SCHIRMER'S LIBRARY OF MUSICAL CLASSICS
Anthology of Italian Song Of the Seventeenth and Eighteenth Centuries Selected and Edited with Biographical Notices by ALESSANDRO PARISOTTI English Translations by
DR. THEODORE BAKER
BASSANI BONONCINI CACCINI CAVALLI CESTI DEL LEUTO
GASPARINI GIORDANI MARCELLO MONTEVERDE PARADIES PICCINNI
RONTANI DELUCA SARRI DURANTE SCARLATTI FALCONIERI STRADELLA FASOLO TENAGLIA
Boolc I
• library Vol. !90
Boolc II
• Library Vol. 291
G. SCHIRMER, Inc., NEW YORK Copyright, 1894, by G. Schirmer, Inc. Copyright renewed, 1922, by Theodore Baker ,...._d 111 the U. S. A.
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BIOGRAPHIES OF AUTHORS REPRESENTED IN THIS VOLUME. speedily gave evidence of his talent by publishing instrumental compositions, Masses in 8 parts, and other noteworthy compositions. Proceeding thence to Vienna, he was admitted to the court orchestra in the capacity of violoncellist. Here he wrote the opera Camilla, which had extraordinary success both in Vienna and at the Italian theatres, and later at the Haymarket in London. At Rome he composed, in I 694, the operas 'Tullo Ostilio and Serse. In I6oo he brought out at Vienna La fede pubblica, and in 170 I, at Berlin, Poltfemo. Being invited to London in 1716, Bononcini, un.. der the protection of the Duke of Marlborough and others, and Handel, whose cause was espoused by the reigning family. became bitter rivals; their rivalry was the occasion of the proposition, that these two eminent composers, in conjunction with a third (Attilio Ariosto), should write an opera together, each composing one act. The libretto chosen was Muzio Scevola,Ariosto took the first act, Bononcini the second, and Handel the third. Handel's victory was decisive; but Bononcini's patron, far from being discouraged, heaped new favors on him, received him into his own house,, gave him a pension of £500 and afforded him every opportunity for the prosecution of his musical work.-His downfall, however, was approaching, and was hastened by the story, which he was too proud to contradict, that he had ap, propriated a madrigal by Lotti and given it out as his own composition. The resulting loss of prestige was never made good. The date of his death is uncertain, but is assumed to be I 748 .
0. B. BASSANI.
I657-I7I6. HE was born at Padua in 1657 ; became maestro di cappella in the church of San Petronio in Bologna, and in I685 accepted a similar position at Ferrara, where he died in 1716. He was entered as a member of the Philharmonic Academy of Bologna in 1677, becoming its president in 1682. He was also a member and the director of the celebrated A ccademia della Marte at Ferrara. He was an eminent violinist, one of his pupils being Corelli ; and likewise a very skilful organist and a distinguished and gifted composer, having written six theatrical works, besides thirty other vocal and instrumental compositions. His teacher in music was Father Daniele Castrovillari.-From an extremely rare work entitled Languidezze amorose-cantate a voce sola, etc., the songs '' Dormi, bella" and '' Posate, dormite" (fragments of the Cantata called La Serenata), and "Seguita a piangere, povero cor" (fragment of the Cantata L'Amante_placata), were taken-three pieces in which natural grace and simplicity are united with deep emotion and exquisite artistic taste. 0. B. BONONCINI.
1672-1748. A soN of Giovanni Maria Bononcini (or Buononcini), the celebrated theoretician and composer already mentioned in Vol. I of our Collection, the date of his birth is in doubt, being given variously at 1672 and 166o. He attended the school founded in Bologna by Gian Paolo Colonna, and
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The aria "Per Ia gloria d'adorarvi," which we print herewith, is from his opera Griselda, written in London in 1722 ; it has many fine effects and an agreeable and flowing melody.
with brilliant results, to the study of musical composition. FRANCESCO CAVALLI. I
599-1676.
PIER FRANCEsco, known under the family
OIULIO CACCINI.
name of his protector Federico Cavalli, a Venetian nobleman, was born in I 599 (or, according to other authorities, in I 6oo), as the son of Giovanni Battista Caletti-Bruni, maestro di cappella at the church of Santa Maria in Crema. His patron, who was the sheriff of Crema, being transferred in 1616 to Venice, took the youthful Caletti with .him, entertaining him with splendid hospitality at his own palace, and furnishing him with amplest means for the cultivation of his musical gifts. In I 6 17 he was received into the choir of San Marco, then conducted by Monteverde ; in I 640 he was appointed organist of the second organ of that cathedral, obtaining the post of first organist in 1665. In 1668 he became conductor of the ducal musical organization, holding this position until his death, which occurred on jan. 14, 1676. He was an extremely fertile writer of opera, composing within the space of 32 years (I 6371669) thirty-nine dramas, all of which were successfully produced in the principal theatres. Cavalli continued Monteverde's reforms, imbuing his operatic works with greater breadth and power by means of increased variety of harmonization, the definitive establishment of the string-band, development of dramatic effect and rhyth· mic intensity. In 166o he was summoned to France by··· Cardinal Mazarin, to assist at the nuptials of Louis XIV and Maria Theresa of Spain, on which occasion he brought out his "festival opera" Serse (Nov. 22), though with poor success, owing either to the then prevailing ignorance of the Italian language in France, or to a lack of musical culture at the French court The introduction of the Aria into
1546-1614. HE was born about 1546 in Rome, and was known under the name of Giulio Romano. From Scipione Della Palla he received instructton in singing and luteplaying, and had already distinguished him-
self in his art when he sang, in 1 579) the part ot Nt"gbt at the celebration of the nuptials of Francesco De' Medici and Bianca Capello, in an intermezzo composed by Pietro Strozzi. The renown of this gifted Roman composer, who, in coOperation with Jacopo Peri, Monteverde, and Emilio del Cavaliere. had so large a share in the creation of the musical drama, renders it easy to dispense with a long biographical sketch. Only a few of his principal works will be mentioned : It Combattimento d, Apolli.ne.. on a poem by Bardi ; La Dajne and L, Euritlke.. on verses by Rinuccini ; It Rapiftlento di Cefalo.. on a poem by Chiabrera, written for the wedding of Maria de' Medici, the niece of Grand Duke Ferdinand, with Henry IV of France, which took place Nov. g, r6oo.-We may also add a collection of Monodie.. Canzoni e Madrigale for solo voice, from among which latter the song "Amarilli" was selected by reason of the rare artistic treasures which it reveals. -The precise date of Caccini's death is unknown; but one of his dedications establishes the fact that in 1614 he was still Uving in Florence, advanced in years. His daughter Francesca was a · distinguished writer of music and the authoress of the celebrated ballet La Libera1_t"one di Rug,.,.o 41111• Isola d" Alcina. Francesca Cacclni enJoys the honorable distinction of being the first lady who devoted herself,
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tributed to Arcangelo Del Leuto, concerning whom no positive facts could be found. The appended biographical notice consequently rests upon induction alone. Pietro Della Vaile, the author of the poem Carro di fedelta d' amore, which was set to musk by Paolo <2!Jagliati, inserted, in the 'Trattato di Musica scenica by G. B. Doni, a lecture of his own entitled ~etta Musica dell' eta nostra. In this essay he mentions a certain Cavalier Del Leuto as an esteemed composer and player in Rome, together with Gio. Francesco Del Leuto, both highly skilled musicians ; these two names cannot have been used to designate one and the same person. He also speaks of G. F. Del Leuto as one of the interpreters of the Carro. Now, this Carro di fedelta was printed at Rome by Robletti in I6I I ; consequently, it must have been given in some subsequent year-that is, In respect to early in the I 7th century. both poetry and music, the style of our song would indicate that it belongs to preIt is therefore very cisely that period. probable that it was composed by Gio. Francesco Del Leuto, who, by reason of his virtuosity in playing the lute, first assumed the cognomen of Arcangelo, by which he may have been best known later on from its appropriateness in expressing his masterly command of the instrument. In the absence of any certain data, these more or less plausible conjectures are offered ; authoritative statements regarding this amiable lutenist would be gratefully received. In any event, " Dimmi, Amor" is unquestionably a piece of most delicate workmanship, wherein refinement of taste is wedded to moving effect.
opera has been ascribed to Cavalli, but wrongly, for Monteverde has a prior claim to the merit of this innovation. Nevertheless, Cavalli gave the aria greater freedom and elegance of form, developing it artistically on the lines laid down by Monteverde. The arias in Giasone (Teatro San Cassiano, Venice, I 649), Didone (I 64 I), Serse (I654), and Romilda (I65I), ar~ noteworthy examples of their class. Giasone (Jason), the most successful of his operas, from which the aria '' Delizie contente" is taken, was produced with extraordinary applause first in Venice, then in Florence ( I65 I), Bologna ( I652), Naples ( I65J), Rome (I654), Vicenza {I658), Ferrara {I659), Genoa {I66I), Milan (1662), and finally returned, with equal success, to Venice in I666. At his death, Cavalli was the possessor of a considerable fortune, a portion of which he left to the descendants of his patron, and the remainder to certain religious foundations in Venice ; he had no direct heirs, his wife and his two sisters having died before him. MARCO ANTONIO CESTI. 162o-16~.
THE aria '' Tu mancavi a tormentarmi" is worthy of special notice, among Cesti's compositions, on account of the interesting variety which it exhibits. The author of Orontea, of whom mention is made on p. VI of Vol. I of this series, was born at Arezzo (or Florence ?) about I 620 ; he was a pupil of Carissimi and, in I646, maestro di cappetta at Florence ; in I 66o he was admitted to the papal choir. He subsequently became maestro di cappetta at the court of Emperor Leopold I. He died
at Venice in
I 6~.
S. DELUCA.
ARCANOELO DEL LEUTO.
15--16--.
I5--16-.
THE atietta "Non posso disperar," which was discovered among old manuscripts of the I 7th century, exhibits very noteworthy
THE charmingly suave song '' Dimmi, Am or," accompanying this sketch, is at-
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IJth of August, 1755· The tomb bears the inscription Franciscus Durante-Cappel/ce... magister-Musicce fecit.-Piain to negligence in regard to his attire, he took particular pains with his curled and scented wig, to prevent deranging which he always wore his cocked hat. He was thrice married. With his first wife he lived in incessant warfare, as she spent his meagre earnings in the lottery. The second, whom he dearly loved, and who had been one of his servants, he himself laid in her coffin. A few months later he celebrated his third wedding, with another domestic. The Prayer and secular Aria accompanying this sketch are pieces well calculated to show, in their different genres, the skill and taste of their author.
features in its leading and harmonization; its construction is remarkable for elegance, fluency, and pleasing effects. Despite most patient research, it was impossible to obtain data concerning this composer, who is ignored by the biographers of musicians. Probabilities, however, favor the assumption that he was a Neapolitan by birth, and lived in the first half of the 17th century. FRANCESCO DURANTE.
!684-1755· A PUPIL of Alessandro Scarlatti, he became one ofthe most eminent composers of the 18th century, and the head of the Neapolitan school of music. He was born at Frattamaggiore, a village not far from Naples, on March 15, 1684. He was admitted to the Conservatodo dei Poveri di Gesit Cdsto, and in January, 1742~ was appointed professor at the Conservatory at Loreto, at a monthly salary of ten ducats (equivalent to 42Yz francs), to replace Porpora, who had departed to Germany. He succeeded Scarlatti as professor at the Conservatory of San Onofrio, and numbered among his pupils the finest musicians of the period, such as Fiorillo, Guglielmi, Speranza, Sacchini, and G. B. Pergolesi. Though endowed with a less powerful imagination than his master, he was nevertheless highly skilled in the development of themes and the art of harmonization. His compositions are models of scholarly construction in the above particulars, and for the smooth and cantabile leading of the vocal parts. His manners were rustic and awkward, his mind cool and reflective, his soul simple and ingenuous. Although his compositions never brought him in a large income, he practised such strict economy that he was enabled to erect a chapel at his own expense in the church of S. Antonio at Frattamaggiore, which he dedicated to St. Michael, and in which he was laid to rest after his death, which occurred at Naples on the
ANDREA PALCONIERI.
15--16--. THE musical library of the Royal Academy of St. Cecilia at Rome possesses a valuable work entitled Libra Prim(}--di VillaneUe-a 1, 2 et J voci-con l' aifabet(}--per la
chitat·ra spagnuola-d' Andrea Falconieri--. napoUtan(}--dedicate-all 'ill. mo et rever. ma sig.r Card. De' Medici in Roma-Appresso G£o. Battista Robletti !616-con licenza de, superiori.-This volume, also valuable as a fine specimen of typographical art, contains 17 villanelles for one voice, 1 1 for two voices, and 4 for three voices; in all, 32 compositions remarkable for their simplicity and elegance. The second villanella was selected for publication because it appeared best calculated for effective interpretation, and the most graceful of all; a facsimile is annexed. Andrea Falconieri receives no more than a scant mention in Fetis' Dictionary, which does not even give his proper name; the other biographers ignore him. It may be conjectured that he was born near the close of the 16th century; for the dedication of the book in question commences: " Hav-
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latter place on March 5, 1668. He excelled as a writer of both sacred and secular music, and produced no less than 3.2 dramatic works, besides numerous cantatas, intermezzi, etc. The work upon which his fame chiefly rests is entitled ~'The Practical Harmonist at the Harpsichord" (L'Armonlco
mg resolved to give to the press these, my Musical works, Part the First of my feeble conceptions. . • . ", and bears the date of March 21, 1616. In the National Library at Florence may be found the Qut'nto Libro delle Must'che di A. Falconieri, published by Pignoni in 1619-a rare and interesting work.
pratico at cembalo, ovvero regale, osserva1_ione ed averHmenti (sic) per ben sonare tl basso e accompagnare sopra il cembalo~ spt'nefkt ed organo), Venice, 1683; an instruction-book in thorough-bass followed by Fenaroli in the compilation of his Partimenti. Gasparini's teachers were Corelli and Pasquini; among his pupils may be mentioned Benedetto Marcello, who dedicated some of his compositions to him, and wrote of him with the utmost veneration. He was a philharmonic academician, and professor in the Conservatorlo della Pletd at Venice; later he was appointed maestro di cappella at the Lateran in Rome. The two arias here selected are fragments of his Second Cantata. The weight of authority sets April, 1737, as the date of his death.
O. B. FA.SOLO.
16--16-.
A VER.Y rare book in the possession of Dr. Oscar Chilesotti bears the title: u M£sticanza di Vigna alta Bergamasca; t1 Canto della Barchetta et altre cantate et art'ette per Voce et Chitarra. "-From this work is taken the aria "Cangia, cangia tue voglie,'' which appears peculiarly adapted for publication in this collection by reason of its charming naturalness and spontaneity. In Vol. XLI, No. 48, of the Gazzetta Musicale of Milan, dated Nov. 28, 1886, Dr. Chilesotti gives a few vague notes concerning Fasolo, and remarks on the rarity of the above-mentioned work, of which even Vogel, in his researches in the Italian and German libraries, could discover no second exemplar. It was published in Rome by Robletti, in 1627. Biographers in general make no mention of Fasolo; but on p. 48o of A. W. Ambros' History of Music (Leipzig.. Leuckart, 188 I) he is noticed as "a Franciscan monk in a monastery at Padua, whose Annuale Organistt'co was published in 1645 at Venice," the excellence of whose musical workmanship shows him to have been closely related (intellectually) to Frescobaldi.
OIUSEPPE OIORDANI.
1743-1798. family of Giordani, who was also known as Giordanello or Giordaniello, comprising his father, three sisters, and two brothers, formed a company which gave representations of comic opera in the smaller theatres of Naples. In I 762 this company traveled to London, and was received with great favor at the Haymarket Theatre. Giuseppe, however, returned to Naples for the purpose of prosecuting his studies at the THE
FRANCESCO OASPARINI.
Conservatorio della Madonna di Loretto. He afterwards rejoined his family in London, where he composed a centone entitled Artaserse, followed by a serious opera, Antigono. From 1744 to 1782, devoting him. self to teaching, he wrote only the opera.
1665-17.37· to Fetis, Grove, and Reissmann, he was born at Lucca in 1665; according to Florimo, at Camaiore near Lucca, in 1665; according to Riemann's Dictionary, and the Annuart'o of Paloschi, in the AccoRDING
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t>uffa ll Bacdo {by some erroneously attributed to his brother Tommaso ), which was given in London wtth marked success from I744 to I 749· Again returning to Italy in 1782, he composed a great number of operas for all the Italian theatres, as well as many pieces of chamber-music, among which latter was the aria here reprinted, wherein fine effects are happily wedded to flowing melody. In I79I he was called to conduct the Metropolitan Orchestra of Fermo, and while there wrote a large number of sacred compositions. Fetis and the Marchese Di Villarosa make a sad mistake in confounding Giordanello with Carmine Giordano, who was born about 1690, and was likewise a master of the Neapolitan school. Other errors with regard to his birth and death have been masterfully confuted by Florimo, in his great work on the Scuola musicale di NapoH. There is an inscription in the C~ thedral at Fermo, according to which vixit dnnos LIV dies XXVI and decessit pientissimus-Pridie Nonas januaris An. MDCCLXXXXV/11. This inscription, worthy of credence from having been written for the solemn obsequies of Giordanello, celebrated in January, 1800, show with the most scrupulous exactitude that he was born on December the 9th, I 743·
musical and literary point of view. The fragment "Non m'e grave morir per amore" forms a part of the second cantata ; it is replete with peculiar novelty and charm, and is noteworthy on account of the harmonic leading in the recitative. Marcello was born at Venice on Aug. I, I686, and died july 24, I739, at Brescia, where he held the position of Camerlengo (Chamberlain). Further notices concerning him may be found on p. IX of Vol. I of this Collection. CLAUDIO MONTEVERDE.
I568-I643· BoRN of indigent parents at Cremona, in I 568, he early attained to musicianly renown, and was admitted while still very young to the court of the Duke of Mantua in the capacity of a viola-player. Here the maestro di' cappella, Marco Antonio Ingegneri, gave him lessons in counterpoint, and when but sixteen years old he published a collection of Canzoni for three voices. In a brief time his mastery of his art became such that his fertile and daring genius inaugurated a series of the boldest innovations. He aided powerfully in bringing about the transformation of the medieval modes into the modern chromatic system, by adopting the dissonance of the dominant seventh in such wise as to exhibit the harmonic relation of the fourth degree to the seventh, and by endowing this latter with its true character as the leading-note, with a regular resolution to the tonic. This important fact-which his genius intuitively felt, perhaps all unconscious of the grand results which were to follow-finds gradual development in his books of madrigals; arriving at the fifth book, he no longer hesitates to take without preparation the tritone, the chord of the fifth and sixth, the dominant seventh and ninth, and the diminished seventh. Herewith the transformation of the tonal system was completed, and
BENEDETI'O MARCELLO.
I686-I739· THE autograph manuscript of Benedetto reproduced below in facsimile is dated jan. 2 I st, I 713. The volume containing it, which is entitled Cantate per camera-Poesia e Musica-di-Benedetto Marcello-composte per la Sigra Ricci dilett., is apparently the very exemplar intended for said dilettante, for whom both verses and music were written, it being elegantly illuminated in gold and colors. None of the biographical notices on Marcello mention, as far as I am aware, this work so valuable both from a
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pacity as a teacher he regained his laurels by publishing the Studies and Sonatas. Clementi and Cramer used his works with great benefit to themselves. Cassandra Frederick, his pupil, played at the age of five and a half years, in a concert given at the Haymarket, compositions by Scarlatti and Handel, being the same who performed in 176o, in the double capacity of an organist and singer, the celebrated oratorios of the Saxon master. Paradies returned late in life to Italy, and settled in Venice, where he died in 1792.
Monteverde, profiting by his new system of harmony to continue his course as an innovator, created the forms of the eAria and Vuetto, skilfully employing the resources of instrumentation according to the scenic situation, and developing the musical drama, properly so called, in an expressive and dramatic form. But the fame of this eminent musician is so great, that many words are unnecessary. We deemed it proper to emphasize one remarkable feature in the work of this great genius. The Lamento di eArianna which we print is a shining exemplar of his gifts as a composer; it is taken from the opera eArianna, brought out in I 6o8 at the court of Mantua, and in 1641 in Venice, it being the first melodrama produced at the T eatro San Moise. The National Library at Florence possesses the manuscript of the entire scena, the principal part of which is given here ; this manuscript appears to be the ' author's original. Monteverde died at Venice in 164.3; near the end of 1613 he was appointed maestro di cappella at St. Mark's; he was buried in the church dei Frari, in a chapel to the right of the choir.
NICCOLO PICCINNI.
1728-1800. Alessandro nelle lndie, a melodrama in
3 acts, set to poetry from the pen of Pietro Metastasio, was represented for the first time at Rome in I 758, and thereafter at Naples in 1774 and 1792. In the archives of the Royal College of Music of Naples are to be found 2 copies of this opera. One was donated to the College by Maria Carolina, and is in 3 acts ; the other was among the autographs collected and acquired by Florimo, and has but 2 acts. The former is the score executed in 1758 and 1774: the latter is the same, revised and corrected, which served for the representations of I 792. The aria of Cleofide which we print herewith is one of the most salient numbers of the opera. The verses of the recitative were substituted, by Piccinni himself, for those written by Metastasio, but the aria. following is that which is found in Act II, Scene IJ, of the drama of the imperial poet. The form of this recitative, rich in dramatic features, the admirable construction, and the effectiveness of the whole composition, render this aria a veritable artistic gem. Piccinni, of whom a further account ap· pears in the first volume of this Collection, was born at Bari, on Jan. 16, 1728, and died of bilious fever at Passy, near Paris, on March 1~ 18oo.
PIER DOMENICO PARADIES.
171D-1792. THIS distinguished composer and excellent player on the harpsichord was born at Naples, where he studied under Porpora. He wrote eAlessandro t'n 'Perst'a, performed in Lucca in 1738; It CJJecreto del jato, given at Venice in 1740; La lMuse in gara, a cantata represented at the Conservatorio de' Mendicanti in Venice in the same year. In 1747, he took up his permanent residence in London, and on December 17 of that year he brought out the opera Fetonte at the King's Theatre, which was given nine times with indifferent success. After this he abandoned composition, devoting himself to teaching the harpsichord ; in his ca-
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melodrama, L, Opera a· ,Amore. He subsequently wrote many serious operas, and numerous oratorios, serenatas, comic inter~ mezzi, cantatas, concertos for various instruments, and church-music. His Didone abbandonata deserves special mention; the music was set to verses by Metastasio, then a young man hardly 26 years of age, for the theatre of San Bartolomeo in 1724. This opera, which was enthusiastically received, was sung by the poet's friend Marianna Benti-Bulgarelli and Niccola Grimaldi (called Nicolt'no).-ln 1741 Sarri was still at his post as first conductor; the precise date of his death is unknown.
RAFFAELLO RONTANI.
15--16-.
Le varie-musiche-di-~ajfaello ~n tani-a una, due e tre voci-per cantare net cimbalo o in-altri stromenti simili con L#eAlfabeto per Ia Cht'tarra-spagnola in queUe piu a proposito per-tale strumentoin Roma~ppresso Gio. Battista Robletti, I623-e/Jd instantia di Antonio Poggioli. Airinsegna del Martello i11. Parione-Con Licenza de, Superiori.-The work bearing this title belongs to the valuable collection of the well-known cultivator of ancient music, Dr. Oscar Chilesotti, whose courtesy permitted it to be copied. The song so transcribed and harmonized is charming in its graceful simplicity, and forms a most sweet and admirable setting to Chiabrera's celebrated verses. Its composer was born in Florence towards the end of the 16th century, and was in the service of the Marquis of Capistrano, Antonio De' Medici, a natural son of the Duke Francesco Maria and Bianca Capello. He is mentioned by Q!Iirinus van Blankenborg in his Elements of tJvfusic, who notices a book of canzoni published in Rome in 1632. The work by Rontani cited by Fetis in his biographical dictionary, and published at Florence by Zanobi Pignoni in 1614, may be found in the National Library in that city. The title differs very little from that heading this sketch, but it contains wholly different compositions.
ALESSANDRO SCARLATTI. 1659-1725. IN the first volume of this Collection we published a few arias, full of grace and expression, by this distinguished and fertile composer. For this present volume we have again had recourse to him, and print herewith four more pieces in different styles. " Sento nel core" is a tender and expressive melody, extremely effective and not difficult of execution. The aria of 7;.. grane in the opera of the same name is a marvelous exemplar of its class in the truthful expn!ssion of feeling. In Tigrane Scarlatti tried, for the first time, the blending of the wind-instruments with the strings; and the harmonies of the horn, in the aria given here, are a most original device of the great Trapanesian. The little dialogue "Su, venite a consiglio," wherein the author feigns to conve:rse with his own f~ncies and to listen to their reply, is replete with novel features. The canzonetta '' Gia il sole dal Gange" is spontaneous and genial. The annexed fac-simile is taken from a small manuscript volume of the period, in which the above-mentioned dialogue is also found. For further notes concerning Scarlatti, the reader is referred to VoL 1.
DOMENICO SARRI. 1678-174-? DoMENICO SARRI (or Sarro), was born of indigent parents at Trani, in 1678; his musical studies at the Conservatorio della Pietd in Naples were finished in 16cj7. In 1712 he was appointed vice-conductor of the Royal musical organization, and wrote an oratorio for the festival of San Gaetano. As early as 1702 he had composed a sacred X
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organ, and a facile writer of Italian and Latin poetry. At that period, but little music was printed in Italy, and besides, the unsettled life he led hardly permitted his attention to details of publication ; hence the major part of his works is still in manuscript. In Modena 148 of his com positions are preserved, among them being 6 oratorios and 11 dramas. In the library of San Marco in Venice there is a collection of 2 1 songs entitled a Cante a
ALESSANDRO .STRADELLA. 1645-1681. ·• EvERYTHING ts obscure," writes CateIani, " in the life of Stradella." Although some give Venice as his birthplace, preponderant evidence shows that he was It is not born in Naples about 1645. known where and under whom he prosecuted his studies ; it is certain, that he speedily became a distinguished composer, and passed the greater part of his life as a musician at Venice. While there, he fell desperately in love with the flame of a Venetian noble, having been engaged by the latter to instruct the lady in his art ; in the course of this instruction he found time to lay siege to her heart, and this so successfully, that one night the pair fled together to Rome. The betrayed Venetian swore vengeance .. and despatched two assassins to waylay Stradella ; but his purpose (so runs the legend) was this time frustrated in a most remarkable manner ; the assassins, going to church with the intention of murdering the musician after the performance of an oratorio composed by him~ were so moved by the pathetic beauty of the music, that instead of carrytog out their plan they disclosed it to their intended victim, who immediately repaired to Turin (1676), where he hoped to find efficient protection from further designs upon his life. But here, on a public promenade in full view of the populace, he was set upon by three hirelings of his implacable foe, and desperately wounded ; during his recovery he was wedded to the fair Ortensia, for love of whom he encountered The wily Venetian, such deadly peril. persisted in his atfoiled, twice though tempts, which were finally successful, Stradella being found murdered in his bed one morning in Genoa (1681?). A fertile and distinguished composer, Stradella is also fabled to have been an eminent player on the harp, violin, and
voce sola dell~ insigne A. Stradella legati alta biblt'oteca S. Marco di Venezia dalla nobile famigUa Contarini. , , Of these, from which the song '' Se Amor m'annoda il piede" is taken, a complete edition is in process of preparation. The aria '' Ragion sempre addita" is from the Serena/a a tre voci; this composition is noteworthy from the circumstance, that in it the orchestra is divided into two independent groups, called the Concertina and Concerto grosso, an arrangement also adopted in the oratorio reputed to have saved Stradella's life (S. Giovanni Battista). In this score a contrabbasso of small size appears for the first time.
ANTON FRANCESCO TENAGLIA.
J6--t6-.
BuT few data are obtainable concerning this distinguished writer of music for church, theatre, and chamber, who was born in Florence early in the 17th century. He appears to have been the conductor of some choir in Rome, probably that at the Basilica of S. M. Maggiore. Certain it is, that he spent a large part of his artistlife in Rome, where, in 1661, he composed the opera Cleano, which was performed at the house of a personage whose In this name has not been preserved. opera is found indubitable proof that he was the inventor of the form termed the aria with da capo ; a form copied in 1686 by Carlo Pallavicini in his Gerusalemme
XIII
Uberata, and further developed by Alessandro Scarlatti, who has been erroneously credited with its invention down to this very day. It would seem that none of Tenaglia's compositions have been published, as in all my researches I have never met with a printed work by him, or discovered any notices of editions of his compositions at any time or place. Yet his music is extremely charming, picturesque, and effective, and is shown in the two arias given here, which are excellent specimens of chamber-style, and exhibit, considering the period at which they were
penned, a notable advance as regards form. They were found in the Chigiana Library at Rome, which possesses not a few manuscripts of his in a crabbed and incorrect caligraphy. It is likely that others might be discovered in other Roman libraries, Rome having been, as observed above, the residence of this Florentine musician for many years; and it is hoped that these may also be published at some future ttme. -Under an old portrait of Tenaglia stands the legend : 'Jenalia Florentinus musicus in rebus excellens.
XIV
CONTENTS PAGE;
BASSANI. G. 8.,
Dormi, bella, dormi tu?
•
Art thou sleeping, fair one (
"
"
"
"
Posate, dormite,
•
Sleep on, then.
Seguita a piangere, Mourn with temerity.
BONONCINI, G. B.,
•
•
•
79
•
85
•
89
Per Ia gloria d'adorarvi,
IOJ
For the love my heart doth prize.
Amarilli, mta bella.
CACCINL G.,
19
Amarilli, my fair one.
CAVALLI, F.,
Delizie contente,
CESTI, M. A.,
2J
•
Ye blisses, that ravish.
Tu mancavi a tormentarmi,
40
Wilt no longer thou torment me.
Dimmi, Amor,
DEL LEUTO, A.,
J
Tell me, Love !
DELUCA, S.,
Non posso disperar,
.
DURANTE, F.,
.. ,
6
I do not dare despond.
Vergin, tutto amor,
114
Virgin, fount of love.
Danza, danza, fanciulla gentile,
"
FALCONIERI, A.,
.
FASOLO, G. B.,
lf7
Dance, 0 dance, maiden gay.
V ezzosette e care,
12
Charming eyes so wary.
Cangia, cangia tue voglie,
•
•
55
•
•
•
96
•
•
•
99
Thou, all my bliss.
•
•
•
Non m'e grave morir per amore,
•
Change, o change thy fond wishes.
GASPARINI, F., •
Caro laccio, dolce nodo, Dainty meshes, net enticeful.
"
Lasciar d' amarti,
"
•
Love's bond to sever
GIORDANI, G., • MARCELLO, B.,
Caro mio ben, For my Jove thus to die.
MONTEVERDE, C.,
Lasciatemi morire ! M'ha preso alia sua ragna,
•
'Tis Love, that rogue so wilv
Se il del me divide,
PICCINNI, N.,
Since Heaven has tom me.
Se bel rio,
RONTANI, R.,
.
When the murm'ring.
Sen corre l'agnelletta,
SARRI, D.,
•
As when a lamb confiding.
SCARLATTI. A.,
"
"
.,
u
Sento nel core,
Gia il sole dal Gange,
"
u
STRADELLA, A.,
Ragion sempre addita, How dearly are prized.
"
"
TENAGLIA. A. F•••
..
Se amor m'annoda il piede. E quando ve n'andate, 0 when will ye e'er leave me.
"
Qpando sara quel di, When will the day e'er be.
127
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64
•
70
•
74
•
46
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. •
•
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•
•
•
•
•
If love my feet enchaineth.
•
•
All' acquisto di gloria, To win glory.
2.2
•
•
O'er Ganges now launches.
•
•
•
My heart doth languish. Su, venite a consi~lio. Hey ! come hither, ye andes.
lJI 121
No longer let me languish.
PARADIES, P. D., .
•
•
•
•
•
50
• •
28
34
3
Dimmi, Amor. (Tell me, Love.) English Version by Df Th. Baker.
Cantata..
Andante cantabile.
P.
ARCANGELO DEL LEUT 0.
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11568
12
Vezzo sette e care. (Charming eyes so wary.) Villane lla.
English Version by Df Th.Baker .
ANDREA FALCON IERI. (HS ... -16 ••• )
Alfegret to quasi Gavotta. cJ:to4.) ~ '
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Amarilli, mia bella. (Amarilli, my fair one.) English Version by Df Th. Baker.
Madrigal. GIULIO CACCINI.
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23
Delizie contente, che !'alma beate . (Ye blisses,th at ravish.) Aria from the Opera
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"Giasone! '
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E quando ve n'and.ate. (0 when will ye e'er leave me.) Scherzo. English Version by Dr Th. Baker..
ANTONIO FRANCESCO TENAGLIA .
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ANTONIO FRANCESCO TENAGLIA.
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Tu manc avi a torme ntarm i. (Wilt no longer thou torment me.) Aria. English Version by Df Th. Baker.
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Cangia, cangia tue voglie. (Change, 0 change thy fond wishes.) English Version by Dr Th. Baker.
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Sento nel core. (My heart doth languish.) Arietta.
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Su, venite a consiglio. (Hey! come hither, ye fancies.) Dialogue between the Author a11d his Fancies.
English Version by Df Th. Baker.
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Gia il sole dal Gange. (O'er Ganges now launches.) Canzonetta.
English Version by Df Th. Baker. fJ
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74
Alracquisto di gloria. (To \Vin glory.) Aria from the Opera
"Tigrane'!
English Version by Df Th. Baker.
ALESSANDRO SCARLATTI. (16119 -1725.)
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D ormi, bella, dormi tu·? (Art thou sleeping, fair one?) Fragment from the Cantata
"La Serenata." English Version by Dr Th.Baker.
GIOo BATTISTA BASSANI. (J6li7 -1716.)
1\Ioderato.
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85
Posate, dormite. (Sleep on, then.) Fragment from the Cantata Serenata.~'
"La
English Version by Dr. Th. Baker.
GIO. BATTISTA BASSANL ~-
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Sen corre l'agilelletta. (As when a. lamb confiding.) Ca.nzonetta.. English Version by Df Th. Baker.
DOMENICO SARRI.
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(i6'78-f'71&0.)
(J =ao.)
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114
Vergin., tutto amor. (Virgin, fount of love.) Preghiera.
English Version by Dr Th. Baker.
FRANCESCO DURANTE. (!684- t'71SIS.)
Largo religioso. (J.: 110.)
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ma-dre pi - a, rna- dre ma-dre di bon - ta - .de, 0 0 Dear Moth-er, thou of mer- cy,whoseheart was riv-en,whoseheartwas
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a, en,
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117
Danza, danza, fanciulla gentile. (Dance, 0 dance, maiden gay.) Arietta.
English Version by Dr Th. Baker.
J<"RANCESCO
DURANTE.
(1684 -1755.)
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121
m'e
Non
grave morir per a more.
(For my love thus to die.) Fragment from a Cantata.
English Version by Dr Th. Baker. fl
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BENEDETTO MARCELLO.
Recita.tivo .
(1686 - 1739.)
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1:27
M'ha pre so all a sua ragna. ('Tis Love, that rogue so wily.) Arietta. English Version by Dr Th. Baker.
PIER DOMENICO PARADIES. Allegretto mosso.
(1710 - 1792.)
cJ = 76.)
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Piano.
preso~al-la
1. M'ha
sua dormQ_,a-mor mi guido,_il greggtt.-al mor tra mil - le
1. 'Tis
Love, that rogue so sleep doth Love me fol- lows on the ar-rows cru - el
ra - gna, m'ha preso'--'al - la sua de - sta, s'io dormo'--'a-mor mi mon - te, se guido--)1 greggt_,al ne, a - mor tra mil - le
wil - y, wak - en, moun-tain, hurl - ing,
Love, that rogue so 'Tis From sleep doth Love me Love fol- lows on the ar- rows cru - el His
. . .~
Oopyrzght, 1894, hy {f. Schirmer, Inc. OopyrzgA.t renewed, 1922, by TA.eodore Baker 11594
Printed in the U.S. A.
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p
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hold,_ stray, fare,_ day, __
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y, Has caught me 111 his __ en, Or thro' my dreams doth l __ tain While with my herd iug, Love plies me night and
che ch'e se per
Who In And For
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l a _ earn mes - so in gnar - Dli al :mio_ si,_
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As To When He
ling,
129
me farbafa
f;(l cac ml. . .)nna gna;__,amor_ Ian- guir_
tor,_ rar,_ me,_ si, __
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me_ f~l- cac far - mi in - na ba - gna'--'a - mor fa_ Ian guir
co di si mi
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C aro mio ben. (Thou, all my bliss.) Arietta.
English Version by Dr. Th. Baker.
Larghetto.
(J
GIUSEPPE GIORDANI. (GIORDAt\ELLO.) (1743
60.)
1798.)
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te_ lan- gui - sct_jl far_ My_ heart_ is
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English Version by Dr. Th. Baker.
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SCHIRME R'S LIBRARY of Musical Classics
'~ '~
,, ,,,,'~ '~"
VOCAL STUDIES AND EXERCISES SERIES ONE The Library Volume Number is !liven In
bra~ckets:
[45l)
CON CONE, J .-Continued
ABT, F. Op. 474. Practical Slnting Tutor. For all Voices (Spieker). 2.00 For Soprano or Tenor. Complete [453} Part I: Production of Tone. Intervals [454} .75 Part II: Exercises for the Cultivation of . . . . . . . . . . . . . . . . 75 Fluencyj455J . . . . . . . . . . . . . 75 Part II I: 20 Solfeggi [456} Part IV: 12 Exercises on Vocalization [457}. .75 For Mezzo-Soprano or Alto. Complete [458}. 2.00 Part 1: Production of Tone. Intervals (459] .75 Part II: Exercises for the Cultivation of Fluency [460] . . . . . . . . . . . . . . . . . . . . . . .75 Part Ill: 20 Sotfeggi [461].............. .75 Part IV: 12 Exercises on Vocalization (462) .75 For Baritone or Ba~s. Complete (463] .... 2.00 I: Production of Tone. I ntcrvals Part [464] .75 Part II: Exercises tor the Cultivation of .. . . .75 Fluency (465]. . . .. . . .. Part Ill: Solfeggi and Exercises on Vocalization [466). . . . . . . . . . . . . . . . . . . . . . . . . . .75
BEHNKE, E, & PEARCE, C. W. 30 Voice-Training Exercises. For Soprano (1090] ........................ For Mezzo-Soprano [1091).. . . . . . . . . . . . . . . . . For Alto {1092).. .. .. . . . . . . .. . . . . . .. . . . . . .. For Tenor [1093] . . . . . . . . . . . . . . . . . . . . . . . . . ................. For Baritone [1094]. For Bass [1095]. . .. . .. . ..................
1.25 1.25 1.25 1.25 1.25 1.25
BONA, P. A Complete Rhythmical Articulation. Method [1170]. . . . . . .. .. . . . . . . . . . . . . . . . . . 1.00
BONOLDI, F. Exercises in Vocalization. Sop. [117); M.-Sop. [118]; Alto [119].........
Op. 11. 30 Daily Exercises. H [29-lj; L [55 5] Op. 12. i5 Vocalises. Finishing Studil's. H [275]; l\1 or L [276] ........... . Op. 17. 40 Lessons. Alto [2-17]; Bass or Bar. [248] ............................... . Practiol The School of Si~ht-Sin~in~. Method for Young Beginners (Lutgen) [2-!5]
1.00 1.00
1.50 1.25
~ ~~
._,
DANNHA USER, A. L.
:;
Solfege des Solfeges. Bk. I [1289]; Bk. II [1290): Bk. Ill [129I].ea. 1.00 The same. sp. Bk. I 11085] .............. . 1.00
ESLAVA, D. H. Metodo de Solfeo (Carrillo).
sp.
Complete (1366] 1.50
The same. Bk. I [1376]: Bk. II [1377]; Bk. JII [1378]; Bk. IV [1379] .......... ea.
.60
LAMPERTI, F. The Art of Sin!?,ing [1587}.. . . . . . . . . . . . . . . . 1.00 Daily Exercises in Sin!?,in!?, [570}.. . . ... . . . . . . . .75 Vocal Studies in Bravura (Liebling) [1633]. . . 1.00
LAMPERTI, G. B. 30 Preparatory Vocalises. Sop. [568] 19 Preparatory Vocalises. Alto [569]
1.25 1.25
LOTGEN, B. Vocalises {Spieker). Bk. I: 20 Daily Exerdses. H [654]; M [655]; .. L [656]................... M [93of: Bk .. II: 20 Opera1ic Vocalises.
.75 .75
MARCHESI, M. C. .75
BORDOGNI, M.
25 Easy Vocalises in Progressive Order (82). . 1.00 36 Vocalises in Modern Style (Spieker) For Soprano {432] ........................ 2.50 For Mezzo-Soprano or Baritone [433} ....... ,. 2.50
CONCONE, J. Op. 9. 50Lessons. H(l468];M[242];L[243) 1.25 Op. 10. 25 Lessons. M [244]; L [246].. . . . . . . 1.00
Elementary Progressive Exercises [384} Op. 2. :Z4 Vocalises for Soprano or Mezzo· Soprano [391] .......................... . Op. 3. 24 Vocal'ises for Soprano [597] ..... . Op. 21. The Art of Singing. Bk. I: Ele· mentary and Gradua·ed Exercises [793); Bk. II: 30 Vocalises for 1\lezzo-Soprano [794) ...... ea. Op. 32. 30 Vocalises (Liebling) H or l\1 [126} .. Op. 1.
1.00 1.00 1.50
1.00 1.25
~l;i;.1 u0~1se~ra\:b::v~!ii~~~~~:J: s~~~J~~~e,raM!; ;t~t~';~ lt:.-L1~!1;ia8~r~~ a:r't:~~:~·M:~,~.e-t~i~;z~~S~p~~~~~ iS~~~~t~~nPr~~~? i~~.i~ i~!~:.~ Any Schirmer Library volume may be obtained in cloth binding. Prices will be quoted on request. Prices Subject to Change Without Notice.
,
11~------------------------------------------------------------~~~ NEW YORK G. SCHIRMER, INC.
~
