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Cantata à voce sola di soprano
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Cantata à voce sola di soprano
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Cantata à voce sola di soprano
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Cantata à voce sola di soprano
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D Scarlatti: Tu mi chiedi o mio ben
Forces: soprano & continuo

Our erstwhile suitor compares the beams from Filli's eyes to cupid's darts. These darts strike his heart and cause all the blood to flow from it - perhaps a trifle dramatic but certainly worth a sing! In RARARA format with some typically twisted harmonic and melodic shifts.

Source: Münster Santini Sammlung HS 864 (only source)

Range: e - g'

Editor: James Sanderson

Cantata à voce sola di soprano
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Fago: Amante con poca sorte
Forces: bass & continuo

'Wretched and alone with my pain and torment' is the start of this RARA format cantata by the Neapolitan composer and teacher Nicola Fago. Cupid is up to his old tricks again! Full of chromatic inflections and wandering tonality and offering a wonderful emotional challenge to the performer.

Range: EE - e

Editor: James Sanderson

Cantata à voce sola di basso
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Fago: Come viver poss'io
Forces: soprano & continuo

'How can I live far from that lovely face?' asks our protagonist. Not far it would seem as Cupid burns him with desire and '...lights up his heart with a devouring flame' in this effective lotananza cantata. RARA format with very expressive recitatives and two really enjoyable arias.

Source: Biblioteca del Conservatorio di musica S. Pietro a Majella - Napoli: Cantate 114(9)

Editor: James Sanderson

Cantata à voce sola di soprano
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Fago: D'Aretusa in sul Lito
Forces: soprano & continuo

Source BL Add 14211 f 35 - 41v

Fago's cantatas are an interesting bridge between the Scarlattian style and the later Neapolitan version of the genre. Here a shepherd falls prey to the 'vicious' Goddess of Love.

Editor: James Sanderson

Cantata à voce sola di soprano
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Fago: Sapesse il core almen
Forces: soprano & continuo

Source: BL Add MS 38036 ff 71r - 74v

Lament upon lament fills this emotional cantata in which Tirsi's absence is mourned. Three arias linked by recitative with some extremely interesting harmonic shifts. The copy is extraordinarily detailed with figures for almost every note in the continuo part.

Range: d - f'

Editor: James Sanderson

Cantata à voce sola di soprano
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Fago: Se gelosia crudele
Forces: soprano & continuo

Source BL Add 14211 f 20r - 25v

Here a more contemplative setting than most, the philosopher discusses how love creates joy from pain and torment.

Range: d' - g''

Editor: James Sanderson

Cantata à voce sola di soprano
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Fago: Sia con me Fillide ingrata
Forces: soprano & continuo

Source: BL Add MS 38036 ff 121r - 124r

No birds, but plenty of bees, roses and, of course, thorns in this charming cantata by the Neapolitan Nicola Fago. Smitten by ungrateful Fillide, the lover swears eternal constancy - why? In aria - recit - aria (Affettuoso) format

Range: e - a''

Editor: James Sanderson

Cantata à voce sola di soprano
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Fago: Trà cento belle
Forces: soprano & continuo

Source BL Add 14211 f 12 - 18

Again with the suffering caused by love! A particularly plangent recitative surrounded by two deceptively happy arias.

Range: d' - g''

Editor: James Sanderson

Cantata à voce sola di soprano
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Handel: Sento la che ristretto
Forces: alto & continuo

Source: BL Add 29484/Autograph in BL

Alto (first?) version of the cantata where the river likens his love of the sea to Nice.

Editor: James Sanderson

Cantata à voce sola di contralto
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Hasse: Aure liete intorno à Clori
Forces: soprano & continuo

In this plaint over the pain of love there is a disturbing link between the 'loving chains' and 'sweet signs' of love.

ARA format with a lovely andantino to start and a dotted allegro to finish.

Source: Münster Santini Sammlung HS 2358(8)
Range: e - a''

Editor: James Sanderson
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Hasse: Chieggio ai gigle ed alle rose
Forces: soprano & continuo

Source: BL Add MS 14213 ff 23r - 27v (only source)

Here's where you learn not to ask nature where your love is concealed! One glance and she loses her liberty and gains a lover!!

Aria (cantabile) - recit - aria (un poco allegro) format.

Range: e - a''
Editor: James Sanderson
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Hasse: Credi ò cara alla speranza
Forces: soprano & continuo

Source: BL Add MS 14213 ff 17r - 22v (only source)

A totally charming work, both musically and textually - despite a little sentimentality. The text can be summarised with one of the lines from the second aria '...there may be more beautiful shepherdesses out there, but you'll never find one as faithful...' Sweet! Excellent largo to start and a stirring presto for the final aria.

Range: d - g'

Editor: James Sanderson

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Hasse: Irene, amata Irene
Forces: alto & continuo

From the collection of the Biblioteca del Conservatorio di musica S. Pietro a Majella this is a charming cantata for contralto and continuo. Typically, our protagonist is in love with a dismissive Irene and he expresses this in a RARA format with sinuous recitatives, a complex. chromatic first Adagio aria and a fiery aria to finish.

Editor: James Sanderson

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Hasse: Lascia i fior
Forces: soprano & continuo

from BL MS Add 14214. Lovely throbbing affettuoso to start and an extraordinary chromatic 'B' section in the second aria.

Range d - a'

Editor: James Sanderson

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Hasse: Lungi d'ogni amoroso
Forces: soprano & continuo

Source: BL MS Add 14214

An interestingly chromatic cantata with a wide range and virtuosic writing for the voice and continuo

Editor: James Sanderson

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Hasse: O pace del mio cor
Forces: mezzo-soprano & continuo

O peace of my heart, where do you wander?

A beautiful RARA format cantata with roccoco harmony, delightful vocal lines and a real charm.

Range: c - f'

Editor: James Sanderson
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Hasse: Oh Dio partir conviene
Forces: alto & continuo

A classic lontananza cantata with great pathos. RARA format and filled with plangent melody and extraordinary harmonic shifts in the recitatives. Mirzia is our heroine and her erstwhile lover is forced to be separated from her. Oh, the anguish!!

Editor: James Sanderson

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Hasse: Pur ti stringo in questo petto
Forces: alto & continuo

Source: BL Add MS 14213 ff 49v - 55v

This was a very popular work at the time of its writing. There are no fewer than 7 copies extant, 3 of which are in the UK. The cantata starts with an aria with 'Si suonar se piace' over contrary motion figures in the continuo/upper part. Reminiscent in some ways of Orgoglioso fiumicello. The final section is a recit-cum-arioso apologising for any interruption! Very singable, very enjoyable...

Range: b - e'

Editor: James Sanderson

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Leo: A te vengo o prato ameno
Forces: soprano & continuo

Source: BL Add 14213 v 154r - 157v

This time the poor shepherd is dying for love of cruel Aminta. No matter what he does, beauty of her hair and her breast(!) force him to fall in love. The opening aria, probably largo has some interesting figurations which in most situations would be ornaments (32nd notes). Aria - recit - aria form.

Range: d - g'

Editor: James Sanderson

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Leo: Amo la bella, ah nò
Forces: soprano & continuo

Source: BL Add MS 14220 f73r - 76v

The lover is torn between his head and his heart with love for his 'beauty'. Who wins? Two recit and aria form with a stunning first Largo (see MIDI) and a fiery presto to finish.

Range: d - g'

Editor: James Sanderson

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