Sacro e profano

Orlando di Lasso (1530/32 - 1594): Ardant amour, chanson a 4 voci (pubblicata in Quatriesme livre des chansons a 4 et 5 parties, 1564, n. 6). Capilla Flamenca.

Ardant amour souvent me fait instance
de déclarer mon coeur ouvertement,
mais du refus la si grande doutance
ne me le veut permettre nullement.

Dont à jamais souffrirai le tourment
qu’amour craintif donne aux siens pour martire,
si Dieu ne fait pour mon allégement
qu’elle entende mon vouloir sans le dire.


Orlando di Lasso: Zu aller Stund, mottetto a 4 voci (pubblicato in Etliche auserlesne kürtze gute geistliche und weltliche Liedlein mit 4 Stimmen, 1582, n. 10). Esegue ancora l’ensemble Capilla Flamenca.
Si tratta di una parodia (nella fattispecie, di un travestimento spirituale) della chanson di cui sopra.

Zu aller Stund führ ich mein Klag von Herzen
und ruf zu dir o Gott,
hilf mir aus Not.

Mach mich gesund und still mir meinen Schmerzen
der mich so hoch beschwert
sich täglich mehrt.

O Herr sieh drein
durch die groß Marter dein,
erbarm dich mein und schau an mein Elende,

wann kommt die Zeit
so Leib und Seel sich scheidt,
nimm mich Armen in den Schutz deiner Hände.


Lasso

Da un luogo tranquillo

Betty Beath (19 novembre 1932): From a Quiet Place per viola e pianoforte (1997). Patricia Pollett, viola; Colin Spiers, pianoforte.

  1. – [5:10]
  2. – [14:04]

«I wrote From a Quiet Place for Patricia Pollett. I very much admire her musicianship. In performance she and her instrument are as one. I allowed this piece to come from that quiet place in which there is response to the intuitive within. Another influence was the vibrating, infinitely sweet, sometimes robust and dynamic sounds of Nepalese Singing Bowls. From a Quiet Place may be described as a meditative piece. I hoped to create a work in which simplicity, line and tone were important elements and I see the piano, which is performed here with great sensitivity by Colin Spiers, as fundamental in creating harmonic interest. It gives warmth and richness to the musical fabric.
«The work comprises three movements, which may be considered and performed as separate pieces. The first movement establishes a dialogue between viola and piano, the second moves through moods of tranquillity to exultation and final serenity, the third is a joyful, animated response to the pleasures of life» (Betty Beath).


BB