Sollazzo Ensemble (CH)
When: 9. 7. 2016 at 20:00
Sollazzo Ensemble (CH)
The members of Sollazzo have profited from studies in institutions renowned for their specialisation in Early Music such as the Schola Cantorum Basiliensis, the Esmuc in Barcelona and the CNSM in Paris and Lyon, where the curriculum offered them diverse ways of approaching medieval repertoire and they enjoyed a constant stream of ideas and influences, before finding an autonomous path for the continuation of their work together.
In 2014 Sollazzo won Vier Jahreszeiten, an internal chamber music competition of the Schola Cantorum in cooperation with the foundation August Pickhard, and was soon after selected for the young ensemble programme “eeemerging” (supported by Creative Europe).
In 2015 Sollazzo won the York Early Music International Young Artists Prize, as was as well rewarded by the public with the Friends of York Early Music Festival Prize. In addition to that they won the Cambridge Early Music Prize. Future projects of the ensemble include their first CD recording in July 2016 for Linn Records in cooperation with the National Center for Early Music.
Cast: Perrine Devillers - soprano, Yukie Sato - soprano, Vivien Simon - tenor, Sophia Danilevski - medieval fiddle, Vincent Kibildis - harp, Anna Danilevskaia - medieval fiddle, direction
Perrine Devillers
A soprano specialised in early music, Perrine Devillers now studies singing at the Schola Cantorum Basiliensis. She performs as a solo soprano, as well as in chamber music and choir. Her prior instrumental training as a clarinet player gives her great flexibility to interpret music from medieval to contemporary. She sings throughout Europe with ensembles such as Pygmalion, Profeti della Quinta, La Cetra, Musica Fiorita and Ensemble Binchois.
The last years were particularly exciting because she helped form new ensembles in Basel: Novantik (ancient and contemporary music set), Duvinsela (Renaissance and early baroque) which won the first prize Biagio Marini 2014 and is about to record a CD under the Flora label, and Sollazzo Ensemble (French and Italian music of the 14th and 15th century). The latest CD released in January 2016 with Profeti della Quinta about Luzzascho Luzzaschi recieved a Five Diapason review as well as Choc Classica.
Yukie Sato
Yukie Sato finished her Master’s degree in voice at the Schola Cantorum Basiliensis in Basel in 2015. She won the 1st prize of the International Early Music Vocal Competition Canticum Gaudium (Poznan, 2013), the 1st Uehara prize of the 28th International Competition for Early Music (Yamanashi, 2015) and the best interpreter Acanthus prize (2014). She graduated from the Tokyo University of the Arts in Japan, where she studied classical and baroque singing. Prior to her studies there, she was active as a musical actress. She started studying in Basel in 2011, completing first the Master’s degree in Renaissance-Baroque (2013) and then the Master’s program Medieval-Renaissance.
Yukie has appeared in operas and oratorios as a soloist: as the Italian woman and Phantom in Charpentier’s “Medea” (Theater Basel, 2015), Haydn’s “The Creation” (Basel, 2015) and Händel’s “Messiah“ (Arlesheim, 2015). Besides her love of early music, Yukie also has wide experience in contemporary music, and has performed in many premieres. She sings as a soloist in projects with Rinaldo Alessandrini, Andrea Marcon, Dominique Vellard and Ensemble La Morra.
Vivien Simon
Born in France, Vivien Simon is a graduate of the Young Choir of Paris (National Conservatory of Paris) directed by L. Equilbey and of the Schola Cantorum Basiliensis, Switzerland (Advanced Vocal Ensemble Studies Programme directed by A. Rooley and E. Tubb). Since 2010, he has sung under the direction of L. Equilbey, Philippe Herreweghe, Suzanna Malki, and Geoffroy Jourdain.
In 2014, he joined the company La Tempête directed by Simon-Pierre Bestion as singer and dancer for projects combining baroque and electro music and contemporary choreography. The same year, he created the Collectif Ubique, a theatre and music company devoted to multidisciplinary creations. He has given around one hundred performances of his first project, a musical tale with ten instruments, across the country.
Sophia Danilevski
Sophia was first introduced to early music at the age of 8, when she started playing Viola da Gamba. She studied the instrument for eight years with Igish Michel in Luxembourg, and then with Julia Griffin at the conservatory of Issy-les-moulineaux, Paris. Later, her interests led her to study medieval fiddle with Randall Cook at the Schola
Cantorum Basilensis, where she had the opportunity to participate in master classes with Shira Kammen and Ben Bagby.
With Sollazzo Ensemble she travelled to Venice where she participated in master classes with Pedro Memelsdorff and Anne Azema. As well as having played and travelled with Sollazzo in England, Italy and France, she performed with the ensemble Syntagma, which has played in festivals such as Musica Sacra, Maastricht, (NL), Tage Alter Musik, Regensburg (D) and Rencontres Internationales de Musique Médiévale au Thoronet (FR).
Being part of Syntagma enabled her to record CDs such as Rose et Orticha, 2011 (awarded in the USA, Portugal and Germany), Gautier d’Epinal Remembrance, 2008 (awarded in the USA, England, France and Germany) and Stylems Music of the Italian Trecento, 2008 (awarded in Portugal, France and Germany).
Vincent Kibildis
The harp has accompanied Vincent for as long as he can remember - without ever having heard it. He finds it fascinating: an instrument that has the power to create miracles in the hands of mortals such as King David, Tristan and Orpheus. Vincent is completing his studies at the Schola Cantorum Basiliensis, exploring the Middle Ages, Renaissance and Early Baroque. His primary interests lie in understanding historical composition techniques and notation, which provide the basis for his artistic endeavours.
Vincent recorded his first solo album Just Do It for the KlangWelten label in 2010 and can also be heard with the ensemble Exquisite Noyse on their recording la voce del violino, released in 2015, featuring instrumental music of the 16th century, as well as his own improvisations. Vincent also performs with a variety of ensembles as a continuo player.
Anna Danilevskaia
Anna Danilevskaia, a fiddle and renaissance viol player who is specialised in repertoires from the 14th to the 17th century, was born into a family of musicians originally from Saint Petersburg. She began her musical training on the recorder at the age of six and at the age of fifteen discovered the bowed fiddle and consequently the viola da gamba. She studied with Pedro Memelsdorff in Barcelona, Pierre Hamon in Lyon and with Paolo Pandolfo at the Schola Cantorum in Basel.
Anna has been awarded with prizes and won competitions such as the first prize of Jugend musiziert in 1999 and 2003, as well as an award for young performers of early music in 2009 from the Saarländischer Rundfunk and the Neumeyer Akademie für Alte Musik.
Anna works with specialist ensembles such as La Morra or Currentes, with whom she travels through Europe and records for various labels, using her skills accompanying singers as well as performing as a soloist. In 2014 she founded her own group Sollazzo, which is her first project as a musical director.
Artist message to visitors
In this concert, we would like to invite you to discover a specific aspect of our repertoire: while typical medieval themes such as courtly love or chivalry are very much studied and explored, the topic of morals in songs is less often approached. However, almost every composer of the late Middle Ages has at least one song in which the text expresses personal statements on morals, and this glimpse on their individuality is what we try to capture and share with you in this concert.
Programme
Parle qui veut, Moralistične pesmi srednjega veka
Niccolò da Perugia (2. polovica 14. stoletja)
Il megli’ è pur tacere
Andrea da Firenze (?-1415)
Dal Traditor no si può far
Anonymus
O pensieri vani
Jacopo da Bologna (fl.1340-1386)
O cieco mondo
***
Trebor (fl. 1380-1409)
Le Basile
Anonymus
Va, Fortune
Anonymus/Guillaume de Machaut (ca.1300-1377)
Hont paur
Anonymus
Pour che je ne puis
Anonymous (Cyprus Codex)
Parle qui veut
***
Giovanni da Firenze (ca. 1350)
Agnel son bianch’e
Francesco Landini (ca.1325-1397)
Musica son
Johannes Ciconia (ca.1370-1412)
Ligiadra donna
Paolo da Firenze (ca.1355-1436)
Perchè vendetta
Zacara da Teramo (ca.1355-ca.1415)
Cacciando per gustar
About the concert programme
Scattered throughout the Middle Ages we find pieces full of self awareness and social critique. They can be characterised by a certain dissident tone of voice, satire ranging from the more subtle to the evident, or a resignation and retreat from the world.
The first and the last parts of the concert feature the exuberant style of flourishing melodies which was fashionable in the north of Italy in the fourteenth century, known today as the Italian Ars Nova or Trecento style. The central part of the concert features pieces of French provenance, contrasting the Italian style with their sober and succinct aesthetic, calling for a completely different kind of expressivity.
Nevertheless, beyond these contrasting aesthetical inclinations, in their strong positions on moral matters and critical approaches to society, music, customs and human nature, French and Italian composers share a common language: critics are vivid and, far from the cliché of feudal servitude, personal opinions are frankly expressed.
Il megli’ è pur tacere (The best is to keep silent) and Dal Traditor (Of traitors) issue a warning which has a long standing tradition in medieval literature: beware of the slanderers, mesdisants in old French. In the first, for which the composer Niccolò da Perugia borrowed a popular melody, it is advised not to confide in someone who speaks too much, while the second warns against traitors and their ‘honeyed tongues’.
While these two pieces are very extroverted and approach their matters with strength and confidence, the following pieces go further, presenting a kind of inevitability. The speaker of O pensieri vani (O vain thoughts) reflects on his life and deeds realising that he cannot change his fate while in Perchè vendetta (For vengeance) there is no other solution but to take revenge, be it sooner or later or against better judgement. The striking text of O cieco mondo (O blind world) shows a disillusion with the world in its entirety suspecting deception and ‘deathly poison’ in every delight it has to offer.
The mysterious and intricate Le Basile (The basilisk) describes this monstrous crossbreed between a rooster and a serpent that possesses the power to kill with a glance, but serving as a metaphor for all defects which endanger true love. Va, Fortune (Go, Fortune) blames Fate for the narrator’s suffering and leading her to her death.
Pour che je ne puis mie demourez en douls payis (Because I cannot stay in the sweet country) once more features the slanderers and tells the story of how their intrigues separate a couple forever. Parle qui veut (Speaks who wants) closes the French part of this concert and lends its opening words to our title. The text states a declaration of good intentions and the intention to never slander again. The last part of the concert features an abundance of images such as the innocent sheep in Agnel son biancho (I am a white lamb) representing a population of yea-sayers, the personification of Music complaining about the sad state of some composers in Francesco Landini’s daring Musica son and finally Cacciando per gustar (Hunting for pleasure) with its depiction of a Roman market in the fourteenth century, using the imagery of the goods bought and sold to speak about love.
Lyrics:
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Il megli’ è pur tacere |
Najbolje je molčati |
The best is to keep silent |
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Il megli’ è pur tacere colui che troppo parla. Ispesse volte falla. I’ mi fidai di tare. E poi non val pentere Che di me dice male. E ben già non vol dile. Colui assai più vale. |
Najbolje je molčati ob njem, ki govori preveč. Zakaj on vara in naseljuje dvom v meni. Ne zdi se mi vredno kesati, ker o meni govori grde stvari. Njega, ki je vreden toliko več, to ne boli. |
The best is to be silent To him who speaks too much. For he misleads And makes me doubt. And then it is not worth to repent Because he says bad things about me. It doesn’t mean anything To him who is worth much more. |
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Dal Traditor non si può far |
O izdajalcih |
Of traitors |
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Dal traditor non si può l'uom guardare che mostri buona faccia con sagaci costumi e falsa traccia.
Pessima pestilenza certamente familiar nimico E sopra tutte l'altr'aspre mortale. Questa malvagia torma frodolente fece gia per antico a molti buoni non pensato male. Simile a Giuda un traditor cotale pien d'infinita laccia tradito m'ha con dimostrar bonaccia.
Però si guardi ciascun com’ si fida E come crede altrui. Bench'altri el parlar abbia pien di mèle: Che tal si finge amico e par che rida. Dicendo i' sono e fui e sarò sempre servidor fedele. Che poi ascoso vento a le suo vele e con inganni allaccia chi più sicuro dorme in le suo braccia. |
Človek se ne more obvarovati pred izdajalci, ki kažejo mili obraz in pod smelimi navadami skrivajo prevarantstvo.
Zares so znani sovražniki tako slabi kot najhujša kuga. Med vsemi najbolj nevzdržni in smrtonosni. Ta zla sleparska množica je že v preteklosti neizrekljivo slabo storila mnogim ljudem. Eden od njih, podoben Judežu, poln nenehnih pasti, je izdal me pod pretvezo dobrote.
Naj vsak zato previdno polaga upe v druge ljudi, naj imajo še tako podmazane jezike. Nekateri se pretvarjajo, da so prijazni in smehljajoč pravijo: »Jaz sem in sem bil in vedno bom tvoj zvesti služabnik,« nato pa, kot nenaden vihar v jadra, zavedejo tiste, ki mirno spijo v njih naročju.
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A man cannot protect himself from traitors Who display goodly faces And hide under wise habits their false traces.
Assuredly they are familiar enemies As bad as the worst plague. Above all others hard to bear and deadly. This evil fraudulent mob Did already in the past Untold harm to many good people. One of those traitors, not unlike Judas, Full of infinite snares, Betrayed me by pretending benevolence.
Let each one, then, be wary of how he trusts Or believes other people. However honeyed their tongues may be. Some pretend to be friendly, and smilingly Say: "I am and was And ever shall be your faithful servant" Who then are like an unforeseen storm to one's sails and ensnare with deceptions Those who safely sleep in their arms. |
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O pensieri vani |
Oh, jalove misli |
O vain thoughts |
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O pensieri vani O sperança fallace, O mente ciecha O core che tardi, Non t’acorgi del focho’n che tu ardi.
El tempo in futuro mai non s’aspecta, Et tu vechio inutele ai fermeçça, Et non t’avedi che morte t’enfreçça.
Ay! lasso ben veço ogni mio male Valesse pentir come non vale. |
Oh, jalove misli, oh, varljivi upi, oh, slep razum, oh, šibko srce, ne veš, v katerem ognju goriš.
Prihodnosti se nikoli ne da napovedati. In ti, star, neuporaben, si stalen in se ne zavedaš, da smrt sega po tebi.
Oh joj, vidim svoje gorje, splačalo bi se pokesati, vendar nima smisla. |
O vain thoughts, O fallacious hope, O blind mind, O weak heart, You don’t realise in which fire you burn.
The time in future Can never been foreseen. And you, old, useless, are steady And don’t realise that death is aiming for you.
Alas, I see all my woe It would be worth to repent but it doesn’t make sense. |
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O cieco mondo |
Oh, slepi svet |
O blind world |
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O cieco mondo, di lusinghe pieno. mortal veleno in ciascun tuo diletto fallace, pien d'inganni e con sospetto.
Foll’è colui ch'a te diriza 'l freno. quando per men che nulla quel ben perde. che sopra ogn'altro amor luce e sta verde.
Però gia mai dite colui non curi. che 'l frutto vuol gustar di dolci fiori. |
Oh, slepi svet, prepoln laskanja, s strupom v vsem, kar ponujaš. Lažen, zavajajoč in sumljiv.
Norec je, kdor se za tabo obrača. S tem izgubi, za manj kot nič, tisto dobro, kar sije iz vsake druge ljubezni in ostaja sveže.
Zato ne sme nikomur, ki želi okusiti sad sladkih rož, biti mar za tebe. |
O, blind world full of flatteries With deadly poison in every pleasure you offer. False, full of deceit and suspicion;
He is a fool, who turns toward you. Thereupon losing, for less than nothing, that Good which shines above every other love and remains green.
Thus, whoever wishes to taste the fruit of sweet flowers Ought never to care about you. |
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Le basile |
Bazilisk |
The basilisk |
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Le basile de sa propre nature Tous ceulz qu'il voit tue soubdaynement, Car son venin est mortel sanz mesure, Sanz remede et sanz alegement. Ainsi tue Envie Les bonz par tres sanglante jalousie, Tant que chascun voit son per a grant payne, Car Barat tient le monde en son demaine.
Le roy d'Amours ou palais de Droiture Si a doune sentense et jugement Contre ennemi qui par fause morsure A vrays amans font painne et tourment ; Maudite soit leur vie, Et leur jangler plain de tres grant foulie Per cui je pers l'amour fine et hauteine, Car Barat tient le monde en son demaine. |
Bazilisk, kot mu je v naravi, iznenada ubije vse, ki jih uzre. Njegov strup je smrten nadvse in zanj ni zdravila, ni pomoči. Tako Zavist ubije dobro z zelo okrutnim Ljubosumjem, tako strašnim, da mu para ni, saj Prevara drži ves svet v šahu.
Kralj ljubezni na razsodišču je podal zakon, ki obsoja vse, ki z varljivim ugrizom svojim žrtvam povzročajo bolečino in muke pravim ljubimcem. Preklel je njihovo življenje in njihovo klevetanje, polno nesmislov, zaradi katerega izgubim pravo in vzvišeno ljubezen, saj Prevara drži ves svet v šahu. |
The Basilisk by its very nature Kills suddenly all those it sees. For its venom is deadly without measure. Without remedy, without relief. Thus does Envy kill The good by very cruel Jealousy. Such that everyone has great difficulty in seeing His equal. For Deception holds the world in its domain.
The King of Love at the Court of Law Has indeed passed judgment, condemning Adversaries who, by treacherously biting their Victims, Cause pain and torment to true lovers. Cursed be their life And their slander full of utter nonsense. Because of which I lose the true and lofty love. For Deception holds the world in its domain. |
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Va fortune |
Pojdi, Sreča |
Go, Fortune |
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Va fortune, trop as ver moy grant tort, Que lons temps a chascun jorn m’es contrayre: Car il n’est nul qui creüst de confort, Que mon trist’ cuer as fet soffrir detrayre. Et fais tous jours: messire m’a esblouie. La mort m’atent, las! je me garde fenie. |
Pojdi, Sreča, predolgo me mučiš in preveč, saj vsak dan si mi nasprotna. Vsem drugim bi nudila oporo ob bolečinah, zadanih žalostnemu srcu, kot počneš vsak dan. Moj gospod me je omamil. Smrt me naposled čaka. Zame je končano. |
Go, Fortune, you have wronged me too much For long, every day you were contrary to me. To anyone else you would give comfort After causing so much pain to a sad heart As you do every day. My lord dazzled me. Death is waiting for me, alas! I consider myself Ended. |
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Pour che je ne puis |
Ker ne morem ostati v ljubi deželi |
Because I cannot stay in the sweet country |
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Pour che je ne puis mie Demourez en douls payis Ou vous manes, douche amie, Pour les mesdisans hayis, Je m’en depars trop envis: Mais puis qu’en sus de vous me trais, Au departir de mon cuer vous lais.
Dure m’est la departie, Qu’a cheus oncques ne meffis Qui de douce compaignie Me toillent par leur mesdis. Adieu, tres douls cuers gentils, Car congiés est pour tous jours mais; Au departir mon cuer vous lais. |
Ker ne morem, draga moja, ostati v ljubi deželi blizu tebe, prijateljica moja sladka, zaradi nemarnih obrekljivcev odhajam, proti svoji volji. Vendar ker odhajam od tebe, zapuščajoč zapuščam ti svoje srce.
Moj odhod mi silno bremeni srce! Ti, ki so me odtujili od presladkega druženja s svojimi plastmi obrekovanja. Zbogom, ljuba, prelestna, najdražja, saj grem za zmeraj, zapuščajoč zapuščam ti svoje srce. |
Because I cannot, my dear, Stay in the sweet country Close to you, my sweet friend, Because of the hated slanderers I go away against my will But since I estrange myself from you Leaving, I leave my heart to you.
My departure weighs heavily on me. They’ve estranged me From sweet company With their cloths of slanders. Farewell, sweet lovely heart, Because I go forever, Leaving, I leave my heart to you. |
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Parle qui veut |
Naj govorijo, kar hočejo |
Speaks who wants |
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Parle qui veut, je veuil loiaument vivre Ce est tout mon cuer et mon parfait voloir. En loiauté metrai tout mon savoir Tant que vivrai a qui du tout me livre. Ja ne serai onques escrit au livre Des deloiaus pour que a mon pooir, Parle qui veut… Car vraiement elle est qui me delivre De tout ce qui me peut faire doloir. Et qui me fait dire sans decevoir De loiauté trestout plain et tout ivre: Parle qui veut… |
Naj govorijo, kar hočejo, jaz bom živel zvesto. To je moja želja in popolna namera. Vse svoje znanje bom vlagal v zvestobo, dokler bom živ in s polno vnemo. Ne bodo me zapisali v imenik nezvestih. Naj govorijo, kar hočejo … Saj me zares prav ona odrešuje vsega, kar me teži. Ona, zaradi katere lahko brez laži rečem: Poln sem, pijan od zvestobe! Naj govorijo, kar hočejo … |
Speak who wants, I want to live loyally It is my true desire and my perfect will. I will invest all my knowledge into loyalty, As long as I live and with full dedication. I won’t be inscribed in the register of the Unfaithful, if I can help it. Speak who wants… Because it is truly her, who delivers me From all that could grieve me. And who makes me say without deceiving: I am full, drunk of loyalty! Speak who wants… |
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Agnel son bianch'e |
Belo jagnje sem |
I am a white lamb |
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Agnel son bianco, e vo' belando, be. e per ingiuria di capra superba belar convegno, e perdo un boccon d'erba.
Il danno è di colui, i' dico in fè. che grasso mi de' aver con lana bionda. se capra turba che non m'abbi tonda.
Or non so bene che di me sera. ma pur giusto signor men mal vorra. |
Belo jagnje sem in blejam, baa! Primorano zaradi žaljivk nadutega kozla, da blejam in izgubljam travo iz ust.
Njegova škoda, in to je res, če bi me rad poredil in napravil v fino volno. Če kozel tako razburka vode, da me ne more postriči.
Ne morem reči, kaj se bo zgodilo. A gotovo bo pravičen gospod bolj prijazen. |
I am a white lamb and go bleating, baa! Obliged by the insults of an overbearing goat To bleat and lose a mouthful of grass.
His is the loss, I say in truth. Who should have me fattened and with fair wool. If the goat so disturbs things that he may not Have me shorn.
Now I cannot well say what will happen. But surely a just lord will want less wickedness. |
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Musica son |
Glasba sem |
I am Music |
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Musica son che mi dolgo, piangendo. veder gli effetti mie dolci e perfetti lasciar per frottol i vaghi intelletti.
Perchè ignoranza e vizio ogn'uom costuma. lasciasi 'l buon e pigliasi la schiuma.
Ciascun vuol inarrar musical note. e compor madrial, cacce, ballate. tenendo ognor le sue autenticate.
Chi vuol d'una virt· venire in loda conviengli prima giugner a la proda.
Gia furon le dolcezze mie pregiate da cavalier, baroni e gran signori: or sono 'mbastarditi e genti cori.
Ma i' Musica sol non mi lamento. ch'ancor l'altre virt· lasciate sento. |
Glasba sem, in jokaje tožim, ko vidim, da tisti, ki jih zanimam, zapuščajo moje sladke in popolne dosežke zaradi norčavih pouličnih pesmic.
Vsi so že tako vajeni nevednosti in slabosti, da, kar je dobro, zamenjajo za smeti.
Vsi se želijo spopadati z notami in skladati madrigale, lovske pesmi, balade, in vsak si lasti umetniško izvirnost.
A vsak, ki si želi pohvale za svoje dosežke, mora najprej doseči svoj cilj.
Nekoč so moje čare hvalili vitezi, baroni in veliki gospodje. Zdaj so gosposka srca pokvarjena.
Vendar jaz, Glasba, ne tožim sama. Slišim, da so zapostavljene tudi druge kreposti. |
I am Music, and tearfully complain Of seeing interested minds forsake my sweet And perfect accomplishments For trifling street-songs.
Everyone is getting so used to ignorance and Vice That they reject what's good and go for the scum.
Everyone wants to wrestle with musical notes And compose madrigals, hunting songs, ballads; Each one claiming artistic authenticity for his Own.
But whoever wants to be praised For any of his accomplishments, Must first reach his goal.
Once my endearments were praised By knights, barons and great lords: Now noble hearts are corrupted.
But I, Music, am not complaining alone: I hear that the other Virtues have also been Forsaken. |
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Perchè vendetta |
Maščevanju |
For vengeance |
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Perchè vendetta far or non si pò, Aspecto tempo ch’i’ farla potrò. Di tal che da me senpre ben sentì, El contrario farò di quel ch’i’ fù. Perchè lla sua alla mie fè mentì Con, minacciandò farmi quell’o più. Dunque non guarderò all’esser su Di sopra’n rota ch’i’ pur si faro. Perchè vendetta… |
Ker se sedaj ne morem maščevati, čakam na čas, ko se bom lahko. Vse dobro, ki si ga prejel od mene, prevračam v svoje nasprotje. Njegova beseda je bila prelomljena in grozil mi je z najhujšim. Zato se ne bom trudila biti na vrhu kolesa, ki ga bom tako obhodila. Ker … |
Because I cannot take revenge now, I wait for a time in which I can. Of the good that you received from me I do the contrary of what I was. Because his faith lied to mine And he threatened me with the worst. Therefore I will not try to be on top Of a wheel which I will go around anyway. Because… |
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Cacciando per gustar |
Lov za užitkom |
Hunting for pleasure |
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Cantus Cacciando per gustar de quel tesoro per aspri monti e boschi pericolosi, d'uno boschetto d'alborselli d’oro de fiuri trova' assay aperti e chiusi. Tastando et odorando li più belli, et una voce crida :
“Alli gammarielli, a l'argentarielli, alle lactalini fieschi! Fieschi, fieschi so' che anche frecciano! A le telline, fieschi, tutte giettano la lingua fore!" "Et so' fieschi quessi lactalini? Damme dui derrate de gammarielli; et so· fieschi como dice ?" “A la 'nfusaglia dolce!” “O tu da l'uoglio, che bal lu petecto?” "Voyne cinque.·"Alle bone melangole, una ad dinaro! Custa sei suolli lu centinaro e buoni duy; saçço cha fora trista.” “Se ne buò tre per duy denari, tolli.' 'Tilli.” "Voil, voil e voil?' “Voyne dare duy ?” “Chi vuo' li cavai casi? Allu caso sardenale, allu caso de la forma, allu bono latte!" "No, no, no, no vo."
"AIIu bonu caso fiescho!" "Non è fiescho como dice." "Ed è bono, ed è chiaro." "E chi le vol le bone schiafe?" "Et chi le vol le bane visciole?" "Alla recotta fiescha!" "AIIo bono oglio, como l'unto, più che l'ambra!" "A le bon cerase! Et chi le vol le bone ficora?" "Et chi le vol le bone perseca?" "Alle castagne remonne, femmene!" "Anna chà, ve' chà, famme bene ciò!" E forte:
"Compare, voyme cernere?" Chi altro, chi farina compra,vende chi dorme,chi astuta, e chi accende. |
Na lovu, da bi užival v zakladu, čez skalnate hribe in nevarne goščave, sem v majhni gruči zlatih dreves našel mnogo rož, odprtih in zaprtih. Dotikal sem se in vonjal najlepše, ko je glas zaklical:
'Škampi, srebrnice, sveži inčuni!' 'Tako zelo sveži, da še migajo!' 'Sveže vongole! Brez jezikov!' 'So tisti inčuni sveži?' 'Dajte mi dve porciji škampov.' 'Pa so sveži, kot pravite?' 'Sladek fižol!' 'Ti z oljem, koliko za poln vrč?' 'Jaz bi pet.‘ 'Odlične kumare, ena za en peni!' 'Sto jih stane šest soldov, jaz hočem pa dva. Vem, da mi bo žal!' 'Če želite tri za dva penija, vzem’te, obdrž'te.' 'A jih hočete imat, 'čete imat, 'čete imat?' 'Mi boste dali dva?' 'Bo kdo caciocavallo?' 'Sardinijski sir, sir iz modla, dobro mleko!' 'Ne, ne, ne, ne, ne, ne, ne!'
'Krasen svež sir!' 'Ni tako svež, kot pravite.' 'Dober je in ni moten.' 'Bo kdot a krasen fižol?' 'Kdo bo sočne višnje?' 'Sveža rikota!' 'Dobro olje, fino in mastno, mastnejše od jantarja!' 'Fine sladke češnje! A bi kdo fige?' 'Bi kdo sočne breskve?' 'Kuhan kostanj, gospe!' 'Fine sladke češnje!' 'Bi kdo sladke fige? Kdo bi sladke breskve?' 'Kuhan kostanj, gospe!'
'Pridite, pridite, to je dobro!' 'Močno je.' 'Dobri mož, bi presejali zame?' 'Kdo je naslednji, kdo kupuje ali prodaja moko, kdo spi, lovi, ugasne svečo, kdo jo prižge?'
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Hunting in order to enjoy that treasure Through rugged hills and thickets perilous, In a small clump of golden trees I found many flowers, open and closed. I was touching and smelling the most beautiful, And a voice cried out:
‘Shrimps, silverfish, fresh anchovies!’ ‘Fresh, so fresh they’re still squirming!’ ‘Fresh clams! They all have their tongues out!’ ‘And are those anchovies fresh?’ ‘Give me two portions of shrimps.’ ‘And are they fresh as you say?’ ‘Sweet lupins!’ ‘You with the oil, how much for a jugful?’ ‘I want five.’ ‘Fine cucumbers, one for a penny!’ ‘A hundred cost six soldi’ ‘And I want two; I know I will be sorry!’ ‘If you want three for tuppence, take ‘em, keep ‘em.’ ‘Do you want ‘em, want ‘m, want’em?’ ‘Will you give me two?’ ‘Who wants caciocavallo?’ ‘Sardinian cheese, cheese from the mould, good milk!’ ‘No, no, no, no, no, no, no!’
‘Fine fresh cheese!’ ‘It’s not fresh as you say it is.’ ‘It’s good and it’s clear.’ ‘And who wants good beans?’ ‘And who wants good sour cherries?’ ‘Fresh ricotta!” “Good oil, nice and greasy, greasier than amber!’ ‘Fine sweet cherries! And who wants fine figs?’ ‘And who wants fine peaches?’ Boiled chestnuts, ladies!’ ‘Fine sweet cherries!’ ‘And who wants fine figs? And who wants fine peaches?’ ‘Boiled chestnuts, ladies!’
‘Come here, come here, that does me good!’ ‘It’s strong.’ ‘Good man, do you want to sift for me?’ ‘Who’s next, who is buying or selling flour, Who sleeps, hunts, snuffs the candle, who lights it?’ |
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Tenor: ‘Ay cinci, ay toppi, ay betri, ay ferri, ay rame rotto!’ ‘All’acore, alle fuse, alla merciaria menuda, madonna!’ ‘Chi à della rasina? Chi à frexi’ e cagane vecchie?’ ‘Sals, sals salsa verde, mostarda!’ ‘Chi à dell’ova?’ ‘Chi à della semola?’ ‘Et so' fieschi quessi?’ ‘A l'uoglio, a l’uoglio!' ‘Cy, ci, sta, che si' scorticatu!’ ‘Volgliune sey suolli.’ ‘Anna, va, far, che te scortiche!’ ‘Non è, no!’ ‘Como le day?’ ‘Voyne dare duy’ ‘AI'algli, a l'agli! Chi le vo', le bon cepolle?’ ‘Avante, avante chi se vo' cia(r)mare!’ ‘Chi vol secar li piettine?’ ‘Chi voi aconciar piettine da capo?’ ‘Al dent al dent! Chi à 'l mal dente à 'l mal parente, E chi à 'l mal vecino à 'l mal matino !’ ‘Chi vol conciar caldari, centrari e capisieri e comparare treppidi e coverchi ?’ ‘AII'acito, all'acito, como lo tuosico!’ ‘Chi voi cernere?" stacciare/decidere Si, madonna, si, salla su!’ |
'Cunje, platna, steklo, železo, koščki bakra!' 'Šivanke, preslice, pozamenterija, draga gospa!’ ‘Kdo prodaja naborke ali stare trakove?’ ‘Zelena omaka, gorčica.’ ‘Imate kaj jajc?’ ‘Imate kaj otrobov?’ ‘So sveži?’ ‘Olivno olje, olivno olje!’ ‘Pridi sem, stoj pri miru, da te oderem!’ ‘Za šest soldov jih dam.’ ‘Pridi, ven, da te dam iz kože!’ ‘Nič ne bi!’ ‘Po koliko pa so?’ ‘A bo dva preveč?’ ‘Česen, česen!’ Kdo bi svežo čebulo?’ ‘Le k meni, če vas zanima vaša prihodnost!’ ‘Vam skrajšamo glavnik?' 'Vam popravimo glavnik?' ‘Zobje, zobje! Kdor ima slabega soseda ima slabo jutro!’ ‘Vam popravimo čajnik, čeber in kad, ali bi kupili trinožnik ali pokrovko?’ ‘Kis, kis kot žolč!’ ‘Kdo bi rad presejal?’ ‘Da, gospa, že prihajam!’ |
‘Rags, tow, glass, iron, bits of copper!’ ‘Needles, spindles, Odds and ends, my lady!’ ‘Who has ruffs or old ribbons?’ ‘Green sauce, mustard.’ ‘Who has any eggs?’ ‘Who has any bran?’ ‘And are they fresh?’ ‘Olive oil, olive oil!’ ‘Come here, stand still to be skinned!’ ‘I want six soldi for them.’ ‘Come on, out, so I can flay you!’ ‘I don’t want any!’ ‘What are you selling them for?’ ‘Will you dive two?’ ‘Garlic, garlic! Who wants fine onions?’ ‘Come forward those who want their fortunes told!’ ‘Who wants combs cut?’ ‘Who wants head-combs mended?’ ‘Teeth, teeth! Whoever has a bad neighbour has a bad morning!’ ‘Who wants kettles mended, buckets and tubs, and to buy trivets and lids?’ ‘Vinegar, vinegar like gall!’ ‘Who wants to sift?’ ‘Yes, lady, I’m coming up!’ |
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