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Alfabeto Songs
Guitar songs from 17th-century Italy
Raquel Andueza
soprano
Theresa Dlouhy [6, 12, 15]
soprano
Private Musicke
Hugh Sandilands guitar
Jesús Fernandez Baena theorbo
Richard Myron violone, colascione 16“
David Mayoral percussion
Daniel Pilz colascione 8“ [2, 6, 15]
Pierre Pitzl
guitar & direction
guitars
after Christoph Koch (Venice 1640), Erik Pierre Hoffmann 2009 [4, 7, 8, 13]
after Jean Voboam (Paris 1687), Karl Kirchmeyr, Vienna 2011 [16]
after Antonio Stradivari (Cremona 1688), Karl Kirchmeyr, Vienna 2010
colascione
Karl Kirchmeyr, Vienna 2008, 2012
theorbo
Jaume Bosser, Santa Càndia/Barcelona 2006
violone
Willibrord Crijnen, Marseille 2004
Alfabeto Songs
Giovanni Stefani
1 Amante felice (sopra l’aria della Ciaccona)3:57
(Affetti amorosi canzonette, 1618)
Tarquinio Merula
10 Quando io volsi l’altra sera3:06
(Curtio precipitato et altri capricij, 1638)
Giovanni Stefani
2 Alma mia (Aria della Folia)2:58
(Scherzi amorosi, 1622)
Giovanni Stefani
11 O voi ch’intorno al lagrimoso canto3:32
(Concerti amorosi, 1623)
Girolamo Kapsberger
3 Rosa Bianca3:37
Bartolomeo Barbarino da Fabriano
12 Bella è la Donna mia3:12
(Canzonette e sonetti, 1616)
(Li fiori, libro sesto di villanelle, 1632)
Giovanni Paolo Foscarini
4 Aria di Fiorenza sopra C2:58
(Li cincue libri di chitarra spagnuola, 1620-40)
Gaspar Sanz
13 Passacaglia in D3:43
(Instrucción de música, 1674)
Marcantonio Aldigiatti de Cesena
5 Deh volgetemi il guardo4:32
Girolamo Montesardo
14 La Grave3:26
(Gratie et affetti amorosi, 1627)
(I lieti giorni di Napoli, 1612)
Flaminio Corradi
6 Odi Euterpe3:52
(Le stravaganze d’amore, 1616)
Girolamo Kapsberger
15 Felici gl’animi2:40
(Libro quarto di villanelle, 1623)
Giovanni Paolo Foscarini
7 Ciacona in C1:41
(Li cincue libri di chitarra spagnuola, 1620-40)
Francesco Corbetta
16 Passacaglia in B3:09
(spanish manuscript, 1650)
Francesco Corbetta
8 Passacaglia in A2:05
Giovanni Stefani
17 Partenza4:49
(Affetti amorosi canzonette, 1618)
(Varii Scherzi di Sonate, 1648)
Girolamo Montesardo
9 Anima dove sei4:57
(I lieti giorni di Napoli, 1612)
Total Time: 58:24
E nglis h
E nglis h
Alfabeto Songs
“It is amazing how modern these songs sound”
is a comment we hear frequently after performing villanelles, canzonettas, arias and other works
by composers such as Kapsberger and D’India in
our concerts. It is indeed true that not a lot has
changed over the centuries. A song is a song, then
as today: the prevalence of classical A-B-form,
a catchy melody and the presence of the guitar which characterises the tone and rhythm of
the pieces with strummed or plucked chords and
brief solo passages. This last-mentioned quality is
almost certainly the characteristic which makes
these early Italian songs sound so “modern”. We
have compiled a selection from the enormous Early
Baroque repertoire of pieces specifying the guitar
as an accompanying instrument which can be established by the Alfabeto lettering in the printed
music originating from this period.
“Alfabeto” is a fingering notation system for chords.
Ever since the emergence of the 5-string Chitarra espagnola around 1580, a variety of attempts had been
undertaken to develop a tablature or simple numerical notational system for chords. It was the system
developed by Girolamo Montesardo in his guitar
collection entitled „Nuova Inventione d’Intavolatura
per sonare li Balletti sopra la Chitarra Spagnuola,
senza numeri e note” and published in Florence in
1606 which was ultimately adopted.
According to this method, a single letter is assigned to each guitar chord. A for example stands
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for G major, B for C major, D for A minor etc. Barré
chords are also notated as a single number above
the appropriate letter: this number denotes the fret
used for the barré. H stands for Bb major, H3 is C
major, H5 is D major and so on. Certain composers (such as Foscarini, Calvi and Sanz) also utilise
letters for dissonant chords – mainly four-three
suspensions, seventh chords and also a number of
daring acciaccaturas (termed as alfabeto falso).
Once this system has been learned, it proves to be a
great help in the transposition of individual pieces
and ensemble playing with guitars with different
tunings (Carlos, Carbonchi).
This system also helped amateur musicians who
were unable to read music to learn songs and
dances quickly: success was guaranteed. Hundreds
of printed editions of guitar music and songs using alfabeto were issued during the first half of the
seventeenth century. At the same time, alfabeto
also symbolises the new harmonic chordal concept
underlying the music at the beginning of the century: without doubt, the Chitarra espagnola played
a role in the development of monody.
Girolamo Kapsberger was the first to add chordal
notation with letters to the bass line (normally
above the text) in his “Villanelle, Primo Libro” in
1610. In other guitar collections of this period,
there are however several examples of song texts
utilising alfabeto on its own without a melody or
bass line; these songs were apparently so popular
that it was unnecessary to provide the melody in
musical notation.
Alfabeto is mostly used in verse songs such as villanelle, canzonette and arie. The texts are secular,
embedded in an pastoral ambience and devoted to
the topic of love: alfabeto notation is nevertheless
also encountered in pieces of a more complex nature and even sacred songs.
Composers
Nothing is known about the biographical details of
Marcantonio Aldigiatti de Cesena. His slim volume
“Gratie et affetti amorosi” was published in Venice
in 1627 and contained an equal number of instrumental pieces in alfabeto notation and songs with
alfabeto and basso continuo. In the preface, Aldigiatti establishes links between the chitarra and the
Greek cetra: one of the many attempts at that time
to bridge the gap between the extinct ancient lyre
and a “modern” instrument.
Bartolomeo Barbarino da Fabriano, born ca.
1570, was a singer (alto) and composer who was
active in Loreto, Urbino, Padua and Venice. He published madrigals, motets and canzonettas; Bella è
la Donna mia originates from his collection entitled “Canzonette e sonetti” which was published
in Venice in 1616.
Flaminio Corradi published “Le stravaganze
d’amore” in 1612. The text of Odi Euterpe has also
been set to music by Giulio Caccini. No biographical details relating to Corradi have been preserved.
Francesco Corbetta was born in Pavia in 1615 and
played no other instrument but the guitar: he was
considered as the outstanding guitarist of his time
and played a prominent role in the popularisation of this instrument in Europe. His many travels
brought him to almost all significant royal courts
and musical centres in Europe. He raised the art
of playing the guitar to its highest level and was
termed by his Spanish colleague Gaspar Sanz as “El
mejor de todos” – “the best of all”.
Not a lot is known about Giovanni Paolo Foscarini; it is fairly certain that he was active at the
court of the Archduke Albert in Brussels up to the
year 1621. “Li cincue libri della chitarra spagnola”
were published in Rome between 1620 and 1640.
He was one of the first, or perhaps even the very
first, to develop the artistically sophisticated mixed
style of playing with the right hand, combining
plucking (pizzicato) with slapping (rasgueado). His
pieces provide a vivid impression of the swift development of guitar technique during the first decades of the seventeenth century with their distinct
individualism, audacious use of dissonance and a
strong improvisatory element.
Girolamo Kapsberger, born in Venice in 1580,
was as his name implies of German descent. He
was chiefly active in Rome and was highly valued
as a great virtuoso on the lute and as a composer
of vocal music up to his death in 1652. Among
other publications, he produced seven books of
villanelles between 1610 and 1640 which were a
real treasure trove of enchanting and inventive
songs. The villanelle enjoyed such a great degree
of popularity that nearly all major composers active in Italy during the sixteenth and seventeenth
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centuries composed works of this genre (such as
Willaert, Lassus, Monteverdi and Frescobaldi). This
stands in sharp contrast to today with the strict
separation between “serious” and “popular music”:
it is hard to imagine a contemporary opera composer who would simultaneously write (good) pop
or folk songs…
Tarquinio Merula, born in Busseto in 1595, was
an organist and composer who worked in Lodi and
Bergamo before taking up a post as court organist
in Warsaw in 1623. He returned to Italy in 1628
and was subsequently employed as concertmaster
and organist in the cathedral in Cremona before
returning to Bergamo in 1642 where he remained
up to his death in 1652. He composed not only
copious quantities of instrumental music, but
also masses, sacred madrigals and a single opera.
Quando io volsi l’altra sera has been taken from his
collection “Curtio precipitato” which was published
in Venice in 1638: a further musical treasure trove.
Girolamo Montesardo was a singer, composer and
guitarist. His real name was Melcarne: Montesardo
was the name of his place of birth in the province
of Lecce. There is evidence to indicate that he was
employed as a singer in Bologna and also as master of the chapel in the cathedral in Fano for six
months in 1608. La Grave, a piece written in a free
F ran Ç ais
recitative style, and the strophic song Anima dove
sei (a dialogue between the soul and the body)
both originate from the collection “I lieti giorni di
Napoli” which was printed in Naples in 1612.
The Spaniard Gaspar Sanz, born in Calanda/Aragon
in 1640, spent some time in Naples and Rome
where he studied the organ with Christoval Carisan
and probably also the guitar with the Roman lutenist and guitarist Lelio Colista. He published his
first guitar collection “Instrucción de música sobre
la Guitarra española” in Saragossa in 1674 which
was followed by two further volumes in 1697. His
style displays a strong influence from Italian guitarists.
Giovanni Stefani was possibly active in Venice as
the editor of several collections of canzonette utilising alfabeto. Unfortunately, he did not include
the names of the authors in this collection and it
has not been possible to identify the composers of
the pieces included on this recording. A large proportion of the texts are in Italian, but a few have
been written in Sicilian and Spanish. Alma mia is a
folia which also exists with a variant text in Spanish. Incidentally, Kapsberger also made a setting
of the Italian text of the same name in his “Libro
terzo di villanelle”. Bella mia is a ciacona and O
voi ch’intorno al lagrimoso canto is a romanesca.
Pierre Pitzl
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Alfabeto Songs
« La modernité de ces chansons est étonnante. »
C’est ce que nous entendons souvent lorsque nous
jouons en concert des Villanelle, Canzonette, Arie
et autre de Kapsberger, D’India e. a. En effet, rien
ne semble avoir beaucoup changé. Une chanson
est toujours une chanson. Aujourd’hui comme hier.
La recette : forme A-B classique, mélodie facile à
retenir et – sans nul doute un signe caractéristique
de ces pièces italiennes anciennes aux accents si
« modernes » – la présence de la guitare qui détermine la sonorité et le rythme par des accords
frappés ou pincés, petites interventions solistes
etc. Nous présentons ici un florilège de l’immense
répertoire du baroque précoce italien prévoyant
explicitement la guitare comme instrument d’accompagnement. Ce qui se voit aux lettres de l‘Alfabeto dans les gravures musicales d‘époque.
L’alfabeto est une tablature pour les accords. Depuis l’apparition de la Chitarra espagnola à cinq
cordes vers 1580 env., diverses tentatives avaient
été faites pour développer une tablature ou une
notation chiffrée simple pour les accords. Le système de Girolamo Montesardo qu’il développa
dans son recueil pour la guitare publié en 1606 à
Florence « Nuova Inventione d’Intavolatura per sonare li Balletti sopra la Chitarra Spagnuola, senza
numeri e note » devait finir par s’imposer.
Ici, chaque accord sur la guitare est désigné par une
lettre de l’alphabet. Par exemple : A est sol majeur, B
do majeur, D la mineur etc. Les barrés sont respecti-
vement notés avec un chiffre au-dessus de la lettre.
Ce chiffre indique la frette sur laquelle l’accord est
joué. H est si bémol majeur, H3 est do majeur, H5 ré
majeur etc. En outre, on trouve chez certains auteurs
(Foscarini, Calvi, Sanz e. a.) également des lettres
pour des accords dissonants, le plus souvent retards
de la tierce, accords de septième mais aussi quelques
acciaccatures audacieuses (dites Alfabeto falso).
Une fois apprises toutes les lettres, cela s’avère très
utile pour transposer des morceaux de musique ou
lorsque plusieurs guitares accordées différemment
jouent ensemble (Carlos, Carbonchi).
Ce système permettait en tous les cas aux amateurs
ne sachant pas lire les notes d’apprendre rapidement
à jouer chansons et danses. Le succès était programmé. Des centaines de gravures pour la guitare et de
recueils de chansons avec Alfabeto parurent dans la
première moitié du 17e siècle. Mais l’Alfabeto représente aussi la nouvelle pensée musicale en matière
d’harmonies et d’accords à l’orée du siècle naissant.
La Chitarra espagnola ne fut donc pas en reste dans
le développement de la monodie.
Avec son « Villanelle, Primo Libro » de 1610, Girolamo
Kapsberger fut le premier à noter des lettres d‘accord
en plus d’une partie de basse (en général au-dessus
du texte). Mais on trouve aussi dans quelques autres
livres de guitare des textes de chansons sans basse ni
mélodie et ne comportant que l’Alfabeto. Peut-être
ces chansons étaient-elles à ce point populaires qu’il
était superflu d’en noter la mélodie.
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F ran Ç ais
L’Alfabeto figure le plus souvent dans des chansons
à strophes comme les Villanelle, Canzonette, Arie.
Les textes sont de nature profane, s’inscrivant en
général dans le milieu pastoral ayant l’amour pour
sujet. Mais on peut rencontrer aussi les lettres d’Alfabeto dans des pièces de texture plus complexe et
dans des chants religieux.
Compositeurs
On ne sait rien de la vie de Marcantonio Aldigiatti
de Cesena. Son petit livre « Gratie et affetti amorosi » parut en 1627 à Venise et contient chaque
fois pour moitié des pièces instrumentales en notation Alfabeto, ainsi que des chansons avec Alfabeto
et basse continue. Dans sa préface, Aldigiatti fait le
lien entre la Chitarra et la Cetra grecque, une des
nombreuses tentatives de cette époque de combler
avec un instrument « moderne » le vide laissé par
l’antique lyre qui avait bien sûr disparu.
Bartolomeo Barbarino da Fabriano, né en 1570
env., était chanteur (haute-contre) et compositeur.
Les étapes de son travail furent Loreto, Urbino,
Padoue et Venise. Il publia des Madrigale, Motette
et Canzonette. Bella è la Donna mia est issu de son
recueil « Canzonette e sonetti » publié en 1616 à
Venise.
Flaminio Corradi publia en 1612 « Le stravaganze
d’amore ». Le texte d’Odi Euterpe fut également mis
en musique par Giulio Caccini. Nous ne possédons
aucun élément biographique à son sujet.
Francesco Corbetta naquit en 1615 à Pavie et
joua uniquement de la guitare. Il fut le grand guitariste de son temps et contribua pour beaucoup
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F ran Ç ais
à l’immense popularité et à la rapide diffusion de
cet instrument en Europe. Ses nombreux voyages le
conduisirent dans presque toutes les grandes cours
princières et centres musicaux majeurs d’Europe.
Il porta l’art du jeu de la guitare à son plus haut
niveau et son collègue espagnol Gaspar Sanz le
surnommait « El mejor de todos » – « le meilleur
de tous ».
On sait peu de choses de Giovanni Paolo Foscarini. Il semble sûr qu’il travailla jusqu‘en 1621 à
Bruxelles à la cour de l‘archiduc Albert. « Li cincue
libri della chitarra spagnuola » parurent de 1620 à
1640 à Rome. Il fut l’un des premiers, peut-être le
premier à développer l’art savant du style mixte –
une liaison raffiné de jeu pincé (pizzicato) et frappé
(rasgueado) de la main droite. Ses pièces sont un
bon exemple de l’évolution rapide de la technique
de la guitare dans les premières décennies du 17e
siècle. Individualisme prononcé, traitement audacieux des dissonances et un fort élément d’improvisation sont ses ingrédients.
Girolamo Kapsberger, né en 1580 à Venise, était
d’origine allemande comme son nom l‘indique. Il
travailla essentiellement à Rome et fut jusqu’à sa
mort en 1652 très estimé comme grand virtuose du
luth et compositeur de musique vocale. Il rédigea
entre autres sept livres de villanelles qui parurent de
1610 à 1640, véritable mine de chansons enchanteresses et originales. Les Villanelle étaient tellement
appréciées que presque tous les grands compositeurs des 16e et 17e siècles en Italie (Willaert, Lassus, Monteverdi, Frescobaldi u. a.) en composèrent.
À la grande différence d’aujourd’hui où l’on fait
une distinction très rigoureuse entre « musique
sérieuse » et « musique de divertissement ». Difficile
d’imaginer aujourd’hui qu’un compositeur d’opéra
puisse écrire de la (bonne) musique pop ou folk...
Tarquinio Merula, né en 1595 à Busseto, était
organiste et compositeur. Il travailla à Lodi et
Bergame avant d’endosser la fonction d’organiste
de cour à Varsovie en 1623. Il retourna en Italie
en 1628. À Crémone, il fut employé à la cathédrale comme premier violon et organiste, puis de
nouveau à Bergame de 1642 à sa mort en 1652.
Il écrivit une quantité remarquable de musique instrumentale, mais aussi des messes, des madrigaux
sacrés et un opéra. Quando io volsi l’altra sera est
issu du recueil « Curtio precipitato », paru en 1638
à Venise. Là encore, une véritable mine.
Girolamo Montesardo fut chanteur, compositeur
et guitariste. Son vrai nom était Melcarne. Montesardo, dans la province de Lecce, était son lieu de
naissance. Il est attesté qu’il fut employé comme
chanteur à Bologne et fut en 1608 pour un an à
peine maître de chapelle à la cathédrale de Fano.
La Grave, une pièce de style libre récitatif ainsi que
le chant strophique Anima dove sei (un dialogue
entre l‘âme et le corps) sont issus du recueil « I lieti
giorni di Napoli », paru en 1612 à Naples.
L’Espagnol Gaspar Sanz né en 1640 à Calanda/
Aragon, passa quelques temps à Naples et Rome où
il étudia l’orgue avec Christoval Carisani et apprit
eventuellement le jeu de guitare avec le luthiste et
guitariste romain Lelio Colista. En 1674, il publia à
Saragosse son premier livre de guitare « Instrucción
de música sobre la Guitarra española » suivi de
deux autres en 1697. Son style est très fortement
influencé par les guitaristes italiens.
Giovanni Stefani travailla peut-être à Venise. Il fut
l’éditeur de plusieurs recueils de Canzonette avec
Alfabeto. Les auteurs ne sont malheureusement
pas nommés. Dans les pièces de cet enregistrement,
je n’ai pas réussi à identifier les compositeurs. La
majeure partie des textes sont italiens. Mais on
trouve aussi quelques pièces siciliennes et espagnoles. Alma mia est une Folia dont il existe aussi
une variante textuelle en espagnol. Kapsberger
composa en outre le texte italien homonyme dans
son « Libro terzo di villanelle ». Bella mia est une
Ciacona et O voi ch’intorno al lagrimoso canto une
Romanesca.
Pierre Pitzl
Traduction: Sylvie Coquillat
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www.privatemusicke.at
Alfabeto Songs
„Es ist erstaunlich, wie modern diese Lieder klingen.“ Das hören wir oft, wenn wir Villanelle, Canzonette, Arie und ähnliches von Kapsberger, D’India
u. a. in Konzerten spielen. In der Tat scheint sich
nicht viel geändert zu haben. Ein Song ist ein Song.
Damals wie heute.
Die meist klassische A-B-Form, eine eingängige
Melodie und – und das ist sicher ein Charakteristikum dieser frühen italienischen Stücke, das so
„modern“ anmutet – die Präsenz der Gitarre, die
mit geschlagenen oder gezupften Akkorden, kleinen Soli etc. Klang und Rhythmus prägt. Wir haben
hier eine kleine Auswahl aus dem riesigen Repertoire des italienischen Frühbarock ausgewählt, die
explizit die Gitarre als Begleitinstrument vorsieht.
Ersichtlich ist das an den Alfabeto Buchstaben in
den Notendrucken jener Zeit.
„Alfabeto“ ist eine Griffschrift für Akkorde. Seit
dem Aufkommen der fünfsaitigen Chitarra espagnola um ca. 1580 gab es verschiedene Versuche, eine Tabulatur oder einfache Ziffernschrift
für Akkorde zu entwickeln. Das System Girolamo
Montesardos, das dieser in seiner 1606 in Florenz
veröffentlichten Gitarrensammlung Nuova Inventione d’Intavolatura per sonare li Balletti sopra la
Chitarra Spagnuola, senza numeri e note“ entwickelte, sollte sich schließlich durchsetzen.
Hier wird jeder Akkord auf der Gitarre mit einem
Buchstaben bezeichnet. Also zum Beispiel: A ist GDur, B C-Dur, D a-Moll usw. Barrégriffe sind jeweils
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mit einer Ziffer über dem Buchstaben notiert. Diese
Ziffer zeigt den Bund, auf dem der Akkord gegriffen
wird. H ist B-Dur, H3 ist C-Dur, H5 D-Dur usw. Darüber hinaus gibt es bei manchen Autoren (Foscarini, Calvi, Sanz u.a.) auch Buchstaben für dissonante
Akkorde, meist Quartvorhalte, Septakkorde aber
auch einige kühne Acciaccaturen (genannt Alfabeto falso). Lernt man einmal alle Buchstaben, ist
dies sehr hilfreich beim Transponieren von Stücken
oder dem Zusammenspielen mehrerer verschieden
gestimmter Gitarren (Carlos, Carbonchi).
Dieses System ermöglichte es jedenfalls auch Laien, die
nicht Noten lesen konnten, rasch Lieder und Tänze zu
spielen. Der Erfolg war vorprogrammiert. Hunderte von
Gitarrendrucken und Liedersammlungen mit Alfabeto
erschienen in der ersten Hälfte des 17. Jahrhunderts.
Das Alfabeto repräsentiert aber auch das neue, harmonisch-akkordische Denken in der Musik des beginnenden Jahrhunderts. An der Entwicklung der Monodie
war die Chitarra espagnola daher nicht unbeteiligt.
Girolamo Kapsberger war mit seinen „Villanelle,
Primo Libro“ 1610 der erste, der zusätzlich zu einer
Bassstimme Akkordbuchstaben notierte (in der Regel über dem Text). Es finden sich aber auch in einigen anderen Gitarrenbüchern Liedtexte, die ohne
Bass und Melodie, nur mit Alfabeto versehen sind.
Möglicherweise waren diese Lieder so populär, dass
es sich erübrigte, die Melodie zu notieren.
Alfabeto findet sich meist in strophischen Liedern wie Villanelle, Canzonette, Arie. Die Texte
13
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sind weltlicher Natur, in der Regel im Schäfermilieu angesiedelt und handeln von der Liebe. Aber
auch in Stücken mit komplexerer Textur, sowie in
geistlichen Liedern kann man Alfabeto-Buchstaben
antreffen.
Die Komponisten
Über Marcantonio Aldigiatti de Cesena lässt
sich nichts Biographisches in Erfahrung bringen.
Sein schmales Büchlein „Gratie et affetti amorosi“
erschien 1627 in Venedig und enthält je zu einer
Hälfte Instrumentalstücke in Alfabetonotation,
sowie Lieder mit Alfabeto und Basso Continuo. Aldigiatti bringt in seinem Vorwort die Chitarra mit
der griechischen Cetra in Verbindung, einer der
zahlreichen Versuche jener Tage, das Vakuum der
natürlich nicht mehr existierenden antiken Leier
mit einem „modernen“ Instrument zu füllen.
Bartolomeo Barbarino da Fabriano, ca. 1570
geboren, war Sänger (Altist) und Komponist. Stationen seines Wirkens waren Loreto, Urbino, Padua und Venedig. Er veröffentlichte Madrigale,
Motetten und Canzonette. Bella è la Donna mia
entstammt seiner 1616 in Venedig veröffentlichten
Sammlung „Canzonette e sonetti“.
Flaminio Corradi veröffentlichte 1612 „Le stravaganze d’amore“. Der Text von Odi Euterpe findet
sich auch von Giulio Caccini vertont. Biographisches ist nicht überliefert.
Francesco Corbetta wurde 1615 in Pavia geboren
und spielte ausschließlich Gitarre. Er war der herausragende Gitarrist seiner Zeit und an der großen Beliebtheit und der raschen Verbreitung dieses
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D eutsc h
Instruments in Europa maßgeblich beteiligt. Seine
vielen Reisen führten ihn an fast alle bedeutenden
Fürstenhöfe und Musikzentren Europas.
Er brachte die Kunst des Gitarrenspiels zur höchsten Vollendung und sein spanischer Kollege Gaspar
Sanz nannte ihn „El mejor de todos“ – „den Besten
von allen“.
Wenig ist über Giovanni Paolo Foscarini bekannt.
Sicher scheint zu sein, dass er bis 1621 in Brüssel
am Hof Erzherzog Alberts tätig war. „Li cincue libri della chitarra spagnuola” erschienen 1620 bis
1640 in Rom. Er war einer der ersten, oder möglicherweise der erste, der die kunstvolle Art des
gemischten Stils – eine raffinierte Verbindung von
Zupfen (pizzicato) und Schlagen (rasgueado) der
rechten Hand – entwickelte. Seine Stücke sind ein
gutes Beispiel für die rasche Entwicklung der Gitarrentechnik in den ersten Jahrzehnten des 17. Jahrhunderts. Starker Individualismus, eine kühne Dissonanzbehandlung und ein starkes improvisatorisches Element sind ihre Ingredienzien.
Girolamo Kapsberger, 1580 in Venedig geboren,
war deutscher Abstammung, daher sein Name.
Er wirkte hauptsächlich in Rom und wurde bis zu
seinem Tod 1652 als großer Virtuose auf der Laute, sowie als Vokalkomponist hoch geschätzt. Er
verfasste unter anderem sieben Villanellenbücher,
die im Zeitraum von 1610 bis 1640 erschienen und
eine wahre Fundgrube zauberhafter und origineller
Lieder sind. Beinahe jeder der großen Komponisten
des 16. und 17. Jahrhunderts in Italien (Willaert,
Lassus, Monteverdi, Frescobaldi u. a.) komponierte
Villanelle, so beliebt waren sie. Ein großer Unter-
schied zur heutigen Zeit, in der es immer noch eine
starke Trennung von „ernster Musik“ und „Unterhaltungsmusik“ gibt. Schwer vorstellbar, dass heutigentags ein Opernkomponist auch (gute) Popoder Folksongs schriebe...
Tarquinio Merula, 1595 in Busseto geboren, war
Organist und Komponist. Er wirkte in Lodi und
Bergamo, bevor er 1623 eine Stelle als Hoforganist in Warschau antrat. 1628 kehrte er nach Italien zurück. In Cremona war er als Konzertmeister
und Organist am Dom angestellt, von 1642 bis zu
seinem Tod 1652 wieder in Bergamo. Er schrieb
eine ansehnliche Menge Instrumentalmusik, aber
auch Messen, geistliche Madrigale sowie eine Oper.
Quando io volsi l’altra sera stammt aus der Sammlung „Curtio precipitato“, die 1638 in Venedig erschien, auch sie ein wahres Schatzkästchen.
Girolamo Montesardo war Sänger, Komponist und
Gitarrist. Sein eigentlicher Name war Melcarne.
Montesardo, in der Provinz Lecce, war sein Geburtsort. Verbrieft ist, dass er in Bologna als Sänger angestellt war und 1608 für ein knappes Jahr
Kapellmeister im Dom zu Fano war. La Grave, ein
Stück im freien, rezitativischen Stil sowie das strophische Anima dove sei (ein Dialog von Seele und
Körper) entstammt der Sammlung „I lieti giorni di
Napoli“, die 1612 in Neapel erschien.
Der Spanier Gaspar Sanz wurde1640 in Calanda/
Aragonien geboren. Er verbrachte einige Zeit in
Neapel und Rom, wo er Orgel bei Christoval Carisani studierte und vermutlich das Gitarrenspiel
bei dem römischen Lautenisten und Gitarristen
Lelio Colista erlernte. 1674 veröffentlichte er in
Saragossa sein erstes Gitarrenbuch „Instrucción
de música sobre la Guitarra española“, dem 1697
zwei weitere folgten. Sein Stil ist sehr stark von den
italienischen Gitarristen beeinflusst.
Giovanni Stefani wirkte möglicherweise in Venedig. Er war Herausgeber mehrerer Sammlungen von
Canzonette mit Alfabeto. Leider werden die Autoren nicht genannt. Bei den Stücken dieser Aufnahme ist es mir nicht gelungen, die Komponisten zu
identifizieren. Der Großteil der Texte ist italienisch.
Es finden sich aber auch einige sizilianische und
spanische darunter. Alma mia ist eine Folia, zu der
es auch eine spanische Textvariante gibt. Kapsberger vertonte übrigens den gleichnamigen, italienischen Text in seinem „Libro terzo di villanelle“.
Bella mia ist eine Ciacona und O voi ch’intorno al
lagrimoso canto eine Romanesca.
Pierre Pitzl
15
1 Amante felice
Bella mia questo mio core
Per voi vive e per voi more
Chè voi sete per mia sorte
La mia vita e la mia morte.
Col bel guardo voi mi ferite
Col bel guardo voi mi guarite,
Quando dunque mi mirate
Morte, e vita ohime mi date.
With thy beautiful glance thou hurtest me
With thy beautiful glance thou healest me
So when death aims at me
I am alas given life.
O d’amor miracol novo
Vita, e morte à un tempo io provo
Ne so quale è più gradita
Se la morte, ò pur la vita.
Oh with the new miracle of love
Life and death I feel at one time
I know not which is more welcome
death itself or life.
Anzi in dubbio ancor io vivo
S’io son morto, ò s’io son vivo
Mà sia quel che vuol il fato
Vivo, e morto a voi m’hò dato.
Or rather, I still live in doubt
whether I am dead or whether I live,
But it will be as fate decrees whether
I surrender myself to thee alive or dead.
2 Alma mia, dove ten va?
Alma mia, che fuggi tu?
Un ch’onore, i tuoi bei rai
ond’il cor fertito fu?
16
My beauty, this heart of mine
lives and dies for thee
for thou art my destiny
My life and my death.
My soul, where art thou going?
My soul, from whom flieth thee?
An admirer of thy beautiful eyes,
whose heart was wounded?
Ferma il passo, o core, o vita,
vuò morire davanti a te.
Ahi, ch’intenti alla partita
fugge’l cor non men ch’l pié.
Yet stay, O heart, O life,
I want to die at your feet.
Ah, intent am I on this departure,
my heart and feet to flee together.
Lagrimate, ochi dolenti,
lagrimate, ella se’n va.
Infelici, eccovi spenti
senza i rai di sua beltà.
Weep, sad eyes,
weep, she flees away from thee.
Unhappy, all here is stifled
without the splendour of her beauty.
L’oro, ohimè, del biondo crine
che sì dolce il cor legò,
nè le perle peregrine
tra i risi mirerò.
Never more will I see the gold of her hair,
which keeps my heart so sweetly bound,
nor yet the fine pearly teeth,
which let me see her laughing.
Nè vedrò la man di rose
ch’alla Aurora scorno fà,
nè le ciglia luminose
dove Amor con arco stà.
Neither will I see her rosy hand
which destroyed the dawn for me,
nor the bright eyelashes,
where Cupid stands with his bow.
Sentirò ben giù nel seno
foco tal ch’io ne morrò.
Lungi apresso ardon’ non meno
quei bel’ochi, e ben lo sò.
3 Rosa bianca
Candidetta Reina
Ceda pur à tuoi vanti
la Rosa porporina
Ch’essa è di duol herede
E nel tuo sen la gioia
Fiorir ogn’hor si vede.
In my deepest self will
I feel a deadly fire:
Not far from me glow no less
Those beautiful eyes, that I know well.
Thou little white queen
before thy glory may
the crimson rose retreat.
Though she is only pain’s heiress
in thy breast, the joy
blooms forever.
Al legiadro tuo stelo
Spiri pur d’ogn’intorno
L’aria tranquilla, el cielo;
Che quel candor vivace
Delle tue pure frondi
Guerra non vol, ma pace.
Thy graceful stem
is surrounded all alone
by a gentle breeze and the sky;
may the brilliant whiteness
of thy pure foliage
desire not war, but peace
Di tue foglie ridenti
Cingan pur le sue fronti
Verginell’innocenti;
Che lor virtù sublime
Più che ne bianchi gigli,
Nel tuo candor s’esprime.
With thy graceful leaves
Are the brows garlanded
of innocent virgins;
For their noble virtue
appears more than white lilies
In thine innocence.
5 Deh volgetemi il guardo
occhi belli c’honnoro
Occhi belli ch’adoro
e mirate com’ardo
socorete al mio core
che languendo si more.
Ah turn a glance toward me,
beautiful eyes that I honour,
beautiful eyes that I adore,
and see how passion
comes to the aid of my heart,
consumes itself and dies.
S’a me il guardo volgete
Occhi belli ridenti
Occhi belli splendenti
Avvivar mi potete
Dhe temprate mie pene
Ch’io mi mor’ò mio bene.
If you turn a glance toward me
beautiful smiling eyes
beautiful shining eyes
Can you let me live again
Oh soothe my pains
For I am dying, all that is mine.
Deh miratemi al quanto
Occhi belli gioiosi
Occhi belli vezzosi
So now, look at me just a little
Your beautiful cheerful eyes
Your beautiful seductive eyes
17
E vedete il mio pianto
Dhe porgetemi aita
Ch’io mor’ò mia vita.
And see my tears
Oh give me help
Then I die, my life.
Ma voi lasso ad ogni hora
Occhi belli spietati;
Occhi belli ma ingrati
Aspettate, ch’io mora
Più non spero conforto
Occhi crudi io son mortò.
But I avoid you at any hour
Your beautiful cruel eyes
beautiful but ungrateful eyes
just waiting for me to die
I expect no further solace
in your hard eyes I’m already dead.
6 Odi Euterpe, il dolce canto
Ch’a l’ostil Amor m’impetra
Et accord’ al dolce canto
L’aureo suon della mia Cetra.
Ch’a dir quel ch’ei mi ragiona
Troppo dolc’Amor mi sprona.
Listen, Euterpe, to the sweet song,
for Cupid requested it of me,
and join the sweet song,
to the golden sound of my lyre,
for all too sweet Cupid coaxes me
to tell that what he said to me.
18
Di noturno, e casto velo
La mia Lidia il sen copría;
Ma la luna in mezo il cielo
Dolcemente il sen m’apria,
Ch’a mirar si bel tesoro
Lampeggio di fiamme d’oro.
My Lydia covered her bosom
with a nocturnal and chaste veil;
but the moon high in the heavens
gently revealed it to me,
for the sight of such a lovely treasure
the moon flared up with flames of gold.
E vedea soave, e pura
La sua neve il petto aprire;
E sentía di dolce cura
Nel mio petto il cor languire,
E salì veloce, e leve
Il mio cor tra neve, e neve.
And I softly and innocently saw
how the breast revealed its purity,
and in sweet care
I felt my heart languish in my breast;
and my heart rose quickly and lightly
into the snow-white purity.
Io mirava, e tu ferivi
Lidia mia soavemente
Io spronava; e tu rapivi
Nel tuo sen la vista ardente
Io movea poche faville
Tu le fiamme a mille a mille.
I gazed, and you wounded me,
my Lydia, sweetly;
the ardent glance in your breast
I spurred on, and you robbed me of it;
I caused a few sparks,
you thousands of flames.
Ma si dolce ardeva il core
Ch’ogni fiamma, ed ogni dardo
In quel caro sen d’amore
Rifresca ogni ora un guardo,
E già m’era il cor ferito
A le piaghe un dolce invito.
But the heart burned so sweetly
that every flame and every arrow
in this dear bosom full of love
refreshed it at any time,
and the wounded heart
was a sweet invitation to further wounds.
9 Anima dove sei
Anima dove sei dov’ hai ricetto,
In quel bel vis’ in quel divino petto
Di, che miraste quel felice giorno
Ch’in te no spero di far mai ritorno.
Soul where art thou, where doth thou hide
In this beautiful countenance, this divine bosom
say that thou saw in me on that happy day
what I can never hope to return to thee.
Vien ti prego al tuo luogo, e dammi pace.
In questo albergo star tanto mi piace
Godendo si soave, e dolce loco,
Ch’io tremo sol pensando nel tuo foco.
Come, I beg thee, to where thou belongeth, and give me peace.
In this lodging, which pleases me so much,
I enjoy so gentle and sweet a place
that I just tremble thinking of thy fire.
Ma damm’il cor: poi che ne godi tanto.
Non vi è più cor, che si disface in pianto,
Per cocenti sospir, ardori, e giaccio
Dal dì, che fusti preso al dolce laccio.
But give me thine heart: in that will I take great pleasure,
for who no longer hath a heart dies of grief,
through burning sighs, ardour and ice
since the day thou art placed in this sweet noose.
Restati, dunque almen fa alcuna volta
Habbi pieta, chi à te da me t’hà tolta,
Che tu puoi ben saper quant’ hà dolore
Un che vive senz’alma, e senza core.
Stay at least for a while
Pity the man who hath taken thee from me
Since thou hast to know how one suffers
living without soul and without heart.
10Quando io volsi l’altra sera
restar teco in sino a di
mi facesti la brusca cera
ne volesti dir di si
con scusarti ch’à quattro hore
aspetavi un gran signore.
When recently I wished
to stay with thee until morning
thou hast looked at me angrily
and did not wish to say yes
with the excuse that at four o’clock
a great lord was expected.
Hoggi poi m’è stato detto,
da persona che lo sa,
che tu sola andasti a letto,
doppò ch’io parti di là,
e dormisti con tuoi guai,
quel signor non venne mai.
Today, we were then told
by someone who knew
that you went to bed alone
after I had gone away,
and fell asleep with your grief,
that the gentleman did not come.
Hor io penso molto bene
La cagion qual si di ciò,
dirò forsi com’aviene
quel signor se lo scordò
e volendo à te venire,
hebbe sonno e ando à dormire.
Now I believe I know very well
what the reason for this is,
and I tell you how it was, perhaps;
this gentleman had simply forgotten
and when he wanted to go to you
he was sleepy and went to bed.
Ma quest’altra opinione
calza meglio per mia fè,
che per tua riputatione
But there is another view
which fits better in my opinion,
that for your reputation
19
tu dicesti cosi à me
per mostrar signora mia
ch’hai gran folla in pescheria.
you spoke like this to me
to show, my lady,
that there are many fish in the sea.
Non sia ben gettarsi via,
ne chiamar chi se ne va,
che la troppo cortesia
nelle Donne è vanità
il mercante ch’altri prega
fa vergogna alla botega.
It is unseemly to throw oneself away,
and those who do should recall
that too much politeness
in women is vanity;
the merchant, who begs from you,
makes his business shameful.
Ma il far sempre repugnanza
e quel sempre dir di nò,
veramente è brutta usanza
che soffrir più non si può,
ed è cosa da curiale
voler sempre il memoriale.
But always to be repulsive
and always to say no
is truly a bad habit,
which one can no longer tolerate,
and it is a matter for lawyers
always to require a record.
Quando siamo trà noi soli
tu fai più difficolta
che non hebber gli spagnoli
nell’impresa di Breda.
Non v’è teco altro rimedio
che pigliarti per assedio.
If we are both alone
thou makest more trouble
than the Spaniards ever had
at the siege of Breda.
With thee there is no other solution
than to take thee by storm.
Io che son poco soldato
alla fin ti lascierò
s’ho da star sempre in steccato
in Venetia andar men’vo
ove almeno à tutte l’hore
non s’aspetta quel signore.
I, who am hardly a soldier,
will finally leave thee
if I always have to stand before the palisade;
I move to Venice
where at least that gentleman
is not expected at any hour.
11Romanesca
O voi ch’intorno a lagrimoso canto
L’orecchie vostr’al mio dolor porgete.
20
Oh you who to my tearful song
Lend your ears to my pain
Deh per pietà del mio supremo pianto
E del mio duro fin meco piangete.
Oh out of pity for my insatiable tears
And for my harsh end weep with me.
E poi che morto col suo negro manto
M’havrà coperto l’ossa raccogliete.
And after death, with his black cloak,
has covered my gathered bones.
La dove quella fonte più s’adombra
Di questi alti cipressi alla mest’ombra.
There, where that spring is the shadiest,
By those tall cypress trees in the darkest shadow.
12Bella è la Donna mia
E cara e graziosa;
Tutta lieta e festosa
Talor ver me s’invia
In abito leggiadro,
Novella Galatea,
Anzi celeste Dea.
Beautiful is my lady,
and loving and delightful;
very happy and joyful
sometimes she comes towards me
In a light dress,
a new Galatea
or rather a heavenly goddess.
„Ben mio“ talor mi dice,
„Eccomi pronta a i baci,
Tu prendine, ma taci,
Taci, che così lice,
Il perché già lo sai,
Novello Amante sei
Ama, che così dei“.
“My darling,” sometimes she says,
“I’m ready for your kisses,
she takes them from you, but in silence,
silent, as is the custom,
you already know why,
you are a new lover,
so love like the gods.
Ben fortunato a pieno
È il mio cor, la mia vita.
Tua bellezza infinita,
Tuo viso almo e sereno
In tal stato mi ha posto;
Non altro dir poss’io:
„Amo to sol, ben mio“.
Bursting with happiness
is my heart and my life.
Your infinite beauty
Your calm and serene face
Have put me in this state;
Nothing else can I say:
“I love only you, my darling”.
Ben mio amo te sola
E amerò in eterno;
Tuo son, tuo fia il governo
Tua l’alma, or ti consola
Io son tuo, tu sei mia.
Non fia mai ch’altro Amante
A te fia più costante.
My darling, you alone I love
And will love you for ever;
I am yours, you shall govern me
my soul is yours, console yourself,
I am yours, you are mine.
Never will it be that another lover
is truer to you than me.
14La Grave
S’e ver la tua partita
Cor mio ver anc’è cert’ il mio morire
Non men, del tuo partire
Mortalissima vita.
Che m’ancid’ al contento
Che m’avvi al tormento,
Chi rest’ ama e non moro
O non viv’o non am’o non hà core.
If thy farewell is really true, my heart,
so surely my death is also true,
no less than thy departure
from this most mortal life
that kills me scornfully
that brings me pain,
who remains loving and does not die,
or does not live or does not love or has no heart.
21
15Felici gl’animi
Che greggie guidano
Ne cure esanimi
Nel petto annidano,
Di se piacevoli
I giorni menano,
E dilettevoli
I cor serenano
O piacer stabile,
O poverta d’amabile.
Happy souls,
who tend flocks
and in the heart
feel no ugly cares,
of one’s own accord
spend the day pleasantly,
and with joy
cheer up the heart.
O constant pleasure
O sweet poverty.
Del duol si ridono,
il sen tranquillano,
Le noie ancidono,
D’ardor sfavillano
Ch’à lor vaghissimo
Il cielo indorasi,
Ch’à lor bellissimo
Il prato infiorasi.
O piacer stabile,
O poverta d’amabile.
About pain they laugh,
the heart they calm,
they soothe disturbances,
they burn with zeal,
that the sky turns gold
most splendidly,
that their meadow
blooms most beautifully.
O constant pleasure
O sweet poverty.
Qui nembi horribili
Non si raggirano,
Nè crudi sibili
I venti spirano,
Ma nudre l’aria
D’odori nobile,
Ne’ scherzi varia
April’ immobile.
O piacer stabile,
O poverta d’amabile.
Here they do not tremble
from terrible storms,
neither with rough hisses
blow the winds,
but the air has
a noble fragrance,
nor do their jests change
immutable April.
O constant pleasure
O sweet poverty.
17Partenza
Mi parto e nel partir ti dico amore
Ch’ingiustamente tu mi dai dolore
Essendot’io fedele
Bona notte crudele.
Mi parto, e nel partir vuo passo, passo
Ti raccomando il cor ch’in pegno lasso
Ben mio poche parole
Bonna notte mio sole.
22
I go away, and in parting I tell thee, beloved,
that unjustly thou givest me pain
for I have been faithful to thee
Good night, cruel one.
I go away, and in parting, step by step,
my heart entrusts to thee in a lapsed pledge,
beloved, a few words,
Good night, my sun.
Mi parto, e nel partire vò piano piano
Ti bacio il piede, e l’una, el’altra mano
Quest’alma a te s’inchina
Bona notte Regina.
I go away, and in parting I go slowly, slowly
I kiss thy feet, and one and then the other hand
this soul bows before thee
Good night, my queen.
Mi parto e quanto dura, esta partenza
Con gl’occhi molti ti cerco licenza
Gridando sempre aita
Bona notte mia vita.
I go away and how long does this farewell last
With many glances I beg thee for permission
And constantly cry out for help
Good night, my life.
Mi parto, e lo mio spirto va gridando,
E questo afflitto cor ti raccomando
E nell’ultimo à Dio.
Bona notte cor mio.
I go away, and my spirit cries out incessantly,
And I entrust this suffering heart to thee
And ultimately to God.
Good night, my heart.
Special thanks to Otto Kargl
Recorded 12-15 January 2012 at Bischöfliches Palais, St. Pölten (Austria)
Recording producer: Moritz Bergfeld, MBM Musikproduktion, Darmstadt (Germany)
Executive Producer: Michael Sawall
Front illustration: iStockphoto
Photos: Michal Novak (Pierre Pitzl, Raquel Andueza), Josef Herferth (Private Musicke)
Layout: Joachim Berenbold
Booklet editor: Susanne Lowien
CD manufactured in Germany
& © 2013 note 1 music gmbh
23
Other Accent recordings with Pierre Pitzl & Private Musicke
ACC 24239 Il labirinto della chitarra
ACC 24210 Mudarra: Tres Libros de Música
ACC 24160 Marin: Tonos Humanos
ACC 24173 Echo de Paris