- 1 ~ 0 s Early IIIII Music Alte Musik Lamenti Barocchi Vol. 3 MONTEVERIiI GIRAMO STROZZI CARISSIMI CESTI ROSS1 Soloists of the Cappella Musicale di S. Petronio Sergio Vartolo 8.553320 Lamenti Barocchi Vol. I11 (Baroque Laments Vol. 3) Soloists of the Cappella Musicale di S. Petronio Sergio Vartolo Claudio MONTEVERDI (1567 - 1643) [I] Lamento d'Arianna Pietro Antonio GIRAMO (f1.1619 - after 1630) [21 Lamento della Pazza Barbara STROZZI (1619 - 1664) [31 Lamento del Marchese Cinq-Mars Giacomo CARISSIMI (1605 - 1674) I41 Lamento della Regina Maria Stuarda - Antonio CESTI (1623 1669) [51 Lamento della Madre Ebrea Luigi ROSS1 (1598 - 1653) [61 Lamento della Regina di Svezia Soloists of the Cappella Musicale di San Petronio 111 Anna Caterina Antonacci, soprano [21 Anna Caterina Antonacci, soprano [31 Anna Caterina Antonacci, soprano Alessandro Carmignani, tenor 141 Marinella Pennicchi, soprano Alessandro Carmignani, tenor [51 Anna Caterina Antonacci, soprano Testo: Alessandro Carmignani, tenor [61 Marinella Pennicchi, soprano Fortuna: Patrizia Vaccari, soprano Messaggero: Alessandro Carmignani, tenor Testo: Furio Zanasi. baritone Violins: Enrico Casazza, Isabella Longo Viola da gamba : Bettina Hoffmann Chitarrone, theorbo: Andrea Damiani Chitarrone, cittem, colascione, chitamno: Federico Marincola Clavicembalo and direction: Sergio Vartolo The Baroque lament has its origins in the culture of ancient Greece and its Roman imitators. Aristotle's theory of catharsis, the purification of the emotions through the excitement of pity and fear by events worthy of such feelings, and Plato's views on the subject, as expressed in The Republic, found their reflection in the aesthetic theories of the sixteenth century. The lament should arouse feelings of pity, while at the same time suggesting the fashionable humour of melancholy, one of the four psychological states of ancient and later medical theory. Greek tragedy offers its own examples of the lament and nearer to hand were the popular and accessible Heroides of Ovid, plaintive letters from abused heroines of legend, Dido deserted by Aeneas, Penelope left alone for so long by Odysseus, Medea betrayed by Jason. The lament became a current and important feature of Italian Baroque monody, with its rhetorical and therefore dramatic connotations, generally set over a four-note descending bass-line. The best known of all these laments, although not the earliest, must be Monteverdi's Lamento d'Arianna, a later version of which, with a sacred Latin text, was included in the composer's Selva morale e spirituale published in Venice in 1641 (Naxos 8.553318: Lamenti Barocchi Vol. 1). In 1607 Monteverdi had provided music for a favola in musica staged at the court of Duke Vincenzo Gonzaga in Mantua, where the composer was maestro di cappella. Orfeo, with a libretto by Alessandro Striggio, has one literary source in the Metamorphoses of Ovid. The success of Oifeo led, in 1608, to the devising of a new dramatic work, a tragedia in musicn, a conscious attempt, as the pastoral Oifeo was not, to provide a work that should to some extent revive the ancient Greek art of tragedy. With a libretto by Ottavio Rinuccini, a Florentine courtier who, under the sobriquet 11 Sonnncchioso (The Sleepy One), had since 1586 been a member of the Florence Accademia degli Alterati, the tragedy in music Arianna treats the story of the Cretan princess Ariadne. Having helped the Athenian Theseus to escape from her father, King Minos, the labyrinth and the bull-monster, the Minotaur, she was abandoned by her lover on the seemingly deserted island of Naxos. Her distress, expressed in the famous 8.553320 4 hmento d'Arianna, is given in poignant and moving music that found immediate popularity, copied elsewhere, issued by Monteverdi as a fivevoice madrigal in 1614 and in 1623 as a monody. There is a happy ending to the opera through the intervention of Venus and Amor and the appearance of a deus ex machina in the person of Bacchus, whose union with Ariadne had been depicted so memorably in 1523by Titian. While Rinuccini's libretto of Arzanna survives, the music does not, except for the lament itself. The tragedy was performed at the wedding festivities in Mantua for the marriage of Prince Francesco, son of the reigning Duke, and Margherita of Savoy, together with a number of other works, including Monteverdi The lament, and Rinucdni's I1 ballo delle ingrate (Naxos 8.553322). according to an account of the proceedings by Federico Follino, was acted with so much feeling and in so piteous a manner that nc-one who heard it was left unmoved, there was not a single lady who did not cry a little at her beautiful plaint. Pietro Antonio Giramo is a relatively minor figure in Italian music of the early Baroque. While Monteverdi achieved a reputation uncomfortably enough at the court of Mantua, followed by some thirty years as master of the music of the basilica of San Marco in Venice, Giramo, whose date of birth is unknown, seems to have spent his life in Naples. A volume of Arie was published in 1630, apparently in Naples, as was the collection under the title I1 pazzo con la p a m , ristampata, et Uno hospedale per gl'infomi d'amore (The Madman with the Madwoman, reprinted, and A Hospital for the Love-sick). The date 1630 provides, at least, a terminus ante quem, since h s death occurred, presumably, after that date. The hmento della p a m (Madwoman's Lament) is of considerable interest in its treatment of the subject, a woman driven mad by unrequited love, a patient to be cured by the music Giramo offers. The Lamento del Marchese Cinq-Mars by Barbara Strozzi turns to the kind of subject that provided material for laments by the middle of the seventeenth cenhuy, based on modern or earlier historical events. Barbara 5 8.553320 Strozzi herself was the adopted daughter of the poet and playwright Giulio Strozzi, himself the illegitimate son of the Venetian banker Roberto Strozzi, a member of the distinguished Florentine family of that name. She was born in Venice in 1619 and was a pupil of Cavalli, winning a reputation both as a singer and as a composer. Her presence was important for the meetings of the Accademia degli Unisoni at the house of Giulio Strozzi, whose enemies accused him of pimping for her, regretting Monteverdi's occasional connection with the Accademia. He sewed, however, as a librettist for Monteverdi and for others, while Barbara Strozzi appears as a composer of some ability. She died in Venice in 1664. Her Lamento del Marchese Cinq-Mars is attributed to the French royal favourite the Marquis de Cinq-Mars, accused of treason and put to death by Louis XI11 in 1642, as his reign and his own life drew to a close. Henri d'Effiat, Marquis de CinqMars, was introduced to the French royal household in 1638 at the age of eighteen, when he was appointed Master of the King's Wardrobe, a position that enabled him to extend his own wardrobe to some 52 suits. In 1639 he became Grand Master of the Horse, known now as Monsieur le Grand, an intimate of the King, in spite of childish sulking and quarrels. He joined the opponents of Cardinal Richelieu in a conspiracy against the King and was arrested for treachery in Narbonne, imprisoned in Montpellier and tried in Lyon. After betraying one of his co-conspirators, he was executed. Giacomo Carissimi has a very much more considerable continuing reputation. Born at Marino, near Rome, in 1605, he served as a chorister and later organist at Tivoli Cathedral before his appointment in 1629 as maestro di cappella at the German College in Rome, an institution run by the Society of Jesus and therefore imbued with the principles of the Catholic Reformation. He retained this position until his death in 1674, refusing an invitation to San Marco in Venice after the death of Monteverdi in 1643. He was given in 1656 the title of maestro di cappella del concerto di camera to the now Catholic Queen Christina of Sweden. Carissimi's compositions include, necessarily, a quantity of liturgical music, significant 8.553320 6 contributions to the genre of Italian oratorio and a series of Italian cantatas. His Lamento della Regina Marm Stuarda recalls the execution of the Catholic Mary Queen of Scots by her Protestant cousin, Queen Elisabeth I of England. At the time of Carissimi's composition in about 1650, this event was particularly topical, in view of the recent execution of her grandson, the English King Charles I. The dramatic intensity of the Lamento impressed even Dr Burney, who elsewhere had praised Carissimi's elegance, but preferred Purcell's variety. The reputation of Antonio Cesti rests very largely on his fourteen or fifteen operas and a series of secular cantatas. Perhaps at one time a pupil of Carissimi, Cesti was born in Arezzo in 1623 and had his musical training in Rome, where he also had lessons with Luigi Rossi. He joined the Franciscan order and spent some time as organist and maestro di cappella at the cathedral in Volterra, where he enjoyed first the patronage of the Medici family and developed connections with the Florentine Accademia dei Percossi. It was ironical that his career should have centred so much on the operahouse, in spite of his religious vocation, a conflict noted by some of his contemporaries, although such things never seem to have bothered composers of a later generation, such as the secular priest Vivaldi. In 1652 Cesti moved to Innsbruck, in the service of Archduke Ferdinand Karl. Released from his vows as a religious by Pope Alexander VU, who intended to employ him in Rome, he nevertheless returned to Innsbruck, after an interlude in Florence for the wedding of Cosimo de' Medici, and on the death of his patron's immediate successor there moved to Vienna, charged with the composition and mounting of new operas. He died in 1669 in Florence, where he had been newly appointed maestro di cappella. From 1649 he had had connections with Venice and the theatres there, with a first production in that year of his successful opera Orontea. The cantata La Madre Ebrea (The Hebrew Mother) presents the predicament of a starving Jewish mother, forced by hunger to kill her own child, as the armies of the Roman Emperor Titus besiege Jerusalem, before the capture of the city and the destruction of 8.553320 the Temple. The text cannot resist the final suggestion that such conduct is to be expected of a Jewish mother, a reflection on the prejudices of the time. The last of the laments included here is by that master of the form, the Roman composer Luigi Rossi, a leading figure in the vocal music of his time. Rossi was born at Torremaggiore about the year 1597 and studied in Naples, where he spent some years in the service, it would seem, of Prince Paolo de Sangro. He later entered the service of the Borghese family in Rome, becoming organist of the church of S Luigi dei Francesi in 1633 and retaining this position until his death twenty years later. From 1641 he was in the service of the Barberini family in Rome and it was for Cardinal Antonio Barberini that he wrote his very successhl opera 11 palazzo incantato (The Enchanted Palace), a work of more than Wagnerian length. A second opera, Orfeo, was written for performance in Paris at the desire of Cardinal Mazarin. The expense of the production did nothing to endear Mazarin to the populace, who in 1648 forced the court to take refuge outside the capital. Rossi's Lamento della Regina di Svaia is a characteristic work, attributing feelings, it must be presumed, to the wife of Gustavus Adolphus, rather than to the five-year-old daughter, Queen Christina, who succeeded him. The Swedish king, the so-called Lion of the North, was killed at Liitzen on 6th November 1632 in conflict with Austria and supported by the French Cardinal Richelieu. The work was commissioned by the young Mazarin for performance before the politician whom he would duly succeed in 1643. Queen Christina was to relinquish her throne at the age of 27, to become a Catholic and settle in Rome, where she held sway as a leading patron of the arts. In the lament, the Swedish Queen refers to the circumstances of the King's death and longs herself to die. Texts [iI Larnento d'Arianna Lament of Ariadne Lawiaternimorire! E chi voletevoi che mi conforte incosi dwa rorte, in cosi granmartire? Lasdatemimorire! Let me die! And who willcomfort me in such a heavy lot, in suchgreat torment? Let medie! 0hTeseo.ohTem mio si che mio ti vo' dir ch6 miopur x i bench6 rinvoli, ahi crudo, a gl'occhi miei. 0Theseus.omy Thereus, for l still call youmine, because you are mine, although you steal off,uuel, fmmmy eyes. Volgiti Tewo mio volgitiTeseo,oh Do, volgiti indietro a rimirar colei che lasdato ha per te la patriael regno e'n queste m n e ancora cibo di fere dispietate e uude lawied l'ossa ignude. Turn backmy Theseus, turn back,Theseus, o God, hlrnback tolwkaeainat he, who for you has l e i country and kingdom d o n t h e s e s a n d s now, fccd forpitiless wild beasts, will leave herbare boner. Oh Teseo, oh T e r n mio se tu sapessi (ohDo) se tu sapessi oime come s'affanna la pwera Arianna forsi forsi pentito rivolgeresti ancor la prora al lito. Ma con l'aure serene tu te ne vai felice et io qui piango. A teprepara Atene liete pompe superbe et io rimango cibo dl fere in wrlitxie m n e . Te l'uno e 1'alh.o tuo vecchio parente 0Theseus.o my Theseus, if you only knew (oGod) if vou oniv knew.. alas,.how troubled isbcor~kxine, perhaps, perhaps in remorse you would turn backagain yourship to theshore. But with calm breezes YOU go happy away and I weep here. For you Athempreparer joyful fineceremonies and l remain fccdf a beasts in the lonely sands. Your old pmntsone and the other, W stringeranlieti et iopiknonvdmtti oh madre, oh padremio! will joyfully embrace you. and 1shall never ree again my mother,my father! h e dov'k la fede che tantomi gjuravi? Cosi nel'dtasede hl mi ripondegl'avi? onde m'adomi ilmne? Quatigli scetni xmo? Queste legemme,gl'ori? Larciarmiinabbnndow a kra che mi straui e mi divo"! AhTerw, ah Teseo mio laxerai tumorire invanpiangendo invan gridand'aita lamisera Arianna a& ' b fidossi e ti dilgloriae vita! Ahi dre pur m n rirpondi ahi che pik d'aspe hsordo a'mieihenti. Ohn~~~bi,ohtwbi,ohventi wmmereek10 voi dentfa auell'onde correte&he e balene e delle membraimmonde empitelevoragini profonde! Where. where is lhe lath that you sc swore m me? Is 11 thus the lofty abode Are these Ihec&s withwhid vou d & d mv hair! h t kU ~;wrpbes! ' There the jewels, thr gold ornaments' To leave medeserted to beasts that will tear me a w l and devour me! AhTkseus,ahmy ~heseu; will you leave me to die, vainly weeping, vainly cryingout forhelp, wretched Ariadne, that hurtedyou and gave youglory and life! Alas youanmernot, aiasheis cruelly deaf to my laments Oblackdouds,ostorms,o winds, rink vou in thore waver. sean;ons~prsandwhal~sharsn and wtth his tainted body 1111 the chams of thedeep' o l e parlo,ahr che raneggio misera! Ohimk h e vow07 Oh Ternoh Tereo mio wn son ,non son guell'io, w n son quell'io rh'i fed detti sdolse Parlb l'affannomio,parIi,ildolore, par16 la linguasi manongih'l core! Whatdoluy,das, howlrave inmy wretchedness! Alas, w h t do I ree? 0 &hereus, o my Thelhereus, lamnoLlamnotUlatl Iam not that one whospokeso wildly. My houble rpoke, then spokemy pain, yes, the tongue spoke, but not the heart! LaPawa The Mad Woman Chi nonmiconoxe didche lamia One thatdner not know me will my Ihatmine 8.553320 ria vera pazzia che lieta mi fa. Ma tutt' E' furore, effettod'Amore, effetbd'hmore ch'al core mi sta. is truemadness that makes me happy. But allofitisFrenzy, the result of Lose, theresultof love, that dwells in my heart. Hor siacome dite: sentite una pazza sentite,sentite, sentite.sentite. Sentite una pazza rentite,sentite. Nowitmay bear youuy: hear amad woman, hear, hear, hear, hear. Hear a mad woman, hear, hear. Vorrei veaeggiare, ohCielo, oh Tema,ohMare. No,no,no, no! Vonei cantare lasolfamifare ... Ma fermach'il canto ritorna in pianto! Non tel' diss'io, non kl'diss'io sospiracor mio! You would wrik verse, o heaven,^ Earth, oSea. No, no, no,no! You would ring l a r o l b m i f a r e ... But make sure that the song t u r n back to weeping! Not thus did I speak, not thus did I speak to you my heart sighs,my heart sighs! Chinonmiconoxeetc.. . OM thatdoesnotknow meetc. .. . Talvolla Amor fiem mi lega la lingua, e muta mi fa. Cia rento mancare la voce, padare non possopii no. Ma poi con furore vorrei gridare, burlare, snltw, mosharela gioiach'd core mi sta. Sometimes proud Love binds my tongue and makes me dumb. Now I feel my voice fails.1 can speak IX)more. But then in frenzy I would cry out, laugh, leap. show the joy that is in my heart. Chi non mi conorce .. . One that does not know me.. . Talvolta mi burlo di chj m'ha ferito e cosi gli dich'io: Signor Cavaliere conpiume alle spalle Sometimesl make fun of the one who hurt meand speak as follows: Sir Knight, with featherson your shoulders voi late il rmargiasu, m'strali ecarcasu, ma gl'C€Chi hai kndati co' panni shacriati Ah,nh.,ah,ah,at,ah,ah, signorcavdiere m'i panni stratciati! Ah,ah.ah.ah.ah.ah,ah. Chi non miconoxe.. . you brag with mowrs and quiver but youreyesare bandaged with skips of cloth ha, ha, ha, ha, ha, ha, ha, Sir Knight, with strips of cloth! Ha, ha, ha, ha. ha. ha, ha. One that does not know me Amor sempre hoda stidere? Ilcor s a d qua1 tu? No,noch'io voglioridere fa' poi quel che vuoi tu! Must Inlwnvsscream Love! Will the hedrt be what it used lo be? No, no l want lo laugh, youdo as you want! Voglio cantare dla Napolelana Fone k e s s e la fortuna cam fan plelosa rheUa lacc~akUa Non stente no. non slenle no' Si a se rquaglia st'arma com'anzuma e me senb abbruaAlif~atilli. I want lo sing in Neapolitan slyle and then in CdabrianStvle. F u ~mght r makeold fortune render that fat, fare compasnonale No, no. shedoes not hear' So this soul meltsas lard and mv bowels bum. Ths heart breaksas hazel-nur. la\e 15 the cause 01 this ill1 Miserae che vaneggio? Come snodo la lingua in rozzi accenti? eenti! Per ouesto oazra mi chiaman le " Cornegra 11 pnsler ha rn~lleruolr comeapro ohme la bocca ~nbassenole' Miserae chevaneggio? Wretched tiaman, why doIrare? Ho* d~ I loose my tongue .n roughaccenh' For this ~ e o ~call l e ns mad' How mkch ~houehtmnkesn thousand turns as do I o p n , alas,my mouth inlow notes? Wrebhed woman, why do lrave? Chi non mi comxe One that does not know me Oh dotti medici fnteun Collegia dime: chi sa sevirtir trovasi Oleamed doctors consult togelher over me: who knows if a medicine may be found e n'auhl ooco allaCalavresella. . . 13 d'erba che movasi dime a pietl? that might moveme to pity? La mente smania la lingua svaria gl'occhi non donnono i membri holanguidi e gran dolore io sento al cuore. The mind in madness, tonguedistracted, eyes hat sleep not, limbs wearied have1 and great pain I feel in my heart. Ohdotti medici fate uncollego dime:ch i s . . . Ohleddocmrs consult together over me: who knows.. . Ziri date la voce: ollchi passa? Amore. Ah haditore pdetelo legatelo ponetelo prigionenhoal mi0 core. Ahi senfuggi, le finesix del cor non ben senai, dagli occhi sen volb! Sia maledetto Amore maledettequell'hore ch'io vidi il miodesio maledetto ilcormio ch'ama chi lo dispreua dedettal'aspreua d'huomo wsimdek, e hlineuainfedele. e tu h& magante rom'hcotantodre ,I mho ben maledue' Vorrei tagliarti a pezzi gil the il mio bendispmi! Zi, zi speak out Who gws there? Lnve. Ah, haitor, seize him, bind him, make him prisoner inmy heart. Alas, he has fled theheaffswindowsldid not shut, he flew out thmugh the eyes! Cursed be Lnve, c u d thorehours whenl saw my desire, cursed mv heart that ~oves'whatnomsit, cursed theharshness of a man so cruel, and vou. faithless toneue. and you; mogant to;gue, how do you dare so t o c w m y beloved? I would ~t youin pieces for scorning now my beloved! Chi nonmi conore.. . One that dwsnot know me.. Ballate o miei wnsieri ch'iosonerb. Lale vt prego ball0 dpl Fedele <heIdl qua1 semprefui lalrrrer ru'! tio.no Fale \,i vreao 11 ballo di Follia the cosi folle)'an&r la mente mia. Prendeklapermano, horst inchinateviprima all'idol mio. Fa la la la la la la Quel pensier d t a troppu fa la la la la la la Nonsdtaro pensiem non vedi il b o gran mde rh'arader \a&ilmppo fa la la la la la la la la la. Dance, my thoughts,while1 play, dance, I beg you, Ledanceof Faithfulness (Fedele) thatl may be what l dwayswas! No,no,dance, I beg you, thedance of Madness (Follia) for my mind is still so mad. Take her by the hand, come now, bow first to my idol. Fa la la la la la la That thought leaps t m high fa la la la la la la I do not see that thought, yourgreat mtsformne, leap~ng. ~ndtoralethat w~llfall lhal leaps too high La la la la la la la la la la Non~osra~iitumnare. la co;dadeila spemeP troppo fda e quell.? del desio rolsi accordarla edessi rottaper hopputiraxla. I canolav , ,no more. thestnngolmy hopelsoulof lux and that of desire would bne it and that is broken through plucking Im much 11Lamento [Cinq-Mars] The Lament of Marchese Cinq-Mars Sul Rodano swero giace, tmnco infelice, di Frncia il g e n mdiero. E s'al COT nonlice tornar d'osrequiopieno ail'amato Parigi con lafredd'ombraalmeno il dolente garzon regueLuigi. EMCOil be1 (ouasi a~ebbiatosole~ delle guancevezzose cmgi6 le mre in pdlide viole e di funesk brine macchio l'oro del aine Lividi gl'occhi son, la Lwcn langue e sul lath del sen diluvia il sangue. By h e harsh Rhone lies,unhappy corpse, thegreat yuireof France And if his bodv,mav,not return wilh lull obsequ~er to his beloved Paris tn the cold shadow a1 leas1 thegriwingboy follows Louis. Henry the Fair (like the sun in mist) changed the roses of his fair cheeks to pale violets andwithdeadly bar-frost sullied the gold of his hair. Livid are his eyes, his mouth weary and on hisn~ilkwhitebreast flowsblood. .. 8.553320 15 "Oh Dio! Per qua1 cagione - (mrche l'ombra d i dim) rh'ifretto~owandaib a dichjarar un perfido, un fellone quel servo a te si gram? Mentre kanzese Augusb di meritarpmri il titolodigiusto tu s'el mio fallo di castigo$ degno ohim6 ch'insieme dell'invidiache heme vittima mi racrifichiall0 degno. Non mi chjamo innocenle pur troppo enai purlmppo home stesso hadito a creder all'invito di fortuna ridente: non michiamo innocente. "OhGod! For what reason -(the shade addressed him) haw youinhaste declared a haitor,avillain, that servant sopleasing to you? While you,FrenchAugush~s. seek to d e r v e the title of Just, you,ifmy hult is worthy of punishment, alas, together with groaning envy offer meas victim to anger. ldo~tcallmyselfiment; unfortunately 1erred; unfortunately I betrayedmyself by trusting the lure of smiling for^. ldomtcallmyself innocent. Grand'aura di favori realamemoria fern dicosi rtoltierrori. unnembo dell'oblio fu hcagiondel precipizio mio! Agreatwind of favour made memory offender ofsuchfwlisherrors, a doud of oblivion was the reason for my fall! Ma che dich'io tu Sire, ahchi no'l vede h mia fede tu sol credendo troppo a m'hai htto in regia cork bersagliodell'invidiae rmdi morte. But whatdol ray, vou.Sire.ahwhodoes not seeit. youalone,~tinglwmuch~nmy loyaltv made me in the royal murl n largl for envy and offend~of death Mentre aldevotomllo tu mi slemdeviquelcortesebraccio allormidavi il uollo all'hor tu m'apprestaviil f m e l laccio. Quando mem godevi di h.astullartiinsollazzevolgioco allor l'esca accendevi di mine mrtigianeal rhiuso fwo. Quella pallavolank When youstretchedforth your noble annabout my neck, that then broueht about mv fall. then you p&ed for me {hesword and noose. When you enjoyed with me amusement i n b l a c e d sport, then youset fuel for the hidden fire of courtiers' mines T h t flyingball 8.553320 che penotwa ii loml bracao mio dovea pur dinni oh Dio mia fortuna incostante that your nnd my arm shuck was yet for me,ohGod. my inconstantfortune. @ando mew gioivi di seguir cervo fuggitivo aUora l'animal innmnte dai cani lacerato figwava il mio stab espstoai monid'accanita gente. N o n c o n d a ~ oil mio Re no, no, d'alho emre che di soverchioamore. Whenvous~ortedwith me cimsi6 the heeingstag then the innocent anlmal, tom by the dogs, represented mvstak. e&wd lo tt;bisol raging people Idomtcondemnmy Kmg, no, no, lhe mistake wasnone butexcessivelove Di cinquemarche illustri m t a b era il mio none ma degli emoli miei I'insidieindushi hannodi haditrice alla mia testa data la marca rest& Hal'invidia voluto che se mlpevol rono erlurodal mdono estinb ancoraimmantinenle iocada. Col mio sangue ha sapub de suoi tnonfi imporprar la srradn. Yella grazia del mio re menm in su hoppo men vo di velurdiehoalmiopi lafortunasi stmcb. Onde ho provato ahi l a m comedal tutto al niente 8 un breve paw!" Luigiaquestenote divmcheperdonsupplicechiede timomsosi scuote e del morto earzonla facciavede. !denim d R&OI suo planb delle sue hrne 11pnllmenloaccenna hpmb Partg~e lorbtdossl S P m My illustrious nameofcinq-Man, Five-Marks. wasfamous bur the dlllgenl haprol my nt.alr bebayed me, layingon my head h e sixth mark. Envywished that. if l am rmiltv. o k pidon excluded h I should a1 once fall, dead. Wilhmy blwd it sought inits trimph toencbron the sheet. While l rose much high in the grace ofmy kink fortunegrew weary followingmy feet Whence 1have verified,alas, how fromall b nothing is a short step!" Louis,at the roundof this voice, ttat,suppliant,roughtpardo& movesfenrhrlly and looks on the face of the dead bav. WluleIhe k n g wtth b p l a t show somw for hts hrte. Pans hemblfd and IheLlne grew troubled Lament of the Queen of Scotland Lamento della Regina di Scozia (Parole di Giovanni Filippo Apolloni) (Words by Giooanni Filippo Apolloni) "Laxia.lasciach'io~arli sarrilegoministro x benfato inclemente a morte indegna la fortuna si stanch. Onde hopmvatoahi lasso come dal tuttoalni come rea mi d e s t i ~ : vksi e mom m m m t e son del sanguestuardo e s o n R e g i ~ ! PercM bendarmi i lumt' Sio mirai tanti eiorni hooetto ancora di mirar l'ultim'hora, e s'io gli apersi a1 Cielo sapdbe&nzavelo alla vita semli! Ferma, lauia ch'io parli! hb,che dirb? Purhoppo hoggifavella a mio pro'l'i~rxema - ., Vilipesai~ocema! Suna Regina a te salvar nonlice mi I'invidia fa guerra a chiricorrer dwe inlnehileterra un mendico,un vasullo,unideIice? Vilipesai~ocema! Vattern pur da me, tornaalle stelle ch'ioconanimaintrepidae serena sarbfra tante squadre a Dio rubeUe di miatragediae spettatricee srana, A morire! Per serbar giustizla e fede pia nonvaglion le corone - "Let me, let me speak, blarohemous minister. if fortune has grown wary allhough an un~orthydealh harsh fate condemnsme. Whence 1have shown, alas, how short the mace from all to nothine: I lived a n d d i e i k e n t , lam of Stuart bloodand lam Queen! Why blindfold my eyer? If I raw manvdavs.1 , , . have still the heart to see my last hour, and if1 open my eyer toHeawn l shall know dearly how to close them to life! Stay, let me speak! But what shall 1say? Unfortunatelytoday imencespeaks inmy defence and appeals to God against soinjust judgement. komed innocence! If aQueen may not seek salvation from you, against whomenvy makes war, to whom must have recourse in England a beggar, a vassal, an unfortunate? komedi~ocence! Go then from me, tum to Le stars that I with brave, calm mind shallbe,amongsuch hostrofGod spectator andactress of my tragedy. Todie! To keep justiceand faith crowns no longer avail, ckdiStato la ragiow anco la vetit3 sa far mentire. Amorire! V m r b dal mUo il meue ma nongiP dai lumi d $anto cherebben io restoeranguepe lacostanza al mioduoi mesceelisire a morire Voi mie care donzelle chem'inchinaste almglio et horpiangenti miseguiteai tormenti compatite i mieicari e s'io l a w rimasi spogliatad'ogniben d'ogni fortuna no per querto morendo gl'obblighirniei tralawio: since reason of state makes a liar of truth Todie! From my neck I shall spill my blwd but not yet Uw plaint inmy eyes, although I lie dead, my steadfastness pourranelixir onmy paia odie! You,my dearhadmaids, who have arkeyed low to me andnow weeping follow meto my torment, have pilyon my fate and if 1am weary, deprivedof every gwd, offortune not through thisdying do 1 neglect my duty: partitevil'amor concui vi larcio. Soffritecostanti la d u n mia mrte e s'invida morte stillandovi in pianti avoi mi toglie o fide awUe in terra consempitem0rim v'abbraccerbcompagne in Paradim! Mira Londra et impara le vicende mondane! Etu ch'ali'angkane schiere dai legge o Jezabelle altera di eiustiziarwera asktta i mlpi e re per farh in brad mancherannoalieklve arnglr e most share, then, t k l w e with which1 leave you. Suffer steadfastly my harshlot and if hateful death moistening youin tears takes meaway from you, faithful maidm,on the earth withekmalioy I shall embraceyou as friend5inPa1adise! Lookon, Landohand lean LevicissiMesof the world! And you that for the Engbh lay downlaws,oproud Jezebel, of harrhiustice awaitbl~wsandiftotear youinpieces beash lackclaws m d jaws yourremorse will serve as does Yes, yes, rent your anger, attack lay on my head ahundred,a thouundfold the shafts of your rage! Shike without pity . " . . scarica sul mi0 capo a centw miUe del tuofumr d i 5tra!i! - I 5 su questopettoesangue strui,Kempi,flagelli,atroci~. Laxia ch'unnwdi ungue m'inostri il nem manto fulmina pur chi. lanto trattarminon upraiquant'io soffrire! A morire?' Qui tacque e forte e in\& al suo destins'anese la Regina xozzese, ne' guari andb ch'uncolpo indegno e rio disise il corpa et uni I'alma a Dio. at this failing breast tortures,min, xourges.cmelp. Let a sea of blood turn red my black mantle you can fulminatebut you cannot torture me as l cansulr! To die!" Hereshe is silent and strong, unconquered. she yielded to her fate. UlekottishQueen, and no long time passed beforea base and guilty stroke parted her body and united her soul withGod. La madre Ebrea The Hebrew Mother Del famosoOriente le testeregnatrici del ermTito alle oiante piegate havean le indomite cewici: restava soloalReg~atoreinvitto Der ultimo kofeoiincer I'Emtto. kda l'anni latine assediga e cinla avida sol di vita il figlio uccise indi cosi dicea: Of the famous Orient thecmwned heads to m a t Titus in su~dication ha;e bent thelrun;dnquered necks: it remained only for Ihp invlndble Ruler in final triumph toconquer Egypt. But besieged by Latinarmsandsurrounded now Jerusalem languishes,oppressed, when a bold mother who indesprak fasting dragged out thedays, eager only for life, killed her Ion, then spokeas follows: "Su su cnrboni ardete nonvi mostrateavari a1 miodesio devostriaccesi lampi! Dehfateomaich'awampi tra soUicite fiamme ilfigliomio. Ma s'arder mm pokk perchi. vi niega i suoi rospiri il vento hor dal languidofiato del mio labroaffamato leggieroalimento almenprendete. Su su carboni ardete. "Come,coals, burn, at my desire do not spare your burning flames! Ah burnmy son in the flames I reek Butit youcannot bum k a u s e the wind denies you his sighs then from the wearv breath of my stawing lips takeat leastslight nourishment. Come,coals,bwn. digillanguiaGiemralemmeoppressa ;he in digiundisperato i di h&ea Fiamme lente,fiammepigre che si bada, che si tarda? Empia madre m i una tigre vuol th'el figlioavvampiet arda. Ah non son io che cosi voglio e desio! Fame ria, fame ereaanda cosivuol,cosicomanda. Su dunqueche fakcarbonitmenti wnvampe pilardenti ormaisfa!~illak e'l sospimb cibo n me porgete. Su sucarboni ardele. Slow flames,sluggbh flames whv hesitate.whvdelav? ~wickedmdthe(indek4,a tigress, wants her san to flame and burn Ah,lamnotmyself to so wish and desire! Foul hunger,cmred hunger sowisheirocommands.~ Come,then,make Ule scorchingcoals with flames burnine the more now rend our sparks and provide me w~ththe food I rtgh for Ma sol per mi0 dam0 $coil tardoe lento il vorace elemento daquesti ch'ora verso lagrimosidiluvi ilfmoasperso perdel'accesovanh: I'accendeil lato e poi I'estingue il pianto. Epur mi spmna in si crudel digiuno conmortali ~unture appetitoim~rhm a divorar sue membrn ancoimmalure. Dunqueo miocaro figlio tu che gii fasti il sol degli occhi miei hora insigranperigiio delmioingordoappeiib sarai b f e o eradito ere gii ti dike mio ben, mia vita hor di mia fame ardita But only b my harm so delavs. slow. the gre;dy element; with thesending tears that now l weep the fire, damped, loresitr power: breath kindlesit and then weeping quenches it. And yet there spurs me on in fasting socruel with deadlvrrrickine ,. " my naglng appehle todevour his limbs still not fully grown. Then, o my dear wn, you thatonce were the light of my eyes, now insogreat dmger you will be my g d y appetite's welcome hophy and ifonce Icalled you my love,my life, now you will become 8.553320 vittimadivenai. Etumiavib un si gran core avni? E voi labra madad cangiarpohete infieri morsi i bad! Ben io con labm i n d e p a ragion ti chiamai unico mi0 rostegm wrostemrniinvitahor tudmai. Ma fame tiranna di gil mi condanna con barbam exmpio a fardi te miofieliohonido scemoio. " Ond'ermal fin che per mlo sol risrom m o b il dentespo il labme ti d~voro. Q u I'affamata Ebrea quasi fera Nemea del suo figliolo esangue mangib le cami e poi si bebbe il sangue. Onde hora pii! mnvanti il Niloaudace I'uccisar de'suoi figli angue inhumno ch'h i ccccodrilli suoi anco il Giordano, e per d enonne wcesro daun'emphEbnacommesso m n fia lo shipor ch'inarchi il dglio: chi hicase unDio pubdivorarun figlio [iFI Lamento della Regina di Svezia (parole di Fabio della Corgna) victimof my bold hunger. And ,v0u.m~ ,life. would have so p a t a heart' Can youchange, bthng l~pr. klras bcruel bntes' I, withslmeful lips, rightly called youmy only sustenance, if you now must sustainmein life. But tyrant hunger m w condemnsme by bahamusexample tomakeof vou. mv ron. terrible slauehter. ~ n here d 11; LhO tr;d only for my "I move my teeth, o p n m y lips and devow you " Here t k slarviny. Hebrew woman like a wild lion& ate the flesh of her dead l~ltleson and lhendra& hisblood. Whence bold Nile m w no more boasts the killer of its urns, themel snake, for lordan too has i h ucccdiles and at ro great excee perpetrated by a wicked Hebrew woman ~bodymustkk in surpriw theeyebmw: one who killed Godcan devour a son. RIZ Lament of the Queen of Sweden (words by Fabio della Corgna) Corn@ par adredu Cardinal M a r i n pour le Cardinal Richelieu et chant6 devant ron E m i m . Composed by order of Cardinal M a r i n for Cardinal Richelieu and sung beforeHis Eminence. Testo Narrator Un feritocavalliere, di polve, di sudor, di sangue aspem, A wounded bight, s t a i d withdust,sweat, blwd. 8.553320 I'anelankmrsiero laxia n6 so rea pie cadeo s'inchina dellabeh Regina. leases his pantingcouw and I do not know whether to fall at her feet orbow to theSwedishQueen. Messagero Messenger Dice:"L'Austriacoe'lCoto tncerro Mane e pertgldow mmge' lo 1raf~rtoco16 qut a mor~rvengo aced dcl planto tuod! estremt uffictw abbia l'u;ciwre. Piangi deldelo il lorlo, piangi Regina! Ohime Gustavoe morto!" He ravs: " The Austrian and theGoth smve m menam, dangerous war! Tkre p l e d , I come here la dte w, lhat the kine, kdled. should have the lastoffice&f vour weeoine. MournHeaven'swrong, mourn,Queen! Alas, Gustavus is dead? Testo Narrator Sdolser centodoluelle i biondicrini in undiluvio d'oro, sipercosseroil vim e a si funebre awim exlam6 la Regi(egina mn dolororeshida: A hundred damsels lwsed their fair hnir in a flood of gold, shuck their brows andat suchdirenews the Queenspokeout with mournful mes - .- Regina di Svezia Queen of Sweden "Daremi per p~eradeunche m ' u d a ! Oh mio signore e re chi mi t'ha tolro? Barbara efiera spada ch'il suonngue spargevi in cddorio, per& nonspargi il mio? hnq,ue l'invitto repator de I'Orse rotto 11fermdi morte il caooinchina ed io no'l vedrb piii deposto lelmoed il m i d rigore gioir del noshoamore e oiii non m'amefi? tiatemi un che m'uccida nhi per Pieti! Chi mi chiamb felice incauta lingua erranle semi feceinfeliceun solo istank? Ahi bugiardafortuna "Grant me,fn pity, one to kill me! Oh my lord and king, who has t&en you fmm me? Barbarousandcruel sword thatshed hisbloodinawarmsheam why did you not spill nune? Now theunconquered ruler of thp Nnth bows his h a d under theskel of death. and shall l seem more the helmet laid asideand m d a l rigour to have joy inour love and no more be loved? Grant me one m kill me,ah, for pity! Was he longuecarehs and ar fault that called niehaom, if one instant mad. &eunhappy? Ah,fdseforhme, 8.553320 del tuo favor fallace xenderuedev'ioben~~ nuncadere! Ahi morte, ahi sorte infida! Datemi peipietade unckmm'uccida! Ohime h a lank spade nonimpeho una spada? Ma che parlo? Che dico? Dunqueil re goto invendicabresta da chi li di6 la morte? Su su miagente forte Sveti, Gotie Biarmi che dal Baltiro mare al Reno algente debellasteognigente, terrordel mondo e fulminidi guerra, sommergetela terra fra diluvi di sangue, arda per le man vosheogni dttade ogni provinciaabbrugi, uccidete, ferite, nonperdonateagl'empi, al Germann feme, al crud0 Ibem, all'ltalicoaudace: non si hulidi mce! ~n c k vane&o, o h i d , vedova afilitta,abbandonata e 501a, ha nemid smamta, acui morte laxib solo lavita! Uccisoil miosignor chi pugned? Datemi un che m'uccidaahi per pi&! Non mi lusinghipih I'esser reginnno, ch* regina nun 6 chi teme essercondottainservihi. Dunqueil sangue real del Goto impem potrlprivodifasto pazientesoflriredi shaniem selvaggio il giogo acerb? Dehperch2 piariserho 23 ficklein your favow,l thought todexend from your fickle favour, but not to fall! kh,death,ah treacherousfate! Grant me, for pity,one m kill me! Alas, from so many swords can l not have one sword? But what do1 say? What speak? TheGothic kingliesunavenged, who then killedhim? lLre up. my brave p p l e , SwedesCothsand banner, lhal hom Ihe Baltlr Sea to the icy Rhine have defeated wery people, terror ofthe world and thunderboltsofwar, sink the earth in flwds of blood, burnrby meansof your handsevery city lay waste infireeverypmvim, klil, skike, do ~ t f o r g i v ethe wicked men, L e fierceGerman, t k roughspariard, Be b l d Italian: qeaknot of peace! But why do lrave,alas, afflictedwidow,abandoned and alone. lost amongenemies, to whichdeath left only life? My Lord is killed, who will fight? Grant me one to kill me, ah, for pity! The queenly state no longer flatters me, for she hnot a queen who fears to be in servitude. Could the myal bloodof heGothicEmpire, deprivedofpomp, suffer in patience h e harsh yoke of foreigndomination? Alas, why do1 keep longer quest'alma all0 rhemir dell'empie stelle? Ah mie care donzelle mi hafieea di voichi mZ vie fida. ~alenu>~retadeunchi ~ ' U C Q & Ma segb ulhm accmh d'un'mlehce mserache more ode il Cielo pietom, ohcapitan mdele che delle doglie mie formi i tmfei facciano i prieghi miei che tu fattbsup"b0 mntm il pmprio signor h spada ~ g h i wiomtervo e rubello hell:aquila real fuggi I'artiglio m a k', senza honor, s e m c0nSiglio et uccida alla fi, pvem, inkrmo enudo d'un gegado gumiero il krro mdo! Mirera, ma a che pro'? Per questo il mio S i p r gid.nonvivra, datemi unehe m'uccida ahiprpietl!" Testo this mu1 from the mockery of the wickedstars? Ahmy d e a r d m l s , theoneof youthat killsmeismoreloyal. Grant me, for pity,one to kill me. But if the last words ofanunhappy wretch that dies are heard by kind Heaven o cruel Captain that of my bavail makes a triumph, may my prayersbringitabout that your deed of pride against your ownlord raisingyoursword thenarrogantand s h l e r r flee the claws of the royaleagle, without faith withouthonour,without advice tobe killed in theend, wor.weakanddisarmed. by tl;e harsh blade of a common soldier! Wretch that 1am, but to what geed? Thmughthis my Lmdwillnotliveagain, Grant meone tokill me, ah, for pity!" Narrator Qui tacque e flagellata dal duo1msse le piante efuriandoerrbqual fonenmta. Mid Fortunaeconsoniroaltem Here sheissilent and uourged by sorrow complained and raving wandered ns one frantic. Fortunebeheld and withloftysmile Fortuna Fortune disse:"Pmvi il miodegno chile speranre sue pon neU'Impem esi fida del regno!". slid: "He who puts hope in Empire and trust in rovereighty must feel my anger!" Lamenti Barocchi Vol. 3 (Baroque Laments Vol. 3) pml Playing Time: 75'22" Soloists of the Cappelta Musicale di S. Petronio (A.C. Antonacci M. Pennicchi P. Vaccari A. Carmignani F. Zanasi) Sergio Vartolo - Gbs!m(.amam /Ill05 1674): (9:39) Lamento della Regina Maria Stuarda (11:31) ~ A a t o n l o 9 w O (&lfjB@ ~ lafgk r Antonlo CESTI (1623 - 1669): Lamentu della Pama Lamento della Madre Ebrea - (11:04) (1236) w BOSI ass - m 1 : Lamentu delta Regina di Sveziz (13:SQ (16:37) Recordedat the Music Room of the Magnagutti Palace at Sermide in September 1995. Producer: S. Melloncelli Engineer: G. Melloncelli Music Notes: Keith Anderson Cover Painting: Mary, Queen of Scots, rejects the attentions of a Protestant minister at her execution (Fotostudio Rapuzzi, Brescia)