Unsuk Chin (14 luglio 1961): Allegro ma non troppo per percussionista e nastro magnetico (1994-98). Solista Ying-Hsueh Chen.
Unsuk Chin: Toccata (Studio per pianoforte n. 5, 2003). Mei Yi Foo, pianoforte.
Unsuk Chin: Mad Tea-Party Ouverture dall’opera Alice in Wonderland (libretto di David Henry Hwang, da Lewis Carroll; 2007). Orchestra Filarmonica di Seul, dir. Myung-Whun Chung.
Étienne-Nicolas Méhul (1763 - 1817): Le Chant du départ (originariamente Hymne de la liberté) per voci soliste, coro e orchestra (1794) su testo di Marie-Joseph Chénier (1764 - 1811). Versione con orchestra di strumenti a fiato e timpani: Antonella Balducci, soprano; Dennis Hall, baritono; Coro e Orchestra della Radiotelevisione della Svizzera italiana, dir. Herbert Handt.
Le Chant du départ (testo completo)
La victoire en chantant nous ouvre la barrière.
La liberté guide nos pas.
Et du Nord au Midi, la trompette guerrière
A sonné l’heure des combats.
Tremblez, ennemis de la France,
Rois ivres de sang et d’orgueil!
Le Peuple souverain s’avance;
Tyrans descendez au cercueil.
Chant des guerriers (refrain):
La République nous appelle:
Sachons vaincre ou sachons périr.
Un Français doit vivre pour elle,
Pour elle un Français doit mourir.
Une mère de famille :
De nos yeux maternels ne craignez pas les larmes:
Loin de nous de lâches douleurs!
Nous devons triompher quand vous prenez les armes:
C’est aux rois à verser des pleurs.
Nous vous avons donné la vie,
Guerriers, elle n’est plus à vous;
Tous vos jours sont à la patrie:
Elle est votre mère avant nous.
(refrain)
Deux vieillards :
Que le fer paternel arme la main des braves;
Songez à nous au champ de Mars;
Consacrez dans le sang des rois et des esclaves
Le fer béni par vos vieillards;
Et, rapportant sous la chaumière
Des blessures et des vertus,
Venez fermer notre paupière
Quand les tyrans ne seront plus.
(refrain)
Un enfant :
De Barra, de Viala le sort nous fait envie;
Ils sont morts, mais ils ont vaincu.
Le lâche accablé d’ans n’a point connu la vie:
Qui meurt pour le peuple a vécu.
Vous êtes vaillants, nous le sommes:
Guidez-nous contre les tyrans;
Les républicains sont des hommes,
Les esclaves sont des enfants.
(refrain)
Une épouse :
Partez, vaillants époux: les combats sont vos fêtes.
Partez, modèles des guerriers:
Nous cueillerons des fleurs pour en ceindre vos têtes.
Nos mains tresseront vos lauriers.
Et, si le temple de mémoire
S’ouvrait à vos mânes vainqueurs,
Nos voix chanteront votre gloire,
Nos flancs porteront vos vengeurs.
(refrain)
Une jeune fille :
Et nous, sœurs des héros, nous qui de l’hyménée
Ignorons les aimables nœuds,
Si, pour s’unir un jour à notre destinée,
Les citoyens forment des vœux,
Qu’ils reviennent dans nos murailles
Beaux de gloire et de liberté,
Et que leur sang, dans les batailles,
Ait coulé pour l’égalité.
(refrain)
Trois guerriers :
Sur le fer devant Dieu, nous jurons à nos pères,
À nos épouses, à nos sœurs,
À nos représentants, à nos fils, à nos mères,
D’anéantir les oppresseurs:
En tous lieux, dans la nuit profonde,
Plongeant l’infâme royauté,
Les Français donneront au monde
Et la paix et la liberté.
Anonymous (16th century): Then they for sudden joy did weep, Fool’s song from the 1st act, scene 4, of Shakespeare’s King Lear (1605-06). The Deller Consort.
Then they for sudden joy did weep
And I for sorrow sung.
Asger Hamerik (1843 - 13 luglio 1923): Quinta Sinfonia in sol minore op. 36, Symphonie sérieuse (1889–91). Helsingborgs Symfoniorkester, dir. Thomas Dausgaard.
Oscar van Hemel (1892 - 1981): Four Shakespeare sonnets for mixed choir (1961). Vocaal Ensemble PANiek.
Music to hear (Sonnet 8)
Music to hear, why hear’st thou music sadly?
Sweets with sweets war not, joy delights in joy.
Why lovest thou that which thou receivest not gladly,
Or else receivest with pleasure thine annoy?
If the true concord of well-tunèd sounds,
By unions married, do offend thine ear,
They do but sweetly chide thee, who confounds
In singleness the parts that thou shouldst bear.
Mark how one string, sweet husband to another,
Strikes each in each by mutual ordering,
Resembling sire and child and happy mother,
Who, all in one, one pleasing note do sing.
Whose speechless song, being many, seeming one,
Sings this to thee: «Thou single wilt prove none».
No longer mourn (Sonnet 71) [1:32]
No longer mourn for me when I am dead
Than you shall hear the surly sullen bell
Give warning to the world that I am fled
From this vile world with vilest worms to dwell;
Nay, if you read this line, remember not
The hand that writ it; for I love you so,
That I in your sweet thoughts would be forgot,
If thinking on me then should make you woe.
O, if (I say) you look upon this verse,
When I (perhaps) compounded am with clay,
Do not so much as my poor name rehearse,
But let your love even with my life decay,
Lest the wise world should look into your moan,
And mock you with me after I am gone.
The little love-god (Sonnet 154) [3:34]
The little Love-god lying once asleep,
Laid by his side his heart-inflaming brand,
Whilst many nymphs that vowed chaste life to keep
Came tripping by; but in her maiden hand
The fairest votary took up that fire
Which many legions of true hearts had warmed;
And so the General of hot desire
Was, sleeping, by a virgin hand disarmed.
This brand she quenched in a cool well by,
Which from Love’s fire took heat perpetual,
Growing a bath and healthful remedy,
For men diseased; but I, my mistress’ thrall,
Came there for cure and this by that I prove,
Love’s fire heats water, water cools not love.
When my love swears (Sonnet 138) [5:09]
When my love swears that she is made of truth,
I do believe her, though I know she lies,
That she might think me some untutored youth,
Unlearnèd in the world’s false subtleties.
Thus vainly thinking that she thinks me young,
Although she knows my days are past the best,
Simply I credit her false-speaking tongue:
On both sides thus is simple truth suppressed.
But wherefore says she not she is unjust?
And wherefore say not I that I am old?
Oh, love’s best habit is in seeming trust,
And age in love loves not to have years told.
Therefore I lie with her and she with me,
And in our faults by lies we flattered be.
Gottfried von Einem (1918 - 12 luglio 1996): Ludi Leopoldini, variazioni concertanti per orchestra op. 55 sopra un tema dell’imperatore Leopoldo I (1980). Wiener Symphoniker, dir. Wolfgang Sawallisch.
Juan del Encina (12 luglio 1468 - 1529): Triste España sin ventura, romance a 4 voci (1497), dal Cancionero de Palacio (n. 317). La Capella Reial de Catalunya e Hespèrion XXI, dir. Jordi Savall.
Triste España sin ventura,
todos te deven llorar.
Despoblada de alegría,
para nunca en ti tornar.
Tormentos, penas, dolores,
te vinieron a poblar.
Sembróte Dios de plazer
porque naciesse pesar.
Hízote la más dichosa
para más te lastimar.
Tus vitorias y triunfos
ya se hovieron de pagar.
Pues que tal pérdida pierdes,
dime en qué podrás ganar.
Pierdes la luz de tu gloria
y el gozo de tu gozar.
Pierdes toda tu esperança,
no te queda qué esperar.
Pierdes Príncipe tan alto,
hijo de reyes sin par.
Llora, llora, pues perdiste
quien te havía de ensalçar.
En su tierna juventud
te lo quiso Dios llevar.
Llevóte todo tu bien,
dexóte su desear,
porque mueras, porque penes,
sin dar fin a tu penar.
George Gershwin (1898 - 11 luglio 1937): Swanee (1919) eseguito al pianoforte dall’autore (incisione su rullo per pianoforte automatico). Il brano fu concepito, almeno in parte, come parodia di Old Folks At Home ovvero Swanee River (1851), famosissimo minstrel song di Stephen Foster.
Lo stesso brano cantato da Al Jolson, sul testo originale di Irving Caesar, nel film Rapsodia in blu (Rhapsody in Blue), biografia cinematografica di Gershwin diretta nel 1945 da Irving Rapper.
I’ve been away from you a long time.
I never thought I’d missed you so.
Somehow I feel
You love is real,
Near you I long to wanna be.
The birds are singin’, it is song time,
The banjos strummin’ soft and low.
I know that you
Yearn for me too.
Swanee! You’re calling me!
Swanee!
How I love you, how I love you!
My dear ol’ Swanee,
I’d give the world to be
Among the folks in
D-I-X-I-E-ven now My mammy’s
Waiting for me,
Praying for me,
Down by the Swanee.
The folks up north will see me no more
When I go to the Swanee Shore!
Swanee eseguito dal Banjo-Orchestra, uno strumento meccanico recentemente prodotto dalla D. C. Ramey Piano Company di Marysville, Ohio, sulla base del pressoché omonimo Banjorchestra, realizzato nel 1914 dalla Connorized Music Company, che aveva sedi a New York, a Chicago e a Saint Louis.
Charles Gounod (1818 - 1893): «Je veux vivre», Juliette’s valse-ariette (waltz song) from the 1st act of the opera Roméo et Juliette (1867), libretto by Jules Barbier and Michel Carré, based on Romeo and Juliet by William Shakespeare. Natalie Dessay, soprano; Orchestre du Capitole de Toulouse conducted by Michel Plasson.
Ah!
Je veux vivre
Dans ce rêve qui m’enivre
Ce jour encore!
Douce flamme,
Je te garde dans mon âme
Comme un trésor!
Cette ivresse de jeunesse
Ne dure, hélas, qu’un jour!
Puis vient l’heure
Où l’on pleure,
Le cœur cède à l’amour
Et le bonheur fuit sans retour!
Loin de l’hiver morose
Laisse-moi sommeiller
Et respirer la rose
Avant de l’effeuiller.
Riccardo Pick-Mangiagalli (10 luglio 1882 - 8 luglio 1949): Sortilegi, poema sinfonico per pianoforte e orchestra op. 39 (1917). Stephanie Onggowinoto, pianoforte; Jakarta Concert Orchestra, dir. Avip Priatna.
Ottorino Respighi (9 luglio 1879 - 1936): Rossiniana, suite sinfonica (1925) su temi di Gioachino Rossini (tratti da Quelques rien pour album per pianoforte). Orchestre de la Suisse Romande, dir. Ernest Ansermet.
Capri e Taormina (Barcarola e Siciliana)
Lamento [6:37]
Intermezzo [13:43]
Tarantella “puro sangue” (con passaggio della processione) [15:41]
Johann Rudolf Ahle (1625 - 9 luglio 1673): Jesu dulcis memoria, mottetto per voce, 3 viole, violone e basso continuo (1657). Henri Ledroit, haute-contre; Ricercar Consort.
Jesu dulcis memoria,
dans vera cordi gaudia,
et super mel et omnia
eius dulcis praesentia.
Nil canitur suavius,
nil auditur iocundius,
nil cogitatur dulcius
quam Jesus Dei filius.
Philippe Gaubert (5 luglio 1879 - 8 luglio 1941): Trois Aquarelles per flauto, violoncello e pianoforte (1921). Leone Buyse, flauto; Desmond Hoebig, violoncello; Robert Moeling, pianoforte.
Par un clair matin: Allegro moderato. Enthousiaste
Percy Grainger (8 luglio 1882 - 1961): In a Nutshell, «Suite for Orchestra, Piano and Deagan Percussion Instruments» (1916). BBC Philharmonic Orchestra, dir. Richard Hickox.
Anonymous (16th century): How should I your true love know, song of Ophelia from Shakespeare’s play Hamlet, act 4, scene 5. Alfred Deller, countertenor; Desmond Dupré, lute.
How should I your true-love know
From another one?
By his cockle bat and staff
And his sandal shoon.
He is dead and gone, lady,
He is dead and gone;
At his head a grass-green turf,
At his heels a stone.
White his shroud as the mountain snow,
Larded with sweet flowers.
Which bewept to the grave did go
With true-love showers.
Gustav Mahler (7 luglio 1860 - 1911): Ablösung im Sommer (Cambio della guardia in estate), Lied in la minore per voce e pianoforte (c1887-90); testo tratto dalla raccolta Des Knaben Wunderhorn rielaborato da Mahler. Dietrich Fischer-Dieskau, baritono; Leonard Bernstein, pianoforte (registrazione dell’8 novembre 1968).
Lo stesso Lied nella versione orchestrale di Harold Byrns. Bernd Weikl, baritono; Philharmonia Orchestra, dir. Giuseppe Sinopoli.
Kuckuck hat sich zu Tode gefallen
An einer grünen Weiden,
Kuckuck ist tot! Kuckuck ist tot!
Hat sich zu Tod’ gefallen!
Wer soll uns denn den Sommer lang
Die Zeit und Weil vertreiben?
Ei! Das soll tun Frau Nachtigall,
Die sitzt auf grünem Zweige;
Die kleine, feine Nachtigall,
Die liebe, süße Nachtigall!
Sie singt und springt, ist allzeit froh,
Wenn andre Vögel schweigen.
Wir warten auf Frau Nachtigall,
Die wohnt im grünen Hage,
Und wenn der Kukuk zu Ende ist,
Dann fängt sie an zu schlagen!
Il cucù è caduto, morto,
ai piedi di un verde salice,
Il cucù è morto! Il cucù è morto!
È caduto, morto!
Chi mai, per tutta la lunga estate,
ci aiuterà a far passare il tempo?
Ah! Ci penserà il signor usignolo
che sta sopra un verde ramo;
il piccolo, gentile usignolo,
il caro, dolce usignolo!
Canta e saltella, sempre allegro,
quando gli altri uccelli tacciono.
Aspettiamo il signor usignolo,
che abita in mezzo al verde,
e quando il cucù se ne sarà andato
comincerà a cantare!
Michelangelo Rossi, detto Michel Angelo del Violino (1601/02 - 7 luglio 1656): Toccata in re minore (da Toccate e correnti d’intavolatura d’organo e cembalo, 1657, n. 7). Andrea Buccarella, clavicembalo.
Sergei Prokofiev (Sergej Sergeevič Prokof’ev; 1891 - 1953): 10 Pieces for piano from the ballet Romeo and Juliet / Десять пьес для фортепиано из балета Ромео и Джульетта op. 75 (1937). Igor Roma, piano.
Folk Dance (Народный танец)
Scene (Сцена) [3:53]
Minuet (Менуэт) [5:20]
Young Juliet (Джульетта-девочка) [8:33]
Masks (Маски) [12:23]
Montagues and Capulets (Монтекки и Капулетти) [14:37]
Friar Laurence (Патер Лоренцо) [18:01]
Mercutio (Меркуцио) [21:15]
Dance of the Girls With Lilies (Танец антильских девушек) [23:15]
Romeo and Juliet Before Parting (Ромео и Джульетта перел разлукой) [25:41]
Gordon Jacob (5 luglio 1895 - 1984): Old Wine in New Bottles per 2 flauti, 2 oboi, 2 clarinetti, 2 fagotti, 2 corni e 2 trombe (1959). US Air Force Air Combat Command Heritage of America Band, dir. Lowell E. Graham.
Anonimo: John, come kiss me, now. Ernst Stolz, viol e chitarra rinascimentali.
William Byrd (c1540 - 4 luglio 1623): Jhon come kisse me now (sic!), 16 variazioni per strumento a tastiera (dal Fitzwilliam Virginal Book, n. X). Rosemary Thomas, clavicembalo.