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Bononcini: Six Chamber Cantatas (1708)

Antonio Bononcini
Six Chamber Cantatas (1708)
Works for Soprano or Alto with Two Flutes, Bassoon, and Basso continuo from A-Wn, Mus.Hs.17587
Edited by Lawrence Bennett
B212
Bononcini: Six Chamber Cantatas (1708)
Full Score (2020)
978-1-9872-0533-6
9x12, xv + 162 pp.

Availability: In stock

$190.00
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Performance Parts

Availability: In stock

B212P
Instrumental Part(s) (2020)
Set of 4 parts (fl. 1, fl. 2, bn., b.c.)
$68.00
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.17587, represent the new Italian style that flourished at the imperial Viennese court of Emperor Joseph I. Through their innovative use of form, design features, and 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.
Tutta fiamme, e tutta ardore (Soprano)
1. [Aria]: “Tutta fiamme, e tutta ardore”
2. [Recitative]: “Se con un guardo solo”
3. [Aria]: “Un cor più tormentato”
 
Mentre in placido sonno (Soprano)
1. [Recitative]: “Mentre in placido sono”
2. [Aria]: “Un solo amplesso almeno”
3. [Recitative]: “Oh, se qual vidi in sogno”
4. [Aria]: “Se Amor pietoso”
 
Occhi, voi che mirate (Soprano)
1. [Recitative]: “Occhi voi che mirate”
2. [Aria]: “Men crudele, e men severo”
3. [Recitative]: “Ma poi se i lumi miei”
4. [Aria]: “Per non arder più d’amor”
 
Quando vedo a mille rose (Alto)
1. [Aria]: “Quando vedo a mille rose”
2. [Recitative]: “Quella con cento baci”
3. [Aria]: “A l’incostante amante"
 
Amore ingannatore (Alto)
1. [Aria]: “Amore ingannatore”
2. [Recitative]: “Io che con tanta fede”
3. [Aria]: “S’io ritorno a innamorarmi”
 
Se avessi in mezzo al petto (Alto)
1. [Recitative]: “Se avessi in mezzo al petto”
2. [Aria]: “Più fido del mio core”
3. [Recitative]: “Alma non ti avvilir, che un di pietosa”
4. [Aria]: “La doglia ch’io sento”
 
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.
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