Booklet - Croce Carnevale

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Giovanni CroceI Fagiolini

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  • NNE

  • Giovanni Cmce

  • Giovanni Croce (1557-1(;09)

    Mascarate piacevoli et ridicolose per il carnerale (1590) Giovanni Pacoloni (late 16th century): I~assernezo de Zorzi 1 3 2 G i v a n n i I'acoloni: Saltarello de Zor1.i 1:4n Giovanni Pacoloni: Padoana de Zorzi 1:05 David Millcr. Lynda Savce, El~gio Q~inreiro Iutes

    Mascarata $a Lenpazi 2:43 Rubin Tusvn, StzpE~en -ljylnr, Ja~nep Gilchrisr. Nicholas Hurndall Srnirh. Marrl>nv Hrook, Gilcs Undcnuood: Eligio Quintcim rhirarrino

    Mascarata Echo da Magnifici 2 5 9 Robcrt Hollingworth,)ames Gilchrrsr, Marrhetv R w k , G~les L'nderwmd

    Glovanni Facolonl: Pasassemezo dclla Duchcssa I h v ~ d Miller, Lynda Ssyce, k.t~grn Quu>relro i i m r

    Mascarata da Donne Pitoche 1 :45 Marrhmv Rrook, Roberr Hnllingivnrrh. Giler Undcrwod: EIigio Quinrcim chiramone

    Mascarata da Rscaori 3 1 0 I

  • Mascaram da Buranelle 3:55 Kohili 'l>sol~. Srcphen 'Lylnr, Rnhcrr I-lol[ingworrh. Jarnc.; Gilchrist, Mat rhm Brook. Gi la Undcrwuud; Elig& (Jwn~riro ~ l r i l em lp~ Mascarata da Furlani Kohln Tyron. Saphcn Taylor, Jarncs Gilchr~st. Nicholas Hurndall Srn~rh, M r t t h w R m k , Glle? Underwood, El~glo Qu~nrelrc c h i ~ r n n o

    Triaca Musicale (1 595) Inrerspersed instrumental works arranged by David Miller

    Anon.: Matasins ('11 Macracino') 4 Anon.: Boufons (Passcmczzo anrico)

    Davtd Millcr lure. Fdigio Quintelm cAirr~mmtpo, lynda Saycepisur Anon.: Gaillarde (on the ground 'Cara cosa') Lynda Savce manhh, David Miller luu. EIigio Quintcirc chirarrim

    El I1 gioco dell'Ocm Cays Ia~le, Anna Crookes, Roberr Hollil~gworrh. James Gilchrist, Marthcw Brook. Cilcs Undcnvood

    Anon Brando ElrRio Qu~ncciro chirfirrmo. Dand Miller rhrrarrino. Lvnda Saycc 6arr lure k c 0 lame< Gllchrrst, Marrhew Rrook, Gi!a Undenvood

  • I!?] Filippo A7.?.aio]r1 (fl. 1557-1 569): C:l~i passa per sta s t r ~ d ' c nut, sospira~ brato.
  • Canzon deI CUKO, e Rossignuolo con la sentenza del r"apagaflo 5:l 1 C a ~ v r I J I ~ C , RDberr I4nll1ngimrrh. N~cholar Hurndall Srnrrh. Marthcw BNU~., GIICS Uiir l r rw~nd

    Anon.: Gdliarrla 0:4 I llxvtd Millcr b r e , Elig~n Quinreirn chisarri~io. Lynda Saycegratnir

    Incanto della Schiava 635 Carvs I.anr, Amna Cruokes, l

  • I F.~giolini Sopmrro Car?< 1 ane hnna Cruul ic~

    &or Jarncr Gilchrisr Nicl~rrlas Humdall Srt\irl~

    Cb~tnlrr-lnlor fin51 Robin T y n Matthcn; Bmuk Rukrr Hollir~g*orrh Gilts I l~~dcrurond Srcphcn Taylor

    I ynda S a y ~ c David Miller Et~glo Quinrcim Lynvnda 5ayc.e LJavid hli[ler David Millcr Lynda S~yce F.11gio Quintcim Lynda Sqce Fligio Quintcim Catherine Piertoll

    bu Edward F ~ c z ~ ~ b b u n , London 1996 4-coulr~e hy C)l~vel Wad~wnrrh. Weqr I lean 1791 4-couric by- Carlos Gonlal~rr. Paris 1999 5-cottrse Iy kdward b1c7gihbon, l o n d o r 1778 6-courrc by Martrn Hayox!,. London 1985 7-cuttrsr by Mart~ri Haycock, Chrchesrer 1992 8 - c n u ~ ~ c bv Srcphcn Barhcr. London 1985 7-coursc br Jimcs Smllibra~s. \Vest Dean 1990

    by Lourdcs L!rnc~Ita~ hqadrid 1978 slngle-rn311l1rl by Colln Hnorh afrer Gregol 1 (John Barnc3 Collcrtion)

  • Venetian Carnival - -- -- -

    111 sixteenth-century Mr~icc cntcrtainri~cr~t music was a source of delight to all inhabitants uf tlic city r)ririi~g thc carniwl season Venetian nobility mercl~ants, and citi7cns cniuyctl IivcIy and oftcn raucous en~errainmenr ar nalaces, academies and civic pageano. Masqueraders pcrfornled for l,vpvat~dcrs in t l ~ r streets, 2nd Ibrrigi* visitors remarked upon [he mcellence and vitaliry of musical lifc. Lavnh thcntrical spcctaclw and banquets, enlivened wirh ~ntiric, were mounted In patrician palaces. 'The nobility hircd l u ~ a l pru6cssiooal musicians Fur t h c x evenrq, hut it w a not unusual for r l~e ralented amateurs among them to mke part in thc pcrformanccs. This rccoding includes rwo sers of comic carnival ~nasqueracles by the Venetian compuscr Giuvann~ Crucc (1 557-1 (10'1)

    Croce served as a singer at rhe Uasil~a O F St hqark, thc +arc chapel uf thc Dukc of Veu~ce The Lsllica adjnins rhr ducal palace at the edge of the glitrer~ng Venetian Ingoon, and at] appoir~trnrrir rlirrr was onr of thc mosr prestigious in Europe. 'I'he musicia~ls of St Martis Forrnctl a puul uf cxpcrt cornposcrs.

    5irigcra dnrl rnstrt~mennl~sts tvhv actively part~cipated in local d~earrical and cntrmlnrncnt enterprlxs rn urrler to suppletnenr rheir income

  • foundation Croce dmys upon rhe Venrtian courrly ~nadrigal q1~1c. S i n ~ u l ~ a n m u s l ~ t ~ c rninplcs 01 appropriates music from popular rradi~inns: tlic quutllilret, \,illntta, I T I O ~ U and street rune. H i s rnasqucradcs arc Eibemlly sprinklctl with musical clicI>&c ; l r d gmlurcs that cry nur for imaginative interpremtion, ~tlcll a< C L ~ O ~ffecrs, stll tfcrin~, 9t>our> nnt l over-[he-toll rtpctltion.

    Crucc's xvorkr are peopled with btork Itallan ~nasqurrarlc charactertc Cruccj masqucradc t a t s contrivrd a rvide range of accenrr and dialecrs For rhcir chamcters in order to invite parody in prrformance. For cxamplc, rhc Gcrman who appears in llfurcnr~td drr Lcnyndzi 3 g r ~ ~ n t s and grussly rn i sp run~~~ncrs his ImIian words. Fnreigr~ers wit11 cterenrv~~ically thlck - accents bld at rhe Iprcmro deb Schiatn d, J parlorlr gamc in which f~malc gucsts arc aucr~oned OR to rhe tughrr~ bidder T l ~ c

    urrerarlcrh 01- Rnralonc and Grazianu. d and 0. arc deliberately lorv-life in quali~y.

    f i~ncrr MI~SILWL wa\ rrarn~ul fur tbc drtlg rhcriaca, well known in Venice 3s J preveruarive I'nr rhr plag1rc, a n antirlotr fur poisoit and n medicine foi ailn~enrs. In rhis 'musical c~ircr-all' C r ~ ~ i a n ~ i s rcfcrcnccs ro b i n g 'in I'aradise' d l a t re~lr io~~ ro a Vet~erian r~eiglibulrrl~uurl ~allcrl I'ardisu, where a w e d noble families lived. Among rhern wrr r rhr Grimanis. Crure's sumetime patrons. These masqueradm ~uggwr an aristucratlc party in that neighbaurhood, with Pantdone and Cra~iano intrutlticing thc evcnlngs enrertai~~n~er~r. A sit~.+rig alrltc5t bcwctn a ni~htinfiale and a squawking cuckoo bl is juclgett I>y a parrot - hribcd, if thc rcsult is to be believed. Ribald C~rlnrrs Crorti P d u a a p p a r 4, bnnging gifts of turnips, pai.snip!: and musag.=.: hrty gricsts arc depi~wd phying Innmto delh , S c h i d ~ J I I ~ I1 gioincn deil %rcca l b l , a popular board gainc.

    In rhe Mi~s~umre pirrrrwti puns and w~tt~clsms suKTesr thar its cl~aracren are parrxlies uf~ucll-ltnuwn Venetian types. Crnce's heggan i.21 nu? portmy noblc wurncn cornplaning nbour rheir w~rdmbeq and fnnri s~rpplie, r ~ ~ t r i l t ~ d by Vcnct~an s~tmptuary . . law, while the wometl (IT Rumno 101 wpreaenr high-born nuns lanrelrring rheir lack

  • of mde ~ u r n ~ a n ~ o n s h ~ p and hawking the fine I ~ c e for wh~ch that island's women werc famous. Thc cr~seti~ble oTagJ , s tur~e~ing m5ef1ificr probably derives from thc fact that the pvvcrnmenr r,l'Venitx war conrrolled Ijy rl~e very oldest patrician males. In rhc h a [ rnasqueradc tht Venetian Knigl~cs of SL Jolu~ of Maln are shown banquerlng on the~r city squarc and consuming o ~ l t l a ~ ~ d ~ r h rlumtititirr of wrue. This emblenlatic conclusion ruggese rhar the l k i ~ ~ a ~ u t e p m c m ~ were cwnw~vctl fr,r rile enterrainlnenr ofthe knights, who had a tthc~trt. In the~r monastvry.

    O 2001 D o n d a e J. Gustafson

    The instrumental works The plucked consorr pleces serve as 'curtain nines' and maquc intcrhtlrs to Cree's r;lisnlval h e The tnuslc ]>as been tiallscrilxd and arranged prmcipdly from two books of gulnr and u m r n rvlos by GGNautne Morlaye (Paris, 1552; 1553), and from Italian vocal miniatures. There are also some unusual ant1 entertaining trios by the cnutempomnwus Paduan lutenist Giomni Facolon1 Many of h e short pieces ;ue rlances: galliarrls, passamcnos and paduanar. Some introduce Cmce's characters, such as the nistlc linc dancc b m l e ('brando'), which sets up the song of

    Pandone ('Echo'), md thc 'burlhni, which prelude< the aplmrance of the h u h o n Ur Lnziano. '[he rranscriptionr of Iivcty work< by Orazro Veccl~~ (Venice, 1585) and Fit~ppo r b ~ o l o (Ven~ce, 1569) s~rnilarl~ prchc*. others ut Croce'q pie=$ i l l acmrdaiice wilt1 the~r subject matter.'l hc lutc rrios by Pacolotli u.crr publl~hctl in Inllvaw hy Pierre Phaltsc (1564) and comprise foq-swen dances arranged In thematiullu connected stilts They are remarkable for a scoring in which ~ l ~ c superlu is tuned a fourth abuvc thc tcnor and a tifill abovc thc baqsus. These atrractive piecu, wholly wrirren out by the composer, give an lrnpmsron of two lnstrt~rnent~lisrs improvising siniulr~neomly over a ground bas, lading into some unexpected and delightful wrncrs.

    O 2001 David Miller and Robert. Hollingworth

    On 'Poor Luddess Pantaloon' \Ve hope thls rcwrding has brought nllvr thc urnival spjrit of chis unusual repertoire for you. Our only regret is that the lrnrncd~ay uf thc vcrbal humour will have eluded non- Imlran or even non-Venetian dialect speakers. This is trumt in the echo piccc rO, gramo Pantaton') [1811[29l so we asked writer Timothy K~laprnan (who had provided us wlth a

  • brillianr tr~nslat~ori of Adriano Banch~eri? Music In hirh drrnand as a contlnuo laver. madrigal comedy L z p n a i z rfnik) to cornc rlp with a urrsiui~ ul'l>is own in order dlat English spcaken ar least can shxc rhc joke. Wc hopc others will k,rgi\.c rIs for not prinring a translarion of this rmnslatron, but wc thuught that might be taking the joke a hit far As Tim puts ir, we had at1 aversion to a version of a version.

    David Miller is one nFBritain's lading lutenists and is much in ~fcmand a .;a soloist and conrinuo ~ ]