Booklet - Croce Carnevale

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Giovanni CroceI Fagiolini

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  • NNE

  • Giovanni Cmce

  • Giovanni Croce (1557-1(;09)

    Mascarate piacevoli et ridicolose per il carnerale (1590) Giovanni Pacoloni (late 16th century): I~assernezo de Zorzi 1 3 2 G i v a n n i I'acoloni: Saltarello de Zor1.i 1:4n Giovanni Pacoloni: Padoana de Zorzi 1:05 David Millcr. Lynda Savce, El~gio Q~inreiro Iutes

    Mascarata $a Lenpazi 2:43 Rubin Tusvn, StzpE~en -ljylnr, Ja~nep Gilchrisr. Nicholas Hurndall Srnirh. Marrl>nv Hrook, Gilcs Undcnuood: Eligio Quintcim rhirarrino

    Mascarata Echo da Magnifici 2 5 9 Robcrt Hollingworth,)ames Gilchrrsr, Marrhetv R w k , G~les L'nderwmd

    Glovanni Facolonl: Pasassemezo dclla Duchcssa I h v ~ d Miller, Lynda Ssyce, k.t~grn Quu>relro i i m r

    Mascarata da Donne Pitoche 1 :45 Marrhmv Rrook, Roberr Hnllingivnrrh. Giler Undcrwod: EIigio Quinrcim chiramone

    Mascarata da Rscaori 3 1 0 I

  • Mascaram da Buranelle 3:55 Kohili 'l>sol~. Srcphen 'Lylnr, Rnhcrr I-lol[ingworrh. Jarnc.; Gilchrist, Mat rhm Brook. Gi la Undcrwuud; Elig& (Jwn~riro ~ l r i l em lp~ Mascarata da Furlani Kohln Tyron. Saphcn Taylor, Jarncs Gilchr~st. Nicholas Hurndall Srn~rh, M r t t h w R m k , Glle? Underwood, El~glo Qu~nrelrc c h i ~ r n n o

    Triaca Musicale (1 595) Inrerspersed instrumental works arranged by David Miller

    Anon.: Matasins ('11 Macracino') 4 Anon.: Boufons (Passcmczzo anrico)

    Davtd Millcr lure. Fdigio Quintelm cAirr~mmtpo, lynda Saycepisur Anon.: Gaillarde (on the ground 'Cara cosa') Lynda Savce manhh, David Miller luu. EIigio Quintcirc chirarrim

    El I1 gioco dell'Ocm Cays Ia~le, Anna Crookes, Roberr Hollil~gworrh. James Gilchrist, Marthcw Brook. Cilcs Undcnvood

    Anon Brando ElrRio Qu~ncciro chirfirrmo. Dand Miller rhrrarrino. Lvnda Saycc 6arr lure k c 0 lame< Gllchrrst, Marrhew Rrook, Gi!a Undenvood

  • I!?] Filippo A7.?.aio]r1 (fl. 1557-1 569): C:l~i passa per sta s t r ~ d ' c nut, sospira~ brato.
  • Canzon deI CUKO, e Rossignuolo con la sentenza del r"apagaflo 5:l 1 C a ~ v r I J I ~ C , RDberr I4nll1ngimrrh. N~cholar Hurndall Srnrrh. Marthcw BNU~., GIICS Uiir l r rw~nd

    Anon.: Gdliarrla 0:4 I llxvtd Millcr b r e , Elig~n Quinreirn chisarri~io. Lynda Saycegratnir

    Incanto della Schiava 635 Carvs I.anr, Amna Cruokes, l

  • I F.~giolini Sopmrro Car?< 1 ane hnna Cruul ic~

    &or Jarncr Gilchrisr Nicl~rrlas Humdall Srt\irl~

    Cb~tnlrr-lnlor fin51 Robin T y n Matthcn; Bmuk Rukrr Hollir~g*orrh Gilts I l~~dcrurond Srcphcn Taylor

    I ynda S a y ~ c David Miller Et~glo Quinrcim Lynvnda 5ayc.e LJavid hli[ler David Millcr Lynda S~yce F.11gio Quintcim Lynda Sqce Fligio Quintcim Catherine Piertoll

    bu Edward F ~ c z ~ ~ b b u n , London 1996 4-coulr~e hy C)l~vel Wad~wnrrh. Weqr I lean 1791 4-couric by- Carlos Gonlal~rr. Paris 1999 5-cottrse Iy kdward b1c7gihbon, l o n d o r 1778 6-courrc by Martrn Hayox!,. London 1985 7-cuttrsr by Mart~ri Haycock, Chrchesrer 1992 8 - c n u ~ ~ c bv Srcphcn Barhcr. London 1985 7-coursc br Jimcs Smllibra~s. \Vest Dean 1990

    by Lourdcs L!rnc~Ita~ hqadrid 1978 slngle-rn311l1rl by Colln Hnorh afrer Gregol 1 (John Barnc3 Collcrtion)

  • Venetian Carnival - -- -- -

    111 sixteenth-century Mr~icc cntcrtainri~cr~t music was a source of delight to all inhabitants uf tlic city r)ririi~g thc carniwl season Venetian nobility mercl~ants, and citi7cns cniuyctl IivcIy and oftcn raucous en~errainmenr ar nalaces, academies and civic pageano. Masqueraders pcrfornled for l,vpvat~dcrs in t l ~ r streets, 2nd Ibrrigi* visitors remarked upon [he mcellence and vitaliry of musical lifc. Lavnh thcntrical spcctaclw and banquets, enlivened wirh ~ntiric, were mounted In patrician palaces. 'The nobility hircd l u ~ a l pru6cssiooal musicians Fur t h c x evenrq, hut it w a not unusual for r l~e ralented amateurs among them to mke part in thc pcrformanccs. This rccoding includes rwo sers of comic carnival ~nasqueracles by the Venetian compuscr Giuvann~ Crucc (1 557-1 (10'1)

    Croce served as a singer at rhe Uasil~a O F St hqark, thc +arc chapel uf thc Dukc of Veu~ce The Lsllica adjnins rhr ducal palace at the edge of the glitrer~ng Venetian Ingoon, and at] appoir~trnrrir rlirrr was onr of thc mosr prestigious in Europe. 'I'he musicia~ls of St Martis Forrnctl a puul uf cxpcrt cornposcrs.

    5irigcra dnrl rnstrt~mennl~sts tvhv actively part~cipated in local d~earrical and cntrmlnrncnt enterprlxs rn urrler to suppletnenr rheir income

  • foundation Croce dmys upon rhe Venrtian courrly ~nadrigal q1~1c. S i n ~ u l ~ a n m u s l ~ t ~ c rninplcs 01 appropriates music from popular rradi~inns: tlic quutllilret, \,illntta, I T I O ~ U and street rune. H i s rnasqucradcs arc Eibemlly sprinklctl with musical clicI>&c ; l r d gmlurcs that cry nur for imaginative interpremtion, ~tlcll a< C L ~ O ~ffecrs, stll tfcrin~, 9t>our> nnt l over-[he-toll rtpctltion.

    Crucc's xvorkr are peopled with btork Itallan ~nasqurrarlc charactertc Cruccj masqucradc t a t s contrivrd a rvide range of accenrr and dialecrs For rhcir chamcters in order to invite parody in prrformance. For cxamplc, rhc Gcrman who appears in llfurcnr~td drr Lcnyndzi 3 g r ~ ~ n t s and grussly rn i sp run~~~ncrs his ImIian words. Fnreigr~ers wit11 cterenrv~~ically thlck - accents bld at rhe Iprcmro deb Schiatn d, J parlorlr gamc in which f~malc gucsts arc aucr~oned OR to rhe tughrr~ bidder T l ~ c

    urrerarlcrh 01- Rnralonc and Grazianu. d and 0. arc deliberately lorv-life in quali~y.

    f i~ncrr MI~SILWL wa\ rrarn~ul fur tbc drtlg rhcriaca, well known in Venice 3s J preveruarive I'nr rhr plag1rc, a n antirlotr fur poisoit and n medicine foi ailn~enrs. In rhis 'musical c~ircr-all' C r ~ ~ i a n ~ i s rcfcrcnccs ro b i n g 'in I'aradise' d l a t re~lr io~~ ro a Vet~erian r~eiglibulrrl~uurl ~allcrl I'ardisu, where a w e d noble families lived. Among rhern wrr r rhr Grimanis. Crure's sumetime patrons. These masqueradm ~uggwr an aristucratlc party in that neighbaurhood, with Pantdone and Cra~iano intrutlticing thc evcnlngs enrertai~~n~er~r. A sit~.+rig alrltc5t bcwctn a ni~htinfiale and a squawking cuckoo bl is juclgett I>y a parrot - hribcd, if thc rcsult is to be believed. Ribald C~rlnrrs Crorti P d u a a p p a r 4, bnnging gifts of turnips, pai.snip!: and musag.=.: hrty gricsts arc depi~wd phying Innmto delh , S c h i d ~ J I I ~ I1 gioincn deil %rcca l b l , a popular board gainc.

    In rhe Mi~s~umre pirrrrwti puns and w~tt~clsms suKTesr thar its cl~aracren are parrxlies uf~ucll-ltnuwn Venetian types. Crnce's heggan i.21 nu? portmy noblc wurncn cornplaning nbour rheir w~rdmbeq and fnnri s~rpplie, r ~ ~ t r i l t ~ d by Vcnct~an s~tmptuary . . law, while the wometl (IT Rumno 101 wpreaenr high-born nuns lanrelrring rheir lack

  • of mde ~ u r n ~ a n ~ o n s h ~ p and hawking the fine I ~ c e for wh~ch that island's women werc famous. Thc cr~seti~ble oTagJ , s tur~e~ing m5ef1ificr probably derives from thc fact that the pvvcrnmenr r,l'Venitx war conrrolled Ijy rl~e very oldest patrician males. In rhc h a [ rnasqueradc tht Venetian Knigl~cs of SL Jolu~ of Maln are shown banquerlng on the~r city squarc and consuming o ~ l t l a ~ ~ d ~ r h rlumtititirr of wrue. This emblenlatic conclusion ruggese rhar the l k i ~ ~ a ~ u t e p m c m ~ were cwnw~vctl fr,r rile enterrainlnenr ofthe knights, who had a tthc~trt. In the~r monastvry.

    O 2001 D o n d a e J. Gustafson

    The instrumental works The plucked consorr pleces serve as 'curtain nines' and maquc intcrhtlrs to Cree's r;lisnlval h e The tnuslc ]>as been tiallscrilxd and arranged prmcipdly from two books of gulnr and u m r n rvlos by GGNautne Morlaye (Paris, 1552; 1553), and from Italian vocal miniatures. There are also some unusual ant1 entertaining trios by the cnutempomnwus Paduan lutenist Giomni Facolon1 Many of h e short pieces ;ue rlances: galliarrls, passamcnos and paduanar. Some introduce Cmce's characters, such as the nistlc linc dancc b m l e ('brando'), which sets up the song of

    Pandone ('Echo'), md thc 'burlhni, which prelude< the aplmrance of the h u h o n Ur Lnziano. '[he rranscriptionr of Iivcty work< by Orazro Veccl~~ (Venice, 1585) and Fit~ppo r b ~ o l o (Ven~ce, 1569) s~rnilarl~ prchc*. others ut Croce'q pie=$ i l l acmrdaiice wilt1 the~r subject matter.'l hc lutc rrios by Pacolotli u.crr publl~hctl in Inllvaw hy Pierre Phaltsc (1564) and comprise foq-swen dances arranged In thematiullu connected stilts They are remarkable for a scoring in which ~ l ~ c superlu is tuned a fourth abuvc thc tcnor and a tifill abovc thc baqsus. These atrractive piecu, wholly wrirren out by the composer, give an lrnpmsron of two lnstrt~rnent~lisrs improvising siniulr~neomly over a ground bas, lading into some unexpected and delightful wrncrs.

    O 2001 David Miller and Robert. Hollingworth

    On 'Poor Luddess Pantaloon' \Ve hope thls rcwrding has brought nllvr thc urnival spjrit of chis unusual repertoire for you. Our only regret is that the lrnrncd~ay uf thc vcrbal humour will have eluded non- Imlran or even non-Venetian dialect speakers. This is trumt in the echo piccc rO, gramo Pantaton') [1811[29l so we asked writer Timothy K~laprnan (who had provided us wlth a

  • brillianr tr~nslat~ori of Adriano Banch~eri? Music In hirh drrnand as a contlnuo laver. madrigal comedy L z p n a i z rfnik) to cornc rlp with a urrsiui~ ul'l>is own in order dlat English spcaken ar least can shxc rhc joke. Wc hopc others will k,rgi\.c rIs for not prinring a translarion of this rmnslatron, but wc thuught that might be taking the joke a hit far As Tim puts ir, we had at1 aversion to a version of a version.

    David Miller is one nFBritain's lading lutenists and is much in ~fcmand a .;a soloist and conrinuo ~ ] X ) T T . He has performed with all rhc principal 'period instrument' orchestras in England atld also appears with variouq enxrnbles including the Dufay Callective, The Purccll Quartcr and Musica Secreta. He enjoy< an rxtelisive recorditq carccr, broadcasts frequently on BBC Kadio 3. and has gainer1 a rcputatiun of cx~dlcncc fur his interpretation of lure so~~gs . David Miller is a profnsrur of lutc at ihe Guildhidl School of Music and Dralna and also t r a c l ~ s at t t~r Dartington Inrernational Summer School.

    L y ~ d a Sayce read rnusrc at Sr Hugti? Collcge, Oxford and went on ro study lute with Jakob 1.indbrrg at the Royal College of

    1 ,

    shc pcrform regularly with Inanr7 leading rnsenlhles ir~cludir~g Chariuar~ AsrtabIe, rhe Musicians of the Globe and The King's Consort 1 1 ~ ~ rrct,dr~l cxtcn!.,vcly for rd iu , t e lm~s~on and disc Abroad she has appe~rrd wlrh thc Trcibrlrgcr Harockorchester and Les Musiriens du Louvre. She writes extensively, a d has c~ntnbuted arndes to the rev~sed Nrtu Gmw Uamnnaly ofMwrr, many Icad~ng m u s ~ a l periodicals. and rhe arr history lntlrnal Apullu.

    After studying Filtar in Gran Canana and Mdr id , Eligio Quinteiru was t a u ~ l ~ t thc lure and v~huela by Eugkne Ferre in Toulouse, mending rnaswr-rlases with I'aul O'Ucrre, JosP Miguel Mnreno and Jordi Savall. In 1995 he formed the group Aurea Lyra wirh Atnaia Rarcrrva, spccialis~ng In Spanish music. In 1997 he moved TO 1.ondon and bcgan to study wirh David Miller at the Cu~ldhalt School OF Music and D m a . He is now In great demand as b o ~ h soloist ar~rl awumpanlst on the theorbo and early autrars. As a colittnuo player hc pcrforms regularly with such early rnuqic groups as T l ~ r King; Consort, Thc l'arley of Insrrurnents, The CLhrieti Cotlwrr and Plqcn, and -1 he lianowr Band.

  • Catherine Pierron s~udied with Kenneth Gillxrr atid Christophc Ku~rsscr ar the Consei~atoirc Naunnd SupPr~eur dc Mlrsiqrie de k r ~ s ant1 thcn at the C~ulldhall School of Mucic and Dlama In London. Shc tidr bro~dcasr 3s a svlolst un Frdricc Mus~que and as a cvnrinuo player wrrh various Flrropcan per~od rnstrumcnr cnwmhlr.: C h c specialises In Frcnch baroque rnuslc with lier uwn rrlwlnhle. The Frcnch Connrcriun

    Robert Hollineworth received his first muricd edumtion frum his muthrr 3 r d as a chorisrcr at Hcrefcwd Catl~edml. He read mriqic as m acadelniwl derk at New C u l l r ~ , Oxford, followcd by a year a t the Guildhall Schuul uf Music and Drama, London. Whilc a t Oxford he founded I kgiwlini and as director kx dcllimted I7imself ro rhe group cvcr since. AS d conductor he has workod with Florilegiurn, The Bach Playcycn, rhc Rrooli Street Hand and a r;ruge nfchois includillg thc Rrighton Fesrival Chorus. I-le fur~nrlcd thc specracular lslingmn Wintcr M~~qic Feqrival, cundu~ts tltr Wrringmn Inrernadonal Slimmer School choir and nlns a ncv vocal ensemble class at Trinity College o r Music. J.,ondon. He also writes and presents early music programmes for R R C Radio 3.

    The narrlr 1 Fagiolini h;rs bwn missprlt and rnispronounccd thrutlglinu[ the world. Tllc group firs[ cdlne ro notice by winning rhe UK Lady Music Network$ Young Arrisis' Cntnperirin~~ and 113s since earncd a repurntion as one of I u r o p e : ~ most cntertainithg anti innovative vocal cnsemhler. I Fagiolini's corllnlunicativc powers havc clicitcd invitatiuns lion) all over \Vestern F.urnl>e hur also from furthcr afield Cairu, Mnrrakech, I lung Konp, Reijing. Kiev, TeI A \ k , Cape Towt~, Soweto and Hamilton. Bermuda, often as arnbassadnrr for the British Cuuncil. Collaborations have heen parricularly successful in reccnt ycars : solu voice pedoforniancc~ uf Mnnievedi's 1610 G ~ P I ~ wit!> His Majeqtys Sqhurts & Cornrrrs, Schubert opcras with thc Iondon I'hilharmunic Yorith Orcl~e~rra and p~rr- i r~~prnvi~rci repertoire wlth rhc SDASA Cliomle of Sorvetu. 'I'hc gruup works tTularly for rhe RRC: and made its debur at 1l1r Prn~nerlde Concerts in Auglst 2000. I t is also becoming incrcasinglv itbvolved i n ctlrlcdtic,ival work. Its new series of recordinss with Cl~andos will be dividcd bcnvccn Lngllsh and Eurupcan Renaissai~ce and early baroque repertoire.

  • CarrlevaEe vcneziano --

    Ncll:~ \fcnm,ia dcl XVl secolo, l~ ~nusica di ii~tm~tenimenco ern fontc di svagu pcr tutri g l i abinnri dclla cirri. Krl prriodn di car~uevale nnbili, commercianti e srmplici cirtadin~ porevano assistcrc a

  • Le rnaschcratc sotlo bmni di mod.?, ricclrc di rlmr)ris~no e sarira rn~~sicile. I'er la bxse musicllr, Croce arringe nllo stilr dc[ madrigale veneziano di corre, infmrnmc7xanciovi allo stcsso rcrnpu alcuni brani della tradi7.iu11c popolare: quodlibet, villotta, moresca e canzoni di s t rda . L strc rna~cllerate sonu at,l)orlJancen~erlre ornare di luoghl cvmuni rnusicali e gesti che inipfir~gol~o un'intcrprcta7ione fantasiosa, per esernpiu cct~i, halbertamenti, urla e riperiioni eccessive. Le opere di Crvcr cone pnpolare cii

    rnascliere ripiche iraliane, rra cui I'amatissimo, pomposv Panralonr ii m n p { f i e il suo amico Dollor Graziano, un vecchio e goffi, pmfessore bolognese con rlna pronuncia distorta chc spesso pmuoca delle qrossoIanc p f e . A quesri personaggi si ag?,iungono donne pctulanti, stranicri balordi, battibccchi Ira uccelli e uomini travcstiti da hamhini, che offrono ai cantanti I'opporruniti di .%lungrc sd3rrc.i vofgari. Comici dialetri sortntineano I'allegro iniscuglio. I poeti monimi, auturr dei tcsti delle maschcratc di Croce, crearono una xwta gamma di accenri e ciialerri per i lorn personaggi, per alimentan. la parutlia ncll'intcrprctr/ione. Per tsempio, i l redesco d ~ e compare nelh Mascnmtu da Lcngurln

    grugn~sce e commette grossolan~ crrorr nrl pront~n~iarc Ic p~role i~aliane. Srranierl dal forte accenro parteclpano dlc offcrrc pcr I'hcnprto rltih Slhrnud [ 2 ~ 1 , ~ 1 1 giom di socle~b i n cui le o ~ p i t ~ vellgono vendt~tc all'asta al rn~~ l io rc o f fc~n tc . I c r\ptrssioni dr Patltalonr r: Lraziano, e 3, sono dl

    teriaca, medicina nota a Vcnccia c o n ~ c antlduru ~onrrv la pesre e I selen~ e come rimed10 per le ntalatt~e. In questa "panacm rnusrcale", Graziano dice di cscere "in paradis", riferendosi probab~lmenre a u n quarrlere vena lmo dctto Rradiso, i n crli rls~edevano dlvcnc f:~tr>iglie nol,~!i. Tla quesre em la famidia dei Grirnan~, rdvolta

    aiccnna a una fesra aristoc~atica nel quartiere, In cui l'antalone c Graz~ano presennno lo spctta~ulu tlclla sera. Giudice di rlna gara di canto rra un usignolo e un cuculo str~dulo t un pappagallo - cormtto, a ~ i u d i c ~ r e dal rlsulram. Cornpdiono degli agncolror~ sboccati dl Padova B, che purtanu rape, pasti~~acl>e e sals~ccc. Cli osptri della fesra vengono descrrrri nlentre giocano all'hcrlnru ddZn Scbinw c al G~oro dtfl'Orrz I?*].

    Nellc Mri>c

  • facezie fanno pensare che i pcrsunagi sianu pror l ic d i tlpi vcnr?.iani hen noti. Le rnendicanri di Croce pvrrcbbcrv cucrc alcrinc nobildunne, irlsoddisfatte dei loro verriti e delle lor0 pietan~c, Iirnktate dallr I r g i suntuarie vcnr~.ianr, meilrre le donne di Hurann Lo! rappresenmno suvrc d'alto Iignaggio che si lamcntano per la rnallcailza di compagnia maschile e vendunu i farnvsi rncrlcrri dell'isola. 11 gruppo di vecchi balhettanti magn$ci probabilmente rispecchia la composizionc dsl govern0 di Venczia, dominnto dai patrizi pih anziani. Nell'ulrirna mascherara fl viene dcscrirto il bancherto dei Cavalieri ~ n c z i a n i drll'ordine di Malta nclla piazza cictadina, tm fiumr di vino. Questa cnnclusione ernblcmatira fa -- pcnmrc che le Mmrcariztr piarewh fo?srro concepite per divertire i cavdieri, che axwano un tearro nel Eom rnonasrcru.

    D 2001 DonnaMae J . Gnstafson

    I s opcrc strumentali I bixni per gruppa di srrumentl a plzzlcu h1ngono da "motivl rla slyaria" e intermem per tr wlnposizio~~i csrnevale~che dl Croce. Lx musiu 1. snta trascnrta c arrangIata principaTrnenre ti s delizinsi.

    @ 2001 David MiIlcr e Robert Hollingwortl~

    Tnduzionc: Ernanucl;~ Gllastclla

  • David Miller k uno tlr-i principali liuristi hrirannici ed t. ~nolro richicsru cumr mlisu e mme accnrnpagnatore al basso continuo. Si i. es~bito w n rurre le rnaginri nrchesrrr di slrumenri snriclli inglesi ed k cornparso anchc cot) diversi complcssi, tra cui i l nufny Collecrive, il Prlrcrll Quartet e Musica Sccrcta. Vmra una ricca discografia, parrecil~a spe~s0 a trasrnissioni tlel rer7.n canale radiuFonico della D U C ed t estrcmarncntc apprezwto pcr la sua interprerezinne dei song per liutu. David miller illsegna lruro prcsso In C~iillil~all School of Music and Dram c prsso la Sctwla eqriva inrernarinnde di Dartingmn.

    Lynda SaYe ha rlucii~ro ~nusica all'un~vcrstti di Oxford (St Hugh's Col le~c) c quintli Lun Jakoh L ~ n d b c r ~ al Rum! Cnllege rrf Mu&. E rnulto r~chiesta a1 basso continuo e 51 esibis~c regolarn>ente con molt1 crnportdnti cc>mplpcsl rnus~ml~, tra cui Charivari Agriahle, I .M~;sicjans nf the Globe e'The Jhng's

    rcgistrazioni rad~orelevlsive e discografiche. 4ll'eslero si e es~blta con la 1:rcrbiirgcr Barockorchester c Les M~rsiciet~r du Louvre. qcrivr molro, Ila co~~rrihuiro alla revlsionc dcl Nrw Cimr~r L)rcrromz~ uf MIWC c h d pubbl~cato arti~oli su ninlrl important[

    pcriotlicj musicaCi r su Apo//o, una rivlsta di storia dell'artc.

    Dopo aver srudiato chitarr;~ nell'isola di Cran Canaria r a Madrid. Eligio Quinteiro ha preso lezioni di [iuro c vihucla con ' I I ~ & ~ I C iicrrr a Tolosa, seguirn le masterclarr: di I'aul O 'De~te , Jos; Miguel MUICIIU r J11l~li Savxll. Ncl 1995 ha costituito i l gruppo Aurea 1.yrd cut1 A~naia Rdrcena, spccializzandusi in musica spagnola. Ncl 1997 si & rrasferito a Imnrlra r hd ~nifiaro a srudiare con L>avid Mlllcr prcxqn la C;uildhall S~lluul or Music and Drama Ogi P molrn richresro sla come sulistd Dld come accompagnatorr. alla tiurba c con chirarre anrichc. SI esilxsc~ regolarmenre al basso cunttnuo mn m~nplessl dl musica nntifu quali The Klng'a Gonsurt, Thr: P~rlev of lnsrrumcnts, Thc Gabrieli Conmrr and Playcn r The Hdnover Dand.

    Catherine Pierron ha srudiaro coo Kenneth Cill>rrr P Cl~r i< roph~ K n ~ ~ r ~ p r prrwl il Col>semtoirc National SupCrir~lr de Musiqur di Parisi e poi presso la GuiIdharl School of Music and Drama di hndra . Ha partecipatw cumc ,ulista ad alcut~r trasmit~ioni radiofoniche di Fr.mce Musiquc e ha accompagnato a1 runtinrdu divtlrsi curnplcssi c~lmpri di strulnen~i anrichi.

  • \prclali7,zata I n rnusica Issrocca t r~r~crse , chr esegue con i l suo complessu, 'l'hc I.rcnch Ctmnrrrion.

    Robert Clollingworth h a srudiarn musics inrzialnler~tr cor~ sua rnadrc c cumc curisn prcsso la wrtedralc rli Herecord. HJ s~udiaio musica .r l Ncw Collcgc di Oxford c pol pcr lrn nnno presso 13 G~rilclliall Schnnl nSMvlusic and Drama di Inndra. Dumnre la 5ua prrnmanenw J Oxford ha funtlarti T r:nsie)lirii clle dirigc da allora. Ha direrro i Florilegiuln, i Bac11 Pl;lvrr:, r la Brook Street band c. dlvcrsi cori, rra cui il Rrigllmn Frs~iual Khortiq. Ha fundarn In spetracolare Islington Win,, Music Festival, d i r ig i l cvru drlla Sc~~o la csriva intcrnarionale di narringrnn e Iin 1111nvn rorco prr gr~~p l> i vnrali pwrw r l Trlnry College of MUSIC dl h n d r r . Inultrc scrrvr e preqcnta prngrarnmr di [nuslca anrlca per il terzo canale radiofonico dell3 BHC.

    I1 cornplrsqtr \,oc~le I Fagioli~ii si k f ~ t t o nunre per la prima volra vincendu un conwrsu rnglcsc dr m u s h antica, T'Early

    Music Nr~wrirk; YourrK Artist\' Cumpctiririn. L)a allura i. cunaidtmto uno dei gruppi vocali ~ i i b praclt.voli t. irurovativi cl'F.ur[>~>a. Cr:r~ic alla stta grandc curnunicariva, i l gruppo ha ricevuro invici da [ L I ~ I [IF.IIIY~[KI nccidct\[alr c nnchc dn citti piir luntsnc: II Cairo. Mvlarrakech, Hnng Konp, Reijir~g. Kier: Tcl A\.iv, Citti dcl Capo, Sowcto c 1-lamilton (Rrrtrluda), in cu; sprscu ha xvciltu i I rurllu di nmbasciatore per il Briti~h C:nuncil. C;li ~lltirni anni hannu vi5rr) i~ lcunc cullshura7iuni parricolarlnet>re riuscire: inrerl,rera7.iol~i per vocc solisra dcl lkpm del 11; 10 di Mntl~evrrdi urrt His Majrstys SaSb:ltts & ( k r n e t t ~ , opere di Schuberr con la Lnndon I'l~ilharmunic Youth Orchestra e un reperrnrin in parte di im[,rowivazinni con i l grilppo S T I A S A ('linml~ rli Snwpro 11 curnplusv lavvra rcgularmcntc pcr la BBC c 11a esnrdiro ai Promenade Cnncerrs nell'a~osto del 2000. Artunlmeiite $ selnpre piii impcgnato in attiviti cd~rrarivc. JA nuovx serie di repiprrx~ior~i COIJ C h ~ n d o s ~ a r i d i i isa in rcperturiu rinssclmenmle indese e europeo t prirt~o l~~roc,co.

  • Mawarate piacevoIi er ridicolose per il Delighthl, Comic Masquerades For

    Magcarata da Lenguazi Cantu (133 h n c ) : V td i la Lcssandrina chc la

    te~rcva, li, la. (Juinro: la srringi, ri, ron. lWro [Magnif irol : Tirro 70 aui quel [lason. I.l;r~nre ( I r ~ w n d r i n a l : V i cn su ru l m i n halcnn'c

    alsa'l tzndon.l . h m ( D a Gratiano]: Din vc dic'l hondi. Basw (Tcdescol: Rri~tdzs', io berlidl. Mi s t i r

    hnn cnmpagnon, io. Runda, rundzlla, rtmda, la r und i l ~ r l l a

    gnechelle. G i c r~c r ' i n t'un bc l y ~ b b v m i incontrai. Di quel rnerral no ghe ne n a s r nlnl; gnechetle. Bent mio, tu m'hai lasclan, r t ~ r ~ o mesro e scoosolaro. Dch, non m i far langulrc c pzr dolor riiorrrr. Runda, rundclla, rundx, la rund~nel lx che la

    M s s a m r a Fcchu da Mspifiri fl I n c t k r m attri rcmpi, nlrr i costurn[.

    solcvi dir - qur l nustci antighi vccchi h boni, di rrc a ! 7 c alla hraruo-nn-nola, ~ r c -wzrerc. str b n b c - gicra i n cima,

    Masqucradc o f thc Tonplcs Canto (Zanc). I

  • V.I cl lc rc! PIIUS~U \ C : L V ~ ~ A ~ CI colln. Scmo pl l r rtcrrri31i da ate rr~,lll:tnrlo. Nu rnr, r tv r l r lno ,111~ nurrrc cuntr.~-n.1-nac. p e r r h ~ rnrirnr, frc-rle-I?& ci'allc prlla-llr-nxc. 1 \ 'e~~~u~an CX~T~,.ITLIIII (or '10 n1.1kr. rn~>~r~n>>c r#lgr,,'

    Masmnvs r l ~ I1o11ne Piroche n K I ~ povcrinc w m u sisnui.u 1.1 G E.un,i,

    cfiandrrr~rr ~ l ~ r r n c a ~ d n a In c.ulnn.1. ; \g~~l rc i lc brighac. dc, qunld l t u r l t i r . n u puvcrr ~ ~ w r c l ~ i ~ i c n~almcl~ac. I )cnc qualchc achiavinn v ruspia o nlnlrsit~a, 110 drappi dc darnasc'o dc x l u o . Tureniu del forln37u e pnrr 117 brulu, e dcnc pcr sta hocta i n la pignarn n vs 'u carn'o tlrrvo o pel1epr1.1.

    Mzscarata da P u u o r i L>a I'dlro 1n3.1r ~ e ~ l i a r n n da pcrcarc a rroi con grwsi pcx.'u dunnc hcllc. C u n ~ ~ ~ r x t . clttnque, r non v'en nr aofr. not finc f a b r i ~ uidamssk or velver \Ve'll rake rnnlc chccsc and b r c ~ d soup. 2nd pivc uur, fur thls ~atc11 i t 1 our pa[, ellher bone or Illcar or ncwc or tough skin.

    Fi$llermeu~S hlasquerade \Vc cnmc f rom f i a h i r ~ ~ on rlrc hiRh sca ;tnd Lrliii! yot~ b ~ g fish, 011 he.~r~ri i i r l lnd~er 50 h u y and don't rcarcr p i r ina yul lr rjuirir ivr {llrs sa~ll~ne,. See rllerc WIF? 1 1 0 ~ ch-ccprinnal t h ~ arc fur s i r z l i r ~ ~ iii your frviiuK y;tiir. Wl lcn 7 1 1 ~ tccl r l lc hcrr rhcv jun lp i n rhc pan, nuw up. n o w down. t l a n c i r ~ ~ .

  • Mr 11 hz%?ri dc redr, cnrnpre li d.2 Ic vorrrc hurancllc LIIC 11 sc (atti ((IIILC'~ b i d l r ~ l l ' r ITCIIT Ravari, clr>l>nd

    Canrelno, bd l c purrc. q ~ ~ c l l a c.lrin)ri dc i nrxtr i pc\L.7'-~irl ,113. pasm de qux, rrivuo pcscz.

    ' l jnndan, dan. V c n e r i ~ l ~ r l l , ~ , JeI I ~ I G I ~ I G ~ L I w t i t ~ , ~ . li IIICHI~~ co li p ixn i z IU i i l l ch inz . A VLI ~'~ndi irb,t t u t t r tr i t~rrr,~, Vc iazt i~ I,cllr. 1icc.1 dc bcIc7rc. 'I>randan, dan. Nu srrl l ln 11111.1 Caljrz, rltdcrn'a cha pnrca dcl pan o i p r~ r r i ckc d ~ c

    muri I ~ ; e RAI ll'.4lbanl n'aspcrca pcr huttarn'a Buran co la I.:trcttctl~. rqhc Icyndrr, .hr A lhnn of I I l ~ n n r ~

    [ M a s s r ~ t a ] da -#>tar per la strada Mc li bavari dc r d c . chP 11 sr Iarr'a rno de bocadello,' ch'in rurro lo Buran no gc'l hcllo. Havari, d o r ~ r ~ c ! :IIOC~ILLCIII \ ' : n ~ ~ i ~ n rt-nlvn 61h ncr

    Masquerade o f the Women of Burano 17) l:,cr ~,,Il:,r,, supplr yuursclvcs pait? and lavish[% r , ~ ~ ~ i ~ h ~ l , ~111 re I i nm I ~IF:IL~. Col1.1rs. Indicr!

    I'rctry let; sill:: 11i.t VHIK alwut w ~ r firhelmel>.

    Ycs. Ict's all sirlp. ,lilt1 hcRin. you tl1n.c that Iiavr rhe rnp p u r

    'Manrlsomc fisherman that fishcs i n rhc sta, 1)>\< h, Ihclr. FIOV.'III~ ~ O L I I . L~ICII.' ' I nni. rLnnr, i+l+~r. R ~ m t i h ~ l Vcnicc, Qurun of thc World. 111r IILCILIII\,I~I~S ,III~I l i l , ~ i r~ \ lhoh, [ o ~ L I . n i t rhc for r rc j ra how to you, bcar~rihrl \'cn~cr, r irh in br.nltirs. Tnnr, mnr, tool. Wc a n ' t 5t.lr htrc tu aing. wc're ~ n l l j g lhnnlc 10 r.~kc .;rrlnc hrctr l I r l ~ c

    chi ldrcn that rnusr hc starving. 3 1 ~ d Unrte A l h ~ r j n is nq i r ing Ibr us in nrdcr TO hip us m Rurano i n a lirrlc hoar.

    [Masquerade] t o sing o n the frreer hi!- 1a.c c~>ll:~rs, because rhcfrc 1112de l lke rhe finerr ners, hccatlsc i n all Rurallu thcrc nrc nonc mow bca~i r i f~ l l .

  • nlo ve -I, bclla brlgada h d ~ o , frad~s me, chiar vnsscs. 1 bell v q n u t . sal1et.x. hon an, e bon wmprc.

    Havesus hei-ur? Si! Havcm bcvut dl1 htmzir dc hon vin ch'alla m n r l fra nus haven rugint. .. ... i n ccluz, chiar dulcz, rradis.. . . ,511 1 clii.~mpo dcllc g i a r i ~ . ~ k. yms havcs bcnl t? Hav i r r~ brvrlr 1111 71CF dc bo l l in blanch. br~di,, vnlcn t u t t i chianta. 11mi r l ~ i a ~ ~ r e n : Mc dA pit dz I'arbor ~ i r , cornarc Mcduw. 111i m n t r a l tun bcl i n h n t , Di, n, dellr. N u stcn p l r ~ a cli~anra: =in t l ~ SOIS a gliadagna. 4 m r i . rcnl-bunti~lp; puu on Campn dcllc p t r c . \'e:cnrrian fur 'Sqllarc o f rhc I'apxl I.cgarei

    Masquerade of thc Friuliarrr Carlrv: I> l~

  • (:I11 rocm dierro. r i n Scr>r'nlrro ini[ugi:irr c ~turi. Pap tc sc vnlcrc. I'erche! P c ~ l l i . n ~ l I nhcr~nro scttc. Eccv 11 punro, hu r pakttr, F. in dictru 11ui rrc pun r i rirornatc. TUCC,,I 3 boi il tir'luui l ~ u r , ~ . 4 me? SI. $ 1 S ipnra. Ctnquc c q ~ ~ t t r u . Vfllere. C inqw i r~mr l r d i punro Carto wctc. ~ l i r a r c , r ignor Cut l t r . Sci. Voi serre a1 I'ontc. fagarc. c doppo pucn Ritornere!e 8 cnlnii>cixr il giocu. A me mccd tirarc. Ecco che V I col lvie~? VOcca passarc. Wor qui tcrmarc il stgnu Scnw pui lcr il ptg17o. A Ilte r i r 3 ~ pu r rocca. O la! Passarc I C ~ L I I i rrella h.11~3 e ~ l r ~ x r c Er 1Iv state c~ i l p r c n ~ i u p~g:~te Pcr
  • H o r glt prclnr prc~ldcrc, E no; per (.~r!e ur lur t Cantizmo a rutcc I'orc, Viw. v i w I'an~ore. ' 2 ]+rkr. ~ l ~ n > m u r ~ ~ a str arbd t t ~ r r c 11rre wuulrl WIII rhr +q*llnv

    C pub, pcrchc? k r corrcr dr io 3 i anlori? M*; h40ri.

    C'o diavolo chc muom? Sm conrcr~io non mc T-n bc>n rllr vugg~v vlvcr t.tritu, ch'alllor nl stnlzonar nlc sia pi p~ rco .

    MU: Xrcu. Porlisru fonc dc l'arcn cclcsrc 41 cn i disc a Vcnelra l'armrnbc!

    ccu: He. 132 zcnti lomo chc qucst'una p i q v r a o qualche 6-na-nada c'ha la i0rn1.1 d'ellx

    em: Ella. Sti sc dunque una F,~da dime quando mi hxverb hcn sc pu r no c'i. narcosro.

    L w : Ostu. Tio, no , che rrravagxnrlx i. qucrrx! In qucstu l i u ~ ghc sc un'uatcria?

    KO: Hin. lvIa sc la sc c a t t i n no ghc dihw,

    em; (;:I? Gh l'e u n hon pcscc Ghastu s t lz iwni?

    c w : Zuni.

    Now nkc thc prizcs. and i n orrlcr to d o r l lcnl honour ler'q forever ring, 'I unp live luvc'.

    Echo 0 1 1 , wnrcherl 1?1111.1ln11~ OF ill f n ~ ~UIIC. 'X'hatb rhc puin t OF mt cr-cr-ring i n thcx rvuorls? At14 why, rljct1! ' l r r run xfrcr nly lady-.lo\rm?

    ccho: Dic. HIIM. r l l r d r ~ i l ~ ~ n ~ l l t l I die!'l 'h~f . ~ d v ~ c c docrn't suit nlc (or I w n l t o lit^ so much. ~ r ~ d wrsli Ilia1 lave, ~II mocking me, might hc

    mnrc rnndcrarc. echo; Row

    (2rc you pcrhapr rpcakina of rhc cclcstial how ur what IS callcd i n Vcnicc t l ie 'bzau~iC111 arc'!

    echn: Baa. A gcnclcman >ays rhat this ia :t sllvcp or some encl~n-clis-cha~~rreIre. So iFpu ' r c an cnchanrrcsr, tcl l rnc when I'll ~IIIYC f o r t l ~ ~ > c ~ ir t l~dt 's not I,~ddtm~ Trmn ynll.

    echo: T11e ~n~~l (ecper . T5k, tsk, what dn cxtr;tv;tx;ulrr: this is! 19 111r.l~ an i nn . ~ m u r ~ c l IICIC?

    ccho: A quay. BIIL I{ it: lj.nd, t l u ~ i ~ ICII ETIY .~I>o~nr 11.

    ccho: Carp. Cdrp - that's a n ic r f i i t~. H.1v.r ~UIL ;arir r l ~ i r l r

  • Moia! Nu rrjagno uo-no-noni, caru parc. eco: Arc.

    Costu parla dc rnusim an fradzllo - d l u n mdregs l , .I7J.O che m i l'irnpara?

    KO: Ara. Chc mi aral A un ncntllho-no-nomu dir rhe

    aral A mi chz I bde~ rxe son sra a M a w r b o ?

    eco: Orbo. L'i- vcrv c l ~ e

  • , k o n d a porrr Lr Tul-,.~ c l i a partxn pcrchk'l Irusrrgru s r l l l ; ~~ u LUII~IL~I.II prr ~ n ~ ~ i c r Piantal i lno~j d l Hur rognur." h ln in;trni r h ' a cc n'andan [, ',t,r,,,l>~r', 11.1% i ~ ~ l d rlle rcachcr ro aivc m 3 damn good ap.~rikiiig I T ~ K r u i i l r I .~tr ILrlb ru.alk. ~ i ng ing . '4 l i rr lc bird jumped i n to a l i t t lc m ~ r . Tcll nrr tht. t r u ~ h . wlj.ar honr iq rhir?' Nn, rln. l f t ' ~ do this o r h ~ r one: 'B i s Br i t ~ l r r s &.as Sonr rrr rllc l>alfcc w i r l ~ fhir
  • Scmnda p a r e Ora chc semo n sc~nuta, T ~ r t i con la so tula I).~lln M i w x drvanri hdcrno, tu t t i rlrl.ltlii! I),', Momolo, c run t i dir :~ %iarrtu: di' [i Prrin. I:hccchin, d< ri hlarcl>crm. O r ru t t i a y r a , rr,1>1cn7a a rcclnr. Madon t l , ~ Mi?rr.i Ears nc Fazm hcnhpa ra r . A R C o C . b < ; H I KLh4NOE'Q jls'ruvxyz. ~ t , con, rolr!"' DX da h c r a1 povcr o m llrthrrc ciplrc~r found at llle end rlFthc alph~her i r h t l ~ r

    l ~ t l n ['rxlrcr. cr. rrm. urmlsl, w l ~ i r h rn Itallan m r c rrjr..

    E l n r o r l del Cucco, e Rorrignuolu wn la aenrenza del PapagaIlo Prima pane C u d ~ a n rnvcnre gmcggixr l>el c m r o u n C u m c un Russipuulo. Meirrrc I'l ln I 'drrn t n l h Crcdca sov iogn i a u ~ c l l o avcrnc il santo. Q~n t~ r l v r ~ r l piin frrvut rlc Id1 LUIIL~~K U n Papgal[o audacc. I'crs~l;dciirlv la pact, A fdrnc C ~ I I rrd lo r g i l ld ido prtqe.

    Sccond parr Nrrw r l u t wc art. at srhah. lvcrvrrnr n i t h hi5 drrk i n fmn r oFrl>e renchrr, lei'< gn. ever,vb~dy! [Tcachcr:] 52" tr. G1rol2lnn. 2nd Iirrlc Aluisc wi l l

    . Now cvcrybody ilr a conrcsr. b r ~ i l l ro rrr l tc [hfcn:j Dcar madam rcachcr n l rke us all learn wrtl. A R C : D F . F G I - I I K L M N N > r Q RS'1-U VXY 2, et, c-I?~!. ortint! Give 111~ puor mcn a u r n c t l ~ i n ~ to drink.

    Sung of thc Cuckoo and Nightingale w i t h the I'armr's Verdict First par t Ol ren 10 he hr;trrl ~ r ~ i r ~ p r t i l ~ g ill sun? arc a cuclioo 2nd 2 ~>ighrinp?le. WII~IC r.1~11 alunr hclicvcs ~ l l c hnldi, r l ~ e lory nver ,111 r l l r hirrlq. \Vhi[c i n rhc hrat uFsuch quarrclr :I hold [>.11.11H, urging pcacc. rrsc>l\rrl 10 rrndcr a judKtrncnt bcnvccn thcm.

  • Seconda partc D i s c il ( . l~rco. (3 buon giudicc non sai chc ch i nvn br~1t12 il (Ib, C h i rlon I'nnora c un CL Chc da nu- al villan d'urcir d i guai? Or senri il cantu miv, coln'egli t gmve. Cocil, C U C ~ ~ . cnch. (:err0 ncl mondu tutro urt tat no11 hd5.e

    Tcm parre K~sposc il Ro~sicptlul , D ~ r i ~ q u e t u ~ r i r l r l l ' a r r ~ ~ n n i ~ de px j cg l x r r l x nlc' Soxvc t il canto mio, lcggiadru c bcllu. l'arru Ihr sci, si, f i c chc, Frc fcrio chc. E T u n l u p r q i d pit1 r l ' r~grl i .llrttl aU~r![o.

    Q~tarra er u l r i n ~ a pane G n v c il gudicc allor cunvien chc impdr~. I tossignr~olo ln lo dolce, ru ccrro canti dolcc, M a non vdgl iot iun Ctl cellro tuni par i Tnwo chc ral scntcnza udira tL D i Cucchi u n lun* giro [ ieri 3 canrar dudiro: V i m il Ct. viva i l C~I. m c i ~ . wch-

    Second pan The cucl(oo r a ~ d . ' l l h , good judgc, don't you kn uw

    rllnr \vl~ocver docmir long (or thc cuckoo. whucver docslit t iot~orlr 11er I r a n xrre rhar hringr ncws r o thc p w x n t t o Iravc his

    wurs! No\$, lisrcn m rnv song, b e c a w it; serious. Cuckw, u~ckorb. c~~ckon Certainl!- such a son; is nut to bc had in all rhc

    wurld'.

    Third part I 1~ n j g h t ~ n ~ a l c anrrqcrcd. 'Sn. m u quawk In harmuny tu LuIiiparr ) uunc l f tu me! My sing t? wccr, gracch~l and prerqv Ynu'rc craay, vcs . yuu're r l l r one r\rljn fltlrrrrs a< rhor rg l~ woundcd. and cvcyonc prrzcs that onc morc r l lan all thc

    other b~rcls'.

    Fourth and find part ' l ' l~en grxvcly rhe judgc agrccd rhar rherc was an

    i n c q u a l i ~ . 'My c l la r~n ing nighringqle, you ccrrainly sing swcctly, but P l ~ u i ~ d r e d l ike YOU airn'r worrh one cuckoo.' ~k soon z thc vcrdicr was announwd P prcilt circle O ~ C I I C ~ W S war heard, singing happily: 'Lung live the c ~ ~ c k u u . 1 ~ 1 1 ~ l ~ v e the ct~ckoo!

    Cuckoo, cuckoo'

  • lncanto della Schiara Prima partc

    @ Partinln p ~ i dall'odorxro c~e ln O x gt'Indi c'Srbei N o n rcmono di giclo. F,r hor si311 dov'appare CittB rli t.urllo gri t in Quivi potrcn lascidrc I P ricchc rncrci clcrrc Vcndcr la sdudva di b d t a pcrfctrc. l h ~ c h c Vincgia, Lorn cl~e't bell" c'l huun produc'c p r c ~ a F,ccn chi fa d' incanr~. 0 ~roi. Com;undamri. Chc volcrc, signori' Noi all ' lnunto vcndcrc vogl~amo Una tanresu belln, N o n men i ida chc Ancclla. CI servirere? A q u t ~ t o pronri siamo, e J chl la vuvle Wrem In grid^ cumc far si suolc. Dunquc d iman verelmo E s r m I:, Fzntcsca condurcnm A n A r e pur, signori. A Diu, Comanlkror i .

    Scconda pane Aldi, rrrrrl qu i ln turnu accolu Lo grido udirc e'l m n r o 13ella sd~iava pcr cui si h l'incanm. H a bcl viro, a t lee chjomc. E corrispondc a1 bc l d'Angela, il nollle.

    Aucr ivn of the Slave G i r l First par t W c ' r ~ ser vrtt (rum thc ~ c n r c d sk~c r where thc l n d i a n ~ and Shrb,,rz, don't dread [he colr!. And elow that tvc h a ~ r ar r~vcd iri such a Famnuq c i v we m ~ g t ~ t bt rb lc to lcavc m r richl choice rnerch31di~e and wll 111e alavc g r l o f pcrFcrr hexuy. R w u s c t h i ~ is Venice, a p l x e wl,crc thr finc and bcauriful is made

    dnd apprcciared. I Iere are thc ductionccrs. 'Oh, m n ~ m a n d e ~ ~ ...' " W l ~ r r wotr lJ you Iih, gentlemen? 'Wc wmuld l ike ro ~ l ~ c ~ i o t ~ ulf onc he .~u t i f r ~ l maid. no Icsr rrusru~urrl iy 11rrr1 a maidsrnant. \Y'itl you hclp us? 'Wc'rc rcadv for rhis, and wc'U havc the usrlzl announccmcnrr made ro ruhirevrr

    wants her ' 'SO wc'll m m c r o m o r m and b r i ng rliz maid w i t h us.' 'Yuu may go, gcnrlemen.' 'Goodbye, commanders.'

    Second lrarl [Auctionccc] 'Listen, wrryor le Ratt~crcd hcrc. rile ~ h r r u r i n ~ yuu hear is the h o ~ r r ~ n g abour rhe < I n e g ~ r l who i s bc ing auctioned o A She hxs a h i r t'acc, long gnlLie17 ltalr. and anrwew rn r l ~ c beautiful namc oF"Angel>*.

  • I.-~rcc, r i c ~ m a , indvrr, E di oilici piu hassi adcmpic ailcur;( - 1,lirrra pentole, < p l ~ d l . opra il p~slcllcr Cur l m n ~ ~ a r c o n t i u c bcllv. Dunquc c l > ~ vunl d i lci cucr rignun. D r r d p r o m nr.asxlr,rr. I:t sc r l ~ ~ ~ i n n verrcrc lncanrar la prlrrctr. Ni. ;jl ]>re770 xlcun ria parco. Vu-a viva Sari hlanu.

    'Terza partc A qu.lrlrn 1.1 fznrcr~n. A quln to , a quantui

    SMI rni prima all'incanto. Cusin, rfiabbie'stu i*d-na-lw>ro F: SP la rocca .I n ~ i lm far c l mnndo. Chc mrti trc nu w~no ru l ballo ro-no- i~ondo A dl& d t r c ~ r ~ e pnh rc la mc rocca Ghc r o z i o dar un dolcc basu i r ~ bu~xa . A dl&$ ducari e lrna ..- J i lte nos nleravigl~x. I'inri ducadus iata niuchi,jcliigli.u i'triti ~ L L C J ~ I e ~ 1 7 3 . .

    .lic17rz duc3r1 10 Nzpolirano. Ch'a rc l c cuntu mu IIIU clctric rll.rrlrr ~ l - r r l t : t ~ I , I L~ ,~ [ I t 11172 ... Mi ro l r r dar pcr rrc p,alanrc fic Quxnnra scudi r p;lgar 11>alvasir.1' Q ~ ~ . I ~ . I I I ~ 5c11di c 1illa...

    Shc x w s ? c[ l i l>rr idcr> . I K I ~ g i ld< and pcrforms rhc luwcrr duticr ton - pcilial~cs ]>om ,117cl kirchen rplrr and w o r h rhc pcstlr properly .lnd niwl?. Sr, rvhncvcl \\?nrr m hc hcr m a s r r w i l l bid ttic hlRhc>t 11rlrr- Arirl ~f v n ~ i l l cnmc rnrnorrow you can btd fur Iirr, .(11d nnhody hc srln? wi rh rhc pricc. I.onp l ivc S t hiark!'

    T h i r d par t Huw r l t l l th fnr r l ~ c maid, how n ~ u c h , how much:

    [Venerians:] ' [ 'm t;rrr to bid.' Cousin, Ict tnc have this ho-120-honol~r.

    a t ~ t l ~f she h l l s rn mc i r w i l l mcan rhc world. and wc t h r c can du o n~ugrd (la-d;l-rl:(nce.' ' T rn d~rcurs, 2nd iF m y h id cxn gcr her I'd Like ro givc hcr a wcc t kihs or! thc rnuuth.' 'Ten dtrca~s. going orlcc .'

    [,Cl~;(ninrrt:j X ~ t d nlc nm ~nimcler. rwcnty ducau ccs a lot!' ' - [ i \ .~r i ty ~~I(:IIc, g~lirb~ nilce.. ' [Nr.apolirar~:" "[l7irr).dtrcars. I, rhc Ncapol i r~n. wl>n'l[ count rhcm uut t u vulr u ~ r h n>y 11nnds ' 'Tlurry rluc~rs, going on cc...' [ G r r m ~ n , ] 'Me wanr givc for z i ~ m v :irl ForrJ. scudi and pay malmseys.' 'For[!, FCII~I soin$ once ..-

  • Cillrluantn 5cud1 pcr quc[ bcl visinv. I1 vostrn Gian Rrunxchio, Firenr~no. (3inq~1*1r~ scud, r rLtl.1 . . Pcr virz dcllo Roi, S r ~ s d l l ~ i l SLU
  • Facsimite of the tide page of 'Triaca Musicale' in i t s rcvised edition of 1607

  • Poor Luckless RntaIoon a I'wr lucklcss Panralonn, ~r:r Iosr nor crickcr!

    LnlJcly 1 s1.1rid t t not 1 ~ ~ 1 , if I wcrc you 1;i give ii a rcrr.

    Echo: Arrprr!

    Arrat and prison. Now i f you'[] pardon tne, 1 musr v l~ i r

    A $11 from Roma whose xrnrnx ~squjre exqu~sitt. kcl~o: / j it'

    OFwurx i r IS, yt>u d.3~ to duubr? Ar hcr fccr I'll lay my hcarr.

    A grmr rurrlatlcr will fulluw frum thir srarr. h h o : Th5 mrr'

    H w dare you? Shd a high-horn he.luty with an acurr wu. Echo: fiu~t'

  • I/ JiletbeuoIP fico di Ibca by Carlo Coriolani

    (Venicc, 1640); reproduced with d ~ e kind permission of the Civia

    raccc~lm dcllc stampe Achille Dertarelli, Milan

  • What! You'll ncvcr undcrrtand. '1.112 thing rhar hind< A llvat> I I ~F ex -

    L h o : C roi! No, no, ir's ~nrlch more p-p-p-purc, morc

    moral, highcr. Frhn: Lar!

    Don't think me weak, just bccaurc I srutrcr. 'Haw mcny! Imw me alone'' rhar's what Y ~ ~ ' l [

    mon utter! Echo: Nurrerl

    Whar? Me a nuttet? Tcll mc your n-n-n-name, so 1 a n cuss it! Pur up your f i s ~ , sir, likc rncn wc can d~wuss ir.

    Eho: Guued

    That's ir, you've gone roo far. you \vorrhlcss gecko!

    Whcn I'm done, you'll look likc an El G r m ! So curne, you scum, now show your Face and

    ler me have I declu)! Echo: Echo'

    Ah, I could kick myrclf! I

  • You can now purdiase Chandos CDs directly from us. For further details pluse telephone +44 (0) 1206 225225 for Chandos Direct. Fax: +44 (0) 1206 225201. Chandos Kecords I.td, Chandos liousc, Commerce Way, Colchesrer. Essex C 0 2 8HQ. UK E-mail: cliandosdirect@chandos.t~er Website: www.chandos.net

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    Thc image of Giovanni Croce is taken from an engraving of a sign, now lost, that appeared in Frotir of a pharmacy in the Santa Marghcrita parish of Venice until c. 1790. The sign showed the composer of Eaca M~uicaIr (the drug theriaca may have been ohtainahle from rhe pharmacy in question) in the dress of a priest. The engraving is reproduced with the kind permission of the Museo Correr, Venice.

    Far more information on I Fagiolini and thc works on this disc: ~vww.ifagiolini.cnmlcroce.htm

    Misting renor parts for M~ucaratepiacevuli ct r idirohpcr il rarnevalt reconstructed hy DonnaMac J. Gustafson and Robert Hollingwonh

    Venetian dialect coach: Loretta Marchesini

    Chandos 20-bit Recording The Chandos policy of being at the forefront of technology is now furrher advanced by the use of 20-bit recording. 20-bit has a dynamic range that is up to 24dB greater and up ro 16 times the re*olution of standard 16-bit recording. These improvements now let you the listener mioy more of the natural clarity and ambicnce of the 'Chandos sound'.

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    La traduction frarlqaise du rexte dc prfscntarion et du livret esr disponible gratuitement sur

    Evecutive producer Edward Rlakcman (I'nor I.urk/css l-'nnr~zloon) Recording producer Gary Cole Sound engineers Gary Cole and Michael Bacon (Poor Lr~rkIrss Pnntdlnon) Assistant engineer Ben G>nnellan Editor Gary Cole Recording venlie NI Saints' Church, East Finclrley, [.ondon: 29-31 May 2000. Poor Luckhss I'onraloon rccorciecl live on 7 Augusr 2000 at rhe Lecture Theatre, Victoria and Albert Museum, London during rhe 2000 BBC l'romenadc Conccrrs Chamber Music season Front cover I'hotograph of Matttimu. Brook (wearing a ttlask daigncd by Lloreen James- Parson) by Robcrr Hollingvnrth (cenrre); Cnpmin Bnbbco nnd G p ta in ~lcui',n'hy anonymous late-17th-ccntury artisr, Bolognese school, aftcr)actlua Callot (background) Rack cover Composite photograph of I Fagiolini by Eric Ricbmond Design Sean Columan Booklet typeset by Dave Partridge Booklet editor Finn S. Guntlcrsen O 2001 Chantlos Records Lrd and 8 2001 HHC (lJoor Ltrckless l'mrtaloon) O 2001 Charldos Records Lrd Chandos Rccords I d , Colchester, Essev C 0 2 8HQ. England Printed in the EU

  • 0 bit NH CHACONNE I ) t ( ; ~ r A!