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Tonos programme for 16/4/2010 Limerick If Music Be The Food Of Love


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Tonos

programme for 16/4/2010 Limerick
If Music Be The Food Of Love

Songs of Love from the 17th Century

Henry Purcell If music be the food of love

(1659–1695) Fairest Isle

Henry Purcell incorporated Italian and French stylistic elements but devised a peculiarly English style of Baroque music. He died at his house in Dean’s Yard, Westminster, in 1695, at the height of his career Fairest Isle, with words by John Dryden (1631–1700), is taken from the

semi-opera, King Arthur, first performed in 1691. The soprano, Charlotte Butler, who performed in the original production later appeared at the Smock Alley Theatre, Dublin.


If music be the food of love

If music be the food of love, Pleasures invade both eye and ear,

sing on till I am fill’d with joy; so fierce the transports are, they wound,

for then my list’ning soul you move and all my senses feasted are,

with pleasures that can never cloy, tho’ yet the treat is only sound.

your eyes, your mien, Sure I must perish by our charms,


your tongue declare unless you save me in your arms.

that you are music ev’rywhere.


Fairest Isle

Fairest Isle, all isles excelling. Gentle murmers sweet complaining,

Seat of pleasure and of love, Sighs that blow the fire of love,

Venus here will choose her dwelling, Soft repulses, kind distaining,

And forsake her Cyprian grove. Shall be all the pains you prove.

Cupid from his fav’rite nation, Ev’ry swain shall pay his duty,

Care and energy will remove; Grateful ev’ry nymph shall prove;

Jealousy that poisnous passion, And as these excel in beauty,

And despair that dies for love. Those shall be renowned for love.

Etienne Mouliníe Che gioia ne sento mio bene

(1600–1669) Non ha sott’il ceil

Claudio Monteverdi Dolci miei sospiri

(1567–1643)

Girolamo Frescobaldi Se l’aura spira

(1583–1643)

These songs by Mouliníe are taken from Airs de cour avec la tablature de lúth (1629). Moulinié was the musical director to Gaston d’Orléans, Louis XIII’s younger brother. Airs de cour (1629) is the only one of Moulinié’s five books of Airs de cours to include songs with guitar accompaniment. This corresponds to the popularity of the guitar at the French court in the late 1620s and after.

Claudio Monteverdi is today revered as one of the most influential of Baroque composers and instrumental in the early develoment of Opera. The song, Dolci miei…, describes the age-old pain of love.

Girolamo Frescobaldi was appointed organist of St. Peter’s in 1608. The sentiment of his beautiful Se l’aura spira is one of love: love of life, nature and romance.


O che gioia ne sento mio bene

O che gioia che sento mio bene O my beloved, what joy I feel

Che lo strale d’amor t’ha ferito. That the arrow of love has injured you

O soavi mie’affanni, mie pene O my worries and sorrows

O tormemto mio caro e gradito O my beloved and welcome torment

Hora si, che son lieto, E contento. Now yes I am gay and happy.

O che gioia ne sento….

Hora si, che felice mi chiamo Now yes I can call myself happy

Ch’amor punse il tuo cor si crudele, Love has punctured your cruel heart,

Disperato morir piu non bramo, I no longer desire to die desperate

Piu non sparga lamenti, o querele, May my boredom no longer spread sorrows

Ogni noia E sparcita , ogni stento. and complaints.

O che gioia ne sento….
Non ha sott’il ciel

Non ha sott’il ciel Under the sky Cupid does not have a

Un servo Cupido di me piu fedel. more faithful servant than me

Mio core mi’alma My heart and my soul carry it’s

Ne porta la palma Per tutto so fa, glory everywhere

Ch’un servo Cupido Because Cupid does not have a

piu fidel non ha. more faithful servant than me.

Troncar non si puo One cannot cut off that love string

Quel laccio d’amore that tied the soul.
che l’alma lego.

Ma vita serena, But a happy life

Fa dolce catena, contenta sara makes a sweet chain.

Ch’un cor piu gioioso It will be happy


Cupido non ha. that Cupid does not have a

happier heart.
Dolci miei sospiri

Dolci miei sospiri Sweet my sighs

Dolci miei martiri Sweet my tortures

Dolce mio desio Sweet my desire

E voi dolci canti And your sweet songs

E voi dolci pianti And your sweet laments

Rimanete a Dio May you remain with God.

A la ria partita On my bitter journey

Vento, e mare invita wind and sea are my companions

o volubili ore Oh the fickle hours.

ma non piu querele But this is no more trying

dura amor crudele than cruel love

ama il mio dolore. which loves my sorrow.




Se l’aura spira

Se l’aura spira tutta vezzosa, When the lovely breezes blow,

La fresca rosa ridente sta, The fresh rose stands smiling.

La siepe ombrosa di bei smeraldi, The hedge, a shady emerald,

D’estivi caldi timor non ha. Fears not the summer’s heat.

A balli, a balli liete venite Come dance, come merrily,

Ninfe gradite, fior di beltà, You dear nymphs, blossoms of beauty!

Or, che sì chiaro il vago fonte Now, when the lovely spring flows

Dall alto monte al mar sen’ va Clearly from mountain to sea,

Di piant’e querele, that fierce tyrant

Si burla, si ride So full of deception

Quel’fiero tiranno Makes fun of sighing and complaints.

Si pieno d’ingranno.

Non credo mio cor! I don’t believe my heart!

Amando trovare By loving

Merced’in amor Finding pity in love.

Per Terra, e per Mare By land and by sea

S’encorra veloce He makes his way fast

Suoi dolce versi spiega l’augello, The bird sings its sweet notes

E l’arboscello fiorito sta. And the bushes are full of blossoms.

Un volto solo al l’ombra accanto Only one face near the shadow

Sol si dia vanto d’haver pietà. Can boast of showing compassion.

Al canto, al canto, ninfe ridenti Come, sing, laughing nymphs,

Scacciate i venti di crudeltà! Disperse the winds of cruelty!


Gaspar Sanz

(mid-17th–early 18th century) Canarios

Gaspar Sanz, a virtuoso guitarist-composer, published one of the most important guitar books of the seventeenth century and it contains the bulk of the Baroque Guitar music performed today. The ‘Canarios’ chord sequence first appeared in the late sixteenth century and has served as an inspiration for composers ever since. It was believed to have come from the Canary Islands and this version by Sanz is one of the most famous of Baroque guitar compositions.


José Marín Sepan todos que muero

(1618–1699) De amores y de ausencias

Ya no puedo más senora

José Marín was a Spanish composer, singer and priest. He sang tenor in the royal chapel of King Felipe IV from 1644 to 1649. After travelling to Rome, for ordination, and then to the Indies he returned to Madrid and in 1657 was charged with robbery and murder and subsequently defrocked. Between 1680 and 1694 Martin Garcia de Olegue, organist at Trinitarian convent in Madrid, copied a manuscript of fifty-one secular songs composed or arranged by Marín, in a version for voice and five-course guitar. These songs are taken from that collection.



Translations: Alex MacKenzie
Sepan todos que muero

Sepan todos que muero Know ye that I die

de un desdén que que quiero of a disdain that I adore

Quiero un desdén a paçible I long for a quiet disdain

y si ay ángeles acá un angel and if there be angels here
que quiero está, an angel that I love is

más alla de lo imposible beyond the impossible.

quiero sufrir lo in sufrible I should like to suffer the insufferable
de amar y no perecer in love and not perish

de sem brar y no cojer pues e sowing and not reaping after


de morir primero, and dying first

Sepan todos que muero Know ye that I die

de un desdén que quiero. of a disdain that I adore.
De amores y de ausençias

De amores y de ausencias A poor wretch bemoans

se queja un desdichado love and absence.

Con palabras de fuego With words of fire,

suspiros de llanto. sobbing sighs.
Yo Triste no esperava Unwitting, I did not expect

del tiempo afortunado in a fortunate time

venturas que tampresto reverses which so quickly

llegan a desengaños. lead to disenchantment.

Divertirme procuro I try to distract myself,

y en mis tristezas paso and pass my best years

con número de penas in misery

lo major de mis años. and pain without end.

está marchito el gusto for ‘tis vain to search

Estribillo Refrain

Amor en astremos tales Love, in such extremes,

no quiero tus placers por I do not want your pleasures for the pain they tus pesares. bring.
Ya no puedo más señora

Ya no puedo más señora I can resist no more my lady

que en las lides de mi pecho for in the torment of my bosom

vanamente resistida which I fought in vain

vençio la pena al silençio. pain has overcome silence.

Ardo y quieres que oprimido I burn, and you would that, thus oppressed,

aún no respire el silençio I should not even breathe the silence;

si te disgustan los humos if smoke repels you

porqúe ocasionas los fuegos. why do you light fires?

Perdona tú si atrevido Forgive me if, breaching

a la ley de tu respeto the law of your respect,

mis tristes desconfianzas my dolorous mistrust

tomaran nombre de zelos. should take the name of jealousy.

Estribillo Refrain

Y aunque sea vivir morir de amores And although to live may be to die of love,

ni dar prisa al vivir que tiempo corre. I shall not live life helter-skelter, for time flies.
Traditional Irish Siúil a rún

(18th century)

Siúil a rún is a traditional Irish song from the eighteenth century. It is about a young woman and her love, who has gone into exile with the Wild Geese. The song exists in many forms this bilingual version owes much to a seventeenth-century Gaelic song, Siúil a ghrá.
Siúil, siúil, siúil a rún, Walk, walk, walk, O love,

Siúil go sochair agus siúil go ciúin Walk quickly to me, softly move;

Siúil go doras agus ealaigh líon Walk to the door, and away we’ll flee,

Is go dté tú mo mhuirnín slán And safe may my darling be.



I wish I was on yonder hill I’ll dye my petticoats, I’ll dye them red,

‘Tis there I’d sit and cry my fill, And ‘round the world I’ll beg my bread,

And every tear would turn a mill Until my parents shall wish me dead,

I’ll sell my rock, I’ll sell my reel, But now my love has gone to France,

I’ll sell my only spinning wheel, To try his fortune to advance;

To buy my love a sword of steel If he e’er comes back, ‘tis but a chance.

Juan Arañes

(died after 1649) Chacona: A la vida bona

Juan Arañes was a Spanish composer, active briefly in Italy. A la vida bona, was the first chacona for voices by a Spanish composer to appear in print. Writers from the time (such as Cervantes) indicate that the chacona was associated with servants, slaves and Amerindians. It was often condemned for its suggestive movements and mocking texts, and was said to have been invented by the devil.


Chacona: A la vida bona

Un sarao de la chacona One evening in the month of roses

se hizo el mes de las rosas, a dancing party was held,

huvo millares de cosas it afforded a thousand pleasures,

y la fama lo pregona. as was famed both far and wide.

A la vida, vidita bona, Here’s to the good, sweet life,

vida vámonos a Chacona. my sweet, let’s dance the chaconne.

Porque se casó Almadán When Almadan was wed

se hizo un bravo sarao, a grand old party was thrown,

dançaron hijas de Anao the daughters of Aneus danced

con los nietos de Milán. with the grandsons of Milan.

Un suegro de Don Beltrán The father-in-law of Bertran

y una cuñada de Orfeo and Orpheus’s sister-in-law

començaron un guineo began a Guinea dance



y acabólo un amaçona which was finished by an Amazon,

y la fama lo pregona. as was famed both far and wide.


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