Front cover image for Aspects of the secular cantata in late Baroque Italy

Aspects of the secular cantata in late Baroque Italy

As shown by the ever-increasing volume of recordings, editions and performances of the vast repertory of secular cantatas for solo voice produced, primarily in Italy, in the second half of the seventeenth century and the first half of the eighteenth century, this long neglected genre has at last 'come of age'. However, scholarly interest is currently lagging behind musical practice: incredibly, there has been no general study of the Baroque cantata since Eugen Schmitz's handbook of 1914, and although many academic theses have examined microscopically the cantatas of individual composers, there has been little opportunity to view these against the broader canvas of the genre as a whole. The contributors in this volume choose aspects of the cantata relevant to their special interests in order to say new things about the works, whether historical, analytical, bibliographical, discographical or performance-based. The prime focus is on Italian-born composers working between 1650 and 1750 (thus not Handel), but the opportunity is also taken in one chapter (by Graham Sadler) to compare the French cantata tradition with its Italian parent in association with a startling new claim regarding the intended instrumentation. Many key figures are considered, among them Tomaso Albinoni, Giovanni Bononcini, Giovanni Legrenzi, Benedetto Marcello, Alessandro Scarlatti, Alessandro Stradella, Leonardo Vinci and Antonio Vivaldi. The poetic texts of the cantatas, all too often treated as being of little intrinsic interest, are given their due weight. Space is also found for discussions of the history of Baroque solo cantatas on disc and of the realization of the continuo in cantata arias - a topic more complex and contentious than may at first be apparent. The book aims to stimulate interest in, and to win converts to, this genre, which in its day equalled the instrumental sonata in importance, and in which more than a few composers invested a major part of their creativity
Print Book, English, ©2009
Ashgate, Farnham, Surrey, ©2009
Criticism, interpretation, etc
xxvi, 425 pages : illustrations ; 25 cm
9780754657941, 0754657949
List of Figures
List of Music Examples
List of Tables
List of RISM Sigla
Notes on Contributorsxvii
The When and How of Arioso in Stradella's Cantatas
Carolyn Gianturco
A Lost Volume of Cantatas and Serenatas from the `Original Stradella Collection'
Colin Timms
Narration, Mimesis and the Question of Genre: Dramatic Approaches in Giovanni Legrenzi's Solo Cantatas, Opp. 12 and 14
Hendrik Schulze
A Tale of Two Cities: Cantata Publication in Bologna and Venice, c. 1650-1700
Reinmar Emans
`Al tavolino medesimo del Compositor della Musica': Notes on Text and Context in Alessandro Scarlatti's cantate da camera
Norbert Dubowy
Bononcini's `agreable and easie style, and those fine inventions in his basses (to which he was led by an instrument upon which he excells)'
Lowell Lindgren
The `Humble' and `Sublime' Genres, the Pastoral and Heroic Styles: Rhetorical Metamorphoses in Benedetto Marcello's Cantatas
Marco Bizzarini
Investigations into the Cantata in Naples During the First Half of the Eighteenth Century: The Cantatas by Leonardo Vinci Contained in a `Neapolitan' Manuscript
Giulia Veneziano
The Orchestral French Cantata (1706-30): Performance, Edition and Classification of a Neglected Repertory
Graham Sadler
Patterns and Strategies of Modulation in Cantata Recitatives
Michael Talbot
`Imitando l'Arietta, o altro allegro, cantato di fresco': Keyboard Realization in Italian Continuo Arias
Giulia Nuti
The Revival of the Italian Chamber Cantata on Disc: Models and Trends
Roger-Claude Travers
Index of Vocal Works393(16)
General Index409