Kapsberger Notes

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2006, Toccata Classics, London 5060113440273 TOCC 0027English, Deutsch, franais
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An excessive number of the songs of the poets are on no theme other than that of

loves alien to the name and profession of Christians. These very songs, by mencarried away with passion and corrupters of youth, the majority of musicians havechosen as material for their art and industry []. I blush and grieve to think thatonce I was of their number. But while I cannot change the past, nor undo what isdone, I have mended my ways. Therefore I have laboured on songs which have been4111111111111111and I have now produced a work which treats the divine love of Christ and hisSpouse the Soul, the Canticle of Solomon

Giovanni Pierluigi da Palestrina

(dedication to Pope Gregory XIII of the Fourth Book of Motets, 1584)

Palestrinas famous repudiation of the secular love-songs of his past (namely, twosuccessful books of madrigals) has been interpreted on the one hand as a genuineexpression of the composers deep Counter-Reformation convictions and on the otheras a necessary confession (and absolution) of past musical sins to satisfy the moralagenda of his patron, Pope Gregory XIII, against abuses and heresies that threatenedthe Catholic church. As an institution where personal faith, ecclesiastical authority andartistic expression are mediated, the papacy of the late Renaissance was both blatantand subtle in its programme of arts patronage, resulting in works demonstrating

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GIOVANNI GIROLAMO KAPSBERGER

Libro secondo darie,1623by Victor Coelho

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Giovanni Girolamo Kapsberger: Libro secondo darie (1623)

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revealing a fusion of Counter-Reformation piety with the theatricality and expression ofItalian monody during the early Baroque.

Seen historically, Palestrinas preface emerges as an appropriate backdrop andperhaps even a model for Giovanni Girolamo Kapsbergers Libro secondo darie of1623, 1111111 11111411 1 1 1 1 ,1 1 1 1 1 11him, Kapsberger spent most of his career at the papal court, where from 1624 to 1646

he was a salaried member in the prestigious musical household of Cardinal Francesco11111111111111111111114111Librosecondo 11111111111their emphatic rejection of human, evanescent love in favour of the eternal contemplation11111111111111such themes are common to much of the Roman poetry and art of the day, there is amotivation, I think, in Kapsbergers particular choice of these intense texts that isunquestionably personal. The entire spiritual and emotional direction of the book is set in

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tempi, one of the poets most suppliant (and most frequently set) poems from the end ofhis Canzoniere. In these works, concluding with Vergine bella, Petrarch confesses the sin11111111111 111and God for forgiveness. Accordingly the 1623 book can be included as part of the longtradition of arie (or madrigali) spirituali, and is clearly evocative of the moralistic themesthat were inculcated within the artistic production and policies during the reign of Urban111,1111111

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in early Baroque Rome as a virtuoso on the lute and theorbo, his works displaying a highlyornamented and unusually adventurous harmonic language coupled with an extraordinary

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1111W\VZ111111111sacred and secular vocal forms, and he became one of the most famous musicians in Rome,111111111111111111111111111111academy of the Umoristi, whose members included many future patrons and collaborators,111111111111111111in minoribus111111111111

1111W\WW11111111111compositions from this period include, in addition to several ground-breaking tablatures forlute and theorbo, a collection of madrigals, as well as books of highly ornamented (as wasthe custom in Rome) solo arias and motets, lighter strophic villanelles, and instrumentaldances and sinfonie. 1111 11111 1have been especially popular, and his works in recitative style were singled out for praise by11111111111114111111111111111111

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1Libro secondo Kapsberger was already performing for Francesco Barberini, with his formal entrance into

11111W\XZ111111111To honour his new patrons, Kapsberger immediately set to music some of Urbans graceful and111111111Poematia et Carmina of 1624, and1114111111111111111111111111111,year anniversary of Urbans coronation in 1625, in which Kapsberger accompanied dances1 1 1 11111 1 11 1 111 11111 1 1 11

and diplomatic visits, including an opera for the visit of the Prince of Poland in 1625,set to a text by Ciampoli, that included 72 musicians, described by eyewitnesses as the

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best in all of Italy. In 1626 and 1627 Kapsberger further had the honour of hearing twoof his masses performed in the Sistine Chapel at the request of the Pope, who is said tohave bowed his head to the composer in approval. Indeed, in the preface to his MissUrban, published in 1631 (which are almost certainly the works that were sung at theSistine Chapel) and dedicated to the Pope, Kapsberger writes of the pure style he used,11114111111111111Trent and clearly consistent with Urbans own tastes. Kapsberger remained as a salaried

member in Francescos household until 1646, but nothing is known of anything publishedby him between 1640 and his death in Rome in 1651.1

The Libro secondo, 111111W\XY11111111111111111111111111111,11111111111111111the main event being Kapsbergers Apotheosis sive consecratio SS. Ignatii et FrancisciXaverii1 11111 11 11111 1 ,11 1 1 1 1 1 1

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and ministrations of the two saints, while advancing the moral (and cultural) agenda1111 111111111The Libro secondo is closely connected to these events in spirit, tone and purpose. And,in its commitment of both Italian text and an essentially secular genre the aria (though

1 For studies of Kapsbergers life, cf1 1 1 111 1 The NewGrove Dictionary of Music and Musicians1 X1 1 1 1 XVVW1 1 1 111111W\VZ.W\Z[1111Journal of theLute Society of America,1W\1W_^Y11WVY.YY1Cf1111Music and Spectacle in Baroque Rome111111W__Z2Cf. 111Apotheosis of Francis Xavier (1622) and the Conquering of India, in ed. Richard Dellamora and Daniel Fischlin,11111W__]11X].Z]

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most of the works are, in fact, madrigals) to spiritual ends, the Libro secondo is directlyrelated to Kapsbergers Libro quarto di villanelle,published only a month later than theLibro secondo1111111111111of guitar-accompanied strophic airs.1 1111 1111 1W\XY11 1111 1 1 1 11W1 11 1 1 11 1111111X1111111111Y1111

1111111,41111and interpretation. Although the pieces in the Libro secondo1111111tone, they are not intended as a complete cycle to be performed from beginning to end. Theprogramme here thus departs from the original ordering of the book and is arranged as aseries of musical and thematic units that are cohesive in key (or, themodal equivalent111111111 1111111111 11111 11111sections that pivot around texts spoken by the God and the sinner, [1][7], the lamenting1^.W111111W._1111111

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111111141W1Y111111 1 141 1 111111 1 \1 W11 1 111111 111 1 11aria di cantare1111111]111111114111W1.111111111111111111111111[111111111^1111W1141111111111111111111&11W1W111111111

of the extraordinary rhapsodic toccatas found in Kapsbergers works for lute and theorbo.Indeed, in notating the music in this book Kapsberger employs a sextuplet division of the

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11\W11111111111111111111111111111111111111111111are directly inspired by the theorbo. It is interesting to note that, because the printer didnot have a typeface to beam these sextuplet rhythms, they had to be engraved by hand,making this print an unusual example of both printing and engraving. In the end, perhapsthe most revealing clue to the intent of the Libro secondo is contained in the subtitle to the

141 11 11 11 11 111 1 1divine love.

To relieve some of the intensity of the pieces in this programme, we have interspersed1 1111 111 1111corrente [2] from Kapsbergers recently rediscovered Libro terzo of 1626, two pieces fromBellerofonte Castaldis marvellous Capricci of 1622 [4], [1], and three works from Roman11 _1 Z1 \111 1111Castaldi,11 1 1 111 1 1 1 1 1 111111111111111

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111111111411111111111111

11111111111111111111111111111111111111111111111111111kann, was getan ist, habe ich mich eines Besseren besonnen. Daher habe ich Gesnge1111111111141111111111111111111111111


(Widmung an Papst Gregor XIII aus dem 4, 1584)1111111111111111111111111 1,,t111interpretiert worden und auf der anderen als eine notwendiges Bekenntnis (und1111111111 111 11 11 11 1 1Katholische Kirche bedrohten. Als eine Institution, mit der persnlicher Glaube,111 11 1 11141

11111 1in seinem Programm der Frderung der


Libro secondo darie, 1623

von Victor Coelho

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1 1 11 1 1 1 1 1 11111111111111111111111111111111,1111111 1 ,1 1 1 1 1 1 1 1 11111111 11 1111 111 .11

1 1 1 1 .1 1 1 1 1 Libro secondo darie1 1 1 von 1623, 1 1 1 1 11 41 1 1 1 1 1 1 1 1 111111111111111111111111W\XZ11W\Z\11111111111111111111111111 1 1 1 1 1 1 1 1 1 1 Librosecondo whlte Kapsberger geistliche und moralische Texte, die thematisch vereinheitlicht

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1111 11114111111 1 1 1 1 1 1 1 1 1 1sind in der Rmischen Poesie und Kunst jener Zeit, gibt es einen Beweggrund wie ichglaube fr Kapsbergers besondere Wahl dieser eindringlichen Texte, der ohne Frage einpersnlicher ist. Die gesamte geistige und emotionale Richtung des Buches wird von dem111111111111 11 1 1 1111 1 11vertonten) Gedichten am Schluss seiner Canzoniere1 11111Vergine bella111111111

1 1 11 1 1 1 1 11 141 11111111W\XY1111 111arie (oder

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madrigali) spirituali1 1111 111 1erinnert deutlich an die moralischen Themen, die der knstlerischen Produktion und1111111.11111,1111.1111 1 1 1 1 1 1 W[^V1 .W\[W1 11 1 1 1 1 1 1 1 1 1 11 11 1 1 1 1 1 1 1 1 1

111 11111W\VZ111111 11111111111111111111111111111111111111114111111111 1111 111111111111111111111in minoribus1111111 111 W\WW11 11 1111

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Kompositionen aus dieser Periode beeinhalten neben verschiedenen wichtigen Tabulaturen1111111111111111 1111,11411111111sinfonie.1111111111 1 1 1 1 1 1 1 1 111111 11111111 1 1 41 1 1 11 1 11 1 1 11 111 1 11 1 11W\XY1.111111111Libro secondo spielte

Kapsberger bereits fr Francesco Barberini, seine formale Aufnahme in Francescos Dienste1111W\XZ1111111111

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111 11111 1111111 1111 1seinen Poematia et Carmina 1W\XZ11111 1111111111111111111111111111 W\X[11 1 1,1 1111 11 1 1 1 1 1 1 11

1 1 1 1 1 1 1 1 1 1 1 111411111111111111111W\X[11111111]X1111111111 111W\X\11W\X]141111111111111111111111111111111111111Miss Urban,1W\YW1111wahrscheinlich die Werke sind, die in der Sixtinischen Kapelle gesungen wurden) und

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1111111111111111111111111111 1111W\Z\1111111111W\ZV11111111W\[W1

Das Libro secondo, W\XY1111111111111111111111111111111,1111

111111111vgl.1111111TheNew Grove Dictionary of Music and Musicians1X1111XVVW111Musicand Spectacle in Baroque Rome, 11111W__Z;11111111W\VZ.W\Z[1111Journal of theLute Society of America11W\1W_^Y11WVY.YY

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2Vgl.1111Apotheosis of Francis Xavier (1622) and the Conquering of India, inhrsg. Richard Dellamora und Daniel Fischlin,11111W__]11X].Z]

1111111 111111 1 111Apotheosis sive consecratioSS. Ignatii etFrancisci Xaverii (41111111und Francis Xavier11111111jesuitisches Propagandastck, das am Rmischen Institut aufgefhrt wurde.211 111111111111111111111111

unterstrichen wird durch seine darin enthaltene, unausgesprochene Zurckweisung111111 Libro secondo ist diesen Ereignissen engverbunden in Geist, Stil und Zweck. Und in seinem Gebrauch von italienischem Text1 1111 .1 1 1 1 11 1111 1 .1 11 11 1 1 Libro secondo direkt111Libro quarto di villanelle1111111Librosecondo111111111141111,111 1111111111W\XY11

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Stcke, die vom literarischen und musikalischen Standpunkt aus betrachtet, herausragend1X114111111111Y1111111111,11der Begleitung und Interpretation. Obwohl die Stcke im Libro secondo in ihrem geistlichen1111111141111111111111111111111111111111und thematischen Einheiten, die miteinander verbunden sind in Tonart (oder ,

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1 11 1 1 1 11 1 11 1111,411111 1 1 1 1 1 1 141 1 1 1 1 1114111 1 W.]1111 ^.[12,11111Y._11111111111111111,,1111111111W1Y111,111141 11,41die von der vergangenen Unschuld handeln [6], [1], gereichen. Zwischen diesen beiden1 11 1 11 1 11 1 1das ltere aria di cantare11111,41]1111 1 11 11 11 [1 .11 1 1111111111111111111111[1111111 1 11 ^1 1 11 Y1 1111111111111

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werden mussten, und somit ist dieser Druck ein ungewhnliches Beispiel von Druck und1 1 1 1 1 1 1 1 1

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Librosecondo1 1 1111,11111111111111411111 1111111111111111111,1111 1 1 corrente1 X1 1 1 1 1Libro terzo14111W\X\1111111Capricci11W\XX1Z1^111111,1_1Z1\11111111111 11 1 1 1 1 1 1 1 1 1 11111111111111111111W\XX111111wunderbarsten Kompositionen, die fr dieses Instrument geschrieben wurden.

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Un nombre considrable de pomes ont pour thme des amours contraires au nom et

la vocation des chrtiens. Ces chants, colports avec passion par les hommes et sourcede corruption pour la jeunesse, ont inspir la plupart des musiciens dans lexercice de111111111111111111quoique ne pouvant changer le pass ni dfaire ce qui a t fait, je me suis amend.1,1111111111111111111111111141111111111111111111


(ddicace au Pape Grgoire XIII du Quatrime Livre de Motets, 1584)

1111111111111avaient inspir deux livres de madrigaux couronns de succs, a t interprte, dunepart, comme une authentique manifestation de ses convictions contre-rformistes, et1111111111111111111111111111111111111111111Catholique. En tant quinstitution faisant talage de sa foi, de son autorit ecclsiastiqueet de son expression artistique, la papaut de la Renaissance tait tout la fois sans11111111111111

11 1 11 1111 1 1111111111111111


Libro secondo darie, 1623

par Victor Coelho

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1111111111,111111monodie italienne baroque sy entremlent indistinctement.

Dun point de vue historique, la prface de Palestrina constitue une toile de fondapproprie, voire mme un modle, pour le Libro secondo darie compos en 1623 par111 14111111111111 11 1 4111 1111 14111 11 111 11 111

111111111111W\XZ11W\Z\11111111111111111111111111111111111Libro secondo, Kapsberger choisit des textes spirituelset moralistes dont lunit thmatique rside dans laccent mis sur le rejet de lamour charnel1111111111111111mditation sur la beaut des douleurs endures par le Christ dans sa Passion. Bien que cesthmes soient frquents dans la posie Catholique romaine et lart de lpoque, il me sembledeviner une motivation indniablement personnelle derrire le choix que fait Kapsberger

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entirement sur la premire pice, une supplique compose sur le clbre Ivo piangendo imiei passati tempi extrait des Canzoniere de Ptrarque et un de ses pomes les plus souventmis en musique. Dans son ouvrage, qui sachve avec un Vergine bella, Ptrarque confesse le111111111111111111 1111111111 111W\XY11dans la longue tradition des arie (ou madrigali) spirituali, et fait directement cho aux thmesmoralistes qui prvalurent dans la production artistique et les usages sous le rgne dUrbain111111,1111111 11111111W[^V11.W\[W11

1 1 1 1 1 11 1 1 1 1 1 1 1 1 1compositions se distinguent alors par un langage harmonique inhabituellement audacieux,

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1111111111W\VZ111111111111111il devient un des musiciens les plus renomms de Rome, usant de ce statut et de son talent11 1 11 1 11 11 111 11111111111111111141111111111111111111111

1 1111 1111 in minoribus. Un grand nombre de ses1 111 411111111 1111111111W\WW1111111411qui ont survcu, en outre plusieurs tablatures trs originales pour luth et thorbe, on citeranotamment une srie de madrigaux, des recueils darias et de motets pour voix seulerichement ornements (comme il tait dusage Rome), des villanelles strophiques et decaractre plus lger, des suites de danses instrumentales et des sinfonie. Ses villanelles, dontcertaines sont crites avec accompagnement de guitare, semblent avoir joui dune grande11111111111111

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En mars 1623, quelques mois seulement avant la publication du Libro secondo, Kapsberger11111111111111W\XZ11111111111111111111111111musique quelques-uns des vers latins dUrbain, tous de facture lgante et essentiellement11111111Poematia et Carmina11W\XZ1111111141111111111

111111111111111commencer par le premier anniversaire du couronnement dUrbain en 1625 lors duquel

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1111111111111111 11 111 1111 111 11111111111111scniques et de visites diplomatiques, parmi lesquelles un opra pour la venue du Princede Pologne en 1625, compos sur un texte de Ciampoli, ncessitant 72 musiciens, dcritspar les tmoins comme les meilleurs dans toute lItalie . En 1626 et 1627, Kapsbergereut nouveau lhonneur dentendre deux de ses messes interprtes la Chapelle Sixtine

la demande du Pape dont on raconte quil inclina la tte en signe dapprobation. Et en11111111Miss Urban, publies en 1631 et ddiesau Pape1, quil sen tient au pur style et veille respecter une prosodie syllabique,conformment aux prescriptions du Concile de Trente et en signe dallgeance aux propresgots dUrbain. Kapsberger demeura au service de Francesco Barberini jusquen 1646,11111111W\ZV1111111W\[W2

1 1Libro secondo1111111W\XY1111111111111111111111111111111

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1111111111111scne et intitule lApotheosis sive consecratio SS. Ignatii etFrancisci Xaverii ( Apothose, ou11111111111311111

1111111111112 Pour une tude de la vie de Kapsberger, voir11111111The New Grove Dictionary of Music and Musicians1X1111XVVW111111111W\VZ.W\Z[1111Journal of the Lute Society of America,1W\1W_^Y11WVY.YY11111Music and Spectacle in Baroque Rome, 11111W__Z311111Apotheosis of Francis Xavier (1622) and the Conquering of India,dans rd. Richard Dellamora et Daniel111111W__]11X].Z]

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1111111114111111111111111111111111111111111111Libro secondo est troitement11111111111111111111111111111111(mme si la majorit des pices sont ici des madrigaux) au service du spirituel, situe le Librosecondo dans la ligne de son Libro quarto di villanelle, paru un mois seulement aprs le Librosecondo1 1 1111111111111111dans des airs strophiques avec accompagns la guitare.1 111111111W\XY11WY111W^11111111W1111111111141111X11111111Y111111caractristiques techniques et posent des problmes dinterprtation tels que ladaptation dutexte ou le choix de laccompagnement. 11111111les pices du Libro secondo nont pas t conues comme un cycle devant tre interprt111 11111111 111

recueil et se prsente sous la forme dune srie de pices runies par tonalit (ou ,quivalent modal de la tonique) ou par locuteur, et ponctues dintermdes instrumentaux.111111111111111droule en trois sections qui sarticulent autour de textes prononcs par Dieu et le pcheur,W.]111 ^.X111111 Y._ En adaptantson criture musicale ses choix potiques, Kapsberger parvient crer une remarquablediversit de relations entre le texte et la musique, allant des monodies extrmement111 111 1111W11Y11141111\11W1111111111111111111111

laria di cantare111111]11111111111 1 1 1 1 1 1 1 1 1 1 1 1

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[111111111111[1111111111111111^1111Y11111111111111111111&1V1_111111111111111111111111111111111111111 1 1 1 1 1 1 1 1 1 1 1 1

1 111111111111 1de cinq ou de sept font leur apparition, confrant ces pices une souplesse et une vieintrieure qui sont directement inspires de lcriture du thorbe. Il est intressant de11111111411111111 1 1 111 1111 11 41111 1111111111111111Libro secondo11111,111111111111111111111111 111111111111

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une corrente [2] de Kapsberger extraite du Libro terzo (1626) rcemment redcouvert, deuxdes merveilleux Capricci (1622) de Bellerofonte Castaldi [4], [8], et trois pices provenants11111111W]11_1Z1\1111111111111111111de Kapsberger. Ses compositions pour thorbe, recueillies dans une publication fameusedatant de 1622, comportent parmi les plus belles pices crites pour cet instrument.

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Voi che dietro a fallaci e cieche scorte(It exhorts the sensual to change human love into divine

love)1111111On reckless and tortuous paths,1111111111111111

Away from that thought that leads to death,

Reverse your steps and, still shrouded by a dark fog,11111111That heaven itself has given to you as your destiny.

11111What higher glory, and what delights111111111

11111Embrace and inflame your desires, and may your heartFind roses and noble purples in blood and paleness.

4(La Lira, 1614)

Alma che fai, che pensi11111111Goodness beckons you,11111111111111It awakens you from sleep, cherishes and embraces

you.11111111111,1111And should you fear death and your demise,Well, die to the world, and you can never die.

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Voi che dietro a fallaci e cieche scorte(Esorta i sensuali a mutar lamore umano in divino)

1111111del foco vil di duo begli occhi accesi,da lor falso dun crin legati e presi,11111

lunge da quel sentier, che mena a morte,

111111111141cha voi proprio dal ciel fu dato in sorte.

11111111411114111

Stringa omai dolce e scaldi i desir vostri411111111111111111 4(La Lira, 1614)

Alma che fai, che pensi11111114la piet ti soccorre amor ti chiama1111114ei dal sonno ti svegle prege brama1111114al porto di salute, e spera et ama!E se temi la morte e l tuo fallire,deh, mori al mondo e non potrai morire.

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Voi che dietro a fallaci e cieche scorte(Exhortation de ltre sensuel muer lamour charnel en

amour divin)11111Sur des chemins imprudents et tortueux,11111111111111111 11

1111111111111linceul dobscures brumes,

11111111111,11111

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111111111111111Dcouvrir la rose et de nobles empourprements1 11111 4(La Lira, 1614)Alma che fai, che pensi11111,111,111

bont tappelle,1111111111Fuis lhumanit, et le Ciel taccueille.Il textrait du sommeil, te chrit et te prends dans

ses bras.Renonce aux fardeaux terrestres et presse ton envol1111111111111111Soit, mais sache que mourir en ce monde tassure

lternit. 44

Voi che dietro a fallaci e cieche scorte4

zu verwandeln)Du, der du falschen und blinden Fhrern folgstAuf unbekmmerten und verschlungenen Wegen,1111111111111111

1111111111411111111 11111111111111111111

11111Welch hhere Pracht und welche Glckseligkeit11111111

11111111111111 11 1Rosen und edlen Purpur entdecken in Blut und Blsse.

4(La Lira, 1614)Alma che fai, che pensi111111111 1

winkt dir,1111411111111111 1

erwartet dich.Es erweckt dich im Schlafe, bewahrt und umarmt dich.1111111111111Und solltest du Tod und dein Sterben frchten,Gut, dann vergehe fr die Welt und du kannst

niemals sterben.4

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Tu dormiTu dormi, anima miaTu dormi, ah tu non senti1111111111chin darno chiami chi per te si more.Ascolta, ascolta ingratalultime note del mio duol profondo,m tu dormi spietata

mentre ha del mio morir pietade il mondo"Prima aria411111che non conosco ingannidel amor vano e rio,11111il suo mortal veleno.Seconda aria1111411111111114che nellaltrui lamenti,appressi i tuoi tormenti.Sopra la prima aria1114Chel bel desio nappaghi1111114E chi terr lontano111Sopra la seconda ariaIl suon daurata liraI balli e i canti uniti

E pregi sian graditi111

Tu dormi111111111111111111Who in vain calls one who is dying for youUngrateful, listen,11111111But you sleep, ruthless,

While the entire world has pity for my death."I am a childWho knows no anxietyWho knows none of the deceitsOf a vain and dire loveAnd who does not want its mortal poisonTo descend into my heart.

The spirit I have in my heartDespises this false god,1111It does not give me any pleasureTo learn your tormentsFrom somebody elses laments.

What delight will be the reward111And what sweet and lovely thoughts1111And who will keep this mean111

The sound of the golden lyre,Dancing joined with singing,

1111111

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Tu dormi111Tu dors, hlas nentends-tu pas11111111,11111111111Ingrat, coute, coute11111111

Alors que le monde entier se lamente de ma mort."111111111Des amours vaines et terriblesEt qui refuse que leur venin mortel111

111Renie ce faux dieu111111Cela ne me rassasie pasDapprendre tes tourmentsDes complaintes dautrui

De quels plaisirs sera faite11111Et quelles douces et rconfortantes penses111Et qui loignera111

1111111111

Cdons la joie11111

Tu dormiDu schlfst, meine Seele,Du schlfst, ach, und hrest du nicht41111111111111111Undankbarer, hre,111111Aber du schlfst, mitleidlos,

11111111

"Ich bin ein KindDas keine Angst kenntDas nicht die Tcken11111111111111

1111111111411111111111111111

11111111111111111Und wer wird diesen niedrigen111

11111111

11111111

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And the freedom of a heartThat triumphed over love.

Ivo piangendo i miei passati tempi11111111I passed in worship of a mortal thing,11111Careless, to try the measure of my worth.

Thou who dost know my every sin from birth,Invisible, immortal, heavenly king,1111111Pour thy abundant grace upon its dearth.

So that, if I have lived in war and in tempestI may die in peace and in port, and if my stay111111111it be worthy.

And may Thy hand be quick to comfort meIn death, and in the hours that still remain,Thou knowest, I have no other hope but Thee.

Francesco Petrarca (Rime spirituali, 1574)

Dolcissimo Signore111111alas, how I die, and feelupheaval within my breast and my heart melt.11111I have no sweeter desire1111I love, I sigh, I tremble, oh purest soul,

so stricken with grief as if laden with sin.

E libert del coreChe trionf damore.

Ivo piangendo i miei passati tempiIvo piangendo i miei passati tempii quai posi in amar cosa mortale,11111per dar forse di me non bassi exempi.

Tu, che vedi i miei mali indegni et empi,Re del Cielo invisibile, immortale,111111111111

s che, sio vissi in guerra et in tempesta,1111111111fu vana, almen sia la partita honesta.

1111111111111111111111


Dolcissimo SignoreDolcissimo Signore,ahi che ne moro e sentostruggersi il seno e liquefarsi il core111 1pi soavi desirinon ho de miei martiri.Amo, sospiro, e tremo, alma [in]nocente

come grave derror cosi dolente.

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111111Triomphant de lamour

Ivo piangendo i miei passati tempi1111111111Passs clbrer les choses mortelles,Ignorant dtendre mes ailes lappel cleste111111

11111111Dieu du Ciel invisible et immortel,111111111111

De sorte que si ma vie fut de guerre et de temptesfaite

11111111111111sjour ici-bas

11111111

111111Dans la mort, alors qu son seuil11111


Dolcissimo SignoreSeigneur plein de misricorde11111111111111111111111111111

Sous le poids de la douleur laune de mes fautes

1111111

Ivo piangendo i miei passati tempiWie fhle ich mich bekmmert ber die Tage auf

der ErdeDie ich durchlebte in Anbetung einer irdischen Sache,111111111111

Du, der Du um alle meine Snden seit meiner1 11Unsichtbarer, unsterblicher, himmlischer Knig,111111111111111 11

So dass, wenn ich gelebt habe in Krieg und Sturm,Ich mge sterben in Frieden und am Ziel, und

wenn mein Aufenthalt111111111 11 11111

11111111Im Tod und in den Stunden, die noch verbleiben,11111111

Francesco Petrarca (Geistige Verse, 1574)

Dolcissimo Signore1111111leider, wie ich sterbe und fhle111111111111111111111Ich liebe, ich schmachte, ich bebe, oh reinste Seele,

11111111

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11111to you now I turn for help,since you die only to give peace to others.111111of the deceiving worldthen a pagan follower, I1111111111

have saidthat there is none who could save me except God.

I see you there on the Cross,wounded for my salvation,11111pour out your soul from your side.Abhorring my guilty deeds,have mercy, still, have mercy,and show me your visage merciful and meek.111111111

But pleasing are all my pains,if they put me in the placeupon the Cross where did hang the Supreme Good.I can feel now cold as icemy spirit as it leaves me.Grieving soul, you are dyingI cannot go on. The course of my life is broken.Alas, I die. O my God, help me!

Tinaspri a miei lamenti114111Ah, cruel heart, but you feel no pity.I weep, and the merciful winds, alas,Carry in vain to you (who are cruel),11111111

11111111

111a te ricorro aita1111111sospirata mia vita,gi del mondo fallace,idolatra seguace,111111che non potea salvarmi altro che Dio.

1111che per mio ben piagato,holocausto di pena e di martiroversi lalma dal lato.Se le mie colpe abhorri,Soccori pur, soccori,E mostra lalma a me clemente e pia.Tuo sia il perdono, se la colpa mia.

111Se m dato languireOve in Croce gi langue il Sommo Bene.Sento gelido uscire1111alma dolente, moriIo pi non posso Di mi vita il corsomanca. Ahi lassa! Io mi moro o Dio, soccorso!

Tinaspri miei lamentiTinaspri miei lamentiah crudo cor e pur piet non sentiI piango e le mie voci lagrimosea te che crudo seiportan in van, ohim,laure pietose.Ah ben i pianti miei

1111111111

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1111Aujourdhui je me tourne vers vous1111111111111111Dans un monde trompeur111111111111

bon quil me soit dit111111

111111111111111111Abhorrant mes crimes,11111,11111111111111

Comme douce serait ma peine,Sil voulut que je sois languissantAu point de la croix o rside la Bont Suprme.111111111111111111111111111111111,

Tinaspri a miei lamenti111Z1111111111111Portent en vain votre oreille cruelle11

11141111111111

1111111111111111111111111von der trgerischen Welt111111111111eigentlich sollte ich gesagt haben11111141114

11111verwundet fr meine Erlsung,111111111111habe Gnade, dennoch, habe Gnade mit mir,1111111111111111

111111111111111111Ich kann nun meinen Geist fhlen kalt wie EisWie er mich verlsst.1111111111111 11111411

Tinaspri a miei lamenti114111111111111Ich weine, und die gnadenvollen Winde, ach!,111111111

111111111111

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Dunque con stile lieto, dolcissimoSo, with a joyfulAnd most sweet style,1111Which in full bloomBrings us111Oh lovely youth,If you could only be eternal!

11Smile and rejoice in our faces,11111Accompany our agile feet,11Oh lovely youth,If you could only be eternal!

1As the most beautiful roseWithers under the sunAnd languidlyFalls on a trunk11Oh lovely youth,If you could only be eternal!

111111Teach us this virtue.11Fly to the highest reignWhere beautyCan be admired forever.

Dunque con stile lieto, dolcissimoDunque con stilelieto dolcissimocantiam lAprile1a noi ne menalet serena11fossi tu sempre stabile!

Il cor nel voltorida e gioiscasi,al piede sciolto11mai giunga a sera111fossi tu sempre stabile!

Gia mira Amintarosa bellissimachal sole estintalanguidissimasul tronco cade111fossi tu sempre stabile!

14qua gi non regnano1114virt ninsegnano.1al sommo imperodov ammirabile1 1

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Dunque con stile lieto, dolcissimoDonc, dans lallgresseClbrons en chantant111111111 aimable jeunesse111111

11Illuminer notre visage de sourires,Puisse la mlodieuse lyre11Puisse le printemps111 aimable jeunesse111111

Regarde AmintaComme la plus belle des rosesStiole sous le soleil11111111 aimable jeunesse111111

1111,111111141Puissent nos pensesSenvoler au royaume cleste111Se laisse admirer ternellement !

Dunque con stile lieto, dolcissimoDaher, in einer freudigen11111111111der in voller Bltebringt uns11111Wenn Du nur ewig whren knntest!

11111111111111111111Wenn Du nur ewig whren knntest!

Sieh, Aminta,Wie die schnste RoseIn der Sonne verwelktUnd schwachFllt auf einen Stamm1111Wenn Du nur ewig whren knntest!

Keine wahre Freude11Wiesen und Blumen111111111Wo SchnheitKann auf ewig verehrt sein.

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Piet di chi si more111111O heavenly sun,Source, of pure, eternal, and unique grace.

1111Of my sorrowful life,Do not deny me your help

So that I will depart singing,Full of a new joy,O happy death.

"11Tell me, what did I do to you11111I parted the seaAnd you stab me in my side.I submerged the PharaohAnd you submerge me in my own blood.I gave you a column of lightTo guide your steps through the desertAnd you tie me and immobiliseTo a column of pain.I fed you with mannaAnd you feed me with bileI gave you a sceptre, and you give me a humble stick.I gave you a royal crown,And you give me a crown of thornsI raised you to my reignAnd you mercilessly raise me on a crossWhat did I do to you,11

Tommaso Stigliani (Canzoniere, 1618)

Piet di chi si morePiet di chi si moreo celeste mio sole11111

Deh Signor nel ultimhoredi mia dolente vitanon mi negar aita.

Chio andro cantandopien daltro gioireo felice morire.

"14111141111Io gi lmare tapersi,e t mapri il costato.Io Faraon sommersi,e t sommergi m dentral mio sangue.Io ti di la colonna luminosa,11111111111a colonna penosa.Io t cibai di manna,e t di fel mi cibi.1114111111Io corona reale t donai,e t corona me spinosa dai,1111111111114141


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Piet di chi si moreAie piti de celui qui se meurt soleil cleste,111111

Seigneur, alors que trpasseUne vie faite de douleur,111111

De sorte que je parte en chantantPtri de gloire nouvelle, mort bien-heureuse.

Popol dilleto mio11,Dites-moi, que vous ai-je fait111111111111111111111111111111111111111Sur une colonne de douleur.11111111111111111111 111111111111111111111111,1111,1111,1


Piet di chi si more1111O himmlische Sonne,11111

41111111111

Damit ich singend dahinscheiden werde,111O glcklicher Tod.

"11Sage mir, was habe ich Dir getan1111111Doch Du stichst mich in meine Seite.Ich berwand den PharaoDoch Du tauchst mich in mein eigenes Blut.11111111411111Doch Du bindest mich bewegungsunfhig111111111114111Ich gab Dir ein Zepter, doch Du gibst mir einen

einfachen Stock.Ich gab Dir eine Knigskrone,Doch Du gibst mir eine Krone von DornenIch hob Dich empor in mein Reich111111Was habe ich Dir getan11

Tommaso Stigliani (Canzoniere,1618)

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Ancora il R nasce piangendo in terraAgain a king is born, weeping, on earthAnd he breathes the same air as his subjects.1111111But pain does not spare him from its war.

Wherever he steps, with suspicion,A thousand cares are chained to his side.If he crumbles under the weight of his authority

111111

Dawn rises as an ill-omen to his eyesAs a horrible fear thunders in his heart.Where is the good in adorning your head1111111111

11111111If good fortune and virtue are united in him.111111Spreads his wings of wax to the suns rays.

41111111111And whose virtue does not require a royal crown.The righteous man never pales or tremblesFor it is a noble reign to rule over oneself.

Gabriello Chiabrera (Rime, 1618)

Ancora il R nasce piangendo in terraAncora il R nasce piangendo in terran diversa dal volgo aria respira.Ben darmi e dor potente egli sammiran per questo il dolor men li f guerra.

11141111111141111111

11111

Infausta aglocchi suoi sorge lauroramentre orribil timor sul cuor li tuona.111111411111

Felice il Re cha se medesmo imperase fortuna e virtutin lui sunisce11111spiega a lampi del sol ali di cera.

Ben pu chi vuol a R giunger appresso.111111111111ch nobil regno dominar se stesso.


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Ancora il R nasce piangendo in terraUn roi nouveau est n, en larme, sur terreEt il respire le mme air que ses sujets.Son or et ses armes exhaltent sa puissance11111111

Partout o il pose suspicieux son pied11111Sil cde sous le poids de son autorit

11111111

111111111yeux

1111111111111111,1411111 1

11111111111111De l, qui ose slever plus hautExpose ses ailes de cire aux rayons du soleil.

Bien mieux vaut de vouloir tre lgal dun roiAvec sa vertu comme couronne royale.1111111Car il est mritant de rgner sur soi-mme.


Ancora il R nasce piangendo in terraWieder ist ein Knig geboren, weinend, auf Erden11111111Er verherrlicht sich selbst mit krftigen Waffen und Gold11111111

Wo immer er schreitet, in Argwohn,1111114111111

111111

1111111111111111

donnert.111111111111111 11

Glcklich ist der Knig, der Gewalt ber sich selbst hatWenn Glck und Tugend in ihm vereint sind.1111111Breitet seine Flgel von Wachs aus in den Strahlen

der Sonne.

Besser daran sind solche, die werden mchten wieein Knig

111111 1ntig hat.

111111411111111 1

herrschen ber sich selbst.Gabriello Chiabrera (Rime,1618)

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O come in van credeiO come in van credeipassar lhore serene11111o damaro piacer gioie ripiene.11111prov lanima mia1114Ah pi non sia

chi viver lieto al non doggi si vantichi pi rise tal hor verso pi pianti.

Perch pietPerch piet si neghial mio lungo martireAmiei fervidi preghi.Alma deh non languire.11111E se ritarda la sua gratia amata1111

O come in van credei111141111I could spend serene hoursAnd soothe my troubles in you,For my soul only experienced11141111That for the sake of a brief delight

Somebody today should be boastful of a happy lifein this world,1111111

Perch piet1111And my fervent prayers1111111Divine compassion is not always far away,And if his beloved grace comes late,Delayed mercy will be more rewarding.

English translations Giuseppe Gerbino,1111

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O come in van credeiComme dans lerreur tais-je de croire111111Adoucissant en vous mes folies,Des joies damer plaisir remplies.1111111111Pour peine dun plaisir fugace.Ah ne plus tre ! Celui qui ne se gorge plus

aujourdhui dtre gaiCelui qui alors riait le plus, je verse le plus depleurs.

Perch piet111Et mes ferventes prires1,1111111111111111,11111111111

plus grande.

111

O come in van credei11141Wie vergeblich ich glaubteIch knnte heitere Stunden verbringen11111Da meine Seele nur erlebte11141111111111

11111111111111111111 1

vergoss.

Perch piet1111Und meine inbrnstigen Gebete1111114111111Und wenn seine geliebte Gnade spt kommt,11111

1t1411

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Neil Cockburn, harpsichord, was born in Scotland and educated at Oxford, Boston University, the1111111111111,1111111111111111,1111111111111111111111111

Victor Coelho1111111111111111111111111111

11111111111 11 111 1 1 111 1 11 1111 1 1 1 111 1 11 1 1 W\V^111 1 1Stradivarius label), which also won a Prelude Classical Award for best Baroque ensemble recording1XVVZ1111Music and Science in the Age of Galileo (Kluwer), The Manuscript Sources of17th-Century Italian Lute Music (Garland), Performance on Lute, Guitar, and Vihuela (Cambridge) andThe Cambridge Companion to the Guitar.

David Dolata1 1 111111 11 11111111111111Recent Researches in the

Music of the Baroque Era,TheNew Grove Dictionary of Music and Musicians and Early Music. As lutenist

111111111111111111111111111111111111111111111111

", tenor, has been described as one of the glories of Italian Baroque song ( Repertoire,11111111111111111111111111111111111111111111,11111 11 11 1 11 11 1 1Cavallis Giasone111Flavio111111111111Vespers11111111111W\V^111

111111111111111111111111111111

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Paul Grindlay1,11111111111111111111111111111 1111 111 111111111111111111111111111111111of the Calgary Boys Choir in Calgary.

Julie Harris1111111111111111

a soloist with choirs and orchestras across Canada, including the Tafelmusik Baroque Orchestra, the111111111111

Janet Youngdahl, soprano, has toured extensively with Ensemble Sequentia and appears on eight&111111,1Canticles of Ecstasy.1111111111111111recording ofArcanum, a new work for soprano and chamber orchestra by the Argentinian composer11111111111111,1performance from Case Western University.

Neil Cockburn1 1 1 1 41 1 1 1 1 1 1 111111111111111111,1111111111111111111111111111111111111

Victor Coelho111 11 11 11 111111111111111111111111111111111111111111111 1 1111 1 11111111,11W\V^111111111111111,,11XVVZ11

bekam. Zu seinen Bchern gehrenMusic und Science in the Age of Galileo111111111The Manuscript Sources of 17th-Century Italian Lute Music (Die

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,11111W]111Performance onLute, Guitar, and Vihuela 11111111The CambridgeCompanion to the Guita 1,111.

David Dolata1111111111111111111,111111Recent Researches in the Music of the Baroque Era 1111TheNewGrove Dictionary of Music and Musicians und Early Music11111,1

11111111111111111111111111111111111111111111111

"11 111111 11 Repertoire,11111111111111114111111111111111111 11111 1 1 1 1 1 1 1 1 ,11 1 1 1 1111111111111Cavallis Giasone111Flavio1111111111

1Vespers11111111111111W\V^1111111111111111111111111111

Paul Grindlay1,11111111111111111111111111bei dem Carmel-Bach-Festival, mit den Amerikanischen Bach-Solisten, dem Toronto Konsortium,11111111111111111111111111,11111111

Julie Harris11111 111111111 1 111 11 1 1 1 11 1 111,11111111111

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Janet Youngdahl11111111111111&11,111,nominierten Canticles of Ecstasy1111111,11111 11 111 111Arcanum, ein neues Stck1111111111111111 1111111111111111

t1411

Neil Cockburn11111111111111111111111111111111,1111111,111111111111 1 1 1 1 1 1 111 1 1 1 1 11111111111

Victor Coelho, archiluth et thorbe, est professeur de musique lUniversit de Boston et sest11111111111111111111111 1111111111 1 1 1 1 1 111 1 1 1 1

1111111111111111W\V^1111111111111dans la catgorie meilleur enregistrement 2004 dun ensemble baroque . Parmi ses crits, onretiendra The Manuscript Sources of 17th-Century Italian Lute Music (Garland), Performance on Lute,Guitar, and Vihuela (Cambridge) et The Cambridge Companion to the Guitar.

David Dolata1111111111111travaux sur le thorbiste virtuose italien Bellerofonte Castaldi ont t publis dans Recent Researchesin the Music of the Baroque Era, TheNew Grove Dictionary of Music and Musicians et Early Music. En tant111111111111111111111111111111111

1111111111111111Il Furioso, Ars Femina, et Apollos Fire.

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", tnor, a t dcrit comme une des gloires du chant italien baroque (Rpertoire). Il sest produit et a enregistr avec la plupart des plus grands interprtes actuels de11111111111111111 11 1111 11 111111 111,11 1111 11 111nombreux festivals. Ses enregistrements comptent notamment le Giasone de Cavalli et le Flavio de111111111111111 Vpres de

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11111111111111111111111111

Paul Grindlay, basse-baryton, a tudi et sest produit au Canada, aux USA, en Europe et au1111111111111111111111111111111111111111111111111111111111111111Baroque Aradia. Il est actuellement le directeur artistique du Calgary Boys Choir Calgarie.

Julie Harris1 1 1 1 11 1 11 1 1 11 1 1

11111111111 1 1111 1111 11 11111111

Janet Youngdahl, soprano, a particip de nombreuses tournes avec lEnsemble Sequentia et1111&111111Canticles of Ecstasynomin aux Grammy Awards. parmi ses rcents enregistrements, on citera des cantates baroques11111111Arcanum, une cration pour soprano et orchestre de111111111111111titulaire dune thse en interprtation de musique ancienne la Case Western University.

1111XVV\

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43/45

Recorded at the Wyatt Recital Hall, Mount Royal College, Calgary, Alberta, 37 June 2004

Recording: Cinnamon Anderson and Tim Dubber

Editing and mixing: Cinnamon AndersonMastering: David Horrocks at Infinite Wave

Produced by Victor Coelho and Cinnamon Anderson

All vocal tracks taken from G. G. Kapsberger, Libro secondo darie (Rome, 1623)

Theorbo solos: G. G. Kapsberger, Libro terzo dintavolatura di chitarrone (Rome, 1626) [2]; Bellerofonte Castaldi, Capricci

a due stromenti cio tiorba e tiorbino (Modena, 1622) [4], [8]; Paris, Bibliothque Nationale, Ms. Mus. Rs. Vmd. 30

[4], [6]; Cracw, Biblioteca Jagiellonska, Mus. Ms. 40591 [9]

Performing editions by Margaret Murata and Victor Coelho

Special thanks to Angelo Pompilio for assistance with identifying the authors of the sung texts

English translations of the sung texts by Giuseppe Gerbino, Margaret Murata and Victor Coelho

German translations: Jutta Raab Hansen

French translations: Baudime Jam (Coelho, biographies), and Marianne Magnin (sung texts)

14-course archlute by Grant Tomlinson 14-course theorbo (Coelho) by Ivo Magherini

14-course theorbo (Dolata) by Robert Mavrinac Harpsichord by Dowd

Cover image: detail from Antiveduto Gramatica (c. 1571, Rome 1626, Rome), St Cecilia with Two Angels (162025), oil

on canvas, Kunsthistorisches Museum, Vienna.

Design and lay-out: Paul Brooks

Executive producer: Martin Anderson

TOCC 0027 2006, Toccata Classics, London 2006, Toccata Classics, London

11

Toccata Classics CDs can be ordered from our distributors around the world, a list of whom can be

found at www.toccataclassics.com. If we have no representation in your country, please contact:

Toccata Classics, 16 Dalkeith Court, Vincent Street, London SW1P 4HH, UKTel: +44/0 207 821 5020 Fax: +44/0 207 834 5020 E-mail: [email protected]

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44/45

Voi, che dietro a fallaci 3:28

Corrente (Kapsberger, 1626) 2:45

Alma che fai, che pensi 3:17

Sonata 2.a (Bellerofonte Castaldi, 1622) 1:36

Tu dormi 2:00

Pargoletto son io 2:31

Ivo piangendo i miei passati tempi 5:08

Dolcissimo Signore 4:30

Canzona (anon.) 2:30

Tinaspri miei lamenti 2:52

Dunque con stile lieto, dolcissimo 2:15

Piet di chi si more 2:40

Popol diletto mio 1:55

Monica (anon.) 2:18

Ancora il R nasce piangendo in terra 5:13

Toccata (anon.) 1:55

O come in van credei 3:18

Mustazzin corrente (Castaldi) 1:30

Perch piet 2:19

Il Furioso

Gian Paolo Fagotto, tenor

Janet Youngdahl, soprano

Julie Harris, soprano

Paul Grindlay, bass

Victor Coelho, archlute

theorbo solo

David Dolata, theorbo

theorbo solo

Neil Cockburn, harpsichord

Victor Coelho, director

KAPSBERGER

Libro secondo darie (1623)

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DDD

TOCC 0027

2006, Toccata Classics, London

2006, Toccata Classics, London

TOCCATA CLASSICS

16 Dalkeith Court,

Vincent Street,

London SW1P 4HH, UK

Tel: +44/0 207 821 5020

Fax: +44/0 207 834 5020

E-mail: [email protected]

Giovanni Girolamo Kapsberger (15801651) was one of the most innovative andoriginal composers in early seventeenth-century Rome, and a virtuoso on thelute and chitarrone, or theorbo. HisSecond Book of Arias, published in Rome in

1623, contains extraordinary works for one and two voices that reveal both hisvivid imagination in setting poetry to music, and his flair for dramatic gestures,making him one of the most quintessentially Baroque composers of his time.

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Voi, che dietro a fallaci 3:28

Corrente (Kapsberger, 1626) 2:45

Alma che fai, che pensi 3:17

Sonata 2.a (Bellerofonte Castaldi, 1622) 1:36

Tu dormi 2:00Pargoletto son io 2:31

Ivo piangendo i miei passati tempi 5:08

Dolcissimo Signore 4:30

Canzona (anon.) 2:30

Tinaspri miei lamenti 2:52

Dunque con stile lieto, dolcissimo 2:15

Piet di chi si more 2:40

Popol diletto mio 1:55

Monica (anon.) 2:18

Ancora il R nasce piangendo in terra 5:13Toccata (anon.) 1:55

O come in van credei 3:18

Mustazzin corrente (Castaldi) 1:30

Perch piet 2:19

TT 54:07

Il Furioso

Gian Paolo Fagotto, tenor

Janet Youngdahl, soprano

Julie Harris, soprano

Paul Grindlay, bass

Victor Coelho, archlute, theorbo solo

David Dolata, theorbo, theorbo solo

Neil Cockburn, harpsichord

Victor Coelho, director

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KAPSBERGER

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Album Notes

http://www.toccataclassics.com/http://www.toccataclassics.com/

Documents

Kapsberger Notes