LASSUS Le nozze in Baviera - Music for the 1568 Wedding of Wilhelm of Bavaria and Renate of Lorraine
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Orlande de
LASSUS
Le nozze in Baviera
Music for the 1568 Wedding of Wilhelm
of Bavaria and Renate of Lorraine
Ensemble Origo • Eric Rice, Director
Orlande de
LASSUS
(1532–1594)
Le nozze in Baviera
Music for the 1568 Wedding of Wilhelm of Bavaria and Renate of Lorraine
1 Te Deum laudámus (a 6) (from Selectissimae cantiones) * (1568) 15:21
(Text: Anonymous)
2 Gratia sola Dei (a 6) (from Cantiones aliquot) * (1569) 9:00
(Text: Nicolò Stoppio, ?–1570)
3 Álla la pia calia (a 4) (from Libro de villanelle, moresche, et altre canzoni) (1581) 2:15
(Text: Anonymous)
4 Canta, Georgia, canta (a 6) (from Libro de villanelle, moresche, et altre canzoni) * (1581) 2:23
(Text: Anonymous)
5 Hai, Lucia, bona cosa (a 4) (from Libro de villanelle, moresche, et altre canzoni) * (1581) 2:42
(Text: Anonymous)
6 Lucia, celu, hai biscania (a 4) (from Libro de villanelle, moresche, et altre canzoni) (1581) 3:27
(Text: Anonymous)
7 O Lucia, miau (a 3) (from Il terzo libro delle villotte alla napoletana) ** (1560) 2:28
(Text: Anonymous)
8 Cathalina, apra finestra (a 6) (from Libro de villanelle, moresche, et altre canzoni) * (1581) 4:46
(Text: Anonymous)
9 Chi chilichi (a 6) (from Libro de villanelle, moresche, et altre canzoni) * (1581) 3:10
(Text: Anonymous)
0 Matona, mia cara (a 4) (from Libro de villanelle, moresche, et altre canzoni) * (1581) 2:53
(Text: Anonymous)
! Se sì alto pôn gir mie stanche rime (a 5) (from Il terzo libro di madrigal) (1563) 2:46
(Text: Petrarch, 1304–1374)
8.579063 2
Filippo AZZAIOLO (between 1530 and 1540 – after 1570; fl. 1557–69)
@ Chi passa per ’sta strada (from Il primo libro de villotte alla padoana con alcune napolitane) *** (1557) 1:53
(Text: Anonymous)
Orlande de LASSUS
# Mi me chiamere (a 5) (from Libro de villanelle, moresche, et altre canzoni) * (1581) 2:22
(Text: Anonymous)
$ Par ch’hai lasciato (a 4) (from Libro de villanelle, moresche, et altre canzoni) * (1581) 3:01
(Text: Anonymous)
% Zanni! Piasi, Patrò? (a 8) (from Libro de villanelle, moresche, et altre canzoni) 2:18
(Text: Anonymous)
Arr. Eric Rice (b. 1969):
* for vocal and instrumental ensemble, 2015
** for 2 voices and alto viola da gamba, 2015
*** for voice and lute, 2015
Ensemble Origo
Megan Chartrand 1–4 6 8 9 #–%, Jessica Petrus 1–4 7–9 ! # %, Soprano
Mary Gerbi, Alto 1–5 8 9 ! #–% • Ryland Angel, Alto 1–3 7 0 %, Tenor 1
Michael Barrett, Tenor 1–6 8–! # %
Lawrence Jones, Tenor 1–4 6 8–@ $ %
Paul Guttry, Bass-baritone 1– 4 6 8– ! #– %
Paul Max Tipton, Bass-baritone 1– 3 %
Lawrence Lipnik, Soprano recorder 1 4 8, Tenor recorder 1 9, Bass viola da gamba 2 5 # $
Sarah Mead, Soprano recorder 4 8 9, Alto viola da gamba 1 2 5 7 # $
Greg Ingles, Alto recorder 1 4 8 9, Alto sackbut 1 2 0
Erik Schmalz, Tenor recorder 1 4 8 9, Tenor sackbut 1 2 0
Mack Ramsey, Tenor recorder 1 4 $, Bass sackbut 1 2 4 8–0 • Nathaniel Cox, Cornetto 1 2 9 0, Lute 8 @ $
Guest artists
Doug Freundlich, Lute $ • Laura Jeppesen, Alto viola da gamba # • Mai-Lan Broekman, Alto viola da gamba #
Janet Haas, Bass viola da gamba # • Jeffrey Grossman, Harpsichord $
Eric Rice, Conductor 1– 4 8– 0 # %, Director 5– 7 ! @ $
3 8.579063
Orlande de LASSUS (1532–1594)
Le nozze in Baviera:
Music for the 1568 Wedding of Wilhelm of Bavaria and Renate of Lorraine
Exploring Ritual, Race, Caricature, and Sexuality in to be heard in order to gain a robust understanding
16th-Century Europe of how they function. This performance of Lassus’s
moresche in something like their original context does
This recording originated from my curiosity about the not constitute an endorsement of the views expressed
moresca, an Italian musical genre that caricatured in them, nor does it represent unambiguous advocacy
Black Africans. I wanted to know where, how, and for for them as works of art. Though these pieces have
whom these pieces were performed; this recording of been recorded before, little regard has been paid to
four vignettes from a 16th-century wedding is the result. the original context in which they were created and
Like most scholars and performers of early European performed. This recording seeks to address that.
music, I am a white person of privilege, and among The 1568 wedding of Renate of Lorraine to Wilhelm V,
the many things such privilege has afforded me is the heir to the throne of the Duke of Bavaria, occupied
opportunity to study and perform this music. While I do the Munich court and its guests from February 22 to
not claim any first-hand knowledge of exclusion due March 10 – an 18-day celebration. Duke Albrecht V was
to my race, my gender, or the traditional beliefs of my determined to make his son’s wedding an occasion on
ancestors, I am fervently interested in understanding par with those at the best Italian courts. He had long
racism, oppression, and their manifestations in cultures sought to hire the best artists and musicians, and the
past and present. Oppression in music of the past is Franco-Fleming Orlande de Lassus, known in Italian as
often simple erasure on the part of music historians ‘Orlando di Lasso’, had been his maestro di cappella
and performers: the tacit denial that people of other since 1556. Lassus modelled Albrecht’s musical
races even existed in a particular time and place, either establishment on those of various Italian courts,
through neglect or refusal to bring their documented employing a mixture of Northern and Italian musicians.
presence to light. Such erasure, in turn, has resulted One of the Italians, Massimo Troiano, was charged with
in a lack of understanding of how music was used to recording the event in a description published in the
perpetuate the myth of white European superiority. In form of a dialogue in 1569. It is from Troiano’s Dialoghi
this recording, I aim to show the presence of Black that we learn enough about the event to make a
Africans in several 16th-century European musical hypothetical reconstruction of some of Lassus’s musical
works, to demonstrate how these works were used, contributions to it, particularly those surrounding
and to invite our listeners to consider their various improvised comedy. Lassus’s 1581 Libro de villanelle,
purposes, including the perpetuation of the white moresche, et altri canzoni contains a number of
superiority myth. While I could have demonstrated works whose texts are associated with the commedia
such uses solely in the context of scholarly articles, dell’arte; the volume is thus the principal source for
these have less currency and immediacy than the the secular works on this recording. The book also
act of listening – of bearing witness with the ears – to contains a group of six moresche interspersed among
this music, which must first be performed by modern the commedia dell’arte works. Our recording is an effort
musicians. Indeed, many of these representations have to assemble some of Lassus’s works for the wedding
8.579063 4celebration so that we can hear them in something like events of the period, the ceremony concluded with the
their original context. In so doing, we hope to shed light singing of the Te Deum. Troiano identifies a six-voice
on some of the various meanings that the music had for setting by Lassus as the work performed, and the
its 16th-century listeners. piece appeared in print in Nuremberg the same year.
Our reconstruction comprises four vignettes from Concerning the performance, Troiano wrote:
Troiano’s description: the conclusion of the wedding
ceremony itself, during which we hear Lassus’s six- ‘… the Illustrious and Most Reverend Cardinal
voice Te Deum; the performance of a motet that Lassus sang the prayer and the verses softly, as the
composed for the occasion during supper one week scripture teaches, to which the usual music
later; a Saturday evening performance of moresche [sung by] the most illustrious cardinal sweetly
in the bridal chamber 13 days after the wedding; answered, with a louder voice, with “Te Deum
and music heard during an improvisatory commedia laudamus”, and with high and cheerful voices,
dell’arte performance 15 days after the wedding. The the singers continued with “Te Dominum
last two vignettes are essentially burlesques, and the confitemur” for six [voices], by Master Orlando
content of their texts range from mild innuendo in the di Lasso, and the greater the attention paid by
commedia dell’arte works to blatantly sexual and/ the listeners, the more beautiful were the artful
or scatological themes in the moresche. As will be thirds and beautiful fourths, and they were
discussed below, such contrasts pertain to the identity sung by good and practiced voices.’
of the characters represented and presumably the
purpose of the representations. Though Troiano does not mention instruments,
they could well have been used in such a festive
1. Sunday, 22 February 1568 – The Day of the Wedding context, and we have added them freely.
The Conclusion of the Ceremony
We begin with the beginning of the celebration: the
wedding ceremony itself. As with most solemn state
1 Te Deum laudamus
Te Deum laudamus: We praise thee, O God:
Te Dominum confitemur. We acknowledge thee to be the Lord.
Te æternum Patrem All the earth doth worship thee,
Omnis terra veneratur. The Father everlasting.
Tibi omnes Angeli; To thee all Angels cry aloud:
Tibi coeli et universae potestates. The Heavens, and all the powers therein.
Tibi Cherubim et Seraphim To thee Cherubim and Seraphim
Incessabili voce proclamant: Continually do cry:
Sanctus, Sanctus, Sanctus, Holy, Holy, Holy,
[Dominus Deus Sabaoth.] Lord God of power and might.
Pleni sunt coeli Heaven and earth are full
5 8.579063Et terra majestatis gloriæ tuæ. Of the majesty of thy glory. Te gloriosus; The glorious company Apostolorum chorus Of the Apostles praise thee. Te Prophetarum The goodly fellowship of the Laudabilis numerus; Prophets praise thee. Te Martyrum candidatus The noble army of Martyrs Laudat exercitus. Praise thee. Te per orbem terrarum The holy Church throughout all Sancta confitetur Ecclesia: The world doth acknowledge thee: Patrem immensæ majestatis; The Father of an infinite Majesty; Venerandum tuum verum Thine honourable, true, Et unicum Filium; And only Son; Sanctum quoque Paraclitum Spiritum. Also the Holy Ghost, the Comforter. Tu Rex gloriæ, Christe. Thou art the King of Glory, O Christ; Tu Patris sempiternus es Filius. Thou the everlasting Son of the Father. Tu ad liberandum When thou tookest upon thee Suscepturus hominem, To deliver man, thou didst not Non horruisti Virginis uterum. Abhor the Virgin’s womb. Tu, devicto mortis aculeo, Having overcome the sharpness of death, Aperuisti credentibus regna coelorum. Thou didst open the Kingdom of Heaven to all believers. Tu ad dexteram Dei sedes, Thou sittest at the right hand of In gloria Patris. God in the glory of the Father. Judex crederis esse venturus. We believe that thou shalt come to be our Judge. Te ergo quæsumus, We therefore pray thee, Tuis famulis subveni, Help thy servants, Quos pretioso sanguine redemísti. Whom thou hast redeemed with thy precious blood. Æterna fac cum sanctis tuis Make them to be numbered with In gloria numerari. Thy Saints in glory everlasting. Salvum fac populum tuum, Domine, O Lord, save thy people Et benedic hæreditati tuæ. And bless thine heritage. Et rege eos, Govern them Et extolle illos usque in æternum. And lift them up for ever. Per singulos dies benedicimus te. Day by day, we magnify thee; Et laudamus nomen tuum in sæculum, And we worship thy name ever, et in sæculum sæculi. World without end. Dignare, Domine, die isto Vouchsafe, O Lord, Sine peccato nos custodire. To keep us this day without sin. Miserere nostri, Domine, O Lord, have mercy upon us; Miserere nostri. Have mercy upon us. Fiat misericordia tua, O Lord, let thy mercy 8.579063 6
Domine, super nos, Lighten upon us,
Quemadmodum speravimus in te. As our trust is in thee.
In te, Domine, speravi: O Lord, in thee have I trusted;
Non confundar in æternum. Let me never be confounded.
Translation from
The Book of Common Prayer, 1662
2. Sunday, 29 February 1568 – in their mouths – to hear the incomparable
One Week After the Wedding harmonies; and until this wonderful quartet
Motet Performance During Supper was finished, not one of the servants moved
Lassus’s Gratia sola Dei is a setting of an epithalamium from where they found themselves. After this,
– a poem written specifically for the bride on the way to they continued the third part for six voices all
her marital chamber. The poem is in dactylic hexameter, together; and for this work, the excellent and
also known as ‘heroic’ hexameter, one of the classical famous Orlando – with a full mouth – was
poetry forms that had been revived in the Renaissance. praised by all equally.’
Troiano points out the acrostic in which the first letters
of each line spell out the Latin names of the wedding This motet was printed in Munich in 1569, the year
couple: ‘GVILHELMVS RENEA’. He describes the following the wedding. The print’s title bears a common
suppertime performance of the work as follows: reference to instrumental performance of such works,
noting that the music is ‘most proper for performance
‘… I cannot help but tell of a work by the on all kinds of instruments as well as the human voice’
famous Orlando Lasso, who had composed (‘tum viva voce, tum omnis generis instrumentis cantata
it in honour of the most felicitous wedding. commodissimae’). Accordingly, while Troiano does not
He set a poem by the learned Mr. Nicholas mention instruments, we have again included them. The
Stoppio, a Fleming. The first part was sung by second section of the motet, however, is performed by
the whole group of singers; the second part by four individual voices a cappella as Troiano described;
only four select voices. It was sung so sweetly, his is a rare description from the era of an alternation
and the imitations and the artistic and beautiful between multiple singers and one singer per part in
passages held the ears of one after another of such a context. The text of the third section of the motet
the listeners with such strength, that everyone, refers to carnal love – a topic that runs through nearly
including his most serene prince and his most all of the music in our recording, but generally with more
serene lady, stopped – with bites of food colourful and explicit language than that of this motet.
2 Gratia sola Dei
Gratia sola Dei pie in omnibus omnia adimplet The grace of God alone properly makes all perfect in all things
Virtute aeterna caelesti et amore creatis. created by eternal virtue and heavenly love.
7 8.579063In nostris almus vigeat quoque cordibus ardor He has ordained by sacred law that a nurturing ardour thrive
Lege sacra statuit, cunctisque amor imperat unus, also in our hearts, and that the ruler over all be one love,
Hinc reduces qui nos in caelo asserat, atque beatos which might bring us back home to heaven and render us
Efficiat. Virtus aequa almo in amore recumbit. blessed. Just virtue reclines in nurturing love.
Legitimo ergo nihil natura invenit amore Therefore, nature finds nothing greater than proper love,
Majus, connubii unde ferax fit copula fidi, whence is made the fruitful union of faithful marriage, the
Vis sacra amicitiae, rata confirmatio amoris. sacred strength of friendship, the valid confirmation of love.
Solus amans, quod amare juvat, faeliciter ardet. Only the lover is inflamed auspiciously for that which he
delights to love.
Res mira: ignoti quod et illaqueentur amore, A marvellous thing: because even the unknowing are snared by
Emicat accensis per famam mentibus ardor, love, passion glows in the hearts aroused by its renown,
Nocte silente magis, dum mutua flamma per artus especially in the silent night, when a mutual flame wandering
Errans alta trahit suspiria pectore ab imo; through the limbs draws sighs from the depths of the heart;
Amplexus taedet longum exspectare jugales. it is wearisome long to await the embraces of married love.
Nicolò Stoppio (?–1570)
Translation by Peter Bergquist
Lassus: The Complete Motets 6, R110 (1997)
A-R Editions, Middleton, Wisconsin, USA
Used with permission
3. Saturday, 6 March 1568 – 13 Days After the Wedding slave markets in Tripoli and Benghazi, which were end
Evening Performance of Moresche points for caravan routes from central Africa. Many of
The genre of the moresca is related to the villanella, these enslaved people were from the Kanem–Bornu
a song imitating lyric Neapolitan traditions of the Empire, which surrounded Lake Chad from about 1380
street and countryside that became popular in the until 1893. Bornu’s rulers tended to sell non-Muslims,
1530s. The moresca portrays the speech of ‘moors’, criminals, or others from their territories, and these
who in this case are Africans (the word was used unfortunate individuals often became enslaved in Italy
indiscriminately to refer to anyone from the Middle and German-speaking lands. Historian Sally McKee
East or Africa, whether Muslim or not). With the rise has shown that manumission in early modern Italy
of the Ottoman Empire in the 15th century, particularly was not uncommon, and she notes that there is no
after its conquest of Constantinople in 1453, enslaved evidence Black Africans were released less often
people from the Balkans and other Eastern European that their eastern European counterparts, so some of
regions (who were sold into Ottoman territories as the moresca texts can be read as representing free as
often as into European ones) were no longer easily well as enslaved people.
available. Italian traders began to seek slaves from the Many of the moresca texts are macaronic,
Barbary Coast and, most importantly, from substantial combining Italian, Neapolitan, and Kanuri, the main
8.579063 8language of the Kanem–Bornu Empire, which is spoken composer: the Neapolitan dialect feminizes the endings
today by around four million people in the African of masculine names (‘Georgia’ for ‘Georgio’ and
countries of Cameroon, Chad, Niger, and Nigeria. ‘Martina’ for ‘Martino’), and the music of the dialogues
20th-century scholars did not appreciate that Kanuri is not composed with any differentiation between high
was among the languages of the texts. A complicating and low voices to signify gender.
factor is that both Kanuri and Neapolitan often Lassus served as a singer in Italy during his youth
employ ideophones, particularly in jocular contexts; (1544–54) and spent at least two years (1549–51) in
examples from the moresca texts are ‘tanbilililili!’ Naples itself, where he learned the local dialect and
representing drumming and ‘gua, gua!’ representing probably heard the earliest examples of the moresca
stomping. The Kanuri words were not distinguished by composers of the previous generation. His grand
from such ideophones until Gianfranco Salvatore reworkings of these earlier songs are primarily for
explained the situation in a ground-breaking study in four and six voices, but O Lucia, miau, miau is an
2012. In addition, the authors of the texts intended to early example (published in 1560) for three voices
represent an African inflection in Italian or Neapolitan – that demonstrates the original texture and character of
substituting ‘L’ for ‘R’ (as in ‘clepare’ instead of the songs.
‘crepare’) and ‘B’ for ‘V’ (as in ‘bede’ for ‘vede’). As one All of the moresche but O Lucia were printed in
might expect from authors attempting to represent a Lassus’s 1581 Libro. Troiano’s description makes
language with which their experience was limited, the it clear that an evening was devoted to hearing
syntax of the Kanuri phrases is inconsistent at best. Lassus’s moresche: ‘On Saturday, they did not depart
These factors, combined with the nonstandard spelling from the palace, and after dinner they played cards
of the time, make strictly accurate translations of these in the chamber of the most illustrious wife; and wind
texts extremely difficult. The use of Kanuri nevertheless instruments entertained the most serene persons for
represents a striking authenticity and demonstrates an hour with the moresche for six voices by Orlando
that residents of Naples (and possibly Munich) knew Lasso, with six wind players [fifferi] together with
enough of the language to recognise the words and to six select and sonorous voices.’ Our performance
associate them with people from Bornu. (In the texts incorporates the instrumentation Troiano observed,
printed in these notes, words derived from Kanuri are which serves to underscore this music’s burlesque
printed in bold italics.) quality. The rhythmic play of the traditional three-voice
The Bornu themselves are represented as fiercely moresche from the 1530s is present, but the harmony
proud people who frequently celebrate their identities – set in four- and six-voice textures – is especially
with references to Allah and their origins. They are lush, lacking the rustic character of the original genre.
often placed in the same situations as other comedic The harmony does retain a comedic quality, however,
characters of the period, notably those of the commedia turning to unexpected, often ridiculous chords.
dell’arte works heard in the next section of the What are we to make of these racially- and
recording. The hapless Giorgio, for example, constantly sexually-charged representations performed as part
serenades unappreciative Lucia and Katarina. All the of a wedding celebration? The sexual content of these
enslaved people are more highly sexualized than other works surely played a role in the decision to perform
stock characters in the same situations, and the texts them and other burlesque pieces heard in the post-
make use of many sexual puns and profanity. Gender wedding celebrations. They may have served as a
seems to be deliberately obfuscated by both poet and kind of variant on the charivari, a loud mock parade
9 8.579063and wedding activity to celebrate the nuptials after the innuendo, which was undoubtedly underscored by the
vows had been taken. Such use of highly ‘othered’ yet fact that performance was in the couple’s bedroom, the
recognisable stock characters as surrogates for the bridal pair itself was not represented. Indeed, in their
couple would have deflected some of the couple’s own minds, representations of the Bornu were likely
embarrassment and perhaps also some of their ire about as far from representations of a white German
at the architects of these celebrations. Despite the noble couple as one could get.
3 Álla la pia calia
Álla la pia calia, Hail Allah, slave,
Siamo bernagualà! We are from Bornu!
Tanbilililili, lilili! Tanbilililili, lilili!
Schinchina bacu, santa gamba, Curious one, [this is] not a holy leg/an old handout,
Gli, gli pampana calia! Learn it, scorch it, slave!
Ciancian, nini gua gua! Curiosity, observe carefully, stomp, stomp!
Ania catuba! Dance the Catuba!
Chilingua cina bacu. I am not happy [with this] door.
Lapia clama, gurgh! Hey, I’m just like you, grrr!
He, he, he, he, ha, ha, ho, ho! Hey, hey, hey, ha, ha, ha, ho, ho, ho!
Cu cana calia rite api ces cu tutu ni Today, hungry slave, why fear and wailing for what is
before you?
La pia piche; Hey, [what a] sin!
Berlinguaminu chara chire, Bornu people prefer these things,
Et non gente gnam, gnam, gnam, And not the ‘nah nah’ people
Ch’ama figlia gentilhuom! Who love the nobleman’s daughter!
Non curare berlingaminum Don’t pay attention to the Bornu
Ch’amar fosse chissa hominum. Who might love the man.
Are buscani, Come here and dance,
Alla cura chi de cua! Allah helps him who helps himself!
Are pati chache siamo beschin! Come, worthless one, we are joking!
Álla la pia calia ... Hail Allah, slave …
8.579063 104 Canta, Georgia, canta
– Canta, Georgia, canta, – Sing, Georgio,
Che bede namolata! Here comes your lover!
Giorgia: Giorgia non pote cantar! Giorgio: Giorgio can’t sing!
– Che sta murta, passionata? – What? Why do you stand mute, are you in love?
Giorgia: Tutta negra sta storduta Giorgio: All Black people are struck dumb
Quando bede gente ianca. When they see white people.
– Canta, Georgia, canta! – Sing, Georgio, sing!
Alla cura che de cua! Allah helps him who helps himself!
Siamo bernagualà! We are from Bornu!
Giorgia: Pamini Lucia, pamini! Giorgio: Go, Lucia, go!
Che patrona vol francare. The master wants to free you.
Lucia: Vol dar marit’oime! Lucia: He wants to give me in marriage, oh!
Giorgia: Piglia, gente lurma, Giorgio: Come on, the Loma people
Che vo far gonell’à tia, Will give you a little skirt;
Ati cilum corachi bischine, This Black asks you to dance,
A regina, ti maigara [Will make] you a queen, a queen!
Tinche, tinc, tinc … Scary, scary, scary [or creak, creak, creak] …
Messer dorma, Parino sotto lietto, The master is asleep, Parino is under the bed,
Madonna gamb’in collo, My lady’s leg on his neck;
Messer grida, Madonna fuia, The master shouts, my lady flees,
Parin sona zampogna, Parino plays the bagpipes,
Armare Re io, gua, gua! To shore up the king, I, stomp, stomp!
5 Hai, Lucia, bona cosa
Giorgia: Hai, Lucia, hai, Lucia, Giorgio: O Lucia, O Lucia,
Bona cosa io dic’à tia: I have a good thing to tell you:
Che patrona fatta franca The master has freed you,
E vò bella maritare, And he wants you to marry, beautiful.
Giorgia tua vò pigliare. Your Giorgio wants to come take you,
Tutta negra v’invitare To invite all the Blacks
Nott’e giorno vonno sonare: To play night and day:
Tambilililililili! Tambilililililili!
Lucia, poiche Dio v’au’agiuta, Lucia, since God has helped me,
Gente negra vol cantare; The Black people want to sing;
11 8.579063Core mi ascoltare My heart, listen to me.
Apri bocc’et non dormire. Open your mouth and don’t go to sleep.
Acqua, madonna, al foco, Water, my lady, on the fire,
Che ardo tutta For I am burning all over,
Et tu pigliat’a gioco, And you make fun of me.
Jo grido sempre, haimé, I keep crying ‘alas’,
Et tu non sentuta, And you don’t hear it,
Et voce mia tutto fatta roca. And my voice is all hoarse.
Acqua, madonna, al foco Water, my lady, on the fire,
Che ciminera, ard’e mo fuiuta cocha. Like a chimney, burning and now escaping the heat!
6 Lucia, celu, hai biscania
Giorgia: Lucia, celu, hai, biscania Giorgio: Lucia the Black, oh, dance!
Tambilililililili, gua, gua, ciri, ciri, cian. Tambilililililili, many, many stomps!
Non canusci Giorgia tua, Don’t you recognise your Giorgio
Cristophona tua? [And] your Christopher?
Se tu far cariss’a me, If you caress me,
Et io far cariss’a te, gua, gua, And I caress you, drum, drum,
Se te voi scarpe de laura If you want golden shoes
Con chiavelle sommolata With pretty heels,
Et dobletta quadra cirifa And a fine cotton blouse
Con gonnella de scuagliata With a flounced skirt,
Giorgia tua port’à te, Giorgio will give you all this,
Ciambelotta verde, bruna, A hat of fur that’s green, brown,
Carmosina leonata, Scarlet ginger,
Et no pare de paternoglia And don’t act like a ‘Pater noster’,
Cosa canda come contessa, If I sing to you as if to a countess,
Cod’alzata com’à Madonna To a highness, to the Madonna.
Apri porta! Giorgia tua Open the door! Your Giorgio
Canta la magna! Is singing your greatness!
Hai! Lucia mia, O, my Lucia,
Non canusci Giorgia tua Don’t you recognise your Giorgio
Che te vole tanto di bene, Who loves you so much,
Che non pote niente di bene, But he cannot do anything well?
U, u, gricache, za, za, baraza, I, I, my turn, drum the dance,
Tiri, tiri, gua, gua. Many, many drums!
Lucia: Nigra guala burno, Lucia: Black man of Bornu,
Je non quie au ne! You have enraged me!
8.579063 12Ala bachi laudi barachigno! Allah beat, flip, and hunt [you]!
Scaba canaza, vati con dio Runaway prick, go with God; there are
Non cene leche, per santa malina! No fine meals here, by Saint Marina!
Zu zu bere, tiri tiri gua gua Run, scatter! Many stomps!
Giorgia: Hai Lucia mia! Giorgia: O, my Lucia!
Lucia: Giorgia, sporcata Lucia: Giorgio, you are filthy,
Pisci’à lo lieto! You pissed the bed!
Dici sudata pampona You tell me it’s sweat like wilting leaves
Fete come tonina. – It smells like tuna!
Burnoguala, scaba canaza! Bornu man, runaway prick!
Ziche lizi, dirindirindina! Take those clothes off your body, dirinidirindina!
Zocolo, zo, che della burnoguala. The clog that comes from this Bornu man!
Giorgia: Siamo burnoguala. Giorgio: I am from Bornu.
Dindiri, dinidiridina! Dindiri, dinidiridina!
7 O Lucia, miau
Giorgia: O Lucia, miau, miau! Giorgio: Oh, Lucia, meow, meow,
Tu non gabbi chiù a me, Stop making fun of me.
Sienta, sienta matanuta! Listen to my serenade!
Lucia: O musutta Lucia: O, little snout,
Licca pignata, cula caccata! Lick the pot, shitty ass!
Chi è chissa billanazza Who is this snot nose
Come gatta chiama me? Calling me like a cat?
Giorgia: Giorgia tua sprotunata Giorgio: It’s your unfortunate Giorgio,
Che vol tanto bene a te. Who loves you so much.
Ia ti prega, cula mia, I beg you, my ass,
Lassa passar bizzaria, Stop being bizarre;
Ch’aia, statua momorata? What are you, a marble statue?
Perché l’autra tu trovata, Because that other guy you found
Che non vole bene a te. Doesn’t love you well.
O Lucia, susa da lietto e non dormire, O Lucia, get out of bed and don’t sleep.
Scienta Giorgia bella cantare Listen to Giorgio sing beautifully,
Con zanpogna e tanmorina With his bagpipe and his little drum
Per voler far cantarata. For he wants to sing for you.
O Lucia inzuccurata O Lucia, you sweet thing,
Perché pur sta corruzzata? Why are you so angry?
Miau, miau, grata malata! Meow, meow, sick scraper!
Lucia: Va cuccina, Lucia: Go to the kitchen,
13 8.579063Licca pignata, cula caccata! Lick the pot, shitty ass!
Giorgia: Sienta, sienta matunata, Giorgio: Listen, listen to the serenade,
Giorgia tua vol cantare, Your Giorgio will sing for you,
Che vol tanto bene a te! Who loves you so dearly!
8 Cathalina, apra finestra
Giorgia: Cathalina, apra finestra, Giorgio: Katarina, open the window,
Se voi senta Giorgia cantara; If you want to hear Giorgio sing;
Se tu sent’à me sonara, If you listen to my sound,
Passa tutta fantanasia. All pretense will disappear.
Ja te priega, core mia, I beg you, my heart,
Non volere scorrucciare, Don’t be angry
Perchè Giorgia vol cantara, Because Giorgio wants to sing
Per passare fantanasia. To lose the pretense.
Spetta loco e non par tutta Wait there and don’t leave
Quant’accordo quissa liuta: While I tune this lute:
Tron, tron, tiri, tron … Pluck, pluck, plinketty, pluck …
Andar avalenza, gia calagia – Wait, wait, it’s about ready –
Schinchina bacu sana laqua! Curious one, [this is] not healthy water!
Affaci’un poco, quissa pertusa! Look a little through this small hole!
Lassa via un poc’à tia, Let a little of yourself be seen!
Voglio cant’una canzona I want to sing you a song
Come fusse tamborina. Just like the drummers do.
Hu, a te bella, hu a te mania. I want you, beauty, I want to handle you.
Hu a te canazza! Zuccara mia! I want to stick into you! My sweet!
«Chissa capilla come latte ‘Your hair is like milk,
Fronte luce, come crescere, Your forehead like a crescent moon,
Occhi tua come lanterna, Your eyes are like a lantern,
Chissa nasa sprofilata, Your nose is splendid,
Faccia tua come smeralda, Your face is like an emerald,
Chissa labra marzapanata, Your lips like marzipan,
Bocca tua come doanna, Your mouth is like a doe’s,
Cizza grossa come fiascone Your breasts as big as wine gourds
(Lassa biber’a Giorgia tua!), (Let your Giorgio drink from them!),
Bella infanta! Lovely babe!
Vostr’amore mi fa morire! Your love is making me die!
Tutta la note la galla canta. All night long the cock sings.
Giorgia mai non può dormire». Giorgio never can sleep.’
8.579063 14Cathalina: Mala francisca posse venire Katarina: The pox can come to you,
Come la ladra, figlia de cane. Like a thief, you son of a bitch.
Tira va trasse, bibe la broda Get out of here, drink your swill
Intra coccina come gatta nigra. In the kitchen like a black cat.
Giorgia: Poi che tu non voi facciare, Giorgio: Since you don’t want to do it,
Io di qua voglio per tutta. I want to stay here for everything.
Cathalina: Su, schiavo ladra, Katarina: Away, slave thief,
Cana musata, Muzzled dog,
Diriet’à la porta, Go out the door –
Giorgia: nistillingo, Giorgio: I’ll take care of it!
Cathalina: Madonna trovata, Katarina: My lady, never,
Giorgia: nistillingo, Giorgio: I’ll take care of it!
Cathalina: Con Giorgi’abracciata. Katarina: Will be in Giorgio’s arms.
Giorgia: nistillingo. Giorgio: I’ll take care of it!
9 Chi chilichi
Chi chilichi? ‘Who’s [crowing] chilichi?’
Cucurucu! ‘Cucurucu.’
Lucia: U, scontienta, U, beschina, Lucia: I, unhappy, I, a joke,
U, sportunata, me Lucia! I, unfortunate me, Lucia!
Non sienta, Martina, Don’t you hear, Martino,
Galla cantara? The cock singing?
Martina: Lassa canta, possa clepare! Martino: Let it sing, go die!
Porca te, piscia, sia cicata! You pig, piss, go blind!
Ia dormuta, tu scitata. I was asleep, you’ve woken me!
Lucia: Ba con dia, Lucia: Go with God,
non bo più per namolata. I don’t love you anymore.
Tutta notte tu dormuta You slept all night long,
Mai a me tu basciata Never once did you give me a kiss.
Cucurucu! Cucurucu! Cucurucu, cucurucu!
Che papa la sagna If Papa knew,
Metter’ucelli enter’à gaiola He would put birds [like you] in the birdcage.
Cucurucu, cucurucu! Cucurucu, cucurucu!
Leva da loco, Get out of here,
Piglia Zampogna Squeeze the bagpipe,
Va sonando per chissa cantuna. Go play for someone else’s song.
Lirum li, lirum li. Lirum li, lirum li.
Sona, se vuoi sonare! Play if you want to!
15 8.579063Lassa carumpa canella, Leave, rotten cinnamon,
Lassa Lucia! Leave Lucia!
Martina: U madonna, Martino: I, my lady,
Ati cilum barbu ni [To] this Black [you are] a thief!
Sona, sona, e non gli dare. Play, play, and don’t give it!
Lirum, lirum, lirum, li. Lirum, lirum, lirum, li.
Lucia: La mogliere del peccoraro Lucia: The shepherd’s wife
Sette pecore a no danaro; Has seven sheep and no money;
Se ce fusse Caroso mio If it were my beloved,
Cinco peccore a no carlino There’d be five sheep and not a penny.
Martina: Auza la gamba, Martino: Lift your leg,
madonna Lucia, Lady Lucia,
Stiendi la mano, piglia zampogna, Stretch out your hand, grab the bagpipe,
Sauta no poco con mastro Martino. Jump a little with master Martino.
Lirum li, lirum li. Lirum li, lirum li!
4. Monday, 8 March 1568 – 15 Days After the Wedding appears in Lassus’s 1581 Libro, and in light of many of
Commedia dell’Arte Performance the other parodies at the wedding celebration, it would
Lassus was charged with creating ‘an improvised have been a welcome addition. Troiano then mentions
Italian comedy’ for the guests, and Troiano describes a performance of one of Lassus’s five-voice madrigals,
the action in some detail. Like the moresche, the and we have chosen a setting of Se si alto pon gir mie
commedia dell’arte (as it was later called) was full of stanche rime, a stanza from a much longer poem by
stereotypical characters, and Troiano names many Petrarch and one of the few lofty texts heard on our
of these along with the names of those who played recording. Next, we hear two stanzas of Chi passa per
them. He also mentions incidental pieces in passing, ‘sta strad’e non sospira, a lute song by Filippo Azzaiolo
noting how these were performed, but usually without with very simple poetry that was clearly meant for the
identifying the works themselves. We are performing stereotypical under-window serenade. This is the only
these in the order in which they were heard, but without, piece in commedia dell’arte that Troiano mentions
however, the intervening dialogue. by name, and he specifies that Lassus sang it while
Sexual content in these commedia dell’arte works accompanying himself on the lute. Troiano then cites a
is much less explicit than in the moresche, but it is often ‘beautiful piece with five viole da gamba and as many
present. We begin with Matona mia cara, which must voices’, and we have chosen another todesca from
be among Lassus’s most performed works today. The Lassus’s 1581 Libro, Mi me chiamere, a representation
piece is a todesca — a genre that satirizes Germans of a German baker who claims to have much more
attempting to speak Italian. In this case, a German success with women than his soldier counterpart from
soldier who lacks both subtlety and phonetic flexibility Matona mia cara. Next comes a piece ‘for four voices
attempts to woo an Italian lady, apologising for his with two lutes, a harpsichord, a recorder, and a bass
lack of sophistication (‘Me not know Petrarch’) along viola da gamba’. The text of Par ch’hai lasciato is spoken
the way. Troiano does not mention the piece, but it from the point of view of Don Diego, a character from
8.579063 16the improvised play whom Troiano describes as ‘the bringing out a Spanish character. We conclude with
desperate Spaniard named Don Diego de Mendoza’. a double-choir dialogue between Pantalone and his
Here Don Diego is frustrated by his lady’s unwillingness servant, Zanni, two more stock characters from the
to appear at the window for a serenade. The text is in commedia dell’arte. Pantalone heaps derision on the
the form of a Spanish villancico (though the form of ignorant Zanni, and yet the setting concludes with an
the music is a bit more elaborate) and the additional almost touching farewell between them.
plucked-string instruments would have assisted in
0 Matona, mia cara
Matona, mia cara, My lovely Lady,
Mi follere canzon, Me vant to zing a zong
Cantar sotto finestra, Under vindow:
Lantze bon compagnon. Lancer good companion!
Don don don, diri diri, don don don don. Don don don, diri diri, don don don don.
Ti prego m’ascoltare, Please listen to me,
Che mi cantar de bon, zince me zinging vell,
E mi ti foller bene, And I’m fond of you
Come greco e capon. As a Greek is of a capon!
Don don don, diri diri, don don don don. Don don don, diri diri, don don don don.
Comandar alle cacce, When I go hunting,
Cacciar con le falcon, Hunt vith ze falcon,
Mi ti portar becacce, And I’ll bring you a voodcock,
Grasse come rognon. As fat as a kidney.
Don don don, diri diri, don don don don. Don don don, diri diri, don don don don.
Se mi non saper dire, Me cannot tell you
Tante belle razon, Many elegant zings,
Petrarcha mi non saper, Me not know Petrarch,
Ne fonte d’Helicon. Nor the Fountain of Helicon.
Don don don, diri diri, don don don don. Don don don, diri diri, don don don don.
Se ti mi foller bene, If you love me,
Mi non esser poltron, Me not be lazy;
Mi ficcar tutta notte urtar, Me thrust all night long,
Come monton, Me bump like ram.
Don don don, diri diri, don don don don. Don don don, diri diri, don don don don.
17 8.579063! Se sì alto pôn gir mie stanche rime
Se sì alto pôn gir mie stanche rime, If my weary lines can fly so high as to reach her,
ch’agiungan lei ch’è fuor d’ira et di pianto, Who is beyond the reach of anger or complaint,
et fa ’l ciel or di sue bellezze lieto, And whose beauty now makes Heaven rejoice,
ben riconoscerà ’l mutato stile, She will recognise the altered style
che già forse le piacque anzi che Morte That might have pleased her before that time when death
chiaro a lei giorno, a me fesse altre notti. Bestowed on her bright day, but brought me gruelling
dark nights.
Petrarch (1304–1374)
Mia benigna fortuna e’l viver lieto, s. 11
Translation by Mick Swithinbank
Used with permission
@ Chi passa per ’sta strada
Chi passa per ’sta strada He who passes down this street
E non sospira, And does not sigh
Beato s’è, Is blessed,
Fa la li le la. Fa la li le la.
Beato’è chi lo chi Blessed is he who
Lo puote fare Can well do it
Per la reale. On this royal way.
Affaccia ti mo Show yourself,
Se non ch’io moro mo. Lest I die right now.
Affaccia ti che tu Show yourself, for you
Mi dai la vita Are the source of my life,
Meschino me, Poor me,
Fa la li le la. Fa la li le la.
Se’l cielo non ti If the sky
Possa consolare Cannot comfort you
Per la reale. On this royal way,
Affaccia ti mo Show yourself
Se non ch’io moro mo, fa la li le la. Lest I die right now.
8.579063 18# Mi me chiamere
Mi me chiamere Mistre Righe, I’m called Mister Straight,
Che con le bucal vo inturne; The man who goes around with a jug.
De le donne mi son amighe, I’m the friend of all the ladies,
Perche mittere pan’in furne, For I stuff the loaf in the oven,
Tutte nott’e tutte zurne. All night and all day.
Mi me piase magnar fighe. I love eating figs.
Mi me chiamere Mistre Righe. I’m called Mister Straight.
Quando vagh’à comandar, When a wench asks
Se non è levad’el pan, If the bread has not risen,
Preste mi face levar, It immediately springs up
Quando mette le mie man; When she puts her hand on mine.
Malvasie e tribian Then she offers Malvasia and Trebbiano
Me dar poi per mie fatighe. For my exhaustion.
Mi me chiamere Mistre Righe. I’m called Mister Straight.
Quand’à cas’el pan portar When I take the bread from the shop
Le matonne’e masserette To the ladies of the market,
Dise «Care le mie fornar, They say ‘Dear baker,
Canter’ un poch’ un canzonetta». Sing us a bit of a song.’
E mi preste con pivette And quickly on my pipe
Un canzon sonar de dighe. I play them a little song.
Mi me chiamere Mistre Righe. I’m called Mister Straight.
$ Par ch’hai lasciato
Par ch’hai lasciato de non t’affacciare? Why have you stopped appearing at the window?
Per far sapere ca si malatesta? Is it to let me know that you wish to hurt me?
Deh, poverella, con tanto susiego, Well, poor, contemptible girl,
Non far che conte sape lo Don Diego. Do not imagine you will convince Don Diego
Forse te credi di me laniare: That you stay away from me
Che me stà’inchiusa come stess’in cella. By complaining that it is I the recluse.
Deh, poverella … Well, poor, contemptible girl...
19 8.579063Tira, ca te dovrissi vergognare, Stop it; you should be ashamed.
Tutto lo giorno farsi Iacovella. All day you are quarrelling.
Deh, poverella … Well, poor, contemptible girl...
Donna che face quello che non suole A woman who does not behave as she should
O t’ha gabbato, o gabbare ti vuole Has either deceived you or is about to do so,
E senti due parole, se tu voi, So listen to two words if you will:
Cà saccio quanto para fan tre Boi. I am well aware of know how many ‘pairs’ can be
made from three oxen.
% Zanni! Piasi, Patrò?
Zanni! Zanni!
Piasi Patrò? Yes, boss?
Dov’estu? Where are you?
Eso’in cantina. I’m in the cellar.
Mo che fast’ in cantin’, ah loro. And what are you doing in the cellar, huh?
E bif meser. I’m drinking, master.
O rovina de casa mia! Oh, ruin of my household!
Vien fuora, bestia! Come out, you beast!
Aspetté, Signor, perch’ho perso Wait, sir, because I’ve lost
La spina del vasol! The stopper to the barrel!
O, pove Pantalon, Oh, poor Pantalone!
Stopalo col naso, fio d’un asino! Plug it with your nose, you ass!
Allegrezz’, allegrezza, Patrò! It’s alright, it’s alright, Boss!
E lo trovada! I’ve found it!
Stopalo ben, caro Zanni! Plug it well, my dear Zanni!
O Patrò! Oh, boss!
Che cosa? What’s wrong?
E le’l stronzo d’unca. This is a dog turd.
O, forfante, mariol, mettetelo’in bocca poltron! Oh, you scoundrel, stuff it in your mouth!
O le chilo! Meser, e lo trovada! Oh, here it is! I’ve found it!
Mo stopa presto prest’e vien suo! Well, stick it in quickly, and come up here!
Perdone me, Patrò, che non poss vegni. Sorry, boss, but I can’t come up.
Mo perche non postu venir castro nazzo? And why not, you wretch?
Perche? Voi componer un Soneti! Why? Because I want to write a sonnet.
A laro, mi credo che ti ze imbriago! Oh, you rascal! I think you must be drunk!
Signur, si, si’a la fe! Sir, yes, yes, you’re quite right!
8.579063 20Orsu, dorme sio d’un porco! Well, go to sleep, pig that you are!
O Patrò! Oh, boss!
Che vostu? What is it now?
M’arico mandomi. I just wanted to sign off.
A Dio, Zanni. Farewell, Zanni.
A de, Patrò. Farewell, master.
A Dio. Farewell.
Eric Rice
Translations by Eric Rice unless otherwise noted
Thanks to Pietro Zappalà
21 8.579063Primary Sources
Massimo Troiano (?–after 1570), Discorsi delli triomfi, giostre, apparati é delle cose più notabili fatte nelle sontuose
nozze dell’illustrissimo & eccellentissimo Signor Duca Guglielmo (Munich, 1568); reprinted in 1569 with a parallel
Spanish translation as Dialoghi di Massimo Troiano: Ne’ quali si narrano le cose piu notabili fatte nelle Nozze dello
Illustriss. & Eccell. Prencipe Guglielmo VI. Conte Palatino del Reno, e Duca di Baviera; e dell-Illustriss. & Eccell.
Madama Renata di Loreno.
1 Te Deum – Munich, Bayerische Staatsbibliothek, 4 Mus. pr. 131. Orlando di Lasso: SELECTISSIMAE
CANTIONES, QVAS VVLGO MOTETAS VOCANT, PARTIM OMNINO NOVAE, PARTIM NVSQVAM IN
GERMANIA EXCVSAE, Sex et pluribus uocibus compositae. Nuremberg: Theodor Gerlach, 1568 (RISM
1568a), No. 37. Transposed down a fourth.
2 Gratia sola Dei – Munich, Bayerische Staatsbibliothek, 4 Mus. pr. 65. Orlando di Lasso: CANTIONES
ALIQVOT QVINQVE VOCVM, TVM VIVA VOCE, TVM OMNIS GENERIS INSTRVMENTIS CANTATV
COMMODISSIMAE. Iam primum in lucem summa cura atque diligentia editae. Munich: Adamus Berg, 1569
(RISM 1569a), No. 20. Transposed up a tone (step).
7 O Lucia miau: Bologna, Museo internazionale e biblioteca della musica di Bologna R. 205 : IL TERZO LIBRO
DELLE | VILLOTTE ALLA NAPOLITANA | de diuersi Con due Moresche nouamente stampate. | A TRE VOCI |
In Venetia apresso du Antonio Gardano, 1560 (RISM 156014)
! Se sì alto pôn gir mie stanche rime – Lucca, Biblioteca diocesana Nos. Giuliano Agresti A.157. Orlando di
Lasso: Il terzo libro delli madrigali a cinque voci d’Orlando di Lasso novamente raccolto et dato in luce. Venice :
Gerolamo Scotto, 1563 (RISM 156311).
@ Chi passa per ’sta strada – Munich, Bayerische Staatsbibliothek, 4 Mus. pr. 96. Filippo Azzaiolo: IL PRIMO
LIBRO DE VILLOTTE ALLA PADOANA Con alcune Napolitane à Quattro voci, initiole Villote del fiore.
Venice: Scotto, 1560 (RISM 15601-1), No. 1.
All other tracks – Munich, Bayerische Staatsbibliothek, 4 Mus. pr. 60; Orlando di Lasso, Libro de villanelle,
moresche, et altre canzoni, 4–6, 8vv (Antwerp: Phalèse, 1582) ; a reprint of Orlando di Lasso, Libro de villanelle,
moresche, et altre canzoni, 4–6, 8vv (Paris, 1581) (RISM 1581g)
Secondary Sources Cited
Sally McKee (b. 1955), Domestic Slavery in Renaissance Italy, Slavery and Abolition 29/3 (Slavery & Abolition: A Journal
of Slave and Post-Slave Studies, Vol. 29, No. 3, September 2008, pp. 305–326, Routledge, Taylor & Francis Group)
Gianfranco Salvatore (b. 1957), Parodie realistiche: Africanismi, fraternità e sentimenti identitari nelle canzoni
moresche del Cinquecento (Kronos, Vol. 14, 2012, pp. 97–130, Università del Salento, Mario Congedo Editore)
8.579063 22Ensemble Origo
Ensemble Origo is an early music ensemble founded in 2010 and
directed by Connecticut-based musicologist and conductor Eric
Rice. Its aim is to present vibrant performances and recordings of
early music – from the Middle Ages through to the Baroque – that
reflect the context in which the repertory was originally produced
and heard; ‘Origo’ is Latin for ‘earliest beginning’, ‘lineage’,
or ‘origin’. The ensemble draws on a roster of musicians from
Connecticut, Boston, and New York.
www.ensembleorigo.org
Photo:
Michael DeVito
23 8.579063Eric Rice
Musicologist and conductor Eric Rice is head of the Music Department Photo:
at the University of Connecticut, where he teaches music history Grace Carver
and directs the Collegium. He is the 2019 recipient of Early Music
America’s Thomas Binkley Award for excellence in performance and
scholarship. He also directs the critically acclaimed Ensemble Origo,
creating concerts and recordings that reflect early repertory’s original
context. He is the author of Music and Ritual at Charlemagne’s
Marienkirche in Aachen (Merseburger, 2009) and Young Choristers,
650-1700 (Boydell Press, 2008), and his articles have appeared in
numerous journals. He holds degrees from Columbia University and
Bowdoin College.
Cover image: Nikolaus Solis, ‘Hochzeitsmahl,’ in Hans Wagner,
Kurtze Beschreibung des Durchleuchtigen … Fürsten Wilhalmen ... Hertzogen inn Obern und
Nidern Bairen etc. und derselben geliebsten Gemahel, der Fürstin, Frewlein Renata ... Hertzogin
zu Lottringen ... gehalten hochzeitlichen Ehren Fests ... Munich, 1568;
Universitätsbibliothek Salzburg – Abteilung für Sondersammlungen, R 11.240 III.
Used with permission.
8.579063 24The wedding in 1568 of Renate of Lorraine to Wilhelm V, heir to the throne of the Duke of
NAXOS
NAXOS
Bavaria, was a sumptuous, 18-day spectacular designed to rival those of the Italian courts.
Orlande de Lassus had been the court’s maestro di cappella since 1556. Using an eye-witness
account of the event, Ensemble Origo presents a hypothetical reconstruction of some of his
musical contributions – a Te Deum, the moresca (a genre related to the villanella), and an DDD
improvised comedy – thereby shedding light on some of the various meanings that the music
had for its 16th-century listeners. 8.579063
Orlande de Playing Time
LASSUS 61:04
(1532–1594)
7
Le nozze in Baviera
LASSUS: Le nozze in Baviera
LASSUS: Le nozze in Baviera
47313 90637 6
Music for the 1568 Wedding of Wilhelm of Bavaria and Renate of Lorraine
1 Te Deum laudamus (a 6) 15:21 ! Se sì alto pôn gir mie 2:46
2 Gratia sola Dei (a 6) 9:00 stanche rime (a 5)
3 Álla la pia calia (a 4) 2:15 Filippo AZZAIOLO
(between 1530 and 1540 – after 1570;
4 Canta, Georgia, canta (a 6) 2:23
fl. 1557–69)
5 Hai, Lucia, bona cosa (a 4) 2:42 @ Chi passa per ’sta strada 1:53
6 Lucia, celu, hai biscania (a 4) 3:27 Orlande de LASSUS
www.naxos.com
Made in Germany
Booklet notes in English
℗ & © 2021 Naxos Rights (Europe) Ltd
7 O Lucia, miau (a 3) 2:28 # Mi me chiamere (a 5) 2:22
8 Cathalina, apra finestra (a 6) 4:46 $ Par ch’hai lasciato (a 4) 3:01
9 Chi chilichi (a 6) 3:10 % Zanni! Piasi, Patrò? (a 8) 2:18
0 Matona, mia cara (a 4) 2:53
Ensemble Origo • Eric Rice, Director
A detailed track list, sung texts and English translations can be found inside the booklet,
and may also be accessed at www.naxos.com/libretti/579063.htm
Recorded: 24–28 August 2016 at Futura Productions, Roslindale, Massachusetts, USA
Producer: Pamela Dellal • Engineer: John Weston • Recording assistant: Travis Karpak • Editors: John Weston, Eric Rice
Mixing and mastering: John Weston • Sound consultant: Ryland Angel • Arrangement consultant: Sarah Mead
Project concept, research, editions and direction: Eric Rice • Ensemble manager: Mary Gerbi
Research assistant: Veronica Guimarães • Booklet notes: Eric Rice
8.579063
8.579063
This recording was funded by generous grants from the University of Connecticut School of Fine Arts,
the UConn Research Excellence Program, and UConn Global Affairs.
Cover painting: Hochzeitsmahl by Nikolaus Solis (1542–1585)
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