Now That's What I Call Madrigals!
Texts and Translations Page
1. Sinfonia No.2 in C Major
Composer: Leonora Duarte (1610 – c.1678)
Samuel Oliver-Sherry & Teresa Lu, violins
Elizabeth Dallosso, Iona Azzopardi & Justin Yu, violas
Lilly Wilcocks, cello
Chris Brain, continuo
2. Flow My Tears
Composer & Lyricist: John Dowland (London, 1563 – London, 1626)
Phoenix Solti, baritone
Teresa Lu, violin
Elizabeth Dallosso, Iona Azzopardi & Justin Yu, violas
Lilly Wilcocks, cello
Chris Brain, continuo
Flow, my tears, fall from your springs!
Exiled for ever, let me mourn;
Where night’s black bird her sad infamy sings,
There let me live forlorn.
Down vain lights, shine you no more!
No nights are dark enough for those
That in despair their lost fortunes deplore.
Light doth but shame disclose.
Never may my woes be relieved,
Since pity is fled;
And tears and sighs and groans my weary days
Of all joys have deprived.
From the highest spire of contentment
My fortune is thrown;
And fear and grief and pain for my deserts
Are my hopes, since hope is gone.
Hark! you shadows that in darkness dwell,
Learn to contemn light.
Happy, happy they that in hell
Feel not the world’s despite.
3. Quanto sia lieto il giorno
Composer: Phillipe Verdelot (Seine-et-Marne, 1480-85 – c.1530-1552)
Lyricist: Niccolò Machiavelli (Florence, 1469 – Florence, 1527)
Seb Carrington, Yueshi Yang, Barnabas Sharp & Henry Hart
Quanto sia lieto il giorno
nel qual le cose antiche
son or da voi dimostra e celebrate:
Si vede perché intorno,
tutte le genti amiche
si son' in questa parte radunate:
noi che la nostra etate
ne' boschi, e nelle selve consumiamo
venuti ancor qui siamo
io ninfa e noi pastori
e giam cantando insieme i nostri amori.
How happy is the day
in which ancient things
are now by you shown and celebrated:
One sees because around us,
all friendly people
are assembled here:
We who spend our lives
in these woodlands and groves,
have also come here,
I, nymph, and we, shepherds,
and we sing together of our loves.
4. Quanta beltà quanta gratia e splendore
Composer: Jacques Arcadelt (Namur, 1507 – Paris, 1569)
Lyricist: Anonymous
Elizabeth Millett & Lauren Marshall, sopranos
Yueshi Yang, alto
Barnabas Sharp & Phoenix Solti, tenors
Chris Brain & Henry Hart, basses
Quanta beltà, quanta gratia e splendore
Si vidde in donna mai,
Vaga angioletta tutt’il ciel vi diede
Quant’ alta cortessia, quanto valore
Regnò in donna gia mai, gia mai
Tutt'in voi regna con pietate e sede
tal che chiunque vi vede
Dice che i bei sembienti vostri e costumi santi,
I divia occhi,
il bel volto e le chiome
D’Angela son insieme col bel nome.
How much beauty, grace and splendour
Was ever seen in a woman,
Fair angel, the entire heaven gave you
So much courtesy, so much value
That never reigned in a woman, never before.
Everything reigns with pity and has its seat,
So much that everyone who sees you
Says that your gracious line and virtues,
The heavenly eyes,
The beautiful face and hair
Are all together of an Angel, with your name.
5. Vestiva i colli
Composer: Giovanni Pierluigi da Palestrina (Palestrina, 1525 – Rome, 1594)
Lyricist: Lelio Capilupi (Mantua, 1497 – Mantua, 1560)
Elizabeth Millett, Seb Carrington, Franco Lopez, Barnabas Sharp, Chris Brain
Vestiva i colli e le campagne intorno
la primavera di novelli onori
e spirava soavi arabi odori,
cinta d'erbe, di fronde il crin adorno,
quando Licori, a l'apparir del giorno,
cogliendo di sua man purpurei fiori,
mi disse in guidardon di tanti ardori:
A te li colgo et ecco, io te n'adorno.
Così le chiome mie, soavemente
parlando, cinse e in sì dolci legami
mi strinse il cor, ch'altro piacer non sente:
onde non fia già mai che più non l'ami
degl'occhi miei, né fia che la mia mente
altri sospiri desiando o chiami.
Spring, encircled with herbs
and with leaves garlanding her hair, was clothing
the hills and the countryside around with new beauty
and breathing sweet Arabian scents,
when at daybreak, Licori,
gathering purple flowers in his own hand,
told me, in recompense for all that desire:
“I pick them for you, and, look, I adorn you with them.”
And so, speaking sweetly,
he bound my hair; and thus he seized my heart
with such sweet force
that I wanted no other joy:
so now I will never stop looking at him with love,
never sigh or call for any other.
6. Anchor che col partire
Composer: Cipriano de Rore (Ronse, 1515/16 – Parma, 1565)
Lyricist: Alfonso d'Avalos (Ischia, 1502 – Vigevano, 1546)
Elizabeth Millett & Lauren Marshall, sopranos
Yueshi Yang, alto
Barnabas Sharp & Phoenix Solti, tenors
Chris Brain & Henry Hart, basses
Anchor che col partire
io mi senta morire,
partir vorrei ogn'hor, ogni momento:
tant' il piacer ch'io sento
de la vita ch'acquisto nel ritorno:
e così mill' e mille volt' il giorno
partir da voi vorrei:
tanto son dolci gli ritorni miei.
Even though when I leave you
I feel myself dying,
I would be glad to leave every hour, every moment;
I feel so much joy
from the life I renew in coming back:
and so a thousand thousand times a day
I want to leave you—
so sweet are my returnings.
7. Il bianco e dolce cigno
Composer: Jacques Arcadelt (Namur, 1507 – Paris, 1568)
Lyricist: Giovanni Guidiccioni (Lucca, 1480 – Macerata, 1541)
Lauren Marshall, Seb Carrington, Franco Lopez & Chris Brain
Il bianco e dolce cigno
cantando more, ed io
piangendo giung' al fin del viver mio.
Stran' e diversa sorte,
ch'ei more sconsolato
ed io moro beato.
Morte che nel morire
m'empie di gioia tutto e di desire.
Se nel morir, altro dolor non sento,
di mille mort' il di sarei contento.
The white and sweet swan
dies singing, and I,
weeping, reach the end of my life.
Strange and different fate,
that he dies disconsolate
and I die a blessed death,
which in dying fills me
full of joy and desire.
If in dying, were I to feel no other pain,
I would be content to die a thousand deaths a day.
8. Aspro core et selvaggio, et cruda voglia
Composer: Adrian Willaert (Seine-et-Marne, 1480-85 – c.1530-1552)
Lyricist: Francis Petrarch (Arezzo, 1304 – Arquà, 1374)
Seb Carrington, Franco Lopez, Barnabas Sharp, Phoenix Solti, Henry Hart & Chris Brain
Aspro core et selvaggio, et cruda voglia
in dolce, humile, angelica figura,
se l'impreso rigor gran tempo dura,
avran di me poco honorata spoglia;
ché quando nasce et mor fior, herba et foglia,
quando è 'l dì chiaro, et quando è notte oscura,
piango ad ognor: ben ò di mia ventura,
di madonna et d'Amore onde mi doglia.
Vivo sol di speranza, rimembrando
Che poco~humor già per continua prova
Consumar vidi marmi et pietre salde.
Non è sì duro cor, che lagrimando,
Pregando, amando, talor non si smova,
Né sì freddo voler, che non si scalde.
Her savage bitter heart, and cruel will,
beneath a sweet, humble, angelic form,
however much they retain their severity,
gain slight honour from me as their prize:
when the flowers, the grasses and the leaves
are new born, and when they die again,
in broad day and darkest night, I weep on,
since fate, Love, and my lady bring me grief.
I only live on hope, remembering
I've seen a little water's constant flow
wear away marble and the solid stone.
No heart's so hard that tears, prayers,
love, can't sometimes move it,
no will so cold that it can't be warmed.
9. Liquide perle, Amor dagli occhi sparse
Composer: Luca Marenzio (Brescia, 1553/54 – Rome, 1599)
Lyricist: Anonymous
Lauren Marshall, Elizabeth Millett, Yueshi Yang, Franco Lopez & Chris Brain
Liquide perle, Amor dagli occhi sparse,
In premio del mio ardore,
Ma, lasso, ohime! che’l core
Di maggior foco m'arse;
Ahi, che bastava solo
A darmi morte il primo ardente duolo.
Liquid pearls from Love's eyes scattered
in reward for my ardor,
but, alas! my heart
burns from a fiercer flame;
Ah, it alone suffices,
that first ardent pain, to bring me death.
10. Io canterei d'amor sì novamente
Composer: Cipriano de Rore (Ronse, 1515/16 – Parma, 1565)
Lyricist: Francis Petrarch (Arezzo, 1304 – Arquà, 1374)
with diminutions by:
- * Giovanni Bassano (Venice, 1560/61 – Venice, 1617)
- * Girolamo Dalla Casa (d. Venice, 1601)
Seb Carrington, Franco Lopez, Barnabas Sharp & Henry Hart
* Elizabeth Dallosso, viola
Io canterei d'amor si novamente
ch'al duro fianco il di mille sospiri
trarei per forza e mille alti desiri
raccenderei nella gelata mente;
e'l bel viso vedrei cangiar sovente,
e bagnar gli occhi e più pietosi giri
far como suol, chi degli altrui martiri
e del suo error quando non val si pente
I would sing of love in so new a way
I would draw a thousand sighs
from that hard heart, and light a thousand
noble desires in that chill mind:
and I would see her often change expression,
and wet her eyes, and turn more pityingly,
like one who, when it's no use, repents
of other's suffering and her own error.
11. O felici occhi miei
Composer: Jacques Arcadelt (Namur, 1507 – Paris, 1568)
Lyricist: Anonymous
with diminutions by:
- * Diego Ortiz (Toledo, c. 1510 – Rome, c. 1576)
Elizabeth Millett & Lauren Marshall, sopranos
Seb Carrington & Yueshi Yang, altos
Barnabas Sharp & Franco Lopez, tenors
Chris Brain & Henry Hart, basses
* Elizabeth Dallosso, viola
O felici occhi miei, felici voi
Che sete care al mio sol,
perche sembianze avete degli occhi
Che gli fur si dolci e rei.
Voi ben voi sete voi felici,
Ed io io non che per quetar vostro desio
Corre a mirar l'onde mi struggo poi.
O happy eyes of mine, happy you,
you who are dear to my sun
because you bear the resemblance
of those eyes that were to him so sweet, and so guilty,
You, dear, you are happy,
and I am not, and to quench your desire,
I rush to gaze upon the waves, and to pine.
12. Suite of Saltarelli from "Il Scolaro"
Composer: Gasparo Zanetti (1626 – 1645)
Henry Hart, recorder
Samuel Oliver-Sherry & Teresa Lu, violins
Elizabeth Dallosso, Iona Azzopardi & Justin Yu, violas
Lilly Wilcocks, cello
Seb Carrington, continuo
Jack Oliver-Sherry, percussion
13. Solo e pensoso
Composer: Giaches de Wert (Flanders, 1535 – Mantua, 1596)
Lyricist: Francis Petrarch (Arezzo, 1304 – Arquà, 1374)
Elizabeth Millett, Lauren Marshall, Seb Carrington, Yueshi Yang & Phoenix Solti
Solo et pensoso i piú deserti campi
vo mesurando a passi tardi et lenti,
et gli occhi porto per fuggire intenti
ove vestigio human l’arena stampi.
Altro schermo non trovo che mi scampi
dal manifesto accorger de le genti,
perché negli atti d’alegrezza spenti
di fuor si legge com’io dentro avampi:
sì ch’io mi credo omai che monti et piagge
et fiumi et selve sappian di che tempre
sia la mia vita, ch’è celata altrui.
Ma pur sí aspre vie né sí selvagge
cercar non so ch’Amor non venga sempre
ragionando con meco, et io co’llui.
Alone and thoughtful, the emptiest fields
I'm measuring with my slow, tardy steps,
and with my eyes I'm running away
where not a single footstep is printed in the sand.
I can not find another possible shelter
to hide me from everybody's awareness,
because in all my acts, so lacking in joy,
it's easy to see, outside, how I'm burning inside;
therefore, I believe these mountains and beaches
and rivers and woods now know how cruel
is my life, which is hidden to men.
But I can not find paths wild and rough enough
to force Love not to walk on my side:
He keeps on speaking with me, and I with him.
14. La bella donna
Composer: Phillippe de Monte (Hapsburg, 1521 – Prague, 1603)
Lyricist: Vittoria Colonna (Marino, 1490 – Rome, 1547)
Elizabeth Millett, Lauren Marshall, Yueshi Yang, Seb Carrington, Franco Lopez, Phoenix Solti
La bella donna, a cui dolente preme
Quel gran desio, che sgombra ogni paura,
Di notte sola, inerme, umile, e pura,
Armata sol di viva ardente speme
Entra dentro ’l Sepolcro, e piange e geme;
Gli Angeli lascia, e più di se non cura;
Ma a’ piedi del Signor cade secura,
Che ’l cor, ch’arde d’amor, di nulla teme.
Ed agli uomini, eletti a grazie tante,
Forti, insieme richiusi, il lume vero
Per timor parve nudo spirto ed ombra.
Onde se ’l ver dal falso non s’adombra,
Convien dar a le donne il pregio intero
D’aver il cor più acceso, e più costante.
Gripped by sadness and that intense longing
which removes fear, this beautiful woman,
alone in the night, weak, humble, selfless
her only armor active soaring hope,
enters the tomb, cries, moans, and rocks, pays no
mind to angels, thinks nothing of herself,
trusting him wholly, she falls at His feet:
the heart which aches with love can know no fear.
The men chosen for this state of mind, this
grace, felt his presence like he were some ghost,
a fearful passing shadow to shut out.
And thus if we cannot infer falsehood
from truth, it is right to respect women for
an awakened, exalted, constant heart.
15. Cruda Amarilli
Composer: Luca Marenzio (Brescia, 1553/54– Rome, 1599)
Lyricist: Giovanni Battista Guarini (Ferrara, 1538 – Venice, 1612)
Elizabeth Millett, Seb Carrington, Phoenix Solti, Franco Lopez, Henry Hart
Cruda Amarilli, che col nome ancora,
d’amar, ahi lasso! amaramente insegni;
Amarilli, del candido ligustro
più candida e più bella,
ma de l’aspido sordo
e più sorda e più fera e più fugace;
poi ché col dir t’offendo,
i’ mi morrò tacendo.
Ma grideran per me le piaggie, e i monti
e questa selva, a cui
sì spesso il tuo bel nome
di risonar insegno;
per me piangendo i fonti,
e mormorando i venti,
diranno i miei lamenti;
Parlerà nel mio volto
la pietate e’l dolore;
e se fia muta ogn’altra cosa al fine
parlerà il mio morire,
e ti dirà la morte il mio martire.
Cruel Amaryllis, who with your name
to love, alas, bitterly you teach;
Amaryllis, more than the white privet
pure, and more beautiful,
but deafer than the deaf asp,
and fiercer and more elusive;
since in speaking I offend you,
I shall die in silence.
Yet for me will cry out the hills and the mountains
and these woods, to which
so often your fair name
to resound I teach.
Weeping for me, the springs,
and murmuring, the winds,
will tell my laments;
In my face will speak
compassion and sorrow;
and if every other thing is silent, in the end,
will speak my dying,
and to you my death will tell of my suffering.
16. Chi prende amor a gioco
Composer: Tarquinio Merula (Cremona, 1594/95 – Cremona, 1665)
Lyricist: Anonymous
Lauren Marshall, soprano
Yueshi Yang, alto
Chris Brain, bass
Samuel Oliver-Sherry & Teresa Lu, violins
Lilly Wilcocks, cello
Seb Carrington, continuo
Jack Oliver-Sherry, percussion
Chi prende amor a gioco
prende a scherzar col fuoco,
che con finti splendori
alletta gli occhi e incenerisce i cori.
He who takes love as a joke
takes to playing with fire
which with its fake splendour
entices the eyes and burns the hearts
17. Vecchio amante che rende
Composer: Barbara Strozzi (Venice, 1619 – Padua, 1677)
Lyricist: Giulio Strozzi (Venice, 1583 – Venice, 1652)
Seb Carrington, alto
Barnabas Sharp, tenor
Henry Hart, bass
Samuel Oliver-Sherry & Teresa Lu, violins
Lilly Wilcocks, cello
Chris Brain, continuo
Jack Oliver-Sherry, percussion
Io cedo, Amor, io cedo
All’ingiurie de gl' anni:
Congiurate a miei danni
L’armi del tempo io vedo;
Io cedo, Amor, io cedo.
Acciò la resa mia
Senza gloria non sia,
Pria ch’estinto io mi veggia
Amor per me patteggia.
La rocca del mio core
Tutte ha perdute omai
Le diffese di fuore:
Ai balconi del volto
L’uso del lume è tolto;
Di mia bocca son state
Le macchine atterrate;
Ogni duro si scuote
E per la breccia di rugose gote
L’ultimo assalto apparecchiato io vedo.
Io cedo, Amor, io cedo,
Pria ch’estinto io mi veggia
Così per me patteggia.
Il miccio del desire
Voglio primieramente
Resti acceso all’uscire.
La speme porti almeno
Poco bagaglio in seno.
Al mio coraggio tocca
Sortir con palla in bocca,
E portar di ragione
Vuol la memoria un picciolo cannone,
Che la memoria sol meco io mi vedo.
Io cedo, Amor, io cedo,
Pria ch’estinto io mi veggia;
Così per me patteggia.
Ancor sarà dovere
Marchiar in ordinanza
A spiegate bandiere;
Per dovunque si passa
Trombeggiar, batter cassa.
Ove condurmi io voglio
Ch’abbia un fido convoglio.
Parla chiaro e che basti,
Ché non sorghino in fin nuovi contrasti,
Perch’il nemico cavilloso io vedo.
Io cedo, Amor, io cedo,
All’ingiurie de gl'anni:
Congiurate a miei danni
L’armi del tempo io vedo;
Io cedo, Amor, io cedo.
I surrender, Love, I surrender
to the injuries of the years.
I see the arms of time
arrayed against me,
I surrender, Love, I surrender.
So that the end result [of my loves]
is not disgraceful,
before I see myself vanquished
let Love negotiate terms for me.
The stronghold of my heart
has now completely lost
its exterior defenses;
to the bulkhead of the face
the reserves of eyesight are lost;
the armaments of my mouth
are laid low;
every strength is shaken
and I see preparation for the final assault
on the breach of my lined cheeks.
I surrender, Love, I surrender:
before I see myself vanquished
let Love negotiate terms for me.
Above all I want
the fuse of desire
to remain lit as I depart.
Hope, at least, carries
little baggage in the heart.
It is seemly for my courage
to exit the field with loaded barrels,
and memory has cause
to retain a small arsenal,
that only memory and I can see.
I surrender, Love, I surrender:
before I see myself vanquished
let Love negotiate terms for me.
Duty will retain the right
to march in ranks
with flying colors,
wherever it goes,
sounding trumpets, raising its banners:
Where I go I would like
to have a loyal escort.
Speak clearly and let it suffice,
that new disputes do not arise in the end,
for I see that the enemy is quarrelsome.
I surrender, Love, I surrender
to the injuries of the years:
arrayed against me
I see the arms of time;
I surrender, Love, I surrender.
18. Lamento della ninfa (seconda parte)
Composer: Claudio Monteverdi (Cremona, 1567 – Venice, 1643)
Lyricist: Ottavio Rinuccini (1563 – 1621)
Kirsty Fernie, soprano
Seb Carrington, continuo
Iona Azzopardi & Elizabeth Dallosso, violas
Lilly Wilcocks, cello
"Amor",
[...]
"dove, dov'è la fè
ch'el traditor giurò?"
[...]
"Fa' che ritorni il mio
amor com'ei pur fu,
o tu m'ancidi, ch'io
non mi tormenti più."
[...]
"Non vo' più ch'ei sospiri
se non lontan da me,
no, no, che i suoi martiri
più non dirammi, affé!
Perché di lui mi struggo
tutt'orgoglioso sta,
che sì, che sì se 'l fuggo
ancor mi pregherà?
Se ciglio ha più sereno
colei che 'l mio non è,
già non rinchiude in seno
Amor si bella fé.
Né mai si dolci baci
da quella bocca havrai,
né più soavi; ah, taci,
taci, che troppo il sai."
"O Love
[...]
Where's the fidelity
That the deceiver promised?
[...]
"Make my love come back
As he used to be
Or kill me, so that
I will not suffer anymore."
[...]
"I don't want him to sigh any longer
But if he's far from me.
No! He will not make me suffer
Anymore, I swear!
He's proud
Because I languish for him.
Perhaps if I fly away from him
He will come to pray to me again.
If her eyes are more serene
Than mine,
O Love, she does not hold in her heart
A fidelity so pure as mine.
And you will not receive from those lips
Kisses as sweet as mine,
Nor softer. Oh, don't speak!
Don't speak! you know better than that!"
19. Altri canti d'Amor
Composer: Claudio Monteverdi (Cremona, 1567 – Venice, 1643)
Lyricist: Anonymous
Lauren Marshall & Seb Carrington, sopranos
Yueshi Yang, alto
Franco Lopez, Phoenix Solti & Barnabas Sharp, tenors
Chris Brain & Henry Hart, basses
Samuel Oliver-Sherry & Teresa Lu, violins
Elizabeth Dallosso, Iona Azzopardi & Justin Yu, violas
Lilly Wilcocks, cello
Seb Carrington, continuo
Jack Oliver-Sherry, percussion
Altri canti d’Amor, tenero arciero
i dolci vezzi e i sospirati baci
narri gli sdegni e le bramate paci
quand’unisce due alme un sol pensiero.
Di Marte io canto, furibondo e fiero,
i duri incontri e le battaglie audaci,
strider le spade e bombeggiar le faci,
fo nel mio canto bellicoso e fiero.
Tu cui tessuta han di cesareo alloro
la corona immortal Marte e Bellona,
gradisci il verde ancor novo lavoro,
che mentre guerre canta e guerre suona,
o gran Fernando, l’orgoglioso coro,
del tuo sommo valor canta e ragiona.
May others sing Love, tender archer,
the sweet enchantments and kisses full of desire
let them tell of the outrages and reconciliations
when one thought unites two souls.
Of Mars I sing, furious and proud,
the harsh clashes and the daring battles,
the clashing of swords and the bursting of fires
I narrate in my warlike and proud song.
You for whom the laurel of Caesar was woven
the immortal crown of Mars and Bellona,
accept this just written new work.
That while war sings and war plays,
o great Fernando, the proud chorus
of your supreme valour sings and declaims.