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COMPLETE, IN 5 KEYS

High • Medium High • Medium • Medium Low • Low

28 Italian Songs and Arias of the Seventeenth ~nd Eighteenth Centuries

Based on the Editions by Alessandro Parisotti

G. SCHIRMER, Inc.

an ong of the Seventeenth and Eighteenth Centuries

Based on the Editions by Alessandro Parisotti Edited by Richard Walters Intemational Phonetic Alphabet and Translations by Martha Gerhart

ED 4531 ISBN 978-1-4803-3280-5

Copyright © 2013 by G. Schirmer, Inc. (ASCAP) New York, NY lnternational Copyright Secured. Ali Rights Reserved.

Warning: Unauthorized reproduction of this publícatíon is prohibited by Federallaw and subject to criminal prosecution. www.musicsalesclassical.com www.halleonard.com

2

ALESSANDRO PARISOTTI AND ARIE ANTICHE If not for the Ricordi publication Arie antiche, the name Alessandro Parisotti ( 1853~ 1913) likely would have disappeared from music history. Despite his output as a composer of sacred choral music, it is only Arie antiche, in three volumes, for which he is remembered. The Italian musician who collected and edited/realized/arranged then forgotten seventeenth and eighteenth century Italian airs is absent from most sources of music research. Parisotti receives a brief note in Enciclopedia della musica. He was bom in Rome and lived his entire life there. In 1880 he became secretary of the Accademia di Santa Cecilia, an important Roman center of Italian musical research, activity and education since the seventeenth century. He published a treatise on the physics of acoustics, psychology and esthetics of music in 1911. Research since the publication of Arie antiche has shed new light on the authorship of several arias, noted in the articles in this publication. Even so, credit must be given to Parisotti for finding and choosing songs which have stood the test of time, for creating versions of them that remain beautiful, and for conceiving of a collection that influenced vocal study around the world. Other publications of Baroque Italian songs were released in the late nineteenth century and early to mid~twentieth century, but none had the intemational impact of Arie antiche, or its related Schirmer publications Anthology of Italian Song of the Seventeenth and Eighteenth Centuries and 24 Italian Songs andArias of the Seventeenth

and Eighteenth Centuries. During the 1870s and '80s, much "modem music" was received with nothing short of vehemence. Composers like Liszt and Wagner, who viewed themselves as writing "music of the future," found themselves greeted with scom and loathing in some circles. It was in this musical climate that Parisotti compiled a collection of arias from the previous two centuries. In the original preface to Arie antiche, Parisotti noted that "music ... can readily derive from grand models whatever it may need for the improvement and development of its productions." He acknowledged this as a "paraphrase of the well~known saying of our great modem melodramatist." The towering Italian music figure of the day, Giuseppe Verdi, had made a controversial and widely discussed statement in 1871 that a retum to the past would actually be progress. Parisotti's original preface to Arie antiche states: Since these days the truly new is becoming rarer, I am pleased to see the old resurrected in its place. Composers in the seventeenth and eighteenth centuries wrote music that was enlightened, above all, by structural purity and simplicity, emotion, and a quality of the serenity over the complete piece. The music of today is decidedly the opposite: erratic, jerky and full of violent contrasts. According to Parisotti, the arias in his collections were "... gleaned from old manuscripts and ancient editions, where they lay in unmerited oblivion.... In transcribing the melodies the utmost care was taken to alter nothing in the originais, and often various manuscripts were consulted to ascertain the elegant and correct form." Ofhis accompaniments and harmonizations of basso continuo he noted, "care was taken to insert nothing out of keeping with the words o r character of the compositions, or with the style of the author and his period." The original credit on the Arie antiche collection reads "Raccolte ed elaborate da A. Parisotti" (collected and elaborated by A. Parisotti). His source was generally a vocal melody anda figured bass, though for some selections he used previously published nineteenth century realizations/editions which he credited (later removed), particularly those by François Auguste Gevaert and Carl Banck, whose credits are cited in this edition.

3 Clearly, late nineteenth century ideas of musical objectivity are different from a current view. The Romanticism of Parisotti's period is inescapably part of the style of his editions. His late nineteenth century approach to Baroque music is in itself historicaL Musicology was in its infancy in the nineteenth century, particularly in ltaly. A concept of early music performance practice did not exist. Parisotti arranged piano accompaniments to support the forgotten melodies he discovered and edited, making the songs comprehensible in style to singers and audiences of the ltalian salon song era. Nationalism was also strong in the years following the creation of the unified ltalian republic in 1870, and interest in historical Italian song was part of the temper of the times. Based on his work on Arie antiche and the song "Se tu m'ami," attributed to Pergolesi but now presumed to have been a Parisotti original composition, Parisotti was a very good composer and arranger. His realizations/editions of these Baroque songs sound like the fresh work of an inquisitive young man in lave with the arias, the voice, and the piano. His accompaniments were written for a modern pianoforte, and are satisfying on the instrument in a way that a purer, more restrained early music approach to realization is not. Though other points of view, reflecting mid to late twentieth century values of Baroque performance practice, have been made to this music since, Parisotti's versions remain musically convincing on their own terms, and are preferred by many singers and teachers. Added vocal ornamentation is certainly possible in this music beyond Parisotti's suggestions, and is encouraged if tasteful in style. Further suggested ornamentation was outside the purpose of this edition, a fresh presentation of Parisotti's familiar editions, plus the four songs from 24 Italian Songs andArias of the Seventeenth and Eighteenth Centuries not edited by Parisotti. Research sources for this edition were numerous. John Glenn Paton's enlightening research on these songs and arias deserves mention.

Comments on the original 24 Italian Songs and Arias of the Seventeenth and Eighteenth Centuires Schirmer originally published 24 Italian Songs andArias of the Seventeenth and Eighteenth Centuries in 1948, compiled by Lester Hodges. Most of the contents were assembled from the previously released Schirmer publication Anthology of Italian Song of the Seventeenth and Eighteenth Centuries, originally released in 1894. The source for this publication was Arie antiche, edited by Alessandro Parisotti, published in three volumes by Ricordi beginning in 1885.

28 Italian Songs andArias of the Seventeenth and Eighteenth Centuries was originally released in 2008 in two keys, Medium High Voice and Medium Low Voice. These keys matched those used in the Schirmer publication 24 Italian Songs andArias of the Seventeenth and Eighteenth Centuries. Upon further reflection, and after input from voice teachers, in 2010 we released editions for High Voice, Medium Voice and Low Voice, transposing the songs to additional keys. Five available keys of this essential material create more practical uses among voice students. The High Voice keys will be useful for the highest and lightest voices. Medium Voice keys will suit many mezzo-sopranos, and some high baritones. The Low Voice keys can be helpful for beginning basses, or the occasional contralto. See the last page of this book for a complete chart comparing the keys used in all five editions: High Voice, Medium High Voice, Medium Voice, Medium Low Voice, Low Voice. Richard Walters editor

4

CONTENTS Anonymous: Nina 28 Introduction/IPA 30 High 32 Medium High 34 Medium 36 Medium Low 38 Low

Caldara: Sebben, crudele 169 Introduction/IPA 170 High 17 4 Medi um High 178 Medium 182 Medium Low 186 Low

Anonymous: O leggiadri occhi belli 7 Introduction/IPA 8 High 12 Medium High 16 Medium 20 Medium Low 24 Low

Caldara (attr.): Come raggio di sol 190 Introduction/IPA 192 High 195 Medium High 198 Medium 201 Medium Low 204 Low

Anonymous: Pietà, Signore! 40 Introduction/IPA 42 High 48 Medium High 54 Medium 60 Medium Low 66 Low

Carissimi: Vittoria, vittoria! 207 Introduction/IPA 209 High 214 Medium High 219 Medium 224 Medium Low 229 Low

Bononcini: N on posso disperar 72 lntroduction/IPA 74 High 79 Medium High 84 Medium 89 Medium Low 94 Low

Cavalli: Delizie contente 234 lntroduction/IPA 236 High 242 Medium High 248 Medium 254 Medium Low 260 Low

Bononcini: Per la gloria d'adorarvi 99 Introduction/IPA 101 High 106 Medium High 111 Medium 116 Medium Low 121 Low

Cesti: lntorno all'idol mio 305 Introduction/IPA 306 High 31 O Medium High 314 Medium 318 Medium Low 322 Low

Caccini: Amarilli 126 Introduction/IPA 128 High 131 Medium High 134 Medium 13 7 Medi um Low 140 Low

Durante: Danza, danza 266 lntroduction/IPA 268 High 272 Medium High 276 Medium 280 Medium Low 284 Low

Caldara: Alma dei core 143 Introduction/IPA 144 High 149 Medium High 154 Medium 159 Medium Low 164 Low

Durante: Vergin, tutt'amor 288 lntroduction/IPA 290 High 293 Medium High 296 Medium 299 Medium Low 302 Low

5

T. Giordani: Caro mio ben 326 Introduction/IPA 327 High 330 Medium High 333 Medium 336 Medium Low 339 Low

Parisotti: Se tu m' ami 4 78 lntroduction/IPA 480 High 484 Medium High 488 Medium 492 Medium Low 496 Low

Gluck: O del mio dolce ardor 342 lntroduction/IPA 344 High 350 Medium High 356 Medium 362 Medium Low 368 Low

A. Scarlatti: Già il sole dal Gange 500 lntroduction/IPA 502 High 507 Medium High 512 Medium 51 7 Medium Low 522 Low

Legrenzi: Che fiero costume 3 74 lntroduction/IPA 376 High 381 Medium High 386 Medium 391 Medium Low 396 Low

A. Scarlatti: Le violette 52 7 lntroduction/IPA 529 High 534 Medium High 539 Medium 544 Medium Low 549 Low

Lotti: Pur dicesti, o bocca bella 401 lntroduction/IPA 402 High 407 Medium High 412 Medium 417 Medium Low 422 Low

A. Scarlatti: O cessate di piagarmi 554 lntroduction/IPA 556 High 558 Medium High 560 Medium 562 Medium Low 564 Low

Marcello: Quella fiamma che m'accende 434 Introduction/IPA 436 High 442 Medium High 448 Medium 454 Medium Low 460 Low

A. Scarlatti: Se Florindo 566 lntroduction/IPA 568 High 574 Medium High 580 Medium 586 Medium Low 592 Low

Monteverdi: Lasdatemi morire! 427 lntroduction/IPA 429 High 430 Medium High 431 Medium 43 2 Medi um Low 433 Low

A. Scarlatti: Sento nel core 598 lntroduction/IPA 599 High 604 Medium High 609 Medium 614 Medium Low 619 Low

Paisiello: Nel cor piu non mi sento 466 lntroduction/IPA 468 High 470 Medium High 472 Medium 4 74 Medi um Low 476 Low

Torelli: Tu lo sai 624 lntroduction/IPA 625 High 628 Medium High 631 Medium 634 Medium Low 637 Low 640 Alphabetical lndex

e fedele

6

About the IPA Transliterations While the use of the Intemational Phonetic Alphabet (IPA) has beco me a familiar leaming tool for singers, details about choices in IP A transliterations differ among published diction manuals and other publications. Following is a brief explanation of how the IPA transliterations have been clone for this publication: Format: • The division of syllables is indicated by a space, and the sign [ 1 ] precedes the stressed syllable. • The colon sign [ : ] is used only to indicate double consonants. Content and justification: • Iam transliterating all unstressed "e's" and "o's" as closed, as in the highest (Tuscan) spoken form of the language, and as printed in the 11th edition of the authoritative Italian dictionary Vocabolario della lingua italiana edited by Nicola Zingarelli. In practice, singers will, for acceptable reasons, alter the degree of "closed" or "open" "e" and "o" vowels in both unstressed and stressed positions. • Iam using the "eng" [ 1J ] as the preferred sound before a hard "g" or "k" sound. However, the singer who chooses to use the frontal "n" in its place will not be incorrect, as long as no "shadow vowel" results in its execution. • Iam not using the nasal "m" symbol [ llJ ] when the letter "n" assimilates before "b," "p," "m," "f," or "v." While this is an important sophistication of Italian diction, I felt that its use could be unnecessarily confusing to the student who would wonder why "un" (as in "un bel dl") was transliterated as [um], unlike in any dictionary. • Neither am I transcribing spellings for syntactical (phrasal) doubling by which, for example, "ah, sl" becomes [as: 1si]. Students will incorporate this important sophistication of pronunciation with discretion and, best, upon the advice of experts. • The intervocalic "s" is unvoiced in some Italian words in the spoken form; hence the word "cosi," for instance, is in the dictionary as [ko 1si]. However, in practice, in the interest of legato, such "s's" are usually sungas voiced, and therefore I am transliterating them as such.

Pronunciation Key IPA Symbol

Approximate sound in English

IPA Symbol

Approximate sound in English

-Martha Gerhart

7

O leggiadri occhi belli Anonymous, 17th century "O leggiadri occhi belli" appeared in Parisotti's Arie antiche Volume 3, in the key of A~flat major. In his introductory notes Parisotti states that h e found his source at the Biblioteca N azionale in Florence among other manuscripts, some by Monteverdi. Parisotti speculates that based on style the composer is Andrea Falconieri (1585 or 1586~1656), but this has not been substantiated. led: 'd3a dri 1::Jk: ki 'bel: li occhi belli, o leggiadri beautiful eyes o lovely O beautifullovely eyes, my dear eyes, o

'vi vi 'rad: d3i del vivi raggi dei bright rays ofthe bright rays serene and clear as

1

::lk: ki occhi eyes

I

.

tJel se re m ciel sereni sky serene the sky,

'mjE i miei mine

'ka ri cari, de ar

'kja ri chia ri, ele ar

e e and

bra 'ma te di ve 'der mi lalJ 'gwi re po i 'ke 'tanto languire, brama te di vedermi poiché tanto of to see me to languish since so much you desire since you desire so much to see me languish, to see me die, 1

ke ::Jk: ki 'bel: li che occhi belli beautiful that eyes beautiful eyes I adore, look:

a 'do ro mi 'ra te adoro, mirate I adore look at Iam dying.

se 're ne 'mie 'lu tJi o luci, serene mie o eyes o my o serene O my serene eyes, o beloved eyes, o

o

'tanto 'kru de tanto crude so much cruel as cruel to my lave as po i 'ke poiché since

'tanto tanto so much

al al to the pitiless,

'lu tJi luci eyes

'mio mio my

go 'de te godete you enjoy

ve 'der mi vedermi to see me

'm::l ro moro. I die

a 'ma te amate, loved

a 'mor amor lo ve

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di di of

'quanto quanto as much

'fjam: ma fiamma flame

spje 'ta te spietate, pitiless

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'sento sento I feel

del 'mi o 'grave tor 'men to del mio grave tormento, of the my grave torment since you enjoy so much the flame I feel in my deep torment, mi 'ra temi un 'p::l ko e de e un poco de h miratemi little and look at me a ah ah, look at me a little and take pleasure from

d3o 'i te gioite have pleasure my fire.

al al at the

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mo 'rire morire, to die

8

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28

Nina Anonymous previously attributed to Giovanni Battista Pergolesi "Nina" was first heard in London in 1749. lt has been variously attributed to Giovanni Battista Pergolesi, Legrenzio Vincenzo Ciampi and Rinaldo di Capua, but twentieth century research disputes these attributions and no composer has been credited. The aria remains a mystery. Attribution to Pergolesi was not uncommon in the eighteenth century. During Pergolesi's short lifetime he attained little success, but following his death was recognized as a leader in ltalian comic opera. He became revered throughout Europe for the opera La serva padrona, which by 1755 had been performed 200 times in Paris. The Stabat Mater grew to enormous popularity as well. Little was known about the ltalian composer that had died so young. By mid-eighteenth century Pergolesi's name had such appeal that sometimes impresarios and publishers credited him with scores by various and unknown composers in arder to draw audience and sales. The practice later extended to small instrumental works. The name "Pergolesi" nearly became a catch-all for any anonymous work of the eighteenth century, and many spurious publications resulted with that attribution. "Nina" was included in a 1749 British publication The Favourite Songs in the Opera called Li tre cicisbei ridicoli, attributed to Pergolesi but almost surely not by him, but rather a compilation of pieces by various unknown composers. In a 1949 article in Music and Letters Frank Walker states: 'Tre giorni son che Nina' was attributed generally to Pergolesi until Spitta, in 188 7, claimed it for Rinaldo di Capua, on the grounds that it appeared in La Bohémienne, a French adaptation of Rinaldo's La zingara, performed in Paris in 1755. Barclay Squire demolished Spitta's claim for Rinaldo by demonstrating that the song was introduced into La Bohémienne from a comic opera, Li tre cicisbei ridicoli, performed in London in 1 749. This opera, first produced at Bologna in 1748 and revived at Venice in 1748 and 1752, is by the obscure Milanese composer Natale Resta. 'Tre giorni,' however, does not appear in the librettos of either the Bologna or the Venice performances. lt seems certain that it was introduced into Resta's Li tre cicisbei ridicoli by Vincenzo Ciampi, who was maestro to the opera company responsible for the London performances. But that is not to say that the song was composed by Ciampi. lt is used as a serenade by one of the characters in the opera, with a second verse which does not appear in any of the MS versions of the song. There is no character called Nina in Li tre cicisbei ridicoli. lt seems likely that 'Tre giorni' was a popular song, possibly but by no means certainly composed by Pergolesi, familiar to Ciampi from his Neapolitan days, and introduced by him into Resta's opera in London, with the addition of a second verse to give it some connection with the plot.

"Nina" did not appear in Parisotti's Arie antiche. lt was published by Schirmer as early as 1904, but the source is unknown. lt was later included in the 1948 Schirmer publication 24 Italian Songs andArias of

the Seventeenth and Eighteenth Centuries.

29

tre 'nina 'd3or ni son ke Tre giorni son che Nina three days are that Nina For three days Nina has been in bed. 'pif: fe ri 'tim pa ni 'tJem ba li Pifferi, timpani, cembali, fifes drums cymbals Pifes, drums, cymbals, awaken my dear at: 'tJ~ non 'd~r ma accio non dorma so that not she may sleep so that she will sleep no longer.

in in in

'lEt: to letto bed

zveÁ: 1Áa te svegliate awaken Nina,

pju piu. more

se ne 'sta se nesta. herself stays

'mi a mia my

ni 'net: ta Ninetta, dear Nina

30

Nina High Voice Anonymous

Anonymous

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se a te 'dsun dse se a te giunge if to you reaches if my praying reaches you.

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il the

'mio mio my

'me no se 've ri kle 'men ti OJl: 1]10 ra Meno severi, clementi ognora, less severe merciful always Less stern, always merciful, turn your gaze; 'zgwar di 'v::>l dsi de volgi i sguardi deh the glances please turn please turn your gaze upon me, Lord.

su su on

the

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'tu o tu o your

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ri 'gor rigor; severity

di di of

me me. me

dan: 'na to dannato damned

ri 'gor rigor. severity

gran 'di o dsam: 'ma i 'si a dan: 'na to nel 'fw::> ko Gran Dio, giammai sia dimnato nel fuoco great God never I may be damned in the fire Great God, may I never be damned to the eterna! fire by your severity. pje 'ta SÍJl: 1]10 re Pietà, Signore, pity Lord Have pity, Lord; Lord,

il

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me me me

do 'lm te dolente, suffering

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dal dal by the

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42

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79

N pn posso disperar Medium High Voice

Giovanni Bononcini

Silvio Stampiglia

edited and realized by Alessandro Parisotti

Andante grazioso 'P a piacere

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N on posso disperar Medium Voice Giovanni Bononcini

Silvio Stampiglia

edited and realized by Alessandro Parisotti

Andante grazioso

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p apiacere

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~

85 I

rit.

piu cresc.

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cresc.

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po

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ca

ra, sei trop

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N

89

posso disperar Medium Low Voice

Giovanni Bononcini

Silvio Stampiglia

edited and realized by Alessandro Parisotti

Andante grazioso p apiacere

•

@.

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di- spe

-

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rar, _

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ca

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1.

r a, sei trop- po

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Copyright © 4008 by G. Schirmer, Inc. (ASCAP) New York, NY Internatiob.al Copyright Secured. All Rights Reserved.

-; ~~

[

r

r

--------------~

90 piu cresc.

10

'

l'"'"'""''t

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91 p dolce e legato assai

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r+---

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n

I

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lo

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re

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d'a

1\

v

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p

p

legatissimo

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v a

gio - i

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re, m'e un ca

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do-lor, m'e un ca

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lan- gui

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56 i

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~ 4

94

N on posso disperar Low Voice

Giovanni Bononcini

Silvio Stampiglia

edited and realized by Alessandro Parisotti

Andante grazioso p apiacere I

I

4t

Non pos-so

,A

l

'

~ di- spe - rar,

r·~

*

j_




-

p

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r

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*optional introduction chord

>

•

•

11111

=

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~

Copyright © 2010 by G. Schirmer, Inc. (ASCAP) New York, NY International Copyright Secured. All Rights Reserved.

~

95 10

'

I

~

I

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J~

"1

ca

I

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Per la gloria d'adorarvi from the opera Griselda Giovanni Bononcini (1670-1747) Composer Giovanni Bononcini, cellisl and composer, was the son of Italian violinist and composer Giovanni Maria Bononcini. Bom in Modena, he studied in Bologna, where he was later accepted into the Accademia Filarmonica, and beca~~e maestro di cappella at San Giovanni in Monte in 1687. Two years later he left the post, and workeq on commissions and as a freelance musician until settling in · Rome in 1692. In the next four years there, in service to Filippo Colonna, Bononcini composed tive operas, an oratorio and several serenat~s with librettist Silvio Stampiglia. Il trionfo di Camilla, a 1696 opera from this period, astounded audiences in its Naples premiere with its inventive melodies. Within the next tive years the opera was prodJced in 14 other Italian cities. After the death of his patron, Bononcini moved to Vienna in 1697 Where he was in service to Leopold L By 1705 the composer's works were known throughout Europe; and his international success continued for years after that, with Bononcini working in various locatio~s on the continent. Italian opera was in fashion in LondoJ by Bononcini's arrival there in 1720. Griselda, from which "Per la gloria d'adorarvi" is excerpted, was qhe tifth of ten operas by the composer performed in London between 1720 and 1'732, rivaling the popularity of HandeL Both Giovanni Bononcini and his halfbrother, Antonio Maria Bononcini, w:~;ote operas entitled Griselda. Antonio's Griselda (1718) used a libretto by Apostolo Zeno. Giovanni Jsed Zeno's plot in a new libretto by Paolo Antonio Rolli for his opera, which was premiered at the Haymarket Theatre in London on February 22, 1722. "Per la gloria d'adorarvi" was among the best knowni Bononcini arias of the day, and was reprinted in Richard Neale's A Pocket Companion for Gentlemen an~ Ladies ( 1 724) and The British Musical Miscellany ( 1 73 5). "Per la gloria d'adorarvi" appeared in J1arisotti's Arie antiche Volume 2, published in 1890 by Ricordi, in the key of F major. Parisotti's metrohomic suggestion was quarter note = 80, a tempo reflecting the romantic age of the edition and signititantly slower than is commonly performed today. Parisotti's edition was published by G. Schirmer ~n 1894 in the Anthology of Italian Song of the Seventeenth and Eighteenth Centuries, later included in rhe 1948 Schirmer compilation 24 Italian Songs andArias of the

Seventeenth and Eighteenth Centuries.

100

per la Per la for the For the glory

1 V:)Á: Ão a 1mar vi gb rja da do 1rar vi amarvi, gloria d'adorarvi voglio of to adore you I want to love you glory of adoring you I want to lave you, o dear eyes.

1

o o o

Sl a 1man do pene 1f:) ma 1SEm pre va me 1f:) sl, penerõ, ma sempre v'amerõ, Amando you I willlove yes loving I will suffer but always In loving I will suffer; but always I willlove you, yes, in my suffering.

Penerõ, v'amerõ, Iuci I will suffer you I willlove eyes I will suffer, I willlove you, dear eyes.

1

ka re care. de ar

lu tJi luci eyes

1

nel nel in the

mi o mio my

pe 1na re penare. suffering

care. de ar

SEn tsa 1SpE me di di 11Et: to 1va no af: 1fEt: to di diletto v ano affetto Senza speme futile affection without hope of pleasure Without the hope of pleasure yearning is a futile affection; 1

E

e is

1 1 1 V:) stri ma ki va ged: 1d3ar dol tJi ra i r ai chi vagheggiar ma i vostri dolci sweet eyes who to gaze at but the your but who can ever gaze at your sweet eyes and not lave you?

1 pe ne 1f:) va me 1f:) lu tJi Penerõ, v'amerõ, Iuci I will suffer you I willlove eyes I will suffer, I willlove you, dear eyes!

1

1

ka re care! de ar

so spi 1ra re sospirare, yearning

pw:) puõ is able

1

ma i mai ever

e e and

non non not

va 1ma re v' amare? you to love

101

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Paolo Antonio Rolli

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Amarilli from the collection Le nuove musiche Giulio Caccini (1551~ 1618) A tenor, composer and instrumentalist, Giulio Caccini was a Medici court musician for much of his life. He was bom in either Rome or Tivoli. Around the age of ten he moved to Florence for musical study after his talent was discovered by Cosimo I de' Medici, and became a noted singer at court, known throughout his career for the sweet purity and legato of his tenor v o ice. H e became a foremost teacher of voice. Caccini was part of the informal academy called the Camerata in the 1580s, where his ideas of a speaking style of noble singing eamed him the fame of being the inventor of stile recitativo. His Euridice (composed and published in 1600, first performed in 1602) was one of the first operas ever composed and the first to be published. (Caccini's younger brother Jacopo Peri also wrote an opera in the same year with the same title, the earliest surviving complete opera score. There was sibling rivalry to complete the first opera.) Beyond Euridice, the composer eamed his place in music history with the publication of two collections of solo madrigals and airs, Le nuove musiche (1601/2), in which "Amarilli" appears; the song was composed sometime before 1600. The publication included an essay by the composer ofhistorical importance on composition and performance in the new monodic style. Another similar collection, Nuove musiche e nuova maniera di scriverle, was published in 1614. Caccini was better known as a performer and teacher than as a composer. Despite his claims of having invented the recitative style of dramatic declamation in opera, his most notable contributions to the operatic geme seem to have been in the area of teaching singers to move the emotions of their listeners. He demanded that singers limit their use of ornamentation to the role of text enhancement, and in Le nuove musiche wrote out his ideas of proper omamentation. "Amarilli" must have found some resonance with audiences immediately, as it was transcribed for virginais in 1603, and was published in an English collection of realizations for lute in 1610. "Amarilli" appeared in Parisotti's Arie antiche Volume 2, published in 1890 by Ricordi, in the key of G minar. Parisotti's metronomic suggestion was quarter note = 66, a tempo reflecting the romantic age of the edition and significantly slower than is commonly performed today. With the slightly extended title "Amarilli, mia bella" Parisotti's edition was published by G. Schirmer in 1894 in the Anthology of Italian Song of the Seventeenth and Eighteenth Centuries, later included in the 1948 Schirmer compilation 24

Italian Songs andArias of the Seventeenth and Eighteenth Centuries.

127

a ma 'ril: li 'mi a 'bd: la Amarilli, mia bella, my Amarilli beautiful one Amarilli, my beautiful one, non 'kre di o del non credi, o dei mio not you believe o of the my do you not believe, o sweet desire of my 'dt:s: ser tu la 'mor d'esser tu I' amor of to be you the love that you are my lave?

pur se ti 'mor e Credilo pur: e se timor believe it indeed and if fear Do believe it; and if fear assails you, doubting

'a pri mi il 'pt:t: to e Aprimi il petto e vedrai open me the breast and you will Open my breast and you wil! see written on 'mio mio my

de 'zi o desio, desire

'mio mio? mine

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a ma 'ril: li E il Amarilli e il is the Amarilli "Amaril!i is my lave."

'dol tJe dolce sweet

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ti ti to you

'vale vale. is worth

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Alma dei core from the opera La costanza in amor vinte l'inganno Antonio Caldara

(cl670-1736) One of the most productive composers of his era, Antonio Caldara began his musical career as a cellist. As a boy Antonio sang in the choir o~ St. Mark's in his native Venice, and in his musical studies there learned viol, cello and keyboard. Gio~anni Legrenzi was maestro di cappella at St. Mark's in these years; Caldara was certainly influenced by h~m. Caldara began publishing works soon after the age of 20, and by 30 was an opera composer. Beginnihg in 1699, for approximately eight years he was in service to Ferdinando Carla. After some travels imd performances in Spain and time in Rome and other places related to commissions, he settled in \f'ienna in 1716, where for twenty years until his death he served as vice-Kapellmeister to Emperor ChaHes VI, a position with a handsome salary which required him to compose over 30 dramatic works. "Alma del core" is from Caldara's opda La costanza in amor vince l'inganno, a 1710 revision of Opera pastorale premiered in Mantua in 170{ La costanza in amor vince l'inganno was first performed in Macerata in 171 O, and in R o me in 17 1 coupled with the intermezzo Pimpinone e Vespetta. Though "Alma del core" does not appear in A*e antiche, Parisotti noted in prefatory material in reference to another aria from the opera ("Sebben,l crudele") that the plot of the La costanza in amor vince l'inganno is "simple and perfectly idyllic, but thcl graces of song are lavished throughout with a prodigal hand."

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"Alma del core" did not appear in theiSchirmer 1894 publication Anthology of Italian Song of the Seventeenth and Eighteenth Centuries, nbr in its 1926 revised version. Its first Schirmer publication appears to have been in 1948 in 24 It~lian Songs andArias of the Seventeenth and Eighteenth Centuries, compiled by Lester Hodges. His sourcé was Alte Meister des Bel Canto, published by Peters in 1914, edited by Ludwig Landshoff.

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Sebben, crudele Low Voice Antonio Caldara

Anonymous

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Come raggio di sol attributed to Antonio Caldara

(cl670-1736) One of the most productive composers of his era, Antonio Caldara began his musical career as a cellist. As a boy Antonio sang in the choir of St. Mark's in his native Venice, and in his musical studies there learned viol, cello and keyboard. Giovanni Legrenzi was maestro di cappella at St. Mark's in these years; Caldara was certainly influenced by him. Caldara began publishing works soon after the age of 20, and by 30 was an opera composer. Beginning in 1699, for approximately eight years he was in service to Ferdinando Carla. After some travels and performances in Spain and time in Rome and other places related to commissions, he settled in Vienna in 1716, where for twenty years until his death he served as vice-Kapellmeister to Emperor Charles VI, a position with a handsome salary which required him to compose over 30 dramatic works. It is customary to credit Antonio Caldara with "Come raggio di sol," although there is no proof that he composed this aria, nor has any Caldara source been found. Parisotti's source may have been a nineteenth century British collection published in London. "Come raggio di sol" appeared in Parisotti's Arie antiche Volume 1, published by Ricordi in 1885, in the key of E minar. Parisotti's metronomic suggestion was quarter note = 46, a tempo reflecting the romantic age of the edition and significantly slower than is commonly performed today. Parisotti's edition was published by G. Schirmer in 1894 in the Anthology of Italian Song of the Seventeenth and Eighteenth Centuries, later included in the 1948 Schirmer compilation 24 Italian Songs andArias of the Sevent~enth

and Eighteenth Centuries.

191

'ko me Come as As a ray

se 're no 'so vra 'rad: d3o di sol 'mi te e sereno sovra raggio di sol mite e over ray of sun mild anl:l serene of sunlight, mild and serene, reposes ~pon placid waves

'men tre del 'ma re nel prq 'fon do 'se no mentre del mare nel prdfondo seno breast while of the sea in the prqfound while within the deep bosom of the sea lies the hidden tempest,

sta sta is

ko 'zi 'ri zo ta 'lor 'gajo e pa 'ka to di cosi riso talor gaio e pacato di thus laughter at times cheerful ' and calm with so does laughter, sometimes cheerful and cal~ with contentment, di 'd3::l ja un 'lab: bro in 'fjo ra di gioia un labbro infiora~ with joy a lip adoms I adorn lips with joy while, in its depths, il pja 'gato sal) 'g::JJ: Ja 'e il cor piagato s'angoscia !e the heart wounded itself grieves 1and the wounded heart grieves and tortures itself.i

'men tre mentre while

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'pla tJi di placidi placid

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'flut: ti flutti waves

tem 'pc sta tempesta tempest

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I I

192

Come raggio di sol High Voice attributed to Antonio Caldara

Anonymous

edited and realized by Alessandro Parisotti

Sostenuto

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Delizie contente from the opera Giasone Francesco Cavalli (1602~ 1676) Cavalli was the most performed opera composer in Italy after the death of Monteverdi, and succeeded Monteverdi as the leading musical figure ofVenice. His birth name was Caletti. He was taken in by Federico Cavalli, Venetian governar of Crema, who persuaded the boy's father to allow him to go back to Venice with him in 1616 at the end ofhis governorship. Francesco later took the name ofhis benefactor. Cavalli was a singer in the cathedral choir of St. Mark's in Venice during Monteverdi's time as maestro di cappella. He had the opportunity to learn from the older master, and probably was the posthumous editor of some of Monteverdi's music. Due to a financially advantageous marriage in 1630, Cavalli was free to pursue opera composition, though he also became the principal organist at St. Mark's. His first opera, Le nozze di Teti e di Peleo, was produced in Venice in 1639. His Egisto of 1643 was internationally successful, with productions throughout ltaly and Paris. Giasone of 1649 was even more successful, one of the two most performed operas of the century (along with Cesti's Orontea). These operas were fast paced and comic, breaking tradition with the noble mood of Venetian opera of the 1640s. More operas followed regularly until his last, composed in 1673, with international productions, travel and fame, though his best work was in the 1640s and '50s. "Delizie contente" is from Giasone, first performed in Venice at the public theatre Teatro San Cassiano on January 5, 1649. The opera is a satirical treatment of the Greek myth story of Jason and the Argonauts. Jason obtains the golden fleece and falls in lo v e with Medea, but ultimately returns to Hypsipyle, his first love. "Delizie contente" appeared in Parisotti's Arie antiche Volume 2, published by Ricordi in 1890, in the key of F minar. Parisotti's metronomic suggestion was eighth note = 132, somewhat slower than most performances of today. Parisotti's edition was published in the Anthology of Italian Song of the Seventeenth and Eighteenth Centuries, released by G. Schirmer in 1894.

235

de 'lit: tsje kon 'tm te ke 'lal ma Delizie contente che l'alma delights pleasing that the soul Pleasing delights, you who make the soul happy,

fer 'ma te fermate. stop

su 'kwe sto 'mi o 'k" re dE Su questo mio core deh on this my heart ah Ah, upon this heart of mine no longer trickle the de 'lit: tsje 'mi e 'ka re Delizie mie care, delights mine dear My dear delights, stop here:

fermatevi stop you

bra 'ma re non Sél PJU non so piu bramare, not I know how more to desire I know not how to desire anymore; this is m 'grEm bo In grembo in lap In the lap oflove,

'a& Ãi a 'mo ri agli amori of the laves among sweet chains, it is

dol 'tSet: tsa o mi \fi da Dolcezza omicida, sweetness murderous Murderous sweetness, lead me

a a morte to death to death in the

dol 'tSet: tse 'mie 'ka re Dolcezze mie care, sweetnesses mine dear stop you M y dear sweetnesses, stop here: I know not

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le le the

'd3" je gioie joys

da 'more d'amore. of lo ve

qui: here

'basta ml mi basta to me is enough for me. 'dol tSi ka 'te ne do lei catene, sweet chains for me to die. ml 'gwi da m mi guida in me guide into of my dear one.

ko 'zi cosi. like this

mo 'rir mo rir to die

'brat: tSo braccio arm

kwi non Sél qui: non so here not I know how to desire anymore ...

kon 'vjE ne conviene. is better

ml mi to me

al al to the

PJU piu more

'mio mio my

bra 'ma re bramare ... to desire

'bc ne bene. dear one

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Danza, danza Francesco Durante (1684-1755) Durante was trained in N aples by his uncle, head of the San Onofrio a Capuana conservatory. From 1705 on he undoubtedly studied and composed, and must have achieved some degree of notoriety and accomplishment, but there is little known of him until 1728 when Durante was appointed head of the Poveri di Gesu Cristo conservatory in Naples. His compositions from this period, ranging from masses and sacred dramas to instrumental and keyboard works, are easier to date. In his 11 years at the conservatory h e had great influence as a teacher, with Pergolesi as one of his students. In 17 4 2 h e became head of the Santa Maria di Loreto conservatory in Naples, the most prestigious musical position in the city. Durante composed a large number of pedagogical pieces. Like "Vergin, tutt'amor," "Danza, danza" first appeared in one of Durante's solfeggio collections for voice students, without words. The song appeared with text over a century later in Lorenzo Pagans' Échos d'Italie. No credit was given for the authorship of the text. "Danza, danza" appeared in Parisotti's Arie antiche Volume 2, published by Ricordi in 1890, in the key of B-flat minar, with a metronomic suggestion of quarter note= 138. With the extended title "Danza, danza, fanciulla gentile" Parisotti's edition was published by G. Schirmer in 1894 in the Anthology of Italian Song of the Seventeenth and Eighteenth Centuries (Volume II), later included in the 1948 Schirmer compilation 24 Italian Songs andArias of the Seventeenth and Eighteenth Centuries.

267

-".-':...0...-

'dan tsa 'dan tsa fan 'tJul: la al al fanciulla, danza, Danza, to the maiden dance dance Dance, dance, maiden, to my singing;

kan 'tar cantar; singing

l'mi o !mio !my

'dan tsa 'dan tsa fan 'tJul: la d3en 'ti le al 'mio kan 'tar Danza, danza, fandulla gentile, al mio cantar. gentle to the my singing dance dance maiden dance, dance, gentle maiden, to my singing.l I 'd3i ra led: 'd3E ra sot: 'ti le al fswêl no del: 'lon de del mar Gira leggera, sottile al I suono dell'onde del mar. of the waves of the se a whirl light slender to the Isound Whirl, light and slender girl, to the sound of the !waves of the sea. 1

!

'va go ru 'mo re del: 'ia u ra 'st:n ti il vago rumore dell'afura Senti il hear the pleasant noise of the breeze Hear the pleasant murmur of the playful breeze • 'par la ke parla che which speaks which speaks to the

sker 'tso za scherzosa playful

al 'k" re kon ! 'lalJ gwi do languido con core ai languid with heart to the heart with languid voice i

in 'vi ta a dan 'tsar i 'st:n tsa ke e senza danzar a invita che e without to dance to invites which and and which invites dancing without rest. 'dan tsa 'dan tsa danza, Danza, dance dance Dance, dance, gentle

fan 'tJul: la d3en 'd le gentile,: fanciulla gentle maiden maiden, to my singing.

al al to the

SWêln suon, sound

'pél za posa. repose

'mio mio my

kan 'ta re cantare. singing

268

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Intorno all'idol mio from the opera Orontea Antonio Cesti (1623-1669) Antonio Cesti was one of the most cel~brated mid-seventeenth century ltalian opera composers. Though he did not spend a great deal df time in Venice, his style is typically Venetian, in the same style as Cavalli. Pietro (Cesti's birth n~me) served as a choirboy in Arezzo, taking the name Antonio upon joining the Francíscan order in 1937. His life as a príest often carne in conflict with his life as a composer. He was rebuked on numerous occasions by his order in Arezzo for his "dishonorable and irregular life." Cesti is said to have written over 100 operas, but only 15 of these scores survived. The most prominent are Orontea (1649), Ld Dori (1661), and Il pomo d'oro (1667). Unlike the adventurous chromaticísm of Monteverdi or CavalH, Cesti's music rarely strays from simple harmonic progressions. It instead relies on smoother contours an~ regular, often sequential patterns, rarely stressing rhythmic play.

Orontea was Cesti's first opera, produced in Venice in 1649. lt was revísed by librettist Giovanni Fílippo Apolloni for an lnnsbruck production 6f 1656, and grew in international reputation and popularity to become one of the two most produc~d of seventeenth century operas ( the other being Cavalli's Giasone), showing ataste for fast pace~ comedy. Orontea, queen of Egypt, falls in love with Alidoro, a painter and a commoner who is also pursued by another lady, who is herself pursued by Corindo. Misunderstandings mount, but the que~n's wedding hopes are realized when Alidoro is revealed actually to be a Phoenician prince. . "lntorno all'idol mio" appeared in Pardotti's Arie antiche Volume 1, published by Ricordi in 1885, in the key of E minor. Parisotti's metronomic suggestion was quarter note = 84. Parísotti's source, which he cited, was Arien und Gesánge altere Tontneister, edited by Carl Banck and published in 1880. The same edition was published in the Anthology iaf Italian Song of the Seventeenth and Eighteenth Centuries, released by G. Schirmer in 1894.

in 'torno al: 'li dol 'mio spi 'ra te pur all'idol spirate pur, In torno mio to the idol mine blow then around Blow, gentle and pleasant breezes, around my i~ol; 1

'nel: le 'gwan tJe e nelle guancie e and on the cheeks and kiss his precious cheeks for al AI to the

'mi o mio my

bm ben, dear one

spi 'ra te spirate, blow

e 'let: te bfi 'tJa te lo elette b~ciatelo chosen k~ss him me, kind littlei breezes!

ke che who

ri 1pél za ' su riposa su sleeps on

per per for

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'a u re aure breezes

me me, me

so 'a vi soavi gentle

kor 'te zi cortesi kind

'del: la della of the

e e and

'gra te grate; pleasant

a u 'ret: te aurette! li ttle breezes

'kwje te quiete, repose

'gra ti 'sop: pi as: si 'ste te grati sogni assistete, pleasant dreams aid Aid my dear one, who sleeps on the wings oft repose, with pleasant dreams, 'mio il e e il mio and the my and reveal to him for

rak: 'kju zo ar 'do!re racchiuso ardorci enclosed ardor i me my inner ardor, o s#irits

zve 'la te Ái svelategli reveal to him oflove!

per per for

me me, me

o o o

'lar ve larve shadows

da 'more d'amore! oflove

306

Intorno all'idol mio High Voice Antonio Cesti

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O del mio dolce ardor Medium Voice

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Raniero de Calzabigi

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Raniero de Calzabigi

edited by François Auguste Gevaert and Alessandro Parisotti

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Che fiero costume from the cantata Echi di riverenza Giovanni Legrenzi (1626-1690) Legrenzi was one of the most important and influential composers during the last decades of the eighteenth century in the development of a northern ltalian late Baroque style, stressing clarity of harmony and rhythm. His humble beginnings were as the son of a violinist and minar composer. Legrenzi was first an organist, and in 1656 became maestro di cappella of the Accademia dello Spirito Santo in Ferrara, which was dedicated to the preservation and performance of sacred music. In his decade in Ferrara he composed primarily church music, although he wrote three operas in this period. His career is not clear in the next 12 years; he published only church music in this period. He sought high court positions in Vienna and Versailles, but did not achieve them. By 1671 Legrenzi was teaching at the Conservatorio dei Mendicanti in Venice, and in 1675 began composing operas and oratorios again. He obtained other appointments in Venice, eventually as vice-maestro of St. Mark's. Some of Legrenzi's earlier operas contained more than 90 arias, with la ter operas pared down to contain approximately 60 arias. Many of his operas incorporated special effects and spectacles such as fires or storms. "Che fiero costume" comes from the cantata Echi di riverenza, published in Bologna in 1678, reproduced in facsimile by Garland Press in The Italian Cantata volume 6. The cantata included recitative and another aria. "Che fiero costume" appeared in Parisotti's Arie antiche Volume 1, published by Ricordi in 1885, in the key of G minar. Parisotti's source was Arien und Gesiinge altere Tonmeister, edited by Carl Banck and published in 1880. Parisotti's metronomic suggestion was dotted quarter note =56, a tempo reflecting the romantic age of the edition and generally slower than is commonly performed today. The Parisotti edition was published by G. Schirmer in 1894 in the Anthology of Italian Song of the Seventeenth and Eighteenth Centuries, later included in the 1948 Schirmer compilation 24 Italian Songs andArias of the

Seventeenth and Eighteenth Centuries.

375

1 ke fjE ro ko 'stu me da 'li d3e ro Che fiero costume d'aligero what cruel habit of winged What a cruel habit of the winged deity,

num e, deity

a 'br tsa di 1pe ne si 'fat: tJa ke che a forza di pene si faccia that through sufferings himselflhe makes that through suffering he makes us adore himi 'di o e pur nel: lar 'do re il di o pur nell' ardore il E and yet in the passion the god And yet, in passion, the treacherous god un 'vago sem 'bjan te sembiante un vago lovely countenance a made me idolize a lovely face. 'kru do ke crudo Che what cruel What a cruel fate, kon con with barely

ml mi me

de 'sti no ke che destino that destiny that a blind child,

t~a di 'to re ttaditore I tlieacherous

i do la 'trar fe idolatrar. f e' made! to idolize

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'bok: ka di 'lat: te si 'fat: tJ~ bocca di latte si faccia mouth of milk himself h,b makes weaned, makes himself esteemed!

ma 'kwe sto ti 'ran: no tiranno Ma questo tyrant but this But this tyrant, with barbarous en 'tran do per per entrando through entering entering through my eyes,

kon 'bar b:!t ro barbato con with barbatfous deception, 1

élk: ki occhi, gli the eyes made me sigh. ÁÍ

a do 'rar adorar! to adore

mi

trti rrile

sti 'mar stimar! to esteem

'gan: no inganno, deception ÍIJ

fe f e' he made

so spi 'rar sospirar. to sigh

376

Che fiero costume High Voice Giovanni Legrenzi

Anonymous

edited and realized by Carl Banck and Alessandro Parisotti

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Anonymous

edited and realized by Carl Banck and Alessandro Parisotti

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Che fiero costume Medium Low Voice Anonymous

Giovanni Legrenzi edited and realized by Carl Banck and Alessandro Parisotti

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leggero e grazioso I

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401

Pur dicesti, o bocca bella Antonio Lotti

(c1667 1740) #

Lotti's father was Kapellmeister in Hanbver, where Antonio may have been bom. By the age of 16 Lotti was studying with Legrenzi in Vel]lice, where he was an organist at St. Mark's from 1692 until his appointment as maestro di cappella in 1~36. Lotti was also an important teacher whose students included Benedetto Marcello, composer of "Quella fiamma che m'accende," and Giuseppe Saratelli. Besides writing a great deal of sacred music for St. Mark's, Lotti composed duets, madrigals, secular cantatas, motets, masses, oratorios, psalms and i~strumental pieces. His operas were regularly produced in Venice, particularly between 1706 and 1717. LÓtti's music is noted for creative counterpoint. His compositions for voice and chorus are marked by naturally flowing vocallines. The origin of "Pur dicesti, o bocca bella" is not known. It is probably froml an opera or a secular cantata. "Pur dicesti, o bocca bella" appeared in!Parisotti's Arie antiche Volume 1, published by Ricordi in 1885, in the key ofD major. Parisotti's sourceiwas François Auguste Gevaert's edition Les glories de l'Italie, published in Paris, 1868, which Parisod:i re#edited. Parisotti's metronomic suggestion was quarter note = 69, a tempo reflecting the romantic age of the edition and significantly slower than is commonly performed today. The Parisotti edition }vas published by G. Schirmer in 1894 in the Anthology of Italian Song of the Seventeenth and Eighteenth Cfnturies, later included in the 1948 Schirmer compilation 24

Italian Songs andArias of the Seventeenth and Eighteenth Centuries.

pur Pur indeed

di 1tJe sti dicesti, you said

o o o

1

1

hd: la i kwel bella, quei beautiffl that

bok: ka bocca mouth

so 1a ve soave sweet

e e and

1

ka ro caro de ar

Sl

sl, yes

Indeed you said, o beautiful mouth, that sweet a11d dear "yes"

ke che which

fa fa makes

1

tut: to tutto all

il il

the

1

mi o pja 1tJer mio piacer. my pleasure

which causes all my pleasure.

per o 1nor Per onor for honor

di di of

su a fa 1tJd: la sua facella flame his

1

koni coni witq

un un a

ha tJo bacio kiss

a 1mor Amor Lo ve

del dei ofthe

go 1der goder. pleasure

1

In honor of his f/ame, Lave opened you with a ki~s, 1

dol tJe dolce sweet

1

fon te fonte fount

del dei of the

go 1der goder, pleasure

a ah1 ahl

sweet fount of pleasure - ah, yes, of pleasute.

Sl

sl, yes

ta 1pri t'aprl, you opened

402

Pur dicesti, o bocca bella High Voice Antonio Lotti

Anonymous

edited and realized by François Auguste Gevaert and Alessandro Parisotti

,

. ..

Ali egrett o graz1oso ~:

1 -

p e leggero

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4!

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di

,.......,

fi

ce

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hoc

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sti,

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ca

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bel

la,

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hoc

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p sempre

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F?\)

I ijr ca

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f

si,

ro

23 > 4!

I

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la,

quel

i

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a

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I

liiioo,,

bel

I

>

I

ve' -e'

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ca

~~~

ro

~

si, ~

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r

----------

ten. I

I

I

*These vocal ornaments were in Parisotti's edition. Copyright © 2010 by G. Schirmer, Inc. (ASCAP) New York, NY International Copyright Secured. All Rights Reserved.

•

ca

403 dolce

28

-----..

>

~

che

fa_•_

-

t.

si,

... ten.

b~

to

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mio

il

pia

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33

rit.

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li

CIO

I

tut

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f1

a tempo

Ir ~

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pia

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rit.

cer.

a tempo

p

1'\

v

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I

pia

illlO

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c e r.

Pur

I

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f""'ooo.

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p

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rit. corigrazia

40 1'\

t.

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ca, boc

-

c a bel

-

f...

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k

..

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la,

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boc

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ca, boc

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c a bel

-

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quel _ _

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v e~e

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f ~·

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lo.

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cresc. molto

.,

o

~.

_I

-

' ._

f >

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boc

I

pp

cresc.

~

ten.

ten.

404 congrazta 46

..

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ca

ro

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pp

f si,

r->

r

r

si,

quel_

so - a

ten.

52

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ten.

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r

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il

I

mi - o pia

r--=

I

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t dim.

cer,

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so - a

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pia

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so

smorz.

ten .

405 rit. 64

-

cresc

f\ r

I

si,

che_ f a

@.

si,

~

smorz. con grazia

I

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--

tut

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to

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no r

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p sempre

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ben cantando

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406

mor_

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pp

89 ~

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con_ un_ ba

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cio'----'A-mor

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vocalizzato con grazia

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der,

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ah!

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b..

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del

go

der.

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I

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t

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f

I t

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ben cantando e legato f..------

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... ... 1-:,

~

D.S. alFine

407

Pur dicesti, o bocca bella Medium High Voice

Antonio Lotti

Anonymous

edited and realized by François Auguste Gevaert and Alessandro Parisotti

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Quella fiamma che m' accende Benedetto Marcello (1686~1739)

Benedetto Marcello, whose older brother Alessandro was also a composer, first studied violin with his father, but soon turned to singing and composition. In 1707 Marcello began service, through a drawing by lot, to serve on the Grand Council of the Republic in Venice, which led to further government posts as well as a legal practice, culminating in the office of Chamberlain of Brescia in 1738. Despite his governmental and legal career Marcello also managed to produce some 700 musical compositions, more than half of which feature voice and continuo. His settings of 50 Psalms of David brought him international acclaim. Marcello was known to be the anonymous author of Il teatro alla moda, popular satirical writings on opera that was translated into severallanguages. No details are known about the origins of this particular aria. "Quella fiamma che m'accende" (with the recitative "Il mio bel foco") appeared in Parisotti's Arie antiche Volume 1, published by Ricordi in 1885, in the key of G minor. Parisotti's source was Arien und Gesiinge altere Tonmeister, edited by Carl Banck and published in 1880. Parisotti's metronomic suggestion for the aria was quarter note= 80, a tempo reflecting the romantic age of the edition and significantly slower than is commonly performed today. The Parisotti edition was published by G. Schirmer in 1894 in the Anthology of Italian Song of the Seventeenth and Eighteenth Centuries, later included (under the title of its recitative, "Il mio bel foco") in the 1948 Schirmer compilation 24 Italian Songs andArias of the Seventeenth and Eighteenth Centuries.

435

'mio bel 'f::l ko o l~m 'ta no foco, o Hmtano mio bel either distant beautiful fire the my M y beautiful fire, whether I be far away ar neai'-,

o o or

il

Il

'scn tsa kan 'dsar 'ma i 'tem pre' per senza cangiar mai tempre per without to change ever strengths for without ever changing its intensity, will bur~ for you, 'kwel: la Quella that That flame

'fjam: ma ke fiamma che flame which which sets me on fire is

ke dsam: 'ma i che giammai that never that it will never die. se e E se and if And if fate

mat: 'tSe~ de m'accende I me ignite~ so pleasing ~o my

vi 'tJi no vicino near

'kes: ser ch'esser that to be

'vo i 'ka re pu 'pil: le voi, care pupille, you dear eyes dear eyes, forever.

'pja tJe piace is pleasing soul

'tan to tanto so much

P"s: 'si o poss'io, am able I

ar de 'ra arderà will burn

al: 'lal ma all'alma to the soul

'mia mia mine

se stil] gwe 'ra s' estinguerà. itself will extinguis~

'fato a il a il fato to the fate returns me to you,

'vo i v oi you

ml mi me

lrcn de :rende, !gives back

'sole sole, sun

'mio 'ra i del 'va gi mio vaghi r ai del lovely rays ofthe my lovely rays of my beautiful sun,

bel bel beautihll

'al tra 'lu tJe 'el: la non non luce ella altra not other light it it will not want, nor ever wish for,

'vw" lEI ne vuole né wishes; nor other lig/lt.

vo 'ler v oler to wish

dsam: 'ma i giammai never

po 'tra potrà. it will be able

'sempre sempre. always

436

Quella fiamma che m' accende High Voice Benedetto Marcello

Anonymous

edited and realized by Carl Banck and Alessandro Parisotti

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442

Quella fiamma che m' accende Medium High Voice Benedetto Marcello

Anonymous

edited and realized by Carl Banck and Alessandro Parisotti

Recitativo

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443

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N el cor piu non mi sento from the opera r; amor contras tato Giovanni Paisiello (1740-1816) Most of Paisiello's more than 80 operas are comic; he was the most successful and influential comic opera composer of his day. Bom in Taranto, he was primarily educated at the Conservatorio di San Onofrio in Naples. By the late 1760s his operas rivaled Piccinni's in popularity in Naples. Paisiello's fame spread to Russia, where in 1 77 6 h e was invited to become maestro di cappella in the court of Catherine li in St. Petersburg. He remained there composing operas, including Il barbiere di Siviglia (the standard opera of that title until Rossini's 1816 score), and directing the court orchestra until 1783. He returned to Naples, where he had commissions anda court appointment. Paisiello became maestro di cappella nazionale when the court fled to Sicily during political battles over Naples, but was reinstated to his former royal post when the republic fell to royalists after two years. Napoleon Buonaparte admired Paisiello's music and requested his presence in Paris, where he was named director of chapel music in 1802, but returned to N aples two years later. His music remained popular in Paris, and Paisiello continued to receive French honors. Napoleon's brother Joseph became King ofNaples in 1806 and Paisiello was made director of music in his court. When King Ferdinand returned to power in Naples, Paisiello, dueto his service to the French, lost his court status. "Nel cor piu non mi sento" is from Paisello's tremendously popular opera r; amor contrastato, first produced at the Teatro dei Fiorentini in Naples in 1789. The opera was also called La molinara orLa bella molinara in some of its many productions, receiving over 160 performances in Vienna alone, and remained popular throughout Europe for 40 years. The aria was sung in the opera by a soprano (with the words in this edition), then by a tenor, followed by a duet version for both characters. Many arrangements of the opera's music were made for various combinations of instruments. "N el cor piu non mi sento" was the basis for a famous set of piano variations by Beethoven. ''Nel cor piu non mi sento" appeared in Parisotti's Arie antiche Volume 1, published by Ricordi in 1885, in the key of F major. Parisotti's metronomic suggestion was dotted quarter note = 58. Parisotti's edition was published by G. Schirmer in 1894 in the Anthology of Italian Song of the Seventeenth and Eighteenth Centuries, later included in the 1948 Schirmer compilation 24 Italian Songs andArias of the Seventeenth

and Eighteenth Centuries.

467

br nel Nel cor in the heart In my heart I no

non illl 1SEll to bríl: 1lar brillar non mi sento to shine not me I feel longer feel youthfulness glowirJg;

1 1 mi o tor 1men to ka d3on dei tormento, cagion del mio ofthe my torment cause the cause of my torment, lave, is your fault.

pit: tsi ki illl 1stut: tsi ki illl stuzzichi, Mi pizzichi, mi mi me me you tickle me you tease You tickle me, you tease me, you prick me, illl

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Le violette (Rugiadose, odorose) from the opera Il Pirro e Demetrio Alessandro Scarlatti (1660-1 725) Considered the most important Italian! composer of his generation, Alessandro Scarlatti accomplished much for the popularity of opera durin~ his lifetime. Bom in Palerma, the second of eight children, Alessandro was sent to Rome at the ag~ of 12, probably to live with relatives and ease the financial burden on his parents. Though details bf his education are not known, he absorbed Roman musical activity. He married in 1678 and fatheted eight children, though only tive survived infancy. Supporting his family was an obvious priority. By *79 Scarlatti was receiving commissions, first for an oratorio, then for an opera, Gli equivoci nel sembiante, a success in Rome and soon produced elsewhere. An I important patron was Queen Christin~ of Sweden, residing in Rome, who had established two academies devoted to the arts in her p