Here our lover tells the nightingale to be silent and simply moan at the sadness he feels. Beautiful music with a depressing subject. Dorinda, it seems, is playing hard to get and our protagonist is lamenting the fact. Very much an alto cantata (going down to a bottom G) this is a fine example of the simpler ARA format with some delightful word-painting in both arias and recitative.

Source: Naples Conservatorio.

Editor: James Sanderson

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Source: BL Add MS 64960

Formerly owned by Maria Ducarel, recorded (f. ii verso) as a gift to her from George Henry Lee, 3rd Earl of Lichfield, in 1768. This charming cantata uses the water flowing into the sea simile to describe longing for the beloved. In aria (Larghetto) – recit – aria (Allegro) format.

Range: b – e’

Editor: James Sanderson

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"…to live and not to love…" is a crime according to our erstwhile lover here. She, however, loves Tirsi above all else and credits Cupid with her choice. In RARA format, including a beautiful largo and a delightful menuetto – short and with a small (one octave) range.

Source: BL Add MS 31545

Range: a’ – a”

Editor: James Sanderson

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Miserable Mirtillo is complaining of the rigours and upsets of his love for Dorinda. In RARA format, allegro and adagio arias provide pathos and brilliant coloratura.

Range: d# – a”

Editor: James Sanderson

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Veiwing the painful side of love, Eurilla searches for her Armindo in the garden of Love, but can find not even a breath of him. In RARAR format with two curiously ‘twisted’ arias – affettuoso and largo and finishing with a sinuous recitative.

Source: BL Add MS 31545

Range: d – g’

Editor: James Sanderson

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Source: BL Add MS 14213 ff 103v – 110r

Bononcini’s setting of a very popular cantata text. A boy unhappy with his Clori again. She is a minx! Two very different arias with a lovely sobbing line in the first sospira à miei sospiri and a matter-of-fact final andante – pensa ch’un nouvo amante non ti sarà costante!

Range: c – d’

Editor: James Sanderson

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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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Finally the boys are getting their revenge on Clori. Tired of too much suffering, she turns to the God of Love to ask for pity, but does he help her…? In RARARA format with two sprightly vivace arias following an expressive largo.

Source: BL Add MS 31545

Range: e – a’

Editor: James Sanderson

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A slightly odd and disturbing discussion about how close our love of love is to our love of a little torment. RARA format with two sprightly arias.

Source: British Library Add MS 31545 ff 7r – 12r

Range: d – g’

Editor: James Sanderson

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In this pastoral scene the golden shafts of Cupids darts fly from the beloved’s eyes and pierce his heart. Despite the pain he decides that mercy and silence are the only solution. RARAR format, lento, allegro and the last recit becoming an arioso.

Source: BL Add MS 31545

Range: c – g’

Editor: James Sanderson

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