Some of the Carissimi’s most profound and substantial works are given in this manuscript, and Si dia bando alla speranza may be counted as one of the lightest and most appealing pieces in the manuscript, which also contains a copy of the popular Bel tempo per me se n’andò.

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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. <br>
Range: d’-a”

Editor: Rosalind Halton

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The subject is of lovers parting. The debate is about who suffers most – the one who has to leave, or the one left behind. A fine accompagnato recitative introduces the cantata, which is more lyrical than virtuoso. Aria 1 is an elegant siciliano on the theme of two souls as ship and harbour. Aria 2 returns to the musical idea of the opening accompagnato: departure is equated with death, but made sweetened by constancy. Here the violin figurations are ornate, the harmonies intense, and the singer is invited to display a range of an octave and a 5th in the space of 2 quavers.
RARA (2 arias are for unison violins)

Vocal range: G#-d’

Source: Biblioteca del Conservatorio, Naples.

Editor: Rosalind Halton

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Conservatorio di Musica, Napoli: 34.5.10

Happy meeting of Tirsi and Clori; virtuoso writing for bass in the first recitative.

Range: G-e’. B minor/A minor.

Editor: Rosalind Halton

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Su’l margine d’un rio is an immensely attractive work, less intense in both musical style and subject than many of Scarlatti’s cantatas. The shepherdess at the banks of a river does not feel inclined to waste herself on a lukewarm lover: “…learn to love, then come back to me if you like…”

Sources: Münster Santini Sammlung HS 3908, Paris, Bibliothèque Nationale, X-639

Range: d – b” flat

Editor: Rosalind Halton

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‘Silentio, aure volanti – the pain of unrequited love in a sinuous cantata of the night. Arioso interwoven into a contrapuntal 4 part texture is a feature of this early work, whose central aria ‘Piangerò’ is a profound lament in C minor. ‘Silentio, aure volanti’ can be heard on ‘Olimpia and other Cantatas by Alessandro Scarlatti’, chacona (ABC Classics 461 687-2).

Range d’-a”.

Editor: Rosalind Halton

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“Irene is so beautiful when she wears white – it reminds me of the colour of my devotion to her.” A delicious work for low soprano (or high counter tenor) and violins, in Scarlatti’s later Neapolitan galant style. Transparent textures and buoyant melodic lines are the colour of this sparkling work.

Vocal range: c’ – f#”.

Editor: Rosalind Halton

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This autograph cantata consists of 3 recitatives and 3 arias, with instrumental introduction for 2 paired groups – solo violin and cello, with answering recorder and harpsichord. Performance markings from the surviving partbooks have been incorporated. The unusual scoring gives each instrument in turn a starring role, ending with the recorder cooing of the turtle-dove in Aria 3.

Source: Münster Santini Sammlung

Range: d’-g”

Editor: Rosalind Halton

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range: e’-g” The storms of love come to an end. The final aria ‘andante amoroso’ Siciliano is a great, touching example of the genre, and recitatives show the virtuoso declamatory style of Scarlatti at the height of his creativity. 2 recits, 2 arias.

Editor: Rosalind Halton

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28 August, 1705, autograph source in New Haven, Yale (Scarlatti’s ‘cantata diary’).
Penetrating melismatic recitatives, with final aria in Siciliano style. Scarlatti’s complex chromatic style.

Range: e flat’- g”. C minor/F minor.

Editor: Rosalind Halton

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