Recent Researches in the Music of the Baroque Era

In the late seventeenth and early eighteenth centuries numerous large, festive cantatas identified as serenatas were heard at Rome. Performances of these multi-voice, orchestrally accompanied works typically took place out-of-doors during summer months—public spectacles celebrating important diplomatic or dynastic events, as well as private events honoring special occasions and personages. Among Alessandro Scarlatti’s 19 surviving works in this genre, Venere, Amore e Ragione alone includes dancing in its action, as three instrumental balli follow an exhortation to dance. Other aspects of the score suggest French influences, while Silvio Stampiglia’s libretto indicates Arcadian associations. The plot concerns an allegorical dispute between Venus and Reason over the conduct of Cupid, who ultimately persuades Venus of the virtues of following Reason’s guidance. The 11 arias, duet, and two trios resemble those of Scarlatti’s pastoral operas and cantatas in their lyricism, brevity, and simplicity.

Music Sample

See the article on this volume in Embellishments 11.