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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A significant work for voice and instruments on a pastoral theme in varied formats of aria, arioso, strophic song etc. The accreditation to Scarlatti is potentially disputed, the source is Münster Santini Sammlung Hs 3975, provided by Sascha Mommertz. The cantata is inscribed:
Cantata con violini e flauti Del Sigr Allesso Scarlatti

A pastoral idyll, once again love is thwarted by Clori!

Editor: James Sanderson

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Fillide is totally in love with Olindo and hopes that Cupid will support her love (she’s not confident!) while he is away (lontananza). A lovely, simple example of a single line obligato accompaniment to soprano and continuo.

The source is Münster Santini Sammlung Hs 3975, provided by Sascha Mommertz. The cantata is simply inscribed Cantata a voce sola con flauto and there may be some question as to the attribution to A Scarlatti, although Hs 3975 contains a large number of cantatas ascribed to A Scarlatti.

Editor: James Sanderson

The post A Scarlatti: Chi sè dove è la speranza appeared first on Cantata Editions.

Source: Santini Sammlung, Diözesan Library, Münster: Hs. 3975, ff. 35-59v

The image of the caged bird appears frequently in vocal music of the Italian baroque – maybe a poignant image to the many castrati whose voice was itself the cage within which life was lived. In cantatas such as ‘Augellin’, the bird functions as symbol of the lover imprisoned by the pain of love unreturned. 3 arias and two recits.

Editor: Rosalind Halton

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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.

Editor: James Sanderson

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A charming cantata in aria-recit-aria form.

Source: BL MS Add 14222

Editor: James Sanderson

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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’

Editor: James Sanderson

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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.

Editor: James Sanderson

The post A Bononcini: Idol mio bel tesoro appeared first on Cantata Editions.

The eternal ‘if’ cantata. ‘If my heart was able to enjoy sweet peace…’ A really beautiful opening Affettuoso/Amoroso aria, quick, to the point recitative and a snappy little Andante to finish. This is a really enjoyable piece!

Source: Biblioteca del Conservatorio di musica S. Pietro a Majella – Napoli: 33.5.24 (24)

Editor: James Sanderson

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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’

Editor: James Sanderson

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