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General Editor: James Sanderson  
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Composers listed on this page | Filippo Amadei (Pippo del violoncello) | Anonymous | Carlo Arrigoni | John Bartlet(t) | Diogenio Bigaglia | Giovanni Bononcini | Antonio Maria Bononcini | Giulio Caccini | Thomas Campion | Giacomo Carissimi | Giovanni Paolo Colonna | Barone Emanuele d'Astorga | Sigismondo d'India | M. de la Barre | John Dowland | Francesco Durante | Nicola Fago | Bernardo Gaffi | Francesco Gasparini | George Frederick Handel | Johann Adolph Hasse | Robert Johnson | Niccolo Jommelli | Leonardo Leo | Antonio Lotti | Francesco Mancini | Benedetto Marcello | Alessandro Melani | Thomas Morley | Johann Christoph Pepusch | Giov. Batt. Pergolesi | Francesco Antonio Pistocchi | Nicola Antonio Porpora | Giuseppe Porsile | Henry Purcell | Phillip Rossetter | Giovanni Felice Sances | Claudio Saracini | Domenico Natale Sarri(Sarro) | Domenico Scarlatti | Sgr Scarlatti | Alessandro Scarlatti | Agostino Steffani | Leonardo Vinci | Antonio Vivaldi
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Filippo Amadei (Pippo del violoncello) (c1665 - c1725)

Work
Continuo cantata: Lidia pur giunta e l'ora
Editor: James Sanderson
Forces: bass & continuo
Description: One of Amadei's five known cantatas, this is a wonderful example of the genre with some quite piercing chromatic moments. The young man is forced to leave his beloved Lidia, but to leave her is 'like to die'. Source: Münster Santini Sammlung HS 3915
Range: FF - e flat
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Anonymous

Work
Song: Hark, hark the lark
Editor: James Sanderson
Forces: voice & lute (arr keyboard)
Description: With a text from the Tempest, a fiery and exciting lute song
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Carlo Arrigoni (b Florence, 5 Dec 1697; d Florence, 18 Aug 1744)

Work
Continuo cantata: Ti sento amor, ti sento
Editor: James Sanderson
Forces: alto & continuo
Description: Source: BL Add MS 14213, ff 71v - 76r
A work of some inventiveness which belies some comments about Arrigoni's lack of imagination. The lover sings of Amarilli and the pain/joy that love causes. There are some incredible leaps for the genre, 10ths, minor 9ths etc. aria - recit - aria format.
Range: G - d'
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John Bartlet(t) (fl.1606-10)

Work
Song: Surcharged with Discontent
Editor: James Sanderson
Forces: voice & lute (arr keyboard)
Description: Count the number of birds in this enormous consort song.
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Diogenio Bigaglia (b Venice, c1676; d Venice, c1745)

Work
Continuo cantata: Aure care, frondi amene
Editor: James Sanderson
Forces: alto & continuo
Description: Source BL Add. 14222 ff 34-39
Aria - recit - aria with very interesting harmonic treatment.
Range: a' - d''
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Continuo cantata: Ecco perfida Irene
Editor: James Sanderson
Forces: soprano & continuo
Description: This is taking the sacrifice for love just a little too far... Despite Irene's nastiness, her coldness, her viciousness her lover still wants to die just for her. RARA format with a stunning first aria and challenging last, this is one of the Venetian priests excellent miniatures. Source: Naples
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Continuo cantata: Se tu resisti ò cor
Editor: James Sanderson
Forces: soprano & continuo
Description: Source BL Add 14212 f75 - 81v
The figures are in a different hand to the manuscript copy (perhaps a later performer?)
An attractive work with a very interesting 'left-footed' Siciliano to end.
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Giovanni Bononcini (1670-1747)

Work
Continuo cantata: All'or che il cieco nume
Editor: James Sanderson
Forces: soprano & continuo
Description: '...it is better to have loved and lost...' could easily be the motto of this cantata. Despite pleading to Cupid for mercy the 'blind God' remains silent and leaves the protagonists to their misery. RARARAR format
Source: BL Add 31547 f25r - 33r
Range: e - a''
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Continuo cantata: Amo, e ridir nol posso
Editor: James Sanderson
Forces: soprano & continuo
Description: To love and not be able to express it cannot be an easy thing. Suffering, burning, the flames and pains of love. In RARA format, the arias a sweet largo and a bright vivace.
Source: BL Add MS 31545
Range: e - g#'
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Continuo cantata: Amo, peno, gioisco
Editor: James Sanderson
Forces: soprano & continuo
Description: "I love, I suffer, I rejoice..." Once again our happy/sad lover is back with his masochistic take on love. In RARA format with two great arias, the first with some double-stopping in the continuo, this is another delightful cantata by Mr Bononcini.
Source: Münster Santini Sammlung Hs 895 (5)
Range: c - g'
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Continuo cantata: Amor, tiranno amor
Editor: James Sanderson
Forces: soprano & continuo
Description: A very strict warning about trusting in the fidelity of Cupid. Tyrannous Love has been causing mischief again in this ARARA format cantata. In the copy all the da capo sections have been written out in full with varied style of repeat. Perhaps an aural copy as there are no figures...
Source: BL Add 31518 9r
Range: d - g'
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Continuo cantata: Anche i tronchi
Editor: Rosalind Halton
Forces: soprano & continuo
Description: 'Even the trees and rocks know of my suffering - only you ignore it'. This soprano cantata also exists in transposition for alto in a contemporary MS (also available on request). The demanding cello part especially in aria 2 reflects the virtuosity of the composer Bononcini (presumably Giovanni). A-R-A-R-A
Sources: MÜs 3903 & BL Add MS 31547
Range: d'-g''
Alto: g-c''
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Continuo cantata: Ch'io ti manchi di fede
Editor: James Sanderson
Forces: tenor & continuo
Description: A large cantata edited from the Chandos collection copy in the British library. Unusual in that it's a contemporary copy from before 1720 (the date of the donation of the collection) for tenor. The transposition has provided some odd crossing of parts. Diverse aria structures (including a non-da capo aria) and interesting harmonic progressions.
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Continuo cantata: Cieco nume tiranno spietato
Editor: James Sanderson
Forces: soprano & continuo
Description: One of Bononcini's most beautiful cantatas, the subject here deals with Love's blind cruelty. In 5 sections with no da capo arias and with a recurring theme of the title text, the last section presto assai is particularly virtuosic, though broken by emotional largo sections.
Source: BL Add MS 31546 f74v-79r
Range: c# - g'
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Continuo cantata: Clori bell' idol mio
Editor: James Sanderson
Forces: alto & continuo
Description: Bononcini at his sinuous best here. In RARA format with two affettuoso arias singing of the tears that fall from being parted from the beloved 'Clori my beautiful idol, I am a faithful lover of your beauty'. Source: Naples Conservatorio
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Continuo cantata: Clori, mi sento al core
Editor: James Sanderson
Forces: soprano & continuo
Description: A story about the close relationship between pain and pleasure in love. Clori is the inspiration again! In RARARARA format - yes it's a long one... Lovely text, varied arias, expressive recitatives.
Source: BL Add MS 31547 f47r - 53r
Range: e - g'
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Continuo cantata: Clori, mio ben mia vita
Editor: James Sanderson
Forces: soprano & continuo
Description: Clori had quite a hold over her men! Here our erstwhile suitor complains of the joy she takes in causing him pain and suffering. RARA format, the first recit being particularly expressive. Both arias in triple time with slightly off-beat word setting.
Source: BL Add MS 31545
Range: d# - b flat'
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Continuo cantata: Da te che pasci ogn'ora
Editor: James Sanderson
Forces: soprano & continuo
Description: Here our protagonist is literally wanting to die for love. Once more a rejected suit leads him to suffer so! In RARA format with a sinuous first aria Affettuoso, e cantabile and an excellent vivace to finish.
Source: British Library copy of the 1721 edition
Range: e - a''
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Continuo cantata: Dal giorno fortunato
Editor: James Sanderson
Forces: soprano & continuo
Description: "...on that fortunate day when first I gazed into your eyes...the playful God of Love enflamed my heart for eternity..." I wonderful work in RARARA format including a beautiful affettuoso, a sprightly menuetto and a virtuosic presto to finish.
Source: British Library Add MS 31545
Range: c - a''
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Continuo cantata: Dall'incurvato ferro
Editor: James Sanderson
Forces: soprano & continuo
Description: The cruelty and spite of the gods to our young protagonist is the theme, leaving him in the position of offering his life for one day of happiness with his beloved.
Excellent recitatives and some very enjoyable arias (RARARA format)
Source: Münster HS 3915(19)
Range: e - g'
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Continuo cantata: Del suo fedel, e taciturno ardore
Editor: James Sanderson
Forces: soprano & continuo
Description: A large and unusual piece, both in terms of the aria formats and the characters. In RARARA format, none of the arias are da capo form, the subject deals with the joys and pains of the love of Floridalbo and Fille.
Source: Münster Santini Sammlung HS 865
Range: f - a''
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Continuo cantata: Del Tebro in sù la riva
Editor: James Sanderson
Forces: alto & continuo
Description: On the banks of the Tiber a young girl sits and weeps at the cruelty of her beloved. A single glance from him can simultaneously revive and dash her hopes of love. In RARARA format with quite a low range. Good 'pathetic' arias and a faster 12/8 to finish.
Source: Münster Santini Sammlung HS 3915(17)
Range: F - d'
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Continuo cantata: Dolente, e mesta vò sospirando
Editor: James Sanderson
Forces: soprano & continuo
Description: Sadly sighing she longs for her lover Elpino. She searches the shepherd's hut, the fields and can't find him, finally singing a con spirito aria calling to him to come to her. In ARA format with a deliciously chromatic opening cantabile, et affettuoso. Interestingly, the continuo line drops to a BB, which would require some retuning.
Source: 1721 edition in the British Library
Range: d - g'
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Continuo cantata: Filli, dell' tuo partire
Editor: James Sanderson
Forces: soprano & continuo
Description: Deserted by cruel Filli our lover remains alone and suffering. "...remember the sighs of the one who dies for you..." RARARA format with a lovely triple time largo and two sprightly arias to follow.
Source: BL Add MS 31545
Range: c - g'
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Continuo cantata: Già la stagion d'Amore
Editor: James Sanderson
Forces: alto & continuo
Description: Even in the season of Love, the course of true love does not run smooth! RARA format with two really lovely arias, Affettuoso e Cantabile and Vivace.
Source: 1721 edition in the British Library.
Range: a - c'
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Continuo cantata: Io son lungi alla mia vita
Editor: James Sanderson
Forces: soprano & continuo
Description: Typical of cantatas with the subject matter of distance and longing, Bononcini gives his singer a difficult time with the third note forming a major seventh over the bass. Full of plangent harmony and some lively coloratura. ARARA format.
Source: Münster Santini Sammlung HS 3977
Range: c - g'
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Continuo cantata: Irene Idolo amato
Editor: James Sanderson
Forces: soprano & continuo
Description: Within the classic 'partenza' cantatas this is unusual as it refers directly to going off to war and perhaps dying in battle. Some lovely linguistic turns and this RARA format cantata.
Source: Münster Santini Sammlung HS 3915(16)
Range: c# - f#'
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Continuo cantata: Lasciami un sol momento
Editor: James Sanderson
Forces: alto & continuo
Description: "Leave me but a moment..." to wallow in self-pity of course. The sad story of the doomed love of Eurillo and Dorinda in ARA format. An excellent chromatic largo to start and a lively tempo giusto to finish.
Source: 1721 edition in the British Library
Range: b flat to d'
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Continuo cantata: Lidio, schernito amante
Editor: James Sanderson
Forces: soprano & continuo
Description: The agony of love unrequited returns in the text of this work. The 'delirium of Love', the 'agony of the heart'. Excellent and virtuosic recitatives link three delightful arias covering a two octave range.
Source: Münster Santini Sammlung HS 3915(12)
Range: b - b''
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Continuo cantata: O frondoso arboscello
Editor: James Sanderson
Forces: soprano & continuo
Description: Another good reason not to fall in love with shepherds and shepherdesses! How cruel they are to each other. RARA format, with 'classic' pairing of affettuoso and vivace arias.
Source: British Library copy of 1721 edition
Range: d - a flat''
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Continuo cantata: O mesta tortorella
Editor: James Sanderson
Forces: alto & continuo
Description: The image of the turtle dove taking away sorrow and bringing contentment to the unhappy shepherdess longing for her beloved Tirsi. In RARA format with a throbbing affettuoso and a sprightly con spirito, ma non presto. Great writing for the continuo as well!
Source: British Library copy of the 1721 edition
Range: a - d'
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Continuo cantata: Peno, peno e l'alma fedele
Editor: James Sanderson
Forces: soprano & continuo
Description: Arcadia is in turmoil and Tirsi is really suffering with a wicked, lying beloved here. '...to hope for fidelity is torment...' A large piece with 3 recits and 3 arias finishing with a delightful minuet.
Source: BL Add MS 31546 22v
Range: c# - g'
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Continuo cantata: Per sollevar quest'alma
Editor: James Sanderson
Forces: soprano & continuo
Description: A slightly odd and disturbing discussion about how close our love of love is to our love of a little torment. RARA format with two sprightly arias.
Source: British Library Add MS 31545 ff 7r - 12r
Range: d - g'
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Continuo cantata: Pur vi riveggio ancora
Editor: James Sanderson
Forces: soprano & continuo
Description: In this pastoral scene the golden shafts of Cupids darts fly from the beloved's eyes and pierce his heart. Despite the pain he decides that mercy and silence are the only solution. RARAR format, lento, allegro and the last recit becoming an arioso.
Source: BL Add MS 31545
Range: c - g'
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Continuo cantata: Quanto peno e quanto piango
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add MS 14211 52r
Short aria - recit - aria format but absolutely delightful! What we go through for love. Despite being cruel, unkind, like a serpent, still he loves her and yearns for her - such pain, such tears!
This would be an excellent piece for a difficult spot in a program - total duration is only around 4 or 5 minutes
Range: f - g'
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Continuo cantata: Son io barbara donna
Editor: James Sanderson
Forces: alto & continuo
Description: Source: BL Add MS 14213 ff 103v - 110r
Bononcini's setting of a very popular cantata text. A boy unhappy with his Clori again. She is a minx! Two very different arias with a lovely sobbing line in the first sospira à miei sospiri and a matter-of-fact final andante - pensa ch'un nouvo amante non ti sarà costante!Range: c - d'
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Continuo cantata: Stanca di più penar
Editor: James Sanderson
Forces: soprano & continuo
Description: Finally the boys are getting their revenge on Clori. Tired of too much suffering, she turns to the God of Love to ask for pity, but does he help her...? In RARARA format with two sprightly vivace arias following an expressive largo.
Source: BL Add MS 31545
Range: e - a'
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Continuo cantata: Sventurato Mirtillo, e che farai?
Editor: James Sanderson
Forces: soprano & continuo
Description: Miserable Mirtillo is complaining of the rigours and upsets of his love for Dorinda. In RARA format, allegro and adagio arias provide pathos and brilliant coluratura. Range: d# - a''
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Continuo cantata: Trà l'amene delitie
Editor: James Sanderson
Forces: soprano & continuo
Description: Veiwing the painful side of love, Eurilla searches for her Armindo in the garden of Love, but can find not even a breath of him. In RARAR format with two curiously 'twisted' arias - affettuoso and largo and finishing with a sinuous recitative.
Source: BL Add MS 31545
Range: d - g'
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Continuo cantata: Usignuol che col mio pianto
Editor: James Sanderson
Forces: alto & continuo
Description: Here our lover tells the nightingale to be silent and simply moan at the sadness he feels. Beautiful music with a depressing subject. Dori, it seems, is playing hard to get and our protagonist is lamenting the fact. Very much an alto cantata (going down to a bottom G) this is a fine example of the simpler ARA format with some delightful word-painting in both arias and recitative. Source: Naples Conservatorio.
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Continuo cantata: Vanne si ruscelletto contento
Editor: James Sanderson
Forces: mezzo-soprano & continuo
Description: Source: BL Add MS 64960
Formerly owned by Maria Ducarel, recorded (f. ii verso) as a gift to her from George Henry Lee, 3rd Earl of Lichfield, in 1768. This charming cantata uses the water flowing into the sea simile to describe longing for the beloved. In aria (Larghetto) - recit - aria (Allegro) format.
Range: b - e'
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Continuo cantata: Viver e non amar
Editor: James Sanderson
Forces: soprano & continuo
Description: "...to live and not to love..." is a crime according to our erstwhile lover here. She, however, loves Tirsi above all else and credits Cupid with her choice. In RARA format, including a beautiful largo and a delightful menuetto - short and with a small (one octave) range.
Source: BL Add MS 31545
Range: a' - a''
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Collection: 2 duetti da camera
Editor: James Sanderson
Forces: sop, alto/alto, alto & continuo
Description: The two duetti da camera from the 1721 edition 'Cantate e Duetti dedicati alla Sacra Maestà di Giorgio Rè della Gran Bretagna'
Pietoso Nume Arcier (2 altos & continuo) Luci barbare spietate (soprano, alto & continuo)
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Price: £ GB  9.95
Collection: 3 alto cantate con violini
Editor: James Sanderson
Forces: alto, violins & continuo
Description: The three alto cantate con violini from the 1721 edition 'Cantate e Duetti dedicati alla Sacra Maestà di Giorgio Rè della Gran Bretagna'
Care luci del mio bene
Misero pastorello
Siedi Amarilli mia
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Price: £ GB  13.95
Collection: 3 alto cantate da camera
Editor: James Sanderson
Forces: alto & continuo
Description: The three alto cantate da camera from the 1721 edition 'Cantate e Duetti dedicati alla Sacra Maestà di Giorgio Rè della Gran Bretagna'
Gia la stagion d'amore
Lasciami un sol momento
O mesta tortorella
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Price: £ GB  10.95
Collection: 3 soprano cantate con violini
Editor: James Sanderson
Forces: soprano, violins & continuo
Description: The three soprano cantate con violini from the 1721 edition 'Cantate e Duetti dedicati alla Sacra Maestà di Giorgio Rè della Gran Bretagna'
Barbara nifa ingrata
Ecco Dorinda il giorno
Il Lamento d'Olimpia
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Price: £ GB  15.95
Collection: 3 soprano cantate da camera
Editor: James Sanderson
Forces: soprano & continuo
Description: The three soprano cantate da camera from the 1721 edition 'Cantate e Duetti dedicati alla Sacra Maestà di Giorgio Rè della Gran Bretagna'
Da te che pasci ogn'ora
Dolente e mesta
O frondoso arboscello
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Price: £ GB  10.95
Duetto da camera: Luci barbare spietate
Editor: James Sanderson
Forces: soprano, alto & continuo
Description: The tempestuous meeting of Tirsi and Dorinda. 'Your eyes are the cause of my suffering...but I will always be faithful...' In Duet - Recit - Duet format with both duets virtuosic for the singers.
Source: 1721 edition in the British Library
Range (soprano): c - g'
Range (alto): G - d
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Duetto da camera: O penosa lontananza
Editor: James Sanderson
Forces: soprano, bass & continuo
Description: Here we see both sides of the coin with the soprano lamenting the pain of separation and the bass rejoicing that being so far apart there is less pain... This is a wonderful duetto da camera in Duet - recit - aria - recit- aria - duet format. One for each and the two duets surrounding all.
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Duetto da camera: Pietoso nume arcier
Editor: James Sanderson
Forces: 2 altos & continuo
Description: Dorinda and Aldimira are bemoaning the infedelities of their lovers, Tirsi and Aminta. Luckily they have each other to spur on their suit. In duet (largo et affettuoso) - recit - duet (allegro) format.
Source:1721 edition in the British Library
Range (both): b flat - d'
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Cantata with violins: Alle sue pene intorno
Editor: James Sanderson
Forces: soprano, violins & continuo
Description: As they say, 'Hell hath no fury as a woman scorned...' Filli has been rejected by her lover and although she at first threatens all manner of pain to Cupid, she then calls for the furies to bring her poison to end her suffering. In RARA format, the first aria a witty Minuet, the second a two-tempo allegro then largo. Single Unisoni violin part.
Source: BL Add 31518 13r - 16r
d - a flat'
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Cantata with violins: Barbara ninfa ingrata
Editor: James Sanderson
Forces: soprano, violins & continuo
Description: Tirsi is railing at Clori in this large, dramatic cantata. She has gone off and left him again and he wants his life to end. Such drama! 3-part prelude, then RARA format.
Source: 1721 edition in British Library
Range: d - b flat''
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Cantata with violins: Care luci del mio bene
Editor: James Sanderson
Forces: alto, violins & continuo
Description: "Dear eyes of my beloved, you would be more beautiful still if you had some pity for me..." Nice is not being nice (again), nevertheless her erstwhile suitor remains faithful and hopes for her pity on his plight. ARA format with some stylish writing for both voice and violins.
Source: 1721 edition in the British Library
Range: a - e'
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Cantata with violins: Ecco Dorinda il giorno (alto)
Editor: James Sanderson
Forces: alto, strings & continuo
Description: Contemporary copy (see soprano version below) of the first cantata in the 1721 edition dedicated to George I. (2-part prelude then RARARA format. All arias most singable with a virtuosic presto in the middle. Our young lover is leaving his Dorinda and makes a real song and dance about it!
Source BL Add 14226 f57 - 70r
Range: d - b flat'
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Cantata with violins: Ecco Dorinda il giorno (soprano)
Editor: James Sanderson
Forces: soprano, violins & continuo
Description: The first cantata in the 1721 edition dedicated to George I. 2-part prelude then RARARA format. All arias most singable with a virtuosic presto in the middle. Our young lover is leaving his Dorinda and makes a real song and dance about it!
Source: British Library copy of the 1721 edition
Range: B flat - f'
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Cantata with violins: Il Lamento d'Olimpia
Editor: James Sanderson
Forces: soprano, violins & continuo
Description: 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'
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Cantata with violins: Misero pastorello
Editor: James Sanderson
Forces: alto, violins & continuo
Description: At least this time the shepherd is not bemoaning being trerated badly by his beloved. He missed the fields with his sheep and looks forward to returning. 2-part prelude, then RARA format. It is a considerable work.
Source: 1721 edition in the British Library.
Range: G - d'
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Cantata with violins: Siedi Amarilli mia
Editor: James Sanderson
Forces: alto, violins & continuo
Description: A large cantata for alto with a complicated structure. The story deals with the pain of love and includes a dialogue between the lovers Amarilli and Fileno (though sung by the same voice). The first aria sighs, alternating with recitative, the second is sobbing and the third is sprightly. Two-part opening prelude.
Source: British Library copy of 1721 edition
Range: a - e flat'
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Antonio Maria Bononcini (b Modena, 1677; d Rome, 1726)

Work
Continuo cantata: Augeletti, ruscelli ed aurette
Editor: James Sanderson
Forces: mezzo-soprano & continuo
Description: 'Oh, how lucky is he who spends his days away from the noise and bustle of the city...the is no treasure more dear than sweet silence'. This is a paen to the pastoral life in ARA format. Absolutely delightful work with some very tricky vocal writing for a quite low voice part. Additionally, it is clear that Antonio was a cellist as the continuo part is both high and rather a challenge. Enjoyable for the cellists amongst you! Source: Naples I-Nc.
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Continuo cantata: Finche la bella Irene
Editor: James Sanderson
Forces: alto & continuo
Description: "As long as beautiful Irene smiled on me I was in love..." Obviously, this didnt last and by the end of this RARA format cantata for low alto, our singer feels how love has betrayed him.
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Continuo cantata: Selve, placide selve
Editor: James Sanderson
Forces: alto & continuo
Description: Our hero heads to the woods to escape the pains of love. Comparing his beloved to the birds, the flowers (and the beasts!). In RARA format this is a delightful and highly enjoyable cantata to sing - some really good challenges in the coloratura. Source: Naples
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Cantata with obbl. inst.: Idol mio bel tesoro
Editor: James Sanderson
Forces: soprano, flute & continuo
Description: Eyes like darts and a face that ensnares, how could he resist? A cantata with flauto from the lesser-known Bononcini, but by no means the lesser composer. Some stunning writing here in this ARA format cantata from a manuscript in the Naples Conservatorio library.
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Giulio Caccini (1550 - 1618)

Work
Song: Dolcissimo sospiro
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL MS Eg.2971
Written in 1602 to poetry by Rinuccini, this is a beautiful song about the sweet sighs of love.
Range d - e'
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Thomas Campion (b London, 12 Feb 1567; d London, 1 March 1620)

Work
Song: It Fell On A Summer's Day
Editor: James Sanderson
Forces: voice & lute (arr keyboard)
Description: A bawdy tale of Jamie and Bessie and what they get up to in the afternoon.
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Song: Jack and Joan
Editor: James Sanderson
Forces: voice & lute (arr keyboard)
Description: Narrative song extolling the virtues of the simple folk over the indulgence of courtly life.
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Song: Miserere My Maker
Editor: James Sanderson
Forces: voice & lute (arr keyboard)
Description: Beautiful lute song in three verses
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Song: Never weather-beaten sail
Editor: James Sanderson
Forces: voice & lute (arr keyboard)
Description: Beautiful votive song using the analogy of the ship bending its sails to shore being like the soul returning to God.
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Song: Where the Bee Sucks, There Suck I
Editor: James Sanderson
Forces: voice & lute (arr keyboard)
Description: Text by Shakespeare, from the Tempest
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Giacomo Carissimi

Work
Aria: Filli, non t'amo più
Editor: Rosalind Halton
Forces: soprano & continuo
Description: This virtuoso piece on a ground bass caught the attention of some editors of the late 19th-early 20th centuries, including Riemann: 3 editions from 1877 to 1923 are cited by new Grove, but apparently none since. The source of this edition is MS. 51 Christ Church College, Oxford, undoubtedly a product of the intense cultivation of Carissimi's music by Henry Aldritch and Richard Goodson.
Range: d'-a''
Price: £ GB  4.95
Continuo cantata: Ferma, lascia ch'io parli (Lamento di Maria Stuarda)
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL MS Harley 1265
An extensive lament for soprano and continuo with range from e to c'' (!!)
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Giovanni Paolo Colonna (1637 - 1695)

Work
Continuo cantata: Cleopatra moribonda
Editor: James Sanderson
Forces: soprano & continuo
Description: An enormous and complex work for soprano and continuo telling through her own voice the fate of Cleopatra after being betrayed and deserted by Rome. Poison, asps, vengeance, fury, it has everything. In 24(!) parts, some as short as 2 bars, Colonna has created a scene of operatic drama and intensity. The poetry is by Sigr D Donato Copeda
Source: BL Add MS 27931 (large quarto with the Medici coat of arms)
Range: c - b flat''
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Continuo cantata: Fidalmo sfortunato
Editor: James Sanderson
Forces: alto & continuo
Description: Dramatic cantata in 2 recit and aria pair form. Fidalmo is suffering the vicissitudes of love (once again). Some lovely writing for a lowish alto. Poetry by Giacomo Lodovico Berselli
Source: BL Add 27931
Range: G - d'
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Continuo cantata: Il mondo armato
Editor: James Sanderson
Forces: bass & continuo
Description: A man's struggles with love, fate and war. In many sections with Colonna's typical blurring of aria/recit boundaries. A virtuosic and stirring piece.
Source: BL Add 27931
Range: DD - e
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Continuo cantata: L'Adamo
Editor: James Sanderson
Forces: alto & continuo
Description: Source BL Add. 14110
2 paired recitatives and arias.
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Barone Emanuele d'Astorga (1680 - ?1757)

Work
Marian antiphon: Stabat Mater
Editor: James Sanderson
Forces: SATB solo, SATB chorus, strings and continuo
Description: d'Astorga's beautiful setting of the Stabat Mater for SATB solo, SATB chorus, strings and continuo.
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Continuo cantata: Cangia loco, e cangia sorte
Editor: James Sanderson
Forces: soprano & continuo
Description: In the mistaken belief that removing himself from the presence of his love will make him feel better, our young shepherd learns a hard lesson about the power of love. In ARA format, both arias in the 'pathetic' style and the second making onewonder whether Handel had heard it...?
Source: Münster Santini Sammlung HS 859(2)
Range: d# - g'
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Continuo cantata: Cara Lidia adorata
Editor: James Sanderson
Forces: soprano & continuo
Description: Using the old 'ship into harbour' story our young man tries to woo Lidia, but she's having none of it! "...Too cruel, too unfaithful..." he cries, but to what avail? In RARA format with two very 'spiky' arias, lots of chromatic twists in both arias and recitatives.
Source: Müs Santini Sammlung HS859(14)
Range: c - g'
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Continuo cantata: Che Sisifo infelice
Editor: James Sanderson
Forces: soprano & continuo
Description: 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''
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Continuo cantata: Clori, che un dì vantava costanza in petto
Editor: James Sanderson
Forces: soprano & continuo
Description: 'Clori, who one day boasted of constancy in her breast and fidelity in her heart...' is not! Another setting of this poetry (see Mancini's), this time by the enigmatic Barone d'Astorga. In RARA format, this is delightful with some interesting challenges for the cellist. Source: Biblioteca del COnservatorio di Music S Pietro a Majella, Naples.
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Continuo cantata: E pur dolce, dolce amore
Editor: James Sanderson
Forces: soprano & continuo
Description: Willing to die from the effects of love, but knowing of the inability of women to properly love or be faithful, our shepherd rejects the laughter of Cupid at his pains, knowing that a single glance from his beloved would give him the last laugh!
In ARA format with a affettuoso beginning and an allegro finish sourrounding a characteristically complex recitative this is an enjoyable and challenging example of the genre.
Source: Münster Santini Sammlung HS 859(1)
Range: f - g'
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Continuo cantata: Ecco perfida Irene
Editor: James Sanderson
Forces: soprano & continuo
Description: This is taking the sacrifice for love just a little too far. Despite Irene's nastiness, her coldness, her viciousness her lover still wants to just die for her. Oh, please! In RARA format with a strikingly strong first aria in cut common time and a wonderful sinuous final largo.
Source: Münster Santini Sammlung HS 859(15)
Range: d - g'
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Continuo cantata: Fedeltà s'è tanto bella
Editor: James Sanderson
Forces: soprano & continuo
Description: A delightful cantata in ARA format. The lover bemoans Fille's inconstancy (yet again!) "I will escape Cupid's darts and Fille's glances and will live content in with my heart in freedom."
Range: d# - a''
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Continuo cantata: In queste amene selve
Editor: James Sanderson
Forces: alto & continuo
Description: In the classically charming pastoral theme, in a pleasant woods love's constancy is questioned, found wanting and not forgiven - the lover awaits his beloved's return in death. Excellent arias and complex recitatives.
Source: Münster Santini Sammlung HS 859(5)
Range: c - e' flat
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Continuo cantata: In questo core
Editor: James Sanderson
Forces: soprano & continuo
Description: A wonderfully piece, full of twists and turns. ARA format with a first aria of many chromatic passages and keys. "Think for a moment on my constancy and my sincere love as I suffer these torments".
Range: eb to ab'
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Continuo cantata: Non lasciarmi o bella speme
Editor: James Sanderson
Forces: soprano & continuo
Description: For once love and constancy is rewarded. Although the lover fears jealousy and distance from the beloved, 'hope springs eternal' for "...the distance between us is nothing when I know of your sweet constancy..." Some wonderfully chromatic moments in the first largo aria and the closing allegro is fully of rhythmic shifts.
Source: Santini HS 859 (last)
Range: e flat - g'
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Continuo cantata: Poiche deggio partire
Editor: James Sanderson
Forces: soprano & continuo
Description: A simple motto for lovers everywhere characterises this piece - "If you are constant I will also be faithful...!"
In RARA format concluding with a lovely chromatic Siciliano (appropriate considering d'Astorga's background).
Source: Münster Santini Sammlung HS 859(12)
Range: e - g'
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Continuo cantata: Regio fior pompa d'Aprile
Editor: James Sanderson
Forces: alto & continuo
Description: Fileno is once again in love, this time with a Filli who returns his feelings - taking pleasure in the joys of Spring. Two excellent arias, the first with some particularly piquant chromaticisms.
Source: Münster Santini Sammlung HS 859(8)
Range: c - d'
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Cantata with violins: Che fai, che pensi, e che risolvi?
Editor: James Sanderson
Forces: soprano, violins & continuo
Description: The course of true love never runs smooth and in this delightful story of Aminta & Dorinda two emotions play in her heart - disdain and love - what will the outcome be? Dorinda will remain constant!
Source: (autograph?) in the British Museum RM.22.a.8(1)
Range: d - a''
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Sigismondo d'India (b Palermo, c1582; d ?Modena, before 19 April 1629)

Work
Collection: Le Quinte Musiche (1623)
Editor: James Sanderson
Forces: voice & continuo
Description: The complete 'Le Quinte Musiche del Cavalier Sigismondo D'India...da cantarsi nel chitarrone, clavicembalo, arpa doppia & altri stromenti da corpo' from the copy in Christ Church, Oxford. This volume includes the three great laments (Didone, Olimpia & Giasone), Virtù and Diana's two extensive works and nine other madrigals and/or strophic songs.
Price: £ GB  19.95
Song: (L4M - 06) Che veggio ohime - Orfeo
Editor: James Sanderson
Forces: tenor & continuo
Description: A tortured lament for Orfeo from d'India's Le Quarte Musiche of 1621. Very spare and dramatic in its construction, range d - g'
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Song: (L5M - 01) Io che del ciel - Virtù
Editor: James Sanderson
Forces: soprano & continuo
Description: 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 as you can hear in the MIDI preview, it is also very beautiful with a rather unexpected ending. Range: d' - a''
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Song: (L5M - 02) Lamento di Didone
Editor: James Sanderson
Forces: mezzo-soprano & continuo
Description: Exquisite lament from d'India's Quinte Musiche of 1623 in which Dido laments the loss of Aeneas. Wonderful use of harmony and chromaticism.
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Song: (L5M - 05) - Lamento di Giasone sopra il Figlioli morti da Medea
Editor: James Sanderson
Forces: tenor & continuo
Description: The only work for tenor voice in the Quinte Musiche - extended, many key changes and a great deal of suffering.
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Song: (L5M - 11) Lamento di Olimpia
Editor: James Sanderson
Forces: mezzo-soprano & continuo
Description: The third lament from d'India's Quinte Musiche of 1623. Dramatic and extremely moving monodic piece with intensely chromatic movement.
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Song: (L5M - 13) Questo dardo quest'arco - Diana
Editor: James Sanderson
Forces: soprano & continuo
Description: 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...
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Song: LM à 2 - Cosi per ben amar
Editor: James Sanderson
Forces: 2 sopranos & continuo
Description: Duet from the 1615 collection of 'Musiche a due voci' - one of the four 'Aria sopra Zefiro' using the same bass line.
CURRENTLY UNAVAILABLE
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Song: LM à 2 - Giamai l'alma respira
Editor: James Sanderson
Forces: 2 sopranos & continuo
Description: Duet from the 1615 collection of 'Musiche a due voci' - one of the four 'Aria sopra Zefiro' using the same bass line.
CURRENTLY UNAVAILABLE
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Song: LM à 2 - Langue al vostro languir
Editor: James Sanderson
Forces: 2 tenors & continuo
Description: A virtuosic madrigal for two tenors from the 1615 'Le Musiche a due voci'. Wide range both vocally and dramatically.
CURRENTLY UNAVAILABLE
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Song: LM à 2 - Nudrisco il mesto cor
Editor: James Sanderson
Forces: 2 sopranos & continuo
Description: Duet from the 1615 collection of 'Musiche a due voci' - one of the four 'Aria sopra Zefiro' using the same bass line.
CURRENTLY UNAVAILABLE
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Song: LM à 2 - Porto celato il mio nobil pensiero
Editor: James Sanderson
Forces: 2 sopranos & continuo
Description: Simple duet from the 1615 collection of 'Musiche a due voci' with much imitation and harmonic interest. The first of the four 'Aria sopra Zefiro' using the same bass line.
CURRENTLY UNAVAILABLE
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Duet: Dialogo à Una & Due voci: Occhi della mia vita
Editor: James Sanderson
Forces: 2 sopranos & continuo
Description: The last piece in d'India's Quarte Musiche of 1621. In three distinct parts, a statement by each of the voices, a duet which seems to tumble over itself by the end and a more extensive Dialogo to finish. The subject deals with love...
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M. de la Barre

Work
Duet: Due labre di rose
Editor: Rosalind Halton
Forces: 2 sopranos & continuo
Description: An Italian duet by a French composer, published in Paris 1701 by Ballard, Though it's difficult to be sure which M. de La Barre this one is, it's a captivating duet in B flat, in the style of Stradella - 'Two rosy lips make war on my heart ...ah, what a dart!' 2 sopranos and basso continuo (editorial figures supplied)
Soprano 1 - f' - g''
Soprano 2 - d' - g''
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John Dowland (1563 - 1626)

Work
Song: Come again: Sweet love doth now invite
Editor: James Sanderson
Forces: voice & lute (arr keyboard)
Description: Dowland's famous song
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Song: Come heavy Sleep
Editor: James Sanderson
Forces: voice & lute (arr keyboard)
Description: A beautiful song for evening
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Song: His Golden Locks
Editor: James Sanderson
Forces: voice & lute (arr keyboard)
Description: A song performed at the retirement of the Queen's Champion
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Song: Lady, if you so spite me
Editor: James Sanderson
Forces: voice & lute (arr keyboard)
Description: Wonderfully dramatic song concerning love's rejection and the need to woo.
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Song: Say Love if Ever Thou Didst Find
Editor: James Sanderson
Forces: voice & lute (arr keyboard)
Description: A song dedicated to the virtues of Queen Elizabeth I
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Song: Song: Can She Excuse My Wrongs?
Editor: James Sanderson
Forces: voice & lute (arr keyboard)
Description: Complex and very interesting lute song
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Song: Song: Come away, come sweet love
Editor: James Sanderson
Forces: voice & lute (arr keyboard)
Description: Well-known song in three verses
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Song: Song: Goe Crystall Teares
Editor: James Sanderson
Forces: voice & lute (arr keyboard)
Description: Dowland's beatiful song
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Song: Sweet Stay Awhile
Editor: James Sanderson
Forces: voice & lute (arr keyboard)
Description: The lover entreats his lady to return to bed.
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Francesco Durante (born Frattamaggiore 31st March 1684
died Naples 30th September 1755)

Work
Liturgical (other): Litaniae Lauretanae (Litany of Loreto)
Editor: James Sanderson
Forces: SATB coro, violins & continuo
Description: Source: BL MS R.M.24.a.9.(4) (only source)
Durante's masterful a minor setting of the Litaniae Lauretanae is in three parts, and weaves a colourful picture around the words. The structure means that it is possible to perform both with choral and solo forces or with a mixture of the two.
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Collection: Sei Cantate Spirituale
Editor: James Sanderson
Forces: alto & continuo
Description: The six cantatas from BL MS Add 14110
Save £££ by buying all these as a collection
Vincesti pur vincesti
Dove infelice
Lascia alfin mio cor
Dunque fra pochi istanti
Figluol Prodigo
Accolienze Pietosa
A risuonar di spaventose trombe
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Cantata spirituale: Figluol Prodigo
Editor: James Sanderson
Forces: alto & continuo
Description: Source BL Add. 14110
In 3 recitative and aria format. Very beautiful
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Cantata spirituale: Figluol Prodigo Pt 2 (Accoglienza Pietosa)
Editor: James Sanderson
Forces: alto & continuo
Description: Source BL Add. 14110
Dramatic recitative and aria
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Cantata spirituale: L'anima del Ricco Epulone parlante nell' Inferno
Editor: James Sanderson
Forces: alto & continuo
Description: Source BL Add. 14110
Paired recitative and aria, dramatic cantata.
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Cantata spirituale: Seneca funato ossia la crudeltà di Nerone
Editor: James Sanderson
Forces: alto & continuo
Description: Source BL Add. 14110
2 recitatives and arias, dramatic and beautiful cantata.
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Cantata spirituale: Sopra il fine del'uomo
Editor: James Sanderson
Forces: alto & continuo
Description: Source BL Add. 14110
Cantata in grand religious style. Paired recitative and aria.
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Cantata spirituale: Sopra il giudizio particolare
Editor: James Sanderson
Forces: alto & continuo
Description: Source BL Add. 14110
Cantata in grand religious style. Paired recitative and aria.
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Cantata spirituale: Sopra il giudizio universale
Editor: James Sanderson
Forces: alto & continuo
Description: Source BL Add. 14110
Cantata in grand religious style. Paired recitative and aria.
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Nicola Fago (1677 - 1745)

Work
Continuo cantata: Amante con poca sorte
Editor: James Sanderson
Forces: bass & continuo
Description: 'Wretched and alone with my pain and torment' is the start of this RARA format cantata by the Neapolitan composer and teacher Nicola Fago. Cupid is up to his old tricks again! Full of chromatic inflections and wandering tonality and offering a wonderful emotional challenge to the performer.
Range: EE - e
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Continuo cantata: D'Aretusa in sul Lito
Editor: James Sanderson
Forces: soprano & continuo
Description: 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.
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Continuo cantata: Sapesse il core almen
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add MS 38036 ff 71r - 74v
Lament upon lament fills this emotional cantata in which Tirsi's absence is mourned. Three arias linked by recitative with some extremely interesting harmonic shifts. The copy is extraordinarily detailed with figures for almost every note in the continuo part.
Range: d - f'
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Continuo cantata: Se gelosia crudele
Editor: James Sanderson
Forces: soprano & continuo
Description: Source BL Add 14211 f 20r - 25v
Here a more contemplative setting than most, the philosopher discusses how love creates joy from pain and torment.
Range: d' - g''
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Continuo cantata: Sia con me Fillide ingrata
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add MS 38036 ff 121r - 124r
No birds, but plenty of bees, roses and, of course, thorns in this charming cantata by the Neapolitan Nicola Fago. Smitten by ungrateful Fillide, the lover swears eternal constancy - why? In aria - recit - aria (Affettuoso) format
Range: e - a''
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Continuo cantata: Sopra del bel Sebeto
Editor: James Sanderson
Forces: soprano & continuo
Description: Source BL Add 14212 f142 - 149
Cantata a voce sola del Sgr Nicolo Fago detto Tarantino
The sad story of Filli and the beloved mourned by a hundred sheperdesses.
Range: d' - g''
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Continuo cantata: Trà cento belle
Editor: James Sanderson
Forces: soprano & continuo
Description: Source BL Add 14211 f 12 - 18
Again with the suffering caused by love! A particularly plangent recitative sourrounded by two deceptively happy arias.
Range: d' - g''
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Bernardo Gaffi (c.1677 - 1744)

Work
Marian antiphon: Salve Regina
Editor: James Sanderson
Forces: soprano & continuo
Description: An unexpected delight found whilst browsing through Scarlatti & Mancini. A straight-forward setting of the Salve Regina in four contrasting sections, beginning and ending Largo in two very beautiful arias.
Source: Münster Santini Sammlung HS 860
Range: d - g'
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Francesco Gasparini (1668 - 1721)

Work
Continuo cantata: Se t'ama, e se t'adora
Editor: James Sanderson
Forces: soprano & continuo
Description: If our protagonist is to be belived, being in a situation of not knowing whether the one you love returns your love is worse than burning with the 'fire of a star'. A charming cantata by a composer better known for his instrumental works. In RARA format.
Source: Münster Santini Sammlung HS 3799
Range: d - g'
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George Frederick Handel (1685-1759)

Work
Aria: Cara Sposa
Editor: James Sanderson
Forces: mezzo-soprano, strings & continuo
Description: Rinaldo's Act II lament from Handel's 1712 opera of the same name. Marvellous sustained largo A section with a coloratura allegro B section.
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Aria: Con l'ali di costanza
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: Ariodante's aria from Act I, scene viii of the opera of the same name.
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Aria: Dopo notte
Editor: James Sanderson
Forces: soprano, strings & continuo (piano reduction)
Description: Ariodante's spectacular coloratura aria from Act III, scene viii
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Aria: Più d'una tigre altero
Editor: James Sanderson
Forces: mezzo-soprano, strings & continuo
Description: Source: Act II, viii or Tamerlano
Andronico's rage aria at the end of Act II
It's a good one!
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Aria: Stille amare
Editor: James Sanderson
Forces: alto, strings & continuo
Description: Tolomeo's 'Poison' aria from Act III, scene iv of Handel's opera of the same name which was completed in 1728. Tolomeo believes himself to be betrayed and has taken what he thinks is poison, passing out before he can complete the truncated da capo of the aria. There is an excellent secco and accompagnato recitative which preceeds the aria.
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Continuo cantata: Sento la che ristretto
Editor: James Sanderson
Forces: alto & continuo
Description: Source: BL Add 29484/Autograph in BL
Alto (first?) version of the cantata where the river likens his love of the sea to Nice love.
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Johann Adolph Hasse (1699-1783)

Work
Marian antiphon: Alma Redemptoris Mater
Editor: James Sanderson
Forces: alto, strings & continuo
Description: Source: BL R.M.c.17.(4) 15ff (once the property of Dr Burney)
In three sections of two hexameters each this is a beautiful setting of the latin text.
The Alma Redemptoris Mater is one of the four seasonal antiphons prescribed to be sung or recited in the Liturgy of the Hours after night prayer (Compline or Vespers). It is usually sung from the eve of the first Sunday of Advent until the Friday before the Feast of the Presentation.
Range: b flat - d'
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Continuo cantata: Aure liete intorno à Clori
Editor: James Sanderson
Forces: soprano & continuo
Description: In this plaint over the pain of love there is a disturbing link between the 'loving chains' and 'sweet signs' of love. ARA format with a lovely andantino to start and a dotted allegro to finish.
Source: Münster Santini Sammlung HS 2358(8)
Range: e - a''
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Continuo cantata: Chieggio ai gigle ed alle rose
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add MS 14213 ff 23r - 27v (only source)
Here's where you learn not to ask nature where your love is concealed! One glance and she loses her liberty and gains a lover!! Aria (cantabile) - recit - aria (un poco allegro) format.
Range: e - a''
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Continuo cantata: Credi ò caro alla speranza
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add MS 14213 ff 17r - 22v (only source)
A totally charming work, both musically and textually - despite a little sentimentality. The text can be summarised with one of the lines from the second aria '...there may be more beautiful shepherdesses out there, but you'll never find one as faithful...' Sweet! Excellent largo to start and a stirring presto for the final aria.
Range: d - g'
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Continuo cantata: Lascia i fior
Editor: James Sanderson
Forces: soprano & continuo
Description: from BL MS Add 14214. Lovely throbbing affettuoso to start and an extraordinary chromatic 'B' section in the second aria. Range d - a'
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Continuo cantata: Lungi d'ogni amoroso
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL MS Add 14214
An interestingly chromatic cantata with a wide range and virtuosic writing for the voice and continuo
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Continuo cantata: O pace del mio cor
Editor: James Sanderson
Forces: mezzo-soprano & continuo
Description: O peace of my heart, where do you wander?
A beautiful RARA format cantata with roccoco harmony, delightful vocal lines and a real charm.
Range: c - f'
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Continuo cantata: Orgoglioso fiumicello (alto)
Editor: James Sanderson
Forces: mezzo-soprano & continuo
Description: Source: BL Add MS 14213 ff 28r - 36v
Edited from an extremely clear copy in a lower key than usual (starts E major), this very popular cantata of the time (1732) exists in at least 8 copies world-wide. With a charming Sì suonar se piace opening with triplets against duplets, the cantata is in aria - recit - aria format. In the Metastasian text, it appears Clori has strayed, but her lover waits for her, knowing that the stream must return to the sea.
Range: b - g'
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Continuo cantata: Orgoglioso fiumicello (soprano)
Editor: James Sanderson
Forces: soprano & continuo
Description: Source BL MS Add. 14229
An very interesting cantata with obbligato keyboard accompaniment in first aria. Large range from c - b flat'' Text by Metastasio and from the number of copies extant this must have been a popular piece!
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Continuo cantata: Pur ti stringo in questo petto
Editor: James Sanderson
Forces: alto & continuo
Description: Source: BL Add MS 14213 ff 49v - 55v
This was a very popular work at the time of its writing. There are no fewer than 7 copies extant, 3 of which are in the UK. The cantata starts with an aria with 'Si suonar se piace' over contrary motion figures in the continuo/upper part. Reminiscent in some ways of Orgoglioso fiumicello. The final section is a recit-cum-arioso apologising for any interruption! Very singable, very enjoyable...
Range: b - e'
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Cantata with obbl. inst.: Fille dolce mio bene
Editor: James Sanderson
Forces: soprano, flute & continuo
Description: Source: BL MS Add 31604
Particularly 'classical' feel to this virtuoso cantata. 2 recit and aria form
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Cantata with obbl. inst.: Passa da pena in pena
Editor: James Sanderson
Forces: alto, flute & continuo
Description: To go through many pains to acheive true love seems to be the moral of many of the Pastoral cantata texts and this beautiful example is no exception. In ARA format, the first aria in 2/4 then 3/8, the last a lovely allegro moderato Source: MSS in Münster and the British Library
Range: c - e'
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Cantata with obbl. inst.: Quel vago seno
Editor: Kate Eckersley & James Sanderson
Forces: soprano, flute & continuo
Description: Source: Royal College of Music MSS 695
Charming cantata, widely circulated with two recits and arias, both arias and second recit include flute.
Research: Kate Eckersley
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Cantata with obbl. inst.: Scrivo in te l'amato nome (Il Nome)
Editor: James Sanderson
Forces: mezzo-soprano, flute & continuo
Description: Hasse's setting of Pietro Metastasio's Cantata V: Il Nome, a hugely popular cantata text which deals with the lovers Clori and Filomena. Here, using the unusual combination of flute and alto voice in ARA format.
Source: copy in Münster Santini Sammlung HS 1940.
Range: b - g'
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Cantata with violins: È ver, è ver mia Fille
Editor: James Sanderson
Forces: alto, strings & continuo
Description: Source: BL Add MS 14213 (only source)
Once again a young man's love is being rejected by a heartless shepherdess. 2 recit & arias format with a large dominant pedal presence!
Range: d - e'
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Cantata with violins: Infelice tortorella
Editor: James Sanderson
Forces: alto, strings & continuo
Description: Source: BL Add 14213 ff 37v - 48v (only source)
This a charming cantata with an opening ritornello vaguely reminiscent of the Vivaldi Gloria. Three movements: aria (larghetto e staccato), recitative and aria (allegretto)
The theme is Arcadian, this time the shepherd(ess) compares him/herself to the dove and the way it behaves when separated from it's love.
Range: a - e'
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Cantata with violins: Per palesarti appieno
Editor: Kate Eckersley & James Sanderson
Forces: mezzo-soprano, strings & continuo
Description: Dated London, 1751 this cantata can be performed with either violins or flutes/recorders - it is unclear from the source as to which instrument was preferred (althoug if pushed I would probably lean towards flutes/recorders because of the instrumental writing in the first aria - Amoroso).
The subject is a rather coy lady, probably in love with the Fileno to whom she speaks, but who knows?
Range: c' - f''
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Robert Johnson

Work
Song: Full Fathom Five
Editor: James Sanderson
Forces: voice & lute (arr keyboard)
Description: Text from 'The Tempest' - a simple and charming song
Price: £ GB  0.95
Song: In Sherwood Lived Stout Robin Hood
Editor: James Sanderson
Forces: voice & lute (arr keyboard)
Description: A wonderful narrative song telling of Love's triumph over the noble knave.
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Niccolo Jommelli (b Aversa, 10 Sept 1714; d Naples, 25 Aug 1774)

Work
Aria: No sò d'onde viene
Editor: James Sanderson
Forces: tenor, oboes, horns, strings & continuo
Description: From Jommelli's L'Olimpiade (1761) Act III, Sc. vi This is a beautiful aria for tenor, oboes, horns strings and continuo. Also available in alto key.
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Liturgical (other): Graduale e sequenza per le Feste di Pentecoste
Editor: James Sanderson
Forces: SATB & continuo
Description: Source: BL R.M.24.a.6(5)
Written for St Peter's in Rome, the gradual, versicles and sequence for Pentecost and the first 2 ferie in the octave of Pentecost. A rousing alleluia with the propers for solo voice, a solo trio for Veni Sancte Spiritus, reple tuorum and a full choral version, with solos for the sequence Veni Sancte Spiritus, et emitte caelitus. This is still the current correct texts for Pentecost according to the Graduale Romanum.
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Leonardo Leo (1694 - 1744)

Work
Solo motet: Beatus vir
Editor: James Sanderson
Forces: alto, violins & continuo
Description: A substantial setting of the psalm 112 for alto, violins and continuo. Virtuosic in style and showing galant musical characteristics. In seven movements.
Source: Münster HS xy175
Range: a - d'
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Solo motet: Laudate pueri
Editor: James Sanderson
Forces: alto, 2 corni, 2 oboi, violins,
viola & continuo
Description: A substantial setting of the psalm 113 from what is reputed to be an autograph source. Galant in style and virtuosic for the singer.
Source: Münster HS xy175
Range: b - d'
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Marian antiphon: Salve Regina (c)
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: A darker and more complex setting of the Marian antiphon than the well-known F major version. Some exquisite harmonic shifts, changes in instrumentation and beautiful, singable vocal writing. Divided into 5 sections (one in two parts) the text is painted with a vivid palette of instrumental and vocal colour.
Source: BL MS R.M.23.c.17.(3), once the property of Dr. Burney.
Range: d - a'' flat
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Marian antiphon: Salve Regina (F)
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: Source: Royal Music Collection 23.c.17.(3)
A new edition of Leo's exquisite Salve Regina in F major.
In 6 sections - Largo, Allegro, Largo, Allegretto, Recitativo, Largo it has excellent variation between sections, the fourth running directly into the recit using a descending figuration. This piece has the ability to really move the listener. It is one of the works which make one ask, "Why, to a large extent, was this composer forgotten for so long?"
Range: d - b flat''
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Liturgical (other): Graduale: Eripe me Domine
Editor: James Sanderson
Forces: SATB & continuo
Description: Source: BL Egerton MS 2466
Gradual for Passion Sunday.
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Liturgical (other): Introit: Judica me Deus
Editor: James Sanderson
Forces: SATB & continuo
Description: Source: BL Egerton 2466
The introit for Passion Sunday. Dramatic with some very interesting harmonic language.
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Liturgical (other): Introite e Graduale per le Ceneri
Editor: James Sanderson
Forces: SATB & continuo
Description: Source: BL Egerton MS 2466
The complete introit, graduals, tracts etc for Ash Wednesday under the old (pre-Vatican II) rite including:
Judica me Deus;
Eripe me Domine;
Invocabit me;
Angelis suis Deus;
Scapulis suis obumbrabit tibi;
Jerusalem lætare;
Lætatus sum (minus last two verses);
Misereris omnium Domine;
Miserere mei Deus quoniam in te confidit;
Misit de cælo et liberabit me; and
Adjuva nos Deus salutaris noster.
Most suitable for liturgical or concert use.
Price: £ GB  15.95
Liturgical (other): Lezione del Giovedì Santo
Editor: James Sanderson
Forces: soprano, alto & continuo
Description: Source: BL Add MS 14112, Egerton MS 2466
The Lessons for the Thursday of Holy Week from the IX Lezione per la Settimana Santa ... per la Real Capella di Napoli. Divided primarily into the three sections, 'De lamentatione Jeremiæ prophetæ. Heth. Cogitavit Dominus disspare', 'Lamed. Matribus suis dixerunt', and 'Aleph. Ego vir videns paupertatem', the first and last for soprano, the central section for alto, each section is then subdivided into many smaller quasi-aria, arioso, and recitative sections which make up the whole, each ending with the imploring Jerusalem convertere ad Dominum Deum tuum - Jerusalem, return to your God. They are extraordinary works with great variation and some truly extraordinary invention both in terms of melody and harmony. The range, both dramatic and vocal is extraordinary.
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Liturgical (other): Lezione del Mercordi Santo
Editor: James Sanderson
Forces: soprano, alto & continuo
Description: Source: BL Add MS 14112
The Lessons for the Wednesday of Holy Week from the IX Lezione per la Settimana Santa ... per la Real Capella di Napoli. Divided primarily into the three sections, 'Incipit lamentatio Jeremiæ Prophetæ. Aleph. Quomodo sedet sola civitas', 'Vau. Et egressus est a Filia Sion', and 'Manum suam misit hostis (missing the Ioth. at the start of the verse)', the first and last for soprano, the central section for alto, each section is then subdivided into many smaller quasi-aria, arioso, and recitative sections which make up the whole, each ending with the imploring Jerusalem convertere ad Dominum Deum tuum - Jerusalem, return to your God. They are extraordinary works with great variation and some truly plangent harmonies. This first of the three Lezione uses much variation between violoncelli and bassi.
Range (soprano): b flat - b flat''
Range (alto): G - e flat'
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Liturgical (other): Lezione del Venerdi Santo
Editor: James Sanderson
Forces: soprano, alto & continuo
Description: Source: BL Add MS 14112
The Lessons for Good Friday from the IX Lezione per la Settimana Santa ... per la Real Capella di Napoli. Divided primarily into the three sections, 'De lamentatione Jeremiæ Prophetæ. Heth. Misericordiæ Domini', 'Aleph, quomodo obscuratum', and 'Incipit oratio Jeremiæ Prophetæ. Recordare Domine', the first and last for soprano, the central piece for alto, each section is then subdivided into many smaller quasi-aria, arioso, and recitative sections which make up the whole, each ending with the imploring Jerusalem convertere ad Dominum Deum tuum - Jerusalem, return to your God. They are extraordinary works with great variation and some truly plangent harmonies.
Range (soprano): b flat - b flat''(sometimes in one four note phrase)
Range (alto): a - e'
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Liturgical (other): Madrigale à 9: Heu nos miseros
Editor: James Sanderson
Forces: SSATB, SATB & continuo
Description: Source: BL Add MS 14112
Leo's moving 'Madrigale a nove' for nine part chorus is a wonderful example of the development of the 'older' style of polyphony in the first half of the 18th century.
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Liturgical (other): Miserere mei deus
Editor: James Sanderson
Forces: SATB, SATB & continuo
Description: Described by Wagner as "...A mighty cathedral, sublime and magnificent..." Leo's Miserere is a complex and beautiful work which is hugely rewarding both to sing and to listen to.
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Liturgical (other): Miserere mei Deus: quoniam in te confidit
Editor: James Sanderson
Forces: SATB & continuo
Description: Source: BL Egerton MS 2466
The title page describes this work as being written for the Capella Reale di Napoli in 1744 (the year of Leo's death). It is not the Psalm 50 but the gradual and tract versicle for Ash Wednesday (in 1744). Divided into three sections: Miserere mei Deus, Misit de cælo (the gradual for Ash Wednesday in 1744) and Adjuva nos, Deus salutaris noster (the tract versicle for Ash Wednesday in 1744) there is real beauty in its simplicity. See also the Misereris omnium, Domine which is the 1744 introit for Ash Wednesday.
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Liturgical (other): Misereris omnium Dominum
Editor: James Sanderson
Forces: SATB & continuo
Description: Source: BL Add. MS 14112
This is the first piece in a collection of music for Ash Wednesday and Holy Week, written for the Royal Chapel, Naples in 1744 (the year of Leo's death). In four sections, the work provides the introit, gradual and tract for Ash Wednesday in a sublime polyphonic setting - much beautiful harmonic movement. A stunning work.
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Liturgical (other): Praebe Virgo benignas
Editor: James Sanderson
Forces: soprano, obligato organ & continuo
Description: An extraordinary work written for the unusual combination of soprano and obligato organ. Both parts are virtuosic, the vocal part being particularly challenging. In ARAR format it may have been meant to stand alone or as an introduction to another, larger, liturgical work.
Source: Münster Santini HS 2351
Range: e - c''
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Continuo cantata: A te vengo o prato ameno
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add 14213 v 154r - 157v
This time the poor shepherd is dying for love of cruel Aminta. No matter what he does, beauty of her hair and her breast(!) force him to fall in love.
The opening aria, probably largo has some interesting figurations which in most situations would be ornaments (32nd notes). Aria - recit - aria form.
Range: d - g'
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Continuo cantata: Amo la bella, ah nò
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add MS 14220 f73r - 76v
The lover is torn between his head and his heart with love for his 'beauty'. Who wins? Two recit and aria form with a stunning first Largo (see MIDI) and a fiery presto to finish.
Range: d - g'
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Continuo cantata: Aure liete intorno à Clori
Editor: James Sanderson
Forces: soprano & continuo
Description: Leo's setting of this popular text. Whilst Clori sleeps her lover guards her rest and surrounds her with flowers (whilst binding himself in the pleasant chains of love). ARA format with two sensuous arias.
Source: Münster Santini Sammlung Hs 2358(7)
Range: d - a flat''
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Continuo cantata: Ch'io non conosco Amore
Editor: James Sanderson
Forces: soprano & continuo
Description: Not knowing Love, not knowing of his sighs, how can Irene recognise his ardor? The lovers complaints (and his happiness) of and in love. ARA format with a larghetto, e cantabile and an aria non presto. The recitative is typically intricate and the harmonic world is complex.
Source: Münster Santini Sammlung HS 2358(1)
Range: d - a''
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Continuo cantata: Dal di che in questo petto
Editor: James Sanderson
Forces: alto & continuo
Description: A delightful RARA format cantata for alto and continuo in which our erstwhile lover tries to convince Nice that love is just a game and forgiving his infidelity is her only course of action. Hmmm...interesting theory...
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Continuo cantata: Dopo lunga dimora
Editor: James Sanderson
Forces: soprano & continuo
Description: A stunning example of the genre showing Leo at the height of his powers in this field. RARA format with two complex and beautiful arias and the expected involved recitatives. The straying shepherd returns to the banks of the River Arno to find both love and infedelity in his beloved Amarillis.
Source: Münster Santini Sammlung HS 2358(2)
Range: d - a'' flat
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Continuo cantata: Frangi Cupido i dardi
Editor: James Sanderson
Forces: alto & continuo
Description: Source: BL Add MS 14210 ff24r - 29r
Once more, the lover is tired of being struck by Cupid's darts and begs him to break them - he hasn't the strength to resist any more! Cupid however has other plans and torments the lover further. 2 recits with andante and affettuoso arias.
Range: c - d'
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Continuo cantata: Io seguir il Nume arciero
Editor: James Sanderson
Forces: alto & continuo
Description: Source: BL Add MS 14210 ff18r - 23v
The follower of the God of Love is regretting his decision and exhorts us to choose freedom over the chains of love! 2 recit and aria format with excellent contrast between the arias and interesting and involved recits.
Range: b flat - d'
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Continuo cantata: Non potrei benche volessi
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add SM 14112 ff 111r - 114r
As the stream to the sea, so am I drawn to you. Thus runs the final aria and summarises this charming cantata (despite Clori's continued infedelity). Aria (Affettuoso) - recit - aria (Non presto) format.
Range: d - g'
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Continuo cantata: Oh' Dio qual duolo sia
Editor: James Sanderson
Forces: soprano & continuo
Description: "What sadness to be parted from the beloved" It is a beautiful example of a lontananza cantata with stunningly sinuous writing within the ARA format. The first aria has a 3-8 B section, the recit is involved and expressive and the final aria is a wealth of beautiful music.
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Continuo cantata: Oimè, che veggio?
Editor: James Sanderson
Forces: soprano & continuo
Description: The pain of betrayal and the anguish it causes is the theme of the first part of this delightful cantata. The sobbing of the affettuoso aria is beautiful. The second half of the cantata, however, sees our young man in a fury! His long recit and final 'rage' aria (with its contrasting 3/2 middle section) are a piece of virtuosic writing of the first order.
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Continuo cantata: Or che barbara sorte
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL MS Add 14210 ff 10r - 17r
In classic two recit and aria format with some wicked chromatic shifts in the recits, the lover bemoans the cruelty of Fate which has parted him from his beloved.
Range: c - g'
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Continuo cantata: Pianger vidi appresso al fonte
Editor: James Sanderson
Forces: soprano & continuo
Description: With a sorrowful image of the shepherdess weeping near the fountain, hand on heart, the erstwhile lover claims that if she were with him she would have no cause to complain! ARA format, both arias wonderfully plaintive.
Source: Münster Santini Sammlung Hs 2358
Range: d - a''
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Continuo cantata: Piansero Eurilla mia
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add MS 14210 ff 2r - 9v
A gentle and loving story of a man abandoned in the woods (amongst flowers and verdant fields, of course)by his beloved Eurilla. Still he loves her - your blond hair, your white hands, your faithfulness(!). 2 recits (both quite large and complicated) and 2 arias (moderato and allegro with a slower(?) reflective middle section in triple time).
Range: d - g''
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Continuo cantata: Quel usignuolo che in quella pianta
Editor: James Sanderson
Forces: soprano & continuo
Description: As the nightingale sings of the pains of love, Filli's lover swears his devotion to her and begs her to ignore all the lies and jealousies that plague young love. ARA format, the first a complex and virtuosic larghetto, e cantabile, the last marked non presto
Source: Münster Santini Sammlung Hs 2358
Range: e - a''
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Continuo cantata: S'io credessi il cor costante
Editor: James Sanderson
Forces: soprano & continuo
Description: 'If' is, of course, the important word in this cantata. "If I belived in a faithful heart..." A discussion of the pain caused by loving too much. ARA format, both arias excellent and sinuous.
Source: Münster Santini Sammlung Hs 2358(3)
Range: d# - a''
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Continuo cantata: Sotto l'ombra d'un faggio fermò l'incerto passo
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add MS 14210 ff 35v - 41v
The young man, perhaps unlucky and unhappy Tirsi, finds himself once more beneath the shade of a beech tree lamenting the cruelty of his beloved Dorinda. 2 recit and aria form with some stylish vocal passage work in both arias.
Range: d# - g#''
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Continuo cantata: Torno à voi piante amorose
Editor: James Sanderson
Forces: mezzo-soprano & continuo
Description: Variously ascribed to Mancini, Porpora and Leo, with its appearance more than once in collections of Leo's works we have leant towards this choice. Sources used include BL Add MSS 29484 and 14210. The text paints a pastoral picture of the wounded lover returning to the fields and flowers for comfort.
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Collection: IX Lezione per la Settimana Santa
Editor: James Sanderson
Forces: soprano, alto & continuo
Description: Sources: BL Add MS 14112, Egerton MS 2466
The complete IX Lezione per la Settimana Santa ... per la Real Capella di Napoli. See the individual descriptions for details.
Price: £ GB  24.95
Collection: Sei cantata spirituale
Editor: James Sanderson
Forces: alto & continuo
Description: Source: BL MS Add 14112
The six cantate spirituale from the above MS in a collected form. Beautiful writing both in recitative and aria.
Save £££ by buying all these as a collection.
For previews see the individual cantatas:
Adorato Giesù
Dove fuggo, a che penso
Tremolanti d'intorno
Vissi nol niego
S'offendesti il mio Signor
Sono piene di serene
Price: £ GB  19.95
Cantata with violins: Che farai, Lidia cara!
Editor: James Sanderson
Forces: alto, strings & continuo
Description: Sources: BL Add 31618 f20v - f38 and MS 22.g.9.8
The subject matter is Arcadian and concerns the unrequited love of a young man for Lidia.
A string prelude 'Alla francese' with two recit and aria pairs. The arias are particularly beautiful.
Range: b' - f#''
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Cantata with violins: Chiesta da numi a morte (L'Andromeda)
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: 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.
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Cantata with violins: Di contento di gioia e diletto (arr)
Editor: James Sanderson
Forces: soprano, violins & continuo
Description: Leo's Christmas cantata realised for violins, soprano and continuo. Two arias separated by a recitative, last aria is a particularly beautiful Siciliano.
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Cantata with violins: Dite vedesti forse una donzella
Editor: James Sanderson
Forces: soprano, violins & continuo
Description: The never-ending search for Nice fills this virtuosic cantata. Lovely imagery including lions, tigers, waves and ships in RARA format. The first aria is full of pathos, calling for the nightingale, the second, following a recitativo accompagnato is fast and furious, a 'navigante' aria. with a range extending to high B flat, this is quite a piece of work!
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Cantata with violins: Dove son, dove m'aggiro?
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: Source: BL R.M. MS 22.g.9.6
A lovely work with some terrific chromatic melodic and bass lines mimicking the sighs of the disappointed lover - very experimental? This lover is totally confused and is suffering greatly from the vicissitudes of Amor.
Range: c - b flat''
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Cantata with violins: Il Figliuol Prodigo
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: Source: BL RM 22.g.9(4)
With a text written in the first person from the point of view of the Prodigal Son, this is a splendid example of both piety and inventiveness. Using all the chromatic skill typical of the so called 'Neapolitan School' Leo weaves an emotional musical story around the text. The form is (instrumental) introduction, recit, aria, recit, aria with a great deal of variation.
Range: d - g'
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Cantata with violins: Il Giudizio
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: Source: BL RM 22.g.9(5)
A call to repent and follow Christ in this superb example of the genre. Substantial (Instrumental introduction, recit, aria, recit, aria - both recits secco and accompagnato).
Range: d - g'
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Cantata with violins: Or ch'è dal sol difesa
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: Source: BL Add 31618
In this delightful pastoral cantata, Angelica dallies in the fields and love is compared to all the flowers, but don't forget the thorns which also come with the most beautiful roses! The trials and tribulations of love in aria - recit - aria format.
Range: c# - a''
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Cantata with violins: Sorge Lidia la notte
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: Source BL Add 31618 - a manuscript conatining a number of orchestral cantatas by Leo in copies of varying quality.
The format is sinfonia - recit - aria - recit - aria and the general feel is that peculiar pre-classical sound with repeated bass notes and many pedals. A charming cantata in which the lover compare's the beloved's absence to the shadows of night. Very romantic!
Range: Bb - g'
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Cantata with violins: Tormentoso pensiero
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: Source: BL MS Add 31618
From a selection of Leo orchestral cantatas in copy, this is a charming example of the genre. Two recit and aria format, both arias in an extremely late baroque style.
The text deals with a young man's absence from his beloved Eurilla.
Range: d - b flat''
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Cantata with violins: Vado dal piano al monte
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: Source: BL Add 31618
Searching from field to plain the lover cannot find his beloved Clori and his sadness is killing him - the melodrama! Aah...
In aria - recit - aria format, the first a beautiful Larghetto the last a gracious Allegretto.
Range: e - a''
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Solfeggi: Dodeci Solfeggi à voce sola (part 1)
Editor: James Sanderson
Forces: soprano & continuo
Description: In the great tradition of vocal exercise, we present the first six of Leo's Dodeci Solfeggi. Viruosic, but extremely vocal writing. Great for developing flexibility.
Source: Münster Santini Sammlung Hs 2369
Range: c - b''
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Cantata spirituale: Adorato Giesù
Editor: James Sanderson
Forces: alto & continuo
Description: Source: BL MS Add 14112
The first of six 'Cantate Spirituale' in a British Library manuscript containing works exclusively by Leo.
Consisting of recit - arioso - recit - largo - recit - largo - recit - largo assai, with the last being non-da capo. The theme is one in which the listener is exhorted to find love through Christ.
Range: a - c#'
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Cantata spirituale: Di contento di gioia e diletto
Editor: James Sanderson
Forces: soprano & continuo
Description: Source BL Add 14212 f150 - 153
This is a particularly beautiful Christmas cantata for soprano with a 'si sona' obbligato part for either cembalo or strings.
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Cantata spirituale: Dove fuggo, a che penso
Editor: James Sanderson
Forces: alto & continuo
Description: Source: BL MS Add 14112
The second of six 'Cantate Spirituale' in a British Library manuscript containing works exclusively by Leo.
Starting with a great recit with the bass line flying around the vocal part, the works consists of three recit and aria pairs. The second aria (MIDI preview) being wonderfully chromatic. The subject matter concerns the sinner's unwillingness to return to Godliness.
Range: Bb - d'
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Cantata spirituale: S'offendesti il mio Signor
Editor: James Sanderson
Forces: alto & continuo
Description: Source: BL MS Add 14112
The fifth of six 'Cantate Spirituale' in a British Library manuscript containing works exclusively by Leo.
In three recit and aria form with an extraordinarily beautiful first aria (Largo). The text describes a desire not to be born if, during life, one could offend God.
Range: a - d'
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Cantata spirituale: Sono piene di serene
Editor: James Sanderson
Forces: alto & continuo
Description: Source: BL MS Add 14112
The last of six 'Cantate Spirituale' in a British Library manuscript containing works exclusively by Leo.
In three arias & two recits form, the subject matter boils down to redemption only being found through God.
Range: a - d'
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Cantata spirituale: Tremolanti d'intorno
Editor: James Sanderson
Forces: alto & continuo
Description: Source: BL MS Add 14112
The third of six 'Cantate Spirituale' in a British Library manuscript containing works exclusively by Leo.
An atmospheric opening recit. with the vocal line imitating the trembling of the title, the cantata contains three recit and aria pairs. The text concerns the devout's willing sacrifice for love of God.
Range: Bb - d'
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Cantata spirituale: Vissi nol niego
Editor: James Sanderson
Forces: alto & continuo
Description: Source: BL MS Add 14112
The fourth of six 'Cantate Spirituale' in a British Library manuscript containing works exclusively by Leo.
In three recit and aria form with some extraordinary chromatic shifts. The text concerns redemption through contrition and the desite to be with God in death.
Range: Bb - d'
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Antonio Lotti (1666 - 1740)

Work
Liturgical (other): Crucifixus à 10
Editor: James Sanderson
Forces: SSSAATTTBB & continuo
Description: An intensely chromatic setting of the words from the creed, "Crucified under Pontius Pilate, died and was buried" in ten parts (plus continuo). Building from a single line to eleven within 6 bars and moving through varying polyphonic sections - a stunning work.
Source: Münster Santini Sammlung Hs 3978(1)
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Continuo cantata: Filli crudel spietata filli
Editor: James Sanderson
Forces: soprano & continuo
Description: Source BL Add 14212 ff 50 - 55
Some very good, dramatic recitative. The whole is quite Scarlattian in form, with the Venetian predilection for a good melody line.
Filli has been at it again and Fileno is really upset!
Range: d#' - g#''
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Continuo cantata: Rendi al mio cor la pace
Editor: James Sanderson
Forces: alto & continuo
Description: Source:
The shepherd rails against love and in particular Dorinda. If you do not turn your eyes on me I shall die, without love and without faith. Excellent dotted Largo to start and an arpeggiated presto to end.
Range: a - d'
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Francesco Mancini (1672 - 1737)

Work
Aria: Caro, s'io moro almeno
Editor: Rosalind Halton
Forces: soprano & continuo
Description: Aria with notated ornamentation
This comes from a manuscript in Lbl, the work of Roman copyist Tarquinio Lanciani (who copied works of Handel, A. Scarlatti, and Caldara). It provides a fascinating glimpse into ornamentation patterns familiar to early 18th century musicians.
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Continuo cantata: Agitato mio pensiero
Editor: James Sanderson
Forces: alto & continuo
Description: Source: BL Add MS 64960 Formerly owned by Maria Ducarel, recorded (f. ii verso) as a gift to her from George Henry Lee, 3rd Earl of Lichfield, in 1768.
Here Amor is stirring the heart and throughts of an erstwhile lover. With an excellent opening allegro and concluding with a slightly 'crooked' andante this is a jolly sing through one of the genre's typical subjects.
Range: a - c'
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Continuo cantata: Ahi che moro e ristoro
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add 14211 ff 132r - 139v
In aria-recit-aria-recit-aria form with some very odd use of shifting tonality the lover bemoans the cruelty of Amore.
Range: e' - g#''
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Continuo cantata: Allor ch'il dio di Delo
Editor: James Sanderson
Forces: soprano & continuo
Description: 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'
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Continuo cantata: Allor che ad' altro oggetto
Editor: James Sanderson
Forces: soprano & continuo
Description: The fire and pains of jealousy and unrequited love fan our protagonist's ardour in this lovely cantata. In RARA format, the first aria full of unexpected chromaticism, the second an excellent 'walking bass'.
Source: Münster HS 2459(6)
Range: f - g'
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Continuo cantata: Alpestre, monte e solitaria selva
Editor: James Sanderson
Forces: alto & continuo
Description: Source: BL Add MS 14213 124v - 131v
Oh, the pain that Love causes, and once again it's Nice! Here the lover would willingly shed every last drop of blood to get Nice back. Hello?!!? Two recit and aria format, both arias slow, in the (appropriately) pathetic style.
Range: a - d'
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Continuo cantata: Ama Tigre crudel
Editor: James Sanderson
Forces: alto & continuo
Description: Tigers love, lions burn with love, the seas love the mountains and rivers, the woods love the forests, why doesn't this girl love him? In RARA format (andante & allegro).
Source: Münster Santini Sammlung Hs 2461
Range: G - b'
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Continuo cantata: Arse lunga staggione del bel volto
Editor: James Sanderson
Forces: soprano & continuo
Description: Source BL Add 14211 f 150 - 156
A curiously formed cantata beginning with secco recitative which becomes 'a tempo' then moves into an aria and finished with a minuet.
It's inconstant Fille and constant Fileno again, with Fileno venting his sadness.
Range: d#' - g''
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Continuo cantata: Assai più di quel che sei
Editor: James Sanderson
Forces: soprano & continuo
Description: In love with Filli yet again and boy does Filli have unbeatable charms. "...Not another mouth...not another lover...unless they are more faithful than you..." ARARA format with excellent variation between the arias and the customarily complex recitatives.
Source: Münster Santini Collection HS 864(15)
Range: e - a''
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Continuo cantata: Cara qual'or mi giri
Editor: James Sanderson
Forces: alto & continuo
Description: Unrequited love and self-sacrifice are the themes of this restrained and beautiful cantata. Being ignored by his beloved, the protagonist offers his life for just one glance. In RARA format.
Range: a - d'
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Continuo cantata: Cieli ditemi come potrò
Editor: James Sanderson
Forces: alto & continuo
Description: Unrequited love for Fileno rears its ugly head again in this large and beautiful cantata. "Cruel Destiny may kill the lover, but never the love". In RARARA format with two affettuoso arias, the second having a unusual written link back to the DS and one allegro.
Source: Münster Santini Sammlung HS 2459(13) WriM. 35
Range: b flat - d' flat
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Continuo cantata: Clori che ardea d'amore
Editor: James Sanderson
Forces: soprano & continuo
Description: Clori is '...burning with love...' for the handsome Aliso, but, of course, he is unfaithful and causes her to vent her spleen in many imaginative ways. Great recitatives and two splendid rage arias make up this RARA format cantata from the Naples Conservatorio Library collection.
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Continuo cantata: Clori che un dì vantava
Editor: James Sanderson
Forces: soprano & continuo
Description: A cantata all about one of our favourite topics: infedelity! Clori's boasts of '...a constant breast, a faithful heart, a loyalty in love...' have proved unfounded and she is reviled as '...barbarous, faithless, cruel and treacherous, without a heart...' In RARA format this is a very effective betrayal cantata from a source at the Naples Conservatorio S Pietro a Majella.
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Continuo cantata: Clori non ti lagnar
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add 14211 ff 3r - 10v
A truly lovely cantata in five movements with Mancini's typical flexible attitude to recitative/arioso/aria combinations.
A later performer, perhaps even the copyist, has made the note 'cantata bona di partenza' and has personalised a version of the text changing the lovers' names (Clori and Lillo) to Cara and me.
Range: d' - a''
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Continuo cantata: Clori quant'io t'amai
Editor: James Sanderson
Forces: soprano & continuo
Description: At las Clori is being deserted by her beloved. Curiously, however, she retains her hold over him as he bemoans the cruelty of Fate for separating them. In RARARAR format with the central aria a complicated 3/4 - 6/8 and 4/4.
Source: Münster Santini Sammlung HS 2459
Range: e - b''
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Continuo cantata: D'amore onesto e fido
Editor: James Sanderson
Forces: soprano & continuo
Description: Love honest and faithful? Really? This delightful cantata in RARARA format puts forward the theory that Love would be a truly wonderful thing, were it not for the fire of jealousy! Very well-drafted, each aria has a particular mood and the recitatvies are full of fun inflections and some lovely chromatic writing.
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Continuo cantata: D'un garrulo ruscello
Editor: James Sanderson
Forces: soprano & continuo
Description: Elisa is clearly unhappy in love and asks the silver brook to join her in her sorrows. Well, that's the first half! By the second recit-aria pair of the cantata she has worked herself up into quite a state and is crying 'Perfidy', and 'Treacherous...let us speak of love no more...I am your sworn enemy...' The first aria is a languid Larghetto, the second a fiery Allegro. Source: Naples Conservatorio Library.
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Continuo cantata: Da che lungi n'andò
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add MS 64960 Formerly owned by Maria Ducarel, recorded (f. ii verso) as a gift to her from George Henry Lee, 3rd Earl of Lichfield, in 1768.
Oh, Lidio is being difficult again and causing heartache. His loving lady wishes rather for death than his absence. Finally, in the last aria, he reappears and is likened to the sun at the break of day banishing sadness. Awww...
Double recit-aria format.
Range: d - a'' flat
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Continuo cantata: Dimmi ingrata incostante
Editor: James Sanderson
Forces: alto & continuo
Description: A marvellous work by Mancini in RARA format - the recitatives are extensive and harmonically complex. The subject deals with infidelity and starts with the (female) protagonist railing at Lidio, calling him unfaithful, liar etc. The last aria ends, however, with the decision to match his betrayal with her own!
Source: Münster HS 2459(12)
Range: a - d'
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Continuo cantata: E come, e come, O Dio?
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add MS 64960 Formerly owned by Maria Ducarel, recorded (f. ii verso) as a gift to her from George Henry Lee, 3rd Earl of Lichfield, in 1768.
With a textual opening classic to the genre the protagonist asks God how he/she can live through the bitter torments of being parted from his/her beloved. The theme of jealousy caused by separation in a musical setting. Dramtic and vivid word-painting characterise the recitatives of this cantata together with two splendid arias Largo and a 12/8 à tempo giusto.
Range: d - g'
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Continuo cantata: E dove mail l'Inferno
Editor: James Sanderson
Forces: soprano & continuo
Description: "Hell has never had such pain as the pain that love for you causes me - you know of it but do nothing to lessen it", he sings. Of course Cupid is to blame! Some wonderful writing in a large cantata in RARARA format, excellent text to work with both in aria and recitative.
Source: Münster Santini Sammlung HS 865(9) [WriM. 71]
Range: b - a''
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Continuo cantata: Esamina mio core
Editor: James Sanderson
Forces: soprano & continuo
Description: What is worse, to be near an unfaithful love or separated from a faithful one? This is the question our singer poses: 'Examine my heart...'. This is a delightful lontananza cantata which gives into the 'Forces of the nude archer...'. Cupid has been busy again, clearly! Source: Naples Conservatorio di Musica S Pietro a Majella.
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Continuo cantata: Frà le morbide piume
Editor: James Sanderson
Forces: alto & continuo
Description: Source: BL Add MS 14213 ff 132r - 135r
An exciting piece from a very clear copy (a welcome rarity in Mancini's case!) Among the soft feathers the lover rests his soul and dreams of wicked spiteful Clori again! Why do they keep coming back for more? 2 recit and 2 aria (allegretto and allegro) format
Range: b flat - e' flat
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Continuo cantata: Frà le pene tiranne
Editor: James Sanderson
Forces: alto & continuo
Description: The treachery of Cupid is once the again a hot topic in this RARA format cantata. With two excellent arias which challenge both continuo and singer, this is an interesting addition to our catalogue.
Source: Münster Santini Sammlung HS 864(13)
Range: a - d'
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Continuo cantata: Già degl'astri il monarca
Editor: James Sanderson
Forces: soprano & continuo
Description: Source BL Add 14211 f 42 - 50v
Once again an interesting construction for this extensive cantata. Recit, aria, recit, aria, recit, minuet, recit which becomes arioso. Some very beautiful writing and moods that swing from Adone's lament at Clori's bad behaviour to arias about finding joy only in the beloved's face.
Range: c#' - g''
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Continuo cantata: Già vicina e quell' hora
Editor: James Sanderson
Forces: soprano & continuo
Description: A substantial work with three well-developed arias and complex recitatives. Tirsi remains as his love departs whilst questioning why she must leave and whether absence will ease her love.
Source: Münster Santini Sammlung HS 861(4)
Range: e - a''
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Continuo cantata: Il Pianetta maggiore
Editor: James Sanderson
Forces: alto & continuo
Description: A very short and to the point cantata in RARA format. The power of Cupid found in the beloved's eyes.
Source: Münster Santini Sammlung HS 860(16)
Range: b - c#'
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Continuo cantata: L'occhio el labro del mio bene
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add 14211 141r - 148v
Not one of his best, but an interesting piece, particularly the use of harmony in the last aria (see MIDI) and the extraordinary way he plays with the text.
Range: e' - g''
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Continuo cantata: La Farfalletta
Quando la notte impera
Editor: James Sanderson
Forces: soprano & continuo
Description: This was clearly a popular work in its time with no less than three copies found in the Naples collection. 'When night rules...' Like a moth to a flame the lover goes, but must he die for his love? In RARA format with two beautifully shaped arias and complex, harmonically challenging recitatives, one can see why it was popular!
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Continuo cantata: La Primavera
Or che di Primavera
Editor: James Sanderson
Forces: soprano & continuo
Description: The Spring fills the heart of animals, birds and plants with Love, even that of our singer with his love for Fille. But, of course, Fille does not return this love and leaves him broken-hearted...the classic rejection cantata. Our erstwhile lover then warns that the Winter of old age will rob her of her Spring-like beauty and she will regret 'Yes, yes!' having spurned his love. In RARA format, the arias are particularly beautiful and the recitatives wander through some bizarre tonal language. Source: Naples - Biblioteca del Conservatorio di Music S Pietro a Majella.
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Continuo cantata: La Rondinella
La Rondinella trapassa il mar
Editor: James Sanderson
Forces: soprano & continuo
Description: From a volume of Mancini cantatas in the S Pietro di Majella Conservatorio library, this is an extremely cheerful 'lontananza' cantata. In ARA format with two delightfully playful arias and a complex, emotional recitative, this cantata should prove very popular with singers and audience alike.
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Continuo cantata: Lacrime sventurate
Editor: James Sanderson
Forces: soprano & continuo
Description: "...How the tears flowing from my heart show my pain..." RARA format, both in triple time, the first a rather lovely Siciliano. The opening recit is also wonderfully chromatic, capturing the image of the flowing tears.
Source: Münster Santini Sammlung HS 2459(3)
Range: d# - g#'
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Continuo cantata: Lidia tu non me'l credi
Editor: James Sanderson
Forces: soprano & continuo
Description: A lovely example of the genre, RARA format with, once again from this manuscript, a particularly complex first aria. The subject: "Leave my heart in peace, speak not of love to me" Now, is that a way to go about Arcadian love?
Source: Müs HS 2459(9)
Range: f# - b'' (!)
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Continuo cantata: Lidio rendimi il core
Editor: James Sanderson
Forces: soprano & continuo
Description: 'Lidio give me your heart'. Poor thing! She has had such bad luck in love, eventually all she wants is him, but knowing that '...it is rare to find beauty and gentleness without pain...' she doesn't really have much hope. A delightful first aria in the this RARA format cantata (see score preview) and a virtuosic, fun closing aria (MIDI Preview), this is a very enjoyable work with a sense of humour. Source: Naples Biblioteca del Conservatorio di musica S Pietro a Majella.
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Continuo cantata: Lumi cari del mio bel sole
Editor: James Sanderson
Forces: alto & continuo
Description: From Santini MS 2459 (16), this delightful cantata has some curiously chromatic twists, particularly in the second aria (listen to preview). "A single glance from your eyes burns my heart, but the certainty of my death can only bring you glory!"
In ARA format
Range: b - d'
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Continuo cantata: Lungi dal tuo sembiante
Editor: James Sanderson
Forces: soprano & continuo
Description: Here our erstwhile lover is wrapped up in all the torments of the classic 'lontananza' cantata. He is prepared to die for love if his distant beloved would just turn the light of her eyes towards him and show him her face. A large RARARA format aria from the Naples Conservatorio collection (S. Pietro a Majella).
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Continuo cantata: Mentre in grembo al riposo
Editor: James Sanderson
Forces: soprano & continuo
Description: In his sleep, Fileno dreams that an unknown woman is lamenting over his rejection of her love. The first aria, the lament, is simply stunning - beautiful harmony and melodic writing. The last aria offers coloratura challenges and the recitatives are typically well-shaped and effective. Source, Naples Biblioteca del Conservatorio di Musica S Pietro a Majella. RARA format.
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Continuo cantata: Occhi vezzosi e belli
Editor: James Sanderson
Forces: soprano & continuo
Description: A delightful cantata from Münster MS Hs 865 (14) in which beautiful eyes make you a prisoner of Love. In RARA format with some delightful chromaticisms and written out return ornament to the da capo.
Range: d - g#'
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Continuo cantata: Pecorelle correte a quel fonte
Editor: James Sanderson
Forces: soprano & continuo
Description: A charming pastoral cantata with the singer likening his sheep running after water to the lover searching for his beloved. Two delightful arias surround a chromatic recitative. Throughout the piece there are many cromatic twists and turns.
Range: c - g'
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Continuo cantata: Piangete occhi dolenti
Editor: James Sanderson
Forces: soprano & continuo
Description: 'Weep sad eyes, and distil my tears so that my laments fill each hour.' A wonderfully self-indulgent cantata from the Naples collection. In RARA format, the first (midi preview) a torturous Largo and the second a sprightly Allegro reminiscent of the recorder sonatas.
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Continuo cantata: Più dell'onda, e più del vento
Editor: James Sanderson
Forces: soprano & continuo
Description: The treacherous Filli has given her heart to many others, but has held it back from our protagonist. 'Confess cruel one that you are the murderer of my heart!' ARA format with two triple-time arias with plenty of coloratura and some very good word painting here. From a MS in the collection of the Biblioteca del Conservatorio di Musica S Pietro a Majella, Naples.
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Continuo cantata: Qual errante farfaletta
Editor: James Sanderson
Forces: soprano & continuo
Description: 'Like an errante butterfly, I seek the sun I adore...' This is a charming short cantata in ARA format, the first a plaintive lament, the second a fiery presto (see PDF preview) railing at Cupid. Source: Naples - Bibliotca del Conservatorio di Musica S. Pietro a Majella.
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Continuo cantata: Queste vermiglie note
Editor: James Sanderson
Forces: alto & continuo
Description: An extraordinarily emotional work dealing with the suicide of the distant lover. "These crimson notes, notes which I write to you from opened veins..." Complex recitatives set the scene for two arias largo and affettuoso. Also claimed by some as the work of Bononcini.
Source: Münster Santini Sammlung HS 2459(17)
Range: a - d'
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Continuo cantata: Scritte con falso inganno
Editor: James Sanderson
Forces: soprano & continuo
Description: Each line written in blood is examined here in the response to 'Tinte à note di sangue' and found wanting. Lies, damn lies! 'Would I could hear from those lips: Peace, peace my dearest. Instead, in fire and anger I can only respond in my rage: WIcked liar, liar and terrible'. Fiery and exciting writing in RARA format cantata. From a manuscript in the collection of the Biblioteca del Conservatorio di Musica S Pietro a Majella, Naples.
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Continuo cantata: Son cosi cosi geloso
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add 38036 ff 89r - 94r
A cantata dedicated to the little green demon of jealousy! Three excellent arias, particularly the first and some extensive and carefully crafted recitative.
From a collection dated 1706, at least know the latest date it could have been written!
Range: d' - g''
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Continuo cantata: Tinte à note di sangue
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add MS 14220 ff 18r - 21v
A complex piece with an excellent vari-tempo final aria. The text can be summed up in two lines from the first recit: Written in blood, these tormented words my betrayed heart sends to you...Think, think how much I have loved you, know that you are not mine, and weep for the pity of my plight
Range: d - g'
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Continuo cantata: Tu partisti ò bella Clori
Editor: James Sanderson
Forces: soprano & continuo
Description: Clori has left and he seeks her '...beautiful eyes to lift his sorrow...' but is she as faithful as he would like? Only time will tell! A large ARARA format cantata with three lovely arias and some complex recitative writing. From the Naples Conservatorio collection.
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Continuo cantata: Un amante ama due belle
Editor: James Sanderson
Forces: soprano & continuo
Description: A charming cantata filled with indecision and containing one of Mancini's most beautifula arias (see MIDI). A young man loves both Cintia and Irene and really doesn't know what to do - can you help? RARA format.
Source: Münster Santini Sammlung HS 3904(5)
Range: c - g'
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Continuo cantata: Vaghe pendici amene
Editor: James Sanderson
Forces: alto & continuo
Description: This is a lovely example of the genre with two well-crafted recitatives and two lovely arias. Some challenging continuo writing as well. Eurilla is the source of conszternation this time and the lives of 'Ninfe e Pastore' never run smooth. Stunning word-painting.
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Cantata with obbl. inst.: Quanto dolce è quell'ardore
Editor: Rosalind Halton
Forces: soprano, oboe & continuo
Description: Source: Royal College of Music, London, MS. 697
A rewarding cantata for the rare combination of soprano, oboe obligato, and basso continuo, showing the rich cantabile style of Francesco Mancini (Scarlatti's deputy in Naples), with a witty final aria.
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Duetto da camera: Dori, e Mirtillo
Editor: James Sanderson
Forces: soprano, alto & continuo
Description: A charming duo cantata with two duets, a recit and aria each. Dori[nda] wants to die for love (again!) because Mirtillo has rejected her (she thinks). He declares his undying devotion and all is back to normal. Really interesting harmonically with some very clear vocal writing.
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Cantata with violins: Dir vorrei quel bel contento
Editor: James Sanderson
Forces: soprano, violins & continuo
Description: A charming cantata with strings by Mancini. Our protagonist has lost his love, but being pragmatic has resigned himself to the possiblity of the loss being permanent whilst still hoping for a reconciliation. In ARA format with lovely writing for both voice and strings. The source is a MS in the collection of the Biblioteca del Conservatorio di musica S. Pietro a Majella – Napoli: Cantate 41 no 6.
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Cantata with violins: La Rosa
Il bianco piè della più bella Diva
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: A large and impressive work, this cantata contains an opening sinfonia, three recits and arias and, unusually, a solo cello line in the middle aria. The story of the first rose and how its beauty compares with that of Clori. Range d' - g''
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Cantata with violins: Se nascessero mille Amori
Editor: James Sanderson
Forces: soprano, 2 violins & basso continuo.
Description: A really stunning example of the genre. In Aria - Recit - Aria and with some very lovely vocal lines, typical of Mancini at his best. It is the story of Eurillo and Clori and how the course of real love never runs smooth.
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Cantata with violins: Sotto l'ombra d'un faggio
Editor: James Sanderson
Forces: soprano, violins & continuo
Description: Beneath the beech tree this time is Dalindo in relective mood. He dwells on the pain of disdain and the 'soothing balsam of love'. In RARA format, the violins providing a ritornello in the first aria and an integral echoing role in the second siciliano aria. Source: Münster Santini Sammlung HS 860
Range: e - b'' flat
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Benedetto Marcello

Work
Continuo cantata: Da voi parto amati rai
Editor: James Sanderson
Forces: soprano & continuo
Description: Three part aria from an MS in the British Library containing much Pepusch, Bononcini and Marcello among others. In this manuscript the composer is said to be Porpora however a proven copy in the I-Nc collection indicates this is actually by Marcello. It's a delightful piece as usual.
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Continuo cantata: Già che la bella Clori
Editor: James Sanderson
Forces: soprano & continuo
Description: A classic lontananza cantata in RARA format. The word pianting is delightful and Marcello's melodies full of rhythmic drive. Source: Naples
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Continuo cantata: Lontananza e gelosia
Editor: James Sanderson
Forces: soprano & continuo
Description: very attractive cantata from BL MS Add 14215 which expounds the plight of the lover of Dorinda (la bella) and has a great gasping aria to end.
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Continuo cantata: Piante Amiche Ombre Cara
Editor: James Sanderson
Forces: alto & continuo
Description: Source BL Add 14222
2 recits and arias with particularly fine obbligato continuo line in first aria.
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Cantata with obbl. inst.: Torno à voi piante amorose
Editor: James Sanderson
Forces: alto, 2 flutes & continuo
Description: A charming cantata in aria-recit-aria form. Source: BL MS Add 14222
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Alessandro Melani (1639 - 1703)

Work
Cantata with obbl. inst.: All' armi
Editor: Kate Eckersley & James Sanderson
Forces: soprano, trumpet & continuo
Description: From an MS in the British Library, this fiery and exciting cantata is a classic of the genre. All the trumpet effects imaginable are used, and the vocal line makes the most of its ability to imitate.
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Thomas Morley (b Norwich, 1557 or 1558; d London, early Oct 1602)

Work
Song: It was a lover and his lass
Editor: James Sanderson
Forces: voice & lute (arr keyboard)
Description: Morley's famous madrigal as a lute song
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Johann Christoph Pepusch (1667 - 1752)

Work
Continuo cantata: Alexis
Editor: James Sanderson
Forces: soprano & continuo
Description: Cantata II from Pepusch's 'Six English Cantatas' of 1710. The second of only two works for soprano and continuo only in this collection.
Price: £ GB  4.95
Continuo cantata: Alexis - See from the silent grove (ALTO)
Editor: James Sanderson
Forces: alto & continuo
Description: Perhaps Pepusch's most famous English cantata (at least the most widely copied and circulated). Alexis calls on Musick to ease love's pain.
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Continuo cantata: Alexis - See from the silent grove (SOPRANO - C)
Editor: James Sanderson
Forces: soprano & continuo
Description: Perhaps Pepusch's most famous English cantata (at least the most widely copied and circulated). Alexis calls on Musick to ease love's pain and Apollo points out that Musick is the voice of Love! Here in the soprano key.
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Continuo cantata: Fair Caelia Love Pretended (The Reconciliation)
Editor: James Sanderson
Forces: soprano & continuo
Description: The second part of the pair of cantatas by Pepusch from "xii Cantatas in English for a Voice and a Thorough Bass for the Harpsichord being a curious Collection of the Compositions of several Authors" which was printed in 1723. It covers Caelia's capitulation...
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Continuo cantata: On fam'd Arcadia's Flowry plains
Editor: James Sanderson
Forces: soprano, oboe & continuo
Description: From "xii Cantatas in English for a Voice and a Thorough Bass for the Harpsichord being a curious Collection of the Compositions of several Authors" which was printed in 1723. This is the first of two 'linked' cantatas which concludes with 'The Reconciliation' or 'Fair Celia Love pretended'
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Continuo cantata: The God of Love has lost his Bow
Editor: James Sanderson
Forces: soprano & continuo
Description: A charming pastoral cantata from the 1723 collection of 12 English Cantatas. Cupid searches for the Goddess of Love and warns the Shepherds not to expect too much sweetness from Love himself.
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Continuo cantata: The Island of Beauty (ALTO)
Editor: James Sanderson
Forces: alto & continuo
Description: From Pepusch's English cantatas, the Island of Beauty has a text reminiscent of 'Fairest Isle' - praise of Britain as 'the fairest Island in the sea' and 'Venus and her train of loves will with happier Britain stay'
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Continuo cantata: The Island of Beauty (SOPRANO - orig)
Editor: James Sanderson
Forces: soprano & continuo
Description: Cantata I from Pepusch's 'Six English Cantatas' of 1710. One of only two works for soprano and continuo only.
Price: £ GB  4.95
Cantata with obbl. inst.: Cleora sat beneath a Shade
Editor: James Sanderson
Forces: soprano, recorder & continuo
Description: Cantata II from Pepusch's second colelction of 'Six English Cantatas' (1723). The words are by Inigo Slaughter
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Cantata with obbl. inst.: Corydon
Editor: James Sanderson
Forces: soprano, recorder & continuo
Description: Cantata V from Pepusch's 'Six English Cantatas' of 1710. 'While Corydon the lonely Shepherd try'd his tunefull Flute...'
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Cantata with obbl. inst.: Crudel ingrata
Editor: James Sanderson
Forces: soprano, cembalo & continuo
Description: An Italian cantata in classic format with an excellent obbligato cembalo part. The text concerns Fileno's bad luck in love.
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Cantata with obbl. inst.: Love frowns in Beauteous Myra's Eyes
Editor: James Sanderson
Forces: soprano, recorder & continuo
Description: Cantata I from Pepusch's second colelction of 'Six English Cantatas' (1723). The words are by John Hughes
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Cantata with obbl. inst.: Menalcas once the gayest Swain
Editor: James Sanderson
Forces: soprano, recorder & continuo
Description: Cantata IV from Pepusch's second collection of 'Six English Cantatas' (1723). The words by Nr Gee
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Cantata with obbl. inst.: Miranda
Editor: James Sanderson
Forces: soprano, violins & continuo
Description: Cantata IV from Pepusch's 'Six English Cantatas' of 1710. 'Fragrant Miranda's tunefull voice and Fame had reached the wond'ring Skies...'
Price: £ GB  5.95
Cantata with obbl. inst.: When Loves soft Passion
Editor: James Sanderson
Forces: soprano, recorder & continuo
Description: Cantata III from Pepusch's second collection of 'Six English Cantatas' (1723). The words are by James Blackley
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Collection: Six English Cantatas (vol I, 1711)
Editor: James Sanderson
Forces: soprano, various obbligato instruments
Description: Pepusch's first volume of 'Six English Cantatas' which were published in 1710. The words are all by John Hughes who also wrote a fascinating preface trying to justifiy recitative to the English audience (see Articles). For MIDI previews see the individual cantatas: 'The Island of Beauty, 'Alexis', 'The Spring', 'Miranda', 'Corydon', 'Cloe'
Price: £ GB  19.95
Collection: Six English Cantatas (vol II, 1720)
Editor: James Sanderson
Forces: soprano, various obbligato instruments
Description: The second collection of 'Six English Cantatas' complete with performing score and parts. For midi preview see the various separate cantatas: 'Love frowns...', 'Cleora sat...', 'When loves soft...', 'Manalcas once...', 'Kindly fate...', 'While pale Britannia...'
Price: £ GB  19.95
Cantata with violins: Fragrant Flora Hast Appear (The Spring)
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: The third of the 1710 'Six English Cantatas...'
Source: The BL copy of the original edition.
A shepherd's paeon to Spring and Love.
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Cantata with strings & other instruments: Airy Cloe (alto)
Editor: James Sanderson
Forces: alto, oboes, violins & continuo
Description: One of Pepusch's 'English Cantatas', this edition is taken from the Chandos manuscript in the British Library. It's the absolutely not politically correct story of Cloe and Amintas and how force can lead a lady to love...?
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Cantata with strings & other instruments: Airy Cloe (soprano)
Editor: James Sanderson
Forces: soprano, oboe, strings & continuo
Description: Cantata VI from Pepusch's 'Six English Cantatas' of 1710. 'Airy Cloe, Proud and Young, the fairest Tyrant of the Plain...'
Price: £ GB  6.95
Cantata with strings & other instruments: Kindly Fate at length release me
Editor: James Sanderson
Forces: soprano, trumpet, strings & continuo
Description: Cantata V from the Second collection of 'Six English Cantatas' published in 1723. "Kindly Fate at length release me, life has nothing now can please me, since Corinna slights my pain".
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Cantata with strings & other instruments: While Pale Britannia pensive sate
Editor: James Sanderson
Forces: soprano, trumpet, strings & continuo
Description: Cantata V from the Second collection of 'Six English Cantatas' published in 1723. "While pale Britannia pensive sate with folded arms and downcast eyes, touch't with her Sons impending Fate, she sadly thus Complaining cryes..." A splendid opening Largo and finishing with a joyous allegro with trumpet (MIDI preview below)
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Giov. Batt. Pergolesi (b. Jesi Jan. 1710, d. Napoli Mar. 1736)

Work
Marian antiphon: Salve Regina (f)
Editor: James Sanderson
Forces: alto, strings & continuo
Description: With an opening reminiscent of the famous Stabat Mater for soprano and alto solo with strings, this is a beautiful setting of the Marian antiphon text. Divided into 5 contrasting sections, with one section further divided into two.
Source: BL MS R.M.23.c.17.(1), once the property of Dr. Burney.
Range: a flat - d'
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Marian antiphon: Salve Regina (g)
Editor: James Sanderson
Forces: soprano, solo violoncello, strings & continuo
Description: A setting of this most famous Marian Anthem with an extraordinary degree of pathos involved. Some exquisite vocal writing and a very satisfying obbligato cello part in the Eia ergo advocata nostra.
Source: BL MS R.M.23.c.17.(2), once the property of Dr. Burney.
Range: c - a'' flat
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Francesco Antonio Pistocchi (1659 - 1726)

Work
Continuo cantata: Chiari fonti bei fiori
Editor: James Sanderson
Forces: soprano & continuo
Description: Here the young lover compares Eurilla to the seasons (Spring is the decision) to the beautiful vales, rivers, mountains, streams etc. She always wins! With a lovely Largo first aria and a rousing 12/8 allegro to finish, this is the 18th century singer/songwriter in fine form.
Range: e - g'
Source: Santini HS 859
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Continuo cantata: Tortorella imprigionata
Editor: James Sanderson
Forces: alto & continuo
Description: The image of the caged bird is often used to portray joy at being enchained by love and here we have the lover of Irene comparing himself to the imprisoned dove giving up all hope of escape other than by his death. Some lovely 'cooing' and some spectacular recitative in this ARA format cantata. The second aria has a 'si suona' accompaniment in part.
Source: Münster Santini Sammlung HS 861
Range: G - d'
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Nicola Antonio Porpora (b Naples 1686; d. Naples 1768)

As was the contemporary fashion, many of Porpora's cantatas were copied in both soprano and alto keys. If a work is listed as one or the other and you require soprano where it is stated alto (or vice versa) please email orders@porporaproject.com and we will do our best to assist you.

Work
Aria: Alto Giove (Polifemo III,v)
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: 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.
This edition comes with orchestral score, vocal score and parts.
Range: d - g''
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Aria: Arianna II,v - Misera, e che farò?
Editor: James Sanderson
Forces: soprano, oboe, strings & continuo
Description: Source: BL R.M. MS 22.m.30 (contemporary copy)
Arianna's beautiful lament in the centre of act II of Porpora's Arianna in Naxo. The role of Arianna was sung Sgra Cuzzoni at the premier in the Lincoln's Inn Fields theatre in December of 1733. Arianna has just had a 'scene' with both Antiope and Teseo and she's not a happy girl. The accompanied recit is dramatic and exciting, the aria virtuosic and beautiful.
Range: e - a''
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Aria: Chiara dea
Editor: James Sanderson
Forces: alto, strings & continuo
Description: Act I scene i of Porpora's 1711 opera Flavio Anicio Olibrio provides us with another obbligato cello aria (who was the cellist?)
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Aria: Giusto amor tu che m'accendi
Editor: James Sanderson
Forces: soprano/alto, obbligato cello & continuo
Description: Adonis' (Farinelli) aria from Act 2, scene ii of the 'Dramma per Musica' Gli orti esperidi (Naples, Palazzo Reale 28th August 1721).
Source BL MS Add. 14118 (autograph).
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Aria: Lontan dal solo e caro (Polifemo Act II, iii)
Editor: James Sanderson
Forces: soprano, oboe, strings & continuo
Description: Aci's (Farinelli's) first aria in Act II, full of pathos and a beautiful line.
Accompagnato recit followed by moderato aria, the solo oboe in the aria both echoing and precursing the vocal line.
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Aria: Nell' attendere il mio bene (Polifemo Act II, iii)
Editor: James Sanderson
Forces: soprano, 2 corni, 2 trombe, 2 oboè, strings & continuo
Description: Aci's (Farinelli's) second Acti II aria and what a sing. This is certainly a 'stand and deliver' moment with the largest scoring in the whole opera.
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Aria: Oh volesser gli dei/Dolce fresche aurette grate (Polifemo Act I, iii)
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: Source: Autograph copy in Royal Music Collection
Acis' (Farinelli's) opening aria from 'Polifemo'
It is a beautiful accompanied recit followed by a largo with an allegro 'b' section.
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Aria: Perchè ad amarmi
Editor: James Sanderson
Forces: tenor, strings & continuo
Description: From Act I scene vi of Flavio Anicio Olibrio this is Ricimero's aria about resoluteness in fighting for love
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Aria: Sarebbe nell'amar soave il sospirar (Gli orti Esperidi)
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: Farinelli's second aria from one of his first appearances (Rome 1721). In the rôle of Adonis, Farinelli sings of the power of love to hold him to his beloved despite the horrors of Tartarus.
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Aria: Se il morir, fosse mia pena (Gli orti Esperidi I, iii)
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: The first aria from one of Farinelli's forst appearances (Rome 1721). In the rôle of Adonis, Farinelli sings of his willingness to give up his life for love of Venus. A beautiful aria with primarily violin bass rather than continuo.
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Aria: Se pietoso il tuo labro
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: Source: BL Add MS 31593 ff 30r - 33v
A deceptively virtuosic aria with exciting rhythmic and melodic interest and occasionally bizarre harmonies. If your lips would have pity upon me... From Ezio (1728).
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Aria: Se son lontano dal mio diletto (Gli orti Esperidi Act II)
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: Adone (Farinelli)'s second aria from Act II of Porpora's Gli orti Esperidi. A charming allegro with a 'pathetic' twist, once again principally accompanied by the upper strings - perhaps a gesture to the young Farinelli's age (16 at the time). Adone sings of the fear which enters his heart in the absence of his beloved.
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Aria: Senti il fato (Polifemo Act III, v)
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: Source: Polifemo Act III, scene v
Acis' (Farinelli's) last aria. In the true bravura style which made both singer and composer famous this aria is extraordinary! Everything from fiendish coloratura to leaps of a 10th, 11th and 12th. Masterful writing. The aria is preceded by a secco recitative and has a slower, though even more virtuosic, middle section.
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Aria: Son frà l'onde in mezzo al mare (Gli orti Esperidi Act I)
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: Venere's aria from the end of act I uses all the illusions of the crashing waves upon the shore, convincing her lover, Adone, to remain with her. Written for the great Marianna Bulgarelli (La Romanina: 1684 - 1734) it is a wonderfully 'splashy' coloratura aria.
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Aria: Vaghi amori
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: Imeneo's opening aria from 'La Festa d'Imeneo' Written for Farinelli in 1736 as part of a Serenata composed for the wedding of the Prince of Wales, this is a virtuosic piece with a great deal of room for embellishment.
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Solo motet: Clari Splendete
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: Source BL Add. 14125
Written in March 1744 for the Ospedaletto. Virtuosic solo motet.
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Solo motet: In caelo stelle clare
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: One of four solo motets for voice and strings written in 1744/45 for singers at the Ospedaletto in Venice. This virtuosic work is dedicated to Graziola, one of the main soloists Porpora composed for at the Ospedaletto.
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Solo motet: Placida Surge Aurora
Editor: James Sanderson
Forces: alto, strings & continuo
Description: Source BL MSS Add 14125
Written for the Ospedaletto in 1744 (soloist Angioletta Moro). Virtuosic and beautiful writing - particularly the second aria Facis splendor.
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Solo motet: Qualis Avis
Editor: James Sanderson
Forces: alto, strings & continuo
Description: Autograph source in the British Library - one of four extant motets written in 1744/5 for performance at the Ospedaletto. Highly virtuosic - in four movements. Range: a - e''
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Solo motet: Vigilate oculi mei
Editor: James Sanderson
Forces: soprano & continuo
Description: From the Santini Collection in Münster (Hs. 3307) this is an early work (1712) dated Rome 30 June/1 July, 1712 which was the period Porpora was in Naples working for the Prince of Hessen Darmstadt. Amazing coloratura!
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Solo motet with coro: Laetatus Sum
Editor: James Sanderson
Forces: soprano, SSAA coro, strings & continuo
Description: Source BL Add 14126
Super motet (part of the Marian Vespers) written for the Ospedaletto in Venice in 1744
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Solo motet with coro: Nisi Dominus
Editor: James Sanderson
Forces: alto, SSAA coro, strings & continuo
Description: Source BL Add. 14126
Part of the 1744 vespers written for the Ospedaletto
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Marian antiphon: Regina Coeli
Editor: James Sanderson
Forces: alto, strings & continuo
Description: Source BL MS Add 14129
Highly virtuosic motet for alto and strings. Extraordinarily difficult! Written in March 1742 and dedicated per la signorina Marina.
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Marian antiphon: Salve Regina (B flat)
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: Source: British Library
Written in 1744 this is perhaps the most varied of the solo Salve Reginas with no fewer than 7 different sections. It is also one of the highest pieces in autograph with a number of high B flats.
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Marian antiphon: Salve Regina (d)
Editor: James Sanderson
Forces: alto, strings & continuo
Description: Source: copyist's work in the British Library
An extremely varied work with a wide-ranging vocal part and some very beautiful lines. This is another work which puts paid to Burney's sniggers!
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Marian antiphon: Salve Regina (F)
Editor: James Sanderson
Forces: alto, strings & continuo
Description: Source BL Add 14125
Dated 1744 and written in four movements including an allegro-adagio da capo aria and a superb opening 'Salve Regina'. Beautiful setting of this latin text.
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Marian antiphon: Salve Regina (G - 1745)
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: Source: British Library
Written for the soprano Graziola at the Ospedaletto in Venice, this is the later of the two G major Salves. In 4 sections/movements (Moderato - Alegretto - Andantino - Lento) it is a virtuosic, but graceful work.
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Marian antiphon: Salve Regina (G)
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: Source: British Library
A copy which has been annotated and adjusted by Porpora himself. In four movements and once again showing great inspiration in the opening Lento 'Salve Regina'.
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Liturgical (other): Credidi propter
Editor: James Sanderson
Forces: SSAA coro, strings & continuo
Description: Source: BL MS Add. 14127 ff 29r - 38r (autograph)
A setting of psalm 115(116) Credidi propter quod locutus sum ego divided into 3 sections: Psalm - Gloria - Sicut erat & amen.
Written in 1745 for the Ospedaletto, it appears to have been reworked at a later date for SSAB coro, a format more characteristic of earlier works for the Pietà.
This version follows the original SSAA coro version in all respects.
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Liturgical (other): De profundis
Editor: James Sanderson
Forces: soprano & alto solo, SSAA coro, strings & continuo
Description: Source: BL MS Add. 14128 ff 83r - 105r
A substantial setting of the De Profundis in 9 movements, 4 choral (SSAA), 4 solo and one duet, written in 1744 for the Ospedaletto. The soloists are entered in the score as: Bernadetta, Elisabetta Pia, Lauretta (soprani), with Angioletta Moro and Barbara (contralti). As is common in these liturgical settings, Porpora features favoured/most talented students first, the first soprano and alto arias being the most virtuosic.
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Liturgical (other): Domine Probasti Me (Chorus part)
Editor: James Sanderson
Forces:
Description:
Price: £ GB  3.95
Liturgical (other): Domine Probasti Me (Chorus part) copy license
Editor: James Sanderson
Forces:
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Liturgical (other): Domine probasti me (Psalm 138/9)
Editor: James Sanderson
Forces: SSAA coro, strings & continuo
Description: Source: Autograph in BL Add MS 14216
Writen in October of 1745 for the girls of the Ospedaletto this is a continuous setting, i.e. not divided into separate sections other than for the short, fiery Gloria Patri. Similar in style to the other Psalm settings (Credidi Propter, In Exitu Israel, Qui habitat in adjutorium etc.)
Duration would be around 8 minutes and is perfect for a difficult programming spot!
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Liturgical (other): Domine Probasti Me (Vocal Score)
Editor: James Sanderson
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Liturgical (other): In Exitu Israel
Editor: James Sanderson
Forces: 2 SAA coro, violins, violetta and continuo
Description: Source: BL Add 14125
Charming homophonic treatment of Psalm 113 written in 1744 (Feb) at the Ospedaletto.
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Liturgical (other): In Exitu Israel (Chorus part)
Editor: James Sanderson
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Editor: James Sanderson
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Liturgical (other): In Exitu Israel (Vocal Score)
Editor: James Sanderson
Forces:
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Liturgical (other): Nunc dimittis (1744)
Editor: James Sanderson
Forces: 2 soprano solo, SSAA coro, strings & continuo
Description: Source: BL Add MS 14126 (autograph)
The canticle sung as part of compline since the 4th century (Luke 2:29-31). In five parts, three choral with a soprano solo and a double soprano duet (quite tricky) Porpora's setting was written in 1744 for the girls of the Ospedaletto in Venice.
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Liturgical (other): Qui Habitat (Psalm 90/91)
Editor: James Sanderson
Forces: 2 soprani solo, SSAA coro, strings & continuo
Description: Source: autograph in BL Add MS 14126
Another single section psalm setting written for the girls of the Ospedaletto in Venice in February of 1744. Launching straight into a rapid word setting and using advanced, and in some moments unusual, harmonic changes. The solo sections are, as usual, virtuosic, the choral writing exciting, but not too difficult to sing.
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Continuo cantata: Abbandonata e sola
Editor: James Sanderson
Forces: alto & continuo
Description: Here Porpora is at the height both of his recitative and 'pathetic' writing with a stunning first aria, but also maintains the fieriness of his allegro writing in the last aria (MIDI).
This pastoral cantata is all about 'separation angst' and the suffering when abandoned by one's love - in this case Fileno (again).
Source: Münster Santini Hs 3313 (Nr. 17)
Range: c - d'
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Continuo cantata: Alla caccia dell'alme
Editor: James Sanderson
Forces: alto & continuo
Description: A hunting cantata, as virtuosic as the Vivaldi version and with even better recitatives! ARA format, here Clori is the huntress who ensnares men with her charms, too late our lover discovers he is already caught, but he is "...not the first and not alone."
Range: a - e
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Continuo cantata: Amor crudele Amore
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add 14,215 ff 68r - 71v
Recit - aria - recit - aria form with two beautifully contrasting arias. The shepherd rails against Amor and prays for the love of his shepherdess.
Range: d - g'
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Continuo cantata: Celinda, Oh Dio Celinda
Editor: James Sanderson
Forces: soprano & continuo
Description: Celinda has gone missing, and her lover sings of her beauty, his searching and his hope of her return. Great recits, a beautiful Siciliano and a virtuosic allegro to finish.
Source: Münster Santini HS 3313(1)
Range: d - f#'
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Continuo cantata: Cieco Dio fors'io quel fiore
Editor: James Sanderson
Forces: soprano & continuo
Description: Blind Cupid is causing grief again for our young lover and inspires this paean. A 'classic' aria (Amoroso) - recit - aria (Allegro) format with some fascinating chromatic twists and turns.
Source: Münster Santini Hs 3313 (Nr. 14)
Range: e - f#'
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Continuo cantata: Cinto il cor d'aspre catene
Editor: James Sanderson
Forces: soprano & continuo
Description: 'The Joys of Love are greater than any freedom' must be the moral of this pastoral cantata. Trapped in the chains of love, the young man still longs for his Fille, not for freedom!
In simple ARA format with a very beautiful pair of arias.
Source: Münster Santini HS 3313 (Nr. 19)
Range: d - a''
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Continuo cantata: Clori, vezzosa Clori
Editor: James Sanderson
Forces: soprano & continuo
Description: Separation angst is the theme again in this pastoral cantata. Apart from Clori, her lover bewails his fate through woods, mountains and streams (they always seem to walk so far!). RARA format, the first aria full of wonderful suspensions and a slowly agitated bass line, the second with more agitation in 12/8
Source: Münster Santini HS 3313(3)
Range: e flat - g'
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Continuo cantata: Col tuo dolce mormorio
Editor: James Sanderson
Forces: soprano & continuo
Description: Early cantata in aria-recit-aria format. Recit has very adventurous harmonic progressions and first aria is very beautiful Lento, last is virtuosic
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Continuo cantata: Cora amante di perchè
Editor: James Sanderson
Forces: mezzo-soprano & continuo
Description: One of three aria-recit-aria cantatas in BL MS Add 29484, simple but very attractive. Subject: Cora's unwillingness to love
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Continuo cantata: D'Amor la bella pace
Editor: James Sanderson
Forces: alto & continuo
Description: Source BL Add 14122
Virtuosic cantata for alto and continuo - the last aria is particularly fiendish. Better known as a soprano cantata, this contemporary copy demonstrates the habit of transposing for different voices.
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Continuo cantata: D'amore il primo dardo
Editor: James Sanderson
Forces: soprano & continuo
Description: Cantata Op 1, no. 1
Text by Metastasio, concerning the power of Amore to pierce the heart with the very first dart. Affettuoso - recit - Allegro (both arias with 'Si sona' ritornelli)
Range: f' - g''
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Continuo cantata: Dal povero mio cor
Editor: James Sanderson
Forces: alto & continuo
Description: Cantata Op. 1, no. 12
This is extremely virtuosic and a fitting end to the collection. 2 recit/aria format with an extremely interesting second recit (quasi accompagnato) and final aria - listen to the MIDI.
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Continuo cantata: Dalle regia di Flora
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add MS 14210
A delightful testament to the beauty of Flora, both physical and 'spiritually'. Comparisons to flowers, the fields, the dawn and, for once, nothing bitter! 2 recits and arias, with the final aria in the classic Porpora virtuosic style (MIDI preview).
Range: d - f''
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Continuo cantata: Datti pace se puoi
Editor: James Sanderson
Forces: alto & continuo
Description: Source: alto version in BL Add MS 14210 ff 120r - 127r
The unhappy shepherd is once agian longing for his distant love. He cannot believe that she could be untrue. Ah... 2 recits and 2 arias format.
Range: b - e'
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Continuo cantata: Deh, lasciatemi in pace
Editor: James Sanderson
Forces: alto & continuo
Description: Source BL Add 14215
Virtuosic cantata for alto and continuo in three recitatives and arias (see performances at the Porpora Project)
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Continuo cantata: Di vaga fera le bell'orme
Editor: James Sanderson
Forces: soprano & continuo
Description: A substantial work in RARA form. The first recit becomes and arioso, the arias are both beautiful and virtuosic, the recitatives live up to expectation of painting a vivid picture of the story: this time of the bonds of love. "Were I to leave Clori I would become incapable of loving again..."
Source: Münster Santini HS 3313
Range: c# - a''
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Continuo cantata: Dice che m'ami
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add 14214 ff 78v - 85v (only source)
In aria-recit-aria form, both arias without tempo indication, but probably a tempo giusto and lento or affettuoso. As usual, the recitative is beautifully crafted, accurately reflecting the rhythm of the language.
The text concerns love as an allegory of the life of a sailor on rough seas.
Range: d - a'' flat
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Continuo cantata: Dolce canto l'Augellino
Editor: James Sanderson
Forces: soprano & continuo
Description: They never learn not to trust Cupid! Using the metaphor of a bird losing its freedom through falling in love with a beautiful face, the poet weaves an enchanting cantata text which Porpora sets using the ARA format. Both arias in minor keys but clearly portraying the bird in figurations reminiscent of bird call.
Source: Münster Santini 3313 (6)
Range: d - a''
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Continuo cantata: Ecco l'infausto lido
Editor: James Sanderson
Forces: alto & continuo
Description: Source BL Add 14122
Virtuosic cantata for alto and continuo in two recitatives and arias
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Continuo cantata: Era il tempo che in cielo
Editor: James Sanderson
Forces: soprano & continuo
Description: In the heat of the sun the flowers and plants wilt, as does Eurilla in her longing for Tirsi. A lovely example of the genre with a touching Adagio as the first aria and a fiery allegro as the second. In RARA format with Porpora's tradiationally complex recitative writing and very effective melodic writing in the arias. A real delight!
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Continuo cantata: Farfalletta semplicetta
Editor: James Sanderson
Forces: soprano & continuo
Description: Like a butterfly attracted to the light, the lover is attracted to another and burns his wings. Looking to Amor for help brings no rescue!
A beautiful cantata in ARA form.
Sources: GB-Lbl Add MS 14215 ff 13r - 16v & D MÜs: SANT Hs 3313 (Nr. 4)
Range: d - g'
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Continuo cantata: Fille se fiera sorte
Editor: James Sanderson
Forces: alto & continuo
Description: Here the lover expresses the feelings that separation from Fille would bring; the slow footstep, the longing, the yearning. It's a lovely sing too! RARA format with well-balanced andante then allegro arias.
Source: Münster Santini HS 859 (9)
Range: c - d'
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Continuo cantata: Fra le più folte piante
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add MS 14210
In one of Porpora's more dramatically contrasting cantatas, the young lover is exhorted to deal with his rage by railing at the heavens, giving rise to a wonderful aria 'Contro me il Ciel spietato'. We find out it's a girl again in the next recitative and the cantata finishes with the young man promising to die for his love.
Range: e - a''
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Continuo cantata: Già la notte s'avvicina (La Pesca)
Editor: James Sanderson
Forces: soprano & continuo
Description: Cantata Op. 1, no. 6
Another of Metastasio's famous cantata texts - as night draws in the lover calls Nice to take in the air, compares her to Teti, Galatea, Glauce and Dori - nothing quite like love!
Adagio - Recit - Allegretto, all beautiful.
Range: e' - a''
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Continuo cantata: Idolo del mio core
Editor: James Sanderson
Forces: soprano & continuo
Description: Another from the Naples MS 34.6.25. Here our lover calls "Tell me where you are! Show me where the one I adore is gone!" In RARA format, with surprisingly brief recitatives, the second aria Largo has some delightful harmonic shifts. It is intersting to note that the continuo figures in this (only) copy are only written where the vocal part does not appear.
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Continuo cantata: Idolotrata e cinta
Editor: James Sanderson
Forces: soprano & continuo
Description: Source BL MS Add 14225
The protagonist laments the cruelty of unrequited love. The last aria is one of the finest examples of a 'bird song' aria that I have seen (check previews)
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Continuo cantata: Il Narciso amo la rosa
Editor: James Sanderson
Forces: soprano & continuo
Description: What could be clearer than this lovely flower simile? Narcissus loves Rose and Violet is dull! ARA format with very pretty arias.
Source: Münster Santini 859 (3)
Range: f - g'
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Continuo cantata: In Amor sarò costante
Editor: James Sanderson
Forces: alto & continuo
Description: A delightful and simple example of the genre. Sinuous vocal lines echoed in the basso and a fiery, syncopated second (final) aria. "In love I will be faithful..." ARA format. Source: Naples Conservatorio
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Continuo cantata: Io non amo altro che voi
Editor: James Sanderson
Forces: soprano & continuo
Description: Starting appropriately with an amoroso aria this is a beautiful ARA format work. It is an homage to the beauty and power of the eyes in love.
Source: Münster Santini HS 3313(15)
Range: d - g'
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Continuo cantata: La viola che languiva
Editor: James Sanderson
Forces: soprano & continuo
Description: source BL MS Add 14229
lovely pastoral image of a flower languishing on the banks of a river (and of course the shepherd lover)
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Continuo cantata: Lontananza non risana
Editor: James Sanderson
Forces: soprano & continuo
Description: As with all lontananza cantatas, this is filled with yearning. "...the further my beloved is, the greater my sadness..." etc. A stunning, chromatic Siciliano opens the ARA format with a sprightly allegro to finish.
Source: Münster Santini HS 859 (10)
Range: c - g'
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Continuo cantata: Lucciolette andate à Fille
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL MS Add 14214
This is an extremey enchanting cantata in aria-recit-aria form. The poor boy is totally in love but the beloved is having none of it. Retribution and hatred are the only alternatives. The opening matter of fact aria leads to an extraordinary recitative and final minuet.
Range: d - g'
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Continuo cantata: Lungi dal suo Fileno
Editor: James Sanderson
Forces: soprano & continuo
Description: Source BL MS Add 14225
Unrequited love in a complex harmonic world! The tale of Eurilla and Fileno told from the female point of view. First aria has operatic Adagio with fermate opening, reminiscent of many opening arias for the 'primo uomo' in Porpora's operas
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Continuo cantata: Mentre canta l'augelletto
Editor: James Sanderson
Forces: soprano & continuo
Description: Source BL MS Add 14214.
The tale of love, Cupid's darts and a nightingale!
The chromaticism of the recit and second aria are something to be believed, as is the simplicity of the bird song alluded to in the first aria.
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Continuo cantata: Mentre doglioso un giorno
Editor: James Sanderson
Forces: alto & continuo
Description: Source BL MS ADD 14215
Virtuosic alto cantata with an outstanding cello part in the second aria. 2 recit and aria format.
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Continuo cantata: Nel mio sonno almen (Il sogno)
Editor: James Sanderson
Forces: soprano & continuo
Description: Cantata Op. 1, no. 2
Text by Metastasio in which the lover dreams of his beloved taking away all sadness
Lento - Recit (spectacular) - Andantino
Range: e' - a''
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Continuo cantata: Ninfe e Pastor che al bel sebeto in riva
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add MS 14210
The sad tale of the death of Tirsi and Fille's desire to die as well - after the aria of course! 2 recit and aria format, the last being virtuosic again.
Range: d - g''
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Continuo cantata: Ninfe, Pastori udite
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add 14214 ff 170v - 177v (only source)
In recit - aria - recit - aria form with some interesting recitative-like passages in the b section of the second aria. As usual the setting of the recitatives is particularly clearly defined. The text is in the first person, a shepherdess railing against the unfaithful Tirsi.
Range: b - a''
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Continuo cantata: Non hò vita hò viva morte
Editor: James Sanderson
Forces: soprano & continuo
Description: To be separated from the beloved is a fate worse than death. In ARA format, the first aria a 'pathetic' largo and the last, portraying the sailor on rough seas, a wonderful allegro
Source: Münster Santini HS 3313 (11)
Range: e - g'
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Continuo cantata: Non sò come resisto
Editor: James Sanderson
Forces: alto & continuo
Description: Main sources: BL Add 14214 100r 106v & Add MS 14210 81v - 88v
The lover dears with the loss of the beloved in this two recit and aria cantata. The first aria is very beautiful the second rather virtuosic for both singer and continuo cellist.
Range: c' - f''
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Continuo cantata: Ò come à tempo qui t'incontro
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: 2 copies in the British Library
This is not a cantata to win friends and influence people within the 'feminist movement'. The final (strangely written) aria uses the text: You are a woman, so I expect you to be inconstant and unfaithful, but I forgive you; I am a man and will fall in love with other women, just enjoy it!. It's either a very modern marriage or slightly insulting, you decide. In two recit and aria format, the arias both largo and without ritornelli.
Range: d - g'
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Continuo cantata: Ò Pastori io v'avviso
Editor: James Sanderson
Forces: soprano & continuo
Description: Source BL MS Add 14225.
A charming pastoral cantata with a text advising Shepherds to stay away from beautiful shepherdesses! The last aria has a written out upper part for the continuo, possibly to be played on a violin or flute.
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Continuo cantata: Occhi belli, occhi vaghi
Editor: James Sanderson
Forces: soprano & continuo
Description: Besotted! The lover compares his beloved's eyes to the stars under the influence of Cupid and his bow and arrows. "Joy and torment are gifts of the God of Love". In RARA format, the first aria a twisting larghetto the last a joyous allegro
Source: Münster Santini HS 3313(7)
Range: d - g'
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Continuo cantata: Oh Dio, che non è vero
Editor: James Sanderson
Forces: alto & continuo
Description: Cantata Op. 1, no. 11
Metastasian text in which the lover bemoans the absence of the beloved.
A beautiful lento as the first aria, quite exquisite.
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Continuo cantata: Oh se fosse il mio core
Editor: James Sanderson
Forces: alto & continuo
Description: Cantata Op. 1, no. 10
Text by Metastasio in which the lover pleads for the chance to prove his love.
A beautiful affettuoso aria and a mad allegro to finish.
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Continuo cantata: Ombre amiche, ombre care
Editor: James Sanderson
Forces: soprano & continuo
Description: With a text almost identical to the Marcello cantata Piante amiche, ombre care this is a vivid setting of a pastoral text. Protected by the friendly shadows the lover promises eternal fidelity. RARA format, the first aria allegro the second a lovely Siciliano
Source: Münster Santini 3313(8)
Range: d# - g#'
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Continuo cantata: Or che una nube ingrata
Editor: James Sanderson
Forces: alto & continuo
Description: Cantata Op. 1, no. 8
Source: British Library copy of the 1735 edition.
Text by Metastasio, this time concerning a young man and what appears to be a wavering love for Clizia AND Irene!
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Continuo cantata: Ove mormora il rio
Editor: James Sanderson
Forces: soprano & continuo
Description: Using the simile of the suffering nightingale singing for his love, our valiant shepherd pines for Clori in this RARA format cantata. The first aria allegro paints a wonderful picture of the singing nightingale and the last, complicated aria shows the turmoil of the lover.
Source: Münster Santini Hs 3313 (Nr. 16)
Range: d - g'
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Continuo cantata: Pastorelle che piangete
Editor: James Sanderson
Forces: mezzo-soprano & continuo
Description: Source: Source: BL Add 14,214 ff 64v - 70v (only source)
Remarkable piece in aria - recit - aria format, text (possibly by Metastasio) dealing with how much the lover is prepared to give up for his beloved Irene. The writing is sinuous and very chromatic.
Range: d' - f''
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Continuo cantata: Per temprare l'ardenti faville
Editor: James Sanderson
Forces: soprano & continuo
Description: The flame of love's ardour is mentioned many times in this cantata text! in ARA format starting with a chromatic largo and finishing with what can only be described as a fiery allegro
Source: Münster Santini HS 3313 (9)
Range: e flat - g'
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Continuo cantata: Perchè mai si bruna siete
Editor: James Sanderson
Forces: soprano & continuo
Description: A simple yet lovely example of the genre with ARA format, the first and charming Largo and the second a challenging Allegro. Love is cruel again and our protagonist is being killed by the beuty of his beloved's eyes.
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Continuo cantata: Povero fior di Clizia
Editor: James Sanderson
Forces: alto & continuo
Description: 2 recit and aria format. Tells of 'Love's longing'. First aria (Largo) particularly beautiful.
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Continuo cantata: Quando penso esser disciolto
Editor: James Sanderson
Forces: soprano & continuo
Description: Well aware of the influence of Cupid, our lover strives to protect himself and his beloved from the darts of the God of Love. In ARA format with a beautiful 'pathetic' aria to start.
Source: Münster Santini HS 3313 (12)
Range: e - g#'
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Continuo cantata: Quanto s'inganna
Editor: James Sanderson
Forces: alto & continuo
Description: Is distance the cause or the cure of our lover's broken heart. He calls for medication, but what can help him? Clori is up to her old tricks again - you've got to feel sorry for her men, surely?
RARA format with two charming arias.
Range: c - e'
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Continuo cantata: Questa dunque è la selve
Editor: James Sanderson
Forces: alto & continuo
Description: Sources: BL Add 14214 and Add 14225
Aminta and Nice in a story of love denied and a woman spurned. 7 copies are known in both alto and soprano keys so it must have been a popular piece. An extensive work in recit - aria - recit - aria form.
Range: b - e'
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Continuo cantata: Queste che miri ò Nice
Editor: James Sanderson
Forces: soprano & continuo
Description: Cantata Op. 1, no. 4
Text by Metastasio - the pastoral delights of love summed up in the second aria with the claim of love and never finding greater happiness (having filled the first aria with the sadness of being in love).
Recit - Affettuoso - Recit - Allegro
Range: f' - a''
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Continuo cantata: Questo e il platano frondoso
Editor: James Sanderson
Forces: soprano & continuo
Description: From BL Add 14225.
Aria - recit - aria structure with beautiful chromatic inflections and virtuosic last movement.
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Continuo cantata: Rendimi ò bella Irene il cor
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add MS 14210 ff 96v - 103r (only source)
Irene's lover is showing great self restraint and, possibly, an inability to see what is actually happening with his beautiful girlfriend! 2 recits and 2 arias (lovely sighing larghetto and a twisting allegro).
Range: e - g#'
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Continuo cantata: Scrivo in te l'amato nome (Il Nome)
Editor: James Sanderson
Forces: soprano & continuo
Description: Cantata Op. 1, no. 5
One of Metastasio's most famous cantata texts - the story of Clori and Filomena.
Adagio - Recit - Allegretto
Range: e' - b flat''
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Continuo cantata: Se la rosa fresca, e bella
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add MS 14210 ff142v - 149r
A lovely cantata with a somewhat 'early' feeling to it. The recitative structure is as complicated as ever, but the arias are a little simpler than the later works. The story revolves around the attraction of bees to roses, in this case the rose is Irene and the bee is her erstwhile lover.
Range: e - f#'
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Continuo cantata: Se vuoi sapir perchè
Editor: James Sanderson
Forces: mezzo-soprano & continuo
Description: One of three aria-recit-aria cantatas in BL MS Add 29484, simple but very attractive. As with all three the range is troublesome and would suit a lowish soprano or highish alto. Subject: 'If you want to know why I no longer have a heart in my breast, ask the God of Love'.
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Continuo cantata: Sente pur, che Maggio è nato
Editor: James Sanderson
Forces: soprano & continuo
Description: As May is born and Summer begins everyone except Tirsi is feeling the 'swelling of love'. The shepherdess in love with Tirsi is obviously not happy about this. The two arias encompass very different moods, the first, a happy allegro (MIDI) is bright and hopeful, the latter a slow, non da capo larghetto places the blame for unrequited love fairly on the shoulders of Amor.
Source: Münster Santini Hs 3313 (Nr. 18)
Range: d - g'
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Continuo cantata: Sento una Tortorella
Editor: James Sanderson
Forces: soprano & continuo
Description: As a dove searching for its mate, the lover cries for his beloved in this beautiful example of the genre. In ARA format with some great bird calls.
Source: Münster Santini 3313 (5)
Range: e - g'
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Continuo cantata: Siedi Amarilli mia
Editor: James Sanderson
Forces: soprano/alto & continuo
Description: 2 recit and aria format, first aria accompagnato then secco. The story of Amarilli and Fileno and love's vicissitudes. First aria (largo) is very beautful. Source BL Add 14227 in hand of anonymous copyist. Catalogued in soprano key in Naples Conservatorio.
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Continuo cantata: Son tante e tante sono
Editor: James Sanderson
Forces: soprano & continuo
Description: She is the light of lights, the love of loves, oh could one find a more perfect woman? It's good old Clori again being praised to the heavens. In RARA format with a spiky largo and a thrilling allegro.
Source: Münster Santini 3313 (10)
Range: d - g#'
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Continuo cantata: Sorge la bella Aurora
Editor: James Sanderson
Forces: soprano & continuo
Description: The dawn rises and makes the fields golden and the flowers happy...the birds sing and all is right with the world! This is a lovel ARA format cantata from a copy in the Naples Conservatorio library. A beautiful Andante or Affettuoso begins it and the final aria is a fast and often virtuosic Allegro. The two arias separated by a typically complex Porpora recitative.
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Continuo cantata: Sotto l'ombra d'un faggio
Editor: James Sanderson
Forces: soprano & continuo
Description: Principal source BL MS Add 14229
extremely chromatic 2 recit and aria format (beneath the shade of a beech tree)
Subject: Tirsi and Clori and the vicissitudes of love
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Continuo cantata: Speranza del mio cor
Editor: James Sanderson
Forces: alto & continuo
Description: Source BL Add 14122
Virtuosic cantata for alto and continuo in two recitatives and arias
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Continuo cantata: Sù la cime d'un monte
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add 14215 (only source)
Beautifully crafted cantata in a very good and detailed copy. Tirsi is 'dolente' and mesto' yet again, this time starting at the top of a mountain.
Here he feels all the pain that love for Eurilla is causing. The first aria, Lento is a perfect evocation of this emotion.
Range: e flat' - g''
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Continuo cantata: Sù la fiorita sponda
Editor: James Sanderson
Forces: alto & continuo
Description: Source: BL Add 14214 ff 107v - 114v (only source)
On the flowery banks of the bubbling brook sits the vague Colinette enjoying the theatre of flowers and herbs in a text possibly by Metastasio. She does a lot of sighing and causes drooping (!). Two recit and aria form with an extraordinary first aria full of 32nd notes and a fiery last aria.
Range: c' - d''
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Continuo cantata: T'intendo si mio cor
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add MS 14210 ff 136v - 141r/Add MS 14157 ff 1v - 5v
A popular piece at the time, this cantata exists in MSS in libraries from the US to the UK and Italy. The text is based on Amor timido or Timid Cupid and may be by Metastasio. Aria (Adagio) - recit aria (Allegro) format, short but very sweet!
Range: f - g'
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Continuo cantata: Ti piacque non è vero
Editor: James Sanderson
Forces: alto & continuo
Description: Oh, the pain of unrequited love fills our protagonist in this simple but effective piece. In ARA format, both arias allegro
Source: Münster Santini Sammlung HS 3319 (only source)
Range: a - d'
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Continuo cantata: Tirsi chiamare a Nome
Editor: James Sanderson
Forces: soprano & continuo
Description: Cantata Op. 1, no. 3
Text by Metastasio in which poor Tirsi suffers the pangs of love again!
Recit - Affettuoso - Recit - Allegro (fiery)
Range: d' - a''
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Continuo cantata: Tocca à voi ò mie pupille
Editor: James Sanderson
Forces: soprano & continuo
Description: Another example of the futility of asking Love for help. In ARA format with a smooth 'pathetic' style opening and an allegro finish.
Source: Münster, Santini HS 3313 (13) Also attributed to Mancini in HS 2459 in a transcription for alto a 5th lower.
Range: d - g'
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Continuo cantata: Tu ten vai così festoso
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL MS Add 14214 146v - 152v
A popular cantata at the time of its composition, there are no fewer than 7 copies in collections from Italy to Scandinavia. An intensely chromatic recitative is surrounded by a beautifully crafted affettuoso aria and a quirky allegro/tempo giusto. Once again Clori is being difficult...
Range: e - g'
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Continuo cantata: Vedi mio core amante
Editor: James Sanderson
Forces: soprano/alto & continuo
Description: A further copy of a work thought only to exist in Italy and Scotland. This copy, written in alto clef is still quite high (to e) and in classic recit-aria-recit-aria form, the first aria 'affettuoso' the second 'presto'. Available in high and low keys.
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Continuo cantata: Veggo la selva e il monte
Editor: James Sanderson
Forces: alto & continuo
Description: Cantata Op. 1, no. 7
Source: British Library copy of the 1735 edition.
Virtuosic cantata for alto and continuo in two recitatives and arias.
Second aria is extraordinary!
Text by Metastasio
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Continuo cantata: Vidi la navicella
Editor: James Sanderson
Forces: alto & continuo
Description: Source: BL Add 14214 ff139v - 145v (only source)
Slightly careless copy of a cantata with some tremendous invention. Aria - recit - aria form, the text deals with a lovely simile of a boat on rough seas longing for the shore being like the treacherous waters of love.
Range: a - d'
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Cantata with obbl. inst.: Destatevi, destatevi o pastori
Editor: James Sanderson
Forces: alto, obbligato instrument & continuo
Description: Cantata Op. 1, no. 9
An extremely operatic cantata, 'Destatevi' has an obbligato part which alternates between written ritornelli, accompagnato recits, the simple designation accompagnato and arpeggiato bass indications. It could be played on a single line instrument such as flute/violin or on the keyboard.
Subject: the power of Love over shepherds and hunters.
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Instrumental: Concerto per Violoncello (G)
Editor: James Sanderson
Forces: violoncello solo, strings & continuo
Description: Porpora's G Major cello concerto from a contemporary copy in BL MS Add 14125. This performing edition comes complete with parts for orchestra and soloist. The MIDI preview is of the second movement - Allegro. There are four movements in total (Adagio (C) - Allegro (C) - Adagio (3/4) - Allegro (6/8)). The concerto is highly virtuosic and the solo writing well suited to the instrument.
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Instrumental: Sonata per violoncello
Editor: James Sanderson
Forces: cello & continuo
Description: From a copy in the British Library (Add 14125) this F major sonata provides some tricky passages for the instrument. Continuo figures are missing in the copy, however they have been provided in this edition.
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Collection: Cantatas Op. 1 (pt. 1 - soprano)
Editor: James Sanderson
Forces: soprano & continuo
Description: The first six of the cantatas dedicated to the Prince of Wales in 1735
All to texts by Metastasio, they are virtuosic, filled with beautifully written recitatives and arias, perhaps the high-point of Porpora's work in this genre.
D'amore il primo dardo
Nel mio sonno almen
Tirsi chiamare a Nome
Queste che miri o Nice
Scrivo in te l'amato nome (Il nome)
Già la notte s'avvicina
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Price: £ GB  15.95
Collection: Cantatas Op. 1 (pt. 2 - alto)
Editor: James Sanderson
Forces: alto & continuo
Description: The second six of the cantatas dedicated to the Prince of Wales in 1735
All to texts by Metastasio, they are virtuosic, filled with beautifully written recitatives and arias, perhaps the high-point of Porpora's work in this genre.
Veggo la Selva e il monte
Or che una nube ingrata
Destatevi, destatevi ò pastori
Oh se fosse il mio core
Oh Dio che non è vero
Dal povero mio cor
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Price: £ GB  15.95
Collection: Farinelli arias from Gli orti Esperidi (1721)
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: The four arias written for Farinelli in one of his first appearances. Here he sings the rôle of Adone. See the individual arias for MIDI preview - buy all four and save £££!
Includes: Se il morir, fosse mia pena;
Sarebbe nell'amar soave il sospirar;
Giusto Amor; and
Se son lontano dal mio diletto
Price: £ GB  10.95
Collection: Farinelli arias from Polifemo (1735)
Editor: James Sanderson
Forces: soprano solo with various orchestral accompaniments
Description: Five of the amazing arias written for Farinelli in Porpora's 'Polifemo'
See the individual arias for previews
Oh' volesser gli Dei/Dolci fresche aurette
Lontan dal solo e caro/Lusingato dalla speme agitato
Nell' attendere il mio bene
Alto Giove
Che dici or tu ch'ai poter che Giove?/Senti il fato
All in orchestral score.
Price: £ GB  13.95
Duet cantata with violins: Calcante ed Achille
Editor: James Sanderson
Forces: soprano, bass, violins, viola & continuo
Description: 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).
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Cantata with violins: Credimi pur che t'amo
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: Written in July of 1712 this edition uses the autograph source in the British Library. Scored for two violins, soprano and continuo and dealing with the vagaries of love this is definitely an early work, very similar in style to parts of Flavio Anicio Olibrio and reflecting an older style of cantata. It starts with a three part sinfonia, followed by two recitative and aria pairs (the last a particularly beautiful Siciliano).
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Cantata with violins: Ecco che il primo albore
Editor: James Sanderson
Forces: alto, violins & continuo
Description: From BL Add 14222.
Prelude - recit - aria - recit - aria structure with great contrast in mood and style.
Written in the period 1712 - 1715.
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Cantata with violins: Freme il mar
Editor: James Sanderson
Forces: alto, violins & continuo
Description: from an autograph manuscript in the British Library. Written in April 1720 (around the time of Porpora's first Roman successes) this is a very elegant piece in aria - recit - aria format dealing with poor old Fileno and his love for Nice.
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Cantata with violins: Il Ritiro: Lasciovi al fin grandezze
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: Retreat from Love! A substantial cantata for soprano and strings from a MS in the Naples Conservatorio. The copyist's work has been corrected and amended by Porpora himself and there is a wealth of articulation, figures and text adjustments to work from. A two-part sinfonia is followed by a secco recit, aria with strings, accompagnato recit and a final pastorale-style aria with strings.
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Cantata with violins: Il Vulcano
Editor: James Sanderson
Forces: soprano, strings & continuo
Description: 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.
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Cantata with violins: Or che d'orrido verno
Editor: James Sanderson
Forces: soprano, flute, strings & continuo
Description: A substantial cantata with a 2-part Sinfonia, then RARA, including a particularly beautiful Affettuoso aria on the theme of separation from the beloved and a virtuosic final aria railing against the sea.
Range: d - a'
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Cantata with violins: Venticel che trà le frondi
Editor: James Sanderson
Forces: mezzo-soprano, strings & continuo
Description: From a very clear contemporary copy in the British Library
A substantial cantata with a text concerning our old friends Tirsi and Clori. Range c# - f' and would suit a low soprano or highish alto. Excellent largo to start and a dramatic accompagnato recit. The feel is similar to the Venetian motets.
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Duet: Se fedel cor mio tu sei Gli orti Esperidi (1721)
Editor: James Sanderson
Forces: 2 sopranos, strings & continuo
Description: 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.
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Duet: Vanne e vivi con la speranza
Editor: James Sanderson
Forces: soprano, alto, violins & continuo
Description: A very popular duet by Porpora which is extant in a number of copies throughout the world. This edition is based mainly upon the copy in the British Library Add 31593. The lovers free one another to separate and live in hope.
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Giuseppe Porsile (1680 - 1750)

Work
Continuo cantata: Clori vezzosa, e bella
Editor: James Sanderson
Forces: soprano & continuo
Description: Source BL Add 14226 f 20r - 23v
Beautifully crafted arias with very sensible recitatives discuss an interesting excuse for infedelity. "I want to love you, but cruel jealousy makes me stray!"
Range: e' - a''
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Henry Purcell (b London, Sept 1659; d Westminster, London, 21 Nov 1695)

Work
Aria: Thy hand Belinda/When I am laid
Editor: James Sanderson
Forces: soprano, strings & continuo (arr. piano)
Description: Dido's lament from Purcell's Dido & Aeneas
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Price: £ GB  2.95
Song: 'Tis Nature's Voice
Editor: James Sanderson
Forces: voice & continuo
Description: From Orpheus Britannicus a complex and virtuosic 'Single Song'
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Song: Ah! how sweet it is to love
Editor: James Sanderson
Forces: voice & continuo
Description: A Song in Tyrannick Love, or the Royal Martyr - Orpheus Britannicus I,ii
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Song: Celia has a thousand charms
Editor: James Sanderson
Forces: voice & continuo
Description: A song in the Rival Sisters - Orpheus Britannicus I,i
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Song: If Musick be the Food of Love
Editor: James Sanderson
Forces: voice & continuo
Description: The first, and more elaborate, version of the famous song by Purcell- Orpheus Britannicus I,iv
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Song: Song: Fairest Isle
Editor: James Sanderson
Forces: voice & continuo
Description: Purcell's charming song
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Song: Song: Now That The Sun Hath Veiled His Light
Editor: James Sanderson
Forces: voice & continuo
Description: Purcell's beautiful 'Evening Hymn'
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Song: Whilst I with Grief did on you look
Editor: James Sanderson
Forces: voice & continuo
Description: A Song on Mrs. Bracegirdle's Singing (I Burn &c) in the second part of Don Quixote - Orpheus Britannicus I,iii
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Phillip Rossetter (b 1567/8; d London, 5 May 1623)

Work
Song: When Laura Smiles
Editor: James Sanderson
Forces: voice & lute (arr keyboard)
Description: A song extolling the charms and virtues of beautiful Laura
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Giovanni Felice Sances (b Rome, c1600; d Vienna, bur. 12 Nov 1679)

Work
Canzonetta: Mi fai peccato o pastorel
Editor: James Sanderson
Forces: 2 sopranos & continuo
Description: From Sances' 'Cantade' of 1633 (Pt. 2) a Canzonetta à Doi voci in two sections: triple time, brief common time then triple to finish with both triple sections being repeated. The text deals with the tribulations of pastoral love and the cruelty of Love.
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Canzonetta: Quando non ti risolvi
Editor: James Sanderson
Forces: 2 sopranos & continuo
Description: From Sances' 'Cantade' of 1633 (Pt. 2) a Canzonetta à Doi voci discussing the danger of loving Lilla (see Dialogo Amoroso à 2: Lilla e Fileno. In triple time throughout with seven verses.
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Cantada: Occhi sfere vivaci
Editor: James Sanderson
Forces: 2 sopranos & continuo
Description: Another substantial work from Sances 1st book of 'Cantades' of 1633. Divided into seven stanzas with two solos for each singer and three duets.
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Price: £ GB  4.95
Dialogo: Dialogo Amoroso à 2 - Lilla e Fileno
Editor: James Sanderson
Forces: soprano, tenor & continuo
Description: A stunning and substantial work from Sances 1st book of 'Cantades' of 1633. The MIDI preview gives an idea of the solo and 'insieme' writing in the piece. From start to finish the work becomes progressively more florid with interesting walking basses etc.
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Claudio Saracini (b Siena, July 1586; d Mirandola, Sept 1630)

Work
Song: Le Quinte Musiche - Langue al vostro languir
Editor: James Sanderson
Forces: voice & continuo
Description: Lamento style song from Saracini's 'Quinte Musiche' of 1624
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Song: Le Quinte Musiche - Partire oime partire
Editor: James Sanderson
Forces: voice & continuo
Description: Extended madrigal in 'lamento' style from the 'Quinte Musiche' of 1624 with Saracini's customary stretching of the harmonic progression.
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Song: Le Seconde Musiche - Care gioie
Editor: James Sanderson
Forces: voice & continuo
Description: Simple strophic song from Le Seconde Musiche (1620)
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Song: Le Seconde Musiche - Crudel tu vuoi partire
Editor: James Sanderson
Forces: voice & continuo
Description: Strophic song from Saracini's 'Seconde Musiche' of 1620 with 12(!) verses
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Song: Le Seconde Musiche - Giunto e pur Lidia il mio
Editor: James Sanderson
Forces: voice & continuo
Description: Extended madrigal from Saracini's 'Seconde Musiche' with wonderful harmonic shifts.
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Song: Le Seconde Musiche - Quest'amore quest'arsura
Editor: James Sanderson
Forces: voice & continuo
Description: Strophic song from Saracini's 'Seconde Musiche' of 1620
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Song: Le Seconde Musiche - Tra le pompe di morte
Editor: James Sanderson
Forces: voice & continuo
Description: Dramatic piece in the 'lamento' style with very adventurous harmonic progressions
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Song: Le Seconde Musiche - Udite lagrimosi spirti d'averno
Editor: James Sanderson
Forces: voice & continuo
Description: The first song from Le Seconde Musiche (1620). Dedicated to Monteverdi - Intitolato Al Molto Illustre Sig. Claudio Monteverdi Maestro di Capella della Serenissima Signoria di Venetia in San Marco.
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Song: Le Seste Musiche - Non più strali pungenti
Editor: James Sanderson
Forces: voice & continuo
Description: Strophic song with quirky rhythm and melody from Saracini's 'Seste Musiche' of 1624
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Song: Le Seste Musiche - S'io non ti toglio un bacio
Editor: James Sanderson
Forces: voice & continuo
Description: From seemlingly harmless beginnings this song develops a truly wicked harmonic and rhythmic side.
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Song: Le Seste Musiche - Tornate o cari baci
Editor: James Sanderson
Forces: voice & continuo
Description: Bright madrigal on the theme of love/death
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Domenico Natale Sarri(Sarro) (1679 - 1744)

Work
Continuo cantata: Bella maga di gnido
Editor: James Sanderson
Forces: soprano & continuo
Description: 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).
Range: e' - g''
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Domenico Scarlatti (b Naples, 26 Oct 1685; d Madrid, 23 July 1757)

Work
Continuo cantata: Ah! sei troppo infelice
Editor: Kate Eckersley & James Sanderson
Forces: soprano & continuo
Description: One of Scarlatti's late chamber cantatas recorded by Kate Eckersley
Sinuous opening arioso/recit with two straightforward arias and a secco recit in wich the lover deals with the pains caused by the Nume arciero.
Range: e' - g''
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Continuo cantata: Con qual cor
Editor: Kate Eckersley & James Sanderson
Forces: soprano & continuo
Description: Source: MS in the collection of the Royal College of Music, London
Hell hath no fury... in this aria - recit - aria cantata. With what kind of heart do you ask me for peace...ungrateful soul, traitor!
Range: c - g'
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Continuo cantata: Di fille vendicarmi vorrei
Editor: Kate Eckersley & James Sanderson
Forces: soprano & continuo
Description: Source: MS in the collection of the Royal College of Music, London
Aria - recit - aria format, the first remarkable for its chromaticism, the last for its sheer verve and virtuosity. The text deals with a young man whose love for Fille has caused him 'fierce grief' and leads him to pray to the God of Love for assistance.
Range: a - a''
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Continuo cantata: Fille già più non parlo
Editor: Kate Eckersley & James Sanderson
Forces: soprano & continuo
Description: Virtuosic cantata in two recit and aria format with a particularly fiendish last aria (see MIDI).
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Continuo cantata: No, non fuggire ò Nice
Editor: Kate Eckersley & James Sanderson
Forces: soprano & continuo
Description: Source: MS in the collection of the Royal College of Music, London.
Once again a young man sacrifices his personal happiness on the altar of unrequited love for Nice. In double recit-aria format, the spectacular second aria showing strong Spanish influence (MIDI preview).
Range: c - g'
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Continuo cantata: Qual pensier, quale ardire
Editor: Kate Eckersley & James Sanderson
Forces: soprano & continuo
Description: Fantastically dramatic piece with a vocal range of A - a' (at one point in a single phrase) First aria is exceptional, divided into alternating slow and fast sections and with a rolling triple B section. This is one angry lady!
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Continuo cantata: Se ti dicesse un core
Editor: Kate Eckersley & James Sanderson
Forces: soprano & continuo
Description: Source: MS in the collection of the Royal College of Music, London
Aria - recit - aria format, the last aria in two exciting and virtuosic parts in different time signatures. Here the text involves a rejected, though constant lover asking for the pity of his beloved.
Range: d - g'
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Continuo cantata: Selve caverne e monti
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add 14182
An attractive cantata by D. Scarlatti in recit/arioso - aria - recit - aria form with a text concerning the lover's search for his fleeing beloved.
Range: d' - g''
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Continuo cantata: Ti ricorda o bella Irene
Editor: Kate Eckersley & James Sanderson
Forces: soprano & continuo
Description: Source: MS in the collection of the Royal College of Music, London
Aria - recit - aria format with interesting major/minor juxtapositions in the last. It's the tale of another long-suffering lover willing to do anything for his beloved.
Range: b - a''
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Continuo cantata: Tu mi chiedi o mio ben
Editor: James Sanderson
Forces: soprano & continuo
Description: Our erstwhile suitor compares the beams from Filli's eyes to cupid's darts. These darts strike his heart and cause all the blood to flow from it - perhaps a trifle dramatic but certainly worth a sing! In RARARA format with some typically twisted harmonic and melodic shifts.
Source: Münster Santini Sammlung HS 864 (only source)
Range: e - g'
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Duetto da camera: Fille e Clori: Se per un sol momento
Editor: Kate Eckersley & James Sanderson
Forces: 2 sopranos & continuo
Description: Source: MS in the collection of the Royal College of Music, London
Duet - recit - aria - recit - aria - recit - duet all of which deal with the theme of love once lost and regained. The story of Clori and Fileno and their adoration for each other - how beauty can charm and defeat love simultaneously.
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Duetto da camera: Tirsi Caro
Editor: Kate Eckersley & James Sanderson
Forces: 2 sopranos & continuo
Description: Delightful duo cantata by Domenico Scarlatti. Duet - recitative - duet form.
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Cantata with violins: Che vidi, o Ciel, che vidi?
Editor: Kate Eckersley & James Sanderson
Forces: soprano, violins & continuo
Description: One of Domenico Scarlatti's most dramatic cantatas with violins: Heavens! Oh Heavens! Tirsi is languishing, and his face darkens with sorrow. Beside him, his faithful consort piteously expresses in a sad song the harsh pain in her heart, which arouses her bitter weeping. Or else, remaining silent, her glance seems to speak to him, saying "Are you leaving me and abandoning me?"
Commencing with a highly dramatic accompagnato with two cont5rasting arias and another recit both secco and accompagnato
Range: b flat - b'' flat
Source: MS in the Royal Music Collection now housed in the British Library.
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Cantata with violins: Dir vorrei
Editor: Kate Eckersley & James Sanderson
Forces: soprano, violins & continuo
Description: Our protagonist is hopelessly in love but unable to utter it to his beloved Nice. In three sections (ARA) with Domenico Scarlatti's typically complex vocal and instrumental lines.
Source: MS in the British Library
Range: c# - a''
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Cantata with violins: O qual meco Nice cangiata
Editor: Kate Eckersley & James Sanderson
Forces: soprano, violins & continuo
Description: Nice is being 'dishonourable' and ignoring her lover today. "...Oh, how you have changed towards me..." With a fiery allegrissimo introduzione, and RARA format within, this is Domenico Scarlatti stretching the skills of his singer again!
Source: MS in the Royal Music Collection of the British Library
Range: d - b flat''
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Cantata with violins: Piangete occhi dolenti
Editor: Kate Eckersley & James Sanderson
Forces: soprano, violins & continuo
Description: Weep, eyes weep... What a cheery subject! Love's passion at it's saddest in this virtuosic cantata by Domenico Scarlatti: ...I am in love, and my beloved scorns my pain; she has no feeling of pity...
Source: MS in the Royal Music Collection at the British Library
Range: c - a''
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Cantata with violins: Pur nel sonno almen tal'ora
Editor: Kate Eckersley & James Sanderson
Forces: soprano, violins & continuo
Description: Domenico Scarlatti's extraordinary setting of Metastasio's cantata. The format is two-part instrumental introduction, aria, recit, aria with typically virtuosic writing for both violins and voice. The subject is (Clori) mourning his lost Fille - lost to his rival Fileno. Summed up well in the final line: If for for a moment of dreaming I am happy, my torment increases with the coming day.
Range: c - a''
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Cantata with violins: Scritte con falso inganno
Editor: Kate Eckersley & James Sanderson
Forces: soprano, violins & continuo
Description: In receipt of a 'Dear Jane' letter our protagonist questions everything about it: "...What do you mean by your words 'I am not'..." She maintains her control until the middle section of the last aria where presto e risoluto she loses it completely. RARA format with some stunning vocal writing.
Source: MS in the British Library
Range: c# - a''
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Cantata with violins: Se fedele tu m'adori
Editor: Kate Eckersley & James Sanderson
Forces: soprano, violins & continuo
Description: Source: MS in the Royal Music Collection now housed in the British Library.
Well, this girl is very open-minded, allowing Tirsi to love whomever he wishes (Nice, Clori, Egeria, Fille) because: The flighty bee is not content to long for the beautiful rose. If it can show itself a lover to other flowers, it wants to fly into the midst of them all...
Range: c' - a''
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Cantata with violins: Tinte à note di sangue
Editor: Kate Eckersley & James Sanderson
Forces: soprano, violins & continuo
Description: Source: MS in the Royal Music Collection now housed in the British Library.
A fiery piece full of recrimination and anger, then self-pity and despair - a little like life really!! Written in blood, my betrayed heart sends these tormented words to you...think how much I have loved you, know that you are not mine, and weep for the pity of my plight Two recit and aria format, the last aria, similar to the Mancini setting of the same text, alternates fast and slow (MIDI)
Range: d - g'
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Alessandro Scarlatti (born Palermo, 2 May 1660; died Naples, 22 October 1725)

Work
Continuo cantata: Lasciami alquanto piangere
Editor: Brian Daw
Forces: soprano & continuo
Description: In this particularly sad cantata, Filen bemoans lost love and prepares to die: Let me weep, for I can say no more... Starting with a particularly beautiful Siciliano and ending with a typically breezy second aria, this delightful cantata is in aria - recit - aria format. Complete with optional continuo realisation.
Range: d - e' flat
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Continuo cantata: O voi di queste selve habitatrici
Editor: Brian Daw
Forces: soprano & continuo
Description: A fine example of Scarlatti's late chromaticism. The second aria Lento is particularly 'twisty'. Irene is bemoaning her unfaithful lover Lidio who has fallen for Filli, addressing the inhabitants of the woods and fields. A lot of help they're going to be with their track record! Complete with optional continuo realisation.
Range: e flat - g#'
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Continuo cantata: Agitato mio core
Editor: James Sanderson
Forces: soprano & continuo
Description: Dated on the first page as 'in Albano 1704'. Despite Eurilla's promise of fidelity her erstwhile beloved is nervous (small wonder with her track history) and his heart is all 'a-flutter'. RARA format with a particularly interesting format for the first aria Quietati.
Source: Münster Santini Sammlung Hs 3907(1)
Range: e - a''
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Continuo cantata: Amo, e negar nol posso
Editor: James Sanderson
Forces: soprano & continuo
Description: Dated on the first page as 'Decembre 1704'. A large work with three recits and arias, two of the arias being particularly exciting and the third a lovely Siciliano. The subject deals with the power of love, once again.
Source: Münster Santini Sammlung Hs 3907(4) There is also a possible attribution to Sarro
Range: d - a''
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Continuo cantata: Andate o miei sospiri
Editor: Kate Eckersley & James Sanderson
Forces: soprano & continuo
Description: "Go, oh my sighs, to Irene's heart, May it know of my pains by you..." An intensely chromatic work with two versions of the final aria. In most sources dated 10 March, 1712 and was composed in response to a cantata by Francesco Gasparini based on the same text. The second version of the final aria aria here is from a later version with the subtitle: con idea inumana, in regolato cromatico, ma non è per ogni professore – the final aria itself is inscribed with the words: Altr'aria capriccio dell' Autore
Range: d - g'
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Continuo cantata: Bei Prati, freschi rivi
Editor: James Sanderson
Forces: soprano & continuo
Description: A beautiful cantata showing Scarlatti in great inventive mode. The theme is of love lost or gone away: death would be preferable, but even after death he is sure still to long for her. He calls Nature to witness his suffering, but only the merest echo comes back as a reply. RARA format, both arias complicated and chromatic and the recitatives full of harmonic twists and turns.
Source: Münster Santini Sammlung HS 3915(3)
Range: c - g'
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Continuo cantata: Bella, bella quanto crudel
Editor: James Sanderson
Forces: mezzo-soprano & continuo
Description: Despite appalling treatment, Irene's lover remains constant and wants more (remind you of anyone?) Complex recits and some exciting chromatic harmonies in the arias. RARA format.
Source: Münster Santini HS 859 (11)
Range: d - e'
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Continuo cantata: Che Sisifo infelice
Editor: James Sanderson
Forces: soprano & continuo
Description: 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#'
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Continuo cantata: Cinta dei più bei fiori
Editor: James Sanderson
Forces: soprano & continuo
Description: "Surrounded by so many beautiful flowers" and so much beautiful music. This is a substantial pastoral cantata (with an appearance by the faithless Clori) in RARARA format. Sinuous recitative and stunning arias!
Range: e - g'
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Continuo cantata: Del lagrimoso lido
(Euridice dall'inferno)
Editor: Rosalind Halton
Forces: soprano & continuo
Description: 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''
R-A-R-A-R-A
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Continuo cantata: Del' Tirreno à le sponde
Editor: James Sanderson
Forces: soprano & continuo
Description: Source: BL Add MS 14211 ff 58r - 64r
This sad, pastoral cantata sees our hero Fileno languishing for lost love (of Clori of course) on the banks of the Tyrrhenian Sea - the scene of many a fevered brow! In double recit-aria format, both arias andante but vastly different. Some excellent changes from secco recit into arioso.
Range: e - g'
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Continuo cantata: Della spietata Irene
Editor: James Sanderson
Forces: soprano & continuo
Description: Why do these men keep coming back for more? This perfidious Irene can kill with a glance, has Cupid on her side and just doesn't care! One of Scarlatti's more chromatic offerings in RARA format, both arias full of peno. Range d - f'
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Continuo cantata: Dorisbe cacciatrice - Già sorge l'Alba
Editor: James Sanderson
Forces: soprano & continuo
Descrip