CLAUDIO MONTEVERDI

(1567-1643)

Madrigals, Book 4
Sunday, April 29, 2012 at 4 pm
Corpus Christi Church, New York City

ARTEK
Laura Heimes, soprano
Sarah Chalfy, soprano
Ryland Angel, countertenor
Owen McIntosh, tenor
Michael Brown, tenor
Peter Becker, bass-baritone
with
Christa Patton, harp
Daniel Swenberg, theorbo & lute
Charles Weaver, lute
Gwendolyn Toth, harpsichord & director
 PROGRAM

Ah dolente partita (Giovanni Battista Guarini, Il Pastor Fido III, iii)

Voi pur da me partite (Guarini, madrigal 83, Rime)
A un giro sol de’ begl’occhi (Guarini, Rime)

Instrumental:
O felici occhi miei (Jacques Arcadelt, c.1505 - 1568)
from Trattado de glosas (Diego Ortiz, Rome, 1553)

Si ch’io vorrei morire (? Maurizio Moro)

Anima del cor mio (author unknown)
Longe da te cor mio (author unknown)

Instrumental:
Labra amorose e care (Giovanni Gabrieli c.1554-7 - 1612)
from Tablatur Buch (Bernhard Schmid II, Strasbourg, 1607)

Sfogava con le stelle (? Ottavio Rinuccini)

Luci serene e chiare (? Ridolfo Arlotti)
La piaga c’ho nel core (? Aurelio Gatti)
Io mi son giovinetta (? Guarini)

INTERMISSION

Cor mio mentre vi miro (Guarini, Rime)

Anima mia perdona; Che se tu (Guarini, Il Pastor Fido III, iv)
Quel augellin che canta (Guarini, Il Pastor Fido I, i)

Instrumental:
Ancor che col partire (Cipriano da Rore, c.1515 - 1565)
from Tabulature de lutz en diverses sortes (Giovanni Paolo Paladin, Lyons, 1549)
from Regole, passaggi di musica, madrigali et motetti passeggiati (Giovanni Battista Bovicelli, Venice, 1594)

Ohimè se tanto amate (Guarini, Rime)

Volgea l’anima mia (Guarini, madrigal 62, Rime)
Cor mio non mori (author unknown)

Instrumental:
Il bianco e dolce cigno (Jacques Arcadelt, c.1505 - 1568)
intabulated by Charles Weaver

Anima dolorosa (? Guarini)

Non più guerra pietate (Guarini, Rime)
Piagn’e sospira (Torquato Tasso, Gerusalemme conquistata, VIII, vi)
Notes on the Program
When Claudio Monteverdi (1567-1643) published his fourth book of madrigals, Il quarto libro dei madrigali a cinque voci, in
1603, he broke an eleven-year silence in terms of publication, but in the interval he must have been extremely busy. As part of
his service as musician at the ducal court in Mantua he had accompanied the Duke on expeditions to Hungary and Flanders;
he had married the court singer Claudia Cattaneo in 1599, and had the first of his children by 1601, the year in which he was
appointed maestro di cappella of the court at age 35. If the madrigals published in his third book in 1592 demonstrate the
influence of Luca Marenzio and Giaches de Wert, the masterpieces contained in his fourth book show that during those eleven
years Monteverdi’s compositional art flowered into full maturity and mastery of the madrigal form.
In the madrigals published in his fourth book, which circulated in manuscript in both Mantua and the important musical
establishment in neighboring Ferrara, Monteverdi explored a more expressive use of dissonance that brought about one of the
most famous and important musical controversies of all time, a prolonged debate with the Bolognese theorist and composer
Giovanni Maria Artusi. Artusi’s critique of Monteverdi’s expressive compositional style began in 1600 in his L’Artusi, overo
delle imperfettioni della moderna musica, in which he published passages from some ‘modern’ madrigals he had heard in a house
concert, demonstrations, in his eyes and ears, of improper use of dissonance and the mixing of modes. Monteverdi is not
mentioned by name, but his fourth book includes material attacked by Artusi, who defended traditional counterpoint, call-
ing Monteverdi’s modern approach ‘crude’ and ‘barbaric’. Monteverdi replied directly to these criticisms with his Fifth Book of
Madrigals (1605), and his brother Giulio Cesare Monteverdi in 1607 underscored the principle that the words should govern
the harmony, not the other way round, justifying a freer, more expressive use of dissonance and counterpoint.
No poet had a greater influence on late-Renaissance music than Giovanni Battista Guarini, whose rambling play Il Pastor Fido,
a convoluted tale of celestial prophesy, impossible loves and hidden identities, created much buzz and controversy. Guarini
was censured for his mingling of the genres of comedy and tragedy, in much the same way that Artusi attacked Monteverdi’s
innovation in counterpoint. But Il Pastor Fido was also denounced for the lascivious actions and discourse of its amorous Ar-
cadian characters; indeed, in 1605 Cardinal Robert Bellarmine wrote that Guarini’s play was more harmful to Catholic morals
than the Protestant Reformation itself! The poet was a frequent visitor to the Mantuan court in 1591-93, and Duke Vincenzo
Gonzaga was apparently a great admirer of the poet, seeking to stage his huge tragi-comedy throughout the 1590s.
Monteverdi settled on Guarini’s poetry as his primary stimulus for expanding and refining his musical rhetorical techniques:
Book III (1592) contains nine settings of his verse, while Books IV and V include nineteen more. Guarini’s effort toward con-
ciseness in his ‘epigrammatic’ madrigals, as Gary Tomlinson explains in his book Monteverdi and the End of the Renaissance, is
clearly demonstrated in ‘Cor mio, mentre vi miro’. Adhering to the two-part format of the classical epigram, this brief, eight-
line poem consists of a situation or expositio (the lover is transformed into his love) followed by the ‘point’ or acumen, often a
witty paradox (a heart dies as it is reborn). In the dedication to Luzzasco Luzzaschi’s sixth book of madrigals in 1596, Guarini’s
son Alessandro wrote of the move toward brevity in madrigal verse:
Skipping over all those other poetic forms that have changed only in subject matter—such as canzone, sestine, sonetti, ottave,
and terze rime—I shall say of the madrigal that it seems to have been invented just for music, and...in our age it has received
its perfect form, a form so different from its former one that, were the first versifiers to return to life, they would scarce be able to
recognize it, so changed is it in the brevity, the wit [acutezza], the grace, the nobility, and finally the sweetness with which the
poets of today have seasoned it. (translated in Anthony Newcomb, The Madrigal at Ferrara.)
This trend is echoed by the Venetian poet Mauritio Moro, writing in 1602:
You may read madrigals, the last-born child of this [Tuscan] tongue, which the divine Tasso, . . . Nardi, Simonetti, Guarini
and others have published . . . which in their laconic brevity equal or surpass the epigrams of the Latin poets. (in Tomlinson,
Monteverdi and the End of the Renaissance)
Monteverdi also strove for conciseness in his ‘epigrammatic’ style, mixing homophonic passages with dovetailed musical motifs
and abrupt tonal disjunctions to vivify the paradox of the poet’s heightened state. But his fourth book contains a diversity of
styles that reflects his compositional maturation since the publication of the preceding book. ‘Ah dolente partita’, which opens
Book IV, displays wrenching dissonance; the ‘dolente partita’ may refer to the passing of Duke Alfonso d’Este of Ferrara, to
whom Monteverdi had sent various works in manuscript; or it could be a memorial for his Mantuan musical mentor Giaches
de Wert, who had died in 1596. From the florid, pictorial style of ‘Io mi son giovinetta’ and the contrapuntal tour de force
‘Piagn’e sospira’, reminiscent of his earlier madrigals, to the homophonic declamation and straightforward harmonic progres-
sions in the excerpts from Il Pastor Fido, laced with expressive dissonance, we can trace Monteverdi’s artistic development and
creative output that grew and flourished up to the very end of his long life. - Grant Herreid
Audiences love ARTEK concerts for their exciting, dramatic performances of baroque music, with compelling musical settings
of beautiful poetry and infectious dance rhythms that infuse the performances with vitality and spirit. Founded by director
Gwendolyn Toth in 1986, ARTEK features America’s finest singers and instrumentalists in performances of seventeenth-cen-
tury repertoire from Italy and Germany. Highlights of ARTEK’s past seasons include acclaimed performances in 2002 and
2003 of ARTEK’s theater show, I’ll Never See the Stars Again, at the Edinburgh Fringe Festival in 2005; standing ovation per-
formances to sell-out crowds at the Regensburg (Germany) Tage Alter Musik Festival in 1998 and 2003; and ARTEK’s debut
performance in 2003 at the prestigious Boston Early Music Festival. ARTEK’s recordings of Monteverdi’s Orfeo and other early
Italian repertoire have been widely praised. ARTEK toured internationally from 1997 to 2002 with the Mark Morris Dance
Group, visiting major venues in the United Kingdom, Italy, and Canada as well as more than 50 of America’s premier theaters.
Visit www.artekearlymusic.org to learn more.
Director Gwendolyn Toth is one of only a few American conductors of historical performance ensembles and orchestras.
She is the director and founder of America’s virtuoso period instrument ensemble, ARTEK. Ms. Toth has also conducted at
Sadler’s Wells Theater in London with the Mark Morris Dance Group; the Skylight Theater in Milwaukee; Kaye Playhouse,
Merkin Hall, and BAM in New York City, and for the German Radio Broadcasting system. She is recognized as an outstanding
performer on early keyboard instruments, performing in early music festivals in Boston, Utrecht, Holland, and the Czech Re-
public, and on radio networks in Holland, Germany, France, and America’s National Public Radio. Her discography includes
a CD of Bach’s Goldberg Variations on the lautenwerk, and two solo organ CDs of Renaissance and Baroque organ music on
meantone organs in Holland. She is currently on the faculties of Manhattan College, Montclair State University, Hunter Col-
lege CUNY, and Mount Saint Vincent College. Ms. Toth invites fans to view her blog, www.artekearlymusic.blogspot.com, for
stories and videos about her life with music and ARTEK.
Praised for her “sparkle and humor, radiance and magnetism” and hailed for “a voice equally velvety up and down the regis-
ters,” soprano Laura Heimes is widely regarded as an artist of great versatility, with repertoire ranging from the Renaissance
to the 21st century. She has collaborated with many of the leading figures in early music, including Andrew Lawrence King,
Julianne Baird, The King’s Noyse, Paul O’Dette, Chatham Baroque, Apollo’s Fire, Voices of Music, Brandywine Baroque, and
Piffaro – The Renaissance Band. She has been heard at the Boston, Connecticut and Indianapolis Early Music Festivals, at the
Oregon and Philadelphia Bach Festivals, at the Carmel Bach Festival, and in Rio de Janeiro and Sao Paulo, Brazil in concerts of
Bach and Handel. Heimes’ most recent recordings include On The Just Treatment of Licentious Men (modern art songs by Peter
Flint), Cantatas Françoises (music of Jacquet de la Guerre and Clérambault), Handel Duets and Trios; Oh! the Sweet Delights of
Love, songs of Purcell with Brandywine Baroque; The Lass with the Delicate Air, English songs from the London Pleasure Gar-
dens; The Jane Austen Songbook and Caldara’s Il Giuoco del Quadriglio with Julianne Baird.
Sarah Chalfy, soprano, is an active performer on a variety of musical stages, from theatres to concert halls to cabaret and rock
venues. She specializes in premiering new works by some of today’s most esteemed composers, including the title role in ADA,
Nellie Bly in Stunt Girl, Lori in Terezin, and Madeleine X in the LA world premiere of Michael Gordon’s opera What to Wear,
conceived, designed, and directed by avant garde theatre legend Richard Foreman. She also performed Gordon’s chamber opera
Van Gogh, which she recorded on the Cantaloupe label with Alarm Will Sound. She was a fellow at the Tanglewood Music
Center, where she was soloist in Berio’s Sinfonia with Robert Spano and Vivaldi’s Gloria with Craig Smith and the Mark Mor-
ris Dance Company. Ms. Chalfy is the recipient of numerous awards, including top prizes in the Lotte Lenya, Rosa Ponselle,
Canticum Dominum, and Bach Society of Baltimore competitions, and study grants to the Universität Mozarteum Salzburg
and the Académie Internationale d’Été de Nice.
Born on St. Cecilia’s Day, countertenor Ryland Angel was a chorister at Bristol Cathedral and a lay-clerk at Chester Cathedral.
He trained as a lawyer before deciding to pursue a professional career as a singer in 1991 when he started studying with David
Mason. Since then, Mr. Angel has received a Grammy nomination and has had a distinguihsed opera career, performing with
William Christie, Rene Jacobs, Ivor Bolton, Roy Goodman, Christophe Rousset, Philippe Herreweghe, Christophe Coin, Ga-
briel Garrido, Cantus Köln, Le Concert Spirituel, Le Parlement de Musique, Philharmonia Baroque, Boston Baroque, English
National Opera, and Ensemble La Fenice among many others. In 2005 he also began a successful career as a pop singer. He
now lives in New York City and splits his career between both genres. He has appeared on film soundtracks, and on more than
thirty recordings for EMI, Sony, Universal, and others.
Owen McIntosh is a masters recipient from the New England Conservatory of Music. Heralded by critics as “stylistically
impeccable,” “he sings with vocal energy and rhythmic bite” and his “strong yet sweet tenor voice” produces the “clearest lines
and most nuanced performances.” His most recent performances include title role in the Helios Early Opera production of
David et Jonathas by Charpentier, Bach’s B Minor Mass with Tucson Chamber Artists, the Evangelist in Telemann’s Passion of St.
Luke and St. John, Coprimario soloist in Opera Boston’s production of the Nose, and a Jordan Hall performance of Benjamin
Britten’s Serenade for Tenor and Horn. Mr. McIntosh is also a member of various national music ensembles including including
Blue Heron, Exsultemus, Emanuel Music, Boston Baroque, Handel and Haydn Society, Harvard Baroque, Tucson Chamber
Artists and Seraphic Fire.
Michael Brown, tenor, has been a member of ARTEK since the 1992 production of Orfeo. He started musical life hearing
classical and show music on phonograph and radio. While receiving first music lessons from his father, he served as a chorister
in Bethlehem, Pennsylvania. Inspired by the singing of Dietrich Fischer-Dieskau, he attended the Manhattan School of Music
and Mannes College of Music. He sang the American premiere of Peter Maxwell Davies’ The Lighthouse in Boston and has
also sung with Connecticut Early Music Festival, American Bach Soloists, and Glimmerglass Opera. Recent highlights include
performances of Schubert’s Winterreise with Harvey Burgett and the music of contemporaries Wendy Griffiths and Chris Berg.
He and his wife, soprano Phyllis Clark, travel frequently to Japan to teach ensemble singing. He teaches English as a Second
Language at La Guardia Community College.
Bass-baritone Peter Becker has performed throughout the USA, Europe, Asia, and South America in repertoire ranging from
medieval to contemporary. Theater credits include performances with Canadian Opera Company, Macerata Festival, Teatro
Opera di Roma, the New York Shakespeare Festival, Glimmerglass Opera, the 21st Century Consort, and the Broadway show
Band in Berlin. He has made guest appearances with Tafelmusik, Smithsonian Chamber Players, Magnificat, the Newberry
Consort, Folger Consort, Portland Baroque, and has performed at festivals in Spoleto (Italy and USA), Caramoor, Ravinia,
Aldeburgh, Utrecht, Hong Kong, Ravenna, Jerusalem, Macao, Miyazaki, and Saratoga. As a member of the male vocal quin-
tet Hudson Shad, Mr. Becker has performed with such distinguished conductors as Kurt Masur (New York Philharmonic),
Zubin Mehta (Los Angeles Philharmonic), Michael Tilson Thomas (San Francisco Symphony), Charles Dutoit (Philadelphia
Orchestra), Dennis Russell Davies (Austrian Radio Orchestra, and the Bruckner Orchester Linz), Bruno Bartoletti (Orchestra
Regionale Toscana), and Ingo Metzmacher (Orchestra Accademia Nazionale di Santa Cecilia). His contemporary music credits
include Tan Dun’s Marco Polo, Peter Maxwell Davies’ Eight Songs for a Mad King, Heinz Karl Gruber’s Frankenstein, William
Walton’s Façade, Stravinsky’s Renard, Oliver Knussen’s Where the Wild Things Are, Mark Kuss’ The Show, and Kurt Weill’s Seven
Deadly Sins.
Christa Patton specializes in early wind instruments as well as historical harps and has toured the Americas, Europe and Japan
with Early Music New York, Ex Umbris and Piffaro the Renaissance band. As a baroque harpist, Ms. Patton has appeared with
many of North America’s premier early music groups, including Apollo’s Fire, The King’s Noyse, The Toronto Consort, Seattle
Baroque Orchestra, La Nef, Parthenia and ARTEK as well as productions of Monteverdi’s Ulisse, Poppea, and L’Orfeo with the
New York City Opera, Wolf Trap Opera, Tafelmusik, and Opera Atelier. She is the co-director of the Baroque Opera Workshop
at Queens College and has led workshops at the Madison Early Music Festival, Pinewoods Early Music Camp, and the Medi-
eval Summer Institute at the Longy School of Music. A Fulbright scholar, Ms. Patton studied the Italian baroque harp at the
Civica Scuola di Musica in Milan, Italy with historical harp specialist, Mara Galassi.
Daniel Swenberg concentrates on Renaissance and baroque performance practices, with special devotion to the role of basso-
continuo playing and the instruments central to its practice: the theorbo/chitaronne, renaissance and baroque lutes, early
guitars, and the gallizona/callichon. Among the ensembles in which he performs are: ARTEK, Rebel, Ensemble Viscera, The
New York Collegium, The Metropolitan Opera, Staatstheater Stuttgart, New York City Opera, the Mark Morris Dance Group,
Stadtstheater Klagenfurt, Tafelmusik, Opera Atelier, Les Violons du Roy, Piffaro, and Spiritus. He has received awards from
the Belgian American Educational Foundation (2000) for a study of 18th-century chamber music for the lute, and a Fulbright
Scholarship (1997) to study in Bremen, Germany with Stephen Stubbs and Andrew Lawrence-King, at the Hochschule für
Künste. He studied previously at Mannes College of Music receiving a Master’s Degree in Historical Performance-Lute. Prior
to his concentration on lutes, he studied Musicology at Washington University (St. Louis) and received a B.M. in classical
guitar from the North Carolina School of the Arts.
Charles Weaver has performed on early stringed instruments with Early Music New York, Hesperus, Piffaro, Parthenia, the
Folger Consort, ARTEK, Repast, the Dryden Ensemble, Musica Pacifica, the Clarion Society, and Mercury Baroque. The
Washington Post has called his performances “captivating” and “splendid.” He is on the faculty of the New York Continuo Col-
lective, an inclusive workshop that explores the intimate connection between poetry and music in the seventeenth century. He
has also taught at the Western Wind choral workshop and the Amherst Early Music Festival, and has accompanied early operas
with Juilliard Opera, University of Maryland, Peabody Conservatory, Wooster Group, and Yale University. Mr. Weaver has a
special interest in liturgical Gregorian chant and Renaissance polyphony.
Texts and translations
AH DOLENTE PARTITA G. B. Guarini: Il Pastor Fido
Ah, dolente partita
ah, fin de la mia vita!
Da te part’e non moro? E pur i’ provo
la pena de la morte,
e sento nel partire
un vivace morire
che dà vita al dolore,
per far che moia immortalment’il core.
VOI PUR DA ME PARTITE Guarini
Voi pur da me partite anima dura,
né vi duol il partire:
ohimè, quest’è un morire
crudele, e voi gioite?
Quest’ è vicino aver l’ ora suprema,
e voi non la sentite?
Oh meraviglia di durezza estrema:
esser alma d’un core
e separarsi e non sentir dolore!
A UN GIRO SOL DE’ BEGL’ OCCHI Guarini
A un giro sol de’ begl’occhi lucente
ride l’aria d’intorno,
e’l mar s’acqueta e i venti,
e si fa il ciel d’un altro lume adorno.
Sol io le luci ho lagrimose e meste:
certo quando nasceste,
così crudel e ria,
nacque la morte mia.
SÌ CH’IO VORREI MORIRE Maurizio Moro(?)
Sì, ch’io vorrei morire
ora ch’io bacio, Amore,
la bella bocca del mio amato core.
Ahi, cara e dolce lingua,
datemi tanto umore
che di dolcezza in questo sen m’estingua.
Ahi, vita mia, a questo bianco seno
deh, stringetemi fin ch’io venga meno.
Ahi bocca, ahi baci, ahi lingua, i’ torn’a dire
sì, ch’io vorrei morire.
ANIMA DEL COR MIO Anonymous
Anima del cor mio
poi che da me, misera me, ti parti,
s’ami confort’alcun a’ miei martiri,
non isdegnar ch’almen ti segu’anch’io
solo co’ miei sospiri
e sol per rimembrarti
ch’in tante pen’e in così fiero scempio
vivrò d’amor di vera fede esempio.
Ah, sorrowful parting!
ah, the end of my life!
I leave you, and I die not? And yet I feel
the pain of death,
and in this leave-taking
I feel a fatal quickness
that gives life to my sorrow
and everlasting death to my heart.
You leave me, hard-hearted love,
yet this parting pains you not?
Alas, this is a cruel death,
and yet you joy in it?
This is like to be my final hour,
and you feel nothing?
Behold a marvel of extreme harshness:
to be the very soul of someone’s heart,
and in leaving it you feel no pain!
At a single glance from your fair, shining eyes
the air around laughs,
the sea and winds become calm,
and another light adorns the sky.
Only my eyes are tearful and sad:
surely when you were born,
so pitiless and cruel,
my death was born.
Yes, I wish to die,
now that I am kissing, Love,
the lovely mouth of my beloved.
Ah, dear and tender tongue,
give me so much of your nectar
that in the sweetness of this breast I expire.
Ah, my life, to your white breast,
ah, clasp me until I faint.
Ah mouth, ah kisses, ah tongue, I say again:
yes, I wish to die.
Soul of my heart,
since you are leaving me, wretch that I am,
if you would grant me any comfort in my suffering,
at least let me follow you
with my sighs alone,
only to remind you
that in great pain and fell torment
I will live, as the true model of constancy.
LONGE DA TE COR MIO Anonymous
Longe da te, cor mio
struggomi di dolore,
di dolcezza e d’amore.
Ma torna omai, deh, torna: e se’l destino
strugger vorammi ancor a te vicino,
sfavilli e splenda il tuo bel lume amato,
ch’io n’arda e mora, e morirò beato.
SFOGAVA CON LE STELLE Ottavio Rinuccini(?)
Sfogava con le stelle
un inferno d’amore
sotto notturno ciel il suo dolore.
E dicea fisso in loro:
O imagini belle
de l’idol mio ch’adoro,
sì com’a me mostrate
mentre così splendete
la sua rara beltate,
così mostraste a lei
i vivi ardori miei:
la fareste col vostr’aureo sembiante
pietosa sì come me fate amante.
LUCI SERENE E CHIARE Ridolfo Arlotti(?)
Luci serene e chiare
voi m’incendete, voi, ma prov’il core
nell’incendio diletto, non dolore.
Dolci parole e care,
voi mi ferite, voi, ma prova il petto
non dolor ne la piaga, ma diletto.
O miracol d’amore,
alma ch’è tutta foco e tutta sangue
si strugg’e non si duol, muor e non langue.
LA PIAGA C’HO NEL CORE Aurelio Gatti(?)
La piaga c’ho nel core
donna, onde lieta sei,
colpo è degli occhi tuoi, colpa dei miei:
gli occhi miei ti miraro,
gli occhi tuoi mi piagaro:
ma come avien che sia
comune il fallo e sol la pena mia?
IO MI SON GIOVINETTA Guarini(?)
Io mi son giovinetta
e rido e canto alla stagion novella,
cantava la mia dolce pastorella,
quando subitamente
a quel canto il cor mio
cantò, quasi augellin vago e ridente:
Son giovinetto anch’io,
e rido e canto alla gentil e bella
primavera d’Amore
che ne’ begli occhi tuoi fiorisce. Ed ella:
Fuggi, se saggio sei (disse) l’ardore,
fuggi, ch’in questi rai
primavera per te non sarà mai.
Far from you, my love,
I am consumed with pain,
with sweetness and with love.
Ah, return now, ah, return! and if fate
wills that I should also suffer by your side,
let your beloved eyes so kindle and shine
that in them I may burn and die, and I will die blessed.
To the stars
a lovesick soul poured forth his sorrow
under the night sky.
And, his gaze fixed on them, he said:
“O lovely images
of the lady I adore,
just as you now to me reflect
her rare beauty
in your shining rays;
reflect in her
my ardent love:
your golden gleam would make her
as merciful as you make me loving.”
Eyes, serene and clear,
you set me ablaze, yes; yet my heart feels
pleasure amid the flames, not pain.
Words, tender and sweet,
you wound me, yes; yet my breast feels
no pain from the wound, but pleasure.
O miracle of Love!
my soul, all fire and blood,
burns and does not suffer, dies and does not languish.
The wound I have in my heart,
lady, wherein you delight,
though struck by your eyes, is the fault of mine:
my eyes looked upon you,
your eyes wounded me;
but how can it be that
the fault belongs to us both, but the pain to me alone?
“I am young,
and I laugh and sing in the return of the spring season,”
sang my sweet shepherdess,
when suddenly
to her song, my heart
sang in reply, like a merry little bird:
“I too am young,
and I laugh and sing in the soft and gentle
spring of Love,
which flowers in your fair eyes.” Then:
“Fly from passion,” she said, “if you are wise;
flee, for in these eyes
there will never be springtime for you.”
COR MIO MENTRE VI MIRO Guarini
Cor mio, mentre vi miro
visibilmente mi trasform’in voi,
e, trasformato poi,
in un solo sospir l’anima spiro.
O bellezza mortale,
o bellezza vitale,
poi che sì tosto un core
per te rinasce e per te nato more.
ANIMA MIA PERDONA Guarini: Il Pastor Fido
(Prima parte) Anima mia perdona
a chi t’è cruda sol dove pietosa
esser non può, perdona a questa,
nei detti e nel sembiante
rigida tua nemica,
ma nel core pietosissima amante.
E se pur hai desio di vendicarti,
deh, qual vendetta aver puoi tu maggiore
del tuo proprio dolore?
(Seconda parte) Che se tu se’il cor mio
come se’ pur malgrado
del ciel e de la terra,
qualor piangi e sospiri,
quelle lagrime tue son il mio sangue,
quei sospir il mio spirto
e quelle pen’e quel dolor che senti
son miei, non tuoi tormenti.
QUEL AUGELLIN CHE CANTA Guarini: Il Pastor Fido
Quel augellin che canta
sì dolcemente e lascivetto vola
or da l’abete al faggio
ed or dal faggio al mirto,
s’avesse umano spirto,
direbb’ardo d’amor, ardo d’amore,
ma ben arde nel core
e chiam’il suo desio,
che li rispond’ardo d’amor anch’io.
Che sii tu benedetto,
amoroso, gentil, vago augelletto.
OHIMÈ SE TANTO AMATE Guarini
Ohimè, se tanto amate
di sentir dir ohimè, deh, perché fate
chi dice ohimè morire?
S’io moro, un sol potrete
languido e doloroso ohimè sentire,
ma se, cor mio, volete
che vita abbia da voi, e voi da me,
avrete mill’e mille dolci ohimè.
VOLGEA L’ANIMA MIA Guarini
Volgea l’anima mia soavemente
quel suo caro e lucente
sguardo, tutto beltà, tutto desire,
verso me scintillando e parea dire:
Dam’il tuo cor, ché non altrond’i’ vivo.
E mentr’il cor sen vola ove l’invita
My love, as I gaze upon you,
visibly I become you,
and thus transformed,
in a single sigh I give up my soul.
O mortal beauty,
o vital beauty,
so quickly is a heart
for you reborn, and once born for you, it dies.
My soul, forgive
one who is cruel to you only because
she cannot be kind; forgive her
who in word and deed
is your sworn enemy,
but who in her heart is your most tender lover.
And should you then desire vengeance,
ah, what greater revenge could you have
than your own suffering?
For if you are my heart,
as indeed you are in spite of
heaven and earth,
whenever you weep and sigh,
your tears are my blood,
your sighs are my very breathing spirit,
and thus the pain and grief you feel
are my torment, not yours.
That little bird who sings
so sweetly, and wantonly flies
now from the fir tree to the beech,
and now from the beech to the myrtle:
if he had a human soul,
he would say, “I burn, I burn with loving desire.”
And burning thus in his heart
he calls to his desired mate,
who replies, “I too burn with loving desire.”
May you be blessed,
loving, kind, comely little bird.
Alas, if you so love
to hear the word ‘alas’, ah, why do you cause
him who cries ‘alas’ to die?
If I die, you will hear
but a single languishing, sorrowful ‘alas’;
but if, my love, you let
me have life from you, and you from me,
you will hear my sweet ‘alas’ a thousand thousand times.
My beloved gently turned
her dear, shining
glance, full of beauty, full of desire,
sparkling towards me; and it seemed to say:
“Give me your heart, for elsewhere I cannot live.”
And while my heart flew there, invited
quella beltà infinita,
sospirando gridai: Misero e privo
del cor, chi mi dà vita?
Mi rispos’ella in un sospir d’amore:
Io, che son il tuo core.
COR MIO NON MORI Anonymous
Cor mio, non mori? e mori!
L’idolo tuo, ch’è tolto
a te, fia tosto in altrui braccia accolto.
Deh, spezzati mio core,
lascia, lascia con l’aura anco l’ardore,
ch’esser non può che ti riserbi in vita
senza speme ed aita.
Su, mio cor mori.
Io moro, io vado; a Dio,
dolcissimo ben mio.
ANIMA DOLOROSA Guarini (?)
Anima dolorosa che vivendo
tanto peni e tormenti
quant’odi e parli e pensi e miri e senti,
ancor spiri? che speri? Ancor dimori
in questa viva morte? in quest’inferno
de le tue pene eterno?
Mori, misera, mori,
ché tardi più, che fai?
Perché, mort’al piacer, vivi al martire?
perché vivi al morire?
Consuma il duol che ti consuma omai,
di questa morte che par vita uscendo:
mori, meschina, al tuo morir morendo.
NON PIÙ GUERRA PIETATE Guarini
Non più guerra, pietate,
pietate, occhi miei belli,
occhi miei trionfanti, a che v’armate
contr’un cor ch’è già pres’e vi si rende?
Ancidete i rubelli,
ancidete chi s’arma e si difende,
non chi, vinto, v’adora.
Volete voi ch’io mora?
Morrò pur vostro e del morir l’affanno
sentirò sì, ma sarà vostr’il danno.
PIAGN’E SOSPIRA Torquato Tasso: Gerusalemme Conquistata
Piagn’e sospira e quand’i caldi raggi
fuggon le greggi a la dolce ombr’assise,
ne la scorza de’ pini o pur de’ faggi
segnò l’amato nome in mille guise,
e de la sua fortuna i gravi oltraggi
e i vari casi in dura scorza incise.
E in rileggendo poi le proprie note
spargea di pianto le vermiglie gote.
by that infinite beauty,
sighing, I cried out: “Wretched and bereft
of my heart as I am, who now will give me life?”
She replied to me in a loving sigh:
“I will, for I am your heart.”
My heart, are you not dying? Die!
Your idol, who was torn
from you, will soon be held in another’s arms.
Ah! break, my heart,
abandon your passion, go with your breath,
for there is nothing that can restore you to life
without hope or succor.
Come, my heart, die.
I die, I go: farewell,
my sweetest love.
Grieving soul, who living
suffers so much pain and torment
in hearing, speaking, thinking, seeing and feeling:
do you still live, still hope? You linger still
in this living death, in this hell
of eternal pain?
Die, wretch, die:
why delay any longer, what are you doing?
Why, if dead to pleasure, do you live for suffering,
why do you live on in death?
Consume the pain that so consumes you,
leaving this life-like death:
die, poor wretch, die in your dying death.
No more war, have mercy,
have mercy, lovely eyes of mine;
triumphant eyes, why take up arms
against a heart that has yielded and is yours?
Kill the rebels,
kill those armed and defending themselves,
not he who, defeated, adores you.
Do you want me to die?
I shall die yours, surely, and feel
the pangs of death, yes; but the damage will be yours.
She wept and sighed, and when from the sun’s heat
her flocks fled to rest in sweet shade,
in the sturdy bark of pine and beech
she etched her lover’s name in a thousand ways,
and carved the grave offenses
and the varied tales of her misfortune.
And in reading over her own words,
her rosy cheeks were strewn with tears.
ARTEK concerts and events are made possible, in part, with public funds from the New York State Council on the Arts and the New York
City Department of Cultural Affairs in partnership with the City Council.

Special thanks to Louise Basbas and the staff of Corpus Christi Church, Dongsok Shin, Grant Herreid, Charles Weaver, Daniel Swenberg,
Owen McIntosh, Michael Hesse, Chris Schulze, Karen Rombey, Pastor Gregory Fryer, James Guiher, Francesca Galesi, and Gene Murrow, Paul
Ross, and Naomi Morse of GEMS.

We wish to also gratefully acknowledge our many private donors, without whose help our concerts would not be possible:
Underwriters: ($5,000 and up) Christine Sperry Diana Haskell* Caroly Wilcox Julia McCants
Stanley Epstein Supporters ($100-$249) Mary Jean Holland Clare Zierhut* Mel Mendelssohn
James Guiher* Juli Anil Deborah Kahan Martin Morell & Sandra
Nizam Kettanah Carolyn Arvidson* Kelvin Kean* Friends ($1-$99) Horowitz
Martha Bixler L. Wilson Kidd Jr. Rosemary Atkinson* Delano Morgan
Angels ($1,000-$4,999) William Bregman David Kiehl S. Ann Barasch* Marjorie Naughton
Anonymous Charles Brown* Polina Lieberman Lynne Beltran* Barbara Plimack
Anthony Elitcher & Andrea Taras Margaret Brown Alan Mallach Patricia Blowers Glenda Potter*
Marina Galesi Nevin Brown Margaret Mautner Todd Breitbart Jean Prahl
Siran Grigorian Barbara C. Bryan William Maxwell* Susan Brown Margaret Richards*
Claire Lord Nancy Carr* Jean McCarroll M. J. Cahill Alison Ryley
Neal Plotkin* Marie Carter Deborah McIntosh* Elaine & Bret Charipper Gail Sabelman
Patsy Rogers Deborah Guiher Chamblee* Juliet Miller* Linda Cheek* Michael Sarg, Jr.
Sparkplug Foundation Yvonne Chang Norvell Miller* Patricia Chernoff Anne Sawhill*
Ian & Carol Clark* Pamela Morton Robert Clere Margo Schab
Benefactors ($500-$999) Joan Clark* Robert Moss Catherine Conn Ellen Schiff
Elizabeth Bartlett Peter and Susan Collins Yochanan Muff Rebekah Duggan Edward Silberfarb
Dino Capone Daisy Corsini Richard Nelson Mirjam Farkas Cynthia Simonoff
Sarah Davies* Doris Cramer Deborah Nicoll-Griffith Frederick Fischer Frankie Smith*
Rev. William Fensterer Helen Craner James Olander Anne Garrigue* Carolyn Staley*
Michael Flanagan Laura Goff Davis* Richard Pace Barbara Gatje* Karen Stamm
Sally Graudons William Maxwell Davis* Nancianne Parella Israel Glasser Jane Standen*
William Meyers & Nahma Sandrow Alison Deem* Robin Prescott* Virginia Glover* Frederick Thompson*
Rodney & Barbara Myrvaagnes Marie DeFalco Marion Krista Ramirez Stanley Granat John Todras
Amanda Pond Deutsche Bank Donald Rehlaender* Helen Greer* Judith Wands
Nancy Quaife Marilyn Driscoll Regina Rheinstein* Dorothy Haase Jennifer Weigel*
Paula Rand* Annette Elvey Ellen Richard* Kent Hanson* Patsy & Blair Weille*
Nancy Tooney* Diana Erbsen* Meg Rogers* Daniel A. Harris Rose Anne Welch*
Margarete Wellman Ellen Friedman Norma Rosen Marjorie Holden Barbara Wood*
Gregory & Carol Fryer Charles Andre Roy Diane Horan Ann Yoke*
Patrons ($250-$499) Jane Furth Second Stage Theatre David Housel Edward W. Zimmerman
Ellen Asher Barry Geller Irwin Shipper Sylvia Jayham W. Zimmerman
Louise Basbas Yoram Gelman James Swenberg Bernard Katz
Catharine Burt* Dolores Gillmore Nancy Tepper Judith Klein * in memory of Elizabeth
Christopher Collins Alan Goodheart Charlotte Thorp Kees Kooper Hart Guiher
Elizabeth De Cuevas Jane Gould Evelyn Triantafillou Nannie Lawler*
Constance Ellis* Elsie Gould* LaVerne Weaver* Emmanuel Leemans
Gladys Foxe William Greer, Jr.* Barbara Weeks* Herb Leibowitz
Hans Gesell Robert Gunhouse Julie Wenzell Margaret MacDonald
Catharine B. Guiher* Estelle Haferling Jean May*
Susan Hollinshead
David King
Theodore Kyle
Arthur Lawrence & Bruce Gustafson
Frank Read
Evelyn Simon
Christine Souders*

ARTEK
Gwendolyn Toth, Artistic Director
Francesca Galesi, Office Manager and Midtown Concerts Administrator
Board of Directors: William Fensterer, Gladys Foxe, Alan Goodheart, Estelle Haferling,
Neal Plotkin (treasurer), Nahma Sandrow, Gwendolyn Toth (chairman)
170 West 73rd Street, #3C, New York, NY 10023
Phone: 212-967-9157 Fax: 212-799-0690
Website: www.artekearlymusic.org E-mail: artekgwent@aol.com