I An MEF Production. 1 GLWCK. i
J Program Notes..................... John Ostendorf The beginnings of Christoph Willibald Gluck (1714-1787) were unusual, even by 18th-century standards. He left his Czech family behind at age 13 and struck out on his own, fearing he would be expected to become a forest warden like his father. Instead, the teenager earned a meagre living playing organ in Prague, found a way to educate himself, learned composition, and was exposed to the rich musical life of that European city. His subsequent travels as a young musician took him all over Europe, first to Milan where he studied with Sammartini. By his mid-twenties Gluck was already writing operas, set to the librettos of revered Italian dramatist Pietro Metastasio (1698-1782). In the 1740s Gluck spent time in England, was exposed to the music of Handel, and by 1750 settled in Vienna. Here a promising marriage into a family well-positioned with the Hapsburg court boded well for his advancement. The young composer was soon engaged at the Burgtheater in Vienna to Chn'stoph Willibald GIUC~ tailor French operas and oppra-comiques to Austrian taste (frequently inserting selections of his own music). He oversaw a good-sized orchestra which featured strings, a pair of horns and oboes and bassoon (the exact instrumentation for I1 Parnaso confuse). His principal output was operatic and by 1765, the reputation of C.W. Gluck was firmly established not only in Vienna, but throughout Europe. The Hapsburg royal family-empress Maria Theresa in particular-was very fond of the composer. Gluck had composed music for regal birthdaysfname days and participated in the celebrations for the marriage of the eldest son Archduke Joseph. Following the death of his first wife, Joseph was betrothed again in 1765 to a Bavarian princess, Maria Josepha. For the wedding festivities Gluck was commissioned to supply a short opera and Metastasio (age 67) the libretto. This marked the first actual collaboration between celebrated playwright and composer; Gluck's earlier Metastasio operas had been set to pre-existing texts.
The Italian hadn't much cared for the work of young Gluck and had said so: "his music is insupportably barbaric." But by this time, the serene composer was far too secure to worry. For the Archduke's January 1765 wedding celebration, four of Maria Theresa's daughters (she and Franz produced 16 children) themselves accomplished musicians, sang roles in the new work. The bridegroom's younger brother Leopold would conduct Cluck's 11 Parnaso confuso. That the Archduchesses-Maria Elisabeth, Maria Amalia, Maria Josepha and Maria Carolina (all of whom later made marriages of their own throughout the courts of Europe) could successfully negotiate the florid soprano roles Gluck fashioned for them, is most impressive. One presumes that the youngest sister, Maria Antonia (Marie Antoinette), was not so gifted-at the wedding she was allowed only to eat cake(?) The Empress presented the serenata teatrale as a surprise for the newlyweds at Schonbrunn Castle in Vienna in the presence of the rest of the Hapsburg court. It was deemed such a success that Maria Theresa asked Gluck on the spot to prepare another opera for her daughters to perform. La corona was planned for that November to celebrate the Emperor's nameday, but owing to his sudden death, this work was not performed. It should be added that events surrounding 11 Parnaso confuso did not end so happily either: the marriage involved frosty relations, no children and concluded with the death two years later of Maria Josepha of Bavaria. Joseph did not remarry. Instead, he ascended the throne as co-regent with his mother at Franz's death, but would have to wait 15 years for his own proper coronation (1780). As Holy Roman @3B
Emperor Joseph II, he would prove one of the most civilized rulers of the eighteenth century, fully embodying the lofty principles of the Age of Enlightenment. His death in 1790, and the accession of brother Leopold (the music director of I1 Pamaso) spared him the worst excesses of the French Revolution-not so his younqer sister, Maria Antonia, who lost her head in Paris. ~etastasio's libretto conforms in many ways to the reform trends Gluck had already begun to inaugurate in his earlier Orfeo ed Euridice. To be sure, this little serenata is peopled with Gods and Muses and is set on lofty Mount Parnassus, but its story line, the emotions and predicaments of these very real characters, seem quite mortal. The muses' petulance, frustration, jealousy, and competitiveness are the sentiments of spoiled adolescents. Metastasio does not forget to introduce into Parnassus the entirely earthly occasion his libretto celebrates-indeed, the silly plot centers around the marriage of Giuseppe (Archduke Joseph) to the stella bavara (the "star of Bavaria"). The dramatist also used his assignment to poke some fun Pietm Metastasio at two earlier royal wedding serenate by Gluck-Le nozze d'ercole e d'ebe (1747) and Tetide, the latter composed for Joseph's first (and happier) marriage to lsabella of Parma in 1752. For neither work had Gluck used a Metastasio text. In this libretto, the Parnassian muses sourly dismiss these two works as old hat and sterile (shades of the prickly relations a century later between Gilbert and Sullivan?). Gluck was determined to begin breaking the iron mold of opera seria: fixed secco recitatives and obligatory da capo arias. To be sure,
11 Pamaso confuso contains both. But it can also be observed that the opening accompanied recitative is rudely interruped by the arrival of Apollo and soon devolves into secco recitative. A ritornello in the middle of the opera is likewise stopped in mid-phrase by Melpomene's reappearance. Two of the principal musical numbers are not performed da capo. The music itself has a clarity and a directness which is both refreshing and new. Gluck's stated credo "I believe that my greatest labor should be devoted to seeking a beautiful simplicity, to avoid making displays of difficulty at the expense of clearness" applies nicely to much of this lovely score. Nonetheless, 11 Parnaso cannot be said to exemplify Gluck's resolution "to abolish all the abuses against which good sense and reason have long cried out in vain in Italian opera." The serenata's principal arias are sung with decorated repeats, full of fiorature. And if the composer indeed "did not wish to arrest an actor in the greatest heat of dialogue in order to wait for a tiresome ritornello, nor to hold him up in the middle of a word on a vowel favorable to his voice, nor to make display of the agility of his fine voice in some long-drawn passage,"then he hardly stuck to his guns in I1 Parnaso confuso. The vocal writing for the archduchesses that so pleased their regal parents and newly-wed brother is florid indeed. Clearly, the parts for Apollo and Melpomene are the more senior; the roles of Erato and Euterpe, being both shorter and and a little less challenging, were presumably given to younger siblings. In the 18th centuly, females singing male roles, castrati doing treble assignments and even male voices in female parts (Gluck's Antigono featured just such casting) surprised no-one. In that spirit, and also to provide a little vocal contrast on our CD, conductor Rudolph Palmer, a veteran of many Baroque recording projects, gives the spunky Erato to fine male treble (Marshall Coid) and the role of Apollo (peppered with Gluck's high C's) to coloratura Danielle Munsell Howard. Euterpe is sung by superb lyric soprano Mary Ellen Callahan and the role of Melpomene, Muse of Tragedy, rests in the capable hands of Early Music soprano Julianne Baird.Gluck's score is charming and varied. The solo oboe, bassoon and plucked violins get into the action as the instruments--"la cetra" and "la tibiar'(lyre and pipetthe Muses play for each other. Horns provide additional colors and richness. Elaine Comparone and her Queen's Chamber Band enjoy this material to the fullest. To be sure, Gluck was more like his successor Salieri than, say, Mozart. He was politically and intebktuabkj %awy kke the former and not so musically gifted as the latter. If his compositional technique is somewhat elementary, this very limitation works well in his quest for simplicity and serenity in the musical colors of I1 Parnaso confuso.
Plma s~olpls~s The action takes place in the sacred groves of Parnassus, home of the Muses. Melpomene (Muse of Tragedy) and two of her sisters, Erato (Muse of Lyric Poetry) and Euterpe (Muse of Music) lounge idly, their instruments and writing sheaves sit untouched. Following a lively opening Sinfonia Rack 1) is a leisurely prelude which is interrupted by the sudden arrival of the god Apollo 2). He warns the Muses of the impending earthly marriage of Emperor Joseph to the "star of Bavaria." For this imperial celebration all the Gods are expected to provide entertainment. The Muses are delighted to consider doing their part until they are told the rites are to follow the very next morning. Melpomene, in particular, is horrified at this haste, and fears she will not be able to come up with suitable dramatic verses for the occasion, comparing herself (Track 3) to a small ship on a stormy sea without oars or sails ("In un mar che non ha sponde?. Erato and Euterpe are also nelvous. But Apollo reassures the three, flattering them for their great artistic accomplishments. Having convinced them to join the undertaking, he sets off to persuade other Muses to prepare themselves as well ("In fronte a wi risplende per la sublime impresa, " Tmrk 5.) Melpomene retires to the forest to find inspiration for her tragic verses, leaving the others behind. Erato considers Euterpe's lyre (la cetra) and claims she can make lovely music on that instrument. Euterpe doubts this and challenges her to play. In one of Gluck's loveliest orchestrations, a viola duet accompanied by pizzicato strings, Erato plucks the lyre and sings a love song ("Di questa cetra in seno," Track 7.) Euterpe is enchanted and agrees, at Erato's suggestion, to try the little pipe (la tibia). As she begins to play, Melpomene storms in, full of self-doubt, demanding council of her fellow Muses. On what subject she should declaim? Once advised, she returns to the woods and Euterpe reprises her lovely piping ("Fin P dove I'aurore," Track 9). Each Muse is delighted with the other's talents and the two propose a joint endeavor for the marriage celebration. Melpomene reenters just as Apollo rushes in, announcing that the marriage has already taken place. The Muses must come immediately to the celebration, with or without material. Nothing, of course, has been prepared and the Muses are in an uproar once again, Melpomene most of all. She dramatically discards the few leaves of verses she has been working on ("Sacre piante")nd alarms them all with a pouting, gloomy speech (Track 11). Apollo chides the Muses and convinces them that their own stature and gracious natures will be enough to represent Parnassus at the marriage festivities ("Vi scuseranno assai i mot; delsembiante," Track 13). He tells them that all the Gods are converging at the site; they must hurry. Melpomene and Apollo extol the virtues of the happy day ("Nel mirarslolo isembianh;" Track 15) and then all four join in a final joyful quartet("di lor cigla?. Serenity is once again returned to Parnassus.
SimSc~nOa TRACK 1 Aecc)mpan84 RmMwe TRACK 2 (hurrying in) Destatevi, sorgete, all'opra, belle vergini Wake up, get up, we must spring into action, amiche! Oggi 6 delitto il silenzio lovely maidens! To sit idly in Parnassus today in Parnaso. is a crime. Perch*? Why? Che awenne? What has happened? (to Apollo) Onde si lieto in volto, chiaro nume di Delo? Why, handsome god, is your face so radiant? Ha secondati il Cielo i voti della terra. Heaven grants you earthly desires. The Goddess Annoda Amore all'augusto Giuseppe la piu of Love has made a union between noble lucida stella della bavara reggia. Joseph and the loveliest star of all Bavaria., 0 nodo sospirato!! Oh, dreamed-of marriage! 0 evento fortunato! Oh happy occasion! k vostro il peso di celebrar festive And it is your duty to celebrate these lmeneo si felice. happy marital festivities. Ah si, germane, gareggiamo all'impresa. Ah yes, sisters, let's take up the challenge; let A sl grand'uopo sudor si risparmi. no effort be spared in this grand enterprise. Pronta 6 la cetra mia. My lyre is ready. Chi potrebbe tacer? Who could remain silent? Fidati, Apollo, fidati a noi. Tu vedi di qua1 Be assured, Apollo, you can count on us. You see sincero impaziente zelo tutto acceso with what impatient, sincere zeal all Parnassus & il Parnaso. A noi palesa sol qua1 giorno is enflamed. Tell us now what day is set for $ prescritto al rito nunial? the marriage rite? @ 7H
La nuova aumra. Tomorrow morning. MELPoMENE (horrified) Oime! Alas! Come? What? Che dici? What are you saying? E parti oggetto di si brevi momenti? E come This endeavor, does it not seem most hasty? And i pregi della felice eletta coppia, e come le how to satisfy the wishes of the happy betrothed speranze, il desio, la gioia, i voti di tanto couple, how to honor the nobility, the hopes, mondo in tanta angustia rammentar? wishes, expectations of the world? This soul is Dal gran soggetto gia quest'alma e sorpresa; taken by surprise at the enormous undertaking e ardir non ha per cominciar I'impresa. and hasn't the strength to even begin the task. aria da caw TRACK 3 In un mar che non ha sponde On a sea without a shoreline Senza remi e senza vele with no oars and no sails, Come andr6 coi venti e I'onde, how can I set forth with no idea how to Sconsigliata a contrastar? battle the winds and the waves? Se del mare al solo aspetto If, at a single glance at the ocean, II mio cor gia trema in petto, my heart trembles in this breast, Che farebbe in mezzo al mar? how will it fare in the middle of the sea? In un mar... On a sea... ~ e c ~ ~ b ( r ~ ~ @ TRACK 4 (to Apollo) A gran ragione, o condottier del giorno, With good reason, oh harbinger of the day, Melpomene paventa. Melpomene is alarmed. Al sol pensiem anch'io sento gelarmi, I also feel myself freeze at just the thought, I io che non soglio facilmente tremar. who am not accustomed to fearing anything. Per I'alme grandi, eh, son gli ardui cimenti For great souls, are these the reactions to grave
stimoli e non ritegni. Ardir! Tu quella dangers? Is this cowardice? Be brave. You, Mel- Melpomene, non sei che sulle scene dell' pomene, have you not on the stages of noble erudita Atene, agitasti a tuo voglia il core Athens, moved human hearts to your will? umano? Tu del cantor tebano, non animasti, And you, Euterpe, with your ardent lyre, have Euterpe, la lira ardita, onde maggior non you not moved the singers of Thebes? Has ebbe la nobil gara achea premio al sudor this not made wen more fierce the competitions della palestra elea? Erato, e tu potresti obliar for prizes by the sweat of Greek arenas? Erato, che sapesti all'amoroso canuto, Anacreonte, can you forget how you brought romance back to sulla rugoso fronte richiamar la fuggita ridente old Anacreon, on whose aged brow was recalled giovento? Voi tante avete prove fleetinq, smilinq youth? You all have such evidence delboter vostro, e voi, voi temete? of you; powersand yet, yet you are fearful? (resolutely) No, biondo Nume, il tuo parlar m'inspira No, blond god, your words inspire new gia insolito corraggio. courage in me. Al gran cimento preparsi convien. Let us prepare for the great challenge. Si, le mie cure alle vostre, o germane, Yes, my own lot, sisters, I thmw in unisco anch'io. with yours. (about to depart) Pari al sudor gloria ne avrete. It appears that fmm our labors we shall triumph Addio! Farewell! MELPoMENE (alarmed) Dove? Where are you going? Ah, ferma! Wait. Apollo! E ci laxi? You are leaving us? Ah, se ne privi dell'assistenza tua... Ah, but if we don't have your help... Ma ab vdt sde, bd\e Dive, il sapete, But you well know, lovely goddesses. that I do condottier non son io. Pur I'altre not lead you only. I must motivate your other io deggio germane anche animar. Convien sisters as well. My efforts are needed to che i socchi a ricalzar ritorni la giocosa Talia; convince the lovely Thalia to also return. I danze festive che ormai I'agile attenda must wait upon Terpsichore to produce lively, R9B
Terpsicore a formar. Voi piu di sprone festive new dances. You three need no further uopo gia non avete. Al grande oggetto basta incentive. Your hearts are sufficiently stimulated I'ardor che gia vi scalda il peno. over our great project. Aria da cap In fronte a voi risplende per la sublime impresa Before you shines our great enterprise; Gi2 tuna I'alma accesa it already inspires your souls Di brama e di piacer. with motivation and satisfaction. NP con gli ardori miei Nor can I with my own enthusiasm PiO accende~i io potrei inspire you more than glory and Di quel che gia vi accende la gloria ed il dover. challenge already have. TRACK s In fmnte a voi... Before you... We~i-aim TRACK 6 (as Apollo depam) Non perdiamo, o germane, i prezioso Istante. Sisters, let's not waste precious time. All'opra. II nostro valor si esperimenti. To work! Let our merits be tested. II tuo pensiero, Melpomene, proponi. Tell us your thoughts, Melpomene. Ah questa, Euterpe, P la piu dura impresa. Ah, that, Euterpe, is a most difficult task. E qua1 poss'io sceglier materia a' carmi miei, How can I find the inspiration from my poetry che serbi del tragic0 coturno la maesta, to depict majestic tragedy or mere sadness? non la mestizia? In grandi tumultuosi affetti Such great and tumultuous feelings that che il cor trasporti e no1 funesti? Al pianto so move and threaten the heart? From the tears che I'agitato spettator costringa del piacer con to which the tormented witness is driven by l'eccesso, non del dolor? Fiero P I'impegno. such excesses of pleasure or pain? This task is L d'uopo che ristretta in me stessa io tune daunting. And I must muster all the strength in aduni le mie virtu. Mentre a temprar le corde myself. Meanwhile, you, sisters, should prepare della negletta cetra voi, germane, to tune the strings of your neglected lyres, anendete, andar vogl'io cola di quella folta while I shall go off into the dark forest to selva fra I'ombre a meditar raccolta. plunge myself into thought in the shadows. (as Melpomene goes ofi) Su, tronchiam le dimore. La cetra. Come, let us shorten our stay. I'll take BlOB
io prendo, e teco a gara... up this lyre and will challenge you to... Ah ferma! Non usurpar I'armi d'euterpe. No, stop! Don't rob me of my own strength. It is E dato col suon di queste corde solo a me for me alone to crown with sublime melody the I'adornar d'inni sublimi la gloria degli eroi. sounds of these strings, the glory of heroes. Per te sarebbe inutile istmmento. This lyre would be useless to you. b Inutile? lo son pronta a mostrarti con I'opra Useless? I am ready to demonstrate to you with qua1 trarne io sappia a mio piacer soave my actions that I know how to draw from it the amorosa arnonia. most loving harmony for my own pleasure. Tu? You? Si. Per poco I'uso a me ne concedi, e vedra~ Certainly. Let me just try it for a moment and se tal volta so valermene anch'io. then you will see if I am worthy of it. (hands Erato the lyre) Prendila. Well, take it. (takes it and sits and begins to pluck its strings) Ascolta! Now listen! Aria TRACK 7 Di questa cetra in sen0 pien di dolceua Love, with this lyre. come, listen, bury yourself E pieno d'amabili deliri, in this heart full of sweetness, Vieni e t'ascondi, Amor. swooning with affection! E tal di questa or sia la tenera armonia And let this harmony prove so tender Che immerso ogn'un sospiri that all who hear will hold their breath Nel tuo felice ardor. in happy transport. Recb8lwe TRACK 8 (most impressed) Erato, lo confesso, le mie speranze hai vinto. Erato, I must confess, you exceeded all my lo non credei che potesse a tal segno la hopes. I did not believe that the lyre could cetra innamorar. enchant like this. kits down, gives the lyre back to Euterpe) Com'io la cetra trattare osai, tu di canoro Now, as I tried the lyre, you with melodious
fiato dovresti, o bella Euterpe, or la tibia animar. breath, lovely Euterpe, must make this pipe sound. (surprised, as Erato hands her a little flute) La tibia? The pipe? lo quella non t'offrb gi2 che, d'oricalco ornata, I haven't yet offered you this golden instrument emula della tromba, empie sonora del tragic0 that it may make trumpet-like sounds, the fierce teatm tutto il vasto recinto; offro at tuo labbro sonority that can fill the expanses of the tragic questa sernplice e breve, con cui I'alme amphitheater; I simply offer it to your lips, to rapisce, or lieta or mesta, I'amorosa ravish a soul, now delightful, now sad, in elegia. romantic elegy. Come di quella col molle suon vuoi ch'io How could you ask me to make sweet melody sostenga i miei caldi d'estro febeo lirici accenti? in soft tunes with my heated breath? Questo appunto 6 I'impegno! That is precisely your challenge! (takes the pipe and prepares to play) Il vuoi? Si tenti. That's your wish? Let me try. R~@mt?ll@/R(?r~8~%~~8 TRACK 9 MELPoMENE (as Euterpe plays, rushes in, interrupting her) Erato, Euterpe, udite! Erato, Euterpe, listen! Ah taci. I nostri studii deh non turbar! Quiet. Kindly do not disturb our music. Solo un istante soffriterni, o germane. Allow me but a minute, sisters. Di consiglio ho bisogno I need your advice. Ebben? Well? Che vuoi? What do you want? Cia diversi al mio canto soggetti immaginai; I have thought of things which contradict my n+ ardisco sola risolvermi alla scelta; verses and I don't dare make a decision on my determinate i dubbii miei. own; help me resolve my doubts. EIJTERPE Ti spiega. Explain yourself. El 12 El
Parla. Speak. Cantar vorrei di Teti e di Peleo le noue illustri. I wanted to declaim over the marriage of the e incominciar pensai... Teti and Peleus, and thought to start with... Oh, queste no! GiA le cantasti assai. Oh not that! You've done enough of that already. ver. D'Ercole e d'ebe qua1 vi sembra True. What about Hercules and Hebe as il soggetto? a subject? Sterile A sterile one. E quel di Psiche? And what about Psyche? Fantastico. Not believable. Ma dunque non ne approvate alcun? Well, don't you approve of anyone? (annoyed at her) No. No. Pih sereni, pio lieti oggetti immaginar More simple, happier subjects would seem conviens~. more suitable. (going off again) Ah pur troppo il conosco. Altro si pensi. I know it all too well. I'II think of something else. Su, I'interrotto canto ripiglia, Euterpe. Now, take up your interrupted melody, Euterpe. Il tuo valor si scopra. Let your talents be revealed. Siedi dunque a m'ascolta. Eccomi all'opra. Sit then and listen to me. I'II get right to it. Arla da t ~ a r p TRACK 10 (Marsha Hellec solo oboe) Fin la dove I'aurore There, where dawn gilds the Le sponde al Gange indora shores of the Ganges, Di due grand'alme e belle, l shall carry the names I nomi io portero. of two handome, loving souls. @ 13 @
Non di caduchi fiori, Not with fallen blossoms, Non d'infecondi allori, nor with unblossoming buds, Ma scintillar di stelle, but with twinkling stars Le chiome io lor farb. will I make wreaths for their brows. Fin la... There... Rl?ic~lbti~ce? TRACK 1 1 Tratti la cetra. o tratti il cavo bosso, P sempre Whether it holds the lyre or the viol, your hand maestra la tua man! is always that of an artist. Cia che alla prova P il merto nostro ugual. Since we have shown our talents equal, we must dovremmo insieme tesser d'inni festivi a' regii spin our festive hymns jointly, Erato, in a noble Sposi, Erato, un nobil serto. crown for the royal couple. k ver. Ma quale Sara I'idea che in un sol nodo Yes, true. But what theme will unite into a single unisca i tuoi coi miei pensieri? work our mutual ideas? (takes back the lyre from Emto) Odi. Possiamo immaginar che nella densa Listen. Let us imagine that deep in the dense immerse caligine de' fati noi scorriam, mists of fate we shall travel, gathering from radunando a' di futuri di felici speranze the future the great treasures of happy ampio tesoro, e che... prediction, and that thereby... (agitated) Ma in tal lavoro troppo saran stranieri i molli, But in such an endeavor, my own beguiling i lusinghieri miei concenti d'amor feeling would seem out of place. Better we Meglio sarebbe della dea di Citerea fingerci hide ourselves in the realm of the goddess of nella reggia. E quindi all'lstro condurre in lieta Citera, and there at lstro to bring forth, in happy schiera i dolci affetti, gl'innocenti diletti, gli waves, sweet affections, innocent delights, scherzi, i veni, il riso... comedy, delights, smiles... E parti questa a' miei voli sublimi adattata And you think this suitable material for my own materia? sublime flights of fancy? (deflated) Altro, se vuoi, pensa a propor. All right, suggest somthing else, if you like. (looking at the horizon) Ma troppo ne stringe, Erato, il tempo. But, Erato, time presses us here! R 14 @
il di lontano. L'auree porte dell'alba Daylight is still far off. Dawn's silver doors are ancor son chiuse. still closed. (hurrying in) All'lstro, all'lstro! Ah, non si tardi, o Muse! To Istro! Do not tarry, Muses! (returning, has heard only this last) Dove? Where? All'lstro! To lstro. (confused) Chi? Who? Voi. You all! Perch*? But why? No1 dissi? Per gli augusti Imenei. Haven't I told you? For the royal wedding rites. Questi non denno che al nuovo di compirsi. That must not happen until tomorrow. Eseguiti gia son! It already has taken place! THE OTHERS Che? What? 51. L'eccelsa mente regolatrice il sospirato istante Yes, the Empress decided to hasten the blessed dell'evento felice benefica affrettb. Corriam! event with breathless urgency. So let's be off! (very aggravated) Fin ora nulla io rinvenni! But I've not yet prepared anything! lo non son pronta... I am not ready... Appena a pensar cominciai. I've just started to think about this. Ma pur conviene sull'lstro comparir. Yet we must all appear now at Istro. MELWMENE Muto il Parnaso presentarsi in tal di? Shall Parnassus be silent on such a day? B15H
Che mai direbbe di noi tutta la terra? What will the world say of us? -- - ~- II Ciel di noi che non direbbe mai? What will the Gods say? No, Apollo, a tanto rossore io non resisto. No, Apollo, I could not face such shame. lo qui per sempre la mia tibia depongo. I'd sooner set down my pipe for good. lo la mia cetra qui per sempre abbandono. And I hereby abandon my lyre forever. (shreds her leaves of poetry) lo mi nascondo agli'uomini, agli dei, e rinuncio I shall hide myself from mankind, from the gods per sempre a' fogli miei. and shall forever forsake my own lyrics. airla da cr;ap TRACK 1 2 Sacre piante, amico rio, Sacred pages, faithless companions, A voi, db I'estremo addio. to you I bid a final farewell. E confusa, in altre sponde, I now turn to hide myself on other A celarrni io volgo il PIP. shores, ashamed. Mute ogn'or saran le scene, All settings will henceforth be dead to me Ne mai piu le ciglia altrui and nevermore will the eyes of another Verseran fra dolci pene shed sweet, painful Belle lagrime per me. tears for me. Sacre piante... Sacred pages... R~#hb;Cv@ TRACK 13 Me\pomene, ah t'arresta. Tu, fin ora innocente, Stop this, Melpomene. Innocent up to this point, or con codesto tuo disperato affanno with this desperation you begin to show cominci a farti rea. Non e tua colpa, nostra yourself blameworthy. It is neither your fault nor colpa non e, se tanto il merto della coppia ours if the celebration of the royal marriage couple immortal si lascia indietro le forze del forgoes the input of Parnassus. To impugn their Parnaso. ben delino indegno di perdono il happiness is a crime which cannot be condoned. diffidar di lor bonta. Venite, tronchiam gl'indugi. Come on, let's put an end to this vacillating.
E poi, chi parler.3 per noi? Then who speaks for us? D'aprir le labbra capace io non saro. I'll not be able to open my own mouth. D'alzar le ciglia io non avro I'ardir. I won't dare to raise my own eyes. Meste e confuse, il mostrarvi cosi saran le scuse. Humility and confusion will serve as your excuse. Aria dia mp TRACK 14 Vi scuseranno assai i moti del sembiante, The appearance of sincerity will be excuse II favellar tremante il timido rossor. enough for you, trembling speech, shy blushes. Che piu fecondo 6 molto Because more benign than D'ogni facondo labbro, any chattering speech, Quando sincero in volto when the face is sincere, Tutto si mostra il cuor. evelything the heart feels is truly revealed. Vi scuseranno... The appearance... TRACK 15 -- Verrem, lucid~ Dio. Ma un breve istante We shall see, clever god. But give us at least a almen concedi a noi del cuor sorpreso moment here to calm the excitement of our i palpiti a calmar. flustered hearts. No, perdereste la piu forte difesa. Andiam. No! for you'd thereby lose your surest defense. Gia tutti ne prevengon gli Dei. Gia Citerea con Let's go. Everyone awaits the gods. All Citerea le Grazie e gli Amori verso I'lstro s'affretta. hurries to lstro with the Graces and the Fates. lnnanzi ad essa gia sollecita Astrea cola conduce Before her Astrea leads Concord, Faith, la Concordia, la Fede, la Pieta, I'lnnocenza Pity, Innocence and the others e I'altre insieme sue piu belle seguaci. in her lovely wake. I) Cid raccolto e quasi gia tutto sull'lstro e All Heaven is assembled there at Mm and the quasi son deserte le sfere. the celestial posts are nearly abandoned. Ah, vogliam noi gli ultimi rimaner? Ah, shall we be the last ones left behind? Dunque, germane, andar conviene. So, sisters, it's fitting that we depart. B 17@
ErnRPE Ah, quando il trascurato merto d'un giorno Yes, when will we again know so lucky tal racquisteremo? a day? Ah quale altra avrem mai per onorar noi Ah, when will we ever again have the chance stesse occasion si bella? to be so honored? L'avrem, I'avrem! Si luminosa e vasta materia We shall have it again, we shall! The lovers and al nostro canto daran gli sposi e chi verra those who speak of them will offer such bright, da loro; che per essi il Parnaso reso di s6 diverse hymns to us, that Parnassus, the better for maggiore di questo di correggera I'errore. it, will forgive them the slights done us this day. Fi~l~le TRACK 16, Nel mirar solo in sembianti Let us see only the faces Degli amanti fortunati. of the happy lovers. Nel veder gli arcieri alati In watching Love's arrows Che fra lor scherzando vanno playfully shot into the air In contento il nostro affanno all our cares will be changed In piacer si canger.3. into happy contentment. ALL FOUR Di lor ciglia un lampo, un raggio The flash of their eyes, the merest glance, will Lo smarrito suo corragio al Parnaso rendera. once again return Parnassus its shaken confidence. (They all huny off happily to the wedding festivities.) +he Queen's Ctrarttber Band Elaine Comparone, harpr~chord Violinl: Robert Zubrycki, cmenmastw. Fritz Krakowski, Suzanne Gilman Violin II: Lori Miller, Diane Bruce, April Johnson Viola: Veronica Salas, Ronald Carbone Cello: Peter Seidenberg Double Bass: Joseph Bongiorno Oboe: Marsha Heller, Diane Lesser Bassoon: William Scribner Horn: Daniel Grabois, Theresa MacDonnell @18@ Medallion of Archduke Joseph
Rudaslph Palmer is recognized ~nternationally as a composer of choral, orchestral and chamber music, and as a conductor whose numerous performances and recordings of rarely performed masterpieces of the baroque opera repertoire have won him acclaim as one of the best of the current generation of baroque opera conductors. IIPamaso confuso is the most recent CD in a series of premiere pressings of 18th century operas and oratorios, including original-instrument recordings of Handel's Deidamia, Alexander Balus, Siroe, Muzio Scemla, Faramondo, Berenice, lmeneo (nominated for Ovation magazine's "Mumm's Opera Recording of the Year"), and Joshua (critics' "Best recording" lists in both Gramophone and Fanfare magazines). Palmer's other recordings include Alessandro Scarlatti's Ishmael ("Agar ed lsmaele esuliti"), Haydn's La Canterina, Telemann's Pimpinone and Pergolesi's La senra padrona (named best recording in the early music magazine Alte Musik Aktuell). Rudolph Palmer's compositional output comprises numerous works for large symphonic and choral forces as well as chamber pieces. His recorded works include 0 Magnum Mysterium for mezzo-soprano, chorus and harp with D'Anna Fortunato, as well as Laudate Dominum, a festival anthem for brass ensemble and choir, commissioned by the Bucknell University's Rooke Chapel Choir and Solid Brass of Philadelphia.. Mr. Palmer is on the conducting and composition faculty at the Mannes Col director of The Palmer Singers. Harpsichordist Elaine Comparone is founder of The Queen's Chamber Band, an ensemble of distinguished New York musicians specializing in early music, and based on the 18th-century group of the same name--assembled in London by Johann Christian Bach to entertain Queen Charlotte, wife of George Ill. Since her acclaimed New York recital debut as a Concert Artists Guild award winner, Ms. Comparone has maintained an active and varied career as recitalist, soloist with orchestra, chamber musician, recording artist, impressaria and teacher and has worked with composers, choreographers and video artists. She has enjoyed a long-time musical association with the artists on this CD and collaborated with John Ostendorf for more than two decades. @19#
John Ostendorf Danrelle Mund Mershall Coid at the Gluck recordrng