In this large and complex cantata, the protagonist is sitting on the flowery banks of a limpid stream bemoaning the absence of his beloved. He calls to the waves and the wind in the first aria (adagio) to take his love to her, he sings how her image is carved on his heart in the second aria (à tempo guisto) and the final aria is a chromatically complex andante in cut common time. Dated 13th December, 1704 on the first page.

Source: Münster Santini Sammlung 3907(5)

Range: d – f’

Editor: James Sanderson

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An paean to the beloved who ‘..resembles a goddess…’ with eyes like archers and his heart the target. A considerable piece with string introduction, three arias and two recit/arioso movements.

Source: Münster Santini Sammlung HS 860

Range: d – g’

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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A virtuosic and taxing cantata in 10 sections. “…on the banks of the Tiber…faithful Aminta, from his infinite sadness cried to Heaven and Earth of the scornful Clori “I am betrayed”…’

Source: Florence, Conservatorio Luigi Cherubini D 2364

Range: d# – a”

Editor: James Sanderson

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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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Sources: BL Add MSS 14213 & 31509

Tirsi seems to be unhappy sotto l’ombra again, calling for his beloved Climene in this extraordinarily chromatic cantata Dall’occulto A.S.. In double recit-aria format with frequent tempo changes in the last aria.

Range: c – f#’

Editor: Kate Eckersley & James Sanderson

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‘I am content to suffer the cruelty of my beloved, because he means more to me than life itself’ Yeah right! Another example of Alessandro Scarlatti’s sinuous style, with some tremendous chromaticisms. ARA format.

Range: d – g

Editor: James Sanderson

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A wonderful pastoral setting ‘This is the forest…’ but once again Nice is not being nice and is abandoning her lover. His cries and plaints, his promises of eternal love are all for naught as he is deserted… This is a really complex work with huge recitatives, RARA format.

From 5 sources in the Biblioteca del Conservatorio di musica S. Pietro a Majella – Napoli: Cantate 255 (26), 256 (7), 267 (6), 266 (62). There is also a copy in 264 (20) which pitches the recitatives a tone higher and the second aria in a minor rather than d minor.

Editor: James Sanderson

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Dated on the first page as June of 1704. Amore is playing his tricks again and has had his usual effect! RARA format with a complicated first aria largo.

Source: Münster Santini Sammlung Hs 3907(2)

Range: d – a”

Editor: James Sanderson

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