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George Frideric Handel 1685–1759
Handel: Complete Cantatas Vol.3 (Aminta e Fillide)
Complete Cantatas
The dramatic cantata Arresta il passo, also known as ‘Aminta e Fillide’, is probably one of the earliest works1 Handel composed in Rome for his patron Marquis Francesco Maria Ruspoli. Written for two soprano soloists, it presents the story of a shepherd who eventually wins the love of a reluctant nymph. Various versions of the cantata have survived. Handel’s original setting does not include the two arias ‘Chi ben ama non paventa’ and ‘Non si può dar’ or the recitatives following each of these arias. Instead, the cantata moved directly from the recitative ‘Gloria bella di Aminta’ to the final duo ‘Per abbatter il rigor’, and it is this form of the work that has survived in autograph (used by Friedrich Chrysander for his edition in 1888). This version was probably performed in Rome in 1707, or as early as the end of 1706, as Ursula Kirkendale suggests (see note 1). At some later point the two arias, which have survived in a separate manuscript (also autograph, published by Chrysander in an appendix), were added. This may have occurred for a performance in 1708 at the Arcadian Academy, as is suggested in the Ruspoli account books by a reference to the aria ‘Fiamma bella’ (‘2 violini che sonarono nella Cantata Fiamma bella di Monsù Hendel’ – 19 September 1708). This longer version has survived in a period copy which was made by Handel’s principal Roman copyist Antonio Giuseppe Angelini and is now held in the Santini Collection in Münster. Angelini indicated the exact place where the two extra arias should be inserted, following the recitative ‘Gloria bella di Aminta’. Chrysander printed the two additional arias as a stand-alone fragment, in which the extra aria ‘Non si può dar’ appears, as in the autograph, in G major. In the Münster score the aria ‘Non si può dar’ is transposed into B flat major, and the last three measures of the previous recitative, originally cadencing in B minor, is adjusted by Handel to cadence in G minor. The HHA edition (Bärenreiter) and all the commercial recordings available are based on the Münster copy. In my opinion, however, this later version is problematic. The cantata in its original form requires three violins and continuo. The two extra arias demand more instruments: a viola (not present in the original version) and at least two more violins (given that in the aria ‘Chi ben ama’ both first and second violins have a divisi part). The transition from the D minor cadence at the end of the recitative ‘Gloria bella di Aminta’ to ‘Chi ben ama non paventa’ in C minor is less than perfect (the D minor cadence originally led to the duet in B flat major, which feels more
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Aminta e Fillide (Arresta il passo) HWV83 Ouverture/Recitativo Arresta il passo (Aminta) Aria Fermati, non fuggir! (Aminta) Recitativo Questa sol volta almeno (Aminta, Fillide) Aria Fiamma bella (Fillide) Recitativo Credi a miei detti (Fillide, Aminta) Aria Forse che un giorno (Aminta) Recitativo Invano, in van presumi (Fillide, Aminta) Aria Fu scherzo, fu gioco (Fillide) Recitativo Libero piè fugga dal laccio (Fillide, Aminta) Aria Se vago rio (Aminta) Recitativo D’un incognito foco (Fillide) Aria Sento che il Dio bambin (Fillide) Recitativo Felicissimo punto (Aminta) Aria Al dispetto di sorte crudele (Aminta) Recitativo Vincesti Aminta (Fillide) Aria È un foco, quel d’amore (Fillide) Recitativo Gloria bella di Aminta (Aminta, Fillide) Duo Per abbatter il rigore (Aminta, Fillide) Klaartje van Veldhoven soprano (Aminta) Stefanie True soprano (Fillide) Contrasto Armonico Marco Vitale
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2’31 3’29 0’43 5’15 0’39 3’18 1’36 5’13 1’35 3’05 0’31 4’04 0’18 4’57 0’51 2’38 0’51 6’19
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natural). Furthermore, the transposition of ‘Non si può dar’ to B flat major places two consecutive movements in the same key (with the final duet), which is unusual in Handel’s practice. And from a poetic point of view, after the recitative for both voices ‘Ed io fedele amante / Ed io sempre costante’ (And I am your faithful lover! / And I am ever true!), we would expect to hear the final duet as the story has come to an end. We see here, as is also the case with the operas, that Handel’s second version is not as strong as his original conception. Therefore I have chosen to perform and record Arresta il passo in the original version (as is standard practice with the operas). I wish to express my heartfelt gratitude to Ellen T. Harris (Professor of Music, Massachusetts Institute of Technology and author of Handel as Orpheus: Voice and Desire in the Chamber Cantatas) for her invaluable support and her useful advice throughout the research and preparation of this cantata for performance. 훿 Marco Vitale, November 2010 1
Ursula Kirkendale suggests that Arresta il passo was the first work Handel wrote in Rome, associating it with a bill in the Ruspoli documents submitted on 29 December 1706 for an untitled new cantata for singers and concertino violinists.
Born in 1981, the Dutch soprano Klaartje van Veldhoven received her Master’s Degree (cum laude) in solo singing in 2006 at the Royal Conservatory in The Hague, where she was offered a position as a singing teacher immediately after her graduation. She spent one semester at the Schola Cantorum Basiliensis in Basel where she specialised in Baroque music. She is currently coached by Jard van Nes and Johannette Zomer. In 2006, Klaartje was awarded first prize in the ‘John Kerr Award for English Song’ competition in Finchcock’s Museum (England). She was the soprano soloist in a tour with the European Union Baroque Orchestra conducted by Christina Pluhar, where she sang the role of Euridice in Italy, France and Cyprus. She regularly collaborates with the solo ensemble of the Dutch Bachvereniging conducted by Jos van Veldhoven. As a soloist, she has worked with the European Union Baroque Orchestra, the Residentie Orchestra, the Nieuwe Philharmonie Utrecht, Contrasto Armonico, the Spirit of
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Gambo, Camerata Ardesko, Barokopera Amsterdam, and, recently, with the Residentie Orchestra of The Hague. She has worked with artists such as Christina Pluhar, Jos van Veldhoven, Ton Koopman, Johannes Leertouwer, Marco Vitale, Sigiswald Kuijken, Frederique Chauvet, Kenneth Montgomery, Reinbert de Leeuw and Alexandru Lascae. Klaartje has sung the roles of Euridice (in La Lira de Orfeo with the EUBO), Belinda (Dido and Aeneas), Zerlina (Don Giovanni), Amor, Proserpina and Bacco (Orfeo, Rossi), Angelo (La Resurrezione), and recently she sang in the Purcell Gala, a production of Barokopera Amsterdam conducted by Frederique Chauvet. She has given concerts in many countries; she went on tour to the United States (Tanglewood Festival, New York, Berkeley, San Francisco, Seattle), Spain, Austria, Germany, Italy, France and Cyprus. Recent CD recordings include the Hohe Messe by J.S. Bach (with the Dutch Bach Society, Channel Classics), and Handel’s La Resurrezione and Aminta e Fillide (both with Contrasto Armonico, Brilliant Classics) She also recently recorded Pergolesi’s Stabat Mater with the Nieuw Philharmonie Utrecht conducted by Johannes Leertouwer.
The soprano Stefanie True has performed in Europe, Canada, Mexico, and South Korea, appearing in operas, oratorios, festivals and solo recitals. She has sung as a soloist in many of J.S. Bach’s major works, including the St Matthew Passion, St John Passion, Mass in B minor, Christmas Oratorio and several cantatas, as well as Mozart’s Requiem and Coronation Mass, Vivaldi’s Gloria, Graun’s Der Tod Jesu, Handel’s La Resurrezione and Messiah, and Faure’s Requiem. Past opera experience includes roles such as Cephise in Campra’s L’Europe Gallante with William Christie (Ambronay Festival), Poppea in Agrippina, Adelaide in Lotario (Handel), Belinda in Dido and Aeneas, as well as various roles in The Fairy Queen (Purcell). Her discography includes Aci in Handel’s Aci, Galatea e Polifemo, Maddalena in Handel’s La Resurrezione, and two solo recordings of Handel: Complete Cantatas, Vol. 1 & 2, all under the direction of Marco Vitale with Contrasto Armonico (Brilliant Classics), as well as Lully’s Ballets & Recits Italiens under the direction of Fabio Bonizzoni with La Risonanza (Glossa Music). Stefanie completed her BFA in music at York
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University (Toronto, Canada) studying with the Canadian mezzo-soprano, Catherine Robbin in 2003. In 2007 she completed her B.Mus. in Early Music and an Artist’s Diploma in Classical Singing at the Royal Conservatoire, Den Haag, studying with Diane Forlano, Barbara Pearson, Jill Feldman and Michael Chance. In 2009 she completed her MA in Early Music at the same institution. Marco Vitale was born in Palermo (Italy) in 1980. He studied piano, organ, harpsichord and composition at Palermo’s V. Bellini Conservatory, where he took the piano diploma in 2001 and the organ diploma in 2002 with full marks and cum laude. He has taken part in many international masterclasses where he developed his skills and taste for baroque music. His concert life as a soloist and chamber musician began when he was 15. In 2002 he moved to the Netherlands where he studied at the Royal Conservatoire in The Hague. He took a Bachelor’s degree in organ with Jos van der Kooy and a Master’s in Early Music (harpsichord) with Ton Koopman. He has performed in some of the most prestigious venues and festivals in Europe and the Middle East – The Netherlands (Concertgebouw Amsterdam, De Doelen Rotterdam, Philipszaal Eindhoven, Utrecht Oude Muziek Festival), Italy (Teatro Massimo and Teatro Politeama of Palermo, Rome, Mantua, Milan, Teatro Nuovo in Udine), Austria (Styriarte Festival in Graz), France (Opera of Versailles, Salle Pleyel in Paris), Luxembourg (Philarmonie Luxembourg), Spain (Fundación Juan March in Madrid, L’Auditori in Barcelona), Germany (Kölner Philarmonie, Festival Mitte-Europa), Poland, Czech Republic (Festival Mitte-Europa), Hungary (Budapest), Syria (Damascus Opera House and High Institute of Music) – both as a soloist/continuo player and as director of his ensemble Contrasto Armonico. Marco Vitale is the co-founder and musical director of Contrasto Armonico, a Baroque ensemble/orchestra which specialises in the performance of music in the Italian style, using original instruments and historical performance practices. He is currently involved in the recording of the Complete Italian Cantatas by Handel (Brilliant Classics), a thrilling project that will shed light on many of Handel’s little-known masterpieces. He has appeared in radio and TV broadcasts in the Netherlands (AVRO), Germany, Austria (ORF), Spain, Poland (Polskie Radio), Italy (RAI), the UK (BBC), Switzerland (RSI) and Syria (Syrian National Television).
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In addition to performances with Contrasto Armonico he also gives masterclasses about Baroque music in France, Germany, Czech Republic and Syria. He is regularly invited to perform with Le Concert des Nations (conducted by Jordi Savall). Photo: Andrew Valkenburg
Contrasto Armonico is emerging as a leading orchestra/ensemble which specialises in early music, especially music composed in the Italian style. It was founded in 2004 by Marta Semkiw and Marco Vitale (musical director), and established with the support of De Brauw Blackstone Westbroek. The founding of the orchestra was celebrated in Delft with two productions of operas by Handel: Siroe, Re di Persia and Lotario. Contrasto Armonico aims to push back the boundaries of early music performance practice, taking the ideas of historically informed performance as a work in progress: a philosophy rather than a consolidated tradition. It is formed of professional musicians from all over the world who share the same ideals and feelings regarding performance practice, using copies of original instruments, historical pitches and transpositions, aiming to present the original style and aesthetic of the work under consideration as closely as possible. Contrasto Armonico are currently recording a series of Handel’s Italian vocal works for Brilliant Classics; their recordings of the serenata Aci, Galatea e Polifemo (2008) and the oratorio La Resurrezione (April 2009) were released to critical acclaim. This is the third CD in their ambitious undertaking to record Handel’s complete Italian cantatas. www.contrastoarmonico.eu Contrasto Armonico Violins: Joanna Huszcza, Enrique Gómez-Cabrero Fernández, James Hewitt Cello: Marta Semkiw Harpsichord and direction: Marco Vitale
This recording was made under the honourable patronage of the Princess Claudia Ruspoli. www.castelloruspoli.com 7
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Aminta e Fillide HWV83 1
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Ouverture / Recitativo
Overture / Recitative
Aminta Arresta il passo, ninfa, di questo cor, empia tiranna! e se il duol che m’affanna, come figlio d’amor, udir non vuoi, soffri almen, spietata, come effetto crudel de’ scherni tuoi.
Aminta Halt your steps, nymph, merciless tyrant of my heart, and if you will not hear the grief that afflicts me as the progeny of love at least, unfeeling girl, consider it as the cruel effect of your scorn.
Aria
Aria
Aminta Fermati, non fuggir! lasciami pria morir, Fillide ingrata! Scorgi la mia costanza, poi, se rigor t’avanza, scacciami del tuo sen, bella ostinata.
Aminta Stay, do not fly; rather let me die, hard-hearted Phyllis. Observe my constancy, then, if your severity persists, drive me from your heart, stubborn, beautiful girl.
Recitativo
Recitative
Aminta Questa sol volta almeno, odi le mie querele ascolta i miei sospiri!
Aminta This once, at least, hear my laments; listen to my sighs.
Fillide Tu mi chiami crudele, Senz’avvederti ancora, quanto lontan del giusto erri e deliri.
Fillide You call me cruel without yet perceiving how much you rave and stray far from good sense.
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Aminta Dunque l’amarti e l’adorati, o cara, stimi una follia?
Aminta Then you think it folly, beloved, to love you and adore you?
Fillide Seguir chi fugge, e chi l’amor disprezza, è proprio d’alma a delirare avvezza.
Fillide Following one who flees and who despises love befits a soul disposed to madness.
Aria
Aria
Fillide Fiamma bella che al ciel s’invia s’Euro infido gli neghi affetto cangia a forza l’usato sentier. Così ancora se cruda, se ria, te discaccio da questo mio petto, volgi altrove l’amante pensier.
Fillide The lovely flame which rises to heaven should the wayward east wind deny it achievement must change its usual path. So also, if harshly and cruelly I drive you from my heart, your loving thoughts should turn elsewhere.
Recitativo
Recitative
Fillide Credi a miei detti, Aminta, e lascia in pace me, che per genio e per costume antico ho troppo in odio l’amorosa face.
Fillide Believe my words, Amyntas, and leave me in peace, for by inclination and long-accustomed habit I hold love’s torch too much in hate.
Aminta Come in odio aver puoi Quella face d’amor, che ogni momento si vede sfavillar ne’ lumi tuoi.
Aminta How can you hate that torch of love which at every moment is seen sparkling in your eyes?
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Aria
Aria
Aminta Forse che un giorno il Dio d’amore potrebbe al core piaga formarti, che sia mortal. Che bel mirarti allor languire penar, soffrire, l’aspre punture, d’acuto stral.
Aminta Perhaps one day the god of love may give your heart a wound which will be fatal; How lovely then to gaze upon you languishing and grieving, suffering the stinging wounds of a sharp arrow.
Recitativo
Recitative
Fillide In vano, in van presumi, scuotere il mio pensier, chè di Cupido l’arco schernisco e dello stral mi rido.
Fillide Vainly, vainly you attempt to trouble my thoughts when I scorn Cupid’s bow and laugh at his arrow.
Aminta Deh! per pietà rispondi ninfa bella e crudele, se ti specchiasti mai nel rio, nel fonte, come amor non ascondi di tua rare beltade? E se ami, e se conosci del tuo volto gentil, tutti i tesori, perchè non brami ancor che altri l’adori?
Aminta Ah! in pity answer me, fair and cruel nymph, if you have ever seen from your reflection in brook or spring how love does not hide from your rare beauty: and if you love, and if you know all the delights of your delicate face, why do you not also desire others to adore?
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Fillide Perchè non vuò pastor, che il fonte e il rio, s’accrescan coll’umor del pianto mio.
Fillide Because, shepherd, I would not have the spring and brook swollen with water of my tears.
Aria
Aria
Fillide Fu scherzo, fu gioco chi disse che il foco del nume di Gnido contento ci dà; Quel cor che non pena nell’aspra catena così per diletto cantando sen và.
Fillide He spoke in jest, in mockery, who said that the fire of the god of Gnidus brings happiness: that heart which does not suffer in harsh chains thus goes its way singing in delight.
Recitativo
Recitative
Fillide Libero piè fugga dal laccio, e i giorni coll’aura sol di libertà respiri.
Fillide With unfettered steps let me fly from the snare and all my days let me breathe only the air of liberty.
Aminta Quei che sembran martiri, che han faccia di tormenti d’ogni amator nel seno, Fillide, in un baleno, si cangiano in piaceri ed in contenti: Dunque se ciò t’affrena, vieni pur lieta, o cara, incontro alla dolcissima catena.
Aminta These seeming tortures which have the appearance of torments in the breast of every lover, Phyllis, in one lightning flash change to pleasures and delights. Therefore, if that is what holds you back, come then, beloved, happily into the compass of the sweetest of chains!
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Fillide Taci, pastor, non più!
Fillide Be silent, shepherd. Say no more!
Aminta Come dunque crudele, più ascoltarmi non vuoi?
Aminta Why so, cruel girl? Will you no longer hear me?
Fillide No perché han troppo forza i detti tuoi.
Fillide No, for your words have too much power.
Aminta Ah! Barbara, inumana, se la giusta cagione dell’amor mio nel mio parlar comprendi, come di pari ardor tu non t’accendi?
Aminta Ah, unfeeling, inhuman girl, if the true cause of my love you understand from my words why do you not burn with an equal flame?
10 Aria Aminta Se vago rio fra sassi frange l’amato argento, al fin contento posa nel mare. Il ciglio mio, che sempre piange, non trova seno, che ponga freno al suo penare. 11 Recitativo Fillide D’un incognito foco, già sento a poco a poco,
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Aria Aminta Though a pretty stream may break up its lovely silver among rocks, at last it happily comes to rest in the sea; but my eyes, ever weeping, find no heart that offers respite to their suffering. Recitative
le vampe entro del seno. Mia cara pace, addio! vuol di me vendicarsi il cieco Dio. 12 Aria Fillide Sento che il Dio bambin col strale suo divin, m’ha il sen piagato. E già questo mio cor più non ricusa amor, ed è cangiato. 13 Recitativo Aminta Felicissimo punto, in cui nel seno la mia fiamma ti giunge, e l’amoroso dardo il cor ti punge. 14 Aria Aminta Al dispetto di sorte crudele, costante e fedele quest’alma sarà. Che se Filli ad amarmi si muove, son chiare le prove di sua fedeltà.
of an unknown fire within my breast. Farewell, my dear peace! The blind god will have his revenge upon me. Aria Fillide I feel that the baby god has wounded my breast with his divine arrows; and already my heart is changed and no longer refuses love. Recitative Aminta Most happy that moment when my flame reaches your breast and love’s dart pierces your heart. Aria Aminta Despite cruel fate, my soul shall be constant and faithful; for if Phyllis is moved to love me the vindication of its fidelity is clear.
Fillide Now little by little I feel the flames
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15 Recitativo Fillide Vincesti, Aminta, e l’amoroso affanno, per dichiararmi affatto di libertade priva, già dell’anima mia si fa tiranno; ma con tanta dolcezza usa i rigori, che il rio martoro, quando mi giunge in seno, vesta manto di gioia e di tesoro. 16 Aria Fillide È un foco, quel d’amore, che penetra nel core, ma come? Non si sa. S’accende a poco a poco, ma poi non trova loco, e consumar ti fa. 17 Recitativo Aminta Gloria bella di Aminta mirar, Fillide vaga, dalla sua fedeltà costretta e vinta.
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Recitative Fillide You have won, Amyntas, and love’s torment by declaring me utterly deprived of liberty now becomes the ruler of my spirit; but it uses its severity with such gentleness that the cruel pain, when it reaches my heart, puts on a cloak of joy and delight. Aria Fillide Love’s fire is a fire which penetrates the heart – but how? No one knows. It grows by degrees but then finds no place to go and burns you away. Recitativo Aminta It is Amyntas’ wondrous glory to see fair Phyllis chained and conquered by his fidelity.
Fillide Si, si, vincesti
Fillide Yes, yes, you have won
Aminta e Fillide Ed io fedele amante! Ed io sempre costante!
Aminta and Fillide And I am your faithful lover! And I am ever true!
Fillide Dirò che non fu mai vana speranza, vincer l’altrui rigor con la costanza.
Fillide I shall say that never vain was the hope of overcoming with constancy another’s coldness.
Aminta Ridir potrò che, spargere querele, non fu mai vista indarno alma fedele.
Aminta I can repeat that never was a faithful soul seen to utter laments in vain.
18 Duo Aminta e Fillide Per abbatter il rigore d’un crudel spietato core, forte scudo è la costanza e il valor di fedeltà. Volga al cielo i sguardi, ai Numi chi, al fulgor di quei bei lumi, vuol nutrire la speranza di trovar un dì pietà.
Duo Aminta and Fillide In attacking the coldness of a cruel, pitiless heart, constancy is a strong shield and so is the valour of fidelity. Let him turn his heaven to the gods, who in the splendour of those fair eyes would nourish hope of one day finding compassion. Translation by Anthony Hicks Reproduced by permission of his Executors
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