Scarlatti, Alessandro

Pietro Alessandro Gaspare Scarlatti (2 May 1660 – 22 October 1725) was an Italian Baroque composer, known especially for his operas and chamber cantatas. He is considered the founder of the Neapolitan school of opera. He was the father of two other composers, Domenico Scarlatti and Pietro Filippo Scarlatti.
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Cantata à voce sola con violini
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Cantata à voce sola di soprano con violini
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Cantata à voce sola di basso con violini
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Cantata à voce sola di soprano con violini
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Cantata à voce sola di basso con violini
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A Scarlatti: Su l’ora appunto (La Fenice)
Forces: soprano, violins & continuo

The phoenix which rises immortal from its ashes is the symbol of freedom from the bonds of love in this cantata - a mascot for the nymphs and shepherds of Arcadia. Aria 1 shows an unusual example of a theme from the Introduction being reworked into an aria. Arias in C major, G minor, A minor and B minor range from brilliant to pensive, robust to elusive, leading to the serene conclusion of the phoenix's ascent to heaven - in recitativo accompagnato.

Source: Münster, Santini Collection, HS.3928

Range: eb'-g''.

Editor: Rosalind Halton

Cantata à voce sola con violini
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A Scarlatti: Su'l margine d'un rio
Forces: soprano, violins & continuo

Su’l margine d’un rio is an immensely attractive work, less intense in both musical style and subject than many of Scarlatti’s cantatas. The shepherdess at the banks of a river does not feel inclined to waste herself on a lukewarm lover: “...learn to love, then come back to me if you like...”

Sources: Münster Santini Sammlung HS 3908, Paris, Bibliothèque Nationale, X-639

Range: d - b'' flat

Editor: Rosalind Halton

Cantata à voce sola di soprano con violini
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A Scarlatti: Su'l margine fiorito d'un limpido ruscello
Forces: soprano & continuo

In this large and complex cantata, the protagonist is sitting on the flowery banks of a limpid stream bemoaning the absence of his beloved. He calls to the waves and the wind in the first aria (adagio) to take his love to her, he sings how her image is carved on his heart in the second aria (à tempo guisto) and the final aria is a chromatically complex andante in cut common time. Dated 13th December, 1704 on the first page.

Source: Münster Santini Sammlung 3907(5)

Range: d - f'

Editor: James Sanderson

Cantata à voce sola di soprano
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A Scarlatti: Tiranna ingrata
Forces: bass, violins & continuo

Our lover's anger is directed towards his beloved this time: "Ungrateful tyrant! I will never be free of this suffering before I die". In ARA format, each aria with its own distinct style and very singable melodies. Some very interesting accompanying writing as well!

Range: A - d

Editor: James Sanderson

Cantata à voce sola di basso con violini
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A Scarlatti: Tirsi e Clori (O come bello)
Forces: 2 sopranos & continuo

An early work with strophic arias sung in turn by the protagonists separated by recitative and concluding with a homophonic duet and the unaccompanied line 'com'è limpido quel rio'

Editor: James Sanderson

Cantata à due soprani
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A Scarlatti: Tu che una dea rassembri
Forces: soprano, violins & continuo

An paean to the beloved who '..resembles a goddess...' with eyes like archers and his heart the target. A considerable piece with string introduction, three arias and two recit/arioso movements.

Source: Münster Santini Sammlung HS 860

Range: d - g'

Editor: James Sanderson

Cantata à voce sola di soprano con violini
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A Scarlatti: Tu resti o mio bel nume
Forces: bass, violins & continuo

The subject is of lovers parting. The debate is about who suffers most - the one who has to leave, or the one left behind. A fine accompagnato recitative introduces the cantata, which is more lyrical than virtuoso. Aria 1 is an elegant siciliano on the theme of two souls as ship and harbour. Aria 2 returns to the musical idea of the opening accompagnato: departure is equated with death, but made sweetened by constancy. Here the violin figurations are ornate, the harmonies intense, and the singer is invited to display a range of an octave and a 5th in the space of 2 quavers. RARA (2 arias are for unison violins)

Vocal range: G#-d'

Source: Biblioteca del Conservatorio, Naples.

Editor: Rosalind Halton

Cantata à voce sola di basso con violini
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Durante: Litaniae Lauretanae
Forces: SATB coro, violins & continuo

Source: BL MS R.M.24.a.9.(4) (only source)

Durante's masterful a minor setting of the Litaniae Lauretanae is in three parts, and weaves a colourful picture around the words. The structure means that it is possible to perform both with choral and solo forces or with a mixture of the two.

Editor: James Sanderson

Litany of Loreto
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