Stramberie

Matteo Salvi? (24 novembre 1816 - 1887): Stramberie proprie. Giancarlo Simonacci, pianoforte.

Si tratta di una serie di dieci brani inediti, conservati presso il Museo degli strumenti musicali di Roma; il manoscritto reca la firma di un tal «Paolo Salvi», del quale non si ha alcuna notizia: il maestro Simonacci ritiene che possa trattarsi di composizioni scritte per il proprio esclusivo piacere da Matteo Salvi, il quale forse non volle figurare quale autore di musica così “disimpegnata”. «Comunque», scrive il maestro, «la professionalità e un certo fascino discreto emergenti da queste Stramberie proprie enunciano il prodotto di un autore di solidissima preparazione, sia esso Paolo o Matteo».
Se si esclude qualche sparuto segno dinamico, il manoscritto è del tutto privo di indicazioni; qui di seguito sono indicati titoli proposti da Giancarlo Simonacci:

  1. Romanza
  2. Romanza (Intermezzo) [6:19]
  3. Valzer [8:32]
  4. Valzer [12:42]
  5. Valzer [14:14]
  6. Polka [16:37]
  7. Polka [18:35]
  8. Polka [21:13]
  9. Marcia [23:39]
  10. Marcia [25:55]

Giancarlo Simonacci

Come se volassimo via

Sethus Calvisius (Seth Kalwitz; 1556 - 24 novembre 1615): Unser Leben währet siebzig Jahr, mottetto a 8 voci; testo: Salmo LXXXIX (90), versetto 10. Gesine Adler, soprano; Vocalconsort Leipzig, dir. Gregor Meyer; Ensemble NOEMA.

Unser Leben währet siebzig Jahr’,
und wenn es hoch kommt, so sind’s achtzig Jahr’;
und wenn es köstlich gewesen ist,
so ist es Müh’ und Arbeit gewesen;
denn es fähret schnell dahin,
als flögen wir davon.

Calvisius, Unser Leben

Dal Livre d’orgue di Pierre Du Mage

Pierre Du Mage (o Dumage; 23 novembre 1674 - 1751): Suite du 1er ton (dal Livre d’orgue, 1708). Emmanuel Arakélian all’organo Isnard (1774) della Basilique Sainte-Marie-Madeleine in Saint-Maximin-la-Sainte-Baume (Var, Francia).

  1. Plein Jeu [1:18]
  2. Fugue [3:42]
  3. Trio [5:50]
  4. Tierce en taille [8:09]
  5. Basse de trompette [11:18]
  6. Récit [13:52]
  7. Duo [16:30]
  8. Grand Jeu [18:51]

Per crucem et sanguinem

Thomas Tallis (c1505 - 23 novembre 1585): Salvator mundi, mottetto a 5 voci (pub­bli­cato in Cantiones quae ab argumento sacrae vocantur, 1575, n. 1). The Sixteen, dir. Harry Christophers.

Salvator mundi, salva nos,
qui per crucem et sanguinem redemisti nos,
auxiliare nobis te deprecamur, Deus noster.

Turn thy face from my sins

Thomas Attwood (23 novembre 1765 - 1838): Turn thy face from my sins (Salmo LI, versetti 11-13). St. John’s College Choir (solista: Iestyn Davies).

Turn thy face from my sins, and put out all my misdeeds.
Make me a clean heart, O God, and renew a right spirit within me.
Cast me not away from thy presence, and take not thy Holy Spirit from me.

Serenata – XI

Benjamin Britten (22 novembre 1913 - 1976): Serenade per tenore, corno e archi op. 31 (1943). Peter Pears, tenore; Dennis Brain, corno; BBC Symphony Orchestra, direttore John Hollingsworth.

  1. Prologue (assolo del corno)
  2. Pastoral [1:19]

    testo di Charles Cotton (1630-1687): quattro strofe da The Evening Quatrains

    The day’s grown old; the fainting sun
    Has but a little way to run,
    And yet his steeds, with all his skill,
    Scarce lug the chariot down the hill.

    The shadows now so long do grow,
    That brambles like tall cedars show;
    Mole hills seem mountains, and the ant
    Appears a monstrous elephant.

    A very little, little flock
    Shades thrice the ground that it would stock;
    Whilst the small stripling following them
    Appears a mighty Polypheme.

    And now on benches all are sat,
    In the cool air to sit and chat,
    Till Phoebus, dipping in the west,
    Shall lead the world the way to rest.


  3. Nocturne [5:16]

    testo di Alfred Tennyson (1809-1892): Blow, bugle, blow

    The splendour falls on castle walls
    And snowy summits old in story:
    The long light shakes across the lakes,
    And the wild cataract leaps in glory:
      Blow, bugle, blow, set the wild echoes flying,
      Bugle blow; answer, echoes, dying, dying, dying.

    O hark, O hear! how thin and clear,
    And thinner, clearer, farther going!
    O sweet and far from cliff and scar
    The horns of Elfland faintly blowing!
      Blow, let us hear the purple glens replying:
      Blow, bugle; answer, echoes, dying, dying, dying.

    O love, they die in yon rich sky,
    They faint on hill or field or river:
    Our echoes roll from soul to soul,
    And grow for ever and for ever.
      Blow, bugle, blow, set the wild echoes flying,
      And answer, echoes, answer, dying, dying, dying.


  4. Elegy [8:50]

    testo di William Blake (1757-1827): The Sick Rose)

    O Rose, thou art sick!
    The invisible worm,
    That flies in the night
    In the howling storm,
    Has found out thy bed
    Of crimson joy:
    And his dark, secret love
    Does thy life destroy.


  5. Dirge [13:43]

    testo di autore anonimo del secolo XV, noto come Lyke-Wake Dirge

    This ae nighte, this ae nighte,
    Every nighte and alle,
    Fire and fleet and candle‑lighte,
    And Christe receive thy saule.

    When thou from hence away art past,
    Every nighte and alle,
    To Whinny‑muir thou com’st at last;
    And Christe receive thy saule.

    If ever thou gavest hosen and shoon,
    Every nighte and alle,
    Sit thee down and put them on;
    And Christe receive thy saule.

    If hosen and shoon thou ne’er gav’st nane
    Every nighte and alle,
    The whinnes sall prick thee to the bare bane;
    And Christe receive thy saule.

    From Whinny‑muir when thou may’st pass,
    Every nighte and alle,
    To Brig o’ Dread thou com’st at last;
    And Christe receive thy saule.

    From Brig o’ Dread when thou may’st pass,
    Every nighte and alle,
    To Purgatory fire thou com’st at last;
    And Christe receive thy saule.

    If ever thou gavest meat or drink,
    Every nighte and alle,
    The fire sall never make thee shrink;
    And Christe receive thy saule.

    If meat or drink thou ne’er gav’st nane,
    Every nighte and alle,
    The fire will burn thee to the bare bane;
    And Christe receive thy saule.

    This ae nighte, this ae nighte,
    Every nighte and alle,
    Fire and fleet and candle‑lighte,
    And Christe receive thy saule.


  6. Hymn [17:42]

    testo di Ben Jonson (1572-1637): Hymn to Diana (dalla commedia satirica Cynthia’s Revels, or The Fountain of Self-Love, 1600)

    Queen and huntress, chaste and fair,
    Now the sun is laid to sleep,
    Seated in thy silver chair,
    State in wonted manner keep:
    Hesperus entreats thy light,
    Goddess excellently bright.

    Earth, let not thy envious shade
    Dare itself to interpose;
    Cynthia’s shining orb was made
    Heav’n to clear when day did close:
    Bless us then with wishèd sight,
    Goddess excellently bright.

    Lay thy bow of pearl apart,
    And thy crystal shining quiver;
    Give unto the flying hart
    Space to breathe, how short so-ever:
    Thou that mak’st a day of night,
    Goddess excellently bright.


  7. Sonnet [19:42]

    testo di John Keats (1795-1821): Sonnet To Sleep

    O soft embalmer of the still midnight!
    Shutting, with careful fingers and benign,
    Our gloom-pleas’d eyes, embower’d from the light,
        Enshaded in forgetfulness divine;
    O soothest Sleep! if so it please thee, close,
        In midst of this thine hymn, my willing eyes.
    Or wait the Amen, ere thy poppy throws
        Around my bed its lulling charities;
        Then save me, or the passed day will shine
    Upon my pillow, breeding many woes;
        Save me from curious conscience, that still hoards
    Its strength for darkness, burrowing like a mole;
        Turn the key deftly in the oiled wards,
    And seal the hushed casket of my soul.

  8. Epilogue (replica del Prologue eseguita dietro le quinte)

 

Concertino – X

Heinrich Joseph Baermann (1784 - 1847): Concertino in do minore per clarinetto e orchestra op. 29 (1818); strumentazione di Peter Joseph von Lindpaintner (1791 - 1856). Dieter Klöcker, clarinetto; Pražský komorní orchestr, dir. Milan Lajčík.

  1. Allegro
  2. Adagio [8:55]
  3. Rondò: Allegretto vivo [13:57]

Canarios: Sanz & Rodrigo

Gaspar Sanz (alias Francisco Bartolomé Sanz Celma, 1640 - 1710): Canarios (da Instrucción de música sobre la guitarra española, vol. I, Saragozza 1674). Diogo Rodrigues, chitarra barocca.


Joaquín Rodrigo (22 novembre 1901 - 1999): Fantasia para un gentilhombre (1954): IV. Canario (rielaborazione del brano di Sanz). John Williams, chitarra; English Chamber Orchestra, dir. sir Charles Groves.

Sanz, Canarios

Canarios: Muffat & Purcell

Georg Muffat (1653 - 1704): Impatientia, suite in si bemolle maggiore per orchestra (da Florilegium secundum, 1698, Fasciculus I, n. 4). Orchestra da camera della Società filarmonica di Budapest, dir. Tamás Sulyok.

  1. Symphonie
  2. Balet
  3. Canaries
  4. Gigue
  5. Sarabande
  6. Bourrée
  7. Chaconne

Henry Purcell (1659 - 21 novembre 1695): «Canaries», dal V e ultimo atto della semi-opera tragicomica The Prophetess, or The History of Dioclesian (1695). Tafelmusik, dir. Jeanne Lamon.

Giornata nazionale degli alberi

Il 21 novembre si celebra la Giornata nazionale degli alberi: contribuisco pubblicando alcuni scatti personali.
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