170 stmti i Prcci i pro.ci fujoúcci_si i por_ci í por _ ci furouccusi ah -—-*—^---——--B—W5—^-K—^-ŕ-Ht-m — ~m~—.-m-■—Mg ■■ j m ' "» — ah ah feÉIÉf feB^igi ih ah ahch'ioperde . i lede_Ii_sie del y \" y ' ^ i • =- ventre ~ě delia go . 1» chi: soccorre a] dLgiun ehi chl; lo eonjso_la lo "con _ so . la chi lo cóiusô _ la chi lo- (Aliegro) -la chi chi chi chi -chi chi lo la o flcbi-le pa (come prima) ^el libretto hob c'e il giooco di parole Proci-porei, XK 172 ro i la Pro _ ci I _ ro peT_ de - sti i Pro _ ci i pa _ dři tuo- sgorgapurquanto vuo-i la _ grime aroo _ r e e nu _ ste ehe 2hipiudel_la tua fa.nie sa_toLle_ri le bra_me // non" trov er ai no nono OTcrai cfci goda crapirdel va_sto ven.tre l'affajna _ te ca_vcr_ ne 174 la in_fausto gior.no a mis ru _ i_ne arma-to (come prima) po_co dian-zi mi Yin-semi vecchio ar. di . to hor m'ab_bat_te m'ab_ bat _ te la fa _ me m'ab m na to L'hebbi gia per ne-mi - ea l'hebbi gia per ne_rui ea 331 l'ho di_ strutta l'ho distrut.ta l'ho distrut.ta l*ho distrut.ta l'ho distrut.ta f f i ■mp ř f f ÄCCľ/OD (ÍL l'ho distrutta l'ho distrutta l'ho distrutta l'ho distrutta ťho distrutta l'ho distrutta e non vo'ffla.i ma _ i ma. i ma . i má. i ma. i ma - i ch ella por. ti di xn 302 UEBQ. SUETONIUS KNIHA ŠESTÁ 303 35/ Kromě s Octavií byl potom ženat dvakrát: zprvu s dcerou bývalého kvestora Poppaeou Sabinou, provdanou předtím za římského jezdce; potom 8 pravnučkou dvojnásobného konsula a triumfátora Taura Statilií Messalinou, jejíhož muže, konsula Attika Vestina, aby se jí zmocnil, dal zavraždit přímo v jeho úředním roce. Soužití s Octavií se brzy nabažil. Když ho přátelé proto kárali, odpověděl: ,,Musí se spokojit manželskými odznaky." Později se častěji, ale bezúspěšně pokoušel ji zardousit. Zapudil ji pod záminkou její neplodnosti, a přestože lid neschvaloval rozvod a nešetřil ho výtek, vykázal ji nadto z Říma. Posléze ji dal zabít na základě nestoudného a falešného obvinění ze smilstva; když totiž při soudním vyšetřování všichni důsledně popírali její vinu, nastrčil svého někdejšího vychovatele Aníkéta jako udavače, aby přednesl výmysl a přiznal se, že ji lstivě zneuctil. Poppaeu, s níž se oženil dvanáctého dne po rozvodu s Octavií, jedinečně miloval. Ale i ji, těhotnou a nemocnou, zabil kopancem za to, že mu zle vyčinila pro pozdní návrat z vozatajského ježdění. S ní měl dceru Claudii Augustu, ale přišel o ni ještě jako o docela malé dítě. Mezi příbuzenstvem všech stupňů řádil jako vražedník. Claudiovu dceru Antonii, která odpírala se za něho po smrti Poppaeině provdat, zahubil jako domnělou osno-vatelku státního převratu. Podobně i jiné osoby ze svého příbuzenstva nebo ze své blízkosti. Mezi nimi byl i mladistvý Aulus Plautius; nežli ho zabil, ještě ho poskvrnil násilím" a potom prohlásil: „Teď může přijít má matka a líbat mého nástupce", roztrušuje přitom, že prý ona toho mládence milovala a živila v něm naději nja trůn. Svého pastorka Rufria Crispina, syna Poppaeina, ještě nedospělého, když chytal ryby, poručil jeho otrokům utopit v moři, protože se říkalo, že si hraje na vojevůdce a imperátory. Syna své chůvy Tuska vykázal z Kíma za to, že se jako místodržitel Egypta koupal v lázních, které byly vystavěny pro chystanou císařovu návštěvu. Svého vychovatele Seneku dohnal k sebevraždě, přestože mu, když opětovně žádal o dovolenou a vzdával se svých statků v jeho prospěch, svatosvatě přísahal, že je neprávem v podezření a že on sám raději zahyne, než by mu uškodil. Prefektu prétoriánů Burrovi místo slíbeného léku proti bolení v krku poslal jed. Bohaté a letité propuštěnce, kteří byli jeho podporovateli a rádci kdysi při adopci a později při převzetí vlády, odklidil jedem namíchaným dílem do jídel, dílem do nápojů. 36/ S nemenší ukrutností běsnil i mimo své blízké a vůči cizím. Po několik nocí za sebou se začala objevovat vlasatice, která podle obecné víry věštívá záhubu osobám postaveným na nejvyšších místech. V úzkosti z ní, jakmile zvěděl od astrologa Balbilla, že králové obyčejně usmiřují takové zjevy nějakou okázalou vraždou a tím od sebe odvracejí zhoubu na hlavy předáků, rozhodl se pro zahubení všech nejvznešenějších mužů, a to tím spíše, že pro to získal takřka spravedlivý důvod. Provalilo se totiž tehdy dvojí spiknutí. První a rozsáhlejší, Pisonovo, bylo utkáno i odhaleno v R.ímě, druhé, Viniciovo, v Be-neventu. Spiklenci při výslechu vypovídali v trojnásobném spoutání řetězem, někteří se dobrovolně přiznávali k obvinění, jiní se činem dokonce chlubili a tvrdili, že Neronovi, zneuctěnému všemi mrzkostmi, nemohli pomoci jinak než zabitím. Děti odsouzených byly vyhnány z města a usmrceny jedem nebo hladem. Je známo, že některé z nich byly spolu s vychovateli a sluhy hromadně otráveny jedinou přesnídávkou, jiným bylo zabráněno opatřit si denní živobytí. cast í faicteh ATTO TERZO SCBNA I Iro solo IKO,parte ridicola low Mimo ot'U/me i'»/8/na m«rtir che i'..1.et _ -..-i. itb o mejta rLmembr»n.i» di dóAo. .ehi lo. eon.Bo.ls lo (Allegro) _ 1a ehi lo c0o.i0 _ I» ehi lo can . M 1 T L r - i'- •f- r - ''li vJ _ la rr.i ehi ehi ehi f • - hi Chi lo con. so U o (come prin fl..bi.le p»_ la) -r-^f nt- XII Wet libretto lot e'í il giooeo flí parole Proci-porci. \t\i\í\ft\ d o MONTEVERDI1 S WOkKS Francesco Malipiero, follow the entries in till ä I i ..t of works, as in XI/1 for Malipiero, volume XI, paye J. SV 318 291 333 153 a. Operas and Dramatic Works L'Orfeo. Text by Alessandro Striggio. Presented first for the Accademia degli Invaghiti 6f Mantua in 1607, then at the court of Mantua. Venice: Ricciardo Amadino, 1609; reprint ed., Venice: Ricciardo Amadino, 1,615. M. XI/1 L' Arianna. Jrext by Ottavio Rinuccini . Presented jat the court of Mantua in 160B. Music lost except for the Lamento d'Arianna, published with Due lettere amorose. Venice: Bartolomeb Magni, 16 23. M. XI/159 Prologue to Giovanni Battista Guarini's comedy L'Idropica. Text by Gabriello Chiabrera. Presented;at the court of Mantua in 1600. Music lost. La Maddalena. Text by Giovanni Battista , Andreini. Presented at the court of Mantua ""' in 1617. Monteverdi composed only an aria with a ritornello. See Musiche de alcuni eccellentissiml music! composte per la Maddalena (p. 23H Andromeda. Text by Ercole Marigliani. Presented at the court of Mantua in 1620. Music lost. II combattimento di Tancredi e Clorinda. Text by Torqu'ato Tasso. Presented at the Mocenigo palace in Venice, 1624. See Madriqali guerrieri, et-amorosi (p. 14). M. VIII/132 La finta pazza Licori. Text by Giulio Strozzi. 1627. Not performed, music lost. Gli amori di Diana e di Endimione. Text by Ascanio Pio. Presented at the court of Parma in 1628. Music lost. Monteverdi works which are mentioned only in his Mi correspondence are not listed. MONTEVERDI ' S WORKS i 323 Proserpina rap i t a. Text: by GiuTió Strozzi. ľ r i; o on ted cit. t. hi Moceniyc palace, Venice, ii 1630. Mual i c I1..; i . .i.'.S IJL ŕ i tonio .ľ li l i iii pjj U i c.. Te x t by Giacomo Badoarc. Presented the Teatro San Cassiano, Venice., i a 1641. Manuscript at the Hófhlbiiúthuk in Vienna. M. xii Le^no/.it- d I En ea con 1 .a y,i' n i aTex i: by Giaeornc Badoarc. Presented at the SS. Giovanni e Paolo at Venice in 1641. Music lost. 308 Ľ i n c o r on a z i o ň e iii Poppea . Text; by Giovanni Francesco Busenello. Presented at the SS. Giovanni e Paolo, Venice, in 1642. Manuscripts in the BiLlioteoa tiazionale Marciana, Venice, and the Biblioteca del Conservatorio S. Pietjro a Maiella, Naples. M. xiii SV b. Ballets 1 67 145 45.2 11. ballo delle ingrate. Text by Ottavio Rinuccini. Presented at the court theater in Mantua, 1608. See Madriqali guerrieri, et amorosi (p. I'l). mV Vlil/!il4 Text by Alessandro Striggio. the court theater in Mantua, libra de madriqali (p. Tlrsi e Clori Presented at 1616. See Settimo 13). M. VII/191 Mercurio e Marte, Torneo Text by Claudio the court of Parma Achillini. Presented at in 1620. Music lost. Volqendo il ciel per 1'immortal sentiero. Text by Ottavio Rinuccini. According to Paolo Fabbri (item 303), this work may have been presented at the Imperial Palace at Vienna in 1636. See Madriqali guerrieri, et amorosi (p. 14). M. VIII/157 La vittoria d'amore. According to Paolo Fabbri (item 303), the text is by B. Morando. Presented at Piacenza in 1641. Music lost. Claudio HonUveTdi: íitmom'm* dí Poppea (Vo h pnr fefeca ta no/u á i _»ir Se.ne.oa, Su mi si rechi omai del grand'Ibcro Profonda tazza inghirlandata e picna, Che correndomi al cor di vena in vena, Sgombra dB I'alma ogni mortal pensiero. Venga la nobil cetra, il erín di ftori Cingimi, o Filli, io ferirô le stelle, Canlando dcl mio Re gli eccelsi allorí; E voí, ehe per beltá, donne e donzelle. Gite superbe d'immortali honorí, Movete al mio bel suon le piante snelle, Sparso di rose il crin leggiardo e biondo, E lascialo delľlstro il rícco lundo, Vengan ľhumide ninfe al ballo anch'ellc. Coro Movete al mio bel suon le piante snelle, Sparso di ro9e il crin leggiardo e biondo, E lasciato delľlstro il ricco fondo, Vengan ľhumide ninfe al ballo anch'elle. Fuggano in sl bel dl nembi e procelle, D'aure odorate il mormorar giocondo. Faťeco al mio cantar, rímbombi il mondo, Ľopre di Ferdinando eccelsc e belie. Coro Ei l'armi cinse, e su destrier alato Corse le piagge, e su la terra dura La testa riposö sul braccio armato, Le torri eccelse e le superbe mura Al vento sparse, e fe' vermiglio il prato Lasciando ogni altra gloria al mondo oscura. Come, bring me from the great Ebro a deep cup, garlanded and full, 4 which, running to my heart from vein to vein, takes from my soul every mprtal thought. Bring me the noble lute, bind my hair with flowers, O Phyllis. 1 shall reach the stars singing the exalted glories of my King. And you, ladies and maidens, who in oeauty proudly walk among immortal honours, move your swift feet to my fine music, your delicate, fair tresses entwined with roses, and, leaving the rich bed of the Danube, let the nymphs of the water come too to the dance. Chorus Move your swift feel to my fine music, your delicate, fair tresses entwined with roses, and, leaving the rich bed of the Danube, let even the water-nymphs come to the dance. Let clouds and storms flee on this fair day; let the joyful murmur of fragrant breezes. Let there echo to my song, the world resounding, the noble and fair deeds of Ferdinand. Chorus ' He girt on his armour and on his winged steed patrolled the shores, and on the hard ground rested his head on his mailed arm. He scattered the lofty towers and the proud walls to the wind and made the field red with blood, eclipsing all other glories of the world. OTTACIORiNUCClNI TruuUtion CLIFFORD BARTLETT □ IL BALLO DELLEINGRATE Ballo of the Ungrateful Ladies DRAMA TIS PERSONAE Amore MARY SEERS Venerc SUSAN B1CKLEY Plutone RICHARD W1STREICH Four Shades from the Inferno Una dell' ingrate CATHERINE P1ERARD Eight Ungrateful Spirits who dance First one makes a stage, the scenery of which shows a mouth of the Inferno bound by four entrances, which spew forth fire, from which appear two by two the Ungrateful Spirits with lamenting gestures to the sound of the Entrata which marks the beginning of the Ballo. This Entrata is repeated as many times as necessary by the instrumentalists until the Spirits find themselves in the middle of the place in which the Ballo is to begin. Pluto stands in the middle, leading them forward with solemn step, and then retires somewhat as, the Entrata ended, they begin the Ballo. Then Pluto, having made them stop in the middle, speaks to the Princess and Ladies in the manner in which it is written. The costumes of the Ungrateful Spirits will be ash-coloured, adorned with feigned tears. The Ballo ended, they return to the Inferno in the same manner as they appeared and to the same lamenting sound. One stays on stage at the end, renders the lament which is written, and then enters the Inferno. Sinfonia Amore De 1'inplacabil Dio eccone giunt* al regno; secondo, o bella madre, il pregar mio, Venerc Non tacerá mia voce dolci lusingbe e prieghi fin che 1'alma feroce del Re severo al tuo voler non pieghi. Atnore Ferma, madre, il bel pié, non por le piante nel tenebroso impero chel'aer tutto nero non macchiass'il candor del bel sembiante. lo sol n'andro nella maggion oscura e pregand'il gran Re trarotti avantc. Venere Va pur come t'agrada; io qui t'aspetto discreto pargoletto. Venere Udite, donne, udite i saggi detti di celeste parlar nel cor serbate. Un secolo di pace il Sol rimcna Sotto il Re novo del romano impero. Sinfonia Cupid Of the implacable God behold now the kingdom; support, fair mother, my request. Venus My voice will not cease from sweet blandishments and prayers until the wild spirit of the dread king yields to your wish. Cupid Stop, mother; do not plant your fine foot on the shady dominion lest its totally black air stain the whiteness of your beauty. I alone will enter this gloomy place and will ask the great king to come forth. Venus Go then, as you wish. I shall wait for my tactful child. t Venus Hear me, ladies; hear these sayings of heavenly speech, and remember them, the sun brings back an age of peace under the new King of the Roman Empire. Che nemica ďamor ne' crodi affctti armerá il cor nelia fiorita etadc. Sentirá come poscia arda c sacta quando piú non havrá gratia e beltate e in van risonera unii pcntila di liscie e ďacquc alla fatace aita. Plutone Bclla madre ďamor, che col bel ciglio splcndcr 1'infcmo fai šeřeno e puro, qual destin, qual consiglio del ciel ťha scorto in quesťabiss'oscuro? Venere O dc la mořte innumerabil genie trcmendo Re, dal luminoso ciclo traggemi a quesťorror matcmo zelo. Sappi ch'a mano a mano 1'unico fíglio mio di strali c ďarco arma sprczzato arcicr gli omer e l'ali. Plutone Chi spoglió di valor 1'aurec saette che tantc volte e taňte gionsero al cor de rimmortal Tonante? Venere Oonne che di beltate e di valore tolgono atle piů dcgne il nomc altero. Lá ne la nobil Manto di cotanto rígor s'en van armatc che di quadrell' aurate e di sua face il foco recansi a schcrzo e gioco. Plutone Mal si sprezza ďAmor la face cl teto; siilo la turra el mař l'infemo c'1 cielo. Venere No. Non dc' piú fidi Amanti odon 1c voci c i pianti. Amor costanza e fede non pur ombra trovar puó di merccde. Questa gli altrí martiri narra rídcndo, e quella solo gode ďesscr bella quanto ťragge ďun cor pianti c sospiri. In van gentil guerriero movc in campo ďhonor leggiadro e fíero. Indamo ingeno altero fregia ďetemi carmi belta chc non 1'ascolta e non 1'apprezza. Oh barbara ficrezza, oh cor di tigre e ďangue. Stnfonla The enemy oflove with cruel feelings will arm the heart in the flower of youth. i She will suffer burning and torment when she has lost her grace and beauty, and in vain will resort in her tardy repentence to the illusory aid of cosmetics. Pluto Fair mother of Cupid, whose pretty brow makes hell shine clear and pure, what fate, what plan has brought you from heuven to this dark abyss? Venus You who of the countless dead are the fearful king, from the bright sky I have been drawn to this horror by maternal zeal. Know that, little by little, my only son, armed with bow and arrows, has found his darts scorned. Pluto Who has usurped the power of the golden arrows which time and time again pierced the heart of the immortal thunderer7 Venus Ladies who in beauty and pride eclipse the glory and splendour of dawn. There, in noble Mantua, they are armed with such harshness that Cupid's golden arrows and torch of fire arc treated as a joke. Pluto It is wrong to scorn the torch and arrow of Love. Earth, sea, hell and heaven know it. Venus No. Even of the most faithful lovers they ignore the voices and complaints. Love, constancy and fidelity cannot find even a shadow of mercy. This one laughingly tells of another's suffering; that one only enjoys her beauty when she draws from a heart tears and sighs. In vain the gentle warrior moves in the field of honour with grace and pride. In vain the noble mind ornaments with eternal odes a beauty who neither hears nor approves. O barbarous pride, O heart of tiger and serpent. mirar senza dolore fido Amante versar lagrime e sangue. Ne per sua gloria c per altrui vendetta ritrova in sua farctra Amor saetta. Plutone S'invan su l'arco tendi i poderosi sfrali. Amor, che speri, e che soccorso attendi? Amore Fuor de l'atra cavema ove piangono in van di speme ignude scorgi. Signor, qucU'empie e crude. Vegga su '1 Mincio ogno anima superba a qual martir cruda belta si serba. Plutone Deh, chi richerchi, Amore? Amor non sai che dal career profondo calle non c che ni rimeni al mondo? Amore So che dal bass' Infemo par far ritorno al ciel serato e il varco; ma chi contrasta col tuo poter ctemo? Plutone Saggio signor se di sua possa o parco. Venere Dunque non ti rammenti che Proserpina bella a coglier fiori guidai sul monte degli eterni ardori? Deh, per quegli almi content!, deh per quci dolci amori, fa nel mondo veder Pombre dolenri. Plutone Troppo, rroppo possenti, bella madre d'Amore, giungon del tuo pregar gli strali al core. Udite, udite, o de l'infemal corte fere ministře, uditc! Ombre a"inferno Che vuoi? ch'imperi? Plutone Aprite le tenebrose porte de la prigion caliginosa e oera, c de 1'Anirne ingrate trahcte qui la condunnata schiera. which can gaze without grief at a faithful lover pouring forth tears and blood. Neither for his own glory nor another's revenge can Cupid find an arrow in his quiver. Pluto If in vain you draw on your bow the powerful arrows, Cupid. what can you hope, what help can you expect? Cupid Out from the dark caverns where they weep in vain, bereft of hope, bring out, my lord, the impious and cruel ladies. Let every proud soul on the Mincio sec to what martyrdom cruel beauty must submit. Pluto What are you asking. Cupid? Does Cupid not know that from the deep prison there is no path back to the world? Cupid I know that from low Hell the way to the heaven is closed; but who can oppose your eternal power? Pluto Wise is the lord who is sparing of his power. Venus Then do you not remember that beautiful Proserpina to gather flowers was led on the mountain of eternal fire7 Ah, for those happy pleasures, ah, for those sweet loves let the world sec the sad shades. Pluto Too, too powerful, fair mother of Love, do the barbs of your prayer reach my heart. Hear, hear, O court of Hell, cruel ministers, hear! Shades from the Inferno What do you wish? What is your command? Pluto Open the shadowy gates of the misty, black prison and bring the condemned troop of ungrateful souls. Ventre Non senz' altro duetto di magnanimi Regi il pie porrai net I'ammirabilc tetto; ivi di fabri cgrcggi incredibil lavoro, o quanli ammirerai marmorii fregi. D'ostron luccnt'e d'oro splendon pompöse lc supcrbe mura, e per Dedalea cura sorger porrai tra ľindorate travi palme e trionfi d'innumcrabil avi. Né minor mcraviglia ti grävcrá lc ciglia folli teátri rimirando e scene scomo del Tebro c de la dotta Atene. Venus Not without the pleasure of the magnanimous king can your foot step under my wonderful roof. Built by outstanding workmen this is an astounding work; how you will admire the marble friezes. Shining bright with purple and gold arc the proud walls, and by the skill of a Dedalus you can see through the gilded beams crests and trophies of countless ancestors. No less wonderful to strike your eyes are the crowded theatres and scenes, scorning Rome and learned Athens. The Ungrateful Ladies begin to appear Entrata Amore e Venere Ecco ver noi 1'adoloratc squadre, o miserellc, di quell'alme infelici. Ahi vista tropp'oscura, o miserelle, fclici voi sc vi vedeva il fato o men crude c ferrc, o men leggiadre e belle! Cupid and Venus See coming to us the sad company, O wretched women, of these unhappy souls. O sight too dark, o wretched women, you would have been happy if fate had let you be less cruel and harsh or less fair and beautiful! Plutone Tomate al bel seren, celesti Numi. Movete meco, voi d'amor ribclle. Pluto turns to Venus and Cupid Pluto Return to the clear sky, heavenly Gods. Turning then to the Ungrateful Ladies Come with me, rebels against love. With sad gestures the Ungrateful Ladies begin two by two to dance with grave steps the following Entrata, with Pluto in the middle moving with natural and grave steps. Ballo They dance the Ballo up to the middle. Pluto takes a noble posture and turns to the Princess and the ladies in the audience. Plutone Dal tenebroso orror del mio gran regno (fugga. Donna, il timor del molie seno) arso di nova fiamma al ciel šeřeno donna o donzella per rapir non vegno. E quando pur da vostri rai nel petto ianguisce immortalmentc il cor ferito Pluto 1 do not come from the gloomy horror of my great kingdom, (banish fear, ladies, from your gentle breasts) burning with a new flame, to the clear sky to snatch a lady or girl. As when a heart wounded by your beauty languishes eternally, non fora disturbar Plutone ardito di cotanta Regina il lieto aspetto. Donna, ad cui nobil crin non bassi fregi sol ponn del Ciclo ordir gli eterni lumi. Di qui 1'alma virtu gli aurei cosrumi farsi speglio devrian monarchi e regi. Sceso pur dianzi Amor nel regno oscuro preghi mi ß, ch'io vi scorgessi avanti queste infelici, ch'im perpetui pianti dolgonsi in van, ehe non ben sagge furo. Antro e la giu di luce e d'aer privo, ove torbido fumo ogni hor s'aggira, ivi del folle ardir tardi sospira alma ch'ingrata hebbe ogni amante a schivo. Indi le traggo e ve 1'addito e mostro, pallido il volto e lagrimoso il ciglio, perche cangiando homai voglie e consiglio non piangeste ancor voi nel negro chiostro. Vaglia timor di sempitemi affanni, se forza in voi non han sospiri e prieghi. Ma qual cieca ragion vuolche si nieghi quel che mal grado alfin vi tolgan gli anni? Frutto non é da riserbarsi al fine, trovi fede al mio dir, mortal beltate. Pluto himself dares not upset the pleasing face of such a queen. Lady, for your noble locks no humble ornament save one made by heaven from the eternal stars. Your virtuous soul and golden apparel are models formonarchs and kings. Cupid has just come down to my dark kingdom to ask me to bring out those unfortunates who in continual weeping grieve in vain that they were not wise. A cave is down there, deprived of light and air, where thick smoke whirls the whole time. There too late repenting her foolish error the ungrateful soul who held each lover at a distance. I bring them thence and show them, pale-faced with eyes full of tears, for if you change your wishes and plans you need not weep in the dark cloister. Consider the fear of eternal sorrow if sighing and prayers have no power over you. But what blind reason makes you deny that which in the end the years will take away? It is no fruit to store away for ever, mark my words, mortal beauties. Turning to the Ungrateful Spirits Ma qui star piu non lice, anime ingrate. Tomate a lagrimar nel regno inferno. But here you can stay no longer, ungrateful Spirits; return to weep in the infernal kingdom. The Ungrateful Spirits repeat the second pari of the Ballo. Plutone Pluto Tomate al negro chiostro, anime sventurate; Return to the black cloister, unfortunate spirits; tomate ove vi sforea il fallir vostro. return to where your mistakes have taken you. They return to the Inferno to the music of the first Entrata, with actions and steps as before. One remains on stage, making the following lamentation; she then enters the Inferno. Una dell' Ingrate One of the Ungrateful Ladies Ahi troppo, ahi troppo e duro. Ah, too, too harsh. Crude! sentenza e vie piu cruda pena. Cruel sentence and too cruel punishment, Tomar a lagrimar ne I'antro oscuro! to return to weep in the dark cave! 14 Aer sereno e puro, addio per sempře, addio. Addio, per sempře addio. O cielu, o sole; addio, tucide Stelle. Apprendete pieta, donne e donzelle. Quattro Ingrate Apprendete pieta, donne e donzelle. Una dell' Ingrate AI ftimo, a grídi, a pianti, a sempiterno affano; ahi, dove, son le pompe, ove gli amanti, dove, dove sen vanno donne ehe si pregiate al mondo furo? Acr sereno e puro .. . Quattro Ingrate Apprendete pieta, donne c donzelle. Air serene and pure, farewell forever, farewell. Farewell, for ever farewell. O heaven. O sun; farewell, bright stars. Learn pity, ladies and girls. Four Ingrates Leam pity, ladies and girls. One of the Ungrateful Ladies To the smoke, to the groans, to the tears, to eternal torment; ah, where are the glories or the lovers, where, where are they going, the ladies who were so esteemed in the world? Air serene and pure .. . Four Ingrates Learn pity, ladies and girls. association with Hyperion, and now has more than 20 records in the catalogue. In recent years The Parley has developed the first consort of Renaissance violins to be heard in modem times. They have light internal construction, are strung with uncovered gut strings, and are played with a light, short bow; They produce a more viol-like and blended sound than the more familiar Baroque violins. There are now enough Renaissance instruments and players to form an orchestral violin band similar to those used at the major European courts around 1600; it makes its debut on this recording. OTTAVIO RINUCINNI Translation O CLIFFORD BARTLETT RED BYRD Jolm Potter and Richard Wistreich founded Red Byrd to build on the considerable work they have done ;arly and new music elsewhere, but with the intention of discarding the constraints implied by those lal els. Both are researching early music and its performance, but believe that the point of singing the mi sic of the past is to illuminate the present, and not merely to represent an academic ideal in itself. For each project they are joined by other leading performers. A case in point is the programme 'Songs of Love and Death', from Monteverdi to Frank Martin, Brian Ellas, Barry Guy, John Paul Jones and Harvey Brough (the two latter being first performances), which they gave at the Musikfest Bremen in October 1989 with Linda Hirst soprano and Ian Honeyman tenor, anil the instrumentalists Stephen Stubbs, Erin Headley and Andrew Lawrence-King, on lute, lirone, ba: oqueharp and electric guitars. 'Songs of Love and Death' was given a Contemporary Music Ne twork tour in January-February 1991, and again at the Tampere International Choir Festival, Finland, lune 1991, recorded for Finnish television. In the same season, Red Byrd also gave an Early Music tour of Elizabethan Christmas Anthems with the Rose Consort of Viols. THE PARLEY OF INSTRUMENTS Th.e Parley of Instruments was founded by Roy Goodman and Peter Holman In 1979 to explore and bring before the public the rich repertory of Renaissance and Baroque string consort music. It takes its name from some of the earliest public concerts in the world, given in 1676 by the violinist John Banister. Peter Holman is an acknowledged authority on the early violin and its music, and the group has given hundreds of first performances of pieces edited by him. The Parley tours regularly in Britain and abroad, and has made over sixty broadcasts for BBC Radio 3. It has had a long and fruitful 16 Monteverdi Sacred Vocal Music with Emma Kirkby, Ian Partridge, David Thomas CDA66021 /KA66021 Muffat: ArmonicoTributo (1682) CDA66032 / KA66032 German Consort Music, 1660-1710 CDA66074 Purcell's London CDA66I08/KA66108 Biber: Twelve Sonatas for trumpets, strings, timpani and continuo CDA66145/KA66145 Vivaldi Lute and Mandolin Concertos with Paul O'Dette CDA66160/KA66160 Bach's Hunt Cantata with Emma Kirkby, Jennifer Smith, Simon Davies, Michael George CDA66169/KA66169 Christmas Music by Michael Practorius with the Choir of Westminster Cathedral CDA66200 / KA66200 Purcell: Ayres for the Theatre CDA66212/KA66212 Dr Arne at Vauxhall Gardens with Emma Kirkby, Richard Morton CDA66237/KA66237 Consort Music by Peter Philips CDA66240 / KA66240 Italian Baroque Trumpet Music with Crispian Steele-Perkins, Stephen Keavy CDA66255 Vivaldi Recorder Concertos with Peter Holtslag CDA66328 / KA66328 John Stanley: Six Concertos in seven parts, op 7 CDA66338 / KA66338 Anthems, Motets and Ceremonial Music by Matthew Locke with the Choir of New College, Oxford CDA66373 / KA66373 Boyce's Serenata 'Solomon' with Bronwcn Mills, Howard Crook CDA66378 / KA66378 Music for Prince Charles (Orlando Gibbons and Thomas Lupo) CDA66395 Telemann Recorder Concertos with Peter Holtslag CDA66413/KA66413 An Englishman Abroad (Consort Music by Thomas Simpson) CDA66435 Concertos by Capel Bond CDA66467 CDA « compact disc KA = cassette - 8 - 5 Clauílo Morúimäi: sborovárfornel Apmndé* flHa 3>on- afo-fwfr-dt-ÍL fUe- ta. óf.-f*m-Jt-& -file - & 1,4 j Poznámky k edici; sborový ritornel "Apprendete pieta" přepisujeme ze známé edice Lui-giho Torchiho L'arte musicale in Itálie /G. Ricbrdi a C, Miiano, nedat, s. 237/. Tato edice, která vlastně volně zpracovává monteverdiovské con-tinuo často až s veristickou rafinovaností, není v ukázce nijak na závadu, protože se jedná o sborové místo bez continua, které Torchi přepisuje zcela přesně. Ukázku uvádíme v příkladu a/ v přepisu ětyřhlasé