Leo, Leonardo

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Source: BL Egerton MS 2466

Gradual for Passion Sunday.

Editor: James Sanderson

MIDI Preview

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

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

Source: BL Egerton 2466

The introit for Passion Sunday. Dramatic with some very interesting harmonic language.

Editor: James Sanderson

Source: BL Egerton MS 2466

The complete introits, 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

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

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

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

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

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

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

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

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

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

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

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

"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

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

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