Cantatas Booklet
Transcription
Cantatas Booklet
French Baroque Cantatas MONTÉCLAIR • STUCK MASTERPIECES OF THE FRENCH BAROQUE THE PERFECTION OF MUSIC 476 5941 TARYN FIEBIG • FIONA CAMPBELL ENSEMBLE BATTISTIN Stewart Smith, Suzanne Wijsman, Fiona Campbell and Robin Adamson recording at New Norcia 2 1 2 3 4 5 6 MICHEL PIGNOLET DE MONTÉCLAIR 1667-1737 La mort de Didon (The Death of Dido) Lent, marqué et détaché: Je ne verrai donc plus Énée So I shall not see Aeneas again Air lent: O Toi, Déesse de Cithère, tendre Vénus O Thou, goddess of Cytherea, tender Venus Récitatif: Infidèle, pourquoi quittez-vous ce rivage ? Faithless one, why are you leaving these shores? Vivement: Tyrans de l’empire de l’onde Tyrants of the empire of the waves Récitatif: Non ! Arrêtez ! No! Stop! Air gai: Qu’il est dangereux de se rendre aux vœux How dangerous it is to believe promises [13’04] 2’49 4’18 0’43 1’53 1’47 1’34 Fiona Campbell mezzo-soprano 7 8 9 0 ! @ £ JEAN-BAPTISTE STUCK 1680-1755 L’amant réconcilié (The Reconciled Lover) [12’09] Récitatif: Enfin de ma Phillis j’ai calmé le courroux 0’35 At last I have calmed the anger of my Phyllis Air gaiement: L’objet de mes vœux me rend sa tendresse 2’53 The object of my desires returns my tenderness Récitatif – Lentement: Que les soupçons jaloux qui troublaient nos amours 0’52 Let the jealous suspicions which troubled our love Mouvement juste – Lentement: La discorde en tous lieux 1’23 Discord everywhere Récitatif: Faisons retentir les airs des plus aimables concerts 0’24 Let us make the tunes of the most delightful concerts sound Ritournelle gai – Air: Vénus lui donna ses attraits 2’19 Venus gave her her charms Air gai: Chantons, chantons les doux transports 3’43 Let us sing, let us sing the sweet transports Taryn Fiebig soprano 3 $ % ^ & * ( MICHEL PIGNOLET DE MONTÉCLAIR Ariane et Bachus (Ariadne and Bacchus) Récitatif: Ariane adorait le volage Thésée Ariadne adored the fickle Theseus Air lent: Plus cruel que le Minotaure More cruel than the Minotaur Vivement: Ah ! dans mon désespoir…Mais quel Dieu fait frémir les ondes ? Ah! in my despair…But what God disturbs the waves? Air tendrement: Régnez adorable mortelle Reign, adorable mortal Récitatif: L’Amour de la plus douce chaîne Love, with the sweetest chain Air gai: Si vos amants brisent leurs chaînes If your lovers break their chains 3’37 1’43 3’35 0’59 3’41 Fiona Campbell mezzo-soprano ) ¡ ™ # ¢ ∞ § JEAN-BAPTISTE STUCK Céphale et Aurore (Cephalus and Aurora) [17’14] Gravement et détaché: La nuit d’un voile obscur couvrait encore les airs 2’32 Night still covered the air with a dark veil Lentement: Vous qui parcourez cette plaine 5’34 You who travel over this plain Récitatif: Mais que dis-je ? 0’45 But what am I saying? Air gai: Il en est temps encore, Céphale, ouvre les yeux 2’45 There is still time, Cephalus, open your eyes Récitatif: Elle dit, et le Dieu qui répand la lumière de son char argenté 1’15 Thus she said. And the God who pours out the light from his silvered chariot Doucement: Ainsi l’Amour punit un calme trop coupable 1’21 Thus Love punishes a too culpable calm Gai: N’attendez jamais le jour 3’02 Never await the day Taryn Fiebig soprano Total Playing Time Ensemble Battistin 4 (and Germany), artistic life in France revolved around a centralised, bureaucratic institution: the royal court. This was where gifted musicians sought employment, creating and performing in a style that appealed to royal taste. When the young Louis XIV (the so-called ‘Sun King’) ascended the throne in 1661 to rule in his own right, he was determined that French culture would not only match that of Italy, but outdo it, and in a way that set it apart from its great rival. As a result, most 17th-century French music reflects a courtly grace, its phrases so often moving in the rhythms and gestures of that most popular of diversions – dancing. While the French dance forms were extensively borrowed by musicians in other countries, the hallmark of Italian Baroque music lay in its driving rhythms, its colourful harmonies, vocal and instrumental virtuosity. Thus it was that musical Europe regarded Italian and French styles as quite distinctive. Yet these polarities were to come together towards the end of the 17th century, ushering in a new and very fertile period of French music. Not least amongst the early fruits were its first cantatas and sonatas. Introduction [14’38] 1’03 57’25 The bringing together of French and Italian styles must create the perfection of music. (François Couperin, 1725) Couperin’s ideal of fusing the Italian and French styles of music, which during the 17th century had provided the twin foundations of much European music, found a ready response from French composers at the beginning of the next century. At the very heart of this movement sprang a repertoire of vocal and instrumental chamber music of extraordinary beauty, freshness and – at times – remarkable dramatic power. The Perfection of Music – Masterpieces from the French Baroque is a series of five compact discs, each exploring chamber music in France from around 1690 to 1750. Four cantatas by two of the great masters of the genre – Montéclair and Battistin (Jean-Baptiste Stuck) – open the series. A double compact disc set explores music at the Concert Spirituel and the Concert Français; a program of music associated with Philippe II, the Duke of Orléans and Regent of France, and a disc of little-known gems from the vast repertoire of French instrumental chamber music complete the series. This bringing together of French and Italian styles came about in an unexpected way. In the decade of the 1680s the great arbiter of French taste – Louis XIV – suffered a series of misfortunes from military defeats, virtual bankruptcy of the state, political miscalculations and last, but not least, a string of family bereavements. The lights began So-called ‘Baroque’ music (with its distinctive style, forms and expression) first developed in the early 17th century in Italy, quickly spreading into Germany and Spain. And France? Here, it met resistance. This was because, unlike in Italy 5 to dim in what had been the most glittering court in Europe. After the Queen died in 1683, Louis married Mme de Maintenon, a woman noted for her piety who drew her husband away from the pleasures of the court and it was not long before the lively minds who had gathered at the palace of Versailles turned to Paris for amusement and stimulation. Unlike Versailles, where French music held pride of place, Paris, though only 17 miles from it, was discovering the delights of Italian music. Couperin was to head a movement that sought to combine both styles, and in his words to gain ‘perfection in music’. The French Cantata Before the advent of the cantata, dramatic music in France had found its outlet only in opera – or tragédie-lyrique as it was called. Unlike Italian opera, the French version (created by Lully) made much of dancing and of chorus. Eighteenth-century French cantatas, dramatic as they were, were composed, however, not for the stage, but for the musical salon. Thus, there were no dancers or choruses and they generally called for one voice only, accompanied by a small ensemble. This meant that in order to attract enthusiasm for the new, smaller form composers had to be very imaginative, for they could not rely on gesture, scenery, dancing or chorus to help convey the mini-drama contained in each cantata. This was now up to the text, the music and the dramatic skill of singers and players alone. Louis XIV was to remain on the throne until 1715, after which, until the young Louis XV was old enough to take his great-grandfather’s place, the country was ruled by a Regent, the Duke of Orléans, who was to live in his own palace in Paris (the Palais Royal) and not at Versailles. Yet during the declining years of the Sun King’s rule Paris was already beginning to take on something of the spirit of those pleasure-loving days of the coming Regency, its fêtes galantes immortally captured on canvas by Antoine Watteau. Like many a Parisian he was enchanted by the commedia dell’arte and the possibility of blending French and Italian styles in popular theatre. It’s scarcely to be wondered at that French cantatas and sonatas, inspired by Italian models, suddenly burst into the musical scene in Paris and captivated its audiences. The form of the cantata, borrowed from Italy, was one of alternating recitatives and airs, the story-line usually based on Greek mythology. Yet no matter how tragic the incident, in the hands of cantata librettists the story becomes a mere cautionary tale for 18th-century lovers – after all, its audience was urbane and sophisticated and, being Parisian, not likely to take matters overseriously! Thus, in Montéclair’s Ariane et Bachus, Ariadne abandoned by Theseus is befriended by handsome Bacchus, so, as the last air suggests, when love’s chains are broken you can do well to drown your sorrows in Bacchus’s love and wine! The cantata, in fact, 6 theories of performance style and vocal technique were put into practice. For example, the two singers performing on this disc, Fiona Campbell and Taryn Fiebig – both well-known Australian opera and oratorio singers – experimented with changing aspects of vocal production, tone and ornamentation. spawned a quite large body of cantata poetry regarded as a genre in its own right, and at the time it helped the new form achieve extraordinary popularity. The value of the music, however, can be in no doubt. To judge from the works on the discs in this series, Couperin’s prediction that the union of French and Italian styles would bring musical perfection may not have been too far off the mark. Most French cantatas were composed for solo voice (most usually a ‘high’ voice) accompanied by continuo alone or by a larger ensemble. The solo singer was at the same time the narrator and character(s) of the story; the typical operatic situation with a group of singers each taking a dramatic role is rarely found in the French cantata repertoire. The composers were very practical over the choice of voices and instruments. On the various scores we read that voices were interchangeable, no matter the characterisation, and that the music may be transposed to suit them. Flutes and violins often swapped places, and instruments could be doubled or played solo. It was not a matter of indifference; rather, it was recognition that performances so often depended upon what forces were available. This was not only in cantata repertoire. Couperin gives a remarkable array of instrumental possibilities in many of his works. All he demanded was close attention to appropriate ornamentation, tempos and articulation, features that have informed our own performances in this series. The French cantata in performance Modern performances of 18th-century French cantatas have greatly benefited from what is known generally about Baroque practices. It can be taken for granted that after decades of scholarly studies of performance manuals which form the basis of today’s historically informed versions, we can now expect, for example, to hear stylish ornamentation from singers and instrumentalists alike, and that the latter, playing on original instruments – or, more likely, replicas of them – can give us a good idea of the instrumental sonorities of those days. But what of the singers? No matter the century, the vocal apparatus has remained the same, and hence the ‘instrument’ itself gives no clue as to the vocal sonorities of earlier times. For this we need to depend upon circumstantial evidence and what singing treatises tell us about vocal production – admittedly, very little. As part of the research behind these cantata performances, a vocal workshop was set up during this project to follow these hints whereby 18th-century 7 La mort de Didon (c. 1709) by Michel Pignolet de Montéclair The composers and their works An Italian composer of German descent, JeanBaptiste Stuck arrived in Paris in 1705 where he was also known as Battistin. He was a virtuoso cellist whom the Duke of Orléans appointed to his musical staff at the Palais Royal. Here Stuck found himself in the company of very gifted musicians, one of whom – Jean-Baptiste Morin – had composed the first cantate française, initiating what became the most widely cultivated and popular form in early 18th-century France. Morin had spoken of ‘retaining the sweetness of our French style of melody, but with greater variety in the accompaniment and employing tempos and key-changes characteristic of the Italian cantata.’ Stuck and others at the Palais Royal followed his example – encouraged by the Duke, himself a composer and a champion of Italian music. The two cantatas by Stuck recorded on this disc come from the first of his four books (1706-1714). for voice, violin, flute and basso continuo The story: Dido, Queen of Carthage, gives way to grief and rage when she discovers that Aeneas has abandoned her. After calling upon the Gods to avenge her and drown Aeneas as he flees across the ocean, she plunges a knife into her heart. The moral is very simple: it is dangerous to pledge one’s heart to a fickle lover. Except for the beguiling air at the end, the cantata is intense and dramatic throughout. Only once does Dido’s rage give way to a melancholic reproach to Venus, mother of faithless Aeneas. In this, the second air of the cantata, voice and flute entwine in an exquisite duet, the lines delicately embellished with ornaments notated by the composer himself, instead of leaving it to the performers to improvise. L’amant réconcilié (1706) by Jean-Baptiste Stuck Michel Pignolet de Montéclair had sojourned in Italy, returning at the turn of the century to Paris where he was appointed to the Opéra as a double bass player. He was a very fine composer and his 20 French cantatas (he also wrote Italian ones) are amongst the most remarkable in the repertoire in their range of expression and explicit instructions for performance. for voice, two violins and basso continuo The story: Two lovers rejoice that their quarrels are ended. This work was also entitled L’heureux amant (The Happy Lover) in at least one reprint. Stuck’s cantatas were performed often at the Concert français and remained very popular in the composer’s lifetime. Despite the fact that he was foreign-born, Stuck’s selection and settings 8 expression of grief and anger in the cantata is relieved by movements of charming lyricism. of French poetry were excellent, and his masterly ability to fuse elements of French and Italian styles in his many cantatas suggest that his works still warrant today the high esteem in which they were held by his 18th-century patrons and audiences. Instrumental forces are deployed by Montéclair with dramatic effect: an arpeggiated interjection by the obbligato bass viol paints ‘disturbed’ waves caused by the gods, followed by an interlude with the ‘sweetest music’, in which the vocal line is accompanied only by a flute and doubled by the violin part, with the basso continuo omitted entirely. Not surprisingly, this cantata is lyrical and mostly untroubled – just a flash of drama when it is recalled how discord can arouse war even amongst the Gods. One of the highlights of the work is the final air: the only time in the French cantata repertoire when a fugue is the basis of the movement – in this case, a four-part romp! Céphale et Aurore (1706) by Jean-Baptiste Stuck for voice, two violins, flute, viola and basso continuo Ariane et Bachus (1728) by Michel Pignolet de Montéclair The story: Aurora, Goddess of the Dawn, discovers the youthful hunter Cephalus asleep. Yet, by waking him she can admire him no longer, for she must leave as the day advances. Lovers who sleep during the night are reproached in the final air. for voice, violin, flute, viola da gamba and basso continuo The story: Ariadne, abandoned on the island of Naxos by Theseus (who with her help had slain the Minotaur and escaped the labyrinth), pours out her grief at Theseus’s betrayal. The handsome God of the Vine, Bacchus, hears her and is so moved by both her sorrow and her beauty that he falls in love and gives her a crown adorned with seven golden stars. After her death Bacchus’s gift becomes the constellation known as Ariadne’s Crown. The moral of the cantata, expressed in the final air, is that betrayed lovers would do well to turn to Bacchus. The opening scene is wonderfully – yet simply – painted by music in which the Goddess of the Dawn, Aurora, slowly approaches the sleeping mortal, Cephalus. The contrast in mood between the repeated notes in the instrumental accompaniment, symbolising sleep, and the lively and brilliant second air as Aurora urges the sleeper to open his eyes (clearly indebted to the Italian sonata style in the violin parts) typifies the way Stuck masterfully brings to life the dramatic Even though the legend is a tragic one, the 9 action in the text by musical means. A cheerful gigue brings this fine cantata to a close, with a message about the fleeting nature of love. David Tunley David Tunley is internationally renowned as a musicologist, particularly in the field of French music in the 18th and 19th centuries. His book The Eighteenth-Century French Cantata (1974, revised 1997) – which has become the classic study of the genre – along with his subsequent 17-volume facsimile edition of French cantatas (1990) provided the impetus for this recording project. His most recent book is François Couperin and ‘The Perfection of Music’ (2004). His research into French music began in 1964 while studying as a composer in Paris with Nadia Boulanger. He is a Chevalier in the Napoleonic Order of Palmes Académiques, a Member of the Order of Australia, and an Emeritus Professor of Music at the University of Western Australia. Right: Ceiling and altarpiece, Chapel of St Ildephonsus, New Norcia 10 11 La mort de Didon The Death of Dido Récitatif 5 « Non ! Arrêtez ! Lent, marqué et détaché 1 « Je ne verrai donc plus Énée, » S’écria tristement Didon abandonnée. « Il est donc vrai qu’il part ? Il fuit loin de ces bords. Dieux, que j’étais crédule ! Ô Dieux, qu’il est perfide ! L’inconstant plus léger que le vent qui le guide, Me quitte sans regrets, me trahit sans remords. ‘So I shall not see Aeneas again,’ the abandoned Dido cried sadly. ‘So it is true that he is leaving? He is fleeing far from these shores. Gods, how credulous I was! O Gods, how perfidious he is! The faithless one, lighter than the wind that draws him, leaves me without regrets, betrays me without remorse. Air lent 2 « O Toi, Déesse de Cithère, tendre Vénus, ‘O Thou, Goddess of Cytherea, tender Venus, are you the mother of the ungrateful one who was able to charm me? No, no. No, no he cannot love. Alas, how is it that he can please too much? Es-tu la mère de l’ingrat qui m’a su charmer ? Non, non. Non, non il ne sait pas aimer. Hélas pourquoi sait-il trop plaire ? Récitatif 3 « Infidèle, pourquoi quittez-vous ce rivage ? Les plaisirs et les jeux y volaient sur vos pas. Pourquoi vouloir régner dans de lointains climats Quand ma main vous offrait le sceptre de Carthage ? ‘Faithless one, why are you leaving these shores? Pleasures and games floated around your steps. Why wish to reign in distant climes when my hand offered you the sceptre of Carthage? Perfidious lover, disastrous day! Must I find an inconstant heart in the brother of tender love? Perfide amant, funeste jour ! Faut-il que je trouve un volage Dans le frère du tendre amour ? Vivement 4 « Tyrans de l’empire de l’onde ‘Tyrants of the empire of the wave, groan. Blow, furious winds. Raise the waves to the skies. Let the whole universe converge, thunder, avenge my betrayed feelings. Just Gods, avenge my insult. Thunder, set fire to a faithless one in the very breast of Thetis. Grondez. Volez vents furieux. Élevez les flots jusqu’aux cieux. Que tout l’univers se confonde, Tonnez, vengez mes feux trahis. Justes Dieux, vengez mon injure. Tonnez, embrasez un parjure Dans le sein même de Thétis. 12 Grands Dieux, gardez-vous d’exaucer Mon courroux légitime. Laissez-moi choisir ma victime. Énée est dans mon cœur et je vais l’y percer. » ‘No! Stop! Great Gods, do not grant the prayer of my legitimate anger. Let me choose my victim. Aeneas is in my heart and it is there that I shall wound him.’ Sur un bûcher fatal, théâtre de sa rage, Didon en ce moment se livre à la fureur. Un fer, triste présent que lui laisse un volage, Un fer cruel lui perce enfin le cœur. Mourante elle tombe et son âme Chérit encore l’ingrat qu’elle n’a pu toucher. Elle expire sur le bûcher. Le flambeau de l’amour en allume la flamme. On a deadly pyre, the scene of her rage, Dido at that moment gave herself over to her fury. A dagger, sad gift left to her by the fickle one, a cruel dagger at last pierces her heart. Dying, she falls and her soul still cherishes the ungrateful one whom she could not harm. She dies on the pyre. The torch of love lights its flame. Air gai 6 Qu’il est dangereux How dangerous it is to believe the promises of a fickle lover. a feeling heart risks its happiness from the day it commits itself. Let pleasure alone decide our desires. Let us avoid the suffering. Love, unless games are the basis of the attachment I break my chains. De se rendre aux vœux D’un objet volage. Un sensible cœur Risque son bonheur Le jour qu’il s’engage. Que les seuls plaisirs Fixent nos désirs. Évitons les peines. Amour, si les jeux N’en forment les nœuds Je brise mes chaînes. Anonymous The Lover Reconciled L’amant réconcilié Récitatif 7 Enfin de ma Phillis j’ai calmé le courroux, Et l’amour a voulu rétablir entre nous Les douceurs d’une paix charmante Avec tous les transports d’une ardeur renaissante. At last I have calmed the anger of my Phyllis, and love has consented to re-establish between us the sweetness of a charming peace with all the transports of a re-awakening ardour. 13 Air gaiement 8 L’objet de mes vœux me rend sa tendresse. The object of my desires returns my tenderness. My loving heart is no longer sad. The emotion that is ending doubles my passion and love hastens to make me happy. Mon cœur amoureux n’a plus de tristesse. Le trouble qui cesse redouble mes feux Et l’amour s’empresse de me rendre heureux. Célébrons la beauté qui règne dans mon âme. Let us celebrate the beauty who reigns in my soul. Écho de ces bois Réponds à ma voix. Echo of these woods, respond to my voice. Anonymous Ariadne and Bacchus Ariane et Bachus Récitatif 9 Que les soupçons jaloux qui troublaient nos amours Emportés par les vents se perdent pour toujours. Let the jealous suspicions which troubled our love carried away by the winds be lost forever. Lentement Pourvu que ma Phillis soit sensible à ma flamme La paix et les plaisirs règneront dans mon âme. Provided my Phyllis responds to my ardour, peace and pleasure will reign in my heart. Mouvement juste 0 La discorde en tous lieux Discord everywhere can bring thunder. Let it arouse war, even among the Gods. Peut porter le tonnerre. Qu’elle allume la guerre, Même parmi les Dieux. Récitatif $ Ariane adorait le volage Thésée. Ariadne adored the fickle Theseus. For a long time he responded to her assiduous attentions, but of this love so sweet his pleasure tired. He abandons her, alone, in unknown places. In her bitter disappointment, this deceived lover expresses in these words her useless regrets, invoking, but in vain, the past tenderness of a lover who flies from her and no longer listens to her. Il répondait longtemps à ses soins assidus, Mais d’un amour si doux sa confiance est lassée. Il l’abandonne, seule, en des lieux inconnus. Dans son cruel dépit, cette amante abusée Exprime par ces mots ses regrets superflus, Implorant, mais en vain, la tendresse passée D’un amant qui la fuit et ne l’écoute plus. Air lent % « Plus cruel que le Minotaure, Lentement Pourvu que ma Phillis soit sensible à ma flamme La paix et les plaisirs règneront dans mon âme. Provided my Phyllis responds to my ardour peace and pleasure will reign in my heart. Récitatif ! Faisons retentir les airs Let us make the tunes of the most delightful concerts sound. Let the son of Latone and brilliant Flora crown completely the beauty I adore. Des plus aimables concerts. Que le fils de Latone et la brillante Flore Couronnent à l’envi la beauté que j’adore. Ritournelle gai – Air @ Vénus lui donna ses attraits, Venus gave her her charms, and Love lends her his likeness. As brilliant as the dawn, she has all the charms of Flora. Et l’amour lui prête ses traits. Aussi brillante que l’aurore, Elle a tous les charmes de Flore. Air gai £ Chantons, chantons les doux transports de l’amour Let us sing, let us sing the sweet transports of the love which enflames me. qui m’enflamme. 14 ‘More cruel than the Minotaur, you mock, faithless one, my sufferings. You betray me and I adore you. You abandon me and I die. I no longer demand that you love me, hatred is too strong in your heart. Ah! as the price of my extreme passion come, take pity on my unhappiness. Tu ris, ingrat, de mes douleurs. Tu me trahis et je t’adore. Tu m’abandonnes et je meurs. Je n’exige plus que tu m’aimes, La haine est trop fort en ton cœur. Ah ! pour prix de mes feux extrêmes Viens, prends pitié de mon malheur. Vivement ^ « Ah ! dans mon désespoir le seul bien qui me reste ‘Ah! in my despair the only good thing left to me is you, O Death. I fly to meet your blows. Come and deliver me from this day I detest. Unhappy humans fear only you, but love has made my fate so dark that this greatest of evils will seem to me very sweet.’ C’est vous, ô Mort. Je vole au-devant de vos coups. Venez me délivrer du jour que je déteste. Les malheureux humains ne redoutent que vous, Mais l’amour a rendu mon destin si funeste Que le plus grand des maux me semblera trop doux. » 15 Mais quel Dieu fait frémir les ondes ? Quel éclat embellit les mers Jusque dans leurs grottes profondes ? Les Tritons sont charmés par les plus doux concerts. But what God disturbs the waves? What brilliance enriches the seas right down to their deep grottos? The Tritons are charmed by the sweetest music. Sur ces bords écartés, Bachus descend lui-même. Les Ris et les Amours volent devant ses pas. Ariane quel est votre bonheur extrême ? Pour vous seule les Dieux visitent ces climats. Onto these distant shores, Bacchus himself descends. The Gods of laughter and of love fly before his feet. Ariadne, how fortunate you are. for you alone the Gods visit these regions. Air tendrement & Régnez adorable mortelle. Reign, adorable mortal. You win over the most seductive of the Gods. Be grateful to the unfaithful one who has given you such a glorious fate. When a Mortal abandons you you enslave the heart of the Immortals. Although you lose your crown the whole universe makes altars to worship you. Vous triomphez du plus charmant des Dieux. Rendez grâces à l’infidèle Qui vous assure un sort si glorieux. Lorsqu’un Mortel vous abandonne Vous enchaînez le cœur des Immortels. Si vous perdez une couronne Tout l’univers vous dresse des autels. Récitatif * L’Amour de la plus douce chaîne Unit ces illustres amants. Bachus changea la plus affreuse peine En des plaisirs durables et charmants. Ariane jouit d’une gloire immortelle. Sa couronne à l’instant s’élève jusqu’aux Cieux. Elle y brille à jamais d’une clarté nouvelle, Monument éternel d’un sort si glorieux. Love, with the sweetest chain Joined these famous lovers. Bacchus changed the most frightful anguish into lasting and charming pleasures. Ariadne rejoices in immortal glory. Her crown at that very moment rises to the heavens. There she shines forever with a new brilliance, an eternal monument to such a glorious fate. Air gai ( Si vos amants brisent leurs chaînes Beautés, n’implorez que Bachus. Courez, courez, noyez vos peines Dans les flots charmants de son jus. L’Amour, toujours rempli d’alarmes, Tourmente les plus tendres cœurs. If your lovers break their chains, beauties, pray only to Bacchus. Run, run, drown your sorrows in the seductive flow of his libations. Love, always full of fears, torments the tenderest hearts. 16 Bacchus gives it a thousand charms or consoles you for its trials. Bachus lui prête mille charmes Ou console de ses rigueurs. Anonymous Cephalus and Aurora Céphale et Aurore Gravement et détaché ) La nuit d’un voile obscur couvrait encore les airs Et la seule Diane éclairait l’univers, Quand de la rive orientale L’Aurore, dont l’amour avance le réveil, Vint trouver le jeune Céphale Qui reposait encore dans le sein du sommeil. Elle approche, elle hésite, elle craint, elle admire. La surprise enchaîne ses sens Et l’amour du héros pour qui son cœur soupire À sa timide voix arrache ces accents : Night still covered the air with a dark veil and only Diana lit the universe, when from the eastern bank Dawn, her awakening hastened by love, came to find the young Cephalus who was still resting in the bosom of sleep. She approaches, she hesitates, she fears, she admires. Surprise captures her senses and love for the hero for whom her heart sighs calls forth from her timid voice these words: Lentement ¡ « Vous qui parcourez cette plaine, ‘You who travel over this plain, streams, flow more slowly, birds, sing more sweetly. Breezes, withhold your breath. Respect a young hunter tired from a violent hunt, and of the sweet repose which enchants him allow him to taste the sweetness. Ruisseaux, coulez plus lentement, Oiseaux, chantez plus doucement. Zéphyrs, retenez votre haleine. Respectez un jeune chasseur Las d’une course violente, Et du doux repos qui l’enchante Laissez-lui goûter la douceur. Récitatif ™ « Mais que dis-je ? Où m’emporte une aveugle ‘But what am I saying? Where is my blind tenderness taking me? Cowardly lover, is this how your ardour urges you to look on the object of your love? Have I come to this place to serve as your trophy? Is it in the arms of Morpheus that one should await the return of a lover? tendresse ? Lâche amant, est-ce ainsi que ton ardeur te presse De voir l’objet de ton amour ? Viens-je donc en ces lieux te servir de trophée ? Est-ce dans les bras de Morphée Que l’on doit d’une amante attendre le retour ? 17 Air gai # « Il en est temps encore, Céphale, ouvre les yeux. ‘There is still time, Cephalus, open your eyes. The more radiant day will start to rise, and the flame of the heavens will cause the Dawn to flee. There is still time, Cephalus, open your eyes. Cephalus, open your eyes,’ Le jour plus radieux va commencer d’éclore, Et le flambeau des cieux va faire fuir l’Aurore. Il en est temps encore, Céphale, ouvre les yeux. Céphale, ouvre les yeux. » Récitatif ¢ Elle dit, et le Dieu qui répand la lumière she said. And the God who pours out the light from his silvered chariot, showing his first light, comes to open, but too late, the calm eyelid of a love both fortunate and unfortunate. He awakes, he looks round, he sees her, he calls: But, O superfluous cries and tears! she flees and leaves to his mortal suffering only the image of a possession no longer his. De son char argenté lançant ses premiers feux, Vient ouvrir, mais trop tard, la tranquille paupière D’un amour à la fois heureux et malheureux. Il s’éveille, il regarde, il la voit, il appelle : Mais ô cris, ô pleurs superflus ! Elle fuit et ne laisse à sa douleur mortelle Que l’image d’un bien qu’il ne possède plus. Doucement ∞ Ainsi l’Amour punit un calme trop coupable. Thus Love punishes a too culpable calm. Earn, young hearts, a more favourable fate. Méritez, jeunes cœurs, un sort plus favorable. Air § N’attendez jamais le jour. Veillez quand l’Aurore veille ; Le moment où l’on sommeille N’est pas celui de l’amour. Never await the day. Watch when the Dawn is watching; the moment when one sleeps is not the moment of love. Comme un zéphyr qui s’envole, L’heure de Vénus s’enfuit, Et ne laisse pour tout fruit Qu’un regret triste et frivole. Like a breeze that flies away, the hour of Venus flees, and leaves as its only result a sad and frivolous regret. Anonymous For the sake of clarity the texts have been translated in a literal rather than a poetic version. Robin Adamson 18 Taryn Fiebig Soprano Fiona Campbell Mezzo-soprano Taryn Fiebig graduated from the University of Western Australia in 1993 as a cellist, but since then she has gone on to make her career as a singer. While she has a deep interest in Baroque music (she has studied with Emma Kirkby, Evelyn Tubb and Anthony Rooley), her musical tastes and skills are very wide – like another of her teachers in UK, Jane Manning. As a soloist, she has performed with the Australian Brandenburg Orchestra, West Australian Symphony Orchestra, Collegium Choirs, Perth Oratorio Choir and Magnetic Pig contemporary music ensemble. Internationally, Taryn has performed in the USA, in England with the English Chamber Orchestra and on BBC Radio 3 and Radio 4. Taryn graduated in 2003 from the Australian Opera Studio in Perth and is much in demand as an opera singer, not only for her agile and beautiful voice, but also for her acting skills. An Opera Australia Young Artist in 2005 and 2006, she has performed numerous principal roles with Opera Australia, including starring in their recent television performance of The Pirates of Penzance. Fiona Campbell has appeared in concert with the Royal Opera House Orchestra Covent Garden, Prague Chamber Orchestra, Hong Kong Philharmonic, Manchester Camerata and the West Australian, Adelaide and Melbourne Symphony Orchestras. Winner of the 1994 ABC Young Performers Award (voice) and the Australian Singing Competition’s Opera Awards in 1995, Fiona studied in London with Josephine Veasey. Highlights have included the world premiere of Jaz Coleman’s The Marriage at Cana, with soloists of the Royal Opera House, Venus in Tannhäuser, Bach’s St Matthew Passion and Ruggiero in Alcina (Perth International Arts Festival), Mozart’s C minor Mass (Australian Chamber Orchestra) and Idamante in Idomeneo (Pinchgut Opera). A frequent artist with WA Opera, she made her Opera Australia debut in 2006 as Tessa in The Gondoliers. She holds a Master of Music degree and is a Lecturer in Voice at the University of Western Australia. 19 then to the Juilliard School in New York to study under Ivan Galamian. He created and directs Ensemble Arcangelo, a period instrument group based in Perth. He is currently Director of String Studies at the School of Music at the University of Western Australia. Kate Clark Transverse flute R. Tutz, 2000, after I.H. Rottenberg Kate Clark is a graduate in Music from the University of Sydney. Leaving Australia in 1986 she studied Baroque flute with Barthold Kuijken at the Royal Conservatoire in The Hague, and, in 1990, Renaissance flute with Anne Smith at the Schola Cantorum in Basel. Three years later she gained first prize at the Bruges International Early Music Competition. Since then she has performed with many European orchestras, including the Freiburger Barock Orchester, Concerto Köln and Rheinische Kantorei, and has been solo flautist with Les Musiciens du Louvre in Paris. She has participated in many recordings of Baroque operas and cantatas and is a regular guest soloist with the Australian Brandenburg Orchestra. Kate is the artistic director of The Attaignant Consort, formed in 1998 to perform 16th-century chansons, dances and polychoral music. A regular guest lecturer and teacher in Europe, she lives in Amsterdam. He has performed with ensembles in Australia and the USA, including the Australian Chamber Orchestra, Australian String Quartet, Australian Brandenburg Orchestra and the Carmel Bach Festival Orchestra in California. Paul has also recorded and performed with Ensemble of the Classic Era. Sophie Gent Violin Arthur Robinson, 1998 Sophie Gent graduated in Music from the University of Western Australia, majoring in violin as a student under Paul Wright. She moved to the Netherlands to undertake postgraduate studies at the Royal Conservatoire in The Hague with the renowned Japanese Baroque violinist Ryo Terakado. She is now a regular performer with many ensembles based in France, Belgium and the Netherlands. Sophie has been a member of the Japan-based string quartet Mito dell’Arco and is a regular guest member of Masques, with whom she has recently recorded a program of English consort music on the Arion label. Paul Wright Violin Kloz, 1807 (Stuck); Rene Raulin, 2004 (Montéclair) Paul Wright was born in 1959 in Adelaide where he began violin studies with Lyndall Hendrickson. Three years later he was awarded a place at the Yehudi Menuhin School in England. He went on to study at the Guildhall School in London and 20 Shaun Lee-Chen Viola Gofriller, 1719 Suzanne Wijsman Cello Ian Clarke, 2003, after Montagnana, 1721 Shaun Lee-Chen completed a Bachelor of Music degree at the University of Western Australia School of Music in 2000 with First Class Honours, studying violin with Paul Wright and Pal Eder. He was the recipient of numerous prizes, including the Lady Callaway Medal and the UWA Graduates Prize for top graduating music student. In 2001 he was accepted into the Advanced Performance Program at the Australian National Academy of Music in Melbourne. Shaun’s performance experience includes appearances with Ensemble Arcangelo on Baroque violin and viola, solo and tutti performances with the West Australian Symphony Orchestra, a season with the Australian Youth Orchestra and concerts with numerous chamber ensembles. Suzanne Wijsman received her musical education in the USA and the UK. Her teachers included Paul Katz, Jane Cowan, Steven Doane and Richard Kapuscinski. The recipient of a Fulbright Award, Suzanne has performed extensively in the USA, Australia and Europe, in chamber music or as recitalist. From 1990 to 1996 she played with the Stirling String Quartet, which toured in Australia, Italy and South Korea, and presented numerous ABC radio broadcasts. Suzanne has performed often with Ensemble Arcangelo, Western Australia’s premier early music group, as well as in numerous local chamber music concerts. She was a contributor to the New Grove Dictionary of Music and Musicians (2001) articles on the cello (18th-19th centuries) and fingering; other research interests include the early history of the violin family, 17th- and 18th-century historical performance practice, musical iconography and musicians’ health issues. She is a Senior Lecturer in the School of Music, University of Western Australia. Shaun Ng Viola da gamba Sergio Gistri, 2000, after Nicolas Bertrand, 1687 Born in Singapore, Shaun Ng has studied bass viol with leading teachers in Vienna, Amsterdam, The Hague and in the UK. In 2000 he formed the Singaporean early music group Musica Obscura and was appointed an Associate Artist with Singapore’s first independent arts centre, The Substation. He now lives in Perth, Western Australia, studying and performing there and elsewhere. Stewart Smith Harpsichord Robert Deegan, 1982, after Dulcken, 1745 Stewart Smith studied at the Royal Academy of Music and at London University and graduated with First Class Honours and with a masters degree, winning many prizes along the way. In 21 Orchestra and with the early music group Ensemble Arcangelo. He is a Senior Lecturer and Coordinator of Classical Music at the Western Australian Academy of Performing Arts where, in addition to taking an active role in teaching and research, he has conducted a number of Baroque operas. Australia he is much in demand as a soloist and accompanist and has performed at international festivals in Perth, Melbourne and Adelaide as well as regional festivals thoughout the country. As a harpsichordist and as an organist, he has been broadcast many times on the ABC, and he has appeared on various CD recordings as an accompanist. Stewart was the assistant organist to St George’s Cathedral in Perth and regularly plays with the West Australian Symphony Executive Producers Robert Patterson, Lyle Chan Recording Producer, Engineer and Editor Thomas Grubb Editorial and Production Manager Hilary Shrubb Publications Editor Natalie Shea Booklet Design Imagecorp Pty Ltd Cover Photo The Triumph of Bacchus (oil on canvas), Charles Joseph Natoire (1700-1777) / Lauros / Giraudon, Louvre, Paris, France / The Bridgeman Art Library Booklet Photos Paul Tunzi (pp2 and 10-11), David McHugh (Fiona Campbell p19), Suzanne Wijsman (p22) All the works in this series were recorded in the chapel of St Ildephonsus at the Benedictine Community in New Norcia, Western Australia. We are grateful to the community for their cooperation and support. Recorded 14-18 October 2004 (Stuck) and 29 September - 3 October 2005 (Montéclair). 2007 Australian Broadcasting Corporation. © 2007 Australian Broadcasting Corporation. Distributed in Australia and New Zealand by Universal Music Group, under exclusive licence. Made in Australia. All rights of the owner of copyright reserved. Any copying, renting, lending, diffusion, public performance or broadcast of this record without the authority of the copyright owner is prohibited. A = 413 Temperament by Jean-Philippe Rameau This recording is part of a larger performance/ research project on French Baroque music funded by the Australian Federal Government through the award of an Australian Research Council Linkage Grant, bringing together researchers from The University of Western Australia and Edith Cowan University with other Australian performers, in association with ABC Classics as industry partner. The team of investigators (Emeritus Professor David Tunley, Dr Suzanne Wijsman, Paul Wright and Stewart Smith) wish to acknowledge the assistance of consultants Dr Robin Adamson (French language), Dr Margaret Pride (vocal technique), Alan Bonds (preparation of scores) and Paul Tunzi (keyboard instrument technician). Kate Clark with David Tunley 22 23