Choreography by Mauro Bigonzetti
CARAVAGGIO | Staatsballett Berlin
Music by Bruno Moretti assembled and orchestrated from the work of Claudio Monteverdi
Here's the unedited recording of the violin and recorder parts from Monteverdi's Il Ritorno d'Ulisse in Patria that I'm currently working on
I just really, really like this piece.
I especially love how jolly and lively it sounds on its own without the brass
Here's the sheet music if anyone's interested:
And here's an actual recording (starting at 1:55:08):
Paul Brühwiler, Claudio Monteverdi. Il trionfo dell'amore, Luzerner Theater, Internationale Musikfestwochen Luzern, 1996 [Museum für Gestaltung Zürich]
Sì dolce e'l tormento, SV 332
Claudio Monteverdi (1567 - 1643)
Philippe Jaroussky (countertenor)
L'Arpeggiata Ensemble
(remastered)
Sì dolce è'l tormento
Ch'in seno mi sta,
Ch'io vivo contento
Per cruda beltà.
Nel ciel di bellezza
S'accreschi fierezza
Et manchi pietà:
Che sempre qual scoglio
All'onda d'orgoglio
Mia fede sarà.
La speme fallace
Rivolgam' il piè.
Diletto ne pace
Non scendano a me.
E l'empia ch'adoro
Mi nieghi ristoro
Di buona mercè:
Tra doglia infinita,
Tra speme tradita
Vivrà la mia fè.
[Per foco e per gelo
Riposo non hò.
Nel porto del cielo
Riposo avrò.
Se colpo mortale
Con rigido strale
Il cor m'impiagò,
Cangiando mia sorte
Col dardo di morte
Il cor sanerò.]
Se fiamma d'amore
Già mai non sentì
Quel rigido core
Ch'il cor mi rapì,
Se nega pietate
La cruda beltate
Che l'alma invaghì:
Ben fia che dolente,
Pentita e languente
Sospirimi un dì.
~~
So sweet is the torment
That lies in my heart,
That I live happily
In the face of cruel beauty.
In heaven's beauty
Fierce pride may grow bold
Without pity
But always my faith
Will be a rock
Against that wave of pride.
May false hope
Turn back from me
May neither delight
Nor peace descend upon me.
And the cruel woman I adore
Deny me
Merciful relief;
Amidst infinite pain
Amidst broken hope,
My faith shall survive.
[From fire and ice
I will find no repose
Only at the gate of heaven
I shall find repose.
Should the deadly strike
Of an arrow
Injure my heart,
My heart shall heal
By changning my lot
With that arrow of death]
If that unyielding heart
That has captured mine
Has never felt
The flames of love,
If the cruel beauty
That enthralled my soul
Denies me pity,
Then let it be that one day,
Languishing in pain and repentance,
She will sigh for me.
The performance is on YouTube:
www.youtube.com/watch?v=XsKXV90Yn…%C4%91i%E1%BB%83n
(petite histoire poétique des villes, l’origine de la musique)
retrouvé l’architecture de Venise dans l’Orféo ; son « possente spirto » comme une fulgurante déclaration d’amour à ses échos puissants de pierre et de reflets, à ses jeux floraux qui se reproduisent le long des lignes de fuite, à ses perspectives dupliquées qui engagent vers des voies de mystère ; ici pour traverser le styx, là pour effacer la ligne entre la vie et la mort ; spatialisation de la musique de Monteverdi pour dire l’espace de la ville, ses répliques infinies ; la ville qui semble l’avoir inspiré, établit et posé des principes pour son œuvre ; partition de ville, partition de musique, comme jumelées ; le chant mélodieux comme un calque des effets visuelles de la cité aux milles échappées, une réplique sonore saisie dans un tremblement, la ville spectre au milieu du grand départ sur le fleuve qui délimite la vie, la ville lacustre qui avance vers nous toute en lumière
"You want to be the slave of something because there’s just this overwhelming anxiety. Sometimes it’s not anxiety, it’s a thrill that you get from the feeling that just anything goes. I’m doing this scene, but I could be doing something that’s fifty times better – I just don’t know what it is or how to get it. It’s like the anxiety that comes from total freedom. That kind of freedom can make you very nervous because it of course always throws you up against your limitations. You have a sense of terrible freedom. You could be doing anything, and look at what you’re doing. It’s so pathetic. And so every day you get a lesson in humility. It’s not that the lesson in humility is bad, but the daily dose is just discouraging."
Terrence Malick
In conversation with Joseph Gelmis
Recorded circa. 1974
VIDEO:
Polina Semionova & Vladimir Malakhov
CARAVAGGIO | Staatsballett Berlin
Choreography: Mauro Bigonzetti
Music by Bruno Moretti assembled and orchestrated from the work of Claudio Monteverdi
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