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Rossini: Ariettes italiennes for voice and guitar Born into a family of musicians in Pesaro, Gioachino Antonio Rossini (29 February 1792, Pesaro – 13 November 1868, Paris) studied briefly with the Malerbi brothers in Lugo and then furthered his musical education in Bologna at the prestigious school of the great master of counterpoint, Stanislao Mattei, where he soon revealed his extraordinary musical talent. Rossini’s vast output comprises various genres, including around 40 operas, music for the stage, cantatas, hymns and choruses, sacred works, and vocal and instrumental music. In particular, it was his works for the theatre that brought him fame throughout Europe. In a historical and musical period so rich in change, he stood out as a point of reference for many of his colleagues, including Pacini, Donizetti, Mercadante, Bellini and Meyerbeer. While his neo-Classical style was criticised by various German musicians for its superficiality, he was also greatly admired by eminent men of letters and philosophers, such as Stendhal, Balzac, Goethe, Hegel, Schopenhauer and Leopardi. In 1829, at the age of just 37, following the enormous success in Paris of Guillaume Tell, Rossini decided to stop composing operas. Alongside the Stabat Mater, the Péchés de vieillesse and the Petite messe solennelle, among his most remarkable later works are the Soirées musicales, a collection of eight ariettes for soprano and four duets for different combinations of voices on texts by Pietro Metastasio and Count Carlo Pepoli, published in Paris in 1835 by Eugene Troupenas. The Soirées were printed in two versions, both of them approved by the composer himself: one traditional version with the piano, and the other with the guitar, this latter arranged with taste and skill by the Italian composer-guitarist Matteo Carcassi (1792–1853), one of the most successful musicians specialising in this genre on the Parisian scene of the times. The scores used for this recording derive from the modern edition of the Huit Ariettes, published by Edizioni Philomele in Geneva and edited by Johann Gaitzsch. I have introduced a few small modifications to facilitate performance and enhance the flow of phrasing. Following the commercial success of the Troupenas edition, the Soirées musicales were reprinted the same year in a second edition in three languages, again in the double version – one with piano, the other with guitar – by Schott. Recorded by many of the great bel canto voices, in particular the legendary Enrico Caruso, the wonderful melodies contained in these pages have enticed a number brilliant composers, including Britten, Wagner and Liszt, to compose interesting arrangements of their own. Fruit of the delightful musical evenings held by Rossini in his house in Paris, they

embody great elegance and refinement, and yet at the same time reveal irony, feeling and a degree of drama. Indeed, they are like personal meditations inspired by states of mind, memories and emotions; reflections full of brilliant touches and effects, in perfect balance with the many lovely melodies. Based on motifs by Rossini, the Douze Ariettes italiennes were published in Paris by Pacini in 1828, without an opus number. The edition comprises two volumes, each containing six ariettes, all of them (except Nos. 2, 3 and 12) on texts by Metastasio. They are arrangements of the most famous themes from Rossini operas, made by the Neapolitan composer and virtuoso guitarist Ferdinando Carulli (1770–1841). Though the contribution of the guitar to these brief pieces is not substantial, it is always effective and never pedantic. The vocal line develops with grace and skill, creating an atmosphere of intimacy rich in the timbre and colours typical of the guitar: in other words, the essential ingredients for a Parisian salon during the first half of the 19th century. The Soirées musicales and the Douze Ariettes italiennes unquestionably represent important tesserae in the remarkably rich and varied mosaic of vocal chamber works for voice and guitar. Long neglected by guitarists, they constitute a genre that calls for far more attention, study and research. Works such as these, and many others still to be rediscovered, certainly deserve greater and more widespread appreciation. 훿 Adriano Sebastiani Translation: Kate Singleton

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Rossini: Huit Ariettes italiennes from Soirées musicales Carulli: 12 Ariettes italiennes on the most famous motifs of Rossini 4

From 12 Ariettes 1

No.1 Ecco quel fiero istante Ecco quel fiero istante, cara, mia cara, addio come vivrò, ben mio, così lontan da te?

No.2 Sognai mia Fillide Sognai mia Fillide in sul mattino, a te vicino assiso star, e la man tenera coi labbri audaci di caldi baci tutta inondar. No.3 O bella Fillide O bella Fillide, quegl’occhi teneri sereni e placidi, deh, volgi a me, mira il tuo fervido amante timido che d’amor spasima sempre per te. Oh! quanti palpiti, sospiri e gemiti, oh! quante lagrime mi costi tu. A pietà muovati mia sorte orribile, il duol che m’agita non crescer più.

Anon. No.4 Tornate sereni begl’astri Tornate sereni begl’astri d’amore, la speme baleni tra il vostro dolore; se mesti girate mi fate morir. Oh Dio! lo sapete, voi soli al mio core voi date e togliete la forza e l’ardir. Metastasio

No.1 La promessa Ch’io mai vi possa lasciar d’amare, no nol credete, pupille care. Nemmen per gioco v’ingannerò. Voi sole siete le mie faville, e voi sarete, care pupille il mio bel foco sin ch’io vivrò! Metastasio

No.5 Ha negli occhi Ha negli occhi un certo incanto che a quest’alma affatto è nuovo, che se accanto a lei mi trovo non ardisco favellar. Ei domanda, io non rispondo, m’arrossisco e mi confondo, parlar credo e poi m’avvedo che incomincio a sospirar.

No.2 Il rimprovero Mi lagnerò tacendo della mia sorte amara. Ma ch’io non t’ami, o cara, non lo sperar da me.

Metastasio

No.6 Se son lontana Se son lontana dal mio diletto freddo sospetto m’agghiaccia il cor; se poi ritorno presso al mio bene torna la speme, fugge il timor. Metastasio

No.3 La partenza Ecco quel fiero istante! Nice, mia Nice, addio; come vivrò, ben mio, così lontan da te? Io vivrò sempre in pene io non avrò più bene e tu, chi sa, se mai ti sovverrai di me? Sempre nel tuo cammino sempre m’avrai vicino,

Metastasio 10 No.4 L’orgia Amiamo, cantiamo le donne e i liquor, gradita è la vita fra Bacco ed Amor. Se amore ho nel core, ho il vin nella testa, che gioia, che festa, che amabile ardor. Amando, scherzando, trincando liquor, m’avvampo, mi scampo da noie e dolor.

Crudel, perché fin’ora farmi penar così? Metastasio

Anon. 3

e tu, chi sa, se mai ti sovverrai di me?

From Soirées musicales

Io vivrò sempre in pene, io non avrò mai bene e tu, chi sa, se mai ti sovverrai di me? Pietro Metastasio (1698–1782) 2

Ah! si già veggonsi nel volto amabile, assiem che brillano, pace ed amor. E gl’occhi languidi alfin riprendono l’antico giubilo, il lor splendor.

Cantiam, gradita è la vita fra Bacco ed Amor. Danziamo, cantiamo, alziamo il bicchier, ridiam, sfidiam i tristi pensier. Amando ecc. Cantiam ecc. Regina divina la madre d’Amor giuliva, ravviva, rinnuova ogni cor.

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Balzante, spumante con vivo bollor, è il vino divino del mondo signor.

non sa che cosa è amore o non lo sa per me.

12 No.8 Amene selve, amiche piante Amene selve, amiche piante, l’amato bene, il caro amante, l’amato bene, il fido amante, chi mi dice dove andò? Zefiretto lusinghiero, a lui vola messaggero, dille che torni e che mi renda quella pace che non ho.

Già ballo, traballo, che odor, che vapor, si beva, ribeva con sacro furor.

Metastasio

Metastasio Cantiam ecc. Evviva, evviva, le donne e il liquor, la vita è compita fra Bacco ed Amor. Già ballo ecc. Cantiam ecc. Conte Carlo Pepoli (1796–1881)

11 No.7 Già la notte s’avvicina Già la notte s’avvicina, vieni, o Nice, amato bene alla placida marina le fresch’aure a respirar. Non sa dir che sia diletto chi non prova in queste arene or che grato zefiretto dolcemente increspa il mar. Metastasio

Ahu, ahu ecc.

From Soirées musicales Metastasio

15 No.11 Son lungi e non mi brami Son lungi e non mi brami, son teco e non sospiri, ti sento dir che m’ami, né trovo amore in te. No, che de miei martiri pietà non ha quel core,

Chi viene al primo albore avrà vezzose rose e poma rugiadose, venite al mio giardin.

Anon.

14 No.10 Amo te sola Amo te sola, te sola amai, tu fosti il primo e pur sarai, l’ultimo oggetto che adorerò. Quando è innocente, divien sì forte, che con noi vive sino alla morte, quel primo affetto che si provò. Metastasio

From 12 Ariettes

13 No.9 Conservati fedele Conservati fedele, pensa ch’io parto e peno e qualche volta almeno ricordati di me. Ch’io per virtù d’amore parlando col mio core ragionerò con te.

16 No.12 Già pronta là t’aspetta Già pronta là t’aspetta adorna naviggella, bellissima Niggella volgi alla riva il pié. Vieni e sul banco posati dove di piume turgido un origlier di porpora, cara è serbato a te.

18 No.6 La pastorella dell’Alpi Son bella pastorella che scende ogni mattino ed offre un cestellino di fresche frutta e fior.

17 No.5 L’invito Vieni, o Ruggiero, la tua Eloisa da te divisa no, non può restar. Alle mie lacrime già rispondevi, vieni, ricevi il mio pregar.

Chi del notturno orrore smarrì la buona via, alla capanna mia ritroverà il cammin. Venite, o passaggiero, la pastorella è qua, ma il fior del suo pensiero ad uno solo darà. Ahu, ahu ecc. Pepoli 19 No.7 La gita in gondola Voli l’agile barchetta, voga, voga, o marinar, or ch’Elvira mia diletta a me in braccio sfida il mar.

Vieni, o bell’angelo, vien, mio diletto, sovra il mio petto vieni a posar! Senti se palpita, se amor t’invita, vieni, mia vita, vieni, fammi spirar!

Brilla in calma la laguna, una vela non appar, pallidetta è in ciel la luna, tutto invita a sospirar. Pepoli 7

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Voga, voga, o marinar ecc.

Mamma mia, mamma mia, già la luna è in mezzo al mare, mamma mia, mamma mia, mamma mia, si salterà. Frinche frinche frinche frinche mamma mia, si salterà.

Se ad un bacio amor t’invita, non temer, mio bel tesor, tu saprai che sia la vita sol nel bacio dell’amor. Ma già un zeffiro sereno dolce dolce ondeggia il mar, vieni, Elvira, a questo seno vieni, e apprendi a palpitar!

La la ra la ra ecc. Salta, salta, gira, gira, ogni coppia a cerchio va, già s’avanza, si ritira e all’assalto tornerà!

Voga, voga, o marinar ecc. Pepoli 20 No.8 La danza Già la luna è in mezzo al mare, mamma mia, si salterà, l’ora è bella per danzare, chi è in amor non mancherà. Presto in danza a tondo a tondo, donne mie, venite qua, un garzon bello e giocondo a ciascuna toccherà.

Serra, serra colla bionda colla bruna va qua e là, colla rossa va a seconda colla smorta fermo sta! Viva il ballo a tondo a tondo, sono un Re, sono un Pascià è il più bel piacer del mondo, la più cara voluttà. Mamma mia, mamma mia ecc. Pepoli

Finché in ciel brilla una stella e la luna splenderà, il più bel con la più bella tutta notte danzerà.

Silvia Vajente Born in Arezzo, Italy, Silvia Vajente is an eclectic musician: first and foremost a soprano, she is also a musicologist, singing teacher and choral conductor, and was a professional oboist until the year 2000. She performs as a soloist in Europe and America, and her repertoire ranges from Baroque to contemporary music. Following her predominant interest in early and Baroque music, she collaborates with several groups who specialise in Baroque music, such as Bozen Baroque Orchestra, Modo Antiquo, L’Arte dell’Arco, Il canto di Orfeo, La Sfera Armoniosa, La Venexiana, Orchestra Barocca di Bologna, Il Rossignolo, Epoca Barocca, L’Aura Soave, Cappella Artemisia, the Athestis Chorus and Ensemble Homme Armé of Florence. She has performed at important festivals such as the Festival Monteverdi of Cremona (where she sang with Emma Kirkby), Folle Journée ‘Harmonie des Nations’, Fränkischer Sommer, Festival Internazionale ‘Da Bach a Bartók’ in Imola, Festival Pergolesi Spontini of Jesi, Festival Opera Barga, the Altstadtherbst festival of Düsseldorf, Settembre Musica of Teatro della Pergola in Florence, Música Antiga at the Palau de L’Abat of Valencia, Bologna Festival, the concert seasons held at the Scuola Normale in Pisa, Musica e Poesia at S. Maurizio in Milan, Musikfestspiele Potsdam Sanssouci, Festival Contemporaneamente Barocco of Siena, the Settimane Musicali at the Teatro Olimpico in Vicenza, Festival Barocco of Viterbo, Sagra Musicale Umbra, Bremen Music Festival, Festival Galuppi of Venice and Festival Barocco of Rome. In 2004 she won the first Concorso Internazionale di Canto Barocco ‘Francesco Provenzale’ in Naples, and in 2006 the 10th Premio Bonporti International Early Music Competition in Rovereto, in a duo with harpsichord. Vajente has recorded albums on the Kicco Music, Bongiovanni, Ludi Musici, Tactus, Brilliant Classics and CPO labels. www.silviavajente.com 9

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Adriano Sebastiani Active as a performer, musicologist, recording artist and teacher, Italian classical guitarist Adriano Sebastiani is recognised as one of the most important Italian and international experts of guitar discography, history, literature and chamber music. He studied the art of the guitar in Italy; in Florence with Alvaro Company (a pupil of Andrés Segovia) and in Rome with Bruno Battisti D’Amario, obtaining his Masters degree in Guitar Performance at the prestigious Conservatorio di Musica San Pietro a Majella, Naples – the oldest music academy in Italy. At the same time he completed his cultural education, obtaining his scientific high school diploma and then a second Masters degree in Agricultural Science at the University of Florence. He later attended guitar masterclasses held by acclaimed artists of the lute and guitar world like Leo Brouwer, Sérgio and Odair Assad, Dušan Bogdanovic´, Ralph Towner, Oscar Roberto Casares and Hopkinson Smith. As part of a guitar duo he has won four first prizes in national and international competitions. Sebastiani has performed as a soloist in chamber ensembles and with orchestras in Italy, Europe, Russia and the USA, and has collaborated with singers, violinists, string trios and quartets including Antonia Brown, Silvia Vajente, Siphiwe McKenzie, Stephen Harland, Leonardo De Lisi, Ingolf Turban, Dora Bratchkova, Bin Huang, Franco Mezzena, Fedor Kabelskii, Marco Fornaciari, Antonello Farulli, Dimitri Illarionov and the Boccherini Ensemble. His wide-ranging and varied repertoire includes original music for guitar of different periods and styles, the unique compositions of Ralph Towner, works for guitar and orchestra, lute music and many other chamber music works. Since 1975 Sebastiani has devoted himself to the study and collection of rare bibliographic and musical sources concerning the history of, and repertoire for, the guitar. As a musicologist he

continues to collaborate with the most important international guitar magazines, including Guitar Review (New York), Il Fronimo and Seicorde (Milan), Soundboard (California) and Guitart (Naples), rediscovering and publishing several important works for and with guitar for the following publishers: Suvini Zerboni of Milan, Berben of Ancona, Philomele of Geneva, and Tuscany Publications of Tampa. He has also edited a catalogue of Paganini’s compositions for the book Nicolò Paganini, il cavaliere filarmonico by Edward Neill. His most recent publication is the co-authored book Andrés Segovia e il suo repertorio, published by Grafos of Genoa. Sebastiani is the first guitarist in the world to have recorded the complete works for violin, viola, mandolin and guitar, and complete trios for strings and guitar by Paganini, a collection of songs for voice and guitar by Schubert, the complete works for voice and guitar by Giuliani, and a selection of songs for voice and guitar by Carulli. Among his latest albums are solo guitar music by Dušan Bogdanovic´, Ralph Towner and Paganini. Bogdanovic´ and Towner, as well as composers Oliviero Lacagnina, Stefano Casarini, John Hall, Joan Yakkey, Anthony Sidney and Riccardo Riccardi, have all dedicated new works to him. He recently signed a contract with the label Brilliant Classics; his first release on this label was dedicated to the complete songs for voice and guitar of Louis Spohr (94274). Sebastiani plays guitars by the Sicilian luthier Antonino Scandurra, Tuscan luthier Luciano Maggi and American luthier Alan Wilcox. He has taught at the ‘Luigi Boccherini’ Institute in Lucca and at the ‘Luigi Cherubini’ Conservatoire in Florence. He is also head of the guitar department at the Liceo Classico ‘F. Petrarca’ in Arezzo (Tuscany). www.adrianosebastiani.it

Thanks to Illania and Giovanni Barcaccia

Recording: 15–16 March & 22–23 May 2014, Church of San Lorenzo di Montenero (Perugia), Italy Sound engineer and producer: Luca Ricci, Studio-Mobile Artist photos: Alessandro Schinco (Vajente); Stefano Zanini (Sebastiani) Guitar: Antonino Scandurra  & 훿 2015 Brilliant Classics