program - mrc-assets.s3. · pdf filealonso mudarra . fantasia* giulio caccini...

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PROGRAM

* Solo lute works: 8-course lute by Michael Lowe, Wootton-by-Woodstock 1981

JOHN DANYEL

‘Like as the Lute’‘Time, cruel time’‘ He whose desires are still abroad I see’

‘Eyes look no more’

EDWARD COLL ARD

Go from my window A ground*

ROBERT JONES

‘Lie down poor heart’‘ When love on time and measure makes his ground’

‘Farewell dear love’

JOHN DOWL AND

Captain Digorie Piper’s Pavan and GalliardForlorn Hope Fancy*

JOHN DOWL AND

‘The lowest trees have tops’‘Burst forth my tears’‘Sweet stay awhile’

INTERVAL

FR ANCOIS RICHARD

‘ Ruisseau qui cours après toi-même’

ANTOINE BOESSET

‘N'esperez plus mes yeux’‘Que Philis a l’esprit léger’

PIERRE GUEDRON

‘Si jamais mon ame blessée’

ROBERT BALL ARD

Entrée de luth*Branles de village*

ALONSO MUDARR A

‘Dulces exuviae’

LUIS DE NARVAEZ

Guardame las vacas*

LUIS MIL AN

Fantasia*

ALONSO MUDARR A

Fantasia*

GIULIO CACCINI

‘Dovrò dunque morire’

ANON

‘O bella più’

TARQUINIO MERUL A

‘La Nanna’

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John Dowland (1563-1626), despite being the greatest composer for the lute in England, and fêted abroad, had no luck in his efforts to obtain a position at Queen Elizabeth’s court and spent much of his thirties and early forties on the continent. Nevertheless he brought out several volumes of music in London; his First Booke of Songes (1597), an immediate success, was reprinted four times in the next 15 years and set the tone for such publications over two decades. In tonight’s program we approach Dowland via some of his colleagues.

The subtle and inventive John Danyel, (1564 –c.1626), published just one book Songs to the Lute, Viol and Voice (1606). He was brother to a famous poet, Samuel, whose beautiful lyrics John set with great freedom, in pieces beloved these days by singers and players alike. ‘Like as the Lute’ was Samuel’s virtuosic sonnet, full of word play and in-jokes about the power of music – in this case attributed to the Muse, without whom the struggling player/singer can do nothing, until she plays on his heart strings. Another stunning sonnet of Samuel’s ‘Time, cruel time’, is a classic love song to someone so radiant she seems set to overcome time and decay – but in a sly final couplet the lover warns that there will be no escape, by implication inviting his lady to share her gifts before it is too late. After this pavan-like piece it is tempting to continue with a galliard; and elsewhere in Danyel’s book is the perfect foil – ‘He whose desires are still abroad’, a beautiful celebration of life lived in quiet content, away from the emptiness of restless ambition. While this sober piece in fact has some gleams of happiness, ‘Eyes, look no more’ remains a deeply despairing text, set by Danyel in full pavan form;

ABOUT THE MUSIC

JOHN DOWL AND

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but the stately calm of the dance is undermined with his typical rhythmic inventiveness, and the harmonic structure turns out to be a brilliant, loving reworking of Dowland’s best-known song, ‘Flow my tears’.

The lute was held in very high esteem at courts throughout Europe during the 16th century and the Tudor court was no exception. Henry VIII and Elizabeth I were both taught to play this instrument and by 1593 there were no fewer than five lutenists in the Queen’s royal service. One of them, John Johnson, died in 1594 and four years later Edward Collard (fl.c.1595-1599) took up his position. Go from my window is a charming setting of the popular tune and it is followed by an untitled set of variations on A ground (a recurring bass ostinato). Collard probably invented the ground himself, and whilst always repeating the theme (in one variation half of it appears in the treble) he exploits the full range of the lute with some clever passage-work over and around it.

Just as characterful as Danyel’s songs, if less musically high-flown, were those of Robert Jones (c.1577 -1617), who covered every mood and level of

lyric. Jones was incensed at the criticism he encountered from ‘musical murmurers’, as he called them in a long and rambling preface in 1609; but his five volumes, brought out between 1600 and 1610, suggest that his targeted market of singers and players were content to support him. We have chosen three contrasted titles from the First Book of 1600: ‘Lie down, poor heart’ is a piece of vintage Elizabethan melancholy, its three stanzas of dark imagery and despairing alliteration each ending with the refrain ‘Lie down and die, and then thou shalt do well’. ‘When love on time and measure makes his ground’ might seem to start with more positive thoughts - ‘love can never die’ – but soon returns to the sad realisation that love in our world is false and ephemeral. (The best answer to this would have been a Platonic reminder of the world of true realities, beyond ours – but this is not to be found in the First Book, though a fine version, ‘If in this flesh’, came out in Jones’s ‘A Musical Dream’ of 1609.) Finally, a song very typical of Jones is ‘Farewell dear love’; a light-hearted mix of hope and despair, it must have been a success, since Shakespeare felt free to misquote it, to comic effect, in Twelfth Night.

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Dowland dedicated this pavan and galliard pair to Captain Digorie Piper, who was in command of a ship named The Sweepstake and authorized to attack Spanish ships. However, he gradually developed into a notorious pirate, preying on ships up and down the English Channel; he was eventually tried, convicted and bound over to repay his victims, and died deeply in debt in 1589. These two early pieces by Dowland are followed by one of his most extraordinary works, Forlorn Hope Fancy. A descending chromatic motif permeates this sublime piece, which erupts into a spectacularly virtuosic ending.

Our three Dowland songs cover as many facets of love: ‘The lowest trees have tops’ seems an elegant piece of philosophical musing, its theme the importance of small things; but by the end of the second stanza Dowland, almost with sleight of hand, has taken the song to heartbreak. The amorous shepherd in ‘Burst forth my tears’ is more demonstrative from the outset; his sheep are called to share his grief – but despite his protestations one feels that tomorrow they might see his beloved smile on him again. ‘Sweet, stay awhile’, an adaptation of John Donne’s aubade ‘Break of day’, was

published in 1612 and represents the distillation of Dowland’s art.

INTERVAL

Francois Richard: (c.1580 – 1650) came to England in 1625 with Charles I’s queen Henrietta Maria and stayed four years; for the rest of his career he held posts at the court of Louis XIII, as lutenist, composer and lute teacher to the choirboys of the Royal Chapel. His beautiful setting of St. Amant’s elegy for the drowned Silvie, ‘Ruisseau qui cours après toi-même’, must have made an impression in Charles’s court, for an English translation of it was published by Henry Lawes in 1669. (Saint-Amant, the soldier poet, came himself to England in 1643 as part of an effort to support King Charles’s cause; but without success, as the queen had to flee to France in 1644 and St Amant’s visit produced only a mock-heroic poem, ‘Albion’, satirizing the country under Parliamentarian control.)

Antoine Boesset’s (1586 -1643) career featured a cluster of court appointments but also steady success for his hundreds of published ‘Airs de Cour’ – indeed his songs were still on sale 50 years after his death. ‘'N’esperez plus mes yeux’ is a

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hypnotically beautiful lament; its haunting refrain inspired others to add elaborate ornaments. ‘Que Philis a l’esprit léger’ by contrast is light and witty, though not without poignancy; even as the disappointed shepherd thanks the gods for his deliverance from flighty Philis, the listener may be disinclined to believe him…

Pierre Guédron (1564 -1620) was a contemporary of Dowland; perhaps they even met in the 1580s when Dowland spent some time in Paris. Certainly Guédron was known and appreciated in England, where some of his songs were published in translations by Edward Filmer – a labour of love since Guédron’s works were often long and discursive, in many stanzas. In 1610 John’s son Robert Dowland published an anthology A Musicall Banquet in which all three of the songs in French were by Guédron. ‘Si jamais mon âme blessée’ is a heartfelt declaration of love, with one of Guédron’s typically limpid and haunting melodies, reinforced with tender rhetoric.

Robert Ballard (c. 1575-after 1650) was maitre de luth of the regent Maria de’ Medici and responsible for the tuition of King Louis XIII. He left us two collections of lute solos published in 1611 and 1614 in which the music is mostly drawn from ballets de cour. An Entrée de luth leads here to some rustic Branles de village over a drone accompaniment.

Alonso Mudarra (1510-1580) spent his youth in the household of Spanish dukes, and may have accompanied King Charles V to Italy; thereafter he entered the priesthood, becoming a canon and then major-domo at Seville, concerned especially with music; he also found time to compose, play and publish a wide variety of works for vihuela and for voices, solo and in consort. His setting of lines from Vergil’s Aeneid ‘Dulces exuviae’ transforms the Latin hexameters of Dido’s dying words into a strophic threnody of simple power.

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In 16th century Spain an instrument evolved, which was tuned like the lute and occupied a similar position in courtly musical life there; the flat- backed vihuela. Three of the most prolific vihuelistas are represented here; Luis de Narvaez (fl. 1530-1550), Luis Milan (c. 1500-after 1561) and Alonso Mudarra (c. 1510-1580). They all published books that were pedagogical works as well as containing some very fine music indeed. Luis de Narvaez was in the service of King Philip II. His Guardame las vacas is a set of four variations on a tune over the romanesca ostinato.

The Fantasia by Milan alternates slow chordal sections (consonancias) with rapid scale passages (redobles). Finally, the Fantasia by Mudarra imitates the style of King Ferdinand’s harpist Ludovico. At one point there are false relations between treble and bass and Mudarra explains that if this passage is played well these dissonances will not offend the ear.

Giulio Caccini (1551 -1618) a virtuoso singer from Rome, spent most of his career at the court of the Medici in Florence, where he featured in all the major musical celebrations; he was also deeply influenced by, and in turn a prominent contributor to the Camerata of Giovanni dei Bardi, a gathering of artists, writers, musicians and philosophers who, in their efforts to recreate the power and eloquence of ancient Greek musical drama, brought about the change of musical utterance known as ‘secunda prattica’, which in its declamatory freedom paved the way for the first operas; Caccini’s own Euridice was one of the earliest. He was also an effective teacher, whose book of 1601 ‘le Nuove Musiche’, and its sequel in 1614, offered aspiring singers hints about expressive singing that have been widely studied

CAR AVAGGIO (1571-1610) 'A LU TE PL AYER'

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and used in our time. Two of his songs were published in England, in the Musicall Banquet of 1610; one of those, ‘Dovrò dunque morire’ sets a fairly predictable melancholy lover’s lyric (‘must I then die before I can see you and tell you I am dying?’ etc.) with plenty of effects: differing phrase lengths, from short exclamations to long-drawn sighings, and then short melismatic phrases alternating with long held notes, inviting some of the effects laid out in his book, whether particular shapings of single notes or added melodic figures. There are many ways and much freedom here for a singer to try for Caccini’s ideal – that of moving the soul while delighting the senses.

The anonymous ‘O bella più’ the last song in Robert Dowland’s anthology was perhaps conceived as a sort of encore, since it is a catchy love song, full of blandishments and sweet effects.

In deep contrast to this, tonight’s program ends with the extraordinary ‘Canzonetta spirituale sopra La Nanna’ by Tarquinio Merula (1594 -1665), who worked in various places, including Poland, but spent most of his time in Cremona or nearby places in North Italy. His music is always characterful and interesting and he seems to have had a particular penchant for ostinato bass lines, against which his invention spins ever more exotic and daring dissonances in the upper parts; in ‘La Nanna’ he chose the barest bass possible, just the two notes of a semitone – for this was to be the rocking of the manger crib in Bethlehem, where the Virgin sings to her Child an extraordinary lullaby, loving, tender, yet full of anguish and foreboding.

WORDS BY EMMA K IRKBY

AND JAKOB L INDBERG

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THE TEXTS

JOHN DANYEL

‘Like as the Lute’

Like as the Lute delights or else dislikes

As is his art that plaies upon the same;

So sounds my Muse according as shee strikes

On my hart strings, high-tun’d unto her fame.

Her touch doth cause the warbling of the sound

Which here I yeeld in lamentable wise:

A wayling descant on the sweetest ground,

Whose due reports give honour to her eyes.

If any pleasing relish here I use,

Judge then the world her beautie gives the same:

Else harsh my stile, untunable my Muse,

Hoarse sounds the voice that prayseth not her name.

For no ground else could make the Musicke such,

Nor other hand could give so sweet a touch.

‘Time, cruel time’

Time, cruel time, can’st thou subdue that Brow

That conquers all but thee, and thee too stayes;

As if shee were exempt from Scieth or Bow;

From Love and yeeres, unsubject to decayes ?

Or are thou growne in league with those faire eyes,

That they might aide thee to consume our dayes?

Or doest thou love her for her cruelties,

Being mercilesse like thee that no man weighs?

Then doe so still, although she makes no 'steeme

Of dayes nor yeeres, but lets them runne in vaine.

Hould still thy swift-wing’d houres, that wond'ring seeme

To gaze on her, even to turne back againe;

And do so still, although she nothing cares.

Do as I doe, love her although unkinde.

Hould still. Yet, O I fear, at unawares

Thou wilt beguile her though thou seem'st so kinde.

© SAMUEL DANIEL (1562-1619), ‘ SONNE T

23’, FROM DEL IA , PUBL ISHED 1592

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‘He whose desires are still abroad I see’

He whose desires are still abroad I see

Hath never any peace at home the while;

And therefore now come back my hart to mee,

It is but for superfluous thinges we toyle;

Rest alone with thyselfe, be all within,

For what without thou getst, thou dost not win;

Honor, wealth, glory, fame, are no such things,

But that which from imagination springs.

High-reaching powre that seems to overflow

Doth creepe but on the earth, lies base and low.

‘Eyes look no more’

Eyes looke no more, for what hath all the earth that’s worth the sight?

Eares heare no more, for what can breath the voice of true delight?

Cloathe thee my hart, with darke black thoughts and think but of dispaire;

Silence lock up my words and scorne these idle sounds of ayre

Thinke Glory, Honour, Joyes, Delights, Contents

Are but the emptie reports

Of unappropried terms that breath invents

Not knowing what it imports.

But Sorrow, Griefe, affliction and Dispaire,

These are the things that are sure,

And these wee feele not as conceyts in th’ayre,

But as the same we endure.

Joyes, delights and pleasures in us hold such a doubtfull part,

As if they were but thrall,

And those were all in all;

For Griefes, Distrusts, Remorse, I see must domineere the hart.

Joyes, Delights and pleasures, makes griefe to tyrannise us worse;

Our mirth brings but distastes

For nought delights and lasts;

Grief then take all my hart, for where none strive, there needs less force.

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ROBERT JONES

‘Lie downe poor heart’

Lie downe poor heart and die awhile for griefe,

Think not this world will ever do thee good,

Fortune forewarns ye, look to thy reliefe,

And sorrow sucks upon thy living bloud,

Then this is all can helpe thee of this hell,

Lie downe and die, and then thou shalt doe well.

Day gives his light but to thy labour’s toyle,

And night her rest but to thy weary bones,

Thy fairest fortune follows with a foyle:

And laughing endes but with their after grones.

And this is all can helpe thee of thy hell,

Lie downe and die and then thou shalt doe well.

Patience doth pine and pity ease no pain,

Time wears the thoughts but nothing helps the mind,

Dead and alive alive and dead againe:

These are the fits that thou art like to finde.

And this is all can helpe thee of thy hell,

Lie downe and die and then thou shalt doe well.

‘When love on time and measure makes his ground’

When love on time and measure makes his ground,

Time that must end though love can never die,

Tis love betwixt a shadow and a sound,

A love not in the hart but in the eie,

A love that ebbes and flowes now up now down,

A mornings favor and an evenings frowne.

Sweete looks shew love, yet they are but as beames,

Faire words seeme true, yet they are but as wind,

Eies shed their teares yet are but outward streames:

Sighes paint a sadnes in the falsest minde.

Lookes, wordes, teares, sighes, shew love when love they leave,

False harts can weepe, sigh, sweare, and yet deceive.

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‘Farewell dear love’

Farewell dear love since thou wilt needs be gone,

Mine eyes do show my life is almost done,

Nay, I will never die

So long as I can spy;

There be many mo,

Though that she do go,

There be many mo I fear not –

Why then, let her go, I care not.

Farewell, farewell, since this I find is true,

I will not spend more time in wooing you;

But I will seek elsewhere

If I may find her there;

Shall I bid her go?

What and if I do?

Shall I bid her go and spare not,

Oh no no no no, I dare not.

What shall I do? My love is now departed,

She is as fair as she is cruell hearted;

She would not be entreated

With prayers oft repeated;

If she comes no more,

Shall I die therefore?

If she come no more, what care I?

Faith, let her go, or come, or tarry.

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JOHN DOWLAND

‘The lowest trees have tops’

The lowest trees have tops.the ant her gall;

the flie her spleen, the little spark his heate;

and slender haires cast shadowes though but small,

and bees have stings, although they be not great;

seas have their source, and so have shallowe springs;

and love is love in beggers and in kings.

Where waters smoothest run, deep are the foords;

the dial stirres, yet none perceives it move:

the firmest faith is in the fewest words,

the turtles cannot sing, and yet they love,

True hearts have eyes and eares, no tongues to speake:

they heare, and see, and sigh, and then they breake

‘Burst forth my tears’

Burst forth my tears , assist my forward griefe,

And shew what pain imperious love provokes.

Kind tender lambes, lament love’s scant reliefe,

And pine, since pensive care my freedom yokes.

O pine to see me pine, my tender flockes.

Sad pining care, that never may have peace

At beauties gate in hope of pittie knocks;

But mercy sleepes while deep disdaine increase,

And beautie hope in her faire bosome yokes

O grieve to heare my griefe, my tender flocks.

Like to the winds my sighs have winged beene;

Yet are my sighes and sutes repaid with mocks:

I pleade, yet she repineth at my teene.

O ruthless rigour harder than the rocks,

That both the shepherd kils, and his poore flocks.

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‘Sweet stay a while?’

Sweete stay a while, why will you rise?

The light you see comes from your eyes:

The day breakes not, it is my heart,

To thinke that you and I must part.

O stay, or else my joys must dye,

And perish in their infancy.

Deare let me dye in this faire breast,

Farre sweeter then the Phoenix nest.

Love raise desire by his sweete charmes

Within this circle of thine arms:

And let thy blisseful kisses cherish

Mine infant joys, that else must perish.

INTERVAL

GERRIT VAN HONTHORST U TRECHT (1590 - 1656) 'A WOMAN T UNING A LU TE'

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FRANCOIS RICHARD

‘Ruisseau qui cours après toi-même’

Ruisseau qui cours après toi-même,

Et qui te fuis toy-mesme aussi,

Arreste un peu ton onde icy

Pour escouter mon deuil extresme:

Puisque quand tu l’auras sçeu,,

vas t’en dire à la Mer

Qu’elle n’a rien de plus amer.

Raconte luy comme Silvie,

Qui seule gouvernoit mon sort,

A recue le coup de la mort

Au plus bel aage de la vie,

Et que cet accident triomphe en mesme jour

De toutes les forces d’Amour.

Las! Je n’en puis dire autre chose,

Mes soupirs trenchent mon discours!

Adieu ruisseau, reprends ton cours,

Qui non plus que moy ne repose:

Que si par mes regrets j’ay bien peu t’arrester,

Voila des pleurs pour te haster.

River, you who chase

and flee from yourself,

stop your flow here awhile

to hear my deepest mourning;

then when you’ve understood

go and tell the ocean

she harbours nothing more bitter than this.

Tell her how Silvie,

the only mistress of my fate

has been struck by death

in the most beautiful time of her life,

and that this disaster has in one day

crushed all the powers of Love.

Alas, I can say no more,

my speech is broken with my sighs!

Farewell, river, resume your journey,

which, like me, knows no rest: and

if my grief has slowed you a little,

Here are some tears to speed you on.

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ANTOINE BOESSET

‘N'esperez plus mes yeux’

N'esperez plus mes yeux

De revoir en ces lieux

La beauté que j’adore;

Le ciel, jaloux de mon bonheurA ravi ma naissante aurorePar sa rigueur.

Les pleurs n’ont plus de lieu

Dans le Coeur de ce dieu

Don't le feu me dévore;

Le ciel, jaloux…

C’est en vain soupirer,

C’est en vain espérer

Le secours que j’implore;

Le ciel, jaloux.

Hope no more, my eyes

to see here again

the beauty I adore;

heaven, jealous of my good fortune

has wrenched away my sunrise,

implacably.

There is no more room for tears

in the heart of that god

whose fire consumes me;

heaven, jealous.

in vain are sighs

in vain any hopes

of the help I am imploring;

heaven, jealous.

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‘Que Philis a l’esprit léger’

Que Philis a l’esprit léger

L’on seroit bien malheureux d’être son berger;

Je bénirai toujours les Dieux

Qui m’ont défendu des traits de ses yeux.

Sa beauté peut tout enflammer;

Même un Dieu en la voyant la voudrait aimer.

Pour moi je veux bénir les Dieux

Qui m’ont défendu des traits de ses yeux.

Il est vrai qu’elle a tant d’appas

Qu’il faudrait n’avoir point d’yeux pour ne l’aimer pas

Aussi je dois bénir les Dieux

Qui m’ont défendu des traits de se yeux

Phyllis is so flighty, it would be

misery to be her swain;

every day I’ll bless the gods

who’ve kept me from her glances.

Her beauty can set everyone alight:

even a god would love her at first sight.

For me, I want to bless the gods


It’s true she has such charms

you’d have to be blind not to love her:

so I ought to bless the gods


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PIERRE GUEDRON

‘Si jamais mon ame blessée’

Si jamais mon ame blessée

Loge ailleurs qu’en vous sa pensée,

Puissé-je estre pour chastiment

Privé de tout contentement.

Si jamais l’amour d’aultre dame

Eschaufe mon cueur de sa flame,

Puissé-je esprouver les rigueurs

De toutes sortes de malheurs.

Si jamais le temps ni l’absence

Peuvent esbranler ma constance,

Puissé-je sans aucun secour

Languir le reste de mes jours.

Bref, soyés moy tousjours cruelle

Autant que vois me semblés belle,

Si je manqué a vostre beauté

D’amour et de fidelité.

if ever my wounded soul

turns its thoughts to any but you,

may my punishment be

The loss of all contentment.

If ever the love of another woman

warms my heart with its flame,

may I endure the rigours

Of every sort of misfortune.

If ever time or separation

can weaken my constancy

may I, without any help

Languish for the rest of my days.

In short – may you be always cruel to me,

as cruel as you are beautiful,

if I fail to honour your beauty

With love and faithfulness.

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ALONSO MUDARRA

‘Dulces exuviae’

Dulces exuviae, dum fata deusque sinebant, Accipite hanc animam meque his exsolvite curis. Vixi et quem dederat cursum fortuna peregi, Urbem praeclaram statui, mea moenia vidi,Ulta virum penas inimico a fratre recepi, Felix, heu nimium felix, si litora tantum

Numquam Dardaniae tetigissent nostra carinae.” Dixit, et os impressa toro, “moriemur inultae Sed moriamur” ait. “sic, sic iuvat ire sub umbras. Hauriat hunc oculie ignem crudelis ab alto Dardanus, et nostrae secum ferat omina mortis.” Dixerat atque illam media inter talia ferro Collapsam aspiciunt comites, ensemque cruoreSpumantem, sparsasque manus.

“Sweet relics, sweet while fate and the gods allowed it,

Now receive my soul and release me from these cares.

I have lived, and followed the course that fortune gave me;

I founded a famous city, and saw my ramparts built,

I exacted revenge for my husband from his hostile brother.

I would have been happy, ah, so happy, if only the Trojan fleet

Had never touched our shores .”

She spoke thus, and pressed her face to the couch:

“I will die unavenged, but let me die”, she said:

“Thus, thus I choose to go down to the shades.

Out at sea, let the heartless Trojan drink in this fire with his eyes,

And bear with him the presence of my death.”

After these words, her companions beheld her

Fallen mid-speech on her dagger, blood foaming on the blade and sprinkled on her hands.

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So must I die

before seeing you again,

Longed-for cause of my suffering?

my lost treasure

Will I not be able to say to you before I die: “I am dying?”

Oh unheard of misery,

Not to be able to tell you “my life, I am dying!”

GIULIO CACCINI

‘Dovrò dunque morire’

Dovrò dunque morire ? Pria che di nuovo io miri,Voi bramata cagion de miei martiri?Mio perduto tesoro, Non potrò dirvi pria che mora, io moro? O miseria inaudita,Non poter dir a voi, moro, mia vita!

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ANON

‘O bella più’

O bella più che la stella Diana,Chi parinansi de la mia patrona,Mi regina, dolce mi’ amore,Pieta, cor mio pieta, non più dolore;Bene mio caro, core mio bella,tu se la mala morte miola freccia chi mi pass’il core.

TARQUINIO MERULA

‘La Nanna’

Hor ch’e tempo di dormire

dormi figlio e non vagire

Perchè tempo ancor verrà che vagir bisognerà ;

Deh ben mio, deh cor mio, fa la nina nina naChiudi quei lumi divini

come fan gl’altri bambini

Perchè tosto oscuro velo

Priverà di lume il cielo

Deh ben mio…Over prendi questi latte

dalle mie mamelle intatte

Perchè ministro crudele ti prepara aceto e fiele.

O more beautiful than starry Diana

appearing before my mistress,

my queen, my sweet love

take pity on me, my heart, no more pain:

you my dear, my beautiful heart

you are my cruel death,

the arrow that pierces my heart.

Synopsis:

the Virgin rocks her

crying child, telling him to

close his eyes like other babies;

tenderly she offers her

breast, for milk and a soft bed

But she has terrible fears

that the time will come for

tears, when he gives up his life

to the Father, on the cross,

at the hands of

cruel men offering not milk

but vinegar and myrrh

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Bidding him rest his little limbs

that will be bound in chains

she sees him

looking at his hands and feet, that

will be pierced with nails, that divine breast

That gracious face,

now redder than the rose

will be spat upon; and ah! with

what agony of pain and grief

will the sole hopes of her heart-

that head, this hair -

be pierced with sharp thorns -

ah! and that holy breast,

sweet love of her life, be

fatally wounded with a spear….

“Sleep now”, she says,

“sleep, my Redeemer;

and in time, with joy

we shall meet in Paradise…

Deh ben mio…Amor mio sia questo petto hor per te morbido letto

Pria che rendi ad alta voce l’alma al Padre sù la Croce

Deh ben mio….Posa hor queste membra belle

vezzosette e tenerelle

Perchè poi ferri e catene

gli daran acerbe pene. Deh ben mio… Queste mani e questi piedi

che con gusto e gaudio vedi

Ahime com’in marij modi passeran acuti chiodi,

Questa facia gratiosa

Rubiconda hor più che Rosa

Sputi eschiaffi sporcheranno

con tormento e grand’affanno

Ah con quanto tuo dolore

sola speme del mio core

Questo Capo e questi crini

passeran acuti spini

Ah ch’in questo divin petto

Amor mio dolce e diletto

Vi farà piaga mortale empia lancia e disleale..

Dormi dunque figliol mio

Dormi pur Redentor mio

Perchè poi con lieto viso

Ci vedrem in Paradiso…

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Hor che dorme la mia vita

Del mio cor gioia compita

Tacia ognun con puro zelo

Tacian fin la terra e’l Cielo

E frà tanto io che faro?

Il mio ben contemplerò

Ne starò col capo chino

Fin che dorme il mio Bambino.

Now that at last my Life is sleeping,

vital joy of my heart,

let all the world and heaven

be silent. And now

what shall I do? I will stay

in reverent contemplation,

head bowed, while

my Child is sleeping.”

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JORDI SAVALLHespèrion XXI &

Tembembe Ensamble Continuo

Grammy-Award winning ‘early music superstar’ Jordi Savall and two leading ensembles, Hespèrion XXI and Tembembe Ensamble Continuo, explore the inspired and energetic music of Baroque Spain and the Americas.

TICKETS FROM $75

WED 21 FEB & THU 22 FEB 7.30PM, EMH

SELLING FAST!

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Emma Kirkby feels lucky in many ways: that she met Renaissance vocal polyphony while still at school, that she studied Classics and sang with the Schola Cantorum at Oxford, and, best of all, that there she encountered ‘historical’ instruments known to Renaissance and Baroque composers, the lute, harpsichord, early piano, wind and string instruments, whose sound and human scale drew from her an instinctive response.

Beginning as a schoolteacher and amateur singer, she was soon invited to perform professionally with pioneer groups; and long partnerships followed in Britain and abroad, with ensembles, individual players, and record companies, so that now Emma’s voice and style are recognized worldwide.

ABOUT THE ARTISTS

EMMA KIRKBY, SOPRANO JAKOB LINDBERG, LUTE

EMMA K IRKBY & JAKOB L INDBERG

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Emma was awarded a DBE in 2007, and in 2011 the Queen’s Medal for Music. Amazed by all this, she is nevertheless glad of the recognition it implies, for a way of music-making that values ensemble, clarity and stillness above volume and display; above all she is delighted to see a new generation of performers bringing their skills and enthusiasm to the endeavour, so that her chosen field is now peopled with young virtuosi, happy to play as soloists or in consort.

Jakob Lindberg, born in Djursholm in Sweden, was inspired first by the Beatles, then turned to classical guitar, studying at Stockholm University; later at the Royal College of Music in London he worked on lute repertoire with Diana Poulton, deciding finally to concentrate on Renaissance and Baroque music.

Working with BIS Jakob has made pioneering recordings, presenting a wide range of music on CD for the first time. He has brought Scottish lute music to public attention, demonstrated the beauty of the Italian repertoire for chitarrone and recorded chamber music by Vivaldi, Haydn and Boccherini on period instruments. He

is the first lutenist to have recorded the complete solo lute music by John Dowland and his version of Bach's music for solo lute is considered to be one of the most important readings of these works. Most recent are recitals of Weiss and of English Jacobean composers, on his newly restored lute, by Sixtus Rauwolf of Augsburg, c. 1595.

An active continuo player on theorbo and arch lute, Jakob is also much in demand as an accompanist; but it is particularly through live solo performance that he is known as one of the finest lutenists of today, with concerts all over the globe from Tokyo and Beijing in the East to San Francisco and Mexico City in the West.

In addition to his performances, Jakob teaches at the Royal College of Music where he succeeded Diana Poulton as professor of lute, and in intensive courses worldwide.

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INSPIRED GIVING

A PLACE OFUNPARALLELED MUSICAL VIBRANCY

LOCAL HEROES LEADERSHIP CIRCLE

Inaugural Local Heroes Benefactor

The Klein Family Foundation

Majlis PtyMaria Sola

MUSIC CIRCLE PATRONS PROGRAM

Magnum Opus Circle ($20,000+)

Melbourne Recital Centre Board of Directors Kathryn Fagg Peter & Cally Bartlett Stephen Carpenter & Leigh Ellwood Joseph Corponi The Hon Mary Delahunty Paul Donnelly & Brigitte Treutenaere Margaret Farren-Price & Prof Ronald Farren-Price AM

Eda Ritchie AM

Composers Circle ($4000+)

Anonymous (1)John & Lorraine BatesRobert & Jan GreenHenkell Family FundJenny & Peter HordernMessage Consultants AustraliaJames Ostroburski & Leo OstroburskiDrs Victor & Karen Wayne

Musicians Circle ($2500+)

Liz & Charles BaréAnn LahoreDiana LempriereJoyce Marks & Danielle DavisShelley & Euan MurdochSirius FoundationMary Vallentine AO

Prelude Circle ($1000+)

Adrienne BasserHelen BrackBill & Sandra BurdettMaggie CashJohn Castles AM & Thelma Castles OAM

Julie Ann Cox AM & Laurie Cox AO

Kathy & George DeutschMary DraperLord Francis Ebury & Lady Suzanne EburyMaggie EdmondSusan FallawThe Leo & Mina Fink FundAngela GloverAnn GordonJan GrantNance Grant AM MBE & Ian HarrisSue Hamilton & Stuart Hamilton AO

In memory of Beryl HooleyStuart JenningsDr Garry Joslin & Prof Dimity Reed AM

Snowe LiMaria MercurioBaillieu Myer AC & Sarah MyerStephen Newton AO

Dr Paul Nisselle AM

Greg NoonanElizabeth O’KeeffeHelen PerlenDr Robert PiaggioKerryn PratchettSandra Robertson & Philip CachiaDr Peter Rogers & Cathy RogersPeter Rose & Christopher MenzIn Memory of Pauline SpeedyRob & Philippa SpringallPamela SwanssonSally WebsterJanet Whiting AM & Phil Lukies

Supporters ($500+)

Anonymous (1)Jenny AndersonPeter J ArmstrongMin Li ChongProf John Daley & Rebecca CoatesSylvia GeddesPenelope HughesBarbara Kolliner & Peter Kolliner OAM

Dr Anne LierseDr Diane Tibbits

ACCESS TO THRILLINGMUSIC FOR EVERYONESHARE THE MUSIC($10,000+)

Krystyna Campbell-Pretty

John & Susan Davies

($4000+)

Helen & Michael Gannon

($2500+)

Anne Burgi & Kerin CarrDorothy Karpin

($1000+)

Keith & Debby BadgerKaye & David BirksMaria HansenIn memory of Beryl HooleyGeorge & Grace KassProf John Langford AM & The Late Christina McCallumAnn MillerGreg Shalit & Miriam FaineProf Richard Smallwood AO & Carol Smallwood

($500+)

Anonymous (4)Caroline & Robert ClementeVivien & Jacob FajgenbaumShulan Guo & Morris WatersDr Robert HetzelDr Kingsley GeeWendy Kozica, Alan Kozica & David OÇallaghanDr Marion LustigMaria McCarthyDennis & Fairlie NassauAndrew & Georgina PorterBarry & Barbara ShyingRosemary Walls

A PLATFORM FORTHE VERY BEST

GREAT PERFORMERS LEADERSHIP CIRCLE

Anonymous (1)Brian & Esther BenjaminPaulette & Warwick BisleyThe John & Jennifer Brukner FoundationGeorge & Laila EmbeltonGeoff & Jan PhillipsMaria Sola

SIGNATURE EVENTS LEADERSHIP CIRCLE

Inaugural Signature Events Benefactors

Yvonne von Hartel AM & Robert Peck AM of peckvonhartel architects

LEGAL FRIENDS

Legal Friends Inaugural Patrons

The Hon Justice Michelle Gordon & The Hon Kenneth M Hayne AC QC

($4000+)

Naomi Golvan & George Golvan QC

The Hon Justice Michelle Gordon & The Hon Kenneth M Hayne AC QC

Peter & Ruth McMullinPeter B Murdoch QC & Helen MurdochMaya Rozner & Alex King

($2500+)

Anonymous (1)Meredith SchillingPeter J Stirling & Kimberley Kane

($1000+)

Anonymous (3)Marcia & John K ArthurPeter BartlettAnnette Blonski & Martin Bartfeld QC

David ByrneThe Hon Alex Chernov AC QC

& Mrs Elizabeth ChernovLeslie G ClementsChristine CloughThe Hon Julie Dodds- StreetonColin Golvan QC & Dr Deborah GolvanTimothy GoodwinThe Hon Hartley Hansen QC & Rosalind HansenRobert Heathcote & Meredith KingThe Hon Peter Heerey AM QC & Sally HeereyJudge Sara Hinchey & Tom PikusaJohn Howie AM

& Dr Linsey HowiePandora Kay & John LarkinsAnthony J & Philippa M KellyMaryanne B Loughnan QC

Banjo McLachlan & Paul MahonyElizabeth O’KeeffeRalph & Ruth RenardMichael Shand QC

Tom SmythThe Hon Judge Josh Wilson & Dr Silvana Wilson

($500+)

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Ingrid BraunElizabeth BorosKatherine BrazenorThe Hon Stephen Charles & Jennifer CharlesGeorgie ColemanThe Hon David L Harper AM

The Hon Chris Maxwell AC

The Hon Justice O’CallaghanMichael & Penny Rush

NURTURING YOUNG ARTISTS

ARTIST DEVELOPMENT LEADERSHIP CIRCLE

Inaugural Artist Development & Music Education Benefactor

The Late Betty Amsden AO

Anonymous (1)Peter Jopling AM QC

Mrs Margaret S Ross AM & Dr Ian C Ross

CHILDREN & FAMILIES LEADERSHIP CIRCLE


MASTER CLASS LEADERSHIPS CIRCLE

Ensemble Giovane

ELISABETH MURDOCH CREATIVE DEVELOPMENT FUND

($20,000+)

Annamila Pty LtdThe John & Jennifer Brukner FoundationAnne Kantor AO & Dr Milan Kantor OAM

($10,000+)

The Pratt FoundationAngelina & Graeme Wise

($4000+)

John Calvert-Jones AM

& Janet Calvert-Jones AO

Andrew & Theresa DyerJo Fisher*Yvonne von Hartel AM & Robert Peck AM of peckvonhartel architectsLyndsey & Peter HawkinsDr Alastair JacksonChristine Sather*Lyn Williams AM

YMF Australia

($2500+)

John & Mary BarlowArnold & Mary BramJacinta Carboon*Dr Shirley Chu & Wanghua William ChuChristine & Michael CloughKathryn Fagg*Joyce Marks & Danielle Davis*Dr Cherilyn Tillman & Tam Vu

($1000+)

Anonymous (2)ARM ArchitecturePeter J Armstrong*Bailey-Lord Family*Fiona Bennett*Mary Beth Bauer*Jane BloomfieldHelen BrackNorah Breekveldt*Zoe Brinsden*Barbara BurgePaul Donnelly & Brigitte TreutenaereW K Clark & B Heilemann*Dr Jane Gilmour OAM & Terry Brain*Andrea GoldsmithRobert & Jan GreenProf Andrea Hull AO*Dr Garry Joslin & Prof Dimity Reed AM

Liane Kemp*Sally MacIndoeAnnette MaluishNorene Leslie McCormac*Dr Richard Mills AM

Rosemary O’Connor*Tim Orton & Barbara DennisProf David Penington AC & Dr Sonay PeningtonHoward PennyGeoff & Jan Phillips

($500+)

Stirling Larkin, Australian Standfirst°Ann BryceJohn Castles AM & Thelma Castles OAM

Jim Cousins AO & Libby CousinsGeorge & Laila EmbeltonJoshua Evans°Margaret Farren-Price & Prof Ronald Farren-Price AM

Naomi Golvan & George Golvan QC

Nance Grant AM MBE

& Ian HarrisThe Hon Justice Michelle Gordon & The Hon Kenneth M Hayne AC QC

John Howie AM & Dr Linsey HowiePeter Jopling AM QC & Dr Sam MandengAnthony J & Philippa M KellySnowe Li °Message Consultants AustraliaSimon & Genevieve MooreTravis PembertonRalph & Ruth RenardMrs Margaret S Ross AM & Dr Ian C RossRae RothfieldProf Richard Smallwood AO & Mrs Carol SmallwoodLady Marigold Southey AC

Susan Thacore

REACHING BEYOND THE CENTRE

MARY VALLENTINE LIMITLESS STAGE FUND

($20,000+)

Naomi Milgrom AO

Kim Williams AM

($10,000+)


Lady Marigold Southey AC

($4000+)

Kathryn Greiner AO

Peter & Ruth McMullin

($2500+)

Lady Primrose Potter AC

($1000+)

Jenny & Peter HordernThe Ullmer Family FoundationJanet Whiting AM

& Phil LukiesIgor Zambelli

($500+)

Susan M Renouf

FOR BOOKINGS VISIT MELBOURNERECITAL.COM.AU OR PHONE 03 9699 3333 • TRANSACTION & DELIVERY FEES MAY APPLY

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Founding BenefactorsThe Kantor Family Helen Macpherson Smith Trust The Calvert-Jones Family Robert Salzer Foundation Lyn Williams am The Hugh Williamson Foundation

International Airline Partner Presenting Partner Learning Partner

Founding PatronThe Late Dame Elisabeth Murdoch ac dbe

ENCORE BEQUEST PROGRAM

Providing sustained support for all aspects of the Centre’s artistic program through its Public Fund.

Anonymous (3)The Late Betty Amsden ao

Jenny Anderson Barbara BlackmanJennifer Brukner

Ken BullenJim Cousins ao & Libby CousinsDr Garry JoslinJanette McLellanElizabeth O'Keeffe

The Estate of Beverley Shelton & Martin SchönthalMary Vallentine ao

Melbourne Recital Centre acknowledges the generous support of its business partners, philanthropic supporters and patrons.

Principal Government Partner

Supporting Partners

Program Partners

Business Partners

Board Members

THANK YOU

Kathryn Fagg, Chair Peter Bartlett Stephen Carpenter

Joseph Corponi The Hon Mary Delahunty Paul Donnelly

Margaret Farren-Price Eda Ritchie am Margaret Taylor

THANK YOU


Founding BenefactorsThe Kantor Family Helen Macpherson Smith Trust The Calvert-Jones Family Robert Salzer Foundation Lyn Williams AM The Hugh Williamson Foundation


Founding PatronThe Late Dame Elisabeth Murdoch AC DBE

ENCORE BEQUEST PROGRAMProviding sustained support for all aspects of the Centre’s artistic program through its Public Fund.

Anonymous (3)The Late Betty Amsden AOJenny Anderson Barbara BlackmanJennifer Brukner

Ken BullenJim Cousins AO & Libby CousinsDr Garry JoslinJanette McLellanElizabeth O’Keeffe

The Estate of Beverley Shelton & Martin SchönthalMary Vallentine AO

Supporting Partners

Program Partners

Foundations

Business Partners

Board MembersKathryn Fagg, Chair Peter Bartlett Stephen Carpenter


Margaret Farren-Price Eda Ritchie AM Margaret Taylor


THE PEGGY & LESLIE CRANBOURNE FOUNDATION

ETHEL HERMANCHARITABLE TRUST

52 MELBOURNE RECITAL CENTRE – 2018 CONCERT GUIDE

THANK YOU









Supporting Partners

Program Partners

Foundations

Business Partners








THANK YOU









Supporting Partners

Program Partners

Foundations

Business Partners








THANK YOU









Supporting Partners

Program Partners

Foundations

Business Partners








Foundations

THANK YOU









Supporting Partners

Program Partners

Foundations

Business Partners








THANK YOU









Supporting Partners

Program Partners

Foundations

Business Partners








THANK YOU









Supporting Partners

Program Partners

Foundations

Business Partners








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