-
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)