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General Editor: James Sanderson  
Cantata Editions Catalogue

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Your search has produced 63 results from the following 10 composers

Bononcini, Giovanni | d'Astorga, Barone Emanuele | Hasse, Johann Adolph | Leo, Leonardo | Mancini, Francesco | Pepusch, Johann Christoph | Porpora, Nicola Antonio | Scarlatti, Alessandro | Scarlatti, Domenico | Vinci, Leonardo | Please scroll down to view...

Bononcini, Giovanni (1670-1747)

Cantata with violins
  • Alle sue pene intorno
    Forces: soprano, violins & continuo
    As they say, 'Hell hath no fury as a woman scorned...' Filli has been rejected by her lover and although she at first threatens all manner of pain to Cupid, she then calls for the furies to bring her poison to end her suffering. In RARA format, the first aria a witty Minuet, the second a two-tempo allegro then largo. Single Unisoni violin part.
    Source: BL Add 31518 13r - 16r
    d - a flat'
    Editor: James Sanderson
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  • Barbara ninfa ingrata
    Forces: soprano, violins & continuo
    Tirsi is railing at Clori in this large, dramatic cantata. She has gone off and left him again and he wants his life to end. Such drama! 3-part prelude, then RARA format.
    Source: 1721 edition in British Library
    Range: d - b flat''
    Editor: James Sanderson
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  • Care luci del mio bene
    Forces: alto, violins & continuo
    "Dear eyes of my beloved, you would be more beautiful still if you had some pity for me..." Nice is not being nice (again), nevertheless her erstwhile suitor remains faithful and hopes for her pity on his plight. ARA format with some stylish writing for both voice and violins.
    Source: 1721 edition in the British Library
    Range: a - e'
    Editor: James Sanderson
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  • Ecco Dorinda il giorno (alto)
    Forces: alto, strings & continuo
    Contemporary copy (see soprano version below) of the first cantata in the 1721 edition dedicated to George I. (2-part prelude then RARARA format. All arias most singable with a virtuosic presto in the middle. Our young lover is leaving his Dorinda and makes a real song and dance about it!
    Source BL Add 14226 f57 - 70r
    Range: d - b flat'
    Editor: James Sanderson
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  • Ecco Dorinda il giorno (soprano)
    Forces: soprano, violins & continuo
    The first cantata in the 1721 edition dedicated to George I. 2-part prelude then RARARA format. All arias most singable with a virtuosic presto in the middle. Our young lover is leaving his Dorinda and makes a real song and dance about it!
    Source: British Library copy of the 1721 edition
    Range: B flat - f'
    Editor: James Sanderson
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  • Il Lamento d'Olimpia
    Forces: soprano, violins & continuo
    Olimpia's famous lament on being deserted by her beloved Bireno. Here a more thoughful, melancholy variation in the theme rather than the usual tempestuous versions of other composers. 2-part prelude for the strings followed by RARA format cantata.
    Source: 1721 edition of cantatas and duets in the British Library
    Range: c - g'
    Editor: James Sanderson
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  • Misero pastorello
    Forces: alto, violins & continuo
    At least this time the shepherd is not bemoaning being trerated badly by his beloved. He missed the fields with his sheep and looks forward to returning. 2-part prelude, then RARA format. It is a considerable work.
    Source: 1721 edition in the British Library.
    Range: G - d'
    Editor: James Sanderson
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  • Siedi Amarilli mia
    Forces: alto, violins & continuo
    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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d'Astorga, Barone Emanuele (1680 - ?1757)

Cantata with violins
  • Che fai, che pensi, e che risolvi?
    Forces: soprano, violins & continuo
    The course of true love never runs smooth and in this delightful story of Aminta & Dorinda two emotions play in her heart - disdain and love - what will the outcome be? Dorinda will remain constant!
    Source: (autograph?) in the British Museum RM.22.a.8(1)
    Range: d - a''
    Editor: James Sanderson
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Hasse, Johann Adolph (1699-1783)

Cantata with violins
  • È ver, è ver mia Fille
    Forces: alto, strings & continuo
    Source: BL Add MS 14213 (only source)
    Once again a young man's love is being rejected by a heartless shepherdess. 2 recit & arias format with a large dominant pedal presence!
    Range: d - e'
    Editor: James Sanderson
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  • Infelice tortorella
    Forces: alto, strings & continuo
    Source: BL Add 14213 ff 37v - 48v (only source)
    This a charming cantata with an opening ritornello vaguely reminiscent of the Vivaldi Gloria. Three movements: aria (larghetto e staccato), recitative and aria (allegretto)
    The theme is Arcadian, this time the shepherd(ess) compares him/herself to the dove and the way it behaves when separated from it's love.
    Range: a - e'
    Editor: James Sanderson
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  • Per palesarti appieno
    Forces: mezzo-soprano, strings & continuo
    Dated London, 1751 this cantata can be performed with either violins or flutes/recorders - it is unclear from the source as to which instrument was preferred (althoug if pushed I would probably lean towards flutes/recorders because of the instrumental writing in the first aria - Amoroso).
    The subject is a rather coy lady, probably in love with the Fileno to whom she speaks, but who knows?
    Range: c' - f''
    Editor: Kate Eckersley & James Sanderson
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Leo, Leonardo (1694 - 1744)

Cantata with violins
  • Che farai, Lidia cara!
    Forces: alto, strings & continuo
    Sources: BL Add 31618 f20v - f38 and MS 22.g.9.8
    The subject matter is Arcadian and concerns the unrequited love of a young man for Lidia.
    A string prelude 'Alla francese' with two recit and aria pairs. The arias are particularly beautiful.
    Range: b' - f#''
    Editor: James Sanderson
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  • Chiesta da numi a morte (L'Andromeda)
    Forces: soprano, strings & continuo
    Source: BL RM MS 22.g.9 (9)
    From a copy in the Royal Music Collection thought to be the only one (Pastore), this is a wonderful piece with a flaw. It is missing the first two lines of text for the second recitative - odd! It works, however and the poetry balances without it. Something strange here so we have decided to make it available. In 2 recit and aria form (arias con spirito e vivace and tempo giusto the second recit accompagnato) it describes the plight of Andromeda, her plaint to the Gods, the arrival of her erstwhile rescuer Perseus and his call to the Gods to have mercy. It is full of 'pre-classical' markers such as strong dominant pedals, greater chordal movement in accompanying parts, the use of chromatic melody, many dynamic markings and rapid changes from passages in tonic major and tonic minor.
    Editor: James Sanderson
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  • Di contento di gioia e diletto (arr)
    Forces: soprano, violins & continuo
    Leo's Christmas cantata realised for violins, soprano and continuo. Two arias separated by a recitative, last aria is a particularly beautiful Siciliano.
    Editor: James Sanderson
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  • Dite vedesti forse una donzella
    Forces: soprano, violins & continuo
    The never-ending search for Nice fills this virtuosic cantata. Lovely imagery including lions, tigers, waves and ships in RARA format. The first aria is full of pathos, calling for the nightingale, the second, following a recitativo accompagnato is fast and furious, a 'navigante' aria. with a range extending to high B flat, this is quite a piece of work!
    Editor: James Sanderson
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  • Dove son, dove m'aggiro?
    Forces: soprano, strings & continuo
    Source: BL R.M. MS 22.g.9.6
    A lovely work with some terrific chromatic melodic and bass lines mimicking the sighs of the disappointed lover - very experimental? This lover is totally confused and is suffering greatly from the vicissitudes of Amor.
    Range: c - b flat''
    Editor: James Sanderson
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  • Il Figliuol Prodigo
    Forces: soprano, strings & continuo
    Source: BL RM 22.g.9(4)
    With a text written in the first person from the point of view of the Prodigal Son, this is a splendid example of both piety and inventiveness. Using all the chromatic skill typical of the so called 'Neapolitan School' Leo weaves an emotional musical story around the text. The form is (instrumental) introduction, recit, aria, recit, aria with a great deal of variation.
    Range: d - g'
    Editor: James Sanderson
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  • Il Giudizio
    Forces: soprano, strings & continuo
    Source: BL RM 22.g.9(5)
    A call to repent and follow Christ in this superb example of the genre. Substantial (Instrumental introduction, recit, aria, recit, aria - both recits secco and accompagnato).
    Range: d - g'
    Editor: James Sanderson
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  • Or ch'è dal sol difesa
    Forces: soprano, strings & continuo
    Source: BL Add 31618
    In this delightful pastoral cantata, Angelica dallies in the fields and love is compared to all the flowers, but don't forget the thorns which also come with the most beautiful roses! The trials and tribulations of love in aria - recit - aria format.
    Range: c# - a''
    Editor: James Sanderson
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  • Sorge Lidia la notte
    Forces: soprano, strings & continuo
    Source BL Add 31618 - a manuscript conatining a number of orchestral cantatas by Leo in copies of varying quality.
    The format is sinfonia - recit - aria - recit - aria and the general feel is that peculiar pre-classical sound with repeated bass notes and many pedals. A charming cantata in which the lover compare's the beloved's absence to the shadows of night. Very romantic!
    Range: Bb - g'
    Editor: James Sanderson
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  • Tormentoso pensiero
    Forces: soprano, strings & continuo
    Source: BL MS Add 31618
    From a selection of Leo orchestral cantatas in copy, this is a charming example of the genre. Two recit and aria format, both arias in an extremely late baroque style.
    The text deals with a young man's absence from his beloved Eurilla.
    Range: d - b flat''
    Editor: James Sanderson
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  • Vado dal piano al monte
    Forces: soprano, strings & continuo
    Source: BL Add 31618
    Searching from field to plain the lover cannot find his beloved Clori and his sadness is killing him - the melodrama! Aah...
    In aria - recit - aria format, the first a beautiful Larghetto the last a gracious Allegretto.
    Range: e - a''
    Editor: James Sanderson
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Mancini, Francesco (1672 - 1737)

Cantata with violins
  • Dir vorrei quel bel contento
    Forces: soprano, violins & continuo
    A charming cantata with strings by Mancini. Our protagonist has lost his love, but being pragmatic has resigned himself to the possiblity of the loss being permanent whilst still hoping for a reconciliation. In ARA format with lovely writing for both voice and strings. The source is a MS in the collection of the Biblioteca del Conservatorio di musica S. Pietro a Majella – Napoli: Cantate 41 no 6.
    Editor: James Sanderson
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  • La Rosa
    Il bianco piè della più bella Diva
    Forces: soprano, strings & continuo
    A large and impressive work, this cantata contains an opening sinfonia, three recits and arias and, unusually, a solo cello line in the middle aria. The story of the first rose and how its beauty compares with that of Clori. Range d' - g''
    Editor: James Sanderson
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  • Quanto mai saria più bella
    Forces: soprano, violins & continuo
    Being compared to a stream may not be every girl's idea of a compliment, and Irene is no exception. Our young shepherd loves her, but is worried she is not faithful. Two arias surround a busy recitative and the key is in our shepherd's final words: If the heart is a traitor all the beauty of a lovely face cannot make me a lover!!
    Editor: James Sanderson
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  • Se nascessero mille Amori
    Forces: soprano, 2 violins & basso continuo.
    A really stunning example of the genre. In Aria - Recit - Aria and with some very lovely vocal lines, typical of Mancini at his best. It is the story of Eurillo and Clori and how the course of real love never runs smooth.
    Editor: James Sanderson
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  • Sotto l'ombra d'un faggio
    Forces: soprano, violins & continuo
    Beneath the beech tree this time is Dalindo in relective mood. He dwells on the pain of disdain and the 'soothing balsam of love'. In RARA format, the violins providing a ritornello in the first aria and an integral echoing role in the second siciliano aria. Source: Münster Santini Sammlung HS 860
    Range: e - b'' flat
    Editor: James Sanderson
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Pepusch, Johann Christoph (1667 - 1752)

Cantata with violins
  • Fragrant Flora Hast Appear (The Spring)
    Forces: soprano, strings & continuo
    The third of the 1710 'Six English Cantatas...'
    Source: The BL copy of the original edition.
    A shepherd's paeon to Spring and Love.
    Editor: James Sanderson
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Porpora, Nicola Antonio (b Naples 1686; d. Naples 1768)

Cantata with violins
  • Credimi pur che t'amo
    Forces: soprano, strings & continuo
    Written in July of 1712 this edition uses the autograph source in the British Library. Scored for two violins, soprano and continuo and dealing with the vagaries of love this is definitely an early work, very similar in style to parts of Flavio Anicio Olibrio and reflecting an older style of cantata. It starts with a three part sinfonia, followed by two recitative and aria pairs (the last a particularly beautiful Siciliano).
    Editor: James Sanderson
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  • Ecco che il primo albore
    Forces: alto, violins & continuo
    From BL Add 14222.
    Prelude - recit - aria - recit - aria structure with great contrast in mood and style.
    Written in the period 1712 - 1715.
    Editor: James Sanderson
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  • Freme il mar
    Forces: alto, violins & continuo
    from an autograph manuscript in the British Library. Written in April 1720 (around the time of Porpora's first Roman successes) this is a very elegant piece in aria - recit - aria format dealing with poor old Fileno and his love for Nice.
    Editor: James Sanderson
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  • Il Ritiro: Lasciovi al fin grandezze
    Forces: soprano, strings & continuo
    Retreat from Love! A substantial cantata for soprano and strings from a MS in the Naples Conservatorio. The copyist's work has been corrected and amended by Porpora himself and there is a wealth of articulation, figures and text adjustments to work from. A two-part sinfonia is followed by a secco recit, aria with strings, accompagnato recit and a final pastorale-style aria with strings.
    Editor: James Sanderson
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  • Il Vulcano
    Forces: soprano, strings & continuo
    A stunning, large work with some really impressive vocal writing, both in the recitatives and the 2 arias. Opening with a Sinfonia in two parts, Vulcan bemoans Venus and her inconstancy. Not, perhaps, an ideal wife for him after all! The first aria, Largo is expressive and virtuosic and the final aria is appropriately fiery.
    Editor: James Sanderson
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  • Or che d'orrido verno
    Forces: soprano, flute, strings & continuo
    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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  • Venticel che trà le frondi
    Forces: mezzo-soprano, strings & continuo
    From a very clear contemporary copy in the British Library
    A substantial cantata with a text concerning our old friends Tirsi and Clori. Range c# - f' and would suit a low soprano or highish alto. Excellent largo to start and a dramatic accompagnato recit. The feel is similar to the Venetian motets.
    Editor: James Sanderson
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Scarlatti, Alessandro (born Palermo, 2 May 1660; died Naples, 22 October 1725)

Cantata with violins
  • Cantata notturna
    Forces: soprano, violins & continuo
    'Filli che fra gl'orrori di notte si tranquilla'
    Outpourings of the lover to Filli in the quiet of night A concise yet heartfelt composition, dated 1706, for low-mezzo soprano and unison violins: an ideal introduction to the art of singing with an obligato part in Scarlatti's style.
    Vocal range: d'-f''
    Editor: Rosalind Halton
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  • Cantata Pastorale, 1716
    Forces: voice, 2 violins & continuo
    'Non sò qual più m'ingombra': the first published modern edition with parts of 'the other' Christmas solo cantata, based, with kind permission, on the autograph score in the Deutsche Staatsbibliothek zu Berlin.
    The low soprano range of the vocal part lends itself to performance by various voice types, e.g. mezzo soprano or countertenor. The work opens with a masterly accompanied recitative on the wonder of the Christmas story. The two arias beautifully contrast Scarlatti's most ornate 'modern' style with the simplicity of the final Siciliano, with its message of peace to the whole world.
    Range: d'-e''
    Editor: Rosalind Halton
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  • Cantata pastorale: O di Betlemme altera
    Forces: soprano/alto, strings & continuo
    Source: BL Add 14165 ff202r - 217v
    Scarlatti's beautiful narrative Christmas Cantata, made up of introduzzione (allegro/[pastorale]), recitative, andante, recitative, andante, recitative, pastorale.
    Range: c - a''
    Editor: James Sanderson
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  • Fileno, quel Fileno
    Forces: soprano, violins & continuo
    The work consists of the two recitative-two aria structure, with each aria accompanied by unison violins, and in the keys of B minor and G major respectively. The attribution is added in what is apparently the same hand providing the attribution and date to a number of cantata and serenata manuscripts in the Santini Collection, including Filli che fra gl'orrori, dated 1706.
    In the beautiful kingdom of love there is hope only when faith reigns in a heart.
    Vocal range: e’-g’’
    Editor: Rosalind Halton
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  • Hor che di Febo
    Forces: soprano, violins & continuo
    One of Scarlatti's masterpieces for soprano with violins. This solo Serenata, introduced by its Corellian Sinfonia, traces the journey of a lover who aims to steal a glimpse of the sleeping beloved. The image of love as a flower pushing through the icy ground, with shivering violin figures, leads to the final sublime aria and unaccompanied farewell of the lover. Includes score.
    Range: d'- a'''
    Aria 3, violins marked 'soli' in one source.
    Editor: Rosalind Halton
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  • Imagini d'orrore
    Forces: bass, violins & continuo
    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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  • La Fenice
    Forces: soprano, violins & continuo
    The phoenix which rises immortal from its ashes is the symbol of freedom from the bonds of love in this cantata - a mascot for the nymphs and shepherds of Arcadia. Aria 1 shows an unusual example of a theme from the Introduction being reworked into an aria. Arias in C major, G minor, A minor and B minor range from brilliant to pensive, robust to elusive, leading to the serene conclusion of the phoenix's ascent to heaven - in recitativo accompagnato.
    Source: Münster, Santini Collection, HS.3928
    Range: eb'-g''.
    Editor: Rosalind Halton
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  • Mentre Clori la bella presso un ruscel sedea
    Forces: soprano, violins & continuo
    Another fine example of how many things can happen by a stream! Here we have the happy neeting of Clori & Tirsi (for a nice change). 3 arias (2 with violins) and three recits, the first pair for a narrator character, the second for Tirsi and the third for Clori herself.
    Source: Münster Santini Sammlung Hs 3904(18)
    Range: c# - a''
    Editor: James Sanderson
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  • Nel silentio commune di notte si tranquilla
    Forces: soprano, 2 violins,viola & basso continuo.
    A great work based on the Petrarchan theme of the lover who sighs alone while nature sleeps. Beginning with a hushed recitative accompagnato, the cantata has a total of 4 recitatives and arias, portraying the lover's brightly-coloured dream of love returned. A handwritten version of this edition was premiered memorably in the 1980s by tenor Nigel Rogers for the BBC, with the Taverner Players.
    Range: d'-a''
    Source: British Library, London.
    Editor: Rosalind Halton
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  • Ombre tacite, e sole
    Forces: mezzo-soprano, strings & continuo
    Source: British Library Zweig 76
    This is an autograph work dated October 31. 1716.
    In four sections, recit-aria-recit-aria with both recits accompanied. It has two exquisite arias, the last a particularly fine Siciliano.
    The text deals with unrequited, requited and then spurned love and has it's high point in the last aria: 'Why cruel one do you leave me? Why spurn me? Why betray me? Why search out a new love? Why leave me?'
    Range: c' - e'' flat
    Editor: James Sanderson
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  • Qual'ora io veggio
    Forces: mezzo-soprano, violins & continuo
    "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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  • Silentio, aure volanti
    Forces: soprano, strings & continuo
    'Silentio, aure volanti - the pain of unrequited love in a sinuous cantata of the night. Soprano, 2 violins, b.c.
    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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  • Sotto l'ombra d'un faggio
    Forces: bass, violins & continuo
    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 le sponde del Tebro
    Forces: soprano, trumpet, strings & continuo
    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
    Forces: soprano, violins & continuo
    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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  • Tiranna ingrata
    Forces: bass, violins & continuo
    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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  • Tu che una dea rassembri
    Forces: soprano, violins & continuo
    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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  • Tu resti o mio bel nume
    Forces: bass, violins & continuo
    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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Scarlatti, Domenico (b Naples, 26 Oct 1685; d Madrid, 23 July 1757)

Cantata with violins
  • Che vidi, o Ciel, che vidi?
    Forces: soprano, violins & continuo
    One of Domenico Scarlatti's most dramatic cantatas with violins: Heavens! Oh Heavens! Tirsi is languishing, and his face darkens with sorrow. Beside him, his faithful consort piteously expresses in a sad song the harsh pain in her heart, which arouses her bitter weeping. Or else, remaining silent, her glance seems to speak to him, saying "Are you leaving me and abandoning me?"
    Commencing with a highly dramatic accompagnato with two cont5rasting arias and another recit both secco and accompagnato
    Range: b flat - b'' flat
    Source: MS in the Royal Music Collection now housed in the British Library.
    Editor: Kate Eckersley & James Sanderson
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  • Dir vorrei
    Forces: soprano, violins & continuo
    Our protagonist is hopelessly in love but unable to utter it to his beloved Nice. In three sections (ARA) with Domenico Scarlatti's typically complex vocal and instrumental lines.
    Source: MS in the British Library
    Range: c# - a''
    Editor: Kate Eckersley & James Sanderson
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  • O qual meco Nice cangiata
    Forces: soprano, violins & continuo
    Nice is being 'dishonourable' and ignoring her lover today. "...Oh, how you have changed towards me..." With a fiery allegrissimo introduzione, and RARA format within, this is Domenico Scarlatti stretching the skills of his singer again!
    Source: MS in the Royal Music Collection of the British Library
    Range: d - b flat''
    Editor: Kate Eckersley & James Sanderson
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  • Piangete occhi dolenti
    Forces: soprano, violins & continuo
    Weep, eyes weep... What a cheery subject! Love's passion at it's saddest in this virtuosic cantata by Domenico Scarlatti: ...I am in love, and my beloved scorns my pain; she has no feeling of pity...
    Source: MS in the Royal Music Collection at the British Library
    Range: c - a''
    Editor: Kate Eckersley & James Sanderson
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  • Pur nel sonno almen tal'ora
    Forces: soprano, violins & continuo
    Domenico Scarlatti's extraordinary setting of Metastasio's cantata. The format is two-part instrumental introduction, aria, recit, aria with typically virtuosic writing for both violins and voice. The subject is (Clori) mourning his lost Fille - lost to his rival Fileno. Summed up well in the final line: If for for a moment of dreaming I am happy, my torment increases with the coming day.
    Range: c - a''
    Editor: Kate Eckersley & James Sanderson
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  • Scritte con falso inganno
    Forces: soprano, violins & continuo
    In receipt of a 'Dear Jane' letter our protagonist questions everything about it: "...What do you mean by your words 'I am not'..." She maintains her control until the middle section of the last aria where presto e risoluto she loses it completely. RARA format with some stunning vocal writing.
    Source: MS in the British Library
    Range: c# - a''
    Editor: Kate Eckersley & James Sanderson
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  • Se fedele tu m'adori
    Forces: soprano, violins & continuo
    Source: MS in the Royal Music Collection now housed in the British Library.
    Well, this girl is very open-minded, allowing Tirsi to love whomever he wishes (Nice, Clori, Egeria, Fille) because: The flighty bee is not content to long for the beautiful rose. If it can show itself a lover to other flowers, it wants to fly into the midst of them all...
    Range: c' - a''
    Editor: Kate Eckersley & James Sanderson
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  • Tinte à note di sangue
    Forces: soprano, violins & continuo
    Source: MS in the Royal Music Collection now housed in the British Library.
    A fiery piece full of recrimination and anger, then self-pity and despair - a little like life really!! Written in blood, my betrayed heart sends these tormented words to you...think how much I have loved you, know that you are not mine, and weep for the pity of my plight Two recit and aria format, the last aria, similar to the Mancini setting of the same text, alternates fast and slow (MIDI)
    Range: d - g'
    Editor: Kate Eckersley & James Sanderson
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Vinci, Leonardo (b Strongoli, Calabria, ?1690; d Naples, 27/28 May 1730)

Cantata with violins
  • Mesta oh Dio
    Forces: soprano, violins & continuo
    A delightful work showing all the hallmarks of Sgr Vinci's style - periodic phrasing, excellent melodic shape etc. Once again Fileno has upset his girl and she is not happy! ARA format with an opening aria full of pathos, a tremendous accompagnato recitative and a fiery and virtuosic final aria. range d - b''
    Editor: James Sanderson
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