GALWAY EARLY MUSIC FESTIVALMay 9-12, 2013

Lost Innocence

Friday, May 10, 20131:00 pm

Druid Lane Theatre

Adrian Mantu, celloJohn Feeley, guitar & lute

Readers:

Jacopo Bisagni, Lise Carrel, John Rogers

Galway Early Music would like to thank its sponsors and friends, without whose support the

Festival would not happen.

Delo CollierMichael & Claire Cuddy

Tom GrealyRiana & Pat O’Dwyer

MEDIA SPONSORS

SILVER PATRONS

SUPPORTED BY

Adare Guesthouse Kimberly LoPreteGOLD PATRONS

WITH SPECIAL THANKS TOThe Rector & Vestry of St Nicholas Collegiate Church, withheartfelt thanks to Catherine Moore-Temple

The director and staff of the Galway City Museum, with specialthanks to Brendan Mc Gowan

See our general Festival Promo on Youtube:http://www.youtube.com/watch?v=fveRZSI1pi8

or scan this QR code:

Seán & Lois TobinSt Anthony’s & Claddagh

Credit UnionAnn McDonagh

Galway Early Music #gwy_earlymusic

LLoosstt IInnnnoocceenncceePastoral Music & Poetry through the Ages

Adrian Mantu – cello

John Feeley – guitar, luteJohn Rogers, Jacopo Bisagni, Lise Carrel – reading

Who has not dreamt at least once of escaping the hassle of modern life by seeking refuge in thetranquillity of the countryside, or in the solitude of the wilderness? The more urbanised, complexand self-aware a society becomes, the more it seems to look for its ‘lost innocence’: a dream-timeof purity, simplicity, and harmony with the forces of nature. No symbol of such a mythical GoldenAge has been employed by poets and musicians more often than the pastoral world: ever sinceGreek and Roman Antiquity, shepherds have been portrayed as the guardians of poetic sensibility,sincere emotions, uncorrupted life. This theme repeatedly influenced intellectuals and artists ofthe French and Italian Renaissance, reached its highest point of formal perfection in BaroqueFrance, and in many ways it still speaks to us today as it did many centuries ago…

PPRRIIMMOO TTEEMMPPOO:: TTHHEE OORRIIGGIINNSS

Theocritus (3rd century BC), Idylls, I, 64:

,, ,, ..

(‘Begin, o Muses dear, begin the pastoral songs!’)

J. S. Bach: Prelude for solo cello in C Major

Theocritus (3rd century BC), Idylls, IX, 7–9, 12–13, 31–36:

(‘Ah, sweetly lows the calf, and sweetly the heifer too;sweetly sounds the shepherd with his pipe, and sweetly also do I.A rush-strewn bed is mine, by the cool water, and thereon are heapedfair skins of white calves […].Thus, I heed no more the scorching summer,

than a lover cares to heed the words of father or of mother. […]Cicada to cicada is dear, and ant to ant,and hawks to hawks, but dear to me is the Muse, and songs.Of songs may all my dwelling be full, for sleep is notmore sweet, nor sudden spring, nor flowers are more deliciousto the bees – so dear to me are the Muses. Whomever they look onfavourably, Circe hath never harmed with her enchanted potion.’)

Benedetto Marcello (1686–1739): Sonata no. 5, in G Major1. Adagio2. Allegro3. Grave4. Allegro

Tibullus (1st century BC), Elegies, I, 1.Divitias alius fulvo sibi congerat auroEt teneat culti iugera multa soli,

Quem labor adsiduus vicino terreat hoste,Martia cui somnos classica pulsa fugent:

Me mea paupertas vita traducat inerti,Dummeus adsiduo luceat igne focus.

Ipse seram teneras maturo tempore vitesRusticus et facili grandia poma manu;

Nec spes destituat, sed frugum semper acervosPraebeat et pleno pinguia musta lacu. […]

Flava Ceres, tibi sit nostro de rure coronaSpicea, quae templi pendeat ante fores,

Pomosisque ruber custos ponatur in hortis,Terreat ut saeva falce Priapus aves.

Vos quoque, felicis quondam, nunc pauperis agriCustodes, fertis munera vestra, Lares. […]

Agna cadet vobis, quam circum rustica pubesClamet ‘io messes et bona vina date’.

(‘Let others toil to mass a pile of gleaming goldand own vast acreage of well-tilled land,and strive in endless fear when the enemy closes inand the martial trumpet routs them from repose;for me, may poverty induce an idle life,if only my hearth glow with warmth secure!And may I, like a peasant, with my own skilful hand,implant my young vine shoots and tall fruit trees,and let not Hope desert us, but ever grant us heapsof crops and rich new wine in brimming vats. […]Blonde goddess Ceres, from my farmmay you receive a wreathof grain to hang before your temple door;and in my fruitful garden may red Priapus stand

with his fierce pruning-knife to fright the birds.And you, protective Lares of fields once fortunate,now poor, you also have your rightful gifts! […]A lamb shall die for you, and around it country youthsshall cry, “Ah! send us harvest and good wine!”)

SSEECCOONNDDOO TTEEMMPPOO:: RREENNAAIISSSSAANNCCEE&&BBAARROOQQUUEE SSHHEEPPHHEERRDDSS

J. S. Bach: Prelude for solo guitar in G Major

Jean Vauquelin de La Fresnaye (1536–1608), Idylles.

Une belle Vestale habite au beau rivage

D’Orne, où c’est qu’elle vit comme en un hermitage.

Quelquefois en son parc elle se sied au bois,

Gaillarde sur les eaux elle sort quelquefois,

Et quelquefois cueillant des fleurs toute pensive,

Elle en orne son sein, assise sur la rive.

Maintenant elle semble une Nymphe des eaux,

Maintenant des forests : et parmi les troupeaux

Bergere on la diroit, n’estoit que trop hautaine

Elle oit de nos flageols les chansons à grand’peine.

Jamais aviendra-t-il qu'elle change son coeur ?

Et que je puisse un jour, comme Arion vainqueur

Attira le daufin au doux son de sa lyre,

Qu’au son de ma musette à la fin je l’attire ?

Et qu’autre Orfé je face encor’ marcher apres

(Pour cacher nos amours) les ombreuses forests.

(‘A beautiful Vestal dwells on the lovely shoreOf the river Orne, where she lives as in a hermitage.Sometimes, in its park, she sits in the wood,Sometimes, vigorous, out on the waters she goes,And sometimes, lost in her thoughts while picking flowers,She adorns her breast with them, sitting on the shore.Now she seems a Nymph of the water,Now of the forest : and among the flockShepherdess you would call her, but for her hauteur,on account of which she hardly hears the humble flutes.Will she ever happen to change her heart ?Shall I one day, like victorious ArionAttracted the dolphin with the sweet sound of his lyre,Finally attract her with the sound of my bagpipe?And may I, like a second Orpheus, make the shadowy forestsWalk after us once more (to conceal our love).’)

Translation: Roman Erotic Elegy: Selections from Tibullus, Propertius, Ovid, and Sulpicia, translated, with an Introduction, Notes,

and Glossary by Jon Corelis (Salzburg Studies in English Literature Poetic Drama & Poetic Theory 128, copyright 1995)

Marin Marais (1656–1728): Old French Songs and Dances1. L'Agréable2. La Provençale3. La Musette4. La Matelotte5. Le Basque

Jean Regnault de Segrais (1624–1701), Éclogue IV.

Qui craint l’ennui d’aimer, toute chose l’ennuie;

Celle qui fuit l’amour mérite qu’on la fuie […].Quiconque se voudra faire une vie heureuse,

Que, content, il s’attache à la vie amoureuse;

Qu’il quitte pour jamais l’ambitieuse cour;

Qu’il vienne dans ces bois, borné de son amour,

A ses jeunes désirs son âme abandonnée,

Se faire une innocente et libre destinée.

Aminte, arrête un peu, vois sur ce vieux cormier

Le baiser amoureux du sauvage ramier,

Les caresses qu’il fait à sa compagne aimée,

Qui d’un même désir se fait voir animée.

Peut-on, considérant leur innocent souci,

Ne pas dire en soi-même : “Heureux qui vit ainsi!”

(‘Whoever fears the trouble of loving, everything troubles him;Any woman who flees from love deserves to be fled [...].Anyone desiring to lead a happy life,Let him, content, devote himself to a life of love;Let him leave forever the ambitious court;Let him come to these woods, engrossed in his love,And to his young desires dedicate his soul,To find a free and innocent destiny.Shepherd Aminta, stop for a while, and see on this old treeThe loving kiss of the wild ringdove,The caresses it makes to its beloved female companion,Who shows herself to be moved by a like desire.Is it possible, while watching their innocent worries,Not to say to yourself: “Happy are those who live so!”’)

FFIINNAALLEE

Paul Bazelaire (1886–1958): “Suite française” sur des airs populaires

Chanson d’Alsace

ADRIAN MANTU

Adrian was born in Bucharest and is a post-graduate of the University of Music inBucharest. His studies continued at the Banff Centre for the Arts in Canada, Accade-mia Chigiana in Siena, Royal Academy of Music in London, Escuela Superior deMusica Reina Sophia in Madrid and European Academy of Music in Aix-en-Provence where he studied with Stefan Popov, Zara Nelsova, Radu Aldulescu,Lawrence Lesser and Marin Cazacu.

He also studied and worked in various string quartet master classes with members ofthe Amadeus, Alban Berg, Hagen, Tokyo and Emerson Quartets. In 1999 the Con-Tempo Quartet was offered a Fellowship at the Royal Academy of Music in Lon-don, where each member coached chamber music groups.

In 2003, after an international audition, Adrian and his colleagues from ConTempobecame Galway’s first Ensemble-in-Residence and remain at the heart of the resi-dency today.

Adrian has won many national competitions all over Romania and two prizes in In-ternational Cello Competitions in Bucharest and Sofia. As a member of the Con-Tempo String Quartet he has won a record of 13 international prizes incompetitions such as London, Munich, Hamburg, Rome, Graz, Berlin, Bucharest &Prague.

JOHN FEELEY

Described by the Washington Post as 'Ireland's leading classical guitarist' and byMichael Dervan in the Irish Times as 'a trailblazer...when it comes to the guitar andguitar-playing in Ireland', Feeley studied at Trinity College, Dublin, Queens Collegeof the City University, New York, and The National University of Ireland,Maynooth, where he graduated with a PhD in music. He has taught at the Ameri-can Institute of Guitar, Memphis State University and currently holds the post ofSenior Lecturer at the Conservatory of Music, Dublin Institute of Technology.

In addition to his solo and chamber music concerts, Feeley has performed widelywith orchestra -- with The American Symphony at Carnegie Hall, the NationalSymphony Orchestra of Ireland, the Ulster Orchestra, and the Irish Chamber Or-chestra, among others. He has won a number of prizes in international competi-tions, including the Special Award for interpretation in the 1984 Mauro Giulianicompetition, Italy.

Highly regarded for his performance of new works by Irish composers, he has hadmany works written for him, which include Guitar Concertos by Jerome de Brom-head, Eric Sweeney and Brent Parker; a Quintet for Guitar and String Quartet byAndrew Shiels and Brent Parker; Four Pieces by Jane O' Leary; a solo Guitar Sonataand Flute and Guitar duo, In Winter Light, by John Buckley; a number of works byDavid Fennessy, John McLachlan and Ciaran Farrell. The American composer,Robert Newell, has also written an extended solo guitar work for him.

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