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Cantata Editions Catalogue

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Your search has produced 18 results from the following 7 composers

Hasse, Johann Adolph | Mancini, Francesco | Marcello, Benedetto | Melani, Alessandro | Pepusch, Johann Christoph | Porpora, Nicola Antonio | Scarlatti, Alessandro | Please scroll down to view...

Hasse, Johann Adolph (1699-1783)

Cantata with obbl. inst.
  • 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
    Source: Royal College of Music MSS 695
    Charming cantata, widely circulated with two recits and arias, both arias and second recit include flute.
    Research: Kate Eckersley
    Editor: Kate Eckersley & 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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Mancini, Francesco (1672 - 1737)

Cantata with obbl. inst.
  • 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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Marcello, Benedetto

Cantata with obbl. inst.
  • 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 obbl. inst.
  • 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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Pepusch, Johann Christoph (1667 - 1752)

Cantata with obbl. inst.
  • 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
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  • 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
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  • 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
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  • 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
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  • 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
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  • 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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Porpora, Nicola Antonio (b Naples 1686; d. Naples 1768)

Cantata with obbl. inst.
  • 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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Scarlatti, Alessandro (born Palermo, 2 May 1660; died Naples, 22 October 1725)

Cantata with obbl. inst.
  • 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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