Bononcini: Six Chamber Cantatas with Strings (1708)

Series: Baroque Era  Publisher: A-R Editions
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Antonio Bononcini
Six Chamber Cantatas with Strings (1708)
Works for Soprano or Alto with Violins, Violoncello, and Basso continuo from A-Wn, Mus.Hs.17607

Edited by Lawrence Bennett

B235 Bononcini: Six Chamber Cantatas with Strings (1708)
978-1-9872-0838-2 Full Score (2023) 9x12, xix + 179 pp.
In stock
During the first decade of the eighteenth century, a new generation of Italian composers brought the latest styles to a Vienna lagging behind the musical innovations that were occurring in cities such as Venice, Rome, and Naples. Among the intrepid individuals to join the Habsburg court was the north Italian composer Antonio Maria Bononcini (1677–1726). When Antonio began his service to the Habsburg emperor, he was still a young and little-known composer, but it was in Vienna that he distinguished himself as one of his generation’s most gifted composers of dramatic vocal music. The six cantatas by Antonio Bononcini found in this edition, from the Viennese manuscript A-Wn, Mus.Hs.17607, are written for soprano or alto with strings, and the string instrumentation is unique in specifying two of the violins and the violoncello as di concerto (that is, concertino), and two violins and double bass as di concerto grosso (that is, ripieno). These cantatas represent the new Italian style that flourished at the imperial Viennese court of Emperor Joseph I. Through their innovative use of form, design features, affective harmony, melody, and rhythm, they demonstrate that, although Antonio’s cantata output is much smaller than that of his more famous brother Giovanni, his compositional style reveals a composer of superior craftsmanship and imagination.
Sul margine adorato (Soprano)
1. [Recitative]: “Sul margine adorato”
2. [Aria]: “Mentre io vi miro”
3. [Recitative]: “Ma se poi volgo i lumi”
4. [Aria]: “Benché m’abbia”
5. [Recitative]: “Dunque sperar degg’io”
6. [Aria]: “Io t’amo tanto, tanto”
Vorrei, pupille belle (Soprano)
1. [Arioso—Recitative—Arioso]: “Vorrei, pupille belle”
2. [Aria]: “Oh Dio, se fosse vero”
3. [Recitative]: “A rissanar la piaga”
4. [Aria]: “Perduto mio tesoro”
Troppo rigore Clori (Soprano)
1. [Recitative]: “Troppo rigore Clori”
2. [Aria]: “Son fedele, e se noi credi”
3. [Recitative]: “Se in te l’occhio rivolgo”
4. [Aria]: “Al tuo bel volto amante”
5. [Recitative]: “Quanto meco sdegnata”
6. [Aria]: “L’empio fato”
Lontananza: Mentre al novo apparir (Alto)
1. [Recitative]: “Mentre al novo apparir”
2. [Aria]: “Più barbaro martire”
3. [Recitative]: “Miracolo è d’Amor”
4. [Aria]: “Colorita ho nel pensiero”
5. [Recitative]: “In quelle chiome d’oro”
6. [Aria]: “Quanto più cara”
7. [Recitative]: “Così mentre dispera”
8. [Aria]: “S’io ritorno, o luci amate”
Tanto avezzo ho il core (Alto)
1. [Aria]: “Tanto avezzo ho il core”
2. [Recitative]: “Dal dì che chiuse i rai”
3. [Aria]: “Da’ primi nodi suoi”
4. [Recitative]: “Ma nel di lei bel foco”
5. [Aria]: “M’uccida Amore”
Sopra l’orme d’Irene (Alto)
1. [Recitative]: “Sopra l’orme d’Irene”
2. [Aria]: “Uscite o gemiti”
3. [Recitative]: “Se dell’idol ch’adoro”
4. [Aria]: “Più molesta è la tempest”
5. [Recitative]: “Torna, deh torna Irene”
6. [Aria]: “Dal tuo rigor”
Lawrence Bennett is emeritus professor of music at Wabash College, where he chaired the Music Department from 1995 until 2007. Prior to teaching at Wabash College, he taught music theory and history at Upsala College in New Jersey. He is also the co-founder of The Western Wind, an a cappella vocal sextet that has made many recordings and toured throughout the world. Bennett is the author of The Italian Cantata in Vienna: Entertainment in the Age of Absolutism (Indiana University Press, 2013) and the editor of Ignaz Holzbauer’s opera Hypermnestra (Denkmäler der Tonkunst in Österreich, 157). He has published articles on the music of early America and the Baroque Era in The New Grove Dictionary of Music and Musicians, Fontes artis musicae, Studien zur Musikwissenschaft, Eighteenth-Century Music, and Archiv für Musikwissenschaft.