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Il Mantovano Hebreo

Italian madrigals, Hebrew prayers and instrumental music

by Salomone Rossi




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Recorded at the National Centre for Early Music, St Margaret’s Church, York, UK from 15-18 July 2012 Produced and recorded by Philip Hobbs Assistant engineering by Robert Cammidge Post-production by Julia Thomas Design by Toucari.Live Cover image from Civitates orbis terrarium (Cologne 1572). Digital image courtesy of Getty’s Open Content Program.


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WITH THANKS TO Janet Cromartie, Tabea Schwartz, Simon MacHale, Giovanna Baviera, Stefano Patuzzi, Tanya Trojan, Flavio Ferri-Benedetti and the National Centre for Early Music (York).   The violin played by Eva Saladin belongs to the Dutch foundation Nationaal Muziekinstrumenten Fonds.   This recording forms part of Profeti della Quinta’s prize as winners of the 2011 York Early Music International Young Artists Competition. The biennial competition for early music ensembles takes place as part of York Early Music Festival and is recognised as a major international platform for emerging talent in the early music world.   This recording was made at the National Centre for Early Music, housed within the converted church of St Margaret’s, York. The NCEM offers excellent recording facilities to musicians of all genres. For more information see

MUSIC PUBLICATIONS BY SALOMONE ROSSI Hashirim Asher Li’Shlomo (Venice, 1622/3) Il Primo Libro de Madrigali (Venice, 1600) Il Secondo Libro de Madrigali (Venice, 1602) Il Terzo Libro de Madrigali (Venice, 1603) Il Quarto Libro de Madrigali (Venice, 1610) Il Primo Libro de Madrigali [a 4] (Venice, 1614) Madrigaletti a due voci (Venice, 1628) Il Primo Libro delle Sinfonie e Gagliarde a 3/5 voci (Venice, 1607) Il Secondo Libro delle Sinfonie e Gagliarde a 3/5 voci (Venice, 1607) Il Terzo Libro de Varie Sonate, Sinfonie... (Venice, 1613) Il Quarto Libro de Varie Sonate, Sinfonie... (Venice, 1622)


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1. Psalm 128: Shir hamma’alót, ashréi kol yeré Adonái Hashirim Asher Li’Shlomo


2. Sinfonia prima a 5 e a 3 si placet 2:29 Il Primo Libro delle Sinfonie e Gagliarde 3. Sfogava con le stelle Il Primo Libro de Madrigali


4. Sinfonia prima 1:20 Il Primo Libro delle Sinfonie e Gagliarde 5. Tu parti, ahi lasso Il Quarto Libro de Madrigali


6. Cor mio, deh non languire Il Primo Libro de Madrigali


7. Sinfonia undecima 1:08 Il Primo Libro delle Sinfonie e Gagliarde 8. Udite, lacrimosi spirti d’averno Il Primo Libro de Madrigali


9. Sinfonia seconda, detta la Emiglia 1:36 Il Terzo Libro di Varie Sonate, Sinfonie… 10. Gagliarda a 5 e a 3 si placet, detta Narciso 0:55 Il Secondo Libro delle Sinfonie e Gagliarde


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11. Correnta terza 1:01 Il Terzo Libro di Varie Sonate, Sinfonie…

22. Sinfonia duodecima 1:39 Il Primo Libro delle Sinfonie e Gagliarde

12. Brando secondo 1:41 Il Terzo Libro di Varie Sonate, Sinfonie…

23. In dolci lacci Il Primo Libro de Madrigali [a 4]

13. Tirsi mio, caro Tirsi Il Primo Libro de Madrigali


14. Sinfonia quinta 2:44 Il Quarto Libro di Varie Sonate, Sinfonie… 15. Rimanti in pace Il Primo Libro de Madrigali


16. Sinfonia decima 1:59 Il Secondo Libro delle Sinfonie e Gagliarde 17. Psalm 100: Mizmór letodá Hashirim Asher Li’Shlomo


18. Gagliarda disperata 1:19 Il Terzo Libro di Varie Sonate, Sinfonie… 19. Correnta sesta 1:14 Il Terzo Libro di Varie Sonate, Sinfonie… 20. Psalm 146: Haleluyáh Hashirim Asher Li’Shlomo


21. Vedrò ‘l mio sol Il Terzo Libro de Madrigali



24. Sonata Ottava sopra l’Aria È tanto tempo hormai 3:09 Il Quarto Libro di Varie Sonate, Sinfonie… 25. Ohimè, se tanto amate Il Primo Libro de Madrigali


26. Messaggier di speranza Madrigaletti a due voci


27. Corrente settima 1:09 Il Terzo Libro di Varie Sonate, Sinfonie… 28. Gagliarda a 5 e a 3 si placet, detta la Zambalina 1:08 Il Secondo Libro delle Sinfonie e Gagliarde 29. Pargoletta, che non sai Madrigaletti a due voci 30. Psalm 126: Shir hamma’alót, beshúv Adonái Hashirim Asher Li’Shlomo



Total Time: 60:03 5


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Mantovano From the music included in Salomone Rossi’s (c.1570-c.1630) publications it seems that he was more Mantovano than Hebreo. While Rossi is wellknown for his famous volume of sacred music in Hebrew, Hashirim Asher Li’Shlomo (1622/3), he also published four books of instrumental music and nine books of Italian secular music (within which we find six books of madrigals, and one book each of canzonette, balletti, and madrigaletti). This vast amount of secular music suggests that Rossi played a prominent musical role among the nobility of the city of Mantua, especially at the court of the Gonzagas, where he appears to have worked for most of his musical life.   Rossi’s madrigals although historically overshadowed by those of his colleague and collaborator Claudio Monteverdi (1567-1643), are beautiful and refined examples of the genre. A closer examination of the madrigals of these two great composers shows two different approaches towards the same style and musical language; Rossi’s madrigals are characterized

by contrapuntal transparency and elegant declamation rather than the overwhelming expression found in Monteverdi’s works.   Rossi’s madrigals serve as an important landmark in music history: his Il Primo Libro di Madrigali (1600) includes the first known printed intabulation for the chitarrone (also known as the theorbo). This intabulation appears as a possible accompaniment for six of the madrigals in this collection and offers alternative performance possibilities for these pieces. One option is to treat it as an accompaniment for the five singers - as heard in Udite, lacrimosi spiriti d’averno (1600) - the result being equivalent to the practice of performing madrigals with basso continuo, which became popular during this period. Another option is to perform these madrigals using solely the canto part accompanied by the chitarrone, as heard in ‘Cor mio, deh non languire’ (1600). Interestingly, the result of the latter choice, while based on five-part polyphony, is surprisingly similar to the emerging genre of the Florentine solo song. The most famous publication of this style was Giulio Caccini’s Nuove Musiche (1602), which


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was published at the same time as Rossi’s first three madrigal books. Performing Rossi’s intabulated madrigals in the aforementioned manner – with the canto part alongside the chitarrone - created a link between the 16th century polyphonic madrigal and the new monodic style of the early 17th century.   An even clearer connection between Rossi and Caccini can be found in their settings of the same poems: Rossi’s ‘Sfogava con le stelle’ (1602) and ‘Vedrò ‘l mio sol’ (1603) conclude with almost identical melodies to those set by Caccini. Considering the fame that Caccini’s songs had long before they were printed, it is most likely that Rossi was the one inspired by Caccini and not vice versa. This tribute to one of the leading musical figures of the time is demonstrative of the extent to which Rossi was influenced by his contemporaries.   At the time, several sources indicated that the two terms were simply different names for the same instrument. Today, the theorbo is often thought of as a lute instrument with re-entered tuning (where the two upper most strings are tuned one octave lower). According to Rossi’s

intabulations however, it is evident that this was not the case and that the intended instrument was a kind of Renaissance lute with additional bass strings. Most interestingly, and quite uncommonly, Rossi indicated instrumentation in all of his instrumental collections: ‘Per sonar due viole & un chitarrone’ (‘to be played with two violins and a chitarrone’). Each composition on this album is performed as originally indicated by the composer.   At the Gonzaga court in Mantua, Rossi’s instrumental pieces would have been performed regularly, in dramatic performances, balls and chamber concerts. These charming pieces were integrated in dramatic performances, balls and chamber concerts. Rossi’s first collections of instrumental music contain several pieces for four- and five-parts (as heard in ‘Sinfonia Prima a 5’). Following this, Rossi concentrated solely on the newly invented trio sonata combination of two upper voices and a bass. These works included sinfonias in various affetti dance movements (gagliarde, correnti and brandi), as well as sonatas which ventured into virtuoso writing for the violin. 7


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Rossi’s last publication of music was his Madrigaletti a due voci (1628), a vocal form parallel to the instrumental trio sonata; both were written for a combination of two equal parts over a bass. The madrigaletti were Rossi’s most modern vocal compositions, ranging from the expressive ‘Messaggier di speranza’ (1628) to the light-hearted ‘Pargoletta, che non sai’ (1628).


In addition to his prolific secular activity as a Mantuan musician, Rossi, being Jewish, aimed to revolutionise the music of the synagogue by introducing polyphonic settings of Hebrew prayers and psalms into the service. A collection of these works was published in Hashirim Asher Li’Shlomo.   The establishment of the Jewish ghetto in Mantua in 1612 was one of the most influential forces behind the creation and publication of Rossi’s new music for the synagogue. The Jews of Mantua, being secluded from Christian society, took the opportunity to look back deep into

their own heritage. Thus Rossi unique in his musical abilities in the Jewish community - created a new genre that was inspired, even if only conceptually, by the music in the ancient temple of Jerusalem. Rabbi Leon Modena, Rossi’s supporter and religious authority, wrote in his elaborate preface to the publication: [For] who could forget or fail to remember the efforts of old King David [...] he allowed them to have instruments for use in instrumental music and vocal music. Such was their practice for as long as the House of the Lord remained on its site [...] and Salomone [Rossi] alone is exalted nowadays in this wisdom [of music].

The publication date of Hashirim Asher Li’Shlomo in 1622/3 is later than most of Rossi’s other works and suggests that Rossi only began composing music for the synagogue towards the end of his career. Furthermore according to Rabbi Leon, the composition of Rossi’s Jewish music followed his earlier success with the Italian forms, and the compilation of this collection was part of an ongoing process. Thus we have a contemporary description of Rossi’s double identity as a ‘Mantovano Hebreo’:


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His compositions of music in another language [Italian] that were printed in book form, found favor with those not of Israel. [...] Imputing his power to his God, he worked and labored to add from his secular to his sacred works. [...] Day by day he would enter into his notebook a certain psalm of David or a formula for prayer or praise, reverence and divine song, until he succeeded in gathering some of them into a collection.

Rossi’s new creation could have marked the beginning of a Jewish musical renaissance: for the first time in modern history, a Jewish centre was cultivating its own music in the style of its time, beyond the traditional sounds of the synagogue and everyday life. Unfortunately this social and musical Jewish revolution was not to be. The place which could have become its centre - the Mantuan Ghetto - was severely damaged during the occupation of the city by Austrain imperial troops in 1630. There are no surviving references to Rossi after this point. It may be that the composer died around the same time; the circumstances under which his life ended, like so many other details in his biography, still remain a mystery.   Rossi’s aim, as stated in the preface to Hashirim Asher Li’Shlomo, was to

ornament and elevate Hebrew prayer by setting the ancient texts to a new kind of music. Rossi follows the accents of the Hebrew declamation, merely adorning it with simple harmonies. Thus, the listener can easily follow the text while enjoying the beautifully delicate music. By using these simple tools, Rossi aims to touch the hearts of the listeners, rather than to impress them. © Elam Rotem, 2013

For additional content, including full German translation, please email 9


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1. PSALM 128: SHIR HAMMA’ALÓT, ASHRÉI KOL YERÉ ADONÁI A song of ascents. Blessed are all who fear the Lord, Who walk in obedience to him. You will eat the fruit of your labor; Blessings and prosperity will be yours. Your wife will be like a fruitful vine within your house; Your children will be like olive shoots Around your table. This will be the blessing for the man who fears the Lord. May the Lord bless you from Zion; May you see the prosperity of Jerusalem All the days of your life. May you live to see your children’s children; Peace be to Israel.


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3. SFOGAVA CON LE STELLE Poem by Ottavio Rinuccini (1562-1621) Sfogava con le stelle Un infermo d’amore, Sotto notturno ciel, il suo dolore; E dicea, fisso in loro: ‘O imagini belle De l’idol mio ch’adoro, Si come a me mostrate, Mentre così splendete, La sua rara beltate, Così mostraste a lei, Mentre cotanto ardete, I vivi ardori miei: La fareste, col vostro aureo sembiante, Pietosa sì, com’hor me fate amante.’ A lovesick man poured forth To the stars In the night-time sky, his grief, And said, his eyes fixed on them: ‘Oh beautiful images Of my idol, whom I adore, Just as you show me, While you so glitter, Her rare beauty, So may you show her, While you so strongly burn, My living fires; With your golden features, you might make her Merciful, just as you now make me amorous.’ 13 6390 LR CKR 429 IL_MANTOVANO_HEBREO_BOOKLET_32PP FINAL.indd 13

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5. TU PARTI, AHI LASSO Poem by Giovan Battista Marino (1569-1625) Tu parti, ahi lasso, e il core Mi parte il tuo partire; E fra il dubbio e il martire, Mentre ch’io tremo e piango, Muto amante rimango. Ma se tremando, agghiaccio, Miseramente taccio, Parla il silentio e fanno ufficio intanto Gl’occhi di bocca, e di parole il pianto. You are parting, alas, And your parting parts my heart; And among doubts and torments, While I tremble and weep, I remain a speechless lover. But though in trembling I freeze Miserably, and stay silent, The silence speaks, and meantime The eyes act for the mouth, and the tears for the words.


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6. COR MIO, DEH NON LANGUIRE Poem by Giovanni Guarini (1538-1612) Cor mio, deh, non languire, Che fai teco languir l’anima mia. Odi i caldi sospiri: a te gl’invia La pietate e ‘l desire. S’io ti potessi dar morend’aita, Morrei per darti vita. Ma vive ohimè, ch’ingiustamente more, Chi vivo tien ne l’altrui petto il core. My heart, oh, do not languish, For you make my soul languish with you. Hear my hot sighs: they are sent to you By pity and desire. If I could give you help by dying, I would die to give you life. But, alas, lives the one, who unjustly dies For keeping his heart alive in another’s breast.


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8. UDITE, LACRIMOSI SPIRTI D’AVERNO Poem by Giovanni Guarini Udite, lacrimosi Spirti d’Averno, udite Nova sorte di pene e di tormento. Mirate crudo affetto In sembiante pietoso: La mia donna, crudel più de l’inferno, Perché una sola morte Non può far satia la sua ingorda voglia. E la mia vita è quasi Una perpetua morte: Mi comanda ch’io viva, Perché la vita mia Di mille mort’il dì ricetto sia. Hear, watery Spirits of Avernus, hear A new fate of pain and of suffering. Behold a cruel affection In a merciful face: ‘Tis my lady, more cruel than Hell. For a single death Cannot satisfy her gluttonous desire. And my life resembles A perpetual death: She commands me to live, In order for my life To be a harbour for a thousand deaths per day.


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13. TIRSI MIO, CARO TIRSI Poem by Giovanni Guarini Tirsi mio, caro Tirsi, E tu ancor m’abbandoni? Così morir mi lasci e non m’aiti? Almen non mi negar gl’ultimi baci. Ferrirà pur due petti un ferro solo, Verserà pur la piaga Di tua Filli il tuo sangue. Tirsi, un tempo sì dolce e caro nome, Ch’invocar non soleva indarno mai, Soccorri a me, tua Filli, Ché, come vedi, da spietata sorte Condotta son a cruda et empia morte. My Tirsi, dear Tirsi, Are you deserting me again? Thus you leave me to my death without helping me? Do not refuse me, at least, the last kisses. One sword alone will indeed wound two hearts; The wound of your Filli Will indeed shed your blood. Tirsi, once a name so sweet and dear, That I used never to appeal to in vain, Assist me, your Filli, For as you see, by ruthless fate I am led to a cruel and wicked death.


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15. RIMANTI IN PACE Poem by Livio Celiano (1557-1629) ‘Rimanti in pace,’ alla dolente e bella Fillida, Tirsi, sospirando, disse: ‘Rimanti; io me ne vo, tal mi prescrisse Legge, empio fato, e sorte aspra e rubella.’ Ed ella, hora da l’una e l’altra stella Stillando amaro umore, i lumi affisse Nei lumi del suo Tirsi, e gli traffisse Il cor di pietosissime quadrella. Ond’ei, di morte la sua faccia impressa, Disse: ‘Ahi, come n’andrò senza il mio Sole Di martir in martir, di doglie in doglie?’ Ed ella, da singhiozzi e pianti oppressa, Fievolmente formò queste parole: ‘Deh, cara anima mia, chi mi vi toglie?’ ‘Stay in peace,’ said Tirsi, sighing, To the sorrowing and beautiful Fillida. ‘Stay; I must go, thus I’ve been ordered by law, By wicked destiny, by a harsh and stubborn fate.’ And she, distilling a bitter liquid now from the one, Now from the other star, fixed her beams On the beams of her Tirsi, and pierced His heart with most merciful darts. At that point he, with death stamped on his face, Said: ‘Alas! Without my sun, how will I survive, Going from pain to pain, from sorrow to sorrow?’ And she, oppressed with sighs and tears, Feverishly formed these words: ‘Oh my dear soul, who takes you away from me?’ 18 6390 LR CKR 429 IL_MANTOVANO_HEBREO_BOOKLET_32PP FINAL.indd 18

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17. PSALM 100: MIZMĂ“R LETODĂ A psalm for giving grateful praise. Shout for joy to the Lord, all the earth. Worship the Lord with gladness; Come before him with joyful songs. Know that the Lord is God. It is he who made us, and we are his; We are his people, the sheep of his pasture. Enter his gates with thanksgiving, And his courts with praise; Give thanks to him and praise his name. For the Lord is good and his love endures forever; His faithfulness continues through all generations.


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20. PSALM 146: HALELUYĂ H Praise the Lord. Praise the Lord, my soul. I will praise the Lord all my life; I will sing praise to my God as long as I live. Do not put your trust in princes, In human beings, who cannot save. When their spirit departs, they return to the ground; On that very day their plans come to nothing. Blessed are those whose help is the God of Jacob, Whose hope is in the Lord their God. He is the Maker of heaven and earth, The sea, and everything in them, He remains faithful forever. The Lord upholds the cause of the oppressed. The Lord gives food to the hungry. The Lord sets prisoners free. The Lord gives sight to the blind, The Lord lifts up those who are bowed down, The Lord loves the righteous. The Lord watches over the foreigner And sustains the fatherless and the widow. He frustrates the ways of the wicked. The Lord reigns forever, Your God, O Zion, for all generations. Praise the Lord.


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21. VEDRÒ ‘L MIO SOL Poem by Giovanni Guarini Vedrò ‘l mio sol, vedrò prima ch’io mora, Quel sospirato giorno, Che faccia il vostro raggio a me ritorno. O mia luce, o mia gioia, Ben m’è più dolce il tormentar per vui, Che il gioir per altrui. Ma senza morte io non potrò soffrire Un sì lungo martire; E s’io morrò, morrà mia speme ancora, Di veder mai, d’un sì bel dì, l’aurora. I will see my sun, will see it before I die, On that sighing day, That would make your ray return to me. Oh my light, oh my joy, To torment for you is sweeter Than to be happy for another. But without death I will not be able to suffer Such a long pain; And if I die, my hope to see The dawn of such a beautiful day will die as well.


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23. IN DOLCI LACCI Anonymous poet In dolci lacci e in un soave foco Mi sfaccio a poco a poco, E tanta gioia sento Fra le pene e il tormento, Ch’io canto a tutte l’hore: ‘Viva, viva Amore che m’arde il core!’ In sweet bonds and in a gentle fire I am destroyed little by little, And I feel so much joy Amidst the pains and torments, That I sing at all hours: ‘Long live Love that burns my heart!’


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25. OHIMÈ, SE TANTO AMATE Poem by Giovanni Guarini Ohimè, se tanto amate Di sentir dir ‘ohimè,’ deh perché fate Chi dice ‘ohimè’ morire? S’io moro, un sol potrete Languido e doloroso ‘ohimè’ sentire; Ma se, cor mio, vorrete Che vita habbia da voi e voi da me, Havrete mille e mille dolci ‘ohimè’. Alas, if you love so much To hear me say ‘alas!’, then why do you make Him who says ‘alas!’ die? If I die, you’ll only hear A single languid and sorrowful ‘alas’; But if you want, my heart, For me to have life from you and you from me, You will have sweet ‘alas’ by the thousands.


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26. MESSAGGIER DI SPERANZA Poem by Gabriello Chiabrera (1552-1638) Messaggier di speranza, Amato sì degl’occhi miei conforto, Lume di due pupille, ove m’hai scorto? Di quanti miei tormenti Oggi fassi cagion il tuo splendore? E de’ tuoi raggi ardenti, Quanto, oh quanto, potria dolersi il core? Ma sì mi vince amore, Ch’omai sommerso fra tempeste e morto, Amo non men che s’io mi fossi in porto. Messenger of hope, So beloved a comfort for my eyes, Beam of two pupils, where have you led me to? How many of my torments Today, are due to your splendor? How much, oh how much could my heart Suffer from your burning rays? But love so conquers me, That though submerged midst storms, and dead, I love no less than if I were in a port.


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29. PARGOLETTA, CHE NON SAI Anonymous poet ‘Pargoletta, che non sai Il valor de tuoi begli occhi, E quai dardi al cor mi scocchi La virtù de tuoi bei rai, Dimmi, o bella pastorella, Provi tu d’amor scintilla? Mira, ohimè, come sfavilla Quel bel sguardo lusinghiero.’   -  ‘Non è vero!’

‘Non t’intendo? Ah speme, ah vita, Tu che fiamme al cor m’avventi, Fiamma ancor d’amor non senti? Sì ch’invan ti chieggio aita? Dimmi, o bella pastorella, Quest’ardor che m’arde il seno, Sveglia in te pietade almeno? Sol pietade, ohimè, ti chieggio.’   -  ‘Non lo veggio.’

‘Non è vero? Ah, semplicetta, Fissa il guardo in questo rio: Mira il volto bello e pio, Come dolce il cor m’alletta! Dimmi, o bella pastorella, Scorgi tu per gl’occhi il core, Tutto fiamma e tutto ardore? Nè ti cal del mio tormento?’   -  ‘Non lo sento.’

‘Ahi, che cieca e sorda sei, Pastorella, che non sai Il valor de tuoi bei rai Alla piaga, ai dolor miei! Io mi parto, o pastorella, Poi ch’amor non t’arde il core: Com’io provo a tutte l’hore Il tuo foco che mi sface!’   -  ‘Resta in pace!’

‘Non lo senti? Bella e vaga, Feritrice e innocente, Dal seren del ciglio ardente Vien lo stral che il cor m’impiaga. Dimmi, o bella pastorella, Quando volgi i lampi d’oro, Non t’accorgi, o mio tesoro, Ch’a tuoi rai quest’alma accendo?’  - ‘Non t’intendo.’ 26 6390 LR CKR 429 IL_MANTOVANO_HEBREO_BOOKLET_32PP FINAL.indd 26

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‘Little girl, you who do not know The power of your beautiful eyes, And what darts the virtue of your fair rays Shoot into my heart, Tell me, o beautiful shepherdess, Do you feel a spark of love? See, alas, how that beautiful Alluring glance sparkles.’   -  ‘It is not true!’

‘I do not understand you? Ah hope, ah life, You who hurl flames at my heart, You do not yet feel the flame of love? Am I asking then your help in vain? Tell me, o beautiful shepherdess, Does this ardour which burns my breast Arouse pity in you, at least? Alas, pity alone I ask of you.’   -  ‘I do not see it [the ardour].’

‘It is not true? Ah, simple-minded girl, Fix your glance in this brook, Look at your beautiful pious face, How sweetly it entices my heart! Tell me, o beautiful shepherdess, Do you perceive through your eyes my heart, All aflame and all ablaze? Do you not care about my torments?’   -  ‘I do not feel it.’

‘Ah, how blind and deaf you are, Shepherdess, you who do not know The power of your fair rays Upon my wound, upon my sorrows! I am leaving, oh shepherdess, Since love does not burn your heart; The way I feel all day long, That your fire destroys me!’   -  ‘Stay in peace!’

‘You do not feel it? Beautiful, lovely girl, Injurious and innocent, From the clear sky of your burning brow Comes the dart that wounds my heart. Tell me, o beautiful shepherdess, When you turn your golden lights, Do you not notice, oh my dear, How this soul is kindled with your rays?’   -  ‘I do not understand you.’ 27 6390 LR CKR 429 IL_MANTOVANO_HEBREO_BOOKLET_32PP FINAL.indd 27

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30. PSALM 126: SHIR HAMMA’ALÓT, BESHÚV ADONÁI A song of ascents. When the Lord restored the fortunes of Zion, We were like those who dreamed. Our mouths were filled with laughter, Our tongues with songs of joy. Then it was said among the nations: ‘The Lord has done great things for them.’ The Lord has done great things for us, And we are filled with joy. Restore our fortunes, Lord, like streams in the Negev. Those who sow with tears will reap with songs of joy. Those who go out weeping, carrying seed to sow, Will return with songs of joy, Carrying sheaves with them.


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Photo by Jim Poyner 30 6390 LR CKR 429 IL_MANTOVANO_HEBREO_BOOKLET_32PP FINAL.indd 30

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Doron Schleifer, David Feldman canto Dino Lüthy, Dan Dunkelblum tenor Elam Rotem bass, harpsichord, musical direction Katya Polin, Eva Saladin violin Orí Harmelin, Ryosuke Sakamoto chitarrone

Focusing on repertoire from the 16th and early 17th centuries, the ensemble Profeti della Quinta aims to create vivid and expressive performances for a modern audience, while addressing period performance practices. The a cappella ensemble comprises a core of five male vocalists and collaborates regularly with instrumentalists and additional vocalists.   Profeti della Quinta, winner of the Young Early Music International Artists Competition, has performed in prestigious festivals and venues in Europe, North America, and Israel. The ensemble took part in a documentary about Salomone Rossi, filmed in Mantua (Hebreo: The Search for Salomone Rossi by Joseph Rochlitz).

The ensemble has also performed a biblical drama, Rappresentatione di Giuseppe e i suoi fratelli which was composed by Elam Rotem.   The ensemble was founded in the Galilee region of Israel by Elam Rotem. It is currently based in Switzerland, where all its members undertook further study at the Schola Cantorum Basiliensis. Since its outset, Profeti della Quinta has drawn particular inspiration from the work of Salomone Rossi. Its members are native Hebrew speaking vocalists who specialise Italian Baroque music and as such, have an immediate connection with Rossi as a Jewish Italian composer. 31


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