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General Editor: James Sanderson  
Cantata Editions Catalogue


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Your search has produced 619 results from the following 47 composers

Amadei (Pippo del violoncello), Filippo | Anonymous, | Arrigoni, Carlo | Bartlet(t), John | Bigaglia, Diogenio | Bononcini, Antonio Maria | Bononcini, Giovanni | Caccini, Giulio | Campion, Thomas | Carissimi, Giacomo | Colonna, Giovanni Paolo | d'Astorga, Barone Emanuele | d'India, Sigismondo | de la Barre, M. | Dowland, John | Durante, Francesco | Faggioli, Michelangelo | Fago, Nicola | Gaffi, Bernardo | Gasparini, Francesco | Handel, George Frederick | Hasse, Johann Adolph | Johnson, Robert | Jommelli, Niccolo | Leo, Leonardo | Lotti, Antonio | Mancini, Francesco | Marcello, Benedetto | Melani, Alessandro | Morley, Thomas | Pepusch, Johann Christoph | Pergolesi, Giov. Batt. | Pistocchi, Francesco Antonio | Porpora, Nicola Antonio | Porsile, Giuseppe | Purcell, Henry | Riccio, Benedetto | Rossetter, Phillip | Sances, Giovanni Felice | Saracini, Claudio | Sarri, Domenico Natale | Scarlatti, Alessandro | Scarlatti, Domenico | Scarlatti, Sgr | Steffani, Agostino | Vinci, Leonardo | Vivaldi, Antonio | Please scroll down to view...

Amadei (Pippo del violoncello), Filippo (c1665 - c1725)

Continuo cantata
  • Lidia pur giunta e l'ora
    Forces: bass & continuo
    One of Amadei's five known cantatas, this is a wonderful example of the genre with some quite piercing chromatic moments. The young man is forced to leave his beloved Lidia, but to leave her is 'like to die'. Source: Münster Santini Sammlung HS 3915
    Range: FF - e flat

    Editor: James Sanderson
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Anonymous

Song
  • Hark, hark the lark
    Forces: voice & lute (arr keyboard)
    With a text from the Tempest, a fiery and exciting lute song
    Editor: James Sanderson
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Arrigoni, Carlo (b Florence, 5 Dec 1697; d Florence, 18 Aug 1744)

Continuo cantata
  • Ti sento amor, ti sento
    Forces: alto & continuo
    Source: BL Add MS 14213, ff 71v - 76r
    A work of some inventiveness which belies some comments about Arrigoni's lack of imagination. The lover sings of Amarilli and the pain/joy that love causes. There are some incredible leaps for the genre, 10ths, minor 9ths etc. aria - recit - aria format.
    Range: G - d'

    Editor: James Sanderson
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Bartlet(t), John (fl.1606-10)

Song
  • Surcharged with Discontent
    Forces: voice & lute (arr keyboard)
    Count the number of birds in this enormous consort song.
    Editor: James Sanderson
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Bigaglia, Diogenio (b Venice, c1676; d Venice, c1745)

Continuo cantata
  • Aure care, frondi amene
    Forces: alto & continuo
    Source BL Add. 14222 ff 34-39
    Aria - recit - aria with very interesting harmonic treatment.
    Range: a' - d''

    Editor: James Sanderson
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  • Ecco perfida Irene
    Forces: soprano & continuo
    This is taking the sacrifice for love just a little too far... Despite Irene's nastiness, her coldness, her viciousness her lover still wants to die just for her. RARA format with a stunning first aria and challenging last, this is one of the Venetian priests excellent miniatures. Source: Naples
    Editor: James Sanderson
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  • Se tu resisti ò cor
    Forces: soprano & continuo
    Source BL Add 14212 f75 - 81v
    The figures are in a different hand to the manuscript copy (perhaps a later performer?)
    An attractive work with a very interesting 'left-footed' Siciliano to end.

    Editor: James Sanderson
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Bononcini, Antonio Maria (b Modena, 1677; d Rome, 1726)

Continuo cantata
  • Augeletti, ruscelli ed aurette
    Forces: mezzo-soprano & continuo
    'Oh, how lucky is he who spends his days away from the noise and bustle of the city...the is no treasure more dear than sweet silence'. This is a paen to the pastoral life in ARA format. Absolutely delightful work with some very tricky vocal writing for a quite low voice part. Additionally, it is clear that Antonio was a cellist as the continuo part is both high and rather a challenge. Enjoyable for the cellists amongst you! Source: Naples I-Nc.
    Editor: James Sanderson
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  • Clori, dal' colle al' prato
    Forces: alto & continuo
    An unhappy Clori this time - not the cause of someone else's woes. Flora, fragrant Flora, has stolen her man and Clori is not happy "Flora, on day you'll see, one day you will be punished for your vanity. RARA format with two excellent, complex and beautiful arias.
    Editor: James Sanderson
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  • Clori, perche d'amore
    Forces: alto & continuo
    "Know, oh beloved, that although I die from your inconstancy, I die with your face imprinted on my heart...". Yet another doormat for Clori's wanton ways. RARA format with a Larghetto "Tell me if you have found a new flame..." and a fiery, rhythmic Allegro to finish.
    Editor: James Sanderson
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  • Finche la bella Irene
    Forces: alto & continuo
    "As long as beautiful Irene smiled on me I was in love..." Obviously, this didnt last and by the end of this RARA format cantata for low alto, our singer feels how love has betrayed him.
    Editor: James Sanderson
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  • Selve, placide selve
    Forces: alto & continuo
    Our hero heads to the woods to escape the pains of love. Comparing his beloved to the birds, the flowers (and the beasts!). In RARA format this is a delightful and highly enjoyable cantata to sing - some really good challenges in the coloratura. Source: Naples
    Editor: James Sanderson
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Cantata with obligato instrument(s)
  • Idol mio bel tesoro
    Forces: soprano, flute & continuo
    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
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Bononcini, Giovanni (1670-1747)

Continuo cantata
  • All'or che il cieco nume
    Forces: soprano & continuo
    '...it is better to have loved and lost...' could easily be the motto of this cantata. Despite pleading to Cupid for mercy the 'blind God' remains silent and leaves the protagonists to their misery. RARARAR format
    Source: BL Add 31547 f25r - 33r
    Range: e - a''

    Editor: James Sanderson
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  • Amo, e ridir nol posso
    Forces: soprano & continuo
    To love and not be able to express it cannot be an easy thing. Suffering, burning, the flames and pains of love. In RARA format, the arias a sweet largo and a bright vivace.
    Source: BL Add MS 31545
    Range: e - g#'

    Editor: James Sanderson
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  • Amo, peno, gioisco
    Forces: soprano & continuo
    "I love, I suffer, I rejoice..." Once again our happy/sad lover is back with his masochistic take on love. In RARA format with two great arias, the first with some double-stopping in the continuo, this is another delightful cantata by Mr Bononcini.
    Source: Münster Santini Sammlung Hs 895 (5)
    Range: c - g'

    Editor: James Sanderson
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  • Amor, tiranno amor
    Forces: soprano & continuo
    A very strict warning about trusting in the fidelity of Cupid. Tyrannous Love has been causing mischief again in this ARARA format cantata. In the copy all the da capo sections have been written out in full with varied style of repeat. Perhaps an aural copy as there are no figures...
    Source: BL Add 31518 9r
    Range: d - g'

    Editor: James Sanderson
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  • Anche i tronchi
    Forces: soprano & continuo
    'Even the trees and rocks know of my suffering - only you ignore it'. This soprano cantata also exists in transposition for alto in a contemporary MS (also available on request). The demanding cello part especially in aria 2 reflects the virtuosity of the composer Bononcini (presumably Giovanni). A-R-A-R-A
    Sources: MÜs 3903 & BL Add MS 31547
    Range: d'-g''
    Alto: g-c''

    Editor: Rosalind Halton
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  • Ch'io ti manchi di fede
    Forces: tenor & continuo
    A large cantata edited from the Chandos collection copy in the British library. Unusual in that it's a contemporary copy from before 1720 (the date of the donation of the collection) for tenor. The transposition has provided some odd crossing of parts. Diverse aria structures (including a non-da capo aria) and interesting harmonic progressions.
    Editor: James Sanderson
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  • Cieco nume tiranno spietato
    Forces: soprano & continuo
    One of Bononcini's most beautiful cantatas, the subject here deals with Love's blind cruelty. In 5 sections with no da capo arias and with a recurring theme of the title text, the last section presto assai is particularly virtuosic, though broken by emotional largo sections.
    Source: BL Add MS 31546 f74v-79r
    Range: c# - g'

    Editor: James Sanderson
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  • Clori bell' idol mio
    Forces: alto & continuo
    Bononcini at his sinuous best here. In RARA format with two affettuoso arias singing of the tears that fall from being parted from the beloved 'Clori my beautiful idol, I am a faithful lover of your beauty'. Source: Naples Conservatorio
    Editor: James Sanderson
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  • Clori, mi sento al core
    Forces: soprano & continuo
    A story about the close relationship between pain and pleasure in love. Clori is the inspiration again! In RARARARA format - yes it's a long one... Lovely text, varied arias, expressive recitatives.
    Source: BL Add MS 31547 f47r - 53r
    Range: e - g'

    Editor: James Sanderson
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  • Clori, mio ben mia vita
    Forces: soprano & continuo
    Clori had quite a hold over her men! Here our erstwhile suitor complains of the joy she takes in causing him pain and suffering. RARA format, the first recit being particularly expressive. Both arias in triple time with slightly off-beat word setting.
    Source: BL Add MS 31545
    Range: d# - b flat'

    Editor: James Sanderson
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  • Da te che pasci ogn'ora
    Forces: soprano & continuo
    Here our protagonist is literally wanting to die for love. Once more a rejected suit leads him to suffer so! In RARA format with a sinuous first aria Affettuoso, e cantabile and an excellent vivace to finish.
    Source: British Library copy of the 1721 edition
    Range: e - a''

    Editor: James Sanderson
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  • Dal giorno fortunato
    Forces: soprano & continuo
    "...on that fortunate day when first I gazed into your eyes...the playful God of Love enflamed my heart for eternity..." I wonderful work in RARARA format including a beautiful affettuoso, a sprightly menuetto and a virtuosic presto to finish.
    Source: British Library Add MS 31545
    Range: c - a''

    Editor: James Sanderson
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  • Dall'incurvato ferro
    Forces: soprano & continuo
    The cruelty and spite of the gods to our young protagonist is the theme, leaving him in the position of offering his life for one day of happiness with his beloved.
    Excellent recitatives and some very enjoyable arias (RARARA format)
    Source: Münster HS 3915(19)
    Range: e - g'

    Editor: James Sanderson
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  • Del suo fedel, e taciturno ardore
    Forces: soprano & continuo
    A large and unusual piece, both in terms of the aria formats and the characters. In RARARA format, none of the arias are da capo form, the subject deals with the joys and pains of the love of Floridalbo and Fille.
    Source: Münster Santini Sammlung HS 865
    Range: f - a''

    Editor: James Sanderson
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  • Del Tebro in sù la riva
    Forces: alto & continuo
    On the banks of the Tiber a young girl sits and weeps at the cruelty of her beloved. A single glance from him can simultaneously revive and dash her hopes of love. In RARARA format with quite a low range. Good 'pathetic' arias and a faster 12/8 to finish.
    Source: Münster Santini Sammlung HS 3915(17)
    Range: F - d'

    Editor: James Sanderson
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  • Dolente, e mesta vò sospirando
    Forces: soprano & continuo
    Sadly sighing she longs for her lover Elpino. She searches the shepherd's hut, the fields and can't find him, finally singing a con spirito aria calling to him to come to her. In ARA format with a deliciously chromatic opening cantabile, et affettuoso. Interestingly, the continuo line drops to a BB, which would require some retuning.
    Source: 1721 edition in the British Library
    Range: d - g'

    Editor: James Sanderson
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  • Dove sei mia bella Irene?
    Forces: alto & continuo
    Where are you my beautiful Irene?...Where are you hiding? The sun shines among the shadows and leaves but it does not shine for me." The God of Love has been busy giving that pain only Love can bring... A very attractive, short cantata in ARA format with a final recitative instead of a da capo. A lugubrious Adagio to start and a semi-ground andante to finish.
    Editor: James Sanderson
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  • Filli, dell' tuo partire
    Forces: soprano & continuo
    Deserted by cruel Filli our lover remains alone and suffering. "...remember the sighs of the one who dies for you..." RARARA format with a lovely triple time largo and two sprightly arias to follow.
    Source: BL Add MS 31545
    Range: c - g'

    Editor: James Sanderson
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  • Già la stagion d'Amore
    Forces: alto & continuo
    Even in the season of Love, the course of true love does not run smooth! RARA format with two really lovely arias, Affettuoso e Cantabile and Vivace.
    Source: 1721 edition in the British Library.
    Range: a - c'

    Editor: James Sanderson
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  • Io son lungi alla mia vita
    Forces: soprano & continuo
    Typical of cantatas with the subject matter of distance and longing, Bononcini gives his singer a difficult time with the third note forming a major seventh over the bass. Full of plangent harmony and some lively coloratura. ARARA format.
    Source: Münster Santini Sammlung HS 3977
    Range: c - g'

    Editor: James Sanderson
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  • Irene Idolo amato
    Forces: soprano & continuo
    Within the classic 'partenza' cantatas this is unusual as it refers directly to going off to war and perhaps dying in battle. Some lovely linguistic turns and this RARA format cantata.
    Source: Münster Santini Sammlung HS 3915(16)
    Range: c# - f#'

    Editor: James Sanderson
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  • Lasciami un sol momento
    Forces: alto & continuo
    "Leave me but a moment..." to wallow in self-pity of course. The sad story of the doomed love of Eurillo and Dorinda in ARA format. An excellent chromatic largo to start and a lively tempo giusto to finish.
    Source: 1721 edition in the British Library
    Range: b flat to d'

    Editor: James Sanderson
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  • Lidio, schernito amante
    Forces: soprano & continuo
    The agony of love unrequited returns in the text of this work. The 'delirium of Love', the 'agony of the heart'. Excellent and virtuosic recitatives link three delightful arias covering a two octave range.
    Source: Münster Santini Sammlung HS 3915(12)
    Range: b - b''

    Editor: James Sanderson
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  • O frondoso arboscello
    Forces: soprano & continuo
    Another good reason not to fall in love with shepherds and shepherdesses! How cruel they are to each other. RARA format, with 'classic' pairing of affettuoso and vivace arias.
    Source: British Library copy of 1721 edition
    Range: d - a flat''

    Editor: James Sanderson
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  • O mesta tortorella
    Forces: alto & continuo
    The image of the turtle dove taking away sorrow and bringing contentment to the unhappy shepherdess longing for her beloved Tirsi. In RARA format with a throbbing affettuoso and a sprightly con spirito, ma non presto. Great writing for the continuo as well!
    Source: British Library copy of the 1721 edition
    Range: a - d'

    Editor: James Sanderson
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  • Peno, peno e l'alma fedele
    Forces: soprano & continuo
    Arcadia is in turmoil and Tirsi is really suffering with a wicked, lying beloved here. '...to hope for fidelity is torment...' A large piece with 3 recits and 3 arias finishing with a delightful minuet.
    Source: BL Add MS 31546 22v
    Range: c# - g'

    Editor: James Sanderson
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  • Per sollevar quest'alma
    Forces: soprano & continuo
    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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  • Pur vi riveggio ancora
    Forces: soprano & continuo
    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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  • Quanto peno e quanto piango
    Forces: soprano & continuo
    Source: BL Add MS 14211 52r
    Short aria - recit - aria format but absolutely delightful! What we go through for love. Despite being cruel, unkind, like a serpent, still he loves her and yearns for her - such pain, such tears!
    This would be an excellent piece for a difficult spot in a program - total duration is only around 4 or 5 minutes
    Range: f - g'

    Editor: James Sanderson
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  • Son io barbara donna
    Forces: alto & continuo
    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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  • Stanca di più penar
    Forces: soprano & continuo
    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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  • Sventurato Mirtillo, e che farai?
    Forces: soprano & continuo
    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 coluratura. Range: d# - a''
    Editor: James Sanderson
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  • Trà l'amene delitie
    Forces: soprano & continuo
    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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  • Usignuol che col mio pianto
    Forces: alto & continuo
    Here our lover tells the nightingale to be silent and simply moan at the sadness he feels. Beautiful music with a depressing subject. Dori, 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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  • Vanne si ruscelletto contento
    Forces: mezzo-soprano & continuo
    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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  • Viver e non amar
    Forces: soprano & continuo
    "...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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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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Collection
  • 2 duetti da camera
    Forces: sop, alto/alto, alto & continuo
    The two duetti da camera from the 1721 edition 'Cantate e Duetti dedicati alla Sacra Maestà di Giorgio Rè della Gran Bretagna'
    Pietoso Nume Arcier (2 altos & continuo) Luci barbare spietate (soprano, alto & continuo)
    See individual titles for details

    Editor: James Sanderson
    No preview available | Price: £ 9.95 | 

  • 3 alto cantate con violini
    Forces: alto, violins & continuo
    The three alto cantate con violini from the 1721 edition 'Cantate e Duetti dedicati alla Sacra Maestà di Giorgio Rè della Gran Bretagna'
    Care luci del mio bene
    Misero pastorello
    Siedi Amarilli mia
    See individual titles for details

    Editor: James Sanderson
    No preview available | Price: £ 13.95 | 

  • 3 alto cantate da camera
    Forces: alto & continuo
    The three alto cantate da camera from the 1721 edition 'Cantate e Duetti dedicati alla Sacra Maestà di Giorgio Rè della Gran Bretagna'
    Gia la stagion d'amore
    Lasciami un sol momento
    O mesta tortorella
    See individual titles for more information.

    Editor: James Sanderson
    No preview available | Price: £ 10.95 | 

  • 3 soprano cantate con violini
    Forces: soprano, violins & continuo
    The three soprano cantate con violini from the 1721 edition 'Cantate e Duetti dedicati alla Sacra Maestà di Giorgio Rè della Gran Bretagna'
    Barbara nifa ingrata
    Ecco Dorinda il giorno
    Il Lamento d'Olimpia
    See individual titles for details

    Editor: James Sanderson
    No preview available | Price: £ 15.95 | 

  • 3 soprano cantate da camera
    Forces: soprano & continuo
    The three soprano cantate da camera from the 1721 edition 'Cantate e Duetti dedicati alla Sacra Maestà di Giorgio Rè della Gran Bretagna'
    Da te che pasci ogn'ora
    Dolente e mesta
    O frondoso arboscello
    See individual titles for details

    Editor: James Sanderson
    No preview available | Price: £ 10.95 | 


Duetti da camera
  • Luci barbare spietate
    Forces: soprano, alto & continuo
    The tempestuous meeting of Tirsi and Dorinda. 'Your eyes are the cause of my suffering...but I will always be faithful...' In Duet - Recit - Duet format with both duets virtuosic for the singers.
    Source: 1721 edition in the British Library
    Range (soprano): c - g'
    Range (alto): G - d

    Editor: James Sanderson
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  • O penosa lontananza
    Forces: soprano, bass & continuo
    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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  • Pietoso nume arcier
    Forces: 2 altos & continuo
    Dorinda and Aldimira are bemoaning the infedelities of their lovers, Tirsi and Aminta. Luckily they have each other to spur on their suit. In duet (largo et affettuoso) - recit - duet (allegro) format.
    Source:1721 edition in the British Library
    Range (both): b flat - d'

    Editor: James Sanderson
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Caccini, Giulio (1550 - 1618)

Song
  • Dolcissimo sospiro
    Forces: soprano & continuo
    Source: BL MS Eg.2971
    Written in 1602 to poetry by Rinuccini, this is a beautiful song about the sweet sighs of love.
    Range d - e'

    Editor: James Sanderson
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Campion, Thomas (b London, 12 Feb 1567; d London, 1 March 1620)

Song
  • It Fell On A Summer's Day
    Forces: voice & lute (arr keyboard)
    A bawdy tale of Jamie and Bessie and what they get up to in the afternoon.
    Editor: James Sanderson
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  • Jack and Joan
    Forces: voice & lute (arr keyboard)
    Narrative song extolling the virtues of the simple folk over the indulgence of courtly life.
    Editor: James Sanderson
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  • Miserere My Maker
    Forces: voice & lute (arr keyboard)
    Beautiful lute song in three verses
    Editor: James Sanderson
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  • Never weather-beaten sail
    Forces: voice & lute (arr keyboard)
    Beautiful votive song using the analogy of the ship bending its sails to shore being like the soul returning to God.
    Editor: James Sanderson
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  • Where the Bee Sucks, There Suck I
    Forces: voice & lute (arr keyboard)
    Text by Shakespeare, from the Tempest
    Editor: James Sanderson
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Carissimi, Giacomo

Aria
  • Filli, non t'amo più
    Forces: soprano & continuo
    This virtuoso piece on a ground bass caught the attention of some editors of the late 19th-early 20th centuries, including Riemann: 3 editions from 1877 to 1923 are cited by new Grove, but apparently none since. The source of this edition is MS. 51 Christ Church College, Oxford, undoubtedly a product of the intense cultivation of Carissimi's music by Henry Aldritch and Richard Goodson.
    Range: d'-a''

    Editor: Rosalind Halton
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Continuo cantata
  • Ferma, lascia ch'io parli (Lamento di Maria Stuarda)
    Forces: soprano & continuo
    Source: BL MS Harley 1265
    An extensive lament for soprano and continuo with range from e to c'' (!!)

    Editor: James Sanderson
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Colonna, Giovanni Paolo (1637 - 1695)

Continuo cantata
  • Cleopatra moribonda
    Forces: soprano & continuo
    An enormous and complex work for soprano and continuo telling through her own voice the fate of Cleopatra after being betrayed and deserted by Rome. Poison, asps, vengeance, fury, it has everything. In 24(!) parts, some as short as 2 bars, Colonna has created a scene of operatic drama and intensity. The poetry is by Sigr D Donato Copeda
    Source: BL Add MS 27931 (large quarto with the Medici coat of arms)
    Range: c - b flat''

    Editor: James Sanderson
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  • Fidalmo sfortunato
    Forces: alto & continuo
    Dramatic cantata in 2 recit and aria pair form. Fidalmo is suffering the vicissitudes of love (once again). Some lovely writing for a lowish alto. Poetry by Giacomo Lodovico Berselli
    Source: BL Add 27931
    Range: G - d'

    Editor: James Sanderson
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  • Il mondo armato
    Forces: bass & continuo
    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
    Range: DD - e

    Editor: James Sanderson
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  • L'Adamo
    Forces: alto & continuo
    Source BL Add. 14110
    2 paired recitatives and arias.

    Editor: James Sanderson
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d'Astorga, Barone Emanuele (1680 - ?1757)

Continuo cantata
  • Aurora Idolo mio
    Forces: soprano & continuo
    Love, jealousy and a cieco Dio who likes to shoot his arrows in the backside of anyone unsuspecting... "My punishment is to love..."
    Source: Biblioteca del Conservatorio di musica S. Pietro a Majella - Napoli: Cantate 103 (06)

    Editor: James Sanderson
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  • Cangia loco, e cangia sorte
    Forces: soprano & continuo
    In the mistaken belief that removing himself from the presence of his love will make him feel better, our young shepherd learns a hard lesson about the power of love. In ARA format, both arias in the 'pathetic' style and the second making onewonder whether Handel had heard it...?
    Source: Münster Santini Sammlung HS 859(2)
    Range: d# - g'

    Editor: James Sanderson
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  • Cara Lidia adorata
    Forces: soprano & continuo
    Using the old 'ship into harbour' story our young man tries to woo Lidia, but she's having none of it! "...Too cruel, too unfaithful..." he cries, but to what avail? In RARA format with two very 'spiky' arias, lots of chromatic twists in both arias and recitatives.
    Source: Müs Santini Sammlung HS859(14)
    Range: c - g'

    Editor: James Sanderson
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  • Che Sisifo infelice
    Forces: soprano & continuo
    Just like pushing stones up-hill, maintaining a relationship! No matter how close or how far (this is a lontananza cantata) the pain is constant. "Distance only brings pain". A wonderfully sinuous first aria and a straighforward, no-nonsense final andante. RARA format.
    Range: d - ab''

    Editor: James Sanderson
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  • Clori, che un dì vantava costanza in petto
    Forces: soprano & continuo
    'Clori, who one day boasted of constancy in her breast and fidelity in her heart...' is not! Another setting of this poetry (see Mancini's), this time by the enigmatic Barone d'Astorga. In RARA format, this is delightful with some interesting challenges for the cellist. Source: Biblioteca del COnservatorio di Music S Pietro a Majella, Naples.
    Editor: James Sanderson
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  • E pur dolce, dolce amore
    Forces: soprano & continuo
    Willing to die from the effects of love, but knowing of the inability of women to properly love or be faithful, our shepherd rejects the laughter of Cupid at his pains, knowing that a single glance from his beloved would give him the last laugh!
    In ARA format with a affettuoso beginning and an allegro finish sourrounding a characteristically complex recitative this is an enjoyable and challenging example of the genre.
    Source: Münster Santini Sammlung HS 859(1)
    Range: f - g'

    Editor: James Sanderson
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  • Ecco perfida Irene
    Forces: soprano & continuo
    This is taking the sacrifice for love just a little too far. Despite Irene's nastiness, her coldness, her viciousness her lover still wants to just die for her. Oh, please! In RARA format with a strikingly strong first aria in cut common time and a wonderful sinuous final largo.
    Source: Münster Santini Sammlung HS 859(15)
    Range: d - g'

    Editor: James Sanderson
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  • Fedeltà s'è tanto bella
    Forces: soprano & continuo
    A delightful cantata in ARA format. The lover bemoans Fille's inconstancy (yet again!) "I will escape Cupid's darts and Fille's glances and will live content in with my heart in freedom."
    Range: d# - a''

    Editor: James Sanderson
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  • In queste amene selve
    Forces: alto & continuo
    In the classically charming pastoral theme, in a pleasant woods love's constancy is questioned, found wanting and not forgiven - the lover awaits his beloved's return in death. Excellent arias and complex recitatives.
    Source: Münster Santini Sammlung HS 859(5)
    Range: c - e' flat

    Editor: James Sanderson
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  • In questo core
    Forces: soprano & continuo
    A wonderfully piece, full of twists and turns. ARA format with a first aria of many chromatic passages and keys. "Think for a moment on my constancy and my sincere love as I suffer these torments".
    Range: eb to ab'

    Editor: James Sanderson
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  • Non lasciarmi o bella speme
    Forces: soprano & continuo
    For once love and constancy is rewarded. Although the lover fears jealousy and distance from the beloved, 'hope springs eternal' for "...the distance between us is nothing when I know of your sweet constancy..." Some wonderfully chromatic moments in the first largo aria and the closing allegro is fully of rhythmic shifts.
    Source: Santini HS 859 (last)
    Range: e flat - g'

    Editor: James Sanderson
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  • Poiche deggio partire
    Forces: soprano & continuo
    A simple motto for lovers everywhere characterises this piece - "If you are constant I will also be faithful...!"
    In RARA format concluding with a lovely chromatic Siciliano (appropriate considering d'Astorga's background).
    Source: Münster Santini Sammlung HS 859(12)
    Range: e - g'

    Editor: James Sanderson
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  • Regio fior pompa d'Aprile
    Forces: alto & continuo
    Fileno is once again in love, this time with a Filli who returns his feelings - taking pleasure in the joys of Spring. Two excellent arias, the first with some particularly piquant chromaticisms.
    Source: Münster Santini Sammlung HS 859(8)
    Range: c - d'

    Editor: James Sanderson
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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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Marian antiphon
  • Stabat Mater
    Forces: SATB solo, SATB chorus, strings and continuo
    d'Astorga's beautiful setting of the Stabat Mater for SATB solo, SATB chorus, strings and continuo.
    Editor: James Sanderson
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d'India, Sigismondo (b Palermo, c1582; d ?Modena, before 19 April 1629)

Song
  • (L4M - 06) Che veggio ohime - Orfeo
    Forces: tenor & continuo
    A tortured lament for Orfeo from d'India's Le Quarte Musiche of 1621. Very spare and dramatic in its construction, range d - g'
    Editor: James Sanderson
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  • (L5M - 01) Io che del ciel - Virtù
    Forces: soprano & continuo
    In four sections, all based on the same continuo line this work forms a kind of prologue to the Quinte Musiche due to its expositional style, high-flown language and the fact that is being sung by Virtue. Very florid writing as you can hear in the MIDI preview, it is also very beautiful with a rather unexpected ending. Range: d' - a''
    Editor: James Sanderson
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  • (L5M - 02) Lamento di Didone
    Forces: mezzo-soprano & continuo
    Exquisite lament from d'India's Quinte Musiche of 1623 in which Dido laments the loss of Aeneas. Wonderful use of harmony and chromaticism.
    Editor: James Sanderson
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  • (L5M - 05) - Lamento di Giasone sopra il Figlioli morti da Medea
    Forces: tenor & continuo
    The only work for tenor voice in the Quinte Musiche - extended, many key changes and a great deal of suffering.
    Editor: James Sanderson
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  • (L5M - 11) Lamento di Olimpia
    Forces: mezzo-soprano & continuo
    The third lament from d'India's Quinte Musiche of 1623. Dramatic and extremely moving monodic piece with intensely chromatic movement.
    Editor: James Sanderson
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  • (L5M - 13) Questo dardo quest'arco - Diana
    Forces: soprano & continuo
    Extremely virtuosic, this solo song/madrigal from Le Quinte Musiche (1623) has some incredibly ornate passage work throughout. As you may have guessed from the incipit, the work is about Diana - Goddess of the Hunt...
    Editor: James Sanderson
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  • LM à 2 - Cosi per ben amar
    Forces: 2 sopranos & continuo
    Duet from the 1615 collection of 'Musiche a due voci' - one of the four 'Aria sopra Zefiro' using the same bass line.
    CURRENTLY UNAVAILABLE

    Editor: James Sanderson
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  • LM à 2 - Giamai l'alma respira
    Forces: 2 sopranos & continuo
    Duet from the 1615 collection of 'Musiche a due voci' - one of the four 'Aria sopra Zefiro' using the same bass line.
    CURRENTLY UNAVAILABLE

    Editor: James Sanderson
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  • LM à 2 - Langue al vostro languir
    Forces: 2 tenors & continuo
    A virtuosic madrigal for two tenors from the 1615 'Le Musiche a due voci'. Wide range both vocally and dramatically.
    CURRENTLY UNAVAILABLE

    Editor: James Sanderson
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  • LM à 2 - Nudrisco il mesto cor
    Forces: 2 sopranos & continuo
    Duet from the 1615 collection of 'Musiche a due voci' - one of the four 'Aria sopra Zefiro' using the same bass line.
    CURRENTLY UNAVAILABLE

    Editor: James Sanderson
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  • LM à 2 - Porto celato il mio nobil pensiero
    Forces: 2 sopranos & continuo
    Simple duet from the 1615 collection of 'Musiche a due voci' with much imitation and harmonic interest. The first of the four 'Aria sopra Zefiro' using the same bass line.
    CURRENTLY UNAVAILABLE

    Editor: James Sanderson
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Duet
  • Dialogo à Una & Due voci: Occhi della mia vita
    Forces: 2 sopranos & continuo
    The last piece in d'India's Quarte Musiche of 1621. In three distinct parts, a statement by each of the voices, a duet which seems to tumble over itself by the end and a more extensive Dialogo to finish. The subject deals with love...
    Editor: James Sanderson
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Collection
  • Le Quinte Musiche (1623)
    Forces: voice & continuo
    The complete 'Le Quinte Musiche del Cavalier Sigismondo D'India...da cantarsi nel chitarrone, clavicembalo, arpa doppia & altri stromenti da corpo' from the copy in Christ Church, Oxford. This volume includes the three great laments (Didone, Olimpia & Giasone), Virtù and Diana's two extensive works and nine other madrigals and/or strophic songs.
    Editor: James Sanderson
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de la Barre, M.

Duet
  • Due labre di rose
    Forces: 2 sopranos & continuo
    An Italian duet by a French composer, published in Paris 1701 by Ballard, Though it's difficult to be sure which M. de La Barre this one is, it's a captivating duet in B flat, in the style of Stradella - 'Two rosy lips make war on my heart ...ah, what a dart!' 2 sopranos and basso continuo (editorial figures supplied)
    Soprano 1 - f' - g''
    Soprano 2 - d' - g''

    Editor: Rosalind Halton
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Dowland, John (1563 - 1626)

Song
  • Come again: Sweet love doth now invite
    Forces: voice & lute (arr keyboard)
    Dowland's famous song
    Editor: James Sanderson
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  • Come heavy Sleep
    Forces: voice & lute (arr keyboard)
    A beautiful song for evening
    Editor: James Sanderson
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  • His Golden Locks
    Forces: voice & lute (arr keyboard)
    A song performed at the retirement of the Queen's Champion
    Editor: James Sanderson
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  • Lady, if you so spite me
    Forces: voice & lute (arr keyboard)
    Wonderfully dramatic song concerning love's rejection and the need to woo.
    Editor: James Sanderson
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  • Say Love if Ever Thou Didst Find
    Forces: voice & lute (arr keyboard)
    A song dedicated to the virtues of Queen Elizabeth I
    Editor: James Sanderson
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  • Song: Can She Excuse My Wrongs?
    Forces: voice & lute (arr keyboard)
    Complex and very interesting lute song
    Editor: James Sanderson
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  • Song: Come away, come sweet love
    Forces: voice & lute (arr keyboard)
    Well-known song in three verses
    Editor: James Sanderson
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  • Song: Goe Crystall Teares
    Forces: voice & lute (arr keyboard)
    Dowland's beatiful song
    Editor: James Sanderson
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  • Sweet Stay Awhile
    Forces: voice & lute (arr keyboard)
    The lover entreats his lady to return to bed.
    Editor: James Sanderson
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Durante, Francesco (born Frattamaggiore 31st March 1684
died Naples 30th September 1755)


Cantata spirituale
  • Figluol Prodigo
    Forces: alto & continuo
    Source BL Add. 14110
    In 3 recitative and aria format. Very beautiful

    Editor: James Sanderson
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  • Figluol Prodigo Pt 2 (Accoglienza Pietosa)
    Forces: alto & continuo
    Source BL Add. 14110
    Dramatic recitative and aria

    Editor: James Sanderson
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  • L'anima del Ricco Epulone parlante nell' Inferno
    Forces: alto & continuo
    Source BL Add. 14110
    Paired recitative and aria, dramatic cantata.

    Editor: James Sanderson
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  • Seneca funato ossia la crudeltà di Nerone
    Forces: alto & continuo
    Source BL Add. 14110
    2 recitatives and arias, dramatic and beautiful cantata.

    Editor: James Sanderson
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  • Sopra il fine del'uomo
    Forces: alto & continuo
    Source BL Add. 14110
    Cantata in grand religious style. Paired recitative and aria.

    Editor: James Sanderson
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  • Sopra il giudizio particolare
    Forces: alto & continuo
    Source BL Add. 14110
    Cantata in grand religious style. Paired recitative and aria.

    Editor: James Sanderson
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  • Sopra il giudizio universale
    Forces: alto & continuo
    Source BL Add. 14110
    Cantata in grand religious style. Paired recitative and aria.

    Editor: James Sanderson
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Liturgical (other)
  • Litaniae Lauretanae (Litany of Loreto)
    Forces: SATB coro, violins & continuo
    Source: BL MS R.M.24.a.9.(4) (only source)
    Durante's masterful a minor setting of the Litaniae Lauretanae is in three parts, and weaves a colourful picture around the words. The structure means that it is possible to perform both with choral and solo forces or with a mixture of the two.

    Editor: James Sanderson
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Collection
  • Sei Cantate Spirituale
    Forces: alto & continuo
    The six cantatas from BL MS Add 14110
    Save £££ by buying all these as a collection
    Vincesti pur vincesti
    Dove infelice
    Lascia alfin mio cor
    Dunque fra pochi istanti
    Figluol Prodigo
    Accolienze Pietosa
    A risuonar di spaventose trombe

    Editor: James Sanderson
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Faggioli, Michelangelo (1666 - 1733)

Continuo cantata
  • Didone abbandonata da Enea
    Forces: soprano & continuo
    A classic Dido and Aeneas tale from Dido's point of view with some brilliant word setting, particularly in the second recitative. You already know the story! RARA format, both arias providing interest with some very effective tempo changes. Better known for his comic music in Neapolitan dialect, this is Faggioli in a more serious vein.
    Source: Biblioteca del Conservatorio di musica S. Pietro a Majella - Napoli; Segnatura: Cantate 112

    Editor: James Sanderson
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  • Lo Paglietta
    Forces: soprano & continuo
    A comic cantata in the Neapolitan dialect. 'The presumptuous lawyer is stiff as a ramrod and doesn't even want to walk. He talks on and on, boasting, worse than Methuselah. Wherever he goes he wants to cheat someone.' Complete with poop and bed-wetting! This is a real character piece. Have a look at the final aria with its sciù sciù, bù bù, nanianà and gnemme's and you'll see what I mean!!
    Editor: James Sanderson
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Fago, Nicola (1677 - 1745)

Aria
  • Forz'è pur nel proprio sangue
    Forces: soprano, strings & continuo
    The wonderful lament in Part II of Fago's oratorio Faraone Sommerso - worthy competition to Porpora's Alto Giove. Amazing performance by Europa Galante on YouTube. The character Messo bewails the fate of the Jewish people being pursued by Pharoah and warns how the waves will wash away the anger and blood. 5-part string accompaniment.
    Source: Biblioteca del Conservatorio di musica 'Luigi Cherubini' - Firenze; Inventario: B.2374 ; Segnatura: B.2374 ; CF.55

    Editor: James Sanderson
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Continuo cantata
  • Amante con poca sorte
    Forces: bass & continuo
    'Wretched and alone with my pain and torment' is the start of this RARA format cantata by the Neapolitan composer and teacher Nicola Fago. Cupid is up to his old tricks again! Full of chromatic inflections and wandering tonality and offering a wonderful emotional challenge to the performer.
    Range: EE - e

    Editor: James Sanderson
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  • Come viver poss'io
    Forces: soprano & continuo
    'How can I live far from that lovely face?' asks our protagonist. Not far it would seem as Cupid burns him with desire and '...lights up his heart with a devouring flame' in this effective lotananza cantata. RARA format with very expressive recitatives and two really enjoyable arias.
    Source: Biblioteca del Conservatorio di musica S. Pietro a Majella - Napoli: Cantate 114(9)

    Editor: James Sanderson
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  • D'Aretusa in sul Lito
    Forces: soprano & continuo
    Source BL Add 14211 f 35 - 41v
    Fago's cantatas are an interesting bridge between the Scarlattian style and the later Neapolitan version of the genre. Here a shepherd falls prey to the 'vicious' Goddess of Love.

    Editor: James Sanderson
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  • Sapesse il core almen
    Forces: soprano & continuo
    Source: BL Add MS 38036 ff 71r - 74v
    Lament upon lament fills this emotional cantata in which Tirsi's absence is mourned. Three arias linked by recitative with some extremely interesting harmonic shifts. The copy is extraordinarily detailed with figures for almost every note in the continuo part.
    Range: d - f'

    Editor: James Sanderson
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  • Se gelosia crudele
    Forces: soprano & continuo
    Source BL Add 14211 f 20r - 25v
    Here a more contemplative setting than most, the philosopher discusses how love creates joy from pain and torment.
    Range: d' - g''

    Editor: James Sanderson
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  • Sia con me Fillide ingrata
    Forces: soprano & continuo
    Source: BL Add MS 38036 ff 121r - 124r
    No birds, but plenty of bees, roses and, of course, thorns in this charming cantata by the Neapolitan Nicola Fago. Smitten by ungrateful Fillide, the lover swears eternal constancy - why? In aria - recit - aria (Affettuoso) format
    Range: e - a''

    Editor: James Sanderson
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  • Sopra del bel Sebeto
    Forces: soprano & continuo
    Source BL Add 14212 f142 - 149
    Cantata a voce sola del Sgr Nicolo Fago detto Tarantino
    The sad story of Filli and the beloved mourned by a hundred sheperdesses.
    Range: d' - g''

    Editor: James Sanderson
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  • Trà cento belle
    Forces: soprano & continuo
    Source BL Add 14211 f 12 - 18
    Again with the suffering caused by love! A particularly plangent recitative sourrounded by two deceptively happy arias.
    Range: d' - g''

    Editor: James Sanderson
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Gaffi, Bernardo (c.1677 - 1744)

Marian antiphon
  • Salve Regina
    Forces: soprano & continuo
    An unexpected delight found whilst browsing through Scarlatti & Mancini. A straight-forward setting of the Salve Regina in four contrasting sections, beginning and ending Largo in two very beautiful arias.
    Source: Münster Santini Sammlung HS 860
    Range: d - g'

    Editor: James Sanderson
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Gasparini, Francesco (1668 - 1721)

Continuo cantata
  • Se t'ama, e se t'adora
    Forces: soprano & continuo
    If our protagonist is to be belived, being in a situation of not knowing whether the one you love returns your love is worse than burning with the 'fire of a star'. A charming cantata by a composer better known for his instrumental works. In RARA format.
    Source: Münster Santini Sammlung HS 3799
    Range: d - g'

    Editor: James Sanderson
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Handel, George Frederick (1685-1759)

Aria
  • Cara Sposa
    Forces: mezzo-soprano, strings & continuo
    Rinaldo's Act II lament from Handel's 1712 opera of the same name. Marvellous sustained largo A section with a coloratura allegro B section.
    Editor: James Sanderson
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  • Con l'ali di costanza
    Forces: soprano, strings & continuo
    Ariodante's aria from Act I, scene viii of the opera of the same name.
    Editor: James Sanderson
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  • Dopo notte
    Forces: soprano, strings & continuo (piano reduction)
    Ariodante's spectacular coloratura aria from Act III, scene viii
    Editor: James Sanderson
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  • Più d'una tigre altero
    Forces: mezzo-soprano, strings & continuo
    Source: Act II, viii or Tamerlano
    Andronico's rage aria at the end of Act II
    It's a good one!

    Editor: James Sanderson
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  • Stille amare
    Forces: alto, strings & continuo
    Tolomeo's 'Poison' aria from Act III, scene iv of Handel's opera of the same name which was completed in 1728. Tolomeo believes himself to be betrayed and has taken what he thinks is poison, passing out before he can complete the truncated da capo of the aria. There is an excellent secco and accompagnato recitative which preceeds the aria.
    Editor: James Sanderson
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Continuo cantata
  • Sento la che ristretto
    Forces: alto & continuo
    Source: BL Add 29484/Autograph in BL
    Alto (first?) version of the cantata where the river likens his love of the sea to Nice love.

    Editor: James Sanderson
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Hasse, Johann Adolph (1699-1783)

Continuo cantata
  • Aure liete intorno à Clori
    Forces: soprano & continuo
    In this plaint over the pain of love there is a disturbing link between the 'loving chains' and 'sweet signs' of love. ARA format with a lovely andantino to start and a dotted allegro to finish.
    Source: Münster Santini Sammlung HS 2358(8)
    Range: e - a''

    Editor: James Sanderson
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  • Chieggio ai gigle ed alle rose
    Forces: soprano & continuo
    Source: BL Add MS 14213 ff 23r - 27v (only source)
    Here's where you learn not to ask nature where your love is concealed! One glance and she loses her liberty and gains a lover!! Aria (cantabile) - recit - aria (un poco allegro) format.
    Range: e - a''

    Editor: James Sanderson
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  • Credi ò caro alla speranza
    Forces: soprano & continuo
    Source: BL Add MS 14213 ff 17r - 22v (only source)
    A totally charming work, both musically and textually - despite a little sentimentality. The text can be summarised with one of the lines from the second aria '...there may be more beautiful shepherdesses out there, but you'll never find one as faithful...' Sweet! Excellent largo to start and a stirring presto for the final aria.
    Range: d - g'

    Editor: James Sanderson
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  • Irene, amata Irene
    Forces: alto & continuo
    From the collection of the Biblioteca del Conservatorio di musica S. Pietro a Majella this is a charming cantata for contralto and continuo. Typically, our protagonist is in love with a dismissive Irene and he expresses this in a RARA format with sinuous recitatives, a complex. chromatic first Adagio aria and a fiery aria to finish (MIDI preview).
    Editor: James Sanderson
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  • Lascia i fior
    Forces: soprano & continuo
    from BL MS Add 14214. Lovely throbbing affettuoso to start and an extraordinary chromatic 'B' section in the second aria. Range d - a'
    Editor: James Sanderson
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  • Lungi d'ogni amoroso
    Forces: soprano & continuo
    Source: BL MS Add 14214
    An interestingly chromatic cantata with a wide range and virtuosic writing for the voice and continuo

    Editor: James Sanderson
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  • O pace del mio cor
    Forces: mezzo-soprano & continuo
    O peace of my heart, where do you wander?
    A beautiful RARA format cantata with roccoco harmony, delightful vocal lines and a real charm.
    Range: c - f'

    Editor: James Sanderson
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  • Oh Dio partir conviene
    Forces: alto & continuo
    A classic lontananza cantata with great pathos. RARA format and filled with plangent melody and extraordinary harmonic shifts in the recitatives. Mirzia is our heroine and her erstwhile lover is forced to be separated from her. Oh, the anguish!!
    Editor: James Sanderson
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  • Orgoglioso fiumicello (alto)
    Forces: mezzo-soprano & continuo
    Source: BL Add MS 14213 ff 28r - 36v
    Edited from an extremely clear copy in a lower key than usual (starts E major), this very popular cantata of the time (1732) exists in at least 8 copies world-wide. With a charming Sì suonar se piace opening with triplets against duplets, the cantata is in aria - recit - aria format. In the Metastasian text, it appears Clori has strayed, but her lover waits for her, knowing that the stream must return to the sea.
    Range: b - g'

    Editor: James Sanderson
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  • Orgoglioso fiumicello (soprano)
    Forces: soprano & continuo
    Source BL MS Add. 14229
    An very interesting cantata with obbligato keyboard accompaniment in first aria. Large range from c - b flat'' Text by Metastasio and from the number of copies extant this must have been a popular piece!

    Editor: James Sanderson
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  • Pur ti stringo in questo petto
    Forces: alto & continuo
    Source: BL Add MS 14213 ff 49v - 55v
    This was a very popular work at the time of its writing. There are no fewer than 7 copies extant, 3 of which are in the UK. The cantata starts with an aria with 'Si suonar se piace' over contrary motion figures in the continuo/upper part. Reminiscent in some ways of Orgoglioso fiumicello. The final section is a recit-cum-arioso apologising for any interruption! Very singable, very enjoyable...
    Range: b - e'

    Editor: James Sanderson
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Cantata with obligato instrument(s)
  • Fille dolce mio bene
    Forces: soprano, flute & continuo
    Source: BL MS Add 31604
    Particularly 'classical' feel to this virtuoso cantata. 2 recit and aria form

    Editor: James Sanderson
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  • Passa da pena in pena
    Forces: alto, flute & continuo
    To go through many pains to acheive true love seems to be the moral of many of the Pastoral cantata texts and this beautiful example is no exception. In ARA format, the first aria in 2/4 then 3/8, the last a lovely allegro moderato Source: MSS in Münster and the British Library
    Range: c - e'

    Editor: James Sanderson
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  • Quel vago seno
    Forces: soprano, flute & continuo
    Charming cantata, widely circulated with two recits and arias, both arias and second recit include flute.
    Research: Kate Eckersley
    Sources: Royal College of Music MSS 695 and Biblioteca del Conservatorio di musica S. Pietro a Majella Cantate 157

    Editor: James Sanderson
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  • Scrivo in te l'amato nome (Il Nome)
    Forces: mezzo-soprano, flute & continuo
    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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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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Marian antiphon
  • Alma Redemptoris Mater
    Forces: alto, strings & continuo
    Source: BL R.M.c.17.(4) 15ff (once the property of Dr Burney)
    In three sections of two hexameters each this is a beautiful setting of the latin text.
    The Alma Redemptoris Mater is one of the four seasonal antiphons prescribed to be sung or recited in the Liturgy of the Hours after night prayer (Compline or Vespers). It is usually sung from the eve of the first Sunday of Advent until the Friday before the Feast of the Presentation.
    Range: b flat - d'

    Editor: James Sanderson
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Johnson, Robert

Song
  • Full Fathom Five
    Forces: voice & lute (arr keyboard)
    Text from 'The Tempest' - a simple and charming song
    Editor: James Sanderson
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  • In Sherwood Lived Stout Robin Hood
    Forces: voice & lute (arr keyboard)
    A wonderful narrative song telling of Love's triumph over the noble knave.
    Editor: James Sanderson
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Jommelli, Niccolo (b Aversa, 10 Sept 1714; d Naples, 25 Aug 1774)

Aria
  • No sò d'onde viene
    Forces: tenor, oboes, horns, strings & continuo
    From Jommelli's L'Olimpiade (1761) Act III, Sc. vi This is a beautiful aria for tenor, oboes, horns strings and continuo. Also available in alto key.
    Editor: James Sanderson
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Liturgical (other)
  • Graduale e sequenza per le Feste di Pentecoste
    Forces: SATB & continuo
    Source: BL R.M.24.a.6(5)
    Written for St Peter's in Rome, the gradual, versicles and sequence for Pentecost and the first 2 ferie in the octave of Pentecost. A rousing alleluia with the propers for solo voice, a solo trio for Veni Sancte Spiritus, reple tuorum and a full choral version, with solos for the sequence Veni Sancte Spiritus, et emitte caelitus. This is still the current correct texts for Pentecost according to the Graduale Romanum.

    Editor: James Sanderson
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Leo, Leonardo (1694 - 1744)

Aria
  • Qual farfalla innamorata
    Forces: soprano, strings & continuo
    From Leo's extraordinary opera Zenobia in Palmira this is Decio's Act II, scene vii aria: 'Like a butterfly crazed with love, the hope I harbour within my heart flutters forever around the flame'. And we all know what happens when butterflies get burnt!! Love with danger here. Also on the Cecelia Bartoli recording 'Sacrificium'.
    Editor: James Sanderson
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Continuo cantata
  • A te vengo o prato ameno
    Forces: soprano & continuo
    Source: BL Add 14213 v 154r - 157v
    This time the poor shepherd is dying for love of cruel Aminta. No matter what he does, beauty of her hair and her breast(!) force him to fall in love.
    The opening aria, probably largo has some interesting figurations which in most situations would be ornaments (32nd notes). Aria - recit - aria form.
    Range: d - g'

    Editor: James Sanderson
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  • Amo la bella, ah nò
    Forces: soprano & continuo
    Source: BL Add MS 14220 f73r - 76v
    The lover is torn between his head and his heart with love for his 'beauty'. Who wins? Two recit and aria form with a stunning first Largo (see MIDI) and a fiery presto to finish.
    Range: d - g'

    Editor: James Sanderson
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  • Aure liete intorno à Clori
    Forces: soprano & continuo
    Leo's setting of this popular text. Whilst Clori sleeps her lover guards her rest and surrounds her with flowers (whilst binding himself in the pleasant chains of love). ARA format with two sensuous arias.
    Source: Münster Santini Sammlung Hs 2358(7)
    Range: d - a flat''

    Editor: James Sanderson
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  • Ch'io non conosco Amore
    Forces: soprano & continuo
    Not knowing Love, not knowing of his sighs, how can Irene recognise his ardor? The lovers complaints (and his happiness) of and in love. ARA format with a larghetto, e cantabile and an aria non presto. The recitative is typically intricate and the harmonic world is complex.
    Source: Münster Santini Sammlung HS 2358(1)
    Range: d - a''

    Editor: James Sanderson
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  • Dal di che in questo petto
    Forces: alto & continuo
    A delightful RARA format cantata for alto and continuo in which our erstwhile lover tries to convince Nice that love is just a game and forgiving his infidelity is her only course of action. Hmmm...interesting theory...
    Editor: James Sanderson
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  • Dopo lunga dimora
    Forces: soprano & continuo
    A stunning example of the genre showing Leo at the height of his powers in this field. RARA format with two complex and beautiful arias and the expected involved recitatives. The straying shepherd returns to the banks of the River Arno to find both love and infedelity in his beloved Amarillis.
    Source: Münster Santini Sammlung HS 2358(2)
    Range: d - a'' flat

    Editor: James Sanderson
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  • Frangi Cupido i dardi
    Forces: alto & continuo
    Source: BL Add MS 14210 ff24r - 29r
    Once more, the lover is tired of being struck by Cupid's darts and begs him to break them - he hasn't the strength to resist any more! Cupid however has other plans and torments the lover further. 2 recits with andante and affettuoso arias.
    Range: c - d'

    Editor: James Sanderson
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  • Io seguir il Nume arciero
    Forces: alto & continuo
    Source: BL Add MS 14210 ff18r - 23v
    The follower of the God of Love is regretting his decision and exhorts us to choose freedom over the chains of love! 2 recit and aria format with excellent contrast between the arias and interesting and involved recits.
    Range: b flat - d'

    Editor: James Sanderson
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  • Non potrei benche volessi
    Forces: soprano & continuo
    Source: BL Add SM 14112 ff 111r - 114r
    As the stream to the sea, so am I drawn to you. Thus runs the final aria and summarises this charming cantata (despite Clori's continued infedelity). Aria (Affettuoso) - recit - aria (Non presto) format.
    Range: d - g'

    Editor: James Sanderson
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  • Oh' Dio qual duolo sia
    Forces: soprano & continuo
    "What sadness to be parted from the beloved" It is a beautiful example of a lontananza cantata with stunningly sinuous writing within the ARA format. The first aria has a 3-8 B section, the recit is involved and expressive and the final aria is a wealth of beautiful music.
    Editor: James Sanderson
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  • Oimè, che veggio?
    Forces: soprano & continuo
    The pain of betrayal and the anguish it causes is the theme of the first part of this delightful cantata. The sobbing of the affettuoso aria is beautiful. The second half of the cantata, however, sees our young man in a fury! His long recit and final 'rage' aria (with its contrasting 3/2 middle section) are a piece of virtuosic writing of the first order.
    Editor: James Sanderson
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  • Or che barbara sorte
    Forces: soprano & continuo
    Source: BL MS Add 14210 ff 10r - 17r
    In classic two recit and aria format with some wicked chromatic shifts in the recits, the lover bemoans the cruelty of Fate which has parted him from his beloved.
    Range: c - g'

    Editor: James Sanderson
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  • Pianger vidi appresso al fonte
    Forces: soprano & continuo
    With a sorrowful image of the shepherdess weeping near the fountain, hand on heart, the erstwhile lover claims that if she were with him she would have no cause to complain! ARA format, both arias wonderfully plaintive.
    Source: Münster Santini Sammlung Hs 2358
    Range: d - a''

    Editor: James Sanderson
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  • Piansero Eurilla mia
    Forces: soprano & continuo
    Source: BL Add MS 14210 ff 2r - 9v
    A gentle and loving story of a man abandoned in the woods (amongst flowers and verdant fields, of course)by his beloved Eurilla. Still he loves her - your blond hair, your white hands, your faithfulness(!). 2 recits (both quite large and complicated) and 2 arias (moderato and allegro with a slower(?) reflective middle section in triple time).
    Range: d - g''

    Editor: James Sanderson
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  • Quel usignuolo che in quella pianta
    Forces: soprano & continuo
    As the nightingale sings of the pains of love, Filli's lover swears his devotion to her and begs her to ignore all the lies and jealousies that plague young love. ARA format, the first a complex and virtuosic larghetto, e cantabile, the last marked non presto
    Source: Münster Santini Sammlung Hs 2358
    Range: e - a''

    Editor: James Sanderson
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  • S'io credessi il cor costante
    Forces: soprano & continuo
    'If' is, of course, the important word in this cantata. "If I belived in a faithful heart..." A discussion of the pain caused by loving too much. ARA format, both arias excellent and sinuous.
    Source: Münster Santini Sammlung Hs 2358(3)
    Range: d# - a''

    Editor: James Sanderson
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  • Sotto l'ombra d'un faggio fermò l'incerto passo
    Forces: soprano & continuo
    Source: BL Add MS 14210 ff 35v - 41v
    The young man, perhaps unlucky and unhappy Tirsi, finds himself once more beneath the shade of a beech tree lamenting the cruelty of his beloved Dorinda. 2 recit and aria form with some stylish vocal passage work in both arias.
    Range: d# - g#''

    Editor: James Sanderson
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  • Torno à voi piante amorose
    Forces: mezzo-soprano & continuo
    Variously ascribed to Mancini, Porpora and Leo, with its appearance more than once in collections of Leo's works we have leant towards this choice. Sources used include BL Add MSS 29484 and 14210. The text paints a pastoral picture of the wounded lover returning to the fields and flowers for comfort.
    Editor: James Sanderson
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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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Cantata spirituale
  • Adorato Giesù
    Forces: alto & continuo
    Source: BL MS Add 14112
    The first of six 'Cantate Spirituale' in a British Library manuscript containing works exclusively by Leo.
    Consisting of recit - arioso - recit - largo - recit - largo - recit - largo assai, with the last being non-da capo. The theme is one in which the listener is exhorted to find love through Christ.
    Range: a - c#'

    Editor: James Sanderson
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  • Di contento di gioia e diletto
    Forces: soprano & continuo
    Source BL Add 14212 f150 - 153
    This is a particularly beautiful Christmas cantata for soprano with a 'si sona' obbligato part for either cembalo or strings.

    Editor: James Sanderson
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  • Dove fuggo, a che penso
    Forces: alto & continuo
    Source: BL MS Add 14112
    The second of six 'Cantate Spirituale' in a British Library manuscript containing works exclusively by Leo.
    Starting with a great recit with the bass line flying around the vocal part, the works consists of three recit and aria pairs. The second aria (MIDI preview) being wonderfully chromatic. The subject matter concerns the sinner's unwillingness to return to Godliness.
    Range: Bb - d'

    Editor: James Sanderson
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  • S'offendesti il mio Signor
    Forces: alto & continuo
    Source: BL MS Add 14112
    The fifth of six 'Cantate Spirituale' in a British Library manuscript containing works exclusively by Leo.
    In three recit and aria form with an extraordinarily beautiful first aria (Largo). The text describes a desire not to be born if, during life, one could offend God.
    Range: a - d'

    Editor: James Sanderson
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  • Sono piene di serene
    Forces: alto & continuo
    Source: BL MS Add 14112
    The last of six 'Cantate Spirituale' in a British Library manuscript containing works exclusively by Leo.
    In three arias & two recits form, the subject matter boils down to redemption only being found through God.
    Range: a - d'

    Editor: James Sanderson
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  • Tremolanti d'intorno
    Forces: alto & continuo
    Source: BL MS Add 14112
    The third of six 'Cantate Spirituale' in a British Library manuscript containing works exclusively by Leo.
    An atmospheric opening recit. with the vocal line imitating the trembling of the title, the cantata contains three recit and aria pairs. The text concerns the devout's willing sacrifice for love of God.
    Range: Bb - d'

    Editor: James Sanderson
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  • Vissi nol niego
    Forces: alto & continuo
    Source: BL MS Add 14112
    The fourth of six 'Cantate Spirituale' in a British Library manuscript containing works exclusively by Leo.
    In three recit and aria form with some extraordinary chromatic shifts. The text concerns redemption through contrition and the desite to be with God in death.
    Range: Bb - d'

    Editor: James Sanderson
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Solo motet
  • Beatus vir
    Forces: alto, violins & continuo
    A substantial setting of the psalm 112 for alto, violins and continuo. Virtuosic in style and showing galant musical characteristics. In seven movements.
    Source: Münster HS xy175
    Range: a - d'

    Editor: James Sanderson
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  • Laudate pueri
    Forces: alto, 2 corni, 2 oboi, violins,
    viola & continuo
    A substantial setting of the psalm 113 from what is reputed to be an autograph source. Galant in style and virtuosic for the singer.
    Source: Münster HS xy175
    Range: b - d'

    Editor: James Sanderson
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Marian antiphon
  • Salve Regina (c)
    Forces: soprano, strings & continuo
    A darker and more complex setting of the Marian antiphon than the well-known F major version. Some exquisite harmonic shifts, changes in instrumentation and beautiful, singable vocal writing. Divided into 5 sections (one in two parts) the text is painted with a vivid palette of instrumental and vocal colour.
    Source: BL MS R.M.23.c.17.(3), once the property of Dr. Burney.
    Range: d - a'' flat

    Editor: James Sanderson
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  • Salve Regina (F)
    Forces: soprano, strings & continuo
    Source: Royal Music Collection 23.c.17.(3)
    A new edition of Leo's exquisite Salve Regina in F major.
    In 6 sections - Largo, Allegro, Largo, Allegretto, Recitativo, Largo it has excellent variation between sections, the fourth running directly into the recit using a descending figuration. This piece has the ability to really move the listener. It is one of the works which make one ask, "Why, to a large extent, was this composer forgotten for so long?"
    Range: d - b flat''

    Editor: James Sanderson
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Liturgical (other)
  • Graduale: Eripe me Domine
    Forces: SATB & continuo
    Source: BL Egerton MS 2466
    Gradual for Passion Sunday.

    Editor: James Sanderson
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  • Introit: Judica me Deus
    Forces: SATB & continuo
    Source: BL Egerton 2466
    The introit for Passion Sunday. Dramatic with some very interesting harmonic language.

    Editor: James Sanderson
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  • Introite e Graduale per le Ceneri
    Forces: SATB & continuo
    Source: BL Egerton MS 2466
    The complete introit, graduals, tracts etc for Ash Wednesday under the old (pre-Vatican II) rite including:
    Judica me Deus;
    Eripe me Domine;
    Invocabit me;
    Angelis suis Deus;
    Scapulis suis obumbrabit tibi;
    Jerusalem lætare;
    Lætatus sum (minus last two verses);
    Misereris omnium Domine;
    Miserere mei Deus quoniam in te confidit;
    Misit de cælo et liberabit me;
    and
    Adjuva nos Deus salutaris noster.

    Most suitable for liturgical or concert use.

    Editor: James Sanderson
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  • Lezione del Giovedì Santo
    Forces: soprano, alto & continuo
    Source: BL Add MS 14112, Egerton MS 2466
    The Lessons for the Thursday of Holy Week from the IX Lezione per la Settimana Santa ... per la Real Capella di Napoli. Divided primarily into the three sections, 'De lamentatione Jeremiæ prophetæ. Heth. Cogitavit Dominus disspare', 'Lamed. Matribus suis dixerunt', and 'Aleph. Ego vir videns paupertatem', the first and last for soprano, the central section for alto, each section is then subdivided into many smaller quasi-aria, arioso, and recitative sections which make up the whole, each ending with the imploring Jerusalem convertere ad Dominum Deum tuum - Jerusalem, return to your God. They are extraordinary works with great variation and some truly extraordinary invention both in terms of melody and harmony. The range, both dramatic and vocal is extraordinary.

    Editor: James Sanderson
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  • Lezione del Mercordi Santo
    Forces: soprano, alto & continuo
    Source: BL Add MS 14112
    The Lessons for the Wednesday of Holy Week from the IX Lezione per la Settimana Santa ... per la Real Capella di Napoli. Divided primarily into the three sections, 'Incipit lamentatio Jeremiæ Prophetæ. Aleph. Quomodo sedet sola civitas', 'Vau. Et egressus est a Filia Sion', and 'Manum suam misit hostis (missing the Ioth. at the start of the verse)', the first and last for soprano, the central section for alto, each section is then subdivided into many smaller quasi-aria, arioso, and recitative sections which make up the whole, each ending with the imploring Jerusalem convertere ad Dominum Deum tuum - Jerusalem, return to your God. They are extraordinary works with great variation and some truly plangent harmonies. This first of the three Lezione uses much variation between violoncelli and bassi.
    Range (soprano): b flat - b flat''
    Range (alto): G - e flat'

    Editor: James Sanderson
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  • Lezione del Venerdi Santo
    Forces: soprano, alto & continuo
    Source: BL Add MS 14112
    The Lessons for Good Friday from the IX Lezione per la Settimana Santa ... per la Real Capella di Napoli. Divided primarily into the three sections, 'De lamentatione Jeremiæ Prophetæ. Heth. Misericordiæ Domini', 'Aleph, quomodo obscuratum', and 'Incipit oratio Jeremiæ Prophetæ. Recordare Domine', the first and last for soprano, the central piece for alto, each section is then subdivided into many smaller quasi-aria, arioso, and recitative sections which make up the whole, each ending with the imploring Jerusalem convertere ad Dominum Deum tuum - Jerusalem, return to your God. They are extraordinary works with great variation and some truly plangent harmonies.
    Range (soprano): b flat - b flat''(sometimes in one four note phrase)
    Range (alto): a - e'

    Editor: James Sanderson
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  • Madrigale à 9: Heu nos miseros
    Forces: SSATB, SATB & continuo
    Source: BL Add MS 14112
    Leo's moving 'Madrigale a nove' for nine part chorus is a wonderful example of the development of the 'older' style of polyphony in the first half of the 18th century.

    Editor: James Sanderson
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  • Miserere mei deus
    Forces: SATB, SATB & continuo
    Described by Wagner as "...A mighty cathedral, sublime and magnificent..." Leo's Miserere is a complex and beautiful work which is hugely rewarding both to sing and to listen to.
    Editor: James Sanderson
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  • Miserere mei Deus: quoniam in te confidit
    Forces: SATB & continuo
    Source: BL Egerton MS 2466
    The title page describes this work as being written for the Capella Reale di Napoli in 1744 (the year of Leo's death). It is not the Psalm 50 but the gradual and tract versicle for Ash Wednesday (in 1744). Divided into three sections: Miserere mei Deus, Misit de cælo (the gradual for Ash Wednesday in 1744) and Adjuva nos, Deus salutaris noster (the tract versicle for Ash Wednesday in 1744) there is real beauty in its simplicity. See also the Misereris omnium, Domine which is the 1744 introit for Ash Wednesday.

    Editor: James Sanderson
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  • Misereris omnium Dominum
    Forces: SATB & continuo
    Source: BL Add. MS 14112
    This is the first piece in a collection of music for Ash Wednesday and Holy Week, written for the Royal Chapel, Naples in 1744 (the year of Leo's death). In four sections, the work provides the introit, gradual and tract for Ash Wednesday in a sublime polyphonic setting - much beautiful harmonic movement. A stunning work.

    Editor: James Sanderson
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  • Praebe Virgo benignas
    Forces: soprano, obligato organ & continuo
    An extraordinary work written for the unusual combination of soprano and obligato organ. Both parts are virtuosic, the vocal part being particularly challenging. In ARAR format it may have been meant to stand alone or as an introduction to another, larger, liturgical work.
    Source: Münster Santini HS 2351
    Range: e - c''

    Editor: James Sanderson
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Collection
  • IX Lezione per la Settimana Santa
    Forces: soprano, alto & continuo
    Sources: BL Add MS 14112, Egerton MS 2466
    The complete IX Lezione per la Settimana Santa ... per la Real Capella di Napoli. See the individual descriptions for details.

    Editor: James Sanderson
    No preview available | Price: £ 24.95 | 

  • Sei cantata spirituale
    Forces: alto & continuo
    Source: BL MS Add 14112
    The six cantate spirituale from the above MS in a collected form. Beautiful writing both in recitative and aria.
    Save £££ by buying all these as a collection.
    For previews see the individual cantatas:
    Adorato Giesù
    Dove fuggo, a che penso
    Tremolanti d'intorno
    Vissi nol niego
    S'offendesti il mio Signor
    Sono piene di serene

    Editor: James Sanderson
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Solfeggi
  • Dodeci Solfeggi à voce sola (part 1)
    Forces: soprano & continuo
    In the great tradition of vocal exercise, we present the first six of Leo's Dodeci Solfeggi. Viruosic, but extremely vocal writing. Great for developing flexibility.
    Source: Münster Santini Sammlung Hs 2369
    Range: c - b''

    Editor: James Sanderson
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Lotti, Antonio (1666 - 1740)

Continuo cantata
  • Filli crudel spietata filli
    Forces: soprano & continuo
    Source BL Add 14212 ff 50 - 55
    Some very good, dramatic recitative. The whole is quite Scarlattian in form, with the Venetian predilection for a good melody line.
    Filli has been at it again and Fileno is really upset!
    Range: d#' - g#''

    Editor: James Sanderson
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  • Rendi al mio cor la pace
    Forces: alto & continuo
    Source:
    The shepherd rails against love and in particular Dorinda. If you do not turn your eyes on me I shall die, without love and without faith. Excellent dotted Largo to start and an arpeggiated presto to end.
    Range: a - d'

    Editor: James Sanderson
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Liturgical (other)
  • Crucifixus à 10
    Forces: SSSAATTTBB & continuo
    An intensely chromatic setting of the words from the creed, "Crucified under Pontius Pilate, died and was buried" in ten parts (plus continuo). Building from a single line to eleven within 6 bars and moving through varying polyphonic sections - a stunning work.
    Source: Münster Santini Sammlung Hs 3978(1)

    Editor: James Sanderson
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Mancini, Francesco (1672 - 1737)

Aria
  • Caro, s'io moro almeno
    Forces: soprano & continuo
    Aria with notated ornamentation
    This comes from a manuscript in Lbl, the work of Roman copyist Tarquinio Lanciani (who copied works of Handel, A. Scarlatti, and Caldara). It provides a fascinating glimpse into ornamentation patterns familiar to early 18th century musicians.

    Editor: Rosalind Halton
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Continuo cantata
  • Agitato mio pensiero
    Forces: alto & continuo
    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.
    Here Amor is stirring the heart and throughts of an erstwhile lover. With an excellent opening allegro and concluding with a slightly 'crooked' andante this is a jolly sing through one of the genre's typical subjects.
    Range: a - c'

    Editor: James Sanderson
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  • Ahi che moro e ristoro
    Forces: soprano & continuo
    Source: BL Add 14211 ff 132r - 139v
    In aria-recit-aria-recit-aria form with some very odd use of shifting tonality the lover bemoans the cruelty of Amore.
    Range: e' - g#''

    Editor: James Sanderson
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  • Allor ch'il dio di Delo
    Forces: soprano & continuo
    The God of Delos, Apollo comes to earth and sports with the goddess Flora - I think however that her beauty wins the day! In RARARA format with some lovely recitative and a really satisfying text.
    Source: Münster Santini Sammlung HS 865(10)
    Range: d - g'

    Editor: James Sanderson
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  • Allor che ad' altro oggetto
    Forces: soprano & continuo
    The fire and pains of jealousy and unrequited love fan our protagonist's ardour in this lovely cantata. In RARA format, the first aria full of unexpected chromaticism, the second an excellent 'walking bass'.
    Source: Münster HS 2459(6)
    Range: f - g'

    Editor: James Sanderson
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  • Alpestre, monte e solitaria selva
    Forces: alto & continuo
    Source: BL Add MS 14213 124v - 131v
    Oh, the pain that Love causes, and once again it's Nice! Here the lover would willingly shed every last drop of blood to get Nice back. Hello?!!? Two recit and aria format, both arias slow, in the (appropriately) pathetic style.
    Range: a - d'

    Editor: James Sanderson
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  • Ama Tigre crudel
    Forces: alto & continuo
    Tigers love, lions burn with love, the seas love the mountains and rivers, the woods love the forests, why doesn't this girl love him? In RARA format (andante & allegro).
    Source: Münster Santini Sammlung Hs 2461
    Range: G - b'

    Editor: James Sanderson
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  • Arse lunga staggione del bel volto
    Forces: soprano & continuo
    Source BL Add 14211 f 150 - 156
    A curiously formed cantata beginning with secco recitative which becomes 'a tempo' then moves into an aria and finished with a minuet.
    It's inconstant Fille and constant Fileno again, with Fileno venting his sadness.
    Range: d#' - g''

    Editor: James Sanderson
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  • Assai più di quel che sei
    Forces: soprano & continuo
    In love with Filli yet again and boy does Filli have unbeatable charms. "...Not another mouth...not another lover...unless they are more faithful than you..." ARARA format with excellent variation between the arias and the customarily complex recitatives.
    Source: Münster Santini Collection HS 864(15)
    Range: e - a''

    Editor: James Sanderson
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  • Barbara gelosia
    Forces: soprano & continuo
    "Between hope and fear the poor heart does not know what to do..." So ends this exciting cantata in ARARA format. Virtuosic (but with pathos). A tale of how jealousy can ruin even the strongest of relationships.
    Range: d - b''
    Source: Biblioteca del Conservatorio di musica S. Pietro a Majella - Napoli - IT-NA0059; Segnatura: Cantate 29-07

    Editor: James Sanderson
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  • Cara qual'or mi giri
    Forces: alto & continuo
    Unrequited love and self-sacrifice are the themes of this restrained and beautiful cantata. Being ignored by his beloved, the protagonist offers his life for just one glance. In RARA format.
    Range: a - d'

    Editor: James Sanderson
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  • Cieli ditemi come potrò
    Forces: alto & continuo
    Unrequited love for Fileno rears its ugly head again in this large and beautiful cantata. "Cruel Destiny may kill the lover, but never the love". In RARARA format with two affettuoso arias, the second having a unusual written link back to the DS and one allegro.
    Source: Münster Santini Sammlung HS 2459(13) WriM. 35
    Range: b flat - d' flat

    Editor: James Sanderson
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  • Clori che ardea d'amore
    Forces: soprano & continuo
    Clori is '...burning with love...' for the handsome Daliso, but, of course, he is unfaithful and causes her to vent her spleen in many imaginative ways. Great recitatives and two splendid rage arias make up this RARA format cantata from the Naples Conservatorio Library collection.
    Editor: James Sanderson
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  • Clori che un dì vantava
    Forces: soprano & continuo
    A cantata all about one of our favourite topics: infedelity! Clori's boasts of '...a constant breast, a faithful heart, a loyalty in love...' have proved unfounded and she is reviled as '...barbarous, faithless, cruel and treacherous, without a heart...' In RARA format this is a very effective betrayal cantata from a source at the Naples Conservatorio S Pietro a Majella.
    Editor: James Sanderson
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  • Clori non ti lagnar
    Forces: soprano & continuo
    Source: BL Add 14211 ff 3r - 10v
    A truly lovely cantata in five movements with Mancini's typical flexible attitude to recitative/arioso/aria combinations.
    A later performer, perhaps even the copyist, has made the note 'cantata bona di partenza' and has personalised a version of the text changing the lovers' names (Clori and Lillo) to Cara and me.
    Range: d' - a''

    Editor: James Sanderson
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  • Clori quant'io t'amai
    Forces: soprano & continuo
    At las Clori is being deserted by her beloved. Curiously, however, she retains her hold over him as he bemoans the cruelty of Fate for separating them. In RARARAR format with the central aria a complicated 3/4 - 6/8 and 4/4.
    Source: Münster Santini Sammlung HS 2459
    Range: e - b''

    Editor: James Sanderson
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  • Crudele lontananza
    Forces: soprano & continuo
    A classic lontananza cantata with Clori once again responsible for our lover's torment, but he still wants to "kiss the arrow that pierced my heart..." Oh, for goodness' sake! RARARA format, with two slow and one fast. Short, vivid recitatives.
    Editor: James Sanderson
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  • D'amore onesto e fido
    Forces: soprano & continuo
    Love honest and faithful? Really? This delightful cantata in RARARA format puts forward the theory that Love would be a truly wonderful thing, were it not for the fire of jealousy! Very well-drafted, each aria has a particular mood and the recitatvies are full of fun inflections and some lovely chromatic writing.
    Editor: James Sanderson
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  • D'un garrulo ruscello
    Forces: soprano & continuo
    Elisa is clearly unhappy in love and asks the silver brook to join her in her sorrows. Well, that's the first half! By the second recit-aria pair of the cantata she has worked herself up into quite a state and is crying 'Perfidy', and 'Treacherous...let us speak of love no more...I am your sworn enemy...' The first aria is a languid Larghetto, the second a fiery Allegro. Source: Naples Conservatorio Library.
    Editor: James Sanderson
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  • Da che lungi n'andò
    Forces: soprano & continuo
    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.
    Oh, Lidio is being difficult again and causing heartache. His loving lady wishes rather for death than his absence. Finally, in the last aria, he reappears and is likened to the sun at the break of day banishing sadness. Awww...
    Double recit-aria format.
    Range: d - a'' flat

    Editor: James Sanderson
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  • Daliso anima mia
    Forces: soprano & continuo
    Imminent departure, instant pain! "Daliso my beloved, pain of my heart, sweet agony...". This is a large (RARARA) cantata dated 1st of August 1710 in a particularly clear copy. Real variety in recits and especially in the arias.
    Editor: James Sanderson
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  • Dimmi ingrata incostante
    Forces: alto & continuo
    A marvellous work by Mancini in RARA format - the recitatives are extensive and harmonically complex. The subject deals with infidelity and starts with the (female) protagonist railing at Lidio, calling him unfaithful, liar etc. The last aria ends, however, with the decision to match his betrayal with her own!
    Source: Münster HS 2459(12)
    Range: a - d'

    Editor: James Sanderson
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  • Dunque le mie speranze
    Forces: soprano & continuo

    Editor: James Sanderson
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  • E come, e come, O Dio?
    Forces: soprano & continuo
    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.
    With a textual opening classic to the genre the protagonist asks God how he/she can live through the bitter torments of being parted from his/her beloved. The theme of jealousy caused by separation in a musical setting. Dramtic and vivid word-painting characterise the recitatives of this cantata together with two splendid arias Largo and a 12/8 à tempo giusto.
    Range: d - g'

    Editor: James Sanderson
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  • E dove mail l'Inferno
    Forces: soprano & continuo
    "Hell has never had such pain as the pain that love for you causes me - you know of it but do nothing to lessen it", he sings. Of course Cupid is to blame! Some wonderful writing in a large cantata in RARARA format, excellent text to work with both in aria and recitative.
    Source: Münster Santini Sammlung HS 865(9) [WriM. 71]
    Range: b - a''

    Editor: James Sanderson
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  • Esamina mio core
    Forces: soprano & continuo
    What is worse, to be near an unfaithful love or separated from a faithful one? This is the question our singer poses: 'Examine my heart...'. This is a delightful lontananza cantata which gives into the 'Forces of the nude archer...'. Cupid has been busy again, clearly! Source: Naples Conservatorio di Musica S Pietro a Majella.
    Editor: James Sanderson
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  • Frà le morbide piume
    Forces: alto & continuo
    Source: BL Add MS 14213 ff 132r - 135r
    An exciting piece from a very clear copy (a welcome rarity in Mancini's case!) Among the soft feathers the lover rests his soul and dreams of wicked spiteful Clori again! Why do they keep coming back for more? 2 recit and 2 aria (allegretto and allegro) format
    Range: b flat - e' flat

    Editor: James Sanderson
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  • Frà le pene tiranne
    Forces: alto & continuo
    The treachery of Cupid is once the again a hot topic in this RARA format cantata. With two excellent arias which challenge both continuo and singer, this is an interesting addition to our catalogue.
    Source: Münster Santini Sammlung HS 864(13)
    Range: a - d'

    Editor: James Sanderson
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  • Gelosia che dell'alme
    Forces: soprano & continuo
    Jealousy as the Mother of Tears is the theme of this very worthwhile cantata by the Neapolitan master. In RARA format, wonderfully expressive and tormented recitatives, a stunning Largo first aria and a fiery last aria.
    Source: Biblioteca del Conservatorio di musica S. Pietro a Majella - Napoli: 33.3.33 (21).

    Editor: James Sanderson
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  • Già che teco io son mio bene
    Forces: soprano & continuo
    A delightful cantata full of longing and some wonderful word painting in the two arias. ARA format sees Fileno's lover longing for his return - '...stop your running or the sun will not shine...' Source: Biblioteca del Conservatorio di musica S. Pietro a Majella - Napoli - IT-NA0059 ; Segnatura: Cantate 41-08.
    Editor: James Sanderson
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  • Già degl'astri il monarca
    Forces: soprano & continuo
    Source BL Add 14211 f 42 - 50v
    Once again an interesting construction for this extensive cantata. Recit, aria, recit, aria, recit, minuet, recit which becomes arioso. Some very beautiful writing and moods that swing from Adone's lament at Clori's bad behaviour to arias about finding joy only in the beloved's face.
    Range: c#' - g''

    Editor: James Sanderson
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  • Già vicina e quell' hora
    Forces: soprano & continuo
    A substantial work with three well-developed arias and complex recitatives. Tirsi remains as his love departs whilst questioning why she must leave and whether absence will ease her love.
    Source: Münster Santini Sammlung HS 861(4)
    Range: e - a''

    Editor: James Sanderson
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  • Il Pianetta maggiore
    Forces: alto & continuo
    A very short and to the point cantata in RARA format. The power of Cupid found in the beloved's eyes.
    Source: Münster Santini Sammlung HS 860(16)
    Range: b - c#'

    Editor: James Sanderson
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  • L'occhio el labro del mio bene
    Forces: soprano & continuo
    Source: BL Add 14211 141r - 148v
    Not one of his best, but an interesting piece, particularly the use of harmony in the last aria (see MIDI) and the extraordinary way he plays with the text.
    Range: e' - g''

    Editor: James Sanderson
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  • La dove il bel sebeto
    Forces: soprano & continuo
    "A languishing soul should not hope for pity, because in you is beauty and cruelty combined." Oh, how melodramatic can you be? Wonderful, sinuous first aria (listen to the MIDI) and a spry allegro to finish in this RARA form cantata. Tirsi and Irene are in their usual predicament...
    Editor: James Sanderson
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  • La Farfalletta
    Quando la notte impera

    Forces: soprano & continuo
    This was clearly a popular work in its time with no less than three copies found in the Naples collection. 'When night rules...' Like a moth to a flame the lover goes, but must he die for his love? In RARA format with two beautifully shaped arias and complex, harmonically challenging recitatives, one can see why it was popular!
    Editor: James Sanderson
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  • La Primavera
    Or che di Primavera

    Forces: soprano & continuo
    The Spring fills the heart of animals, birds and plants with Love, even that of our singer with his love for Fille. But, of course, Fille does not return this love and leaves him broken-hearted...the classic rejection cantata. Our erstwhile lover then warns that the Winter of old age will rob her of her Spring-like beauty and she will regret 'Yes, yes!' having spurned his love. In RARA format, the arias are particularly beautiful and the recitatives wander through some bizarre tonal language. Source: Naples - Biblioteca del Conservatorio di Music S Pietro a Majella.
    Editor: James Sanderson
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  • La Rondinella
    La Rondinella trapassa il mar

    Forces: soprano & continuo
    From a volume of Mancini cantatas in the S Pietro di Majella Conservatorio library, this is an extremely cheerful 'lontananza' cantata. In ARA format with two delightfully playful arias and a complex, emotional recitative, this cantata should prove very popular with singers and audience alike.
    Editor: James Sanderson
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  • Lacrime sventurate
    Forces: soprano & continuo
    "...How the tears flowing from my heart show my pain..." RARA format, both in triple time, the first a rather lovely Siciliano. The opening recit is also wonderfully chromatic, capturing the image of the flowing tears.
    Source: Münster Santini Sammlung HS 2459(3)
    Range: d# - g#'

    Editor: James Sanderson
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  • Lasciami solo in pene
    Forces: soprano & continuo
    Leave me alone in my pain! So repeats our (quite upset) protagonist in this RARA format cantata. A sinuous Siciliano and a resolute final aria set the text off very effectively. This is the composer at his very inventive stage.
    Source: Biblioteca del Conservatorio di musica S. Pietro a Majella - Napoli - IT-NA0059 Segnatura: 33.3.33-05.
    Range: e - g'

    Editor: James Sanderson
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  • Lidia tu non me'l credi
    Forces: soprano & continuo
    A lovely example of the genre, RARA format with, once again from this manuscript, a particularly complex first aria. The subject: "Leave my heart in peace, speak not of love to me" Now, is that a way to go about Arcadian love?
    Source: Müs HS 2459(9)
    Range: f# - b'' (!)

    Editor: James Sanderson
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  • Lidio rendimi il core
    Forces: soprano & continuo
    'Lidio give me your heart'. Poor thing! She has had such bad luck in love, eventually all she wants is him, but knowing that '...it is rare to find beauty and gentleness without pain...' she doesn't really have much hope. A delightful first aria in the this RARA format cantata (see score preview) and a virtuosic, fun closing aria (MIDI Preview), this is a very enjoyable work with a sense of humour. Source: Naples Biblioteca del Conservatorio di musica S Pietro a Majella.
    Editor: James Sanderson
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  • Lumi cari del mio bel sole
    Forces: alto & continuo
    From Santini MS 2459 (16), this delightful cantata has some curiously chromatic twists, particularly in the second aria (listen to preview). "A single glance from your eyes burns my heart, but the certainty of my death can only bring you glory!"
    In ARA format
    Range: b - d'

    Editor: James Sanderson
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  • Lungi dal tuo sembiante
    Forces: soprano & continuo
    Here our erstwhile lover is wrapped up in all the torments of the classic 'lontananza' cantata. He is prepared to die for love if his distant beloved would just turn the light of her eyes towards him and show him her face. A large RARARA format aria from the Naples Conservatorio collection (S. Pietro a Majella).
    Editor: James Sanderson
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  • Mentre in grembo al riposo
    Forces: soprano & continuo
    In his sleep, Fileno dreams that an unknown woman is lamenting over his rejection of her love. The first aria, the lament, is simply stunning - beautiful harmony and melodic writing. The last aria offers coloratura challenges and the recitatives are typically well-shaped and effective. Source, Naples Biblioteca del Conservatorio di Musica S Pietro a Majella. RARA format.
    Editor: James Sanderson
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  • Occhi vezzosi e belli
    Forces: soprano & continuo
    A delightful cantata from Münster MS Hs 865 (14) in which beautiful eyes make you a prisoner of Love. In RARA format with some delightful chromaticisms and written out return ornament to the da capo.
    Range: d - g#'

    Editor: James Sanderson
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  • Pecorelle correte a quel fonte
    Forces: soprano & continuo
    A charming pastoral cantata with the singer likening his sheep running after water to the lover searching for his beloved. Two delightful arias surround a chromatic recitative. Throughout the piece there are many cromatic twists and turns.
    Range: c - g'

    Editor: James Sanderson
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  • Piangete occhi dolenti
    Forces: soprano & continuo
    'Weep sad eyes, and distil my tears so that my laments fill each hour.' A wonderfully self-indulgent cantata from the Naples collection. In RARA format, the first (midi preview) a torturous Largo and the second a sprightly Allegro reminiscent of the recorder sonatas.
    Editor: James Sanderson
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  • Più dell'onda, e più del vento
    Forces: soprano & continuo
    The treacherous Filli has given her heart to many others, but has held it back from our protagonist. 'Confess cruel one that you are the murderer of my heart!' ARA format with two triple-time arias with plenty of coloratura and some very good word painting here. From a MS in the collection of the Biblioteca del Conservatorio di Musica S Pietro a Majella, Naples.
    Editor: James Sanderson
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  • Qual errante farfaletta
    Forces: soprano & continuo
    'Like an errante butterfly, I seek the sun I adore...' This is a charming short cantata in ARA format, the first a plaintive lament, the second a fiery presto (see PDF preview) railing at Cupid. Source: Naples - Bibliotca del Conservatorio di Musica S. Pietro a Majella.
    Editor: James Sanderson
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  • Queste vermiglie note
    Forces: alto & continuo
    An extraordinarily emotional work dealing with the suicide of the distant lover. "These crimson notes, notes which I write to you from opened veins..." Complex recitatives set the scene for two arias largo and affettuoso. Also claimed by some as the work of Bononcini.
    Source: Münster Santini Sammlung HS 2459(17)
    Range: a - d'

    Editor: James Sanderson
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  • Scritte con falso inganno
    Forces: soprano & continuo
    Each line written in blood is examined here in the response to 'Tinte à note di sangue' and found wanting. Lies, damn lies! 'Would I could hear from those lips: Peace, peace my dearest. Instead, in fire and anger I can only respond in my rage: WIcked liar, liar and terrible'. Fiery and exciting writing in RARA format cantata. From a manuscript in the collection of the Biblioteca del Conservatorio di Musica S Pietro a Majella, Naples.
    Editor: James Sanderson
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  • Se non piangi al pianto mio
    Forces: soprano & continuo
    "If you do not cry at my tears..." Continuing with the sad cantata themes, this is a lovely work in ARARA format by the Neapolitan master Francesco Mancini. Pathos and not a little fire are on offer with some truly twisted recitatives in our lover's reaction to Lilla's heartlessness!
    Sources: Biblioteca del Conservatorio di musica S. Pietro a Majella – Napoli: Cantate 22 (30) and 181 (33).

    Editor: James Sanderson
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  • Solitudini care
    Forces: soprano & continuo
    'Come, see how I have carved the name of Licori in every branch. Come read how I love a beautiful shepherdess who is as ungrateful as she is cruel.' Nice to see the table turned once again (!) and Tirsi is busy with the bemoaning and bewailing. A stunning first Larghetto aria (with nightingales) and a fiery finish in the second aria Allegro. RARA format.
    Source: Biblioteca del Conservatorio di musica S. Pietro a Majella: Cantate 22 no. 28

    Editor: James Sanderson
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  • Son cosi cosi geloso
    Forces: soprano & continuo
    Source: BL Add 38036 ff 89r - 94r
    A cantata dedicated to the little green demon of jealousy! Three excellent arias, particularly the first and some extensive and carefully crafted recitative.
    From a collection dated 1706, at least know the latest date it could have been written!
    Range: d' - g''

    Editor: James Sanderson
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  • Stavan due tortorelle
    Forces: soprano & continuo
    Like two turtle doves they bill and coo, but while the one bills 'love' the other bills 'pain and torment'. So a normal day in our pastoral setting! Clori is there of course and probably responsible for the pain.
    Source: Naples Cantate 22

    Editor: James Sanderson
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  • Tenebroso era il sole e'l ciel
    Forces: soprano & continuo
    Little known, but unjustifiably so! This RARA format cantata opens with a virtuosic recitative and continues to challenge both singer and continuo player throughout. A text full of longing for the beloved: The sun and the heavens were dark without a glimpse of your face...
    Source: Biblioteca del Conservatorio di musica S. Pietro a Majella - Napoli; Segnatura: 33.3.33-06

    Editor: James Sanderson
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  • Tinte à note di sangue
    Forces: soprano & continuo
    Source: BL Add MS 14220 ff 18r - 21v
    A complex piece with an excellent vari-tempo final aria. The text can be summed up in two lines from the first recit: Written in blood, these tormented words my betrayed heart sends to you...Think, think how much I have loved you, know that you are not mine, and weep for the pity of my plight
    Range: d - g'

    Editor: James Sanderson
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  • Tu partisti ò bella Clori
    Forces: soprano & continuo
    Clori has left and he seeks her '...beautiful eyes to lift his sorrow...' but is she as faithful as he would like? Only time will tell! A large ARARA format cantata with three lovely arias and some complex recitative writing. From the Naples Conservatorio collection.
    Editor: James Sanderson
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  • Un amante ama due belle
    Forces: soprano & continuo
    A charming cantata filled with indecision and containing one of Mancini's most beautifula arias (see MIDI). A young man loves both Cintia and Irene and really doesn't know what to do - can you help? RARA format.
    Source: Münster Santini Sammlung HS 3904(5)
    Range: c - g'

    Editor: James Sanderson
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  • Vaghe pendici amene
    Forces: alto & continuo
    This is a lovely example of the genre with two well-crafted recitatives and two lovely arias. Some challenging continuo writing as well. Eurilla is the source of conszternation this time and the lives of 'Ninfe e Pastore' never run smooth. Stunning word-painting.
    Editor: James Sanderson
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Cantata with obligato instrument(s)
  • Quanto dolce è quell'ardore
    Forces: soprano, oboe & continuo
    Source: Royal College of Music, London, MS. 697
    A rewarding cantata for the rare combination of soprano, oboe obligato, and basso continuo, showing the rich cantabile style of Francesco Mancini (Scarlatti's deputy in Naples), with a witty final aria.

    Editor: Rosalind Halton
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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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Duetti da camera
  • Dori, e Mirtillo
    Forces: soprano, alto & continuo
    A charming duo cantata with two duets, a recit and aria each. Dori[nda] wants to die for love (again!) because Mirtillo has rejected her (she thinks). He declares his undying devotion and all is back to normal. Really interesting harmonically with some very clear vocal writing.
    Editor: James Sanderson
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Marcello, Benedetto

Continuo cantata
  • Da voi parto amati rai
    Forces: soprano & continuo
    Three part aria from an MS in the British Library containing much Pepusch, Bononcini and Marcello among others. In this manuscript the composer is said to be Porpora however a proven copy in the I-Nc collection indicates this is actually by Marcello. It's a delightful piece as usual.
    Editor: James Sanderson
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  • Già che la bella Clori
    Forces: soprano & continuo
    A classic lontananza cantata in RARA format. The word pianting is delightful and Marcello's melodies full of rhythmic drive. Source: Naples
    Editor: James Sanderson
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  • Lontananza e gelosia
    Forces: soprano & continuo
    very attractive cantata from BL MS Add 14215 which expounds the plight of the lover of Dorinda (la bella) and has a great gasping aria to end.
    Editor: James Sanderson
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  • Piante Amiche Ombre Cara
    Forces: alto & continuo
    Source BL Add 14222
    2 recits and arias with particularly fine obbligato continuo line in first aria.

    Editor: James Sanderson
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  • Se mi parli, ò se mi guardi
    Forces: soprano & continuo
    With a very effective and interesting Si Sona introduction 'Should I speak or should I look, my dear, sweet soul? I am imprisoned in my happiness, enchained by your mouth..." ARA format with some really clever text setting moments. Very enjoyable!
    Source: Biblioteca del Conservatorio di musica S. Pietro a Majella - Napoli; Segnatura: Cantate 21-02.

    Editor: James Sanderson
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  • Sopra d'un verde prato
    Forces: soprano & continuo
    Clori is at it again, making her lover burn and sigh. She's a cruel one! RARA format with both arias having very distinct characters, doves, sailors, everything is here.
    Source: Biblioteca del Conservatorio di musica S. Pietro a Majella - Napoli; Segnatura: Cantate 20

    Editor: James Sanderson
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Cantata with obligato instrument(s)
  • Torno à voi piante amorose
    Forces: alto, 2 flutes & continuo
    A charming cantata in aria-recit-aria form. Source: BL MS Add 14222
    Editor: James Sanderson
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Melani, Alessandro (1639 - 1703)

Cantata with obligato instrument(s)
  • All' armi
    Forces: soprano, trumpet & continuo
    From an MS in the British Library, this fiery and exciting cantata is a classic of the genre. All the trumpet effects imaginable are used, and the vocal line makes the most of its ability to imitate.
    Editor: Kate Eckersley & James Sanderson
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Morley, Thomas (b Norwich, 1557 or 1558; d London, early Oct 1602)

Song
  • It was a lover and his lass
    Forces: voice & lute (arr keyboard)
    Morley's famous madrigal as a lute song
    Editor: James Sanderson
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Pepusch, Johann Christoph (1667 - 1752)

Continuo cantata
  • Alexis
    Forces: soprano & continuo
    Cantata II from Pepusch's 'Six English Cantatas' of 1710. The second of only two works for soprano and continuo only in this collection.
    Editor: James Sanderson
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  • Alexis - See from the silent grove (ALTO)
    Forces: alto & continuo
    Perhaps Pepusch's most famous English cantata (at least the most widely copied and circulated). Alexis calls on Musick to ease love's pain.
    Editor: James Sanderson
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  • Alexis - See from the silent grove (SOPRANO - C)
    Forces: soprano & continuo
    Perhaps Pepusch's most famous English cantata (at least the most widely copied and circulated). Alexis calls on Musick to ease love's pain and Apollo points out that Musick is the voice of Love! Here in the soprano key.
    Editor: James Sanderson
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  • Fair Caelia Love Pretended (The Reconciliation)
    Forces: soprano & continuo
    The second part of the pair of cantatas by Pepusch from "xii Cantatas in English for a Voice and a Thorough Bass for the Harpsichord being a curious Collection of the Compositions of several Authors" which was printed in 1723. It covers Caelia's capitulation...
    Editor: James Sanderson
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  • On fam'd Arcadia's Flowry plains
    Forces: soprano, oboe & continuo
    From "xii Cantatas in English for a Voice and a Thorough Bass for the Harpsichord being a curious Collection of the Compositions of several Authors" which was printed in 1723. This is the first of two 'linked' cantatas which concludes with 'The Reconciliation' or 'Fair Celia Love pretended'
    Editor: James Sanderson
    MIDI Preview | Price: £ 4.95 | 

  • The God of Love has lost his Bow
    Forces: soprano & continuo
    A charming pastoral cantata from the 1723 collection of 12 English Cantatas. Cupid searches for the Goddess of Love and warns the Shepherds not to expect too much sweetness from Love himself.
    Editor: James Sanderson
    MIDI Preview | Price: £ 4.95 | 

  • The Island of Beauty (ALTO)
    Forces: alto & continuo
    From Pepusch's English cantatas, the Island of Beauty has a text reminiscent of 'Fairest Isle' - praise of Britain as 'the fairest Island in the sea' and 'Venus and her train of loves will with happier Britain stay'
    Editor: James Sanderson
    MIDI Preview | Price: £ 4.95 | 

  • The Island of Beauty (SOPRANO - orig)
    Forces: soprano & continuo
    Cantata I from Pepusch's 'Six English Cantatas' of 1710. One of only two works for soprano and continuo only.
    Editor: James Sanderson
    No preview available | Price: £ 4.95 | 


Cantata with obligato instrument(s)
  • Cleora sat beneath a Shade
    Forces: soprano, recorder & continuo
    Cantata II from Pepusch's second colelction of 'Six English Cantatas' (1723). The words are by Inigo Slaughter
    Editor: James Sanderson
    MIDI Preview | Price: £ 5.95 | 

  • Corydon
    Forces: soprano, recorder & continuo
    Cantata V from Pepusch's 'Six English Cantatas' of 1710. 'While Corydon the lonely Shepherd try'd his tunefull Flute...'
    Editor: James Sanderson
    No preview available | Price: £ 5.95 | 

  • Crudel ingrata
    Forces: soprano, cembalo & continuo
    An Italian cantata in classic format with an excellent obbligato cembalo part. The text concerns Fileno's bad luck in love.
    Editor: James Sanderson
    MIDI Preview | Price: £ 5.95 | 

  • Love frowns in Beauteous Myra's Eyes
    Forces: soprano, recorder & continuo
    Cantata I from Pepusch's second colelction of 'Six English Cantatas' (1723). The words are by John Hughes
    Editor: James Sanderson
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  • Menalcas once the gayest Swain
    Forces: soprano, recorder & continuo
    Cantata IV from Pepusch's second collection of 'Six English Cantatas' (1723). The words by Nr Gee
    Editor: James Sanderson
    MIDI Preview | Price: £ 5.95 | 

  • Miranda
    Forces: soprano, violins & continuo
    Cantata IV from Pepusch's 'Six English Cantatas' of 1710. 'Fragrant Miranda's tunefull voice and Fame had reached the wond'ring Skies...'
    Editor: James Sanderson
    No preview available | Price: £ 5.95 | 

  • When Loves soft Passion
    Forces: soprano, recorder & continuo
    Cantata III from Pepusch's second collection of 'Six English Cantatas' (1723). The words are by James Blackley
    Editor: James Sanderson
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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
    MIDI Preview | Price: £ 6.95 | 


Cantata with strings & other instruments
  • Airy Cloe (alto)
    Forces: alto, oboes, violins & continuo
    One of Pepusch's 'English Cantatas', this edition is taken from the Chandos manuscript in the British Library. It's the absolutely not politically correct story of Cloe and Amintas and how force can lead a lady to love...?
    Editor: James Sanderson
    MIDI Preview | Price: £ 6.95 | 

  • Airy Cloe (soprano)
    Forces: soprano, oboe, strings & continuo
    Cantata VI from Pepusch's 'Six English Cantatas' of 1710. 'Airy Cloe, Proud and Young, the fairest Tyrant of the Plain...'
    Editor: James Sanderson
    No preview available | Price: £ 6.95 | 

  • Kindly Fate at length release me
    Forces: soprano, trumpet, strings & continuo
    Cantata V from the Second collection of 'Six English Cantatas' published in 1723. "Kindly Fate at length release me, life has nothing now can please me, since Corinna slights my pain".
    Editor: James Sanderson
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  • While Pale Britannia pensive sate
    Forces: soprano, trumpet, strings & continuo
    Cantata V from the Second collection of 'Six English Cantatas' published in 1723. "While pale Britannia pensive sate with folded arms and downcast eyes, touch't with her Sons impending Fate, she sadly thus Complaining cryes..." A splendid opening Largo and finishing with a joyous allegro with trumpet (MIDI preview below)
    Editor: James Sanderson
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Collection
  • Six English Cantatas (vol I, 1711)
    Forces: soprano, various obbligato instruments
    Pepusch's first volume of 'Six English Cantatas' which were published in 1710. The words are all by John Hughes who also wrote a fascinating preface trying to justifiy recitative to the English audience (see Articles). For MIDI previews see the individual cantatas: 'The Island of Beauty, 'Alexis', 'The Spring', 'Miranda', 'Corydon', 'Cloe'
    Editor: James Sanderson
    No preview available | Price: £ 19.95 | 

  • Six English Cantatas (vol II, 1720)
    Forces: soprano, various obbligato instruments
    The second collection of 'Six English Cantatas' complete with performing score and parts. For midi preview see the various separate cantatas: 'Love frowns...', 'Cleora sat...', 'When loves soft...', 'Manalcas once...', 'Kindly fate...', 'While pale Britannia...'
    Editor: James Sanderson
    No preview available | Price: £ 19.95 | 

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Pergolesi, Giov. Batt. (b. Jesi Jan. 1710, d. Napoli Mar. 1736)

Marian antiphon
  • Salve Regina (f)
    Forces: alto, strings & continuo
    With an opening reminiscent of the famous Stabat Mater for soprano and alto solo with strings, this is a beautiful setting of the Marian antiphon text. Divided into 5 contrasting sections, with one section further divided into two.
    Source: BL MS R.M.23.c.17.(1), once the property of Dr. Burney.
    Range: a flat - d'

    Editor: James Sanderson
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  • Salve Regina (g)
    Forces: soprano, solo violoncello, strings & continuo
    A setting of this most famous Marian Anthem with an extraordinary degree of pathos involved. Some exquisite vocal writing and a very satisfying obbligato cello part in the Eia ergo advocata nostra.
    Source: BL MS R.M.23.c.17.(2), once the property of Dr. Burney.
    Range: c - a'' flat

    Editor: James Sanderson
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Pistocchi, Francesco Antonio (1659 - 1726)

Continuo cantata
  • Chiari fonti bei fiori
    Forces: soprano & continuo
    Here the young lover compares Eurilla to the seasons (Spring is the decision) to the beautiful vales, rivers, mountains, streams etc. She always wins! With a lovely Largo first aria and a rousing 12/8 allegro to finish, this is the 18th century singer/songwriter in fine form.
    Range: e - g'
    Source: Santini HS 859

    Editor: James Sanderson
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  • Tortorella imprigionata
    Forces: alto & continuo
    The image of the caged bird is often used to portray joy at being enchained by love and here we have the lover of Irene comparing himself to the imprisoned dove giving up all hope of escape other than by his death. Some lovely 'cooing' and some spectacular recitative in this ARA format cantata. The second aria has a 'si suona' accompaniment in part.
    Source: Münster Santini Sammlung HS 861
    Range: G - d'

    Editor: James Sanderson
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Porpora, Nicola Antonio (b Naples 1686; d. Naples 1768)

Aria
  • Alto Giove (Polifemo III,v)
    Forces: soprano, strings & continuo
    The aria made famous through the film 'Farinelli: il castrato' Beautiful and virtuosic, it concerns Acis thanking Jove for making him immortal.
    In two sections, the beautiful lento with it's slowly moving harmony and sinuous vocal line, and an unexpected andantino middle section.
    This edition comes with orchestral score, vocal score and parts.
    Range: d - g''

    Editor: James Sanderson
    Score Preview | MIDI Preview | Price: £ 4.95 | 

  • Arianna II,v - Misera, e che farò?
    Forces: soprano, oboe, strings & continuo
    Source: BL R.M. MS 22.m.30 (contemporary copy)
    Arianna's beautiful lament in the centre of act II of Porpora's Arianna in Naxo. The role of Arianna was sung Sgra Cuzzoni at the premier in the Lincoln's Inn Fields theatre in December of 1733. Arianna has just had a 'scene' with both Antiope and Teseo and she's not a happy girl. The accompanied recit is dramatic and exciting, the aria virtuosic and beautiful.
    Range: e - a''

    Editor: James Sanderson
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  • Chiara dea
    Forces: alto, strings & continuo
    Act I scene i of Porpora's 1711 opera Flavio Anicio Olibrio provides us with another obbligato cello aria (who was the cellist?)
    Editor: James Sanderson
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  • Giusto amor tu che m'accendi
    Forces: soprano/alto, obbligato cello & continuo
    Adonis' (Farinelli) aria from Act 2, scene ii of the 'Dramma per Musica' Gli orti esperidi (Naples, Palazzo Reale 28th August 1721).
    Source BL MS Add. 14118 (autograph).

    Editor: James Sanderson
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  • Lontan dal solo e caro (Polifemo Act II, iii)
    Forces: soprano, oboe, strings & continuo
    Aci's (Farinelli's) first aria in Act II, full of pathos and a beautiful line.
    Accompagnato recit followed by moderato aria, the solo oboe in the aria both echoing and precursing the vocal line.

    Editor: James Sanderson
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  • Nell' attendere il mio bene (Polifemo Act II, iii)
    Forces: soprano, 2 corni, 2 trombe, 2 oboè, strings & continuo
    Aci's (Farinelli's) second Acti II aria and what a sing. This is certainly a 'stand and deliver' moment with the largest scoring in the whole opera.
    Editor: James Sanderson
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  • Oh volesser gli dei/Dolce fresche aurette grate (Polifemo Act I, iii)
    Forces: soprano, strings & continuo
    Source: Autograph copy in Royal Music Collection
    Acis' (Farinelli's) opening aria from 'Polifemo'
    It is a beautiful accompanied recit followed by a largo with an allegro 'b' section.

    Editor: James Sanderson
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  • Parto, ti lascio, o cara
    Forces: soprano, strings & continuo
    Arminio's wonderfully expressive aria from Act II of Germanico in Germania. Lyrical, heart-rending - an absolute showstopper! Witten by Porpora for his pupil Caffarelli - long phrases and extreme leaps in the vocal line, a kind of pain that, in spite of everything, is sweet.
    Editor: James Sanderson
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  • Perchè ad amarmi
    Forces: tenor, strings & continuo
    From Act I scene vi of Flavio Anicio Olibrio this is Ricimero's aria about resoluteness in fighting for love
    Editor: James Sanderson
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  • Sarebbe nell'amar soave il sospirar (Gli orti Esperidi)
    Forces: soprano, strings & continuo
    Farinelli's second aria from one of his first appearances (Rome 1721). In the rôle of Adonis, Farinelli sings of the power of love to hold him to his beloved despite the horrors of Tartarus.
    Editor: James Sanderson
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  • Se il morir, fosse mia pena (Gli orti Esperidi I, iii)
    Forces: soprano, strings & continuo
    The first aria from one of Farinelli's forst appearances (Rome 1721). In the rôle of Adonis, Farinelli sings of his willingness to give up his life for love of Venus. A beautiful aria with primarily violin bass rather than continuo.
    Editor: James Sanderson
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  • Se pietoso il tuo labro
    Forces: soprano, strings & continuo
    Source: BL Add MS 31593 ff 30r - 33v
    A deceptively virtuosic aria with exciting rhythmic and melodic interest and occasionally bizarre harmonies. If your lips would have pity upon me... From Ezio (1728).

    Editor: James Sanderson
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  • Se son lontano dal mio diletto (Gli orti Esperidi Act II)
    Forces: soprano, strings & continuo
    Adone (Farinelli)'s second aria from Act II of Porpora's Gli orti Esperidi. A charming allegro with a 'pathetic' twist, once again principally accompanied by the upper strings - perhaps a gesture to the young Farinelli's age (16 at the time). Adone sings of the fear which enters his heart in the absence of his beloved.
    Editor: James Sanderson
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  • Senti il fato (Polifemo Act III, v)
    Forces: soprano, strings & continuo
    Source: Polifemo Act III, scene v
    Acis' (Farinelli's) last aria. In the true bravura style which made both singer and composer famous this aria is extraordinary! Everything from fiendish coloratura to leaps of a 10th, 11th and 12th. Masterful writing. The aria is preceded by a secco recitative and has a slower, though even more virtuosic, middle section.

    Editor: James Sanderson
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  • Son frà l'onde in mezzo al mare (Gli orti Esperidi Act I)
    Forces: soprano, strings & continuo
    Venere's aria from the end of act I uses all the illusions of the crashing waves upon the shore, convincing her lover, Adone, to remain with her. Written for the great Marianna Bulgarelli (La Romanina: 1684 - 1734) it is a wonderfully 'splashy' coloratura aria.
    Editor: James Sanderson
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  • Vaghi amori
    Forces: soprano, strings & continuo
    Imeneo's opening aria from 'La Festa d'Imeneo' Written for Farinelli in 1736 as part of a Serenata composed for the wedding of the Prince of Wales, this is a virtuosic piece with a great deal of room for embellishment.
    Editor: James Sanderson
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Continuo cantata
  • Abbandonata e sola
    Forces: alto & continuo
    Here Porpora is at the height both of his recitative and 'pathetic' writing with a stunning first aria, but also maintains the fieriness of his allegro writing in the last aria (MIDI).
    This pastoral cantata is all about 'separation angst' and the suffering when abandoned by one's love - in this case Fileno (again).
    Source: Münster Santini Hs 3313 (Nr. 17)
    Range: c - d'

    Editor: James Sanderson
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  • Alla caccia dell'alme
    Forces: alto & continuo
    A hunting cantata, as virtuosic as the Vivaldi version and with even better recitatives! ARA format, here Clori is the huntress who ensnares men with her charms, too late our lover discovers he is already caught, but he is "...not the first and not alone."
    Range: a - e

    Editor: James Sanderson
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  • Amor crudele Amore
    Forces: soprano & continuo
    Source: BL Add 14,215 ff 68r - 71v
    Recit - aria - recit - aria form with two beautifully contrasting arias. The shepherd rails against Amor and prays for the love of his shepherdess.
    Range: d - g'

    Editor: James Sanderson
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  • Celinda, Oh Dio Celinda
    Forces: soprano & continuo
    Celinda has gone missing, and her lover sings of her beauty, his searching and his hope of her return. Great recits, a beautiful Siciliano and a virtuosic allegro to finish.
    Source: Münster Santini HS 3313(1)
    Range: d - f#'

    Editor: James Sanderson
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  • Cieco Dio fors'io quel fiore
    Forces: soprano & continuo
    Blind Cupid is causing grief again for our young lover and inspires this paean. A 'classic' aria (Amoroso) - recit - aria (Allegro) format with some fascinating chromatic twists and turns.
    Source: Münster Santini Hs 3313 (Nr. 14)
    Range: e - f#'

    Editor: James Sanderson
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  • Cinto il cor d'aspre catene
    Forces: soprano & continuo
    'The Joys of Love are greater than any freedom' must be the moral of this pastoral cantata. Trapped in the chains of love, the young man still longs for his Fille, not for freedom!
    In simple ARA format with a very beautiful pair of arias.
    Source: Münster Santini HS 3313 (Nr. 19)
    Range: d - a''

    Editor: James Sanderson
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  • Clori, vezzosa Clori
    Forces: soprano & continuo
    Separation angst is the theme again in this pastoral cantata. Apart from Clori, her lover bewails his fate through woods, mountains and streams (they always seem to walk so far!). RARA format, the first aria full of wonderful suspensions and a slowly agitated bass line, the second with more agitation in 12/8
    Source: Münster Santini HS 3313(3)
    Range: e flat - g'

    Editor: James Sanderson
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  • Col tuo dolce mormorio
    Forces: soprano & continuo
    Early cantata in aria-recit-aria format. Recit has very adventurous harmonic progressions and first aria is very beautiful Lento, last is virtuosic
    Editor: James Sanderson
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  • Cora amante di perchè
    Forces: mezzo-soprano & continuo
    One of three aria-recit-aria cantatas in BL MS Add 29484, simple but very attractive. Subject: Cora's unwillingness to love
    Editor: James Sanderson
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  • D'Amor la bella pace
    Forces: alto & continuo
    Source BL Add 14122
    Virtuosic cantata for alto and continuo - the last aria is particularly fiendish. Better known as a soprano cantata, this contemporary copy demonstrates the habit of transposing for different voices.

    Editor: James Sanderson
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  • D'amore il primo dardo
    Forces: soprano & continuo
    Cantata Op 1, no. 1
    Text by Metastasio, concerning the power of Amore to pierce the heart with the very first dart. Affettuoso - recit - Allegro (both arias with 'Si sona' ritornelli)
    Range: f' - g''

    Editor: James Sanderson
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  • Dal povero mio cor
    Forces: alto & continuo
    Cantata Op. 1, no. 12
    This is extremely virtuosic and a fitting end to the collection. 2 recit/aria format with an extremely interesting second recit (quasi accompagnato) and final aria - listen to the MIDI.

    Editor: James Sanderson
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  • Dalle regia di Flora
    Forces: soprano & continuo
    Source: BL Add MS 14210
    A delightful testament to the beauty of Flora, both physical and 'spiritually'. Comparisons to flowers, the fields, the dawn and, for once, nothing bitter! 2 recits and arias, with the final aria in the classic Porpora virtuosic style (MIDI preview).
    Range: d - f''

    Editor: James Sanderson
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  • Datti pace se puoi
    Forces: alto & continuo
    Source: alto version in BL Add MS 14210 ff 120r - 127r
    The unhappy shepherd is once agian longing for his distant love. He cannot believe that she could be untrue. Ah... 2 recits and 2 arias format.
    Range: b - e'

    Editor: James Sanderson
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  • Deh, lasciatemi in pace
    Forces: alto & continuo
    Source BL Add 14215
    Virtuosic cantata for alto and continuo in three recitatives and arias (see performances at the Porpora Project)

    Editor: James Sanderson
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  • Di vaga fera le bell'orme
    Forces: soprano & continuo
    A substantial work in RARA form. The first recit becomes and arioso, the arias are both beautiful and virtuosic, the recitatives live up to expectation of painting a vivid picture of the story: this time of the bonds of love. "Were I to leave Clori I would become incapable of loving again..."
    Source: Münster Santini HS 3313
    Range: c# - a''

    Editor: James Sanderson
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  • Dice che m'ami
    Forces: soprano & continuo
    Source: BL Add 14214 ff 78v - 85v (only source)
    In aria-recit-aria form, both arias without tempo indication, but probably a tempo giusto and lento or affettuoso. As usual, the recitative is beautifully crafted, accurately reflecting the rhythm of the language.
    The text concerns love as an allegory of the life of a sailor on rough seas.
    Range: d - a'' flat

    Editor: James Sanderson
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  • Dolce canto l'Augellino
    Forces: soprano & continuo
    They never learn not to trust Cupid! Using the metaphor of a bird losing its freedom through falling in love with a beautiful face, the poet weaves an enchanting cantata text which Porpora sets using the ARA format. Both arias in minor keys but clearly portraying the bird in figurations reminiscent of bird call.
    Source: Münster Santini 3313 (6)
    Range: d - a''

    Editor: James Sanderson
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  • Ecco l'infausto lido
    Forces: alto & continuo
    Source BL Add 14122
    Virtuosic cantata for alto and continuo in two recitatives and arias

    Editor: James Sanderson
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  • Era il tempo che in cielo
    Forces: soprano & continuo
    In the heat of the sun the flowers and plants wilt, as does Eurilla in her longing for Tirsi. A lovely example of the genre with a touching Adagio as the first aria and a fiery allegro as the second. In RARA format with Porpora's tradiationally complex recitative writing and very effective melodic writing in the arias. A real delight!
    Editor: James Sanderson
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  • Farfalletta semplicetta
    Forces: soprano & continuo
    Like a butterfly attracted to the light, the lover is attracted to another and burns his wings. Looking to Amor for help brings no rescue!
    A beautiful cantata in ARA form.
    Sources: GB-Lbl Add MS 14215 ff 13r - 16v & D MÜs: SANT Hs 3313 (Nr. 4)
    Range: d - g'

    Editor: James Sanderson
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  • Fille se fiera sorte
    Forces: alto & continuo
    Here the lover expresses the feelings that separation from Fille would bring; the slow footstep, the longing, the yearning. It's a lovely sing too! RARA format with well-balanced andante then allegro arias.
    Source: Münster Santini HS 859 (9)
    Range: c - d'

    Editor: James Sanderson
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  • Fra le più folte piante
    Forces: soprano & continuo
    Source: BL Add MS 14210
    In one of Porpora's more dramatically contrasting cantatas, the young lover is exhorted to deal with his rage by railing at the heavens, giving rise to a wonderful aria 'Contro me il Ciel spietato'. We find out it's a girl again in the next recitative and the cantata finishes with the young man promising to die for his love.
    Range: e - a''

    Editor: James Sanderson
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  • Già la notte s'avvicina (La Pesca)
    Forces: soprano & continuo
    Cantata Op. 1, no. 6
    Another of Metastasio's famous cantata texts - as night draws in the lover calls Nice to take in the air, compares her to Teti, Galatea, Glauce and Dori - nothing quite like love!
    Adagio - Recit - Allegretto, all beautiful.
    Range: e' - a''

    Editor: James Sanderson
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  • Idolo del mio core
    Forces: soprano & continuo
    Another from the Naples MS 34.6.25. Here our lover calls "Tell me where you are! Show me where the one I adore is gone!" In RARA format, with surprisingly brief recitatives, the second aria Largo has some delightful harmonic shifts. It is intersting to note that the continuo figures in this (only) copy are only written where the vocal part does not appear.
    Editor: James Sanderson
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  • Idolotrata e cinta
    Forces: soprano & continuo
    Source BL MS Add 14225
    The protagonist laments the cruelty of unrequited love. The last aria is one of the finest examples of a 'bird song' aria that I have seen (check previews)

    Editor: James Sanderson
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  • Il Narciso amo la rosa
    Forces: soprano & continuo
    What could be clearer than this lovely flower simile? Narcissus loves Rose and Violet is dull! ARA format with very pretty arias.
    Source: Münster Santini 859 (3)
    Range: f - g'

    Editor: James Sanderson
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  • In Amor sarò costante
    Forces: alto & continuo
    A delightful and simple example of the genre. Sinuous vocal lines echoed in the basso and a fiery, syncopated second (final) aria. "In love I will be faithful..." ARA format. Source: Naples Conservatorio
    Editor: James Sanderson
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  • Io non amo altro che voi
    Forces: soprano & continuo
    Starting appropriately with an amoroso aria this is a beautiful ARA format work. It is an homage to the beauty and power of the eyes in love.
    Source: Münster Santini HS 3313(15)
    Range: d - g'

    Editor: James Sanderson
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  • La viola che languiva
    Forces: soprano & continuo
    source BL MS Add 14229
    lovely pastoral image of a flower languishing on the banks of a river (and of course the shepherd lover)

    Editor: James Sanderson
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  • Lontananza non risana
    Forces: soprano & continuo
    As with all lontananza cantatas, this is filled with yearning. "...the further my beloved is, the greater my sadness..." etc. A stunning, chromatic Siciliano opens the ARA format with a sprightly allegro to finish.
    Source: Münster Santini HS 859 (10)
    Range: c - g'

    Editor: James Sanderson
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  • Lucciolette andate à Fille
    Forces: soprano & continuo
    Source: BL MS Add 14214
    This is an extremey enchanting cantata in aria-recit-aria form. The poor boy is totally in love but the beloved is having none of it. Retribution and hatred are the only alternatives. The opening matter of fact aria leads to an extraordinary recitative and final minuet.
    Range: d - g'

    Editor: James Sanderson
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  • Lungi dal suo Fileno
    Forces: soprano & continuo
    Source BL MS Add 14225
    Unrequited love in a complex harmonic world! The tale of Eurilla and Fileno told from the female point of view. First aria has operatic Adagio with fermate opening, reminiscent of many opening arias for the 'primo uomo' in Porpora's operas

    Editor: James Sanderson
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  • Mentre canta l'augelletto
    Forces: soprano & continuo
    Source BL MS Add 14214.
    The tale of love, Cupid's darts and a nightingale!
    The chromaticism of the recit and second aria are something to be believed, as is the simplicity of the bird song alluded to in the first aria.

    Editor: James Sanderson
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  • Mentre doglioso un giorno
    Forces: alto & continuo
    Source BL MS ADD 14215
    Virtuosic alto cantata with an outstanding cello part in the second aria. 2 recit and aria format.

    Editor: James Sanderson
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  • Nel mio sonno almen (Il sogno)
    Forces: soprano & continuo
    Cantata Op. 1, no. 2
    Text by Metastasio in which the lover dreams of his beloved taking away all sadness
    Lento - Recit (spectacular) - Andantino
    Range: e' - a''

    Editor: James Sanderson
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  • Ninfe e Pastor che al bel sebeto in riva
    Forces: soprano & continuo
    Source: BL Add MS 14210
    The sad tale of the death of Tirsi and Fille's desire to die as well - after the aria of course! 2 recit and aria format, the last being virtuosic again.
    Range: d - g''

    Editor: James Sanderson
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  • Ninfe, Pastori udite
    Forces: soprano & continuo
    Source: BL Add 14214 ff 170v - 177v (only source)
    In recit - aria - recit - aria form with some interesting recitative-like passages in the b section of the second aria. As usual the setting of the recitatives is particularly clearly defined. The text is in the first person, a shepherdess railing against the unfaithful Tirsi.
    Range: b - a''

    Editor: James Sanderson
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  • Non hò vita hò viva morte
    Forces: soprano & continuo
    To be separated from the beloved is a fate worse than death. In ARA format, the first aria a 'pathetic' largo and the last, portraying the sailor on rough seas, a wonderful allegro
    Source: Münster Santini HS 3313 (11)
    Range: e - g'

    Editor: James Sanderson
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  • Non sò come resisto
    Forces: alto & continuo
    Main sources: BL Add 14214 100r 106v & Add MS 14210 81v - 88v
    The lover dears with the loss of the beloved in this two recit and aria cantata. The first aria is very beautiful the second rather virtuosic for both singer and continuo cellist.
    Range: c' - f''

    Editor: James Sanderson
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  • Ò come à tempo qui t'incontro
    Forces: soprano & continuo
    Source: 2 copies in the British Library
    This is not a cantata to win friends and influence people within the 'feminist movement'. The final (strangely written) aria uses the text: You are a woman, so I expect you to be inconstant and unfaithful, but I forgive you; I am a man and will fall in love with other women, just enjoy it!. It's either a very modern marriage or slightly insulting, you decide. In two recit and aria format, the arias both largo and without ritornelli.
    Range: d - g'

    Editor: James Sanderson
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  • Ò Pastori io v'avviso
    Forces: soprano & continuo
    Source BL MS Add 14225.
    A charming pastoral cantata with a text advising Shepherds to stay away from beautiful shepherdesses! The last aria has a written out upper part for the continuo, possibly to be played on a violin or flute.

    Editor: James Sanderson
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  • Occhi belli, occhi vaghi
    Forces: soprano & continuo
    Besotted! The lover compares his beloved's eyes to the stars under the influence of Cupid and his bow and arrows. "Joy and torment are gifts of the God of Love". In RARA format, the first aria a twisting larghetto the last a joyous allegro
    Source: Münster Santini HS 3313(7)
    Range: d - g'

    Editor: James Sanderson
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  • Oh Dio, che non è vero
    Forces: alto & continuo
    Cantata Op. 1, no. 11
    Metastasian text in which the lover bemoans the absence of the beloved.
    A beautiful lento as the first aria, quite exquisite.

    Editor: James Sanderson
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  • Oh se fosse il mio core
    Forces: alto & continuo
    Cantata Op. 1, no. 10
    Text by Metastasio in which the lover pleads for the chance to prove his love.
    A beautiful affettuoso aria and a mad allegro to finish.

    Editor: James Sanderson
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  • Ombre amiche, ombre care
    Forces: soprano & continuo
    With a text almost identical to the Marcello cantata Piante amiche, ombre care this is a vivid setting of a pastoral text. Protected by the friendly shadows the lover promises eternal fidelity. RARA format, the first aria allegro the second a lovely Siciliano
    Source: Münster Santini 3313(8)
    Range: d# - g#'

    Editor: James Sanderson
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  • Or che una nube ingrata
    Forces: alto & continuo
    Cantata Op. 1, no. 8
    Source: British Library copy of the 1735 edition.
    Text by Metastasio, this time concerning a young man and what appears to be a wavering love for Clizia AND Irene!

    Editor: James Sanderson
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  • Ove mormora il rio
    Forces: soprano & continuo
    Using the simile of the suffering nightingale singing for his love, our valiant shepherd pines for Clori in this RARA format cantata. The first aria allegro paints a wonderful picture of the singing nightingale and the last, complicated aria shows the turmoil of the lover.
    Source: Münster Santini Hs 3313 (Nr. 16)
    Range: d - g'

    Editor: James Sanderson
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  • Pastorelle che piangete
    Forces: mezzo-soprano & continuo
    Source: Source: BL Add 14,214 ff 64v - 70v (only source)
    Remarkable piece in aria - recit - aria format, text (possibly by Metastasio) dealing with how much the lover is prepared to give up for his beloved Irene. The writing is sinuous and very chromatic.
    Range: d' - f''

    Editor: James Sanderson
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  • Per temprare l'ardenti faville
    Forces: soprano & continuo
    The flame of love's ardour is mentioned many times in this cantata text! in ARA format starting with a chromatic largo and finishing with what can only be described as a fiery allegro
    Source: Münster Santini HS 3313 (9)
    Range: e flat - g'

    Editor: James Sanderson
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  • Perchè mai si bruna siete
    Forces: soprano & continuo
    A simple yet lovely example of the genre with ARA format, the first and charming Largo and the second a challenging Allegro. Love is cruel again and our protagonist is being killed by the beuty of his beloved's eyes.
    Editor: James Sanderson
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  • Povero fior di Clizia
    Forces: alto & continuo
    2 recit and aria format. Tells of 'Love's longing'. First aria (Largo) particularly beautiful.
    Editor: James Sanderson
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  • Quando penso esser disciolto
    Forces: soprano & continuo
    Well aware of the influence of Cupid, our lover strives to protect himself and his beloved from the darts of the God of Love. In ARA format with a beautiful 'pathetic' aria to start.
    Source: Münster Santini HS 3313 (12)
    Range: e - g#'

    Editor: James Sanderson
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  • Quanto s'inganna
    Forces: alto & continuo
    Is distance the cause or the cure of our lover's broken heart. He calls for medication, but what can help him? Clori is up to her old tricks again - you've got to feel sorry for her men, surely?
    RARA format with two charming arias.
    Range: c - e'

    Editor: James Sanderson
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  • Questa dunque è la selve
    Forces: alto & continuo
    Sources: BL Add 14214 and Add 14225
    Aminta and Nice in a story of love denied and a woman spurned. 7 copies are known in both alto and soprano keys so it must have been a popular piece. An extensive work in recit - aria - recit - aria form.
    Range: b - e'

    Editor: James Sanderson
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  • Queste che miri ò Nice
    Forces: soprano & continuo
    Cantata Op. 1, no. 4
    Text by Metastasio - the pastoral delights of love summed up in the second aria with the claim of love and never finding greater happiness (having filled the first aria with the sadness of being in love).
    Recit - Affettuoso - Recit - Allegro
    Range: f' - a''

    Editor: James Sanderson
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  • Questo e il platano frondoso
    Forces: soprano & continuo
    From BL Add 14225.
    Aria - recit - aria structure with beautiful chromatic inflections and virtuosic last movement.

    Editor: James Sanderson
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  • Rendimi ò bella Irene il cor
    Forces: soprano & continuo
    Source: BL Add MS 14210 ff 96v - 103r (only source)
    Irene's lover is showing great self restraint and, possibly, an inability to see what is actually happening with his beautiful girlfriend! 2 recits and 2 arias (lovely sighing larghetto and a twisting allegro).
    Range: e - g#'

    Editor: James Sanderson
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  • Scrivo in te l'amato nome (Il Nome)
    Forces: soprano & continuo
    Cantata Op. 1, no. 5
    One of Metastasio's most famous cantata texts - the story of Clori and Filomena.
    Adagio - Recit - Allegretto
    Range: e' - b flat''

    Editor: James Sanderson
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  • Se la rosa fresca, e bella
    Forces: soprano & continuo
    Source: BL Add MS 14210 ff142v - 149r
    A lovely cantata with a somewhat 'early' feeling to it. The recitative structure is as complicated as ever, but the arias are a little simpler than the later works. The story revolves around the attraction of bees to roses, in this case the rose is Irene and the bee is her erstwhile lover.
    Range: e - f#'

    Editor: James Sanderson
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  • Se vuoi sapir perchè
    Forces: mezzo-soprano & continuo
    One of three aria-recit-aria cantatas in BL MS Add 29484, simple but very attractive. As with all three the range is troublesome and would suit a lowish soprano or highish alto. Subject: 'If you want to know why I no longer have a heart in my breast, ask the God of Love'.
    Editor: James Sanderson
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  • Sente pur, che Maggio è nato
    Forces: soprano & continuo
    As May is born and Summer begins everyone except Tirsi is feeling the 'swelling of love'. The shepherdess in love with Tirsi is obviously not happy about this. The two arias encompass very different moods, the first, a happy allegro (MIDI) is bright and hopeful, the latter a slow, non da capo larghetto places the blame for unrequited love fairly on the shoulders of Amor.
    Source: Münster Santini Hs 3313 (Nr. 18)
    Range: d - g'

    Editor: James Sanderson
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  • Sento una Tortorella
    Forces: soprano & continuo
    As a dove searching for its mate, the lover cries for his beloved in this beautiful example of the genre. In ARA format with some great bird calls.
    Source: Münster Santini 3313 (5)
    Range: e - g'

    Editor: James Sanderson
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  • Siedi Amarilli mia
    Forces: soprano/alto & continuo
    2 recit and aria format, first aria accompagnato then secco. The story of Amarilli and Fileno and love's vicissitudes. First aria (largo) is very beautful. Source BL Add 14227 in hand of anonymous copyist. Catalogued in soprano key in Naples Conservatorio.
    Editor: James Sanderson
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  • Son tante e tante sono
    Forces: soprano & continuo
    She is the light of lights, the love of loves, oh could one find a more perfect woman? It's good old Clori again being praised to the heavens. In RARA format with a spiky largo and a thrilling allegro.
    Source: Münster Santini 3313 (10)
    Range: d - g#'

    Editor: James Sanderson
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  • Sorge la bella Aurora
    Forces: soprano & continuo
    The dawn rises and makes the fields golden and the flowers happy...the birds sing and all is right with the world! This is a lovel ARA format cantata from a copy in the Naples Conservatorio library. A beautiful Andante or Affettuoso begins it and the final aria is a fast and often virtuosic Allegro. The two arias separated by a typically complex Porpora recitative.
    Editor: James Sanderson
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  • Sotto l'ombra d'un faggio
    Forces: soprano & continuo
    Principal source BL MS Add 14229
    extremely chromatic 2 recit and aria format (beneath the shade of a beech tree)
    Subject: Tirsi and Clori and the vicissitudes of love

    Editor: James Sanderson
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  • Speranza del mio cor
    Forces: alto & continuo
    Source BL Add 14122
    Virtuosic cantata for alto and continuo in two recitatives and arias

    Editor: James Sanderson
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  • Sù la cime d'un monte
    Forces: soprano & continuo
    Source: BL Add 14215 (only source)
    Beautifully crafted cantata in a very good and detailed copy. Tirsi is 'dolente' and mesto' yet again, this time starting at the top of a mountain.
    Here he feels all the pain that love for Eurilla is causing. The first aria, Lento is a perfect evocation of this emotion.
    Range: e flat' - g''

    Editor: James Sanderson
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  • Sù la fiorita sponda
    Forces: alto & continuo
    Source: BL Add 14214 ff 107v - 114v (only source)
    On the flowery banks of the bubbling brook sits the vague Colinette enjoying the theatre of flowers and herbs in a text possibly by Metastasio. She does a lot of sighing and causes drooping (!). Two recit and aria form with an extraordinary first aria full of 32nd notes and a fiery last aria.
    Range: c' - d''

    Editor: James Sanderson
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  • T'intendo si mio cor
    Forces: soprano & continuo
    Source: BL Add MS 14210 ff 136v - 141r/Add MS 14157 ff 1v - 5v
    A popular piece at the time, this cantata exists in MSS in libraries from the US to the UK and Italy. The text is based on Amor timido or Timid Cupid and may be by Metastasio. Aria (Adagio) - recit aria (Allegro) format, short but very sweet!
    Range: f - g'

    Editor: James Sanderson
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  • Ti piacque non è vero
    Forces: alto & continuo
    Oh, the pain of unrequited love fills our protagonist in this simple but effective piece. In ARA format, both arias allegro
    Source: Münster Santini Sammlung HS 3319 (only source)
    Range: a - d'

    Editor: James Sanderson
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  • Tirsi chiamare a Nome
    Forces: soprano & continuo
    Cantata Op. 1, no. 3
    Text by Metastasio in which poor Tirsi suffers the pangs of love again!
    Recit - Affettuoso - Recit - Allegro (fiery)
    Range: d' - a''

    Editor: James Sanderson
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  • Tocca à voi ò mie pupille
    Forces: soprano & continuo
    Another example of the futility of asking Love for help. In ARA format with a smooth 'pathetic' style opening and an allegro finish.
    Source: Münster, Santini HS 3313 (13) Also attributed to Mancini in HS 2459 in a transcription for alto a 5th lower.
    Range: d - g'

    Editor: James Sanderson
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  • Tu ten vai così festoso
    Forces: soprano & continuo
    Source: BL MS Add 14214 146v - 152v
    A popular cantata at the time of its composition, there are no fewer than 7 copies in collections from Italy to Scandinavia. An intensely chromatic recitative is surrounded by a beautifully crafted affettuoso aria and a quirky allegro/tempo giusto. Once again Clori is being difficult...
    Range: e - g'

    Editor: James Sanderson
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  • Vedi mio core amante
    Forces: soprano/alto & continuo
    A further copy of a work thought only to exist in Italy and Scotland. This copy, written in alto clef is still quite high (to e) and in classic recit-aria-recit-aria form, the first aria 'affettuoso' the second 'presto'. Available in high and low keys.
    Editor: James Sanderson
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  • Veggo la selva e il monte
    Forces: alto & continuo
    Cantata Op. 1, no. 7
    Source: British Library copy of the 1735 edition.
    Virtuosic cantata for alto and continuo in two recitatives and arias.
    Second aria is extraordinary!
    Text by Metastasio

    Editor: James Sanderson
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  • Vidi la navicella
    Forces: alto & continuo
    Source: BL Add 14214 ff139v - 145v (only source)
    Slightly careless copy of a cantata with some tremendous invention. Aria - recit - aria form, the text deals with a lovely simile of a boat on rough seas longing for the shore being like the treacherous waters of love.
    Range: a - d'

    Editor: James Sanderson
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Cantata with obligato instrument(s)
  • Destatevi, destatevi o pastori
    Forces: alto, obbligato instrument & continuo
    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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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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Duet
  • Se fedel cor mio tu sei Gli orti Esperidi (1721)
    Forces: 2 sopranos, strings & continuo
    The stunning duet which ends the first act of Porpora's Componimento drammatico to a libretto by Metastasio. Commencing with an involved secco recit and followed by da capo form duet with a middle section in a different meter and mood, it involves Venus and Adonis (La Romanina and Farinelli) singing of their love for each other.
    Editor: James Sanderson
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  • Vanne e vivi con la speranza
    Forces: soprano, alto, violins & continuo
    A very popular duet by Porpora which is extant in a number of copies throughout the world. This edition is based mainly upon the copy in the British Library Add 31593. The lovers free one another to separate and live in hope.
    Editor: James Sanderson
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Solo motet
  • Clari Splendete
    Forces: soprano, strings & continuo
    Source BL Add. 14125
    Written in March 1744 for the Ospedaletto. Virtuosic solo motet.

    Editor: James Sanderson
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  • In caelo stelle clare
    Forces: soprano, strings & continuo
    One of four solo motets for voice and strings written in 1744/45 for singers at the Ospedaletto in Venice. This virtuosic work is dedicated to Graziola, one of the main soloists Porpora composed for at the Ospedaletto.
    Editor: James Sanderson
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  • Placida Surge Aurora
    Forces: alto, strings & continuo
    Source BL MSS Add 14125
    Written for the Ospedaletto in 1744 (soloist Angioletta Moro). Virtuosic and beautiful writing - particularly the second aria Facis splendor.

    Editor: James Sanderson
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  • Qualis Avis
    Forces: alto, strings & continuo
    Autograph source in the British Library - one of four extant motets written in 1744/5 for performance at the Ospedaletto. Highly virtuosic - in four movements. Range: a - e''
    Editor: James Sanderson
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  • Vigilate oculi mei
    Forces: soprano & continuo
    From the Santini Collection in Münster (Hs. 3307) this is an early work (1712) dated Rome 30 June/1 July, 1712 which was the period Porpora was in Naples working for the Prince of Hessen Darmstadt. Amazing coloratura!
    Editor: James Sanderson
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Solo motet with coro
  • Laetatus Sum
    Forces: soprano, SSAA coro, strings & continuo
    Source BL Add 14126
    Super motet (part of the Marian Vespers) written for the Ospedaletto in Venice in 1744

    Editor: James Sanderson
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  • Nisi Dominus
    Forces: alto, SSAA coro, strings & continuo
    Source BL Add. 14126
    Part of the 1744 vespers written for the Ospedaletto

    Editor: James Sanderson
    MIDI Preview | Price: £ 10.95 | 


Marian antiphon
  • Regina Coeli
    Forces: alto, strings & continuo
    Source BL MS Add 14129
    Highly virtuosic motet for alto and strings. Extraordinarily difficult! Written in March 1742 and dedicated per la signorina Marina.

    Editor: James Sanderson
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  • Salve Regina (B flat)
    Forces: soprano, strings & continuo
    Source: British Library
    Written in 1744 this is perhaps the most varied of the solo Salve Reginas with no fewer than 7 different sections. It is also one of the highest pieces in autograph with a number of high B flats.

    Editor: James Sanderson
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  • Salve Regina (d)
    Forces: alto, strings & continuo
    Source: copyist's work in the British Library
    An extremely varied work with a wide-ranging vocal part and some very beautiful lines. This is another work which puts paid to Burney's sniggers!

    Editor: James Sanderson
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  • Salve Regina (F)
    Forces: alto, strings & continuo
    Source BL Add 14125
    Dated 1744 and written in four movements including an allegro-adagio da capo aria and a superb opening 'Salve Regina'. Beautiful setting of this latin text.

    Editor: James Sanderson
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  • Salve Regina (G - 1745)
    Forces: soprano, strings & continuo
    Source: British Library
    Written for the soprano Graziola at the Ospedaletto in Venice, this is the later of the two G major Salves. In 4 sections/movements (Moderato - Alegretto - Andantino - Lento) it is a virtuosic, but graceful work.

    Editor: James Sanderson
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  • Salve Regina (G)
    Forces: soprano, strings & continuo
    Source: British Library
    A copy which has been annotated and adjusted by Porpora himself. In four movements and once again showing great inspiration in the opening Lento 'Salve Regina'.

    Editor: James Sanderson
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Liturgical (other)
  • Credidi propter
    Forces: SSAA coro, strings & continuo
    Source: BL MS Add. 14127 ff 29r - 38r (autograph)
    A setting of psalm 115(116) Credidi propter quod locutus sum ego divided into 3 sections: Psalm - Gloria - Sicut erat & amen.
    Written in 1745 for the Ospedaletto, it appears to have been reworked at a later date for SSAB coro, a format more characteristic of earlier works for the Pietà.
    This version follows the original SSAA coro version in all respects.

    Editor: James Sanderson
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  • De profundis
    Forces: soprano & alto solo, SSAA coro, strings & continuo
    Source: BL MS Add. 14128 ff 83r - 105r
    A substantial setting of the De Profundis in 9 movements, 4 choral (SSAA), 4 solo and one duet, written in 1744 for the Ospedaletto. The soloists are entered in the score as: Bernadetta, Elisabetta Pia, Lauretta (soprani), with Angioletta Moro and Barbara (contralti). As is common in these liturgical settings, Porpora features favoured/most talented students first, the first soprano and alto arias being the most virtuosic.

    Editor: James Sanderson
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  • Domine Probasti Me (Chorus part)
    Forces:

    Editor: James Sanderson
    No preview available | Price: £ 3.95 | 

  • Domine Probasti Me (Chorus part) copy license
    Forces:

    Editor: James Sanderson
    No preview available | Price: £ 0.95 | 

  • Domine probasti me (Psalm 138/9)
    Forces: SSAA coro, strings & continuo
    Source: Autograph in BL Add MS 14216
    Writen in October of 1745 for the girls of the Ospedaletto this is a continuous setting, i.e. not divided into separate sections other than for the short, fiery Gloria Patri. Similar in style to the other Psalm settings (Credidi Propter, In Exitu Israel, Qui habitat in adjutorium etc.)
    Duration would be around 8 minutes and is perfect for a difficult programming spot!

    Editor: James Sanderson
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  • Domine Probasti Me (Vocal Score)
    Forces:

    Editor: James Sanderson
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  • In Exitu Israel
    Forces: 2 SAA coro, violins, violetta and continuo
    Source: BL Add 14125
    Charming homophonic treatment of Psalm 113 written in 1744 (Feb) at the Ospedaletto.

    Editor: James Sanderson
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  • In Exitu Israel (Chorus part)
    Forces:

    Editor: James Sanderson
    No preview available | Price: £ 3.95 | 

  • In Exitu Israel (Chorus part) Copy license
    Forces:

    Editor: James Sanderson
    No preview available | Price: £ 0.95 | 

  • In Exitu Israel (Vocal Score)
    Forces:

    Editor: James Sanderson
    No preview available | Price: £ 5.95 | 

  • Nunc dimittis (1744)
    Forces: 2 soprano solo, SSAA coro, strings & continuo
    Source: BL Add MS 14126 (autograph)
    The canticle sung as part of compline since the 4th century (Luke 2:29-31). In five parts, three choral with a soprano solo and a double soprano duet (quite tricky) Porpora's setting was written in 1744 for the girls of the Ospedaletto in Venice.

    Editor: James Sanderson
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  • Qui Habitat (Psalm 90/91)
    Forces: 2 soprani solo, SSAA coro, strings & continuo
    Source: autograph in BL Add MS 14126
    Another single section psalm setting written for the girls of the Ospedaletto in Venice in February of 1744. Launching straight into a rapid word setting and using advanced, and in some moments unusual, harmonic changes. The solo sections are, as usual, virtuosic, the choral writing exciting, but not too difficult to sing.

    Editor: James Sanderson
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Instrumental
  • Concerto per Violoncello (G)
    Forces: violoncello solo, strings & continuo
    Porpora's G Major cello concerto from a contemporary copy in BL MS Add 14125. This performing edition comes complete with parts for orchestra and soloist. The MIDI preview is of the second movement - Allegro. There are four movements in total (Adagio (C) - Allegro (C) - Adagio (3/4) - Allegro (6/8)). The concerto is highly virtuosic and the solo writing well suited to the instrument.
    Editor: James Sanderson
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  • Sonata per violoncello
    Forces: cello & continuo
    From a copy in the British Library (Add 14125) this F major sonata provides some tricky passages for the instrument. Continuo figures are missing in the copy, however they have been provided in this edition.
    Editor: James Sanderson
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Collection
  • Cantatas Op. 1 (pt. 1 - soprano)
    Forces: soprano & continuo
    The first six of the cantatas dedicated to the Prince of Wales in 1735
    All to texts by Metastasio, they are virtuosic, filled with beautifully written recitatives and arias, perhaps the high-point of Porpora's work in this genre.
    D'amore il primo dardo
    Nel mio sonno almen
    Tirsi chiamare a Nome
    Queste che miri o Nice
    Scrivo in te l'amato nome (Il nome)
    Già la notte s'avvicina
    See the individual titles for previews

    Editor: James Sanderson
    No preview available | Price: £ 15.95 | 

  • Cantatas Op. 1 (pt. 2 - alto)
    Forces: alto & continuo
    The second six of the cantatas dedicated to the Prince of Wales in 1735
    All to texts by Metastasio, they are virtuosic, filled with beautifully written recitatives and arias, perhaps the high-point of Porpora's work in this genre.
    Veggo la Selva e il monte
    Or che una nube ingrata
    Destatevi, destatevi ò pastori
    Oh se fosse il mio core
    Oh Dio che non è vero
    Dal povero mio cor
    See the individual titles for previews.

    Editor: James Sanderson
    No preview available | Price: £ 15.95 | 

  • Farinelli arias from Gli orti Esperidi (1721)
    Forces: soprano, strings & continuo
    The four arias written for Farinelli in one of his first appearances. Here he sings the rôle of Adone. See the individual arias for MIDI preview - buy all four and save £££!
    Includes: Se il morir, fosse mia pena;
    Sarebbe nell'amar soave il sospirar;
    Giusto Amor; and
    Se son lontano dal mio diletto

    Editor: James Sanderson
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  • Farinelli arias from Polifemo (1735)
    Forces: soprano solo with various orchestral accompaniments
    Five of the amazing arias written for Farinelli in Porpora's 'Polifemo'
    See the individual arias for previews
    Oh' volesser gli Dei/Dolci fresche aurette
    Lontan dal solo e caro/Lusingato dalla speme agitato
    Nell' attendere il mio bene
    Alto Giove
    Che dici or tu ch'ai poter che Giove?/Senti il fato
    All in orchestral score.

    Editor: James Sanderson
    No preview available | Price: £ 13.95 | 


Duet cantata with violins
  • Calcante ed Achille
    Forces: soprano, bass, violins, viola & continuo
    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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Porsile, Giuseppe (1680 - 1750)

Continuo cantata
  • A voi piangere conviene
    Forces: soprano & continuo
    Clori is up to her usual tricks in this melodramatic cantata: "Faithless Clori rejected my love and filled my heart with mortal sorrow..." A good size (ARARA) with splendidly contrasting arias.
    Editor: James Sanderson
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  • Clori vezzosa, e bella
    Forces: soprano & continuo
    Source BL Add 14226 f 20r - 23v
    Beautifully crafted arias with very sensible recitatives discuss an interesting excuse for infedelity. "I want to love you, but cruel jealousy makes me stray!"
    Range: e' - a''

    Editor: James Sanderson
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  • La dove regnan l'ombre
    Forces: soprano & continuo
    'Even the shades burning in Pluto's fires do not suffer as much as I...' Irene is being cruel again and our erstwhile lover is suffering. RARA form Canzona from a manuscript in the Biblioteca del Conservatorio di musica S. Pietro a Majella - Napoli: Cantate 236(43)
    Editor: James Sanderson
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Purcell, Henry (b London, Sept 1659; d Westminster, London, 21 Nov 1695)

Aria
  • Thy hand Belinda/When I am laid
    Forces: soprano, strings & continuo (arr. piano)
    Dido's lament from Purcell's Dido & Aeneas
    Editor: James Sanderson
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Song
  • 'Tis Nature's Voice
    Forces: voice & continuo
    From Orpheus Britannicus a complex and virtuosic 'Single Song'
    Editor: James Sanderson
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  • Ah! how sweet it is to love
    Forces: voice & continuo
    A Song in Tyrannick Love, or the Royal Martyr - Orpheus Britannicus I,ii
    Editor: James Sanderson
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  • Celia has a thousand charms
    Forces: voice & continuo
    A song in the Rival Sisters - Orpheus Britannicus I,i
    Editor: James Sanderson
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  • If Musick be the Food of Love
    Forces: voice & continuo
    The first, and more elaborate, version of the famous song by Purcell- Orpheus Britannicus I,iv
    Editor: James Sanderson
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  • Song: Fairest Isle
    Forces: voice & continuo
    Purcell's charming song
    Editor: James Sanderson
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  • Song: Now That The Sun Hath Veiled His Light
    Forces: voice & continuo
    Purcell's beautiful 'Evening Hymn'
    Editor: James Sanderson
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  • Whilst I with Grief did on you look
    Forces: voice & continuo
    A Song on Mrs. Bracegirdle's Singing (I Burn &c) in the second part of Don Quixote - Orpheus Britannicus I,iii
    Editor: James Sanderson
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Riccio, Benedetto (1678 - after 1710)

Continuo cantata
  • Clori, vorrei narrarti
    Forces: soprano & continuo
    Clori is here, Cupid is here with his golden darts, no-one is particularly happy about any of it! A conventional, but interesting setting by a virtually unknown composer, considered to have been one of the dilettanti who indulged in opera in the Neapolitan dialect. RARA format with two allegro arias and some very effective word-painting in the recitatives and arias both.
    Source: Naples, Cantate 20

    Editor: James Sanderson
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Rossetter, Phillip (b 1567/8; d London, 5 May 1623)

Song
  • When Laura Smiles
    Forces: voice & lute (arr keyboard)
    A song extolling the charms and virtues of beautiful Laura
    Editor: James Sanderson
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Sances, Giovanni Felice (b Rome, c1600; d Vienna, bur. 12 Nov 1679)

Canzonetta
  • Mi fai peccato o pastorel
    Forces: 2 sopranos & continuo
    From Sances' 'Cantade' of 1633 (Pt. 2) a Canzonetta à Doi voci in two sections: triple time, brief common time then triple to finish with both triple sections being repeated. The text deals with the tribulations of pastoral love and the cruelty of Love.
    Editor: James Sanderson
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  • Quando non ti risolvi
    Forces: 2 sopranos & continuo
    From Sances' 'Cantade' of 1633 (Pt. 2) a Canzonetta à Doi voci discussing the danger of loving Lilla (see Dialogo Amoroso à 2: Lilla e Fileno. In triple time throughout with seven verses.
    Editor: James Sanderson
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Cantada
  • Occhi sfere vivaci
    Forces: 2 sopranos & continuo
    Another substantial work from Sances 1st book of 'Cantades' of 1633. Divided into seven stanzas with two solos for each singer and three duets.
    Editor: James Sanderson
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Dialogo
  • Dialogo Amoroso à 2 - Lilla e Fileno
    Forces: soprano, tenor & continuo
    A stunning and substantial work from Sances 1st book of 'Cantades' of 1633. The MIDI preview gives an idea of the solo and 'insieme' writing in the piece. From start to finish the work becomes progressively more florid with interesting walking basses etc.
    Editor: James Sanderson
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Saracini, Claudio (b Siena, July 1586; d Mirandola, Sept 1630)

Song
  • Le Quinte Musiche - Langue al vostro languir
    Forces: voice & continuo
    Lamento style song from Saracini's 'Quinte Musiche' of 1624
    Editor: James Sanderson
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  • Le Quinte Musiche - Partire oime partire
    Forces: voice & continuo
    Extended madrigal in 'lamento' style from the 'Quinte Musiche' of 1624 with Saracini's customary stretching of the harmonic progression.
    Editor: James Sanderson
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  • Le Seconde Musiche - Care gioie
    Forces: voice & continuo
    Simple strophic song from Le Seconde Musiche (1620)
    Editor: James Sanderson
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  • Le Seconde Musiche - Crudel tu vuoi partire
    Forces: voice & continuo
    Strophic song from Saracini's 'Seconde Musiche' of 1620 with 12(!) verses
    Editor: James Sanderson
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  • Le Seconde Musiche - Giunto e pur Lidia il mio
    Forces: voice & continuo
    Extended madrigal from Saracini's 'Seconde Musiche' with wonderful harmonic shifts.
    Editor: James Sanderson
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  • Le Seconde Musiche - Quest'amore quest'arsura
    Forces: voice & continuo
    Strophic song from Saracini's 'Seconde Musiche' of 1620
    Editor: James Sanderson
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  • Le Seconde Musiche - Tra le pompe di morte
    Forces: voice & continuo
    Dramatic piece in the 'lamento' style with very adventurous harmonic progressions
    Editor: James Sanderson
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  • Le Seconde Musiche - Udite lagrimosi spirti d'averno
    Forces: voice & continuo
    The first song from Le Seconde Musiche (1620). Dedicated to Monteverdi - Intitolato Al Molto Illustre Sig. Claudio Monteverdi Maestro di Capella della Serenissima Signoria di Venetia in San Marco.
    Editor: James Sanderson
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  • Le Seste Musiche - Non più strali pungenti
    Forces: voice & continuo
    Strophic song with quirky rhythm and melody from Saracini's 'Seste Musiche' of 1624
    Editor: James Sanderson
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  • Le Seste Musiche - S'io non ti toglio un bacio
    Forces: voice & continuo
    From seemlingly harmless beginnings this song develops a truly wicked harmonic and rhythmic side.
    Editor: James Sanderson
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  • Le Seste Musiche - Tornate o cari baci
    Forces: voice & continuo
    Bright madrigal on the theme of love/death
    Editor: James Sanderson
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Sarri, Domenico Natale (1679 - 1744)

Continuo cantata
  • Bella maga di gnido
    Forces: soprano & continuo
    Source: BL Add 38036 ff 12v - 16v
    This is from a British Library manuscript with the inscription 'CANTATE de diversi gran Maestri', dated 1706 which contains cantatas by Legnani, Bencini, Sarri, Lotti, Caldara, Buononcini, Conti, Torri, Monarii, Ariosti, Fago, Mancini, Tosi, Martini, Scarlatti, and Albinoni. It contains a wealth of information about the continuo figures used as the copyist has taken a great deal of care with them. The text concerns Goddess of Love's ability to enchant those who behold her (Gnido is likely to be the ancient Greek city of Knidos, now in Turkey, where there was a temple to Venus).
    Range: e' - g''

    Editor: James Sanderson
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  • Crudo Arcier, tiranno Amore
    Forces: soprano & continuo
    Cupid is at it again in a very effective lontananza cantata in ARARARArioso format. "Separation is a terrible poison, like a cruel snake which reaches your breast. Hope brings despair to every joy". Some really effective writing by a composer much neglected outside of Naples, but celebrated at home.
    Source: Biblioteca del Conservatorio di musica S. Pietro a Majella - Napoli: Cantate 251

    Editor: James Sanderson
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  • De suoi fervidi ardori
    Forces: soprano & continuo
    A delightful cantata in RARARA format, the final aria without da capo. Clori is, as usual, very upset. Tirsi is ignoring her pain, ignoring her love, ignoring her... And what does she do? She sings about it. in fact the final, short, arioso has her still singing, despite her tears!
    Source: Biblioteca del Conservatorio di musica S. Pietro a Majella: Cantate 251

    Editor: James Sanderson
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  • Lilla amante fedele
    Forces: soprano & continuo
    This is a depressing one! With lines like "...If the heavens cease not sending me pain and torment, I would rather find peace in death..." and then she dies! RARARA(rioso) format. This is a substantial work from a collection of cantatas in the Biblioteca del Conservatorio di musica S. Pietro a Majella - Napoli; Segnatura: Cantate 29-03
    Editor: James Sanderson
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  • Voi portate un anno al nome
    Forces: soprano & continuo
    A litte gem of a cantata from Sgr Sarri. "You carry your name all year, all I want is one day of it...you have kidnapped my senses". ARA format with a lovely opening Affettuoso and a fiery 'combattere' aria to finish. Cupid is up to his old tricks...
    Source: Biblioteca del Conservatorio di musica S. Pietro a Majella - Napoli: Cantate 251

    Editor: James Sanderson
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Cantata with obligato instrument(s)
  • Se pur fosse il cor capace
    Forces: soprano, flute & continuo
    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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Scarlatti, Alessandro (born Palermo, 2 May 1660; died Naples, 22 October 1725)

Continuo cantata
  • Lasciami alquanto piangere
    Forces: soprano & continuo
    In this particularly sad cantata, Filen bemoans lost love and prepares to die: Let me weep, for I can say no more... Starting with a particularly beautiful Siciliano and ending with a typically breezy second aria, this delightful cantata is in aria - recit - aria format. Complete with optional continuo realisation.
    Range: d - e' flat

    Editor: Brian Daw
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  • O voi di queste selve habitatrici
    Forces: soprano & continuo
    A fine example of Scarlatti's late chromaticism. The second aria Lento is particularly 'twisty'. Irene is bemoaning her unfaithful lover Lidio who has fallen for Filli, addressing the inhabitants of the woods and fields. A lot of help they're going to be with their track record! Complete with optional continuo realisation.
    Range: e flat - g#'

    Editor: Brian Daw
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  • Agitato mio core
    Forces: soprano & continuo
    Dated on the first page as 'in Albano 1704'. Despite Eurilla's promise of fidelity her erstwhile beloved is nervous (small wonder with her track history) and his heart is all 'a-flutter'. RARA format with a particularly interesting format for the first aria Quietati.
    Source: Münster Santini Sammlung Hs 3907(1)
    Range: e - a''

    Editor: James Sanderson
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  • Amo, e negar nol posso
    Forces: soprano & continuo
    Dated on the first page as 'Decembre 1704'. A large work with three recits and arias, two of the arias being particularly exciting and the third a lovely Siciliano. The subject deals with the power of love, once again.
    Source: Münster Santini Sammlung Hs 3907(4) There is also a possible attribution to Sarro
    Range: d - a''

    Editor: James Sanderson
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  • Andate o miei sospiri
    Forces: soprano & continuo
    "Go, oh my sighs, to Irene's heart, May it know of my pains by you..." An intensely chromatic work with two versions of the final aria. In most sources dated 10 March, 1712 and was composed in response to a cantata by Francesco Gasparini based on the same text. The second version of the final aria aria here is from a later version with the subtitle: con idea inumana, in regolato cromatico, ma non è per ogni professore – the final aria itself is inscribed with the words: Altr'aria capriccio dell' Autore
    Range: d - g'

    Editor: Kate Eckersley & James Sanderson
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  • Bei Prati, freschi rivi
    Forces: soprano & continuo
    A beautiful cantata showing Scarlatti in great inventive mode. The theme is of love lost or gone away: death would be preferable, but even after death he is sure still to long for her. He calls Nature to witness his suffering, but only the merest echo comes back as a reply. RARA format, both arias complicated and chromatic and the recitatives full of harmonic twists and turns.
    Source: Münster Santini Sammlung HS 3915(3)
    Range: c - g'

    Editor: James Sanderson
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  • Bella, bella quanto crudel
    Forces: mezzo-soprano & continuo
    Despite appalling treatment, Irene's lover remains constant and wants more (remind you of anyone?) Complex recits and some exciting chromatic harmonies in the arias. RARA format.
    Source: Münster Santini HS 859 (11)
    Range: d - e'

    Editor: James Sanderson
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  • Che Sisifo infelice
    Forces: soprano & continuo
    The subject deals with that old favourite 'lontananza' or separation using the image of Sisyphus pushing rocks uphill to illustrate the hopelessness of the lover's cause. A cantata with much to recommend it, come great recitative and aria writing. RARA format.
    Source: Münster Santini Samlung HS 3977
    Range: d - f#'

    Editor: James Sanderson
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  • Cinta dei più bei fiori
    Forces: soprano & continuo
    "Surrounded by so many beautiful flowers" and so much beautiful music. This is a substantial pastoral cantata (with an appearance by the faithless Clori) in RARARA format. Sinuous recitative and stunning arias!
    Range: e - g'

    Editor: James Sanderson
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  • Del lagrimoso lido
    (Euridice dall'inferno)

    Forces: soprano & continuo
    The Orfeo story as told by Euridice, who implores Orfeo to recover her from hell (Aria 1), then addresses the Furies in the dramatic 2nd Aria with contrasting B section. The text of Aria 3 expresses cautious optimism, but the music undermines this with a fragmented coloratura in f# minor. Powerful recitatives and contrasted arias (b minor, F major, f# minor) make this a strong character portrayal. The edition gives Scarlatti's two settings of Aria 1 - the first a chromatic ground bass, the 'other way' a more modern cantabile aria, both capturing the pathos of Euridice.
    Range - e'-a''
    R-A-R-A-R-A

    Editor: Rosalind Halton
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  • Del' Tirreno à le sponde
    Forces: soprano & continuo
    Source: BL Add MS 14211 ff 58r - 64r
    This sad, pastoral cantata sees our hero Fileno languishing for lost love (of Clori of course) on the banks of the Tyrrhenian Sea - the scene of many a fevered brow! In double recit-aria format, both arias andante but vastly different. Some excellent changes from secco recit into arioso.
    Range: e - g'

    Editor: James Sanderson
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  • Della spietata Irene
    Forces: soprano & continuo
    Why do these men keep coming back for more? This perfidious Irene can kill with a glance, has Cupid on her side and just doesn't care! One of Scarlatti's more chromatic offerings in RARA format, both arias full of peno. Range d - f'
    Editor: James Sanderson
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  • Dorisbe cacciatrice - Già sorge l'Alba
    Forces: soprano & continuo
    A large cantata telling the story of the huntress Dorisbe. Her face is compared to the snares of Cupid, her bow to Cupid's darts and the listener is exhorted to hunt animals, not Love. In a complicated RAARARAA format, the last aria gradually becoming arioso then recitative. Some excellent hunting motifs in the music, particularly evoking the sound of the hunting horn.
    Sources: Münster Santini Sammlung HS 3977 and HS 864
    Range: c - g'

    Editor: James Sanderson
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  • E come, oh Dio
    Forces: soprano & continuo
    [ca.1697/8]
    Remarkable, dramatic recitatives, female narrator, theme of jealousy caused by separation; range: d'- g

    Editor: Rosalind Halton
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  • E come, oimè, poss'io?
    Forces: soprano & continuo
    The cruelty of Love is the theme of this cantata. How can I resist your beauty? That age-old problem! Complete with optional continuo realisation.
    Range: d - f#'

    Editor: Brian Daw
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  • Era giunta quell' ora
    Forces: soprano & continuo
    Dated on the first page as '29 Novembre 1704'. Our protagonist has given in to the power of love and once more Fileno will be in Clori's arms. Her breast has far more allure than anything else! RARA format with two rapid-fire arias including an excellent Minuet.
    Source: Münster Santini Sammlung Hs 3907(6)
    Range: e - a''

    Editor: James Sanderson
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  • Fille, Fille, dolente Fille
    Forces: soprano & continuo
    As the title suggests, Fille is sad...but, disturbingly, she likes the treatment she is getting from Tirsi: 'I will enjoy my pains, because I adore the chains...' Disturbing! A wonderful cantata in RARA format, Scarlatti at his most harmonically adventurous.
    Source: Naples, Cantate 266

    Editor: James Sanderson
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  • Fille, mia cara Fille
    Forces: soprano & continuo
    A wonderfully chromatic work from 1704 (November 4th), the chromaticism expressing the tortures of loving such an unfaithful woman as Fille (the usual). Long, complex recitatives and two very contrasting arias.
    Range: d - f#'

    Editor: James Sanderson
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  • Filli adorata, e cara
    Forces: soprano & continuo
    Why do these men suffer so? Despite being separated from his beloved, our protagonist sings of his love for her being the reason for his life. His soul yearns and his death will swiftly follow, should she not return. Yeah, right! RARA format, one aria slow and sinuous, the other fast and virtuosic. Range c - g'
    Editor: James Sanderson
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  • Giù di Vulcan
    Forces: alto & continuo
    Join the god Vulcan in his depths to discuss the changeable nature of love. RARA format with some wonderfully sinuous writing in recitative and aria.
    Source: Münster Santini Sammlung HS 3909
    Range: b flat - d'

    Editor: James Sanderson
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  • Il genio di Mitilde
    Forces: soprano & continuo
    Source: Paris Bibliothèque Nationale, MS D.11840
    The capricious Mitilde has more moods than the sea has storms, and Scarlatti depicts her in a fiery cantata with exciting demands for singer, cellist and keyboard player. Range - e' g''.
    2 Recits and arias: 1. Spiritoso, D minor; 2. Alla breve, A major

    Editor: Rosalind Halton
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  • Il Sonno
    Forces: soprano & continuo
    Here, dreams are the only escape from the pain of love. 'Oh come, oh merciful sleep...' In torturously complex recitatives and two characterful arias, Scarlatti shows himself once again to the be the master of the genre. From two sources in the Naples Conservatorii - Cantate 23 (7) and 255 (24) and dated September 22nd, 1716, this is a real gem.
    Editor: James Sanderson
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  • In vano Amor tiranno
    Forces: soprano & continuo
    The first line says it all: Cupid is trying to destroy another young man's life with his darts and this guy is fighting back! An extensive work in RARARA format, the first two arias slow and sinuous, the last more matter-of-fact and resigned to fate.
    Range: d - g'

    Editor: James Sanderson
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  • Io son Neron (Il Nerone)
    Forces: soprano & continuo
    This cantata was written in 1698 and is from a manuscript with a number of other mythological or historical themes rather than pastoral. The self-styled 'Emperor of the World', Nero, is certainly enjoying his ego! Florid and virtuosic. RARARAR format with a fiery recitative finish.
    Source: Münster Santini Sammlung HS 3909
    Range: d - b'' flat

    Editor: James Sanderson
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  • La dove a Mergellina
    Forces: Soprano & continuo
    There at Mergellina where the sea kisses the shore, the lovelorn Elpino went alone one day, addressing the waves: "Love him that loves you..." A stunning example of the genre in a long-awaited edition from Rosalind Halton and a must have for the lovers of cantate de camera. In RARA format and taken from two sources, Naples and London.
    Editor: Rosalind Halton
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  • La morte di Mitilde
    Forces: soprano & continuo
    Mitilde dies and with her dies the flame of Love. A challenging and fascinating example in RARA format, the recitatives travelling through widely disparate tonalities and the contrasting arias, one a stunning Adagio and one a classic cut-common rage against the tyrant, have very clearly defined characters and great musical values. The source is a manuscript in the Naples collections.
    Editor: James Sanderson
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  • Leandro anima mia (Ero e Leandro)
    Forces: alto & continuo
    Hero calls for Leander who is attempting to swim the Hellespont to meet her. Upon his death she reacts to his loss and her reaction is interpreted by a narrator character in a final aria. In RARARA format.
    Source: Münster Santini Sammlung HS 3909
    Range: c - d'

    Editor: James Sanderson
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  • Libertà del mio cor
    Forces: soprano & continuo
    [ca.1709] - one source only extant.
    Theme of the bird seeking freedom/ the lover freedom from love. Virtuoso aria 1, final siciliano very beautiful.
    Range: d'-g''. A major/D major.

    Editor: Rosalind Halton
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  • Lieti boschi, ombre amiche
    Forces: alto & continuo
    Taking refuge in the forests, amongst the friendly shades, our heart-broken protagonist sighs at his plight. The trees, breezes, beasts and birds know how he feels, but Clori is insensitive to his love. RARA format with a spiky adagio and a rather sprightly andante to finish.
    Source: Münster Santini Sammlung HS 3907(15)
    Range: b - c'

    Editor: James Sanderson
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  • Lontan dall' Idol mio
    Forces: soprano & continuo
    Sources: 7 MS sources, as described in the notes, dated 1699 in one source (Bodleian Library, Oxford).
    Subject: the illusion of love being present, though far away. This is one of the most profound and passionate settings by Scarlatti on the theme of distance and separation, from its opening interval - a minor 9th - to the wild despairing modulations within the final Siciliano aria.
    Featured on chacona's recording 'Olimpia: cantatas of Alessandro Scarlatti'.
    Vocal range: d'-g''

    Editor: Rosalind Halton
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  • Lontananza crudele, deh perchè
    Forces: soprano & continuo

    Editor: Brian Daw
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  • Mesto lasso, e ramingo
    Forces: soprano & continuo
    Dated on the first page as June of 1704. Submerged in sadness and sorrow, our protagonist pleads with Fate for release. In regular RARA format with a quirky 3/4 first aria and a lovely, pleading Siciliano to finish.
    Source: Source: Münster Santini Sammlung Hs 3907(2)
    Range: d - g'

    Editor: James Sanderson
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  • Mi tormenta il pensiero (i)
    Forces: soprano & continuo
    The first version of this cantata, dated 10 March 1701 in Scarlatti's 'Cantata Diary'. 'Tormented by my thoughts, consumed with desire, lost is hope, and without hope what point is there in life?' The torments of Jealousy in love. RARA format.
    Source: Münster Santini Sammlung HS 864(7)
    Range: d - g'

    Editor: James Sanderson
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  • Mi tormenta il pensiero (ii)
    Forces: alto & continuo
    The second version on this text, using more of the text than version I. The cruel force of Jealousy plagues the young lover in this concisely written pastoral cantata. Tormented by thoughts, consumed with desire, lost is hope, and without hope what point is there in life?.
    Source: Münster Santini Sammlung 3909
    Range: b - c#'

    Editor: James Sanderson
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  • Non lasciar canora e bella
    Forces: soprano & continuo
    Charting the progress of the Swallow (Rondinella) from the Arno to the Tebro at the end of the Summer's heat, with some beautiful word painting (including fluting bird-song) and some quite stunning recitative - AS at his best in another of the 1704 cantatas. In ARARA format, starting with a gentle Siciliano, an Allegro in cut common time is the middle aria and the final aria is a lively 3/8.
    Source: Münster Santini Sammlung 3907
    Range: d - g'

    Editor: James Sanderson
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  • Notte cara a un cor che langue
    Forces: soprano & continuo
    (1705)
    Vocal range: d'-g''.
    Hanley 478. Three arias, two recits. Sources in British Library and Santini Collection, Münster.
    Theme of night and the solitary lover; rewarding cello part, especially the virtuoso Aria 2.

    Editor: Rosalind Halton
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  • Notte cara, ombre beate
    Forces: soprano & continuo
    'Dear night, blessed shadows...I only enjoy my dreams and cry in the day...' Very much a nocturnal lover in one of Scarlatti's stunning night cantatas. Beautiful harmonies, sinuous dreaming vocal lines capturing that special air of quiet and suspense. In ARARA format and compiled from two copies in the Naples Conservatorio Library.
    Editor: James Sanderson
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  • O che mostro, o che furia è Lontananza (1709)
    Forces: soprano & continuo
    Text is by Cardinal Ottoboni: being apart is a monster, a fury, and always gives rise to jealousy. Arias are in B flat (very ornate) and C major (very cheerful and melodic), and the cantata finishes with a brief recitative, giving thanks for faithful love which can survive separation. Both arias have rewarding dialogue for voice and cello.
    The whole manuscript contains settings of Ottoboni's texts.
    RARAR format
    Range: e flat'- g''
    Source: British Library, Add. Ms. 34056

    Editor: Rosalind Halton
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  • O pace del mio cor
    Forces: soprano & continuo
    O peace of my heart, where do you wander? So begins this delightful cantata, one of Alessandro Scarlatti’s most frequently copied. The principal source of this edition is held in the Royal College of London, Ms. 583, a copy in a Neapolitan hand. ARAR format.
    Editor: Rosalind Halton
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  • Peno, e del mio penar
    Forces: soprano & continuo
    28 August, 1705, autograph source in New Haven, Yale (Scarlatti's 'cantata diary').
    Penetrating melismatic recitatives, with final aria in Siciliano style.
    Range: e flat'- g''. C minor/F minor. Scarlatti's complex chromatic style.

    Editor: Rosalind Halton
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  • Poiche cessano alfin
    Forces: soprano & continuo
    range: e'-g'' The storms of love come to an end. The final aria 'andante amoroso' Siciliano is a great, touching example of the genre, and recitatives show the virtuoso declamatory style of Scarlatti at the height of his creativity. 2 recits, 2 arias.
    Editor: Rosalind Halton
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  • Quando Amor vuol ferirmi
    Forces: soprano & continuo
    "When Love wants to hurt me, the traitor hides beneath your lashes..." The bitter-sweet torments of love in this delightful work from Münster Santini Sammlung HS 3915(2) - Hanley 588. In RARA format
    Range: d - g'

    Editor: James Sanderson
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  • Questa, questa è la selva
    Forces: soprano & continuo
    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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  • S'io t'amo s'io t'adoro
    Forces: soprano & continuo
    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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  • Scompagnata tortorella
    Forces: soprano & continuo
    Our litte turtle-dove is caged and kept away from his beloved again in this charming cantata and once again death is preferable to this continued condition of estrangement from the beloved! In ARA format.
    Source: Münster Santini Sammlung HS 861
    Range: e flat - g'

    Editor: James Sanderson
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  • Solitudini care
    Forces: soprano & continuo
    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 (see MIDI).
    Range: c - f#'

    Editor: Kate Eckersley & James Sanderson
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  • Son contenta di soffrire
    Forces: soprano & continuo
    '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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  • Son io, barbara Donna
    Forces: alto & continuo
    Source: BL Add MS 14213 ff 84r - 87v
    Clori's willful heart has wandered again and her lover reminds her that she will never find another as faithful as he. In double recit-aria format.
    Range: c- d'

    Editor: James Sanderson
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  • Sovra il margine erboso
    Forces: soprano & continuo
    On the banks of a river, our lover spies his beloved and begs her to gaze upon him in the way she gazes on the crystal waters. In RARARA format with some characteristic sinuous harmonies, this is a lovely work!
    Source: Münster Santini Sammlung HS 3915(1) - Hanley 681
    Range: d - g'

    Editor: James Sanderson
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  • Su'l margine fiorito d'un limpido ruscello
    Forces: soprano & continuo
    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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  • Tra verdi piante ombrose
    Forces: soprano & continuo
    Once again the God of Love has cast his fiery darts at Mitilde's love and keeps him away from her. Complete with optional continuo realisation.
    Sources: various Italian, British and German institutions.
    Range: d - g'

    Editor: Brian Daw
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Cantata with obligato instrument(s)
  • Augellin vago e canoro
    Forces: soprano, 2 recorders & continuo
    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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  • Mentre Clori la bella sotto l'ombra d'un mirto
    Forces: soprano, 2 flutes & continuo
    Clori is being very insensitive, sitting beneath her Myrtle tree and enjoying the breeze whilst Fileno is suffering all the torments of love! In RARARA format with two of the arias with 2 flutes accompaniment and 2 with ritornelli. A lovely piece with some very interesting use of harmony...
    Source: Münster Santini Sammlung Hs 3975(2)
    Range: d - a''

    Editor: James Sanderson
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  • Quella pace gradita
    Forces: soprano, violin, flute, cello, cembalo
    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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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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Collection
  • 2 Cantate Pastorale
    Forces: soprano, violins & continuo
    Scarlatti's two Cantate Pastorale - 'Non so qual più m'ingobra' (edited by Rosalind Halton) and 'O di Betlemme...' (edited by James Sanderson)
    Collected in one edition which saves you £££.
    Each edition comes with parts and combined score.
    See individual titles for further details...

    Editor: Rosalind Halton & James Sanderson
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Duet cantata with violins
  • Dove fuggi, ò bella Clori?
    Forces: soprano, alto, violins & continuo
    A virtuoso duet cantata for soprano and alto with strings, a mini-opera with wit, pathos, and brilliance. Lidio is in hot pursuit of Clori - but she scorns love and all his protestations, until in the final duet they join in praise of the joys and pains of love. Published by kind permission of the Diözesan-Bibliothek, Münster.
    Range Clori: d'-g''
    Range Lidio: b-c''

    Editor: Rosalind Halton
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  • Filli e Clori, 'Amica, hora che Aprile'
    Forces: 2 sopranos, violins & continuo
    Sources: edition based on 4 17th-early 18th century manuscripts in the Santini Collection (Münster), the British Library, and the Bodleian Library, Oxford. [the details are in the editorial notes]
    Description: Filli persuades the reluctant Clori to abandon city life for the delights of the country, where she is sure to make new conquests in the hunt of love. Both Filli and Clori have 2 arias of 2 strophes each, interspersed with ritonelli. In the magical final duet, the girls agree to prepare their feet for dancing, and their arms for the hunt. Cardinal Ottoboni's documents mention a performance of 'Amica, hora che Aprile' dated 13 July, 1694. The survival of this work in several sources suggests it was a well-known work in its day.

    Editor: Rosalind Halton
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Duetti da camera
  • Clori e Lisa: Lisa, del fuoco mio ti vuò mostrar l’ardore
    Forces: 2 sopranos & continuo
    Dated the 28th of February, 1706, these two ladies are bemoaning the sacrifices necessary for the inevitability of love: loss of liberty and constant heart-ache... 2 duets, an aria each and gossiping recitative link this musical conversation, quite a little drama!
    Editor: James Sanderson
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  • Clori e Mirtillo
    Forces: soprano, alto & continuo
    Source: Santini HS 3903 (with kind permission)
    A totally charming duo cantata in which Love is neither insulted nor threatened! The lovers, Clori and Mirtillo, are actually happy AND in one another's company. This of course leads to quite a lot of music - two duets and an aria each, all linked with some excellent recitative.
    Range (Clori): g - g'
    Range (Mirtillo): c - c'

    Editor: James Sanderson
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  • Floro e Tirsi (Ahi che sará di me?)
    Forces: 2 sopranos & continuo
    2nd September, 1707. A substantial work with a text concerning the pains and joys of love containing 4 duets, two arias and a single recitative.
    Editor: James Sanderson
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  • La Primavera: Clori e Lidia Compagne
    Forces: 2 sopranos & continuo
    Source: Santini Collection, 3901 Diözesan Bibliothek, Münster.
    La Primavera depicts a scene in which two girls await the return of their lovers, Tirsi and Fileno. Spring, the melting of ice, and the return of flowers, happiness and love are the subject of the girls’ conversation.
    Vocal Ranges
    Clori: d’- g’’
    Lidia: d’- g’’

    Editor: Rosalind Halton
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  • Marc Antonio e Cleopatra
    Forces: soprano, alto & continuo
    Source: MS.3901, Santini Collection of the Diözesan Library, Münster. It is the only source of this work, which consists of chamber duets with basso continuo. One of the works, the famous 'Questo silenzio ombroso' carries the comment '1707 in Urbino'.
    This is a substantial chamber duet with recits & arias for both characters as well as two extensive duets.

    Editor: James Sanderson
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  • Nò non ti voglio Cupido
    Forces: soprano, alto & continuo
    The changeable attitude to love certainly makes for a bright piece of music! The opening and closing duets (to the same music) projects two different moods - 'No I don't want it' and 'Yes, I do' Separated by two recits and arias, one for each voice.
    Source: Münster Santini Sammlung HS 865(1)

    Editor: James Sanderson
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  • Tirsi e Clori (O come bello)
    Forces: 2 sopranos & continuo
    An early work with strophic arias sung in turn by the protagonists separated by recitative and concluding with a homophonic duet and the unaccompanied line 'com'è limpido quel rio'
    Editor: James Sanderson
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Scarlatti, Domenico (b Naples, 26 Oct 1685; d Madrid, 23 July 1757)

Continuo cantata
  • Ah! sei troppo infelice
    Forces: soprano & continuo
    One of Scarlatti's late chamber cantatas recorded by Kate Eckersley
    Sinuous opening arioso/recit with two straightforward arias and a secco recit in wich the lover deals with the pains caused by the Nume arciero.
    Range: e' - g''

    Editor: Kate Eckersley & James Sanderson
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  • Con qual cor
    Forces: soprano & continuo
    Source: MS in the collection of the Royal College of Music, London
    Hell hath no fury... in this aria - recit - aria cantata. With what kind of heart do you ask me for peace...ungrateful soul, traitor!
    Range: c - g'

    Editor: Kate Eckersley & James Sanderson
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  • Di fille vendicarmi vorrei
    Forces: soprano & continuo
    Source: MS in the collection of the Royal College of Music, London
    Aria - recit - aria format, the first remarkable for its chromaticism, the last for its sheer verve and virtuosity. The text deals with a young man whose love for Fille has caused him 'fierce grief' and leads him to pray to the God of Love for assistance.
    Range: a - a''

    Editor: Kate Eckersley & James Sanderson
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  • Fille già più non parlo
    Forces: soprano & continuo
    Virtuosic cantata in two recit and aria format with a particularly fiendish last aria (see MIDI).
    Editor: Kate Eckersley & James Sanderson
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  • No, non fuggire ò Nice
    Forces: soprano & continuo
    Source: MS in the collection of the Royal College of Music, London.
    Once again a young man sacrifices his personal happiness on the altar of unrequited love for Nice. In double recit-aria format, the spectacular second aria showing strong Spanish influence (MIDI preview).
    Range: c - g'

    Editor: Kate Eckersley & James Sanderson
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  • Qual pensier, quale ardire
    Forces: soprano & continuo
    Fantastically dramatic piece with a vocal range of A - a' (at one point in a single phrase) First aria is exceptional, divided into alternating slow and fast sections and with a rolling triple B section. This is one angry lady!
    Editor: Kate Eckersley & James Sanderson
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  • Se ti dicesse un core
    Forces: soprano & continuo
    Source: MS in the collection of the Royal College of Music, London
    Aria - recit - aria format, the last aria in two exciting and virtuosic parts in different time signatures. Here the text involves a rejected, though constant lover asking for the pity of his beloved.
    Range: d - g'

    Editor: Kate Eckersley & James Sanderson
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  • Selve caverne e monti
    Forces: soprano & continuo
    Source: BL Add 14182
    An attractive cantata by D. Scarlatti in recit/arioso - aria - recit - aria form with a text concerning the lover's search for his fleeing beloved.
    Range: d' - g''

    Editor: James Sanderson
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  • Ti ricorda o bella Irene
    Forces: soprano & continuo
    Source: MS in the collection of the Royal College of Music, London
    Aria - recit - aria format with interesting major/minor juxtapositions in the last. It's the tale of another long-suffering lover willing to do anything for his beloved.
    Range: b - a''

    Editor: Kate Eckersley & James Sanderson
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  • Tu mi chiedi o mio ben
    Forces: soprano & continuo
    Our erstwhile suitor compares the beams from Filli's eyes to cupid's darts. These darts strike his heart and cause all the blood to flow from it - perhaps a trifle dramatic but certainly worth a sing! In RARARA format with some typically twisted harmonic and melodic shifts.
    Source: Münster Santini Sammlung HS 864 (only source)
    Range: e - g'

    Editor: James Sanderson
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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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Duetti da camera
  • Fille e Clori: Se per un sol momento
    Forces: 2 sopranos & continuo
    Source: MS in the collection of the Royal College of Music, London
    Duet - recit - aria - recit - aria - recit - duet all of which deal with the theme of love once lost and regained. The story of Clori and Fileno and their adoration for each other - how beauty can charm and defeat love simultaneously.

    Editor: Kate Eckersley & James Sanderson
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  • Tirsi Caro
    Forces: 2 sopranos & continuo
    Delightful duo cantata by Domenico Scarlatti. Duet - recitative - duet form.
    Editor: Kate Eckersley & James Sanderson
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Scarlatti, Sgr

Duet cantata with violins
  • Bel Dorino, amata Clori
    Forces: soprano, bass, violins & continuo
    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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Steffani, Agostino (1655 - 1728/30)

Duetti da camera
  • Lungi dal Idol mio
    Forces: soprano, alto & continuo
    One of Steffani's famous and beautiful duets - this time the subject revolves around the main theme of separation from the beloved and the pain it causes - la lontananza. In four sections and including some extraordinary intervals (minor ninths etc).
    Source: Münster Santini Sammlung Hs 3904(21)
    Range: b - g' (soprano)
    Range: E - c' (alto)

    Editor: James Sanderson
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Vinci, Leonardo (b Strongoli, Calabria, ?1690; d Naples, 27/28 May 1730)

Aria
  • Fiumicel, che s'ode appena
    Forces: soprano, oboe, strings & continuo
    One of the stunning arias in Semiramide (1729) written for the soprano castrato Carlo Scalzi. A classic 'Little brooks and little breezes' aria with some virtuosic requirements for the singer. Source: Biblioteca del Conservatorio di musica S. Pietro a Majella - Napoli; Segnatura: 32.4.11
    Editor: James Sanderson
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  • Incerto dubbioso mio vago tesoro
    Forces: alto, strings & continuo
    From Il Medo (Parma 1728), an opera which starred Farinelli, this is a delightful aria for alto and strings. "Uncertain and doubting...I go without fear to fight the barbarous Gods and Heaven itself.
    Source: Münster Santini Sammlung HS 2462
    Range: b - e'

    Editor: James Sanderson
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  • Innamorata dolce mia fiamma
    Forces: soprano, strings & continuo
    Love and the pain of love burn strong in this virtuosic aria written for Farinelli in Il Medo (Parma, 1728).
    Source: Münster Santini Sammlung HS 4262
    Range: d - b''

    Editor: James Sanderson
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  • Navigante che non spera
    Forces: soprano, strings & continuo
    The image of the sailor returning to the shore characterises this virtuosic aria written for Farinelli in Il Medo (Parma, 1728).
    Source: Münster Santini Sammlung HS 4262
    Range: c - b flat''

    Editor: James Sanderson
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  • Non è più folle lusinga
    Forces: soprano, strings & continuo
    A beautiful aria from Il Medo (Parma, 1728). Rejecting the adoration of the crowds, the singer relies on the affections of his beloved.
    Source:

    Editor: James Sanderson
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  • Scherzo dell'onda instabile
    Forces: soprano, strings & continuo
    The strong image of waves playing on the beach in this virtuosic aria written for Farinelli from Il Medo (Parma, 1728).
    Source: Münster Santini Sammlung HS 4262
    Range: c - b flat''

    Editor: James Sanderson
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  • Vol solcando un mar crudele
    Forces: soprano, 2 horns, strings and continuo
    Arbace 's aria in scene xv of Act I of Vinci's opera Artaserse (Rome 1730). Classic simile aria with real coloratura requirements for the singer. Excellent accompagnato recit. to begin the scene as well.
    Editor: James Sanderson
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Continuo cantata
  • È pure un gran' portento
    Forces: soprano & continuo
    'You know the giref I feel, the mountains know and the valleys, the fields, the animals, but not the idol of my life...' Poor guy, you have to feel sorry for him! A lovely galante stlye cantata with exquisite first aria and technically demanding finale. RARA format and really 'something to get your teeth into'.
    Source: Naples, Cantate 304/6

    Editor: James Sanderson
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  • Mi costa tante lacrime
    Forces: soprano & continuo
    An extraordinarily effective work in ARA format. Both arias are stunning and real examples of the brilliance of Vinci's inventiveness both in terms of ornamentation and vocal line. Some really effective word-painting too. "It cost me many tears, the purchase of your heart..." Need I say more?
    Source: Biblioteca del Conservatorio di musica S. Pietro a Majella - Napoli; Segnatura: Cantate 304-14.

    Editor: James Sanderson
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  • Olimpia abbandonata
    Forces: soprano & continuo
    Source: BL Add 14226
    This is a beautiful working of the deserted Olimpia story with many cries for her beloved. Extensive Lento to begin and a fiery Presto to finish.
    Range: d#' - g''

    Editor: James Sanderson
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  • Parto mà con qual core
    Forces: soprano & continuo
    A real tour de force here with Vinci at his very best. Virtuosic final aria and a first aria full of pathos and affect. Some stunning vocal writing setting the bar very high for the performers. I leave 'with a heavy heart...but as the stream returns to the sea, so will return to thee...'
    Source: Biblioteca del Conservatorio di musica S. Pietro a Majella - Napoli; Segnatura: Cantate 19.

    Editor: James Sanderson
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  • Tu partisti, o del core
    Forces: alto & continuo
    A delightful offering from Sgr. Vinci, in RARA format, the recitatives long and complex, the arias reflecting Burney's opinion than Vinci was a master at "...simplifying and polishing melody and calling the attention of the audience cheifly to the voice part."
    Sad, yet vibrant - a tale of longing and despair.
    Range: a - e'

    Editor: James Sanderson
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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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Collection
  • Farinelli arias from Il Medo
    Forces: soprano, strings & continuo
    Three arias written for Farinelli in the 1728 opera Il Medo.
    Innamorata dolce mio fiamma
    Navigante che non spera
    Scherzo dell' onda instabile
    See individual arias for previews.
    Source: Münster Santini Sammlung Hs 4262

    Editor: James Sanderson
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Terzetto
  • Terzetto: Sento scherzar nel petto
    Forces: soprano, mezzo-soprano, alto, strings & continuo
    A trio for three of the great singers of the early 18th century, Farinelli, Bernacchi and Tesi. An emotional triabgle between mother, lover and son.
    Source: Münster Santini Sammlung Hs 4262
    Range (soprano): d - f'
    Range (mezzo): b flat - f'
    Range (alto): d blat - d'

    Editor: James Sanderson
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Vivaldi, Antonio (1678-1741)

Aria
  • Estinguere vorrei
    Forces: soprano, strings & continuo (piano reduction)
    From Vivaldi's best known opera 'La Griselda' this aria is Roberto's from near the end of Act I.
    Marked Andante molto it's anything but pedestrian!
    I want to estinguish the flame of all sighs, but then your eyes turn to console me.

    Editor: James Sanderson
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Liturgical (other)
  • Gloria - Vocal Score
    Forces: 2 sop & alto solo, SATB, strings, trpt, ob and continuo
    Based on the Turin autograph a new edition of Vivaldi's most popular choral work.
    Editor: James Sanderson
    No preview available | Price: £ 6.95 | 

  • Gloria in D (RV 589)
    Forces: 2 sop & alto solo, SATB, strings, trpt, ob and continuo
    Based on the Turin autograph a new edition of Vivaldi's most popular choral work. Full score and orchestral parts.
    Editor: James Sanderson
    MIDI Preview | Price: £ 17.95 | 

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