| Description |
1 online resource (1 score (xix, 179 pages)). |
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notated music ntm rdacontent |
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text txt rdacontent |
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computer c rdamedia |
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online resource cr rdacarrier |
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score rdafnm |
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staff notation 1007 rdafmn |
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1st-3rd works soprano voice 1 violin 2 cello 1 continuo lcmpt |
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4th-6th works alto voice 1 violin 2 cello 1 continuo lcmpt |
| Series |
Recent researches in the music of the Baroque Era ; 235 |
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Recent researches in the music of the Baroque Era ; 235.
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| Note |
1st-3rd works for soprano voice and strings; 4th-6th works for alto voice and strings. |
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Figured bass not realized. |
| Language |
Italian words (anonymous texts); also printed as text with English translation. |
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Staff notation. |
| Note |
Edited from manuscripts in the music division of the Austrian National Library in Vienna. |
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"Translations are by Lucia Marchi" -- page xiv. |
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Includes introduction with biographical notes, historical notes on Bononcini's cantatas, and notes about the six cantatas from A-Wn, Mus.Hs.17607. |
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Includes critical report with sources, editorial methods, and critical notes in English. |
| Summary |
"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.17607, are written for soprano or alto with strings, and the string instrumentation is unique in specifying two of the violins and the violoncello as di concerto (that is, concertino), and two violins and double bass as di concerto grosso (that is, ripieno). These cantatas represent the new Italian style that flourished at the imperial Viennese court of Emperor Joseph I. Through their innovative use of form, design features, 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." -- Provided by publisher. |
| Note |
Online resource (A-R editions, viewed February 27, 2023). |
| Bibliography |
Includes bibliographical references. |
| Contents |
Sul margine adorato (Soprano) -- Vorrei, pupille belle (Soprano) -- Troppo rigore Clori (Soprano) -- Lontananza: Mentre al novo apparir (Alto) -- Tanto avezzo ho il core (Alto) -- Sopra l'orme d'Irene (Alto). |
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Sul margine adorato. Recitative : Sul margine adorato ; Aria : Mentre io vi miro ; Recitative : Ma se poi volgo i lumi ; Aria : Benché m'abbia ; Recitative : Dunque sperar degg'io ; Aria : Io t'amo tanto, tanto -- Vorrei, pupille belle. Recitative : Vorrei, pupille belle ; Aria : Oh Dio, se fosse vero ; Recitative : A rissanar la piaga ; Aria : Perduto mio tesoro -- Troppo rigore Clori. Recitative : Troppo rigore Clori ; Aria : Son fedele, e se nol credi ; Recitative : Se in te l'occhio rivolgo ; Aria : Al tuo bel volto amante ; Recitative : Quanto meco sdegnata ; Aria : L'empio fato -- Lontananza: mentre al novo apparir. Recitative : Lontananza: mentre al novo apparir ; Aria : Più barbaro martire ; Recitative : Miracolo è d'Amor ; Aria : Colorita ho nel pensiero ; Recitative : In quelle chiome d'oro ; Aria : Quanto più cara ; Recitative : Così mentre dispera ; Aria : S'io ritorno, o luci amate -- Tanto avezzo ho il core. Aria : Tanto avezzo ho il core ; Recitative : Dal dì che chiuse i rai ; Aria : Da' primi nodi suoi ; Recitative : Ma nel di lei bel foco ; Aria : M'uccida Amore -- Sopra l'orme d'Irene. Recitative : Sopra l'orme d'Irene ; Aria : Uscite o gemiti ; Recitative : Se dell'idol ch'adoro ; Aria : Più molesta è la tempesta ; Recitative : Torna, deh torna Irene ; Aria : Dal tuo rigor. |
| Subject |
Solo cantatas, Secular (High voice) -- Scores.
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Solo cantatas, Secular (Low voice) -- Scores.
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Songs (High voice) with instrumental ensemble -- Scores.
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Songs (Low voice) with instrumental ensemble -- Scores.
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Cantates pour soliste profanes (Voix aiguë) -- Partitions.
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Cantates pour soliste profanes (Voix grave) -- Partitions.
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Chansons (Voix aiguë) acc. d'ensemble instrumental -- Partitions.
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Chansons (Voix grave) acc. d'ensemble instrumental -- Partitions.
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Solo cantatas, Secular (High voice) -- Scores
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Solo cantatas, Secular (Low voice) -- Scores
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Songs (Low voice) with instrumental ensemble -- Scores
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| Genre/Form |
Cantatas
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Scores
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Songs
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Cantatas.
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Songs.
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Scores.
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Cantates.
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Partitions (Musique)
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| Added Author |
Bennett, Lawrence, 1940- editor.
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Marchi, Lucia, translator.
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Container of (work): Bononcini, Antonio Maria, 1677-1726.
Sul margine adorato.
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Container of (work): Bononcini, Antonio Maria, 1677-1726.
Vorrei, pupille belle.
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Container of (work): Bononcini, Antonio Maria, 1677-1726.
Troppo rigore Clori.
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Container of (work): Bononcini, Antonio Maria, 1677-1726.
Lontananza: mentre al novo apparir.
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Container of (work): Bononcini, Antonio Maria, 1677-1726.
Tanto avezzo ho il core.
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Container of (work): Bononcini, Antonio Maria, 1677-1726.
Sopra l'orme d'Irene.
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| Other Form: |
Print version: Bononcini, Antonio Maria,1677-1726. Cantatas. Selections. Six chamber cantatas with strings (1708). Middleton, Wisconsin : A-R Editions, Inc., ©[2023] (OCoLC)1369066938 9781987208382 |
| ISBN |
9781987208399 (online) |
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1987208390 (online) |
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9781987208382 (print) |
| Standard No. |
10.31022/B235 doi |
| Music No. |
B235 A-R Editions, Inc. (score) |
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