montserrat figueras - The Orchard
montserrat figueras - The Orchard
montserrat figueras - The Orchard
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MONTSERRAT FIGUERAS<br />
LA VOIX DE L’EMOTION<br />
<strong>The</strong> voice of emotion
CD1<br />
1. MEDEA. Invocation : I Nunc iam cessit pontus et omnis partitur leges 4’52<br />
II. Venient annis sæcula<br />
MÉDÉE (TRAGÉDIE, ACTE II) - SÉNÈQUE (s. Ier après JC)<br />
Musique Solo : Anonyme s. XII<br />
Montserrat Figueras chant<br />
Dimitri Psonis santur<br />
Jordi Savall rebab<br />
2. Berceuse Amazigh – magri$ º 1 º 1 º iT%s 2’33<br />
ANONYME BERBÈRE (MAROC)<br />
Montserrat Figueras chant<br />
Driss El Maloumi oud, Pedro Estevan pandero<br />
3. Romance : Palestina hermoza y Santa 7’41<br />
ANONYME SÉPHARADE (SARAJEVO)<br />
Montserrat Figueras chant & cythara<br />
Jordi Savall rebab, Gaguik Mouradian kemancha, Michaël Grébil ceterina<br />
4. Romance : Triste estaba muy quexosa 3’49<br />
LUYS MILÁN (avant 1500-après 1561)<br />
Montserrat Figueras chant<br />
Hopkinson Smith vihuela<br />
5. Villancico : Si la noche haze escura 4’32<br />
FRANCISCO GUERRERO (Attribué à)<br />
Montserrat Figueras, Maite Arruabarrena, Carlos Mena<br />
Andrew Lawrence-King harpe<br />
Jordi Savall, Sergi Casademunt violes de gambe<br />
6. Villancico : Isabel, perdiste la tu faxa 1’52<br />
ALONSO MUDARRA (1510-1580)<br />
Montserrat Figueras chant<br />
Hopkinson Smith vihuela<br />
7. Chanson : Anchor che co’l partire 3’57<br />
CIPRIANO DI RORE passeggiata di<br />
GIOVANNI BATTISTA BOVICELLI (1594)<br />
Montserrat Figueras soprano<br />
Jordi Savall, Sergi Casademunt, Christophe Coin violes de gambe<br />
Avec l’aimable autorisation de Deutsche Harmonia Mundi<br />
MONTSERRAT FIGUERAS<br />
LA VOIX DE L’EMOTION · THE VOICE OF EMOTION<br />
Portrait<br />
8. Romance : Como retumban los remos! 2’59<br />
LOPE DE VEGA (1562-1635) / ANONYME – Cancionero 1628<br />
Montserrat Figueras chant<br />
José Miguel Moreno, Rolf Lislevand guitares<br />
9. Antiphone : Salve, Regina à 8, 1572 (extrait) 4’14<br />
TOMAS LUIS DE VICTORIA (1548-1611)<br />
Montserrat Figueras soprano<br />
La Capella Reial de Cataluya<br />
Jordi Savall direction<br />
10. Lamento della ninfa : “Amor dov’è la fe” 4’26<br />
CLAUDIO MONTEVERDI (1567-1643)<br />
Montserrat Figueras soprano<br />
Lambert Climent, Francesc Garrigosa ténors<br />
Daniele Carnovich basse<br />
Andrew Lawrence-King arpa doppia, Rolf Lislevand théorbe<br />
11. Con le luci d’un bel ciglio, 1614 1’53<br />
GIULIO CACCINI (1551-1618)<br />
Montserrat Figueras soprano<br />
Hopkinson Smith luth, Robert Clancy guitare baroque<br />
Jordi Savall viole de gambe basse, Xenia Schindler harpe<br />
Avec l’aimable autorisation de Deutsche Harmonia Mundi<br />
12. Canzonetta spirituale sopra la nanna 8’41<br />
Hor ch’è tempo di dormire, 1639<br />
TARQUINIO MERULA (1594-1665)<br />
Montserrat Figueras chant<br />
Jordi Savall viole de gambe, Imke David lirone<br />
Andrew Lawrence-King arpa doppia<br />
13. Tono humano : Ay que me río de amor 1’54<br />
JUAN HIDALGO (1612-1685)<br />
BN Ms. 380/824a Madrid<br />
Montserrat Figueras chant<br />
Xavier Díaz-Latorre guitare, Arianna Savall harpe<br />
Jordi Savall viole de gambe, Pedro Estevan percussion<br />
14. Tono humano : Sosieguen descansen 5’21<br />
(de la Zarzuela “Salir del Amor del Mundo”)<br />
SEBASTIÁN DURÓN (1660-1716)<br />
Montserrat Figueras soprano<br />
Hopkinson Smith théorbe, Christophe Coin basse de violon<br />
Ton Koopman clavecin, Jordi Savall viole de gambe<br />
Avec l’aimable autorisation d’EMI
15. Berceuse : Dors mon enfant, 1798 3’12<br />
Chanson d’une malheureuse mère. Imité de l’écossais<br />
JOHANN FRIEDRICH REICHARDT (1752-1814)<br />
Montserrat Figueras chant<br />
Andrew Lawrence-King arpa doppia<br />
Jordi Savall viole de gambe basse<br />
16. Aria : Ti ricordi che giurasti 4’22<br />
FERNANDO SOR (1778-1839)<br />
Montserrat Figueras chant<br />
José Miguel Moreno guitare romantique<br />
17. Seguidilla : Las Mujeres y cuerdas 1’09<br />
FERNANDO SOR (1778-1839)<br />
Montserrat Figueras chant<br />
José Miguel Moreno guitare romantique<br />
18. Avec la poupée – С куклой 1’47<br />
La Chambre des enfants, 1970<br />
MODEST PETROVICH MUSORGSKY (1839-1881)<br />
Montserrat Figueras chant<br />
Paul Badura-Skoda piano<br />
19. Berceuse de Noël, 2002 – Рождественская Колыбельная 5’23<br />
ARVO PÄRT (11.9.1935)<br />
Montserrat Figueras chant<br />
Jordi Savall, Sergi Casademunt, Sophie Watillon violes de gambe<br />
Arianna Savall harpe triple, Begoña Olavide psalterium, Dimitri Psonis santur<br />
CD2<br />
1. Romance : Por que llorax blanca niña (Sarajevo) 8’39<br />
CHANSON SEFARDITE<br />
Montserrat Figueras soprano<br />
Andrew Lawrence-King harpe<br />
Pedro Memelsdorff flûte, Pedro Estevan percussion<br />
Jordi Savall viole soprano<br />
2. Sibila Galaica (extrait) 7’15<br />
EL CANTO DE LA SIBILA<br />
Alfonso X el Sabio, XIIe siècle<br />
Montserrat Figueras chant<br />
Andrew Lawrence-King harpe<br />
La Capella Reial de Catalunya<br />
Jordi Savall direction<br />
3. Cançó : A chantar m’er de so 6’53<br />
COMTESSA BEATRITZ DE DIA<br />
Montserrat Figueras chant<br />
Hespèrion XXI : Jordi Savall rebab,Driss El Maloumi oud, Michaël Grébil luth médiéval<br />
Pierre Hamon flûte, Pedro Estevan percussion<br />
4. Planctus : O arbre sanct, digne de honor (Maria) 4’38<br />
EL MISTERI D’ELX (LA VESPRA)<br />
Montserrat Figueras chant<br />
Jordi Savall rebab, Pierre Hamon flûte, Begoña Olavide psalterium<br />
5. Villancico : Niña y viña 1’24<br />
ANONYME – CANCIONERO DE LA COLOMBINA (CMC) s. XV<br />
Montserrat Figueras chant<br />
Hespèrion XX, Jordi Savall<br />
6. Villancico : Con qué la lavaré 6’00<br />
ANONYME – LUYS DE NARVAEZ (ca.1500-1550/1560)<br />
Montserrat Figueras chant<br />
Rolf Lislevand vihuela<br />
Jordi Savall, Sergi Casademunt, Paolo Pandolfo violes de gambe<br />
7. Villancico : Yo me soy la morenica 2’07<br />
ANONYME – CANCIONERO DE LA COLOMBINA (CMC) s. XV<br />
Montserrat Figueras chant<br />
Jordi Savall, Fahmi Alqhai violes de gambe<br />
Xavier Díaz-Latorre vihuela, Begoña Olavide psalterium, Pedro Estevan percussion
8. Motet : Ne timeas, Maria (a 4), 1572 3’08<br />
TOMÁS LUIS DE VICTORIA (1548-1611)<br />
Montserrat Figueras chant<br />
Jordi Savall, Sergi Casademunt, Eunice Brandão violes de gambe<br />
9. Madrigal : Aura soave 2’56<br />
LUZZASCO LUZZASCHI (ca.1545-1607)<br />
Montserrat Figueras chant<br />
Hopkinson Smith luth<br />
Avec l’aimable autorisation de Deutsche Harmonia Mundi<br />
10. Canzonetta : Si dolce è il tormento (libro nono) 3’08<br />
CLAUDIO MONTEVERDI (1567-1643)<br />
Montserrat Figueras soprano<br />
Rolf Lislevand théorbe<br />
11. Alme Luci Beate 3’30<br />
GIULIO CACCINI<br />
Montserrat Figueras soprano<br />
Hopkinson Smith théorbe<br />
Avec l’aimable autorisation de Deutsche Harmonia Mundi<br />
12. Sentirete una canzonetta 3’03<br />
TARQUINIO MERULA (1595-1665)<br />
Montserrat Figueras soprano<br />
Jordi Savall viole de gambe, Arianna Savall harpe<br />
Ferran Savall théorbe, Pedro Estevan percussion<br />
13. Canarios : No piense Menguilla ya 6’04<br />
JOSÉ MARÍN (1618-1699)<br />
Montserrat Figueras chant<br />
Rolf Lislevand guitare baroque<br />
Arianna Savall arpa doppia & chant<br />
Pedro Estevan percussions, Adela González-Campa castagnettes<br />
14. Tono Humano : Trompicávalas amor 3’01<br />
JUAN HIDALGO (1614-1685)<br />
Montserrat Figueras soprano<br />
Enrique Barona jarana, Leopoldo Novoa guitarra de son tercera<br />
Jordi Savall viole de gambe, Andrew Lawrence-King harpe<br />
Eduardo Eguez guitare, Dimitri Psonis percussion<br />
15. Cançó : El Fill del rei 6’46<br />
TRADITIONNEL CATALAN – JORDI SAVALL<br />
Montserrat Figueras soprano<br />
Rolf Lislevand guitare, Jordi Savall viole de gambe<br />
16. Hei mihi (Missa Pro Defunctis : VII) 6’02<br />
JOAN CEREROLS (1618-1680)<br />
Montserrat Figueras soprano<br />
La Capella Reial de Catalunya<br />
Jordi Savall direction<br />
17. Nana : Duérmete, niño, duerme, 1914 4’30<br />
MANUEL DE FALLA (1876-1946)<br />
Montserrat Figueras chant<br />
Xavier Díaz-Latorre guitare<br />
Jordi Savall viole de gambe<br />
Enregistrements réalisés durant les années 1978 et 2009<br />
Montage et remasterisation SACD : Manuel Mohino<br />
Avec l’aimable autorisation de Deutsche Harmonie Mundi<br />
(CD 1 n. 7 et 11, CD 2 n. 9 et 11) et d’EMI (CD 1 n. 14)<br />
Réalisation Éditoriale : Agnès Prunés<br />
Design : Eduardo Néstor Gómez<br />
Photo couverture : © Nomah<br />
Montserrat Figueras<br />
Pierre Hamon flûtes, Pedro Memelsdorff flûtes<br />
Driss El Maloumi oud, Dimitri Psonis santur, Pedro Estevan percussion<br />
Ton Koopman clavecin, Paul Badura-Skoda piano<br />
Hopkinson Smith vihuela de mano & théorbe<br />
Rolf Lislevand vihuela de mano & théorbe, José Miguel Moreno guitare romantique<br />
Xavier Díaz-Latorre guitarre baroque & romantique<br />
Andrew Lawrence-King harpe medièvale & arpa doppia<br />
Arianna Savall arpa doppia & voix, Ferran Savall théorbe<br />
Christophe Coin basse de viole & basse violon<br />
HESPÈRION XX & XXI<br />
LA CAPELLA REIAL DE CATALUNYA<br />
JORDI SAVALL<br />
lira, rebab, violes de gambe & direction
Photo: Toni Peñarroya<br />
Barcelone, printemps 1961<br />
© Jaume Figueras
IN MEMORIAM<br />
Montserrat Figueras<br />
1942 – 2011<br />
J’ai rencontré Montserrat pour la première fois au Printemps de 1961, je venais de finir une classe un<br />
peu décevante avec mon professeur de violoncelle au conservatoire (qui ne comprenait pas très bien<br />
pourquoi je m’entêtais à jouer les suites de Bach à partir du fac-similé du manuscrit original), Montserrat<br />
était la prochaine élève qui attendait, et au moment de sortir, lorsque je passais à côté d’elle, en me voyant<br />
très déçu, elle m’encouragea avec de gentilles paroles susurrées à mon oreille : « Ne te décourage pas,<br />
tu joues très bien ». J’ai emporté avec moi toute l’émotion de cette première empreinte de sa voix chaleureuse,<br />
de cette touche personnelle d’un parfum très subtil mais inoubliable et surtout de son regard<br />
déjà si mystérieux pour une jeune fille de 18 ans. Hélas j’étais bien trop occupé avec mon violoncelle et<br />
mes études au conservatoire, pour me distraire avec des aventures impossibles ! En effet, Montserrat me<br />
semblait telle une jeune déesse inaccessible car elle venait d’une ancienne famille de la haute bourgeoisie<br />
catalane et moi, fils d’une humble famille avec en plus, un père « rouge » et républicain, j’étais son<br />
opposé : un simple étudiant sans ressources, qui survivait grâce à une toute petite bourse d’études et un<br />
peu d’aide de ses parents. Mais trois années plus tard, cette rencontre s’avéra décisive pour notre futur.<br />
Enric Gispert, le directeur de l’ensemble de musique ancienne Ars Musicæ dans lequel Montserrat chantait,<br />
demanda si quelqu’un connaissait un bon musicien capable de s’atteler au travail de la viole de<br />
gambe, Montserrat s’empressa de dire qu’elle connaissait un excellent jeune violoncelliste qui pourrait<br />
bien être intéressé. Alors que je rentrais en train à Barcelone, du stage de musique baroque, tenu par le<br />
claveciniste Rafael Puyana à Saint-Jacques de Compostelle (Août 1964), j’avais noté dans mon agenda<br />
« chercher une viole de gambe ». En arrivant à la maison, mes parents m’annoncèrent une merveilleuse<br />
coïncidence. Il fallait que je téléphone à quelqu’un tout de suite. J’appelle et n’en crois pas mes oreilles<br />
quand j’entends une voix me dire : « nous avons une viole de gambe pour vous, êtes-vous intéressé par<br />
l’étude de cet instrument ? ». Une année plus tard et après beaucoup d’heures de recherche et de travail<br />
en autodidacte, j’ai pu participer aux répétitions et aux enregistrements prévus avec l’ensemble vocal<br />
dans lequel Montserrat chantait et les autres musiciens de Ars Musicæ.<br />
Après deux années de merveilleuses expériences humaines et musicales, nous avons décidé de nous<br />
marier à la fin du printemps de 1967 et de commencer une nouvelle aventure ensemble. Après quelques<br />
mois inoubliables passés à Vilassar de Mar, petit village de pêcheurs, et grâce à une bourse de la<br />
Fondation Joan March, nous avons pu partir, en Février 1968, pour la Suisse et nous installer à Bâle<br />
comme étudiants de la célèbre Schola Cantorum Basiliensis. La suite est peut-être un peu mieux connue<br />
; années de recherche et de travail créatif, ponctuées par la naissance de nos enfants Arianna et Ferran,<br />
mais aussi des ensembles Hespèrion XX, de La Capella Reial de Catalunya, du Concert des Nations,<br />
de la Fondation CIMA, d’Alia Vox et par le partage de tant de belles musiques, avec des milliers de musiciens<br />
et d’amateurs du monde entier.<br />
Après tant d’années de complicité et de réalisation ensemble de nos rêves les plus fous, Montserrat est<br />
partie pour toujours le 23 novembre 2011 à la suite d’une longue et difficile année de lutte contre sa<br />
maladie, faisant preuve de beaucoup de courage. Malgré mon chagrin et ma douleur extrême, je suis très<br />
reconnaissant au destin de m’avoir accordé le grand privilège de partager 45 ans d’intense et féconde vie<br />
avec Elle. Montserrat a été amie, compagne, amante, mère, muse, maître et conseillère exceptionnelle<br />
durant tous les moments de notre vie. Au delà de la grande artiste qu’elle fut, tout ce qu’elle réalisa dans<br />
sa vie était imprégné de cette lumière qui nous caressait, faite d’amour infini, de sensibilité extrême, de<br />
générosité et de cette recherche infatigable des dialogues et des chemins qui nous mènent à la paix et<br />
l’harmonie à travers l’émotion, la spiritualité et la grâce : cette grâce, comme disait La Fontaine, plus<br />
belle que la beauté. C’est cette lumière qui nous donne la force de continuer sans sa présence et qui nous<br />
aidera à combler le grand vide qu’elle nous laisse, avec les projets qu’elle aurait souhaité achever. Elle<br />
aimait nous rappeler que par dessus tout, il existe chez celui qui chante une berceuse, le souci de donner<br />
le meilleur de soi-même, rien d’autre qu’un acte d’amour qui, de cette manière, fait vivre à l’enfant l’essence<br />
de la vie. (Ninna Nanna, 2002). Merci Montserrat de nous avoir appris qu’il ne suffit pas d’écouter<br />
la musique avec nos oreilles, mais que nous devons l’écouter avec notre âme.<br />
Merci beaucoup chers amis, pour tous vos extraordinaires et émouvants messages de soutien, d’admiration<br />
et d’amour, qui nous ont tant réconfortés en ces moments de si grande tristesse et de douleur infinies.<br />
Son âme restera dans toutes les musiques que nous ferons et ensemble avec tous ceux qui dans le<br />
Monde se sont assouvis de son chant, nous continuerons, en luttant avec ses chers idéaux de paix et<br />
d’harmonie, à maintenir sa mémoire toujours vivante.<br />
15.03.1942 Naissance à Barcelone.<br />
1958-67 Études de chant avec Jordi Albareda et Études d’art dramatique.<br />
JORDI SAVALL<br />
Bellaterra, Janvier 2012<br />
1960-66 Collaboration avec l’ensemble vocal Al·leluia et avec l’ensemble de musique ancienne Ars Musicæ de<br />
Barcelone, sous la direction d’Enric Gispert.<br />
1961-64 Études de violoncelle au Conservatoire de Barcelone. Première rencontre avec Jordi Savall à<br />
la classe de Violoncelle (1963).<br />
Printemps 1966 Etudes de dessus de viole de gambe avec Cecilie Dolmetsch à Haslemere (Angleterre).<br />
Juin 1967 Mariage avec Jordi Savall. Premières recherches sur la musique ancienne espagnole.<br />
Février 1968 Départ pour la Suisse (Bâle).<br />
MONTSERRAT FIGUERAS<br />
Chronologie<br />
1967-1972 Continue sa formation vocale avec Kurt Widmer à la Musik-Akademie, et avec Andrea von<br />
Rahm et Thomas Binkley à la Schola Cantorum Basiliensis. Elle travaille le répertoire ancien. Se perfectionne<br />
avec Eva Krashnai, à Bâle, et Marie-Agnès Faure à Paris. Etudie dès le début les techniques anciennes de<br />
chant, développant un concept personnel de ces musiques, loin des influences post-romantiques.<br />
1970 Commence à se faire connaître comme chanteuse. Premiers concerts.<br />
16.08.1972 Naissance d’Arianna à Bâle (Suisse).
1974 Création à Bâle, de l’ensemble Hespèrion XX, (rebaptisé « Hespèrion XXI » depuis début 2000) avec Jordi<br />
Savall, Hopkinson Smith et Lorenzo Alpert.<br />
1975 Premier enregistrement El Barroco Español, avec Jordi Savall et Ton Koopman.<br />
1975 Premier enregistrement avec Hespèrion XX (avec H. Smith, L. Alpert, J. Savall, G. Garrido) du double album<br />
Musique séculière de l’Espagne Chrétienne et Juive 1450-1550, pour la collection « Reflexe » de EMI.<br />
1977 Enregistre toujours pour « Reflexe » de EMI les Canços de Trobairitz avec Hespèrion XX.<br />
1977-80 Elle reçoit (avec Hespèrion XX) le prix « Edison Klassik », le « Grand Prix de l’Académie du disque<br />
Français » et le « Grand Prix de l’Académie Charles Cros ».<br />
04.09.1979 Naissance de Ferran à Bâle (Suisse).<br />
1987 Création de La Capella Reial de Catalunya avec Jordi Savall.<br />
Enregistrement des Messes de Requiem et de Bataille de Joan Cererols.<br />
1988 Elle impartit un cours annuel de Musique ancienne à la Seu d’Urgell (10 éditions de ce cours auront lieu) et<br />
plus tard à Sant Feliu de Guixols.<br />
1988 Publication du premier CD sur Le Chant de la Sibylle (en Catalogne) avec les versions Latine, Provençale et<br />
Catalane. Par la suite elle complètera ses recherches en enregistrant 6 nouvelles versions; Les Sibylles de<br />
Galicia et Castilla (1996), de Mallorca et Valencia (1998) et finalement celles d’Alexandrie (2007) et<br />
d’Occitanie (2009).<br />
1989 Création de l’ensemble Le Concert des Nations avec Jordi Savall.<br />
Enregistrement du CD Canticum ad Beatam Virginem Mariam de M. A. Charpentier.<br />
1991 Enregistrement de la bande son du film Tous les Matins du Monde d’Alain Corneau qui reçoit 7 Césars.<br />
Le CD de la bande son se vend à plus 1.000.000 d’exemplaires durant 1991-93.<br />
1991 Dans le registre de l’Opéra, elle débute avec Una Cosa Rara ossia Bellezza ed Onestá de V. Martin i Soler<br />
au Gran Teatre del Liceu de Barcelone.<br />
1993 Joue le rôle de la Musica et d’Euridice dans L’Orfeo de Claudio Monteverdi. Première au Gran Teatre del<br />
Liceu de Barcelone, et au Teatro Real de Madrid.<br />
1995 Dans le rôle de Lucile, elle participe à l’opéra Il Burbero di buon cuore de V. Martin i Soler au Théâtre/Opéra<br />
de Montpellier.<br />
1996 Création de la Fondation Centre Internacional de Música Antiga.<br />
1997 Avec Jordi Savall, création d’Alia Vox.<br />
2000 Interprète le rôle d’Aurea dans Celos aun del ayre matan de Juan Hidalgo (L’Auditori de Barcelone et<br />
Konzerthaus de Vienne).<br />
2001-02 Nominations au Grammy Awards en 2001 pour le CD Diáspora Sefardí et en 2002 pour le CD El Cançoner<br />
de Montecassino.<br />
Elle est honorée du titre d’Officier de l’ordre des Arts et des Lettres par le gouvernement français.<br />
2002 Enregistrement pour la BBC, du DVD de L’Orfeo de Claudio Monteverdi dans le Gran Teatre del Liceu de<br />
Barcelone nouvellement restauré. Enregistrement du CD Ninna Nanna.<br />
2003-05 Concerts en famille et enregistrement du CD « Du temps et de l’instant » (2004) avec Arianna, Ferran et Jordi<br />
Savall.<br />
2004-07 Développe le jeu de la cithare pour s’accompagner désormais au chant dans le répertoire du moyen-âge et de<br />
la Renaissance.<br />
2004-05 Préparation, enregistrement et édition du premier Livre-disque « Les Musiques de Don Quichotte » pour<br />
ALIA VOX.<br />
2006 Début du Premier Festival « Musique et Histoire : pour un dialogue interculturel » à l’Abbaye de Fontfroide,<br />
en collaboration avec ALIA VOX, la Fondation CIMA et les Amis de Fontfroide.<br />
2007 L’UNESCO la proclame Artiste pour la Paix (avec Jordi Savall).<br />
2007-08 Préparation et enregistrement des musiques pour le programme Jérusalem. La Ville des deux Paix, qui sera<br />
présenté à Barcelone, Paris, Metz et Jérusalem, et édité comme Livre/CD par ALIA VOX.<br />
2009 Hommage au Pays d’Oc avec le Livre/CD Le Royaume Oublié: La Croisade contre les Albigeois.<br />
2010-11 Préparation et enregistrement du Livre/CD Dinastia Borgia – Église et pouvoir à la Renaissance qui reçoit<br />
le Grammy Award 2011 dans la catégorie de « Best Small Ensemble Performance »<br />
2011 La Generalitat de Catalunya lui octroie la distinction de la Creu de Sant Jordi pour sa précieuse contribution<br />
à la récupération de la musique ancienne et en France, elle reçoit du Ministère de la Culture le titre de<br />
Commandeur des Arts et des Lettres.<br />
Juillet 2011 Derniers enregistrements : La Sublime Porte & Mare Nostrum<br />
Août 2011 Derniers concerts : en Espagne, le 17 à Maó (Minorque) et en France, le 20 à Sylvanès et le 22 à Conques.<br />
23 novembre 2011 Décès de Montserrat Figueras à la maison de Bellaterra.<br />
Quand elle chante, la mère aide l’enfant pour qui, depuis sa naissance au<br />
monde extérieur, tout est nouveau et il peut en avoir peur. L’enfant reconnaît<br />
dans le chant la voix de sa mère, sa présence, son geste... et dans l’intimité<br />
de ce moment, se crée un espace de profonds symboles ancestraux<br />
où la musique et la parole sont un lien de pure émotion et d’authenticité.<br />
C’est ainsi que s’établit le premier dialogue, le premier conte, le premier<br />
enseignement d’une tradition, d’une culture et d’un art de vivre qui<br />
deviendront, avec le temps, une contribution essentielle à une mémoire<br />
collective.<br />
Mais par dessus tout, il existe chez celui qui chante – la mère, le père, les<br />
grands frères ou la grand-mère –, le souci de donner le meilleur de soimême,<br />
rien d’autre qu’un acte d’amour qui, de cette manière, fait vivre à<br />
l’enfant l’essence de la vie.<br />
Ninna Nanna, 2002<br />
Il ne suffit pas d’écouter la musique avec nos oreilles, nous devons l’écouter<br />
avec notre âme.<br />
Mars, 2010<br />
MONTSERRAT FIGUERAS
IN MEMORIAM<br />
Montserrat Figueras<br />
1942 – 2011<br />
I met Montserrat for the first time in the spring of 1961. I had just finished a rather disappointing<br />
class with my cello teacher at the conservatoire (who couldn’t see why I insisted on playing Bach’s<br />
suites using a facsimile of the original manuscript), and Montserrat was the next student waiting to<br />
go in. As I passed her on my way out, realizing how crestfallen I was, she encouraged me by whispering<br />
a few kind words in my ear: “Don’t be discouraged, you play really well.” I took away with me<br />
the emotion caused by that first impression of her warm voice, the personal touch of her subtle but<br />
unforgettable perfume and, above all, her eyes, with their unusually enigmatic look for an 18- yearold<br />
girl. Alas, I was far too busy with my cello and my studies at the conservatoire to be distracted<br />
by impossible adventures! To tell the truth, in my eyes Montserrat was like a young, inaccessible goddess.<br />
She came from an old family belonging to the Catalan haute bourgeoisie, while I was from a<br />
modest family, and what is more, the son of a “red” Republican father! I was her exact opposite, a<br />
penniless student surviving on a tiny study grant and a little help from my parents. But three years<br />
later, that meeting was to prove decisive for both our futures. When Enric Gispert, the director of the<br />
early music group Ars Musicæ in which Montserrat sang, asked if anybody knew a good musician<br />
capable of tackling the viola da gamba, Montserrat immediately answered that she knew an excellent<br />
young cellist who she thought might be interested. On a train journey back to Barcelona, after attending<br />
a Baroque music course in Santiago de Compostella (August 1964) given by the harpsichordist<br />
Rafael Puyana, I jotted down in my diary “look for a viola da gamba.” When I arrived home, my parents<br />
told me about a wonderful coincidence. I had to telephone somebody straight away. So I made<br />
the call, and I couldn’t believe my ears when I heard a voice saying, “we have a viola da gamba for<br />
you. Would you be interested in studying the instrument?” A year later, after countless hours spent<br />
researching and teaching myself the instrument, I took part in the rehearsals and the recordings with<br />
the vocal ensemble in which Montserrat and the other musicians of Ars Musicæ sang.<br />
After two wonderful years of shared personal and musical experiences, we decided to get married in<br />
the late spring of 1967 and to embark on a new adventure together. After a few unforgettable months<br />
in the small fishing village of Vilassar de Mar, and thanks to a grant from the Joan March Foundation,<br />
in February 1968 we left for Switzerland, where we studied at the famous Schola Cantorum<br />
Basiliensis in Basel. What followed is perhaps the best known part of our story: years of research and<br />
creative work, punctuated by the births of our children Arianna and Ferran, as well as those of our<br />
ensembles Hespèrion XX, La Capella Reial de Catalunya and the Concert des Nations, the creation<br />
of the CIMA Foundation and our record label Alia Vox, and many years during which we have shared<br />
so much beautiful music with thousands of musicians and music lovers all over the world.<br />
After so many years of forming the closest possible partnership, and after achieving our wildest<br />
dreams together, Montserrat left us forever on 23rd November, 2011, at the end of a long and difficult<br />
year during which she fought her illness with great courage. Despite my grief extreme and sorrow,<br />
I am so grateful to destiny for having given me the great privilege of shearing 45 years of<br />
intense, fruitful life with Her. Montserrat was friend, companion, lover, mother, muse, teacher and an<br />
exceptional source of wisdom throughout our life together. Over and above the great artist that she<br />
was, everything that she did in her life was permeated with that light, a combination of infinite love,<br />
extraordinary sensitivity and generosity, and the tireless search for dialogue and pathways to peace<br />
and harmony through emotion, spirituality and grace. That grace, as La Fontaine says, which is more<br />
beautiful than beauty itself. It is that light which gives us the strength to go on without her presence,<br />
and which will help us to fill the great void she leaves behind with the projects that she would have<br />
wished to carry out. She liked to remind us that “above all, whoever sings a lullaby is moved by the<br />
desire to give of their very best, in itself an act of love through which the child experiences the<br />
essence of life” (Ninna Nanna, 2002). Thank you, dear Montserrat, for having taught us that “it is not<br />
enough to listen to music with our ears, we must also listen with our soul.”<br />
Thank you so much, dear friends, for all your extraordinary and moving messages of support, admiration<br />
and love, which have been such a comfort to us at this time of great sadness and infinite sorrow.<br />
Her spirit will be present in all the music we make; together with all those who in this World<br />
have delighted in her song, we will continue to keep her memory alive always by striving for the<br />
ideals of peace and harmony that she cherished.<br />
MONTSERRAT FIGUERAS<br />
Chronology<br />
15.03.1942 Montserrat Figueras is born in Barcelona.<br />
1958-67 She studies singing with Jordi Albareda, and drama.<br />
JORDI SAVALL<br />
Bellaterra, January 2012<br />
Translated by Jacqueline Minett<br />
1960-66 Collaboration avec the vocal ensemble Al·leluia and with the early music ensemble Ars Musicæ of Barcelona,<br />
under the direction of Enric Gispert.<br />
1961-64 She studies the cello at the Conservatoire in Barcelona. First meeting with Jordi Savall in the cello class.<br />
Spring 1966 She studies the treble viol with Cecile Dolmetsch at Haslemere (England).<br />
June 1967 She marries Jordi Savall. Initial research into Spanish early music.<br />
February 1968 <strong>The</strong> couple leave for Basel, Switzerland.<br />
1967-1972 She continues her vocal training with Kurt Widmer at the Musik-Akademie, and with Andrea von Rahm and<br />
Thomas Binkley at the Schola Cantorum Basiliensis. She explores the early music repertoire. She furthers<br />
her studies with Eva Krashnai in Basel and Marie-Agnès Faure in Paris. From the outset, she studies early<br />
singing techniques, developing a highly personal understanding of the repertoire, independently of post-<br />
Romantic influences.<br />
1970 She begins to be known as a singer. First concert performances.<br />
16.08.1972 Birth of Arianna at Basel, Switzerland.
1974 Creation of the ensemble Hespèrion XX (renamed Hespèrion XXI at the beginning of 2000) with Jordi Savall,<br />
Hopkinson Smith and Lorenzo Alpert in Basel.<br />
1975 Her first recording, El Barroco Español, with Jordi Savall and Ton Koopman.<br />
1975 First recording with Hespèrion XX in EMI’s Reflexe series, with H. Smith, L. Alpert, J. Savall and G.<br />
Garrido: the double album Musique séculière de l’Espagne. Chrétienne et Juive 1450-1550.<br />
1977 Also in EMI’s Reflexe series, she records Canços de Trobairitz with Hespèrion XX.<br />
1977-80 She is awarded (together with Hespèrion XX) the “Edison Klassik”, the “Grand Prix de l’Académie du disque<br />
Français” and the “Grand Prix de l’Académie Charles Cros”.<br />
04.09.1979 Birth of Ferran at Basel, Switzerland.<br />
1987 Creation of La Capella Reial de Catalunya with Jordi Savall.<br />
Recording of the Messes de Requiem & de Bataille by Joan Cererols.<br />
1988 She teaches an annual Ancient Music course at La Seu d’Urgell (the course runs for 10 years) and later at<br />
Sant Feliu de Guíxols.<br />
1988 Release of her first CD of Sibyls, El Cant de la Sibil·la. Catalunya, including the Latin, Provençal and<br />
Catalan versions. She subsequently completes her research, recording another six versions: the Sibyls of<br />
Galicia and Castile (1996), Majorca and Valencia (1998) and, finally, those of Alexandria (2007) and<br />
Occitania (2009).<br />
1989 Creation of the ensemble Le Concert des Nations with Jordi Savall.<br />
Recording of the CD Canticum ad Beatam Virginem Mariam by M. A. Charpentier.<br />
1991 Recording of the soundtrack of the film Tous les matins du monde, directed by Alain Corneau, which receives<br />
7 Caesars. More than 1000,000 copies of the CD are sold during 1991-93.<br />
1991 She makes her opera début in Una cosa rara ossia bellezza ed onestá by V. Martin i Soler at the Gran Teatre<br />
del Liceu in Barcelona.<br />
1993 She plays the role of Euridice in Claudio Monteverdi’s L’Orfeo. Première at the Gran Teatre del Liceu in<br />
Barcelona and the Teatro Real in Madrid.<br />
1995 She sings the role of Madama Lucilla in the opera Il burbero di buon cuore by V. Martin i Soler at the<br />
Théâtre/Opéra de Montpellier.<br />
1996 Creation of the Foundation Centre Internacional de Música Antiga.<br />
1997 Creation of the Alia Vox record label with Jordi Savall.<br />
2000 She performs the role of Aurea in Celos aun del ayre matan by Juan Hidalgo (L’Auditori, Barcelona and<br />
Konzerthaus, Vienna).<br />
2001-02 In 2001 she is nominated for Grammy Awards for the CD Diáspora Sefardí and in 2002 she is nominated for<br />
Grammy Awards for the CD El Cançoner de Montecassino.<br />
She is honoured with the distinction of Officier de l’ordre des Arts et des Lettres from the French government.<br />
2002 BBC recording of the DVD of Claudio Monteverdi’s L’Orfeo at the newly restored Gran Teatre del Liceu in<br />
Barcelona. Recording of the CD Ninna Nanna.<br />
2003-05 Family concert performances and recording of the CD Du temps et de l’instant (2004) with Arianna, Ferran<br />
and Jordi Savall.<br />
2004-07 She studies the zither and subsequently accompanies herself on the instrument as vocalist in the Medieval and<br />
Renaissance repertoires.<br />
2005 Recording and publication of Alia Vox’s first CD-book Don Quijote de la Mancha: Romances y Músicas. <strong>The</strong><br />
programme is released as a CD-book by ALIA VOX.<br />
2006 <strong>The</strong> first “Musique et Histoire: pour un dialogue intercultural” Festival at Fontfroide Abbey (France), in collaboration<br />
with ALIA VOX, the CIMA Foundation and Les Amis de Fontfroide.<br />
2007 Together with Jordi Savall she is appointed UNESCO Artist for Peace.<br />
2007-08 Preparation and recording of music for the programme Jérusalem. La Ville des deux Paix, presented at<br />
Barcelona, Paris, Metz and Jerusalem. <strong>The</strong> programme is released as a CD-book by ALIA VOX.<br />
2009 Homage to the Languedoc with the CD-book Le Royaume Oublié: La Croisade contre les Albigeois.<br />
2010-11 Preparation and recording of the CD-book Dinastia Borgia – Church and power in the Renaissance, which<br />
received the Grammy Award 2011 in the category of “Best Small Ensemble Performance”.<br />
2011 She is awarded the distinction of the Creu de Sant Jordi from the Generalitat de Catalunya in recognition of<br />
her valuable contribution to the revival of ancient music. She also receives from the French Ministry of Culture the distinction<br />
of Commandeur des Arts et des Lettres.<br />
July 2011 Final recordings (La Sublime Porte & Mare Nostrum).<br />
August 2011 Final concerts: in Spain, on 17th August, at Mahon (Menorca), and in France on 20th August at Sylvanès and<br />
on 22nd August at Conques.<br />
23 November, 2011 Montserrat Figueras dies at home in Bellaterra.<br />
Translated by Jacqueline Minett<br />
When the mother sings, from the moment a baby is born and during the<br />
first few years of the child’s life, lullabies are an indispensable ally to the<br />
mother in soothing her child, for whom everything in the big, wide world<br />
is new and perhaps frightening. <strong>The</strong> baby recognizes in the song his<br />
mother’s voice, her presence and her expression. <strong>The</strong> intimacy of the<br />
moment creates a space rich in ancestral symbols, in which words and<br />
music create a bond of pure emotion and truth. It is in this space that the<br />
child experiences his first dialogue, his first story, his first contact with<br />
the teachings of tradition, experience and culture, which over time build<br />
into an essential part of our collective memory.<br />
But, above all, whoever sings a lullaby – the child’s mother, father, older<br />
brother, sister or grandmother – is moved by a desire to give of their very<br />
best, which is in itself an expression of love, and so the child begins to<br />
experience the essence of life.<br />
Ninna Nanna, 2002<br />
Is not enough to listen the music with our ears, we must listen with our<br />
soul.<br />
March, 2010<br />
MONTSERRAT FIGUERAS
CD1<br />
1. INVOCATION I :<br />
Medée (Tragedie, acte II,<br />
vv. 364-379) Sénèque (s. I)<br />
Nunc iam cessit pontus<br />
et omnes patitur leges:<br />
qualibet altum cumba pererrat.<br />
Tethysque novos detegat orbes<br />
nec sit terris ultima Thule.<br />
INVOCATION II :<br />
Venient annis saecula seris<br />
quibus Oceanus vincula rerum<br />
laxet et ingens pateat tellus.<br />
Tethysque novos detegat orbes<br />
nec sit terris ultima Thule.<br />
2.<br />
ORIGINAL ENGLISH<br />
Traduction Arabe Rabiâa El Maloumi<br />
CD1<br />
1. INVOCATION I:<br />
Medea (Tragedy, Act II)<br />
Seneca (1st Century a.C.)<br />
Now the oceans have been tamed:<br />
To man-made laws they all submit<br />
And any craft may sail the waves.<br />
<strong>The</strong>tys will reveal new worlds,<br />
and Thule will mark no more the ends of the earth.<br />
INVOCATION II:<br />
Long years will ass and on that latter day<br />
<strong>The</strong> seas will loose the shackles of the world,<br />
<strong>The</strong> earth in all its vastness to display.<br />
<strong>The</strong>tys will reveal new worlds,<br />
and Thule will mark no more the ends of the earth.<br />
2. AMAZIGH LULLABY<br />
Anonymous Berber<br />
I met my big brother,<br />
sleep<br />
and he asked me:<br />
What are carrying on your back?<br />
I answered: the moon.<br />
<strong>The</strong> moon is very sad.<br />
I asked her:<br />
Where is happiness?<br />
and she answered:<br />
Happiness is with others.<br />
I carried the moon on my back,<br />
and I walked and I wept.<br />
Moon, you are hungry,<br />
you are sleepy,<br />
all of nature shivers with cold.<br />
I met Sleep,<br />
and he asked me<br />
what I carried on my back.<br />
I answered that I carried<br />
nothing but the moon,<br />
and he said:<br />
Rock her to sleep, rock her to sleep.<br />
3. PALESTINA HERMOZA Y SANTA<br />
Romance Sefardí anónimo<br />
(Sarajevo)<br />
Palestina hermoza y santa<br />
cuanto sos dezventurada<br />
alevanta y tú sola canta<br />
que tú deves ser nuestra morada<br />
En pensando en la tierra santa<br />
mi cuerpo se hinche de tremblor<br />
el estado tuyo me encanta<br />
mi alma se hinche de dolor.<br />
Tierra sos del Criador bendicha<br />
cuanto sos lexos de tus hijos<br />
ma tu hemozura mos haze<br />
paz y amor ariento el coraçón.<br />
4. TRISTE ESTAVA MUY QUEXOSA<br />
Luys Milán<br />
Triste estava, muy quexosa<br />
la triste reyna troyana<br />
en ver a sus hijos muertos<br />
y la ciudad assolada.<br />
Y la linda Policena<br />
en el templo degollada<br />
sobr’el sepulcro de Archiles<br />
por Pirrus sacrificada.<br />
O traydor! Como pusiste<br />
en muger vengar tu saña,<br />
no bastó su hermosura<br />
contra tu cruel espada.<br />
5. SI LA NOCHE<br />
HAZE ESCURA<br />
Villancico<br />
Francisco Guerrero<br />
Si la noche haze escura<br />
y tan corto es el camino,<br />
como no venís, amigo?<br />
La media noche es pasada<br />
y el que me pena no viene.<br />
Mi desdicha lo detiene<br />
que nasci tan desdichada.<br />
Hazeme bivir penada<br />
y muéstraseme enemigo:<br />
como no venís, amigo?<br />
ORIGINAL ENGLISH<br />
3. BEAUTIFUL, HOLY PALESTINE<br />
Anonymous Sephardic ballad<br />
(Sarajevo)<br />
Beautiful, holy Palestine,<br />
how wretched you have become.<br />
Rise up defiant and cry out loud<br />
that you are our rightful home.<br />
When I think of the holy land<br />
it makes my body quake.<br />
My mind is haunted by your plight,<br />
and my heart with sorrow aches.<br />
<strong>The</strong> Creator made you His blessed land;<br />
though your children are far from you,<br />
your beauty, kindling peace and love<br />
forever in our hearts is true.<br />
4. SAD AND MOST SORROWFUL<br />
Luys Milán<br />
Sad and most sorrowful<br />
was the sad queen of Troy<br />
to see her sons dead<br />
and the city laid waste.<br />
And lovely Polyxena,<br />
Her throat slit in the temple,<br />
sacrificed by Pyrrhus<br />
on the tomb of Achilles.<br />
O traitor! How could you<br />
Wreak your fury on a woman!<br />
Her beauty was no match<br />
for your cruel sword.<br />
5. THE NIGHT<br />
IS GROWING DARK<br />
Villancico<br />
Francisco Guerrero<br />
<strong>The</strong> night is growing dark<br />
and the way is short,<br />
so what keeps you, my love?<br />
It is past midnight,<br />
and he who torments me has not come.<br />
My wretchedness holds him back,<br />
I who was born wretched!<br />
He makes me live in torment<br />
and is as an enemy to me:<br />
What keeps you, my love?
6. ISABEL, PERDISTE<br />
LA TU FAXA<br />
Villancico<br />
Alonso Mudarra<br />
Isabel, Isabel,<br />
perdiste la tu faxa;<br />
Héla, por do va,<br />
nadando por el agua,<br />
Isabel, la tan garrida.<br />
7. ANCOR CHE COL<br />
PARTIRE<br />
Cipriano de Rore<br />
Ancor che col partire<br />
io mi sento morire,<br />
partir vorrei ogn’ hor, ogni momento:<br />
tant’ il piacer ch’io sento<br />
de la vita ch’acquisto nel ritorno:<br />
et cosi mill’ e mille volt’ il giorno<br />
partir da voi vorrei:<br />
tanto son dolci gli ritorni miei.<br />
8. ¡COMO RETUMBAN<br />
LOS REMOS!<br />
Lope de Vega / Anónimo<br />
¡Como retumban los remos,<br />
madre, en el agua<br />
con el fresco viento<br />
de la mañana!<br />
¡Como retumban los remos<br />
d’oro y marfil<br />
con el fresco viento<br />
del señor san Jill!<br />
¡Como retumban los remos<br />
d’oro y cristal<br />
con el fresco viento<br />
del señor san Juan!<br />
9. SALVE, REGINA à 8<br />
Tomas Luis de Victoria<br />
Et Iesum, benedictum<br />
fructum ventris tui,<br />
nobis post hoc exsilium ostende.<br />
O clemens, o pia,<br />
o dulcis Virgo Maria.<br />
ORIGINAL ENGLISH<br />
6. ISABEL, YOU HAVE LOST<br />
YOUR GIRDLE<br />
Villancico<br />
Alonso Mudarra<br />
Isabel, Isabel,<br />
you have lost your girdle;<br />
See, there it is,<br />
floating in the water,<br />
Oh so comely Isabel!<br />
7. ALTHOUGH ON TAKING<br />
LEAVE OF YOU<br />
Cipriano de Rore<br />
Although on taking leave of you<br />
I feel that I must die,<br />
I would leave you every moment of every hour,<br />
so great is the joy of living<br />
that fills me when I return:<br />
thus, I would be parted from you<br />
a thousand times a day,<br />
so sweet is every homecoming.<br />
8. HOW THE OARS<br />
SPLASH!<br />
Lope de Vega / Anonymous<br />
How the oars splash<br />
through the water, mother,<br />
in the fresh breeze<br />
of the morning!<br />
How the oars splash,<br />
all ivory and gold,<br />
in the fresh breeze<br />
on St Giles Day in the morning!<br />
How the oars splash,<br />
all crystal and gold,<br />
in the fresh breeze<br />
on St John’s Day in the morning!<br />
9. SALVE, REGINA à 8<br />
Tomas Luis de Victoria<br />
And show to us Jesus,<br />
the blessed fruit of thy womb,<br />
after this exile.<br />
Oh merciful, oh pious,<br />
oh sweet Virgin Mary.<br />
10. Lamento della Ninfa<br />
(Canto amoroso)<br />
AMOR DOV’È<br />
LA FE’<br />
Claudio Monteverdi<br />
Amor dov’è la fe’<br />
ch’el traditor giurò?<br />
Amor dicea il ciel<br />
mirando il piè fermò<br />
Fa che ritorni il mio<br />
Amor com’ei pur fu<br />
o tu m’ancidi ch’io<br />
non mi tormenti più<br />
Non vo’ più ch’ei sospiri<br />
se non lontan da me<br />
no ch’ei martiri<br />
più non dirammi affè.<br />
Perchè di lui mi struggo<br />
tut t’orgoglioso sta<br />
che si che si se’l fuggo<br />
ancor mi pregherà.<br />
Se ciglio ha più sereno<br />
colei ch’el mio non è<br />
già non rinchiude in seno<br />
Amor si bella fè.<br />
Ne mai si dolci baci<br />
mai da quella bocca havrai<br />
ne più soavi, ah taci<br />
taci, che troppo il sa.<br />
(Miserella, ah, piu no, no<br />
tanto gel soffrir non può.)<br />
11. CON LE LUCI<br />
D’UN BEL CIGLIO<br />
Giulio Caccini<br />
Con le luci d’un bel ciglio,<br />
co’l vermiglio<br />
di due guance alme rosate,<br />
con due labbra di rubini,<br />
con bei crini,<br />
mi combatte empia beltate.<br />
Ad ogni hor mi dona assalto,<br />
o che in alto<br />
ORIGINAL ENGLISH<br />
10. <strong>The</strong> Nymph’s Lament<br />
(Canto Amoroso)<br />
LOVE, WHERE IS<br />
THE FAITH<br />
Claudio Monteverdi<br />
Love, where is the faith<br />
the traitor swore to me?<br />
Love, she cried, and paused<br />
to gaze up at the heavens.<br />
Let my love return to me<br />
as true as he once was,<br />
or else, I beg you, kill me now<br />
and release me from my torment.<br />
I would not have him sigh<br />
unless because he is far from me;<br />
I would not have him suffer<br />
if not in wooing me.<br />
Because I long for him<br />
he struts with pride,<br />
but if I flee<br />
will he entreat me to abide?<br />
A brow more clear than mine<br />
in another he may find,<br />
but even in the heart of Love<br />
no nobler constancy is enshrined!<br />
And never such sweet kisses<br />
will you savour from those lips,<br />
nor softer; oh, but speak no more,<br />
be still, all this he knows too well.<br />
(Alas, poor wretch, no longer<br />
can she bear such cold disdain.)<br />
11. WITH HER EYES<br />
AND LOVELY LASHES<br />
Giulio Caccini<br />
With her eyes and lovely lashes,<br />
with her rosy cheeks<br />
like two blushing souls,<br />
with her ruby lips<br />
and beautiful tresses,<br />
the merciless beauty smites me.<br />
Relentlessly she assaults me.<br />
Whether lofty Phoebus
spronii Febo i suoi destrieri<br />
O ch’in mar’ sue fiamme chiuda<br />
e la cruda<br />
chiama in campo i miei pensieri.<br />
Ah da lei fuggir lontano<br />
lasso in vano.<br />
Il sudor per me s’impiega<br />
perch’Amor par che l’a’mpiumi<br />
si sui fiumi,<br />
e su’l mar’ le insegna spiega.<br />
Hor chi porge alcun’ahita<br />
a mia vita?<br />
Se fuggir non ho possanza,<br />
ch’io contrasti alcun non dica<br />
tal nemica<br />
soverchiar no è possanza.<br />
12. HOR CH’È TEMPO<br />
DI DORMIRE<br />
Tarquinio Merula<br />
Hor ch’è tempo di dormire<br />
dormi figlio e non vagire<br />
perché tempo ancor verrà<br />
che vagir bisognerà.<br />
Deh ben mio deh cor mio<br />
fa la ninna ninna na.<br />
Chiudi quei lumi divini<br />
come fan gl’altri bambini<br />
perché tosto oscuro velo<br />
priverà di lume il cielo.<br />
Deh ben mio...<br />
Over prendi questo latte<br />
dalle mie mammelle intatte<br />
perché ministro crudele<br />
ti prepara aceto e fiele.<br />
Deh ben mio...<br />
Amor mio sia questo petto<br />
hor per te morbido letto<br />
pria che rendi ad alta voce<br />
l’alma al Padre su la croce.<br />
Deh ben mio...<br />
Posa hor queste membra belle<br />
vezzosette e tenerelle<br />
perché puoi ferri e catene<br />
gli daran acerbe pene.<br />
Deh ben mio...<br />
ORIGINAL ENGLISH<br />
spurs his horses,<br />
or quenches his flames in the sea,<br />
she, the cruel one, at all times<br />
beckons my thoughts to the battlefield.<br />
Oh, in vain<br />
I try to flee from her.<br />
I strive to no avail,<br />
for Love, it seems, has lent her wings<br />
to span rivers,<br />
and she unfurls her ensign over the sea.<br />
Who will come to the aid<br />
of my life?<br />
Though I am powerless to flee,<br />
let no one say I did not try.<br />
Over such a foe<br />
no victory is possible.<br />
12. NOW IT’S TIME<br />
TO SLUMBER<br />
Tarquinio Merula<br />
Now it’s time to slumber,<br />
sleep my child, don’t cry,<br />
for the time will come<br />
for weeping, by and by.<br />
Oh my love, oh my dear heart,<br />
sing lulla-lullaby.<br />
Close those heavenly eyes,<br />
as other children do,<br />
for soon a dark veil<br />
will cover the sky.<br />
Oh my love...<br />
Suck this milk<br />
at my immaculate breast,<br />
for a cruel governor<br />
will serve you bitterness and gall.<br />
Oh my love...<br />
My love, lay your head softly<br />
now upon my breast,<br />
before you cry out on the Cross<br />
and surrender your soul to God.<br />
Oh my love...<br />
Now rest these fine limbs,<br />
so precious and tender,<br />
for they will be scourged<br />
by cruel irons and chains.<br />
Oh my love...<br />
Queste mani e questi piedi<br />
ch’or con gusto e gaudio vedi<br />
ahimè com’in vari modi<br />
passeran acuti chiodi.<br />
Questa faccia gratiosa<br />
rubiconda hor più di rosa<br />
sputi e schiaffi sporcheranno<br />
con tormento e grand’affanno.<br />
Ah con quanto tuo dolore<br />
sola speme del mio core<br />
questo capo e questi crini<br />
passeran acuti spini.<br />
Ah ch’in questo divin petto<br />
amor mio dolce diletto<br />
vi farà piaga mortale<br />
empia lancia e disleale.<br />
Dormi dunque figliol mio<br />
dormi pur redentor mio<br />
perché poi con lieto viso<br />
ci vedrem in Paradiso<br />
Hor c’è dorme la mia vita<br />
del mio cor gioia compita<br />
taccia ognun con puro zelo<br />
taccian sin la terra e’l cielo.<br />
E fra tanto io che farò<br />
il mio ben contemplerò<br />
ne starò col capo chino<br />
sin che dorme il mio bambino.<br />
13. AY QUE ME RÍO<br />
DE AMOR<br />
Tono Humano<br />
Juan Hidalgo<br />
Ay que me río de amor<br />
escuchen atiendan<br />
vean lo que importa<br />
seguir mi opinión.<br />
Dícese que quien quiere bien<br />
luego la razón gritó<br />
luego solo el que no quiere<br />
es el que tendrá razón.<br />
Ay que me río de amor...<br />
Todos del amor se rían<br />
mas con una condición<br />
que burlarse, burlarse de el<br />
mas burlarse con el no.<br />
ORIGINAL ENGLISH<br />
All beauty and joy,<br />
these hands and these feet,<br />
alas, by sharp nails<br />
one day will be pierced.<br />
This pretty face,<br />
more ruddy than a rose,<br />
suffering and tormented,<br />
will be spat upon and bruised.<br />
Oh, with what sorrow,<br />
only hope of my heart,<br />
will this head and this hair<br />
by sharp thorns be torn!<br />
Alas, one day this breast divine,<br />
my love, my own sweet dear,<br />
will be rent by the deadly wounds<br />
of a cruel and treacherous spear.<br />
So sleep, my son,<br />
my Saviour, sleep,<br />
for our tryst, with joyful faces,<br />
in Paradise we’ll keep.<br />
Now you sleep, my darling,<br />
my heart with joy you thrill,<br />
let all keep watch in silence,<br />
let Heaven and earth be still.<br />
And, meanwhile, what shall I do?<br />
I’ll watch my love,<br />
my head bowed low,<br />
until my baby sleeps.<br />
13. OH, HOW I LAUGH<br />
AT LOVE<br />
Tono Humano<br />
Juan Hidalgo<br />
Oh, how I laugh at love!<br />
Listen, heed my advice,<br />
you’ll see how important it is<br />
to follow my design.<br />
<strong>The</strong>y say that the one who loves you<br />
will crow “I told you so”,<br />
but then, “only one who loves you ill<br />
will be right and tell you so.”<br />
Oh, how I laugh at love! ...<br />
Let everyone laugh at love,<br />
but on one condition only,<br />
play with love all you please,<br />
but never use love as a ploy.
Ay que me río de amor...<br />
Inclinación natural<br />
dice que causa su ardor<br />
mas quien lo dice no dice<br />
conocer a la inclinación.<br />
Ay que me río de amor.<br />
14. SOSIEGUEN,<br />
DESCANSEN<br />
Sebastián Durón<br />
Sosieguen, descansen<br />
las tímidas penas,<br />
los tristes afanes,<br />
y sirban los males<br />
de alibio en los males.<br />
Estrofas<br />
No soy yo aquel ciego<br />
boraz encendido<br />
bolcan intocable<br />
en quien aun las mismas<br />
heladas pabesas<br />
o queman o arden.<br />
Pues como es fácil<br />
que haia niebe<br />
que haia aquel incendio<br />
de tantos bolcanes.<br />
No soi quien al sagrado<br />
el de los dioses<br />
desdiço arrogante<br />
su purpura ajando<br />
los fueros sagrados<br />
de tantos deidades.<br />
Pues como es fácil<br />
que en mi oprobio<br />
tirana sus leyes<br />
mi culto profanen.<br />
En fin no soi io<br />
de las iras de Benus<br />
sagrado coraje<br />
en cuyos alientos<br />
respira castigo<br />
su boz o su imagen.<br />
Pues como es fácil<br />
que deidad que fabrica<br />
mi inperio<br />
permita mi ultraje.<br />
Recitativo<br />
Pero ia que la fatiga<br />
tan tendido el pecho iace<br />
que un desaliento palpita<br />
en cada temor que late<br />
ORIGINAL ENGLISH<br />
Oh, how I laugh at love! ...<br />
Natural inclination,<br />
they say, is what stokes the fire,<br />
but those who say as much decline<br />
to say if they are so inclined.<br />
Oh, how I laugh at love.<br />
14. CEASE,<br />
BE STILL<br />
Sebastián Durón<br />
Cease, be still<br />
these timid sorrows,<br />
and doleful labours,<br />
let suffering<br />
a balm to suffering be.<br />
Stanzas<br />
I am not that blind,<br />
voracious, burning,<br />
and untouchable<br />
volcano wherein<br />
the frozen cinders<br />
burn or glow.<br />
I can scarce believe<br />
that snow exists<br />
amid a fire that fuels<br />
an army of volcanoes.<br />
It is not I who<br />
arrogantly denies<br />
the sacred dues<br />
of so many gods,<br />
the one who tore<br />
their purple robes.<br />
I can scarce believe,<br />
in my disgrace,<br />
that their cruel laws<br />
will tarnish my devotion.<br />
I am not, in short,<br />
the voice or image<br />
of Venus’ sacred wrath,<br />
who breathes out<br />
retribution on her breath.<br />
I can scarce believe<br />
that the deity by whom<br />
my empire is built<br />
will suffer me<br />
to be abased.<br />
Recitative<br />
But since my heart<br />
lies weary in my breast<br />
and at every fear<br />
y ia que en el verde centro<br />
de enmarañado boscaje<br />
que compone la frondosa<br />
tenaçidad de los sauces<br />
seguro estoi de que puedan<br />
las cóleras alcanzarme<br />
de Diana afirmen treguas<br />
mis repetidos afanes<br />
i en este risco a quien oi<br />
para que sobre el descanse<br />
hizo el acaso que siendo escollo<br />
sirba de catre<br />
entreguemos a esta dulçe lisonja<br />
de los mortales<br />
la vida, pues a este efecto<br />
dijeron mis boçes antes.<br />
15. DORS MON ENFANT<br />
Berceuse<br />
Johann Friedrich Reichardt<br />
Dors mon enfant,<br />
clos ta paupière,<br />
tes cris me déchirent le coeur.<br />
Dors mon enfant,<br />
ta pauvre mère<br />
a bien assez de sa douleur.<br />
Lors que par<br />
de douces tendresses<br />
ton Père su gagner ma foi,<br />
il me semblait<br />
dans ses caresses,<br />
naïf, innocent comme toi.<br />
Je le cru;<br />
ou sont ses promesses ?<br />
Il oublie et son fils et moi !<br />
Dors.<br />
16. TI RICORDI<br />
CHE GIURASTI<br />
Aria<br />
Fernando Sor<br />
Ti ricordi che giurasti<br />
al tuo tenero amator<br />
di non scioglier le catene<br />
che legarono il tuo cor,<br />
se t’offése il mio sospetto<br />
non ti bastan le mie pene<br />
ORIGINAL ENGLISH<br />
now trembles in dismay;<br />
and deep within the verdant<br />
tangled wood of leafy willows,<br />
I trust Diana’s anger<br />
will be assuaged,<br />
and to my many labours<br />
grant a truce;<br />
let us here upon this crag,<br />
this rock fortuitously changed<br />
into a resting place,<br />
in the sweet delight<br />
of mortals spend our lives;<br />
for all that<br />
I have said before<br />
had but this end in mind.<br />
15. SLEEP, MY CHILD<br />
Lullaby<br />
Johann Friedrich Reichardt<br />
Sleep, my child,<br />
and close your eyes,<br />
your crying breaks my heart.<br />
Sleep, my child,<br />
your hapless mother<br />
has sorrow enough.<br />
When with tender ways<br />
your father<br />
won my trust,<br />
Naive and innocent<br />
as you he seemed<br />
in his caress.<br />
I believed him;<br />
what now of his promises?<br />
His child and I are both forgotten!<br />
Sleep.<br />
16. REMEMBER<br />
THE VOW<br />
Aria<br />
Fernando Sor<br />
Remember the vow<br />
you made your adoring lover<br />
never to break the chains<br />
that bound your heart.<br />
If my suspicion offended you,<br />
my sorrow will not suffice,
non ti bastan<br />
non ti bastan<br />
non ti basgan le mie pene<br />
dunque placati mio bene<br />
e ritorna al primo amor.<br />
17. LAS MUJERES<br />
Y CUERDAS<br />
Seguidilla<br />
Fernando Sor<br />
Las mujeres y cuerdas<br />
de la guitarra<br />
es menester talento<br />
para templarlas,<br />
flojas no suenan,<br />
y suelen saltar muchas<br />
si las aprietan.<br />
18. С куклой<br />
Модест Петрович Мусоргский<br />
Тяпа, бай, бай, Тяпа, спи, усни,<br />
Угомон тебя возьми!<br />
Тяпа! Спать надо!<br />
Тяпа, спи, усни,<br />
Тяпу бука съест,<br />
серый волк возьмёт,<br />
В тёмный лес снесёт.<br />
Тяпа, спи, усни!<br />
Что во сне увидишь,<br />
мне про то расскажешь:<br />
Про остров чудный,<br />
где ни жнут ни сеют,<br />
Где цветут и зреют груши наливные,<br />
День и ночь поют птички золотые!<br />
Бай, бай, баю бай, бай, бай, Тяпа!<br />
ORIGINAL ENGLISH<br />
19. РоЖДЕСТВЕНСкАЯ колЫБЕлЬНАЯ<br />
Arvo Pärt<br />
И родила Сына своего Первенца<br />
И пеленала Его<br />
И положила Его<br />
В ясли, в ясли, в ясли,<br />
Потому что не было им места в гостинице.<br />
suffice,<br />
suffice.<br />
My sorrow will not suffice;<br />
So make peace with me, beloved,<br />
and return to your former love.<br />
17. WOMEN<br />
AND GUITAR STRINGS<br />
Seguidilla<br />
Fernando Sor<br />
Women and<br />
guitar strings,<br />
it takes talent<br />
to tune them right:<br />
if too lax they will not play,<br />
and many snap<br />
if pressed too tight.<br />
18. HUSH-A-BY DOLLY<br />
Modest Petrovich Mussorgsky<br />
Hush-a-by, Dolly, go to sleep!<br />
Dolly, close your little eyes,<br />
hush now, go to sleep!<br />
Dolly, go to sleep now,<br />
for if you’re not good,<br />
the big, bad wolf will come<br />
to carry you off to the wood!<br />
Dolly, go to sleep now,<br />
for this is what you’ll dream of:<br />
a magic garden<br />
where all the trees<br />
are laden not with ripening fruit,<br />
but with sugarplums<br />
and cakes and sweets,<br />
waiting for you to pick them!<br />
Hush now, Dolly, go to sleep!<br />
19. CHRISTMAS LULLABY<br />
Arvo Pärt<br />
And she gave birth to her first-born son.<br />
She wrapped him in swaddling clothes<br />
and laid him in a manger,<br />
because there was no room<br />
for them in the inn.<br />
И пеленала Его<br />
И положила Его<br />
В ясли.<br />
CD2<br />
1. POR QUÉ LLORAX<br />
BLANCA NIÑA<br />
Anónimo sefardí, romance<br />
Por qué llorax blanca niña,<br />
por qué llorax blanca flor?<br />
- Llóro por vos cavallero,<br />
que vos vax y me dexáx.<br />
Me dexáx niña y muchacha,<br />
chica y de poca edad.<br />
Tengo niños chiquiticos,<br />
lloran y demandan pan.<br />
Si demandan al su padre,<br />
qué repuesta les vo a dar?<br />
Metió la mano en su pecho,<br />
cien dovlones le fue a dar.<br />
Esto para qué m’abasta,<br />
para vino o para pan?<br />
Si esto no vos abasta,<br />
ya tenéx d’onde tomar.<br />
Venderéx viñas y campos,<br />
media parte de la civdad.<br />
Venderéx viñas y campos,<br />
de la parte de la mar.<br />
Vos asperaréx a los siete.<br />
si no, a los ocho vos cazáx.<br />
Tomaréx un mancevico,<br />
que paresca tal y cual.<br />
Que se vista las mis ropas,<br />
sin sudar y sin manchar.<br />
Esto que sintió su madre,<br />
maldición le fue a echar.<br />
ORIGINAL ENGLISH<br />
CD2<br />
1. WHY DO YOU WEEP<br />
FAIR CHILD?<br />
Sephardic Anonymous Romance<br />
Why do you weep fair child?<br />
Why do you weep fair flower?<br />
I weep for you, my knight,<br />
for you go and leave me alone.<br />
In me you leave a girl, a mere child,<br />
a young girl of tender years.<br />
Tiny little babes have I<br />
who cry and ask for bread.<br />
If they ask for their father,<br />
how shall I answer them?<br />
He put his hand in his pocket,<br />
and a hundred doubloons gave her then.<br />
What good is this to me?<br />
Enough to buy wine or bread?<br />
If this is not enough for you,<br />
you have other means instead.<br />
You shall sell both fields and vineyards,<br />
one half of the town you shall sell.<br />
You shall sell both fields and vineyards,<br />
those that lie close by the sea.<br />
Seven years you shall wait for me,<br />
but the eighth year you shall marry.<br />
A fine young man you then shall wed<br />
in all respects like me.<br />
<strong>The</strong>n let him all my garments wear,<br />
by sweat and stains unblemished.<br />
On hearing this, his mother<br />
cursed him with these words.
“Todas las naves del mundo,<br />
vayan y bolten con paz.<br />
Y la nave del mi hijo,<br />
vaya y no abolte jamás”<br />
Pasó tiempo y vino tiempo,<br />
descariño le fue a dar.<br />
Asentada en la ventana,<br />
la que da para la mar.<br />
Vido venir navezica,<br />
navegando por la mar<br />
Así biva el Capitan,<br />
que me diga la verdad.<br />
Si veríax al mi hijo,<br />
al mi hijo caronal?<br />
Ya lo vide al su hijo,<br />
Al su hijo caronal.<br />
Echado en aquellos campos,<br />
la tierra tenía por cama,<br />
y el cielo por cuvierta.<br />
Tres buracos él tenía,<br />
por el uno le entra el aire,<br />
por el otro le entra el sol.<br />
Y por el mas chico de ellos,<br />
le entra sale el lunar.<br />
Esto que sintio su madre,<br />
a la mar se fue a echar.<br />
No vos echéx la mi madre,<br />
que yo so tu hijó caronal.<br />
Ya se bezan y se abrasan,<br />
y se van a paséar.<br />
2. EL CANTO DE LA SIBILA<br />
Sibila Galaica<br />
Mare de Deus,<br />
ora por nos teu Fill’ essa<br />
ora.<br />
U verrá na carne<br />
que quis fillar de ty, Madre,<br />
joyga-lo mundo<br />
cono poder de seu Padre.<br />
ORIGINAL ENGLISH ORIGINAL ENGLISH<br />
“Let all the ships that are in the world<br />
sail to and fro in peace,<br />
save only my son’s ship.<br />
Let it sail and never come back.”<br />
Time it came and time it went,<br />
to longing she fell prey.<br />
And as she sat at her window,<br />
that looked towards the sea<br />
She saw a little sailing ship<br />
sailing upon the sea.<br />
God save you, my good Captain,<br />
I beg you, tell me true.<br />
Have you seen my son, perchance,<br />
my own dear heart, my son?<br />
Yes indeed I have seen him,<br />
your own dear heart, your son.<br />
He was lying in distant fields<br />
upon a bed of earth,<br />
with only the sky for mantle.<br />
He had three holes in his body,<br />
through one the wind did blow,<br />
through the other the sun’s light shone<br />
And through the smallest of the three<br />
the moon did come and go.<br />
On hearing this, his mother<br />
went to cast herself into the sea.<br />
Mother, do not drown in the sea,<br />
it is I, your heart’s own son.<br />
<strong>The</strong>n the two embraced and kissed<br />
and together they walked away.<br />
2. THE SONG OF THE SIBYL<br />
Galician Sibyl<br />
Mother of God, intercede<br />
for us with your Son at that<br />
hour.<br />
When you see the flesh<br />
of your flesh, Mother,<br />
sitting in judgment of the world<br />
with the power of his Father,<br />
Mare de Deus,<br />
ora por nos teu Fill’ essa<br />
ora.<br />
E en aquel dia<br />
quand’ele for mais irado,<br />
fais-lle tu emente<br />
com’en ti foi enserrado.<br />
Mare de Deus,<br />
ora por nos teu Fill’ essa<br />
ora.<br />
E u mostrar ele<br />
tod’estes grandes pavores,<br />
fas com’avogada,<br />
ten voz de nos pecadores,<br />
Mare de Deus,<br />
ora por nos teu Fill’ essa<br />
ora.<br />
Que polos teus rogos<br />
nos lev’ao parayso<br />
seu, u alegria<br />
ajamos por senpr’e riso.<br />
Mare de Deus,<br />
ora por nos teu Fill’ essa<br />
ora.<br />
3. A CHANTAR M’ER DE SO Q’IEU<br />
NO VOLRIA<br />
Comtessa Beatritz de Dia,<br />
sègle XII<br />
A chantar m-er de so qu’ieu no voldria,<br />
tant me rancur de lui cui sui amia<br />
car eu l’am mais que nuilla ren que sia;<br />
vas lui no-m val merces ni cortesia,<br />
ni ma beltatz, ni mos pretz, ni mos sens,<br />
c’atressi-m sui enganad’e trahia<br />
cum degr’esser, s’ieu fos desavinens.<br />
D’aisso-m conort car anc non fi faillensa,<br />
amics, vas vos per nuilla captenenssa,<br />
anz vos am mais non fetz Seguis Valenssa,<br />
e platz mi mout quez eu d’amar vos venssa,<br />
lo mieus amics, car etz lo plus valens;<br />
mi faitz orguoill en digz et en parvensa,<br />
e si etz francs vas totas autras gens.<br />
Meravilh cum vostre cors s’orguoilla,<br />
amics, vas me, per q’ai razon qe-m duoilla;<br />
non es ges dreitz c’autr’amors vos mi tuoilla<br />
per nuilla ren qu-us diga ni-us acuoilla;<br />
e membre vos cals fo-l comensamens<br />
Mother of God, intercede<br />
for us with your Son at that<br />
hour.<br />
On that day,<br />
when he is most moved to wrath,<br />
remind him how<br />
he was cradled inside you.<br />
Mother of God, intercede<br />
for us with your Son at that<br />
hour.<br />
And when he shows<br />
all these dread things,<br />
act as our advocate,<br />
speak for us sinners.<br />
Mother of God, intercede<br />
for us with your Son at that<br />
hour.<br />
That by your beseeching<br />
he may take us into his paradise<br />
where happiness shall be ours<br />
for ever and ever.<br />
Mother of God, intercede<br />
for us with your Son at that<br />
hour.<br />
3. I MUST SING OF WHAT I WOULD NOT<br />
SPEAK<br />
Beatritz Countess of Día,<br />
12th century<br />
I must sing of what I would not speak,<br />
so bitterly I complain of him who calls me friend,<br />
for I love him more than all else in the world;<br />
to him my grace and manners me scarce commend,<br />
nor yet my beauty, virtue and my good sense,<br />
for now I stand deceived and betrayed<br />
as by rights I should if I had been unkind.<br />
I console myself that I have never failed,<br />
my friend, on any occasion, in your sight;<br />
more than Seguin loved Valensa do I love you,<br />
and I revel in trumping you at love,<br />
for in this, my friend, you are all others above;<br />
with me you are haughty in the way you speak and act,<br />
despite your openness with everyone you meet.<br />
I marvel at the harshness of your heart<br />
with me, my friend, and I have reason to be hurt:<br />
it is unjust that another love should steal you from me,<br />
no matter what she tells you and the favours she<br />
bestows;<br />
think back to the early days
de nostr’amor. Ja Dompnidieus non vuoilla<br />
q’en ma colpa sia-l departimens!<br />
Mas aitan plus vuolh li digas, messatges,<br />
qu’en trop d’orguolh ant gran dan maintas gens.<br />
4. EL MISTERI<br />
D’ELX<br />
La Vespra<br />
Oh, Arbre Sant digne d’honor,<br />
car sobre tots ets lo millor!<br />
En tu volgué sang escampar<br />
Aquell qui lo món volgué salvar.<br />
5. NIÑA Y VIÑA<br />
Villancico<br />
Anónimo (CMC)<br />
Niña y viña<br />
peral y havar.<br />
Malo es de guardar.<br />
Levántame, o madre,<br />
mañanita frida,<br />
fuy cortar la rosa,<br />
la rosa florida.<br />
Malo es de guardar.<br />
Levántame, o madre<br />
mañanita clara,<br />
fuy cortar la rosa,<br />
la rosa granada.<br />
Malo es de guardar.<br />
Viñadero malo<br />
prenda me pedía,<br />
dile yo un cordone<br />
de la mi camisa.<br />
Malo es de guardar.<br />
Viñadero malo<br />
prenda me demanda:<br />
Yo dile una cinta<br />
de la muy delgada.<br />
Malo es de guardar.<br />
ORIGINAL ENGLISH ORIGINAL ENGLISH<br />
when first we loved! May God forbid<br />
that by my fault we should ever part!<br />
Above all else, my messenger, tell him this:<br />
that many through arrant pride have come to grief.<br />
4. THE MYSTERY<br />
OF ELCHE<br />
La Vespra<br />
Oh, worthy holy tree,<br />
alone thou bear’st the crown,<br />
for thou wert bathed in the blood<br />
of Him who came to save the world.<br />
5. MAIDEN AND VINE<br />
Villancico<br />
Anonymous (CMC)<br />
Maiden and vine,<br />
peartree and beanfield,<br />
they are so hard to keep.<br />
I got up, mother,<br />
in the morning chill.<br />
I went to cut the rose,<br />
the rose in bloom.<br />
It is so hard to keep.<br />
In the fresh, clear morn,<br />
I got up, mother, from my bed.<br />
I went to cut the rose,<br />
the rose of garnet red.<br />
It is so hard to keep.<br />
A naughty lad out working in the vines<br />
did beg me for a pledge.<br />
I gave to him a lace<br />
that tied my blouse.<br />
It is so hard to keep.<br />
A naughty lad out working in the vines a pledge from me<br />
did crave.<br />
I gave to him a ribbon,<br />
the finest that I had.<br />
It is so hard to keep.<br />
6. CON QUE<br />
LA LAVARE<br />
Villancico<br />
Anónimo / Luys de Narváez<br />
Con qué la lavaré,<br />
la flor de la mi cara?<br />
Con qué la lavaré,<br />
que bivo mal penada?<br />
Lávanse las casadas<br />
con agua de limones.<br />
Lávome yo cuitada<br />
con penas y dolores.<br />
7. YO ME SOY<br />
LA MORENICA<br />
Villancico<br />
Anónimo (CMC)<br />
Yo me soy la morenica,<br />
yo me soy la morena.<br />
Lo moreno bien mirado,<br />
fue la culpa del pecado<br />
qu’en mí nunca fue hallado,<br />
ni jamás se hallará.<br />
Yo me soy la morenica<br />
yo me soy la morena.<br />
Soy la sin espina rosa<br />
que Salomón canta y glosa:<br />
Nigra sum sed formosa;<br />
y por mí se cantará:<br />
Yo me soy la morenica<br />
yo me soy la morena.<br />
Yo soy la mata inflamada<br />
ardiendo sin ser quemada,<br />
ni de aquel fuego tocada<br />
que a las otras tocará.<br />
Yo me soy la morenica<br />
yo me soy la morena.<br />
8. NE TIMEAS, MARIA<br />
Motet<br />
Tomás Luis de Victoria<br />
Ne timeas, Maria,<br />
invenisti enim gratiam<br />
apud Dominum .<br />
Ecce concipies in utero,<br />
et paries filium,<br />
et vocabitur Altissimi Filius.<br />
6. WITH WHAT<br />
WILL I WASH IT?<br />
Villancico<br />
Anonymous / Luys de Narváez<br />
With what will I wash it,<br />
the flower of my face?<br />
With what will I wash it,<br />
for in grief I am living?<br />
<strong>The</strong> married women wash<br />
themselves in lemon water.<br />
I, in my grief, wash myself<br />
with sorrow and pain.<br />
7. I AM THE<br />
DARK MAIDEN<br />
Villancico<br />
Anonymous (CMC)<br />
I am the dark maiden,<br />
the dark maid am I.<br />
Darkness bred sin,<br />
I cannot deny.<br />
But sin was never found in me,<br />
no, nor ever shall it be.<br />
I am the dark maiden,<br />
the dark maid am I.<br />
<strong>The</strong> rose without thorns<br />
that Solomon sang and glossed in his songs:<br />
Nigra sum sed formosa,<br />
they’ll sing me this tune:<br />
I am the dark maiden,<br />
the dark maid am I.<br />
<strong>The</strong> bush that, though burning,<br />
no flame can consume,<br />
and so I shall be unscathed by the fire,<br />
while other maids will burn on the pyre.<br />
I am the dark maiden,<br />
the dark maid am I.<br />
8. FEAR NOT, MARY<br />
Motet<br />
Tomás Luis de Victoria<br />
Fear not, Mary,<br />
for thou hast found grace<br />
in the eyes of the Lord.<br />
Thou shalt conceive in thy womb,<br />
and thou shalt bring forth a son,<br />
and he shall be called the Son of the Highest.
9. AURA SOAVE<br />
Madrigal<br />
Luzzasco Luzzaschi<br />
Aura soave di segreti accenti<br />
che, penetrando per l’orecchie al core,<br />
svegliasti là dove dormiva Amore,<br />
per te respiro e vivo,<br />
da che nel petto mio,<br />
spirasti tu d’Amor vital desio.<br />
Vissi di vita rivo<br />
mentre amorosa cura in me fu spenta:<br />
Hor vien che l’alma senta<br />
virtù di quel tuo spirto gentile.<br />
Felice vita oltre l’usato stile.<br />
10. SI DOLCE È IL TORMENTO<br />
Canzonetta<br />
Claudio Monteverdi<br />
Si dolce e’l tormento<br />
che in seno mi sta<br />
ch’io vivo contento<br />
per cruda beltà.<br />
Nel ciel di bellezza<br />
s’accreschi fierezza<br />
et manchi pietà<br />
che sempre qual scoglio<br />
all’onda d’orgoglio<br />
mia fede sarà.<br />
La speme fallace<br />
rivolgam’il pie<br />
diletto ne pace<br />
non scendano a me.<br />
E l’empia ch’adoro<br />
mi nieghi ristoro<br />
di buona mercè.<br />
Tra doglia infinita<br />
tra speme tradita<br />
vivrà la mia fè.<br />
Per foco o per gelo<br />
riposo non ho<br />
nel porto del Cielo<br />
riposo haverò.<br />
Se colpo mortale<br />
con rigido strale<br />
ol cor m’impiagò<br />
cangiando mia sorte<br />
col dardo di morte<br />
il cor sanerò.<br />
Se fiamma d’amore<br />
già mai non sentì<br />
quel rigido core<br />
ch’i1 cor mi rapì.<br />
Se nega pietate<br />
ORIGINAL ENGLISH ORIGINAL ENGLISH<br />
9. SOFT BREEZE<br />
Madrigal<br />
Luzzasco Luzzaschi<br />
Soft breeze of secret words,<br />
Which, entering my ear and penetrating my heart,<br />
Awakened Love, who lay sleeping there.<br />
You are the reason I live and breathe,<br />
Ever since you filled my breast<br />
With a living desire for Love.<br />
While amorous cares lay dormant there,<br />
I lived deprived of life.<br />
Now the power of your gentle spirit<br />
Stirs within my soul<br />
a life that is happy beyond ordinary measure!<br />
10. SO SWEET IS THE TORMENT<br />
Canzonetta<br />
Claudio Monteverdi<br />
So sweet is the torment<br />
that I have in my heart<br />
that I live content<br />
with your cruel beauty.<br />
In the heaven of beauty<br />
fierceness grows apace,<br />
and pity is lacking<br />
which, like a rock<br />
against the wave of pride,<br />
will always be my faith.<br />
Deceitful hope<br />
in vain besets me.<br />
Joy and peace<br />
do not descend on me,<br />
and the cruel one that I adore<br />
gives me not the consolation<br />
of gentle pity.<br />
In infinite pain,<br />
in hope betrayed<br />
my faith will live.<br />
Fire and ice<br />
leave me no rest.<br />
In the haven of heaven<br />
I will know rest.<br />
If a mortal blow<br />
carried by a sharp arrow<br />
wounds my heart<br />
and changes my destiny,<br />
the dart of death<br />
my heart shall heal.<br />
If the unyielding heart<br />
by which my heart is ravished<br />
the flame of love<br />
should never feel;<br />
if the cruel beauty<br />
la cruda beltate<br />
che l’alma invaghì<br />
ben fia che dolente<br />
pentita e languente<br />
sospirimi un dì.<br />
11. ALME LUCI BEATE<br />
Giulio Caccini<br />
Alme luci beate<br />
che dolcemente ardeste<br />
e dolce distruggeste<br />
l’incenerito core,<br />
chi di bei lampi or farà lieto Amore?<br />
Io vi lasso mie saorte,<br />
io mi parto mei numi<br />
io vò lungi miei numi,<br />
e non ho spem’ohimè che mi conforte.<br />
Alme luci beate,<br />
se per si lunga etate<br />
amando e rimirando<br />
voi foste il mio gioire,<br />
or per si lunga etate<br />
armando e rimembrando<br />
sarete il mio martire.<br />
12. SENTIRETE<br />
UNA CANZONETTA<br />
Tarquinio Merula<br />
Sentirete una canzonetta<br />
sopra al bel bocchin<br />
del mio vago e dispietato Amor<br />
ch’ogn’hor nel cor mi tormenta<br />
e fa sospirare per sua gran beltà.<br />
Sentirete un soave canto<br />
sopra al bel nasin<br />
del mio vago e dispietato Amor<br />
ch’ogn’hor nel cor mi tormenta<br />
e fa sospirare per sua gran beltà.<br />
Sentirete la doglia acerba<br />
che mi fa morir<br />
per il vago, e dolce caro ben<br />
ch’ogn’hor nel cor mi tormenta<br />
e fa sospirare per sua gran beltà.<br />
Sentirete d’amor la piaga<br />
che mi fa languir<br />
per un ciglio dispietato e fer<br />
ch’ogn’hor d’ardor mi tormenta<br />
e fa sospirare ma non ha pietà.<br />
which has captivated my soul<br />
denies me any pity…<br />
Would that one day suffering,<br />
repentant and languishing<br />
she may sigh for me.<br />
11. SOULS, BLESSED LAMPS<br />
Giulio Caccini<br />
Souls, blessed lamps<br />
That softly burned<br />
And sweetly destroyed<br />
My incinerated heart,<br />
Now what splendid rays will gladden Love?<br />
I leave you all my goods,<br />
my numina, and so depart<br />
to wander far, my numina,<br />
for nothing hope of comfort can impart.<br />
Souls, blessed lamps,<br />
who were for many a day<br />
the sole delight<br />
of him who loved and gazed on you,<br />
now you shall for many a day<br />
torment me<br />
as I wrestle with your memory.<br />
12. LISTEN TO<br />
A FINE SONG<br />
Tarquinio Merula<br />
Listen to a fine song<br />
about the pretty little mouth<br />
of my beautiful, pitiless sweetheart,<br />
who constantly torments my heart<br />
and makes me sigh for her great beauty.<br />
Listen to a sweet song<br />
about the pretty little nose<br />
of my beautiful, pitiless sweetheart,<br />
who constantly torments my heart<br />
and makes me sigh for her great beauty.<br />
Listen to the bitter pain<br />
that makes me die<br />
for my beautiful beloved so sweet and precious,<br />
who constantly torments my heart<br />
and makes me sigh for her great beauty.<br />
Listen to love’s wound<br />
which makes me pine<br />
for a pitiless, cruel brow,<br />
which constantly torments my heart with ardour<br />
and makes me sigh, but shows no mercy.
Sentirete per chioma d’oro<br />
che son gionto al fin<br />
belle treccie ma spietate si<br />
ch’ogn’hor il cor m’allacciate ohimè<br />
che ne godo ma no so perché.<br />
13. NO PIENSE MENGUILLA YA<br />
Canarios<br />
José Marín<br />
Coplas<br />
No piense Menguilla ya<br />
que me muero por sus ojos<br />
que e sido vovo asta aquí<br />
y no quiero ser mas vovo.<br />
Para qué es buena una niña<br />
tan mal hallada entre pocos<br />
que no está vien con el fénix<br />
porque le an dicho que es solo.<br />
Estribillo<br />
O que lindo modo<br />
para que la dejen<br />
unos por otros.<br />
El mal gusto de Menguilla<br />
es una casa de locos<br />
el tema manda al deseo<br />
vaya la raçon al rollo.<br />
Mucho abandona lo vano<br />
si poco estima lo hermoso<br />
la que por ser familiar<br />
no repara en ser demonio.<br />
O que lindo modo<br />
para que la dejen<br />
unos por otros.<br />
Desigualdad y capricho<br />
no deja el manco ni cojo<br />
porque a quenta de lo lindo<br />
no admite lo liçençioso.<br />
14. TROMPICÁVALAS<br />
AMOR<br />
Tono humano<br />
Juan Hidalgo<br />
Trompicávalas amor<br />
a las niñas de Barajas<br />
y cómo las trompicávalas,<br />
ORIGINAL ENGLISH ORIGINAL ENGLISH<br />
Listen to the golden hair<br />
that I may reach the end<br />
fine tresses, but so pitiless,<br />
alas, that ever ensnare my heart,<br />
and make me happy, though I know not why.<br />
13. DON’T FLATTER YOURSELF MENGUILLA<br />
Canarios<br />
José Marín<br />
Couplets<br />
Don’t flatter yourself, Menguilla,<br />
that I’m dying for your eyes,<br />
for though a fool I may have been<br />
I vow my folly to revise.<br />
<strong>The</strong> apple of my eye she was, it’s true,<br />
though she was but a windfall, one of few.<br />
To countenance the Phoenix she demurred<br />
because of his uniqueness she had heard.<br />
Refrain<br />
Such pretty manners hers<br />
it is no wonder<br />
she is passed from one man to another.<br />
Menguilla has no taste at all,<br />
in Bedlam it seems bred.<br />
For her desire is but a whim,<br />
no reason governs her fair head.<br />
She whose beauty’s value undermines<br />
and of all vanity would be exempt<br />
as familiarity does breed contempt,<br />
the very devil she can be oft-times.<br />
Such pretty manners hers<br />
it is no wonder<br />
she is passed from one man to another.<br />
Bias and fancy also attend<br />
the one-armed and the lame,<br />
for not only to the beautiful<br />
does licence lay its claim.<br />
14. LOVE PLAYED<br />
A TRICK<br />
Tono Humano<br />
Juan Hidalgo<br />
Love played a trick<br />
on the Barajas maids.<br />
And how did he trick them?<br />
trompicávalas con celos<br />
que son del descuydo trampas<br />
pues a pesar de lo frío<br />
aún los biexos abrasan.<br />
15. EL FILL DEL REI<br />
Tradicional catalana / Jordi Savall<br />
Si n’eren tres ninetes,<br />
mes ai!<br />
vora un torrent.<br />
L’una en renta bugada,<br />
mes ai!<br />
l’altra l’estén,<br />
que mes ai!<br />
L’altra en cull violetes<br />
mes ai!<br />
pel fill del rei.<br />
El fill del rei passava<br />
mes ai!<br />
amb un pom d’or;<br />
que mes ai!<br />
tira una pedra enlaire,<br />
mes ai!<br />
toca l’amor;<br />
toca-la ben tocada<br />
mes ai!<br />
al mig del cor.<br />
que mes ai!<br />
–Si t’he fet mal, ‘moreta?<br />
mes ai!<br />
–Un xic i poc,<br />
un xiquet i no gaire<br />
mes ai!<br />
al mig del cor.<br />
que mes ai!<br />
–Si t’he fet mal, ‘moreta,<br />
mes ai!<br />
bé es curarà :<br />
prou barbers hi ha a França<br />
mes ai!<br />
per a curar.<br />
que mes ai!<br />
l si aquests no hi basten,<br />
mes ai!<br />
d’altes n’hi ha.<br />
Prou diners hi ha en bossa<br />
mes ai!<br />
per a pagar.<br />
que mes ai!<br />
He tricked them with jealousy,<br />
the trap that catches unawares.<br />
For, in spite of the cold,<br />
it even burns the old.<br />
15. THE KING’S SON<br />
Traditional Catalan / Jordi Savall<br />
<strong>The</strong>re were three maids,<br />
Ah, me!<br />
Beside a stream.<br />
One washed linen,<br />
Ah, me!<br />
While another spread it out to dry,<br />
Ah, me!<br />
<strong>The</strong> third gathered violets<br />
Ah, me!<br />
To give to the king’s son.<br />
<strong>The</strong> king’s son passed by<br />
Ah, me!<br />
with his orb of gold;<br />
Ah, me!<br />
He threw a pebble in the air<br />
Ah, me!<br />
and she was struck with love;<br />
It bored right through her<br />
Ah, me!<br />
until it pierced her heart.<br />
Ah, me!<br />
“Have I hurt you, my love?”<br />
Ah, me!<br />
“Just a little, it barely smarts<br />
Just a twinge, a tiny blow<br />
Ah, me!<br />
Dealt straight to my heart.”<br />
Ah, me!<br />
“If I have hurt you, my love,<br />
Ah, me!<br />
Don’t worry, there’s a cure:<br />
In France there are barbers<br />
Ah, me!<br />
Who will cure you for sure.”<br />
Ah, me!<br />
And if they cannot cure you,<br />
Ah, me!<br />
<strong>The</strong>re are others who may.<br />
I have money enough<br />
Ah, me!<br />
For their services to pay.<br />
Ah, me!
–A l’hortet del meu pare<br />
mes ai!<br />
una herba hi ha<br />
que cura d’amoretes:<br />
mes ai!<br />
‘neu-la a cercar.–<br />
que mes ai!<br />
Mentre són a cercar-la<br />
mes ai!<br />
sent tocar a morts.<br />
La Marieta és morta.<br />
mes ai!<br />
Déu la perdó.<br />
que mes ai!<br />
–A on li faran l’absolta?<br />
mes ai!<br />
–Sota el balcó.<br />
–Ni en balcó ni en finestra,<br />
mes ai!<br />
ni en finestró,<br />
que mes ai!<br />
sinó en una reixeta<br />
mes ai!<br />
fent oració<br />
L’oració que ell ne feia,<br />
mes ai!<br />
llantos i plors.<br />
que mes ai!<br />
Déu l’haja ben perdonada,<br />
mes ai!<br />
la dolça amor.<br />
que mes ai!<br />
16. HEI MIHI<br />
Missa Pro Defunctis: VII<br />
Joan Cererols<br />
Hei mihi, Domine,<br />
quia peccavi nimis in vita mea:<br />
quid faciam miser, ubi fugiam,<br />
nisi ad te, Deus meus?<br />
Responsum<br />
Miserere mei, dum veneris<br />
in novissimo die.<br />
Versus<br />
Anima mea turbata est valde:<br />
sed tu Domine succurre ei.<br />
ORIGINAL ENGLISH ORIGINAL ENGLISH<br />
“In my father’s garden<br />
Ah, me!<br />
A herb there grows<br />
That cures love’s ills:<br />
Ah, me!<br />
Go gather some now.”<br />
Ah, me!<br />
While they went to fetch it<br />
Ah, me!<br />
A death knell did toll.<br />
Marieta was dead.<br />
Ah, me!<br />
God pardon her soul.<br />
Ah, me!<br />
Her responses?<br />
Ah, me!<br />
Under the balcony.<br />
Neither balcony, nor Windows,<br />
Ah, me!<br />
nor in the window-jamb,<br />
Ah, me!<br />
but a prayer offered<br />
Ah, me!<br />
by the grating.<br />
<strong>The</strong> prayer that he uttered<br />
Ah, me!<br />
Was weeping and tears.<br />
Ah, me!<br />
May God grant forgiveness<br />
Ah, me!<br />
To my love so sweet.<br />
Ah, me!<br />
16. WOE IS ME<br />
Missa Pro Defunctis: VII<br />
Joan Cererols<br />
Woe is me, O Lord,<br />
for I have sinned grievously in my life.<br />
What will become of me, wretch that I am?<br />
Where shall I flee,<br />
but unto <strong>The</strong>e, my God?<br />
Responsum<br />
Have mercy upon me when Thou comest<br />
at the last day.<br />
Versus<br />
My soul is greatly troubled;<br />
But, Lord, be Thou my helper!<br />
17. DUERMETE, NIÑO, DUERME<br />
Nana<br />
Manuel de Falla<br />
Duérmete, niño, duerme,<br />
duerme, mi alma,<br />
duérmete,<br />
lucerito de la mañana.<br />
Nanita, nana,<br />
nanita, nana,<br />
duérmete,<br />
lucerito de la mañana.<br />
17. SLEEP, MY CHILD, SLEEP NOW<br />
Lullaby<br />
Manuel de Falla<br />
Sleep, my child, sleep now,<br />
sleep, my dear heart,<br />
go to sleep now,<br />
my little morning star.<br />
Hush, lullaby,<br />
hush, my dear heart,<br />
go to sleep, now,<br />
my little morning star.<br />
Translated by Alia Vox<br />
& Jacqueline Minett<br />
L’Orfeo<br />
de Claudio Monteverdi.<br />
Gran Teatre del Liceu<br />
de Barcelona, 1993
Causin<br />
Jordi Savall, Montserrat Figueras, Ferran Savall, Arianna Savall<br />
Alexandre<br />
Château de Flawinne, Belgique, 2005 ©