Scarlatti's La Gloria di Primavera - Blu-ray Booklet

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ALESSANDRO SCARLATTI (1660 – 1725)

La Gloria di Primavera PRIMAVERA

diana moore,

ESTATE

suzana ograjenšek,

mezzo-soprano

AUTUNNO

clint van der linde,

INVERNO

nicholas phan,

GIOVE

douglas williams,

soprano countertenor

tenor bass-baritone

Philharmonia Baroque Orchestra & Chorale Nicholas McGegan, music director

Recorded live at First Congregational Church, Berkeley, CA | October 4-6 & 10, 2015 Recording production, engineering, editing, and mastering: David v.R.Bowles (Swineshead Productions, LLC) Assistant engineer: Daniel Davidsen Production assistant: Boby Borisov Recorded in 5-channel surround sound at 192kHz/24-bit resolution Pure Audio encoding and Blu-ray authoring: Stefan Bock and Michael Hoffmann (msm studios, Munich, Germany) Music edition provided courtesy of Benedikt Poensgen Art Direction and Design: Heather Stewart Cover art: Spring. Jan Brueghel the Elder (1568-1625) and Hendrik van Balen (ca.1575-1632) Cover Credit: bpk, Berlin / Bayerische Staatsgemäldesammlungen, Neuberg, Germany/ Art Resource, NY Inside: Portrait of Alessandro Scarlatti, 18th century: artist unknown This recording is made possible by a generous gift from the Waverley Fund. www.philharmonia.org

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photo

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pa rt e p r i m a

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Track 1 Track 2 Track 3 Track 4 Track 5 Track 6 Track 7 Track 8 Track 9 Track 10 Track 11 Track 12 Track 13 Track 14 Track 15 Track 16 Track 17 Track 18 Track 19 Track 20 Track 21 Track 22

Sinfonia [avanti la Prima Parte] Coro: Nato è già l’Austriaco sole Recitativo: Noi che a vicenda elesse Aria: Già fermò sull’empia ruota Recitativo: Non più sterili, e meste Aria: Più l’Aquila non teme Recitativo: Trasse già l’Istro altero Aria: Fuor dell’urna le bell’onde Recitativo: Nacque a noi nacque al grande genio Aria: Col piacer già la pace riposa Recitativo: Qui dunque ò mie compagne Coro: L’aura sussurrando Recitativo: Già con umido ciglio Aria: Solca il mar, scioglie le vele Recitativo: Vidi correr audaci Aria: Dopo l’orrore Recitativo: Quante volte quante volte mirai Aria: È più caro il fonte e’l rio Recitativo: Vidi anch’io con orrore più d’un Regno Aria: Arde il ciel saette avventa Recitativo: Tal virtù seco trasse Coro: Vieni ò Re dell’alte sfere

pa rt e s e c o n d a Track 23 Track 24 Track 25 Track 26 Track 27 Track 28 Track 29

Sinfonia [avanti la Seconda Parte] Recitativo: Già le nostre preghiere Coro: Vieni ò Re dell’alte sfere Recitativo: Ecco che a noi sen viene Aria: Voglio in perpetua calma Recitativo: Stanca è già la mia destra Coro: Se spuntò già di piacere

3:13 1:55 1:45 3:32 0:56 2:47 1:00 6:17 1:32 2:40 1:36 4:06 1:13 3:49 1:39 3:28 1:10 6:41 1:12 2:49 1:18 3:04 3:10 1:04 0:45 0:39 4:06 1:02 0:34

Track 30 Track 31 Track 32 Track 33 Track 34 Track 35 Track 36 Track 37 Track 38 Track 39 Track 40 Track 41 Track 42 Track 43 Track 44 Track 45 Track 46 Track 47 Track 48 Track 49 Track 50 Track 51 Track 52 Track 53 Track 54 Track 55 Track 56 Track 57 Track 58 Track 59

Recitativo: Qual mai vi turba, o preme Aria: La tempesta già si desta Recitativo: Pria di formar le stelle Aria: So ben che amor di gloria Recitativo: Con tal favore e l’opra Aria: Tornò già nel mio sen Recitativo: Quante Provincie e Regni Aria: Corre l’onda vagabonda Recitativo: Anch’io potea di tenebrosi orrori Aria: Di cieco orrore e d’ombra Recitativo: Messi del gioir mio Aria: Canta dolce il rosignuolo Recitativo: Trassi dal nulla il tutto Aria: Dell’alba e dell’aurora Recitativo: E voi che parte aveste Coro: Pieno è già d’almo diletto Recitativo: Gran Padre delle stelle Aria: Sull’orme de’ grand’Avi Recitativo: Sì, sì, poiché a te piacque Duetto: Arda avvampi l’alme accenda Recitativo: La gloria de’ grand’Avi Aria: L’offra sempre in pace, e in guerra Recitativo: Chiaro qual nacque al mondo Aria: Il destin la sorte, e il fato Recitativo: Giove, e tu non rispondi? Aria: Fa che Zeffiro tra fronde Recitativo: Deh quell’Amor che inspira Coro: Conti co’ i giorni Recitativo: Scelsi sull’alte sfere Coro: Ò bell’età dell’oro

total ti m in g :

1:43 2:47 1:50 3:47 1:04 2:38 1:10 2:23 1:27 2:15 0:58 5:47 1:48 3:10 0:57 1:31 1:07 5:31 0:37 3:20 0:33 3:00 1:37 5:23 1:00 5:32 0:51 1:00 1:55 2:45 138:36

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A Birthday Celebration of Imperial Hope A lot was riding on the shoulders of baby Archduke Leopold at his birth on April 13, 1716. He was the male heir so fervently wished for by his father, Charles VI, Holy Roman Emperor, to continue the Hapsburg dynasty in Austria and prevent another brutal war of succession such as that just concluded over the throne of Spain. In 1700 his unfortunate relative Charles II of Spain died heirless, and when Charles attempted to claim his kingdom, he precipitated a costly war with France, known as the War of the Spanish Succession. Although he lost Spain to Philip of Anjou, grandson of Louis XIV, Charles VI received a consolation prize in the Treaty of Utrecht (1713) consisting of a package of the regions of Milan, Sardinia, the Austrian Netherlands, and the Kingdom of Naples. The serenata La Gloria di Primavera was commissioned by the Neapolitan Prince Gaetano d’Aragona and his culture-loving wife, Sanseverino, as it was expedient for them to host an opulent celebration in Naples to honor the heir of Naples’ recently acquired sovereign. They commissioned their court composer, Alessandro Scarlatti (1660-1725), already Europe’s foremost composer of Italian serious opera (opera seria), to compose a grand serenata on a text by Aurora’s private secretary, the Abbate Nicolo Giovo, who eight years earlier had provided the text for a serenata by Handel, Aci, Galatea e Polifemo (HWV 72). Scarcely a month passed between the noble birth and the premiere of this work on May 19, 1716, a remarkable feat of musical production comparable to Handel’s 28-day composition of Messiah. |6|

Although the imperial pregnancy may have given them some lead time for anticipation, only after Naples received the confirmation that the newborn was a male could appropriate text be written, over fifty movements composed, and a cast had to be engaged and rehearsed. The engagement of preeminent singers of the time further proves that no expense was spared in mounting this production. The soprano roles of Spring and Summer were given to the renowned castrato Matteo Sassano and Margherita Durastanti, later to rise to fame in London singing the roles of leading women and men in Handel’s Italian operas. Sassano’s international career had been linked with Scarlatti’s for the thirty years since he first appeared in Clearco in Negroponte at age nineteen. He was also closely connected with the Hapsburg dynasty in Madrid, having been nightly engaged to distract the melancholic monarch, King Charles II of Spain. During the War of the Spanish Succession, Sassano served Emperor Charles VI in Vienna from 1700 to 1709, returning to Naples after the Hapsburgs retook the city. Known as “the nightingale of Naples” (il Rosignuolo di Napoli), he received a marvelous nightingale aria from Scarlatti. In addition to Sassano and Durastanti, the exquisite bass Antonio Manna (Giove) was given arias filled with technical challenges for a voice with a surprisingly large range. The similarity of the vocal writing to the role of Polifemo in Handel’s Aci, Galatea e Polifemo suggests that Manna also may have been the anonymous bass for whom Handel wrote his serenata.

While the genre of serenata (an extended multi-movement work written for one-off occasions such as marriages and birthdays) may be less familiar than opera seria, the forms are nearly identical. Secco recitatives, accompanied only by harpsichord, lutes (theorbos), and cello, introduce most of the arias. Jove, however, appropriate to his station, sings recitative accompanied by the orchestra, providing a “halo” of harmony that underscores the profundity and significance of his character (just as Bach does for Jesus in the St. Matthew Passion). The arias themselves are cast in the form known as the da capo aria. Two sentences (A and B) are sung with considerable repetition of text, with introductions and interludes (known as ritornellos) played by the orchestra. The notation da capo (literally, “from the top”) appears at the end of sentence B, instructing the performers to repeat the A section once more, creating a symmetrical A-B-A form; this repetition also allows the performers the opportunity to improvise ornamental riffs on the original melody. La Gloria has but one duet (Track 49), but a number of cori (not choruses per se, but an ensemble of the principal characters sometimes supplemented by additional voices) articulate sections of the libretto. While the performance of some serenatas may have been stand-and-sing affairs much like oratorios, we know that the performance of La Gloria featured sumptuous sets and costumes by Christoforo Schor and probably one special effect with stage action. Jove would likely have descended from the stage rigging in a cloud machine, literally a deus ex machina. One could ask why the noble patrons—knowing that infant mortality among the inbred Hapsburgs was unusually high—might not have waited until the newborn emperor-elect was more than a month old to celebrate his birth in such an extravagant fashion. However, this work is as much a celebration of Austrian hegemony as it is a birthday tribute. We may never know which of the Hapsburg nobility, if any, were in attendance at its only performances in Naples, or what dispatch the royal family may have received about it, but it seems likely that Prince Gaetano and Aurora stood to gain favor with their new rulers in Vienna. Unfortunately, the life of this extraordinary work runs parallel to that of its dedicatee. Just months after the premiere, on November 4, the celebrated infant died. Eventually, upon the death of his father, this would cause his younger sister, Maria Theresa, to have to defend her right to the imperial throne against the whole of continental Europe in another bloody war, the War of the Austrian Succession. The first audience of La Gloria was so taken by it that after its premiere on May 19, 1716, it had to be performed twice again, a rare occurrence for such occasional works. But thereafter, the work has been neither edited nor performed until now.

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The individual movements may be organized thematically into a series of scenes. Part I Tracks 1-12. Celebration of the Noble Birth Tracks 13-20. Reflections on the Past (War) and Present (Peace) Tracks 21-22. Proposal of the Contest and the Invocation of Jove Part II Tracks 23-26. Further Invocation and Arrival of Jove Tracks 27-33. In Praise of Jove Tracks 34-43. The Contest of the Seasons Tracks 44-47. Resolution of the Contest Tracks 48-59. Benedictions for the Future Empire

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Synopsis. Part One. Receiving the joyful news of the newborn heir, each of the four seasons reflects on the significance of this noble birth to the Austrian (aka Holy Roman) Empire. Spring (Primavera), Summer (Estate), Autumn (Autunno), and Winter (Inverno) in turn sing a recitative and aria describing imperial symbols such as the eagle and the Danube, emblematic of what Spring describes as “we, the storied elect.” A second cycle of arias is introduced with recitatives on a poetic juxtaposition of “then and now” (in Italian, or and già) contrasting the horrors of the recently ended War of the Spanish Succession, personified by the Roman goddess of war Bellona, with the pleasures and serenity of the ensuing peace, historically known as the Peace of Utrecht. However, when Spring audaciously claims higher honors than the rest owing to the date of the royal birth, the other seasons take exception, and all agree to invoke Jove to be their judge. Part Two. A solemn invocation greets the arrival of Jove, and Spring sums up for him the arguments of her rivals: of Summer for the child’s conception, Autumn for the fecundity of “the Imperial breast,” Winter for the growing strength in the womb, and Spring herself takes credit (again) for the child’s birth. Each season, in that order, then makes their claim by amplifying these themes with a recitative and aria, leaving Spring last up to win over the already biased Jove with a double play: an aria both evoking the song of a nightingale and sung in the seductive rhythm of a siciliana. The predictable outcome is accepted by the other seasons without protest. The remainder of the work consists of benedictions from each season on the newborn and his role in the Empire, a return to the textual themes of the opening scene: a continuation of the Hapsburg line, immortality, and protection from threats against the Empire (specifically Ottomans, Thracians, Asians, and Anatolian Turks). Jove gets the final word, claiming the infant as his spiritual son, and all proclaim the return of a beautiful Age of Gold (Ò bell’età d’oro). The musical richness of the piece reflects the virtuoso cast at Scarlatti’s disposal. The role of Primavera (Spring) was sung by the soprano castrato Matteo Sassano, nicknamed “the nightingale of Naples” (il rosignuolo di Napoli); whether his nightingale aria in Part Two was a response to this reputation or vice-versa remains uncertain. Estate (Summer) was sung by Margherita Durastanti, later to be known for her numerous roles as a leading lady (and leading man) in Handel’s operas at the London’s Royal Academy in the 1720’s. Whoever was cast in the bass role of Giove (Jove) must have been singer of exceptional technique and extraordinary range, exploited by Scarlatti with downward and upward leaps by as much as an octave and a half.

As in opera seria, the roles are ranked in a hierarchy. The arias for the title role, Primavera (Spring), are the most numerous and multi-faceted, ranging from jaunty (Track 4) to virtuosic (Track 31) to poignant and affective (Track 53). Because this traditionally feminine role was being sung by a leading man (primo uomo), the role of Estate (Summer) is technically speaking the prima donna. Though appearing in the score as “Soprano II” in the ensembles, her lines are consistently higher than Primavera and exploit Durasanti’s expressive coloratura (Track 6) and affective range from pathos (Track 16) to delight (Track 35). Autunno (Autumn) is a more dramatic role clearly written for an alto with an agile technique (Track 37), power (Track 51), and plangent expression (Track 18). While we might expect a blustery bass to be singing Inverno (Winter), Scarlatti cast the tenor Gaetano Borghi in the role, filling his arias with dramatically powerful coloraturas (Tracks 10 & 20) sometimes extended to exhaustive lengths (Track 47). Though he appears only in Part II, Giove (Jove) is god of considerable personality, first singing in the pompous dotted rhythms of the French overture (Track 27) and making pronouncements in accompanied recitatives. His second aria (Track 33), however, is an intimate aria di cantabile in which his voice breaks with expressive sighs (suspirans). He becomes even less god-like in his scherzo-like final aria (Track 43), conveying a mood that is, well, downright jovial. The orchestral writing is colorful and varied. The imperial significance of the noble birth is announced in the Introduzione to Part I by a pair of trumpets followed by a flurry of string fanfares and passagework, juxtaposed with a trio of two oboes and bassoon in the style of a concerto grosso. This scoring recurs in the final movement (Track 59) with the addition of tutti and solo vocal lines. The single duet (Track 49) is given a singular scoring of five-part strings set in lines for unison violins, violas, two independent cello parts—each with its own lute and figured bass, and a third continuo group of harpsichord and bass. In contrast to the complexity of these movements, a simple two-line texture of both violin and oboe parts in unison against the bass engage in a witty dialogue with Jove’s syncopated vocal line (a style known as alla zoppa) (Track 43). A particular characteristic of Scarlatti’s vocal writing often occurs in the arias. While the orchestral ritornellos are played by all of the instruments of the basso continuo section (cello, bassoon, bass, harpsichord, lute), when the voice enters the harpsichord and bass drop out, leaving the lowest sounding string part in either the cello or viola; such a passage, called a bassetto, creates a sense of string sonority floating under and around the vocal line, absent the depth of the bass and percussive harmony of the harpsichord. Allusions to nature abound in this musical landscape of imperial Austria. The Danube winds around the feet of the newborn archduke in Autumn’s first aria (Track 8). Leaping octaves depict rays of sunlight in Summer (Track 16), and flashes of descending scales (tiratas) and spiky arpeggios conjure Winter’s storm (Track 20). Gently cascading violins and divided violas accompany Autumn’s description of rivers set free from icy obstruction (Track 18), and Spring’s vocal acrobatics conjures the fury of a shipwreck tossed in a tempest (Track 31). Pastoral images are created by two oboes in Spring’s nightingale aria (Track 41) and the solo flute which twitters among whispering trees and grasses described by Summer (Track 55).

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A particularly appealing image is Scarlatti’s frequent use of a musical “topic” known as zefiro (zephyr), used to represent breezes, fountains, and streams through the undulation of parallel thirds or sixths in wavelike repetitions over a slowly moving bass (Tracks 8, 12, 18, 29). This underscores the repeated theme of peace that has now come to the Empire. The opposite effect is created by bombilans, rapidly repeated notes in the trumpets and strings used for agitation, especially of military themes (Track 51). La Gloria di Primavera is found in eight manuscript sources, not all in direct correlation. Since there is no original autograph, a modern edition must be based on the analysis of the eight manuscripts. Four contemporary transcriptions written by professional copyists are found in Naples. These provide a clear and complete idea of the composition. The transcriptions found in Vienna and Munich take on a special role, having been owned by or connected to the library of Ralph Georg Kiesewetter (1773-1850), a passionate collector of manuscripts and admirer of Scarlatti. A note found on the Munich transcription states that it was based on “original sources” from Kiesewetter’s library, and because he was capable of differentiating Scarlatti autographs from transcriptions, it suggests that a real Scarlatti autograph may once have existed in Vienna. In any event, the Munich transcription completes or corrects some obvious mistakes that can be found in the Neapolitan manuscripts. There is also a notation by Kiesewetter on the Vienna transcribed score that La Gloria di Primavera was performed in Vienna “amid loud applause” on December 26, 1825, the 100th anniversary of the composer’s death. Important for the preparation of this performance was an almost unknown contemporary transcription of Scarlatti’s serenata. A manuscript found in Hamburg with the title The | 10 | Introduction to a Serenade Composed by Sig. Alessandro Scarlatti, upon the Birth of the late King of the Romans, which—because of its vague title—had not yet made it into the catalog of Scarlatti’s oeuvre. But a study of this manuscript showed that this compilation contained not just the Introduction but also all the arias and ensembles, though in a different order. This obviously English manuscript could have been used for a performance in London on March 28, 1721. Most likely it was Durastanti who brought the work to England and sang it with other members of the Royal Academy, including Senesino. Philharmonia’s recording of this work, neglected for nearly 300 years, makes another significant contribution to the recorded Scarlatti repertoire, as we have done with his Vespers of St. Cecilia. This is not a peripheral work by some second-tier composer, but a major masterwork by a giant of the Baroque period at the top of his game. That Scarlatti could have created such an elaborate and substantive work without visiting it again in the nine years remaining before his death in 1725 attests to the fecundity of his talent. Had he been given the opportunity to repurpose his serenata for the nativity of the archduke into an oratorio on the nativity of Christ—as Handel would surely have done—the extraordinary music of La Gloria di Primavera might not have had to wait for Philharmonia to bring it once again to the attention of the public. —Bruce Lamott [I am indebted to the research of Prof. Benedikt Poensgen, both for his edition of the work and for his informative introduction on the details of its creation.]

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D-Hs ND VI 24, Staats- und Universit채ts-Bibliothek Hamburg

La Gloria di Primavera

Serenata in due parti di Alessandro Scarlatti Libretto di Niccolò Giuvo english translation by joe mcclinton

DISC 1

PARTE PRIMA

Track 1 Sinfonia [avanti la Prima Parte] Track 2 Coro Primavera, Estate, Autunno, Inverno

Seasons

Più di trombe il suon guerriero non s’ascolti risuonar. Pace a noi pace all’Impero piacque a Giove al fin donar.

Let the trumpets’ warlike sound be stilled. Jove is pleased to give us, and the Empire, peace at last.

Viva Carlo e la sua prole, dica ogn’or voce festiva. Sempre in questa bassa mole l’uno e l’altra regni e viva

“Long live Karl and his son,” let joyous voices cry. May both of them live and reign forever here below.

Nato è già l’Austriaco sole tutto l’orbe ad illustrar. Né la terra più si duole nel vedersi insanguinar.

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PART ONE

Track 3 Recitativo Primavera

Noi che a vicenda elesse l’Almo Fattore a dominar su gl’anni, e che rapidi vanni non permette che sciolga il veglio alato fuora del nostro antico e vasto Impero. Noi sì, per l’orbe intero non più mesto, e turbato facciamo risuonar gioconde note. Direm: più non percuote aspro furor di guerra e Campagne, e Capanne e soglie Auguste. Direm l’ire vetuste son d’irata Bellona, e spente, e dome e l’Eroe sol d’ulivo orna le chiome

Track 4 Aria

Già fermò sull’empia ruota resa immota la fortuna amiche piante.

Now is born the Sun of Austria, bringing light to the world. No longer does the earth lament at being drenched in blood.

Spring

We, whom the Creator chose to rule the year in alternation, and whom old winged Time forbids to spread our fleet pinions beyond our vast, ancient realms; throughout a world no longer sad and troubled, let us make notes of joy resound. We will say: The harsh madness of war no longer batters the fields, and hovels, and royal thrones. We will say: The ancient wrath of furious Bellona is spent and tamed, and the hero is helmed with only an olive wreath Fortune has now set a kindly foot against her cruel wheel, and stayed its motion;

Se a far schermo alle ruine nacque al fine il bramato Austriaco Atlante.

Track 5 Recitativo Estate

Non più sterili, e meste vede l’Aquile sue l’Austria regnante; ministra di tempeste guardò varia incostante la Discordia, che regna in cuore infido, lunga stagion già l’infecondo nido. Pietà pietà poi vinse onde la regal Prole aprì per nostra pace la pupilla vivace dell’avita sua gloria al chiaro sole.

Track 6 Aria

For to shield us from ruin the yearned-for Austrian Atlas is born at last. Summer

Royal Austria no longer beholds its eagles childless and sad; Discord, bearer of storms, changeable and inconstant, mistress of deceitful hearts, has kept the royal nest unfruitful for too long. Mercy has triumphed, now that a royal Son, bringing us peace, has opened his lively eyes to the bright sun of his ancestral glory.

Più l’Aquila non teme di serpe crudo infido che ‘l dolce, e caro nido sparge di rio velen.

The mother eagle no longer fears the cruel, deceitful serpent dripping evil venom on her sweet, beloved nest;

Se mentre d’ira freme vedendo i suoi perigli la Prole arma d’artigli, e le difende il sen

For, trembling with rage at the sight of such danger, she has armed her Son with talons and defends his breast.

Track 7 Recitativo Autunno

Trasse già l’Istro altero di sua nuova fortuna il crin dell’onde, e sull’umide sponde posando il fianco antico chiamò delle sue Ninfe il Coro amico; e disse: or pronte andate, scegliendo i più bei fior del prato ameno, e l’auree chiome, e ’l seno, e ’l molle fianco, e ’l grembo, e delle spoglie il lembo con industria gentile a gara ornate e Carole intrecciate, finché le mie bell’acque bacino il piede al nuovo Eroe, che nacque.

Track 8 Aria

Fuor dell’urna le bell’onde co’l soave mormorio

Autumn

The Danube, proud of his new fortune, has lifted his head from the waves; resting his ancient flank on the wet banks, he has summoned the friendly chorus of his nymphs, and said: Go quickly now, choose the loveliest flowers from the sweet meadow, and compete in gentle industry to adorn your golden hair and bosoms, your tender flanks and laps, and the hems of your garments, and weave dancing songs, while my lovely waters kiss the newborn hero’s feet. Gently overflowing their bed, the pretty waves, sweetly murmuring,

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par che dican: gelo rio più non frena i nostri passi. E bagnando ogn’or le sponde più fastose, e più superbe van tra fiori, e van tra l’erbe a baciare or piante or sassi.

Track 9 Recitativo Inverno

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Nacque a noi nacque al grande genio de suoi grand’Avi il pegno eletto a rischiarar con nuova luce il mondo; nacque e tal già spande con suon lieto, e giocondo, fama del nato Eroe che nuovo aspetto prende al nuovo piacer l’Italia afflitta desolata, e sconfitta lunga stagion l’oppresse orrore, e pena; or già si rasserena s’avvalora conforta ed assicura se delle forti mura di cui si cinge il vago seno altero già nacque il Nume e ’l difensor guerriero.

Track 10 Aria

seem to say: The wicked ice will hold us back no more. And bathing ever more festive and more splendid banks, they glide among flowers and grasses, to kiss now the plants, and now the stones. Winter

To us, and to the great lineage of his great ancestors, is born the Chosen One to brighten the world with new light; he is born, and word of the newborn hero spreads with such a happy, joyous sound that Italy, afflicted, desolate, defeated, is transformed at this new delight. Though long oppressed by horror and suffering, now it brightens, gathers strength, comfort and assurance; for now is born the divinity and warrior who will defend the mighty walls that gird the nation’s fair and lofty breast.

Col piacer già la pace riposa sotto l’ombra d’alloro novello.

Peace and pleasure lie at rest in the shade of the new laurel tree.

E la gloria più lieta, e fastosa custodisce un riposo sì bello.

And the happiest and most grandiose glory Watches over such sweet repose.

Track 11 Recitativo Primavera

Spring

Estate

Summer

Autunno

Autumn

Qui dunque ò mie compagne venite alla grand’opra si sciolga il labbro a lieto riso, e al canto. Si spieghi omai si scopra con qual fasto sovrano e con qual vanto per le nostre campagne andar può di sua sorte ogn’alma altera. Poiché di sfera in sfera dalla sua chiara stella scese l’Anima grande e la rubbella

Then, my companions, come take part in this great deed, open your lips in happy laughter and song. Let us now unfold, let us reveal with what pride, what sovereign pomp, each soul, proud of its fate, may walk our land. For from sphere to sphere, from its bright star a great soul has descended, and rebellious,

pena ria già sen cadde a lieti carmi sciogliam la voce.

evil pain has lost its power; so let us raise our voices in happy song.

Inverno

Winter

Parmi d’ogni onor d’ogni laude e del comun diletto degno l’alto soggetto se l’Augusto Campion tra noi già nato viene a dar leggi alla Fortuna e al Fato.

Track 12 Coro

This seems to me a noble theme, worthy of all praise and honor and general delight: since the royal champion now born among us has come to rule over Fortune and Fate.

Primavera, Estate, Autunno, Inverno

Seasons

Rida ogn’alma lieta in calma ogni core arde d’amore né più turbi il bel sereno fiero affanno, rio veleno che non fa già mai goder.

Let every soul smile, happy in its calm; let every heart swell with love, and may this tranquility never again be troubled by cruel distress – an evil poison which never gives joy.

L’aura sussurrando, il fonte mormorando, il bosco senz’orrori, il prato pien di fiori, porga segni di piacer.

Track 13 Recitativo Primavera

Già con umido ciglio, d’ogni fiorito suolo mirai l’amenità sparire a volo; e le campagne incolte sparse con empio orror d’ossa insepolte; mirai d’armi, e stragi ogni fertil terreno rendersi ingombro, e pieno, e il lume de suoi raggi negarli ancora inorridito il sole. Or non si lagna, e duole, scevro di rei timori, e d’aspri affanni, il cor che gode, e non paventa inganni.

Track 14 Aria

Solca il mar, scioglie le vele se mai posa il vento, e l’onda e la sponda lascia il provido nocchier.

Let the whispering breeze, the murmuring spring, the forest free from terrors, the meadow full of flowers, herald delight.

Spring

With tearful eye I have seen the beauty of the flowering earth vanish in an instant, and the barren countryside strewn in cruel horror with unburied bones. I have seen armies and carnage clutter and fill every fertile field, and even the horrified sun withheld the light of its rays. Now our hearts no longer lament or complain; free from cruel fears and harsh distress, they rejoice and fear no deception. When the wind and waves settle, the prudent helmsman puts out from shore, hoists sail and ploughs the sea.

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Dopo affanno, e duol crudele così l’alma non paventa ma contenta gode in calma di piacer.

Track 15 Recitativo Estate

Vidi correr audaci di Bellona i seguaci dove certo, e sicuro era il periglio né frenare i lor passi gelosa cura o intenso amor di Figlio; E ’l Figlio istesso al Padre farsi ribelle al vario suon dell’armi, e delle trombe ai carmi correr tinti di sangue i Fiumi ancora; e la Madre, e la Suora cercando i suoi più cari sovra le nude arene forse del sangue lor sparse, e macchiate stampare orme d’amor ma sventurate. Or però tal s’aggira gioia improvvisa entro al mio cor che brilla che in ogni loco ammira | 16 | oggetti di piacer la mia pupilla.

Track 16 Aria

Just so, after affliction and cruel sorrow, the soul has no fear but delights, calm and contented, in pleasure. Summer

I have seen those called to follow Bellona boldly run where danger was certain and sure; no tender care or deep love for a son could slow their steps. I have seen sons fight their own fathers, obeying different calls to arms; and at the song of the trumpet, I have also seen the rivers run red with blood; and mothers and sisters seeking their dear ones, setting their loving, unfortunate footsteps on the bare battleground, wetted and spotted perhaps with their loved ones’ blood. Now, though, such sudden joy fills my heart that it shines, and everywhere my eyes see sights of pleasure.

Dopo l’orrore di notte oscura si fa più caro il sol che chiaro ne reca il dì.

After the horror of a dark night the sun that turns the day to light is all the more welcome;

Tal già sicura di non penare sa più brillare e l’alma e ’l core che già languì.

Just so, now sure that they will not suffer, the spirit and heart that once languished can shine all the brighter.

Track 17 Recitativo Autunno

Quante volte quante volte mirai giacer col servo il suo Signore estinto, e ’l vincitor col vinto. Quante volte mirai le Nuore, e ’l vecchio Padre fra le sconfitte squadre chiamando il Figlio e ’l dolce sposo a nome squarciarsi il petto, e lacerar le chiome.

Autumn

How many times, how many, have I seen the servant fallen beside his dead master, and the conqueror beside the conquered. How many times have I seen wives and old fathers go among the defeated troops, beating their breast and tearing their hair, calling their sons’ and dear husbands’ names.

Or degli affanni miei sento placato al fin l’aspro rigore, e sol porgano i Dei per pietà del mio mal contenti al core.

Track 18 Aria

Now I feel the harshness of my sorrows is soothed at last, and for pity at my suffering, may the Gods grant only contentment to my heart.

È più caro il fonte e ’l rio quando scioglie il piè d’argento dopo il gel che lo trattiene.

The spring and the brook are all the dearer when their silvery foot is set free from the ice that restrained it.

Tal già sento nel cor mio

Just so, in my heart I now feel

che più dolce è quel contento che a noi vien dopo le pene.

how much sweeter is that happiness which comes to us after sorrow.

Track 19 Recitativo Inverno

Vidi anch’io con orrore più d’un Regno dal foco arso, e distrutto; e il vincitor superbo mirar con ciglio asciutto di Popoli già vinti il duolo acerbo; e su l’afflitte genti ceneri infelici spargersi poi di furiosi venti e di chi muore, e langue il mesto suono udii roco, e doglioso, e l’empia strage, e il sangue mirarsi nel passar da Eroe fastoso. Or spavento, e terrore non mi punge o mi assale poiché Marte e Bellona non più d’arme risuona ma sol Palla, e Minerva han pregio uguale.

Track 20 Aria

Winter

I too saw with horror more than one realm burning in fire and destroyed; I saw the haughty conqueror look on the bitter pain of the conquered with a dry eye; I saw afflicted peoples strewn with ashes by furious winds; and I heard the dismal, hoarse, painful sound of those who were suffering and dying, and watched a conquering hero witness cruel carnage and blood as he passed. Now fear and terror do not afflict or assail me, for Mars and Bellona no longer sound to arms, but Pallas and Minerva alone enjoy equal esteem.

Arde il ciel saette avventa ma non teme il sacro alloro

The sky is aflame, hurling thunderbolts, but the sacred laurel feels no fear.

Come quello non paventa l’alma mia di rio martoro.

Just like the laurel, my soul does not fear cruel suffering.

Track 21 Recitativo Primavera

Tal virtù seco trasse dalla parte più pura onde a noi scese l’Alma, che a degne imprese formolla a suo piacer l’alto motore: è mio

Spring

This spirit brings such virtue with him from the purest spheres from which he has come down to us, that the Mover on high has been pleased to destine him for worthy feats; but to me,

| 17 |

è mio però l’onore, s’ella fra noi tanti contenti aduna s’io fui del nato Eroe eletta ad infiorar l’Augusta Cuna.

to me belongs the honor when in our midst this spirit brings such happiness, for I was chosen to deck with flowers the newborn hero’s royal cradle.

Estate

Summer

Autunno

Autumn

Di tal vanto pretendo esserne a parte anch’io, È pur mia questa gloria,

Inverno

Io non mi rendo facil trionfo all’altrui voglie ardite.

That glory is mine too.

Winter

I will not easily yield to your bold ambitions.

Primavera

Spring

Estate

Summer

Autunno

Autumn

Inverno

Winter

Giudice di mia lite dunque Giove facciamo, Lieto, e contento vi applaude il cor de pregi suoi geloso.

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I too claim a share of that honor.

Io v’acconsento, Io ripugnar non oso.

Track 22 Coro

Then let us make Jove the judge of my suit. My heart, happy and content, applauds this, though jealous to uphold my rights. I consent. I dare not refuse.

Primavera, Estate, Autunno, Inverno

Seasons

Se spuntò già di piacere un seren raggio vivace se per far l’alme godere speme più non è fallace sian le gioie più sincere, se donarle a noi ti piace.

If a calm, lively ray of pleasure has now dawned, if hope is now assured so that souls can rejoice, let our joy grow more sincere if you are pleased to grant it to us.

Fine della Prima Parte

End of Part One

Vieni ò Re dell’alte sfere e porgi a noi la pace.

Come, o King of the high spheres, and bring peace among us.

PARTE SECONDA

Track 23 Sinfonia avanti la Seconda Parte Track 24 Recitativo

PART TWO

Primavera

Spring

Estate

Summer

Autunno

Autumn

Inverno

Winter

Già le nostre preghiere del supremo Rettore della terra e del Ciel, giunsero al core. E già dall’alte sfere al nostro udito arriva il dolce suono, e l’armonia soave. Ogni molesta e grave cura che il cuor ne pugna, ignota forza o la fuga o l’amorza. Già di sua pura luce chiaro su gl’occhi miei sfavilla lampo. E seco pur conduce la giustizia, e l’amore ond’ardo, e avvampo.

Track 25 Coro

Primavera, Estate, Autunno, Inverno

Vieni ò Re dell’alte sfere Vieni, e porgi a noi la pace.

Track 26 Recitativo

Our prayers have now touched the heart of the supreme Ruler of Heaven and Earth. And from the highest spheres sweet sounds and soft harmony now come to our ears. A strange power banishes or soothes all sadness, all heavy care that troubles the heart. The bright flash of his pure light dazzles my eyes. And with him he also brings justice and love, which set my heart aflame. Seasons

Come, o King of the high spheres, come, and bring us peace.

Primavera

Spring

Estate

Summer

Ecco che a noi sen viene, e a noi d’intorno, già del perpetuo giorno l’almo splendor s’avanza,

Behold, he comes to us. The life-giving splendor of eternal day surrounds us.

Autunno

Autumn

Inverno

Winter

e di diletto or n’empie il seno il suo divino aspetto. Già n’odo la voce a cui servono i venti e le procelle la luna, il sole, il fato, e l’auree stelle.

His divine appearance fills our hearts with delight. I hear the voice that commands the winds and tempests, the moon, sun, destiny, and the golden stars.

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Track 27 Aria Giove

Jove

Voglio che lieta ogn’alma fulmini non paventi, e che sol di contenti ogn’or dia segni il Ciel.

I command that every soul shall walk in happiness and never fear the thunderbolt, and that Heaven shall forever foretell contentment alone.

Voglio in perpetua calma, che goda che viva ogni fedel.

Track 28 Recitativo

Stanca è già la mia destra vindice sì, ma giusta di fulminare, e d’atterrar Giganti, e dopo tanti fieri affanni, e disastri vò che a prò del mortal ridano gl’astri. Già l’Impero è diviso; or chi sarà che possa mover guerra s’io son Giove nel Cielo, e il già nato Regnante è nella Terra.

Track 29 Coro

Primavera, Estate, Autunno, Inverno

Se spuntò già di piacere | 20 | un seren raggio vivace. Se per far l’alme godere speme più non è fallace. Sia le gioie più sincere, se donarle a noi ti piace.

Track 30 Recitativo

I command that every faithful heart shall rejoice and live in everlasting peace.

My hand, avenging, yet just, is weary of thundering and casting down Giants, and after so much suffering and disaster, I command the stars to smile on mortals. My rule I now share, and who shall there be that can make war if I am Jove in Heaven, and the newborn boy reigns on Earth? Seasons

If a calm, lively ray of pleasure has now dawned, if hope is now assured so that souls can rejoice, let our joy grow more sincere if you are pleased to grant it to us.

Giove

Jove

Primavera

Spring

Qual mai vi turba, o preme di nostra pace a scorno fiero sdegno, o dolore in sì bel giorno? Pende ò Giove imortale dubbia lite e fra noi Che decider tu dei s’unqua ti cale. Alla bramata Prole diè l’Està le primiere aure di vita, e in questa bassa mole a sconsolata gente porse l’Autunno aita publicando fecondo il seno Augusto. E più forte, e robusto,

What harsh anger or pain can trouble you and defies our peace on such a happy day? Between us, immortal Jove, an undecided dispute prevails that you must decide, if you so deign. Summer gave the first breath of life to the much-desired son, and in this earthly realm Autumn comforted a despairing folk, by making it known that the royal mother was with child. Freezing Winter, by being less harsh and severe,

rese il parto innocente men rigido, e men fiero il verno algente. Al fin la Primavera accolse poi d’Europa il gran soggetto quando nacque al gran Padre al trono, e regno. Ma di noi qual mai sia più grande il pregio, e l’opra Non v’è chi lo discopra, altri che tu verace non fia chi porga, o doni a discordi staggioni amica Pace.

Track 31 Aria

endowed this innocent birth with greater vigor and strength. Lastly, Spring welcomed Europe’s great child, as he was born to a great Father for the throne and realm. But which of us has deserved the greatest honor, and done the greatest deed? None can discover that; none but you, truthful god, can bring friendly peace among the quarreling seasons.

La tempesta già si desta, e ne spinge a naufragar.

The tempest awakes, and threatens shipwreck.

Pria che resti il legno assorto tu n’addita il segno, e’ l porto e procella sì rubella solo attendi a serenar.

Before the ship is swallowed up, point out the destination and port and turn all your care to calm the rebellious storm.

Track 32 Recitativo Giove

Pria di formar le stelle e di dar vita a questa bassa mole pria degl’anni, e del sole, nell’eccelsa mia mente, a cui nulla d’oscuro era d’intorno, era chiaro, e presente ciò ch’avvenir dovea in sì bel giorno. Sapea, che in questa estate immersa in duol profondo da Pianta illustre altera nascer dovea Rampollo che gran parte del mondo dovea coprir con l’ombra, e che bramati frutti degni d’onore, ne la stagion più acerba coglier l’Istro dovea con man superba, e ben conobbi al fine qual vi dovea recar barbara guerra, con piante ancor bambine, stampando orme d’onor sopra la terra.

Track 33 Aria

So ben che amor di gloria in voi desta un pensiero d’affanno, e di dolor.

Jove

Before I made the stars and gave life to this earthly realm, before the years existed and the sun, my all-knowing mind, from which nothing is concealed, clearly and distinctly foresaw what would come to pass on this happy day. I knew that in this summer of deepest sorrow, a lofty, illustrious tree would bring forth an offshoot that would shelter a great part of the world with its shade; and that the Danube’s haughty hand would gather much-desired fruits, worthy of honor, amid the harshest season; and finally, I well knew the result that a barbarous war would bring you: that a mere child’s feet would imprint the earth with footsteps of honor. I know well that your hunger for glory arouses thoughts of trouble and sadness in you.

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E che un piacer sincero può darvi di vittoria il caro, e dolce onor.

Track 34 Recitativo Estate

Con tal favore e l’opra per farmi un dì beata nella stagion più adusta si fecondò la regal madre Augusta dell’Eroe che già nacque. La Gloria sospirata dunque a me non s’involi, e se ti piacque di sì famoso, e tanto piacer donarmi il vanto così permetti ò Giove ch’altri mai non mi tolga quel si deve a me per chiare prove, né fia ch’altri si dolga dei pregi miei poiché si ben comprende, non è ragion, che mia ragion contende.

Track 35 Aria

Tornò già nel mio sen | 22 | quel placido seren che mi lusinga. E vò sperare al fin che il fatto, ed il destin non scherzi o finga.

Track 36 Recitativo Autunno

Quante Provincie e Regni, quanti popoli afflitti a lui devoti, sciolsero al Cielo, e ai dei preghiere e voti; e quasi in fragil Barca cui contenda il suo porto il vento e l’onda, lungi dalla sua sponda quante diverse genti tutte l’ore or la speme agitava or il timore; io solo fui che al fine strinse alla sorte il crine io feci sicurtà del legno eletto, e ne trasse diletto l’amor dei suoi, che baldanzoso, e grande voci d’almo piacer d’intorno spande; onde alcun non vi sia, che pretenda scemar la gloria mia.

And that the sweet honor of victory can bring you sincere pleasure. Summer

By your favor and intervention the royal mother of the newborn hero was quickened amid the most parched season, to make me blessedly happy one day. Now do not let my glory be stolen from me, and if once you pleased to grant me the honor of such a celebrated pleasure, now, o Jove, let no one ever take from me what clear proof shows is my due, and let none complain of my honors; for it is easy to see that no argument can dispute my rights. The calm peace that soothes me has returned now to my breast. And I will hope at last that this is no jest or fraud of Fate and Destiny.

Autumn

How many provinces and kingdoms, how many suffering peoples, devoutly raised their prayers and vows to heaven and the gods. And as though in a fragile boat far from shore, fighting the wind and waves to reach port, how many different peoples trembled each moment with hope and then fear. It was I alone who made Fate smile on us at last; I kept the chosen craft safe, to the delight of his parents’ love; bold and great, now that love spreads tidings of invigorating gladness round about; so let none try to detract from my glory.

Track 37 Aria

Corre l’onda vagabonda, fugge il lido, e sempre riede ad accrescer l’acque al mar.

The wandering waves rush, fleeing the shore, and constantly return to increase the waters of the sea.

Tal già sento che il contento a quel sen rivolge il piede che pria vole abbandonar

Just so, I feel how happiness turns its steps back toward my heart that it formerly sought to leave.

Track 38 Recitativo Inverno

Anch’io potea di tenebrosi orrori coprir l’eterei campi; potea con tuoni, e lampi squarciando all’ombre il sen, gravi e funeste suscitar le tempeste, e all’improvviso orribile spavento resa per me infelice la regal Genitrice pianger potea disperse le speranze di Prole, e bel contento, che ritardaro a noi le stelle avverse. Dunque è mio tutto il merto, che se il Talamo Augusto già fecondo si rese, Imeneo che unì così richiese; e l’annunzio giocondo s’altri ne died al mondo per compir sì famosi alti accidenti io sol potei frenar procelle, e venti.

Track 39 Aria

Winter

I too could have filled the sky with dark horrors; slashing the bosom of darkness with thunder and lightning, I could have summoned terrible storms; and at this sudden, horrible fear, the royal mother, made unhappy by me, might have bewailed her lost hopes of a child, and the great happiness that the unfriendly stars withheld from us. So the merit is all mine; for if the royal bed has now become fruitful, that was the work of the marriage god; and while others imparted the happy news to the world, it was I alone who could hold back the storm and wind, so that this high birth could come to pass.

Di cieco orrore e d’ombra portai la mente ingombra or tutto il suo splendor m’apre il diletto.

My mind was filled with blind horror and shadow, but now delight reveals all its splendor to me.

E mentre mi rischiara fugge la pena amara e pien di gioia il cor mi brilla in petto.

And as it sheds its light on me, bitter pain flees, and my heart, filled with joy, shines in my breast.

Track 40 Recitativo Primavera

Messi del gioir mio furon i vostri contenti nel concepir nel publicar sicura e nel render matura la gloriosa e sospirata Prole. Ma quando ai rai del sole

Spring

The happiness of the rest of you foretold my joy, when you conceived, made known as certain, and allowed to ripen this yearned-for child. But when this glorious soul opened his eyes,

| 23 |

aprì la gloriosa alma pupilla, che sì chiara sfavilla furon solo di me gl’eccelsi onori di versar con diletto su la cuna reale e lauri e fiori.

Track 41 Aria

Canta dolce il rosignuolo sol per me tra valli ombrose.

The nightingale sings sweetly in shady vales, thanks to me alone.

E per me s’adorna il crine di ligustri, gigli e rose.

And it is thanks to me that he adorns his hair with privet, lilies and roses.

Track 42 Recitativo

| 24 |

sparkling so brightly, to the sun’s rays, I alone had the supreme honor of delightedly draping the royal cradle with laurel and flowers.

Giove

Jove

Ma più stupenda, e strana allora ei ben comparve, di mia mente sovrana l’opra in cui v’indrizzai tutto me stesso, quando distinto apparve l’ordine delle cose a gl’occhi espresso. Dunque l’esempio basti a far la Primavera più d’ogni’altra stagion superba, e altera.

But the deed of my sovereign mind, to which I gave all my attention, stood out all the more strange and amazing when the order of the world was made distinct and manifest to the eyes. Therefore let my example suffice to make the Spring more proud and noble than any other season.

Trassi dal nulla il tutto quando la luce e l’ombra era divisa creando il Ciel, la terra, e gl’elementi e le cose insensate e le vincenti; avvivai l’auree stelle le sfere, il sol, la luna; e dall’oscura e bruna notte divisa il giorno e di chiaro splendor lo resi adorno.

Track 43 Aria

I created all the world from nothing, when the light and dark were divided, making Heaven, Earth and the elements and all things, witless or wise; I lit the golden stars, the heavenly spheres, the sun, the moon; and separated the day from black, somber night, and adorned it with bright splendor.

Dell’alba e dell’aurora, che la sua cuna infiora è vanto e bel piacer se spunta il sole.

When the sun first appears, daybreak and dawn, who adorn his cradle, are the ones who receive the honor and delight.

Né de suoi vaghi rai che non conobbe mai, la notte può goder ma non sen duole.

Nor can the night rejoice in the sun’s pretty rays, which it has never seen; but it does not complain.

Track 44 Recitativo

E voi che parte aveste nell’opra in cui su gl’alti eterei chiostri impiegossi di Giove ancor la destra ite superbe pur de pregi vostri.

And you, who played a part in the deed at which Jove’s hand was even then at work in the high celestial halls, go with pride in your own merits.

Fastosa fama in tanto corra le vie del Ciel spiegando l’ale e l’inclito natale spieghi per l’orbe e lieta tempri con tal piacer gl’andati affanni e al rinnovar degl’anni rinovi negl’altrui dolci contenti, di Primavera i gloriosi eventi.

Track 45 Coro

Meanwhile let sumptuous fame race through the streets of Heaven, spreading her wings, and announce the glorious birth throughout the world, and happily temper past sadness with this pleasure; and as each year is renewed let it also renew in others’ sweet happiness the glorious events of Spring.

Primavera, Estate, Autunno, Inverno, Giove

Seasons, Jove

Non mi sprona tema orrore non m’affrena affanno o pena mostro il labbro scopro il viso ma sereno e pien di riso ne turbarlo il duol potrà.

Fear and horror do not goad me, I am not reined back by distress or pain, I show my face, serene and filled with smiles, which cannot be troubled by sadness.

Pieno è già d’almo diletto l’alma il seno il core il petto né dolor più soffrirà.

Track 46 Recitativo Primavera

Gran Padre delle stelle Io la sentenza e’ l tuo decreto adoro. Ma per comun ristoro poiché darci volesti Eroe sì degno, conserva al Padre, e al Regno vita sì preziosa, e così cara. Inverno

Sì, sì, de la Parca avara non far che al crudo ferro egli soggiaccia, e che degli’Avi suoi siegua la traccia.

Track 47 Aria

Sull’orme de’ grand’Avi deh fa che i passi stenda con fasto, e con pietà. E che da’ fieri, e gravi affanni lo difenda de suoi la fedeltà.

Track 48 Recitativo Estate

Sì, sì, poiché a te piacque del Fanciul che già nacque darne alla Primavera il vanto, e’ l pregio:

My soul, my bosom, my heart, my breast are filled with life-giving delight, and I will not suffer sadness ever again.

Spring

Great father of the stars, I worship your decree. But to comfort us all, as you chose to grant us such a worthy hero, preserve for his father and for the realm such a precious, dear life. Winter

Yes, do not let his life’s thread succumb to the cruel blade of grudging Fate, and let him follow in his forefathers’ path. In his great forefathers’ footsteps let him make his way in splendor and in mercy. And let his subjects’ loyalty defend him from harsh trouble. Summer

Yes, as it was your pleasure to grant Spring honor and merit for the newborn Boy,

| 25 |

sol bramo, e sol ti chieggio che immortal tu lo renda che segue i passi suoi sempre la gloria, che tempo non l’offenda, e che dia leggi ancora alla Vittoria.

Track 49 Duetto

I desire only that you make him immortal, that he may always walk in glory, that Time may not harm him, and that he may have Victory at his command.

Estate, Autunno

Summer, Autumn

E immortal tra noi si renda e mai colga tempo avaro sì bel fior di forti eroi.

And let this fine flower of great heroes become immortal among us and never fall to the grasp of covetous Time.

Arda avvampi l’alme accenda sempre dolce sempre caro lo splendor degl’occhi suoi.

Track 50 Recitativo Autunno

La gloria de’ grand’Avi fa che gl’apra il sentiero all’ardue imprese, e le sue vogli accese abbia sol di virtù così di nume imitando il costume il maggior vanto avrà de sommi dei | 26 | premiando i giusti, e debellando i rei.

Track 51 Aria

May the splendor of his eyes, always sweet, always dear, kindle, rouse and inspire our souls.

Autumn

Let his forefathers’ glory open his way to mighty deeds; let virtue alone inspire his ambitions; and thus, modeling his deeds on divine custom, rewarding the just and defeating the wicked, he will earn greatest praise from the highest gods.

L’offra sempre in pace, e in guerra le sue chiome amica sorte

May Fate always show him a friendly face in peace and in war,

Né maggior vegga la terra né più saggio oppur più forte.

And may the earth never see a man greater, or wiser, or stronger.

Track 52 Recitativo Primavera

Chiaro qual nacque al mondo fa che per l’opre illustri e viva, e regni e che gl’alti disegni che romper non può mai cieca Fortuna rendano con più fasto oscuro il corno all’ottomana luna. Fa che il nemico Trace morda i suoi ceppi, e che sicuro asilo non gli conceda mai l’Eufrate, e il Nilo. Fa che d’Asia, e di Lidia il popol fero invano s’armi, e invano del nato Eroe sovrano tenti turbar l’Augusto eccelso Impero.

Spring

Let this newborn boy live and reign bright for illustrious deeds, and let the grand destiny appointed for him, which blind Fortune itself cannot overthrow, eclipse with greater grandeur the horn of the Ottoman moon. May the enemy Turks gnash at their fetters, and may neither Nile nor Euphrates ever give them shelter. May the fierce people of Asia and Lydia take arms in vain, and vainly seek to disrupt the reign of the newborn sovereign hero.

Fa che depresso, e vinto sotto il peso fatal di sue catene di sangue, e di sudor bagni l’arene, e che in mirarlo estinto più lieto al fine il Pellegrin devoto compisca i suoi viaggi, e sciolga il voto.

Track 53 Aria

Overthrown and defeated, under the fateful weight of their chains, let them bathe the ground with their blood and sweat, and seeing them powerless, may the devout pilgrim complete his journey at last more happily, and fulfill his vow.

Il destin la sorte, e il fato prenda leggi dal suo core e le detti la pietà.

May destiny, fate and chance be ruled by his heart, and may mercy guide him.

E sia sempre in pace amato, e pugnando paventato per giustizia, e per valor per amor e maestà.

And may he always be loved in peace and feared in war for his justice and valor, his love and majesty.

Track 54 Recitativo Estate

Giove, e tu non rispondi? Deh ver noi volgi il viso e con dolce sorriso rendi, con più sereni ardenti lampi, chiari dell’etra i spasiosi campi. Fa che le mie campagne sian di Cerere amica il dolce nido, e che turbine infido la vaga loro amenità non furi, e dopo nembi oscuri deh permetti che al fine, mentre la bionda messe il sole indora, scherzino fra di noi Pomona, e Flora.

Track 55 Aria

Summer

But Jove, you do not answer? Turn your face to us and with a sweet smile, with calmer beams of light make the vast fields of the ether bright. Let kind Ceres make my fields her sweet nest; let no untrustworthy whirlwind carry off their lovely ease; and after dark cloudbursts at last permit Pomona and Flora to play among us while the sun turns the blond harvest to gold.

Fa che Zeffiro tra fronde cheto e lento sussurrando lieto goda al gioir mio.

Let Zephyr, whispering calmly and gently through the leaves, delight in my happiness.

E col suon delle bell’onde che lo sieguan mormorando fra erbette il fonte, e ‘l rio.

And with the sound of lovely waves let the fountain and brook follow him murmuring among the grass.

Track 56 Recitativo Autunno

Deh quell’Amor che inspira segrete intelligenze a fido cuore quello sol ti possieda, e quel ti detti sensi per noi di pace, e di diletti.

Autumn

Be filled with Love alone, which imparts secret knowledge to faithful hearts, and let love alone inspire you with feelings of peace and delight for us.

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Primavera

Spring

Inverno

Winter

Gira ver noi sereni gl’occhi d’almo splendore adorni, e pieni, e di labbri devoti pietoso accogli, e le preghiere, e i voti. Alle tue voci omai s’empian l’alme di gioia e di piacere, e v’applaudino i Cieli, e l’auree sfere.

Track 57 Coro

Primavera, Estate, Autunno, Inverno

Conti co’ i giorni le sue vittorie, e pien di glorie lo vegga il sol. Viva e s’adorni d’allori, e palme, né le sue calme mai turbi il duol.

Track 58 Recitativo

Giove | 28 | Scelsi sull’alte sfere il più vago il più puro, e nobil spirto, e da sua stella il trassi per darlo al mondo; altere ei l’orme imprimerà dovunque passi né mai di rose o mirto, fia che cinga le chiome elette sol d’allori al sacro incarco voi di trionfi carco mostrasi lo vedrete degno figlio di Giove né le sue piume in lete bagnar potrà sua chiara fama e grande e mentre tal si spande che invidia rechi agl’Avi suoi famosi riguarderan gelosi gl’astri la sua virtute, e Parca industre torcer voi scorgerete lungo lo stame alla sua vita illustre.

Turn to us your serene eyes adorned and filled with noble splendor, and mercifully accept the prayers and vows of devoted lips. At your command, let souls be filled with joy and pleasure, as the heavens and golden spheres show their approval. Seasons

May his victories be as many as his days, and may the sun behold him filled with glory. Long may he live, and be decked with laurels and palm leaves, may pain never trouble his calm. Jove

I have chosen from among the high spheres the most beautiful, pure, and noble spirit and have brought him from his star to give him to the world; he will lay down noble footsteps wherever he walks, his head shall never be destined for a crown of roses or myrtle, but bear only the laurel’s sacred burden. You will behold him laden with triumphs, a worthy son of Jove, and his fame, bright and fine, will never wet its plumes in Lethe’s waters; and as his fame grows so great that his famous Ancestors envy him, the stars will jealously look on his virtue, and you will see how industrious Fate spins out at great length the fine thread of his illustrious life.

Track 59 Coro

Primavera, Estate, Autunno, Inverno, Giove

Seasons, Jove

Non v’è più invidia o inganno timore o fiero affanno non sfidan trombe allarmi ma son di gioia i carmi, e pur dal cavo speco pace risponde l’eco pace ne da il destin.

There is no more envy or deceit, no fear or cruel distress, no trumpets sound alarms, but our songs are of joy. And even from the deep cave, the echo answers: Peace, destiny grants us peace.

Per le fiorite sponde di latte corron l’onde il Ciel non è più fosco, e stilla miele il bosco e sol di fronde e fiori da ninfe e da pastori, si fan ghirlande al crin.

Past flowery banks the rivers run with milk; the sky is no longer dark, and the woods drip with honey; and nymphs and shepherds garland their hair with leaves and flowers only.

Il Fine

The End

Ò bell’età dell’oro a noi ritorni al fin, se per comun ristoro nacque regal Bambin.

O splendid golden age, you return to us at last, for to comfort us all a royal Child is born.

ALESSANDRO SCARLATTI (1660 – 1725)

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philharmonia baroque orchestra

San Francisco’s Philharmonia Baroque Orchestra has been dedicated to authentic performances of Baroqu Under the leadership of Music Director Nicholas McGegan, Philharmonia was named Ensemble of the Y

The Orchestra performs an annual subscription season in the San Francisco Bay Area and is regularly hea chorus, the Philharmonia Chorale, under the leadership of Bruce Lamott. It welcomes eminent guest arti Ax, violinist Rachel Podger, and guest conductors such as Jordi Savall, Masaaki Suzuki, and Trevor Pinno

Philharmonia's U.S. tour appearances include Lincoln Center's Mosely Mozart Festival, the Tanglewood Chamber Orchestra Festival in Minnesota, Carnegie Hall in New York, the Festival del Sole in California performed at the BBC Proms in London, Snape Maltings, and the Concertgebouw in Amsterdam. Philha Germany, in 1999, 2001, 2002 and 2005.

The Orchestra has had numerous successful collaborations with celebrated composers and choreographer tenure as music director, Philharmonia premiered its first commissioned work, a one-act opera by Jake H | 30 |

In collaboration with the Mark Morris Dance Group, Philharmonia gave the U.S. premieres of the highly and Jean-Philippe Rameau's ballet-opera Platée. Philharmonia has also collaborated with many Bay Area San Francisco Girls Chorus, and Chanticleer.

In 2011, Philharmonia launched its own recording label, Philharmonia Baroque Productions. Its first rele Les Nuits d'ete and Handel arias. Subsequently, its recording of Haydn's Symphonies No. 104 "London", Performance. Recent releases include highlights from Handel's Teseo and three Haydn symphonies, Nos.

Prior to the launch of Philharmonia Baroque Productions, the Orchestra made 32 highly praised recordin Susanna received a GRAMMY® nomination and a 1991 Gramophone Magazine Award for the best Baro

Philharmonia Baroque Orchestra was founded by harpsichordist and Early Music pioneer Laurette Goldb

ue, Classical and early-Romantic music on original instruments since its inception in 1981. Year by Musical America in 2004.

ard on tour in the United States and around the world. The Orchestra has its own professional ists including mezzo-soprano Susan Graham, countertenor David Daniels, fortepianist Emanuel ock.

Festival, the Ravinia Festival, the Great Performers series at Lincoln Center, the International a's Napa Valley, and Walt Disney Concert Hall in Los Angeles. Internationally, the Orchestra has armonia appeared as the featured orchestra at the International Handel Festival in Göttingen,

rs. In November 2006, to mark its 25th season and the 20th anniversary of Nicholas McGegan’s Heggie with a libretto by Gene Scheer entitled To Hell and Back.

y acclaimed productions of G.F. Handel’s Acis and Galatea, Henry Purcell's King Arthur, performing arts groups, such as Alonzo King's LINES Ballet, San Francisco Opera Center,

ease was an archival performance of mezzo-soprano Lorraine Hunt Lieberson singing Berlioz's , No. 88, and No. 101 "The Clock" was nominated for a GRAMMY® Award for Best Orchestral 57, 67, and 68.

ngs for harmonia mundi, Reference Recordings, and BMG. Its recording of the Handel oratorio oque vocal recording.

berg.

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Š suzanne karp

nicholas m c gegan

Waverley Fund Music Director | Philharmonia Baroque Orchestra

Nicholas McGegan has been music director of California-based Philharmonia Baroque Orchestra and Chorale since 1985. He was Artistic Director of the Göttingen International Handel Festival for 20 years as well as Principal Guest Conductor of Scottish Opera and of the Swedish Court Theatre at Drottningholm. His catalogue of recordings now numbers over a hundred, including Handel operas and oratorios and major works by the Baroque, Classical, and early Romantic masters. The works of Handel dominate his discography with over 50 CDs, including Susanna, which was nominated for a GRAMMY® Award and also won a Gramophone Award, as did Ariodante. His Alessandro | 34 | Scarlatti recordings include four volumes of Cantatas, as well as The Cecilian Vespers with Susanne Rydén, Dominique Labelle and Michael Slattery and the oratorio, La Giuditta, featuring Drew Minter and Katalin Gémes. Haydn is also well-represented, including a CD of the complete Violin Concertos with Capella Savaria, and with Philharmonia Baroque Orchestra, the GRAMMY®-nominated CD of Haydn Symphonies 88, 101 and 104, and the follow-up recording of Symphonies 57, 67, and 68. A frequent collaborator in concert and on disc was mezzo-soprano Lorraine Hunt Lieberson, who appears on several recordings of Handel, Bach and Berlioz. The rest of McGegan’s extensive catalogue carries both familiar and not so well known works from both J.S. and C.P.E. Bach, Beethoven, Brahms, Corelli, Kraus, Monteverdi, Mozart, Purcell, Rameau, Uccellini, Vivaldi, and others, on harmonia mundi USA, Virgin, Decca, RCA, Hungaroton, and other major labels.

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Š rj muna

about philharmonia chorale Critically acclaimed for its brilliant sound, robust energy and sensitive delivery of the text, the Philharmonia Chorale was formed in 1995 to provide a vocal complement whose fluency in the stylistic language of the Baroque period matched that of Philharmonia Baroque Orchestra. The 24 members of the Chorale are professional singers with distinguished solo and ensemble experience. Chorale members appear regularly with organizations such as the San Francisco Symphony, Carmel Bach Festival, and American Bach Soloists, and are guest soloists with most of the area’s symphonic and choral organizations. They appear in roles with regional opera companies and have been members and founders of some of the country’s premiere vocal ensembles, including | 36 | Chanticleer, the Dale Warland Singers, and Theatre of Voices. Founded by John Butt, a Baroque keyboardist and one of the world’s leading Bach scholars, the Chorale has been led by conductor and musicologist Bruce Lamott since 1997. In its first decade, the Chorale’s repertoire included nine Handel oratorios, Bach’s St. John Passion and Christmas Oratorio, Mozart’s C Minor Mass, and – in collaboration with other choral ensembles – Beethoven’s Symphony No. 9. The Chorale made its New York debut at the Brooklyn Academy of Music in 1997, and has appeared with Philharmonia Baroque Orchestra at Walt Disney Concert Hall in Los Angeles, at New York City’s Lincoln Center, and at the new Renée and Henry Segerstrom Concert Hall in Orange County. The Chorale appears on the Orchestra’s recordings of Arne’s Alfred, Scarlatti’s Cecilian Vespers, and Beethoven’s Symphony No. 9. Philharmonia Chorale is directed by Bruce Lamott.

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Š frank wing

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bruce lamott Bruce Lamott has been director of the Philharmonia Chorale since 1997 and is Philharmonia Baroque Orchestra's Scholar-in-Residence. He first performed with the Orchestra in 1989 as continuo harpsichordist for Handel’s Giustino. Lamott was previously the director of choruses and conductor of the Mission Candlelight Concerts at the Carmel Bach Festival, where his 30-year tenure also included performing as a harpsichordist and presenting as a lecturer and education director. In eight seasons as choral director and assistant conductor of the Sacramento Symphony, he conducted annual choral concerts of major symphonic choral works, including both Bach Passion settings, Haydn’s The Seasons, and Stravinsky's Symphony of Psalms, as well as preparing the symphony chorus for their subscription season. Lamott received a bachelor’s degree from Lewis and Clark College, and an M.A. and Ph.D. in musicology from Stanford, where he researched keyboard improvisation practices of the Baroque period. His teaching career began on the musicology faculty at UC Davis, where he also directed the Early Music Ensemble. He lives in San Francisco with his husband, Kip Cranna, dramaturg of the San Francisco Opera, and teaches music history and conducts the choirs and chamber orchestra at San Francisco University High School. As a part-time professor of music history at the San Francisco Conservatory of Music since 2001, he specializes in the vocal and instrumental repertoire of the 18th century. In his opera-related activities, Lamott teaches continuo realization for San Francisco Opera's Merola Opera Program and lectures for the Opera's education program and Opera Guild.

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diana moore English mezzo-soprano Diana Moore is being lauded on both sides of the Atlantic for her “emotional depth” (The Guardian), “thrilling” technical bravura (Gramophone), and “rich, evocative sound” (San Francisco Chronicle). She enjoys a varied international career of opera, oratorio, and concert performances, and is a popular recitalist. Recent and upcoming engagements include Elgar’s The Dream of Gerontius at Royal Albert Hall; Scarlatti’s La Gloria di Primavera with Philharmonia Baroque Orchestra; the title role in Rinaldo at the National Theatre in Prague; and Mendelssohn’s Elijah at Barbican Centre. Because of her graceful stature she is in demand for many trouser roles, including the title character in Rinaldo (Göttingen International Handel Festival, Flanders Opera, VlaamseOper, | 40 | the National Theatre in Prague, and Opera de Versailles); “Sesto” in Giulio Cesare (Göttingen); “Armindo” in Partenope with the Early Opera Company; and “Medoro” in Handel’s Orlando, a role she had toured with the Philharmonia Baroque Orchestra and Nicholas McGegan to the Ravinia Festival, Lincoln Center, and the Tanglewood Festival. Other operatic roles include “Penelope” in Monteverdi’s Il Ritorno d’Ulisse for the Aldeburgh Festival and “Dido” in Dido and Aeneas for The Early Opera Company. Ms. Moore’s vocal quality and training place her firmly within the fine tradition of English mezzo-sopranos. She is known as a leading exponent of English song. For the centennial of Kathleen Ferrier’s birth, she devised the critically acclaimed A Celebration of Kathleen Ferrier— Her Life, Letters & Music, which has been endorsed by the Kathleen Ferrier Society and presented at several major venues. Visit Diana Moore at www.dianamoore.co.uk | schwalbeandpartners.com/diana-moore-mezzo-soprano

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Š peter everard smith

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Š jean-luc benazet

suzana ograjenšek Slovene soprano Suzana Ograjenšek is being praised for her ‘silvery’ and ‘vibrant’ sound (SF Mercury News), for the ‘fantasy’ (Delo) and ‘manifold facets’(Göttinger Tageblatt) of her delivery, and for her captivating stage presence (‘lucid, sunny, and slightly feisty’– SF Classical Voice; ‘angel incarnate’–L'Alsace). She has worked extensively in Baroque repertoire and has collaborated with William Christie, Christopher Hogwood, Nicholas McGegan, and Ivor Bolton. Notable operatic appearances include Purcell’s The Fairy Queen at the Aix­en­Provence Festival (Christie), Monteverdi’s Poppea at Teatro Real Madrid (Christie), Monteverdi’s Orfeo at Theater an der Wien (Bolton), and Handel’s Jephtha at Opéra national du Rhin in Strasbourg (Bolton). In 2016 she is making her Carnegie Hall debut in Scarlatti’s La Gloria di Primavera with the Philharmonia Baroque Orchestra. Concert engagements have also featured work with the Freiburger Barockorchester as well as appearances with the RTV Slovenia Symphony Orchestra in works of Handel and Mozart. She is the founder of the Baroque Ensemble La Falsirena, devoted to the vocal music of high Baroque. Chamber repertoire also features collaboration with the Fitzwilliam String Quartet, with whom she has performed both classical and contemporary repertoire. She has toured with the ensemble Odissea under the direction of Benjamin Bayl with a programme of Handel’s Roman cantatas, including the London Handel Festival and the Händel­Festspiele in Göttingen. Her discography includes a DVD of the Madrid Poppea on Virgin Classics, J.K.Dolar’s Miserere with the RTV Slovenia Symphony Orchestra, and Haydn’s songs with the Fitzwilliam String Quartet. She is a winner of the Williamson Prize for Musical Performance. She is also the editor of Il pastor fido HWW 8a for the Hallische Händel­Ausgabe, a contributor to the Cambridge Handel Encyclopedia, and has co­edited Ancient Drama in Music for the Modern Stage for Oxford University Press. www.suzanaograjensek.com

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clint van der linde Born in South Africa, Clint van der Linde started singing at the Drakensberg Boys Choir School at age 10. In 1996 he was offered an International Scholarship to spend a year at Eton College during which he was offered the “Queen Elizabeth the Queen Mother Scholarship” for a four year B-Mus degree at the RCM, London. During his studies Clint had master classes with Anthony Rolf-Johnson, Roger Vignoles, Sarah Walker, Michael Chance, and James Bowman.

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Clint has performed in concert halls throughout Europe, the US, Australia, and Japan, in venues such as Carnegie Hall, Lincoln Center, Tanglewood Music Festival’s Ozawa Hall, Royal Albert Hall, Suntory Hall (Japan) and Het Concertgebouw (Amsterdam) as well as in festivals such as the BBC Proms, Edinburgh Festival, the Bach Festpieler in Leipzig, the Handel Festspieler in Halle, Mannheim Mozart Somerfestspieler, and the Mostly Mozart Festival in New York; and in staged performances in theatres across the UK, La Monnaie (Brussels), the Royal Opera House (Copenhagen), Schwetzingen, and Bielefeld Opera. Clint has shared the stage with world-renowned groups and orchestras such as the Academy of Ancient Music, The Goettingen Festspieler Orchestra, the Zurich Chamber Orchestra, Il Fondamento, the Hanover Band, the Israel Camerata, the King’s Consort, Le Musiche Nove, the Orchestra of the Age of Enlightenment, the Royal Philharmonic Orchestra, the Salzburg Camerata, Stuttgart Baroque Orchestra, Melbourne Symphony Orchestra, and Bach Collegium Japan. Conductors include George Petrou, Masaaki Suzuki, Stephen Layton, Sir Roger Norrington, Frieder Bernius, Nicholas Kraemer, Stephen Cleobury, Peter Schreier, Wolfgang Katchner, Gerhard Korsten, Kazushi Ono, Jan Willem de Vriend, Lawrence Cummings, Paul Dombrecht, and Nicholas McGegan. His operatic roles include Oberon in A Midsummer Night’s Dream; Farnace in Mozart's Mitridate; and title roles in Handel’s Flavio, Ottone, Lotario, Tolomeo, Rinaldo, and Cavalli's Jasone. Other Handel roles include Andronico (Tamerlano), Judas (Brockes Passion), Arsemenes (Xerxes), Dardanus (Amadigi), and Narciso and Ottone (Agrippina). Other roles include Fernando in Conti's Don Chischotte in Sierra Morena and the Guardian of the Threshold in R Strauss' Die Frau Ohne Schatten.

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Š henry dombey

nicholas phan American tenor Nicholas Phan has appeared with many of the leading orchestras in North America and Europe, including the New York Philharmonic, Boston Symphony, Chicago Symphony, San Francisco Symphony, Los Angeles Philharmonic, Cleveland Orchestra, Philadelphia Orchestra, Chamber Music Society of Lincoln Center, BBC Symphony, and the English Chamber Orchestra. He toured extensively throughout the major concert halls of Europe with Il Complesso Barocco and appeared with the Edinburgh, Ravinia, Rheingau, Tanglewood and Marlboro music festivals, and at the BBC Proms. In opera, he has appeared with the LA Opera, Houston Grand Opera, Seattle Opera, Glyndebourne Opera, Frankfurt Opera, and the Maggio Musicale in Florence. In recital, he has been presented by Carnegie Hall, the Metropolitan Museum of Art, the Philadelphia Chamber Music Society, Boston’s Celebrity Series, Atlanta’s Spivey Hall, and the Library of Congress in Washington, DC. He is also a founder and the Artistic Director of Collaborative Arts Institute of Chicago, an organization devoted to promoting the art song and vocal chamber music repertoire. Mr. Phan’s most recent solo album, A Painted Tale, was released on Avie Records in February of 2015. His previous solo album, Still Falls the Rain (Avie), was named one of the best classical recordings of 2012 by The New York Times. His growing discography also includes the Grammy-nominated recording of Stravinsky’s Pulcinella with Pierre Boulez and the Chicago Symphony Orchestra (CSO Resound), his debut solo album, Winter Words (Avie), the opera L’Olimpiade with the Venice Baroque Orchestra (Naïve), and the world premiere recording of Elliott Carter’s orchestral song cycle, A Sunbeam’s Architecture (NMC).

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douglas williams “The gifted young bass-baritone Douglas Williams” (The New York Times) combines a “formidable stage presence” (Seattle Times) with “a bass voice of splendid solidity” (Music Web International), making him one of the most appealing singing actors of his generation. He has collaborated with leading conductors including Nicholas McGegan, Helmut Rilling, Sir Neville Marriner, John Nelson, and Christoph Rousset, in such prestigious venues as Lincoln Center, the Kennedy Center, Stuttgart’s Mozart-Saal, and the Frankfurt Alte Oper. Douglas was highly acclaimed as “Polyphemus” in the world premiere Mark Morris Dance Group production of Handel’s Acis and Galatea, and he performs the role this fall with Boston Early Music Festival. A recording with the group will be released in 2015. Other recent appearances include “Laurence” in Grétry’s Le Magnifique with Opera Lafayette | 48 | (recorded for Naxos) and “Aeneas” in Dido and Aeneas with the Boston Early Music Festival. His recording of Charpentier’s La Descente d’Orphée aux Enfers with BEMF won the 2015 Grammy Award for Best Opera Recording. Mr. Williams’ “superb sense of drama” (The New York Times) is as apparent on the concert stage as it is in opera. Concert highlights include a performance at Carnegie Hall with James Levine and the MET Chamber Ensemble of Charles Wuorinen’s It Happens Like This; Handel’s Messiah with the Detroit and Houston Symphony Orchestras; Beethoven’s Missa Solemnis with the Cathedral Choral Society; Elgar’s Dream of Gerontius with New Haven Symphony, and Bach’s St. John Passion with Les Talens Lyriques. His 2015-2016 season features performances and a new recording of Scarlatti’s La Gloria di primavera with conductor Nicholas McGegan and the Philharmonia Baroque Orchestra and a reprisal of his role of “Caronte” in Monteverdi’s Orfeo with the dance company Sasha Waltz & Guests in Berlin, Bergen, and Baden-Baden and Opera Lille in France.

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Š katherine griswold

PHILHARMONIA BAROQUE ORCHESTRA The Players and Their Instruments PHILHARMONIA CHORALE Heidi Waterman, soprano Jennifer Ashworth, soprano Katherine McKee, alto David Kurtenbach, tenor John Bischoff, bass VIOLIN Lisa Weiss concertmaster

Anonymous, London; after Testore Egon & Joan von Kaschnitz Concertmaster Chair

Elizabeth Blumenstock

Andrea Guarneri, Cremona, 1660; on loan from Philharmonia Baroque Orchestra Period Instrument Trust | 50 | Susan B. Levy Chair

Jolianne von Einem

Maxine Nemerovski

Timothy Johnson, Bloomington, Indiana, 1999; after A. Stradivari

Sandra Schwarz

Rowland Ross, Portsmouth, England, 1987; after A. Stradivari

Noah Strick

Celia Bridges, Cologne, Germany, 1988

Gabrielle Wunsch

Lorenzo Carcassi, Florence, Italy; 1765

Alicia Yang

Richard Duke, London, 1762

VIOLA David Daniel Bowes *

Richard Duke, London, c. 1780

Maria Ionia Caswell

Rowland Ross, Guildford, England, 1979; after Antonio Stradivari, Cremona

William Old, Falmouth, England, 1895

Lisa Grodin

Anonymous, Germany, 18th Century

Paulo Antonio Testore, Contrada, Larga di Milano, Italy, 1736

Katherine Kyme â€

Ellie Nishi

Aaron Westman

Dmitry Badiarov, Brussels, Belgium, 2003

Carlo Antonio Testore, Milan, Italy, 1720

VIOLONCELLO

Tyler Lewis

William Skeen *

Timothy Johnson, Hewitt, Texas, 2009; after A. Stradivari

Carla Moore

Johann Georg Thir, Vienna, Austria, 1754

Anonymous, Holland, c. 1680

Phoebe Carrai

Anonymous, Italy, c. 1690 Zheng Cao Memorial Chair

Paul Hale

Joseph Grubaugh & Sigrun Seifert, Petaluma, 1988; after A. Stradivari Osher Cello Chair Endowment

Robert Howard

Anonymous, Venice, 1750

DOUBLE BASS Kristin Zoernig *

Joseph Wrent, Rotterdam, Holland, 1648

Timothy Spears

Anonymous, Germany

FLUTE Stephen Schultz *

BASSOON Andrew Schwartz *

Guntram Wolf, Kronach, Germany, 2008

Kate van Orden

Peter de Koningh, Hall, Holland, 1985; after H. Grenser

TRUMPET John Thiessen *

Rainer Egger, Basel, Switzerland, 2003; after Ehe, 1746

Fred Holmgren

Fred Holmgren, Massachusetts, 2005; after J. L. Ehe III, 1746

Martin Wenner, Singen, Germany, 2010; after C. Palanca, c. 1760

LUTE

OBOE

Andreas von Holst, Munich, Germany, 2004; after Magno Tieffenbrucker, Venice, Italy, 1610

Marc Schachman *

David Tayler *

H. A. Vas Dias, Decatur, Georgia, 2001; after T. Stanesby, England, c. 1710 Principal Oboe Chair In Memory of Clare Frieman Kivelson and Irene Valente Angstadt

Daniel Zuluaga

Gonzalo Ruiz

Hanneke van Proosdij *

Joel Robinson, New York, 1990; after Saxon models, c. 1720

Michael DuPree

H. A. Vas Dias, Decatur, Georgia, 1995; after T. Stanesby, England, c. 1700

Stephen Bard

Joel Robinson, New York, 2003; after Saxon models, c. 1720

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Lars Jönsson, Dalarö, Sweden, 2003

HARPSICHORD John Phillips, Berkeley, 1993; Italian harpsichord after 18th century Florentine prototypes; generously lent by John Phillips

Nicholas McGegan

John Phillips, Berkeley, 1996; after Giusti, Italy, 17th century; generously lent by Nicholas McGegan

* Principal † Principal 2nd Violin

ALSO AVAILABLE FROM PHILHARMONIA BAROQUE PRODUCTIONS

PBP-08 8-5218800310-2

PBP-07 8-5218800309-6

PBP-04 8-5218800306-5

PBP-03 8-5218800304-1

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PBP-06 8-5218800308-9

PBP-05 8-5218800307-2 | 53 |

PBP-02 8-5218800302-7

PBP-01 8-5218800301-0

ALESSANDRO SCARLATTI (1660 – 1725)

La Gloria di Primavera PRIMAVERA ESTATE AUTUNNO | 54 | INVERNO GIOVE

diana moore,

mezzo-soprano soprano clint van der linde, countertenor nicholas phan, tenor douglas williams, bass-baritone suzana ograjenšek,

Philharmonia Baroque Orchestra & Chorale Nicholas McGegan, music director Recorded live at First Congregational Church, Berkeley, CA | October 4-6 & 10, 2015 © and 2016 Philharmonia Baroque Productions Recorded in 5-channel surround sound at 24-bit/192 kHz resolution Presented in 24-bit/192 kHz 5.1 Surround - DTS-HD Master Audio 2.0 LPCM Stereo To listen to the music without a video monitor, simply insert the disc into your player, wait for the disc to start up and press PLAY on your remote control. You can select your preferred audio format at any time using the colored buttons on your remote as listed above. This recording is made possible by a generous gift from the Waverley Fund. www.philharmonia.org

PBP-09BD 8-5218800311-9 Total Playing Time: 138:36