Italian Cantatas from the Baroque Era

Although Albinoni’s more than 40 solo cantatas contain some of his most imaginative and skillfully written music, only one of these pieces has previously appeared in a modern edition. The 12 works in Albinoni’s little-known Opus 4 include six solo cantatas for soprano and six for alto. All of these pieces are excellent specimens of Albinoni’s work in the genre.

The edition of Legrenzi’s music contains fine examples of solo cantatas. The first part of Cantatas and Canzonets for Solo Voice includes works for alto and bass, while the second part has music for soprano or tenor. These are works from the late Baroque by one of the most gifted composers of the time, and they are wonderful additions to the repertoire.

A-R Editions publishes a selection of the cantatas for solo voice by Vivaldi in two volumes; the first contains seven solo cantatas for soprano; the second, seven solo cantatas for alto. This edition, prepared from source material preserved in Turin (Foà 27 and 28) and Dresden (Mus. I/J/7), demonstrates Vivaldi’s skill in this genre. Some of these solo cantatas include an obbligato instrument in addition to the continuo.

Finally, Barbara Strozzi’s edition brings into print the work of an exemplary woman composer. Cantate, ariete a una, due e tre voci, a collection of 11 secular cantatas, was first published by the Venetian printer Gardano in 1654. This modern edition includes English translations of the texts and a brief discussion of performance practice. The extended political commentary, no. 3, “Il lamento,” is of particular interest as a work that transcends its time.

Most recently, A-R has published three Italian serenatas. Venere, Amore e Ragione by Alessandro Scarlatti, edited by Judith L. Schwartz (see feature article in this issue), stands apart for its inclusion of dance and suggests the influence of French music on Italian taste. It is a witty and elegant work, which exemplifies some of the ideals already present in other works of the period. La Gara degli Dei and Diana su l’Elba, both by Johann David Heinichen and edited by Michael Walter, have also recently been released.♦

Tomaso Albinoni
Twelve Cantatas, Opus 4
Edited by Michael Talbot
B 31

Contents:
Cantatas for Soprano and Basso Continuo: Amor, Sorte, Destino!; Del chiaro rio; Lontananza crudel; Ove rivolgo il piede; Parti, mi lasci; Poiché al vago seren; Cantatas for Alto and Basso Continuo: Dall’arco d’un bel ciglio; Riedi a me; Filli, chiedi al mio core; Mi dà pena quando spira; Son qual Tantalo novello; Chi non sa quanto inumano

Giovanni Legrenzi
Cantatas and Canzonets for Solo Voice
Edited by Albert Seay
B 14, B 15

Contents:
Part 1 (B 14): Cantate (for Alto): Ad altro amante in seno; Havete il torto a fè; Costei ch’in mezzo al volto; Discioglietevi in due fiumi; Canzonette (for Alto): Vuol ch’io taccia; Quanto dolce è quell’ ardore; Cantate (for Bass): Cessa d’esser Amante; Pene, non mi lasciate; Sorgea dal sen di Lete; Amore e virtù mi battano; Canzonette (for Bass): Son canuto e d’un bambin; Il mio core non è con me

Part 2 (B 15): Cantate (for Soprano or Tenor): Che non fa, che non puņ; A povero amator; Tanta fede, e dove va?; Del matin sù l’orizonte; Mia ragione, all’ armi; Dalle Cimere Grotte; Sul bel mattino; Uscite pianti; Canzonette (for Soprano or Tenor: Belle donne, io tengo un core; Mi nudrite di speranza; Non c’è che dire; V’ho inteso abbastanza

Barbara Strozzi
Cantate, Ariete a Una, Due e Tre Voci: Opus 3
Edited by Gail Archer
B 83

Contents:
Cantate, ariete a una, due, e tre voci: Cuore che reprime alle lingua di manifestare il nome della sua cara; Moralità amorosa; Il lamento; A donna bella e crudele; Con male nuove, non si puo cantare; Amor non si fugge; Donna non sà che dice, non dice che sà; Mentita; Begli occhi; Cor donato, cor rubato (Contrasto tra Filindo, Dori e Tirsi); Desideri vani

Antonio Vivaldi
Cantatas for Solo Voice
Edited by Meneve Dunham
B 32, B 33

Contents:
Part I (B 32): Cantatas for Soprano and Continuo: Amor hai vinto; Fonti del pianto; Geme l’onda che parte dal fonte; Par che tardo; Sorge vermiglia in ciel; Cantatas for Soprano, Continuo and Obbligato Instruments: All’ombra di sospetto; Lungi dal vago volto; Vengo à voi luci adorate

Part 2 (B 33): Cantatas for Alto and Continuo: Alla caccia dell’alme; Care selve amici prati; Perfidissimo cor!; Pianti, sospiri; Qual per ignoto calle; Cantatas for Alto, Continuo and Obbligato Instruments: Amor hai vinto; Cessate, omai cessate.

“Begli occhi” by Barbara Strozzi in facsimile (left) and in the typeset version (right) published in Barbara Strozzi: Cantate, Ariete a Una, Due e Tre Voci, edited by Gail Archer, Recent Researches in the Music of the Baroque Era, vol. 83.