PEARL OF THE ORIENT

There is a beautiful island out in the Far East on the northwest coast of Malaysia called Penang, also known as the Pearl Of The Orient, where recently some Early Music activity has been happening..

Read about Penang here: Penang Wikipedia.

Here are some pictures of the island.

Above left: View of George Town from Penang Hill.
Above right: Balik Pulau beach (see below).
Right: exotic bananas in the Suriana Botanical Gardens. Below left: The beach at Balik Pulau which was hit by the 2004 tsunami.
Below right: vanilla.

CONCERT GALLERY

CELEBRATION OF EARLY CLASSICAL MUSIC IN PENANG

CLICK HERE: LINK

SOUVENIR PROGRAMME

REHEARSALS (2)

Rehearsals are going well for the concert tomorrow. The players have done their homework and the ensemble now has a well blended sound.

REHEARSALS

I've not posted for several days because of the preliminary rehearsals in which I've been involved. These have been very useful sessions and we are fortunate to have a wonderful rehearsing space in the form of a colonial-style private residence in the middle of George Town (picture below) that houses the Hubbard harpsichord we are using. The players are getting accustomed to the instruments and the style of the music, and have a much clearer idea of how much to prepare for the concert. There will now be a break until Boxing Day, when we will recommence  with the full complement of players.
The biggest challenge so far has been the 415 pitch which had initially troubled some of the string players, but within a few hours of rehearsing things began to improve and at the end of the first day the ensemble had more or else embraced their new pitch. A few things yet to be polished in that area obviously, and some intonation work to be done at home but I think individual practice will solve any lingering issues.

Another challenge has been the use of the baroque bow. Some of the players have never  even held one in their life but, rather remarkably, they have managed to adapt within the short space of time we've so far had. Good bows make a huge difference. The cellist (Beatrice Cheah - pictured) had bought a baroque bow which she was feeling reluctant to use because - interestingly for a modern cellist - she found it too heavy; with the Doe that I brought she seems quite at ease.
Another observation is how well the gut strings have responded in this climate (25 - 30 degrees outside, 60% humidity indoors) although on the gamba the top string is gradually fraying. I've had it on for about a month. The second violinist is coping well despite never having played a baroque violin.

This morning began with a keyboard masterclass and demonstration for music students, largely from the Universiti Sains Malaysia, as well as other enthusiasts. The students had the opportunity to see the how the harpsichord was tuned and how the jacks operate. Pieces played included Beethoven's Waldstein on the Bösendorfer, as well as Mozart's C minor Sonata and Fantasia, and Scarlatti on the harpsichord.

COMPLETE PARTS

For convenience all the parts can be found in a single PDF here:  https://drive.google.com/file/d/0B-mSWAtChO32S190UUdDeE8yWFU/edit?usp=sharing

TRAVEL (part 2)

After many hours' travelling today we arrived safely in Penang with cello, gamba and luggage intact. The journey was a mixture of dramatic tropical downpours, moments of undue panic when a strange rumbling, whirring noise was heard underneath the 4WD, and a pleasant stop for lunch at a 'kampong'/village eatery near Tapah, where we sampled fresh and cooked jackfruit, grilled telapia, coconut water, and ABC with villagers just returning from Friday prayers in their colourful Malay bajus. Pictures showing Sharona assessing the harpsichord before tuning it up to A=415. Apart from being flat (A= 404) the instrument was in relatively good state. The transposing mechanism didn't seem to respond at first but after several tries we succeeded in moving the manuals, hopefully without having done any unseen damage! Temperature outside about 30 degress, indoor humidity 65%.

AUDIO & VIDEO EXAMPLES

GABRIELI CANZONA PRIMA (on recorders)

HANDEL LASCIA

PORPORA ALTO GIOVE

CORELLI CHRISTMAS CONCERTO

STRADELLA CHRISTMAS CANTATA

ACKNOWLEDGEMENTS

The project is sponsored by several generous individuals and the following organisations:

Pro Musica, a non-profit social responsibility initiative of Suriana Sdn Bhd, Malaysia.

The Bellevue Hotel, Penang Hill

St George's Heritage Trust and Friends of St George's Church, Penang

The Malaysian British Society

Penang Turf Club

FULL SCORES

Click here: SCORES

STRADELLA'S UNIQUE SCORING

A page from the manuscript of the Stradella cantata. The unusual scoring includes arpa doppia (baroque double harp), cembalo obbligato (obbligato harpsichord, as opposed to continuo harpsichord), lute, and two violas in the concerto grosso. The latter indicates the old-fashioned string band scoring S-A-T-B, probably with two viola sizes (because of the two c-clefs), rather than the more modern S-S-A/T-B scoring that would later become the standard for string quartets and orchestras. A French string band from this period would have had three viola sizes ranging from small (haute-contre), medium (taille), and large (quinte); Stradella only uses a four-part band. The 2nd line could be played on a violin.

CONCERT POSTER

LIBRETTI

Click here for TEXTS AND TRANSLATIONS (PDF) or see below

ANONYMOUS, Have you seen but a white lily grow

Have you seen but a white lily grow

Before rude hands had touched it;

have you mark’d but the fall of the snow

before the earth hath smudged it?

Have you felt the wool of beaver

or swan’s down ever

or have smelt of the bud of the briar

or the nard in the fire

or have tasted the bag of the bee?

Oh so white, oh so soft, oh so sweet, so sweet is she.

(attributed to Ben Jonson)

HANDEL, Lascia ch'io pianga (from 'Rinaldo')

Lascia ch’io pianga la dura sorte
E che sospiri la libertà!
Il duol infranga queste ritorte
de’ miei martiri sol' per pietà.

Let me bewail my harsh fate
and lament my lost freedom!
May sorrow break the bonds
of my torment, for mercy's sake.

 (Giacomo Rossi)

CESTI, recitative and aria, from 'Orontea)

Recitative:

S'io non vedo Alidoro

Par, che manchin gli spirti,

E lungi dal suo bel quasi mi muoro.

S'io lo miro,

Respiro;

Il fulgor de' suoi squardi

Il cor ricrea,

E sento dirmi in tacita favella:

Adoralo, Orontea.

If I do not see Alidoro

it seems, that my spirits fail

and far from his beauty I almost die

If I see him, I breathe,

The splendour of his glances revives my heart

and I hear a silent voice say to me:

Adore him, Orontea!

Aria:

Adorisi sempre

Ne mai muti tempre,

Chi serve al suo bene

Fra ceppi e catene!

Le doglie e l'asprezze

Sian nuove dolcezze!

E chi d'amar desia, non si lamenti,

Che le gioie d'amor sono i tormenti.

Let one adore always
nor ever change its intensity
she who serves her beloved must always adore
among fetters and chains!
The pains and the bitterness 
let them be pleasures!
And let her who desires to love not complain
for the joys of love are the torments.

(Giacinto Andrea Cicognini)

PORPORA, Alto Giove (from 'Polifemo')

Alto Giove, è tua grazia,
è tuo vanto il gran dono
di vita immortale
che il tuo cenno sovrano mi fa.

Almighty Jupiter, your grace
and your fame are the great gift
of immortality
that you give me in a sovereign gesture.

(Paolo Antonio Rolli)

STRADELLA, Ah! troppo è ver ('Christmas Cantata')

LUCIFERO 

Ah! troppo è ver che sempre, ad onta di Satan, s'aggiran gl'astri e con tiranne tempre scuotono a' danni miei fieri disastri!

E sarà chi non s'accinga, miei seguaci, alla vendetta e con bellica saetta contro il nemico Ciel l'odio non spinga?

Sa versar nel mio core aspro veleno un insolito suon d'eteree corde: con melodia concorde vibra all'orecchie mie dardi canori,

– onde tem'io che dal superno regno, del Padre ad obedir l'ostil disegno non scenda il Figlio a tormentarmi il seno –

Ite pronti a discior del vero i nodi e adoprate a mio pro l'armi e le frodi!

Lucifer: Ah! This is always the truth! The star damages my pride like a disaster and arouses my tyrannical temper! He will be my enemy who is impossible to destroy. My followers, does this not provoke your hatred and revenge for the war? My heart shed bitter poison; strange sound of ethereal strings vibrates concordantly with my striking melody in my ears. In the wave of supernatural realm, the Father has planned for the obedient Son to undertake torment, and I shall prepare my arms well with fraudulence for this battle!

CORO DI FURIE

Al cenno orribile del re dell'Erebo corran le Furie e con terribile valore intrepido scaglino fulmini.

Chorus of the Furies: We are horrified whenever we heard the King of Hell. He is terribly fearless like the power of lightning. 

LUCIFERO 

Ite a spiar del suol gl'antri più chiusi e del fato i secreti or sian delusi.

Lucifer: I spy your fate, human, from cavern like the powerful lightning. 

ANGELO

Su pastori, alla gioia, al diletto ogni petto disposto si renda e risplenda tra vivi contenti, or che, spenti di Febo gl'ardori 30fra i rigori d'un tetto gelato, umanato risiede il Sol divino.

Al celeste Bambino, che in albergo brutal scioglie i vagiti, con ossequi graditi tributo d'umiltà porga il mortale e si palesi al mondo il gran Natale.

Angel: With the joyful shepherds’ proclamation, every heart will be delighted and shall shine among all the living. Their ardour resembled the sun, warm enough to melt the icy roof of the world, which God made for man to reside. The Heavenly Child is born into brutal whimpers and is welcomed by the deadly toll. Nevertheless He is coming to reveal the world the greatest Christmas.

PASTORE SECONDO

d'angelico accento consiglia a gioir?

di fausto sembiante n'invita a seguir?

Qual alto concento Qual face stellante

Andiam là dove il fato ha dentro un vil tugurio il Ciel traslato e in rustica magion cangia l'Empiro. Compagni, che miro?

Second Shepherd: Is the angelic voice inviting us to rejoice? Shall we follow the invitation of his radiant face? Is the star in the sky indicating our destination to see His might? Dear companions, where are we going?

MARIA VERGINE

Sovrano mio

bene, mia spene, mio cor, quest'alma ch'in calma gioisce per te, dal seno materno l'interno suo amor con piogge serene riversa al tuo piè e con dovuto omaggio dell'alba tua beata adora il raggio.

Concedi ai falli umani ampio perdono e sia il mio priego intercessor del dono.

Virgin Mary: In the sovereign Lord shall I put my hope, my heart, and my soul that rejoices in Your peace. His love pours like serene rain in my womb. In dawn, your blessing shall fall. You shall be the intercessor and the gift of forgiveness to humanity. 

PASTORE PRIMO 

Al riverito piede

del maestoso Infante offriam d'affetto umil votiva fede, che dalle sacre piante del Regnator dell'Etra supplicante desir mercede impetra.

Deh, ricevi i nostri

voti che devoti ti portiam, supremo Nume. Né dal tuo provido lume si permetta che negletta

di pastorale stuol sia la preghiera, ma la tua benigna sfera volga a noi sempiterno il favor de' giri suoi.

First Shepherd: At the revered foot of the majestic Infant, we offer our humble votive faith to Your sacred reign and submit our desire to implore your mercy. We devote ourselves to you, our supreme God. May your ministry and prayers transform the earth eternally by your grace. 

SAN GIOSEPPE 

Del nostro amato figlio la propizia bontà l'infinita pietà, alle suppliche vostre inclina il ciglio e con prodiga sorte dalla clemenza sua v'apre le porte.

St. Joseph: Of our beloved Son, the auspicious goodness with infinite mercy, I implore you with unworthiness, may you open the noble door of the Heaven.

CORO

Or che luci sì belle

con fulgori soavi trattan del Ciel le chiavi e trionfan le stelle, non san coi lampi lor pugnar gli abissi, ché soggetti non son gli astri all'ecclissi.

Chorus:  Such beautiful light with gentle radiance triumphs over the stars and trembles the Heaven. His Holiness wins the battle with the abyss, as the eternal stars shall never eclipse.

(Anonymous text, translated by Chaing YiLing)

PROGRAMME

ENSEMBLE PIECES (involving string ensemble):

STRADELLA
Christmas Cantata

CORELLI
Christmas Concerto

GABRIELI
Canzona Prima

PORPORA
Aria 'Alto Giove'

HANDEL
Aria 'Lascia ch'io pianga'

VIVALDI
Largo from 'Winter'

SOLO PIECES (NOT involving string ensemble):

CESTI
Aria from 'Orontea' (voice, with solo violin and basso continuo)

MARAIS
Chaconne (viola da gamba & harpsichord)

ANONYMOUS
Greensleeves to a Ground (recorder, viola da gamba & harpsichord, possibly with bass and cello improv.!)

COMPOSERS' TRIVIA..

STRADELLA - murdered by a hired killer for his infidelities.

CESTI - worked in Vienna, died in Venice. Pepys owned a copy of his most famous work, the opera 'Orontea'.

VIVALDI - worked in Venice, died in Vienna. Had red hair, was a priest (nicknamed Il Prete Rosso, or The Red Priest), and an asthmatic.

CORELLI - of his playing: 'it was usual for his countenance to be distorted, his eyes to become red as fire, and his eyeballs to roll as if in an agony'.

HANDEL - saved by a coat button during a sword duel with Johann Matthesson.

PORPORA - taught Joseph Haydn.

GABRIELI - died from kidney stones.

MARAIS - wrote a programmatic piece on the operation for bladder stones.

TRAVEL (part 1)

The gamba seems to have survived the journey well thanks to my trusty Stevenson case, although the bows were rattling away inside when I got it- somehow they were dislodged from their securers during the trip.
Now we will see if the gut strings last.

INSTRUMENTAL PARTS

STRADELLA 

HANDEL LASCIA 

CORELLI CONCERTO

PORPORA ALTO GIOVE

GABRIELI CANZONA PRIMA