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Sacred Duets

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Sacred Duets Sacred Duets ALESSANDRO SCARLATTI (1660–1725) ANTONIO LOTTI (1667–1740) San Casimiro, re di Polonia | Firenze 1705 | Libretto: Anon. L’umiltà coronata in Esther | Wien 1714 | Libretto: Pietro Pariati 1 Duetto: Al serto le rose 2.58 10 Duetto: Sempre fido, sempre grato 3.44 BERNARDO PASQUINI (1637–1710) ANTONIO CALDARA (1670–1736) Sant’Agnese | Modena 1685 | Libretto: Benedetto Pamphili La frode della castità | Roma 1711 | Libretto: Anon. 2 Aria: Vaga rosa 3.34 11 Aria: Si pensi alla vendetta 2.59 GIOVANNI PAOLO COLONNA (1637–1695) Santa Francesca romana | Roma 1710 | Libretto: Anon. Salomone amante | Bologna 1679 12 Duetto: È ristoro a un cor che pena 4.35 Libretto: Giacomo Antonio Bergamori NICOLA ANTONIO PORPORA (1686–1768) 3 Duetto: Partite dolori 2.53 Il Verbo in carne | Napoli 1747/48 4 Aria: Su l’arco d’amore 4.13 Libretto: Giovanni Giuseppe Giron DOMENICO GABRIELLI (1651–1690) 13 Duetto: Lascia ch’io veda almeno 6.38 San Sigismondo, re di Borgogna Gedeone | Wien 1737 | Libretto: Francesca Manzoni Giusti Modena 1689 | Libretto: Domenico Bernardoni 14 Aria: Quasi locuste che intorno 3.59 5 Aria: Aure voi de’ miei sospiri 5.49 Il martirio di San Giovanni Nepomuceno GIOVANNI BONONCINI (1670–1747) Venezia c. 1730 | Libretto: Carlo Emanuele d’Este di San Martino La conversione di Maddalena | Wien 1701 | Libretto: Anon. 15 Duetto: Della fragile mia vita 9.21 6 Aria: Cor imbelle a due nemici 3.29 GIUSEPPE TORELLI (1658–1709) Concerti grossi op. VIII | Bologna 1709 soprano (1–4, 6, 10, 12, 13, 15) Nuria Rial Concerto VIII con un violino che concerta solo 7 I. Vivace 3.34 countertenor (1, 3, 5, 10–15) Valer Sabadus 8 II. Adagio 0.29 Julia Schröder solo violin (5–9) 9 III. Allegro 2.09 Simon Linné solo theorbo (5) · Hristo Kouzmanov solo cello (5) Kammerorchester Basel 2 2 violin/Violine I: Julia Schröder · Mirjam Steymans-Brenner · Regula Schär · Tamás Vásárhelyi P & g 2017 Sony Music Entertainment Germany GmbH violin/Violine II: Yukiko Tezuka · Ewa Miribung · Carolina Mateos Special thanks to Freundeskreis Kammerorchester Basel viola: Bodo Friedrich · Joanna Bilger for the generous support of the album production. cello/Violoncello: Hristo Kouzmanov · Georg Dettweiler double-bass/ Kontrabass: Daniel Szomor Recording: Riehen, Landgasthof Riehen, 18–21/03/2016 harpsichord/Cembalo: Francesco Pedrini · organ/Orgel: Francesco Pedrini Recording Producer, balance engineer, editing & mastering: Jakob Händel theorbo/Theorbe: Simon Linné Concept, musicological research, edition of scores: Giovanni Andrea Sechi © 2016 Critical edition of “Su l’arco d’Amore”: Francesco Lora © 2016 Executive Producer: Stephanie Wieck · Total time: 62.31 www.maierartists.de/nuria-rial.html Artwork: Christine Schweitzer · Cover photos: Henning Ross (Sabadus) www.valer-sabadus.de Merçè Rial (Rial) · g Irina_QQQ/shutterstock (Background) www.kammerochesterbasel.ch 3 Innovation und Tradition im italienischen Oratorium 1670–1740 Blättert man die Partitur einer beliebigen Opera seria des 17. oder 18. Jahrhun- Entwicklungen, die zur Überwindung der regionalen Unterschiede – und derts durch, stößt man unweigerlich auf ein oder mehrere Duette; in den Orato- schließlich zum internationalen Erfolg des galanten Stils – führten. rien dieser Zeitspanne sind Duette dagegen nur selten zu finden. Die Sitte, jedes Weder Bernardo Pasquini (1637–1710) noch Alessandro Scarlatti (1660–1725) Oratorium mit einem Madrigal zu beenden, in das alle im Werk vertretenen Figu- stammten aus Rom; trotzdem gelten beide mit Fug und Recht als Vertreter der ren einstimmen, mag Librettisten davon abgehalten haben, weitere Nummern für Römischen Schule. Sie studierten nicht nur in der Papst-Metropole, sondern zwei Solostimmen zu schreiben. Die wenigen Duette in italienischen Oratorien der feierten hier auch ihre größten Erfolge. Diese verdankten sie einerseits langjäh- Jahre 1670 bis 1740 – in etwa die Periode, die dieses Album abdeckt – dienen rigen engen Beziehungen zur Elite der römischen Kunstmäzene wie etwa den meist als Übergangsszenen. Sie schildern vorwiegend Begegnungen zwischen Kardinälen Ottoboni und Pamphili, andererseits der Zugehörigkeit zu exklusi- Menschen und personifizierten moralischen Werten, Dialoge zwischen Tyran- ven Zirkeln wie der Accademia dell’Arcadia. Die Vorliebe der römischen Komponis- nen und christlichen Märtyrern, Versöhnungen zwischen Eltern und Kindern, ten für das Oratorium prägte sich in der zweiten Hälfte des 17.Jahrhunderts immer Gebete von Heiligen im Angesicht ihres Martyriums, die von göttlichen Instan- stärker aus. Der Grund hierfür war rein politischer Natur: die Verteufelung des zen erhört werden, usw. Theaters durch den Vatikan. Die Zeit der stärksten Repression war das Pontifi- Dennoch: Wie die vorliegende Musikauswahl beweist, setzten sich einige kat von Innozenz XII., der 1697 den Abriss des Teatro Tordinona verfügte. In- Komponisten intensiv mit dieser speziellen Spielart des Duetts auseinander folge der ständigen Verbote etablierte sich das Oratorium als Opera- seria-Al- und erhoben sie in einen Rang, der dem der großen Arien für die Hauptfiguren ternative. Mit seinem Vermächtnis von mindestens 38 Oratorien und geistlichen in nichts nachsteht. Kan­­taten, teils in italienischer, teils in lateinischer Sprache, zählt Scarlatti zu den Die Erweiterung des musikalischen Materials ist Ende des 17., Anfang des produktivsten Komponisten seiner Generation. Aus seinem Oratorium San Ca- 18. Jahrhunderts auch in der Arie zu beobachten. Der Siegeszug der dreiteiligen simiro, re di Polonia (Florenz 1705) stammt das Duett „Al serto le rose“, ein Arie (ABA) verdrängt nach und nach die Strophenarie, sowohl im Oratorium als schneller Tanz im Duktus einer Gigue. Die Arie „Vaga rosa“ aus Pasquinis Santa auch in der Opera seria. Diese Entwicklung schlägt sich im vorliegenden Al- Agnese (Modena 1685) erwähnt ebenfalls die Rose, jedoch eher in metaphori- bum nieder, das auch einige Verschmelzungen der alten Form (wie bei Pasquini schem Sinne. Vom Librettisten Benedetto Pamphili inspiriert, schuf der Kom- und Colonna) mit frühen Beispielen der modernen Da-capo-Arie (Gabrielli) ent- ponist eine thematisch ausgesprochen vielseitige Arie, die den moralischen hält. Unsere Auswahl präsentiert Stücke der bedeutendsten italienischen Schu- Subtext der Verse mit seinem Verweis auf die Vergänglichkeit des Lebens tref- len: Bologna, Rom und Neapel. Die chronologische Reihenfolge veranschau- fend zum Ausdruck bringt. licht einerseits die stilistische Reifung der einzelnen Komponisten im Kontext Die inspiriertesten Oratorienkomponisten der Epoche stammten zum Groß- ihrer jeweiligen Herkunft, andererseits die grundlegenden geschmacklichen teil aus der Schule von Bologna, darunter Giovanni Paolo Colonna (1637–1695), 4 Antonio Caldara Nicola Porpora Giovanni Battista Bononcini Alessandro Scarlatti Kapellmeister an der Basilica di San Petronio. Der Meister des strengen Kon- nen führen einen gleichberechtigten Dialog mit der Gesangsstimme – ein imita- trapunkts und der altüberlieferten Kompositionstheorie wurde in ganz Bolog- tives Spiel, reich an Dissonanzen, bei intensiver Durchführung des themati- na als Autorität verehrt. Jenseits der Stadtmauern allerdings machte er sich mit schen Materials. Dabei sind die Strophen länger als üblich, und das thematische seinem stolzen, herrischen Charakter diverse Feinde (darunter selbst Arcange- Material gliedert sich klar in drei Teile. (Die Idee der dreiteiligen Arie schim- lo Corelli, aufgrund einer Kontroverse bezüglich der Quintparallelen in seinen mert hier bereits durch.) Sonaten op. 2). Das vorliegende Album präsentiert zwei Titel aus Colonnas Sa- Neben den bereits erwähnten formalen Neuerungen kam es im 17. Jahrhundert lomone amante (Bologna 1678). Francesco Loras Studien zufolge handelt es sich auch besetzungstechnisch zu bedeutenden Innovationen: 1665 wurde zum ersten hierbei aufgrund der gewaltigen Sängerbesetzung (ganze acht Personen) und der Mal in einem Musikwerk aus drücklich das Cello genannt, in einer Sammlung langen Dauer (fast drei Stunden) um das imposanteste Oratorium dieser Periode. mit Instrumentalmusik des bolognesischen Komponisten Giulio Cesare Arresti Ein solches Monumentalwerk, das sich an ein gebildetes und aufgeschlossenes Pu- (Dodici sonate a due e a tre, con la parte del violoncello beneplacito op. 4). In Bologna blikum richtete, konnte der Aufmerksamkeit des Herzogs von Modena Frances- nahm dann auch die Emanzipation des Cellos vom Basso continuo ihren Lauf: In co II. d’Este – seines Zeichens der großzügigste Förderer der Gattung Oratori- den folgenden Jahren setzte sich unter den dortigen Komponisten immer mehr um in den 1670er bis 1690er Jahren – nicht entgehen. Die Besonderheit und das so genannte violoncello spezzato durch, eine unabhängige Cellostimme, losge- Opulenz des Werks offenbaren sich auch in den beiden Stücken dieses Pro- löst vom Basso continuo. Das wachsende Interesse an diesem Instrument schlug gramms. In der Arie „Su l’arco d’Amore“ zieht Colonna, um die absolute Gewiss- sich auch in einer Vielzahl von in Bologna ausgebildeten Cellovirtuosen nieder, dar- heit und die sinnlichen Ambitionen der Ersten Phönizierin zum Ausdruck zu brin- unter die Brüder Giovanni und Antonio Maria Bononcini, Giuseppe Maria Jacchini gen – die mit einer Zweiten Dame um König Salomos Liebe konkurriert –, und Domenico Gabrielli. Letzterer adelte das Cello schließlich in seinen Werken sämtliche ihm zur Verfügung stehende instrumentale Register: Zwei Solovioli- zum Soloinstrument. Gabrielli war jedoch nicht nur für seine
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