L’imperatore della luna non balla il valzer

Anonimo (Richard Motley, sec. XVII-XVIII): The Emperor of the Moon, country dance. Paul O’Dette, cittern; The King’s Noyse, dir. David Douglass.
Danza e melodia prendono il titolo dall’omonima farsa di Aphra Behn (1640 – 1689), rappresentata al Duke’s Theatre di Londra nel 1687. L’autore della musica è stato recentemente identificato in tal Richard Motley, musicista e maestro di danza attivo fra il 1688 circa e il 1710. Pubblicata per la prima volta in appendice al II volume dell’antologia Vinculum societatis, or The tie of good company being a choice collection of the newest songs now in use (1688), la composizione fu poi rielaborata da Henry Purcell per essere inserita nell’8a edizione (1690) della raccolta The English Dancing Master, curata da Henry Playford.


Annunci

In voce et organo

Henry Purcell (1659-21 novembre 1695): Laudate Ceciliam, «a Latine Song made upon St Cecilia, whose day is commerated [sic] yearly by all Musitians, made in the year 1683», per 3 voci, 2 violini e continuo, Z 329. Pro Cantione Antiqua e Collegium Aureum, dir. Mark Brown.

Laudate Ceciliam, in voce et organo.

Modulemini psalmum novum
In insigni die solemnitatis eius.
Quia preceptum est in ecclesia sanctorum,
Tu lex in tabernaculis iustorum.
Laudate Ceciliam, in voce et organo.

Dicite Virgini, canite martyri,
Quam excelsum est nomen tuum,
O beata Cecilia,
Tu gloria domus Dei, tu laetitia,
Quae sponsam Christo paras, respice nos.
Adeste caelites plaudite,
Psallite nobiscum Virgini, pangite melos.
Nobiscum martyri alternate laudes,
Citheris vestras iugite voces,
Citheras nostris sociate cantibus.
Laudate Ceciliam, in voce et organo.


Raffaello: Estasi di santa Cecilia

Hem!


Henry Purcell (1659 – 1695): Young Collin, cleaving of a beam, catch a 3 voci Z 291. The City Waites.

Young Collin, cleaving of a beam,
At ev’ry thumping blow cry’d «Hem!»
And told his wife, who the cause would know,
That hem made the wedge much further go.
Plump Joan, when at night to bed they came,
And both were playing at that same,
Cry’d: «Hem, prithee Collin do,
If ever thou lov’st me, dear, hem now.»
He laughing answer’d: «No, no, no,
Some work will split with half a blow;
Besides now I bore:
I hem when I cleave, but now I bore.»

Libera traduzione: c’è un giovane, Collin, impegnato a spaccare un grosso ceppo di legno; a ogni colpo che dà con la mazza esclama hem! A Joan, la mogliettina cicciottella (plump) che gli chiede perché quell’hem!, risponde che hem! serve a far andare il cuneo molto più a fondo.
La notte successiva, nel letto, mentre fanno un gioco assai simile, Joan grida: «Oh, Collin, tipregotipregotiprego, se mi ami fa’ hem! adesso.»
Collin ridendo risponde: «Nononò, per certi lavori basta un colpetto: faccio hem! quando devo darci dentro davvero, ma adesso è routine.»
C’è un gioco di parole intraducibile con cleave e bore : entrambi i verbi significano, fra l’altro, “penetrare”, ma cleave vale anche “spaccare”, mentre bore sta per “annoiarsi”.


Purcell

Drinking makes us mad

Alcuni catches (canoni) a 3 e a 4 voci di Henry Purcell (1659-1695) interpretati dal Deller Consort diretto da Alfred Deller 🙂


Come, let us drink,
’Tis in vain to think
Like fools on grief or sadness:
Let our money fly,
And our sorrows dye,
All worldly care is madness.

But wine and good cheer
Will in spight of our fear
Inspire our hearts with mirth, boys;
The time we live
To wine let us give,
Since all must turn to Earth, boys.

Hand about the bowl
The delight of my soul,
And to my hand commend it;
A fig for chink
’Twas made to buy drink,
And before we go hence we’ll spend it.



Prithee hen’t so sad and serious,
Nothing’s got by grief or cares;
Melancholy’s too imperious,
When it comes, still domineers.

But if bus’ness, love or sorrow
That possesses thus thy mind,
Bid ‘em come again tomorrow,
We are now to mirth inclin’d.

Let the glass run its round
And each good fellow keep his ground,
And if there be any flincher found
We’ll have his soul new coin’d.



I gave her cakes and I gave her ale,
I gave her sack and sherry;
I kiss’d her once and I kiss’d her twice,
And we were wondrous merry.

I gave her beads and bracelets fine,
I gave her dold down-derry;
I thought she was a-fear’d till she strok’d my beard,
And we were wondrous merry.

Merry my heart, merry my cocks,
Merry my sprites, hey down-derry;
I kiss’d her once and I kiss’d her twice,
And we were wondrous merry.



’Tis women makes us love,
’Tis love that makes us sad,
’Tis sadness makes us drink,
And drinking makes us mad.

Christopher Hogwood in memoriam

Henry Purcell (1659-1695): Abdelazer or The Moor’s Revenge, musiche di scena composte nel 1695 per una rappresentazione del dramma omonimo (1676) di Aphra Behn. Joy Roberts, soprano; The Academy of Ancient Music, dir. Christopher Hogwood (1941-24 settembre 2014).

1. Ouverture

2. Suite:

  • Rondeau [a 3:26]
  • Air I [a 5:00]
  • Air II [a 6:20]
  • Minuet [a 7:46]
  • Air III [a 8:41]
  • Jig [a 9:54]
  • Hornpipe [a 10:33]
  • Air IV [a 11:19]
  • Hornpipe [a 12:45]

3. Song: Lucinda is bewitching fair [a 12:49]

Gli occhi e tutto il resto


Henry Purcell (1659-1695): A health to the nut-brown lass Z 240, catch a 4 voci. Deller Consort, dir. Alfred Deller.

A Health, a health to the Nut-brown Lass
with the Hazle Eyes,
She that has good Eyes, has also good Thighs,
let it pass, let it pass.
As much to the livelier Gray,
They’re as good by night as day,
She that has good Eyes, has also good Thighs,
Drink away, drink away.
I’le pledge, Sir, I’le pledge,
What ho! Some wine, here! Some wine;
To mine, and to thine; to thine, and to mine;
The Colours are Divine;
But Oh! the Black Eyes,
the Black, give me as much again,
And let it be Sack.
She that has good Eyes, has also good Thighs,
And a better knack.