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performance is not allowed. Please be sure that cell phones,

pagers, and other electronic devices are turned off.

Music Department

National Gallery ofArt

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Washington, dc

www.nga.gov

Concerts are made possible in part through the generosity of donors

to the National Gallery ofArt through The Circle. Reserved seating is

available in recognition oftheir support. Please contact the development

office at (202) 842-6450 or circle@nga.gov for more information.

COVER: Piero di Cosimo, Allegory, c. 1500,

National Gallery of Art, Washington, Samuel H. Kress Collection

The Seventy-Third Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery ofArt

3,036th Concert

National Gallery ofArt Chamber Players

with

Barbara Hollinshead, mezzo-soprano

Robert Petillo, tenor

Presented in honor ofPiero di Cosimo:

The Poetry ofPainting in Renaissance Florence

February 1, 2015

Sunday, 3:30 pm

West Building, West Garden Court
Program

Music by Italian Renaissance composers

Marco (Marchetto) Cara (c. 1470-1525)

Non e tempo d’aspettare (This is not the time to wait)

Giovanni Domenico da Nola (c. 1510-1592), Baldassare Donato (c. 1525-1603)

Chi la gagliarda (Whoever wishes to learn the galliard), two versions

Bartolomeo Tromboncino (c. 1470-1535)

Che debb’iofar? Che mi consigli, Amove? (What should I do? What do you

advise, Love?)

Francesco Canova da Milano (1497-1543)

Fantasia (Ness, no. 67)

Guglielmo da Pesaro (1420-1484)

Falla con misuras

Tromboncino

A la guerra (To war)

Anonymous (c. 1550)

Aime ch’a torto

Tromboncino

Non val acqua al mio granfuoco (Water is unequal to my hot fire)

Joan Ambrosio Dalza (b. 1508), Guglielmo de Pesaro, Dalza 

Petit Riensi (Little trifle), Amoroso (Lovingly),

Piva (Fast dance), three-piece medley

Text by Benedetto Cariteo (1450-1514)

Amando e desiando (Loving and desiring)

Jacques Arcadelt (c. 1507-1568), Diego Ortiz (c. 1510-1570)

Ofelic’occhi miei (O my happy eyes),

Divisions on the same tune, two-piece medley

Anonymous

De tristo mi topinello (Ah me, poor tummy)

Rossinus Mantuanus (fl. 1500)

Lirum bililirum

Giacomo Fogliano (1468-1548), Anonymous, Tromboncino

LAmor dona, ch’io te porto (The love, Lady, that I bear you),

Quant’e bella giovanezza (How beautiful is youth)

Su su leva, alza le ciglia (Wake up, raise your eyelashes), three-piece medley

Giovanni Ferretti (c. 1540-1609)

Bon cacciator (Good hunter)
The Musicians

NATIONAL GALLERY OF ART CHAMBER PLAYERS

A resident ensemble ofthe Gallery since 2004, the National Gallery ofArt

Chamber Players has provided chamber music in honor of a number of

exhibitions, including Spanish Renaissance music for The Art ofPower:

Royal Armor and Portraitsfrom Imperial Spain (2009) and Renaissance

Italian music in honor ofArcimboldo, 1526-1593: Nature and Fantasy (2010).

Members ofthe National Gallery ofArt Chamber Players participating in

tonight’s concert are:

Tina Chancey, treble and bass viola da gamba

Amy Domingues, bass viola da gamba

Howard Bass, lute

BARBARA HOLLINSHEAD

Mezzo-soprano Barbara Hollinshead has been a member ofthe National 

Gallery ofArt Vocal Ensemble since 2004. In 2014 she provided a recital of

music by Sophie-Elisabeth von Mecklenburg (1613-1676) for the Gallery’s

series Five Lives in Music. Hollinshead has been a guest artist with many of

the East Coast’s finest early music groups, including Artek, Chatham Baroque, 

Hesperus, New York Collegium, Opera Lafayette, and Washington Bach

Consort. Outside the United States, she has sung at the Thomaskirche in

Leipzig and San Marco in Venice, and with Tafelmusik at Trinity-Saint Paul’s

Centre in Toronto. Her discography includes recordings ofsolo lute songs

with lutenist Howard Bass and a CD ofmusic by Biber, Carissimi, and Rossi.

4

ROBERT PETILLO

A graduate of Rutgers University and the University of Maryland, tenor

Robert Petillo is the first tenor section leader for The United States Army

Chorus, an element ofThe United States Army Band (Pershing’s Own) 

stationed at Fort Myer, Virginia. Often featured as a soloist with the Army

Chorus and the Concert Band, he appears as a soloist on many recordings

made by those ensembles. He is much in demand as a tenor soloist with

the Alexandria Choral Society, Cantate Chamber Singers, Cathedral Choral

Society, Fairfax Choral Society, Masterworks Chorus, Maryland Choral

Society, Washington Kantorei, Washington Singers, and Washington Sangerbund as well as with early music groups in Charlottesville and Williamsburg, the Raleigh Oratorio Society, and the Northeastern Pennsylvania

Philharmonic and Virginia Symphony orchestras. His overseas appearances

include the role ofJupiter in a production of Handel’s Semele for the Handel

Festival, Halle, tenor soloist in vesper services by Monteverdi and Cavalli

in Venice, and tenor soloist in two tours of Germany with the Washington

Bach Consort.

5
Program Notes

For much ofthe sixteenth century, visiting composers from northern Europe

held sway at Italian courts and cathedrals. The music of Franco-Flemish

composers Josquin des Pres, Heinrich Isaac, Loyset Compere, and Jacob

Obrecht dominated Italy as the century began, but gradually Italian-born

composers, such as Bartolomeo Tromboncino and his contemporaries,

emerged on the musical scene, aided by access to the work ofthe Italian

printer Ottaviano Petrucci (1466-1539), the first to publish books of polyphonic music from movable type. His sixty-one known publications highlighted Italian masters, among them Marco Cara, Joan Ambrosio Dalza, 

Giacomo Fogliano, and Tromboncino, whose music is included in this

program. Thanks to Petrucci’s publications, which were high in quality

and quantity, Italian song and dance forms became the leading models

for composers and performers for the next 150 years.

One popular genre was thefrottola, predecessor ofthe Italian madrigal.

Composed mainly between 1470 and 1530, frottole were light, danceable,

strophic homophonic pieces in three or four parts. The madrigal emerged

from the frottola, influenced by two trends in early sixteenth-century Italy— 

the resurgence ofinterest in vernacular Italian poetry and French chansons

and polyphonic motets. Unlike the strophic frottola, madrigals were

through-composed.

Tromboncino composed more than 170 frottole, setting humanist and

love texts by cherished writers, including Petrarch. A native ofVerona, 

Tromboncino lived and worked in Mantua until around 1500, but was forced

to flee the city several times for various misdeeds, including the murder of

his wife, whom he discovered inflagrante delicto. He was pardoned, probably

because ofthe value placed on his work by influential patrons, including

Isabella d’Este and Lucrezia Borgia.

Marco Cara was employed by the Gonzaga court at Mantua, where he

worked and lived for most ofhis life. Well known for his frottole, he also 

was highly regarded as a singer and a lutenist. His travels in northern Italy

included stops in Florence, where he performed for the Medici.

6

Giovanni Domenico da Nola and Baldassare Donato were active in

Naples and Venice, respectively. Both were well respected by their contemporaries, and known for their light, lively villanelle (rustic Neapolitan songs)

and madrigals. Like Tromboncino and many others, da Nola often drew on

Petrarch’s poetry for his texts. Some of Donato’s villanelle were probably

intended for dancing. In this afternoon’s program, Donato’s expanded

version of Chi la gagliarda is paired with da Nola’s original three-part version.

Jacques Arcadelt was bom in what is now modern-day Belgium and

worked extensively in Florence during the 1530s. Primarily a madrigalist, he

also wrote chansons, masses, and motets and published several collections.

In addition to Petrarch, he turned to Bembo, Boccaccio, and Michelangelo

for poetic texts.

A Jewish dancer and dancing master, Guglielmo da Pesaro worked at 

some ofthe most influential courts in Renaissance Italy, including Naples, 

Urbino, Milan, and Ferrara. His Trattato dell’arte del hallo (Treatise on the art of

dancing, c. 1463), includes thirty-six dance tunes and descriptions of elaborate

court celebrations in which he played a role. He was influential in making

dance a more highly regarded skill among members ofthe Italian aristocracy.

The publications of Petrucci included a volume oflute solos by Milanese

composer Joan Ambrosio Dalza (Intahulatura de lauto, book 4, Venice, 1508)

that are among the first pieces composed for a specific instmment. Dalza is

credited with developing the ricercar, a free-form piece that typically includes

mnning passages alternating with polyphonic or chordal passages. He also

wrote short dance suites that included harmonically linked pavanes, saltarellos, and pivas alia venetiana and aliaflerrarese.

Francesco Canova da Milano was the best-known lutenist-composer of

the first half ofthe sixteenth century, when the lute was reaching its zenith

ofpopularity in Europe. His compositions are found in many collections,

some ofwhich date from fifty years after his death. Known to his contemporaries as il divino (divine one) for his skill as a performer and the beauty

ofhis compositions, he was employed in Rome by three successive popes— 

Leo x, Adrian vi, and Clement vn.

Program Notes by Howard Bass and Tina Chancey
National Gallery of Art Chamber Players

February 1, 2015

Texts and Translations

Non e tempo d’aspettare

Non e tempo d’aspettare

Quando s’ha bonaza e vento

Che si vede in un momento 

Ogni cosa variare.

Non e tempo d’aspetare

Quando s’ha bonaza e vento.

Sia pur l’homo tale o quale

Sempre tema el precipitio 

Perche el ben va drieto el male 

Se non substa nel initio

Perho faccia ben 1’officio

Chi ha la rota a governare.

Se tu sali fa pur presto

Lassa dire chi dir vole

Questo e noto e manifesto 

Che non duran le viole 

E la neve al caldo sole

Sole in aqua ritornare.

Chi la gagliarda

Chi la gagliarda, donne, vo’imparare,

Venite a noi, che siamo maestri fini;

Che di sera e de matini mai manchiamo di

sonare: Tan tan tan ta ri ra ti ra ri ra.

Provance un poco cance vuoi chiamare,

A passa dieci volte che salimo;

Che di sera e de mattina mai manchiamo di

sonare: Tan tan tan ta ri ra ti ra ri ra.

This is not the time to wait

This is not the time to wait 

When one has good luck and wind

What one sees in a moment 

Everything will change.

This is not the time to wait

When one has had good luck and wind.

It is also certain men who

Always fear the precipice 

Because everything good goes to bad,

Perhaps not at the start.

So take advantage ofthe office 

When it is your turn to govern.

If you go up, please do it soon,

Let people say what they will;

This is well known and obvious

That the pansies do not last 

And the snow in the sun's warmth 

Returns to water.

Whoever wishes to learn the galliard

Whoever wishes to learn the galliard, ladies,

Come to us who are fine teachers 

Who night and day never cease to play:

Tan tan tan ta ri ra ti ra ri ra.

Practice a little and bring your friends:

After ten steps we make a leap,

Who night and day never cease to play:

Tan tan tan ta ri ra ti ra ri ra.
Che debb’io far? Che mi consegli, Amore?

Che debo far che mi consegli amore?

Tempo e ben da morire,

Et ho tardato piu che non vorrei.

Madonna e morta e ha seco el mio core

E volendol seguire

Interromper convien questi anni rei,

Perche mai veder lei

Di qua non spero e Easpetar m’e noia.

Poscia ch’ogni mia gioia

Per il suo dipartir in pianto e volta,

E ogni dolcezza di mia vita e tolta.

Amor tu T senti ond’io teco mi doglio

Quanto e il danno aspro e grave

Et so che del mio mal ti pesa e dole

Anzi del nostro, per che ad uno scoglio

Havem rotto la nave.

Et in un punto ne e obsucrato il sole.

Qual ingegno a parole

Poria aguagliar il mio doglioso stato?

Ai orbo mondo ingrato

Gran cagion hai di dever pianger meco

Che quel ben che era in te perduto hai seco.

What should I do? What do you advise,

Love?

What should I do? What do you advise, Love?

Full time it is to die:

And I have delayed longer than I desired 

My mistress is dead, and my heart withers;

And ifI wish to follow her,

I must interrupt these guilty years,

Because to see her again

I have no hope, and it is irksome to wait.

Since my every joy

By her departure is turned to tears,

And every sweetness ofmy life has been stolen.

Thou, Love, dost feel, therefore to thee I plain

How grievous is my loss;

I know my sorrows grieve and weigh thee

down,

E’en as our common cause: for on one rock 

We both have wreck’d our bark;

And in one instant was its sun obscured.

What genius can with words 

Rightly describe my lamentable state?

Ah, blind, ungrateful world!

Thou hast indeed just cause with me to mourn;

That beauty thou didst hold with her is fled!

Ala guerra

Ala guerra, ala guerra

Ch’amor non vol piu pace

Mas empre e piu tenace

To war

To war, to war,

For love wants no more peace,

But is ever more tenacious.

Questa guerra e mortale 

Per un ardente strale

Cagion d’ogni mio male

Per farme sempre guerra

Ala guerra. . .

Ma non voler che in bando

Stia el tuo servo quando

Tu el vedi lacrimando

Per la continua guerra 

Ala guerra . . .

This war is deadly,

For a burning arrow,

The cause of all my pain,

Makes me constantly war.

To war . . .

But do not think that in banishment 

Your servant will stay,

When you see him weeping, 

Because ofthe neverending war.

To war . . .
Non val acqua al mio gran fuoco Water is unequal to my hot fire

Translation by Larry Rosenwald

Non val acqua al mio gran fuoco

Che per pianto non s’amorza

Anzi ognhor piu se rinforza

Quanto piu con quel mio sfoco

Water is unequal to my hot fire,

Which is not diminished by weeping

But rather is the more strong

The more I give vent to it.

Ho nel pecto un mongibello

E nel occhi un largo mare

Che per mio magior flagello

Son concordi al mio penare

Piango et ardo e il lachrymare

Col mio ardor m’han tolto a toco

I have a volcano in my breast

And a broad sea in my eyes,

Which to my greater torment

Are in accord with my pain

I weep and burn, and the sobbing

With the burning have stripped me with one

stroke.

Non mi val getar sospiri

Per scemar Vardor ch’io sento

Che per un che fuor ne tiri

Poi ne nascon piu di cento

Doue per menor tormento

Morte acerba ognhora invoco

It’s no use to me to vent my sighs,

To diminish the fire I feel;

For with each sigh I expel,

More than a hundred are bom -

Wherefore, to diminish my torment,

I summon now a bitter death.

Amando e desiando

Amando e desiando i’vivo e sento

La doglia che se sente nel morire,

Amore mi fa viver in tormento,

Ne mi vuol vivo, ne mi vuol finire.

Loving and desiring

Loving and desiring, I live and feel

The sadness one feels in dying,

Love makes me live in torment,

I neither wish to be alive, nor desire my end.

O felic'occhi miei

O felic'occhi miei, felici voi,

Che sete car' al mio sol

Perche sembianz' havete

De gli occhi che gli fu si dolc'e rei.

Voi ben voi sete voi,

Voi, voi felici et io,

Io no, che per quetar vostro desio,

Corr' amirar l'onde mi struggo poi.

O my happy eyes

Oh, my happy eyes, happy you,

That can behold dearly my sun,

For [this is what appears to] the face,

To the eyes, to which it was so sweet and regal.

You are beautiful, glowing,

You are happy, and I,

I am not, for to quiet my longing desire for you,

I look up at you, whereby then I suffer.
De tristo mi topinello

De tristo mi topinello 

Che sum 9unto al derem punto

Che non man9ard piu d'unto

Se non pane rafanello.

El pan sera de mestura 

Socoe negro com' carbone,

Quella sera la mia pastura 

De mi povero compagnone.

Non posso mani^ar bochone 

Tanto

e negro ercinente 

El me se ficca'n fra'l dente

Possa bevo d'un merello.

Non man9aro piu salc^a

Ne de grassi caponcelli,

Nanci man9aro pani99a

Con de magri buratelli.

Am po'avess'io di tortelli 

Che mi paria ben passare 

Ma el me convien man9are

De la fav'a mo de' porcelli.

Lirum bililirum

Deh si soni la sordina.

Tu m'intendi ben, Pedrina,

Ma non gia per il dovirum.

Lirum bililirum, li-lirum, lirum li

Deh, si soni la sordina,

Deh, si soni la sordina,

Le ses an che t'vo mi ben E che t'son bon servidor,

Ma t'aspet che l'so ben 

Ch'al fin sclopi per amor.

Deh, non da piu tat dolor,

Tu sa ben che dig il virum.

Ah me, poor tummy

Ah me, poor tummy,

I've come to such

a pretty pass

That

I eat no more fat,

But only bread and turnips.

The bread's halfsawdust,

It's dirty and black as coal;

This will be my diet,

Poor wretch thatI am!

I can't swallowa mouthful,

It's so black and moldy 

And it sticks between my teeth;

I'll wash it down with pond water.

No more sausages for me,

Or those fat little capons.

Instead I'll have to eat

This lumpy paste. I wish I had some meat patties

—

They sure would hit the spot!

But I'll just have to pretend

That beans are suckling pig!

Lirum bililirum

Translation by Paul Brians

Ah, sound the muted instrument.

You hear me well, Pedrina 

And not just out of duty.

Lirum bililirum, li-lirum, lirum li

Ah, sound the muted instrument.

Ah, sound the muted instrument. I have loved you for six years

And been

a good servant to you,

But I've been waiting for you so long

That

I shall end by bursting with love

Ah, don't give me more grief;

You know well thatI speak the truth.
L’amor, dona, ch’io te porto

L’amor, dona, drio te porto

Volentier vorla scoprite,

El mio affanno vorla dire

Che per te pena soporto.

Io non so come ti posa 

Descoprir Eardente foco

Che me bruza fino al ossa

E non vedo tempo e loco;

E che, haime, bruzo infocho

Senaz aver alcun conforto.

Non me fido mandar meso

Per che temo esser gabato;

S’io te passo per apreso

Tu te volti in altro lato;

Chiusi son piu giomi stato

E son anche a pergior porto.

Quant’e bella giovanezza

Text by Lorenzo de ’ Medici (from II Trionfo di

Bacco e Arianna)

Quant e bella giovinezza 

Che si fugge tuttavia!

Chi vuol esser lieto, sia’

Di Doman non c’e certeza.

Quest’e Bacco e Arianna,

Belli, e Pun dell’altro ardenti;

Perche ‘1 tempo fugge e ‘nganna,

Sempre insieme stan contenti.

Queste ninfe e altre genti

Sono allegre turravia:

Chi vuol esser lieto, sia:

Di Doman non c’e certezza.

The love, Lady, that I bear you

The love, Lady, that I bear you!

Gladly would I reveal it

And tell you ofthe sufferings 

I bear because of you.

I know not how you might

Perceive the raging fire

That burns me to the core

And prevents my sensing time and place;

And by which—alas!—I am consumed

Altogether without a single hope.

I do not trust myselfto send a messenger

Because I fear being cheated,

And ifI myself come into your presence 

You turn aside.

Many days have gone by,

Yet my position is still worse.

How beautiful is youth

How beautiful is youth 

That so swiftly speeds away!

Let those who will be gay,

Tomorrow, none can tell.

Bacchus and his Fair,

Contented with their fate,

Chase both time and care,

Loving soon and late;

High and low estate 

With the nymphs at play;

Let who will be gay,

Tomorrow, none can tell.
Su su leva, alza le ciglia

Su, su leva, alza le ciglia,

Non dormir che non dorm'io;

E se hai caro al viver mio,

Apri gli occhi e te resviglia.

Su su leva . . .

Lassa il somno et odi il canto

D'un che va per te penando 

E che affetto e d'amor tanto,

Che per te va quinci errando

E si forte lamentando,

Che col strido te resviglia.

Su su leva . . .

Tu riposi et io, qua fora,

Per te fo pensier diversi

E Eardor che cresce ognora

Tenmi i spirti in duol sumersi,

Tal che con dolenti versi 

Forza m’e che ti resviglia.

Su su leva . .

Lassa adonque, o donna, il somno

E pieta ti svegli il core

Che mie forze piu non pono

Riparar a un tanto ardore;

E se hai dramma in te d'amore,

Odi il canto e te resviglia.

Su su leva . . .

Bon cacciator

Bon cacciator giammai

Non perse caccia

Lo cane che la seguita Farriva,

Pero voglio seguir

Perse in che viva.

Wake up, raise your eyelashes

Wake up, raise your eyelashes,

Do not sleep because I do not sleep;

And ifmy life is dear to you,

Open your eyes and wake up.

Wake up, wake up . . .

Stop sleeping and listen to the song

Of him who suffers for you

And who is so affected by love,

That because of you he wanders around

And laments so loudly,

That his cry wakes you up.

Wake up, Wake up . . .

You rest and I, outside,

Think so much about you,

And the ardor that unceasingly grows

Plunges my spirits into sadness,

So that with sorrowful verses

I am forced to wake you up.

Wake up, Wake up . . .

So stop sleeping, oh Lady,

And may pity awaken your heart,

For I don't have any more strength

To hold back such ardor;

And if you know the drama oflove,

Listen to the song and wake up.

Wake up, wake up . . .

Good hunter

Translation by Larry Rosenwald

Never did a good hunter 

Lose his prey,

The dog that pursues it catches it.

But I want to follow it

That it may live.