Unkind – II

John Dowland (1563 - 1626): Farewell, unkind, farewell, ayre (pubblicato nel Third and Last Booke of Songs or Ayres, 1603, n. 14). Emma Kirkby, soprano; The Consort of Musicke, dir. Anthony Rooley.

Farewell, unkind, farewell, to me no more a father,
Since my heart, my heart holds my love most dear.
The wealth which thou dost reap another’s hand must gather,
Though my heart my heart still lies buried there.
Then farewell, then farewell, O farewell,
Welcome, my love, welcome, my joy forever.

‘Tis not the vain desire of human fleeting beauty,
Makes my mind to live though my means do die.
Nor do I Nature wrong, though I forget my duty:
Love not in the blood but in the spirit doth lie.
Then farewell, then farewell, O farewell,
Welcome, my love, welcome, my joy forever.

Lamento della Ninfa

Claudio Monteverdi (1567 - 1643): Lamento della Ninfa, da Madrigali guerrieri et amorosi (VIII Libro di madrigali, 1638, n. 22), su testo di Ottavio Rinuccini. Emma Kirkby, soprano; Paul Agnew e Andrew King, tenori; Alan Ewing, basso; The Consort of Musicke, dir. Anthony Rooley.
Lo stesso testo messo in musica da Antonio Brunelli, ma Monteverdi ne dà un’interpretazione completamente diversa.


Ambo siam sassi

Heinrich Schütz (8 ottobre 1585 - 1672): Di marmo siete voi SWV 17, madrigale a 5 voci (n. 17 del Primo libro de madrigali, 1611) su testo di Giambattista Marino. The Consort of Musicke, dir. Anthony Rooley.

Di marmo siete voi,
donna, a colpi d’amore,
al pianto mio,
e di marmo son io
alle vostr’ire e agli strali suoi
per natura,
per amor io costante
e voi dura.
Ambo siam sassi
e l’un e l’altro è scoglio,
io di fé e voi d’orgoglio.

SWV 17

Ask what thou wilt, and take it

Thomas Morley (c1557 - 1602): Phillis, I fain would die now, madrigale a 7 voci (dal First Book of Ballets, 1595). The Consort of Musicke, dir. Anthony Rooley.

Phillis, I fain would die now,
  O, to die what should move thee?
For that you do not love me.
  I love thee, but plain to make it,
  Ask what thou wilt, and take it.
O sweet, then this I crave thee,
Since you to love wilt have me,
Give me in my tormenting
One kiss for my contenting.
  This unawares doth daunt me,
  Else what thou wilt I grant thee.
Ah Phillis, well I see then,
My death thy joy will be then.
  O no, no, I request thee,
  To tarry but some fitter time and leisure.
Alas, death will arrest me,
You know, before I shall possess this treasure.
No no, dear, do not languish,
Temper this sadness
For time and love with gladness,
Once ere long will provide for this our anguish.

Phillis, I fain

Dolcezze amarissime

Heinrich Schütz (8 ottobre 1585-1672): O dolcezze amarissime d’amore, madrigale a 5 voci, SWV 2, su testo di Battista Guarini (dal Primo libro de madrigali, 1611). The Consort of Musicke, dir. Anthony Rooley.

O dolcezze amarissime d’amore,
quanto è più duro perdervi,
che mai non v’haver
o provate o possedute,
come saria l’amor felice stato,
se’l già goduto ben non si perdesse,
o quando egli si perde
ogni memoria ancora
del dileguato ben si dileguasse.

? (forse Rembrandt): Ritratto di musicista (forse Schütz)

Riccioli d’argento

John Dowland (1563-1626): His golden locks, dal First Booke of Songes (1597). Emma Kirkby, soprano; Anthony Rooley, liuto.

His golden locks Time hath to silver turned.
O Time too swift, O swiftness never ceasing:
His youth ‘gainst Time and Age hath ever spurned,
But spurned in vain; youth waneth by increasing.
Beauty, strength, youth are flowers but fading seen;
Duty, faith, love are roots, and ever green.

His helmet now shall make a hive for bees,
And lovers’ sonnets turn to holy psalms.
A man at arms must now serve on his knees,
And feed on prayers which are Age’s alms.
But though from Court to cottage he depart,
His Saint is sure of his unspotted heart.

And when he saddest sits in homely cell,
He’ll teach his swains this carol for a song:
Blest be the hearts that wish my Sov’reign well.
Curst be the soul that think her [him] any wrong.
Goddess [Ye gods], allow this aged man his right
To be your beadsman now, that was your knight.

His golden locks

Elegante paccottiglia per signore

John Dowland (1563 - 1626): Fine knacks for ladies, dal Second Booke of Songs or Ayres (1600). The King’s Singers e The Consort of Musicke, dir. Anthony Rooley.

Fine knacks for ladies, cheap choice, brave and new,
Good penny worths, but money cannot move;
I keep a fair, but for the fair to view;
A beggar may be liberal of love.
  Though all my wares be trash, the heart is true.

Great gifts are guiles, and look for gifts again,
My trifles come as treasures from my mind,
It is a precious jewel to be plain:
Sometimes in shell, the orient pearls we find.
  Of others take a sheaf, of me a grain!

Within the pack: pins, points, laces and gloves,
And diverse toys, fitting a country fair;
But my heart lives [But in my heart], where duty serves and loves:
Turtles and twins, court’s brood, a heav’nly pair.
  Happy the heart that thinks of no removes.