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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 <br>
Range: DD – e

Editor: James Sanderson

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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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Our lover’s anger is directed towards his beloved this time: "Ungrateful tyrant! I will never be free of this suffering before I die". In ARA format, each aria with its own distinct style and very singable melodies. Some very interesting accompanying writing as well!

Range: A – d

Editor: James Sanderson

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An unusual work from the collection of the Landesbibliotek Mecklenburg-Vorpommern, Mus. 4829. It is a love story between the two singers summed up by the final lines "…vivo sol per Clori/Dorino…"

The cantata is attributed to Alessandro Scarlatti in Grove, however Hanley was not sure and the style is unusual, no recits, but four duets with the central movement an harmonic mine-field.

Editor: James Sanderson

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Cantata for bass and strings, 2 arias and 1 recit

Source: autograph dated 16 July, 1710, Bibliothèque Nationale, Paris. Fileno is tormented by doubt and constant visions of Clori’s unfaithfulness. Aria 1 features a fully integrated texture of voice and 2 violin parts, with Aria 2 a vigorous piece for unison violins. Fine dramatic scoring.

Range: G – e flat’

Editor: Rosalind Halton

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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.
Editor: James Sanderson

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

Editor: James Sanderson

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d’Astorga’s beautiful setting of the Stabat Mater for SATB solo, SATB chorus, strings and continuo.

Editor: James Sanderson

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