolution and stereo sound: http://www.youtube.com/watch?v=uUEOGOISkH4&fmt=18 Antonio Vivaldi Cessate, omai cessate, RV 684 cantata for contralto voice, instruments and basso continuo In this recording: Andreas Scholl, countertenor Ensemble 415 Chiara Banchini Harmonia Mundi The cantata follows the typical scheme of Recitative--Aria--Recitative--Aria (RARA). There is a variant of this cantata (RV 684a), an earlier version without the first recitative and quite different from this one. The only source of the text, by an unknown author, is the autograph score. One observation is that a similar text was used in an aria from Vivaldi's opera "L'incoronazione di Dario", at the opening of the second act. The text by Adriano Morselli is as follows: Cessa tiranno amor di tormentarmi più. Già barbaro e crudel quest'anima fedel hai posta in servitù. "... if one examines the content, one sees that in the first aria the aggrieved singer resolves to kill himself; in the following recitative he prepares to die; in the last aria he pictures himself as the "shade of a Bacchante" on the gloomy banks of Acheron, ready to take revenge. So we have a conventional, but complete plot. ... As for the content, there is a mixture of ferocity and commiseration arising from the fact that the singer addresses two different objects: his "cruel memories" and his "wretched, injured and forsaken heart". Only in the last two verses does cruelty pertain no longer to the memories but to the beloved's "pitiless countenance" and "faithless soul", Dorilla's cruelty being emphasized, in the score, by a unison of all the instruments." ... The first recitative makes the work more expressive and, by virtue of its double character, seems to have been given the function of introducing the cantata as a whole rather than just its first aria." - Luigi Cataldi Original text: Recitativo A voi dunque ricorro, orridi spechi, taciturni orrori, solitari ritiri ed ombre amiche; tra voi porto il mio duolo, perché spero da voi quella pietade che Dorilla inumana non annida. Vengo, spelonche amate, vengo, spechi graditi, alfine meco involto in mio tormento in voi resti sepolto. Aria Nell'orrido albergo, ricetto di pene, potrò il mio tormento sfogare contento, potrò ad alta voce chiamare spietata Dorilla l'ingrata, morire potrò. Andrò d'Acheronte su la nera sponda, tingendo quest'onda di sangue innocente, gridando vendetta ed ombra baccante vendetta farò. Translation (by Luigi Cataldi): Recitativo So it is to you, gloomy places, silent horrors, lonely caves and friendly shades, that I come and bring my grief, because I hope to obtain from you a pity that is not to be found in ungrateful Dorilla. Beloved caves, I come, I come, welcoming places, until finally, racked by my pains, I will bury myself in you. Aria In this horrible refuge, sheltering from my pains, I shall be able to give vent to my grief, to call out: 'Dorilla heartless and ungrateful', and to die. I'll go to the gloomy banks of Acheron, staining that stream with my blameless blood, crying for revenge and, like the shade of a Bacchante, I will take my revenge. Tags: Antonio Vivaldi Cessate omai Andreas Scholl Ensemble 415 Chiara Banchini cantata countertenor |
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Vivaldi "Cessate, omai cessate" Gérard Lesne (1/2) High resolution and stereo sound: http://www.youtube.com/watch?v=R0WIr9QAdqw&fmt=18 Antonio Vivaldi Cessate, omai cessate, RV 684 cantata for contralto voice, instruments and basso continuo In this recording: Gérard Lesne, countertenor Il Seminario Musicale Fabio Biondi The cantata follows the typical scheme of Recitative--Aria--Recitative--Aria (RARA). There is a variant of this cantata (RV 684a), an earlier version without the first recitative and quite different from this one. The only source of the text, by an unknown author, is the autograph score. One observation is that a similar text was used in an aria from Vivaldi's opera "L'incoronazione di Dario", at the opening of the second act. The text by Adriano Morselli is as follows: Cessa tiranno amor di tormentarmi più. Già barbaro e crudel quest'anima fedel hai posta in servitù. "... if one examines the content, one sees that in the first aria the aggrieved singer resolves to kill himself; in the following recitative he prepares to die; in the last aria he pictures himself as the "shade of a Bacchante" on the gloomy banks of Acheron, ready to take revenge. So we have a conventional, but complete plot. ... As for the content, there is a mixture of ferocity and commiseration arising from the fact that the singer addresses two different objects: his "cruel memories" and his "wretched, injured and forsaken heart". Only in the last two verses does cruelty pertain no longer to the memories but to the beloved's "pitiless countenance" and "faithless soul", Dorilla's cruelty being emphasized, in the score, by a unison of all the instruments." ... The first recitative makes the work more expressive and, by virtue of its double character, seems to have been given the function of introducing the cantata as a whole rather than just its first aria." - Luigi Cataldi Original text: Recitativo Cessate, omai cessate rimembranze crudeli d'un affetto tiranno; già barbare e spietate mi cangiaste i contenti in un immenso affanno. Cessate, omai cessate di lacerarmi il petto, di trafiggermi l'alma, di toglier al mio cor riposo e calma. Povero core afflitto e abbandonato, se ti toglie la pace un affetto tiranno, perché un volto spietato, un'alma infida la sola crudeltà pasce ed annida. Aria Ah, ch'infelice sempre mi vuol Dorilla ingrata, ah, sempre più spietata m'astringe a lagrimar. Per me non v'è ristoro, per me non v'è più spene. E il fier martoro e le mie pene, solo la morte può consolar. Translation (by Luigi Cataldi): Recitativo Cease, henceforth cease, cruel memories of a despotic love; heartless and pitiless, you have turned my happiness into immense sorrow. Cease, henceforth cease to tear my breast, to pierce my soul, to rob my heart of peace and calm. Wretched, injured and forsaken you are, my heart, if a tyrannical passion can rob you of tranquillity because a pitiless countenance, a faithless soul, harbours and nurtures nothing but cruelty. Aria Ah, ungrateful Dorilla wishes me to remain unhappy; ah, ever more pitilessly she forces out my tears. For me there is no remedy, for me no more hope. Only death will assuage my bitter pain and sorrow. Tags: Antonio Vivaldi Cessate omai Gerard Lesne Seminario Musicale Fabio Biondi cantata countertenor |
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Vivaldi "Cessate, omai cessate" Gérard Lesne (2/2) High resolution and stereo sound: http://www.youtube.com/watch?v=HfptcS-wVHc&fmt=18 Antonio Vivaldi Cessate, omai cessate, RV 684 cantata for contralto voice, instruments and basso continuo In this recording: Gérard Lesne, countertenor Il Seminario Musicale Fabio Biondi The cantata follows the typical scheme of Recitative--Aria--Recitative--Aria (RARA). There is a variant of this cantata (RV 684a), an earlier version without the first recitative and quite different from this one. The only source of the text, by an unknown author, is the autograph score. One observation is that a similar text was used in an aria from Vivaldi's opera "L'incoronazione di Dario", at the opening of the second act. The text by Adriano Morselli is as follows: Cessa tiranno amor di tormentarmi più. Già barbaro e crudel quest'anima fedel hai posta in servitù. "... if one examines the content, one sees that in the first aria the aggrieved singer resolves to kill himself; in the following recitative he prepares to die; in the last aria he pictures himself as the "shade of a Bacchante" on the gloomy banks of Acheron, ready to take revenge. So we have a conventional, but complete plot. ... As for the content, there is a mixture of ferocity and commiseration arising from the fact that the singer addresses two different objects: his "cruel memories" and his "wretched, injured and forsaken heart". Only in the last two verses does cruelty pertain no longer to the memories but to the beloved's "pitiless countenance" and "faithless soul", Dorilla's cruelty being emphasized, in the score, by a unison of all the instruments." ... The first recitative makes the work more expressive and, by virtue of its double character, seems to have been given the function of introducing the cantata as a whole rather than just its first aria." - Luigi Cataldi Original text: Recitativo A voi dunque ricorro, orridi spechi, taciturni orrori, solitari ritiri ed ombre amiche; tra voi porto il mio duolo, perché spero da voi quella pietade che Dorilla inumana non annida. Vengo, spelonche amate, vengo, spechi graditi, alfine meco involto in mio tormento in voi resti sepolto. Aria Nell'orrido albergo, ricetto di pene, potrò il mio tormento sfogare contento, potrò ad alta voce chiamare spietata Dorilla l'ingrata, morire potrò. Andrò d'Acheronte su la nera sponda, tingendo quest'onda di sangue innocente, gridando vendetta ed ombra baccante vendetta farò. Translation (by Luigi Cataldi): Recitativo So it is to you, gloomy places, silent horrors, lonely caves and friendly shades, that I come and bring my grief, because I hope to obtain from you a pity that is not to be found in ungrateful Dorilla. Beloved caves, I come, I come, welcoming places, until finally, racked by my pains, I will bury myself in you. Aria In this horrible refuge, sheltering from my pains, I shall be able to give vent to my grief, to call out: 'Dorilla heartless and ungrateful', and to die. I'll go to the gloomy banks of Acheron, staining that stream with my blameless blood, crying for revenge and, like the shade of a Bacchante, I will take my revenge. Tags: Antonio Vivaldi Cessate omai Gerard Lesne Seminario Musicale Fabio Biondi cantata countertenor |
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Giulio Caccini - Amor, io parto - Johannette Zomer High resolution and stereo sound: http://www.youtube.com/watch?v=q6_5E4YdLIE&fmt=18 Giulio Caccini (c.1550-1680) Amor, io parto Madrigal for soprano voice, from "Le nuove musiche, 1601" set on an anonymous text In this recording: Johannette Zomer, soprano Fred Jakobs, theorbo Channel Classics The score I used is from a facsimile copy of Caccini's Le Nuove Musiche, 1601. I didn't edit the score at all, except that I cleared the specks around it . Here and there, the text may not be so easy to read on the score. But, as always, I included the text in modern spelling and the translation. "Caccini's Le Nuove Musiche is a collection of works for solo voice and basso continuo. Caccini uses two distinct compositional styles in the collection: twelve "madrigals" -- through-composed, somewhat rhythmically-free compositions with rhapsodic passages designed to emphasise the important words in the text -- and ten "arias" which are shorter and usually strophic. ... The type of solo "madrigal" pioneered by Caccini is distinguished from the polyphonic madrigal which was the most popular form of secular composition during the late Renaissance." - Sheila Barnes "Madrigals are, according to Caccini's definition, through-composed one part pieces which are usually elaborately ornamented on non-strophic texts whose metric structure is irregular. ... One main theme dominates all of the poems upon which Caccini's Nuove Musiche is based: love. Two literary forms reflect the two aspects of love, the elegiac madrigal, in which the plaint of the hapless lover finds its expression, and the canzonetta, in which the joy of reciprocated love and the rapturous desire of the young lover is celebrated in many stanzas. In setting the madrigals Caccini chose a free recitative form, whereas the canzonette find their musical counterpart in rhythmically striking arie, which bear similarity to dance songs" - Silke Leopold "Among the notational innovations developed by Caccini was the specification and writing out of ornamentation. Previously, ornamentation had always been left to the discretion of the performers. In order to eliminate "excesses" on the part of singers (which presumably obscured the text), Caccini wrote out the music exactly as he wished it to be performed. He did, however, still allow for improvisation to emphasise significant words and cadences. The use of ornamentation was thus restricted to expressing the text, and was no longer an end in itself, as had been the case in earlier vocal practice. One type of ornamentation specified by Caccini, which may be less familiar to modern ears is the trillo: a kind of "tremolo" in which fluctuations of intensity are sounded like a reiteration of the note. Caccini includes the trillo in "the good manner of singing" as a thing written one way, but sung another way "for more grace" and "refinement" ("squisitezza"), qualities of which Castiglione would have approved." - Sheila Barnes Original text: Amor, io parto, e sento nel partire al penar, al morire, ch'io parto da colei ch'è la mia vita, se ben ella gioisce quand'il mio cor languisce. O durezza incredibil'e infinita d'anima che 'l suo core può restar morto, e non sentir dolore! Ben mi trafigge amore l'aspra mia pen', il mio dolor pungente, ma più mi duol il duol ch'ella non sente. Translation (by Flavio Ferri Benedetti): Love, I depart, and I feel while I part, while I suffer and while I die, that I part from her who is my life, although she rejoices when my heart languishes. O incredible, endless harshness of the soul: her heart can die without feeling pain! Love pierces well my bitter pain and my sharp grief, but even more painful is the grief that she does not feel. Tags: Giulio Caccini Amor io parto Johannette Zomer Fred Jakobs nuove musiche madrigal |
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Giulio Caccini - Amor, io parto - Montserrat Figueras High resolution and stereo sound: http://www.youtube.com/watch?v=ClXFHhaACgs&fmt=18 Giulio Caccini (c.1550-1680) Amor, io parto Madrigal for soprano voice, from "Le nuove musiche, 1601" set on an anonymous text In this recording: Montserrat Figueras, soprano Hopkinson Smith, baroque guitar Harmonia Mundi The score I used is from a facsimile copy of Caccini's Le Nuove Musiche, 1601. I didn't edit the score at all, except that I cleared the specks around it . Here and there, the text may not be so easy to read on the score. But, as always, I included the text in modern spelling and the translation. "Caccini's Le Nuove Musiche is a collection of works for solo voice and basso continuo. Caccini uses two distinct compositional styles in the collection: twelve "madrigals" -- through-composed, somewhat rhythmically-free compositions with rhapsodic passages designed to emphasise the important words in the text -- and ten "arias" which are shorter and usually strophic. ... The type of solo "madrigal" pioneered by Caccini is distinguished from the polyphonic madrigal which was the most popular form of secular composition during the late Renaissance." - Sheila Barnes "Madrigals are, according to Caccini's definition, through-composed one part pieces which are usually elaborately ornamented on non-strophic texts whose metric structure is irregular. ... One main theme dominates all of the poems upon which Caccini's Nuove Musiche is based: love. Two literary forms reflect the two aspects of love, the elegiac madrigal, in which the plaint of the hapless lover finds its expression, and the canzonetta, in which the joy of reciprocated love and the rapturous desire of the young lover is celebrated in many stanzas. In setting the madrigals Caccini chose a free recitative form, whereas the canzonette find their musical counterpart in rhythmically striking arie, which bear similarity to dance songs" - Silke Leopold "Among the notational innovations developed by Caccini was the specification and writing out of ornamentation. Previously, ornamentation had always been left to the discretion of the performers. In order to eliminate "excesses" on the part of singers (which presumably obscured the text), Caccini wrote out the music exactly as he wished it to be performed. He did, however, still allow for improvisation to emphasise significant words and cadences. The use of ornamentation was thus restricted to expressing the text, and was no longer an end in itself, as had been the case in earlier vocal practice. One type of ornamentation specified by Caccini, which may be less familiar to modern ears is the trillo: a kind of "tremolo" in which fluctuations of intensity are sounded like a reiteration of the note. Caccini includes the trillo in "the good manner of singing" as a thing written one way, but sung another way "for more grace" and "refinement" ("squisitezza"), qualities of which Castiglione would have approved." - Sheila Barnes Original text: Amor, io parto, e sento nel partire al penar, al morire, ch'io parto da colei ch'è la mia vita, se ben ella gioisce quand'il mio cor languisce. O durezza incredibil'e infinita d'anima che 'l suo core può restar morto, e non sentir dolore! Ben mi trafigge amore l'aspra mia pen', il mio dolor pungente, ma più mi duol il duol ch'ella non sente. Translation (by Flavio Ferri Benedetti): Love, I depart, and I feel while I part, while I suffer and while I die, that I part from her who is my life, although she rejoices when my heart languishes. O incredible, endless harshness of the soul: her heart can die without feeling pain! Love pierces well my bitter pain and my sharp grief, but even more painful is the grief that she does not feel. Tags: Giulio Caccini Amor io parto Montserrat Figueras Hopkinson Smith nuove musiche madrigals |
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Vivaldi - Nisi Dominus, RV608 "Gloria Patri" Andreas Scholl High resolution and stereo sound: http://www.youtube.com/watch?v=MN9kOA6jFCE&fmt=18 Antonio Vivaldi "Gloria Patri" Mvt. VII (Larghetto) from Nisi Dominus, RV 608 (Psalm 126) Motet for contralto voice In this video: Andreas Scholl, countertenor Lucinda Moon, viola d'amore Australian Brandenburg Orchestra, Paul Dyer Live performance at Angel Place, Sydney (2000) Nisi Dominus is a setting of the Vesper psalm 126. It is in nine short sections lasting about 20 minutes. Gloria patri is one of the 2 cadenzas Vivaldi wrote for the "viola d'amore" in the Gloria Patri movements of his both settings of the psalm Nisi Dominus (RV 608 and RV 803). For those who would like to see the viola d'amore a bit closer: http://upload.wikimedia.org/wikipedia/commons/1/1e/Viola_d%27amore.jpg Also see my playlist with the CD recording of this work with the same performers: http://www.youtube.com/view_play_list?p=C82F9679C794641D Latin text: Gloria Patri, et Filio, et Spiritui Sancto. Translation: Glory be to the Father, and to the Son, and to the Holy Ghost. Tags: Antonio Vivaldi Nisi Dominus Gloria Patri Andreas Scholl Lucinda Moon viola amore Paul Dyer |
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A. Scarlatti - Sedecia "Caldo sangue" Philippe Jaroussky High resolution and stereo sound: http://www.youtube.com/watch?v=9aheJ-McFak&fmt=18 Alessandro Scarlatti (1660 - 1725) "Caldo sangue" Sedecia, Re di Gerusalemme Oratorio in 2 parts Libretto: Filippo Ortensio Fabbri In this recording: Philippe Jaroussky, countertenor Il Seminario Musicale, Gérard Lesne Virgin Veritas, 1999 Bartoli sings "langue" instead of "manca" at 2:43 time mark, towards the end of the B section. "Sedecia, Re di Gerusalemme (performed in 1705 in Urbino, and brought to Rome the following year by Cardinal Ottoboni for a performance at the Seminario Romano)introduces us into a world of dramatic violence. The libretto is based on the Biblical account of the siege of Jerusalem by Nebuchadnezzar, King of Babylon, a tale in which King Zedekiah is the incarnation of infidelity and idolatry punished by heaven. .... Tragedy reigns in "Caldo sangue", when Ishmael, struck down by Nebuchadnezzar's dreadful fury, breathes his last. This is an aria of extraordinary expressive force whose bold harmonies have no descriptive purpose, but are transformed into poetry, pure and simple. In the central section, the vocal line is movingly emphasised with some violently vehement writing. This only lasts a moment, however, as the vital energy gradually fades, the aria ending in a spectral pianissimo." - Claudio Osele "...As a genre, Scarlatti's oratorios fared rather poorly in the early-music revival of the last century. Although we can confidently attribute around 30 works to him -- making him the most significant composer between Carissimi and Handel -- only five scores have so far been published. ... Unlike Handel's English oratorios, Sedecia was written for performance in a religious setting, probably at the Oratorio dei Filippini in Rome around 1706. ... Limiting himself to just five main characters, the librettist tells the tragic tale of Zedekiah, the last King of Jerusalem, who set his face against God's will and therefore suffered the death of his sons and his own blindness at the hands of the Babylonian King Nebuchadnezzar. Divided into two halves, the first is full of bravura and battle (the War of the Spanish Succession briefly threatened Rome at this time); the second part is more thoughtful, moving inexorably towards its heart-rending conclusion..." - Simon Heighes (full article at: http://www.andante.com/article/article.cfm?id=16166 ) Original Text: Caldo sangue, che bagnando il sen mi vai, e d'amore fai gran fede al genitore, fuggi pur, fuggi da me, ch'io già moro, e resto esangue! Forse un dì risorgerai per vendetta della man che mi saetta; e il vigor che in me già manca, caldo sangue, passerà più saldo in te. Translation (Susannah Howe, slightly edited): Warm blood, now bathing my breast as proof of the love I bear to my father, flow now, flow from me, I am drained and close to death! Perhaps one day you will rise again to exact your vengeance on the hand that wounded me; and the flame now fading inside me, warm blood, will burn more brightly in you. Tags: Alessandro Scarlatti Sedecia Caldo sangue Philippe Jaroussky Seminario Musicale Gerard Lesne sacred oratorio baroque |
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A. Scarlatti - Sedecia "Caldo sangue" Cecilia Bartoli High resolution and stereo sound: http://www.youtube.com/watch?v=3bkxJPzUlTw&fmt=18 Alessandro Scarlatti (1660 - 1725) "Caldo sangue" Sedecia, Re di Gerusalemme Oratorio in 2 parts Libretto: Filippo Ortensio Fabbri In this recording: Cecilia Bartoli Les Musiciens du Louvre, Marc Minkowski Decca, 2004/2005 Bartoli sings "langue" instead of "manca" at 2:43 time mark, towards the end of the B section. "Sedecia, Re di Gerusalemme (performed in 1705 in Urbino, and brought to Rome the following year by Cardinal Ottoboni for a performance at the Seminario Romano)introduces us into a world of dramatic violence. The libretto is based on the Biblical account of the siege of Jerusalem by Nebuchadnezzar, King of Babylon, a tale in which King Zedekiah is the incarnation of infidelity and idolatry punished by heaven. .... Tragedy reigns in "Caldo sangue", when Ishmael, struck down by Nebuchadnezzar's dreadful fury, breathes his last. This is an aria of extraordinary expressive force whose bold harmonies have no descriptive purpose, but are transformed into poetry, pure and simple. In the central section, the vocal line is movingly emphasised with some violently vehement writing. This only lasts a moment, however, as the vital energy gradually fades, the aria ending in a spectral pianissimo." - Claudio Osele "...As a genre, Scarlatti's oratorios fared rather poorly in the early-music revival of the last century. Although we can confidently attribute around 30 works to him -- making him the most significant composer between Carissimi and Handel -- only five scores have so far been published. ... Unlike Handel's English oratorios, Sedecia was written for performance in a religious setting, probably at the Oratorio dei Filippini in Rome around 1706. ... Limiting himself to just five main characters, the librettist tells the tragic tale of Zedekiah, the last King of Jerusalem, who set his face against God's will and therefore suffered the death of his sons and his own blindness at the hands of the Babylonian King Nebuchadnezzar. Divided into two halves, the first is full of bravura and battle (the War of the Spanish Succession briefly threatened Rome at this time); the second part is more thoughtful, moving inexorably towards its heart-rending conclusion..." - Simon Heighes (full article at: http://www.andante.com/article/article.cfm?id=16166 ) Original Text: Caldo sangue, che bagnando il sen mi vai, e d'amore fai gran fede al genitore, fuggi pur, fuggi da me, ch'io già moro, e resto esangue! Forse un dì risorgerai per vendetta della man che mi saetta; e il vigor che in me già manca, caldo sangue, passerà più saldo in te. Translation (Susannah Howe, slightly edited): Warm blood, now bathing my breast as proof of the love I bear to my father, flow now, flow from me, I am drained and close to death! Perhaps one day you will rise again to exact your vengeance on the hand that wounded me; and the flame now fading inside me, warm blood, will burn more brightly in you. Tags: Alessandro Scarlatti Sedecia Caldo sangue Cecilia Bartoli Les Musiciens du Louvre Marc Minkowski sacred oratorio baroque |
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Hasse - Ritornerai fra poco - Alfredo Kraus High resolution, stereo sound: http://www.youtube.com/watch?v=jFejFSzW6xA&fmt=18 Johann Adolf Hasse Ritornerai fra poco London 1732 Text by: Pietro Metastasio In this recording: Alfredo Kraus, tenor José Tordesillas, piano Nimbus Records, 1987 Kraus is about his sixties here, which makes it rather impressive to hear some very powerful high notes from him. This aria is extracted from the cantata L'Inciampo (also known as Orgoglioso fiumicello), on a text by Pietro Metastasio. Sung here by Kraus with a piano accompaniment in the manner of famous "arie antiche", it is definitely not an authenthic baroque performance. Yet, it still has some merit, in my estimation, at least, for the fact that it happens to be the only version recorded as far as I know. And it gives a fair idea about the work. For those who are interested, here is the structure of the whole cantata: I. Aria: Orgoglioso fiumicello II. Recitativo: Ma tu cresci frattanto III. Aria: Ma tornerai fra poco As far as I know there is no recording of the complete cantata. But the complete score is available from the Cantata Editions website. Here is the link to hear the midi preview: http://www.baroquecantata.com/shared/midi_preview.php?music_ID=284 "...this very popular cantata of the time (1732) exists in at least 8 copies world-wide. With a charming Sì suonar se piace opening with triplets against duplets, the cantata is in aria - recit - aria format. In the Metastasian text, it appears Clori has strayed, but her lover waits for her, knowing that the stream must return to the sea." - www.cantataeditions.com Original Text: Ritornerai fra poco, povero ruscelletto, del polveroso letto fra' sassi a mormorar. Ti varcherò per gioco, disturberò quell'onde; ne chiaro fra le sponde farò che vadi al mar. Translation (by Marc D.): You shall come back soon, poor little brook, to murmur through the stones in your dusty bed. Playfully, I will cross you, and disturb your waters; I will make you roll between your banks and go to the sea. (Metastasio's published text has "Ma tornerai" instead of "Ritornerai", and "torbido" instead of "ne chiaro".) Tags: Johann Adolf Adolph Hasse Ritornerai fra poco Alfredo Kraus Jose Tordesillas arie antiche |
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Porpora - Orfeo "Dall'amor più sventurato - Vivica Genaux High resolution, stereo sound: http://www.youtube.com/watch?v=O2B91q0sd9Q&fmt=18 Nicola Porpora Orfeo "Dall'amor più sventurato" Orfeo's aria Libretto: Paolo Rolli In this recording: Vivica Genaux Akademie für Alte Musik Berlin René Jacobs Harmonia Mundi, 2002 Original Text: Dall'amor più sventurato gode il cor cangiando stato; sente l'alma in questo istante già la calma che l'amante più costante sa bramar. Va scherzando il gioco il riso con le grazie del bel viso che l'affetti che i diletti sempre care fan tornar; e l'amor più sventurato fan beato diventar. D'ogni tormento che porge amore un sol contento quanto è maggiore paga un momento tutto il penar; e l'amor più sventurato fan beato diventar. Tags: Nicola Porpora Orfeo Vivica Genaux Akademie Fur Alte Musik Berlin Rene Jacobs baroque pasticcio Farinelli castrato |
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