John Dowland (2 gennaio 1563 - 1626): In darkness let me dwell, ayre. Ellen Hargis, soprano; Jacob Heringman, liuto; Mary Springfels, viol.
Capolavoro di Dowland, il brano fu pubblicato dal figlio del compositore, Robert (1591 - 1641), nella raccolta A Musicall Banquet. Furnished with a varietie of delicious Ayres, Collected out of the best Authors in English, French, Spanish and Italian (Londra 1610).

In darkness let me dwell; the ground shall sorrow be,
The roof despair, to bar all cheerful light from me;
The walls of marble black, that moist’ned still shall weep;
My music, hellish jarring sounds, to banish friendly sleep.
Thus, wedded to my woes, and bedded in my tomb,
O let me living die, till death doth come, till death doth come.

Dowland, Idlmd

My heart of gold

Ogni tanto mi piace ricordare agli amici qual è la mia canzone preferita. Nella mia antologia personale non poteva mancare l’interpretazione di Donna Stewart e Ron Andrico, ossia il duo Mignarda, più volte gradito ospite di questo blog. Buone emozioni a tutti 🙂

Alas, my love, you do me wrong
To cast me off discourteously,
And I have loved you so long,
Delighting in your company.

  Greensleeves was all my joy,
  Greensleeves was my delight,
  Greensleeves was my heart of gold,
  And who but my lady Greensleeves.

I have been ready at your hand,
To grant whatever you would crave;
I have both waged life and land,
Your love and good-will for to have.

I bought thee petticoats of the best,
The cloth so fine as fine might be:
I gave thee jewels for thy chest;
And all this cost I spent on thee.

Thy crimson stockings all of silk,
With gold all wrought above the knee,
Thy pumps as white as was the milk,
And yet thou wouldst not love me.

Well! I will pray to God on high,
That thou my constancy mayst see,
And that, yet once before I die,
Thou wilt vouchsafe to love me!

Elle s’en va

Orlando di Lasso (1530/32 - 1594): Elle s’en va de moi, chanson a 5 voci (n. 12 nel Tiers Livre des chansons a 4-6 parties, 1560) su testo di Clément Marot. Ensemble «Clément Janequin».

Elle s’en va de moi, la mieux aimée;
elle s’en va, certes, et si demeure
dedans mon coeur tellement imprimée
qu’elle y sera jusques à ce qu’il meure.

Il Divino

Francesco Canova, detto Francesco da Milano, Francesco del Liuto e il Divino 18 agosto 1497 - 1543): composizioni per liuto. Caius Hera.
Le composizioni di Francesco da Milano che ci sono pervenute sono state pubblicate in edizione critica dal musicologo statunitense Arthur J. Ness nel 1970; oggi, per distinguerle si usa far riferimento alla numerazione assegnata loro dal prof. Ness.

  1. Fantasia (Ness 67)
  2. Fantasia (Ness 41) [1:35]
  3. Fantasia (Ness 31) [2:10]
  4. Ricercar (Ness 52) [2:50]
  5. Ricercar (Ness 4) [4:24]
  6. Fantasia (Ness 81) [5:08]
  7. Ricercar (Ness 84) [5:52]
  8. Ricercar (Ness 16) [6:38]
  9. Fantasia (Ness 40) [7:36]
  10. Ricercar (Ness 10) [8:30]
  11. De mon triste desplaisir (trascrizione dell’omonima chanson di Jean Richafort) [10:03]
  12. Fantasia de mon triste (sulla medesima chanson) [11:46]
  13. Fantasia (Ness 15) [13:52]
  14. Ricercar (Ness 46) [15:29]
  15. Fantasia (Ness 61) [16:06]
  16. Fantasia (Ness 58) [17:01]
  17. Fantasia (Ness 11) [18:46]
  18. Fantasia (Ness 57) [20:19]
  19. Ricercar (Ness 3) [21:46]
  20. Ricercar (Ness 2) [23:21]
  21. Ricercar (Ness 8) [24:58]


Dueil angoisseux, rage desmesurée

Gilles Binchois (c1400 - 1460): Dueil angoisseux, chanson a 4 voci su testo di Christine de Pizan (Cristina da Pizzano, 1365 - c1430). Ensemble Asteria: Sylvia Rhyne, soprano; Eric Redlinger, liuto.
Versi composti dalla poetessa a seguito della morte del marito Étienne de Castel, notaio e segretario del re di Francia, vittima di una epidemia nel 1390.

Dueil angoisseux, rage desmesurée,
Grief desespoir, plein de forsennement,
Langour sansz fin et vie maleürée
Pleine de plour, d’angoisse et de tourment,
Cuer doloreux qui vit obscurement,
Tenebreux corps sur le point de partir
Ay, sanz cesser, continuellement;
Et si ne puis ne garir ne morir.

Fierté, durté de joye separée,
Triste penser, parfont gemissement,
Angoisse grant en las cuer enserrée,
Courroux amer porté couvertement
Morne maintien sanz resjoïssement,
Espoir dolent qui tous biens fait tarir,
Si sont en moy, sanz partir nullement;
Et si ne puis ne garir ne morir.

Soussi, anuy qui tous jours a durée,
Aspre veillier, tressaillir en dorment,
Labour en vain, à chiere alangourée
En grief travail infortunéement,
Et tout le mal, qu’on puet entierement
Dire et penser sanz espoir de garir,
Me tourmentent desmesuréement;
Et si ne puis ne garir ne morir.

Princes, priez à Dieu qui bien briefment
Me doint la mort, s’autrement secourir
Ne veult le mal ou languis durement;
Et si ne puis ne garir ne morir.

Folksongs: Bushes and Briars

Per Paola (buon compleanno!) e Carole.

Anonimo: Bushes and Briars, canto tradizionale inglese. Alfred Deller, controtenore; Desmond Dupré, liuto.
La «scoperta» di questo brano si deve a Ralph Vaughan Williams, che l’udì cantare da un pastore nell’Essex e ne pubblicò un arrangiamento per coro maschile a 4 voci a cappella nel 1908.

Through bushes and through briars,
I lately took my way;
All for to hear the small birds sing,
And the lambs to skip and play.

I overheard my own true love,
Her voice it was so clear;
Long time I have been waiting
For the coming of my dear.

Sometimes I am uneasy
And troubled in my mind;
Sometimes I think I’ll go to my love
And tell to him my mind.

And if I should go to my love,
My love he will say «Nay»;
If I show to him my boldness,
He’ll ne’er love me again.

L’arrangiamento di Vaughan Williams eseguito da The Gentlemen of St. John’s.

RVW, Bushes and briars

Folksongs: She Moved through the Fair

Anonimo: She Moved through the Fair, canzone tradizionale irlandese. Alfred Deller, controtenore; Desmond Dupré, liuto.
La melodia, diffusa in Irlanda e in Scozia, risale probabilmente al basso Medioevo. Il testo è stato pubblicato per la prima volta nella raccolta Irish Country Songs (1909), curata da Herbert Hughes.

My young love said to me: My mother won’t mind,
And my father won’t slight you for your lack of kine.
And she stepped away from me and this she did say:
It will not be long, love, ‘til our wedding day.

She stepped away from me and she moved through the fair,
And fondly I watched her move here and move there,
And then she went homeward with one star awake,
As the swan in the evening moves over the lake.

Last night she came to me, she came softly in.
So softly she came that her feet made no din,
And she laid her hand on me, and this she did say:
It will not be long, love, ‘til our wedding day.