The Secret Music of Luzzasco Luzzaschi Musica Secreta - 'Madrigali a uno, due e tre soprani' (1601) for the Ladies of Ferrara
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The Secret Music of Luzzasco Luzzaschi
‘Madrigali a uno, due e tre soprani’ (1601)
for the Ladies of Ferrara
Musica Secreta
CD-SAR 58
DIGITAL
RECORDING
Musica Secreta Some of our SAYDISC unusual, traditional & exotic albums and Amon Ra authentic performances on
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2 11Come il duol mi consumi. È si dolce, e si vago, e si soave, The secret music of Luzzasco Luzzaschi
Si ti potessi dar morend’aita Ch’i dico ah core stolto, perche
Morrei per darti vita. fuggito l’hai? 1 Occhi del pianto mio trio (SL, DR, TB, PC, JT) [3’10”]
Ma vivi, oime, ch’ingiustamente more Fuggilo si che non ti fugga mai.
Chi vivo tien nell’ altrui petto il core. 2 Aura soave solo (MN, PC, JT) [3’02”]
He is too powerful, this tyrant Love
My heart, alas, do not suffer, At subjugating a heart, 3 T’amo mia vita trio (SL, TB, MN, PC, JT) [2’48”]
For you make my soul suffer with you. If liberty or escape are of no avail 4 O primavera solo (SL, PC) [3’02”]
Listen to the burning sighs which To one who does not suffer.
Pity and desire send to you. When I consider how cruel, sorrowful, 5 Toccata del quarto tuono harpsichord solo (JT) [1’57”]
See in these lovelorn eyes Painful and heavy his yoke is, 6 I’ mi son giovinetta duet (DR, SL, PC, JT) [3’19”]
How grief is consuming me. I say to my unbound heart, do not
If I could give you help by dying delay, what are you doing? 7 O dolcezz’amarissime d’Amore trio
I would die to give you life. Flee him before he reaches you!
(DR, TB, MN, PC) [4’19”]
But you live, alas, that he should But I know not how his flattery
unjustly die, reaches me. 8 Ch’io non t’ami cor mio solo (DR, JT) [3’15”]
Who carries that living heart in It is so sweet, so delightful, so gentle,
another’s breast. That I say: Oh foolish heart why did 9 Toccata No. 12 (Piccinini) chitarrone solo (PC) [2’48”]
you fly from him? 10 Non sa che sia dolore trio (SL, DR, TB, PC, JT) [2’44”]
Troppo ben può Escape him that he should never fly
Troppo ben può questo tiranno Amore from you. 11 Deh vieni ormai cor mio duet (TB, DR, PC) [3’12”]
Per far soggetto un core. 12 Stral pungente d’Amore duet (TB, MN, PC, JT) [2’56”]
Se libertà non val, ne val fuggire,
A chi non può soffrire. Translations: 13 Canzon à 4 harpsichord solo (JT) [1’25”]
Quando penso tal’hor com’arde e punge, © Deborah Roberts, 1992
com’il suo giogo è dispietato e grave, 14 Ricercare harpsichord solo (JT) [1’34”]
I’ dico al core sciolto non l’aspettar, 15 Cor mio duet (TB, MN, JT) [2’48”]
che fai?
16 Troppo ben può trio (DR, SL, MN, PC, JT) [3’42”]
Fuggilo si che non ti giunga mai.
Ma non so come il lusinghier mi giunge. Total duration: 46’01”
10 3Luzzaschi’s Madrigali a uno, due e tre until 1601, when the concerto had ceased Cari lumi leggiardri, amato volto, The day already flies to the west.
soprani of 1601 represents the sole to function. There is much evidence to Ch’Amor mi die si tardi e fier destino And my weary life
surviving publication of a unique and suggest that these madrigals were being Si tosto oggi m’ha tolto! Lacks no less than the day.
highly important repertoire; that of the performed as early as the 1580s. The Viver lungi da voi, tanto vicino Come and console my cruel misery,
much famed singing ladies (concerto following passage is taken from a letter Son di mia vita al termine fatale, That your lovely voice
delle donne) of Ferrara. What developed of 1583 from a certain Alessandro Se vivo torno a voi, torno immortale. Gives life to my languidness
into a veritable ‘craze’ throughout Italy Lombardini, in which he is referring to a And holds back the sun which already
He knows nothing of pain falls into the sea.
and many other parts of Europe during visit to the court by the Duc de Joyeuse:
Who leaves his life without dying.
the final decades of the sixteenth century, Then the Duke [of Ferrara] Dear lovely eyes, beloved face Stral pungente d’Amore
began in Ferrara as courtly music-making took him [the Duc de Joyeuse] to the Which Love gave me too late, and Stral pungente d’Amore,
among ladies of nobility. By the 1580s, rooms of the Duchesses, who were proud destiny Di cui segno è il mio core.
however, the Duke of Ferrara, Alfonso II, together, and, after a few ceremonies Has so hastily taken from me today. Deh fa ch’in me t’aventi,
had become so obsessed with the sound and without sitting down, they went To live far from you? I am so close Per trarmi all ’ultime hore.
of soprano voices, that he was procuring into the first room where Luzzaschi To the fatal end of my life, O quel bel petto tenti,
the finest singers of the time and was with the harpsichord. La Turcha That if I return living to you, I return Si duro a miAei lamenti.
establishing them in his court as [Peverara], La Guarina, and the other immortal.
extremely well paid professionals. The one, d’Arca, came in as well, and all Sharp arrow of Love,
three most famous, Laura Peverara, Livia three sang very nicely, alone, in Deh vieni ormai cor mio Whose target is my heart.
D’Arco and Anna Guarini, were all of duets, in trios all together.......His Deh vieni ormai cor mio, Alas, you attack me
middle class origin and joined the court Highness had put in the hands of His A l’usato soggiorno, To drag me to my last hours.
exclusively as singers. They were not, Excellency a book with all the things Che già s’envola a l’occidente il giorno. Oh you should attempt that lovely breast
E la mia vita stanca, So unmoved by my lamenting.
however, widely heard, for their that the ladies were singing, whence Non men che’l giorno manca.
performances were reserved by the Duke they were greatly praised by that Vieni consoli il mio cordoglio atroce, Cor mio
for his musica secreta, or secret music, Prince and by the other gentlemen. Quella beata voce; Cor mio, deh non languire!
which took place in private and to which E fieno spirto al mio languir tue note, Che fai teco languir l’anima mia.
only a few honoured guests were invited. Although there is no actual proof E freno al sol c’ha gia nel mar le rote. Odi i caldi sospiri, a te gl’invia
This goes some way to explain why so that the book referred to was of
little music survives, and why Luzzaschi’s madrigals, there is at least an Alas, come at last my love, La pietate e’l desire.
Luzzaschi’s music was not published indication that music of the same type For tired of remaining, Mira in questi d’amor languidi lumi
4 9“Fly if you are wise, the passion Do not be fooled by appearances, was being performed at a time when only probably also composed.
In the beams of this For he seems gentle, but is sharp multi voiced madrigals were being Not a great deal is known of
Spring will never be for you!” and cruel, published. Luzzaschi’s life, but he appears to have
And is less unarmed when he is naked. It is fortunate that a fair amount of come to Ferrara in 1561. He eventually
O dolcezz’amarissime d’Amore correspondence survives from those became the principal musician at the
O dolcezz’amarissime d’Amore, Ch’io non t’ami cor mio lucky enough to have witnessed these court, being responsible for all of the
Quest’ è pur il mio cor, Ch’io non t’ami cor mio? secret performances, which seem to have music making, as well as holding the
Quest’ è pur il mio ben, Ch’io non sia la tua vita, e tu la mia?
been a daily event over several years. It is position as chief court composer. He was,
Che piu languisco. Che per nuovo desio
Che fa meco il dolor, se ne gioisco? E per nuovo speranza i’ t’abbandoni. equally unfortunate that this secret in fact, the composer most admired by
Fuggite Amore, amanti, Amore amico, Prima che questo sia, repertoire has been lost, with the sole Giulio Caccini, a frequent visitor to the
O che fiero nemico! Morte non mi perdoni. exception of these madrigals. As it is, court. Luzzaschi’s output included seven
All’hor che vi lusinga, all’hor che ride, Che se tu se’ quel core onde la vita they form a missing link between the books of five part madrigals, one
Condisce i vostri pianti M’è si dolce e gradita, unaccompanied, polyphonic madrigal, collection of motets and various
Con quel velen che dolcemente ancide. D’ogni mio ben cagion, d’ogni desio, and the later, solo madrigals with keyboard pieces. His 1601 publication
Non credete ai sembianti, Come posso lasciarti e non morire? continuo. Luzzaschi’s keyboard parts are will remain, however, his most
Che par soave et è pungente e crudo. not figured basses in the early baroque significant contribution, not only for its
Et è men disarmato all’hor che è nudo. Should I not love you my heart? style, but fully written out scores in four historical importance, but also for the
Should I not be your life, and you mine? parts, which double the vocal lines while sheer beauty of its luxuriant style.
O bitter sweets of Love, That for some new desire omitting the elaborate decorations. These It is among the most vocally
Is this really my heart, And new hope, I should abandon you. are, then, four part madrigals in which challenging music surviving, and attests
This my happiness? Before that could be, one, two or three parts are sung. It is to high quality of vocal training in the
That I suffer the more. Death would not pardon me.
What gives me such pain if I enjoy it? For if you are that heart so that my life always possible that ‘normal’ madrigals sixteenth century. It is something of a
Fly from Love, you lovers! is Love Shall be sweet and pleasing to me may sometimes have been arranged in miracle that even one copy of the original
§a friend? In every wish and desire, this way, with the lower parts played publication survived. We would
How could I leave you and not die? instrumentally and the soprano parts otherwise have been able only to guess at
O what a fierce enemy! ornamented by the ladies themselves. It the quality of the musica secreta.
While he is alluring you, while he smiles, Non sa che sia dolore is certain that their many
He seasons your tears Non sa che sia dolore, accomplishments included playing the © Deborah Roberts, 1992
With that venom which sweetly kills. Chi da la vita sua parte, e non more. harp, viola da gamba and lute, and they
8 5Occhi del pianto mio Virtù di quel tuo spirto gentile, “I love you my life”, my dear love But I am not what I once was,
Occhi, del pianto mio Felice vita oltre l’usato stile. Sweetly tells me, and with this single Dear to the eyes of another.
Cagione, e del mio duro empio martire, Lovely word
Lasciartemi, vi prego, ormai morire. Gentle breeze of sweet accents, It seems my heart is joyfully transformed, I’ mi son giovinetta
E con morte finir mio stato rio. Entering the ears of my heart, To make me its master. “I mi son giovinetta e rido e canto a la
Che’l vostro darmi aita You awoke Love, who was sleeping Oh sweet voice of such delight, stagion novella.”
Talor con dolce et amorosi guardo, there. Take it quickly, Love; Cantava la mia dolce pastorella,
Più dogliosa mia vita For you I breathe and live, Print it on my heart. Quando l’ali il cor mio
Rende e cresce la fiamma ond’io Since into my heart Breathe only for her, my soul. Spiegò come augellin subitamente,
sempr’ardo. You breathed the living desire of Love. “I love you my life”, that you should be Tutto lieto et ridente
I lived without life my life. Cantava in sua favella:
Eyes, cause of my tears, While healing Love lay dormant “Son giovinetto anch’io,
And of my cruel, wicked suffering, within me O primavera E rido e canto a più beata e bella
Let me, I beg you, die at last. Now that my soul hears O primavera gioventù de l’anno, primavera d’Amore
And with death, end my wretched state. The power of your gentle spirit, Bella madre di fiori, Che ne begli occhi suoi fiorisce”, et ella:
For when you give me help It enjoys a happier life than that to which D’erbe novelle e di novelli Amori. “Fuggi se saggio sei”, disse, “l’ardore
With sweet and amorous glances, it was accustomed. Tu ben lasso ritorni, Ch’in questi rai
It makes my life more painful Ma senza i cari giorni Primavera per te non sara mai.”
And increases the flame which consumes T’amo mia vita Delle speranze mie.
me continuously. “T’amo mia vita”, la mia cara vita Tu ben sei quella “I am a young girl, and I laugh and sing
Dolcemente mi dice, e in questa sola Ch’eri pur dianzi si vezzosa e bella. to the new season.”
Aura soave Si soave parola Ma non son io gia quel ch’un tempo fui, Thus sang my lovely shepherdess,
Aura soave di segreti accenti, Si caro a gl’occhi altrui. When my heart suddenly
che penetrando per l’orecchie al core, Par che trasformi lietamente il core Spread its wings like a bird,
Svelgliasti la dove dormiva Amore. Per farmene signore. O spring, the year’s youth,
Per te respiro e vivo, O voce di dolcezza, e di diletto, Lovely mother of flowers All lightness and laughter,
Da che nel petto mio, Prendila tosto, Amore; And of new grass and new loves. It sang in this way:
Spirasti tu d’Amor vital desio. Stampala nel mio petto, You are, alas, returned, “I am also a young man,
Vissi di vita privo, Spiri solo per lei l’anima mia, But without the dear days of my hopes. And I rejoice and sing to the more
Mentre amorosa cura in me fu spento. “T’amo mia vita”, la mia vita sia. You are still that which you were, beautiful Spring of Love
Hor vien che l’alma senta So fair and lovely to my sight. That blossoms in her eyes”, and she said:
6 7TM
Musica Secreta
Deborah Roberts (DR) Tessa Bonner (TB)
Suzie Leblanc (SL) sopranos
Mary Nichols (MN) alto
The secret music of Luzzasco Luzzaschi—Musica Secreta
The secret music of Luzzasco Luzzaschi—Musica Secreta
Paula Chateauneuf (PC) lute, chitarrone
STEREO CD-SAR 58
John Toll (JT) harpsichord
The secret music of Luzzasco Luzzaschi
1 Occhi del pianto mio trio (SL, DR, TB, PC, JT) [3’10”]
2 Aura soave solo (MN, PC, JT) [3’02”]
3 T’amo mia vita trio (SL, TB, MN, PC, JT) [2’48”]
4 O primavera solo (SL, PC) [3’02”]
5 Toccata del quarto tuono harpsichord solo (JT) [1’57”]
6 I’ mi son giovinetta duet (DR, SL, PC, JT) [3’19”]
7 O dolcezz’amarissime d’Amore trio (DR, TB, MN, PC) [4’19”]
8 Ch’io non t’ami cor mio solo (DR, JT) [3’15”]
9 Toccata No. 12 (Piccinini) chitarrone solo (PC) [2’48”]
10 Non sa che sia dolore trio (SL, DR, TB, PC, JT) [2’44”]
11 Deh vieni ormai cor mio duet (TB, DR, PC) [3’12”]
12 Stral pungente d’Amore duet (TB, MN, PC, JT) [2’56”]
13 Canzon à 4 harpsichord solo (JT) [1’25”]
14 Ricercare harpsichord solo (JT) [1’34”]
15 Cor mio duet (TB, MN, JT) [2’48”]
16 Troppo ben può trio (DR, SL, MN, PC, JT) [3’42”]
Total duration: 46’01”
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CD-SAR 58
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SAYDISC RECORDS, THE BARTON, INGLESTONE COMMON,
BADMINTON, S.GLOS. GL9 1BX, ENGLAND.
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