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เข้าร่วมเมื่อ 31 ม.ค. 2016
Francesca Caccini: Marie, dolce Maria (1600), Berit Norbakken & Karl Nyhlin, Oct 2023
Francesca Caccini (1587-c.1630): Maria, dolce Maria
Berit Norbakken, soprano
Karl Nyhlin, theorbo
Oct 2023
Linderud Gård, Oslo
***
The Italian singer and composer Francesca Caccini was born into a family of musicians in Florence. She had a quite extraordinary career: she served at the court of Tuscany under three Grand Dukes: Ferdinando I, Cosimo II, and Ferdinando II, and was the highest paid composer at the Medici court in Florence. Her father was the famous composer, singer and member of the Florentine Camerata, Giulio Caccini. He and the composer Jacopo Peri are credited to have written the first known operas of music history.
Caccinis daughter Francesca took probably part in these opera productions.
The Caccini family also formed a consort of family singers, and went on tour, even to Paris in 1604. There she was offered an employment at the French court by king Henry IV, but in the Duke in Florence, Ferdinando I would not let her go.
Back in Florence, she worked as composer, singer and teacher at the court. She composed at least 12 stage works, we would say "opera" today, but she called them "balletti", set to her own poetry, in both Italian and Latin. In addition, she wrote music for numerous courtly entertainments, for example the Carnival season or to mark important occasions in the lives of her patrons. Only one opera, "La liberazione di Ruggiero d’al isola d’Alcina" (1625) has survived, it is the first opera in music history written by a woman.The music score was - very unusual for that time - even printed after the performance, and has therefore survived until today.
At the medici court she also served as a singing teacher, educating the court members. Her vocal art is described as superb, the great Claudio Monteverdi heard her play three different instruments and sing, “all very well,” in 1610.
"Il primo libro" is a collection of short vocal works for one or two voices with basso continuo, includes nineteen sacred solos, thirteen secular solo songs, and four duets for soprano and bass.
“Maria, dolce Maria” is described in Il Primo Libro as a madrigale. The Italian madrigali of 1600 were composed of poetic lines of eleven syllables and seven syllables, variously arranged for six lines but always ending in a rhyming couplet: abc abc dd. She changes harmony under expressive words as “dolce” and “serena” and introduces gentle turns in the melody itself during the words “soave” and “celeste”. And since Francesca herself was famous for her “ravishing roulades,” she has written a long melisma for the words “canto” and “alma.” The entire song expresses her joy and serenity on contemplating the character of Mary, mother of Jesus.
Mary, sweet Mary,
A name so gentle
That whoever pronounces it learns to speak from the heart,
Sacred name and holy
That inflames my heart with heavenly love.
Mary, never would I know how to sing
Nor my tongue
Draw out from my breast ever
A more felicitous word than to say Mary.
Name that lessens and consoles
Every grief.
Tranquil voice that quiets every breathless agitation,
That makes every heart serene
And every spirit light.
***
Original text:
Maria dolce Maria,
come soave tanto,
ch'e pronunciar t'in paradisi core,
Nome sacrato e Santo,
ch'el cor m'infiammi di celeste amore,
Maria mai sempr'io canto,
ne puo la lingua mia piu felice parola,
trarmi dal sen gia mai che dir,
che dir Maria,
nome ch'ogni dolor tempra'e consola,
voce tranquilla ch'ogni affano acqueta,
ch'ogni cor fa sereno, ogn'alma lieta.
Video: Lighthouse Productions/Odd Geir Sæther/Jon Skandsen
Photo cred: Daniel Lilleeng
beritnorbakken.no/
www.karlnyhlin.com/
www.oslocircles.com/
Berit Norbakken, soprano
Karl Nyhlin, theorbo
Oct 2023
Linderud Gård, Oslo
***
The Italian singer and composer Francesca Caccini was born into a family of musicians in Florence. She had a quite extraordinary career: she served at the court of Tuscany under three Grand Dukes: Ferdinando I, Cosimo II, and Ferdinando II, and was the highest paid composer at the Medici court in Florence. Her father was the famous composer, singer and member of the Florentine Camerata, Giulio Caccini. He and the composer Jacopo Peri are credited to have written the first known operas of music history.
Caccinis daughter Francesca took probably part in these opera productions.
The Caccini family also formed a consort of family singers, and went on tour, even to Paris in 1604. There she was offered an employment at the French court by king Henry IV, but in the Duke in Florence, Ferdinando I would not let her go.
Back in Florence, she worked as composer, singer and teacher at the court. She composed at least 12 stage works, we would say "opera" today, but she called them "balletti", set to her own poetry, in both Italian and Latin. In addition, she wrote music for numerous courtly entertainments, for example the Carnival season or to mark important occasions in the lives of her patrons. Only one opera, "La liberazione di Ruggiero d’al isola d’Alcina" (1625) has survived, it is the first opera in music history written by a woman.The music score was - very unusual for that time - even printed after the performance, and has therefore survived until today.
At the medici court she also served as a singing teacher, educating the court members. Her vocal art is described as superb, the great Claudio Monteverdi heard her play three different instruments and sing, “all very well,” in 1610.
"Il primo libro" is a collection of short vocal works for one or two voices with basso continuo, includes nineteen sacred solos, thirteen secular solo songs, and four duets for soprano and bass.
“Maria, dolce Maria” is described in Il Primo Libro as a madrigale. The Italian madrigali of 1600 were composed of poetic lines of eleven syllables and seven syllables, variously arranged for six lines but always ending in a rhyming couplet: abc abc dd. She changes harmony under expressive words as “dolce” and “serena” and introduces gentle turns in the melody itself during the words “soave” and “celeste”. And since Francesca herself was famous for her “ravishing roulades,” she has written a long melisma for the words “canto” and “alma.” The entire song expresses her joy and serenity on contemplating the character of Mary, mother of Jesus.
Mary, sweet Mary,
A name so gentle
That whoever pronounces it learns to speak from the heart,
Sacred name and holy
That inflames my heart with heavenly love.
Mary, never would I know how to sing
Nor my tongue
Draw out from my breast ever
A more felicitous word than to say Mary.
Name that lessens and consoles
Every grief.
Tranquil voice that quiets every breathless agitation,
That makes every heart serene
And every spirit light.
***
Original text:
Maria dolce Maria,
come soave tanto,
ch'e pronunciar t'in paradisi core,
Nome sacrato e Santo,
ch'el cor m'infiammi di celeste amore,
Maria mai sempr'io canto,
ne puo la lingua mia piu felice parola,
trarmi dal sen gia mai che dir,
che dir Maria,
nome ch'ogni dolor tempra'e consola,
voce tranquilla ch'ogni affano acqueta,
ch'ogni cor fa sereno, ogn'alma lieta.
Video: Lighthouse Productions/Odd Geir Sæther/Jon Skandsen
Photo cred: Daniel Lilleeng
beritnorbakken.no/
www.karlnyhlin.com/
www.oslocircles.com/
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👏👏👏👏👏
klingt echt und unverkünstelt, bravo.
Vielen Dank für den netten Kommentar!
Astounding. I'm so glad that Mr. Kuijken is still playing at this high level in his 70's. As an aging vocalist and flute player, this kind of performance gives me hope for the future.
Yes, very inspiring indeed! Thank you for your nice comment!
My wife sang this in church many years ago Thanks for sharing
Mime!
Vielen Dank für Ihr großartiges Konzert. Freundliche Grüße nach Oslo !
Herzlichen Dank für Ihren freundlichen Kommentar! Gruss zurück aus Oslo! :)
En utrolig vakker og klar sopran!
This masterpiece was meant for royalty. I wish I could improvise using my violin as silently as possible in the suite of sound.
Grande Kuijken ! Tempi perfetti ! Tutti molto bravi !
Grazie! :)
suuper good dynamic range and sound engineering - beautifully articulated notes, fantastic performance - thank you for sharing this rare gem!
Thank you very much for your very nice comment! Best wishes from Oslo!
So beautiful! ❤️🤗🌷
❤❤
Fantástico! Greetings from Mexico city.
Thank you very much from Oslo!
👌💐🙏
Sublime
nádhera...hudba aj interpretácia...❤
A great recording! Very well played! Greetings from Germany! 👍
Thank you very much for your nice comment!
👍🥰 Bravi!
Thank you :)
great performance Greetings from Germany
Ass happy a piece of music that there is.
Groß ist die Welt, klein ist der Mensch. Was ist dir wichtig. Wovon lebst du …
Beautiful! And it's one aria where that slow a tempo and that considerable rubato work well.
Pretty amazing that you haven’t gotten any complaints about the fast pace of the coral. According to his obituary, Bach dictated the chorale prelude to his son-in-law on his deathbed, and therefore many believe that it should be played slowly, and with seriousness. I don’t believe in that story, because the composition is very complicated. Therefore, even Bach had to have been healthy and not terminally ill to be able to compose such music. Also, there exists a shorter version from about 1715. The time signature is C, so the pace of this performance may be closer to the original than most other versions. And the melody of the chorale is easier to perceive at this fresh pace.
Michael Praetorius wird sich freuen, das zu hören!
Lovely but too many breathes for my liking.
Vackert!
What a marvelous interpretation. Thank you so much.
Thank you - nice, that you like it!
Excelente!
Thanks very much!
Gracias!!! Thank you!!!
Love
Sooooo schön!Danke!
Briljant!
love it!
nice energy and abruptness with great timing...💯💫
se nota mucho que todos alli disfrutan mucho lo que hacen, muy Buena Interpretación, Gracias por Compartir
Flott musikk og fantastiske musikere 👏👏👏👏👏
Tusen takk :)
fantástico
He tenido el placer de escucharla en directo en Oviedo. Ha sido un descubrimiento maravilloso. Una hermosura.
Schitterend en het plezier van muziek maken spat ervan af
Magnífica apresentação!
The part of the second instrument in the final coda is done with the oboe and not with the violin. What is the point of making a video with a philological approach and historical instruments and then not inserting the specific instrument indicated by Bach?
really stupid indeed
maybe it's practical to do so? it's not a big problem. it sounds good to me and it's a performance very much worthy of appreciation imo
@@polikun2884 I repeat that if Bach had wanted a second violin, he certainly would not have entrusted the part to the oboe. Bach was Bach and he knew well what he wrote. I am convinced that when music is performed in a philological way, it must be done correctly, respecting the will of the composer. Whether you like it or it sounds good to your ear is debatable. Indeed, we know that Bach can be performed in any way and with any instrument. But in this way we return to the uninformed musical concepts that existed before the philological rediscovery of early music.
@@giuseppenalinoboe Thank you very much both of you for your engagement! Maybe you would like to hear the story behind this video: we made it as a part of our musical 'Christmas cards' in December 2020. That was a time when Oslo was in a pandemic lockdown, and also our oboe player was in lockdown 1200 km away (yes, Norway is a long country). In that year there were no Christmas concerts here, so we decided to send our audiences weekly advent video greetings, to give them a little bit of Christmas joy in all that uncertainity and loneliness. Of course, we have otherwise played this aria many times with oboe - and we will continue to do so, too :)
@@oslocircles4427Well, thanks for the explanation that you may have had to put as detail under this video. A big greeting from Italy and good continuation for a sumptuous concert activity with a lot of success!
Quelle splendide interprétation, merci ❤
thanks
Merci pour votre beau travail. Vous avez 2 amis de plus!
that sound so beautiful, i think i'm gonna cry
Nice video, stay connected! 🙂
ぼくの臨終に際して、このフーガの技法の最後とコラールを聴きながら召されたい。 「私はここに貴方の御座の前に進み出ます(Vor deinen Thron tret ich hiermit)」(BWV 668)
Sehr schön und eindrucksvoll!
Yeeeess
Jeg liker det, uttrykksfullt