Mythological

The subject deals with that old favourite 'lontananza' or separation using the image of Sisyphus pushing rocks uphill to illustrate the hopelessness of the lover's cause. A cantata with much to recommend it, come great recitative and aria writing. RARA format.

Source: Münster Santini Samlung HS 3977

Range: d - f#'

Editor: James Sanderson

The Orfeo story as told by Euridice, who implores Orfeo to recover her from hell (Aria 1), then addresses the Furies in the dramatic 2nd Aria with contrasting B section. The text of Aria 3 expresses cautious optimism, but the music undermines this with a fragmented coloratura in f# minor. Powerful recitatives and contrasted arias (b minor, F major, f# minor) make this a strong character portrayal. The edition gives Scarlatti's two settings of Aria 1 - the first a chromatic ground bass, the 'other way' a more modern cantabile aria, both capturing the pathos of Euridice.

Range - e'-a''

Form: R-A-R-A-R-A

Editor: Rosalind Halton

Join the god Vulcan in his depths to discuss the changeable nature of love. RARA format with some wonderfully sinuous writing in recitative and aria.

Source: Münster Santini Sammlung HS 3909

Range: b flat - d'

Editor: James Sanderson

This cantata was written in 1698 and is from a manuscript with a number of other mythological or historical themes rather than pastoral. The self-styled 'Emperor of the World', Nero, is certainly enjoying his ego! Florid and virtuosic. RARARAR format with a fiery recitative finish.

Source: Münster Santini Sammlung HS 3909

Range: d - b'' flat

Editor: James Sanderson

Hero calls for Leander who is attempting to swim the Hellespont to meet her. Upon his death she reacts to his loss and her reaction is interpreted by a narrator character in a final aria. In RARARA format.

Source: Münster Santini Sammlung HS 3909

Range: c - d'

Editor: James Sanderson

The phoenix which rises immortal from its ashes is the symbol of freedom from the bonds of love in this cantata - a mascot for the nymphs and shepherds of Arcadia. Aria 1 shows an unusual example of a theme from the Introduction being reworked into an aria. Arias in C major, G minor, A minor and B minor range from brilliant to pensive, robust to elusive, leading to the serene conclusion of the phoenix's ascent to heaven - in recitativo accompagnato.

Source: Münster, Santini Collection, HS.3928

Range: eb'-g''.

Editor: Rosalind Halton

Just like pushing stones up-hill, maintaining a relationship! No matter how close or how far (this is a lontananza cantata) the pain is constant. "Distance only brings pain". A wonderfully sinuous first aria and a straighforward, no-nonsense final andante. RARA format.

Range: d - ab''

Editor: James Sanderson

The three soprano cantate con violini from the 1721 edition 'Cantate e Duetti dedicati alla Sacra Maestà di Giorgio Rè della Gran Bretagna'

See individual titles for details

Editor: James Sanderson

Olimpia's famous lament on being deserted by her beloved Bireno. Here a more thoughful, melancholy variation in the theme rather than the usual tempestuous versions of other composers. 2-part prelude for the strings followed by RARA format cantata.

Source: 1721 edition of cantatas and duets in the British Library

Range: c - g'

Editor: James Sanderson

A tortured lament for Orfeo from d'India's Le Quarte Musiche of 1621. Very spare and dramatic in its construction, range d - g'

Editor: James Sanderson

Exquisite lament from d'India's Quinte Musiche of 1623 in which Dido laments the loss of Aeneas. Wonderful use of harmony and chromaticism.

Editor: James Sanderson

In four sections, all based on the same continuo line this work forms a kind of prologue to the Quinte Musiche due to its expositional style, high-flown language and the fact that is being sung by Virtue. Very florid writing and it is also very beautiful with a rather unexpected ending.
Range: d' - a''

Editor: James Sanderson

The only work for tenor voice in the Quinte Musiche - extended, many key changes and a great deal of suffering.

Editor: James Sanderson

The third lament from d'India's Quinte Musiche of 1623. Dramatic and extremely moving monodic piece with intensely chromatic movement.

Editor: James Sanderson

Extremely virtuosic, this solo song/madrigal from Le Quinte Musiche (1623) has some incredibly ornate passage work throughout. As you may have guessed from the incipit, the work is about Diana - Goddess of the Hunt...

Editor: James Sanderson

Source BL Add 14211 f 35 - 41v

Fago's cantatas are an interesting bridge between the Scarlattian style and the later Neapolitan version of the genre. Here a shepherd falls prey to the 'vicious' Goddess of Love.

Editor: James Sanderson

Source: BL RM MS 22.g.9 (9)

From a copy in the Royal Music Collection thought to be the only one (Pastore), this is a wonderful piece with a flaw. It is missing the first two lines of text for the second recitative - odd! It works, however and the poetry balances without it. Something strange here so we have decided to make it available.

In 2 recit and aria form (arias con spirito e vivace and tempo giusto the second recit accompagnato) it describes the plight of Andromeda, her plaint to the Gods, the arrival of her erstwhile rescuer Perseus and his call to the Gods to have mercy. It is full of 'pre-classical' markers such as strong dominant pedals, greater chordal movement in accompanying parts, the use of chromatic melody, many dynamic markings and rapid changes from passages in tonic major and tonic minor.

Editor: James Sanderson

The God of Delos, Apollo comes to earth and sports with the goddess Flora - I think however that her beauty wins the day! In RARARA format with some lovely recitative and a really satisfying text.

Source: Münster Santini Sammlung HS 865(10)

Range: d - g'

Editor: James Sanderson

The aria made famous through the film 'Farinelli: il castrato' Beautiful and virtuosic, it concerns Acis thanking Jove for making him immortal.

In two sections, the beautiful lento with it's slowly moving harmony and sinuous vocal line, and an unexpected andantino middle section.

Range: d - g''

Editor: James Sanderson

A substantial chamber duet with a sinfonia, an aria for each character and a final duet. This is beautiful writing with many variations on the aria format, middle sections with different tempi and Afekt. It is the seer Calcas pronouncing the sacrifice of Iphegenia that set off the argument between Agamemnon and Achilles (Iliad).

Editor: James Sanderson

A stunning, large work with some really impressive vocal writing, both in the recitatives and the 2 arias. Opening with a Sinfonia in two parts, Vulcan bemoans Venus and her inconstancy. Not, perhaps, an ideal wife for him after all! The first aria, Largo is expressive and virtuosic and the final aria is appropriately fiery.

Editor: James Sanderson

The stunning duet which ends the first act of Porpora's Componimento drammatico to a libretto by Metastasio. Commencing with an involved secco recit and followed by da capo form duet with a middle section in a different meter and mood, it involves Venus and Adonis (La Romanina and Farinelli) singing of their love for each other.

Editor: James Sanderson

Source: BL Add 38036 ff 12v - 16v

This is from a British Library manuscript with the inscription 'CANTATE de diversi gran Maestri', dated 1706 which contains cantatas by Legnani, Bencini, Sarri, Lotti, Caldara, Buononcini, Conti, Torri, Monarii, Ariosti, Fago, Mancini, Tosi, Martini, Scarlatti, and Albinoni. It contains a wealth of information about the continuo figures used as the copyist has taken a great deal of care with them. The text concerns Goddess of Love's ability to enchant those who behold her (Gnido is likely to be the ancient Greek city of Knidos, now in Turkey, where there was a temple to Venus).

Rang

e: e' - g'' Editor: James Sanderson