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<ob~t~'lyson, Knberr Hnll~ngwnrth, Janle? G~lchri~r , hlatrhew Brook, Gilcr Underwood
Giova~ltli Paccloni Padoana della Duchessa Davtd Miller. Lvnda Sayu, Elipju Quiaitr~rv hrtr
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. <& 1 : l G HP; who j,nJwr slung t t ~ b rtrcrt and L e s nor ryh. is hle~srd David Millcr f ~ t t r . Lynda Saycc p i rn r . Eli+ Quintciru bm5 I l r r t ~
B Canzon da Contadini 5:51 C3r)7 I m e , Robin Tyson, Jarncs Gilchrisr. Nicholar I-lurndall Sn~irh, Marrhcw Rrouk, Gila U~~<lcrw(iorl: EliKio Quintciro rhitnrrino
Anon.: Bnufons (l~assernezzo antico) 0:5h IJavld Millcr /,tic, Fligio t)uinre~ro r~hirnn.zno, I.ynda S ~ ~ c r x w i t n r
Mascheratta de Gratiani 3 3 3 Robcrr I lnllinporrh. Jarncs Gilchrisc. Vicholas IIurnddl Smirh. l$dlthcw H T O U ~ , Fligio (~~1it1121ro ~ ' ~ l l j l ~ l f i n , ~
I-111ppo Azm1010: Lenr~l Madonna del mlo <or parrona 0:56 My nuhit hdy nndpatlonrrr of my hcaj r Da11d .Ll~l[cr. Lynda Saycc, Ll~e,io Qu~nrciro ltire~
Cmmnerta da Bambini 3:07 l<obi~k-tison, Rulwrt Hul l in~~~orth . J;umrs Gild~r~s t , M:ltthcw RwoL Gilcs Undcmood; Eligia Quinrci~o r.hirrrrr.~nn
& Orazio Vccchi ( I 550 1605): Hur chc'l p r l r dc~l'hugclctti s'ode I:ZI i\:ow fhdt !he r r , ~ of Litiir bird$ reiofand, D:lvid Millcr. L y d a Savcc: Elieiu Quinrciru I:rrplr
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<obirl Ipson, Jdrues Ltlcilr~st, N~cholas Hurndall Smirh, Marrhc\v Rrnok. G t l a Underwood: Cltgto Quinrc~m clr~mrrmo.
Catherrne Ptcrmn hnrpacl~od
B o n u track:
!$ CrocelKnaprnnn: IEcco:] Poor Luckless Pantaloon 4: 17 Pantaloon. "X'~llrxm Purcfn): Rohcrr EIolling\vorrh, Gtlcs Llrtdcmood
Echu Anna Crookcs. Hugh Wilsvn, Matthnv Brook TT 7534
I Fagiotini irector Robert Hollingworth d'
wid>
David Miller lutes, chirarrino Lynda Sayce lures, mandola, guitar Eli$ Quinteiro ha\< lute, chitarrino, chitarronc Catherine Pierron harpsichord
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<. I n [he l j 9 0 ~ Cruce was lczder of n singing company at
Sr Mark's that was for hire. S i ~ ~ c c hc cnjuyed a 11wly reputation as a popula~ enterr~inrr. I[
is Iikclv that hc and his company \yere the 01 lg~nal perhrkners nf rhese masql~eradcs.
M a s m t e piacevoli et ridicolose per il carnm3le (1590) and Triaca Musicale (1595) wele both puhli~hcd in S'en~ce hy C;lacnino V~nccn t~ . '1 hrse piern were performed In corrurneq and mxks, prnhaLly as hncltict entertainment 01- insertions inro rheatrical productions. In his dedication to Mnrcnrate
masquerades had become well knawn and tvrre k i n K pr in t4 ar t h t insistcncc uf 'many curious people'. Since occn~ional music such as this was only rarely preserved or pt~l>Iisl~rd, tlwr mllectivi~s str1.c a> important documents of sixteenth-century Vcnctian sucial and musical practiws.
The masquerades are novelties, laden with musical wit .md sarire. As his lnusicd
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 character<, ~ncluding i l ~ e bduved, pompotir Rnrnlone i/ mnpi$co and 11;s 5itlekl~k Dr Lrauano, a bunillling crlrl Eolognese professor whoce mispronouilced ~uonls rcsutt io coarse gaffes. Shrill womcn, oatish forrigt~crs, quarrulling birds, ant i rnrrl d~sguised litrle hoyr join the casr, Imi\,irlirig oppurtuniries for horscplav among rhe singex. C ~ t n i c rl;alccts c~rlvat~m 1l1e mcrrimcnt of this mixture. The anonynlour [meis who urn>tc 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 <perracoli viuci e Fpesso vulyari nri [,alazzi, nelle nc~2dcmic c n ~ l l e sfdate cirtadine. Le maschert si mil,ivanu davanti aFli sprttarori nelle srrade e g11 qrmnieri rimat~eva~no mlpiti datl'ccc-ccllcnza c rJalla rivaciti delh vita musicale. Nelle
tcarrdi e bancl~erri, allietat~ dalla mtlsica. I n qurstr uccasiun~, la nubilti assulneua niusicisri profes~io~~isri locali, ma agli sprttacoli parrccipnvano anchc alctini dileuanii di ~alento. Questa rr~istrazione cornprende due m(1ic9,cu~tc m~niche ~:wncvalc>chc drl cumpasitvrc vcnr/.i:~nu Ciovaluni Crocc ( 1557-1 (101).
Croce fu cantanre d1.z Basilica di San Marcu, cappclla privata drl Duca di Vei~e/.ia. La b x ~ i l i c ~ t adiacente a1 nalazzn ducale, nella splendlda l a g ~ n s wnmlana: un Idvuru qrai all'epnca era Llna delle cariche ptu presrlglnse d 'hropa. 1 rnusicisrl dl Sari M.zrco tormavana un Krtlppu dl cspcrri cumpusirur~,
mlranri e srru~nenristi che parrecipavano atri\.anicntc agli spcrtncoli tcarr~li c allc ininiative di spettamlo per arrnrondare lo stipcndiu. Ncl dccrnniv dcl 1590, a San Marco, Cmce dirigeva un corn che si poreva ass~~mcrc. Ustn E3 5 1 1 ~ rcprltazionc di uomu dE sper[acolu, 1- prubahile egli strsso r la qua mmpagnla fossero gli i~lterpreti origionl~ di qucsti Lrani. Ir Mascarate piacwoli er ridicolose
per il c a rnmle (1990) e la Triaca Musicaie ( I 595) Fumnu pubhlicatc cntrambc a Venezia d a C;ixonno Vincenri. Si rrarta di hmni che venivano eseg~iti in custurnr. c nia~chera, prnhal>ilmcnte per allieraw li t )
bancherro o mine intermezzi per uno spcttac-olo tcatralc. Dalla dcdica di Vinccnti allr M~t(~wr,tae pinr.runli si inruisce che Ir mascherare di Croce fossero ormai farnose e chc fusst-ru statc pubhlimtc tlictru Ic insisrrt~re di 'mol~i curiosi'. PoichC raralnente le inusiche di circostanza venivano tunscrvate u p~rl~ldicatc, q[ic.rtc cullc~iurii sono re~rijnonian7x impormnri delle pmtichc sociali e musicali venezmnc del Cinqueccnto.
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<~rnie prdcevoli, calernbour 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 <la due 11hri di brani snlirrici per chirarra e cerera di Guillaurne Morlaye
(Parigi, 1552; 15 53), c da brcvl composizion i italiane per mnto. Ci sono allche alcuni inctlnwe~i r rlirrr~enti trii di Giovant~i I'acolonl, un llutlsta contemporanco dl Padova Mnl~i dei hrani hrevi rono datwe gaglrarde. passamazo e padonne. Ncunl servono a prepenrare i perronagl di Croce, come 11 branle rustic0 ("brando"), una danza tullctti~a, chc inqriadra i1 cantu di Pantalone, e il "boufons" che prelude all'appar~zione del buffvnc Duttur Grazlanu. Lc trascrl~iuni di alcune vivaci npere di Orazio Vecchi (Venezia, 1585) e Flllppo Azzzlolo (Venaia. 1569) intrutlucuno altri bran1 di Cmce per argnn~ento. T trii per tiuro di Pacoloni furono pubbl~cati a Lomn~o da l'lerrt. Phalkx { I 564) e comprendono quamntasette dame ~rrurrurare iin sulre collegare per tenla. Sono norcvol~ pcr la partltura In cur 11 sripenals C accordaro una quaria snpra il tenore e una quinm sopra i l bxqso. Quesri piacevoli brani, scrlttr pcr csrcso rlal compositorc, fanno pensare all'in~prow~sazionr simulral~ea di due strurnentiscl su un basso ost~nato, che ~unr l r~cc in alcuni : ~ ~ i ~ u l l imprcvi>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 <xw l r < r l n d r ~ l ~ a ~ 1 x 1 plnrreri
lt, I f , Ll Qu~nm. Squcuc hcr, rr, mm
.Ute (Maxn l f i ~u ) : G r r lost w ~ t h that b y nosc rrcnore (la?%andrlnd) C l l rnh up onrn Inv
balcony and part thc curta~ns.] Sesm (Grmlann) Gnd g l i ~ !.nu a gond day
Basso ICcrman): Chccrb. I fur h ~ r c [I devil]. [ he good fellmu, 1
Shc ho around, rrmdplln, thc ficklc Irttlc
chtcklr fllts around Larr nlghr I ran ln to onc of !nut handsomc
hunchbacks Nnrh lng ever springs up from t h a characrer:
f i ~ k l c I ~ t t l c unc. My heln\.ed, ynu h x w left me thoroughir sad anrl disconaolatc. Psy , dnn'r make me l > n ~ u l ~ s h
and dic oT radnas. She flirs rrnund, nirrddta, r l ~ e l i t t le cliicliie nhu
plorrcd it.
Marqurradc of thc M a p i f i d ' s Echo I n nrhcr rlrncq, dlffcrcnr rnallnrrc.
he used to sau - chusc Food, o ld-Lsh~oncd o l d men nf our<, w1r11
thcsc stockrn;~ t o thcir ru-ru-rumpr. rltese long mops o f haw, these bearrls - tie nits
at his pcak.
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<rrerc'il dale vnrrra monctta per qtrcstc sardc[lc. l'cdc~c quut ' :~ ~ ~ ~ ~ : u e l l r ! (:onl'e r.lre d3 f i IICI .wn nc [c vosrrc padcllc.
Chc quaurl'il ~ a l t l n arr i t i r~ V;UI ~ ~ l i r r l d o IIP In p.arlel[', 11or ru, hn r giG, hzllando.
Clrac =,ccchic, sardcllc grossc. c i ~ v a l i da bun!
Rcat i t ! Y h ~ i i n brcak ) v u r ncckl iYc xrc sornchuw diacnpgcd f rom t l l is calamiry. h't1n rvc arc rerurnlng rn nnr pr-pr-prrrrhcr hccaurc wc frr.1 cnu-nv-nwrmuualy rclicvcd.
B c g a r 'Xbrncn's Masq l~m i l t c \Y,r l luur litulr r l l i t ~g< nrc wonlcn nFr implc rimplc~irll,
w11o arc ;fling bcgpint: ahabt.~l>- rtrrbacd.
Help us, it&, pr.ly. w lnc c f i .~r i ry tor 11% \~.~ctchcd and mirtrmtrrd prupcrb.
G i>c us somc pilgr11117' ml,r< r l l r r mug]> 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\<:t<>. Si, mnrcrno t u t r , c cum'cnlr vu r r ch'hav cl w ~ l . Rcl prsL34, ~11,. k>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 <la C < I I > 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[% <111)ply ~OIIIICIIPF II~C.III<C rl>e?'rr 111 r lw IICM, In<l~iotl.
Cul lon. ladics!
\4)* Ia r r CUII,I-, huv rlrcm horn your worncn a)FBurano I)rr,111<e [ly>'re tn.adc n c l > 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 . <,fillar<. l ,~d i ts !
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~<rer for dccorating! ~ I l r o : Gardener! I- l i i~lsre: Sausages, my hot sawigts!]
Qtlintu: Rn) fist^! Sesro: Chair-mcndcr: srunc ukzr! Rassu: \Vudcurter!
God selutes you, handsomc company Farcwcll, my bruthcrs; clear v n i m ,
pro$peflly, healrh, a ~ o o d ?car, and Ku:oorl tirnrs aluayq
Havc yuu had s v l ~ ~ e r h i ~ l g m drink! Yes! We havc drunk nvo mlo o f p u d winc rhar havc thundered ~ ~ t ~ o ~ j g us a% antntlg
L3oon.. . ..in cclls, swcct r h i t c wi~ie, hrorhers ... .. .uwr the Square of rhc Rirds [Squarc o f thc
Icgatcr].
And have yo11 hpd snnlething to dr ink ' \Vc h a w drunk rhrcc casks of sod whi tc wine. Brochcrs. Ict's dl sing, hur never singing. 'She giver me p i ty at rhc crack o f dawn.
Madam Mdusa , 1 ran in to one of your bcauti ful babcs. Di, ri.
dclh'. Must of r ~ s :Ire soy ins m sing; wine usually makcs it rwmc u u i berter.
(: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<l'~l t v i o 111'1ior l ~ n r x krch t nclla C i s t cm i l u fb dirrlrrra. ECCU il tiru c 1.1 JOI~C.
I?lg.~rc pur. Sipnor, chc KTW I n .Morrr,
E v i cunricr i [vrrlrre U;LI p r ~ ~ ~ c ~ l ) ~ n dc l gioco a cominciiirc.
Ora r i n r vupl'io Quatrr'r 3 4 , pcr rnja k, chc il g i o m i. mio. tnrrc. Sipnor, el conru.
Scn icr~tme d i p t l~ l rn . S~gnord, \,into avctc.
\Vlmm~c<, b r l ~ i r ~ ~ l .I [qnrr~, 111rc)w r l j r t l i~ . t : r r r r l 21111 ~v i r hou r iurthcr &lay, Pa? i t yuu l ~ k r . 'Wl>y?' Rccaurc you'>.c l m d z d i t 1 the nl.l<r.
Hcrc; rile qrluale, nnrv you pa): and rhcn you 60 Luck rl>rer squ>re?. It's p t l r rum ro r h l m r rhc dice nu,. '\Vllar, me? fis. marlain. 'Five and four.' See,
you've lander[ t in srlu.lrc fi{tv-rllree. H;tw 3 go, Sijirlor Cnunr. 'SLX.' You'vc landcd ;xr rhc I>r~rlgr.
Ry, a ~ r d r L r r r h ~ r y o ~ i l l go back t o t h t b t g i ~ ~ r i ~ r r s rrF tlkc wrrir .
'It's mv tx1r11 IO l hxe 2 go.' Herr'< \vhcrcyou'rc cornins up tu A puar squ;lrr.
Now %top )vur L w r l t r r IICIC wil l iour paying a finc.
'Vow i i s mv n i r n rv 1 u . c ~ ~ 150.' Luuk ~nri! I'AL$ up rllc goorc and land on thc boat
and a i ry cllrre allti pay rllc tinc.
'I Ioqr my turn j u ~ t now
kccausc 1 was srucb i n rhe rucll.' 'Here; nly rhrmv and rn? chancc.'
Pay up, sir, that lar~ded o t l I)e>rh, and you'll have ro go back and srarr f rum thc ~ L ~ ~ I ~ I I ~ I I S OC the p m c .
'Now 1 NIII~ a go - tour and rix, by Gud. the g r n e is inine!'
Do thc aurns. slr. 'She'r landcd on squarc sixi).-rltrw!'
14adan1, VULI'VC rvori.
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~~rre<< rhxr lh3s rhc rhxpc of
one.
CLIIU: JLIS~ >Ire. 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 <.IIIF.I~CF!
ccho: Game cuunrcrs.
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 <on orbo a no vcdcrtc. 111a r;e t i disi qucstu p r r sviarl~lr ti E u ~ u a n . r i k u n laro, c un m a n i ~ o l d ' c un b c ~ u .
eco: G o ! Guarrla cll'rtmr Elcl mrn! C)UCSTO sc un'ccco! 0 ma1 accorto mi, m'cntr;lvz~nuo
corn'a rolu rhe r l i rnr mlli c hortc e'l rrova chc sc l 'ombra dclla nu-nu-notte.
Cohrru nlgrr (Cudgco~~); mrp-likc fish
Canzan da Conradini Nu Conrain da Pava7scmo v c p t l chialb
Pcrcht gl iavc~ri l t l reso Chive se h 1111 filb. Ceccl~o, rpchcon, Cccchazzo. Tuogno. Tugnin. T O S T I J ~ ~ cmitenlo l i e hrigha La randararitondclla, la randar~rito~rd.a.
Trickery' I don't car gamc co-co-counrcn, dcar
fr i tnd. ccho: A~rs .
Dues t l ~ s r Fello\v speak r o a bmrhcr abour music -
,11wt11 3 mxdrigal, so rhzr I lcarn it?
C C ~ O : rtou&. What. [ plnugh! You say t o a gntlrrna-ma-man
that hc ahuuld plutrsI~? rrlr, who'< hccn mayor of Mazorbo!
ccho: Rlind. I t b [rule u hat I'm h l i nd norm scc you. hur iFyou'rc q i n g to makt a look of mc ruu'rr a clog, vou're a rhleF, you'rc a ~cnulndrel
and a cuckOId!
cchu: Echo! [ ook at my misrakc! Th i s is an ccho!
Oh, heedless me, tllar this lhas h~pyened t o me os ro the Fellnw who punchcs and k i c k
and f n d s that hc's Lghtlng the shadow of the ni-ni-night.
Farrncrs' Song \Ve Pxduan farmen have m m t here
Lccatlsc wc havr auriir 2x11~ rood. r o ho ld an all-
r~tghrer. L i t t l c Franwscu. B ig Frantcscu, Hip Ugly
F r ~ l ~ c e ~ r o . Lirr lc hnmn io , B ig Antuniu, B ig Ugly An~or~irb,
l r t b alng (ogtker, IORt. t00t. root, toot. toof. WUY.
, 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 [,<ad la c o n r r i ~ r v ~ r , c pcrche ru r i a I'unur arrcrl 13 1 1 ~ 1 3
ad~c. a vt, ssalurl, Inn lmna i r a ' *P.lnrl~ro 3 ncighlmurt~uud wllrnr ('rnrc, p l r rnn
ILvd
P r i m a panc A r ~ r l ~ n j r r .a rcuola, purr;.
Chccchin. Mumulo. c t i , ccrn Xiwrro, art,ri,l r l t ~ r l cllc disc Pcrincrm? Chc nostm M is i t r Pan,
m u ru M,adurllla #Marc. I ha d i r in l la .blirtm ~ l l c nc d r p co'andcnlu 111rdi 1111 CAY~I wnza hraga. Anrlcnln via, c ~ ~ j r a n d o .
Owlcrc) salt'in Cttebe~rr. Llirnr i l ver, clje navc i. qucsta?
So, no discmu st'altra:
B m g o i ~ t a n d i 111 p3lazm co la rpada svtt'il hritzru
pcr Fxrsc fat rrson. I h3 lifii pia Bragan.
La rdn lur i 1 I;II~?. Hondi Madonna hIistra, c la rnn1p;tyw.
Second parr \vc l,;rvt> I,, ICJVC hccxu,c of thc iirct! 1t1 grr 161 t r r ~ ~ r u l r n i l l ~ MY I' l lnr-3-lcn~on of rhc Itch!- Hutc
[ L l r Pa~at:tIn~lc t l ~ ~ N ~ r t j ~ ] .
Hur brrnrc goinp rhcrc 1 11 mcrc i l r rrly cu l l r r r r r t l r \? lulallncrr]. .trtd Iwc.ulsc wc inrcnd t o honor rrcryurle -
Carcwcll. p o d herl [ l i ro yntt; nriiv gnrrcl day!
L i t t le Boys' Song First part IMcn:] l .crb su tu s r l ~uu l , l l t t lc h y s . Lirtlc Francescn, I:irolanlo, and you, precious
l ~ r r l c ~ \ l ~ i w .
d id p t r tir.ar \ihar lirrle I'lrlo said? l-t!al our nohlc 'hrhcr'. ju5r now. %%,;,I1 , , , , , < I ),,> ',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 <word undcr his arm
ro ~t satishctiun. -l-licy h.ave cn lg l l r and ricd up Big Britches.' Thc song is finishcd. Good day rnad.um rcachcr, and t o thc clasr.
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
<,ly ,I m7iI1 y,,,,;
I-uu say it Picm, l i r t lc Franccsco, and vnu, l i rr lc ,Mxrc~>.
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
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<I~'II A r c PCI h4nnlni
Scs~rnta scudi c 1111.1. - -
Se i t sn r~ u l l d c l Gratian da Nolopna. R rchc Id ntl'serr,'in grrrmrmr la rlrognd. Scrtanta .rrudi c una...
Alna 1.1 ose e cria. Orranta scodi. c t'a chc la SIZ rnla
['i. vmm. S ig r~~ r r 111iv.
Dwnquc oanull con dcvn I'rlIll;~ (1162 rlui p a r t ~ m m ~ .
Cantiam. [ ~ c r i clnri.uvo. 11 malvzrir, a rrvwt Creel: rumc
0 2001 Edircd by n o ~ ~ n . t M . ~ e J. I;I~<~.I~STIU with Robcrt I Iol l inp\mrrh
[Fl~>rrt~[ inc.] 'Fi* sc~tdi tor 1hi.r plcrry I~lrlr I l ~ c r .
Yruur scrunnt. Hru~larhiu, Florcnt~nc. ' 'FiFT scudi, goi l ls once.. . '
Ibrrrichman:) ' O n 7.c l ifc nFw k ~ n g , i i x y s c u d i ro oiF1.r hy rrl) f i i rh. ' 'hixtv sr-udi. k w i n ~ uncc ...' i U r l;r.~arriu.l ' S c v r l l ~ y a c ~ ~ d i . Graziano of
Boloana. b x a u r c sllr'll Ihrlp tnr s r rs~c l l rn). itch.' 'Scvent) scud;, going oncc ...'
[l'enrrian:] 'h i sc p r r vuicc and <hour. E i ~ t r t y scudi, and rhar ~nal ieq her ~ni r~e. ' 'She is yurlrs. my Lord.' Sv. cvcn-nne rake plcarure befnre wc Ir;wc i n singing h.~ppily, ler's ~ n g .
O 200t 13nr141~Mulac J . Gurrakun and Rnherr H n l I ~ i ~ ~ r o r [ l ~
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<r -~r~ i r ig In 11Jk lhkkc[. What can I do? In lovc 1 drcw .t luxrh alcket
F~LIu: .!irk i l l
Whob that calling frum r l~e ~hadowri Wiltt~ puch advlcc I can't mlutrr 1 wnn'! nrop unr~l I find thc pcrfccr hcr. I am lo%e's lnnsr dlqrrnguithed conno~sseur.
Echu: 00-cc'
Ynu're righr to he ~ ~ ~ ~ p l r w c r l , ~ l u o t ~ ~ l l ~ n y tastes
arc nut bizarrc. I could find rhc girl i t1 any Vcnrti.~n bar.
Echo. BM!
k ioharP **hot grtr yuu going. I'd ncvcr llaw gucswd.
Mas. it> 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<s jusr an echo! tfyou go down in the woods today vou'll find
that you'll Be insulted or wen askcd to 6ghr a duel. Rut lonk closer, iis y o k t own ut*ire callin: you a
fuol!
Q ZOO1 English version bv Timothy Knaprnan
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: [email protected]~er Website: www.chandos.net
Any requcsts to license rracks from his or any other Chandos disc should be made directly to the Copyright Administrator, Chandos Records Ltd, ar the abovc address.
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'.
Die Anmerkungen untl 'lPxte in deurscher Sprachc schiclen wir Ihnen auf lhfragc gcrn kosrenlos zu.
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 Gp 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!
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