Antonio Lotti : Edition Notes
Madrigals
This four-part madrigal was written in 1736, for Ascension Day, when the Doge of Venice rode out in his barge, the Bucentauro, for the annual Marriage to the Sea (Sposalizio del Mare), when Venice would be symbolically married to the Adriatic. Every year, the Pope sent a gold ring, which would be dropped into the waters. The lyrics were written by Zaccaria Valaresso (1686-1769), who also wrote the words for Lotti's oratorio, Gioas, re di Giuda (now lost).
La vita caduta (in una siepe ombrosa) - SSATB, continuo
A five-part madrigal from the only works by Lotti to be published in his lifetime. In 1705, the collection Duetti, terzetti e madrigali a piu voci was published by the Venetian printer Antonio Bortoli. The book was dedicated to the Holy Roman Emperor, Leopold I (1640 - 1705), who sponsored the publication, but unfortunately died while the pages were still being printed.
The work was also the subject of the famour "Bonocini incident". In a concert given by the Academy of Ancient Music in London in 1731, Lotti's madrigal, La vita caduta (in una siepe ombrosa), from his 1705 collection. However, this was attributed as the work of Giovanni Bononcini (1670 - 1747), who was working in London at the time. When the true authorship came to light, Bononcini supposedly protested, and although he declined to comment further, his case was taken up by others, particularly Maurice Green (1696 - 1755) who may have actually put Bononcini's name to the work in the first place. The Academy's secretary, Hawley Bishop, then wrote to Lotti, asking him to prove that the madrigal was his. Lotti provided a measured but definitive response to the supporters of Bononcini:
I think that they do not so much consult the Honour of their Friend, because by separating from the Academy, they show a resentment which might be just, were the Dispute about an only Child, but for a Madrigal indeed it is too much, since Signore Buononcini can make others equal and much superior.
He settled the matter with notarised testimony. The incident led to Maurice Greene's leaving the Academy and the fall of Bononcini in London as Handel's star rose.
LA VITA CADUTA
In una siepe ombrosa quando il Sol cò suoi raggi i monti indora, pompa ed onor di Flora, apre il bel seno una vermiglia rosa.
Ma le foglie odorate e porporine circondano le spine e cade in sù lo stelo, con pallide agonie, quando de lumi il Rè parte dal cielo.
Quindi ben lasso apprendo che terrena beltà simile à un fiore circondata da pene con effimera vita e langue e more.
THE FALLEN LIFE
In a shady hedge, when the sun gilds the mountains with its rays, a vermilion rose, the pomp and honor of flowers, opens its beautiful bosom.
But thorns surround the scented purple leaves and the stem falls upon itself, with pale agonies, when the King of lights leaves the sky.
Therefore I learn wearily that earthly beauty, like a flower, is surrounded by sorrow with ephemeral life, and languishes and dies.
Moralitå di una perla - SATB, continuo
Another madrigal from Lotti's 1705 published collection of secular music.
Piange l'amante'ucciso, la foriera del Sol, l'alba vermiglia e'un' avida conchiglia le lagrime raccoglie onde ne forma candida perla e vaga, di cui n'ornano i Regi le corone regali e pretiose, di cui cingon' il collo le donzelle verzzose, ed' io rifletto'intanto ch'anch'il fasto mortal, nasce dal pianto.
The murdered lover cries, the harbinger of the sun, the red dawn; and an eager seashell collects the tears to form white elusive pearls which adorn the royal and precious crowns that encircle the necks of charming maidens, and I reflect on the mortal pomp, grown from tears.
Il tributo degli dei per il banchetto – SATB, 2 violin, continuo
Madrigal with violins and continuo accompaniment. Though to be written in 1736, also as part of the celebration of the annual Marriage to the Sea (Sposalizio del Mare) on Ascension Day, the text is a thankgiving to the gods for the banquet.
ARIAS
Bel labbro formato Soprano, 2 violin, viola, bass continuo, keyboard
From Act I, Scene 2 of Teofane, Lotti's last opera. It is sung by the castrato role of Prince Adelberto, who has seized the throne of Italy against the wishes of Ottone, the Holy Roman Emperor. The Byzantine princess Teofane is betrothed to Ottone, but Adelberto pretends to be her fiancé, whom she has never seen, wooing her with this aria and overcoming her objections from the portrait of Ottone’s true likeness that she holds.
Bel labbro, formato per farmi beato
il nome di sposo impara a chiamarmi;
Modestia il consente, modestia che tinge
Ed’ostro dipinge, la fronte innocente per piu innamorarmi.
"Fair lips, formed to make me blessed, learn to call me by the name of ‘husband’; Modesty consents, modesty that paints the innocent face purple, to make me love you more."
Discordi pensieri Alto, 2 violin, viola, bass continuo, keyboard
From the start of Act III of Teofane, Lotti's last opera. Teofane has discovered Ottone comforting his sister Matilda, and as is traditional, misunderstands the embrace and suspects infidelity. Adelberto has escaped from prison and captures Teofane. In the light of these events, Ottone sings this aria somewhat depressed and dejected. Needless to say, the opera finishes with all misunderstandings rectified, all sins regretted and forgiven, and all parties reconciled.
Discordi pensieri che guerra vi fate
respiro lasciate all’ansio mio cor.
Deluso si duole un tenero affetto
offesso il respetto sdegnato.
Mi vuole ne so se maggior sia l’ira o il dolor.
"Conflicting thoughts that make war together, let my anxious heart breath. Disappointed, the tender affection aches, offended [with] indignant esteem. I want to know which is greater: anger or sorrow."
Lascia che nel suo viso - Soprano, mandolin or archlute, continuo, [or keyboard]
From Act II, Scene 1 of Teofane, Lotti's last opera. Scored for mandolin and continuo, though it works well with a harpsichord or other keyboard instrument. It also requires a soprano with Top D. It was written for the castrato Matteo Berselli, who played the part of Adelberto. In this point of the opera, Adelberto has been imprisoned, and has been scolded by Matilda for his inconstancy.
Lascia, che nel suo viso, pria che da lei diviso,
costanz’ apprenda il cor. Non esser meno pia
che la catena mia da cui mi vien
permesso darle un amplesso ancor.
"Hold, that in her face my heart may learn constancy, before I am parted from her. Do not be less merciful than my chains, which still permit me to embrace her."
Novo agl'occhi - Tenor, 2 violin, viola, bass continuo, keyboard
From Act I, Scene 5 of Teofane, Lotti's last opera. One of the few arias for the tenor role of Isauro.
Novo agli occhi del mio amor
di speranza appare un lampo.
E il mio cor qual nocchier già mezzo assorto
da lui prende alcun conforto
ben chi in dubbio ancor di scampo.
Pur dicesti, o bocca, bocca bella - Soprano
This is one of Lotti's most well-known arias, from its inclusion in several collections, most of which are based on Parisotti's Arie antiche of 1890.
However, the original aria is written in D major, not E; has only a continuo accompaniment; with no strings nor ritornello. Ancient Groove Music plans an edition of the original "authentic" version.
The text of the aria suggests that it most likely comes fromone of Lotti's early "pastoral" operas. (Tirsi, 1696; La ninfa Apollo, 1710).
INSTRUMENTAL
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