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Orlando Consort

VIEWS: 21 PAGES: 10

									    CLARICE SMITH PERFORMING ARTS CENTER
                                               PRESENTS




                     Orlando Consort
                AMORE: LOVE AND MARRIAGE IN
                    THE ITALIAN RENAISSANCE

                         MATTHEW VENNER, COUNTERTENOR
                                    MARK DOBELL, TENOR
                                    ANGUS SMITH, TENOR
                                DONALD GREIG, BARITONE




SUNDAY, FEBRUARY 28, 2010 • 3PM
JOSEPH & ALMA GILDENHORN RECITAL HALL




                       CLARICE SMITH PERFORMING ARTS CENTER   71
PROGRAM
                                                 PROGRAM
                                                  INTERMISSION

     ORLANDO CONSORT                              Sacred or Profane?
                                                  Josquin Desprez (c.1450-1521)
     AMORE: LOVE AND MARRIAGE                     Missa “L’ami Baudichon”: Gloria
     IN THE ITALIAN RENAISSANCE
                                                  The Mildly Suggestive Songs:
     Matthew Venner, countertenor                 Anonymous (late 15th c.)
     Mark Dobell, tenor                           Vilana, che sa’ tu far?
     Angus Smith, tenor                           Josquin Desprez
     Donald Greig, baritone                       Une mousse de Bisquaye
                                                  Heinrich Isaac (c.1450-1517)
                                                  Donna di dentro / Dammene un pocho
     Medieval Courtly Love:                       Anonymous, Florence (late 15th c.)
     Guillaume de Machaut (d. 1377)               Canto di donne maestre di far cacio
     Rose, liz, printemps, verdure
                                                  The Totally Explicit Songs:
     The Road South:                              Loyset Compère (c.1445-1518)
     Johannes Ciconia (c.1335-1412)               Alons fere nos barbes
     O bella rosa                                 Jean Mouton (c.1459-1522)
     Guillaume Dufay (c.1400-1474)                James n’aymeray mason: je suis trop belle
     Vergine bella                                Anonymous (early 15th c.)
                                                  D’une belle/Coquille, bobille
     An Italian Response:
     Jacopo da Bologna (d. c. 1386)               A Return to Good Taste:
     Aquila altera                                Philippe Verdelot (c.1480- c.1550)
     Antonio Zachara da Teramo (early 15th c.)    Amor quanto più lieto
     Un fior gentil                               Amor se d’hor in hor
     Bartolomeo Brollo (fl. c. 1420-1435)         Amor tante virtù
     O celestial lume                             Jacques Arcadelt (c.1507-1568)
                                                  I vaghi fiori
     Secret Love:
     Anonymous (early 15th c.)                    A Celebration of Marriage:
     N’a pas long temps que trouvay Zephirus      Francesco Corteccia (1502-1571)
     Antoine Busnoys (c. 1430-1492)               Non men’ ch’ogn’altra lieta
     Ja que li ne s’i attende                     Ecco la fida ancella
                                                  Vattene Almo riposo
     Religious Ecstasy:
     Antoine Brumel (c.1460- c.1515)
     Sicut lilium                                 This evening's program will be approximately two hours long including intermission.
     Nicolas Gombert (c.1495- c.1560)
     Quam pulchra es                              Join us for a post-performance Talk Back with the artists




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ABOUT THE
PROGRAM
                                                                                                   ABOUT THE
                                                                                                   PROGRAM
     Today’s program was first conceived as a direct musical response to the wonderful              fourteenth century, is regarded as the greatest composer of the Middle Ages, yet the
     exhibition “Art and Love in Renaissance Italy” organized by The Metropolitan                   poetic forms he adopted — ballade, rondeau and virelai — were all still alive and well at
     Museum of Art, New York, and the Kimbell Art Museum, Fort Worth. For the                       the end of the fifteenth century. Certainly there were changes that came about during
     “amateur” viewer — the category in which this writer emphatically casts himself —              the middle years of the fifteenth century, and perhaps chief amongst these would be
     the exhibits were breathtaking simply as a visual treat.Yet having an opportunity,             the development of an equality of “status” between voice parts — there is less of a
     through the guidance of experts in their fields, to unlock some of the meaning and             flavor of a melody with subordinate accompaniment, and an increased element of the
     secrets of these works of art was an extraordinary pleasure. Our hope, as the Orlando          parts sharing the responsibility for transmitting the melodies and texts — but in itself
     Consort, is that we in turn can introduce you to some of the “inside story” of the             this is scarcely justification for defining a new age.
     incredible flowering of musical development in the period covered by that exhibition.              But looking further afield, there are other areas where one can identify changes
     The mere sound alone is often extraordinary and yet, as with the art, much more                and although these belong in some respects more in the fields of social history and
     meaning and understanding can be derived from merely knowing even a little bit                 politics, they nevertheless had a fundamental effect on musical life.The early years of
     about the genesis and context of this amazing repertoire.                                      the fifteenth century were a notable time for the establishment of exceptionally
                                                                                                    influential and wealthy family dynasties; the courts of Burgundy, Florence, Padua,
                                                                                                    Pavia, Milan and London, and to a lesser extent Paris and Madrid, either became, or
     THE RENAISSANCE? WHAT RENAISSANCE?                                                             strengthened, their position as the political and economic centers of Europe. For the
     Art historians have traditionally maintained that it is possible to identify a re-birth, or    rulers of these mini-empires, a major part of the pleasure of being in this exalted
     renaissance, in the creative output of the great European artists in the early years of        position was having the opportunity to display to those less fortunate just how
     the fifteenth century; as Jakob Burckhardt described it in the nineteenth century, this        magnificently wealthy they were. Patronage of the arts provided the perfect
     was the age of “the discovery of the world and of man.” In the visual arts the term            opportunity to do just this.Artists and musicians alike suddenly found themselves in a
     Renaissance is generally taken to imply a deliberate imitation of Classical patterns           position where their services were being sought by the good and the great: in the
     that were popular in Greek and Roman times well over a thousand years before.                  case of singers and composers (at this time the composers were all singers!), the best
     Undoubtedly in the architectural designs of Brunelleschi, such as the magnificent              were offered positions in ranks of the cathedral or chapel choir, and their
     dome of Florence Cathedral, and in the sculpture of Donatello, inspired by the                 appointments would have also entailed their involvement in the secular musical affairs
     ancient authors, a lineage with antiquity stands out that makes the idea of a                  of the court. Nor were these talents only displayed in the residence of the patron, for
     “renaissance” irresistible. Painting is harder to define, since there were virtually no        if the Duke or Prince took to the road, so did the musicians.
     surviving ancient models offering comparison. Nevertheless, from the writings of                   A direct consequence of this for the musicologist is that at last one enters a period
     classical authors such as Pliny, the public came to demand a high degree of fidelity to        of music history where composers’ names are regularly ascribed to the pieces of
     nature and a search for the perfect form that had eluded artists in recent times, a call       music they wrote, overthrowing the tradition of pieces remaining anonymous. For
     that was answered by the scientific rigor of the Florentine painter Masaccio. It was his       composers the music was a calling card, evidence of their personal skill, and for the
     work that inspired the great artists of the High Renaissance — especially Leonardo             patron it was a proud and public display of their munificence and cultural integrity.
     da Vinci, Michelangelo and Raphael in Italy, and Dürer in Germany — to achieve a               In the aristocratic rush to secure the services of the very best, singer-composers found
     style notable for its ease of manner and a graceful harmony that stood out in marked           themselves in the unprecedented position of being able to negotiate the most
     contrast to the strained efforts of preceding generations.                                     favorable terms of employment, with the most famous, such as Dufay and Desprez,
         However, it has proved much more difficult in music to define exactly what is              using their stellar reputations to play a system of regularly transferring their allegiance
     meant by the term “renaissance,” and musicologists are wisely reluctant to commit              to achieve financial gain in a manner that closely resembles the world of top sports
     themselves to naming exact dates or pieces that mark the beginning of the “new age.”           stars today.
     The truth is that in music, as indeed in other art forms, styles tend to evolve: it is very        In many ways therefore, it is perhaps more appropriate to suggest that in respect
     rare that a single work is responsible for an immediate transition to a new era.               to music, rather than marking new forms and styles, the term “renaissance” can
         Musically speaking, one can point to techniques of composition that first emerged          alternatively be interpreted as a recognition of a surge of interest in the arts by a wide
     centuries before the music of this concert and yet continued to flourish well beyond.          audience generally, but in particular by the aristocracy, and of the patronage they
     Guillaume de Machaut, who composed today’s opening song in the middle of the                   bestowed. Musicians were still to be regarded as the servants of the aristocracy (and



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ABOUT THE PROGRAM
                                                                                                  ABOUT THE ARTISTS

     were to be so for several more centuries), but by the end of the fifteenth century            Roy Strong.The year 2008 saw the release of a recording pairing Machaut’s Messe
     there emerged a marked eagerness to embrace the individual skills they could offer.           de Notre Dame with Scattered Rhymes, a new work by the young British composer
         The music you will hear this afternoon reflects different manifestations of love and      Tarik O’Regan performed with the Estonian Philharmonic Chamber Choir.
     the workings of love in music: from the conventions of courtly love to unfettered
     displays of passion; from “eyebrow raising” displays of religious love to beautiful poetic    The Consort made their debut at the BBC Proms in the 1997 season, and at the
     expressions of tenderness; and from reserved and coy intimations of tenderness to             Edinburgh International Festival in 1998. Regular performers at London’s Wigmore
     downright bawdy and obscene lyrics.The program will arrive at music from the                  Hall and the South Bank Centre, the Consort has also sung in festivals in Spain,
     celebrations held for the marriage of Cosimo de Medici and Eleanor of Toledo in               Belgium, Germany,Austria, Greece, Estonia, France, Poland, the Czech Republic,
     1539. Sadly we cannot run to a full visual representation of the wedding as described         Russia, Italy, Portugal and Sweden, as well as the Spitalfields, Bury St. Edmunds,
     by Giorgio Vasari (see Deborah L. Krohn’s article in the Metropolitan Museum’s                Aldeburgh, St. David’s, Cheltenham and Chester Festivals, the Manchester Early
     exhibition catalogue) today, but we are delighted to have an opportunity to give you          Music Series, the City of London Festival, the St. Magnus Festival in Orkney, the
     an aural Renaissance wedding experience.                                                      Huddersfield Contemporary Music Festival, and the Beverley and York Early
                                                                                                   Music Festivals.
                                                                               — Angus Smith
                                                                                                   The Consort first performed in North America in November 1992 at the
                                                                                                   University of Notre Dame at a conference held in honor of the 500th anniversary of
     ABOUT THE ARTISTS                                                                             the death of Busnoys. Recent American tours have included performances of many
                                                                                                   early music series, such as the Boston Early Music Festival; the Seattle Early Music
     Formed in 1988 by the Early Music Centre of Great Britain, the ORLANDO                        Guild; the Houston, San Francisco and San Diego Early Music Societies; the
     CONSORT has achieved a reputation as one of the most expert and consistently                  Renaissance & Baroque Society (Pittsburgh); Early Music Now (Milwaukee); and
     challenging groups performing repertoire spanning the years 1050 to 1600.Working              Early Music Vancouver. College and university performances have taken place at
     with leading academics on music that has often never been performed in modern                 Stanford University, Columbia University, Dartmouth College, Cornell University,
     times, the ensemble’s four singers have set new standards of performance, particularly        Haverford College, the Eastman School of Music, the University of Maryland, the
     with regard to the pronunciation and tuning of this fascinating repertoire. Much              University of Vermont and Penn State University.They have also performed at Spivey
     more than a simple early music group, the Orlando Consort has also garnered praise            Hall (Atlanta), the Da Camera Society (Los Angeles), the Dumbarton Concert
     for its imaginative presentation of contemporary music, jazz and education projects,          Series (Washington) and at the Metropolitan Museum of Art.
     while delighting audiences with an uncanny ability to present old music with an
     inspiring and fresh approach.                                                                 The work of the Orlando Consort extends well beyond conventional early music
                                                                                                   presentation.They frequently perform with choirs and with actors of the caliber of
     The group has made many recordings for Saydisc, Metronome, Linn and Deutsche                  Robert Hardy and Prunella Scales.They appear regularly with The Calefax Reed
     Grammophon, and since 2001 for Harmonia Mundi USA. The Mystery of Notre Dame                  Quintet and in collaboration with the jazz quartet Perfect Houseplants.They have
     (works by Perotin and others) was nominated for an Edison Award, while Loyset                 just begun touring a new project,“Mantra,” with the tabla artist Kuljit Bhamra,
     Compère, 1445-1518, Popes and Antipopes (Papal music from the fourteenth and                  which explores a musical dialogue developed in Portuguese Goa in the early
     fifteenth centuries), Passiontide (fifteenth century Flemish Easter music), the Missa De      sixteenth century.
     plus en plus (Ockeghem), The Saracen and the Dove (music for the courts of Padua and
     Pavia), and Motets by Josquin Desprez have all been short-listed for Gramophone               [July 2009]
     awards. The Works of John Dunstaple was chosen as the 1996 Gramophone Early Music
     CD of the Year, an honor repeated in 2003 by The Call of the Phoenix (English
     fifteenth-century motets).Their two CD-book collections, Food,Wine and Song and
     Medieval Gardens, included critically acclaimed feature articles from leading chefs and
     horticulturalists such as Clarissa Dickson Wright, Jean-Christophe Novelli and Sir



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TRANSLATIONS
                                                                                               TRANSLATIONS

     GUILLAUME DE MACHAUT                                                                       Miseria estrema dell’humane chose           extreme misery of human affairs
     Rose, liz, printemps, verdure                                                              Già mai ti volse, al mio prego t’inchina.   ever turned thee, bend to my prayer.
     Rose, liz, printemps, verdure,                 Rose, lily, spring, greenery,               Soccorri alla mia guerra,                   Give help to my struggle
     Fleur, baume et tres douce odour,              Flower, balm, and scent most sweet,         Bench’i’ sia terra, e tu del ciel reina.    though I am earth and thou art
     Belle, passes en doucour,                      Lovely lady, you surpass in sweetness,                                                  Queen of Heaven.

     Et tous les biens de Nature                    And all the good things of Nature           JACOPO DA BOLOGNA
     Avez, dont je vous aour.                       you have, for which I adore you.            Aquila altra – Creatura gentile – Uccel di Dio
                                                                                                Aquila altera, ferma in su la vetta           Proud eagle, fix your valiant eye
     Rose, liz, printemps, verdure,                 Rose, lily, spring, greenery,               Dell’alto monte l’occhio valoroso,            Upon the peak of the high mountain,
     Fleur, baume et tres douce odour,              Flower, balm, and scent most sweet,         Dove tua vita prende suo riposo,              In which your life takes its rest,
     Belle, passes en doucour.                      Lovely lady, you surpass in sweetness.      Là è ’l parere, là l’esser beato.             There both appearance and being
                                                                                                                                              are blessed.
     JOHANNES CICONIA
                                                                                                Creatura gentile, animal degno,             Noble creature, worthy beast,
     O bella rosa
                                                                                                Salire in alto e rimirare’l sole            To fly aloft and gaze upon the sun
     O bella rosa, o perla angelichata,             O beautiful rose, O angelic pearl,
                                                                                                Singularmente tuo natura vuole.             Is your nature’s singular desire.
     Tu sei tucta mea dea,                          You are entirely my goddess,
                                                                                                Là è l’imagine e là perfectione.            There is the image, and there perfection.
     Tu sei piu bella che Pantasilea.               You are more beautiful than Penthesilea.
                                                                                                Uccel di Dio, insegna di giustitia,         Bird of God, banner of justice,
     Tu m’ai si donna del to amor infiamato,        You have inflamed me so much, lady,
                                                    with your love                              Tu ai principalmente chara Gloria.          Dearest of all to you is glory,
     Che noct’e di per te vivo in guai.             That night and day for thee I               Per che nelle grand’opre tu ai Victoria     Wherefore in great enterprises you
                                                    live in pain.                                                                           have victory.
                                                                                                Là vidi l’ombra, là la vera essenza.        There you see the shadow, there
                                                                                                                                            the true essence.
     O bella rosa, o perla angelichata,             O beautiful rose, O angelic pearl,
     Tu sei tucta mea dea,                          You are entirely my goddess,
                                                                                                ANTONIO ZACHARA DA TERAMO
     Tu sei piu bella che Pantasilea.               You are more beautiful than Penthesilea.
                                                                                                Un fior gentil
                                                                                                Un fior gentil m’apparse,                   A gentle flower appeared to me,
     GUILLAUME DUFAY
                                                                                                O aspiratio prima,                          O breathing, first (letter)
     Vergine bella, che di sol vestita (Francesco Petrarca)
                                                                                                Bina ne va per rima,                        it goes double by way of rhyme
     Vergine bella, che di sol vestita,               Beauteous virgin, who clad in the sun
                                                                                                Poy duy cenquante prima e tosto sparse.     then two fifties, the first, and
     Choronata di stelle al somo sole                 crowned with stars didst please the                                                   soon disappeared.
                                                      highest sun
     Piacesti, sì, che’n te sua luce ascose;          so much that in thee he hid his light,
                                                                                                Angelicamente venne a reparase,             It renewed itself in angelic guise,
     Amor mi spigne a dir di te parole:               love spurs me on to speak words
                                                      about thee;                               Passionato stando ad iudicarme.             impassioned, being on the point
                                                                                                                                            of judging me.
     Ma non so ’ncominzar senza tu aita,              but I know not how to begin
                                                      without thine aid,                        Sorrise, e come sol refulse ed arse,        It smiled, and like the sun it shone
                                                                                                                                            and burnt
     E di colui ch’amando in te si pose.              and his that for love laid himself
                                                      within thee.                              Che mai più dolce in terra fosse parme.     so that, it seems to me, never
                                                                                                                                            was sweeter thing on earth.
     Invoco lei che ben sempre rispose                I call on her that has always
                                                      answered well                             Poy commenca a donarme                      Then it begins to give me
     Chi la chiamò con fede.                          him that called on her with faith.        De quell suo dolce frutto.                  of that sweet fruit it bore.
     Vergene, s’a mercede                             Virgin, if to mercy                       Ay me, che’l mundo tutto                    Ah me, in the whole world

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TRANSLATIONS
                                                                                                 TRANSLATIONS

     Tal fior non se troverà a ben cercase.          such a flower will not be found              L’une persse et l’aultre blanche.             one dark blue and the other white.
                                                     though one look hard for it.
                                                                                                  Plus que jamais de sa bande                   More then ever I shall count myself
     Un fior gentil m’apparse….                      A gentle flower appeared to me….             Me tiendray, et de si pres                    one of his company, and so closely
                                                                                                  Qu’on verra bien par expres                   that it will be seen plainly
     BARTOLOMEO BROLLO                                                                            Que tousjours son fait amande.                that I always improve his condition.
     O celestial lume
     O celestial lume agli ochi mei,                 O heavenly light in my eyes,                 Ja que li ne s’i attende,                     Now let him not rely on it,
     e membra in chui l’alma mia stassy.             And limbs wherein my soul dwells.            Car tous aultres sont cases,                  for all the others are broken,
     E a me lasiato è rimenbrar de ley,              And left to me is remembrance of her         Et je l’aime plus qu’assés                    and I love him more than enough
     O celestial......                               O heavenly . . .                             Affin que chescun l’entende.                  for everyone to hear.
     Quando may fia che rivegia quey                 When will it ever be that I see
                                                     again those eyes
                                                                                                  ANTOINE BRUMEL
     ochy per chuy tanti gemiti ò sparssy?           for which I have given forth so
                                                     many groans?                                 Sicut lilium
     O celestial......                               O heavenly . . .                             Sicut lilium inter spinas, sic amica mea inter filias.
                                                                                                  As a lily among thorns, so is my love among the daughters. (Song of Songs, 2: 2)
     ANONYMOUS
     N’a pas long temps                                                                           NICOLAS GOMBERT
     N’a pas long temps que trouvay Zephirus         Not long ago I found Zephyrus                Quam pulchra es
     En son gardin regardant ses flourettes,         in his garden, looking at the flowers,       Quam pulchra es et quam decora, carissima in deliciis. Statura tua assimilata est palme,
     Lequel disoit au noble roy Phebus,              who said to the noble King Phoebus           ubera tua botris. Caput tuum ut Carmelus, collum tuum sicut turis eburnea.
     “merci te rens de tes cures bien faites.        “I give you thanks for your                  How beautiful art thou, and how comely, my dearest in delights! Thy stature is like to
                                                     diligent attentions,                         a palm tree, and thy breasts to clusters of grapes.Thy head is like [Mount] Carmel, thy
     Car mes flours sont belle, plaisans et nettes   for my flowers are pretty, sweet and tidy    neck as a tower of ivory.
     Et oudourans plus que piement ne graine,        and smell stronger than spiced wine
                                                     or seed                                      Veni, dilecte mi, egrediamur in agrum, videamus si flores fructus parturierunt, si
     Et par vertu je treuve moult humayne            and by its very human virtue I discover      floruerunt mala Punica. Ibi dabo tibi ubera mea.Alleluya.
     Une playsant ou mon cuer se delitte:            a pleasing one in which my
                                                     heart delights:                              Come, my beloved, let us go forth into the field, let us see if the flowers have
     Nomer la puis sans pensée vilayne               I can name it with no discourteous           brought forth fruits, if the pomegranates have flourished.There will I give thee
                                                     thought                                      my breasts.Alleluia.
     La tres playsant et belle Margaritte.”          The very sweet and beautiful
                                                     daisy/Margaret.”                             JOSQUIN DESPREZ
                                                                                                  Missa “L’ami Baudichon” – Gloria
     ANTOINE BUSNOYS                                                                              Gloria in excelsis Deo. Et in terra pax hominibus bone voluntatis. Laudamus te.
     Ja que li ne s’i attende                                                                     Benedicimus te.Adoramus te. Glorificamus te. Gratias agimus tibi propter magnam
     Ja que li ne s’i attende,                       Now let him not rely on it,                  gloriam tuam. Domine Deus rex celestis, deus pater omnipotens. Domine fili
     Car tous aultres sont cases,                    for all the others are broken,               unigenite Jesu Christe. Domine Deus, agnus dei, filius patris. Qui tollis peccata mundi,
     Et je l’aime plus qu’assés                      and I love him more than enough              suscipe deprecationem nostram. Qui sedes ad dexteram patris, miserere nobis.
     Affin que chescun l’entende.                    for everyone to hear.                        Quoniam tu solus sanctus, tu solus dominus, tu solus altissimus Jesu Christe. Cum
     Ainsi a-il le renon                             It is said of him                            sancto spiritu in gloria Dei patris.Amen.
     De porter sur une manche                        that he wears upon one sleeve                Glory be to God on high, and in earth peace, good will towards men.We praise thee,
     Deulx des letters de mon nom:                   two letters of my name,                      we worship thee, we glorify thee, we give thanks to thee for thy great glory. O Lord

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                                                                                             TRANSLATIONS

     God, heavenly King, God the Father Almighty. O Lord the only-begotten Son, Jesus         “Soaz, soaz, ordonarequin.”                  “Soaz, soaz, ordonarequin.”
     Christ. O Lord God, Lamb of God, Son of the Father, that takest away the sins of the
     world, have mercy upon us.Thou that takest away the sins of the world receive our        * Two possible interpretations are offered for this Basque refrain:“Whoa, whoa, you
     prayer.Thou that sittest at the right hand of God the Father, have mercy upon us. For    nasty lowlander!” or “Go, go in safety.”
     thou only are holy, thou only are the Lord, thou only, O Christ, with the Holy Ghost,
     art most high in the glory of God the Father.Amen.                                       HEINRICH ISAAC
                                                                                              Donna di dentro/Dammene un pocho/Fortuna d’un gran tempo
     ANONYMOUS
     Vilana, che sa’ tu far?                                                                  Superius
     “Vilana, che sa’ tu far?”                   “Peasant girl, what can you do?”             “Donna, di dentro dalla tua casa             “Lady, within your house
     “So filar, e so naspar,                     “I can wind skeins and I can spin,           son rose, gigli e fiori.                     are roses, lilies, and flowers.
     So chiusir, e so tagiar,                    and I can handle needle and pin,             Tuto homo che l’annasa                       Every man who smells them
     E so far chazonzelle.”                      And I invent songs beautifully.”             ne sente gusto al core.”                     feels their scent in his heart.”
     “Fe’ me de quelle.”                         “So, invent some for me now.”                Fortuna d’un gran tempo.                     Fortune for a long time.*
     “Non fero, se non ho.”                      “I won’t, unless I am paid.”                 “Dammi una rosa.”                            “Give me a rose.”
     “Posta, posta, pur ben.”                    “Do it, do it, then.”                        “Totela, o perla pretiosa.”                  “Take it, precious pearl.”
     “Tantara, tantara.”                         “Tantara, tantara.”
     “De pur susso.                              “Get up                                      Tenor
     Alza la gamba.”                             And raise your legs”                         “Fortuna d’un gran tempo mi se’ stata,       “Fortune, for a long time you were,*
     “Exaudi nos.”                               “Hear us.”                                   O gloriosa donna, mia bella.”                O glorious lady, my beauty.”
     “Kyrie eleison.”                            “Lord, have mercy on us.”
     “Christe eleison.”                          “Christ, have mercy on us.”                  Common to all voices
     “Kyrie eleison.”                            “Lord, have mercy upon us.”
                                                                                              Dammene un pocho di quella maçacrocha, Give me a little of that mazzacrocca,†
     JOSQUIN DESPREZ                                                                          e non me ne dar troppa.                but don’t give me too much.
     Une mousse de Bisquaye                                                                   [variant:] et dammela ben cotta.       and give it me well baked.
     Une mousse de Bisquaye                      A young Basque damsel
     L’aultre jour pres ung moullin              by the mill, the other day                   * A quotation from a famous song.
     Vint à moy sans dire gaire,                 came smack upon me                           † A long stick-shaped cake or pastry with a knob at the end (probably with an
     Moy hurtant sur mon chemin,                 running into my way,                         obscene double meaning).
     Blanche commue ung parchemin;               White as parchment;
     Je la baisé à mon aise,                     I gave her a gentle kiss,                    ANONYMOUS
     Et me dist sans faire noise:                but calmly said the miss:                    Canto di donne maestre di far cacio
     “Soaz, soaz, ordonarequin.”*                “Soaz, soaz, ordonarequin.”                  Donne no’ siàn di Chianti per natione        Ladies we are from Chianti by birth,
     Avoir je n’en peuz aultre chose,            There was nothing I could do                 maestre di far cacio al paragone.            we have mastered cheese-making at
     Par ma foy, à ce matin,                     on that morn, to my dismay,                                                               its best.*
     Fors baiser à bouche close                  but just kiss her (mouth closed!)
     Et la main sur le tetin.                    with my hand on her breast.                  El mestier nostro vuol gran diligenza,       Our craft requires great diligence,
     “Adieu, petit musequin,                     “Little one, adieu, goodbye,                 pulitezza, buon occhio e patienza,           cleanliness, a good eye, and patience,
     A Dieu soyez, ma popine.”                   God be with you, pretty head!”               frescha la mano et avere avertenza,          a cool hand and paying attention,
     Lors me dit la Bisquayne:                   Still the Basque girl merely said:           pigliare el latte sol d’una ragione.         taking the milk only in one way.



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                                                                                               TRANSLATIONS

     Bisogna prima aver tutto l’armento             You must first have the entire herd         JEAN MOUTON
     rinchiuse fralle rete o ‘n casa drento,        shut up in the nets or inside the house,    James n’aymeray mason: je suis trop belle
     pigliarle una per volta: o che contento        and take the cows one at a time;            James n’aymeray mason:                      Never will I love a mason
                                                    Oh what contentment                         je suis trop belle;                         I am too beautiful;
     ha quella che è la prima a tal factione!       has she who is the first in such            Car il a barbouillé                         for he has smeared
                                                    a business!
                                                                                                Mon con de sa trouelle                      my con with his trowel.
                                                                                                Mon mary est plus bellin                    My husband is more of a ram
     Come ‘l latte è rapreso nel vasello,           When the milk is curdled in the pail,
                                                                                                Qu’agneau qui belle:                        than a lamb bleating:
     bisogna con duo man trarlo di quello,          you must pull it out with both hands,
                                                                                                Il ne seroit trouver                        he couldn’t find
     priemerlo, maneggiarlo et farlo bello,         squeeze it, knead it, and make it nice,
                                                                                                Mon con si n’a chandelle.                   my con even with a candle.
     formarlo et porlo asciutto nel gabbione.       mould it, and when it is dry put it
                                                    in the basket.                              Toute la nuit, il my disoit                 All night long, he kept telling me
                                                                                                Que ma chemise luy nuysoyt.                 That my smock was hindering him.
     El nostro cacio in sé tutto è perfetto,        Our cheese is absolutely perfect,           Je la prins et la gesis en la ruelle,       I took it and threw it next to the bed,
     non troppo corto, lungo, largo o stretto,      not too short, long, wide, or narrow;       Mais encore demandoit il de la chandelle.   And still, he kept asking for a candle.
     grosso a ragion, ritondo, saldo e netto:       the right size, round, firm, and clean;
     fra ‘l terzo e ‘l mezo piace a’ più persone.   most people like between a third and        ANONYMOUS
                                                    a half.†                                    D’une belle/Coquille, bobille

     * Throughout there is a play on cacio ‘cheese’ and cazzo, the coarse term for the          Superius
     male organ.                                                                                D’une belle josne fille                     While a lovely young girl
     † The unit in question is the Florentine braccio or cubit of 58 cm.                        Qui se dormoit soubz ung pin,               slept beneath a pine tree,
                                                                                                Tins naguères le tétin,                     I held her nipple,
     LOYSET COMPERE                                                                             Ront et dur comme une bille.                Round and firm like a ball.
     Alons fere nos barbes
     Alons fere nos barbes,                         Let’s go and do our beards,                 Et par voie assez soubtille,                And in a rather subtle manner,
     Alons gentil galans,                           come on, good lads,                         Baisay le doulx musequin.                   I kissed her little muzzle.
     La barbiere les moglie                         the barber’s wife                           Lors se dressa ma coquille,                 Then my nutshell stood upright,
     Sovent deux à la fois,                         often wets them two at a time               Preste d’avoir le hutin,                    ready to take the booty,
     Quant son mari revient                         when he comes back                          Et n’appetoit ce matin                      and it managed to satisfy itself
     De fere sa besogne,                            from his business,                                                                      this morning
     Chi luy font vigle come,                       who will look out for him                   Qu’à ce frocter de l’estrille.              By thwacking the currycomb.
     Disant coment va,                              saying how goes it,
     Coment fet vostre feme,                        how is your wife doing,                     Tenor 1
     Fet elle plus cela?                            is she still at it?                         Coquille, bobille, faucille, bourdon!       Trickery, deceit, fraud, mockery!
     Et ou la trouveroye                            And where would I find                      Et berger, d’où vient, d’où vient           And shepherd, from where, where
     La femme au petit con, dondon,                 the woman with the little con, dondon,      La nostre servant(e)?                       does our serving wench come?
     Trouver ne la sauroye,                         I don’t know how to find her,               Elle vient de no jardin,                    She comes from our garden,
     Et celle de Paris                              and that one from Paris,                    De cueillir de la mente.                    from gathering mint.
     Dissent qu’il ont petit,                       they say it’s small too,                    Tenor 2
     Par lieu quoi bousteroye,                      in the place where I would drive in,        Coquille, bobille, faucille, bourdon!       Trickery, deceit, fraud, mockery!
     Ung chariot branslant, dedens,                 a swinging chariot, inside,                 Et berger, berger comment t’appelon?        And shepherd, shepherd, what’s
                                                                                                                                            your name?
     Et ma lance qui ploye.                         And my lance plunging.
                                                                                                Par ma foy, ma dame, j’ay nom Tappecon.     By my faith, lady, my name’s Tappecon.

84   WWW.CLARICESMITHCENTER.UMD.EDU                                                                                                                        ORLANDO CONSORT            85
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                                                                                              TRANSLATIONS

     PHILIPPE VERDELOT                                                                         JACQUES ARCADELT
     Amor quanto più lieto                                                                     I vaghi fiori
     Amor quanto più lieto mi stavo,              Love, as much as I was happy                 I vaghi fiori e l’amorose fronde,
     Et giva di speranz’altero,                   And went in lofty hope,                      E l’herb’ e l’aria altrui diletto danno,
     Tant’hor son post’in doglia, et manco spero. So much am I now plunged in                  Porgon diletto l’antri e piacer l’onde,
                                                  grief, and hope for little.                  Levano l’arm’ e l’arch’ ogn’ aspr’ affanno
     Mia benigna fortuna in piant’è volta         My favorable fortune has turned              L’ombra soave al cuor’ dolcezz’ infonde,
                                                  into grief
                                                                                               Fuggir le grave angoscie l’aure sanno,
     Che da quei lumi vaghi                       That from those lovely eyes
                                                                                               Lasso me, che mia vita non ristaura,
     Ond’io vivea, et lei n’era contenta,         That gave me life — and she
                                                  was content —                                Fior, frond’, herb’, aria, antr’, ond’, arm’, arch’, ombr’, aura.
     Piacer non sento più ch’un dol m’appaghi, I feel no pleasure more than pain
                                                  repays me,                                   The lovely flowers and amorous branches,
     Né pur mia prec’ascolta,                     Nor indeed does she listen to my plea,       and the grass and the air give delight to others,
     Anci tutta crudel mi s’appresenta            But comes all cruel before me.               the grottoes proffer delight and the waves pleasure;
     Po esser mai che spenta                      Can it ever be that pity                     weapons and bows relieve every unpleasant affliction;
     Sia’n lei pietà per cui m’accesi in modo     Is extinguished in her, for whom I           the pleasing shade pours sweetness into the heart;
                                                  have become so much afire                    the breezes know how to dispel grievous sufferings.
     Che quanto m’odia più d’amarla godo?         That the more she hates me the more          Woe is me, whose life is not restored by
                                                  I rejoice to love her?                       flower, branch, grass, air, grotto, wave, weapon, arrow, shade, or breeze.
     Amor se d’hor in hor
     Amor se d’hor in hor la doglia cresce        Love, if hour by hour my grief increases,    FRANCESCO CORTECCIA
     Anci fatt’immortale                          Or rather is made immortal                   Non men’ ch’ogn’altra lieta
     Chi finirà el mio male?                      Who will end my woe?                         Non men’ ch’ogn’altra, lietra hoggi Cortona
     Lasso s’in vita del dolor non s’esce,        Alas, if one cannot escape grief in live,    COSMO, le santo Noze
     Se doverà finirea,                           If it is to end,                             Antico Amor’ad honorar’ ne sprona.
     Mi converrà morire.                          I shall have to die?                         Ma come potrò mai con le parole
                                                                                               Mostrate à pieno il Core?
     Amor, tante virtù                                                                         Et far’ quanto d’honore
     Amor, tante virtù et gentilezze              Love, so many virtues and noble traits       Desio ne scorge à cosi bella Prole?
     Non se vide giamai né così extreme           Were never seen, nor at so extreme           Prendi dunque il desio, prend’il Signore;
                                                  a pitch,
                                                                                               Che non piccolo è il don’, di chi’l Cor’dona.
     Tutte raccolt’insieme                        All gathered together
     Entro in un corpo salvo in quest’etade       Within one body, save in this age.
                                                                                               No less than any other, COSIMO, happy Cortona is spurred today by
     Amor, con l’infinite sue bellezze            Love, with her infinite beauties
                                                                                               ancient love to honor the holy marriage. But how shall I ever be able to
     Vinc’ogn’alta beltade                        She surpasses every other beauty
                                                                                               show my heart fully to you with words? Or to do as much honor as I desire
     Non sol in terra                             Not only on earth
                                                                                               to such handsome offspring? Take, then, my wish, take it,my Lord, for not
     Ma nel terzo cielo.                          But in the third heaven.
                                                                                               small is the gift of her who gives her heart.
     Io adonque quell bel volto                   How then should I be able to praise
     Come potrei lodar con bass’ingegno?          With my low wit that
                                                  lovely countenance?                          Ecco la fida ancella
     Amor, di’l tu che’l sai, et ne sei degno.    Love, speak thou (her praises) that          Ecco la fida Ancella,
                                                  knowest how, and art worthy to do it.        Che stanca un tempr da si ria tempesta
                                                                                               Tua mercè fuor dell’onde alza la testa.


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TRANSLATIONS




     O pietoso Nettuno, ò saggio Dio,
     Che c’l tup bel tridente,
     Fra cosi altera gente,
     Ftto hai queto ogni affetto acerbo, et rio:
     Sciatti accetto il desio,
     Ch’assai vince il saver di ringratiarte,
     Et di sempre honorarte,
     Con la tua sposa, et mia secura stella.

     Here is the faithful handmaiden who, having been tired some time
     fro such an evil storm, now, thanks to you, raises her head out of the
     waves. O charitable Neptune, O wise god, who with your trident
     has calmed all bitter and evil feelings among such proud people, please
     accept the desire, which is greater than my ability, to thank you and
     to honour you, with your bride and my secure star.


     Vattene Almo riposo
     Vattene Almo riposo, ecco ch’io torno
     Et ne rimeno il giorno.
     Levate herbette e fronde
     Et vestitevi Piaggie et Arbuscelli:
     Uscite, ò Pastorelli,
     Uscite ò Nymfe bionde
     Fuor del bel nido addorno,
     Ogn’un’ si svegli e muova al mio ritorno.

     Depart, blessed Repose, for here I am again, bringing back the day. Rise up, grass and
     leafy Branches, and dress yourselves, slopes and shrubs. Come out, O shepherds; come
     out, O blonde nymphs, from your beautiful, adorned nest. Let everyone wake up and
     bestir himself on my return.
     The Orlando Consort is represented by:
     BesenArts LLC | 508 First Street, Suite 4W | Hoboken NJ 07030-7823 | www.BesenArts.com


     The Orlando Consort records exclusively for Harmonia Mundi USA.
     Other recordings for Deutsche Grammophon, Metronome, and Saydisc.
     www.orlandoconsort.com




88   WWW.CLARICESMITHCENTER.UMD.EDU

								
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