NNE

Giovanni Cmce

Giovanni Croce (1557-1(;09)

Mascarate piacevoli et

ridicolose per il carnerale (1590)

Giovanni Pacoloni (late 16th century): I~assernezode Zorzi

G i v a n n i I'acoloni: Saltarello de Zor1.i
Giovanni Pacoloni: Padoana de Zorzi

132

1:4n
1:05

David Millcr. Lynda Savce, El~gioQ~inreiro Iutes

Mascarata $a Lenpazi

2:43

Rubin Tusvn, StzpE~en-ljylnr, Ja~nepGilchrisr. Nicholas Hurndall Srnirh.

Marrl>nv Hrook, Gilcs Undcnuood: Eligio Quintcim rhirarrino

Mascarata Echo da Magnifici

259

Robcrt Hollingworth,)ames Gilchrrsr, Marrhetv R w k , G~lesL'nderwmd

Glovanni Facolonl:Pasassemezo dclla Duchcssa

I h v ~ dMiller, Lynda Ssyce, k.t~grnQuu>relro i i m r

Mascarata da Donne Pitoche

1 :45

Marrhmv Rrook, Roberr Hnllingivnrrh. Giler Undcrwod:

EIigio Quinrcim chiramone

Mascarata da Rscaori
I<ob~t~'lyson,
Knberr Hnll~ngwnrth,Janle? G~lchri~r,
hlatrhew Brook,
Gilcr Underwood

Giova~ltliPaccloni Padoana della Duchessa

Davtd Miller. Lvnda Sayu, Elipju Quiaitr~rv hrtr

310

Mascaram da Buranelle
Kohili 'l>sol~.Srcphen 'Lylnr, Rnhcrr I-lol[ingworrh. Jarnc.; Gilchrist,
M a t r h m Brook. G i l a Undcrwuud; Elig& (Jwn~riro~ l r i l e m l p ~

Mascarata da Furlani
Kohln Tyron. Saphcn Taylor, Jarncs Gilchr~st.Nicholas Hurndall Srn~rh,
M r t t h w R m k , Glle? Underwood, El~gloQu~nrelrcc h i ~ r n n o

Triaca Musicale

(1 595)

Inrerspersed instrumental works arranged by David Miller

Anon.: Matasins ('11 Macracino')

Anon.: Boufons (Passcmczzo anrico)
Davtd Millcr lure. Fdigio Quintelm cAirr~mmtpo,
lynda S a y c e p i s u r

Anon.: Gaillarde (on the ground 'Cara cosa')

Lynda Savce manhh, David Miller luu. EIigio Quintcirc chirarrim

El I1 gioco dell'Ocm
Cays Ia~le,Anna Crookes, Roberr Hollil~gworrh.James Gilchrist,
Marthcw Brook. Cilcs Undcnvood

Anon Brando
ElrRio Qu~nccirochirfirrmo. Dand Miller rhrrarrino. Lvnda Saycc 6arr lure

kc0
lame< Gllchrrst, Marrhew Rrook, Gi!a Undenvood

3:55

I!?]

Filippo A7.?.aio]r1(fl. 1557-1 569): C:l~i passa per sta s t r ~ d c' nut,
sospira~brato. <&
HP; who j,nJwr slung t t ~ brtrcrt and L e s nor ryh. is hle~srd
David Millcr

f ~ t t r .Lynda

Saycc p i r n r . Eli+ Quintciru

bm5

1:lG

Ilrrt~

B Canzon da Contadini

5:51

C3r)7 I m e , Robin Tyson, Jarncs Gilchrisr. Nicholar I-lurndall Sn~irh,

Marrhcw Rrouk, Gila U~~<lcrw(iorl:
EliKio Quintciro rhitnrrino
Anon.: Bnufons (l~assernezzoantico)
IJavld Millcr /,tic, Fligio t)uinre~ro r~hirnn.zno,I.ynda S ~ ~ c r x w i t n r

0:5h

Mascheratta de Gratiani
Robcrr I lnllinporrh. Jarncs Gilchrisc. Vicholas IIurnddl Smirh.
l$dlthcw H T O U ~Fligio
,
(~~1it1121ro
~'~lljl~lfin,~

333

I-111ppoAzm1010: Lenr~lMadonna del mlo <or parrona

My nuhit hdy nndpatlonrrr of my hcaj r

0:56

Da11d .Ll~l[cr.Lynda Saycc, Ll~e,ioQu~nrciroltire~

Cmmnerta da Bambini

3:07

l<obi~k-tison,Rulwrt H u l l i n ~ ~ ~ o rJ;umrs
t h . G i l d ~ r ~ sM:ltthcw
t,
RwoL
Gilcs Undcmood; Eligia Quinrci~or.hirrrrr.~nn

&

Vccchi ( I 550 1605): Hur chc'l p r l r dc~l'hugclcttis'ode

i\:ow fhdt !he r r , ~of Litiir bird$ reiofand,
D:lvid Millcr. L y d a Savcc: Elieiu Quinrciru I:rrplr
Orazio

I:ZI

Canzon deI CUKO,e Rossignuolo con la sentenza del

r"apagaflo

5:l 1

C a ~ v rI J I ~ C RDberr
,
I4nll1ngimrrh. N~cholarHurndall Srnrrh.
Marthcw BNU~.,GIICS Uiirlrrw~nd

Anon.: Gdliarrla

0:4 I

llxvtd Millcr b r e , Elig~nQuinreirn chisarri~io.Lynda Saycegratnir

Incanto della Schiava

635

Carvs I.anr, Amna Cruokes, l<obirl Ipson, Jdrues Ltlcilr~st,N~cholasHurndall

Smirh, Marrhc\v Rrnok. G t l a Underwood: Cltgto Quinrc~mclr~mrrmo.
Catherrne Ptcrmn hnrpacl~od

B o n u track:

!$ CrocelKnaprnnn: IEcco:] Poor Luckless Pantaloon

4: 17

Pantaloon. "X'~llrxmPurcfn): Rohcrr EIolling\vorrh, Gtlcs Llrtdcmood

Echu Anna Crookcs. Hugh Wilsvn, Matthnv Brook

TT 7 5 3 4

I Fagiotini
Robert Hollingworth d'irector
wid>

David Miller lutes, chirarrino

Lynda Sayce lures, mandola, guitar
Eli$ Quinteiro ha\< lute, chitarrino, chitarronc
Catherine Pierron harpsichord

I F.~giolini
Sopmrro
Car?< 1 ane
hnna Cruulic~

Jarncr Gilchrisr
Nicl~rrlasHumdall Srt\irl~

Cb~tnlrr-lnlor

fin51

Robin T y n
Rukrr Hollir~g*orrh
Srcphcn Taylor

Matthcn; Bmuk
Gilts Il~~dcrurond

I ynda S a y ~ c

David Miller
Et~gloQuinrcim
Lynvnda 5ayc.e
LJavid hli[ler
David Millcr
Lynda S~yce
F.11gioQuintcim
Lynda Sqce
Fligio Quintcim

Catherine Piertoll

&or

bu Edward F ~ c z ~ ~ b b London
un,
1996
4-coulr~ehy C)l~velWad~wnrrh.Weqr Ilean 1791
4-couric by- Carlos Gonlal~rr.Paris 1999
5-cottrse Iy kdward b1c7gihbon, l o n d o r 1778
6-courrc by Martrn Hayox!,.
London 1985
7-cuttrsr by Mart~riHaycock, Chrchesrer 1992
8 - c n u ~ ~bvc Srcphcn Barhcr. London 1985
7-coursc br Jimcs Smllibra~s.\Vest Dean 1990

by Lourdcs L!rnc~Ita~hqadrid 1978

slngle-rn311l1rlby Colln Hnorh afrer Gregol 1
(JohnBarnc3 Collcrtion)

Venetian Carnival
---

111 sixteenth-century Mr~icccntcrtainri~cr~t

music was a source of delight to all
inhabitants uf tlic city r)ririi~gthc carniwl
season Venetian nobility mercl~ants,and
citi7cns cniuyctl IivcIy and oftcn raucous
en~errainmenrar nalaces, academies and civic
pageano. Masqueraders pcrfornled for
l,vpvat~dcrsin t l ~ streets,
r
2nd Ibrrigi* visitors
remarked upon [he mcellence and vitaliry of
musical lifc. Lavnh thcntrical spcctaclw and
banquets, enlivened wirh ~ntiric,were
mounted In patrician palaces. 'The nobility
hircd l u ~ a pru6cssiooal
l
musicians Fur t h c x
evenrq, hut it w a not unusual for rl~e
ralented amateurs among them to mke part
in thc pcrformanccs. This rccoding includes
rwo sers of comic carnival ~nasqueraclesby
the Venetian compuscr Giuvann~Crucc
( 1 557-1 (10'1)

Croce served as a singer at rhe Uasil~aOF

+arc
chapel uf thc Dukc o f
Veu~ceThe Lsllica adjnins rhr ducal palace
at the edge of the glitrer~ngVenetian Ingoon,
and at] appoir~trnrrirrlirrr was onr of thc
mosr prestigious in Europe. 'I'he musicia~lsof
St Martis Forrnctl a puul uf cxpcrt cornposcrs.

St hqark, thc

--

5irigcra dnrl rnstrt~mennl~sts

tvhv actively
part~cipatedin local d~earricaland
cntrmlnrncnt enterprlxs rn urrler to
suppletnenr rheir income<. I n [he l j 9 0 ~
Cruce was lczder of n singing company at
Sr Mark's that was for hire. S i ~ ~ hc
c c cnjuyed
a 11wly reputation as a popula~enterr~inrr.I[
is Iikclv that hc and his company \yere the
01lg~nalperhrkners nf rhese masql~eradcs.
M a s m t e piacevoli et ridicolose per il
carnm3le (1590) and Triaca Musicale (1595)
wele both puhli~hcdin S'en~cehy C;lacnino
V ~ n c c n t'1~ hrse
.
piern were performed In
corrurneq and m x k s , prnhaLly as hncltict
entertainment 01- insertions inro rheatrical
productions. In his dedication to Mnrcnrate
masquerades had become well knawn and
tvrre k i n K p r i n t 4 ar t h t insistcncc uf 'many
curious people'. Since occn~ionalmusic such
as this was only rarely preserved or
pt~l>Iisl~rd,
tlwr mllectivi~sstr1.c a>
important documents of sixteenth-century
Vcnctian sucial and musical practiws.
The masquerades are novelties, laden with
musical wit .md sarire. As his lnusicd

foundation Croce dmys upon rhe Venrtian

courrly ~nadrigalq1~1c.
S i n ~ u l ~ a n m uts~l ~c

rninplcs 01 appropriates music from popular

rradi~inns:tlic quutllilret, \,illntta, I T I O ~ U
and street rune. H i s rnasqucradcs arc Eibemlly
sprinklctl with musical clicI>&c; l r d gmlurcs
that cry nur for imaginative interpremtion,
~tlclla< C L ~ O~ffecrs,stlltfcrin~,9t>our>n n t l
over-[he-toll rtpctltion.
Crucc's xvorkr are peopled with btork
Itallan ~nasqurrarlccharacter<, ~ncludingi l ~ e
bduved, pompotir Rnrnlone i/ mnpi$co and
11;s 5itlekl~kDr Lrauano, a bunillling crlrl
Eolognese professor whoce mispronouilced
~uonlsrcsutt io coarse gaffes. Shrill womcn,
oatish forrigt~crs,quarrulling birds, anti rnrrl
d~sguised litrle hoyr join the casr,
Imi\,irlirig oppurtuniries for horscplav among
rhe singex. C ~ t n i crl;alccts c~rlvat~m
1l1e
mcrrimcnt of this mixture. The anonynlour
[meis who urn>tcCruccj masqucradc t a t s
contrivrd a rvide range of accenrr and dialecrs
For rhcir chamcters in order to invite parody
in prrformance. For cxamplc, rhc Gcrman
who appears in llfurcnr~tddrr Lcnyndzi 3
g r ~ ~ nand
t s grussly r n i s p r u n ~ ~ ~ nhis
c r sImIian
words. Fnreigr~erswit11 cterenrv~~ically
thlck
accents bld at rhe Iprcmro deb Schiatn d,
J
parlorlr gamc in which f ~ m a l cgucsts arc
aucr~onedO R to rhe tughrr~bidder T l ~ c

urrerarlcrh 01- Rnralonc and Grazianu. d

and 0 .arc deliberately lorv-life in quali~y.
fi~ncrrMI~SILWL
wa\ rrarn~ulfur tbc drtlg
rhcriaca, well known in Venice 3 s J
preveruarive I'nr rhr plag1rc, a n antirlotr fur
poisoit and n medicine foi ailn~enrs.In rhis
'musical c~ircr-all'C r ~ ~ i a nrcfcrcnccs
~is
ro b i n g
'in I'aradise' d l atre~lrio~~
ro a Vet~erian
r~eiglibulrrl~uurl
~allcrlI'ardisu, where a w e d
noble families lived. Among rhern w r r r rhr
Grimanis. Crure's sumetime patrons. These
masqueradm ~uggwran aristucratlc party in
that neighbaurhood, with Pantdone and
Cra~ianointrutlticing thc evcnlngs
enrertai~~n~er~r.
A sit~.+rigalrltc5t bcwctn a
ni~htinfialeand a squawking cuckoo bl is
juclgett I>ya parrot - hribcd, if thc rcsult is to
be believed. Ribald C~rlnrrsCrorti P d u a
a p p a r 4, bnnging gifts of turnips, pai.snip!:
and musag.=.: h r t y gricsts arc depi~wdphying
Innmto delh , S c h i d ~J I I I1
~ gioincn deil %rcca l b l ,
a popular board gainc.
In rhe Mi~s~umre
pirrrrwti puns and
w~tt~clsms
suKTesr thar its cl~aracrenare
parrxlies uf~ucll-ltnuwnVenetian types.
Crnce's heggan i.21 nu? portmy noblc wurncn
cornplaning nbour rheir w~rdmbeqand fnnri
s~rpplie,r ~ ~ t r i l by
t ~ Vcnct~an
d
s~tmptuary
..
law, while the wometl (IT Rumno 101
wpreaenr high-born nuns lanrelrring rheir lack

Pandone ('Echo'), m d thc 'burlhni, which

prelude<the aplmrance of the h u h o n
Ur Lnziano. '[he rranscriptionr of Iivcty work<
by Orazro Veccl~~
(Venice, 1585) and Fit~ppo
m5ef1ificr
probably derives from thc fact
r b ~ o l (Ven~ce,
o
1569) s~rnilarl~
prchc*.
that the pvvcrnmenr r,l'Venitx war conrrolled
others ut Croce'q pie=$ i l l acmrdaiice wilt1
Ijy rl~every oldest patrician males. In rhc h a [
the~rsubject matter.'l hc lutc rrios by Pacolotli
rnasqueradc
tht Venetian Knigl~cso f
u.crr publl~hctlin Inllvaw hy Pierre Phaltsc
SL Jolu~of Maln are shown banquerlng on
the~rcity squarc and consuming o ~ l t l a ~ ~ d ~ r h (1564) and comprise foq-swen dances
rlumtititirr of wrue. This emblenlatic conclusion
arranged In thematiullu connected stilts
They are remarkable for a scoring in which ~ l ~
ruggese rhar the l k i ~ ~ a ~ u t e p m
were
cm~
superlu is tuned a fourth abuvc thc tcnor and
cwnw~vctlfr,r rile enterrainlnenr ofthe
a tifill abovc thc baqsus. These atrractive piecu,
knights, who had a tthc~trt.In the~rmonastvry.
wholly wrirren out by the composer, give an
O 2001 D o n d a e J. Gustafson
lrnpmsron of two lnstrt~rnent~lisrs
improvising
siniulr~neomlyover a ground bas, lading into
some unexpected and delightful wrncrs.
The instrumental works
The plucked consorr pleces serve as 'curtain
O 2001 David Miller
nines' and m a q u c intcrhtlrs to Cree's
and Robert. Hollingworth
r;lisnlval h e The tnuslc ]>asbeen tiallscrilxd
and arranged prmcipdly from two books of
On 'Poor Luddess Pantaloon'
gulnr and u m r n rvlos by GGNautne Morlaye
\Ve hope thls rcwrding has brought nllvr thc
(Paris, 1552; 1553), and from Italian vocal
urnival spjrit of chis unusual repertoire for
miniatures. There are also some unusual ant1
you. Our only regret is that the lrnrncd~ayuf
entertaining trios by the cnutempomnwus
Paduan lutenist Giomni Facolon1 Many of
thc vcrbal humour will have eluded nonImlran or even non-Venetian dialect speakers.
h e short pieces ;ue rlances: galliarrls,
passamcnos and paduanar. Some introduce
This is trumt in the echo piccc rO, gramo
Pantaton') [1811[29l so we asked writer Timothy
Cmce's characters, such as the nistlc linc dancc
K~laprnan(who had provided us wlth a
b m l e ('brando'), which sets up the song of
of mde ~ u r n ~ a n ~ o n sand
h ~ hawking
p
the fine
I ~ c efor wh~chthat island's women werc
famous. Thc cr~seti~ble
o T a g J , stur~e~ing

brillianr tr~nslat~ori
of Adriano Banch~eri?
madrigal comedy L z p n a i z rfnik)to cornc rlp
with a urrsiui~ul'l>is own in order dlat English
spcaken ar least can shxc rhc joke. Wc hopc
others will k,rgi\.c rIs for not prinring a
translarion of this rmnslatron, but wc thuught
that might be taking the joke a hit far As Tim
puts ir, we had at1 aversion to a version of a
version.

David Miller is one nFBritain's lading

lutenists and is much in ~fcmanda .;a soloist
and conrinuo ~ ] X ) T T . He has performed with
all rhc principal 'period instrument' orchestras
in England atld also appears with variouq
enxrnbles including the Dufay Callective,
The Purccll Quartcr and Musica
Secreta. He enjoy< an rxtelisive recorditq
carccr, broadcasts frequently on BBC Kadio 3.
and has gainer1 a rcputatiun of cx~dlcnccfur
his interpretation of lure s o ~ ~ gDavid
s.
Miller
is a profnsrur of lutc at ihe Guildhidl School of
Music and Dralna and also t r a c l ~ sat t t ~ r
Dartington Inrernational Summer School.
L y ~ d aSayce read rnusrc a t Sr Hugti?
Collcge, Oxford and went on ro study lute
with Jakob 1.indbrrg at the Royal College of

Music In hirh drrnand as a contlnuo laver.

shc pcrform regularly with Inanr7leading
rnsenlhles ir~cludir~g
Chariuar~AsrtabIe, rhe
Musicians of the Globe and The King's
Consort
1 1 rrct,dr~l
~ ~
cxtcn!.,vcly for
r d i u , t e l m ~ s ~ oand
n disc Abroad she has
appe~rrdwlrh thc Trcibrlrgcr Harockorchester
and Les Musiriens du Louvre. She writes
extensively, a d has c~ntnbutedarndes to
the rev~sedNrtu Gmw Uamnnaly ofMwrr,
many Icad~ngm u s ~ a periodicals.
l
and rhe arr
history lntlrnal Apullu.
1

After studying Filtar in Gran Canana and

M d r i d , Eligio Quinteiru was t a u ~ l thc
~ t lure
and v~huelaby Eugkne Ferre in Toulouse,
mending rnaswr-rlases with I'aul O'Ucrre,
JosP Miguel Mnreno and Jordi Savall. In
1995 he formed the group Aurea Lyra wirh
Atnaia Rarcrrva, spccialis~ngIn Spanish
music. In 1997 he moved TO 1.ondon and
bcgan to study wirh David Miller at the
Cu~ldhaltSchool OF Music and D m a . He is
now In great demand as b o ~ hsoloist ar~rl
awumpanlst on the theorbo and early
autrars. As a colittnuo player hc pcrforms
regularly with such early rnuqic groups as T l ~ r
King; Consort, Thc l'arley of Insrrurnents,
The CLhrieti Cotlwrr and Plqcn, and -1 he
lianowr Band.

Catherine Pierron s~udiedwith Kenneth

Gillxrr atid Christophc Ku~rsscrar the
Consei~atoircNaunnd SupPr~eurdc
Mlrsiqrie de k r ~ ant1
s thcn a t the C~ulldhall
School o f Mucic and Dlama I n London. Shc
t i d r bro~dcasr3 s a svlolst un Frdricc Mus~que
and as a cvnrinuo player wrrh various
Flrropcan per~odrnstrumcnr cnwmhlr.: C h c
specialises In Frcnch baroque rnuslc with lier
uwn rrlwlnhle. The Frcnch Connrcriun
Robert Hollineworth received his first
muricd edumtion frum his muthrr 3 r d as a

chorisrcr at Hcrefcwd Catl~edml.He read

mriqic as m acadelniwl derk at New C u l l r ~ ,
Oxford, followcd by a year a t the Guildhall
Schuul uf Music and Drama, London. Whilc
a t Oxford he founded I kgiwlini and as
director kx dcllimted I7imself ro rhe group
cvcr since. AS d conductor he has workod with
Florilegiurn, The Bach Playcycn, rhc Rrooli
Street Hand and a r;ruge nfchois includillg
thc Rrighton Fesrival Chorus. I-le fur~nrlcdthc
specracular lslingmn Wintcr M ~ ~ qFeqrival,
ic
cundu~tstltr Wrringmn Inrernadonal
Slimmer School choir and nlns a n c v vocal
ensemble class at Trinity College o r Music.
J.,ondon. He also writes and presents early
music programmes for R R C Radio 3.

The narrlr 1 Fagiolini h;rs bwn missprlt and

rnispronounccd thrutlglinu[ the world. Tllc
group firs[ cdlne ro notice by winning rhe
UK Lady Music Network$ Young Arrisis'
Cntnperirin~~
and 113s since earncd a
repurntion as one of I u r o p e : ~most
cntertainithg anti innovative vocal cnsemhler.
I Fagiolini's corllnlunicativc powers havc
clicitcd invitatiuns lion) all over \Vestern
F.urnl>ehur also from furthcr afield Cairu,
Mnrrakech, I lung Konp, Reijing. Kiev, TeI
A \ k , Cape Towt~,Soweto and Hamilton.
Bermuda, often as arnbassadnrr for the
British Cuuncil. Collaborations have heen
parricularly successful in reccnt ycars: solu
voice pedoforniancc~uf Mnnievedi's 1610
G ~ wit!>
P I His
~ Majeqtys Sqhurts &
Cornrrrs, Schubert opcras with thc Iondon
I'hilharmunic Yorith Orcl~e~rra
and
p~rr-ir~~prnvi~rci
repertoire wlth rhc SDASA
Cliomle of Sorvetu. 'I'hc gruup works
tTularly for rhe RRC: and made its debur at
1l1r Prn~nerldeConcerts in Auglst 2000. I t
is also becoming incrcasinglv itbvolved i n
ctlrlcdtic,ival work. Its new series of recordinss
with Cl~andoswill be dividcd bcnvccn
Lngllsh and Eurupcan Renaissai~ceand early
baroque repertoire.

CarrlevaEe vcneziano
- -

Ncll:~\fcnm,ia dcl XVl secolo, l~ ~nusicadi

ii~tm~tenimenco
ern fontc di svagu pcr tutri
gli abinnri dclla cirri. Krl prriodn di
car~uevalennbili, commercianti e srmplici
cirtadin~porevano assistcrc a <perracoli viuci
e Fpesso vulyari nri [,alazzi, nelle nc~2dcmicc
n ~ l l esfdate cirtadine. Le maschert si
mil,ivanu davanti aFli sprttarori nelle srrade e
g11 qrmnieri rimat~eva~no
mlpiti datl'ccc-ccllcnza
c rJalla rivaciti delh vita musicale. Nelle
tcarrdi e bancl~erri,allietat~dalla mtlsica. I n
qurstr uccasiun~,la nubilti assulneua
niusicisri profes~io~~isri
locali, ma agli
sprttacoli parrccipnvano anchc alctini
dileuanii di ~alento.Questa rr~istrazione
cornprende due m(1ic9,cu~tcm~niche
~:wncvalc>chc
drl cumpasitvrc vcnr/.i:~nu
Ciovaluni Crocc ( 1557-1 (101).
Croce fu cantanre d1.z Basilica di San
Marcu, cappclla privata drl Duca di Vei~e/.ia.
La b x ~ i l i ct ~adiacente a1 nalazzn ducale, nella
splendlda l a g ~ n wnmlana:
s
un Idvuru qrai
all'epnca era Llna delle cariche ptu presrlglnse
d'hropa. 1 rnusicisrl dl Sari M.zrco
tormavana un Krtlppu dl cspcrri cumpusirur~,

mlranri e srru~nenristiche parrecipavano

atri\.anicntc agli spcrtncoli tcarr~lic allc
ininiative di spettamlo per arrnrondare lo
stipcndiu. Ncl dccrnniv dcl 1590, a San
Marco, Cmce dirigeva un corn che si poreva
ass~~mcrc.
Ustn E3 5 1 1 rcprltazionc
~
di uomu dE
sper[acolu, 1- prubahile egli strsso r la qua
mmpagnla fossero gli i~lterpretiorigionl~di
qucsti Lrani.
Ir Mascarate piacwoli er ridicolose
per il c a r n m l e (1990) e la Triaca Musicaie
( I 595) Fumnu pubhlicatc cntrambc a
Venezia d a C;ixonno Vincenri. Si rrarta di
hmni che venivano eseg~itiin custurnr. c
nia~chera,prnhal>ilmcnte per allieraw lit)
bancherro o mine intermezzi per uno
spcttac-olo tcatralc. Dalla dcdica di Vinccnti
allr M~t(~wr,tae
pinr.runli si inruisce che Ir
mascherare di Croce fossero ormai farnose e
chc fusst-ru statc pubhlimtc tlictru Ic
insisrrt~redi 'mol~icuriosi'. PoichC raralnente
le inusiche di circostanza venivano
tunscrvate u p~rl~ldicatc,
q[ic.rtc cullc~iurii
sono re~rijnonian7ximpormnri delle
pmtichc sociali e musicali venezmnc del
Cinqueccnto.

Le rnaschcratc sotlo bmni di mod.?, ricclrc

di rlmr)ris~noe sarira rn~~sicile.
I'er la bxse
musicllr, Croce arringe nllo stilr dc[
madrigale veneziano di corre,
infmrnmc7xanciovi allo stcsso rcrnpu alcuni
brani della tradi7.iu11c popolare: quodlibet,
villotta, moresca e canzoni di strda. L strc
rna~clleratesonu at,l)orlJancen~erlreornare di
luoghl cvmuni rnusicali e gesti che
inipfir~gol~o
un'intcrprcta7ione fantasiosa, per
esernpiu cct~i,halbertamenti, urla e
riperiioni eccessive.
Le opere di Crvcr cone pnpolare cii
rnascliere ripiche iraliane, rra cui
I'amatissimo, pomposv Panralonr ii m n p { f i
e il suo amico Dollor Graziano, un vecchio e
goffi, pmfessore bolognese con rlna
pronuncia distorta chc spesso pmuoca delle
qrossoIanc p f e . A quesri personaggi si
ag?,iungono donne pctulanti, stranicri
balordi, battibccchi Ira uccelli e uomini
travcstiti da hamhini, che offrono ai cantanti
I'opporruniti di .%lungrc sd3rrc.i vofgari.
Comici dialetri sortntineano I'allegro
iniscuglio. I poeti monimi, auturr dei tcsti
delle maschcratc di Croce, crearono una xwta
gamma di accenri e ciialerri per i lorn
personaggi, per alimentan. la parutlia
ncll'intcrprctr/ione. Per tsempio, il redesco
d ~ compare
e
nelh Mascnmtu da Lcngurln

grugn~scee commette grossolan~crrorr nrl

pront~n~iarc
Ic p~rolei~aliane.Srranierl dal
forte accenro parteclpano dlc offcrrc pcr
I'hcnprto rltih Slhrnud [ 2 ~ 1 , ~ 1 giom
1
di socle~b
i n cui le o ~ p ivellgono
t~
vendt~tcall'asta al
r n ~ ~ l i oor cf f c ~ n t c .I c r\ptrssioni dr
Patltalonr r: Lraziano,
e 3 ,sono dl

teriaca, medicina nota a Vcnccia c o n ~ c

antlduru ~onrrvla pesre e I selen~e come
rimed10 per le ntalatt~e.In questa "panacm
rnusrcale", Graziano dice di cscere "in
paradis", riferendosi probab~lmenrea u n
quarrlere v e n a l m o dctto Rradiso, i n crli
rls~edevanodlvcnc f:~tr>iglie
nol,~!i. Tla quesre
em la famidia dei Grirnan~,rdvolta
aiccnna a una fesra aristoc~aticanel
quartiere, In cui l'antalone c Graz~ano
presennno lo spctta~ulutlclla sera. Giudice
di rlna gara di canto rra un usignolo e un
cuculo str~dulo t un pappagallo cormtto, a ~ i u d i c ~ dal
r e rlsulram.
Cornpdiono degli agncolror~sboccati dl
Padova B, che purtanu rape, pasti~~acl>e
e
sals~ccc.Cli osptri della fesra vengono
descrrrri nlentre giocano all'hcrlnru ddZn
Scbinw c al G~orodtfl'Orrz I?*].
Nellc Mri>c<~rnie
prdcevoli, calernbour c

facezie fanno pensare che i pcrsunagi sianu

p r o r l i c d i tlpi vcnr?.iani hen noti. Le
rnendicanri di Croce
pvrrcbbcrv cucrc
alcrinc nobildunne, irlsoddisfatte dei loro
verriti e delle lor0 pietan~c,Iirnktate dallr
I r g i suntuarie vcnr~.ianr,meilrre le donne di
Hurann Lo! rappresenmno suvrc d'alto
Iignaggio che si lamcntano per la rnallcailza
di compagnia maschile e vendunu i farnvsi
rncrlcrri dell'isola. 11gruppo di vecchi
balhettanti magn$ci
probabilmente
rispecchia la composizionc dsl govern0 di
Venczia, dominnto dai patrizi pih anziani.
Nell'ulrirna mascherara fl viene dcscrirto il
bancherto dei Cavalieri ~ n c z i a n drll'ordine
i
di Malta nclla piazza cictadina, tm fiumr di
-vino. Questa cnnclusione ernblcmatira fa
pcnmrc che le Mmrcariztr piarewh fo?srro
concepite per divertire i cavdieri, che
axwano un tearro nel Eom rnonasrcru.

D 2001 DonnaMae J. Gnstafson

I s opcrc strumentali
I bixni per gruppa di srrumentl a plzzlcu
h1ngono da "motivl rla slyaria" e intermem
per tr wlnposizio~~i
csrnevale~chedl Croce.
Lx musiu 1. snta trascnrta c arrangIata
principaTrnenre <ladue 11hridi brani snlirrici
per chirarra e cerera di Guillaurne Morlaye

(Parigi, 1552; 1553),c da brcvl composizion i

italiane per mnto. Ci sono allche alcuni
inctlnwe~ir rlirrr~entitrii di Giovant~i
I'acolonl, un llutlsta contemporanco dl
Padova Mnl~idei hrani hrevi rono datwe
gaglrarde. passamazo e padonne. N c u n l
servono a prepenrare i perronagl di Croce,
come 11branle rustic0 ("brando"), una danza
tullctti~a,chc inqriadra i1 cantu di Pantalone,
e il "boufons" che prelude all'appar~zionedel
buffvnc Duttur Grazlanu. Lc trascrl~iunidi
alcune vivaci npere di Orazio Vecchi
(Venezia, 1585) e Flllppo Azzzlolo (Venaia.
1569) intrutlucuno altri bran1 di Cmce per
argnn~ento.T trii per tiuro di Pacoloni furono
pubbl~catia Lomn~oda l'lerrt. Phalkx {I 564)
e comprendono quamntasette dame
~rrurrurareiin sulre collegare per tenla. Sono
norcvol~pcr la partltura In cur 11 sripenals C
accordaro una quaria snpra il tenore e una
quinm sopra il bxqso. Quesri piacevoli brani,
scrlttr pcr csrcso rlal compositorc, fanno
pensare all'in~prow~sazionr
simulral~eadi due
strurnentiscl su un basso ost~nato,che
~ u n r l r ~ cinc alcuni : ~ ~ i ~imprcvi>ti
ull
s
delizinsi.
@ 2001 David MiIlcr
e Robert Hollingwortl~

Tnduzionc: Ernanucl;~Gllastclla

David Miller k uno tlr-i principali liuristi

hrirannici ed t. ~nolrorichicsru cumr mlisu e
mme accnrnpagnatore al basso continuo. Si i.
es~bitow n rurre le rnaginri nrchesrrr di
slrumenri snriclli inglesi ed k cornparso
anchc cot) diversi complcssi, tra cui il nufny
Collecrive, il Prlrcrll Quartet e Musica
Sccrcta. Vmra una ricca discografia, parrecil~a
spe~s0a trasrnissioni tlel rer7.n canale
radiuFonico della D U C ed t estrcmarncntc
apprezwto pcr la sua interprerezinne dei song
per liutu. David miller illsegna lruro prcsso In
C~iillil~all
School of Music and Dram c
prsso la Sctwla eqriva inrernarinnde di
Dartingmn.

Lynda SaYe ha rlucii~ro~nusicaall'un~vcrstti

di Oxford (St Hugh's Colle~c)c quintli Lun
Jakoh L ~ n d b c alr ~Rum! Cnllege rrf Mu&. E
rnulto r~chiestaa1 basso continuo e 51 esibis~c
regolarn>entecon molt1 crnportdnti cc>mplpcsl
rnus~ml~,
tra cui Charivari Agriahle, I
.M~;sicjansnf the Globe e'The Jhng's
rcgistrazioni rad~orelevlsivee discografiche.
4ll'eslero si e es~bltacon la 1:rcrbiirgcr
Barockorchester c Les M~rsiciet~r
d u Louvre.
qcrivr molro, Ila co~~rrihuiro
alla revlsionc dcl
Nrw Cimr~rL)rcrromz~uf MIWC
c hd
pubbl~catoarti~olisu ninlrl important[

pcriotlicj musicaCi r su Apo//o, una rivlsta di

storia dell'artc.

di Cran
Canaria r a Madrid. Eligio Quinteiro ha
preso lezioni di [iuro c vihucla con ' I I ~ & ~ I C
iicrrr a Tolosa, seguirn le masterclarr: di I'aul
O ' D e ~ t eJos;
,
Miguel MUICIIU
r J11l~liSavxll.
Ncl 1995 ha costituito il gruppo Aurea 1.yrd
cut1 A~naiaRdrcena, spccializzandusi in
musica spagnola. Ncl 1997 si & rrasferito a
Imnrlra r hd ~nifiaroa srudiare con L>avid
Mlllcr prcxqn la C;uildhall S~lluulor Music
and Drama Ogi P molrn richresro sla come
sulistd Dld come accompagnatorr. alla tiurba c
con chirarre anrichc. SI esilxsc~regolarmenre
al basso cunttnuo mn m~nplessldl musica
nntifu quali The Klng'a Gonsurt, Thr: P ~ r l e v
of lnsrrumcnts, T h c Gabrieli Conmrr and
Playcn r The Hdnover Dand.
Dopo aver srudiato chitarr;~nell'isola

Catherine Pierron ha srudiaro coo Kenneth

Cill>rrr P C l ~ r i < r o p hK~n ~ ~ r prrwl
~ p r il
Col>semtoircNational SupCrir~lrde
Musiqur di Parisi e poi presso la GuiIdharl
School of Music and Drama di h n d r a . Ha
partecipatw cumc ,ulista ad alcut~r
trasmit~ioniradiofoniche di Fr.mce Musiquc
e ha accompagnato a1 runtinrdu divtlrsi
curnplcssi c~lmpridi strulnen~ianrichi.

\prclali7,zata I n rnusica Issrocca tr~r~crse,

chr
esegue con il suo complessu, 'l'hc I.rcnch
Ctmnrrrion.
Robert Clollingworth h a srudiarn musics
inrzialnler~trcor~sua rnadrc c cumc curisn
prcsso la wrtedralc rli Herecord. H J s~udiaio
musica .rl Ncw Collcgc di Oxford c pol pcr
lrn nnno presso 13 G~rilclliallSchnnl nSMvlusic
and Drama di Inndra. Dumnre la 5ua
prrnmanenw J Oxford ha funtlarti T r:nsie)lirii
clle dirigc da allora. Ha direrro i Florilegiuln,
i Bac11 Pl;lvrr:, r la Brook Street band c.
dlvcrsi cori, rra cui il Rrigllmn Frs~iual
Khortiq. Ha fundarn In spetracolare Islington
Win,, Music Festival, d i r i g il cvru drlla
S c ~ ~ ocsriva
la
intcrnarionale di narringrnn e
I i n 1111nvn
rorco prr g r ~ ~ p lvnrali
> i pwrw r l
Trlnry College of MUSICdl h n d r r . Inultrc
scrrvr e preqcnta prngrarnmr di [nuslca anrlca
per il terzo canale radiofonico dell3 BHC.

I1 cornplrsqtr \,oc~leI Fagioli~iisi k f ~ t t o

nunre per la prima volra vincendu un
rnglcsc dr m u s h antica, T'Early

conwrsu

Music Nr~wrirk;YourrKArtist\' Cumpctiririn.

L)a allura i. cunaidtmto uno dei gruppi vocali
~ i i bpraclt.voli t. irurovativi cl'F.ur[>~>a.
Cr:r~ic
alla stta grandc curnunicariva, il gruppo ha
ricevuro invici da [ L I ~ [IF.IIIY~[KI
I
nccidct\[alr c
nnchc dn citti piir luntsnc: II Cairo.
Mvlarrakech, Hnng Konp, Reijir~g.Kier: Tcl
A\.iv, Citti dcl Capo, Sowcto c 1-lamilton
(Rrrtrluda), in cu; sprscu ha xvciltu iI rurllu di
nmbasciatore per il Briti~hC:nuncil. C;li
~lltirnianni hannu vi5rr) i ~ l c u n ccullshura7iuni
parricolarlnet>re riuscire: inrerl,rera7.iol~iper
vocc solisra dcl lkpm del 11;10 di
Mntl~evrrdiurrt His Majrstys SaSb:ltts &
( k r n e t t ~ opere
,
di Schuberr con la Lnndon
I'l~ilharmunic Youth Orchestra e un
reperrnrin in parte di im[,rowivazinni con il
grilppo S T I A S A ('linml~rli Snwpro 11
curnplusv lavvra rcgularmcntc pcr la BBC c
11a esnrdiro ai Promenade Cnncerrs
nell'a~ostodel 2000. Artunlmeiite $ selnpre
piii impcgnato in attiviti cd~rrarivc.JA nuovx
serie di repiprrx~ior~i
COIJ C h ~ n d o s~ a r dii
i isa
in rcperturiu rinssclmenmle indese e europeo
t prirt~ol~~roc,co.

Mawarate piacevoIi er ridicolose per il

Delighthl, Comic Masquerades For

Magcarata d a Lenguazi
Cantu (133 h n c ) : V t d i l a Lcssandrina chc l a
te~rcva,li, la.
(Juinro: la srringi, ri, ron.
lWro [Magnifirol: Tirro 70 aui quel [lason.
I.l;r~nre ( I r ~ w n d r i n a l V
: i c n su r u l m i n halcnn'c
alsa'l tzndon.l
. h m ( D a Gratiano]: Din vc dic'l hondi.
Basw (Tcdescol: Rri~tdzs',i o berlidl. Mi s t i r
hnn cnmpagnon, io.
Runda, rundzlla, rtmda, l a r u n d i l ~ r l l a
gnechelle.
G i c r ~ c r ' i nt'un b c l y ~ b b vm i incontrai.
Di quel rnerral n o ghe ne n a s r nlnl; gnechetle.
B e n t mio, t u m'hai lasclan,
r t ~ r ~mesro
o
e scoosolaro.
Dch, n o n m i far langulrc
c pzr dolor riiorrrr.
Runda, rundclla, rundx, la r u n d ~ n e l l xche la

Masqucradc o f thc T o n p l c s
C a n t o (Zanc). I <xw l r < r l n d r ~ l ~ a1 x plnrreri
1
lt, If, Ll
Q u ~ n m .S q u c u c hcr, rr, mm
.Ute ( M a x n l f i ~ u ) G
: r r lost w ~ t hthat b y nosc
rrcnore (la?%andrlnd) C l l r n h up onrn I n v
balcony a n d part thc curta~ns.]
Sesm (Grmlann) Gnd g l i !.nu
~ a gond day
devil].
Basso ICcrman): Chccrb. I fur h ~ r c[I
[ he good fellmu, 1
Shc h o around, rrmdplln, thc ficklc Irttlc
chtcklr fllts around
Larr nlghr I ran l n t o onc o f !nut handsomc
hunchbacks
N n r h l n g ever springs up from t h a characrer:
f i ~ k l cI ~ t t l unc.
c
My heln\.ed, ynu h x w left me
thoroughir sad anrl disconaolatc.
P s y , dnn'r make m e l > n ~ u l ~ s h
and dic oT radnas.
She flirs rrnund, nirrddta, r l ~ elittle cliicliie n h u
plorrcd it.

M s s a m r a Fcchu da Mspifiri

Marqurradc of thc M a p i f i d ' s Echo

I n nrhcr rlrncq, dlffcrcnr rnallnrrc.
h e used to sau - chusc Food, o l d - L s h ~ o n c do l d
men nf our<,w1r11
thcsc stockrn;~ t o thcir ru-ru-rumpr.
rltese l o n g mops o f haw, these bearrls - tie nits
at his pcak.

fl I n c t k r m attri rcmpi, nlrri costurn[.

solcvi dir - q u r l nustci antighi vccchi h boni, di
rrc a ! 7 c alla hraruo-nn-nola,
~ r -wzrerc.
c
str b n b c - gicra i n cima,

V.I cllc rc! PIUS~U \ C : L V ~CI ~ colln.

A~
Scmo p l l r rtcrrri31i da ate rr~,lll:tnrlo.
Nu rnr, r t v r l r l n o ,111~nurrrc cuntr.~-n.1-nac.
p e r r h ~rnrirnr, frc-rle-I?& ci'allc prlla-llr-nxc.
1 \ ' e ~ ~ ~ uCX~T~,.ITLIIII
~an
(or '10 n1.1kr. rn~>~r~n>>c
r#lgr,,'

Rcat it! Y h ~ i i brcak

n
) v u r ncckl
i Y c xrc sornchuw diacnpgcd f r o m tllis calamiry.
h't1n rvc arc rerurnlng rn nnr pr-pr-prrrrhcr
hccaurc wc frr.1 cnu-nv-nwrmuualy rclicvcd.

Masmnvs r l I1o11ne
~
Piroche

B c g a r 'Xbrncn's M a s q l ~ m i l t c
\Y,r lluur litulr r l l i t ~ g nrc
< wonlcn n F r i m p l c rimplc~irl,
w11o arc ;fling bcgpint: ahabt.~l>-rtrrbacd.
Help us, it&,
pr.ly. w l n c c f i . ~ r i r ytor
11% \~.~ctchcd
a n d mirtrmtrrd prupcrb.
G i > c us somc pilgr11117'ml,r<
r l l r r mug]> n r aofr.
n o t finc f a b r i ~uidamssk or velver
\Ve'll rake rnnlc chccsc and b r c ~ dsoup.
2nd pivc uur, f u r thls ~ a t c 1 1i t 1 our pa[,
ellher bone or Illcar or n c w c or tough skin.

n K I povcrinc
~
w m u sisnui.u 1.1 G E.un,i,
cfiandrrr~rr~ l ~ r r n c a ~
ad
Innc.ulnn.1.

; \ g ~ ~ l r c i lbrighac.
c
dc, q u n l d l t u r l t i r .
n u puvcrr ~ ~ w r c l ~n i~~a li m
c cl~ac.
I)cnc qualchc achiavinn
v ruspia o nlnlrsit~a,
110 drappi d c darnasc'o dc x l u o .
Tureniu del forln37u e pnrr 117 brulu,
e dcnc p c r sta hocta i n la pignarn
n v s ' u carn'o tlrrvo o pel1epr1.1.
Mzscarata da P u u o r i

Fi$llermeu~S
hlasquerade

L>a I'dlro 1n3.1r ~ e ~ l i a r ndan pcrcarc

\Vc cnmc f r o m f i a h i r ~o~n rlrc hiRh sca

;tnd Lrliii! yot~b ~ fish,
g 011 he.~r~riiirl
lnd~er

a rroi c o n grwsi pcx.'u dunnc hcllc.

C u n ~ ~ ~ rclttnque,
xt.
r non v'en<rrerc'il dale
vnrrra monctta per qtrcstc sardc[lc.
l'cdc~c q u u t ' : ~~ ~ ~ ~ : u(:onl'e
e l l r ! r.lre
d3 fi CII .wn nc [c vosrrc padcllc.
Chc quaurl'il ~ a l t l narritir~V;UI ~ ~ l i r r l d o
IIP In p.arlel[', 11or ru, h n r giG, hzllando.
Clrac =,ccchic,sardcllc grossc. c i ~ v a lda
i bun!

50

h u y and don't rcarcr p i r i n a

yullr rjuirir ivr {llrs sa~ll~ne,.
See rllerc WIF?
1 1 0 ch-ccprinnal
~
t h arc~
~ y o u r frviiuK y;tiir.
f u r s i r z l i r ~iii
W l l c n 7 1 1 tccl
~
rllc hcrr r h c v j u n l p
i n rhc pan, n u w up. n o w down. t l a n c i r ~ ~ .

Masquerade o f the Women o f Burano

17) l:,cr ~,,Il:,r,,
supplr yuursclvcs pait? and lavish[%
<111)ply~OC
IIP
IF
II~C.III<C
rl>e?'rr 111rlw C
I M,
Cullon. ladics!

Mr 11hz%?ri dc redr,
cnrnpre li d.2 Ic vorrrc hurancllc
LIIC
11sc (atti ((IIILC'~b i d l r ~ l l ' ITCIIT
r
Ravari, clr>l>nd
Canrelno, b d l c purrc. q ~ ~ c l c.lrin)ri
la
dc i nrxtri
pc\<:t<>.
Si, mnrcrno t u t r , c cum'cnlr vu r r ch'hav cl w ~ l .
Rcl prsL34, ~11,. k>L.7'-~irl,113.
pasm de qux, rrivuo pcscz.
' l j n n d a n , dan.
V c n e r i ~l ~ r l l , JeI
~ , I~IGI~IG~LI w t i t ~ , ~ .
li IIICHI~~ co li p i x n i z IU i i l l c h i n z .
A VLI ~'~ndiirb,t
t u t t r tr i t ~ r r r , ~ ,
V c i a z t i ~I,cllr. 1icc.1 d c bcIc7rc.
'I>randan, dan.
Nu srrllln 11111.1Caljrz,
rltdcrn'a cha pnrca dcl pan o i p r ~ r rckc
i
d~c

muri <la C<II>I~;

e RAI ll'.4lbanl n'aspcrca

pcr huttarn'a Buran co la I.:trcttctl~.
rqhc Icyndrr, .hr A l h n n of I I l ~ n n r ~

[ M a s s r ~ t a da
] -#>tar per l a strada
Mc li bavari dc r d c .
chP 11 sr Iarr'a rno de bocadello,'
ch'in rurro l o Buran no gc'l hcllo.
Havari, d o r ~ r ~ c !

:IIOC~ILLCIII

\ ' : n ~ ~ i ~rt-nlvn
n
61h ncr

In<l~iotl.

\4)* I a r r CUII,I-,
h u v rlrcm horn your worncn a)FBurano
I)rr,111<e[ly>'re tn.adc n c l > r , ~ ~ ~~i 1~1h1~rIeli n, m I ~IF:IL~.
Col1.1rs. Indicr!
I'rctry
let; sill:: 11i.t VHIK alwut w ~ r
firhelmel>.
Ycs. Ict's all sirlp. ,lilt1 hcRin. y o u tl1n.c that Iiavr
rhe rnp p u r
'Manrlsomc fisherman that fishcs i n rhc sta,
1)>\< h, Ihclr. FIOV.'III~
~ O L I I . L~ICII.'

'I nni. rLnnr, i+l+~r.

R ~ m t i hVcnicc,
~l
Qurun of thc World.
111
IILCILIII\,I~I~S
r
,III~I l i l , ~ i r ~lhoh,
\
[o~ L I .
n i t rhc f o r r r c j r a h o w to you,
bcar~rihrl\'cn~cr, rirh in br.nltirs.
Tnnr, mnr, tool.
W c a n ' t 5t.lr htrc t u aing.
wc're ~ n l l j glhnnlc 10 r.~kc.;rrlnc hrctrl I<> r l ~ c
childrcn that rnusr hc starving.
3 1 ~ dU n r t e A l h ~ r j nis n q i r i n g Ibr us
in nrdcr TO hip us m Rurano i n a lirrlc hoar.

[Masquerade] t o sing o n the frreer

hi!- 1a.c c~>ll:~rs,

because rhcfrc 1112dellke rhe finerr ners,

hccatlsc i n all Rurallu thcrc nrc nonc mow b c a ~ i r i f ~ l l .

<,fillar<. l , ~ d i t s !

Masquerade o f thc Friuliarrr

Carlrv: I > l ~ < r efor
r dccorating!
~ I l r o Gardener!
:
I-lii~lsre:Sausages, my h o t sawigts!]
Qtlintu: Rn) fist^!
Sesro: Chair-mcndcr: srunc ukzr!
Rassu: \Vudcurter!

nlove -I,

bclla brlgada
h d ~ o frad~s
,
me, chiar vnsscs.
1 bell v q n u t . sal1et.x.
h o n an, e bon wmprc.

God selutes you,handsomc company

Farcwcll, my bruthcrs; clear v n i m ,

Havesus hei-ur?
Si! H a v c m bcvut dl1 htmzir d c h o n vin
ch'alla m n r l fra nus haven rugint.
...i n ccluz, chiar dulcz, rradis..
,5111 clii.~mpodcllc g i a r i ~ . ~
k. yms havcs b c n l t ?
H a v i r r ~brvrlr 1111 71CF d c b o l l in blanch.
br~di,,vnlcn t u t t i chianta. 11mi r l ~ i a ~ ~ r e n :
Mc dA pit dz I'arbor ~ i r cornarc
,
Mcduw.
111i m n t r a l t u n bcl i n h n t , Di, n, dellr.
N u stcn p l r ~a cli~anra:
=in t l ~
SOIS
a gliadagna.
4 m r i . rcnl-bunti~lp;puu on Campn dcllc p t r c . \'e:cnrrian
fur 'Sqllarc o f rhc I'apxl I.cgarei

Havc yuu had s v l ~ ~ e r h i m

~ l gdrink!
Yes! We havc d r u n k nvo mlo o f p u d winc

pro$peflly, healrh,
a ~ o o ?car,
d
and

..

..

Ku:oorltirnrs aluayq

rhar havc thundered ~ ~ t ~uso a%

~ antntlg
j g

L3oon.. .

...

..in cclls, swcct r h i t c wi~ie,hrorhers

. u w r the Square of rhc Rirds [Squarc o f thc
Icgatcr].

..

And have yo11 hpd snnlething to d r i n k '

\Vc h a w d r u n k rhrcc casks o f sod w h i t c wine.
Brochcrs. Ict's dl sing, hur never singing.
'She giver m e p i t y at rhc crack o f dawn.
Madam Mdusa,
1 ran i n t o one o f your bcautiful babcs. Di, ri.

dclh'.
of r ~ s:Ire s o y i n s

Must

m sing;

wine usually makcs i t rwmc u u i berter.

(:I11 r o c m dierro. r i n
Scr>r'nlrro ini[ugi:irr c ~turi.
P a p t c sc vnlcrc.
I'erche! P c ~ l l i .n ~ In
l h c r ~ n r oscttc.
Eccv 11punro, h u r pakttr,
F. in dictru 11ui rrc p u n r i rirornatc.
TUCC,,I3 boi il tir'luui l ~ u r , ~ .
4 me? SI. $ 1 S i p n r a .
Ctnquc c q ~ ~ t t r Vfllere.
u.
C i n q w i r ~ m r l rd i punro Carto wctc.
~ l i r a r c rignor
,
Cutltr.
Sci. Voi serre a1 I'ontc.
fagarc. c doppo pucn
Ritornere!e 8 cnlnii>cixr il giocu.
A m e mccd tirarc.
Ecco che V I collvie~?VOcca passarc.
Wor qui tcrmarc il stgnu
Scnw puilcr il ptg17o.
A Ilte r i r 3 ~p u r rocca.
O la! Passarc I C ~ L I
I i rrella h.11~3e ~ l r ~ x r c
Er 1Iv state c~ i l p r c n ~ i up ~ g : ~ t e
Pcr<l'~lt v i o 111'1iorl ~ n r x
k r c h t nclla C i s t c m i l u fb dirrlrrra.
ECCUil tiru c 1.1 JOI~C.
I?lg.~rcpur. Sipnor, chc KTW I n .Morrr,
E v i cunricri [vrrlrre
U;LIp r ~ ~ ~ cd ~c l lgioco
) ~ n a cominciiirc.
Ora r i n r vupl'io
Quatrr'r 3 4 , pcr rnja k,chc il g i o m i.m i o .
tnrrc. Sipnor, el conru.
S c n i c r ~ t m ed i p t l ~ l r n .
S~gnord,\,into avctc.

\Vlmm~c<, b r l ~ i r.I ~[qnrr~,

~ l 111rc)wr l j r t l i ~ . t
: r r r r l 21111~ v i r h o u riurthcr &lay,
Pa? it yuu l ~ k r .
'Wl>y?' Rccaurc you'>.cl m d z d i t 1 the nl.l<r.
Hcrc; rile qrluale, nnrv y o u pa):
and rhcn you 60 Luck rl>rer squ>re?.
It's p t l r rum ro r h l m r rhc dice nu,.
'\Vllar, m e ? fis. marlain.
'Five and four.' See,
you've lander[ t i n srlu.lrc fi{tv-rllree.
H;tw 3 go, Sijirlor Cnunr.
'SLX.' You'vc landcd ;xr rhc I>r~rlgr.
R y , a ~ r dr L r r r h ~ r
y o ~ i lgo
l back t o t h t b t g i ~ ~ r i ~ rrF
r r stlkc wrrir.
'It's mv tx1r11IO l h x e 2 go.'
Herr'< \vhcrcyou'rc cornins up tu A puar squ;lrr.
Now %top) v u r L w r l t r r IICIC
williour paying a finc.
' V o w i i s mv n i r n r v 1 u . c ~ 150.'
~
Luuk ~nri!I'AL$ u p rllc goorc
and l a n d o n thc boat
and a i r y cllrre allti pay rllc tinc.
'I Ioqr my t u r n j u ~ nt o w
kccausc 1 was srucb i n rhe rucll.'
'Here; nly rhrmv and rn? chancc.'
Pay up, sir, that lar~dedo t l I)e>rh,
and you'll have ro go back
I S the p m c .
and srarr f r u m thc ~ L ~ ~ I ~ I I ~ IOC
'Now 1 NIII~
a go tour and rix, by Gud. the g r n e is inine!'
Do thc aurns. slr.
'She'r landcd on squarc sixi).-rltrw!'
14adan1, VULI'VC rvori.

H o r glt prclnr prc~ldcrc,

E no; per (.~r!e u r l u r t

Cantizmo a rutcc I'orc,
Viw. v i w I'an~ore.
' 2 ]+rkr.~ l ~ n > m u
str
r ~arbd
~ at t ~ r r c11rrewuulrl WIII rhr +q*llnv

N o w nkc thc prizcs.

and i n orrlcr to d o rllcnl honour
ler'q forever ring,

'I unp live luvc'.

Echo

C pub, pcrchc? k r corrcr d r i o

3 i anlori?
h40ri.
C'o diavolo chc m u o m ? Sm conrcr~io
n o n mc T-n bc>nrllr v u g g ~ vvlvcr t.tritu,
ch'alllor nl stnlzonar nlc sia pi p ~ r c o .
MU: Xrcu.
Porlisru fonc dc l'arcn cclcsrc
41 cn i disc a Vcnelra l'armrnbc!
ccu: He.
132 zcntilomo chc qucst'una p i q v r a
o qualche 6-na-nada c'ha la i0rn1.1 d'ellx
e m : Ella.
Sti sc dunque una F,~dad i m e quando
mi hxverb hcn sc p u r n o c'i. narcosro.
L w : Ostu.
Tio, n o , che rrravagxnrlx i. qucrrx!
In qucstu l i u ghc
~ sc un'uatcria?
KO: Hin.
lvIa sc la sc c a t t i n n o ghc dihw,
em; (;:I?
Gh l'e u n h o n pcscc Ghastu s t l z i w n i ?
c w : Zuni.

M*;

0 1 1 , wnrcherl 1?1111.1ln11~OF ill f n ~UIIC.

~
'X'hatb rhc p u i n t OF mt cr-cr-ring i n thcx rvuorls?
At14 why, rljct1! ' l r r run xfrcr nly lady-.lo\rm?
ccho: Dic.
HIIM.r l l r d r ~ i~l ~ n ~Il die!'l'h~f
ltl
.~dv~cc
docrn't suit nlc (or Iw n l t o lit^ so much.
~ r wrsli
~ dIlia1 lave, ~II
mocking me, might hc
mnrc rnndcrarc.
echo; Row
(2rc y o u pcrhapr rpcakina of rhc cclcstial how
ur what IS callcd i n Vcnicc tlie 'bzau~iC111
arc'!
echn: Baa.
A gcnclcman >ays rhat this ia :t sllvcp
or some encl~n-clis-cha~~rre<<
rhxr lh3s rhc rhxpc of
one.
CLIIU:
J L I S>Ire.
~
So i F p u ' r c an cnchanrrcsr, tcll rnc when
I'll ~IIYC f o r t l ~ ~ >
irctl~dt's
~
not I,~ddtm~Trmn ynll.
echo: T11e ~ n ~ ~ l ( e c p e r .
T5k, tsk, what dn cxtr;tv;tx;ulrr: this is!
19 111r.l~an i n n . ~ m u r ~IICIC?
cl
ccho: A quay.
BIIL I{ it: lj.nd, t l u ~ iICII
~ ETIY .~I>o~nr
11.
ccho: Carp.
Cdrp - that's a n i c r fiit~.H.1v.r ~UIL;arir r l ~ i r l r

<.IIIF.I~CF!

ccho: Game cuunrcrs.

Moia! Nu rrjagno uo-no-noni, caru parc.

eco: Arc.
Costu parla dc rnusim a n fradzllo d l u n m d r e g s l , .I7J.O che m i l'irnpara?
KO: Ara.
Chc mi aral A un ncntllho-no-nomu dir rhe
aral
A mi chz I b d e ~ r x eson sra a M a w r b o ?
eco: Orbo.
L'i- vcrv c l ~ e<on orbo a n o vcdcrtc.
111a r;e t i disi qucstu p r r sviarl~lr
ti E u ~ au n . ri k u n laro, c un m a n i ~ o l d ' un
c bc~u.
eco: G o !
Guarrla cll'rtmr Elcl mrn! C)UCSTOsc un'ccco!
0 ma1 accorto mi, m'cntr;lvz~nuo
corn'a rolu r h e r l i r n r mlli c hortc
e'l rrova chc sc l'ombra dclla nu-nu-notte.
Cohrru nlgrr (Cudgco~~);
mrp-likc fish

Trickery' Idon't car gamc co-co-counrcn, dcar

fritnd.
ccho: A ~ r s .
Dues t l ~ s rFello\v speak r o a bmrhcr abour
music ,11wt113 mxdrigal, so rhzr I lcarn it?
C C ~ O : rtou&.
What. [ plnugh! Y o u say t o a gntlrrna-ma-man
that hc ahuuld plutrsI~?
rrlr, who'< hccn mayor of Mazorbo!
ccho: Rlind.
I t b [rule u hat I'm h l i n d n o r m scc you.
hur iFyou'rc q i n g to makt a look of m c
ruu'rr a clog, vou're a rhleF, you'rc a ~cnulndrel
and a cuckOId!
cchu: Echo!
[ ook at my misrakc! T h i s is an ccho!
Oh, heedless me, tllar this lhas h~pyenedt o m e
os ro the Fellnw who punchcs and k i c k
and f n d s that hc's Lghtlng the shadow o f the
ni-ni-night.

Canzan da Conradini
N u Conrain da Pava7scmo v c p t l chialb
Pcrcht gliavc~riltlresoChive se h 1111 filb.

Farrncrs' Song

Ceccl~o,rpchcon, Cccchazzo.
Tuogno. Tugnin. T O S T I J ~ ~
cmitenlo lie hrigha
La randararitondclla, la randar~rito~rd.a.

r~tghrer.
L i t t l c Franwscu. B i g Frantcscu, Hip U g l y
Fr~l~ce~ro.
Lirrlc h n m n i o , B i g Antuniu, B i g Ugly An~or~irb,
l r t b alng (ogtker,
IORt. t00t. root, toot. toof. WUY.

\Ve Pxduan f a r m e n have m m t here

Lccatlsc wc havr auriir 2x11~rood. r o h o l d a n all-

, k o n d a porrr
Lr Tul-,.~ c l i a partxn
pcrchk'l Irusrrgru s r l l l ; ~u~ LUII~IL~I.II
prr ~ n ~ ~Piantalilno~j
i c r
d l Hur rognur."
h l n in;trni r h ' a cc n'andan
[,<ad la c o n r r i ~ r v ~ r ,
c pcrche r u r i a I'unur arrcrl 13 1 1 ~ 1 3
a d ~ c .a vt, ssalurl, I n n lmna i r a '
*P.lnrl~ro 3 ncighlmurt~uudwllrnr ('rnrc, p l r r n n
ILvd

Second parr
\vc l,;rvt> I, ICJVC
hccxu,c of thc iirct! 1t1 grr 161 t r r ~ ~ r u l r
nill~
MYI'llnr-3-lcn~onof rhc Itch!- Hutc
[ L l r Pa~at:tIn~lc
t l N~ ~ r~ t j ~ ] .
Hur brrnrc goinp rhcrc
1 11 m c r c i l r rrly c u l l r r r r r t l r \ ? lulallncrr].
.trtd Iwc.ulsc wc inrcnd t o honor rrcryurle Carcwcll. p o d herl[li ro yntt; nriiv gnrrcl day!

L i t t l e Boys' Song

P r i m a panc
A r ~ r l ~ n j.ar rrcuola, purr;.
Chccchin. Mumulo. c t i , ccrn Xiwrro,
art,ri,l r l t ~ r cllc
l
disc Pcrincrm?
C h c nostm M i s i t r Pan,
m u ru M,adurllla #Marc.
I ha d i r i n l l a .blirtm ~ l l n
cc d r p
co'andcnlu 111rdi1111 C A wnza
Y ~ Ihraga.
Anrlcnln via, c ~ ~ j r a n d o .
Owlcrc) salt'in Cttebe~rr.
Llirnr i l ver, clje navc i. qucsta?
S o , n o discmu st'altra:
B m g o i ~t a n d i 111p3lazm
co la rpada svtt'il hritzru
pcr Fxrsc fat rrson.
I h3 lifiipia Bragan.
La r d n l u r i 1~I?;I.
Hondi Madonna hIistra, c l a rnn1p;tyw.

First part
IMcn:] l.crb su t u s r l ~ u u l llttlc
,
hys.

Lirtlc Francescn, I:irolanlo, and you, precious

l ~ r r l c~ \ l ~ i w .
d i d p t r tir.ar \ihar lirrle I'lrlo said?
l-t!al our nohlc 'hrhcr'.
ju5r now. %%,;,I1,,,,,<I ),,> ',t,r,,,l>~r',
i ~ ~rlle
l d rcachcr ro aivc m
3 damn good ap.~rikiiig I T ~ K r u i i l r I.~tr
ILrlb ru.alk. ~ i n g i n g .
'4 lirrlc bird jumped i n t o a littlc m ~ r .
Tcll nrr tht. t r u ~ h .wlj.ar honr iq rhir?'
Nn, rln. l f t ' ~do this o r h ~ one:
r
'Bis B r i t ~ l r r s&.as Sonr rrr rllc l>alfcc
w i r l ~fhir <word u n d c r his arm
ro ~t satishctiun.
-l-licy h.ave c n l g l l r and ricd up Big Britches.'
Thc song is finishcd.
Good day rnad.um rcachcr, and t o thc clasr.
11.1%

Scmnda p a r e
Ora chc semo n sc~nuta,
T ~ r tcon
i la so tula
I).~lln M i w x drvanri
h d c r n o , t u t t i rlrl.ltlii!
I),', Momolo, c run t i dir:~%iarrtu:
di' [i Prrin. I:hccchin, d< ri hlarcl>crm.
O r rutti a y r a ,
rr,1>1cn7aa rcclnr.
M a d o n t l , ~Mi?rr.i Ears

nc Fazm h c n h p a r a r .
A R C o C . b < ; H I KLh4NOE'Q

jls'ruvxyz.
~ t con,
,
rolr!"'
DX da h c r a1 povcr o m
llrthrrc ciplrc~rfound at llle end rlFthc alph~heri r h t l ~ r
l ~ t l n['rxlrcr. cr. rrm. urmlsl, w l ~ i r hrn Itallan m r c rrjr..

E l n r o r l del Cucco, e Rorrignuolu wn la

aenrenza del PapagaIlo
Prima pane
C u d ~ a nrnvcnre gmcggixr l>el c m r o
u n C u m c un Russipuulo.
Meirrrc I'lln I'drrn t n l h
Crcdca s o v i o g n i a u ~ c l l oavcrnc il santo.
Q ~ n t ~ r l vr ~ r piin
l frrvut rlc Id1 LUIIL~~K
U n Papgal[o audacc.
I'crs~l;dciirlv la pact,
A fdrnc C ~ Irrd
I l o r g i l l d i d o prtqe.

Sccond parr
Nrrw r l u t wc art. at srhah.
lvcrvrrnr n i t h hi5 drrk
i n f m n r oFrl>e renchrr,
lei'< gn. ever,vb~dy!
[Tcachcr:] 52" tr. G1rol2lnn. 2nd Iirrlc Aluisc w i l l
<,ly ,I m7iI1 y,,,;
I-uu say it Picm, lirtlc Franccsco, and vnu, lirrlc
,Mxrc~>.
N o w cvcrybody ilr a conrcsr.
b r ~ i l ro
l rrrltc
[hfcn:j Dcar madam rcachcr
n l r k e us all learn wrtl.
ARC:DF.FGI-IIKLMNN>rQ

RS'1-UVXY 2,
et,

c - I ? ~ortint!
!.

Give

1 1 1 ~puor

mcn a u r n c t l ~ i nto~ drink.

Sung o f thc Cuckoo and Nightingale w i t h the

I'armr's Verdict
First p a r t
O l r e n 10he hr;trrl ~ r ~ i r ~ p r ill
t i lsun?
~g
arc a cuclioo 2nd 2 ~>ighrinp?le.
WII~ICr.1~11alunr
hclicvcs ~ l l chnldi, r l ~ elory nver ,111 r l l r hirrlq.
\Vhi[c i n rhc hrat uFsuch quarrclr
:I h o l d [>.11.11H,

urging pcacc.
rrsc>l\rrl 10 rrndcr a judKtrncnt bcnvccn thcm.

Seconda partc
D i s c il ( .l~rco.(3 b u o n giudicc n o n sai
chc c h i nvn b r ~ 1 t 1il
2 (Ib,
C h i rlon I'nnora c un CL
C h c da nu- al villan d'urcir d i guai?
Or senri il cantu miv, coln'egli t gmve.
Cocil, C U C ~ ~cnch.
.
(:err0 ncl mondu tutro urt tat no11 hd5.e

Second pan
The cucl(oo r a ~ d '.l l h , good judgc, don't y o u

kn uw
rllnr \vl~ocverdocmir l o n g (or thc cuckoo.
whucver docslit tiot~orlr11er I r a n xrre
rhar hringr ncws r o thc p w x n t t o Iravc his
wurs!
No\$, lisrcn m rnv song, b e c a w it; serious.
C u c k w , u~ckorb.c ~ ~ c k o n
Certainl!- such a son; is n u t to bc h a d in all rhc
wurld'.

Tcm parre
K~sposcil Ro~sicptlul,D ~ r i ~ q ut ue ~ r i

Third part

r l r l l ' a r r ~ ~ nde
n i ~p x j c g l x r r l x nlc'
Soxvc t il canto mio, lcggiadru c bcllu.
l'arru Ihr sci, si,
f i c chc, Frc fcrio chc.
E T u n l u p r q i d pit1 rl'r~grli.llrttl aU~r![o.

In harmuny tu LuIiiparr ) u u n c l f t u me!

Q~tarra er u l r i n ~ ap a n e
G n v c il g u d i c c allor cunvien chc i m p d r ~ .
Itossignr~olol n l o dolce,
ru ccrro canti dolcc,
M a n o n vdgliotiun Ctl cellro tuni pari
T n w o chc ral scntcnza udira tL
D i Cucchi u n lun* giro
[ ieri 3 canrar dudiro:
V i m il Ct. viva i l C~I.
m c i ~ wch.

I 1~ n j g h t ~ n ~ aanrrqcrcd.
lc
'Sn. m u quawk

My sing t? wccr, gracch~land prerqv

Ynu'rc craay, vcs
yuu're r l l r one r\rljn fltlrrrrs a< r h o r r g l ~woundcd.
and c v c y o n c prrzcs that onc morc rllan all thc
other b~rcls'.

Fourth and find part

'l'l~en grxvcly rhe judgc agrccd rhar rherc was a n
incquali~.
'My c l l a r ~ n i n gnighringqle,
you ccrrainly sing swcctly,
but P l ~ u i ~ d r elike
d YOU airn'r w o r r h one cuckoo.'
~k
soon z thc vcrdicr was a n n o u n w d
P prcilt circle O ~ C I I C ~ W S
war heard, singing happily:
1 . ~ 1l ~
1 v~e
the ct~ckoo!
'Lung live the c ~ ~ c k u u
Cuckoo, cuckoo'

lncanto della Schiara

Prima partc

Partinln p ~dall'odorxro
i
c~eln

O x gt'Indi c'Srbei
N o n rcmono di giclo.
F,r hor si311dov'appare
CittB rli t.urllo gritin
Quivi potrcn lascidrc
I P ricchc rncrci clcrrc
Vcndcr la sdudva di b d t a pcrfctrc.
lh~chc
Vincgia,
Lorn cl~e'tbell" c'l h u u n produc'c p r c ~ a
F,ccn chi fa d'incanr~.
0 ~roi.Com;undamri.
Chc volcrc, signori'
Noi all'lnunto vcndcrc vogl~amo
Una tanresu belln,
N o n men iida chc Ancclla.
CI servirere?
A q u t ~ t opronri siamo, e J chl la vuvle
Wrem In grid^ cumc far si suolc.
D u n q u c d i m a n verelmo
E s r m I:, Fzntcsca condurcnm
A n A r e pur, signori.
A Diu, C o m a n l k r o r i .

Scconda pane
Aldi, rrrrrl q u i l n t u r n u accolu
Lo grido udirc e'l m n r o
13ella s d ~ i a v ap c r cui si h l'incanm.
H a bcl viro, a t l e e chjomc.
E corrispondc a1 b c l d'Angela, il nollle.

A u c r i v n of the Slave G i r l
First p a r t
W c ' r ~ser vrtt (rum thc ~ c n r c sd k ~ c r
where t h c l n d i a n ~
and Shrb,,rz,
don't dread [he colr!.
And elow that tvc h a ~ arr r ~ v c d
iri such a Famnuq c i v
we m ~ g t bt
~ t r b l c to lcavc
m r richl choice rnerch31di~e
and wll 111ealavc g r l o f pcrFcrr hexuy.
R w u s c t h i is
~ Venice,
a p l x e wl,crc thr finc and bcauriful is made
dnd apprcciared.
IIere are thc ductionccrs.
'Oh, m n ~ m a n d...'
e~~
" W l ~ r wotrlJ
r
y o u Iih,gentlemen?
' W c wmuld like ro ~ l ~ c ~ulf
i o t ~
onc h e . ~ u t i f rmaid.
~l
no Icsr rrusru~urrliy11rrr1a maidsrnant.
\Y'itl you hclp us?
'Wc'rc rcadv for rhis, and wc'U havc
the usrlzl announccmcnrr made ro ruhirevrr
wants her '
'SO wc'll m m c r o m o r m
and b r i n g rliz maid w i t h us.'
'Yuu may go, gcnrlemen.'
'Goodbye, commanders.'
Second lrarl
[Auctionccc] 'Listen, w r r y o r l e Ratt~crcdhcrc.
rile ~ h r r u r i nyuu
~ hear is the h o ~ r r ~ n g
abour rhe < I n e g ~ rwho
l
is b c i n g auctioned o A
She hxs a h i r t'acc, l o n g gnlLie17 ltalr.
and anrwew rn r l ~ cbeautiful namc oF"Angel>*.

lncanrar la prlrrctr.
Ni. ;jl ]>re770 xlcun ria parco.
Vu-a viva Sari hlanu.

Shc x w s ? c[lil>rridcr>. I K I ~ gild<

and pcrforms rhc luwcrr duticr ton pcilial~cs]>om,117cl kirchen rplrr and w o r h rhc pcstlr
properly .lnd niwl?.
Sr, rvhncvcl \\?nrr m hc hcr m a s r r
w i l l bid ttic hlRhc>t11rlrrArirl ~fv n ~ i l cnmc
l
rnrnorrow
y o u can b t d fur Iirr,
.(11d nnhody hc srln? w i r h rhc pricc.
I.onp livc S t hiark!'

'Terza partc
A qu.lrlrn 1. fznrcr~n.A q u l n t o , a quantui

T h i r d part
Huw rltllth fnr r l ~ cmaid, how n ~ u c h how
,
much:

SMI rni prima all'incanto.

Cusin, rfiabbie'stu i*d-na-lw>ro
F: SP la rocca .I n ~ lm
i far c l mnndo.
Chc mrti trc nu w ~ n or u l ballo r o - n o - i ~ o n d o
A dl& d t r c ~ er ~p n h rc la m c rocca
Ghc r o z i o dar un dolcc basu i r ~b u ~ x a .
A dl&$ducari e lrna ..-

[Venerians:] '['m t;rrr to bid.'

Cousin, Ict tnc have this ho-120-honol~r.
a t ~ t ~f
l she h l l s rn m c i r w i l l mcan rhc world.
and wc t h r c can du o n~ugrd(la-d;l-rl:(nce.'
' T r n d~rcurs,2nd iF m y h i d cxn gcr her
I'd Like ro givc hcr a w c c t kihs or! thc rnuuth.'
'Ten dtrca~s.g o i n g orlcc .'

J ilte nos nleravigl~x.

I'inri ducadus iata niuchi,jcliigli.u
i'triti ~ L L C Je ~~I1 7 3..

[,Cl~;(ninrrt:j X ~ t dnlc nm ~nimcler.

rwcnty ducau ccs a lot!'
'-[i\.~rity~~I(:IIc, g~lirb~
nilce.. '

.lic17rz duc3r1 10 Nzpolirano.

Ch'a rc l c cuntu mu U
I
clctric rll.rrlrr
~ l - r r l t : t~ I , I L ~ ,t~1[1I172...

[Nr.apolirar~:" "[l7irr).dtrcars. I,rhc N c a p o l i r ~ n .

wl>n'l[ count r h c m uut t u vulr u ~ r hn>y11nnds '
'Tlurry rluc~rs,going oncc...'

Mi r o l r r dar pcr rrc p,alanrc fic

Quxnnra scudi r p;lgar 11>alvasir.1'
Q ~ ~ . I ~ . I 5c11di
I I ~ c 1illa...

[ G r r m ~ n , ]'Me wanr givc for z i m

~ v :irl
ForrJ. scudi and pay malmseys.'
'For[!, FCII~I soin$ once ..-

I.-~rcc,r i c ~ m a indvrr,
,

E di oilici piu hassi adcmpic ailcur;(

1,lirrra pentole, < p l ~ d lopra

.
il p~slcllcr
C u r l m n ~ ~ a r c o n tci ubcllv.
Dunquc c l > vunl
~
d i lci cucr rignun.
D r r d p r o m nr.asxlr,rr.
I:t sc r l ~ ~ ~verrcrc
inn

Cillrluantn 5cud1 pcr quc[ bcl visinv.

I1 vostrn Gian Rrunxchio, Firenr~no.
(3inq~1*1r~
scud, r rLtl.1

[Fl~>rrt~[inc.]
'Fi* sc~tditor 1hi.r plcrry I~lrlrI l ~ c r .
Yruur scrunnt.
Hru~larhiu,Florcnt~nc.'
'FiFT scudi, goills once... '

Pcr virz dcllo Roi,

S r ~ s d l l ~SLU<I~'
il
II A r c PCI h4nnlni
S c s ~ r n t ascudi c 1111.1. - -

Ibrrrichman:) ' O n 7.c lifc nFw k ~ n g ,

i i x y s c u d i ro oiF1.r h y rrl) fiirh.'
'hixtv sr-udi. k w i n uncc
~
...'

S e i t s n r ~u l l d c l Gratian da Nolopna.
R r c h c Id ntl'serr,'in grrrmrmr la rlrognd.
Scrtanta .rrudi c una...

i U r l;r.~arriu.l ' S c v r l l ~ ya c ~ ~ dGraziano

i.
of
Boloana.
b x a u r c sllr'll Ihrlp t n r s r r s ~ c l rn).
l
itch.'
'Scvent) scud;, going oncc ...'

..

Alna 1.1ose e cria.

Orranta scodi. c t'a chc la SIZ rnla
['i.vmm. S i g r ~ ~111iv.
rr
Dwnquc oanull con d c v n
I'rlIll;~ (1162 rlui p a r t ~ m m ~ .
Cantiam. [ ~ c rclnri.uvo.
i
1 1 malvzrir, a r r v w t Creel: rumc

[l'enrrian:] ' h i s c p r r vuicc a n d <hour.

E i ~ t r t yscudi, and rhar ~nalieqher ~ n i r ~ e . '
'She is yurlrs. my Lord.'
Sv. cvcn-nne rake plcarure
befnre wc Ir;wc
i n singing h.~ppily,ler's ~ n g .

O 200t 13nr141~Mulac
J . Gurrakun
0 2001 Edircd by n o ~ ~ n . t M .J.~ eI;I~<~.I~STIU
and Rnherr H n l I ~ i ~ ~ r o r [ l ~
w i t h Robcrt IIollinp\mrrh

Facsimite of the tide page of

'Triaca Musicale' in i t s
rcvised edition of 1607

Poor Luckless RntaIoon

I'wr lucklcss Panralonn, ~r:r Iosr nor crickcr!
LnlJcly 1 s1.1rid t t < r - ~ r ~ i r iIn
g 11Jk lhkkc[.
What can Ido? I n lovc 1 drcw .t luxrh alcket

F~LIu:.!irk

ill

Whob that calling frum rl~e~hadowri

Wiltt~puch advlcc Ican't mlutrr
1 wnn'! nrop unr~lI find thc pcrfccr hcr.
Iam lo%e'slnnsr dlqrrnguithed conno~sseur.

Echu:

00-cc'

Ynu're righr to he ~ ~ ~ ~ p l r ~
w lcurol ,t ~~ ~nl tastes
yl
arc nut bizarrc.

I could find rhc girl

Echo. BM!

it1

any Vcnrti.~nbar.

k ioharP **hot grtr yuu going. I'd

ncvcr llaw

gucswd.

Mas. it> not 1 ~ ~ if1 I ,wcrc you 1;i give ii a

rcrr.

Echo: Arrprr!
Arrat and prison. Now if you'[] pardon tne, 1
musr v l ~ i r
A $11 from Roma whose xrnrnx ~squjreexqu~sitt.
kcl~o:/ j it'

OFwurx ir IS, yt>u d.3~to duubr?Ar hcr fccr

I'll lay my hcarr.
A grmr rurrlatlcr will fulluw frum thir srarr.
h h o : Th5 mrr'

H w dare you? S h d a high-horn he.luty with

an acurr wu.
Echo: fiu~t'

I/ JiletbeuoIP fico di Ibca

by Carlo Coriolani

(Venicc, 1640);
reproduced with d ~ kind
e
permission of the Civia
raccc~lmdcllc stampe
Achille Dertarelli, Milan

What! You'll ncvcr undcrrtand.

'1.112 thing rhar hind< A llvat>

I I ~ex
F-

L h o : C roi!
No, no, ir's ~nrlchmore

p-p-p-purc,

morc

moral, highcr.

Frhn: Lar!
Don't think me weak, just bccaurc

I srutrcr.
what Y ~ ~ ' l [

'Haw mcny! Imw me alone'' rhar's

mon utter!
Echo: Nurrerl

Whar? Me a nuttet?

Tcll mc your n-n-n-name, so 1 a n cuss it!

Pur up your f i s ~ ,sir, likc rncn wc can d~wussir.
Eho: Guued
That's ir, you've gone roo far. you \vorrhlcss

gecko!
Whcn I'm done,

you'll look likc an El G r m !

So curne, you scum, now show your Face and

ler me have Ideclu)!
Echo: Echo'

Ah, I could kick myrclf! I<s jusr

an echo!

tfyou go down in the woods today vou'll find

that you'll
Be insulted or wen askcd to 6ghr a duel.
Rut lonk closer, iis y o k t own ut*ire callin: you a

fuol!
Q ZOO1 English version bv
Timothy Knaprnan

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DonnaMac J. Gustafson and Robert Hollingwonh
Venetian dialect coach: Loretta Marchesini
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Editor Gary Cole
Recording venlie NI Saints' Church, East Finclrley, [.ondon: 29-31 May 2000. Poor Luckhss
I'onraloon rccorciecl live on 7 Augusr 2000 at rhe Lecture Theatre, Victoria and Albert Museum,
London during rhe 2000 BBC l'romenadc Conccrrs Chamber Music season
Front cover I'hotograph of Matttimu. Brook (wearing a ttlask daigncd by Lloreen JamesParson) by Robcrr Hollingvnrth (cenrre); Cnpmin Bnbbco nnd G p t a i n ~lcui',n'hyanonymous
late-17th-ccntury artisr, Bolognese school, aftcr)actlua Callot (background)
Rack cover Composite photograph of I Fagiolini by Eric Ricbmond
Design Sean Columan
Booklet typeset by Dave Partridge
Booklet editor Finn S. Guntlcrsen
O 2001 Chantlos Records Lrd and 8 2001 HHC (lJoorLtrckless l'mrtaloon)
O 2001 Charldos Records Lrd
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