84 Results for : gialli

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    Gallery of Italian Madrigals & Motets
    Notes by Dr. David Schofield copyright 1993 Josquin's El Grillo is a frottola, a forerunner of the sixteenth century Italian madrigal. These were simple three- or four-part songs in a chordal style with the melody in the soprano. They may have been performed as accompanied songs for solo voice, but their homophonic texture suggests the possibility of purely vocal performances. Arcadelt's Il bianco e dolce cigno and D. Ferrabosco's Io mi son giovinetta are typical sixteenth century Italian Madrigals, which used poetic forms of freely arranged seven and eleven syllable lines imitating Petrarch. Like the frottola before it, the early madrigal (c. 1530) was primarily homophonic, although there was considerable use of imitation between voices. Wert's Chi salira per me is a madrigal in the classic style (1550-80). Madrigals of this period were highly polyphonic and imitative, and usually written for five voices, though four and six voices were not uncommon. Care is taken to enhance the text's meaning and pronunciation through musical expression. The late madrigal (c. 1580-1620) developed into an elaborate musical form, using extremes of chromaticism, word painting, and virtuosic vocal lines to depict the text. Marenzio's Cruda Amarilli, Gesualdo's Languisco e moro, and Monteverdi's Quel augellin che canta are examples. Gastoldi's Viver lieto voglio and Lassus' Matona mia cara are balletti, a form first introduced by Gastoldi in 1591. These are written in a simple chordal style using dance rhythms, frequently with a fa la la refrain. Balletti may have served as dance music and were widely imitated in England, particularly by Morley. Sicut Cervus epitomizes Palestrina's pure and reserved polyphonic style, which became the model for much subsequent church music. Croce's O sacrum convivium and Viadana's Exultate justi in Domino are popular four-part choral works which employ dance rhythms within a homophonic texture. These songs also resemble the popular villanelli and canzonetti of the period. Lassus' Ave verum corpus is written in the style of the Venetian 'cori spezzati'. Striking word-painting is particularly evident in the setting of the text 'unda fluxit'. Imitative descending lines cascade in all the voices. The six parts split into two-, three- and four-voice ensembles to contrast the tutti, creating the effect of a double chorus. Gasparini's Adoramus te, Christe and Lotti's Crucifixus are written in the 'stile antico', the old style of Palestrina. However, the striking chromaticism and abundant dissonance, while offering poignant word painting of Christ's passion, reveal a more modern ear at work, as do the driving tonal progressions. But within this tonal context, both composers succeed at recreating the subtle and reserved polyphonic style of the sixteenth century. The Members on this album Director: Erik-Peter Mortensen Associate Conductor: Dr. David Schofield Soprano i: Sandia Ang, Cathlee Ellis Soprano II: Peggey Farley, Elizabeth Henrickson-Farnum Mezzo-Soprano: Melissa Fogarty Alto: Sally Elliot, Elaine Tokunaga Tenor i: Colin Bird, Louis Shafer Tenor II: Gregory Davidson, Arthur Krieck Baritone: Tod Mijanovich, Erik-Peter Mortensen Bass: Charles Grey Jr., Michael Orzechowski Track Texts and Translations 1. LANGUISCO E MORO: C Gesualdo (1560-c.1613) Languisco e moro, ahi, cruda! Ma tu, fera cagion de la mia sorte, Deh, per pieta, consola Si dolorosa morte D'una lagrima sola, Onde dica per fin del mio languire: 'Or che pietosa sei, dolce e'l morire'. I languish and die, ah cruel one! But you, savage cause of my fate, Ah, for pity's sake, comfort So painful a death With a single tear, Whence may be said at the end of my languishing: 'Now that you be merciful, sweet it is to die.' 2. EL GRILLO: J. Desprez (1440-1521) El grillo e buon cantore che tiene longo verso. Dale, beve grillo, canta. Ma no fa come gli altri uccelli Come li han cantato un poco Van' de fatto in altro loco. Sempre el grillo sta pur saldo. Quando la maggior el caldo Alhor canta sol per amore. The cricket is a fine singer who sustains a long note. Be happy, drink cricket, sing. But he is not like other birds Who sing a little Flying off to another place. The cricket always stands firm. When the weather is hottest He sings only for love. 3. IL BIANCO E DOLCE CIGNO: J. Arcadelt (c. 1505-1568) Il bianco e dolce cigno cantando more, et io Piangendo giungo al fin del viver mio. Strano e diversa sorte ch'ei more sconsolato, Et io moro beato. Morte, che nel morire Mi empie di gioia tutto e di desire. Se nel morir altro dolor non sento Di mille morte il di sarei contento. The white and gentle swan dies singing, and I Weeping reach the end of my life. What strange and diverse fate that he dies unconsoled, And I die blessed. Death, which in dying Fills me full of joy and desire. If in dying no other pain I feel With a thousand deaths a day I would be content. 4. MATONA MIA CARA: Orlando di Lasso (1532-1594) (Broken Italian spoken by German Soldier) Matona mia cara, mi follere canzon cantar sotto finestra, Lantze buon compagnon. Don don don diri diri don don don. Ti prego m'ascoltare che mi cantar de bon, E mi ti foller bene come greco e capo, etc.Com' andar a le cazze, calzar con le falcon Mi ti portar becazze, grasse come rognone, etc. Se mi non super dire tante belle radon, Petrarcha mi non saper, ne fonte d'Helicon, etc. Se ti mi foller bene mi non esser poltron, Mi ficar tutta notte, urtar come monton, etc. My dalingk voman, I vant a songk to singk unter ze vindow. I'm Lantzer und gut companion. Dongk dongk donk derry derry dongk dongk dongk. I vant you zu listen me, zints I singk zo gut. Und I vant you like ze Greek vants chicken, etc. Ven I go ze huntingk mit ze falcon I bringk you back voodcock fat like ze kidney, etc. I speak nicht zo gut zints I dunno ze Petrark oder ze faunten of yooth, etc. If you like me gut, me no lazy soldya, Me singk to you allk nigkht longk, last longa zan ze maunten-gaut, etc. 5. CHI SALIRA PER ME: G. de Wert (1535-1596) Chi salira per me, Madonn', in cielo A riportam' il mio perdut' ingegno Che, poi ch'usci da' bei vostr' occhi il telo Che'l cor mi fiss', ognor perdendo vegno? Ne di tanta jattura mi querelo, Pur che non cresca, ma stia a questo segno, Ch'io dubito, se piu se va scemando, Che stolto me n'andro pel mond' errando. Who will ascend for me, my Lady, to heaven To bring back my lost reason Which, since departed from your beautiful eyes the dart That my heart pierced, every hour I am losing? Nor of such a loss do I complain, Provided it increases not, but remains at this degree, For I doubt, if more it diminishes, That foolish I shall go through the world wandering. 6. VIVER LIETO VOGLIO: G. Gastoldi (1556-1622) 1. Viver lieto voglio Senza alcun cordoglio. La la. Tu puoi restar, Amor, Di saettarmi il cot, Spendi i pungenti strali Ove non paiian frali, Nulla ti stimo o poco E di te prendo gioco. La la. 2. Bacco adoro et amo E'l liquor suo bramo. La la. E i fammi allegro star E i m'e diletto car, Con lui e notte e giorno Io volontier soggiorno, Lui sempre lieto invoco E di te prendo gioco. La la. 1. To live happily I wish Without any deep sorrow. La la. You can cease, Love, From shooting my heart, Make use of your sharp arrows Where they may not seem weak, I have little or now esteem for you And I make fun of you. La la. 2. Bacchus I adore and love And I yearn for his liquor. La la. And he makes me happy And is to me dear delight, With him both night and day I willingly stay, To him always happily I call, And I make fun of you (Love). La la. 7. IO MI SON GIOVINETTA: D. Ferrabosco (1513-1574) Io mi son giovinetta, e volontieri M'allero e canto en la stagion novella, Merze d'amore e de' dolci pensieri. Io vo pe' verdi prati riguardando I bianchi fiori, ei vermigli, e' gialli, Le rose in su le spine, ei bianchi gigli, E tutti quanti gli vo somiglando Al viso di colui ch'amandomi Mi presa e terra sempre. I am a young lady, and gladly Rejoice and sing
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    Puzzle (L’Uomo Senza Memoria)
    Stranded in London with no memory and no identity that he can recall, a man who believes his name is Peter (Luc Merenda) struggles with amnesia after a car accident. With little information to help him solve the puzzle of who he is, an attempted murder and a strange series of events lead him to the discovery that his name is in fact Ted and that he has a beautiful wife, Sara (Senta Berger), waiting for him in the world-famous Italian resort town of Portofino.Traveling to Italy in the hope of unravelling the mystery of his identity, he finds that the hurt, lonely Sara - believing that she had been abandoned by her husband knowingly - has made tentative steps to rebuild her life with the help of her best friends Whiskey the dog and Luca (Duilio Cruciani), the straight-talking and slightly infatuated young child to whom she lives next door to.With the Hitchcockian flair of the absolute best gialli from the 1970s, Sara and Ted together try to unravel the mystery of his missing months - and they have their hands full. Not only are there murders, international criminal plots, betrayals, but they are tormented by a mysterious woman with a hidden agenda (Anita Strinberg) and a mystery man with chronic allergies (Bruno Corazzari). Things only continue to get even more increasingly peculiar, more complicated, and more dangerous for the newly reunited couple
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    The Forbidden Photos Of A Lady Above Suspicion
    Before the influence of Dario Argento's The Bird with the Crystal Plumage permeated every corner of the giallo genre, another strain of these distinctive Italian thrillers enjoyed considerable success. These "melodrama gialli", heavily inspired by Clouzot's Les diaboliques, relied less on graphic violence and high body counts and more on psychological tension. Minou (Dagmar Lassander, Lucio Fulci's The Black Cat) leads a pampered but dull life with her frequently absent husband, Peter (Pier Paolo Capponi, The Cat O' Nine Tails). One night, while out walking on the beachfront, Minou is accosted by a mysterious blackmailer (Simón Andreu, Death Carries a Cane) who informs her that Peter is a murderer. Driven by misplaced loyalty to her husband, Minou gives in to the blackmailer's every perverted whim in exchange for his silence. But as the blackmailer ups the ante, demanding that she submit to his increasingly obscene demands, can Minou hold on to what little remains of her sanity? Written by the prolific Ernesto Gastaldi (Torso), infused with a seductive score by the great Ennio Morricone (The Cat O' Nine Tails) and featuring a memorable turn by Nieves Navarro a.k.a. Susan Scott (Death Walks at Midnight) in the role of Minou's best friend, The Forbidden Photos of a Lady Above Suspicion is a trippy giallo delight that brings together the talents of many of the genre's leading lights on both sides of the camera.
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    Forgotten Gialli: Volume 3
    Three-disc set includes: The Murder Mansion (1972)RMurder and mayhem abound in this chiller, as a young couple joins other travellers spending the night in a creepy mansion in an otherwise deserted village. The building's mysterious occupant tells her "guests" the story of the undead horror that attacked the villagers... a horror that may have picked that night to return! Analía Gadé, Ida Galli star. 83 min. In Spanish with English subtitles. C/Rtg: NR Autopsy (1974)Trying to uncover the reason behind a series of violent apparent suicides that is paralyzing the city of Rome, pathologist Simona Sanna (Mimsy Farmer) and priest Paul Lenox (Barry Primus) discover a horrifying secret in this grisly slice of Italian horror, seen here in it's uncut form. Ray Lovelock, Angela Goodwin co-star. 100 min. In Italian with English subtitles.C/Rtg: NR Crazy Desires Of A Murderer (1977)When a beautiful party-girl contessa (Isabelle Marchall) threw a coming-home shindig at the castle of her infirm father, she hadn't counted on a guest being found murdered with her eyes gouged out. Will the canny cop (Corrado Gaipa) on the case uncover the killer before he strikes again? Gothic giallo also stars Annie Carol Edel, Patrizia Gori. 89 min. In Italian with English subtitles. C/Rtg: NR Widescreen, Soundtracks: Italian, Spanish, Subtitles: English (SDH), featurettes.
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