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

Annunci

Ask what thou wilt, and take it

Thomas Morley (c1657 - 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)

While she for triumphs laughs


John Dowland (1563-1626): Come again, ayre, dal First Booke of Songes (1597). Barbara Bonney, soprano; Jacob Heringman, liuto.



Lo stesso brano interpretato da membri del Consort of Musicke: Martyn Hill, tenore; Anthony Rooley, liuto; Trevor Jones, bass viol.

Come again! sweet love doth now invite
Thy graces that refrain
To do me due delight,
To see, to hear, to touch, to kiss, to die,
With thee again in sweetest sympathy.

Come again! that I may cease to mourn
Through thy unkind disdain;
For now left and forlorn
I sit, I sigh, I weep, I faint, I die
In deadly pain and endless misery.

All the day the sun that lends me shine
By frowns do cause me pine
And feeds me with delay;
Her smiles, my springs that makes my joys to grow,
Her frowns the Winters of my woe.

All the night my sleeps are full of dreams,
My eyes are full of streams.
My heart takes no delight
To see the fruits and joys that some do find
And mark the storms are me assign’d.

Out alas, my faith is ever true,
Yet will she never rue
Nor yield me any grace;
Her eyes of fire, her heart of flint is made,
Whom tears nor truth may once invade.

Gentle Love, draw forth thy wounding dart,
Thou canst not pierce her heart;
For I, that do approve
By sighs and tears more hot than are thy shafts
Did tempt while she for triumph laughs.

In pride of may


Thomas Weelkes (1576 – 1623): As Vesta was from Latmos hill descending, madrigale a 6 voci. The King’s Singers.



Weelkes: O Care, thou wilt despatch me, madrigale a 5 voci. The Consort of Musicke, dir. Anthony Rooley.

O, Care, thou wilt dispatch me,
If music does not match thee.
Fa la la.


So deadly dost thou sting me,
Mirth only help can bring me.
Fa la la.



Weelkes: In pride of may, madrigale a 5 voci adattato per ottoni e interpretato dall’ensemble Canadian Brass.

In pride of may the fields are gay,
the birds do sing, do sweetly sing.
Fa la la la la la.


So nature would that all things
should with joy begin the Spring.
Fa la la la la la.


Then Lady dear do you appear,
in beauty like the Spring.
Fa la la la la la.


I well dare say the birds that day
more cheerfully will sing,
Fa la la la la la.


Il bianco e dolce cigno


Jacques Arcadelt (1504/05 – 1568): Il bianco e dolce cigno, dal Primo Libro de’ madrigali a 4 voci (1539); testo di Alfonso d’Avalos. The King’s Singers (sopra) e The Consort of Musicke.

Il bianco e dolce cigno
cantando more, ed io
piangendo giung’al fin del viver mio.
Stran’e diversa sorte,
ch’ei more sconsolato
ed io moro beato.
Morte che nel morire
m’empie di gioia tutto e di desire.
Se nel morir, altro dolor non sento,
di mille mort’il dì sarei contento.


Arcadelt, Il bianco e dolce cigno

Bianco come gigli era il suo viso

John Dowland: White as lilies was her face. The Consort of Musicke diretto da Anthony Rooley; Emma Kirkby, soprano.

White as lilies was her face,
When she smiled she beguiled,
 Quitting faith with foul disgrace,
 Virtue, service thus neglected,
 Heart with sorrow hath infected.

When I swore my heart my own,
She disdained, I complained;
 Yet she left me overthrown,
 Careless of my bitter grieving,
 Ruthless bent to no relieving.

Vowes and oaths and faith assured,
Constant ever, changing never,
 Yet she could not be procured,
 To believe my pains exceeding,
 From her scant neglect proceeding.

Oh that Love should have the art,
By surmises, and disguises,
 To destroy a faithful heart,
 Or that wanton looking women,
 Should reward their friends as foemen.

All in vaine is Ladies love,
Quickly choosed, shortly loosed,
 For their pride is to remove,
 Out alas their looks first won us,
 And their pride hath straight undone us.

To thy selfe the sweetest faier,
Thou hath wounded, and confounded,
 Changles faith with soule dispaier,
 And my service hath envied,
 And my succours hath denied.

By thine error thou hast lost,
Hart unfained, truth unstained,
 And the swaine that loved most,
 More assured in love than many,
 More dispised in love than any.

For my heart, though set at nought,
Since you will it, spoile and kill it!
 I will never change my thoughts,
 But grieve that Beauty e’er was born,
 To banish love with froward scorn.