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Cantata Editions Catalogue

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Your search has produced 30 results from the following 8 composers

Carissimi, Giacomo | Handel, George Frederick | Jommelli, Niccolo | Mancini, Francesco | Porpora, Nicola Antonio | Purcell, Henry | Vinci, Leonardo | Vivaldi, Antonio | Please scroll down to view...

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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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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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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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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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
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  • 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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  • 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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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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Vinci, Leonardo (b Strongoli, Calabria, ?1690; d Naples, 27/28 May 1730)

Aria
  • 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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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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