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’

Editor: James Sanderson

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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’

Editor: James Sanderson

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

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

Range: c – g’

Editor: James Sanderson

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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’

Editor: James Sanderson

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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’

Editor: James Sanderson

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"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’

Editor: James Sanderson

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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”

Editor: James Sanderson

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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

Range: d – a flat’

Editor: James Sanderson

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