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Bruce Fithian Music Director
Com6atancrcaroCs
Friday May 29 2015 730PM middot Cathedral Church of Saint Luke 143 State Street Portland Maine
Sunday May 312015 400 PM Episcopal Church of Saint Mary
43 Foreside Road Falmouth Foreside Maine With special reception to follow performance
Tuesday June 2 2015 730 PM First Parish Church
9 Cleaveland Street Brunswick Maine
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Cotnbat and Carols
I Songs of Love and War
Claudio Monteverdi (1567 1643)
Come dolce hoggi lauretta Book IX Madrigals Soloists Christine Letcher soprano I Molly Harmon soprano II Rachel Keller soprano III Timothy Burris theorbo Kathryn Sytsma viol da gamba Bruce Fithian harpsichord
o mio bene Book IX Madrigals Soloists Martin Lescault tenor I Bruce Fithian tenor II Bruce Canterbury bass Timothy Burris theorbo Kathryn Sytsma viol da gamba Christopher Pelonzi harpsichord
Armato il cor damantina fede Book IX Madrigals Soloists Erin Chenard soprano I Andrea Graichen soprano II Timothy Burris theorbo Kathryn Sytsma violda gamba Bruce Fithian harpsichord
Ardo avvampo mi struggo Book VIII Madrigals Soloists Christine Letcher Rachel Keller Andrea Graichen Martin Lescault Bruce
Fithian John D Adams Bruce Canterbury
Mary Jo Carlsen violin I Michael Albert violin II Timothy Burris theorbo Kathryn Sytsma viol da gamba Christopher Pelonzi harpsichord
II Combattimento di Tancredi e Clorinda Book VIII Madrigals Soloists Martin Lescault Testoohn D Adams Trancredi Molly Harmon Clorinda Dancers Erica Diesl Trancredi Kaleigh Natale Clorinda Colleen Edwards choreographer Mary Jo Carlsen violin I Michael Albert violin II Evan Cuddy viola Timothy Burris theorbo
Kathryn Sytsma viol da gamba Bruce Fithian harpsichord
Intermission
Christine Letcher harpsidwrd on May 29 Bruce Fithian harpsichord on May 29
Paul McGovern on May 29
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II George Frideric Handel (1685 1759)
o praise the Lord with one consent Chandos Anthem No9 HWV 254
I Chorus 0 praise the Lord with one consent II Air for alto Praise Him all ye that in this house
Soloist Andrea Graichen Michael Albert oboe
III Air for tenor For this is our truest intrest Soloists Martin Lescault
IV Air for bass That God is great Soloist John D Adams
V Chorus With cheerful notes let all the earth
VI Air for soprano Gods tender mercy knows no bounds Soloist Erin Chenard
VII Chorus Ye boundless realms of joy
VIII Chorus Your voices raise
Mary Jo Carlsen violin I Evan Cuddy violin II Michael Albert oboe Timothy Burris theorbo
Kathryn Sytsma viol da gamba Bruce Fithian harpsiclwrd
St maPlj Schota Music Director Bruce Fithian
Sopranos Erin Chenard Molly Harmon Rachel Keller Christine Letcher Mezzosoprano Andrea Graichen Abra Mueller
Countertenor James M Brown Tenors Bruce Fithian Martin A Lescault Paul McGovern
Baritone Basses John D Adams Asa Bradford Bruce Canterbury Nicholas MacDonald
Baroque Violins Mary Jo Carlsen Michael Albert Madeline Kapp Viola Evan Cuddy
Viol da gamba Kathryn Sytsma Oboe Michael Albert
Theorbo Timothy Burris Harpsichord Bruce Fithian Christine Letcher
Special Guests Christopher Pelonzi harpsichord
Colleen Edwards choreographer Erica Diesl Trancredi Kaleigh Natale Clorinda
Special thanks Douglas Watkins - Website Administrator
Not appearing in this concert
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Thank you for joining us for our 20142015 season It is a pleasure to offer you the best in early music from the Medieval Renaissance and
Baroque eras We look forward to seeing you again at in December for our Annual Christmas concert
Special Guests
Colleen Edwards choreographer attended The Boston Conservatory where she earned her BFA in Dance and worked with Luis Fuente Donna Silva and Denise Pons While there she danced in Jose Limons Missa Brevis was a soloist in Anthony Tudors Dark Elegies and Fokines Les Sylphides She danced as a soloist with the Baton Rouge Ballet Theater in their Nutcracker Tale from the Bayou and as the Winter Fairy in Cinderella Also at BRBT Colleen was chosen to perform as a soloist at the Gala performance of the Southwest Ballet Festival in Parable Colleen danced as a principle in Northeast Ballet Theaters The
Nutcracker and danced two seasons with Urbanity Contemporary Dance Company in Boston performing in the premier of the acclaimed Story of Stuff at the Strand Theater
Kaleigh Natale Clorinda graduated from The Boston Conservatory with her BFA in Contemporary Dance Performance in 2012 While at The Boston Conservatory she had the opportunity to perform works by Jose Limon Gianni DiMarco Alwin Nikolais Ohad Naharin Danny Pelzig as well as student choreographers Kaleigh joined Portland Ballet Company in 2012 as an apprentice and was promoted to a company member in 2013 With PBC she has appeared in the Summer Seaside Social Halloween Spooktacular The Victorian Nutcracker and The Armed Man
Erica Diesl Trancredi received her early training from the Acton School of Ballet under the direction of Kathryn Anderson and Walter Morris After high school Erica continued her education at the University of Utah and the San Francisco Conservatory of Dance where she was able to learn works by J iri K ylian and Ohad Naharin among others Since graduating from the University of Utah she has worked with BalletRox in Anthony Williamss Urban Nutcracker and she has spent two seasons dancing with the Ballet Theatre of Maryland She was recently seen in the role of Death in The Armed Man
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Board of Directors
Jennifer Gregg - President Bruce Fithian - Music Director
Thomas Smith - Treasurer
Kue John Lor - Secretary The Reverend David Illingworth
J ames Stoddard Nadine Timberlake
Dr Robert Timberlake
Jennifer Gregg has spent her last five years as Scholas Board President and will be stepping down from her position St Mary Schola wishes to indicate their gratitude and appreciation for
outstanding service to Jennifer for her years of service to the Schola by granting her the lifetime title of Honorary Director Thank you Jennifer for all that you have done for the Schola
Robert Timberlake will become the new Schola board president beginning June 2015
St Mary Schola would like to express its gratitude to the communities of Saint Mary in Falmouth Saint Luke in Portland and First Parish in Brunswick
for their continued support and friendship
About the Schola St Mary Schola was founded in 2008 by The Reverend James Dalton-Thompson and Bruce Fithian with the goal to provide the finest in early music literature to New England audiences Based at the Episcopal Church of Saint Mary in Falmouth the ensemble presents three concert programs a year The Schola features some of Maines finest singers and instrumentalists who explore the great masterworks of the medieval Renaissance and baroque eras especially the music of Monteverdi Schutz and Bach
Would you like to sponsor a St Mary Schola concert Concert sponsorship helps pay rental fees and provides the artists remuneration beyond the ticket sales Please see any Schola board member or email contactstmaryscholaorg for more information
St Mary Schola is looking for volunteers If you would like to help out in any way please speak with any Schola board member or send an email to contactstmaryscholaorg Thank you
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We wish to thank the following generous benefactors to St Mary Schola
Seraphim Anonymous Peter and Harriette Griffen
Cherubim Jennifer A Gregg Mrs Verner Reed Robert and Nadine Timberlake
Hosts Anonymous Tom and Sheila Donaldson Margaret Fast Carson and Chris Lutes
Virtues Corporate Sponsor William R Britton Jr Betsy and Tom Elliman Eileen Farrar Ann Jordan Kue John Lor Nancy L Meiners Joan and Dan McDonald Patricia C Mordecai Peter Murray Doug and Becky Pride Tom and Connie Smith
~WnltzlQ If -- ~f~-~~qgtJon II Moving Mqnq~ment middot middotmiddot I~ln~$Mfbea ~)4ff~gtCQoQhlng - ~qginQ
For a Free Consultation Contact Kim Dorsky and Liz Pattison
E-mail infoSimplysizedhomecom
Phone 35er0046 bull wwwsimplysizedhomecom
J ames and Elizabeth Stoddard Richard and Louise Sullivan Doug Watkins and Michael Pickel
Archangel Company Matched Contributions Bruce and Lorraine Canterbury Macys Inc Nancy Dimmick Unum Group
These concerts would not be possible without your support Relying upon tax-deductible donations St Mary Schola is a 501 (c) (3) non-profit organization devoted to fostering appreciation of early music Please visit the Scholas website stmaryscholaorgdonatehtml for online donations or checks made payable to St Mary Schola can be mailed to 43 ForesideRoad Falmouth Maine 04105
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Program Notes Welcome to our spring concert The first half of our program is devoted to the music of Claudio Monteverdi and his later works of chamber music and music drama In the course of nine books of madrigals Monteverdi transformed the elegant polyphonic forms of the Renaissance into a completely new style It is especially in his eighth book called Madrigafi Guemmiddoteri et Amorosi (Madrigals of War and Love) that this new style was made manifest At the beginning of the seventeenth century especially in Florence musicians philosophers and lovers of music were interested in widening the scope of musics expressive powers In his foreword to the Book VIII Madrigals Monteverdi describes these efforts and how through the reading of Plato and Aristotle he himself came up with his own solutions He wrote
Having considered that our mind has three principle passions - anger temperance and humility and music theory describes this clearly with the three terms of agitated (concitato) tender (moffe) and temperate (temperato) and never having been able to find in all the compositions of the past composers an example of the agitated style as described by Plato Take up that harmony which as it should imitates the voice and accents of a man going bravely into battle and knowing that it is contraries that deeply affect our mind the goal of good music ought to have as Boethius affirms when he says Music is associated with our lives to lend honor to our manners I have set myself the task of discovering this stife concitato (agitated style)
In this way he could juxtapose the startling emotions of war and love In the ninth book of rnadrigals there are many striking examples of his invention Come dolce hoggi lauretta from the lost opera Proserpina rapita paints an exquisite picture of languid breezes caressing lovers 0 mio bene begins with gentle pleading and ends with a refrain that is much more warlike on the words no more war Similarly Armato il cor damantina fede describes a soul being armed against the pains of love with many military vocal flourishes
Ardo avvampo mi struggo from the eighth book of madrigals has a dramatic contrast of two emotions the first part is a hysterical plea of help - clearly this lover is frantically burning with ardor Monteverdi almost humorously describes the desperate lovers cries throughout the eight voices with repeated notes (especially on the phase water water water water to extinguish the fire of love) and then in the second part of the madrigal there is contrasting music that is more poignant more in the temperate style And on the words per si beato ardore (for such blissful burning) the mood completely changes to the tender style (stife moffe) On a footnote Handel at the end of the baroque era was also intrigued by the theory of music styles depicting emotions his oratorio LAllegro il Penseroso ed il Moderato explored joyful pensive and moderate states of mind
It is with the music drama 11 Combattimento di Tancredi e Clorinda that Monteverdi clearly showed his new style In his preface he described how he divided up the whole note into sixteen sixteenth notes that were sounded one after another to represent anger and vexation To perform a better experiment I seized upon the divine Tasso and the description he makes of the combat between Tancredi and Clorinda so that I would have contrary passions to set to music that is war supplication and death And then in the year 1624 when I performed it before the best people of the noble city of Venice it was listened to with great applause and praised He also noted that the musicians who played the basso continuo felt that the necessity to strike a single string sixteen tiroeS
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in one measure laughable rather than praiseworthy This shows us how revolutionary his invention was The story of II Combattimento di Tancredi e Clorinda from Tassos epic Gerusalemme liberate Gerusalem delivered) was perfect for Monteverdis creativity
Joining the Schola ensemble for this piece are two special guest dancers Erica Diesl and Iltaleigh Natale with choreography by Colleen Edwards
The scene is that of a fight in single combat between a Crusader Tancredi and the Muslim maiden Clorinda of whose sex he could not be aware since she is dressed in armor It is revealed that Clorindas parents were Christian but this does not affect her until the moment of her death Tancredi has seen her once without her helmet and has fallen immediately in love In the battle Tancredi not knowing her identity or even her sex pursues her vengefully as she attempts to defend her city
Monteverdi vividly describes much of the action through the orchestra the trotting of the horses the clashing of swords and the famous repeated sixteenth notes in G major portraying the furious battle There is the first use ofpizifcato (the plucking of strings) to imitate the sounds of weapons As the warriors get tired the music gets slower and softer and the whole battle scene is relentlessly in G major and just like in minimalism of the 20th century when the music changes to another tonality it is breathtaking
After a brief respite the battle continues until Clorinda is mortally wounded It is at this point that the stile concitato (agitated style) changes to a mood of reflection and sadness (stile molle tender style) When Clorinda implores Tancredo that he has been victorious her vocal line as well as the instruments are marked forte and piano (again a rare use of these markings) indicating her fighting for breath When she has a change of mind and asks Tancredi to baptize her the mood becomes very quiet pious and remorseful Clorindas final words of peace are movingly set to ecstatic harmonies
But what kind of a music theatre piece is Combattimento There has been a lot of discussion about the best way to realize this work It was clearly never meant to be an opera like Monteverdis other staged works because most of Combattimento is narrated offering the tenor narrator (in our case the brilliant Martin Lescault) an opportunity to render the ancient art of oratory But it is also not an oratorio We have come up with our own realization by using both singers and dancers simultaneously In this way the glories of the music can be portrayed aurally as well as visually I want to take this opportunity to thank Colleen Edwards her talented dancers and the musicians of the Schola for the many hours they have put into bringing this great masterpiece to life
James Brydges 1st Duke of Chandos (1674-1744) vas an English nobleman who built a sumptuous country mansion called Cannons (estimated at costing 42 million dollars in todays currency) that was a seat of great learning and culture Like Prince Esterhazy in Haydns time the Duke of Chandos was an important patron of music Handel was the resident composer at Cannons from 1717 until 1719 where an ensemble of singers and musicians was employed Handel wrote 11 Chandos anthems which were performed at the parish church of St Lawrence Little Stanmore and the 1716 organ that Handel himself played is still there While at Cannons Handel also composed the delightful masque Acis and Galatea and the oratorio Esther
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The Chandos Anthem No9 0 praise the Lord with one consent is based on verses from Psaln1 135 117 and 148 After a lovely orchestral introduction the first chorus theme will be familiar to many it is the melody known as St Ann or in most hymns as 0 God our help in ages past The first part of this chorus explores the main theme with a contrasting celebratory theme on the words and magnify his name Like Bach I-Iandel was a master at developing several themes contrapuntally In the second part of the chorus on the words let all the servants of the Lord his worthy praise Handel ingeniously composed contrasting then1es that intertwine in a fugue The whole chorus sparkles with joy and delight
The alto air Praise him all ye that in his house attend is one of the many arias Handel composed with the marking larghetto which left room for a tempo that is not too slow nor too fast I-Ie clearly loved this piece because he used it again in a later version of Esther and Deborah
The tenor air highlights agile coloratura phrases for the tenor voice and is full of great rhythmic energy
The majestic bass air That God is great with the unusually high tessitura must have been written for the same bass who sang in Acis and Galatea
The chorus With cheerful voice let all the earth to heaven their voices raise has a very unusual marking indicating a decrescendo (getting softer little by little) Handel clearly marked f p pp to indicate this and it is rare for the baroque era However one wonders whether crescendos and decrescendos might have been asked for in performance even though they were not notated in this era The second part of the chorus has a Lutheran-like chorale theme similar to the St Ann melody surrounded by a wonderfully pulsating eighth note pattern in the voices and instruments
In the soprano air Gods tender mercy knows no bound one can see why singers in Handels time as well as today love his vocal writing His ability to compose soaring lines filled with passion continues to enchant us
The chorus Ye boundless realms of joy exalt your makers fame is also in two parts the first part of which explores two contrasting themes The second part has a very lyrical theme on the words his praise your song employ above the starry frame in which the vocal line rises gracefully upwards
The final chorus Your voices raise brings in a rousing alleluia in contrapuntal variations like in his much later chorus For not us a child is given from Messiah
It has been an honor to learn and present these amazing glories from the past and we are so glad to share them with you our loyal and appreciative audience Bruce Fithian
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Translations Come dolce hoggi lauretta Claudio Monteverdi poem by Giulio Strozzi Come dolce hoggi lauretta Lusinga spira spira e vien A baciarmi lascivetta A baciarmi Ie guancie 1 sen
Gli Amoretti laura fanno Quando l ali spiegan al ciel Quando vanno quando vanno Della notte a squarciar il vel
Ride il bosco brilla il prato Scherza il fonte festeggia 1 mar Quando un fiato quando un fiato Daura fresca sode spirar
Entri pur nel nostro petto o bell aura nel tuo venir Quel diletto quel diletto Che fa lalme tanto gioir
o mio bene Claudio Monteverdi o mio bene 0 mia vita non mi far pili languire Non mi negar aita chio mi sento morire Non pili guerra damore no no nuo core
o begli occhi 0 bei rai non pili non pili penare non mi date pili guai chio mi sento mancare N on pili guerra di pene no no mio bene
o mio core 0 mio core o mia face 0 mia face non messer pili crudele non mi negar pili pace perchio ti son fedele N on pili guerra di noia no no nuo gtoia
How sweet today the enchanting breeze breathes and comes to kiss me teasingly to kiss my cheeks and breast
The breeze creates lovers when their wings soar up to heaven when they go to lift the veil of night
The forest laughs the meadows shine the fountain plays the waves rejoice when a breath of cool breeze is heard blowing
Come you too to our breast o beautiful breeze and with your coming what delight which makes the soul so rejoice
o my beloved 0 my life Dont let me languish anymore Do not refuse to help me otherwise I feel I may die No more love-war no no my heart
o beautiful eyes 0 beautiful beams no more pain Give me no more troubles Otherwise I feel I will faint No more pains of war No no my beloved
o my heart my heart o my beloved face Do not be so cruel to me Do not deny me peace Because I am faithful to you No more annoying war
IN 0 no my JOY
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Armato i1 cor damantina fede Claudio Monteverdi Armato il cor dadamantina fede I come armed with a heart of unbreakable faith nellamoroso regno in the reign of love a mili tar ne vegno to war contrastero col Ciel I will fight against heaven e con la sorte and against destiny pugnero con la morte I will battle with death chintrepido guerriero as an intrepid warrior se vittoria non ho And if I am not victorious vita non chero I will not want to live
Ardo avvampo mi struggo Claudio Monteverdi Ardo avvampo mi struggo I burn I blaze I melt Accorrete Come running amici vicini allinfiammato loco friends neighbors to the site of the blaze Alladro alladro stop thiefl Al tradimento Al foco Treachery Fire Scale accette martelli Take ladders hatches acqua prendete hammers water E voi torri sacrate anco tacete And you church towers are you still silent Su su bronzi chio dal gridar son roco Come bells come for I am hoarse with shouting Dite il periglio altrui non lieve 0 poco proclaim this peril not slight or small to others E deglincendi miei pieta chiedete and request pity for my burning
Son due belli occhi illadro e seco amore Two beautiful eyes are the thief and with them Love lincendiario che linique faci is the arsonist who hurled dentro la rocca mavvento del core the evil torches inside the citadel of my heart
Ecco i rimedi omai vani e fallaci By now all cure is vain and deceptive Mi dice ognun Per si beato ardore Everyone tells me Such burning is so blissful las cia chel cor sincenerisca e taci allow your heart to burn to ashes and be silent
II Combattimento di Tancredi e Clorinda Claudio Monteverdi Tancredi che Clorinda un uomo stima vuol ne larmi provarla al paragone Va girando colei lalpestre cima ver altra porta ove dentrar dispone Segue egli impetuoso onde assai prima che giunga in guisa avvien che darmi suone chella si volge e grida - 0 tu che porte correndo si - Rispose - E guerra e morte
Tancredi believing Clorinda is a man desires to challenge her in single combat She skirting round the mountain peak is heading for a city she intends to enter
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So impetuous is his chase that well before he reaches her she hears the noise of armor and turning cries You there what is the cause of such great haste He answers war and death
Guerra e morte avrai - disse - io non rifiuto darlati se la cerchi e fermo attendee Ne vuol Tancredi chebbe a pie veduto il suo nen1ico usar cavallo e scende E impugna lun e laltro il ferro acuto ed aguzza lorgoglio e lira accende e vansi incontro a passi tardi e lenti quai due tori gelosi e dira ardenti
War and death youll have she said Ill not deny your object if youll stand and face me Tancredi who saw his enemy on foot declines to stay on horseback and dismounts Both grasp their sharpshyedged swords prick on their pride whip up their fury and advance upon each other with slow steps like two rival bulls inflamed with fury
Notte che nel profondo oscuro seno chiudesti e nelloblio fatto si grande degne dun chiaro sol degne dun pieno teatro opre sarian si memorande Piacciati chindi i1 tragga en bel sereno a Ie future eta 10 spieghi e mande Viva la fama lor e tra lor gloria splenda dal fosco tuo lalta memorIa
Night who hath enclosed in thy dark breast and in obscurity a deed so great since the light of day and of a crowded theatre feats so memorable are worthy grant that I may illuminate them thus transmitting them to future generations May their fame live on and may their glory shine out a noble memory from your darkness
Non schivar non parar non pur ritrarsi voglion costor ne qui destrezza ha parte Non danno i colpi or finti or pieni or scarsi toglie lombra el furor luso de larte odi Ie spade orribilmente urtarsi a mezzo il ferro el pie dorma non parte sempre il pie fermo e la man sempre in moto ne scende taglio in van ne punta a voto
To dodge to parry blows or to retreat they do not strive for skill has here no part They do not feint nor strike now hard now soft darkness and rage preclude all subtlety Hark to the horrifying clash of sword on steel their feet cleave the ground their feet are still their hands move constantly no cut but finds its mark no thrust goes wide
Lonta irrita 10 sdegno a la vendetta e la vendetta poi lonta rinova onde sempre al ferir sempre ala fretta stimol novo saggiunge e piaga nova dor in or piu si mesce e pi u ristretta
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si fa la pugna e spada oprar non giova dansi con pomi e infelloniti e crudi cozzan con gli elmi insieme e con gli scudi
Indignation fuels their vengeful fury vengeful fury fuels more indignation whence to their fierce exchange their frenzy comes a new stimulus to inflict more wounds from time to time they close and then the fight is more restricted sword blades are no use they strike with pommels and more savage now clash their casques and their shields together
Tre volte il cavalier la donna stringe con Ie robuste braccia e altrettante poi da quei nodi tenaci ella si scinge nodi di fier nemico e non damante Tornano al ferro e lun e laltro il tinge di molto sangue e stanco e anelante e questi e quegli al fin pur si ritira e dopo lungo faticar respira
Thrice does the knight the woman grip in his strong arms and as oft does she break free from those tenacious bonds the bonds of bitter enmity not love Now they resume their swords and each the other bathes in streams of blood weary and panting both he and she must draw apart at last and after laboring long regain their breath
Lun laltro guarda e del suo corpo essangue sul pomo de la spada appoggia il peso Gia de lultima stella i1 raggio langue suI primo albor che in oriente acceso Vede Tancredi in maggior copia il sangue del suo nemico e se non tanto offeso ne gode e in superbisce oh nostra folIe mente chognaura di fortuna estolle
They eye each other and lean exhausted bodies upon the pommels of their swords The last remaining star is fading now as dawns first rays illuminate the east Tancredi sees his enemys copious loss of blood and his own injuries less grave Well pleased he preens himself Oh human folly that fortunes every offering refuses
Misero di che godi oh quanto mesti siano i trionfi e infelice il vanto Gli occhi tuoi pagheran (sin vita resti) di quel sangue ogni stilla un mar di pianto Cost tacendo e rimirando questi sanguinosi guerrier cessaro alquanto Ruppe il silenzio al fin Tancredi e disse perche il suo nome lun laltro scoprisse
Poor man what joy is this How tragic is your victory how ill-conceived your pride These eyes of yours will pay - if you survive shya sea of tears for each drop of that blood
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So silently and thoughtfully they stood these bloody warriors and paused awhile At last Tancredi broke the silence saying because he wished them to disclose their names
Nostra sventura eben che qui simpieghi tanto valor dove silenzio il copra Ma poi che sorte rea vien che ci nieghi e lode e testimon degni de lopra pregoti (se fra larmi han loco i preghi) chel tuo nome el tuo stato a me tu scopra accio chio sappia 0 vinto 0 vincitore chi la mia morte 0 vittoria onore
our true misfortune is that we employ such valor here where it must go unsung But since our cruel destiny denies us the admiration worthy of such feats I pray you - if in combat prayers have place - to reveal your name and status to me so that as victor or as vanquished I know who has honored me with life or death
Rispose la feroce - Indarno chiedi quel cho per uso di non far palese Ma chiunque io mi sia tu innanzi vedi un di quei due che la gra~ torre accese - Arse di sdegno a quel parlar Tancredi e - In mal punto il dicesti (indi riprese) el tuo dir el tacer di par malletta barbaro discortese a la vendetta
The warrior maid replies You ask in vain that which it is my custom to conceal But whoever I may be you see before you one of the two who set the great tower ablaze Hearing these words Tancredi is incensed Inopportune were those words Your speech and silence spur me on alike uncouth barbarian to retribution
Torna lira ne cori e Ii trasporta benche deboIi in guerra a fiera pugna Ularte in bando ugia la forza e morta ove in vece dentrambi il furor pugna 0 che sanguigna e spaziosa porta fa luna e laltra spada ovunque giugna ne larmi e ne Ie cami e se la vita non esce sdegno tienla al petto unita
Their anger now rekindles and propels tl1em back though weak to war to that fierce fight where skill is outlawed strength is dead and naked fury takes the place of both o what bloody gaping openings the sword of each inflicts whereer it strikes on armor and on flesh and life would issue forth did fury not retain it in the breast
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Ma ecco omai lora fatal e giunta chel viver di Clorinda al suo fin deve Spinge egli il ferro nel bel sen di punta che vi simmerge el sangue avido beve e la veste che dor vago trapunta Ie mammelle stringea tenere e lieve lempie dun caldo fiume Ella gia sente morirsi el pie Ie manca egro e languente
But 10 the fatal hour has now arrived that to Clorindas life must put an end He thrusts the blade straight into her fair breast where immersed it avidly drinks her blood And her tunic exquisitely gold-embroidered that clings around her dainty tender breasts fllls with a tepid stream She knows at once that she must die and staggers weak and faint
Segue egli la vittoria e la trafitta vergine minacciando incalza e preme Ella mentre cadea la voce afflitta movendo disse Ie parole estreme parole cha lei novo spirto addita spirto di fe di carita di speme virtu che dio Ie infonde e se rubella in vita fu la vuole in morte ancella
Victory in his grasp he throws himself menacingly upon the wounded maiden She while falling with her failing voice speaks her dying words which indicate a change of heart a spirit new to her one of faith of charity of hope virtues inspired by God intent that she rebellious in life in death will be his handmaid
Amico hai vinto io ti perdon perdona tuancora al corpo noche nulla pave a lalma si deh per lei prega e dona battesmo a me chogni miacolpa lave - In queste voci languide risuona un non so che di flebile e soave chal cor gli scendeed ogni sdegno ammorzae gli occhi a lagrimar invoglia e sforza
Friend you have won I pardon you Your pardon grant me too not for my fearless body but for my soul 0 pray for that and give me baptism to cleanse me of all sin In this languid utterance he hears a strange appeal a plaintive gendeness that to his heart descends and melts all anger making tears sting then gush forth from his eyes
Poco quindi lontan nel sen dun monte scaturia mormorando un picciol rio Egli vaccorse e lelmo empie nel fonte e tomo mesto al grande ufficio e pio Tremar senti la man mentre la fronte non conosciuta ancor sciolse e scoprio La vide e la conobbe e resto senza e voce e moto Ahi vista ahi conoscenza
Not far off from the heart of a mountain welled a litde murmuring stream Thither he ran his casque filled at the spring and grieving began the great and sacred rite His hand was trembling as he loosened the vizor and raised it from the face as yet unknown He saw and recognized her then was he bereft of speech and movement Ah tragic revelation
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Non mori gia che sue virtuti accolse tutte in quel punto e in guardia al cor Ie mise e premendo il suo affanno a dar si volse vita con lacqua a chi col ferro uccise Mentre egli il suon de sacri detti sciolse colei di gioia trasmutossi e rise e in atto di morir lieta e vivace dir parea Sapre il ciel io vado in pace
He did not die but marshalled his forces and posted them around his heart to guard it and stifling his grief he sought to restore with water life to the one his sword had slain While listening to the holy words he uttered she was transformed by happiness and smiled as she died her spirit filled with joy she seemed to say f-Ieaven opens I go in peace
INTERMISSION
o praise the Lord with one consent Chandos Anthem No9 HWV 254 George Frideric Handel 1 Chorus - 0 praise the Lord with one consent and magnify his name Let all the servants of the Lord his worthy praiseproclaim 2 Alto Air - Praise him all ye thatin his house attend with constant care with those that to his utmost courts with humble zeal repair 3 Tenor Air - For this our truest intrest is glad hymns of praise to sing and with loud songs to bless his name a most delightful thing 4 Bass Air - That God is great we often have by glad experience found and seen how he with wondrous powr above all gods is crownd 5 Chorus - With cheerful notes let all the earth to heaven their voices raise Let all inspird with godly mirth sing solemn hymns with praise 6 Soprano Air - Gods tender mercy knows no bounds his truth shall neer decay then let the willing nations round their grateful tribute pay 7 Chorus - Ye boundless realms of joy exalt your Makersfame His praise your song employ above the starry frame 8 Chorus - Your voices raise ye Cherubin and Seraphin to sing his praise Alleluja
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Cotnbat and Carols
I Songs of Love and War
Claudio Monteverdi (1567 1643)
Come dolce hoggi lauretta Book IX Madrigals Soloists Christine Letcher soprano I Molly Harmon soprano II Rachel Keller soprano III Timothy Burris theorbo Kathryn Sytsma viol da gamba Bruce Fithian harpsichord
o mio bene Book IX Madrigals Soloists Martin Lescault tenor I Bruce Fithian tenor II Bruce Canterbury bass Timothy Burris theorbo Kathryn Sytsma viol da gamba Christopher Pelonzi harpsichord
Armato il cor damantina fede Book IX Madrigals Soloists Erin Chenard soprano I Andrea Graichen soprano II Timothy Burris theorbo Kathryn Sytsma violda gamba Bruce Fithian harpsichord
Ardo avvampo mi struggo Book VIII Madrigals Soloists Christine Letcher Rachel Keller Andrea Graichen Martin Lescault Bruce
Fithian John D Adams Bruce Canterbury
Mary Jo Carlsen violin I Michael Albert violin II Timothy Burris theorbo Kathryn Sytsma viol da gamba Christopher Pelonzi harpsichord
II Combattimento di Tancredi e Clorinda Book VIII Madrigals Soloists Martin Lescault Testoohn D Adams Trancredi Molly Harmon Clorinda Dancers Erica Diesl Trancredi Kaleigh Natale Clorinda Colleen Edwards choreographer Mary Jo Carlsen violin I Michael Albert violin II Evan Cuddy viola Timothy Burris theorbo
Kathryn Sytsma viol da gamba Bruce Fithian harpsichord
Intermission
Christine Letcher harpsidwrd on May 29 Bruce Fithian harpsichord on May 29
Paul McGovern on May 29
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II George Frideric Handel (1685 1759)
o praise the Lord with one consent Chandos Anthem No9 HWV 254
I Chorus 0 praise the Lord with one consent II Air for alto Praise Him all ye that in this house
Soloist Andrea Graichen Michael Albert oboe
III Air for tenor For this is our truest intrest Soloists Martin Lescault
IV Air for bass That God is great Soloist John D Adams
V Chorus With cheerful notes let all the earth
VI Air for soprano Gods tender mercy knows no bounds Soloist Erin Chenard
VII Chorus Ye boundless realms of joy
VIII Chorus Your voices raise
Mary Jo Carlsen violin I Evan Cuddy violin II Michael Albert oboe Timothy Burris theorbo
Kathryn Sytsma viol da gamba Bruce Fithian harpsiclwrd
St maPlj Schota Music Director Bruce Fithian
Sopranos Erin Chenard Molly Harmon Rachel Keller Christine Letcher Mezzosoprano Andrea Graichen Abra Mueller
Countertenor James M Brown Tenors Bruce Fithian Martin A Lescault Paul McGovern
Baritone Basses John D Adams Asa Bradford Bruce Canterbury Nicholas MacDonald
Baroque Violins Mary Jo Carlsen Michael Albert Madeline Kapp Viola Evan Cuddy
Viol da gamba Kathryn Sytsma Oboe Michael Albert
Theorbo Timothy Burris Harpsichord Bruce Fithian Christine Letcher
Special Guests Christopher Pelonzi harpsichord
Colleen Edwards choreographer Erica Diesl Trancredi Kaleigh Natale Clorinda
Special thanks Douglas Watkins - Website Administrator
Not appearing in this concert
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Thank you for joining us for our 20142015 season It is a pleasure to offer you the best in early music from the Medieval Renaissance and
Baroque eras We look forward to seeing you again at in December for our Annual Christmas concert
Special Guests
Colleen Edwards choreographer attended The Boston Conservatory where she earned her BFA in Dance and worked with Luis Fuente Donna Silva and Denise Pons While there she danced in Jose Limons Missa Brevis was a soloist in Anthony Tudors Dark Elegies and Fokines Les Sylphides She danced as a soloist with the Baton Rouge Ballet Theater in their Nutcracker Tale from the Bayou and as the Winter Fairy in Cinderella Also at BRBT Colleen was chosen to perform as a soloist at the Gala performance of the Southwest Ballet Festival in Parable Colleen danced as a principle in Northeast Ballet Theaters The
Nutcracker and danced two seasons with Urbanity Contemporary Dance Company in Boston performing in the premier of the acclaimed Story of Stuff at the Strand Theater
Kaleigh Natale Clorinda graduated from The Boston Conservatory with her BFA in Contemporary Dance Performance in 2012 While at The Boston Conservatory she had the opportunity to perform works by Jose Limon Gianni DiMarco Alwin Nikolais Ohad Naharin Danny Pelzig as well as student choreographers Kaleigh joined Portland Ballet Company in 2012 as an apprentice and was promoted to a company member in 2013 With PBC she has appeared in the Summer Seaside Social Halloween Spooktacular The Victorian Nutcracker and The Armed Man
Erica Diesl Trancredi received her early training from the Acton School of Ballet under the direction of Kathryn Anderson and Walter Morris After high school Erica continued her education at the University of Utah and the San Francisco Conservatory of Dance where she was able to learn works by J iri K ylian and Ohad Naharin among others Since graduating from the University of Utah she has worked with BalletRox in Anthony Williamss Urban Nutcracker and she has spent two seasons dancing with the Ballet Theatre of Maryland She was recently seen in the role of Death in The Armed Man
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Board of Directors
Jennifer Gregg - President Bruce Fithian - Music Director
Thomas Smith - Treasurer
Kue John Lor - Secretary The Reverend David Illingworth
J ames Stoddard Nadine Timberlake
Dr Robert Timberlake
Jennifer Gregg has spent her last five years as Scholas Board President and will be stepping down from her position St Mary Schola wishes to indicate their gratitude and appreciation for
outstanding service to Jennifer for her years of service to the Schola by granting her the lifetime title of Honorary Director Thank you Jennifer for all that you have done for the Schola
Robert Timberlake will become the new Schola board president beginning June 2015
St Mary Schola would like to express its gratitude to the communities of Saint Mary in Falmouth Saint Luke in Portland and First Parish in Brunswick
for their continued support and friendship
About the Schola St Mary Schola was founded in 2008 by The Reverend James Dalton-Thompson and Bruce Fithian with the goal to provide the finest in early music literature to New England audiences Based at the Episcopal Church of Saint Mary in Falmouth the ensemble presents three concert programs a year The Schola features some of Maines finest singers and instrumentalists who explore the great masterworks of the medieval Renaissance and baroque eras especially the music of Monteverdi Schutz and Bach
Would you like to sponsor a St Mary Schola concert Concert sponsorship helps pay rental fees and provides the artists remuneration beyond the ticket sales Please see any Schola board member or email contactstmaryscholaorg for more information
St Mary Schola is looking for volunteers If you would like to help out in any way please speak with any Schola board member or send an email to contactstmaryscholaorg Thank you
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We wish to thank the following generous benefactors to St Mary Schola
Seraphim Anonymous Peter and Harriette Griffen
Cherubim Jennifer A Gregg Mrs Verner Reed Robert and Nadine Timberlake
Hosts Anonymous Tom and Sheila Donaldson Margaret Fast Carson and Chris Lutes
Virtues Corporate Sponsor William R Britton Jr Betsy and Tom Elliman Eileen Farrar Ann Jordan Kue John Lor Nancy L Meiners Joan and Dan McDonald Patricia C Mordecai Peter Murray Doug and Becky Pride Tom and Connie Smith
~WnltzlQ If -- ~f~-~~qgtJon II Moving Mqnq~ment middot middotmiddot I~ln~$Mfbea ~)4ff~gtCQoQhlng - ~qginQ
For a Free Consultation Contact Kim Dorsky and Liz Pattison
E-mail infoSimplysizedhomecom
Phone 35er0046 bull wwwsimplysizedhomecom
J ames and Elizabeth Stoddard Richard and Louise Sullivan Doug Watkins and Michael Pickel
Archangel Company Matched Contributions Bruce and Lorraine Canterbury Macys Inc Nancy Dimmick Unum Group
These concerts would not be possible without your support Relying upon tax-deductible donations St Mary Schola is a 501 (c) (3) non-profit organization devoted to fostering appreciation of early music Please visit the Scholas website stmaryscholaorgdonatehtml for online donations or checks made payable to St Mary Schola can be mailed to 43 ForesideRoad Falmouth Maine 04105
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Program Notes Welcome to our spring concert The first half of our program is devoted to the music of Claudio Monteverdi and his later works of chamber music and music drama In the course of nine books of madrigals Monteverdi transformed the elegant polyphonic forms of the Renaissance into a completely new style It is especially in his eighth book called Madrigafi Guemmiddoteri et Amorosi (Madrigals of War and Love) that this new style was made manifest At the beginning of the seventeenth century especially in Florence musicians philosophers and lovers of music were interested in widening the scope of musics expressive powers In his foreword to the Book VIII Madrigals Monteverdi describes these efforts and how through the reading of Plato and Aristotle he himself came up with his own solutions He wrote
Having considered that our mind has three principle passions - anger temperance and humility and music theory describes this clearly with the three terms of agitated (concitato) tender (moffe) and temperate (temperato) and never having been able to find in all the compositions of the past composers an example of the agitated style as described by Plato Take up that harmony which as it should imitates the voice and accents of a man going bravely into battle and knowing that it is contraries that deeply affect our mind the goal of good music ought to have as Boethius affirms when he says Music is associated with our lives to lend honor to our manners I have set myself the task of discovering this stife concitato (agitated style)
In this way he could juxtapose the startling emotions of war and love In the ninth book of rnadrigals there are many striking examples of his invention Come dolce hoggi lauretta from the lost opera Proserpina rapita paints an exquisite picture of languid breezes caressing lovers 0 mio bene begins with gentle pleading and ends with a refrain that is much more warlike on the words no more war Similarly Armato il cor damantina fede describes a soul being armed against the pains of love with many military vocal flourishes
Ardo avvampo mi struggo from the eighth book of madrigals has a dramatic contrast of two emotions the first part is a hysterical plea of help - clearly this lover is frantically burning with ardor Monteverdi almost humorously describes the desperate lovers cries throughout the eight voices with repeated notes (especially on the phase water water water water to extinguish the fire of love) and then in the second part of the madrigal there is contrasting music that is more poignant more in the temperate style And on the words per si beato ardore (for such blissful burning) the mood completely changes to the tender style (stife moffe) On a footnote Handel at the end of the baroque era was also intrigued by the theory of music styles depicting emotions his oratorio LAllegro il Penseroso ed il Moderato explored joyful pensive and moderate states of mind
It is with the music drama 11 Combattimento di Tancredi e Clorinda that Monteverdi clearly showed his new style In his preface he described how he divided up the whole note into sixteen sixteenth notes that were sounded one after another to represent anger and vexation To perform a better experiment I seized upon the divine Tasso and the description he makes of the combat between Tancredi and Clorinda so that I would have contrary passions to set to music that is war supplication and death And then in the year 1624 when I performed it before the best people of the noble city of Venice it was listened to with great applause and praised He also noted that the musicians who played the basso continuo felt that the necessity to strike a single string sixteen tiroeS
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in one measure laughable rather than praiseworthy This shows us how revolutionary his invention was The story of II Combattimento di Tancredi e Clorinda from Tassos epic Gerusalemme liberate Gerusalem delivered) was perfect for Monteverdis creativity
Joining the Schola ensemble for this piece are two special guest dancers Erica Diesl and Iltaleigh Natale with choreography by Colleen Edwards
The scene is that of a fight in single combat between a Crusader Tancredi and the Muslim maiden Clorinda of whose sex he could not be aware since she is dressed in armor It is revealed that Clorindas parents were Christian but this does not affect her until the moment of her death Tancredi has seen her once without her helmet and has fallen immediately in love In the battle Tancredi not knowing her identity or even her sex pursues her vengefully as she attempts to defend her city
Monteverdi vividly describes much of the action through the orchestra the trotting of the horses the clashing of swords and the famous repeated sixteenth notes in G major portraying the furious battle There is the first use ofpizifcato (the plucking of strings) to imitate the sounds of weapons As the warriors get tired the music gets slower and softer and the whole battle scene is relentlessly in G major and just like in minimalism of the 20th century when the music changes to another tonality it is breathtaking
After a brief respite the battle continues until Clorinda is mortally wounded It is at this point that the stile concitato (agitated style) changes to a mood of reflection and sadness (stile molle tender style) When Clorinda implores Tancredo that he has been victorious her vocal line as well as the instruments are marked forte and piano (again a rare use of these markings) indicating her fighting for breath When she has a change of mind and asks Tancredi to baptize her the mood becomes very quiet pious and remorseful Clorindas final words of peace are movingly set to ecstatic harmonies
But what kind of a music theatre piece is Combattimento There has been a lot of discussion about the best way to realize this work It was clearly never meant to be an opera like Monteverdis other staged works because most of Combattimento is narrated offering the tenor narrator (in our case the brilliant Martin Lescault) an opportunity to render the ancient art of oratory But it is also not an oratorio We have come up with our own realization by using both singers and dancers simultaneously In this way the glories of the music can be portrayed aurally as well as visually I want to take this opportunity to thank Colleen Edwards her talented dancers and the musicians of the Schola for the many hours they have put into bringing this great masterpiece to life
James Brydges 1st Duke of Chandos (1674-1744) vas an English nobleman who built a sumptuous country mansion called Cannons (estimated at costing 42 million dollars in todays currency) that was a seat of great learning and culture Like Prince Esterhazy in Haydns time the Duke of Chandos was an important patron of music Handel was the resident composer at Cannons from 1717 until 1719 where an ensemble of singers and musicians was employed Handel wrote 11 Chandos anthems which were performed at the parish church of St Lawrence Little Stanmore and the 1716 organ that Handel himself played is still there While at Cannons Handel also composed the delightful masque Acis and Galatea and the oratorio Esther
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The Chandos Anthem No9 0 praise the Lord with one consent is based on verses from Psaln1 135 117 and 148 After a lovely orchestral introduction the first chorus theme will be familiar to many it is the melody known as St Ann or in most hymns as 0 God our help in ages past The first part of this chorus explores the main theme with a contrasting celebratory theme on the words and magnify his name Like Bach I-Iandel was a master at developing several themes contrapuntally In the second part of the chorus on the words let all the servants of the Lord his worthy praise Handel ingeniously composed contrasting then1es that intertwine in a fugue The whole chorus sparkles with joy and delight
The alto air Praise him all ye that in his house attend is one of the many arias Handel composed with the marking larghetto which left room for a tempo that is not too slow nor too fast I-Ie clearly loved this piece because he used it again in a later version of Esther and Deborah
The tenor air highlights agile coloratura phrases for the tenor voice and is full of great rhythmic energy
The majestic bass air That God is great with the unusually high tessitura must have been written for the same bass who sang in Acis and Galatea
The chorus With cheerful voice let all the earth to heaven their voices raise has a very unusual marking indicating a decrescendo (getting softer little by little) Handel clearly marked f p pp to indicate this and it is rare for the baroque era However one wonders whether crescendos and decrescendos might have been asked for in performance even though they were not notated in this era The second part of the chorus has a Lutheran-like chorale theme similar to the St Ann melody surrounded by a wonderfully pulsating eighth note pattern in the voices and instruments
In the soprano air Gods tender mercy knows no bound one can see why singers in Handels time as well as today love his vocal writing His ability to compose soaring lines filled with passion continues to enchant us
The chorus Ye boundless realms of joy exalt your makers fame is also in two parts the first part of which explores two contrasting themes The second part has a very lyrical theme on the words his praise your song employ above the starry frame in which the vocal line rises gracefully upwards
The final chorus Your voices raise brings in a rousing alleluia in contrapuntal variations like in his much later chorus For not us a child is given from Messiah
It has been an honor to learn and present these amazing glories from the past and we are so glad to share them with you our loyal and appreciative audience Bruce Fithian
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Translations Come dolce hoggi lauretta Claudio Monteverdi poem by Giulio Strozzi Come dolce hoggi lauretta Lusinga spira spira e vien A baciarmi lascivetta A baciarmi Ie guancie 1 sen
Gli Amoretti laura fanno Quando l ali spiegan al ciel Quando vanno quando vanno Della notte a squarciar il vel
Ride il bosco brilla il prato Scherza il fonte festeggia 1 mar Quando un fiato quando un fiato Daura fresca sode spirar
Entri pur nel nostro petto o bell aura nel tuo venir Quel diletto quel diletto Che fa lalme tanto gioir
o mio bene Claudio Monteverdi o mio bene 0 mia vita non mi far pili languire Non mi negar aita chio mi sento morire Non pili guerra damore no no nuo core
o begli occhi 0 bei rai non pili non pili penare non mi date pili guai chio mi sento mancare N on pili guerra di pene no no mio bene
o mio core 0 mio core o mia face 0 mia face non messer pili crudele non mi negar pili pace perchio ti son fedele N on pili guerra di noia no no nuo gtoia
How sweet today the enchanting breeze breathes and comes to kiss me teasingly to kiss my cheeks and breast
The breeze creates lovers when their wings soar up to heaven when they go to lift the veil of night
The forest laughs the meadows shine the fountain plays the waves rejoice when a breath of cool breeze is heard blowing
Come you too to our breast o beautiful breeze and with your coming what delight which makes the soul so rejoice
o my beloved 0 my life Dont let me languish anymore Do not refuse to help me otherwise I feel I may die No more love-war no no my heart
o beautiful eyes 0 beautiful beams no more pain Give me no more troubles Otherwise I feel I will faint No more pains of war No no my beloved
o my heart my heart o my beloved face Do not be so cruel to me Do not deny me peace Because I am faithful to you No more annoying war
IN 0 no my JOY
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Armato i1 cor damantina fede Claudio Monteverdi Armato il cor dadamantina fede I come armed with a heart of unbreakable faith nellamoroso regno in the reign of love a mili tar ne vegno to war contrastero col Ciel I will fight against heaven e con la sorte and against destiny pugnero con la morte I will battle with death chintrepido guerriero as an intrepid warrior se vittoria non ho And if I am not victorious vita non chero I will not want to live
Ardo avvampo mi struggo Claudio Monteverdi Ardo avvampo mi struggo I burn I blaze I melt Accorrete Come running amici vicini allinfiammato loco friends neighbors to the site of the blaze Alladro alladro stop thiefl Al tradimento Al foco Treachery Fire Scale accette martelli Take ladders hatches acqua prendete hammers water E voi torri sacrate anco tacete And you church towers are you still silent Su su bronzi chio dal gridar son roco Come bells come for I am hoarse with shouting Dite il periglio altrui non lieve 0 poco proclaim this peril not slight or small to others E deglincendi miei pieta chiedete and request pity for my burning
Son due belli occhi illadro e seco amore Two beautiful eyes are the thief and with them Love lincendiario che linique faci is the arsonist who hurled dentro la rocca mavvento del core the evil torches inside the citadel of my heart
Ecco i rimedi omai vani e fallaci By now all cure is vain and deceptive Mi dice ognun Per si beato ardore Everyone tells me Such burning is so blissful las cia chel cor sincenerisca e taci allow your heart to burn to ashes and be silent
II Combattimento di Tancredi e Clorinda Claudio Monteverdi Tancredi che Clorinda un uomo stima vuol ne larmi provarla al paragone Va girando colei lalpestre cima ver altra porta ove dentrar dispone Segue egli impetuoso onde assai prima che giunga in guisa avvien che darmi suone chella si volge e grida - 0 tu che porte correndo si - Rispose - E guerra e morte
Tancredi believing Clorinda is a man desires to challenge her in single combat She skirting round the mountain peak is heading for a city she intends to enter
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So impetuous is his chase that well before he reaches her she hears the noise of armor and turning cries You there what is the cause of such great haste He answers war and death
Guerra e morte avrai - disse - io non rifiuto darlati se la cerchi e fermo attendee Ne vuol Tancredi chebbe a pie veduto il suo nen1ico usar cavallo e scende E impugna lun e laltro il ferro acuto ed aguzza lorgoglio e lira accende e vansi incontro a passi tardi e lenti quai due tori gelosi e dira ardenti
War and death youll have she said Ill not deny your object if youll stand and face me Tancredi who saw his enemy on foot declines to stay on horseback and dismounts Both grasp their sharpshyedged swords prick on their pride whip up their fury and advance upon each other with slow steps like two rival bulls inflamed with fury
Notte che nel profondo oscuro seno chiudesti e nelloblio fatto si grande degne dun chiaro sol degne dun pieno teatro opre sarian si memorande Piacciati chindi i1 tragga en bel sereno a Ie future eta 10 spieghi e mande Viva la fama lor e tra lor gloria splenda dal fosco tuo lalta memorIa
Night who hath enclosed in thy dark breast and in obscurity a deed so great since the light of day and of a crowded theatre feats so memorable are worthy grant that I may illuminate them thus transmitting them to future generations May their fame live on and may their glory shine out a noble memory from your darkness
Non schivar non parar non pur ritrarsi voglion costor ne qui destrezza ha parte Non danno i colpi or finti or pieni or scarsi toglie lombra el furor luso de larte odi Ie spade orribilmente urtarsi a mezzo il ferro el pie dorma non parte sempre il pie fermo e la man sempre in moto ne scende taglio in van ne punta a voto
To dodge to parry blows or to retreat they do not strive for skill has here no part They do not feint nor strike now hard now soft darkness and rage preclude all subtlety Hark to the horrifying clash of sword on steel their feet cleave the ground their feet are still their hands move constantly no cut but finds its mark no thrust goes wide
Lonta irrita 10 sdegno a la vendetta e la vendetta poi lonta rinova onde sempre al ferir sempre ala fretta stimol novo saggiunge e piaga nova dor in or piu si mesce e pi u ristretta
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si fa la pugna e spada oprar non giova dansi con pomi e infelloniti e crudi cozzan con gli elmi insieme e con gli scudi
Indignation fuels their vengeful fury vengeful fury fuels more indignation whence to their fierce exchange their frenzy comes a new stimulus to inflict more wounds from time to time they close and then the fight is more restricted sword blades are no use they strike with pommels and more savage now clash their casques and their shields together
Tre volte il cavalier la donna stringe con Ie robuste braccia e altrettante poi da quei nodi tenaci ella si scinge nodi di fier nemico e non damante Tornano al ferro e lun e laltro il tinge di molto sangue e stanco e anelante e questi e quegli al fin pur si ritira e dopo lungo faticar respira
Thrice does the knight the woman grip in his strong arms and as oft does she break free from those tenacious bonds the bonds of bitter enmity not love Now they resume their swords and each the other bathes in streams of blood weary and panting both he and she must draw apart at last and after laboring long regain their breath
Lun laltro guarda e del suo corpo essangue sul pomo de la spada appoggia il peso Gia de lultima stella i1 raggio langue suI primo albor che in oriente acceso Vede Tancredi in maggior copia il sangue del suo nemico e se non tanto offeso ne gode e in superbisce oh nostra folIe mente chognaura di fortuna estolle
They eye each other and lean exhausted bodies upon the pommels of their swords The last remaining star is fading now as dawns first rays illuminate the east Tancredi sees his enemys copious loss of blood and his own injuries less grave Well pleased he preens himself Oh human folly that fortunes every offering refuses
Misero di che godi oh quanto mesti siano i trionfi e infelice il vanto Gli occhi tuoi pagheran (sin vita resti) di quel sangue ogni stilla un mar di pianto Cost tacendo e rimirando questi sanguinosi guerrier cessaro alquanto Ruppe il silenzio al fin Tancredi e disse perche il suo nome lun laltro scoprisse
Poor man what joy is this How tragic is your victory how ill-conceived your pride These eyes of yours will pay - if you survive shya sea of tears for each drop of that blood
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So silently and thoughtfully they stood these bloody warriors and paused awhile At last Tancredi broke the silence saying because he wished them to disclose their names
Nostra sventura eben che qui simpieghi tanto valor dove silenzio il copra Ma poi che sorte rea vien che ci nieghi e lode e testimon degni de lopra pregoti (se fra larmi han loco i preghi) chel tuo nome el tuo stato a me tu scopra accio chio sappia 0 vinto 0 vincitore chi la mia morte 0 vittoria onore
our true misfortune is that we employ such valor here where it must go unsung But since our cruel destiny denies us the admiration worthy of such feats I pray you - if in combat prayers have place - to reveal your name and status to me so that as victor or as vanquished I know who has honored me with life or death
Rispose la feroce - Indarno chiedi quel cho per uso di non far palese Ma chiunque io mi sia tu innanzi vedi un di quei due che la gra~ torre accese - Arse di sdegno a quel parlar Tancredi e - In mal punto il dicesti (indi riprese) el tuo dir el tacer di par malletta barbaro discortese a la vendetta
The warrior maid replies You ask in vain that which it is my custom to conceal But whoever I may be you see before you one of the two who set the great tower ablaze Hearing these words Tancredi is incensed Inopportune were those words Your speech and silence spur me on alike uncouth barbarian to retribution
Torna lira ne cori e Ii trasporta benche deboIi in guerra a fiera pugna Ularte in bando ugia la forza e morta ove in vece dentrambi il furor pugna 0 che sanguigna e spaziosa porta fa luna e laltra spada ovunque giugna ne larmi e ne Ie cami e se la vita non esce sdegno tienla al petto unita
Their anger now rekindles and propels tl1em back though weak to war to that fierce fight where skill is outlawed strength is dead and naked fury takes the place of both o what bloody gaping openings the sword of each inflicts whereer it strikes on armor and on flesh and life would issue forth did fury not retain it in the breast
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Ma ecco omai lora fatal e giunta chel viver di Clorinda al suo fin deve Spinge egli il ferro nel bel sen di punta che vi simmerge el sangue avido beve e la veste che dor vago trapunta Ie mammelle stringea tenere e lieve lempie dun caldo fiume Ella gia sente morirsi el pie Ie manca egro e languente
But 10 the fatal hour has now arrived that to Clorindas life must put an end He thrusts the blade straight into her fair breast where immersed it avidly drinks her blood And her tunic exquisitely gold-embroidered that clings around her dainty tender breasts fllls with a tepid stream She knows at once that she must die and staggers weak and faint
Segue egli la vittoria e la trafitta vergine minacciando incalza e preme Ella mentre cadea la voce afflitta movendo disse Ie parole estreme parole cha lei novo spirto addita spirto di fe di carita di speme virtu che dio Ie infonde e se rubella in vita fu la vuole in morte ancella
Victory in his grasp he throws himself menacingly upon the wounded maiden She while falling with her failing voice speaks her dying words which indicate a change of heart a spirit new to her one of faith of charity of hope virtues inspired by God intent that she rebellious in life in death will be his handmaid
Amico hai vinto io ti perdon perdona tuancora al corpo noche nulla pave a lalma si deh per lei prega e dona battesmo a me chogni miacolpa lave - In queste voci languide risuona un non so che di flebile e soave chal cor gli scendeed ogni sdegno ammorzae gli occhi a lagrimar invoglia e sforza
Friend you have won I pardon you Your pardon grant me too not for my fearless body but for my soul 0 pray for that and give me baptism to cleanse me of all sin In this languid utterance he hears a strange appeal a plaintive gendeness that to his heart descends and melts all anger making tears sting then gush forth from his eyes
Poco quindi lontan nel sen dun monte scaturia mormorando un picciol rio Egli vaccorse e lelmo empie nel fonte e tomo mesto al grande ufficio e pio Tremar senti la man mentre la fronte non conosciuta ancor sciolse e scoprio La vide e la conobbe e resto senza e voce e moto Ahi vista ahi conoscenza
Not far off from the heart of a mountain welled a litde murmuring stream Thither he ran his casque filled at the spring and grieving began the great and sacred rite His hand was trembling as he loosened the vizor and raised it from the face as yet unknown He saw and recognized her then was he bereft of speech and movement Ah tragic revelation
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Non mori gia che sue virtuti accolse tutte in quel punto e in guardia al cor Ie mise e premendo il suo affanno a dar si volse vita con lacqua a chi col ferro uccise Mentre egli il suon de sacri detti sciolse colei di gioia trasmutossi e rise e in atto di morir lieta e vivace dir parea Sapre il ciel io vado in pace
He did not die but marshalled his forces and posted them around his heart to guard it and stifling his grief he sought to restore with water life to the one his sword had slain While listening to the holy words he uttered she was transformed by happiness and smiled as she died her spirit filled with joy she seemed to say f-Ieaven opens I go in peace
INTERMISSION
o praise the Lord with one consent Chandos Anthem No9 HWV 254 George Frideric Handel 1 Chorus - 0 praise the Lord with one consent and magnify his name Let all the servants of the Lord his worthy praiseproclaim 2 Alto Air - Praise him all ye thatin his house attend with constant care with those that to his utmost courts with humble zeal repair 3 Tenor Air - For this our truest intrest is glad hymns of praise to sing and with loud songs to bless his name a most delightful thing 4 Bass Air - That God is great we often have by glad experience found and seen how he with wondrous powr above all gods is crownd 5 Chorus - With cheerful notes let all the earth to heaven their voices raise Let all inspird with godly mirth sing solemn hymns with praise 6 Soprano Air - Gods tender mercy knows no bounds his truth shall neer decay then let the willing nations round their grateful tribute pay 7 Chorus - Ye boundless realms of joy exalt your Makersfame His praise your song employ above the starry frame 8 Chorus - Your voices raise ye Cherubin and Seraphin to sing his praise Alleluja
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II George Frideric Handel (1685 1759)
o praise the Lord with one consent Chandos Anthem No9 HWV 254
I Chorus 0 praise the Lord with one consent II Air for alto Praise Him all ye that in this house
Soloist Andrea Graichen Michael Albert oboe
III Air for tenor For this is our truest intrest Soloists Martin Lescault
IV Air for bass That God is great Soloist John D Adams
V Chorus With cheerful notes let all the earth
VI Air for soprano Gods tender mercy knows no bounds Soloist Erin Chenard
VII Chorus Ye boundless realms of joy
VIII Chorus Your voices raise
Mary Jo Carlsen violin I Evan Cuddy violin II Michael Albert oboe Timothy Burris theorbo
Kathryn Sytsma viol da gamba Bruce Fithian harpsiclwrd
St maPlj Schota Music Director Bruce Fithian
Sopranos Erin Chenard Molly Harmon Rachel Keller Christine Letcher Mezzosoprano Andrea Graichen Abra Mueller
Countertenor James M Brown Tenors Bruce Fithian Martin A Lescault Paul McGovern
Baritone Basses John D Adams Asa Bradford Bruce Canterbury Nicholas MacDonald
Baroque Violins Mary Jo Carlsen Michael Albert Madeline Kapp Viola Evan Cuddy
Viol da gamba Kathryn Sytsma Oboe Michael Albert
Theorbo Timothy Burris Harpsichord Bruce Fithian Christine Letcher
Special Guests Christopher Pelonzi harpsichord
Colleen Edwards choreographer Erica Diesl Trancredi Kaleigh Natale Clorinda
Special thanks Douglas Watkins - Website Administrator
Not appearing in this concert
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Thank you for joining us for our 20142015 season It is a pleasure to offer you the best in early music from the Medieval Renaissance and
Baroque eras We look forward to seeing you again at in December for our Annual Christmas concert
Special Guests
Colleen Edwards choreographer attended The Boston Conservatory where she earned her BFA in Dance and worked with Luis Fuente Donna Silva and Denise Pons While there she danced in Jose Limons Missa Brevis was a soloist in Anthony Tudors Dark Elegies and Fokines Les Sylphides She danced as a soloist with the Baton Rouge Ballet Theater in their Nutcracker Tale from the Bayou and as the Winter Fairy in Cinderella Also at BRBT Colleen was chosen to perform as a soloist at the Gala performance of the Southwest Ballet Festival in Parable Colleen danced as a principle in Northeast Ballet Theaters The
Nutcracker and danced two seasons with Urbanity Contemporary Dance Company in Boston performing in the premier of the acclaimed Story of Stuff at the Strand Theater
Kaleigh Natale Clorinda graduated from The Boston Conservatory with her BFA in Contemporary Dance Performance in 2012 While at The Boston Conservatory she had the opportunity to perform works by Jose Limon Gianni DiMarco Alwin Nikolais Ohad Naharin Danny Pelzig as well as student choreographers Kaleigh joined Portland Ballet Company in 2012 as an apprentice and was promoted to a company member in 2013 With PBC she has appeared in the Summer Seaside Social Halloween Spooktacular The Victorian Nutcracker and The Armed Man
Erica Diesl Trancredi received her early training from the Acton School of Ballet under the direction of Kathryn Anderson and Walter Morris After high school Erica continued her education at the University of Utah and the San Francisco Conservatory of Dance where she was able to learn works by J iri K ylian and Ohad Naharin among others Since graduating from the University of Utah she has worked with BalletRox in Anthony Williamss Urban Nutcracker and she has spent two seasons dancing with the Ballet Theatre of Maryland She was recently seen in the role of Death in The Armed Man
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Board of Directors
Jennifer Gregg - President Bruce Fithian - Music Director
Thomas Smith - Treasurer
Kue John Lor - Secretary The Reverend David Illingworth
J ames Stoddard Nadine Timberlake
Dr Robert Timberlake
Jennifer Gregg has spent her last five years as Scholas Board President and will be stepping down from her position St Mary Schola wishes to indicate their gratitude and appreciation for
outstanding service to Jennifer for her years of service to the Schola by granting her the lifetime title of Honorary Director Thank you Jennifer for all that you have done for the Schola
Robert Timberlake will become the new Schola board president beginning June 2015
St Mary Schola would like to express its gratitude to the communities of Saint Mary in Falmouth Saint Luke in Portland and First Parish in Brunswick
for their continued support and friendship
About the Schola St Mary Schola was founded in 2008 by The Reverend James Dalton-Thompson and Bruce Fithian with the goal to provide the finest in early music literature to New England audiences Based at the Episcopal Church of Saint Mary in Falmouth the ensemble presents three concert programs a year The Schola features some of Maines finest singers and instrumentalists who explore the great masterworks of the medieval Renaissance and baroque eras especially the music of Monteverdi Schutz and Bach
Would you like to sponsor a St Mary Schola concert Concert sponsorship helps pay rental fees and provides the artists remuneration beyond the ticket sales Please see any Schola board member or email contactstmaryscholaorg for more information
St Mary Schola is looking for volunteers If you would like to help out in any way please speak with any Schola board member or send an email to contactstmaryscholaorg Thank you
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We wish to thank the following generous benefactors to St Mary Schola
Seraphim Anonymous Peter and Harriette Griffen
Cherubim Jennifer A Gregg Mrs Verner Reed Robert and Nadine Timberlake
Hosts Anonymous Tom and Sheila Donaldson Margaret Fast Carson and Chris Lutes
Virtues Corporate Sponsor William R Britton Jr Betsy and Tom Elliman Eileen Farrar Ann Jordan Kue John Lor Nancy L Meiners Joan and Dan McDonald Patricia C Mordecai Peter Murray Doug and Becky Pride Tom and Connie Smith
~WnltzlQ If -- ~f~-~~qgtJon II Moving Mqnq~ment middot middotmiddot I~ln~$Mfbea ~)4ff~gtCQoQhlng - ~qginQ
For a Free Consultation Contact Kim Dorsky and Liz Pattison
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Phone 35er0046 bull wwwsimplysizedhomecom
J ames and Elizabeth Stoddard Richard and Louise Sullivan Doug Watkins and Michael Pickel
Archangel Company Matched Contributions Bruce and Lorraine Canterbury Macys Inc Nancy Dimmick Unum Group
These concerts would not be possible without your support Relying upon tax-deductible donations St Mary Schola is a 501 (c) (3) non-profit organization devoted to fostering appreciation of early music Please visit the Scholas website stmaryscholaorgdonatehtml for online donations or checks made payable to St Mary Schola can be mailed to 43 ForesideRoad Falmouth Maine 04105
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Program Notes Welcome to our spring concert The first half of our program is devoted to the music of Claudio Monteverdi and his later works of chamber music and music drama In the course of nine books of madrigals Monteverdi transformed the elegant polyphonic forms of the Renaissance into a completely new style It is especially in his eighth book called Madrigafi Guemmiddoteri et Amorosi (Madrigals of War and Love) that this new style was made manifest At the beginning of the seventeenth century especially in Florence musicians philosophers and lovers of music were interested in widening the scope of musics expressive powers In his foreword to the Book VIII Madrigals Monteverdi describes these efforts and how through the reading of Plato and Aristotle he himself came up with his own solutions He wrote
Having considered that our mind has three principle passions - anger temperance and humility and music theory describes this clearly with the three terms of agitated (concitato) tender (moffe) and temperate (temperato) and never having been able to find in all the compositions of the past composers an example of the agitated style as described by Plato Take up that harmony which as it should imitates the voice and accents of a man going bravely into battle and knowing that it is contraries that deeply affect our mind the goal of good music ought to have as Boethius affirms when he says Music is associated with our lives to lend honor to our manners I have set myself the task of discovering this stife concitato (agitated style)
In this way he could juxtapose the startling emotions of war and love In the ninth book of rnadrigals there are many striking examples of his invention Come dolce hoggi lauretta from the lost opera Proserpina rapita paints an exquisite picture of languid breezes caressing lovers 0 mio bene begins with gentle pleading and ends with a refrain that is much more warlike on the words no more war Similarly Armato il cor damantina fede describes a soul being armed against the pains of love with many military vocal flourishes
Ardo avvampo mi struggo from the eighth book of madrigals has a dramatic contrast of two emotions the first part is a hysterical plea of help - clearly this lover is frantically burning with ardor Monteverdi almost humorously describes the desperate lovers cries throughout the eight voices with repeated notes (especially on the phase water water water water to extinguish the fire of love) and then in the second part of the madrigal there is contrasting music that is more poignant more in the temperate style And on the words per si beato ardore (for such blissful burning) the mood completely changes to the tender style (stife moffe) On a footnote Handel at the end of the baroque era was also intrigued by the theory of music styles depicting emotions his oratorio LAllegro il Penseroso ed il Moderato explored joyful pensive and moderate states of mind
It is with the music drama 11 Combattimento di Tancredi e Clorinda that Monteverdi clearly showed his new style In his preface he described how he divided up the whole note into sixteen sixteenth notes that were sounded one after another to represent anger and vexation To perform a better experiment I seized upon the divine Tasso and the description he makes of the combat between Tancredi and Clorinda so that I would have contrary passions to set to music that is war supplication and death And then in the year 1624 when I performed it before the best people of the noble city of Venice it was listened to with great applause and praised He also noted that the musicians who played the basso continuo felt that the necessity to strike a single string sixteen tiroeS
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in one measure laughable rather than praiseworthy This shows us how revolutionary his invention was The story of II Combattimento di Tancredi e Clorinda from Tassos epic Gerusalemme liberate Gerusalem delivered) was perfect for Monteverdis creativity
Joining the Schola ensemble for this piece are two special guest dancers Erica Diesl and Iltaleigh Natale with choreography by Colleen Edwards
The scene is that of a fight in single combat between a Crusader Tancredi and the Muslim maiden Clorinda of whose sex he could not be aware since she is dressed in armor It is revealed that Clorindas parents were Christian but this does not affect her until the moment of her death Tancredi has seen her once without her helmet and has fallen immediately in love In the battle Tancredi not knowing her identity or even her sex pursues her vengefully as she attempts to defend her city
Monteverdi vividly describes much of the action through the orchestra the trotting of the horses the clashing of swords and the famous repeated sixteenth notes in G major portraying the furious battle There is the first use ofpizifcato (the plucking of strings) to imitate the sounds of weapons As the warriors get tired the music gets slower and softer and the whole battle scene is relentlessly in G major and just like in minimalism of the 20th century when the music changes to another tonality it is breathtaking
After a brief respite the battle continues until Clorinda is mortally wounded It is at this point that the stile concitato (agitated style) changes to a mood of reflection and sadness (stile molle tender style) When Clorinda implores Tancredo that he has been victorious her vocal line as well as the instruments are marked forte and piano (again a rare use of these markings) indicating her fighting for breath When she has a change of mind and asks Tancredi to baptize her the mood becomes very quiet pious and remorseful Clorindas final words of peace are movingly set to ecstatic harmonies
But what kind of a music theatre piece is Combattimento There has been a lot of discussion about the best way to realize this work It was clearly never meant to be an opera like Monteverdis other staged works because most of Combattimento is narrated offering the tenor narrator (in our case the brilliant Martin Lescault) an opportunity to render the ancient art of oratory But it is also not an oratorio We have come up with our own realization by using both singers and dancers simultaneously In this way the glories of the music can be portrayed aurally as well as visually I want to take this opportunity to thank Colleen Edwards her talented dancers and the musicians of the Schola for the many hours they have put into bringing this great masterpiece to life
James Brydges 1st Duke of Chandos (1674-1744) vas an English nobleman who built a sumptuous country mansion called Cannons (estimated at costing 42 million dollars in todays currency) that was a seat of great learning and culture Like Prince Esterhazy in Haydns time the Duke of Chandos was an important patron of music Handel was the resident composer at Cannons from 1717 until 1719 where an ensemble of singers and musicians was employed Handel wrote 11 Chandos anthems which were performed at the parish church of St Lawrence Little Stanmore and the 1716 organ that Handel himself played is still there While at Cannons Handel also composed the delightful masque Acis and Galatea and the oratorio Esther
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The Chandos Anthem No9 0 praise the Lord with one consent is based on verses from Psaln1 135 117 and 148 After a lovely orchestral introduction the first chorus theme will be familiar to many it is the melody known as St Ann or in most hymns as 0 God our help in ages past The first part of this chorus explores the main theme with a contrasting celebratory theme on the words and magnify his name Like Bach I-Iandel was a master at developing several themes contrapuntally In the second part of the chorus on the words let all the servants of the Lord his worthy praise Handel ingeniously composed contrasting then1es that intertwine in a fugue The whole chorus sparkles with joy and delight
The alto air Praise him all ye that in his house attend is one of the many arias Handel composed with the marking larghetto which left room for a tempo that is not too slow nor too fast I-Ie clearly loved this piece because he used it again in a later version of Esther and Deborah
The tenor air highlights agile coloratura phrases for the tenor voice and is full of great rhythmic energy
The majestic bass air That God is great with the unusually high tessitura must have been written for the same bass who sang in Acis and Galatea
The chorus With cheerful voice let all the earth to heaven their voices raise has a very unusual marking indicating a decrescendo (getting softer little by little) Handel clearly marked f p pp to indicate this and it is rare for the baroque era However one wonders whether crescendos and decrescendos might have been asked for in performance even though they were not notated in this era The second part of the chorus has a Lutheran-like chorale theme similar to the St Ann melody surrounded by a wonderfully pulsating eighth note pattern in the voices and instruments
In the soprano air Gods tender mercy knows no bound one can see why singers in Handels time as well as today love his vocal writing His ability to compose soaring lines filled with passion continues to enchant us
The chorus Ye boundless realms of joy exalt your makers fame is also in two parts the first part of which explores two contrasting themes The second part has a very lyrical theme on the words his praise your song employ above the starry frame in which the vocal line rises gracefully upwards
The final chorus Your voices raise brings in a rousing alleluia in contrapuntal variations like in his much later chorus For not us a child is given from Messiah
It has been an honor to learn and present these amazing glories from the past and we are so glad to share them with you our loyal and appreciative audience Bruce Fithian
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Translations Come dolce hoggi lauretta Claudio Monteverdi poem by Giulio Strozzi Come dolce hoggi lauretta Lusinga spira spira e vien A baciarmi lascivetta A baciarmi Ie guancie 1 sen
Gli Amoretti laura fanno Quando l ali spiegan al ciel Quando vanno quando vanno Della notte a squarciar il vel
Ride il bosco brilla il prato Scherza il fonte festeggia 1 mar Quando un fiato quando un fiato Daura fresca sode spirar
Entri pur nel nostro petto o bell aura nel tuo venir Quel diletto quel diletto Che fa lalme tanto gioir
o mio bene Claudio Monteverdi o mio bene 0 mia vita non mi far pili languire Non mi negar aita chio mi sento morire Non pili guerra damore no no nuo core
o begli occhi 0 bei rai non pili non pili penare non mi date pili guai chio mi sento mancare N on pili guerra di pene no no mio bene
o mio core 0 mio core o mia face 0 mia face non messer pili crudele non mi negar pili pace perchio ti son fedele N on pili guerra di noia no no nuo gtoia
How sweet today the enchanting breeze breathes and comes to kiss me teasingly to kiss my cheeks and breast
The breeze creates lovers when their wings soar up to heaven when they go to lift the veil of night
The forest laughs the meadows shine the fountain plays the waves rejoice when a breath of cool breeze is heard blowing
Come you too to our breast o beautiful breeze and with your coming what delight which makes the soul so rejoice
o my beloved 0 my life Dont let me languish anymore Do not refuse to help me otherwise I feel I may die No more love-war no no my heart
o beautiful eyes 0 beautiful beams no more pain Give me no more troubles Otherwise I feel I will faint No more pains of war No no my beloved
o my heart my heart o my beloved face Do not be so cruel to me Do not deny me peace Because I am faithful to you No more annoying war
IN 0 no my JOY
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Armato i1 cor damantina fede Claudio Monteverdi Armato il cor dadamantina fede I come armed with a heart of unbreakable faith nellamoroso regno in the reign of love a mili tar ne vegno to war contrastero col Ciel I will fight against heaven e con la sorte and against destiny pugnero con la morte I will battle with death chintrepido guerriero as an intrepid warrior se vittoria non ho And if I am not victorious vita non chero I will not want to live
Ardo avvampo mi struggo Claudio Monteverdi Ardo avvampo mi struggo I burn I blaze I melt Accorrete Come running amici vicini allinfiammato loco friends neighbors to the site of the blaze Alladro alladro stop thiefl Al tradimento Al foco Treachery Fire Scale accette martelli Take ladders hatches acqua prendete hammers water E voi torri sacrate anco tacete And you church towers are you still silent Su su bronzi chio dal gridar son roco Come bells come for I am hoarse with shouting Dite il periglio altrui non lieve 0 poco proclaim this peril not slight or small to others E deglincendi miei pieta chiedete and request pity for my burning
Son due belli occhi illadro e seco amore Two beautiful eyes are the thief and with them Love lincendiario che linique faci is the arsonist who hurled dentro la rocca mavvento del core the evil torches inside the citadel of my heart
Ecco i rimedi omai vani e fallaci By now all cure is vain and deceptive Mi dice ognun Per si beato ardore Everyone tells me Such burning is so blissful las cia chel cor sincenerisca e taci allow your heart to burn to ashes and be silent
II Combattimento di Tancredi e Clorinda Claudio Monteverdi Tancredi che Clorinda un uomo stima vuol ne larmi provarla al paragone Va girando colei lalpestre cima ver altra porta ove dentrar dispone Segue egli impetuoso onde assai prima che giunga in guisa avvien che darmi suone chella si volge e grida - 0 tu che porte correndo si - Rispose - E guerra e morte
Tancredi believing Clorinda is a man desires to challenge her in single combat She skirting round the mountain peak is heading for a city she intends to enter
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So impetuous is his chase that well before he reaches her she hears the noise of armor and turning cries You there what is the cause of such great haste He answers war and death
Guerra e morte avrai - disse - io non rifiuto darlati se la cerchi e fermo attendee Ne vuol Tancredi chebbe a pie veduto il suo nen1ico usar cavallo e scende E impugna lun e laltro il ferro acuto ed aguzza lorgoglio e lira accende e vansi incontro a passi tardi e lenti quai due tori gelosi e dira ardenti
War and death youll have she said Ill not deny your object if youll stand and face me Tancredi who saw his enemy on foot declines to stay on horseback and dismounts Both grasp their sharpshyedged swords prick on their pride whip up their fury and advance upon each other with slow steps like two rival bulls inflamed with fury
Notte che nel profondo oscuro seno chiudesti e nelloblio fatto si grande degne dun chiaro sol degne dun pieno teatro opre sarian si memorande Piacciati chindi i1 tragga en bel sereno a Ie future eta 10 spieghi e mande Viva la fama lor e tra lor gloria splenda dal fosco tuo lalta memorIa
Night who hath enclosed in thy dark breast and in obscurity a deed so great since the light of day and of a crowded theatre feats so memorable are worthy grant that I may illuminate them thus transmitting them to future generations May their fame live on and may their glory shine out a noble memory from your darkness
Non schivar non parar non pur ritrarsi voglion costor ne qui destrezza ha parte Non danno i colpi or finti or pieni or scarsi toglie lombra el furor luso de larte odi Ie spade orribilmente urtarsi a mezzo il ferro el pie dorma non parte sempre il pie fermo e la man sempre in moto ne scende taglio in van ne punta a voto
To dodge to parry blows or to retreat they do not strive for skill has here no part They do not feint nor strike now hard now soft darkness and rage preclude all subtlety Hark to the horrifying clash of sword on steel their feet cleave the ground their feet are still their hands move constantly no cut but finds its mark no thrust goes wide
Lonta irrita 10 sdegno a la vendetta e la vendetta poi lonta rinova onde sempre al ferir sempre ala fretta stimol novo saggiunge e piaga nova dor in or piu si mesce e pi u ristretta
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si fa la pugna e spada oprar non giova dansi con pomi e infelloniti e crudi cozzan con gli elmi insieme e con gli scudi
Indignation fuels their vengeful fury vengeful fury fuels more indignation whence to their fierce exchange their frenzy comes a new stimulus to inflict more wounds from time to time they close and then the fight is more restricted sword blades are no use they strike with pommels and more savage now clash their casques and their shields together
Tre volte il cavalier la donna stringe con Ie robuste braccia e altrettante poi da quei nodi tenaci ella si scinge nodi di fier nemico e non damante Tornano al ferro e lun e laltro il tinge di molto sangue e stanco e anelante e questi e quegli al fin pur si ritira e dopo lungo faticar respira
Thrice does the knight the woman grip in his strong arms and as oft does she break free from those tenacious bonds the bonds of bitter enmity not love Now they resume their swords and each the other bathes in streams of blood weary and panting both he and she must draw apart at last and after laboring long regain their breath
Lun laltro guarda e del suo corpo essangue sul pomo de la spada appoggia il peso Gia de lultima stella i1 raggio langue suI primo albor che in oriente acceso Vede Tancredi in maggior copia il sangue del suo nemico e se non tanto offeso ne gode e in superbisce oh nostra folIe mente chognaura di fortuna estolle
They eye each other and lean exhausted bodies upon the pommels of their swords The last remaining star is fading now as dawns first rays illuminate the east Tancredi sees his enemys copious loss of blood and his own injuries less grave Well pleased he preens himself Oh human folly that fortunes every offering refuses
Misero di che godi oh quanto mesti siano i trionfi e infelice il vanto Gli occhi tuoi pagheran (sin vita resti) di quel sangue ogni stilla un mar di pianto Cost tacendo e rimirando questi sanguinosi guerrier cessaro alquanto Ruppe il silenzio al fin Tancredi e disse perche il suo nome lun laltro scoprisse
Poor man what joy is this How tragic is your victory how ill-conceived your pride These eyes of yours will pay - if you survive shya sea of tears for each drop of that blood
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So silently and thoughtfully they stood these bloody warriors and paused awhile At last Tancredi broke the silence saying because he wished them to disclose their names
Nostra sventura eben che qui simpieghi tanto valor dove silenzio il copra Ma poi che sorte rea vien che ci nieghi e lode e testimon degni de lopra pregoti (se fra larmi han loco i preghi) chel tuo nome el tuo stato a me tu scopra accio chio sappia 0 vinto 0 vincitore chi la mia morte 0 vittoria onore
our true misfortune is that we employ such valor here where it must go unsung But since our cruel destiny denies us the admiration worthy of such feats I pray you - if in combat prayers have place - to reveal your name and status to me so that as victor or as vanquished I know who has honored me with life or death
Rispose la feroce - Indarno chiedi quel cho per uso di non far palese Ma chiunque io mi sia tu innanzi vedi un di quei due che la gra~ torre accese - Arse di sdegno a quel parlar Tancredi e - In mal punto il dicesti (indi riprese) el tuo dir el tacer di par malletta barbaro discortese a la vendetta
The warrior maid replies You ask in vain that which it is my custom to conceal But whoever I may be you see before you one of the two who set the great tower ablaze Hearing these words Tancredi is incensed Inopportune were those words Your speech and silence spur me on alike uncouth barbarian to retribution
Torna lira ne cori e Ii trasporta benche deboIi in guerra a fiera pugna Ularte in bando ugia la forza e morta ove in vece dentrambi il furor pugna 0 che sanguigna e spaziosa porta fa luna e laltra spada ovunque giugna ne larmi e ne Ie cami e se la vita non esce sdegno tienla al petto unita
Their anger now rekindles and propels tl1em back though weak to war to that fierce fight where skill is outlawed strength is dead and naked fury takes the place of both o what bloody gaping openings the sword of each inflicts whereer it strikes on armor and on flesh and life would issue forth did fury not retain it in the breast
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Ma ecco omai lora fatal e giunta chel viver di Clorinda al suo fin deve Spinge egli il ferro nel bel sen di punta che vi simmerge el sangue avido beve e la veste che dor vago trapunta Ie mammelle stringea tenere e lieve lempie dun caldo fiume Ella gia sente morirsi el pie Ie manca egro e languente
But 10 the fatal hour has now arrived that to Clorindas life must put an end He thrusts the blade straight into her fair breast where immersed it avidly drinks her blood And her tunic exquisitely gold-embroidered that clings around her dainty tender breasts fllls with a tepid stream She knows at once that she must die and staggers weak and faint
Segue egli la vittoria e la trafitta vergine minacciando incalza e preme Ella mentre cadea la voce afflitta movendo disse Ie parole estreme parole cha lei novo spirto addita spirto di fe di carita di speme virtu che dio Ie infonde e se rubella in vita fu la vuole in morte ancella
Victory in his grasp he throws himself menacingly upon the wounded maiden She while falling with her failing voice speaks her dying words which indicate a change of heart a spirit new to her one of faith of charity of hope virtues inspired by God intent that she rebellious in life in death will be his handmaid
Amico hai vinto io ti perdon perdona tuancora al corpo noche nulla pave a lalma si deh per lei prega e dona battesmo a me chogni miacolpa lave - In queste voci languide risuona un non so che di flebile e soave chal cor gli scendeed ogni sdegno ammorzae gli occhi a lagrimar invoglia e sforza
Friend you have won I pardon you Your pardon grant me too not for my fearless body but for my soul 0 pray for that and give me baptism to cleanse me of all sin In this languid utterance he hears a strange appeal a plaintive gendeness that to his heart descends and melts all anger making tears sting then gush forth from his eyes
Poco quindi lontan nel sen dun monte scaturia mormorando un picciol rio Egli vaccorse e lelmo empie nel fonte e tomo mesto al grande ufficio e pio Tremar senti la man mentre la fronte non conosciuta ancor sciolse e scoprio La vide e la conobbe e resto senza e voce e moto Ahi vista ahi conoscenza
Not far off from the heart of a mountain welled a litde murmuring stream Thither he ran his casque filled at the spring and grieving began the great and sacred rite His hand was trembling as he loosened the vizor and raised it from the face as yet unknown He saw and recognized her then was he bereft of speech and movement Ah tragic revelation
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Non mori gia che sue virtuti accolse tutte in quel punto e in guardia al cor Ie mise e premendo il suo affanno a dar si volse vita con lacqua a chi col ferro uccise Mentre egli il suon de sacri detti sciolse colei di gioia trasmutossi e rise e in atto di morir lieta e vivace dir parea Sapre il ciel io vado in pace
He did not die but marshalled his forces and posted them around his heart to guard it and stifling his grief he sought to restore with water life to the one his sword had slain While listening to the holy words he uttered she was transformed by happiness and smiled as she died her spirit filled with joy she seemed to say f-Ieaven opens I go in peace
INTERMISSION
o praise the Lord with one consent Chandos Anthem No9 HWV 254 George Frideric Handel 1 Chorus - 0 praise the Lord with one consent and magnify his name Let all the servants of the Lord his worthy praiseproclaim 2 Alto Air - Praise him all ye thatin his house attend with constant care with those that to his utmost courts with humble zeal repair 3 Tenor Air - For this our truest intrest is glad hymns of praise to sing and with loud songs to bless his name a most delightful thing 4 Bass Air - That God is great we often have by glad experience found and seen how he with wondrous powr above all gods is crownd 5 Chorus - With cheerful notes let all the earth to heaven their voices raise Let all inspird with godly mirth sing solemn hymns with praise 6 Soprano Air - Gods tender mercy knows no bounds his truth shall neer decay then let the willing nations round their grateful tribute pay 7 Chorus - Ye boundless realms of joy exalt your Makersfame His praise your song employ above the starry frame 8 Chorus - Your voices raise ye Cherubin and Seraphin to sing his praise Alleluja
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Thank you for joining us for our 20142015 season It is a pleasure to offer you the best in early music from the Medieval Renaissance and
Baroque eras We look forward to seeing you again at in December for our Annual Christmas concert
Special Guests
Colleen Edwards choreographer attended The Boston Conservatory where she earned her BFA in Dance and worked with Luis Fuente Donna Silva and Denise Pons While there she danced in Jose Limons Missa Brevis was a soloist in Anthony Tudors Dark Elegies and Fokines Les Sylphides She danced as a soloist with the Baton Rouge Ballet Theater in their Nutcracker Tale from the Bayou and as the Winter Fairy in Cinderella Also at BRBT Colleen was chosen to perform as a soloist at the Gala performance of the Southwest Ballet Festival in Parable Colleen danced as a principle in Northeast Ballet Theaters The
Nutcracker and danced two seasons with Urbanity Contemporary Dance Company in Boston performing in the premier of the acclaimed Story of Stuff at the Strand Theater
Kaleigh Natale Clorinda graduated from The Boston Conservatory with her BFA in Contemporary Dance Performance in 2012 While at The Boston Conservatory she had the opportunity to perform works by Jose Limon Gianni DiMarco Alwin Nikolais Ohad Naharin Danny Pelzig as well as student choreographers Kaleigh joined Portland Ballet Company in 2012 as an apprentice and was promoted to a company member in 2013 With PBC she has appeared in the Summer Seaside Social Halloween Spooktacular The Victorian Nutcracker and The Armed Man
Erica Diesl Trancredi received her early training from the Acton School of Ballet under the direction of Kathryn Anderson and Walter Morris After high school Erica continued her education at the University of Utah and the San Francisco Conservatory of Dance where she was able to learn works by J iri K ylian and Ohad Naharin among others Since graduating from the University of Utah she has worked with BalletRox in Anthony Williamss Urban Nutcracker and she has spent two seasons dancing with the Ballet Theatre of Maryland She was recently seen in the role of Death in The Armed Man
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Board of Directors
Jennifer Gregg - President Bruce Fithian - Music Director
Thomas Smith - Treasurer
Kue John Lor - Secretary The Reverend David Illingworth
J ames Stoddard Nadine Timberlake
Dr Robert Timberlake
Jennifer Gregg has spent her last five years as Scholas Board President and will be stepping down from her position St Mary Schola wishes to indicate their gratitude and appreciation for
outstanding service to Jennifer for her years of service to the Schola by granting her the lifetime title of Honorary Director Thank you Jennifer for all that you have done for the Schola
Robert Timberlake will become the new Schola board president beginning June 2015
St Mary Schola would like to express its gratitude to the communities of Saint Mary in Falmouth Saint Luke in Portland and First Parish in Brunswick
for their continued support and friendship
About the Schola St Mary Schola was founded in 2008 by The Reverend James Dalton-Thompson and Bruce Fithian with the goal to provide the finest in early music literature to New England audiences Based at the Episcopal Church of Saint Mary in Falmouth the ensemble presents three concert programs a year The Schola features some of Maines finest singers and instrumentalists who explore the great masterworks of the medieval Renaissance and baroque eras especially the music of Monteverdi Schutz and Bach
Would you like to sponsor a St Mary Schola concert Concert sponsorship helps pay rental fees and provides the artists remuneration beyond the ticket sales Please see any Schola board member or email contactstmaryscholaorg for more information
St Mary Schola is looking for volunteers If you would like to help out in any way please speak with any Schola board member or send an email to contactstmaryscholaorg Thank you
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We wish to thank the following generous benefactors to St Mary Schola
Seraphim Anonymous Peter and Harriette Griffen
Cherubim Jennifer A Gregg Mrs Verner Reed Robert and Nadine Timberlake
Hosts Anonymous Tom and Sheila Donaldson Margaret Fast Carson and Chris Lutes
Virtues Corporate Sponsor William R Britton Jr Betsy and Tom Elliman Eileen Farrar Ann Jordan Kue John Lor Nancy L Meiners Joan and Dan McDonald Patricia C Mordecai Peter Murray Doug and Becky Pride Tom and Connie Smith
~WnltzlQ If -- ~f~-~~qgtJon II Moving Mqnq~ment middot middotmiddot I~ln~$Mfbea ~)4ff~gtCQoQhlng - ~qginQ
For a Free Consultation Contact Kim Dorsky and Liz Pattison
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J ames and Elizabeth Stoddard Richard and Louise Sullivan Doug Watkins and Michael Pickel
Archangel Company Matched Contributions Bruce and Lorraine Canterbury Macys Inc Nancy Dimmick Unum Group
These concerts would not be possible without your support Relying upon tax-deductible donations St Mary Schola is a 501 (c) (3) non-profit organization devoted to fostering appreciation of early music Please visit the Scholas website stmaryscholaorgdonatehtml for online donations or checks made payable to St Mary Schola can be mailed to 43 ForesideRoad Falmouth Maine 04105
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Program Notes Welcome to our spring concert The first half of our program is devoted to the music of Claudio Monteverdi and his later works of chamber music and music drama In the course of nine books of madrigals Monteverdi transformed the elegant polyphonic forms of the Renaissance into a completely new style It is especially in his eighth book called Madrigafi Guemmiddoteri et Amorosi (Madrigals of War and Love) that this new style was made manifest At the beginning of the seventeenth century especially in Florence musicians philosophers and lovers of music were interested in widening the scope of musics expressive powers In his foreword to the Book VIII Madrigals Monteverdi describes these efforts and how through the reading of Plato and Aristotle he himself came up with his own solutions He wrote
Having considered that our mind has three principle passions - anger temperance and humility and music theory describes this clearly with the three terms of agitated (concitato) tender (moffe) and temperate (temperato) and never having been able to find in all the compositions of the past composers an example of the agitated style as described by Plato Take up that harmony which as it should imitates the voice and accents of a man going bravely into battle and knowing that it is contraries that deeply affect our mind the goal of good music ought to have as Boethius affirms when he says Music is associated with our lives to lend honor to our manners I have set myself the task of discovering this stife concitato (agitated style)
In this way he could juxtapose the startling emotions of war and love In the ninth book of rnadrigals there are many striking examples of his invention Come dolce hoggi lauretta from the lost opera Proserpina rapita paints an exquisite picture of languid breezes caressing lovers 0 mio bene begins with gentle pleading and ends with a refrain that is much more warlike on the words no more war Similarly Armato il cor damantina fede describes a soul being armed against the pains of love with many military vocal flourishes
Ardo avvampo mi struggo from the eighth book of madrigals has a dramatic contrast of two emotions the first part is a hysterical plea of help - clearly this lover is frantically burning with ardor Monteverdi almost humorously describes the desperate lovers cries throughout the eight voices with repeated notes (especially on the phase water water water water to extinguish the fire of love) and then in the second part of the madrigal there is contrasting music that is more poignant more in the temperate style And on the words per si beato ardore (for such blissful burning) the mood completely changes to the tender style (stife moffe) On a footnote Handel at the end of the baroque era was also intrigued by the theory of music styles depicting emotions his oratorio LAllegro il Penseroso ed il Moderato explored joyful pensive and moderate states of mind
It is with the music drama 11 Combattimento di Tancredi e Clorinda that Monteverdi clearly showed his new style In his preface he described how he divided up the whole note into sixteen sixteenth notes that were sounded one after another to represent anger and vexation To perform a better experiment I seized upon the divine Tasso and the description he makes of the combat between Tancredi and Clorinda so that I would have contrary passions to set to music that is war supplication and death And then in the year 1624 when I performed it before the best people of the noble city of Venice it was listened to with great applause and praised He also noted that the musicians who played the basso continuo felt that the necessity to strike a single string sixteen tiroeS
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in one measure laughable rather than praiseworthy This shows us how revolutionary his invention was The story of II Combattimento di Tancredi e Clorinda from Tassos epic Gerusalemme liberate Gerusalem delivered) was perfect for Monteverdis creativity
Joining the Schola ensemble for this piece are two special guest dancers Erica Diesl and Iltaleigh Natale with choreography by Colleen Edwards
The scene is that of a fight in single combat between a Crusader Tancredi and the Muslim maiden Clorinda of whose sex he could not be aware since she is dressed in armor It is revealed that Clorindas parents were Christian but this does not affect her until the moment of her death Tancredi has seen her once without her helmet and has fallen immediately in love In the battle Tancredi not knowing her identity or even her sex pursues her vengefully as she attempts to defend her city
Monteverdi vividly describes much of the action through the orchestra the trotting of the horses the clashing of swords and the famous repeated sixteenth notes in G major portraying the furious battle There is the first use ofpizifcato (the plucking of strings) to imitate the sounds of weapons As the warriors get tired the music gets slower and softer and the whole battle scene is relentlessly in G major and just like in minimalism of the 20th century when the music changes to another tonality it is breathtaking
After a brief respite the battle continues until Clorinda is mortally wounded It is at this point that the stile concitato (agitated style) changes to a mood of reflection and sadness (stile molle tender style) When Clorinda implores Tancredo that he has been victorious her vocal line as well as the instruments are marked forte and piano (again a rare use of these markings) indicating her fighting for breath When she has a change of mind and asks Tancredi to baptize her the mood becomes very quiet pious and remorseful Clorindas final words of peace are movingly set to ecstatic harmonies
But what kind of a music theatre piece is Combattimento There has been a lot of discussion about the best way to realize this work It was clearly never meant to be an opera like Monteverdis other staged works because most of Combattimento is narrated offering the tenor narrator (in our case the brilliant Martin Lescault) an opportunity to render the ancient art of oratory But it is also not an oratorio We have come up with our own realization by using both singers and dancers simultaneously In this way the glories of the music can be portrayed aurally as well as visually I want to take this opportunity to thank Colleen Edwards her talented dancers and the musicians of the Schola for the many hours they have put into bringing this great masterpiece to life
James Brydges 1st Duke of Chandos (1674-1744) vas an English nobleman who built a sumptuous country mansion called Cannons (estimated at costing 42 million dollars in todays currency) that was a seat of great learning and culture Like Prince Esterhazy in Haydns time the Duke of Chandos was an important patron of music Handel was the resident composer at Cannons from 1717 until 1719 where an ensemble of singers and musicians was employed Handel wrote 11 Chandos anthems which were performed at the parish church of St Lawrence Little Stanmore and the 1716 organ that Handel himself played is still there While at Cannons Handel also composed the delightful masque Acis and Galatea and the oratorio Esther
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The Chandos Anthem No9 0 praise the Lord with one consent is based on verses from Psaln1 135 117 and 148 After a lovely orchestral introduction the first chorus theme will be familiar to many it is the melody known as St Ann or in most hymns as 0 God our help in ages past The first part of this chorus explores the main theme with a contrasting celebratory theme on the words and magnify his name Like Bach I-Iandel was a master at developing several themes contrapuntally In the second part of the chorus on the words let all the servants of the Lord his worthy praise Handel ingeniously composed contrasting then1es that intertwine in a fugue The whole chorus sparkles with joy and delight
The alto air Praise him all ye that in his house attend is one of the many arias Handel composed with the marking larghetto which left room for a tempo that is not too slow nor too fast I-Ie clearly loved this piece because he used it again in a later version of Esther and Deborah
The tenor air highlights agile coloratura phrases for the tenor voice and is full of great rhythmic energy
The majestic bass air That God is great with the unusually high tessitura must have been written for the same bass who sang in Acis and Galatea
The chorus With cheerful voice let all the earth to heaven their voices raise has a very unusual marking indicating a decrescendo (getting softer little by little) Handel clearly marked f p pp to indicate this and it is rare for the baroque era However one wonders whether crescendos and decrescendos might have been asked for in performance even though they were not notated in this era The second part of the chorus has a Lutheran-like chorale theme similar to the St Ann melody surrounded by a wonderfully pulsating eighth note pattern in the voices and instruments
In the soprano air Gods tender mercy knows no bound one can see why singers in Handels time as well as today love his vocal writing His ability to compose soaring lines filled with passion continues to enchant us
The chorus Ye boundless realms of joy exalt your makers fame is also in two parts the first part of which explores two contrasting themes The second part has a very lyrical theme on the words his praise your song employ above the starry frame in which the vocal line rises gracefully upwards
The final chorus Your voices raise brings in a rousing alleluia in contrapuntal variations like in his much later chorus For not us a child is given from Messiah
It has been an honor to learn and present these amazing glories from the past and we are so glad to share them with you our loyal and appreciative audience Bruce Fithian
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Translations Come dolce hoggi lauretta Claudio Monteverdi poem by Giulio Strozzi Come dolce hoggi lauretta Lusinga spira spira e vien A baciarmi lascivetta A baciarmi Ie guancie 1 sen
Gli Amoretti laura fanno Quando l ali spiegan al ciel Quando vanno quando vanno Della notte a squarciar il vel
Ride il bosco brilla il prato Scherza il fonte festeggia 1 mar Quando un fiato quando un fiato Daura fresca sode spirar
Entri pur nel nostro petto o bell aura nel tuo venir Quel diletto quel diletto Che fa lalme tanto gioir
o mio bene Claudio Monteverdi o mio bene 0 mia vita non mi far pili languire Non mi negar aita chio mi sento morire Non pili guerra damore no no nuo core
o begli occhi 0 bei rai non pili non pili penare non mi date pili guai chio mi sento mancare N on pili guerra di pene no no mio bene
o mio core 0 mio core o mia face 0 mia face non messer pili crudele non mi negar pili pace perchio ti son fedele N on pili guerra di noia no no nuo gtoia
How sweet today the enchanting breeze breathes and comes to kiss me teasingly to kiss my cheeks and breast
The breeze creates lovers when their wings soar up to heaven when they go to lift the veil of night
The forest laughs the meadows shine the fountain plays the waves rejoice when a breath of cool breeze is heard blowing
Come you too to our breast o beautiful breeze and with your coming what delight which makes the soul so rejoice
o my beloved 0 my life Dont let me languish anymore Do not refuse to help me otherwise I feel I may die No more love-war no no my heart
o beautiful eyes 0 beautiful beams no more pain Give me no more troubles Otherwise I feel I will faint No more pains of war No no my beloved
o my heart my heart o my beloved face Do not be so cruel to me Do not deny me peace Because I am faithful to you No more annoying war
IN 0 no my JOY
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Armato i1 cor damantina fede Claudio Monteverdi Armato il cor dadamantina fede I come armed with a heart of unbreakable faith nellamoroso regno in the reign of love a mili tar ne vegno to war contrastero col Ciel I will fight against heaven e con la sorte and against destiny pugnero con la morte I will battle with death chintrepido guerriero as an intrepid warrior se vittoria non ho And if I am not victorious vita non chero I will not want to live
Ardo avvampo mi struggo Claudio Monteverdi Ardo avvampo mi struggo I burn I blaze I melt Accorrete Come running amici vicini allinfiammato loco friends neighbors to the site of the blaze Alladro alladro stop thiefl Al tradimento Al foco Treachery Fire Scale accette martelli Take ladders hatches acqua prendete hammers water E voi torri sacrate anco tacete And you church towers are you still silent Su su bronzi chio dal gridar son roco Come bells come for I am hoarse with shouting Dite il periglio altrui non lieve 0 poco proclaim this peril not slight or small to others E deglincendi miei pieta chiedete and request pity for my burning
Son due belli occhi illadro e seco amore Two beautiful eyes are the thief and with them Love lincendiario che linique faci is the arsonist who hurled dentro la rocca mavvento del core the evil torches inside the citadel of my heart
Ecco i rimedi omai vani e fallaci By now all cure is vain and deceptive Mi dice ognun Per si beato ardore Everyone tells me Such burning is so blissful las cia chel cor sincenerisca e taci allow your heart to burn to ashes and be silent
II Combattimento di Tancredi e Clorinda Claudio Monteverdi Tancredi che Clorinda un uomo stima vuol ne larmi provarla al paragone Va girando colei lalpestre cima ver altra porta ove dentrar dispone Segue egli impetuoso onde assai prima che giunga in guisa avvien che darmi suone chella si volge e grida - 0 tu che porte correndo si - Rispose - E guerra e morte
Tancredi believing Clorinda is a man desires to challenge her in single combat She skirting round the mountain peak is heading for a city she intends to enter
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So impetuous is his chase that well before he reaches her she hears the noise of armor and turning cries You there what is the cause of such great haste He answers war and death
Guerra e morte avrai - disse - io non rifiuto darlati se la cerchi e fermo attendee Ne vuol Tancredi chebbe a pie veduto il suo nen1ico usar cavallo e scende E impugna lun e laltro il ferro acuto ed aguzza lorgoglio e lira accende e vansi incontro a passi tardi e lenti quai due tori gelosi e dira ardenti
War and death youll have she said Ill not deny your object if youll stand and face me Tancredi who saw his enemy on foot declines to stay on horseback and dismounts Both grasp their sharpshyedged swords prick on their pride whip up their fury and advance upon each other with slow steps like two rival bulls inflamed with fury
Notte che nel profondo oscuro seno chiudesti e nelloblio fatto si grande degne dun chiaro sol degne dun pieno teatro opre sarian si memorande Piacciati chindi i1 tragga en bel sereno a Ie future eta 10 spieghi e mande Viva la fama lor e tra lor gloria splenda dal fosco tuo lalta memorIa
Night who hath enclosed in thy dark breast and in obscurity a deed so great since the light of day and of a crowded theatre feats so memorable are worthy grant that I may illuminate them thus transmitting them to future generations May their fame live on and may their glory shine out a noble memory from your darkness
Non schivar non parar non pur ritrarsi voglion costor ne qui destrezza ha parte Non danno i colpi or finti or pieni or scarsi toglie lombra el furor luso de larte odi Ie spade orribilmente urtarsi a mezzo il ferro el pie dorma non parte sempre il pie fermo e la man sempre in moto ne scende taglio in van ne punta a voto
To dodge to parry blows or to retreat they do not strive for skill has here no part They do not feint nor strike now hard now soft darkness and rage preclude all subtlety Hark to the horrifying clash of sword on steel their feet cleave the ground their feet are still their hands move constantly no cut but finds its mark no thrust goes wide
Lonta irrita 10 sdegno a la vendetta e la vendetta poi lonta rinova onde sempre al ferir sempre ala fretta stimol novo saggiunge e piaga nova dor in or piu si mesce e pi u ristretta
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si fa la pugna e spada oprar non giova dansi con pomi e infelloniti e crudi cozzan con gli elmi insieme e con gli scudi
Indignation fuels their vengeful fury vengeful fury fuels more indignation whence to their fierce exchange their frenzy comes a new stimulus to inflict more wounds from time to time they close and then the fight is more restricted sword blades are no use they strike with pommels and more savage now clash their casques and their shields together
Tre volte il cavalier la donna stringe con Ie robuste braccia e altrettante poi da quei nodi tenaci ella si scinge nodi di fier nemico e non damante Tornano al ferro e lun e laltro il tinge di molto sangue e stanco e anelante e questi e quegli al fin pur si ritira e dopo lungo faticar respira
Thrice does the knight the woman grip in his strong arms and as oft does she break free from those tenacious bonds the bonds of bitter enmity not love Now they resume their swords and each the other bathes in streams of blood weary and panting both he and she must draw apart at last and after laboring long regain their breath
Lun laltro guarda e del suo corpo essangue sul pomo de la spada appoggia il peso Gia de lultima stella i1 raggio langue suI primo albor che in oriente acceso Vede Tancredi in maggior copia il sangue del suo nemico e se non tanto offeso ne gode e in superbisce oh nostra folIe mente chognaura di fortuna estolle
They eye each other and lean exhausted bodies upon the pommels of their swords The last remaining star is fading now as dawns first rays illuminate the east Tancredi sees his enemys copious loss of blood and his own injuries less grave Well pleased he preens himself Oh human folly that fortunes every offering refuses
Misero di che godi oh quanto mesti siano i trionfi e infelice il vanto Gli occhi tuoi pagheran (sin vita resti) di quel sangue ogni stilla un mar di pianto Cost tacendo e rimirando questi sanguinosi guerrier cessaro alquanto Ruppe il silenzio al fin Tancredi e disse perche il suo nome lun laltro scoprisse
Poor man what joy is this How tragic is your victory how ill-conceived your pride These eyes of yours will pay - if you survive shya sea of tears for each drop of that blood
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So silently and thoughtfully they stood these bloody warriors and paused awhile At last Tancredi broke the silence saying because he wished them to disclose their names
Nostra sventura eben che qui simpieghi tanto valor dove silenzio il copra Ma poi che sorte rea vien che ci nieghi e lode e testimon degni de lopra pregoti (se fra larmi han loco i preghi) chel tuo nome el tuo stato a me tu scopra accio chio sappia 0 vinto 0 vincitore chi la mia morte 0 vittoria onore
our true misfortune is that we employ such valor here where it must go unsung But since our cruel destiny denies us the admiration worthy of such feats I pray you - if in combat prayers have place - to reveal your name and status to me so that as victor or as vanquished I know who has honored me with life or death
Rispose la feroce - Indarno chiedi quel cho per uso di non far palese Ma chiunque io mi sia tu innanzi vedi un di quei due che la gra~ torre accese - Arse di sdegno a quel parlar Tancredi e - In mal punto il dicesti (indi riprese) el tuo dir el tacer di par malletta barbaro discortese a la vendetta
The warrior maid replies You ask in vain that which it is my custom to conceal But whoever I may be you see before you one of the two who set the great tower ablaze Hearing these words Tancredi is incensed Inopportune were those words Your speech and silence spur me on alike uncouth barbarian to retribution
Torna lira ne cori e Ii trasporta benche deboIi in guerra a fiera pugna Ularte in bando ugia la forza e morta ove in vece dentrambi il furor pugna 0 che sanguigna e spaziosa porta fa luna e laltra spada ovunque giugna ne larmi e ne Ie cami e se la vita non esce sdegno tienla al petto unita
Their anger now rekindles and propels tl1em back though weak to war to that fierce fight where skill is outlawed strength is dead and naked fury takes the place of both o what bloody gaping openings the sword of each inflicts whereer it strikes on armor and on flesh and life would issue forth did fury not retain it in the breast
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Ma ecco omai lora fatal e giunta chel viver di Clorinda al suo fin deve Spinge egli il ferro nel bel sen di punta che vi simmerge el sangue avido beve e la veste che dor vago trapunta Ie mammelle stringea tenere e lieve lempie dun caldo fiume Ella gia sente morirsi el pie Ie manca egro e languente
But 10 the fatal hour has now arrived that to Clorindas life must put an end He thrusts the blade straight into her fair breast where immersed it avidly drinks her blood And her tunic exquisitely gold-embroidered that clings around her dainty tender breasts fllls with a tepid stream She knows at once that she must die and staggers weak and faint
Segue egli la vittoria e la trafitta vergine minacciando incalza e preme Ella mentre cadea la voce afflitta movendo disse Ie parole estreme parole cha lei novo spirto addita spirto di fe di carita di speme virtu che dio Ie infonde e se rubella in vita fu la vuole in morte ancella
Victory in his grasp he throws himself menacingly upon the wounded maiden She while falling with her failing voice speaks her dying words which indicate a change of heart a spirit new to her one of faith of charity of hope virtues inspired by God intent that she rebellious in life in death will be his handmaid
Amico hai vinto io ti perdon perdona tuancora al corpo noche nulla pave a lalma si deh per lei prega e dona battesmo a me chogni miacolpa lave - In queste voci languide risuona un non so che di flebile e soave chal cor gli scendeed ogni sdegno ammorzae gli occhi a lagrimar invoglia e sforza
Friend you have won I pardon you Your pardon grant me too not for my fearless body but for my soul 0 pray for that and give me baptism to cleanse me of all sin In this languid utterance he hears a strange appeal a plaintive gendeness that to his heart descends and melts all anger making tears sting then gush forth from his eyes
Poco quindi lontan nel sen dun monte scaturia mormorando un picciol rio Egli vaccorse e lelmo empie nel fonte e tomo mesto al grande ufficio e pio Tremar senti la man mentre la fronte non conosciuta ancor sciolse e scoprio La vide e la conobbe e resto senza e voce e moto Ahi vista ahi conoscenza
Not far off from the heart of a mountain welled a litde murmuring stream Thither he ran his casque filled at the spring and grieving began the great and sacred rite His hand was trembling as he loosened the vizor and raised it from the face as yet unknown He saw and recognized her then was he bereft of speech and movement Ah tragic revelation
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Non mori gia che sue virtuti accolse tutte in quel punto e in guardia al cor Ie mise e premendo il suo affanno a dar si volse vita con lacqua a chi col ferro uccise Mentre egli il suon de sacri detti sciolse colei di gioia trasmutossi e rise e in atto di morir lieta e vivace dir parea Sapre il ciel io vado in pace
He did not die but marshalled his forces and posted them around his heart to guard it and stifling his grief he sought to restore with water life to the one his sword had slain While listening to the holy words he uttered she was transformed by happiness and smiled as she died her spirit filled with joy she seemed to say f-Ieaven opens I go in peace
INTERMISSION
o praise the Lord with one consent Chandos Anthem No9 HWV 254 George Frideric Handel 1 Chorus - 0 praise the Lord with one consent and magnify his name Let all the servants of the Lord his worthy praiseproclaim 2 Alto Air - Praise him all ye thatin his house attend with constant care with those that to his utmost courts with humble zeal repair 3 Tenor Air - For this our truest intrest is glad hymns of praise to sing and with loud songs to bless his name a most delightful thing 4 Bass Air - That God is great we often have by glad experience found and seen how he with wondrous powr above all gods is crownd 5 Chorus - With cheerful notes let all the earth to heaven their voices raise Let all inspird with godly mirth sing solemn hymns with praise 6 Soprano Air - Gods tender mercy knows no bounds his truth shall neer decay then let the willing nations round their grateful tribute pay 7 Chorus - Ye boundless realms of joy exalt your Makersfame His praise your song employ above the starry frame 8 Chorus - Your voices raise ye Cherubin and Seraphin to sing his praise Alleluja
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Please visit our website for more information on upcoming Schola concerts to purchase tickets listen to previous concert performances read artist biographies or
to sign up for our newsletter stmaryscholaorg
facebookcomStMarySchola youtubecoml ScholaMaine
16
Board of Directors
Jennifer Gregg - President Bruce Fithian - Music Director
Thomas Smith - Treasurer
Kue John Lor - Secretary The Reverend David Illingworth
J ames Stoddard Nadine Timberlake
Dr Robert Timberlake
Jennifer Gregg has spent her last five years as Scholas Board President and will be stepping down from her position St Mary Schola wishes to indicate their gratitude and appreciation for
outstanding service to Jennifer for her years of service to the Schola by granting her the lifetime title of Honorary Director Thank you Jennifer for all that you have done for the Schola
Robert Timberlake will become the new Schola board president beginning June 2015
St Mary Schola would like to express its gratitude to the communities of Saint Mary in Falmouth Saint Luke in Portland and First Parish in Brunswick
for their continued support and friendship
About the Schola St Mary Schola was founded in 2008 by The Reverend James Dalton-Thompson and Bruce Fithian with the goal to provide the finest in early music literature to New England audiences Based at the Episcopal Church of Saint Mary in Falmouth the ensemble presents three concert programs a year The Schola features some of Maines finest singers and instrumentalists who explore the great masterworks of the medieval Renaissance and baroque eras especially the music of Monteverdi Schutz and Bach
Would you like to sponsor a St Mary Schola concert Concert sponsorship helps pay rental fees and provides the artists remuneration beyond the ticket sales Please see any Schola board member or email contactstmaryscholaorg for more information
St Mary Schola is looking for volunteers If you would like to help out in any way please speak with any Schola board member or send an email to contactstmaryscholaorg Thank you
5
We wish to thank the following generous benefactors to St Mary Schola
Seraphim Anonymous Peter and Harriette Griffen
Cherubim Jennifer A Gregg Mrs Verner Reed Robert and Nadine Timberlake
Hosts Anonymous Tom and Sheila Donaldson Margaret Fast Carson and Chris Lutes
Virtues Corporate Sponsor William R Britton Jr Betsy and Tom Elliman Eileen Farrar Ann Jordan Kue John Lor Nancy L Meiners Joan and Dan McDonald Patricia C Mordecai Peter Murray Doug and Becky Pride Tom and Connie Smith
~WnltzlQ If -- ~f~-~~qgtJon II Moving Mqnq~ment middot middotmiddot I~ln~$Mfbea ~)4ff~gtCQoQhlng - ~qginQ
For a Free Consultation Contact Kim Dorsky and Liz Pattison
E-mail infoSimplysizedhomecom
Phone 35er0046 bull wwwsimplysizedhomecom
J ames and Elizabeth Stoddard Richard and Louise Sullivan Doug Watkins and Michael Pickel
Archangel Company Matched Contributions Bruce and Lorraine Canterbury Macys Inc Nancy Dimmick Unum Group
These concerts would not be possible without your support Relying upon tax-deductible donations St Mary Schola is a 501 (c) (3) non-profit organization devoted to fostering appreciation of early music Please visit the Scholas website stmaryscholaorgdonatehtml for online donations or checks made payable to St Mary Schola can be mailed to 43 ForesideRoad Falmouth Maine 04105
6
Program Notes Welcome to our spring concert The first half of our program is devoted to the music of Claudio Monteverdi and his later works of chamber music and music drama In the course of nine books of madrigals Monteverdi transformed the elegant polyphonic forms of the Renaissance into a completely new style It is especially in his eighth book called Madrigafi Guemmiddoteri et Amorosi (Madrigals of War and Love) that this new style was made manifest At the beginning of the seventeenth century especially in Florence musicians philosophers and lovers of music were interested in widening the scope of musics expressive powers In his foreword to the Book VIII Madrigals Monteverdi describes these efforts and how through the reading of Plato and Aristotle he himself came up with his own solutions He wrote
Having considered that our mind has three principle passions - anger temperance and humility and music theory describes this clearly with the three terms of agitated (concitato) tender (moffe) and temperate (temperato) and never having been able to find in all the compositions of the past composers an example of the agitated style as described by Plato Take up that harmony which as it should imitates the voice and accents of a man going bravely into battle and knowing that it is contraries that deeply affect our mind the goal of good music ought to have as Boethius affirms when he says Music is associated with our lives to lend honor to our manners I have set myself the task of discovering this stife concitato (agitated style)
In this way he could juxtapose the startling emotions of war and love In the ninth book of rnadrigals there are many striking examples of his invention Come dolce hoggi lauretta from the lost opera Proserpina rapita paints an exquisite picture of languid breezes caressing lovers 0 mio bene begins with gentle pleading and ends with a refrain that is much more warlike on the words no more war Similarly Armato il cor damantina fede describes a soul being armed against the pains of love with many military vocal flourishes
Ardo avvampo mi struggo from the eighth book of madrigals has a dramatic contrast of two emotions the first part is a hysterical plea of help - clearly this lover is frantically burning with ardor Monteverdi almost humorously describes the desperate lovers cries throughout the eight voices with repeated notes (especially on the phase water water water water to extinguish the fire of love) and then in the second part of the madrigal there is contrasting music that is more poignant more in the temperate style And on the words per si beato ardore (for such blissful burning) the mood completely changes to the tender style (stife moffe) On a footnote Handel at the end of the baroque era was also intrigued by the theory of music styles depicting emotions his oratorio LAllegro il Penseroso ed il Moderato explored joyful pensive and moderate states of mind
It is with the music drama 11 Combattimento di Tancredi e Clorinda that Monteverdi clearly showed his new style In his preface he described how he divided up the whole note into sixteen sixteenth notes that were sounded one after another to represent anger and vexation To perform a better experiment I seized upon the divine Tasso and the description he makes of the combat between Tancredi and Clorinda so that I would have contrary passions to set to music that is war supplication and death And then in the year 1624 when I performed it before the best people of the noble city of Venice it was listened to with great applause and praised He also noted that the musicians who played the basso continuo felt that the necessity to strike a single string sixteen tiroeS
7
in one measure laughable rather than praiseworthy This shows us how revolutionary his invention was The story of II Combattimento di Tancredi e Clorinda from Tassos epic Gerusalemme liberate Gerusalem delivered) was perfect for Monteverdis creativity
Joining the Schola ensemble for this piece are two special guest dancers Erica Diesl and Iltaleigh Natale with choreography by Colleen Edwards
The scene is that of a fight in single combat between a Crusader Tancredi and the Muslim maiden Clorinda of whose sex he could not be aware since she is dressed in armor It is revealed that Clorindas parents were Christian but this does not affect her until the moment of her death Tancredi has seen her once without her helmet and has fallen immediately in love In the battle Tancredi not knowing her identity or even her sex pursues her vengefully as she attempts to defend her city
Monteverdi vividly describes much of the action through the orchestra the trotting of the horses the clashing of swords and the famous repeated sixteenth notes in G major portraying the furious battle There is the first use ofpizifcato (the plucking of strings) to imitate the sounds of weapons As the warriors get tired the music gets slower and softer and the whole battle scene is relentlessly in G major and just like in minimalism of the 20th century when the music changes to another tonality it is breathtaking
After a brief respite the battle continues until Clorinda is mortally wounded It is at this point that the stile concitato (agitated style) changes to a mood of reflection and sadness (stile molle tender style) When Clorinda implores Tancredo that he has been victorious her vocal line as well as the instruments are marked forte and piano (again a rare use of these markings) indicating her fighting for breath When she has a change of mind and asks Tancredi to baptize her the mood becomes very quiet pious and remorseful Clorindas final words of peace are movingly set to ecstatic harmonies
But what kind of a music theatre piece is Combattimento There has been a lot of discussion about the best way to realize this work It was clearly never meant to be an opera like Monteverdis other staged works because most of Combattimento is narrated offering the tenor narrator (in our case the brilliant Martin Lescault) an opportunity to render the ancient art of oratory But it is also not an oratorio We have come up with our own realization by using both singers and dancers simultaneously In this way the glories of the music can be portrayed aurally as well as visually I want to take this opportunity to thank Colleen Edwards her talented dancers and the musicians of the Schola for the many hours they have put into bringing this great masterpiece to life
James Brydges 1st Duke of Chandos (1674-1744) vas an English nobleman who built a sumptuous country mansion called Cannons (estimated at costing 42 million dollars in todays currency) that was a seat of great learning and culture Like Prince Esterhazy in Haydns time the Duke of Chandos was an important patron of music Handel was the resident composer at Cannons from 1717 until 1719 where an ensemble of singers and musicians was employed Handel wrote 11 Chandos anthems which were performed at the parish church of St Lawrence Little Stanmore and the 1716 organ that Handel himself played is still there While at Cannons Handel also composed the delightful masque Acis and Galatea and the oratorio Esther
8
The Chandos Anthem No9 0 praise the Lord with one consent is based on verses from Psaln1 135 117 and 148 After a lovely orchestral introduction the first chorus theme will be familiar to many it is the melody known as St Ann or in most hymns as 0 God our help in ages past The first part of this chorus explores the main theme with a contrasting celebratory theme on the words and magnify his name Like Bach I-Iandel was a master at developing several themes contrapuntally In the second part of the chorus on the words let all the servants of the Lord his worthy praise Handel ingeniously composed contrasting then1es that intertwine in a fugue The whole chorus sparkles with joy and delight
The alto air Praise him all ye that in his house attend is one of the many arias Handel composed with the marking larghetto which left room for a tempo that is not too slow nor too fast I-Ie clearly loved this piece because he used it again in a later version of Esther and Deborah
The tenor air highlights agile coloratura phrases for the tenor voice and is full of great rhythmic energy
The majestic bass air That God is great with the unusually high tessitura must have been written for the same bass who sang in Acis and Galatea
The chorus With cheerful voice let all the earth to heaven their voices raise has a very unusual marking indicating a decrescendo (getting softer little by little) Handel clearly marked f p pp to indicate this and it is rare for the baroque era However one wonders whether crescendos and decrescendos might have been asked for in performance even though they were not notated in this era The second part of the chorus has a Lutheran-like chorale theme similar to the St Ann melody surrounded by a wonderfully pulsating eighth note pattern in the voices and instruments
In the soprano air Gods tender mercy knows no bound one can see why singers in Handels time as well as today love his vocal writing His ability to compose soaring lines filled with passion continues to enchant us
The chorus Ye boundless realms of joy exalt your makers fame is also in two parts the first part of which explores two contrasting themes The second part has a very lyrical theme on the words his praise your song employ above the starry frame in which the vocal line rises gracefully upwards
The final chorus Your voices raise brings in a rousing alleluia in contrapuntal variations like in his much later chorus For not us a child is given from Messiah
It has been an honor to learn and present these amazing glories from the past and we are so glad to share them with you our loyal and appreciative audience Bruce Fithian
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Translations Come dolce hoggi lauretta Claudio Monteverdi poem by Giulio Strozzi Come dolce hoggi lauretta Lusinga spira spira e vien A baciarmi lascivetta A baciarmi Ie guancie 1 sen
Gli Amoretti laura fanno Quando l ali spiegan al ciel Quando vanno quando vanno Della notte a squarciar il vel
Ride il bosco brilla il prato Scherza il fonte festeggia 1 mar Quando un fiato quando un fiato Daura fresca sode spirar
Entri pur nel nostro petto o bell aura nel tuo venir Quel diletto quel diletto Che fa lalme tanto gioir
o mio bene Claudio Monteverdi o mio bene 0 mia vita non mi far pili languire Non mi negar aita chio mi sento morire Non pili guerra damore no no nuo core
o begli occhi 0 bei rai non pili non pili penare non mi date pili guai chio mi sento mancare N on pili guerra di pene no no mio bene
o mio core 0 mio core o mia face 0 mia face non messer pili crudele non mi negar pili pace perchio ti son fedele N on pili guerra di noia no no nuo gtoia
How sweet today the enchanting breeze breathes and comes to kiss me teasingly to kiss my cheeks and breast
The breeze creates lovers when their wings soar up to heaven when they go to lift the veil of night
The forest laughs the meadows shine the fountain plays the waves rejoice when a breath of cool breeze is heard blowing
Come you too to our breast o beautiful breeze and with your coming what delight which makes the soul so rejoice
o my beloved 0 my life Dont let me languish anymore Do not refuse to help me otherwise I feel I may die No more love-war no no my heart
o beautiful eyes 0 beautiful beams no more pain Give me no more troubles Otherwise I feel I will faint No more pains of war No no my beloved
o my heart my heart o my beloved face Do not be so cruel to me Do not deny me peace Because I am faithful to you No more annoying war
IN 0 no my JOY
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Armato i1 cor damantina fede Claudio Monteverdi Armato il cor dadamantina fede I come armed with a heart of unbreakable faith nellamoroso regno in the reign of love a mili tar ne vegno to war contrastero col Ciel I will fight against heaven e con la sorte and against destiny pugnero con la morte I will battle with death chintrepido guerriero as an intrepid warrior se vittoria non ho And if I am not victorious vita non chero I will not want to live
Ardo avvampo mi struggo Claudio Monteverdi Ardo avvampo mi struggo I burn I blaze I melt Accorrete Come running amici vicini allinfiammato loco friends neighbors to the site of the blaze Alladro alladro stop thiefl Al tradimento Al foco Treachery Fire Scale accette martelli Take ladders hatches acqua prendete hammers water E voi torri sacrate anco tacete And you church towers are you still silent Su su bronzi chio dal gridar son roco Come bells come for I am hoarse with shouting Dite il periglio altrui non lieve 0 poco proclaim this peril not slight or small to others E deglincendi miei pieta chiedete and request pity for my burning
Son due belli occhi illadro e seco amore Two beautiful eyes are the thief and with them Love lincendiario che linique faci is the arsonist who hurled dentro la rocca mavvento del core the evil torches inside the citadel of my heart
Ecco i rimedi omai vani e fallaci By now all cure is vain and deceptive Mi dice ognun Per si beato ardore Everyone tells me Such burning is so blissful las cia chel cor sincenerisca e taci allow your heart to burn to ashes and be silent
II Combattimento di Tancredi e Clorinda Claudio Monteverdi Tancredi che Clorinda un uomo stima vuol ne larmi provarla al paragone Va girando colei lalpestre cima ver altra porta ove dentrar dispone Segue egli impetuoso onde assai prima che giunga in guisa avvien che darmi suone chella si volge e grida - 0 tu che porte correndo si - Rispose - E guerra e morte
Tancredi believing Clorinda is a man desires to challenge her in single combat She skirting round the mountain peak is heading for a city she intends to enter
11
So impetuous is his chase that well before he reaches her she hears the noise of armor and turning cries You there what is the cause of such great haste He answers war and death
Guerra e morte avrai - disse - io non rifiuto darlati se la cerchi e fermo attendee Ne vuol Tancredi chebbe a pie veduto il suo nen1ico usar cavallo e scende E impugna lun e laltro il ferro acuto ed aguzza lorgoglio e lira accende e vansi incontro a passi tardi e lenti quai due tori gelosi e dira ardenti
War and death youll have she said Ill not deny your object if youll stand and face me Tancredi who saw his enemy on foot declines to stay on horseback and dismounts Both grasp their sharpshyedged swords prick on their pride whip up their fury and advance upon each other with slow steps like two rival bulls inflamed with fury
Notte che nel profondo oscuro seno chiudesti e nelloblio fatto si grande degne dun chiaro sol degne dun pieno teatro opre sarian si memorande Piacciati chindi i1 tragga en bel sereno a Ie future eta 10 spieghi e mande Viva la fama lor e tra lor gloria splenda dal fosco tuo lalta memorIa
Night who hath enclosed in thy dark breast and in obscurity a deed so great since the light of day and of a crowded theatre feats so memorable are worthy grant that I may illuminate them thus transmitting them to future generations May their fame live on and may their glory shine out a noble memory from your darkness
Non schivar non parar non pur ritrarsi voglion costor ne qui destrezza ha parte Non danno i colpi or finti or pieni or scarsi toglie lombra el furor luso de larte odi Ie spade orribilmente urtarsi a mezzo il ferro el pie dorma non parte sempre il pie fermo e la man sempre in moto ne scende taglio in van ne punta a voto
To dodge to parry blows or to retreat they do not strive for skill has here no part They do not feint nor strike now hard now soft darkness and rage preclude all subtlety Hark to the horrifying clash of sword on steel their feet cleave the ground their feet are still their hands move constantly no cut but finds its mark no thrust goes wide
Lonta irrita 10 sdegno a la vendetta e la vendetta poi lonta rinova onde sempre al ferir sempre ala fretta stimol novo saggiunge e piaga nova dor in or piu si mesce e pi u ristretta
12
si fa la pugna e spada oprar non giova dansi con pomi e infelloniti e crudi cozzan con gli elmi insieme e con gli scudi
Indignation fuels their vengeful fury vengeful fury fuels more indignation whence to their fierce exchange their frenzy comes a new stimulus to inflict more wounds from time to time they close and then the fight is more restricted sword blades are no use they strike with pommels and more savage now clash their casques and their shields together
Tre volte il cavalier la donna stringe con Ie robuste braccia e altrettante poi da quei nodi tenaci ella si scinge nodi di fier nemico e non damante Tornano al ferro e lun e laltro il tinge di molto sangue e stanco e anelante e questi e quegli al fin pur si ritira e dopo lungo faticar respira
Thrice does the knight the woman grip in his strong arms and as oft does she break free from those tenacious bonds the bonds of bitter enmity not love Now they resume their swords and each the other bathes in streams of blood weary and panting both he and she must draw apart at last and after laboring long regain their breath
Lun laltro guarda e del suo corpo essangue sul pomo de la spada appoggia il peso Gia de lultima stella i1 raggio langue suI primo albor che in oriente acceso Vede Tancredi in maggior copia il sangue del suo nemico e se non tanto offeso ne gode e in superbisce oh nostra folIe mente chognaura di fortuna estolle
They eye each other and lean exhausted bodies upon the pommels of their swords The last remaining star is fading now as dawns first rays illuminate the east Tancredi sees his enemys copious loss of blood and his own injuries less grave Well pleased he preens himself Oh human folly that fortunes every offering refuses
Misero di che godi oh quanto mesti siano i trionfi e infelice il vanto Gli occhi tuoi pagheran (sin vita resti) di quel sangue ogni stilla un mar di pianto Cost tacendo e rimirando questi sanguinosi guerrier cessaro alquanto Ruppe il silenzio al fin Tancredi e disse perche il suo nome lun laltro scoprisse
Poor man what joy is this How tragic is your victory how ill-conceived your pride These eyes of yours will pay - if you survive shya sea of tears for each drop of that blood
13
So silently and thoughtfully they stood these bloody warriors and paused awhile At last Tancredi broke the silence saying because he wished them to disclose their names
Nostra sventura eben che qui simpieghi tanto valor dove silenzio il copra Ma poi che sorte rea vien che ci nieghi e lode e testimon degni de lopra pregoti (se fra larmi han loco i preghi) chel tuo nome el tuo stato a me tu scopra accio chio sappia 0 vinto 0 vincitore chi la mia morte 0 vittoria onore
our true misfortune is that we employ such valor here where it must go unsung But since our cruel destiny denies us the admiration worthy of such feats I pray you - if in combat prayers have place - to reveal your name and status to me so that as victor or as vanquished I know who has honored me with life or death
Rispose la feroce - Indarno chiedi quel cho per uso di non far palese Ma chiunque io mi sia tu innanzi vedi un di quei due che la gra~ torre accese - Arse di sdegno a quel parlar Tancredi e - In mal punto il dicesti (indi riprese) el tuo dir el tacer di par malletta barbaro discortese a la vendetta
The warrior maid replies You ask in vain that which it is my custom to conceal But whoever I may be you see before you one of the two who set the great tower ablaze Hearing these words Tancredi is incensed Inopportune were those words Your speech and silence spur me on alike uncouth barbarian to retribution
Torna lira ne cori e Ii trasporta benche deboIi in guerra a fiera pugna Ularte in bando ugia la forza e morta ove in vece dentrambi il furor pugna 0 che sanguigna e spaziosa porta fa luna e laltra spada ovunque giugna ne larmi e ne Ie cami e se la vita non esce sdegno tienla al petto unita
Their anger now rekindles and propels tl1em back though weak to war to that fierce fight where skill is outlawed strength is dead and naked fury takes the place of both o what bloody gaping openings the sword of each inflicts whereer it strikes on armor and on flesh and life would issue forth did fury not retain it in the breast
14
Ma ecco omai lora fatal e giunta chel viver di Clorinda al suo fin deve Spinge egli il ferro nel bel sen di punta che vi simmerge el sangue avido beve e la veste che dor vago trapunta Ie mammelle stringea tenere e lieve lempie dun caldo fiume Ella gia sente morirsi el pie Ie manca egro e languente
But 10 the fatal hour has now arrived that to Clorindas life must put an end He thrusts the blade straight into her fair breast where immersed it avidly drinks her blood And her tunic exquisitely gold-embroidered that clings around her dainty tender breasts fllls with a tepid stream She knows at once that she must die and staggers weak and faint
Segue egli la vittoria e la trafitta vergine minacciando incalza e preme Ella mentre cadea la voce afflitta movendo disse Ie parole estreme parole cha lei novo spirto addita spirto di fe di carita di speme virtu che dio Ie infonde e se rubella in vita fu la vuole in morte ancella
Victory in his grasp he throws himself menacingly upon the wounded maiden She while falling with her failing voice speaks her dying words which indicate a change of heart a spirit new to her one of faith of charity of hope virtues inspired by God intent that she rebellious in life in death will be his handmaid
Amico hai vinto io ti perdon perdona tuancora al corpo noche nulla pave a lalma si deh per lei prega e dona battesmo a me chogni miacolpa lave - In queste voci languide risuona un non so che di flebile e soave chal cor gli scendeed ogni sdegno ammorzae gli occhi a lagrimar invoglia e sforza
Friend you have won I pardon you Your pardon grant me too not for my fearless body but for my soul 0 pray for that and give me baptism to cleanse me of all sin In this languid utterance he hears a strange appeal a plaintive gendeness that to his heart descends and melts all anger making tears sting then gush forth from his eyes
Poco quindi lontan nel sen dun monte scaturia mormorando un picciol rio Egli vaccorse e lelmo empie nel fonte e tomo mesto al grande ufficio e pio Tremar senti la man mentre la fronte non conosciuta ancor sciolse e scoprio La vide e la conobbe e resto senza e voce e moto Ahi vista ahi conoscenza
Not far off from the heart of a mountain welled a litde murmuring stream Thither he ran his casque filled at the spring and grieving began the great and sacred rite His hand was trembling as he loosened the vizor and raised it from the face as yet unknown He saw and recognized her then was he bereft of speech and movement Ah tragic revelation
15
Non mori gia che sue virtuti accolse tutte in quel punto e in guardia al cor Ie mise e premendo il suo affanno a dar si volse vita con lacqua a chi col ferro uccise Mentre egli il suon de sacri detti sciolse colei di gioia trasmutossi e rise e in atto di morir lieta e vivace dir parea Sapre il ciel io vado in pace
He did not die but marshalled his forces and posted them around his heart to guard it and stifling his grief he sought to restore with water life to the one his sword had slain While listening to the holy words he uttered she was transformed by happiness and smiled as she died her spirit filled with joy she seemed to say f-Ieaven opens I go in peace
INTERMISSION
o praise the Lord with one consent Chandos Anthem No9 HWV 254 George Frideric Handel 1 Chorus - 0 praise the Lord with one consent and magnify his name Let all the servants of the Lord his worthy praiseproclaim 2 Alto Air - Praise him all ye thatin his house attend with constant care with those that to his utmost courts with humble zeal repair 3 Tenor Air - For this our truest intrest is glad hymns of praise to sing and with loud songs to bless his name a most delightful thing 4 Bass Air - That God is great we often have by glad experience found and seen how he with wondrous powr above all gods is crownd 5 Chorus - With cheerful notes let all the earth to heaven their voices raise Let all inspird with godly mirth sing solemn hymns with praise 6 Soprano Air - Gods tender mercy knows no bounds his truth shall neer decay then let the willing nations round their grateful tribute pay 7 Chorus - Ye boundless realms of joy exalt your Makersfame His praise your song employ above the starry frame 8 Chorus - Your voices raise ye Cherubin and Seraphin to sing his praise Alleluja
~-----~~------
Please visit our website for more information on upcoming Schola concerts to purchase tickets listen to previous concert performances read artist biographies or
to sign up for our newsletter stmaryscholaorg
facebookcomStMarySchola youtubecoml ScholaMaine
16
We wish to thank the following generous benefactors to St Mary Schola
Seraphim Anonymous Peter and Harriette Griffen
Cherubim Jennifer A Gregg Mrs Verner Reed Robert and Nadine Timberlake
Hosts Anonymous Tom and Sheila Donaldson Margaret Fast Carson and Chris Lutes
Virtues Corporate Sponsor William R Britton Jr Betsy and Tom Elliman Eileen Farrar Ann Jordan Kue John Lor Nancy L Meiners Joan and Dan McDonald Patricia C Mordecai Peter Murray Doug and Becky Pride Tom and Connie Smith
~WnltzlQ If -- ~f~-~~qgtJon II Moving Mqnq~ment middot middotmiddot I~ln~$Mfbea ~)4ff~gtCQoQhlng - ~qginQ
For a Free Consultation Contact Kim Dorsky and Liz Pattison
E-mail infoSimplysizedhomecom
Phone 35er0046 bull wwwsimplysizedhomecom
J ames and Elizabeth Stoddard Richard and Louise Sullivan Doug Watkins and Michael Pickel
Archangel Company Matched Contributions Bruce and Lorraine Canterbury Macys Inc Nancy Dimmick Unum Group
These concerts would not be possible without your support Relying upon tax-deductible donations St Mary Schola is a 501 (c) (3) non-profit organization devoted to fostering appreciation of early music Please visit the Scholas website stmaryscholaorgdonatehtml for online donations or checks made payable to St Mary Schola can be mailed to 43 ForesideRoad Falmouth Maine 04105
6
Program Notes Welcome to our spring concert The first half of our program is devoted to the music of Claudio Monteverdi and his later works of chamber music and music drama In the course of nine books of madrigals Monteverdi transformed the elegant polyphonic forms of the Renaissance into a completely new style It is especially in his eighth book called Madrigafi Guemmiddoteri et Amorosi (Madrigals of War and Love) that this new style was made manifest At the beginning of the seventeenth century especially in Florence musicians philosophers and lovers of music were interested in widening the scope of musics expressive powers In his foreword to the Book VIII Madrigals Monteverdi describes these efforts and how through the reading of Plato and Aristotle he himself came up with his own solutions He wrote
Having considered that our mind has three principle passions - anger temperance and humility and music theory describes this clearly with the three terms of agitated (concitato) tender (moffe) and temperate (temperato) and never having been able to find in all the compositions of the past composers an example of the agitated style as described by Plato Take up that harmony which as it should imitates the voice and accents of a man going bravely into battle and knowing that it is contraries that deeply affect our mind the goal of good music ought to have as Boethius affirms when he says Music is associated with our lives to lend honor to our manners I have set myself the task of discovering this stife concitato (agitated style)
In this way he could juxtapose the startling emotions of war and love In the ninth book of rnadrigals there are many striking examples of his invention Come dolce hoggi lauretta from the lost opera Proserpina rapita paints an exquisite picture of languid breezes caressing lovers 0 mio bene begins with gentle pleading and ends with a refrain that is much more warlike on the words no more war Similarly Armato il cor damantina fede describes a soul being armed against the pains of love with many military vocal flourishes
Ardo avvampo mi struggo from the eighth book of madrigals has a dramatic contrast of two emotions the first part is a hysterical plea of help - clearly this lover is frantically burning with ardor Monteverdi almost humorously describes the desperate lovers cries throughout the eight voices with repeated notes (especially on the phase water water water water to extinguish the fire of love) and then in the second part of the madrigal there is contrasting music that is more poignant more in the temperate style And on the words per si beato ardore (for such blissful burning) the mood completely changes to the tender style (stife moffe) On a footnote Handel at the end of the baroque era was also intrigued by the theory of music styles depicting emotions his oratorio LAllegro il Penseroso ed il Moderato explored joyful pensive and moderate states of mind
It is with the music drama 11 Combattimento di Tancredi e Clorinda that Monteverdi clearly showed his new style In his preface he described how he divided up the whole note into sixteen sixteenth notes that were sounded one after another to represent anger and vexation To perform a better experiment I seized upon the divine Tasso and the description he makes of the combat between Tancredi and Clorinda so that I would have contrary passions to set to music that is war supplication and death And then in the year 1624 when I performed it before the best people of the noble city of Venice it was listened to with great applause and praised He also noted that the musicians who played the basso continuo felt that the necessity to strike a single string sixteen tiroeS
7
in one measure laughable rather than praiseworthy This shows us how revolutionary his invention was The story of II Combattimento di Tancredi e Clorinda from Tassos epic Gerusalemme liberate Gerusalem delivered) was perfect for Monteverdis creativity
Joining the Schola ensemble for this piece are two special guest dancers Erica Diesl and Iltaleigh Natale with choreography by Colleen Edwards
The scene is that of a fight in single combat between a Crusader Tancredi and the Muslim maiden Clorinda of whose sex he could not be aware since she is dressed in armor It is revealed that Clorindas parents were Christian but this does not affect her until the moment of her death Tancredi has seen her once without her helmet and has fallen immediately in love In the battle Tancredi not knowing her identity or even her sex pursues her vengefully as she attempts to defend her city
Monteverdi vividly describes much of the action through the orchestra the trotting of the horses the clashing of swords and the famous repeated sixteenth notes in G major portraying the furious battle There is the first use ofpizifcato (the plucking of strings) to imitate the sounds of weapons As the warriors get tired the music gets slower and softer and the whole battle scene is relentlessly in G major and just like in minimalism of the 20th century when the music changes to another tonality it is breathtaking
After a brief respite the battle continues until Clorinda is mortally wounded It is at this point that the stile concitato (agitated style) changes to a mood of reflection and sadness (stile molle tender style) When Clorinda implores Tancredo that he has been victorious her vocal line as well as the instruments are marked forte and piano (again a rare use of these markings) indicating her fighting for breath When she has a change of mind and asks Tancredi to baptize her the mood becomes very quiet pious and remorseful Clorindas final words of peace are movingly set to ecstatic harmonies
But what kind of a music theatre piece is Combattimento There has been a lot of discussion about the best way to realize this work It was clearly never meant to be an opera like Monteverdis other staged works because most of Combattimento is narrated offering the tenor narrator (in our case the brilliant Martin Lescault) an opportunity to render the ancient art of oratory But it is also not an oratorio We have come up with our own realization by using both singers and dancers simultaneously In this way the glories of the music can be portrayed aurally as well as visually I want to take this opportunity to thank Colleen Edwards her talented dancers and the musicians of the Schola for the many hours they have put into bringing this great masterpiece to life
James Brydges 1st Duke of Chandos (1674-1744) vas an English nobleman who built a sumptuous country mansion called Cannons (estimated at costing 42 million dollars in todays currency) that was a seat of great learning and culture Like Prince Esterhazy in Haydns time the Duke of Chandos was an important patron of music Handel was the resident composer at Cannons from 1717 until 1719 where an ensemble of singers and musicians was employed Handel wrote 11 Chandos anthems which were performed at the parish church of St Lawrence Little Stanmore and the 1716 organ that Handel himself played is still there While at Cannons Handel also composed the delightful masque Acis and Galatea and the oratorio Esther
8
The Chandos Anthem No9 0 praise the Lord with one consent is based on verses from Psaln1 135 117 and 148 After a lovely orchestral introduction the first chorus theme will be familiar to many it is the melody known as St Ann or in most hymns as 0 God our help in ages past The first part of this chorus explores the main theme with a contrasting celebratory theme on the words and magnify his name Like Bach I-Iandel was a master at developing several themes contrapuntally In the second part of the chorus on the words let all the servants of the Lord his worthy praise Handel ingeniously composed contrasting then1es that intertwine in a fugue The whole chorus sparkles with joy and delight
The alto air Praise him all ye that in his house attend is one of the many arias Handel composed with the marking larghetto which left room for a tempo that is not too slow nor too fast I-Ie clearly loved this piece because he used it again in a later version of Esther and Deborah
The tenor air highlights agile coloratura phrases for the tenor voice and is full of great rhythmic energy
The majestic bass air That God is great with the unusually high tessitura must have been written for the same bass who sang in Acis and Galatea
The chorus With cheerful voice let all the earth to heaven their voices raise has a very unusual marking indicating a decrescendo (getting softer little by little) Handel clearly marked f p pp to indicate this and it is rare for the baroque era However one wonders whether crescendos and decrescendos might have been asked for in performance even though they were not notated in this era The second part of the chorus has a Lutheran-like chorale theme similar to the St Ann melody surrounded by a wonderfully pulsating eighth note pattern in the voices and instruments
In the soprano air Gods tender mercy knows no bound one can see why singers in Handels time as well as today love his vocal writing His ability to compose soaring lines filled with passion continues to enchant us
The chorus Ye boundless realms of joy exalt your makers fame is also in two parts the first part of which explores two contrasting themes The second part has a very lyrical theme on the words his praise your song employ above the starry frame in which the vocal line rises gracefully upwards
The final chorus Your voices raise brings in a rousing alleluia in contrapuntal variations like in his much later chorus For not us a child is given from Messiah
It has been an honor to learn and present these amazing glories from the past and we are so glad to share them with you our loyal and appreciative audience Bruce Fithian
9
Translations Come dolce hoggi lauretta Claudio Monteverdi poem by Giulio Strozzi Come dolce hoggi lauretta Lusinga spira spira e vien A baciarmi lascivetta A baciarmi Ie guancie 1 sen
Gli Amoretti laura fanno Quando l ali spiegan al ciel Quando vanno quando vanno Della notte a squarciar il vel
Ride il bosco brilla il prato Scherza il fonte festeggia 1 mar Quando un fiato quando un fiato Daura fresca sode spirar
Entri pur nel nostro petto o bell aura nel tuo venir Quel diletto quel diletto Che fa lalme tanto gioir
o mio bene Claudio Monteverdi o mio bene 0 mia vita non mi far pili languire Non mi negar aita chio mi sento morire Non pili guerra damore no no nuo core
o begli occhi 0 bei rai non pili non pili penare non mi date pili guai chio mi sento mancare N on pili guerra di pene no no mio bene
o mio core 0 mio core o mia face 0 mia face non messer pili crudele non mi negar pili pace perchio ti son fedele N on pili guerra di noia no no nuo gtoia
How sweet today the enchanting breeze breathes and comes to kiss me teasingly to kiss my cheeks and breast
The breeze creates lovers when their wings soar up to heaven when they go to lift the veil of night
The forest laughs the meadows shine the fountain plays the waves rejoice when a breath of cool breeze is heard blowing
Come you too to our breast o beautiful breeze and with your coming what delight which makes the soul so rejoice
o my beloved 0 my life Dont let me languish anymore Do not refuse to help me otherwise I feel I may die No more love-war no no my heart
o beautiful eyes 0 beautiful beams no more pain Give me no more troubles Otherwise I feel I will faint No more pains of war No no my beloved
o my heart my heart o my beloved face Do not be so cruel to me Do not deny me peace Because I am faithful to you No more annoying war
IN 0 no my JOY
10
Armato i1 cor damantina fede Claudio Monteverdi Armato il cor dadamantina fede I come armed with a heart of unbreakable faith nellamoroso regno in the reign of love a mili tar ne vegno to war contrastero col Ciel I will fight against heaven e con la sorte and against destiny pugnero con la morte I will battle with death chintrepido guerriero as an intrepid warrior se vittoria non ho And if I am not victorious vita non chero I will not want to live
Ardo avvampo mi struggo Claudio Monteverdi Ardo avvampo mi struggo I burn I blaze I melt Accorrete Come running amici vicini allinfiammato loco friends neighbors to the site of the blaze Alladro alladro stop thiefl Al tradimento Al foco Treachery Fire Scale accette martelli Take ladders hatches acqua prendete hammers water E voi torri sacrate anco tacete And you church towers are you still silent Su su bronzi chio dal gridar son roco Come bells come for I am hoarse with shouting Dite il periglio altrui non lieve 0 poco proclaim this peril not slight or small to others E deglincendi miei pieta chiedete and request pity for my burning
Son due belli occhi illadro e seco amore Two beautiful eyes are the thief and with them Love lincendiario che linique faci is the arsonist who hurled dentro la rocca mavvento del core the evil torches inside the citadel of my heart
Ecco i rimedi omai vani e fallaci By now all cure is vain and deceptive Mi dice ognun Per si beato ardore Everyone tells me Such burning is so blissful las cia chel cor sincenerisca e taci allow your heart to burn to ashes and be silent
II Combattimento di Tancredi e Clorinda Claudio Monteverdi Tancredi che Clorinda un uomo stima vuol ne larmi provarla al paragone Va girando colei lalpestre cima ver altra porta ove dentrar dispone Segue egli impetuoso onde assai prima che giunga in guisa avvien che darmi suone chella si volge e grida - 0 tu che porte correndo si - Rispose - E guerra e morte
Tancredi believing Clorinda is a man desires to challenge her in single combat She skirting round the mountain peak is heading for a city she intends to enter
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So impetuous is his chase that well before he reaches her she hears the noise of armor and turning cries You there what is the cause of such great haste He answers war and death
Guerra e morte avrai - disse - io non rifiuto darlati se la cerchi e fermo attendee Ne vuol Tancredi chebbe a pie veduto il suo nen1ico usar cavallo e scende E impugna lun e laltro il ferro acuto ed aguzza lorgoglio e lira accende e vansi incontro a passi tardi e lenti quai due tori gelosi e dira ardenti
War and death youll have she said Ill not deny your object if youll stand and face me Tancredi who saw his enemy on foot declines to stay on horseback and dismounts Both grasp their sharpshyedged swords prick on their pride whip up their fury and advance upon each other with slow steps like two rival bulls inflamed with fury
Notte che nel profondo oscuro seno chiudesti e nelloblio fatto si grande degne dun chiaro sol degne dun pieno teatro opre sarian si memorande Piacciati chindi i1 tragga en bel sereno a Ie future eta 10 spieghi e mande Viva la fama lor e tra lor gloria splenda dal fosco tuo lalta memorIa
Night who hath enclosed in thy dark breast and in obscurity a deed so great since the light of day and of a crowded theatre feats so memorable are worthy grant that I may illuminate them thus transmitting them to future generations May their fame live on and may their glory shine out a noble memory from your darkness
Non schivar non parar non pur ritrarsi voglion costor ne qui destrezza ha parte Non danno i colpi or finti or pieni or scarsi toglie lombra el furor luso de larte odi Ie spade orribilmente urtarsi a mezzo il ferro el pie dorma non parte sempre il pie fermo e la man sempre in moto ne scende taglio in van ne punta a voto
To dodge to parry blows or to retreat they do not strive for skill has here no part They do not feint nor strike now hard now soft darkness and rage preclude all subtlety Hark to the horrifying clash of sword on steel their feet cleave the ground their feet are still their hands move constantly no cut but finds its mark no thrust goes wide
Lonta irrita 10 sdegno a la vendetta e la vendetta poi lonta rinova onde sempre al ferir sempre ala fretta stimol novo saggiunge e piaga nova dor in or piu si mesce e pi u ristretta
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si fa la pugna e spada oprar non giova dansi con pomi e infelloniti e crudi cozzan con gli elmi insieme e con gli scudi
Indignation fuels their vengeful fury vengeful fury fuels more indignation whence to their fierce exchange their frenzy comes a new stimulus to inflict more wounds from time to time they close and then the fight is more restricted sword blades are no use they strike with pommels and more savage now clash their casques and their shields together
Tre volte il cavalier la donna stringe con Ie robuste braccia e altrettante poi da quei nodi tenaci ella si scinge nodi di fier nemico e non damante Tornano al ferro e lun e laltro il tinge di molto sangue e stanco e anelante e questi e quegli al fin pur si ritira e dopo lungo faticar respira
Thrice does the knight the woman grip in his strong arms and as oft does she break free from those tenacious bonds the bonds of bitter enmity not love Now they resume their swords and each the other bathes in streams of blood weary and panting both he and she must draw apart at last and after laboring long regain their breath
Lun laltro guarda e del suo corpo essangue sul pomo de la spada appoggia il peso Gia de lultima stella i1 raggio langue suI primo albor che in oriente acceso Vede Tancredi in maggior copia il sangue del suo nemico e se non tanto offeso ne gode e in superbisce oh nostra folIe mente chognaura di fortuna estolle
They eye each other and lean exhausted bodies upon the pommels of their swords The last remaining star is fading now as dawns first rays illuminate the east Tancredi sees his enemys copious loss of blood and his own injuries less grave Well pleased he preens himself Oh human folly that fortunes every offering refuses
Misero di che godi oh quanto mesti siano i trionfi e infelice il vanto Gli occhi tuoi pagheran (sin vita resti) di quel sangue ogni stilla un mar di pianto Cost tacendo e rimirando questi sanguinosi guerrier cessaro alquanto Ruppe il silenzio al fin Tancredi e disse perche il suo nome lun laltro scoprisse
Poor man what joy is this How tragic is your victory how ill-conceived your pride These eyes of yours will pay - if you survive shya sea of tears for each drop of that blood
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So silently and thoughtfully they stood these bloody warriors and paused awhile At last Tancredi broke the silence saying because he wished them to disclose their names
Nostra sventura eben che qui simpieghi tanto valor dove silenzio il copra Ma poi che sorte rea vien che ci nieghi e lode e testimon degni de lopra pregoti (se fra larmi han loco i preghi) chel tuo nome el tuo stato a me tu scopra accio chio sappia 0 vinto 0 vincitore chi la mia morte 0 vittoria onore
our true misfortune is that we employ such valor here where it must go unsung But since our cruel destiny denies us the admiration worthy of such feats I pray you - if in combat prayers have place - to reveal your name and status to me so that as victor or as vanquished I know who has honored me with life or death
Rispose la feroce - Indarno chiedi quel cho per uso di non far palese Ma chiunque io mi sia tu innanzi vedi un di quei due che la gra~ torre accese - Arse di sdegno a quel parlar Tancredi e - In mal punto il dicesti (indi riprese) el tuo dir el tacer di par malletta barbaro discortese a la vendetta
The warrior maid replies You ask in vain that which it is my custom to conceal But whoever I may be you see before you one of the two who set the great tower ablaze Hearing these words Tancredi is incensed Inopportune were those words Your speech and silence spur me on alike uncouth barbarian to retribution
Torna lira ne cori e Ii trasporta benche deboIi in guerra a fiera pugna Ularte in bando ugia la forza e morta ove in vece dentrambi il furor pugna 0 che sanguigna e spaziosa porta fa luna e laltra spada ovunque giugna ne larmi e ne Ie cami e se la vita non esce sdegno tienla al petto unita
Their anger now rekindles and propels tl1em back though weak to war to that fierce fight where skill is outlawed strength is dead and naked fury takes the place of both o what bloody gaping openings the sword of each inflicts whereer it strikes on armor and on flesh and life would issue forth did fury not retain it in the breast
14
Ma ecco omai lora fatal e giunta chel viver di Clorinda al suo fin deve Spinge egli il ferro nel bel sen di punta che vi simmerge el sangue avido beve e la veste che dor vago trapunta Ie mammelle stringea tenere e lieve lempie dun caldo fiume Ella gia sente morirsi el pie Ie manca egro e languente
But 10 the fatal hour has now arrived that to Clorindas life must put an end He thrusts the blade straight into her fair breast where immersed it avidly drinks her blood And her tunic exquisitely gold-embroidered that clings around her dainty tender breasts fllls with a tepid stream She knows at once that she must die and staggers weak and faint
Segue egli la vittoria e la trafitta vergine minacciando incalza e preme Ella mentre cadea la voce afflitta movendo disse Ie parole estreme parole cha lei novo spirto addita spirto di fe di carita di speme virtu che dio Ie infonde e se rubella in vita fu la vuole in morte ancella
Victory in his grasp he throws himself menacingly upon the wounded maiden She while falling with her failing voice speaks her dying words which indicate a change of heart a spirit new to her one of faith of charity of hope virtues inspired by God intent that she rebellious in life in death will be his handmaid
Amico hai vinto io ti perdon perdona tuancora al corpo noche nulla pave a lalma si deh per lei prega e dona battesmo a me chogni miacolpa lave - In queste voci languide risuona un non so che di flebile e soave chal cor gli scendeed ogni sdegno ammorzae gli occhi a lagrimar invoglia e sforza
Friend you have won I pardon you Your pardon grant me too not for my fearless body but for my soul 0 pray for that and give me baptism to cleanse me of all sin In this languid utterance he hears a strange appeal a plaintive gendeness that to his heart descends and melts all anger making tears sting then gush forth from his eyes
Poco quindi lontan nel sen dun monte scaturia mormorando un picciol rio Egli vaccorse e lelmo empie nel fonte e tomo mesto al grande ufficio e pio Tremar senti la man mentre la fronte non conosciuta ancor sciolse e scoprio La vide e la conobbe e resto senza e voce e moto Ahi vista ahi conoscenza
Not far off from the heart of a mountain welled a litde murmuring stream Thither he ran his casque filled at the spring and grieving began the great and sacred rite His hand was trembling as he loosened the vizor and raised it from the face as yet unknown He saw and recognized her then was he bereft of speech and movement Ah tragic revelation
15
Non mori gia che sue virtuti accolse tutte in quel punto e in guardia al cor Ie mise e premendo il suo affanno a dar si volse vita con lacqua a chi col ferro uccise Mentre egli il suon de sacri detti sciolse colei di gioia trasmutossi e rise e in atto di morir lieta e vivace dir parea Sapre il ciel io vado in pace
He did not die but marshalled his forces and posted them around his heart to guard it and stifling his grief he sought to restore with water life to the one his sword had slain While listening to the holy words he uttered she was transformed by happiness and smiled as she died her spirit filled with joy she seemed to say f-Ieaven opens I go in peace
INTERMISSION
o praise the Lord with one consent Chandos Anthem No9 HWV 254 George Frideric Handel 1 Chorus - 0 praise the Lord with one consent and magnify his name Let all the servants of the Lord his worthy praiseproclaim 2 Alto Air - Praise him all ye thatin his house attend with constant care with those that to his utmost courts with humble zeal repair 3 Tenor Air - For this our truest intrest is glad hymns of praise to sing and with loud songs to bless his name a most delightful thing 4 Bass Air - That God is great we often have by glad experience found and seen how he with wondrous powr above all gods is crownd 5 Chorus - With cheerful notes let all the earth to heaven their voices raise Let all inspird with godly mirth sing solemn hymns with praise 6 Soprano Air - Gods tender mercy knows no bounds his truth shall neer decay then let the willing nations round their grateful tribute pay 7 Chorus - Ye boundless realms of joy exalt your Makersfame His praise your song employ above the starry frame 8 Chorus - Your voices raise ye Cherubin and Seraphin to sing his praise Alleluja
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16
Program Notes Welcome to our spring concert The first half of our program is devoted to the music of Claudio Monteverdi and his later works of chamber music and music drama In the course of nine books of madrigals Monteverdi transformed the elegant polyphonic forms of the Renaissance into a completely new style It is especially in his eighth book called Madrigafi Guemmiddoteri et Amorosi (Madrigals of War and Love) that this new style was made manifest At the beginning of the seventeenth century especially in Florence musicians philosophers and lovers of music were interested in widening the scope of musics expressive powers In his foreword to the Book VIII Madrigals Monteverdi describes these efforts and how through the reading of Plato and Aristotle he himself came up with his own solutions He wrote
Having considered that our mind has three principle passions - anger temperance and humility and music theory describes this clearly with the three terms of agitated (concitato) tender (moffe) and temperate (temperato) and never having been able to find in all the compositions of the past composers an example of the agitated style as described by Plato Take up that harmony which as it should imitates the voice and accents of a man going bravely into battle and knowing that it is contraries that deeply affect our mind the goal of good music ought to have as Boethius affirms when he says Music is associated with our lives to lend honor to our manners I have set myself the task of discovering this stife concitato (agitated style)
In this way he could juxtapose the startling emotions of war and love In the ninth book of rnadrigals there are many striking examples of his invention Come dolce hoggi lauretta from the lost opera Proserpina rapita paints an exquisite picture of languid breezes caressing lovers 0 mio bene begins with gentle pleading and ends with a refrain that is much more warlike on the words no more war Similarly Armato il cor damantina fede describes a soul being armed against the pains of love with many military vocal flourishes
Ardo avvampo mi struggo from the eighth book of madrigals has a dramatic contrast of two emotions the first part is a hysterical plea of help - clearly this lover is frantically burning with ardor Monteverdi almost humorously describes the desperate lovers cries throughout the eight voices with repeated notes (especially on the phase water water water water to extinguish the fire of love) and then in the second part of the madrigal there is contrasting music that is more poignant more in the temperate style And on the words per si beato ardore (for such blissful burning) the mood completely changes to the tender style (stife moffe) On a footnote Handel at the end of the baroque era was also intrigued by the theory of music styles depicting emotions his oratorio LAllegro il Penseroso ed il Moderato explored joyful pensive and moderate states of mind
It is with the music drama 11 Combattimento di Tancredi e Clorinda that Monteverdi clearly showed his new style In his preface he described how he divided up the whole note into sixteen sixteenth notes that were sounded one after another to represent anger and vexation To perform a better experiment I seized upon the divine Tasso and the description he makes of the combat between Tancredi and Clorinda so that I would have contrary passions to set to music that is war supplication and death And then in the year 1624 when I performed it before the best people of the noble city of Venice it was listened to with great applause and praised He also noted that the musicians who played the basso continuo felt that the necessity to strike a single string sixteen tiroeS
7
in one measure laughable rather than praiseworthy This shows us how revolutionary his invention was The story of II Combattimento di Tancredi e Clorinda from Tassos epic Gerusalemme liberate Gerusalem delivered) was perfect for Monteverdis creativity
Joining the Schola ensemble for this piece are two special guest dancers Erica Diesl and Iltaleigh Natale with choreography by Colleen Edwards
The scene is that of a fight in single combat between a Crusader Tancredi and the Muslim maiden Clorinda of whose sex he could not be aware since she is dressed in armor It is revealed that Clorindas parents were Christian but this does not affect her until the moment of her death Tancredi has seen her once without her helmet and has fallen immediately in love In the battle Tancredi not knowing her identity or even her sex pursues her vengefully as she attempts to defend her city
Monteverdi vividly describes much of the action through the orchestra the trotting of the horses the clashing of swords and the famous repeated sixteenth notes in G major portraying the furious battle There is the first use ofpizifcato (the plucking of strings) to imitate the sounds of weapons As the warriors get tired the music gets slower and softer and the whole battle scene is relentlessly in G major and just like in minimalism of the 20th century when the music changes to another tonality it is breathtaking
After a brief respite the battle continues until Clorinda is mortally wounded It is at this point that the stile concitato (agitated style) changes to a mood of reflection and sadness (stile molle tender style) When Clorinda implores Tancredo that he has been victorious her vocal line as well as the instruments are marked forte and piano (again a rare use of these markings) indicating her fighting for breath When she has a change of mind and asks Tancredi to baptize her the mood becomes very quiet pious and remorseful Clorindas final words of peace are movingly set to ecstatic harmonies
But what kind of a music theatre piece is Combattimento There has been a lot of discussion about the best way to realize this work It was clearly never meant to be an opera like Monteverdis other staged works because most of Combattimento is narrated offering the tenor narrator (in our case the brilliant Martin Lescault) an opportunity to render the ancient art of oratory But it is also not an oratorio We have come up with our own realization by using both singers and dancers simultaneously In this way the glories of the music can be portrayed aurally as well as visually I want to take this opportunity to thank Colleen Edwards her talented dancers and the musicians of the Schola for the many hours they have put into bringing this great masterpiece to life
James Brydges 1st Duke of Chandos (1674-1744) vas an English nobleman who built a sumptuous country mansion called Cannons (estimated at costing 42 million dollars in todays currency) that was a seat of great learning and culture Like Prince Esterhazy in Haydns time the Duke of Chandos was an important patron of music Handel was the resident composer at Cannons from 1717 until 1719 where an ensemble of singers and musicians was employed Handel wrote 11 Chandos anthems which were performed at the parish church of St Lawrence Little Stanmore and the 1716 organ that Handel himself played is still there While at Cannons Handel also composed the delightful masque Acis and Galatea and the oratorio Esther
8
The Chandos Anthem No9 0 praise the Lord with one consent is based on verses from Psaln1 135 117 and 148 After a lovely orchestral introduction the first chorus theme will be familiar to many it is the melody known as St Ann or in most hymns as 0 God our help in ages past The first part of this chorus explores the main theme with a contrasting celebratory theme on the words and magnify his name Like Bach I-Iandel was a master at developing several themes contrapuntally In the second part of the chorus on the words let all the servants of the Lord his worthy praise Handel ingeniously composed contrasting then1es that intertwine in a fugue The whole chorus sparkles with joy and delight
The alto air Praise him all ye that in his house attend is one of the many arias Handel composed with the marking larghetto which left room for a tempo that is not too slow nor too fast I-Ie clearly loved this piece because he used it again in a later version of Esther and Deborah
The tenor air highlights agile coloratura phrases for the tenor voice and is full of great rhythmic energy
The majestic bass air That God is great with the unusually high tessitura must have been written for the same bass who sang in Acis and Galatea
The chorus With cheerful voice let all the earth to heaven their voices raise has a very unusual marking indicating a decrescendo (getting softer little by little) Handel clearly marked f p pp to indicate this and it is rare for the baroque era However one wonders whether crescendos and decrescendos might have been asked for in performance even though they were not notated in this era The second part of the chorus has a Lutheran-like chorale theme similar to the St Ann melody surrounded by a wonderfully pulsating eighth note pattern in the voices and instruments
In the soprano air Gods tender mercy knows no bound one can see why singers in Handels time as well as today love his vocal writing His ability to compose soaring lines filled with passion continues to enchant us
The chorus Ye boundless realms of joy exalt your makers fame is also in two parts the first part of which explores two contrasting themes The second part has a very lyrical theme on the words his praise your song employ above the starry frame in which the vocal line rises gracefully upwards
The final chorus Your voices raise brings in a rousing alleluia in contrapuntal variations like in his much later chorus For not us a child is given from Messiah
It has been an honor to learn and present these amazing glories from the past and we are so glad to share them with you our loyal and appreciative audience Bruce Fithian
9
Translations Come dolce hoggi lauretta Claudio Monteverdi poem by Giulio Strozzi Come dolce hoggi lauretta Lusinga spira spira e vien A baciarmi lascivetta A baciarmi Ie guancie 1 sen
Gli Amoretti laura fanno Quando l ali spiegan al ciel Quando vanno quando vanno Della notte a squarciar il vel
Ride il bosco brilla il prato Scherza il fonte festeggia 1 mar Quando un fiato quando un fiato Daura fresca sode spirar
Entri pur nel nostro petto o bell aura nel tuo venir Quel diletto quel diletto Che fa lalme tanto gioir
o mio bene Claudio Monteverdi o mio bene 0 mia vita non mi far pili languire Non mi negar aita chio mi sento morire Non pili guerra damore no no nuo core
o begli occhi 0 bei rai non pili non pili penare non mi date pili guai chio mi sento mancare N on pili guerra di pene no no mio bene
o mio core 0 mio core o mia face 0 mia face non messer pili crudele non mi negar pili pace perchio ti son fedele N on pili guerra di noia no no nuo gtoia
How sweet today the enchanting breeze breathes and comes to kiss me teasingly to kiss my cheeks and breast
The breeze creates lovers when their wings soar up to heaven when they go to lift the veil of night
The forest laughs the meadows shine the fountain plays the waves rejoice when a breath of cool breeze is heard blowing
Come you too to our breast o beautiful breeze and with your coming what delight which makes the soul so rejoice
o my beloved 0 my life Dont let me languish anymore Do not refuse to help me otherwise I feel I may die No more love-war no no my heart
o beautiful eyes 0 beautiful beams no more pain Give me no more troubles Otherwise I feel I will faint No more pains of war No no my beloved
o my heart my heart o my beloved face Do not be so cruel to me Do not deny me peace Because I am faithful to you No more annoying war
IN 0 no my JOY
10
Armato i1 cor damantina fede Claudio Monteverdi Armato il cor dadamantina fede I come armed with a heart of unbreakable faith nellamoroso regno in the reign of love a mili tar ne vegno to war contrastero col Ciel I will fight against heaven e con la sorte and against destiny pugnero con la morte I will battle with death chintrepido guerriero as an intrepid warrior se vittoria non ho And if I am not victorious vita non chero I will not want to live
Ardo avvampo mi struggo Claudio Monteverdi Ardo avvampo mi struggo I burn I blaze I melt Accorrete Come running amici vicini allinfiammato loco friends neighbors to the site of the blaze Alladro alladro stop thiefl Al tradimento Al foco Treachery Fire Scale accette martelli Take ladders hatches acqua prendete hammers water E voi torri sacrate anco tacete And you church towers are you still silent Su su bronzi chio dal gridar son roco Come bells come for I am hoarse with shouting Dite il periglio altrui non lieve 0 poco proclaim this peril not slight or small to others E deglincendi miei pieta chiedete and request pity for my burning
Son due belli occhi illadro e seco amore Two beautiful eyes are the thief and with them Love lincendiario che linique faci is the arsonist who hurled dentro la rocca mavvento del core the evil torches inside the citadel of my heart
Ecco i rimedi omai vani e fallaci By now all cure is vain and deceptive Mi dice ognun Per si beato ardore Everyone tells me Such burning is so blissful las cia chel cor sincenerisca e taci allow your heart to burn to ashes and be silent
II Combattimento di Tancredi e Clorinda Claudio Monteverdi Tancredi che Clorinda un uomo stima vuol ne larmi provarla al paragone Va girando colei lalpestre cima ver altra porta ove dentrar dispone Segue egli impetuoso onde assai prima che giunga in guisa avvien che darmi suone chella si volge e grida - 0 tu che porte correndo si - Rispose - E guerra e morte
Tancredi believing Clorinda is a man desires to challenge her in single combat She skirting round the mountain peak is heading for a city she intends to enter
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So impetuous is his chase that well before he reaches her she hears the noise of armor and turning cries You there what is the cause of such great haste He answers war and death
Guerra e morte avrai - disse - io non rifiuto darlati se la cerchi e fermo attendee Ne vuol Tancredi chebbe a pie veduto il suo nen1ico usar cavallo e scende E impugna lun e laltro il ferro acuto ed aguzza lorgoglio e lira accende e vansi incontro a passi tardi e lenti quai due tori gelosi e dira ardenti
War and death youll have she said Ill not deny your object if youll stand and face me Tancredi who saw his enemy on foot declines to stay on horseback and dismounts Both grasp their sharpshyedged swords prick on their pride whip up their fury and advance upon each other with slow steps like two rival bulls inflamed with fury
Notte che nel profondo oscuro seno chiudesti e nelloblio fatto si grande degne dun chiaro sol degne dun pieno teatro opre sarian si memorande Piacciati chindi i1 tragga en bel sereno a Ie future eta 10 spieghi e mande Viva la fama lor e tra lor gloria splenda dal fosco tuo lalta memorIa
Night who hath enclosed in thy dark breast and in obscurity a deed so great since the light of day and of a crowded theatre feats so memorable are worthy grant that I may illuminate them thus transmitting them to future generations May their fame live on and may their glory shine out a noble memory from your darkness
Non schivar non parar non pur ritrarsi voglion costor ne qui destrezza ha parte Non danno i colpi or finti or pieni or scarsi toglie lombra el furor luso de larte odi Ie spade orribilmente urtarsi a mezzo il ferro el pie dorma non parte sempre il pie fermo e la man sempre in moto ne scende taglio in van ne punta a voto
To dodge to parry blows or to retreat they do not strive for skill has here no part They do not feint nor strike now hard now soft darkness and rage preclude all subtlety Hark to the horrifying clash of sword on steel their feet cleave the ground their feet are still their hands move constantly no cut but finds its mark no thrust goes wide
Lonta irrita 10 sdegno a la vendetta e la vendetta poi lonta rinova onde sempre al ferir sempre ala fretta stimol novo saggiunge e piaga nova dor in or piu si mesce e pi u ristretta
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si fa la pugna e spada oprar non giova dansi con pomi e infelloniti e crudi cozzan con gli elmi insieme e con gli scudi
Indignation fuels their vengeful fury vengeful fury fuels more indignation whence to their fierce exchange their frenzy comes a new stimulus to inflict more wounds from time to time they close and then the fight is more restricted sword blades are no use they strike with pommels and more savage now clash their casques and their shields together
Tre volte il cavalier la donna stringe con Ie robuste braccia e altrettante poi da quei nodi tenaci ella si scinge nodi di fier nemico e non damante Tornano al ferro e lun e laltro il tinge di molto sangue e stanco e anelante e questi e quegli al fin pur si ritira e dopo lungo faticar respira
Thrice does the knight the woman grip in his strong arms and as oft does she break free from those tenacious bonds the bonds of bitter enmity not love Now they resume their swords and each the other bathes in streams of blood weary and panting both he and she must draw apart at last and after laboring long regain their breath
Lun laltro guarda e del suo corpo essangue sul pomo de la spada appoggia il peso Gia de lultima stella i1 raggio langue suI primo albor che in oriente acceso Vede Tancredi in maggior copia il sangue del suo nemico e se non tanto offeso ne gode e in superbisce oh nostra folIe mente chognaura di fortuna estolle
They eye each other and lean exhausted bodies upon the pommels of their swords The last remaining star is fading now as dawns first rays illuminate the east Tancredi sees his enemys copious loss of blood and his own injuries less grave Well pleased he preens himself Oh human folly that fortunes every offering refuses
Misero di che godi oh quanto mesti siano i trionfi e infelice il vanto Gli occhi tuoi pagheran (sin vita resti) di quel sangue ogni stilla un mar di pianto Cost tacendo e rimirando questi sanguinosi guerrier cessaro alquanto Ruppe il silenzio al fin Tancredi e disse perche il suo nome lun laltro scoprisse
Poor man what joy is this How tragic is your victory how ill-conceived your pride These eyes of yours will pay - if you survive shya sea of tears for each drop of that blood
13
So silently and thoughtfully they stood these bloody warriors and paused awhile At last Tancredi broke the silence saying because he wished them to disclose their names
Nostra sventura eben che qui simpieghi tanto valor dove silenzio il copra Ma poi che sorte rea vien che ci nieghi e lode e testimon degni de lopra pregoti (se fra larmi han loco i preghi) chel tuo nome el tuo stato a me tu scopra accio chio sappia 0 vinto 0 vincitore chi la mia morte 0 vittoria onore
our true misfortune is that we employ such valor here where it must go unsung But since our cruel destiny denies us the admiration worthy of such feats I pray you - if in combat prayers have place - to reveal your name and status to me so that as victor or as vanquished I know who has honored me with life or death
Rispose la feroce - Indarno chiedi quel cho per uso di non far palese Ma chiunque io mi sia tu innanzi vedi un di quei due che la gra~ torre accese - Arse di sdegno a quel parlar Tancredi e - In mal punto il dicesti (indi riprese) el tuo dir el tacer di par malletta barbaro discortese a la vendetta
The warrior maid replies You ask in vain that which it is my custom to conceal But whoever I may be you see before you one of the two who set the great tower ablaze Hearing these words Tancredi is incensed Inopportune were those words Your speech and silence spur me on alike uncouth barbarian to retribution
Torna lira ne cori e Ii trasporta benche deboIi in guerra a fiera pugna Ularte in bando ugia la forza e morta ove in vece dentrambi il furor pugna 0 che sanguigna e spaziosa porta fa luna e laltra spada ovunque giugna ne larmi e ne Ie cami e se la vita non esce sdegno tienla al petto unita
Their anger now rekindles and propels tl1em back though weak to war to that fierce fight where skill is outlawed strength is dead and naked fury takes the place of both o what bloody gaping openings the sword of each inflicts whereer it strikes on armor and on flesh and life would issue forth did fury not retain it in the breast
14
Ma ecco omai lora fatal e giunta chel viver di Clorinda al suo fin deve Spinge egli il ferro nel bel sen di punta che vi simmerge el sangue avido beve e la veste che dor vago trapunta Ie mammelle stringea tenere e lieve lempie dun caldo fiume Ella gia sente morirsi el pie Ie manca egro e languente
But 10 the fatal hour has now arrived that to Clorindas life must put an end He thrusts the blade straight into her fair breast where immersed it avidly drinks her blood And her tunic exquisitely gold-embroidered that clings around her dainty tender breasts fllls with a tepid stream She knows at once that she must die and staggers weak and faint
Segue egli la vittoria e la trafitta vergine minacciando incalza e preme Ella mentre cadea la voce afflitta movendo disse Ie parole estreme parole cha lei novo spirto addita spirto di fe di carita di speme virtu che dio Ie infonde e se rubella in vita fu la vuole in morte ancella
Victory in his grasp he throws himself menacingly upon the wounded maiden She while falling with her failing voice speaks her dying words which indicate a change of heart a spirit new to her one of faith of charity of hope virtues inspired by God intent that she rebellious in life in death will be his handmaid
Amico hai vinto io ti perdon perdona tuancora al corpo noche nulla pave a lalma si deh per lei prega e dona battesmo a me chogni miacolpa lave - In queste voci languide risuona un non so che di flebile e soave chal cor gli scendeed ogni sdegno ammorzae gli occhi a lagrimar invoglia e sforza
Friend you have won I pardon you Your pardon grant me too not for my fearless body but for my soul 0 pray for that and give me baptism to cleanse me of all sin In this languid utterance he hears a strange appeal a plaintive gendeness that to his heart descends and melts all anger making tears sting then gush forth from his eyes
Poco quindi lontan nel sen dun monte scaturia mormorando un picciol rio Egli vaccorse e lelmo empie nel fonte e tomo mesto al grande ufficio e pio Tremar senti la man mentre la fronte non conosciuta ancor sciolse e scoprio La vide e la conobbe e resto senza e voce e moto Ahi vista ahi conoscenza
Not far off from the heart of a mountain welled a litde murmuring stream Thither he ran his casque filled at the spring and grieving began the great and sacred rite His hand was trembling as he loosened the vizor and raised it from the face as yet unknown He saw and recognized her then was he bereft of speech and movement Ah tragic revelation
15
Non mori gia che sue virtuti accolse tutte in quel punto e in guardia al cor Ie mise e premendo il suo affanno a dar si volse vita con lacqua a chi col ferro uccise Mentre egli il suon de sacri detti sciolse colei di gioia trasmutossi e rise e in atto di morir lieta e vivace dir parea Sapre il ciel io vado in pace
He did not die but marshalled his forces and posted them around his heart to guard it and stifling his grief he sought to restore with water life to the one his sword had slain While listening to the holy words he uttered she was transformed by happiness and smiled as she died her spirit filled with joy she seemed to say f-Ieaven opens I go in peace
INTERMISSION
o praise the Lord with one consent Chandos Anthem No9 HWV 254 George Frideric Handel 1 Chorus - 0 praise the Lord with one consent and magnify his name Let all the servants of the Lord his worthy praiseproclaim 2 Alto Air - Praise him all ye thatin his house attend with constant care with those that to his utmost courts with humble zeal repair 3 Tenor Air - For this our truest intrest is glad hymns of praise to sing and with loud songs to bless his name a most delightful thing 4 Bass Air - That God is great we often have by glad experience found and seen how he with wondrous powr above all gods is crownd 5 Chorus - With cheerful notes let all the earth to heaven their voices raise Let all inspird with godly mirth sing solemn hymns with praise 6 Soprano Air - Gods tender mercy knows no bounds his truth shall neer decay then let the willing nations round their grateful tribute pay 7 Chorus - Ye boundless realms of joy exalt your Makersfame His praise your song employ above the starry frame 8 Chorus - Your voices raise ye Cherubin and Seraphin to sing his praise Alleluja
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in one measure laughable rather than praiseworthy This shows us how revolutionary his invention was The story of II Combattimento di Tancredi e Clorinda from Tassos epic Gerusalemme liberate Gerusalem delivered) was perfect for Monteverdis creativity
Joining the Schola ensemble for this piece are two special guest dancers Erica Diesl and Iltaleigh Natale with choreography by Colleen Edwards
The scene is that of a fight in single combat between a Crusader Tancredi and the Muslim maiden Clorinda of whose sex he could not be aware since she is dressed in armor It is revealed that Clorindas parents were Christian but this does not affect her until the moment of her death Tancredi has seen her once without her helmet and has fallen immediately in love In the battle Tancredi not knowing her identity or even her sex pursues her vengefully as she attempts to defend her city
Monteverdi vividly describes much of the action through the orchestra the trotting of the horses the clashing of swords and the famous repeated sixteenth notes in G major portraying the furious battle There is the first use ofpizifcato (the plucking of strings) to imitate the sounds of weapons As the warriors get tired the music gets slower and softer and the whole battle scene is relentlessly in G major and just like in minimalism of the 20th century when the music changes to another tonality it is breathtaking
After a brief respite the battle continues until Clorinda is mortally wounded It is at this point that the stile concitato (agitated style) changes to a mood of reflection and sadness (stile molle tender style) When Clorinda implores Tancredo that he has been victorious her vocal line as well as the instruments are marked forte and piano (again a rare use of these markings) indicating her fighting for breath When she has a change of mind and asks Tancredi to baptize her the mood becomes very quiet pious and remorseful Clorindas final words of peace are movingly set to ecstatic harmonies
But what kind of a music theatre piece is Combattimento There has been a lot of discussion about the best way to realize this work It was clearly never meant to be an opera like Monteverdis other staged works because most of Combattimento is narrated offering the tenor narrator (in our case the brilliant Martin Lescault) an opportunity to render the ancient art of oratory But it is also not an oratorio We have come up with our own realization by using both singers and dancers simultaneously In this way the glories of the music can be portrayed aurally as well as visually I want to take this opportunity to thank Colleen Edwards her talented dancers and the musicians of the Schola for the many hours they have put into bringing this great masterpiece to life
James Brydges 1st Duke of Chandos (1674-1744) vas an English nobleman who built a sumptuous country mansion called Cannons (estimated at costing 42 million dollars in todays currency) that was a seat of great learning and culture Like Prince Esterhazy in Haydns time the Duke of Chandos was an important patron of music Handel was the resident composer at Cannons from 1717 until 1719 where an ensemble of singers and musicians was employed Handel wrote 11 Chandos anthems which were performed at the parish church of St Lawrence Little Stanmore and the 1716 organ that Handel himself played is still there While at Cannons Handel also composed the delightful masque Acis and Galatea and the oratorio Esther
8
The Chandos Anthem No9 0 praise the Lord with one consent is based on verses from Psaln1 135 117 and 148 After a lovely orchestral introduction the first chorus theme will be familiar to many it is the melody known as St Ann or in most hymns as 0 God our help in ages past The first part of this chorus explores the main theme with a contrasting celebratory theme on the words and magnify his name Like Bach I-Iandel was a master at developing several themes contrapuntally In the second part of the chorus on the words let all the servants of the Lord his worthy praise Handel ingeniously composed contrasting then1es that intertwine in a fugue The whole chorus sparkles with joy and delight
The alto air Praise him all ye that in his house attend is one of the many arias Handel composed with the marking larghetto which left room for a tempo that is not too slow nor too fast I-Ie clearly loved this piece because he used it again in a later version of Esther and Deborah
The tenor air highlights agile coloratura phrases for the tenor voice and is full of great rhythmic energy
The majestic bass air That God is great with the unusually high tessitura must have been written for the same bass who sang in Acis and Galatea
The chorus With cheerful voice let all the earth to heaven their voices raise has a very unusual marking indicating a decrescendo (getting softer little by little) Handel clearly marked f p pp to indicate this and it is rare for the baroque era However one wonders whether crescendos and decrescendos might have been asked for in performance even though they were not notated in this era The second part of the chorus has a Lutheran-like chorale theme similar to the St Ann melody surrounded by a wonderfully pulsating eighth note pattern in the voices and instruments
In the soprano air Gods tender mercy knows no bound one can see why singers in Handels time as well as today love his vocal writing His ability to compose soaring lines filled with passion continues to enchant us
The chorus Ye boundless realms of joy exalt your makers fame is also in two parts the first part of which explores two contrasting themes The second part has a very lyrical theme on the words his praise your song employ above the starry frame in which the vocal line rises gracefully upwards
The final chorus Your voices raise brings in a rousing alleluia in contrapuntal variations like in his much later chorus For not us a child is given from Messiah
It has been an honor to learn and present these amazing glories from the past and we are so glad to share them with you our loyal and appreciative audience Bruce Fithian
9
Translations Come dolce hoggi lauretta Claudio Monteverdi poem by Giulio Strozzi Come dolce hoggi lauretta Lusinga spira spira e vien A baciarmi lascivetta A baciarmi Ie guancie 1 sen
Gli Amoretti laura fanno Quando l ali spiegan al ciel Quando vanno quando vanno Della notte a squarciar il vel
Ride il bosco brilla il prato Scherza il fonte festeggia 1 mar Quando un fiato quando un fiato Daura fresca sode spirar
Entri pur nel nostro petto o bell aura nel tuo venir Quel diletto quel diletto Che fa lalme tanto gioir
o mio bene Claudio Monteverdi o mio bene 0 mia vita non mi far pili languire Non mi negar aita chio mi sento morire Non pili guerra damore no no nuo core
o begli occhi 0 bei rai non pili non pili penare non mi date pili guai chio mi sento mancare N on pili guerra di pene no no mio bene
o mio core 0 mio core o mia face 0 mia face non messer pili crudele non mi negar pili pace perchio ti son fedele N on pili guerra di noia no no nuo gtoia
How sweet today the enchanting breeze breathes and comes to kiss me teasingly to kiss my cheeks and breast
The breeze creates lovers when their wings soar up to heaven when they go to lift the veil of night
The forest laughs the meadows shine the fountain plays the waves rejoice when a breath of cool breeze is heard blowing
Come you too to our breast o beautiful breeze and with your coming what delight which makes the soul so rejoice
o my beloved 0 my life Dont let me languish anymore Do not refuse to help me otherwise I feel I may die No more love-war no no my heart
o beautiful eyes 0 beautiful beams no more pain Give me no more troubles Otherwise I feel I will faint No more pains of war No no my beloved
o my heart my heart o my beloved face Do not be so cruel to me Do not deny me peace Because I am faithful to you No more annoying war
IN 0 no my JOY
10
Armato i1 cor damantina fede Claudio Monteverdi Armato il cor dadamantina fede I come armed with a heart of unbreakable faith nellamoroso regno in the reign of love a mili tar ne vegno to war contrastero col Ciel I will fight against heaven e con la sorte and against destiny pugnero con la morte I will battle with death chintrepido guerriero as an intrepid warrior se vittoria non ho And if I am not victorious vita non chero I will not want to live
Ardo avvampo mi struggo Claudio Monteverdi Ardo avvampo mi struggo I burn I blaze I melt Accorrete Come running amici vicini allinfiammato loco friends neighbors to the site of the blaze Alladro alladro stop thiefl Al tradimento Al foco Treachery Fire Scale accette martelli Take ladders hatches acqua prendete hammers water E voi torri sacrate anco tacete And you church towers are you still silent Su su bronzi chio dal gridar son roco Come bells come for I am hoarse with shouting Dite il periglio altrui non lieve 0 poco proclaim this peril not slight or small to others E deglincendi miei pieta chiedete and request pity for my burning
Son due belli occhi illadro e seco amore Two beautiful eyes are the thief and with them Love lincendiario che linique faci is the arsonist who hurled dentro la rocca mavvento del core the evil torches inside the citadel of my heart
Ecco i rimedi omai vani e fallaci By now all cure is vain and deceptive Mi dice ognun Per si beato ardore Everyone tells me Such burning is so blissful las cia chel cor sincenerisca e taci allow your heart to burn to ashes and be silent
II Combattimento di Tancredi e Clorinda Claudio Monteverdi Tancredi che Clorinda un uomo stima vuol ne larmi provarla al paragone Va girando colei lalpestre cima ver altra porta ove dentrar dispone Segue egli impetuoso onde assai prima che giunga in guisa avvien che darmi suone chella si volge e grida - 0 tu che porte correndo si - Rispose - E guerra e morte
Tancredi believing Clorinda is a man desires to challenge her in single combat She skirting round the mountain peak is heading for a city she intends to enter
11
So impetuous is his chase that well before he reaches her she hears the noise of armor and turning cries You there what is the cause of such great haste He answers war and death
Guerra e morte avrai - disse - io non rifiuto darlati se la cerchi e fermo attendee Ne vuol Tancredi chebbe a pie veduto il suo nen1ico usar cavallo e scende E impugna lun e laltro il ferro acuto ed aguzza lorgoglio e lira accende e vansi incontro a passi tardi e lenti quai due tori gelosi e dira ardenti
War and death youll have she said Ill not deny your object if youll stand and face me Tancredi who saw his enemy on foot declines to stay on horseback and dismounts Both grasp their sharpshyedged swords prick on their pride whip up their fury and advance upon each other with slow steps like two rival bulls inflamed with fury
Notte che nel profondo oscuro seno chiudesti e nelloblio fatto si grande degne dun chiaro sol degne dun pieno teatro opre sarian si memorande Piacciati chindi i1 tragga en bel sereno a Ie future eta 10 spieghi e mande Viva la fama lor e tra lor gloria splenda dal fosco tuo lalta memorIa
Night who hath enclosed in thy dark breast and in obscurity a deed so great since the light of day and of a crowded theatre feats so memorable are worthy grant that I may illuminate them thus transmitting them to future generations May their fame live on and may their glory shine out a noble memory from your darkness
Non schivar non parar non pur ritrarsi voglion costor ne qui destrezza ha parte Non danno i colpi or finti or pieni or scarsi toglie lombra el furor luso de larte odi Ie spade orribilmente urtarsi a mezzo il ferro el pie dorma non parte sempre il pie fermo e la man sempre in moto ne scende taglio in van ne punta a voto
To dodge to parry blows or to retreat they do not strive for skill has here no part They do not feint nor strike now hard now soft darkness and rage preclude all subtlety Hark to the horrifying clash of sword on steel their feet cleave the ground their feet are still their hands move constantly no cut but finds its mark no thrust goes wide
Lonta irrita 10 sdegno a la vendetta e la vendetta poi lonta rinova onde sempre al ferir sempre ala fretta stimol novo saggiunge e piaga nova dor in or piu si mesce e pi u ristretta
12
si fa la pugna e spada oprar non giova dansi con pomi e infelloniti e crudi cozzan con gli elmi insieme e con gli scudi
Indignation fuels their vengeful fury vengeful fury fuels more indignation whence to their fierce exchange their frenzy comes a new stimulus to inflict more wounds from time to time they close and then the fight is more restricted sword blades are no use they strike with pommels and more savage now clash their casques and their shields together
Tre volte il cavalier la donna stringe con Ie robuste braccia e altrettante poi da quei nodi tenaci ella si scinge nodi di fier nemico e non damante Tornano al ferro e lun e laltro il tinge di molto sangue e stanco e anelante e questi e quegli al fin pur si ritira e dopo lungo faticar respira
Thrice does the knight the woman grip in his strong arms and as oft does she break free from those tenacious bonds the bonds of bitter enmity not love Now they resume their swords and each the other bathes in streams of blood weary and panting both he and she must draw apart at last and after laboring long regain their breath
Lun laltro guarda e del suo corpo essangue sul pomo de la spada appoggia il peso Gia de lultima stella i1 raggio langue suI primo albor che in oriente acceso Vede Tancredi in maggior copia il sangue del suo nemico e se non tanto offeso ne gode e in superbisce oh nostra folIe mente chognaura di fortuna estolle
They eye each other and lean exhausted bodies upon the pommels of their swords The last remaining star is fading now as dawns first rays illuminate the east Tancredi sees his enemys copious loss of blood and his own injuries less grave Well pleased he preens himself Oh human folly that fortunes every offering refuses
Misero di che godi oh quanto mesti siano i trionfi e infelice il vanto Gli occhi tuoi pagheran (sin vita resti) di quel sangue ogni stilla un mar di pianto Cost tacendo e rimirando questi sanguinosi guerrier cessaro alquanto Ruppe il silenzio al fin Tancredi e disse perche il suo nome lun laltro scoprisse
Poor man what joy is this How tragic is your victory how ill-conceived your pride These eyes of yours will pay - if you survive shya sea of tears for each drop of that blood
13
So silently and thoughtfully they stood these bloody warriors and paused awhile At last Tancredi broke the silence saying because he wished them to disclose their names
Nostra sventura eben che qui simpieghi tanto valor dove silenzio il copra Ma poi che sorte rea vien che ci nieghi e lode e testimon degni de lopra pregoti (se fra larmi han loco i preghi) chel tuo nome el tuo stato a me tu scopra accio chio sappia 0 vinto 0 vincitore chi la mia morte 0 vittoria onore
our true misfortune is that we employ such valor here where it must go unsung But since our cruel destiny denies us the admiration worthy of such feats I pray you - if in combat prayers have place - to reveal your name and status to me so that as victor or as vanquished I know who has honored me with life or death
Rispose la feroce - Indarno chiedi quel cho per uso di non far palese Ma chiunque io mi sia tu innanzi vedi un di quei due che la gra~ torre accese - Arse di sdegno a quel parlar Tancredi e - In mal punto il dicesti (indi riprese) el tuo dir el tacer di par malletta barbaro discortese a la vendetta
The warrior maid replies You ask in vain that which it is my custom to conceal But whoever I may be you see before you one of the two who set the great tower ablaze Hearing these words Tancredi is incensed Inopportune were those words Your speech and silence spur me on alike uncouth barbarian to retribution
Torna lira ne cori e Ii trasporta benche deboIi in guerra a fiera pugna Ularte in bando ugia la forza e morta ove in vece dentrambi il furor pugna 0 che sanguigna e spaziosa porta fa luna e laltra spada ovunque giugna ne larmi e ne Ie cami e se la vita non esce sdegno tienla al petto unita
Their anger now rekindles and propels tl1em back though weak to war to that fierce fight where skill is outlawed strength is dead and naked fury takes the place of both o what bloody gaping openings the sword of each inflicts whereer it strikes on armor and on flesh and life would issue forth did fury not retain it in the breast
14
Ma ecco omai lora fatal e giunta chel viver di Clorinda al suo fin deve Spinge egli il ferro nel bel sen di punta che vi simmerge el sangue avido beve e la veste che dor vago trapunta Ie mammelle stringea tenere e lieve lempie dun caldo fiume Ella gia sente morirsi el pie Ie manca egro e languente
But 10 the fatal hour has now arrived that to Clorindas life must put an end He thrusts the blade straight into her fair breast where immersed it avidly drinks her blood And her tunic exquisitely gold-embroidered that clings around her dainty tender breasts fllls with a tepid stream She knows at once that she must die and staggers weak and faint
Segue egli la vittoria e la trafitta vergine minacciando incalza e preme Ella mentre cadea la voce afflitta movendo disse Ie parole estreme parole cha lei novo spirto addita spirto di fe di carita di speme virtu che dio Ie infonde e se rubella in vita fu la vuole in morte ancella
Victory in his grasp he throws himself menacingly upon the wounded maiden She while falling with her failing voice speaks her dying words which indicate a change of heart a spirit new to her one of faith of charity of hope virtues inspired by God intent that she rebellious in life in death will be his handmaid
Amico hai vinto io ti perdon perdona tuancora al corpo noche nulla pave a lalma si deh per lei prega e dona battesmo a me chogni miacolpa lave - In queste voci languide risuona un non so che di flebile e soave chal cor gli scendeed ogni sdegno ammorzae gli occhi a lagrimar invoglia e sforza
Friend you have won I pardon you Your pardon grant me too not for my fearless body but for my soul 0 pray for that and give me baptism to cleanse me of all sin In this languid utterance he hears a strange appeal a plaintive gendeness that to his heart descends and melts all anger making tears sting then gush forth from his eyes
Poco quindi lontan nel sen dun monte scaturia mormorando un picciol rio Egli vaccorse e lelmo empie nel fonte e tomo mesto al grande ufficio e pio Tremar senti la man mentre la fronte non conosciuta ancor sciolse e scoprio La vide e la conobbe e resto senza e voce e moto Ahi vista ahi conoscenza
Not far off from the heart of a mountain welled a litde murmuring stream Thither he ran his casque filled at the spring and grieving began the great and sacred rite His hand was trembling as he loosened the vizor and raised it from the face as yet unknown He saw and recognized her then was he bereft of speech and movement Ah tragic revelation
15
Non mori gia che sue virtuti accolse tutte in quel punto e in guardia al cor Ie mise e premendo il suo affanno a dar si volse vita con lacqua a chi col ferro uccise Mentre egli il suon de sacri detti sciolse colei di gioia trasmutossi e rise e in atto di morir lieta e vivace dir parea Sapre il ciel io vado in pace
He did not die but marshalled his forces and posted them around his heart to guard it and stifling his grief he sought to restore with water life to the one his sword had slain While listening to the holy words he uttered she was transformed by happiness and smiled as she died her spirit filled with joy she seemed to say f-Ieaven opens I go in peace
INTERMISSION
o praise the Lord with one consent Chandos Anthem No9 HWV 254 George Frideric Handel 1 Chorus - 0 praise the Lord with one consent and magnify his name Let all the servants of the Lord his worthy praiseproclaim 2 Alto Air - Praise him all ye thatin his house attend with constant care with those that to his utmost courts with humble zeal repair 3 Tenor Air - For this our truest intrest is glad hymns of praise to sing and with loud songs to bless his name a most delightful thing 4 Bass Air - That God is great we often have by glad experience found and seen how he with wondrous powr above all gods is crownd 5 Chorus - With cheerful notes let all the earth to heaven their voices raise Let all inspird with godly mirth sing solemn hymns with praise 6 Soprano Air - Gods tender mercy knows no bounds his truth shall neer decay then let the willing nations round their grateful tribute pay 7 Chorus - Ye boundless realms of joy exalt your Makersfame His praise your song employ above the starry frame 8 Chorus - Your voices raise ye Cherubin and Seraphin to sing his praise Alleluja
~-----~~------
Please visit our website for more information on upcoming Schola concerts to purchase tickets listen to previous concert performances read artist biographies or
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16
The Chandos Anthem No9 0 praise the Lord with one consent is based on verses from Psaln1 135 117 and 148 After a lovely orchestral introduction the first chorus theme will be familiar to many it is the melody known as St Ann or in most hymns as 0 God our help in ages past The first part of this chorus explores the main theme with a contrasting celebratory theme on the words and magnify his name Like Bach I-Iandel was a master at developing several themes contrapuntally In the second part of the chorus on the words let all the servants of the Lord his worthy praise Handel ingeniously composed contrasting then1es that intertwine in a fugue The whole chorus sparkles with joy and delight
The alto air Praise him all ye that in his house attend is one of the many arias Handel composed with the marking larghetto which left room for a tempo that is not too slow nor too fast I-Ie clearly loved this piece because he used it again in a later version of Esther and Deborah
The tenor air highlights agile coloratura phrases for the tenor voice and is full of great rhythmic energy
The majestic bass air That God is great with the unusually high tessitura must have been written for the same bass who sang in Acis and Galatea
The chorus With cheerful voice let all the earth to heaven their voices raise has a very unusual marking indicating a decrescendo (getting softer little by little) Handel clearly marked f p pp to indicate this and it is rare for the baroque era However one wonders whether crescendos and decrescendos might have been asked for in performance even though they were not notated in this era The second part of the chorus has a Lutheran-like chorale theme similar to the St Ann melody surrounded by a wonderfully pulsating eighth note pattern in the voices and instruments
In the soprano air Gods tender mercy knows no bound one can see why singers in Handels time as well as today love his vocal writing His ability to compose soaring lines filled with passion continues to enchant us
The chorus Ye boundless realms of joy exalt your makers fame is also in two parts the first part of which explores two contrasting themes The second part has a very lyrical theme on the words his praise your song employ above the starry frame in which the vocal line rises gracefully upwards
The final chorus Your voices raise brings in a rousing alleluia in contrapuntal variations like in his much later chorus For not us a child is given from Messiah
It has been an honor to learn and present these amazing glories from the past and we are so glad to share them with you our loyal and appreciative audience Bruce Fithian
9
Translations Come dolce hoggi lauretta Claudio Monteverdi poem by Giulio Strozzi Come dolce hoggi lauretta Lusinga spira spira e vien A baciarmi lascivetta A baciarmi Ie guancie 1 sen
Gli Amoretti laura fanno Quando l ali spiegan al ciel Quando vanno quando vanno Della notte a squarciar il vel
Ride il bosco brilla il prato Scherza il fonte festeggia 1 mar Quando un fiato quando un fiato Daura fresca sode spirar
Entri pur nel nostro petto o bell aura nel tuo venir Quel diletto quel diletto Che fa lalme tanto gioir
o mio bene Claudio Monteverdi o mio bene 0 mia vita non mi far pili languire Non mi negar aita chio mi sento morire Non pili guerra damore no no nuo core
o begli occhi 0 bei rai non pili non pili penare non mi date pili guai chio mi sento mancare N on pili guerra di pene no no mio bene
o mio core 0 mio core o mia face 0 mia face non messer pili crudele non mi negar pili pace perchio ti son fedele N on pili guerra di noia no no nuo gtoia
How sweet today the enchanting breeze breathes and comes to kiss me teasingly to kiss my cheeks and breast
The breeze creates lovers when their wings soar up to heaven when they go to lift the veil of night
The forest laughs the meadows shine the fountain plays the waves rejoice when a breath of cool breeze is heard blowing
Come you too to our breast o beautiful breeze and with your coming what delight which makes the soul so rejoice
o my beloved 0 my life Dont let me languish anymore Do not refuse to help me otherwise I feel I may die No more love-war no no my heart
o beautiful eyes 0 beautiful beams no more pain Give me no more troubles Otherwise I feel I will faint No more pains of war No no my beloved
o my heart my heart o my beloved face Do not be so cruel to me Do not deny me peace Because I am faithful to you No more annoying war
IN 0 no my JOY
10
Armato i1 cor damantina fede Claudio Monteverdi Armato il cor dadamantina fede I come armed with a heart of unbreakable faith nellamoroso regno in the reign of love a mili tar ne vegno to war contrastero col Ciel I will fight against heaven e con la sorte and against destiny pugnero con la morte I will battle with death chintrepido guerriero as an intrepid warrior se vittoria non ho And if I am not victorious vita non chero I will not want to live
Ardo avvampo mi struggo Claudio Monteverdi Ardo avvampo mi struggo I burn I blaze I melt Accorrete Come running amici vicini allinfiammato loco friends neighbors to the site of the blaze Alladro alladro stop thiefl Al tradimento Al foco Treachery Fire Scale accette martelli Take ladders hatches acqua prendete hammers water E voi torri sacrate anco tacete And you church towers are you still silent Su su bronzi chio dal gridar son roco Come bells come for I am hoarse with shouting Dite il periglio altrui non lieve 0 poco proclaim this peril not slight or small to others E deglincendi miei pieta chiedete and request pity for my burning
Son due belli occhi illadro e seco amore Two beautiful eyes are the thief and with them Love lincendiario che linique faci is the arsonist who hurled dentro la rocca mavvento del core the evil torches inside the citadel of my heart
Ecco i rimedi omai vani e fallaci By now all cure is vain and deceptive Mi dice ognun Per si beato ardore Everyone tells me Such burning is so blissful las cia chel cor sincenerisca e taci allow your heart to burn to ashes and be silent
II Combattimento di Tancredi e Clorinda Claudio Monteverdi Tancredi che Clorinda un uomo stima vuol ne larmi provarla al paragone Va girando colei lalpestre cima ver altra porta ove dentrar dispone Segue egli impetuoso onde assai prima che giunga in guisa avvien che darmi suone chella si volge e grida - 0 tu che porte correndo si - Rispose - E guerra e morte
Tancredi believing Clorinda is a man desires to challenge her in single combat She skirting round the mountain peak is heading for a city she intends to enter
11
So impetuous is his chase that well before he reaches her she hears the noise of armor and turning cries You there what is the cause of such great haste He answers war and death
Guerra e morte avrai - disse - io non rifiuto darlati se la cerchi e fermo attendee Ne vuol Tancredi chebbe a pie veduto il suo nen1ico usar cavallo e scende E impugna lun e laltro il ferro acuto ed aguzza lorgoglio e lira accende e vansi incontro a passi tardi e lenti quai due tori gelosi e dira ardenti
War and death youll have she said Ill not deny your object if youll stand and face me Tancredi who saw his enemy on foot declines to stay on horseback and dismounts Both grasp their sharpshyedged swords prick on their pride whip up their fury and advance upon each other with slow steps like two rival bulls inflamed with fury
Notte che nel profondo oscuro seno chiudesti e nelloblio fatto si grande degne dun chiaro sol degne dun pieno teatro opre sarian si memorande Piacciati chindi i1 tragga en bel sereno a Ie future eta 10 spieghi e mande Viva la fama lor e tra lor gloria splenda dal fosco tuo lalta memorIa
Night who hath enclosed in thy dark breast and in obscurity a deed so great since the light of day and of a crowded theatre feats so memorable are worthy grant that I may illuminate them thus transmitting them to future generations May their fame live on and may their glory shine out a noble memory from your darkness
Non schivar non parar non pur ritrarsi voglion costor ne qui destrezza ha parte Non danno i colpi or finti or pieni or scarsi toglie lombra el furor luso de larte odi Ie spade orribilmente urtarsi a mezzo il ferro el pie dorma non parte sempre il pie fermo e la man sempre in moto ne scende taglio in van ne punta a voto
To dodge to parry blows or to retreat they do not strive for skill has here no part They do not feint nor strike now hard now soft darkness and rage preclude all subtlety Hark to the horrifying clash of sword on steel their feet cleave the ground their feet are still their hands move constantly no cut but finds its mark no thrust goes wide
Lonta irrita 10 sdegno a la vendetta e la vendetta poi lonta rinova onde sempre al ferir sempre ala fretta stimol novo saggiunge e piaga nova dor in or piu si mesce e pi u ristretta
12
si fa la pugna e spada oprar non giova dansi con pomi e infelloniti e crudi cozzan con gli elmi insieme e con gli scudi
Indignation fuels their vengeful fury vengeful fury fuels more indignation whence to their fierce exchange their frenzy comes a new stimulus to inflict more wounds from time to time they close and then the fight is more restricted sword blades are no use they strike with pommels and more savage now clash their casques and their shields together
Tre volte il cavalier la donna stringe con Ie robuste braccia e altrettante poi da quei nodi tenaci ella si scinge nodi di fier nemico e non damante Tornano al ferro e lun e laltro il tinge di molto sangue e stanco e anelante e questi e quegli al fin pur si ritira e dopo lungo faticar respira
Thrice does the knight the woman grip in his strong arms and as oft does she break free from those tenacious bonds the bonds of bitter enmity not love Now they resume their swords and each the other bathes in streams of blood weary and panting both he and she must draw apart at last and after laboring long regain their breath
Lun laltro guarda e del suo corpo essangue sul pomo de la spada appoggia il peso Gia de lultima stella i1 raggio langue suI primo albor che in oriente acceso Vede Tancredi in maggior copia il sangue del suo nemico e se non tanto offeso ne gode e in superbisce oh nostra folIe mente chognaura di fortuna estolle
They eye each other and lean exhausted bodies upon the pommels of their swords The last remaining star is fading now as dawns first rays illuminate the east Tancredi sees his enemys copious loss of blood and his own injuries less grave Well pleased he preens himself Oh human folly that fortunes every offering refuses
Misero di che godi oh quanto mesti siano i trionfi e infelice il vanto Gli occhi tuoi pagheran (sin vita resti) di quel sangue ogni stilla un mar di pianto Cost tacendo e rimirando questi sanguinosi guerrier cessaro alquanto Ruppe il silenzio al fin Tancredi e disse perche il suo nome lun laltro scoprisse
Poor man what joy is this How tragic is your victory how ill-conceived your pride These eyes of yours will pay - if you survive shya sea of tears for each drop of that blood
13
So silently and thoughtfully they stood these bloody warriors and paused awhile At last Tancredi broke the silence saying because he wished them to disclose their names
Nostra sventura eben che qui simpieghi tanto valor dove silenzio il copra Ma poi che sorte rea vien che ci nieghi e lode e testimon degni de lopra pregoti (se fra larmi han loco i preghi) chel tuo nome el tuo stato a me tu scopra accio chio sappia 0 vinto 0 vincitore chi la mia morte 0 vittoria onore
our true misfortune is that we employ such valor here where it must go unsung But since our cruel destiny denies us the admiration worthy of such feats I pray you - if in combat prayers have place - to reveal your name and status to me so that as victor or as vanquished I know who has honored me with life or death
Rispose la feroce - Indarno chiedi quel cho per uso di non far palese Ma chiunque io mi sia tu innanzi vedi un di quei due che la gra~ torre accese - Arse di sdegno a quel parlar Tancredi e - In mal punto il dicesti (indi riprese) el tuo dir el tacer di par malletta barbaro discortese a la vendetta
The warrior maid replies You ask in vain that which it is my custom to conceal But whoever I may be you see before you one of the two who set the great tower ablaze Hearing these words Tancredi is incensed Inopportune were those words Your speech and silence spur me on alike uncouth barbarian to retribution
Torna lira ne cori e Ii trasporta benche deboIi in guerra a fiera pugna Ularte in bando ugia la forza e morta ove in vece dentrambi il furor pugna 0 che sanguigna e spaziosa porta fa luna e laltra spada ovunque giugna ne larmi e ne Ie cami e se la vita non esce sdegno tienla al petto unita
Their anger now rekindles and propels tl1em back though weak to war to that fierce fight where skill is outlawed strength is dead and naked fury takes the place of both o what bloody gaping openings the sword of each inflicts whereer it strikes on armor and on flesh and life would issue forth did fury not retain it in the breast
14
Ma ecco omai lora fatal e giunta chel viver di Clorinda al suo fin deve Spinge egli il ferro nel bel sen di punta che vi simmerge el sangue avido beve e la veste che dor vago trapunta Ie mammelle stringea tenere e lieve lempie dun caldo fiume Ella gia sente morirsi el pie Ie manca egro e languente
But 10 the fatal hour has now arrived that to Clorindas life must put an end He thrusts the blade straight into her fair breast where immersed it avidly drinks her blood And her tunic exquisitely gold-embroidered that clings around her dainty tender breasts fllls with a tepid stream She knows at once that she must die and staggers weak and faint
Segue egli la vittoria e la trafitta vergine minacciando incalza e preme Ella mentre cadea la voce afflitta movendo disse Ie parole estreme parole cha lei novo spirto addita spirto di fe di carita di speme virtu che dio Ie infonde e se rubella in vita fu la vuole in morte ancella
Victory in his grasp he throws himself menacingly upon the wounded maiden She while falling with her failing voice speaks her dying words which indicate a change of heart a spirit new to her one of faith of charity of hope virtues inspired by God intent that she rebellious in life in death will be his handmaid
Amico hai vinto io ti perdon perdona tuancora al corpo noche nulla pave a lalma si deh per lei prega e dona battesmo a me chogni miacolpa lave - In queste voci languide risuona un non so che di flebile e soave chal cor gli scendeed ogni sdegno ammorzae gli occhi a lagrimar invoglia e sforza
Friend you have won I pardon you Your pardon grant me too not for my fearless body but for my soul 0 pray for that and give me baptism to cleanse me of all sin In this languid utterance he hears a strange appeal a plaintive gendeness that to his heart descends and melts all anger making tears sting then gush forth from his eyes
Poco quindi lontan nel sen dun monte scaturia mormorando un picciol rio Egli vaccorse e lelmo empie nel fonte e tomo mesto al grande ufficio e pio Tremar senti la man mentre la fronte non conosciuta ancor sciolse e scoprio La vide e la conobbe e resto senza e voce e moto Ahi vista ahi conoscenza
Not far off from the heart of a mountain welled a litde murmuring stream Thither he ran his casque filled at the spring and grieving began the great and sacred rite His hand was trembling as he loosened the vizor and raised it from the face as yet unknown He saw and recognized her then was he bereft of speech and movement Ah tragic revelation
15
Non mori gia che sue virtuti accolse tutte in quel punto e in guardia al cor Ie mise e premendo il suo affanno a dar si volse vita con lacqua a chi col ferro uccise Mentre egli il suon de sacri detti sciolse colei di gioia trasmutossi e rise e in atto di morir lieta e vivace dir parea Sapre il ciel io vado in pace
He did not die but marshalled his forces and posted them around his heart to guard it and stifling his grief he sought to restore with water life to the one his sword had slain While listening to the holy words he uttered she was transformed by happiness and smiled as she died her spirit filled with joy she seemed to say f-Ieaven opens I go in peace
INTERMISSION
o praise the Lord with one consent Chandos Anthem No9 HWV 254 George Frideric Handel 1 Chorus - 0 praise the Lord with one consent and magnify his name Let all the servants of the Lord his worthy praiseproclaim 2 Alto Air - Praise him all ye thatin his house attend with constant care with those that to his utmost courts with humble zeal repair 3 Tenor Air - For this our truest intrest is glad hymns of praise to sing and with loud songs to bless his name a most delightful thing 4 Bass Air - That God is great we often have by glad experience found and seen how he with wondrous powr above all gods is crownd 5 Chorus - With cheerful notes let all the earth to heaven their voices raise Let all inspird with godly mirth sing solemn hymns with praise 6 Soprano Air - Gods tender mercy knows no bounds his truth shall neer decay then let the willing nations round their grateful tribute pay 7 Chorus - Ye boundless realms of joy exalt your Makersfame His praise your song employ above the starry frame 8 Chorus - Your voices raise ye Cherubin and Seraphin to sing his praise Alleluja
~-----~~------
Please visit our website for more information on upcoming Schola concerts to purchase tickets listen to previous concert performances read artist biographies or
to sign up for our newsletter stmaryscholaorg
facebookcomStMarySchola youtubecoml ScholaMaine
16
Translations Come dolce hoggi lauretta Claudio Monteverdi poem by Giulio Strozzi Come dolce hoggi lauretta Lusinga spira spira e vien A baciarmi lascivetta A baciarmi Ie guancie 1 sen
Gli Amoretti laura fanno Quando l ali spiegan al ciel Quando vanno quando vanno Della notte a squarciar il vel
Ride il bosco brilla il prato Scherza il fonte festeggia 1 mar Quando un fiato quando un fiato Daura fresca sode spirar
Entri pur nel nostro petto o bell aura nel tuo venir Quel diletto quel diletto Che fa lalme tanto gioir
o mio bene Claudio Monteverdi o mio bene 0 mia vita non mi far pili languire Non mi negar aita chio mi sento morire Non pili guerra damore no no nuo core
o begli occhi 0 bei rai non pili non pili penare non mi date pili guai chio mi sento mancare N on pili guerra di pene no no mio bene
o mio core 0 mio core o mia face 0 mia face non messer pili crudele non mi negar pili pace perchio ti son fedele N on pili guerra di noia no no nuo gtoia
How sweet today the enchanting breeze breathes and comes to kiss me teasingly to kiss my cheeks and breast
The breeze creates lovers when their wings soar up to heaven when they go to lift the veil of night
The forest laughs the meadows shine the fountain plays the waves rejoice when a breath of cool breeze is heard blowing
Come you too to our breast o beautiful breeze and with your coming what delight which makes the soul so rejoice
o my beloved 0 my life Dont let me languish anymore Do not refuse to help me otherwise I feel I may die No more love-war no no my heart
o beautiful eyes 0 beautiful beams no more pain Give me no more troubles Otherwise I feel I will faint No more pains of war No no my beloved
o my heart my heart o my beloved face Do not be so cruel to me Do not deny me peace Because I am faithful to you No more annoying war
IN 0 no my JOY
10
Armato i1 cor damantina fede Claudio Monteverdi Armato il cor dadamantina fede I come armed with a heart of unbreakable faith nellamoroso regno in the reign of love a mili tar ne vegno to war contrastero col Ciel I will fight against heaven e con la sorte and against destiny pugnero con la morte I will battle with death chintrepido guerriero as an intrepid warrior se vittoria non ho And if I am not victorious vita non chero I will not want to live
Ardo avvampo mi struggo Claudio Monteverdi Ardo avvampo mi struggo I burn I blaze I melt Accorrete Come running amici vicini allinfiammato loco friends neighbors to the site of the blaze Alladro alladro stop thiefl Al tradimento Al foco Treachery Fire Scale accette martelli Take ladders hatches acqua prendete hammers water E voi torri sacrate anco tacete And you church towers are you still silent Su su bronzi chio dal gridar son roco Come bells come for I am hoarse with shouting Dite il periglio altrui non lieve 0 poco proclaim this peril not slight or small to others E deglincendi miei pieta chiedete and request pity for my burning
Son due belli occhi illadro e seco amore Two beautiful eyes are the thief and with them Love lincendiario che linique faci is the arsonist who hurled dentro la rocca mavvento del core the evil torches inside the citadel of my heart
Ecco i rimedi omai vani e fallaci By now all cure is vain and deceptive Mi dice ognun Per si beato ardore Everyone tells me Such burning is so blissful las cia chel cor sincenerisca e taci allow your heart to burn to ashes and be silent
II Combattimento di Tancredi e Clorinda Claudio Monteverdi Tancredi che Clorinda un uomo stima vuol ne larmi provarla al paragone Va girando colei lalpestre cima ver altra porta ove dentrar dispone Segue egli impetuoso onde assai prima che giunga in guisa avvien che darmi suone chella si volge e grida - 0 tu che porte correndo si - Rispose - E guerra e morte
Tancredi believing Clorinda is a man desires to challenge her in single combat She skirting round the mountain peak is heading for a city she intends to enter
11
So impetuous is his chase that well before he reaches her she hears the noise of armor and turning cries You there what is the cause of such great haste He answers war and death
Guerra e morte avrai - disse - io non rifiuto darlati se la cerchi e fermo attendee Ne vuol Tancredi chebbe a pie veduto il suo nen1ico usar cavallo e scende E impugna lun e laltro il ferro acuto ed aguzza lorgoglio e lira accende e vansi incontro a passi tardi e lenti quai due tori gelosi e dira ardenti
War and death youll have she said Ill not deny your object if youll stand and face me Tancredi who saw his enemy on foot declines to stay on horseback and dismounts Both grasp their sharpshyedged swords prick on their pride whip up their fury and advance upon each other with slow steps like two rival bulls inflamed with fury
Notte che nel profondo oscuro seno chiudesti e nelloblio fatto si grande degne dun chiaro sol degne dun pieno teatro opre sarian si memorande Piacciati chindi i1 tragga en bel sereno a Ie future eta 10 spieghi e mande Viva la fama lor e tra lor gloria splenda dal fosco tuo lalta memorIa
Night who hath enclosed in thy dark breast and in obscurity a deed so great since the light of day and of a crowded theatre feats so memorable are worthy grant that I may illuminate them thus transmitting them to future generations May their fame live on and may their glory shine out a noble memory from your darkness
Non schivar non parar non pur ritrarsi voglion costor ne qui destrezza ha parte Non danno i colpi or finti or pieni or scarsi toglie lombra el furor luso de larte odi Ie spade orribilmente urtarsi a mezzo il ferro el pie dorma non parte sempre il pie fermo e la man sempre in moto ne scende taglio in van ne punta a voto
To dodge to parry blows or to retreat they do not strive for skill has here no part They do not feint nor strike now hard now soft darkness and rage preclude all subtlety Hark to the horrifying clash of sword on steel their feet cleave the ground their feet are still their hands move constantly no cut but finds its mark no thrust goes wide
Lonta irrita 10 sdegno a la vendetta e la vendetta poi lonta rinova onde sempre al ferir sempre ala fretta stimol novo saggiunge e piaga nova dor in or piu si mesce e pi u ristretta
12
si fa la pugna e spada oprar non giova dansi con pomi e infelloniti e crudi cozzan con gli elmi insieme e con gli scudi
Indignation fuels their vengeful fury vengeful fury fuels more indignation whence to their fierce exchange their frenzy comes a new stimulus to inflict more wounds from time to time they close and then the fight is more restricted sword blades are no use they strike with pommels and more savage now clash their casques and their shields together
Tre volte il cavalier la donna stringe con Ie robuste braccia e altrettante poi da quei nodi tenaci ella si scinge nodi di fier nemico e non damante Tornano al ferro e lun e laltro il tinge di molto sangue e stanco e anelante e questi e quegli al fin pur si ritira e dopo lungo faticar respira
Thrice does the knight the woman grip in his strong arms and as oft does she break free from those tenacious bonds the bonds of bitter enmity not love Now they resume their swords and each the other bathes in streams of blood weary and panting both he and she must draw apart at last and after laboring long regain their breath
Lun laltro guarda e del suo corpo essangue sul pomo de la spada appoggia il peso Gia de lultima stella i1 raggio langue suI primo albor che in oriente acceso Vede Tancredi in maggior copia il sangue del suo nemico e se non tanto offeso ne gode e in superbisce oh nostra folIe mente chognaura di fortuna estolle
They eye each other and lean exhausted bodies upon the pommels of their swords The last remaining star is fading now as dawns first rays illuminate the east Tancredi sees his enemys copious loss of blood and his own injuries less grave Well pleased he preens himself Oh human folly that fortunes every offering refuses
Misero di che godi oh quanto mesti siano i trionfi e infelice il vanto Gli occhi tuoi pagheran (sin vita resti) di quel sangue ogni stilla un mar di pianto Cost tacendo e rimirando questi sanguinosi guerrier cessaro alquanto Ruppe il silenzio al fin Tancredi e disse perche il suo nome lun laltro scoprisse
Poor man what joy is this How tragic is your victory how ill-conceived your pride These eyes of yours will pay - if you survive shya sea of tears for each drop of that blood
13
So silently and thoughtfully they stood these bloody warriors and paused awhile At last Tancredi broke the silence saying because he wished them to disclose their names
Nostra sventura eben che qui simpieghi tanto valor dove silenzio il copra Ma poi che sorte rea vien che ci nieghi e lode e testimon degni de lopra pregoti (se fra larmi han loco i preghi) chel tuo nome el tuo stato a me tu scopra accio chio sappia 0 vinto 0 vincitore chi la mia morte 0 vittoria onore
our true misfortune is that we employ such valor here where it must go unsung But since our cruel destiny denies us the admiration worthy of such feats I pray you - if in combat prayers have place - to reveal your name and status to me so that as victor or as vanquished I know who has honored me with life or death
Rispose la feroce - Indarno chiedi quel cho per uso di non far palese Ma chiunque io mi sia tu innanzi vedi un di quei due che la gra~ torre accese - Arse di sdegno a quel parlar Tancredi e - In mal punto il dicesti (indi riprese) el tuo dir el tacer di par malletta barbaro discortese a la vendetta
The warrior maid replies You ask in vain that which it is my custom to conceal But whoever I may be you see before you one of the two who set the great tower ablaze Hearing these words Tancredi is incensed Inopportune were those words Your speech and silence spur me on alike uncouth barbarian to retribution
Torna lira ne cori e Ii trasporta benche deboIi in guerra a fiera pugna Ularte in bando ugia la forza e morta ove in vece dentrambi il furor pugna 0 che sanguigna e spaziosa porta fa luna e laltra spada ovunque giugna ne larmi e ne Ie cami e se la vita non esce sdegno tienla al petto unita
Their anger now rekindles and propels tl1em back though weak to war to that fierce fight where skill is outlawed strength is dead and naked fury takes the place of both o what bloody gaping openings the sword of each inflicts whereer it strikes on armor and on flesh and life would issue forth did fury not retain it in the breast
14
Ma ecco omai lora fatal e giunta chel viver di Clorinda al suo fin deve Spinge egli il ferro nel bel sen di punta che vi simmerge el sangue avido beve e la veste che dor vago trapunta Ie mammelle stringea tenere e lieve lempie dun caldo fiume Ella gia sente morirsi el pie Ie manca egro e languente
But 10 the fatal hour has now arrived that to Clorindas life must put an end He thrusts the blade straight into her fair breast where immersed it avidly drinks her blood And her tunic exquisitely gold-embroidered that clings around her dainty tender breasts fllls with a tepid stream She knows at once that she must die and staggers weak and faint
Segue egli la vittoria e la trafitta vergine minacciando incalza e preme Ella mentre cadea la voce afflitta movendo disse Ie parole estreme parole cha lei novo spirto addita spirto di fe di carita di speme virtu che dio Ie infonde e se rubella in vita fu la vuole in morte ancella
Victory in his grasp he throws himself menacingly upon the wounded maiden She while falling with her failing voice speaks her dying words which indicate a change of heart a spirit new to her one of faith of charity of hope virtues inspired by God intent that she rebellious in life in death will be his handmaid
Amico hai vinto io ti perdon perdona tuancora al corpo noche nulla pave a lalma si deh per lei prega e dona battesmo a me chogni miacolpa lave - In queste voci languide risuona un non so che di flebile e soave chal cor gli scendeed ogni sdegno ammorzae gli occhi a lagrimar invoglia e sforza
Friend you have won I pardon you Your pardon grant me too not for my fearless body but for my soul 0 pray for that and give me baptism to cleanse me of all sin In this languid utterance he hears a strange appeal a plaintive gendeness that to his heart descends and melts all anger making tears sting then gush forth from his eyes
Poco quindi lontan nel sen dun monte scaturia mormorando un picciol rio Egli vaccorse e lelmo empie nel fonte e tomo mesto al grande ufficio e pio Tremar senti la man mentre la fronte non conosciuta ancor sciolse e scoprio La vide e la conobbe e resto senza e voce e moto Ahi vista ahi conoscenza
Not far off from the heart of a mountain welled a litde murmuring stream Thither he ran his casque filled at the spring and grieving began the great and sacred rite His hand was trembling as he loosened the vizor and raised it from the face as yet unknown He saw and recognized her then was he bereft of speech and movement Ah tragic revelation
15
Non mori gia che sue virtuti accolse tutte in quel punto e in guardia al cor Ie mise e premendo il suo affanno a dar si volse vita con lacqua a chi col ferro uccise Mentre egli il suon de sacri detti sciolse colei di gioia trasmutossi e rise e in atto di morir lieta e vivace dir parea Sapre il ciel io vado in pace
He did not die but marshalled his forces and posted them around his heart to guard it and stifling his grief he sought to restore with water life to the one his sword had slain While listening to the holy words he uttered she was transformed by happiness and smiled as she died her spirit filled with joy she seemed to say f-Ieaven opens I go in peace
INTERMISSION
o praise the Lord with one consent Chandos Anthem No9 HWV 254 George Frideric Handel 1 Chorus - 0 praise the Lord with one consent and magnify his name Let all the servants of the Lord his worthy praiseproclaim 2 Alto Air - Praise him all ye thatin his house attend with constant care with those that to his utmost courts with humble zeal repair 3 Tenor Air - For this our truest intrest is glad hymns of praise to sing and with loud songs to bless his name a most delightful thing 4 Bass Air - That God is great we often have by glad experience found and seen how he with wondrous powr above all gods is crownd 5 Chorus - With cheerful notes let all the earth to heaven their voices raise Let all inspird with godly mirth sing solemn hymns with praise 6 Soprano Air - Gods tender mercy knows no bounds his truth shall neer decay then let the willing nations round their grateful tribute pay 7 Chorus - Ye boundless realms of joy exalt your Makersfame His praise your song employ above the starry frame 8 Chorus - Your voices raise ye Cherubin and Seraphin to sing his praise Alleluja
~-----~~------
Please visit our website for more information on upcoming Schola concerts to purchase tickets listen to previous concert performances read artist biographies or
to sign up for our newsletter stmaryscholaorg
facebookcomStMarySchola youtubecoml ScholaMaine
16
Armato i1 cor damantina fede Claudio Monteverdi Armato il cor dadamantina fede I come armed with a heart of unbreakable faith nellamoroso regno in the reign of love a mili tar ne vegno to war contrastero col Ciel I will fight against heaven e con la sorte and against destiny pugnero con la morte I will battle with death chintrepido guerriero as an intrepid warrior se vittoria non ho And if I am not victorious vita non chero I will not want to live
Ardo avvampo mi struggo Claudio Monteverdi Ardo avvampo mi struggo I burn I blaze I melt Accorrete Come running amici vicini allinfiammato loco friends neighbors to the site of the blaze Alladro alladro stop thiefl Al tradimento Al foco Treachery Fire Scale accette martelli Take ladders hatches acqua prendete hammers water E voi torri sacrate anco tacete And you church towers are you still silent Su su bronzi chio dal gridar son roco Come bells come for I am hoarse with shouting Dite il periglio altrui non lieve 0 poco proclaim this peril not slight or small to others E deglincendi miei pieta chiedete and request pity for my burning
Son due belli occhi illadro e seco amore Two beautiful eyes are the thief and with them Love lincendiario che linique faci is the arsonist who hurled dentro la rocca mavvento del core the evil torches inside the citadel of my heart
Ecco i rimedi omai vani e fallaci By now all cure is vain and deceptive Mi dice ognun Per si beato ardore Everyone tells me Such burning is so blissful las cia chel cor sincenerisca e taci allow your heart to burn to ashes and be silent
II Combattimento di Tancredi e Clorinda Claudio Monteverdi Tancredi che Clorinda un uomo stima vuol ne larmi provarla al paragone Va girando colei lalpestre cima ver altra porta ove dentrar dispone Segue egli impetuoso onde assai prima che giunga in guisa avvien che darmi suone chella si volge e grida - 0 tu che porte correndo si - Rispose - E guerra e morte
Tancredi believing Clorinda is a man desires to challenge her in single combat She skirting round the mountain peak is heading for a city she intends to enter
11
So impetuous is his chase that well before he reaches her she hears the noise of armor and turning cries You there what is the cause of such great haste He answers war and death
Guerra e morte avrai - disse - io non rifiuto darlati se la cerchi e fermo attendee Ne vuol Tancredi chebbe a pie veduto il suo nen1ico usar cavallo e scende E impugna lun e laltro il ferro acuto ed aguzza lorgoglio e lira accende e vansi incontro a passi tardi e lenti quai due tori gelosi e dira ardenti
War and death youll have she said Ill not deny your object if youll stand and face me Tancredi who saw his enemy on foot declines to stay on horseback and dismounts Both grasp their sharpshyedged swords prick on their pride whip up their fury and advance upon each other with slow steps like two rival bulls inflamed with fury
Notte che nel profondo oscuro seno chiudesti e nelloblio fatto si grande degne dun chiaro sol degne dun pieno teatro opre sarian si memorande Piacciati chindi i1 tragga en bel sereno a Ie future eta 10 spieghi e mande Viva la fama lor e tra lor gloria splenda dal fosco tuo lalta memorIa
Night who hath enclosed in thy dark breast and in obscurity a deed so great since the light of day and of a crowded theatre feats so memorable are worthy grant that I may illuminate them thus transmitting them to future generations May their fame live on and may their glory shine out a noble memory from your darkness
Non schivar non parar non pur ritrarsi voglion costor ne qui destrezza ha parte Non danno i colpi or finti or pieni or scarsi toglie lombra el furor luso de larte odi Ie spade orribilmente urtarsi a mezzo il ferro el pie dorma non parte sempre il pie fermo e la man sempre in moto ne scende taglio in van ne punta a voto
To dodge to parry blows or to retreat they do not strive for skill has here no part They do not feint nor strike now hard now soft darkness and rage preclude all subtlety Hark to the horrifying clash of sword on steel their feet cleave the ground their feet are still their hands move constantly no cut but finds its mark no thrust goes wide
Lonta irrita 10 sdegno a la vendetta e la vendetta poi lonta rinova onde sempre al ferir sempre ala fretta stimol novo saggiunge e piaga nova dor in or piu si mesce e pi u ristretta
12
si fa la pugna e spada oprar non giova dansi con pomi e infelloniti e crudi cozzan con gli elmi insieme e con gli scudi
Indignation fuels their vengeful fury vengeful fury fuels more indignation whence to their fierce exchange their frenzy comes a new stimulus to inflict more wounds from time to time they close and then the fight is more restricted sword blades are no use they strike with pommels and more savage now clash their casques and their shields together
Tre volte il cavalier la donna stringe con Ie robuste braccia e altrettante poi da quei nodi tenaci ella si scinge nodi di fier nemico e non damante Tornano al ferro e lun e laltro il tinge di molto sangue e stanco e anelante e questi e quegli al fin pur si ritira e dopo lungo faticar respira
Thrice does the knight the woman grip in his strong arms and as oft does she break free from those tenacious bonds the bonds of bitter enmity not love Now they resume their swords and each the other bathes in streams of blood weary and panting both he and she must draw apart at last and after laboring long regain their breath
Lun laltro guarda e del suo corpo essangue sul pomo de la spada appoggia il peso Gia de lultima stella i1 raggio langue suI primo albor che in oriente acceso Vede Tancredi in maggior copia il sangue del suo nemico e se non tanto offeso ne gode e in superbisce oh nostra folIe mente chognaura di fortuna estolle
They eye each other and lean exhausted bodies upon the pommels of their swords The last remaining star is fading now as dawns first rays illuminate the east Tancredi sees his enemys copious loss of blood and his own injuries less grave Well pleased he preens himself Oh human folly that fortunes every offering refuses
Misero di che godi oh quanto mesti siano i trionfi e infelice il vanto Gli occhi tuoi pagheran (sin vita resti) di quel sangue ogni stilla un mar di pianto Cost tacendo e rimirando questi sanguinosi guerrier cessaro alquanto Ruppe il silenzio al fin Tancredi e disse perche il suo nome lun laltro scoprisse
Poor man what joy is this How tragic is your victory how ill-conceived your pride These eyes of yours will pay - if you survive shya sea of tears for each drop of that blood
13
So silently and thoughtfully they stood these bloody warriors and paused awhile At last Tancredi broke the silence saying because he wished them to disclose their names
Nostra sventura eben che qui simpieghi tanto valor dove silenzio il copra Ma poi che sorte rea vien che ci nieghi e lode e testimon degni de lopra pregoti (se fra larmi han loco i preghi) chel tuo nome el tuo stato a me tu scopra accio chio sappia 0 vinto 0 vincitore chi la mia morte 0 vittoria onore
our true misfortune is that we employ such valor here where it must go unsung But since our cruel destiny denies us the admiration worthy of such feats I pray you - if in combat prayers have place - to reveal your name and status to me so that as victor or as vanquished I know who has honored me with life or death
Rispose la feroce - Indarno chiedi quel cho per uso di non far palese Ma chiunque io mi sia tu innanzi vedi un di quei due che la gra~ torre accese - Arse di sdegno a quel parlar Tancredi e - In mal punto il dicesti (indi riprese) el tuo dir el tacer di par malletta barbaro discortese a la vendetta
The warrior maid replies You ask in vain that which it is my custom to conceal But whoever I may be you see before you one of the two who set the great tower ablaze Hearing these words Tancredi is incensed Inopportune were those words Your speech and silence spur me on alike uncouth barbarian to retribution
Torna lira ne cori e Ii trasporta benche deboIi in guerra a fiera pugna Ularte in bando ugia la forza e morta ove in vece dentrambi il furor pugna 0 che sanguigna e spaziosa porta fa luna e laltra spada ovunque giugna ne larmi e ne Ie cami e se la vita non esce sdegno tienla al petto unita
Their anger now rekindles and propels tl1em back though weak to war to that fierce fight where skill is outlawed strength is dead and naked fury takes the place of both o what bloody gaping openings the sword of each inflicts whereer it strikes on armor and on flesh and life would issue forth did fury not retain it in the breast
14
Ma ecco omai lora fatal e giunta chel viver di Clorinda al suo fin deve Spinge egli il ferro nel bel sen di punta che vi simmerge el sangue avido beve e la veste che dor vago trapunta Ie mammelle stringea tenere e lieve lempie dun caldo fiume Ella gia sente morirsi el pie Ie manca egro e languente
But 10 the fatal hour has now arrived that to Clorindas life must put an end He thrusts the blade straight into her fair breast where immersed it avidly drinks her blood And her tunic exquisitely gold-embroidered that clings around her dainty tender breasts fllls with a tepid stream She knows at once that she must die and staggers weak and faint
Segue egli la vittoria e la trafitta vergine minacciando incalza e preme Ella mentre cadea la voce afflitta movendo disse Ie parole estreme parole cha lei novo spirto addita spirto di fe di carita di speme virtu che dio Ie infonde e se rubella in vita fu la vuole in morte ancella
Victory in his grasp he throws himself menacingly upon the wounded maiden She while falling with her failing voice speaks her dying words which indicate a change of heart a spirit new to her one of faith of charity of hope virtues inspired by God intent that she rebellious in life in death will be his handmaid
Amico hai vinto io ti perdon perdona tuancora al corpo noche nulla pave a lalma si deh per lei prega e dona battesmo a me chogni miacolpa lave - In queste voci languide risuona un non so che di flebile e soave chal cor gli scendeed ogni sdegno ammorzae gli occhi a lagrimar invoglia e sforza
Friend you have won I pardon you Your pardon grant me too not for my fearless body but for my soul 0 pray for that and give me baptism to cleanse me of all sin In this languid utterance he hears a strange appeal a plaintive gendeness that to his heart descends and melts all anger making tears sting then gush forth from his eyes
Poco quindi lontan nel sen dun monte scaturia mormorando un picciol rio Egli vaccorse e lelmo empie nel fonte e tomo mesto al grande ufficio e pio Tremar senti la man mentre la fronte non conosciuta ancor sciolse e scoprio La vide e la conobbe e resto senza e voce e moto Ahi vista ahi conoscenza
Not far off from the heart of a mountain welled a litde murmuring stream Thither he ran his casque filled at the spring and grieving began the great and sacred rite His hand was trembling as he loosened the vizor and raised it from the face as yet unknown He saw and recognized her then was he bereft of speech and movement Ah tragic revelation
15
Non mori gia che sue virtuti accolse tutte in quel punto e in guardia al cor Ie mise e premendo il suo affanno a dar si volse vita con lacqua a chi col ferro uccise Mentre egli il suon de sacri detti sciolse colei di gioia trasmutossi e rise e in atto di morir lieta e vivace dir parea Sapre il ciel io vado in pace
He did not die but marshalled his forces and posted them around his heart to guard it and stifling his grief he sought to restore with water life to the one his sword had slain While listening to the holy words he uttered she was transformed by happiness and smiled as she died her spirit filled with joy she seemed to say f-Ieaven opens I go in peace
INTERMISSION
o praise the Lord with one consent Chandos Anthem No9 HWV 254 George Frideric Handel 1 Chorus - 0 praise the Lord with one consent and magnify his name Let all the servants of the Lord his worthy praiseproclaim 2 Alto Air - Praise him all ye thatin his house attend with constant care with those that to his utmost courts with humble zeal repair 3 Tenor Air - For this our truest intrest is glad hymns of praise to sing and with loud songs to bless his name a most delightful thing 4 Bass Air - That God is great we often have by glad experience found and seen how he with wondrous powr above all gods is crownd 5 Chorus - With cheerful notes let all the earth to heaven their voices raise Let all inspird with godly mirth sing solemn hymns with praise 6 Soprano Air - Gods tender mercy knows no bounds his truth shall neer decay then let the willing nations round their grateful tribute pay 7 Chorus - Ye boundless realms of joy exalt your Makersfame His praise your song employ above the starry frame 8 Chorus - Your voices raise ye Cherubin and Seraphin to sing his praise Alleluja
~-----~~------
Please visit our website for more information on upcoming Schola concerts to purchase tickets listen to previous concert performances read artist biographies or
to sign up for our newsletter stmaryscholaorg
facebookcomStMarySchola youtubecoml ScholaMaine
16
So impetuous is his chase that well before he reaches her she hears the noise of armor and turning cries You there what is the cause of such great haste He answers war and death
Guerra e morte avrai - disse - io non rifiuto darlati se la cerchi e fermo attendee Ne vuol Tancredi chebbe a pie veduto il suo nen1ico usar cavallo e scende E impugna lun e laltro il ferro acuto ed aguzza lorgoglio e lira accende e vansi incontro a passi tardi e lenti quai due tori gelosi e dira ardenti
War and death youll have she said Ill not deny your object if youll stand and face me Tancredi who saw his enemy on foot declines to stay on horseback and dismounts Both grasp their sharpshyedged swords prick on their pride whip up their fury and advance upon each other with slow steps like two rival bulls inflamed with fury
Notte che nel profondo oscuro seno chiudesti e nelloblio fatto si grande degne dun chiaro sol degne dun pieno teatro opre sarian si memorande Piacciati chindi i1 tragga en bel sereno a Ie future eta 10 spieghi e mande Viva la fama lor e tra lor gloria splenda dal fosco tuo lalta memorIa
Night who hath enclosed in thy dark breast and in obscurity a deed so great since the light of day and of a crowded theatre feats so memorable are worthy grant that I may illuminate them thus transmitting them to future generations May their fame live on and may their glory shine out a noble memory from your darkness
Non schivar non parar non pur ritrarsi voglion costor ne qui destrezza ha parte Non danno i colpi or finti or pieni or scarsi toglie lombra el furor luso de larte odi Ie spade orribilmente urtarsi a mezzo il ferro el pie dorma non parte sempre il pie fermo e la man sempre in moto ne scende taglio in van ne punta a voto
To dodge to parry blows or to retreat they do not strive for skill has here no part They do not feint nor strike now hard now soft darkness and rage preclude all subtlety Hark to the horrifying clash of sword on steel their feet cleave the ground their feet are still their hands move constantly no cut but finds its mark no thrust goes wide
Lonta irrita 10 sdegno a la vendetta e la vendetta poi lonta rinova onde sempre al ferir sempre ala fretta stimol novo saggiunge e piaga nova dor in or piu si mesce e pi u ristretta
12
si fa la pugna e spada oprar non giova dansi con pomi e infelloniti e crudi cozzan con gli elmi insieme e con gli scudi
Indignation fuels their vengeful fury vengeful fury fuels more indignation whence to their fierce exchange their frenzy comes a new stimulus to inflict more wounds from time to time they close and then the fight is more restricted sword blades are no use they strike with pommels and more savage now clash their casques and their shields together
Tre volte il cavalier la donna stringe con Ie robuste braccia e altrettante poi da quei nodi tenaci ella si scinge nodi di fier nemico e non damante Tornano al ferro e lun e laltro il tinge di molto sangue e stanco e anelante e questi e quegli al fin pur si ritira e dopo lungo faticar respira
Thrice does the knight the woman grip in his strong arms and as oft does she break free from those tenacious bonds the bonds of bitter enmity not love Now they resume their swords and each the other bathes in streams of blood weary and panting both he and she must draw apart at last and after laboring long regain their breath
Lun laltro guarda e del suo corpo essangue sul pomo de la spada appoggia il peso Gia de lultima stella i1 raggio langue suI primo albor che in oriente acceso Vede Tancredi in maggior copia il sangue del suo nemico e se non tanto offeso ne gode e in superbisce oh nostra folIe mente chognaura di fortuna estolle
They eye each other and lean exhausted bodies upon the pommels of their swords The last remaining star is fading now as dawns first rays illuminate the east Tancredi sees his enemys copious loss of blood and his own injuries less grave Well pleased he preens himself Oh human folly that fortunes every offering refuses
Misero di che godi oh quanto mesti siano i trionfi e infelice il vanto Gli occhi tuoi pagheran (sin vita resti) di quel sangue ogni stilla un mar di pianto Cost tacendo e rimirando questi sanguinosi guerrier cessaro alquanto Ruppe il silenzio al fin Tancredi e disse perche il suo nome lun laltro scoprisse
Poor man what joy is this How tragic is your victory how ill-conceived your pride These eyes of yours will pay - if you survive shya sea of tears for each drop of that blood
13
So silently and thoughtfully they stood these bloody warriors and paused awhile At last Tancredi broke the silence saying because he wished them to disclose their names
Nostra sventura eben che qui simpieghi tanto valor dove silenzio il copra Ma poi che sorte rea vien che ci nieghi e lode e testimon degni de lopra pregoti (se fra larmi han loco i preghi) chel tuo nome el tuo stato a me tu scopra accio chio sappia 0 vinto 0 vincitore chi la mia morte 0 vittoria onore
our true misfortune is that we employ such valor here where it must go unsung But since our cruel destiny denies us the admiration worthy of such feats I pray you - if in combat prayers have place - to reveal your name and status to me so that as victor or as vanquished I know who has honored me with life or death
Rispose la feroce - Indarno chiedi quel cho per uso di non far palese Ma chiunque io mi sia tu innanzi vedi un di quei due che la gra~ torre accese - Arse di sdegno a quel parlar Tancredi e - In mal punto il dicesti (indi riprese) el tuo dir el tacer di par malletta barbaro discortese a la vendetta
The warrior maid replies You ask in vain that which it is my custom to conceal But whoever I may be you see before you one of the two who set the great tower ablaze Hearing these words Tancredi is incensed Inopportune were those words Your speech and silence spur me on alike uncouth barbarian to retribution
Torna lira ne cori e Ii trasporta benche deboIi in guerra a fiera pugna Ularte in bando ugia la forza e morta ove in vece dentrambi il furor pugna 0 che sanguigna e spaziosa porta fa luna e laltra spada ovunque giugna ne larmi e ne Ie cami e se la vita non esce sdegno tienla al petto unita
Their anger now rekindles and propels tl1em back though weak to war to that fierce fight where skill is outlawed strength is dead and naked fury takes the place of both o what bloody gaping openings the sword of each inflicts whereer it strikes on armor and on flesh and life would issue forth did fury not retain it in the breast
14
Ma ecco omai lora fatal e giunta chel viver di Clorinda al suo fin deve Spinge egli il ferro nel bel sen di punta che vi simmerge el sangue avido beve e la veste che dor vago trapunta Ie mammelle stringea tenere e lieve lempie dun caldo fiume Ella gia sente morirsi el pie Ie manca egro e languente
But 10 the fatal hour has now arrived that to Clorindas life must put an end He thrusts the blade straight into her fair breast where immersed it avidly drinks her blood And her tunic exquisitely gold-embroidered that clings around her dainty tender breasts fllls with a tepid stream She knows at once that she must die and staggers weak and faint
Segue egli la vittoria e la trafitta vergine minacciando incalza e preme Ella mentre cadea la voce afflitta movendo disse Ie parole estreme parole cha lei novo spirto addita spirto di fe di carita di speme virtu che dio Ie infonde e se rubella in vita fu la vuole in morte ancella
Victory in his grasp he throws himself menacingly upon the wounded maiden She while falling with her failing voice speaks her dying words which indicate a change of heart a spirit new to her one of faith of charity of hope virtues inspired by God intent that she rebellious in life in death will be his handmaid
Amico hai vinto io ti perdon perdona tuancora al corpo noche nulla pave a lalma si deh per lei prega e dona battesmo a me chogni miacolpa lave - In queste voci languide risuona un non so che di flebile e soave chal cor gli scendeed ogni sdegno ammorzae gli occhi a lagrimar invoglia e sforza
Friend you have won I pardon you Your pardon grant me too not for my fearless body but for my soul 0 pray for that and give me baptism to cleanse me of all sin In this languid utterance he hears a strange appeal a plaintive gendeness that to his heart descends and melts all anger making tears sting then gush forth from his eyes
Poco quindi lontan nel sen dun monte scaturia mormorando un picciol rio Egli vaccorse e lelmo empie nel fonte e tomo mesto al grande ufficio e pio Tremar senti la man mentre la fronte non conosciuta ancor sciolse e scoprio La vide e la conobbe e resto senza e voce e moto Ahi vista ahi conoscenza
Not far off from the heart of a mountain welled a litde murmuring stream Thither he ran his casque filled at the spring and grieving began the great and sacred rite His hand was trembling as he loosened the vizor and raised it from the face as yet unknown He saw and recognized her then was he bereft of speech and movement Ah tragic revelation
15
Non mori gia che sue virtuti accolse tutte in quel punto e in guardia al cor Ie mise e premendo il suo affanno a dar si volse vita con lacqua a chi col ferro uccise Mentre egli il suon de sacri detti sciolse colei di gioia trasmutossi e rise e in atto di morir lieta e vivace dir parea Sapre il ciel io vado in pace
He did not die but marshalled his forces and posted them around his heart to guard it and stifling his grief he sought to restore with water life to the one his sword had slain While listening to the holy words he uttered she was transformed by happiness and smiled as she died her spirit filled with joy she seemed to say f-Ieaven opens I go in peace
INTERMISSION
o praise the Lord with one consent Chandos Anthem No9 HWV 254 George Frideric Handel 1 Chorus - 0 praise the Lord with one consent and magnify his name Let all the servants of the Lord his worthy praiseproclaim 2 Alto Air - Praise him all ye thatin his house attend with constant care with those that to his utmost courts with humble zeal repair 3 Tenor Air - For this our truest intrest is glad hymns of praise to sing and with loud songs to bless his name a most delightful thing 4 Bass Air - That God is great we often have by glad experience found and seen how he with wondrous powr above all gods is crownd 5 Chorus - With cheerful notes let all the earth to heaven their voices raise Let all inspird with godly mirth sing solemn hymns with praise 6 Soprano Air - Gods tender mercy knows no bounds his truth shall neer decay then let the willing nations round their grateful tribute pay 7 Chorus - Ye boundless realms of joy exalt your Makersfame His praise your song employ above the starry frame 8 Chorus - Your voices raise ye Cherubin and Seraphin to sing his praise Alleluja
~-----~~------
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16
si fa la pugna e spada oprar non giova dansi con pomi e infelloniti e crudi cozzan con gli elmi insieme e con gli scudi
Indignation fuels their vengeful fury vengeful fury fuels more indignation whence to their fierce exchange their frenzy comes a new stimulus to inflict more wounds from time to time they close and then the fight is more restricted sword blades are no use they strike with pommels and more savage now clash their casques and their shields together
Tre volte il cavalier la donna stringe con Ie robuste braccia e altrettante poi da quei nodi tenaci ella si scinge nodi di fier nemico e non damante Tornano al ferro e lun e laltro il tinge di molto sangue e stanco e anelante e questi e quegli al fin pur si ritira e dopo lungo faticar respira
Thrice does the knight the woman grip in his strong arms and as oft does she break free from those tenacious bonds the bonds of bitter enmity not love Now they resume their swords and each the other bathes in streams of blood weary and panting both he and she must draw apart at last and after laboring long regain their breath
Lun laltro guarda e del suo corpo essangue sul pomo de la spada appoggia il peso Gia de lultima stella i1 raggio langue suI primo albor che in oriente acceso Vede Tancredi in maggior copia il sangue del suo nemico e se non tanto offeso ne gode e in superbisce oh nostra folIe mente chognaura di fortuna estolle
They eye each other and lean exhausted bodies upon the pommels of their swords The last remaining star is fading now as dawns first rays illuminate the east Tancredi sees his enemys copious loss of blood and his own injuries less grave Well pleased he preens himself Oh human folly that fortunes every offering refuses
Misero di che godi oh quanto mesti siano i trionfi e infelice il vanto Gli occhi tuoi pagheran (sin vita resti) di quel sangue ogni stilla un mar di pianto Cost tacendo e rimirando questi sanguinosi guerrier cessaro alquanto Ruppe il silenzio al fin Tancredi e disse perche il suo nome lun laltro scoprisse
Poor man what joy is this How tragic is your victory how ill-conceived your pride These eyes of yours will pay - if you survive shya sea of tears for each drop of that blood
13
So silently and thoughtfully they stood these bloody warriors and paused awhile At last Tancredi broke the silence saying because he wished them to disclose their names
Nostra sventura eben che qui simpieghi tanto valor dove silenzio il copra Ma poi che sorte rea vien che ci nieghi e lode e testimon degni de lopra pregoti (se fra larmi han loco i preghi) chel tuo nome el tuo stato a me tu scopra accio chio sappia 0 vinto 0 vincitore chi la mia morte 0 vittoria onore
our true misfortune is that we employ such valor here where it must go unsung But since our cruel destiny denies us the admiration worthy of such feats I pray you - if in combat prayers have place - to reveal your name and status to me so that as victor or as vanquished I know who has honored me with life or death
Rispose la feroce - Indarno chiedi quel cho per uso di non far palese Ma chiunque io mi sia tu innanzi vedi un di quei due che la gra~ torre accese - Arse di sdegno a quel parlar Tancredi e - In mal punto il dicesti (indi riprese) el tuo dir el tacer di par malletta barbaro discortese a la vendetta
The warrior maid replies You ask in vain that which it is my custom to conceal But whoever I may be you see before you one of the two who set the great tower ablaze Hearing these words Tancredi is incensed Inopportune were those words Your speech and silence spur me on alike uncouth barbarian to retribution
Torna lira ne cori e Ii trasporta benche deboIi in guerra a fiera pugna Ularte in bando ugia la forza e morta ove in vece dentrambi il furor pugna 0 che sanguigna e spaziosa porta fa luna e laltra spada ovunque giugna ne larmi e ne Ie cami e se la vita non esce sdegno tienla al petto unita
Their anger now rekindles and propels tl1em back though weak to war to that fierce fight where skill is outlawed strength is dead and naked fury takes the place of both o what bloody gaping openings the sword of each inflicts whereer it strikes on armor and on flesh and life would issue forth did fury not retain it in the breast
14
Ma ecco omai lora fatal e giunta chel viver di Clorinda al suo fin deve Spinge egli il ferro nel bel sen di punta che vi simmerge el sangue avido beve e la veste che dor vago trapunta Ie mammelle stringea tenere e lieve lempie dun caldo fiume Ella gia sente morirsi el pie Ie manca egro e languente
But 10 the fatal hour has now arrived that to Clorindas life must put an end He thrusts the blade straight into her fair breast where immersed it avidly drinks her blood And her tunic exquisitely gold-embroidered that clings around her dainty tender breasts fllls with a tepid stream She knows at once that she must die and staggers weak and faint
Segue egli la vittoria e la trafitta vergine minacciando incalza e preme Ella mentre cadea la voce afflitta movendo disse Ie parole estreme parole cha lei novo spirto addita spirto di fe di carita di speme virtu che dio Ie infonde e se rubella in vita fu la vuole in morte ancella
Victory in his grasp he throws himself menacingly upon the wounded maiden She while falling with her failing voice speaks her dying words which indicate a change of heart a spirit new to her one of faith of charity of hope virtues inspired by God intent that she rebellious in life in death will be his handmaid
Amico hai vinto io ti perdon perdona tuancora al corpo noche nulla pave a lalma si deh per lei prega e dona battesmo a me chogni miacolpa lave - In queste voci languide risuona un non so che di flebile e soave chal cor gli scendeed ogni sdegno ammorzae gli occhi a lagrimar invoglia e sforza
Friend you have won I pardon you Your pardon grant me too not for my fearless body but for my soul 0 pray for that and give me baptism to cleanse me of all sin In this languid utterance he hears a strange appeal a plaintive gendeness that to his heart descends and melts all anger making tears sting then gush forth from his eyes
Poco quindi lontan nel sen dun monte scaturia mormorando un picciol rio Egli vaccorse e lelmo empie nel fonte e tomo mesto al grande ufficio e pio Tremar senti la man mentre la fronte non conosciuta ancor sciolse e scoprio La vide e la conobbe e resto senza e voce e moto Ahi vista ahi conoscenza
Not far off from the heart of a mountain welled a litde murmuring stream Thither he ran his casque filled at the spring and grieving began the great and sacred rite His hand was trembling as he loosened the vizor and raised it from the face as yet unknown He saw and recognized her then was he bereft of speech and movement Ah tragic revelation
15
Non mori gia che sue virtuti accolse tutte in quel punto e in guardia al cor Ie mise e premendo il suo affanno a dar si volse vita con lacqua a chi col ferro uccise Mentre egli il suon de sacri detti sciolse colei di gioia trasmutossi e rise e in atto di morir lieta e vivace dir parea Sapre il ciel io vado in pace
He did not die but marshalled his forces and posted them around his heart to guard it and stifling his grief he sought to restore with water life to the one his sword had slain While listening to the holy words he uttered she was transformed by happiness and smiled as she died her spirit filled with joy she seemed to say f-Ieaven opens I go in peace
INTERMISSION
o praise the Lord with one consent Chandos Anthem No9 HWV 254 George Frideric Handel 1 Chorus - 0 praise the Lord with one consent and magnify his name Let all the servants of the Lord his worthy praiseproclaim 2 Alto Air - Praise him all ye thatin his house attend with constant care with those that to his utmost courts with humble zeal repair 3 Tenor Air - For this our truest intrest is glad hymns of praise to sing and with loud songs to bless his name a most delightful thing 4 Bass Air - That God is great we often have by glad experience found and seen how he with wondrous powr above all gods is crownd 5 Chorus - With cheerful notes let all the earth to heaven their voices raise Let all inspird with godly mirth sing solemn hymns with praise 6 Soprano Air - Gods tender mercy knows no bounds his truth shall neer decay then let the willing nations round their grateful tribute pay 7 Chorus - Ye boundless realms of joy exalt your Makersfame His praise your song employ above the starry frame 8 Chorus - Your voices raise ye Cherubin and Seraphin to sing his praise Alleluja
~-----~~------
Please visit our website for more information on upcoming Schola concerts to purchase tickets listen to previous concert performances read artist biographies or
to sign up for our newsletter stmaryscholaorg
facebookcomStMarySchola youtubecoml ScholaMaine
16
So silently and thoughtfully they stood these bloody warriors and paused awhile At last Tancredi broke the silence saying because he wished them to disclose their names
Nostra sventura eben che qui simpieghi tanto valor dove silenzio il copra Ma poi che sorte rea vien che ci nieghi e lode e testimon degni de lopra pregoti (se fra larmi han loco i preghi) chel tuo nome el tuo stato a me tu scopra accio chio sappia 0 vinto 0 vincitore chi la mia morte 0 vittoria onore
our true misfortune is that we employ such valor here where it must go unsung But since our cruel destiny denies us the admiration worthy of such feats I pray you - if in combat prayers have place - to reveal your name and status to me so that as victor or as vanquished I know who has honored me with life or death
Rispose la feroce - Indarno chiedi quel cho per uso di non far palese Ma chiunque io mi sia tu innanzi vedi un di quei due che la gra~ torre accese - Arse di sdegno a quel parlar Tancredi e - In mal punto il dicesti (indi riprese) el tuo dir el tacer di par malletta barbaro discortese a la vendetta
The warrior maid replies You ask in vain that which it is my custom to conceal But whoever I may be you see before you one of the two who set the great tower ablaze Hearing these words Tancredi is incensed Inopportune were those words Your speech and silence spur me on alike uncouth barbarian to retribution
Torna lira ne cori e Ii trasporta benche deboIi in guerra a fiera pugna Ularte in bando ugia la forza e morta ove in vece dentrambi il furor pugna 0 che sanguigna e spaziosa porta fa luna e laltra spada ovunque giugna ne larmi e ne Ie cami e se la vita non esce sdegno tienla al petto unita
Their anger now rekindles and propels tl1em back though weak to war to that fierce fight where skill is outlawed strength is dead and naked fury takes the place of both o what bloody gaping openings the sword of each inflicts whereer it strikes on armor and on flesh and life would issue forth did fury not retain it in the breast
14
Ma ecco omai lora fatal e giunta chel viver di Clorinda al suo fin deve Spinge egli il ferro nel bel sen di punta che vi simmerge el sangue avido beve e la veste che dor vago trapunta Ie mammelle stringea tenere e lieve lempie dun caldo fiume Ella gia sente morirsi el pie Ie manca egro e languente
But 10 the fatal hour has now arrived that to Clorindas life must put an end He thrusts the blade straight into her fair breast where immersed it avidly drinks her blood And her tunic exquisitely gold-embroidered that clings around her dainty tender breasts fllls with a tepid stream She knows at once that she must die and staggers weak and faint
Segue egli la vittoria e la trafitta vergine minacciando incalza e preme Ella mentre cadea la voce afflitta movendo disse Ie parole estreme parole cha lei novo spirto addita spirto di fe di carita di speme virtu che dio Ie infonde e se rubella in vita fu la vuole in morte ancella
Victory in his grasp he throws himself menacingly upon the wounded maiden She while falling with her failing voice speaks her dying words which indicate a change of heart a spirit new to her one of faith of charity of hope virtues inspired by God intent that she rebellious in life in death will be his handmaid
Amico hai vinto io ti perdon perdona tuancora al corpo noche nulla pave a lalma si deh per lei prega e dona battesmo a me chogni miacolpa lave - In queste voci languide risuona un non so che di flebile e soave chal cor gli scendeed ogni sdegno ammorzae gli occhi a lagrimar invoglia e sforza
Friend you have won I pardon you Your pardon grant me too not for my fearless body but for my soul 0 pray for that and give me baptism to cleanse me of all sin In this languid utterance he hears a strange appeal a plaintive gendeness that to his heart descends and melts all anger making tears sting then gush forth from his eyes
Poco quindi lontan nel sen dun monte scaturia mormorando un picciol rio Egli vaccorse e lelmo empie nel fonte e tomo mesto al grande ufficio e pio Tremar senti la man mentre la fronte non conosciuta ancor sciolse e scoprio La vide e la conobbe e resto senza e voce e moto Ahi vista ahi conoscenza
Not far off from the heart of a mountain welled a litde murmuring stream Thither he ran his casque filled at the spring and grieving began the great and sacred rite His hand was trembling as he loosened the vizor and raised it from the face as yet unknown He saw and recognized her then was he bereft of speech and movement Ah tragic revelation
15
Non mori gia che sue virtuti accolse tutte in quel punto e in guardia al cor Ie mise e premendo il suo affanno a dar si volse vita con lacqua a chi col ferro uccise Mentre egli il suon de sacri detti sciolse colei di gioia trasmutossi e rise e in atto di morir lieta e vivace dir parea Sapre il ciel io vado in pace
He did not die but marshalled his forces and posted them around his heart to guard it and stifling his grief he sought to restore with water life to the one his sword had slain While listening to the holy words he uttered she was transformed by happiness and smiled as she died her spirit filled with joy she seemed to say f-Ieaven opens I go in peace
INTERMISSION
o praise the Lord with one consent Chandos Anthem No9 HWV 254 George Frideric Handel 1 Chorus - 0 praise the Lord with one consent and magnify his name Let all the servants of the Lord his worthy praiseproclaim 2 Alto Air - Praise him all ye thatin his house attend with constant care with those that to his utmost courts with humble zeal repair 3 Tenor Air - For this our truest intrest is glad hymns of praise to sing and with loud songs to bless his name a most delightful thing 4 Bass Air - That God is great we often have by glad experience found and seen how he with wondrous powr above all gods is crownd 5 Chorus - With cheerful notes let all the earth to heaven their voices raise Let all inspird with godly mirth sing solemn hymns with praise 6 Soprano Air - Gods tender mercy knows no bounds his truth shall neer decay then let the willing nations round their grateful tribute pay 7 Chorus - Ye boundless realms of joy exalt your Makersfame His praise your song employ above the starry frame 8 Chorus - Your voices raise ye Cherubin and Seraphin to sing his praise Alleluja
~-----~~------
Please visit our website for more information on upcoming Schola concerts to purchase tickets listen to previous concert performances read artist biographies or
to sign up for our newsletter stmaryscholaorg
facebookcomStMarySchola youtubecoml ScholaMaine
16
Ma ecco omai lora fatal e giunta chel viver di Clorinda al suo fin deve Spinge egli il ferro nel bel sen di punta che vi simmerge el sangue avido beve e la veste che dor vago trapunta Ie mammelle stringea tenere e lieve lempie dun caldo fiume Ella gia sente morirsi el pie Ie manca egro e languente
But 10 the fatal hour has now arrived that to Clorindas life must put an end He thrusts the blade straight into her fair breast where immersed it avidly drinks her blood And her tunic exquisitely gold-embroidered that clings around her dainty tender breasts fllls with a tepid stream She knows at once that she must die and staggers weak and faint
Segue egli la vittoria e la trafitta vergine minacciando incalza e preme Ella mentre cadea la voce afflitta movendo disse Ie parole estreme parole cha lei novo spirto addita spirto di fe di carita di speme virtu che dio Ie infonde e se rubella in vita fu la vuole in morte ancella
Victory in his grasp he throws himself menacingly upon the wounded maiden She while falling with her failing voice speaks her dying words which indicate a change of heart a spirit new to her one of faith of charity of hope virtues inspired by God intent that she rebellious in life in death will be his handmaid
Amico hai vinto io ti perdon perdona tuancora al corpo noche nulla pave a lalma si deh per lei prega e dona battesmo a me chogni miacolpa lave - In queste voci languide risuona un non so che di flebile e soave chal cor gli scendeed ogni sdegno ammorzae gli occhi a lagrimar invoglia e sforza
Friend you have won I pardon you Your pardon grant me too not for my fearless body but for my soul 0 pray for that and give me baptism to cleanse me of all sin In this languid utterance he hears a strange appeal a plaintive gendeness that to his heart descends and melts all anger making tears sting then gush forth from his eyes
Poco quindi lontan nel sen dun monte scaturia mormorando un picciol rio Egli vaccorse e lelmo empie nel fonte e tomo mesto al grande ufficio e pio Tremar senti la man mentre la fronte non conosciuta ancor sciolse e scoprio La vide e la conobbe e resto senza e voce e moto Ahi vista ahi conoscenza
Not far off from the heart of a mountain welled a litde murmuring stream Thither he ran his casque filled at the spring and grieving began the great and sacred rite His hand was trembling as he loosened the vizor and raised it from the face as yet unknown He saw and recognized her then was he bereft of speech and movement Ah tragic revelation
15
Non mori gia che sue virtuti accolse tutte in quel punto e in guardia al cor Ie mise e premendo il suo affanno a dar si volse vita con lacqua a chi col ferro uccise Mentre egli il suon de sacri detti sciolse colei di gioia trasmutossi e rise e in atto di morir lieta e vivace dir parea Sapre il ciel io vado in pace
He did not die but marshalled his forces and posted them around his heart to guard it and stifling his grief he sought to restore with water life to the one his sword had slain While listening to the holy words he uttered she was transformed by happiness and smiled as she died her spirit filled with joy she seemed to say f-Ieaven opens I go in peace
INTERMISSION
o praise the Lord with one consent Chandos Anthem No9 HWV 254 George Frideric Handel 1 Chorus - 0 praise the Lord with one consent and magnify his name Let all the servants of the Lord his worthy praiseproclaim 2 Alto Air - Praise him all ye thatin his house attend with constant care with those that to his utmost courts with humble zeal repair 3 Tenor Air - For this our truest intrest is glad hymns of praise to sing and with loud songs to bless his name a most delightful thing 4 Bass Air - That God is great we often have by glad experience found and seen how he with wondrous powr above all gods is crownd 5 Chorus - With cheerful notes let all the earth to heaven their voices raise Let all inspird with godly mirth sing solemn hymns with praise 6 Soprano Air - Gods tender mercy knows no bounds his truth shall neer decay then let the willing nations round their grateful tribute pay 7 Chorus - Ye boundless realms of joy exalt your Makersfame His praise your song employ above the starry frame 8 Chorus - Your voices raise ye Cherubin and Seraphin to sing his praise Alleluja
~-----~~------
Please visit our website for more information on upcoming Schola concerts to purchase tickets listen to previous concert performances read artist biographies or
to sign up for our newsletter stmaryscholaorg
facebookcomStMarySchola youtubecoml ScholaMaine
16
Non mori gia che sue virtuti accolse tutte in quel punto e in guardia al cor Ie mise e premendo il suo affanno a dar si volse vita con lacqua a chi col ferro uccise Mentre egli il suon de sacri detti sciolse colei di gioia trasmutossi e rise e in atto di morir lieta e vivace dir parea Sapre il ciel io vado in pace
He did not die but marshalled his forces and posted them around his heart to guard it and stifling his grief he sought to restore with water life to the one his sword had slain While listening to the holy words he uttered she was transformed by happiness and smiled as she died her spirit filled with joy she seemed to say f-Ieaven opens I go in peace
INTERMISSION
o praise the Lord with one consent Chandos Anthem No9 HWV 254 George Frideric Handel 1 Chorus - 0 praise the Lord with one consent and magnify his name Let all the servants of the Lord his worthy praiseproclaim 2 Alto Air - Praise him all ye thatin his house attend with constant care with those that to his utmost courts with humble zeal repair 3 Tenor Air - For this our truest intrest is glad hymns of praise to sing and with loud songs to bless his name a most delightful thing 4 Bass Air - That God is great we often have by glad experience found and seen how he with wondrous powr above all gods is crownd 5 Chorus - With cheerful notes let all the earth to heaven their voices raise Let all inspird with godly mirth sing solemn hymns with praise 6 Soprano Air - Gods tender mercy knows no bounds his truth shall neer decay then let the willing nations round their grateful tribute pay 7 Chorus - Ye boundless realms of joy exalt your Makersfame His praise your song employ above the starry frame 8 Chorus - Your voices raise ye Cherubin and Seraphin to sing his praise Alleluja
~-----~~------
Please visit our website for more information on upcoming Schola concerts to purchase tickets listen to previous concert performances read artist biographies or
to sign up for our newsletter stmaryscholaorg
facebookcomStMarySchola youtubecoml ScholaMaine
16
